Discusses the casting of small roles in television's dramatic series in terms of social stereotyping. Information is based on interviews with writers, producers, directors, casting directors, and talent agents. (JMF)

Horton Foote was among the television writers who helped make NBC's "Television Playhouse" the most popular live dramatic program on the air during the "Golden Age" of television drama, the period between 1952 and 1957. Foote felt a strong affinity for the land and people of his youth, and modeled the imaginary towns of…

That a play has one central action which is its formal cause is the most influential interpretative idea to emerge among theatre writers since the old model of situation/incident/complication/climax/denouement. Unfortunately, the action concept has been insufficiently developed, excessive hopes have been pinned on it, and it has become a reductive…

Directors of plays can make rehearsals interpretively productive, but they must first reject directorial approaches such as beginning rehearsals without analyzing the script, projecting images of the play as it is read, and using the script merely to summarize meanings, static themes, morals, and nothing more. Making rehearsals interpretively…

Describes some of the Shakespeare software available to educators. Explains some of its applications in the secondary school language arts classroom. Shows how Shakespeare texts on disc allow students to cut sections of the play to enhance their own performances (for example, a 20-minute version of "Much Ado About Nothing") and how…

Most performer-writers accept the writing process simply as a means to an end: the shared performance event with a live audience. While writer-performers regard a script as more important than the performance, a solo performance is, however, a showcase of the artist's talent, and creating one's own text offers the performer artistic control. Some…