The word "performance" is the basis for our medium. It's what we work toward, look forward to, and talk about with endless fervor. But does this word, this concept, this idea, actually stifle learning, artistic expression, and growth? As a director and professor of theatre for the past 13 years, I have watched this word become the knave…

This essay explores how viewing a single Theatre for Young Audiences production might affect the attitudes, values, and/or beliefs of adolescent spectators. Data is drawn from a mixed-methods case study performed with middle school students who viewed a professional performance for young people, and is considered through the lens of cognitive…

Discusses children's questions about theater (gathered by the author over a 10-year span). Poses more questions and challenges about the responsibilities of children's theater artists and educators. (SR)

Summarizes the author's understandings with applications and further questionings to: (1) Rights TO drama/theatre experiences; (2) Rights IN drama/theatre; and (3) Rights THROUGH drama/theatre. Asks for responses to her ideas regarding children's rights in theatre. (SC)

Considers several categories in which theatre teachers can incorporate the concept of belonging, and encourages educators to question their individual efforts toward "belongingness." Hopes to provoke thought and conversation among theatre teachers and teacher educators. Concludes that belongingness and community occurs when teachers…

An actor from an Australian theatre group, touring American high schools, comments on the group's background, Australian government subsidies for "theatre-in-education," and the role of theatre arts in education. Briefly compares American and Australian students' awareness and attitudes towards theatre. (JMF)

Moves educators to reflect on their practice of inclusion/exclusion and what constitutes authentic participation in theatre education classrooms. Believes that teacher education should strive to reconceive, or eliminate, the concept of "youthland" (the separation of young people from adult society) by preparing teachers who will treat students as…

Emphasizes that listening is the primary skill for the student attending a theatrical performance. Identifies the active listening process as: (1) attending, (2) hearing, (3) comprehending, (4) remembering, and (5) responding. (NKA)

A director recounts his thoughts about choosing a difficult play and describes how well the students finally cooperated. (CRH)

Makes sense of the performance of Steve Taylor's play, "Ties That Bind," from the perspective of the actors, 14 faculty members, and doctoral students from various universities in the United States by using the interpretive lens of Erving Goffman's Presentation of Self in Everyday Life. (SG)

Noting that oral communication skills need continuous refinement, this document outlines various methods of practicing these skills, such as literature circles in reading; a reader's theater; presentations of book reports; story telling; a poetry reading club; and choral reading. The document describes literature circles as small groups of readers…

Discusses a modular curriculum funded by an initiative known as "Enterprise in Higher Education" (EHE). EHE is dedicated to promoting an exchange of ideas between the worlds of work and education with the goal of encouraging the development of a curriculum geared to producing students for careers in industry and commerce. (CK)