Outlines how Bishop Walsh High School in Cumberland, Maryland, solved the problem of staging a multiset musical, "Guys and Dolls," on a circular thrust stage with no curtain, by using four four-sided rolling variations of the Greek "periaktoi," tall column-like structures whose faces can be painted with scenic elements. (JMF)

Describes how the author applies the four Rs of volunteerism: research, recruit, retain, and recognize. Outlines the basics of each and how they can be incorporated in a school program. (SG)

Describes the similarities between a vocational education program and what happens in an educational theater scene shop. Highlights the one main difference between the two as being the approach to risk management. Compares the goals of each program, and discusses their approaches to risk management. (PA)

Suggests ways for theater educators to examine their own teaching and theater curriculum in regard to gender issues. Offers some alternatives to improve the gender fairness of a drama program. (SR)

Asks why the United States is training artists that it does not intend to employ, and why (when it seems that arts education is good for everyone) are all the resources concentrated only on "talented" children. (PRA)

Asks theater educators to articulate and defend a moral position regarding the overall direction of society. Asks that teachers, like great theater, foretell a direction that will lead to a better world. (SR)

Describes a project focusing on "absurdist theatre"--reflecting the hopelessness of postwar Europe. Focuses on the major themes of the movement such as isolation, chaos, and individuality. Discusses absurd improvisations, broadening the scope into visual arts movements such as Dadaism, Surrealism, and Futurism, and applying theories to…

Describes how a director-choreographer and teacher can help novice dancers present a polished performance with some encouragement, a little creativity and psychology, and some easy, solid stagecraft. Presents a four-step approach beginning with determining skill levels during auditions, planning choreography for rehearsals, holding a cast meeting,…

Outlines things to do throughout the year to develop and keep responsible technical theater staff, including praise, matching the right students to the right jobs, hiring professionals to advise when necessary, and appointing crew heads and creating tech crews. Argues that raising status of theater technicians and delegating genuinely important…

Describes a "hands off" directing style encouraging student actors to think for themselves, not to mimic blocking and line readings imposed by a director. Notes that this directing style is not always appropriate. Suggests that most actors (even teenagers) will undergo a journey of transformation from being themselves to portraying other people…

Argues that teachers and directors should teach their students how to audition. Offers tips, explanations, and observations regarding selection of material, preparation, appearance, making contact, and other advice. (SR)

Suggests that theatre's capacity to educate is often overstated. Notes theatre created by and for teenagers is especially guilty of proselytizing. Argues the real danger is that the cumulative, subliminal message is that theater is medicine. Suggests that playwrights, directors, and artistic directors leave the education for the classroom and take…

A secondary level, multicurricular Quinmester course on stage design is tentatively outlined. The study and application of design and construction as it relates to stage production introduces students to the setting that man creates to give an illusion of the time, locale, and mood for his dramatic productions. The overall success of this illusion…

An example of the teaching of dramatics and history through an American Indian drama project. (CH)

Describes mime program at a high school. (CH)