In the form of engaging experiences, dramatics offer the student a better understanding of himself, of other people, of literature, and of life. (Author)

Describes the performances and performers in the international mime festival (Prague, Czechoslovakia, September 14-28, 1969). (SW)

High school students should be given the opportunity to do improvised duet acting, and criteria for evaluation of performances of improvised duet acting should be established. Although planning and prepared work should be discouraged as much as possible, because of the time limitations for the performance, it is good for the performers to know…

Describes mime program at a high school. (CH)

Improvisation and pantomime are used in a class "adventure" that sparks the imagination, promotes positive group interaction, generates fun, and can be a new approach to experimental teaching. (Author)

Lists a variety of pantomime activities for use in the classroom. (GB)

This performance guide is designed for teachers to use with students before and after a performance of the Potato People in "School Daze." The guide, called a "Cuesheet," contains seven pages of reproducible activity sheets for use in class with activities and discussion questions on the following topics: (1) Meet the…

A complete and comprehensive course of study in acting fundamentals for the junior college is presented. Its overall goals are to develop individual sensitivity and creativity, without neglecting essential skills and traditional theatrical and academic values. Justification of major course objectives in the junior college curriculum, presentation…

Discusses physical, sensuous, and psychological mime in relation to the art of acting. The physical dimension of mime is concerned with the discrete movement; sensuous mime helps to create the given circumstances governing a scene; and psychological mime creates the attitudes and intentions of characters. (JMF)

Gives instructions for a theater exercise that involves a student lip-synching to a song. Cautions that the presentation must be balanced equally, with attention paid to both realism in the actual lip-synching, and to how the performer gives meaning to the song. States that students generally should not try to emulate well-known performers. (PA)

Designed to be used by teachers with varying degrees of dramatic arts experience and by students with limited English proficiency as well as native English speakers, this clear, simple guide familiarizes teachers and children with classic literature through the narrative-mime approach. The guide contains: (1) eight of Aesop's fables adapted and…

Assuming no prior dramatic training or experience with adolescents, this book contains approximately 50 dramatic activities that have been devised, adapted, and used with success with adolescent performers, ages 12 to 15. Not a textbook for performers, the book serves as a resource for drama teachers and coaches, Scout leaders, church youth…

Explores three traditionally important aspects of acting and shows how each is critical in effective college teaching. Speech, pantomime, and characterization are discussed. (Author/AV)