Provides support, drawn from classroom experience and research, for the use of drama in the reading class. (ARH)

Reviews 25 years of experimental research into production and presentation variables, such as technical variations, content and organization strategies, and performer variables. Suggestions are made for continuing research in specific areas, and a bibliography of 45 references is appended. (Author/BK)

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…

The relational concepts developed in mathematics and psychology are used in this paper to explicate the needs and responsibilities of dramatic acting and theatre research. A parallel is constructed between the emergence of the mathematical concept of function, the awakening of psychology to the concept of relationship (especially regarding family…

Although the situations in which and for which drama teachers are trained vary widely, six principles can be applied to virtually all drama education programs. First, drama teacher education must be based upon the contexts in which the students will be teaching. Second, drama teacher education should be based upon the interpersonal skills both of…

All people, including counselors, learn and act out a set of roles that includes both "real self" roles and other, less familiar, more uncomfortable roles. Certain principles employed in the training of actors can be applied to counselor preparation. Implications and suggestions for counselor educators are offered. (Author)

This paper examines the relationship between creation and destruction in the creative process. Findings from a study involving 60 actors and 60 criminals/delinquents (ages 10-65) indicate that the 2 populations are similar in their ability to use the creative process but criminals/delinquents do little productive with their ability. (Author/JDD)

The articles in this publication trace the historical development of the theatre workshop, explain the relationship between the workshop and experimental theatre, and analyze the ways in which current drama workshops teach and develop the dramatic skills of the participants. The topics discussed include the special skills, production-oriented, and…

Since a fundamental problem of acting--fear--is a fundamental human problem, the basic job of acting teachers is to help their students become the kind of people who can act. Acting teachers need to help their students cast off their fears, free their bodies and their imaginations, and learn all the skills of self-knowledge, self-control, and…

Discusses the use of improvisational acting exercises as a productive tool for overcoming reticence in English-as-a-Second-Language students. The approach stresses participation rather than accuracy of production. (Author/VWL)

This journal provides a focal point for the collection and distribution of systematically processed information about theory and practice in theatre. This issue contains discussions of (1) the effects of cognitive complexity on characterization depth and performance; (2) the effects of a director's system of communication on actor inventiveness…

Teaching can be viewed as a performing art, and teacher educators need to recognize that acting and the art of teaching have much in common. A model for preservice teacher education, correlating dramatic techniques with pedagogy in student teaching, is introduced. (PP)

Competency-based teacher education is attacked, and adaptation of the methods theory of acting to teacher preparation programs is advocated. (LH)

A discussion of the use of drama in the foreign language classroom looks at the three common ways it is used: (1) the dramatic teacher, or methods in which the teacher's dramatic behavior involves the students in interesting communicative situations; (2) creative drama, in which activities focus on the students' involvement in spontaneous dramatic…