Explores African tendencies that recur in Black theatre productions. Theatre News American Theatre Association, Inc. 1029 Vermont Avenue, N.W. Washington, D.C. 20005 Subscription Rates: one year, $5.00; two years, $9.00; three years, $13.00. (MH)

Circus arts activities enhance flexibility, strength, balance, body coordination, locomotor skills, and creativity. (MM)

Describes the process and outcomes of researching, rehearsing, and performing a dramatic representation of the Kensington Market street life in Toronto, Canada. (RL)

Political, social and ethnic awareness arising from the Vietnam war have influenced the performing arts. The proliferation of theaters and dramatic workshops and the level of consciousness in the works produced demonstrate trends in American ethnic theater. (GC)

This article reports on the development and activities of an Asian American theater group on the West Coast. The author interviewed actors and organizers about how Asian social and political experiences, including the Vietnam war, are manifesting themselves in modern drama. (GC)

Focusing particularly on the individuals involved, this article describes the formation of an Asian American theater company in Los Angeles. Financial problems, public support, selection or creation of plays to perform, and problems of casting and directing have all affected the East West Players. (GC)

Examines the creation of a high school fine arts club to provide financial support for the music, art and theatre arts departments and to help enhance cooperation among these departments while providing broader cultural experiences for the club members. (MH)

Begun in 1969, Appalshop, Inc., was intended to train local people to use film equipment to record their own history and culture. Roadside, June Appal and Appalshop have helped prevent the wholesale homogenization of hillbilly style and culture. Rather than being ashamed of dialect and local ways, mountaineers now see them shown as a positive,…

Describes two narrative techniques revealed in a chamber theatre production of Grace Paley fiction in order to argue that chamber theatre, by forcing the audience to attend to particular types of narrative issues, functions as a critical methodology. Substantiates the claim that performance functions as criticism. (SKC)

A teacher in the high school drama club recounts the experience of producing a controversial play about teenagers, "Sometimes I Wake Up in the Middle of the Night." Reports initial apprehensions and eventual satisfaction of actors, the drama coach, and audience members. (JG)

Discussing the inadequate support that theater receives in elementary and secondary schools, the author explores the value of theatrical processes in teaching across the curriculum. Describes three levels of experience that are vital for learning, stating that teachers must do a better job of using theater as an educational tool. (GEA)

Introduces substantial and procedural ethics for the educational theater director. (MS)

Describes a program of experimental theater to teach communication skills to young undereducated adults and to motivate them to understand better the change from traditional to modern society. (JOW)

Examines problems that both professional and university youth theatre programs share, namely, concerns about finances, personnel, facilities, artistic quality, and public relations. Discusses how all of these problems may, in reality, be financial problems. (JD)

Describes the following features of the Cutler Playwrights Festival: (1) the contest, which involves publicity and choosing a play; (2) the workshop, in which the play's content, expert, release time, size, and follow-up are decided; and (3) the production, which determines the cast and crew and the final performance. (JD)