Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Describes how many technical and casting problems in young adult theater may be solved by using a Greek chorus. Defines a Greek chorus and its role. Discusses applications of Greek choruses to conventional scripts, including representation of abstract images and characterization. Concludes that incorporating a Greek chorus into a traditional…

Discusses the author's life experiences that led her to synthesize a statement supporting Theatre in Our Schools Month. (RS)

Presents an interview with director, teacher, performer, and author of the ground-breaking "Story Theater" Paul Sills. Discusses his unique style of storytelling and improvisation. (RS)

Presents a policy statement on faculty workloads for theater in higher education, developed by the Joint Task Force of the Association for Theatre in Higher Education and the United States Institute for Theatre Technology. (SR)

Explores philosophies and practices of playwriting for young people, focusing on contemporary U.S. plays and projects that are aimed at improving the quality of theater for young audiences. Describes the New Generation Play Project. (PRA)

Describes a study which found that, although teachers are required to have studied theater in college to get certification in 32 states, there are no such requirements in the rest of the country. (PRA)

Profiles GeVa Theatre's (a regional theater based in Rochester, New York) education programs, which offer student matinees to 5,000 students a year. (SR)

Discusses how school theater companies can improve the quality of their photography. Offers tips regarding the photographer, the gear, film, the photo call, shooting procedures, and processing. (SR)

Argues that, by not engaging the community in an exploration of the many ways the arts, including theater, can nurture personal and intellectual growth, teachers may have contributed to the failure to name the arts as a critical area of concern. (SR)

Offers ways for high school drama teachers to simplify, streamline, and lessen the uneasiness of the process of play selection, auditions, and casting. (SR)

Describes how the Soviet Union's move from state to self-financing and self-management of theater companies and studios mandated by the 1986 theater reforms has fostered an explosion of new groups and experimentation, though not always with corresponding audience support. (PRA)

Discusses performance art and how it explores traces of emotions, objects, place, and memory in a collage involving all of the arts. Argues that its impact depends upon performers rather than actors and things rather than plots. Discusses performance art as an educational theater activity with young people. (SR)

Offers evidence of how law pertains to the management of theater programs. Argues that to accept the common characterization of the law as an instrument of social control or as the science of social problem solving is to ignore the larger intellectual life it affords. (RS)

Notes that in drama education programs, students are routinely given responsibility in the real world of theatre. Relates the author's experience as an intern at a theatre in New York City, serving as the assistant stage manager, and failing at his job. Concludes that the playwright deserved a crew who showed initiative and solved problems--a crew…