People who do not know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading…

This article, theoretically constructed on Gramsci's notion of cultural hegemony, explores the use of Black female hair as a cultural signifier in two media texts, specifically Adrienne Kennedy's play, "Funnyhouse of a Negro," and Chris Rock's documentary, "Good Hair," in specific media texts. Analysis of the…

If educators want students to practice and prepare for challenges they might eventually face, there are a number of useful strategies to connect academic learning to the "real world." One is to ask students to complete what are variously called "performance tasks," "case studies," "simulations," or "project- or problem-based learning units."…

As a method for placing Latina college students at the center of research, authors present a dramatic, or performative, text illuminating participants' life stories. The dramatic text serves as a fictional event bringing to light how five Latina students view their ethnic identities and educational values based on messages from family and peers.…

The treatment of a research paper as an isolated utterance within a composition classroom is problematic in that such papers may fail to encourage transfer of writing knowledge. In this essay, I argue that a research paper's failure to work as a utterance situated within a conversation--as critiqued through a framework constructed by Mikhail…

Describes six process guidelines for new play development to assist freshman dramaturges exploring new play development. Notes that the six guidelines form a paradigm for new dramaturges collaborating with a playwright. Suggests the paradigm, coupled with enthusiasm for the unknown and a taste for adventure, will build dramaturges informed to help…

Defines "adaptation" as the transformational process of taking a narrative work and dramatizing it. Stresses the importance of knowing what to leave out and knowing what to leave in. Suggests thinking of "adopting" rather than "adapting." States that artistic freedom is the playwright's right. Emphasizes the…

Offers advice from a playwright on how to use a play's stage directions. States that stage directions (1) are one playwriting technique for eliminating unnecessary words, (2) are strong suggestions from the playwright, and (3) often reveal character traits. Discusses script analysis. (PA)

Based on the idea that the focus of theater is human beings and thus that theater can be related to experiences already familiar to students, this book aims to provide both instructors and students with informative, incisive, and pleasurable knowledge about the theater. The book is divided into 6 parts and subdivided into chapters within each…

In spite of the importance of the one-act play as an art form and as a tool for teaching playwriting, authors of playwriting texts have devoted little space to the study of the form. Because of this neglect, there is no definition of the form that is simple and specific enough to undergrid efforts to teach or write it. In the absence of a solid…

Instructs writing students on how to verbally present their ideas. Points out that success in screenwriting depends not only on how well scripts are written but also how well screenwriters sell themselves and their scripts. Adds comments for instructors who want to teach pitching as part of a scriptwriting course. (PD)

Discusses the author's experience as a playwright and teacher of public readings of early drafts of new plays. Explains the Five Step Model for these readings as follows: prepare the playwright before the reading; prepare the audience with a precurtain speech; after the reading, establish discussion ground rules; remember these guidelines during…

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…

Provides the history of the Sundance Institute, which has grown to help many artists in hopes of contributing unique and original voices to the culture of the country. Describes the present structure of the institute and details the work of the 2002 lab. Notes that as the Sundance Theatre Lab continues to bring theatre artists of all disciplines…

Discusses ethnographic performance texts (sometimes called ethnotheatre or ethnodrama), which employ traditional techniques to mount a performance event as an alternative mode of research representation, with actors portraying actual research participants. Discusses ethnodrama's rationale, content and structure, participants and characters,…