Dramatic theory in the past has been confused with hypothesis, hunch, manifesto, and observation. It is, in fact, a scientific activity--much like theorizing in physics, human society, or art. The current state of the art of theory in the drama classroom faces many problems. Most theatre faculty offer courses called "Theory and…

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…

Defining structuralism as an unannounced aesthetic movement that involves not only the theatre but all arts, this journal issue focuses on structuralist performance. The nine articles provide information on the following topics: the French theatre group, Atelier Theatre et Musique; "Tell Me," a play by Guy de Cointet; patterning in "Five…

Seven examples of school auditorium innovation are presented with accompanying floor plans. The concept of the divisible auditorium is illustrated through facilities combining auditorium, classroom, theater, and audio-visual center usages. Featured within the descriptions are--(1) a theater-in-the-round with individually controllable segments, (2)…

Citing the success of commercial dinner theatres, this guide is designed to persuade high school drama teachers to try the idea and also to answer questions and help solve problems for those producing a dinner theatre for the first time. The six chapters cover choosing the place, the menu, and the play; ticket sales; advertising and publicity; and…

The paper describes a theater workshop for children with learning disabilities, and discusses its benefits, including improved oral and written language, self esteem, and self control. Comments of actors involved in the workshop are included. (CL)

This book contains full instructions for making 14 costumes for girls to fit any sizes up to about 147 cm (4 feet 10 inches) in height. All the garments can be made to fit any child's individual measurements without the need of complicated pattern pieces. Simple basic shapes such as rectangles and circles are used for the patterns and the only…

Stage violence is a complex art which, when conceived inventively, approached with professional care and respect, and practiced with patience and energy, can be the highlight of a scene or of an entire play. This book is designed for amateurs who have not had the benefit of formal training in stage violence. Chapters discuss falling (the…

Theatrical revolution symbolized by the open stage is discussed. The mere absence of the proscenium arch can insure no more than an architectural modification. Any genuine and lasting artistic liberation must come with the attitudes guiding the use of the stage. The only valid principles are those which can point gently toward contemporary…

The contents of this book represent one critic's views on some qualities and questions in the theater between 1964 and 1975 and include relevant biographical (e.g., the career of Joseph Papp) and historical articles. The five parts of the book deal with theaters--American and foreign; productions--revivals and new plays; notes on music; stages of…

This is the second of a two-part article on theater arts for every classroom. The total program consists of structured lessons that incorporate role playing and improvisatory activities with learning the craft, creativity and art of the theater. (Editor)

Suggests that elementary school students could benefit from Readers Theatre, a dramatic procedure in which the roles are read by individual performers without conventional staging. Readers Theatre is more formal than activities such as group reading or library playreading as students practice and interpret roles. Positive educational outcomes are…

Describes the inception and development of the New Orleans Center for Creative Arts Mime Troupe. Points out that the unique position of New Orleans as a nontheatre city supporting a professional training program within the high schools is related to both indigenous theatre roots within the community and the need for more personal performance…

Available from: Performing Arts Journal, Inc., P.O. Box 858, Peter Stuyvesant Station, New York, N.Y. 10009. Subscription Rates: individuals, $6.00; foreign add $2.00 a year for postage.

Available from: Rose Ann White, Editor, Film Quarterly, University of California Press, Berkeley, CA 94720; Subscription Rates: individual, $6.00 per year; $10.80, two years; single copies, $1.50.