Defines the play and discusses how two elements of the play--drama (literature) and theatre (performance)--are interdependent. (PD)

Observes that class plays still exist in many schools. Discusses reasons why all-school-type productions are superior to class plays in terms of educational opportunities, overall morale, and continued growth of quality theater programs. (PD)

Defines "tableaux vivant" as the three-dimensional enactment of still pictures. Describes its use in the theater and as a tool in theater study. Presents a series of warm-up and tableaux exercises for use in the classroom. (JMF)

Enumerates justifications for the teaching of dramatics to adolescents. (CH)

Experiences as a seasoned theatre arts educator in teaching drama to high school students. (CH)

Good photos are an essential part of play production. This quiz contains 20 photos to be rated excellent, good, or poor for publicity purposes. Answers give detailed explanations of the merits or flaws in each photo. (PD)

An example of the teaching of dramatics and history through an American Indian drama project. (CH)

Justifies the place of theatre and dramatic arts in the high school curriculum and the importance of educating teacher-directors who can provide students with theatre arts experience. (PD)

Reaffirms the position of directors (Peter Brook, Tyrone Guthrie, Peter Hall, and others) concerning the "balance of power" between director and playwright in transforming a playscript into a theatrical performance. (PD)

Chronicles the production and presentation of "The Threepenny Opera" by the Council of Independent Schools, a consortium of 11 Baltimore area high schools. The director discusses some details of his decision-making process. (JMF)

Briefly discusses the potential of radio theater for high school drama. Sketches a modest equipment layout that will provide students with the fundamental combination of hardware and wires to produce audio drama. (PD)

Presents criteria for selecting plays for secondary school theater programs to be presented to the public as well as to be studied or produced within the curriculum. Includes consideration of student needs and abilities, appropriateness, budget, and community standards. (JMF)

Describes the 1980 conference of 2400 high school theater students and teachers at Ball State University, sponsored by the International Thespian Society biennially. Five-day schedule included a dozen full-length shows, 60 one-acts, more than 150 workshops covering everything from dialect acting to exotic stage effects. (PD)

Presents the script of a Readers Theater production to complement a previous article on Bertholt Brecht in theory and practice (EJ 225 131). (JMF)

Offers some techniques useful for helping students overcome tension-producing expectations about acting. (MH)