States that although many theater producers assume that child audiences empathize and identify with stage heroes during performances, some do not believe children can or should verbalize their private empathetic experiences. Presents results from a study of grade school children that challenges theoretical assumptions about emotional learning…

States that the special place that the Mickey Mouse Theater and its leader, Betty Lyman, occupy in the history of the Federal Theater project can best be understood in the economic and political context of the Depression. Concludes that there is little evidence to suggest Lyman's group contributed to the growth of children's theater in Indiana.…

Examines a program that involves elementary age children in performing classical kabuki in an effort to make kabuki theater more accessible for actors and audiences. (LZ)

Suggests ways for theater educators to examine their own teaching and theater curriculum in regard to gender issues. Offers some alternatives to improve the gender fairness of a drama program. (SR)

Discusses issues relating to theater literacy from a multicultural perspective. Includes a position statement, an "inclusive" definition of theater, and a list of elements considered essential to a culturally sensitive theater curriculum. (SR)

Raises numerous questions concerning ethical dilemmas faced by theater educators from the point of view of higher education as big business. Presents four categories of questions: philosophy, pedagogy, production, and administration. (RS)

Summarizes some general observations on the issue of power. Distinguishes three approaches to the question of power: the origins of power; the methods by which power is exercised; and the consequences of power. Considers the process by which power is legitimated in the ecology of theater activity. (RS)

Reports the processes and results of an evaluation of the Theatre Artists-in-Schools Program of a large school district. Surveys principals, curriculum specialists, teachers, students, theater artists, and parents. Finds that the theater program was perceived as adding to the curriculum, to positive attitudes, and to student achievement in general…

Discusses children's questions about theater (gathered by the author over a 10-year span). Poses more questions and challenges about the responsibilities of children's theater artists and educators. (SR)

Offers tips for Readers Theatre. Discusses equipment, script handling, the set, reader movement, mime and sound effects, focus, and beginnings and endings. (SR)

Discusses censorship issues, such as the "decency clause," that affect both commercial and collegiate theater. Examines how the subject has been weighed and viewed by courts from a number of perspectives. (SR)

Asks why the United States is training artists that it does not intend to employ, and why (when it seems that arts education is good for everyone) are all the resources concentrated only on "talented" children. (PRA)

Studies perceptions of and responses to a production of Barry Kornhauser's play "This Is Not a Pipe Dream" from second, fourth, and sixth graders and adults. Finds that production styles need to be more explicit and organically tied to actions so that metaphoric themes become more recognizably visible and audible to young untrained…

Asks theater educators to articulate and defend a moral position regarding the overall direction of society. Asks that teachers, like great theater, foretell a direction that will lead to a better world. (SR)

Presents the following materials for use in advocating and promoting "Theatre in Our Schools Month": a resolution, a page of logos for reproduction, a planning guide, award criteria, and a list of numerous ideas. (SR)