Reprints the twenty-fifth annual report of doctoral projects in progress throughout the United States in theatre arts including the researchers name, title of the project, institution, faculty advisor and expected date of completion. (MH)

Synthesizes teachers' evaluations of university productions of theater for children from 1977 to 1995 by analyzing emergent themes and common factors among teachers' perceptions across play content. Compares teachers' interpretations of their students' experiences with children's responses to selected plays to help explain similar and discrepant…

Describes a project in Missoula, Montana, where participants create shows based on personal experiences and issues for educational purposes. Notes that although the project has an educational specialist and drama coordinator, the project belongs to the adolescents, who create policy. States that drama sessions include improvisation, role playing,…

Describes incorporating a community outreach program. Notes that it is a smart and reliable strategy that theatre artists - onstage and backstage alike - can use to engage their audiences and build stronger ties to the community in which they work that go beyond just filling seats. (SG)

Notes that the data for this study come from a focused inquiry into the hopes and fears of seven university theatre students who anticipated becoming teachers. Concludes that as they explored their past and present experiences, and their future positions as teachers, self-reclamation was at the heart of their stories. (SG)

Defines ideology and representation as manifested in the field of theatre for youth. Discusses these theoretical constructs as they relate to practice in the field. Concludes that the field of theatre for young audiences is under-theorized. Hopes that the symposium has made participants more aware of the role of ideology, representation, and…

Considers how Joe Winston's article, "Drug Education through Creating Theatre in Education" (RIDE, 6[1]) provides a useful evaluation of an aspect of Catalyst Theatre in Health Education's work. Outlines the ways in which Catalyst has placed the arts at the center of the health promotion process. (SG)

Interviews the founder of the Young Actors Guild (YAG) of Ann Arbor, Michigan. Finds that the work of YAG can be described as "high concept" or artistically daring, yet highly inclusive--casting everyone who auditions. Discusses the influences that shaped the founder/director's work. (PA)

Considers how children can use tableau (a still, silent performance that involves three-dimensional representations) to move beyond language in developing new understandings about life and literature. Documents primary students' planning and variations in their interpretations of tableau based on a picture book. Concludes that theatre helps people…

Describes the design of two magnet schools in Connecticut: the Metropolitan Learning Center in Bloomfield, and the Performing Arts Magnet School in Waterbury. The former emphasizes global and international studies, while the latter incorporates a renovated vaudevillian theater. (EV)

Describes how the staff, company, and board of trustees of the Honolulu Theatre for Youth responded when their artistic director contracted AIDS. (MM)

Proposes that a spirit of cooperation between the adult theatre world and children's theatre would be very helpful to both. (MS)

Discusses the need for theater education at all levels, including a bachelor's degree in theater education. (MM)

Argues that theater instructors must also be artistic directors. Relates one instructor's experiences in taking over the acting and directing program at the Los Angeles High School of the Performing Arts and how his changing attitudes were reflected in his restructuring of the program. (PA)