Uses a dialogue between two aspects of the same person (playwright/director) to answer the question posed in the title. States that initial productions of a new play are important for rewriting and reshaping the material and that performance confirms what is healthy and alive about the play. Concludes that the time for enjoying the performance…

Discusses the production of an autobiographical play about the Holocaust, "Who Will Carry the Word?" by Charlotte Delbo. Notes that the play is in three acts, needs a large female cast, and was mounted by the Teen Repertory Company of the Oddfellows Playhouse of Middletown, Connecticut. Describes rehearsal techniques and audience…

Describes how the inclusion of a scene from Steven Deitz's play "Lonely Planet" can touch those who have lost friends to AIDS. Relates how a group of students went to see a production of "Falsettos" which provided an opportunity for the students to examine their own attitudes about homosexuality and AIDS. (PA)

Explains that Museum Theatre's goal is to teach through drama by using experiential interpretive strategies that bypass the lecture format. Outlines a production of Museum Theatre which helped a museum redefine itself. Concludes that Museum Theatre helps shift the focus of programming from simple object display to an emphasis on the human…

Discusses the 1996 edition of Montreal's Coups de Theatre. Questions whether festival productions should be juried, what criteria should be used, and how to compare new creations against established productions. Describes various festival productions, a total of 19 productions from 6 countries. Discusses what these plays say to young people. (CR)