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

Uses notions from the field Psychology of Consciousness, including an explanation of how psychologists define and investigate Altered States of Consciousness (ASCs). Argues that actors routinely enter an ASC. Establishes acting as a way to enter an ASC and discusses why theater artists, educators, and advocates need to be aware of both the dangers…

Discusses advisable repertoire for beginning actors. (CH)

Article considered the Theater Of Honesty, a school of thought that bares all in its efforts to be totally honest, and the nudity in plays that accompanied it as he questioned the need for dramatic production to conform to its principles. (Author/RK)

These instructional objectives have been selected from materials submitted to the Curriculum Laboratory of the Graduate School of Education at UCLA by Ruth Greening. Arranged by major course goals, these objectives are offered simply as samples that may be used where they correspond to the skills, abilities, and attitudes instructors want their…

Reports on an on-site survey of six outstanding theatre programs in Las Vegas, Omaha, Minneapolis, Fort Wayne (IN), Flint (MI), and Midland (TX). Notes their successful features: high-energy leaders, total child concept, clear goals, outstanding facilities, play selection, etc. Covers actor training in depth. (PD)

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

Rejects the thesis that an uncanny matchup of literary characters with their visual doubles made "The Maltese Falcon" a success. (RB)

Discusses panoramas, a quasi artistic-theatrical genre that flourished throughout the nineteenth century and which were, in their own right, a dramatic genre which captured and held the attention of an audience through a combination of broad narrative line, graphic description, telling verisimilitude of action, and infectious comic intrusions.…

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

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)