Examines, through interviews with two prominent Israeli theatre teachers, the status of children's theatre in Israel at the present, and notes the problems with the types of children's theatre being produced, including the fact that children's plays are too didactic, and that there is little funding to produce them. (JC)

Presents the idea that playwrites adapting plays for children often simplify it so extensively that they do not serve the developmental needs of the child or the artistic conception of the play. Suggests that developing a thematic point of view for the play would help playwrites create fuller characters that are still understandable and enjoyable…

Discusses the value of teaching and producing contemporary plays as well as classics in high school. Argues for the superior interest level of challenging, low-budget, relevant dramas recently appearing on the young adult scene, such as those by Jerome McDonough and Hindi Brooks. Includes an annotated bibliography of young adult drama. (JG)

Outlines a multimedia method for teaching about Spanish Golden Age Theatre which resulted in marked improvement in students' understanding of written and spoken Spanish. (CB)

Addresses the need for educational drama to adjust to contemporary society. Examines the concept of drama as a "generic skill" and discusses the idea that drama underlies all aspects of existence, forming the basis of all learning and social interaction. Examines current research findings. (JD)

Reports results of a survey investigating the amount of attention (page space) devoted to drama in textbooks, and identifies commonly presented topics. (VLC)

This study concluded that judges' critical responses to interpretation performances reflect a view of interpretation as primarily a performing art rather than a communicative act or literature study. (PD)

Expresses concern that community and bonding be nurtured in children. Considers ways to bring the community into theatre and also teach children the concept of community. (PD)

States that the teacher's ultimate responsibility is to assist individuals to continue to appreciate Shakespeare's plays in later life. Discusses (1) the play as a live process, (2) methods of play appreciation, and (3) the play experience as an integrated whole. (EL)

How secondary students can be taught to think critically about the music they are performing is described. Classes must be structured to involve the student in analysis of performance options, experimentation, and conducting, as well as critical analysis of the teacher's interpretative decisions. (RM)

Tips to help conductors improve school music rehearsals are provided. For example, students should learn that the minute the conductor steps on the podium, they should stop playing and talking and direct their attention to the podium. (RM)

Analyzes the quantity of articles published in seven theatre journals from 1972-82. Provides data on the publication productivity of the top universities housing theatre programs. (PD)

Discusses, from a dean's perspective, the criteria for evaluating the creative activities of teacher-artists, particularly those in the theatre arts. (PD)

A discussion of one teacher's successful efforts to obtain foreign feature films for use as language teaching aids. (KM)