Analyzes visual materials lending themselves to reproduction on microfiche according to four different types of projects presently available, and makes suggestions for future micropublication projects. (Author)

The author describes assignments given groups of students doing short videotaped productions. (BD)

Describes a high school media production course which used team teaching, media, and peer training. (BD)

Explores production ideas for plays other than works by Shakespeare, including medieval plays such as the "Wakefield Noah" by the Wakefield Master. Lists some questions to consider when deciding to perform a medieval play. (PA)

Outlines steps in casting a play: the group should choose a piece with the group in mind; people should be shown off to their best advantage; and ageism, sexism, or racism should not enter the casting process. Performance reality should be kept in mind. (PA)

Duties of a video design team include writing, storyboard designing, directing, lighting, shooting, taping, and editing. As few as two students can handle these tasks; for larger productions, students can work in various capacities by serving as crew for each other. (JOW)

Provides a checklist of things to discuss with sports photographers prior to sending them out on assignment, and a list of equipment, including proper film and lenses. Lists what film speed, lens size, and shutter speed to use for different sports. (PA)

Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Describes how many technical and casting problems in young adult theater may be solved by using a Greek chorus. Defines a Greek chorus and its role. Discusses applications of Greek choruses to conventional scripts, including representation of abstract images and characterization. Concludes that incorporating a Greek chorus into a traditional…

Describes a production of Barry Kornhauser's play "This Is Not a Pipe Dream" that was intended to support increased audience engagement in the production both emotionally and aesthetically. (SR)

Presents an interview with director, teacher, performer, and author of the ground-breaking "Story Theater" Paul Sills. Discusses his unique style of storytelling and improvisation. (RS)

Points out that teleconferences allow individuals to work together to accomplish a common goal, despite geographical distance. Discusses varieties of teleconferences and planning and production issues. (SR)

Offers ways for high school drama teachers to simplify, streamline, and lessen the uneasiness of the process of play selection, auditions, and casting. (SR)

Notes that in drama education programs, students are routinely given responsibility in the real world of theatre. Relates the author's experience as an intern at a theatre in New York City, serving as the assistant stage manager, and failing at his job. Concludes that the playwright deserved a crew who showed initiative and solved problems--a crew…

Discusses the difficulties of costume construction for high school theater productions. Advances a plan (and provides a design) for a mobile costume shop which contains the basic needs of a functional costume facility, using only 60 square feet of space. Lists every element and implement needed. (PA)