Explains how masks are made and how they can be used as a stimulus for beginning thespians. (KS)

This paper presents tips on scripting, staging, and reading Reader's Theater. The first section of the paper discusses tips on scripting--script roles, cuts and changes, narration, script format, and team scripting (children working in teams to write scripts). The second section presents tips on staging, such as equipment, script handling, the…

This collection of papers represents the thinking of distinguished research practitioners of drama and theatre education, who presented keynotes and master classes at the second International Drama in Education Research Institute, held in Victoria, British Columbia, Canada, in 1997. They provide a diversity of approaches to classroom drama and to…

Discussion of the use of creative dramatics with gifted students considers the value of creative dramatics; components of creative dramatics (structure, open-endedness, a safe environment, and feedback); the actor's elements (voice, body, character or imagination, and group work). Specific exercises to develop the actor's elements are described.…

Intended for teachers who have no particular experience or training in teaching theater, but who have a love of theater and enjoy a good play, this book discusses making theater with children. It explores improvisation, reading and acting with scripts, adapting plays for young actors, and writing plays. The examples presented in the text are…

Reviews 15 recent books on Shakespeare appropriate for secondary school teachers and students, including books on films of Shakespeare's plays, a teacher's guide, companions for the plays, acting editions, narrative versions of several plays, a biography, a study of Elizabethan England, and a book of trivia. An elementary-level video is also…

Describes a 14-day activity which has proved successful with both beginning and advanced theater arts groups. Emphasizes coordination of music and action, problem solving, decision making, cooperative work with other students, and the ability to aesthetically mold music and movement into one theatrical experience. (PRA)

Offers a complete, thorough, all-inclusive, demanding-but-fair, easy-to-use drama performance evaluation method. Lists eight categories to evaluate for each performance, and suggests questions for each category. (PRA)

This performance guide is designed for teachers to use with students before and after a performance of "Borrowed Black: A Labrador Fantasy," by the Mermaid Theatre of Nova Scotia. The guide, called a "Cuesheet," contains seven reproducible activity sheets for use in class, addressing: (1) The Story (orienting students to the…

Describes a yearlong project at 12 Catholic middle schools in the Diocese of Arlington, Virginia, to incorporate the plays of William Shakespeare into the curriculum. Teachers attended university lectures and directed students in performances of the plays. Concludes that Shakespeare can be understood and enjoyed by middle school students. (BCY)

Presents basic rules for conducting acting classes, including suggestions for format and presentation of class activities. (PA)

This bibliography, organized in six sections, provides a comprehensive overview of Canadian arts education resources for use with dramatic arts students. (1) "Titles and Descriptions" and (2) "Out of Print Resource" provide information, sources, and annotations for alphabetically arranged items. (3) "Author Index" is…

This guide presents a technique for actors for getting into character spontaneously. Certain sections of the book address the actor, others address the director, and some make no distinction. The actor-director relationship is addressed as complex and critical to this acting approach. Suggestions are given for using this approach with children.…

Presents a conceptual framework for examining cultural diversity in theater and drama programs for young people. Describes and analyzes specific strategies used to increase cultural diversity in various organizations observed in the spring of 1991. (HB)

Describes the author's first visit to Bulgaria to visit classes, attend student performances, and talk with the faculty at the National Academy of Theater Arts and Film. Discusses their use of theater technique, such as puppetry, as a therapeutic tool and the vitality and expertise they displayed in their play performances. (CR)