Practicum courses in theatre arts, which function as laboratories where students can practice theatre and receive academic credit for their efforts, greatly benefit students. Because the main goal of such practicums is cooperative achievement of the best production possible and since every step of a production involves a new problem or decision,…

Prepared as an aid to implementing a theatre production course for grades 9 through 12, this guide is designed to enable students who are participating in play production activities to receive recognition and academic credit for their many hours of creative and educational endeavor. The first portion of the guide answers questions frequently asked…

Response to CS 703 360. (CH)

An evaluation and exposition of the Guest Artist Program (theatre artists-in-residence) with relevant statistics. (CH)

Photographically illustrated techniques for accurate photography of threatrical stage sets. (CH)

One hundred studies of children's theatre are annotated in this bibliography. The entries are listed alphabetically within three areas: "History of Children's Theatre and Specific Children's Theatres" (35 entries); "Theory, Criticism, Directories, and Bibliographies" (42 entries); and "Studies of Individual Plays, Play…

The playwrights-directors workshop at the University of Wisconsin (Madison) allows students of directing and playwriting to meet jointly to explore and solve problems in the creation and production of original one-act scripts. At the heart of the program is the belief that both playwriting and directing students profit from producing their efforts…

Noting that theatre for young people in Europe is much more aggressive in seeking to influence the attitudes and ideas of audiences than that of the United States, this paper examines the political and social trends occurring in children's theatre in four European countries. Following an introduction to this trend toward "educational…

The most efficient and pragmatic conceptual system of viewing theatre work is through a communication model. This model is opposed to two other general conceptions of theatre and drama. The first is based on the notion that drama makes aesthetic demands and has requirements of its own that the artist must meet, even though it has no existence…

In an effort to help directors and actors select and describe effective stage movement, this study developed an approach to human movement, based on selected facts and principles from several related disciplines, including anatomy, physiology, and mechanical physics. The theories of expressive movement discussed and the method recommended for the…