Discusses the casting of small roles in television's dramatic series in terms of social stereotyping. Information is based on interviews with writers, producers, directors, casting directors, and talent agents. (JMF)

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…

An organic approach to style in acting can lend credibility and power to performances and can enhance the clarity and extent of what is communicated to audiences about other social worlds. The organic approach is based on the following principles: mental experience and expressive behavior are inseparable and reciprocal; experience in either mode…

Paper presented at 1969 convention of American Educational Theatre Association (Detroit). (RD)

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)

To help maintain class interest in the important themes addressed in "Walden" and "The Duties of Civil Disobedience," a high school English teacher has presented a dramatic monologue as Henry David Thoreau to his students. After much library research, the teacher used some of the props characteristic of the author, such as a…

In an earlier article (AA 528 071), the author described how kindergarten through second-grade students can create improvisations based on selected poems, stories or books. This article takes improvisation one step and a few grades further by showing how third through sixth graders can structure entirely "original" stories, characters and plots.…

Presents an outline of six basic preparation activities for student actors, including reading the play, doing historical research, elemental exercises, learning the part, creating the character, and exercises in movement and voice. (JMF)

Discusses mime, masks, improvisation, body training, and choral dynamics as techniques for improving actors' body movements. (RD)

Describes the drama program at Wykeham Rise School, Washington, Connecticut, which provides three hours of class time each day. The instructor describes her use of improvisation in preparing the students and developing the characters in the productions. Comments by two students are included. (JMF)

Presents the text of an interview with John Hodgson, British proponent of educational theater. His use of improvisation as a teaching technique and contrasts between the American and British systems of educational theater are discussed. (JMF)

Once an actor or actress has gained experience with basic stage movement and speech, convincing character portrayal may be the next skill to be developed. This package is designed to provide a deeper understanding of character development through careful reading, research, thought, and experimentation. The two related lessons--from research to…

As part of the theatre studies program offered by Montgomery County (Maryland) senior high schools, this instructional guide for advanced acting is designed to train students in the rigorous skills of preparing and presenting a character in performance. After listing 11 educational objectives, including being able to identify character elements…