Considers why educators should teach theater arts to kids, what educators want kids to get out of it, and whether the art itself should be subordinated to how it can support other subjects. Argues that both school arts programs and outreach companies should reconnect with their communities. (SR)

Claudia Klein Felske, a high school English teacher, has created a vital dramatic experience in the classroom with the help of a guest workshop leader. The three activities, such as how to read William Shakespeare, Metaphor Theater and character cacophony, which helped students to experience the intensity of language and discover ramifications of…

TWO PLAYS WERE STAGED FOR THE PURPOSE OF DEMONSTRATING THE FEASIBILITY OF AN INTERDISCIPLINARY APPROACH TO AN EXPERIMENTAL THEATER PROGRAM. EXISTING PLANT AND STAFF RESOURCES OF THE UNIVERSITY OF CALIFORNIA AT LOS ANGELES, AS WELL AS PROFESSIONAL ARTISTS, WERE USED IN THE PRODUCTION. A PROFESSIONAL ARTIST AND AN ELECTRONIC SOUND SPECIALIST WERE…

A curriculum on theater is presented in this volume prepared by the Central Atlantic Regional Educational Laboratory (CAREL) Arts and Humanities Curriculum Development Program for Young Children. Topics in the 23 page Rationale section range from theories of cognitive development to an extensive explanation of the workshop concept which is…

Suggests integrating theatrical experiences into total art experiences by using creative workshops to challenge the intellectual, emotional and physical needs of elementary school children. Available from: Children's Theatre Review, Children's Theatre Association of America, American Theatre Association, 1029 Vermont Avenue, N.W., Suite 402,…

Describes a workshop approach to plays (especially Shakespearean) that included the academic study of the text, a theatrical presentation, and an exploratory workshop. (HOD)

Describes a drama workshop designed to teach English as a Second Language. Offers specific exercises which were used to help students learn to introduce themselves, use body language and inflection, use formal and informal language, and speak with conviction. (PRA)

Describes an arts and drama program in New Jersey which celebrates and explores cultural diversity. Outlines the seven-week workshop series (beginning with a dramatization of the Tower of Babel myth) that introduces art, music, and traditional stories of various cultures. Concludes with a festival where children dramatize stories they have…

Claims drama in the classroom offers teachers an opportunity to "bring to life" the challenges and triumphs of African Americans. Describes a drama workshop based on the story of Harriet Tubman and the Underground Railroad. (NH)

Presents a book excerpt that introduces the author's "Hope Is Vital" program and methods. Shares his vision and methods for creating performance workshops that actively investigate social concerns. Considers a series of gradually intensifying exercises leading from fun warm-ups to image-building bridge activities. (SC)

This paper discusses the impact that teaching and research on African theatre in the Workshop Theatre of the University of Leeds' School of English may have had in Africa and elsewhere. After surveying the productivity and influence of the Workshop Theatre to the present, the authors ask if they have contributed meaningfully to the development,…

This book, based on the author's experience as a professional actress, is divided into three sections. The first part, "The Actor," deals with techniques the actor uses to function physically, verbally, and emotionally and discusses the actor's concept of himself and the art of acting. The second part, "The Object Exercises," consists of a series…

A performing arts center projects the image of the theater itself as a stage set. (Author)

Describes a workshop held in Zambia in August 1979, to disseminate among performing artists and rural development workers skills for using the performing arts to communicate information on problems related to agriculture, health, and community development. Over 70 participants from the U.S., Canada, Botswana, Lesotho, Tanzania, Kenya, and Zambia…

Describes the planning, implementation, evaluation, and implications of a "Drama Day"--a one-day middle school festival centered on creating theater. Discusses plans for "Drama Day II." (RS)