The articles in this publication trace the historical development of the theatre workshop, explain the relationship between the workshop and experimental theatre, and analyze the ways in which current drama workshops teach and develop the dramatic skills of the participants. The topics discussed include the special skills, production-oriented, and…

A survey of approximately 450 novice Shakespearean actors was undertaken to determine what could be learned from a careful study of the initiation of new performers acting Shakespeare that might be helpful to others. The findings revealed that the typical initiate perceives acting Shakespeare as different from other acting, indicates a definite…

The complex irony of Act III, Scene i, of "Richard II" indicates how Shakespeare directs audience response in the play. Understanding this process of directed response--a dialectic of alternatives--illustrates that a meaningful standard of kingship is not provided in the play by either Richard or Bolingbroke. (RL)

Characterizes dramaturgy as where an artist conceives and germinates individualized artistic processes to facilitate and instigate the transmission of creativity. Explains a process, which can be used to create a new work or analyze existing plays that begins with a detailed examination of the Four Elements--Air, Earth, Water, and Fire. Notes that…

Explains a drama assignment based on pictures of discarded shoes. Notes that through character creation, imaginative storytelling, and strong conflicting objectives, students write a 10-minute play about how the shoe got where it was. Outlines the final project, in which these plays would then be presented in a dramatic reading session. (PM)

Discusses an approach to the study of the Bible through psychodrama. Argues that such an approach makes biblical stories and their characters real by investing them fully with humanity. Concludes that a psychodramatic approach to the Bible is a strenuous exigesis through which it is possible to look past surfaces into an inner world. (SG)

Presents guidelines for introducing secondary students to "King Lear" before and during engagement with the text. Includes providing opportunities to (1) improvise, (2) examine specific speeches in depth, and (3) speed write about a character's thoughts. Presents questions used during auditions and explanations of characterization in…

Proposes that teaching students to find and play appropriate actions helps them tell the story of a play and create character better than if they focused on emotions. Discusses Stella Adler and Uta Hagen, two acting teachers who advocated this physical approach. Presents two exercises: "justify and connect," and "enter a room." (PM)

The author declares, The play is the thing. As a tool for teaching, it's incomparable. It can painlessly teach reading, reciting, reasoning and writing." She describes techniques for class study. (Author/JB)

A set of lessons to introduce "Julius Caesar" to secondary school students unfamiliar with Shakespeare is provided in this teaching guide. Only a critical fraction of the play is covered in the lessons. First, a synopsis of a modern high school situation whose conflicts parallel those in "Julius Caesar" is presented; then,…

The teaching and understanding of Shakespeare are the subjects of these essays by (1) Louis B. Wright, who is concerned with the elements of Shakespearean plays which give them world-wide acceptance and timelessness, (2) Richard Hosley, who explores the use of stage curtains both today and when Shakespeare's plays were first produced, (3) G. L.…

The skills of playwriting are correctable, the craft of playwriting is teachable, and the art of playwriting is encourageable. In the area of craft, students can learn through models how accomplished playwrights deal with plot, characterization, dialogue, and theme. For the first element, plot development, students can look at written models to…

In this book designed for the high school drama teacher, several commonly-taught plays are used to illustrate (1) ways to use the adolescents' experience with TV to increase their appreciation of other forms of drama, (2) practical means for removing some of the barriers to understanding plays and producing an active response to the world of the…