This personal reflection looks at the benefits of using performance pedagogy in the Shakespeare classroom, both in terms of a general understanding of the period and a student's personal connection to the text. Though the essay acknowledges our profession's ongoing dialogue in this area, it mostly seeks to look at how a student may change once she…

In this article, the author shares her experience during the final semester of Year 11 Theatre Studies when she performed a monologue about Hermione from "The Winter's Tale". This experience was extremely significant to her because it nearly made her lose faith in one of the most important parts of her life, drama. She believes this…

In this article, three students share how performing in Shakespearean plays have helped them appreciate his work. Orubba Almansouri describes how acting out the play "Romeo and Juliet" allowed him to understand the whole story better. While rehearsing and performing "A Midsummer Night's Dream," Aram S. Balian became a true Shakespeare fan,…

Theatre provides a unique set of conditions for the management of emotions. Drawing on participant observation from one repertory theater, three university productions, and interviews with stage actors, directors, and acting instructors, I conceptualize actors as privileged emotion managers. Actors access structural resources that enable their…

In autumn 2006 the Arts Council England set up the "Into the Scene" project in order to increase the number of disabled and deaf theatre practitioners graduating from accredited training courses and to increase the quality of their experience. A team from Graeae, the disabled-led theatre company that profiles the skills of actors,…

Despite the amount of attention paid Adolphe Appia and Edward Gordon Craig, a misconception persists with regard to their ideas concerning the actor; namely, that Appia had the actor dominate all the elements of staging, and that Craig considered the actor less essential. However, to both, the actor was both essential and nonessential to the…

Examines the philosophy and methods of Chekhov (1891-1955), director, teacher, and actor, whose style was devoted to awakening and inspiring the creative imagination of the actor and ultimately the audience. (PD)

The story of an "actor" who captivated an English class and a community and who was later revealed to be a con man. (RL)

Argues that an audience is real rather than abstract and is necessary to the art of the theater. Demonstrates that audiences are too diverse to be described by an abstraction; audiences affect performances; and interchange occurs between actors and audiences. (See CS 705 537.) (PD)

Refutes several of Campbell's arguments that the audience is abstract rather than real. (JMF)

Defends the notion of the abstract audience. Questions Gillespie's concept of audience adaptation and the relationship among play, actor, and audience. (JMF)

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)

This discussion of the term "style" as it relates to the arts points to the need for reform in the terminology and the conceptual system of the drama profession. The paper first lists the basic tasks of conceptual and terminological reform and then outlines the steps necessary in reforming a particular term. These procedures are applied to a…

Examines some of the different representational practices of acting in the context of a theory of signs. Focuses on the intrinsic characteristics of signs and the representational practices of acting. Discusses the contributions of Stanislavsky and Brecht to this area. (JMF)

Traces the Stanislavski system for realism in acting from its origin within Moscow Art Theater, through its modification by Lee Strasberg and Elia Kazan in the Actor's Studio, to its use in modern American films. (JMF)