Describes annual Theatre Arts Workshop Days at Troy High School, Michigan, in which professional artists from theatres and universities participate. (PD)

Describes several special effects that can be used for preparation and consumption of food, for smoke and fire, and flying. (JMF)

Offers several suggestions to high schools for organizing, coordinating, promoting, and selling their theater season. (JMF)

Divides collegiate theater instruction into four phases: between 1900 and 1925, between 1925 and 1945, from 1945 through the mid-70s, and from the mid-70s until today. Reviews research about each era. (PA)

Presents some guidelines and suggestions on things to know when considering renting a backdrop for a show. Discusses backdrop basics, types of backdrops, where to find drops, and how to rent the drops. (SG)

Describes the development of the Children's Theatre Foundation, a significant source of funding for projects in children's theater. (MM)

Describes the author's personal thoughts about drama, television, and theatre, and about the importance of artists having integrity. (MS)

Argues that a stronger impact may be gained by using drama to advocate drama. Offers vignettes of notable advocacy programs that help colleagues become advocates and that help parents and students become advocates. (SR)

Describes the author's experiences finding an administrative home for theater departments, whether seceding from a communication arts department, or combining with other arts areas to form a new department. Offers recommendations and advice. (SR)

Relates the speech which Graham Down, the executive director of the Council for Basic Education, gave at the Theatre Education Association Director's Seminar. Argues against confusing skills for education, training for education, and knowledge for wisdom. Recommends that drama teaching be interdisciplinary. (PRA)

Details the following thoughts on directing for the theater: select the play, read the play, read the play again, ask questions, discover the spine, form a concept, cast the play, listen to the actors, make it move, make it spontaneous, make it real, look for obstacles, make it relevant, and make it important. (PRA)

Discusses how to use movement to make a point in theater. Offers guidelines for approaching blocking. Details the definition of blocking, its purpose, decisions, kinds of movements, using movement, types of composition, and elements of composition, such as body position, placement of characters, and eye focus. (PRA)

Explains how Louisiana State University improved its uncomfortable theater seating within budget by carefully adjusting the original design, clearly defining user expectations, and gaining contractor cooperation. (GR)

It is always ourselves we see on the stage.? we struggle to make human meaning and sense from what we see before us. (O'Neill, 1995, p. 76) Theatre is the enactment of possible worlds. It is performed in a middle space owned by neither author nor reader.? It is a space for negotiation. It is the middle place of the curriculum. (Grumet, 1998, p.…

In this paper, we discuss our experience of facilitating the development, creation and execution of audio description for an elementary school production of "Fiddler on the Roof" by three grade eight students. The students were supervised by the production's director, their drama teacher, and assisted by the authors. An actor with experience…