Explains that the exercise "Pictures at an Exhibition" is designed to remind student actors of their responsibilities to the script and audience while simultaneously giving them a chance to employ the basic tools of the acting craft. Presents the activity in two rounds: (1) what do you see? and (2) painting by the numbers. (PA)

Illustrates key features of visual rhetoric as they operate in two professional academic hypertexts and student work designed for the World Wide Web. Considers how by looking at features like audience stance, transparency, and hybridity, writing teachers can teach visual rhetoric as a transformative process of design. (SG)

Presents a condensed method for involving students in the kind of theatrical problem-solving that transforms a script to a play. Describes how to incorporate a "human slide show" into the class. Notes that students must read plays not just to understand events, but to make artistic choices about how to stage the action so that an…

Notes that in rehearsals and performances, a jumble of silences are encountered. Discusses silence in the following situations: as frustration; as imposition; as invisibility; as power; as pleasure; as safety; as humility; as necessity; and as potential. Contends that when dramaturgs enter into conversation and break silence, they must carefully…

Outlines a dramaturg's process when working on three different plays. Contends that the myriad variations on the question "what will happen next?" serve as the basic architecture on which the dynamic relationship between the story/storytellers and the audience is built. Observes that the continual planning and answering of questions is…

Considers how inviting students to play Walker Gibson's "talk-back game" is an excellent way to bring the complications of appropriate tone to life. Describes three steps to incorporate Gibson's concept into the classroom. Notes that Gibson's concept considers the potential resistance of the reader. (SG)

Discusses rhetoric as mirroring psychology. Examines Aristotle's three "pisteis"--the pathetic, logical, and ethical proofs, paralleling them to Freud's id, ego, and super-ego. Explores an adequate feminine psychology and a corresponding rhetoric. Outlines two models of persuasive discourse, the rational world paradigm and the narrative…

Shows how grammar may be used conceptually to help students cultivate an understanding of the conventions of authorial presence in technical writing. (MM)

Analyzes "The Italian" (1915), an early "immigrant" film, examining its problematic relation to questions of working-class and middle-class audience composition. Shows how this film reveals that the creation of narratives suitable for diverse audiences requires continuous readjustment of an adequate mode of address. (MM)

Finds that both severity of violation and recipient of explanation affect the linguistic content of elementary school-aged girls' excuses. Concludes that older girls used fewer single apologies, incorporated more repair components, and tailored their explanations to the nature of each violation. (JAD)

Examines the rhetorical constructs of the "question-and-answer format" as it has been used widely both in popular, informative, advertising, and journalistic literature. Considers its classical origins, its intent and effect, and the ways in which it plays on the reader's resistance. (TB)

Explains the concepts of spectator positioning, supplement (as defined by Jacques Derrida), and plenitude in relation to the study of woman's films, in general, and the film "Committed" (1984), in particular. Considers how the film's indirect mode of public address disturbs conventional gender alignments and the distinction between…

States that Malcolm X and the Nation of Islam relied heavily upon debate as a form of public address through which to enact and publicize confrontation with other civil rights organizations. Examines Malcolm X's first experience and training in debate as a prison inmate and later public experiences. Provides detailed accounts and analysis of his…

Argues that technical writers must construct proper contexts for readers' understanding. Discusses reader-oriented syntax, rhetorical confidence, and three kinds of context qualifiers. Offers various examples. (SR)

Recounts when the Fluxus community first became self-consciously aware of itself during early European concert tours. Provides insights into criteria that delineate European and American Fluxus performances. Discusses use of chance procedure by members of the group, their debts to John Cage, and the relationship between the audience and the…