Explains the Viewpoints, a technique used to focus actors' awareness on different elements of performance such as tempo, duration, gesture, and spatial relationships. Notes that this former avant-garde technique is now taught by mainstream directors. Proposes that Viewpoints is a valuable tool for the rediscovery of a production. (PM)

Outlines problems which occurred in Charlotte, North Carolina when a theatre performed a controversial work, "Angels in America." Notes how this experience transformed the politics of an entire region and made the arts community into a highly desired constituency. Suggests ways to involve students in arts advocacy and activism. (PM)

Explains L. Kuleshov's body-oriented theory of acting. Describes how actors begin their Kuleshov training with short etudes that are confined to a linear matrix. Proposes that these etudes help students understand how their bodies fit into a planimetric composition, to remain in control of their bodies when confronted with complex floor patterns,…

Details the life of Stella Adler, an actor, director, and teacher who studied with Stanislavsky. Includes an interview (conducted in 1974) which touches on her influences, teachers, theatre groups, and styles of acting. (PM)

Records discussion of panel of senior movement educators from a 1998 Association for Theatre in Higher Education conference. Explains the differing backgrounds of the panelists in mind/body techniques; historical styles of movement; stage combat training; and mime. Includes discussions of the meaning of movement for actors; techniques of teaching…

Explains that "counter-text" describes the results of a period of independent dramaturgical research and development and the contribution this makes to a theatrical production. Contends that the counter-text presents an alternative site of authority in performance. Describes the uses of research on a production of Iizuka's…

Describes a drama course, which included 20 play readings and discussions as well as descriptive commentary focusing on the play's inherent strengths and the laws which govern the world of the play. Explains how, when reading a certain student play, many of those present grew impatient with the play's alleged inaccessibility. Contends that…

Explains that five members of the Cornish faculty from various departments and a student came together across lines of discipline and departments to form a dramaturgy team. Notes that this experience created a new presence for the scholar/artist in the productive process. Suggests that the team's commitment to the students as educators contributed…

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…

Advocates revising theatre studies and theatre pedagogy to engage students in critical and creative thinking. Suggests that theatre studies is ideally positioned to incorporate student-centered learning. Proposes that theatre classes should emphasize ensemble learning and collaboration; address student concerns; and reflect practical work outside…

Encourages theatre teachers to take into account accreditation and assessment standards. Proposes that theatre education will continue to be marginalized in academic institutions if these standards are not considered. Concludes that it is only with a comprehensive view of their institutions that theatre teachers may place their work in its proper…

Notes that in rehearsals and performances, a jumble of silences are encountered. Discusses silence in the following situations: as frustration; as imposition; as invisibility; as power; as pleasure; as safety; as humility; as necessity; and as potential. Contends that when dramaturgs enter into conversation and break silence, they must carefully…

Outlines a dramaturg's process when working on three different plays. Contends that the myriad variations on the question "what will happen next?" serve as the basic architecture on which the dynamic relationship between the story/storytellers and the audience is built. Observes that the continual planning and answering of questions is…

Discusses the experiences of a professional and academic dramaturg as she learns how to respond to non-realist plays. Proposes that non-realism is not simply the absence of realism but is a form in itself. Presents a vocabulary for non-realist texts. Notes that to create this vocabulary the features of its style should be defined. Discusses the…

Describes a method for teaching and rehearsing collaboration, which involves the application of improvisation skills to conversation. Concludes that the goal of this method is to motivate students to recognize and suspend commonplace assumptions that privilege intuition and impulse. (PM)