Suggestions for teaching oral interpretation in English and speech courses. (CH)

Fourteen brief articles deal with training actors to use their bodies effectively on stage. The articles discuss the following topics: the concept of succession-sequential movement (movement that passes through the body joint by joint); learning physical action through staged fight sequences; techniques of empty-handed combat; protecting students…

Reference materials that deal with various aspects of theater movement are grouped in this partially annotated bibliography under the following headings: anatomy, kinesiology, and physiology; combat and martial arts; integrated approaches to movement; mime; miscellaneous acting and movement approaches; movement notations systems; movement…

This book presents a concise history of the first 100 years of development of the school of speech at Northwestern University (Illinois). Following an introduction that provides an overview of the school, the first chapter focuses on both the efforts of Robert McLean Cumnock to found a school of oratory on the principles of elocution and the…

The administration at Normandale Community College in Bloomington, Minnesota, has had tremendous influence on the college's forensics program. The first positive administrative decision made was to involve every full-time person hired in speech and theatre in the activity part of the program. Another positive aspect of the administration is its…

Chosen for their literary quality and because they reflect the historical periods in which they were written, the 23 one-act dramas in this anthology represent the work of American female playwrights. The plays range from the realistic dramas produced in the "Little Theatres" of New York City at the turn of the century to current off-Broadway…

Composing oral poems and storytelling are two exercises that speech teachers can use in oral interpretation courses. Conducting the oral poetry exercise early in an introductory interpretation course allows students to become acquainted with each other and to encourage each other while sharing something of themselves with the entire class. This…

ELEVEN INSTITUTES FOR ELEMENTARY AND SECONDARY SCHOOL TEACHERS (THREE MUSIC, TWO ART, TWO THEATER, TWO HUMANITIES, ONE LATIN, AND ONE FILM) WERE EVALUATED ON THE BASIS OF QUESTIONNAIRE RESPONSES FROM 300 OF THE 430 PARTICIPANTS, FINAL REPORTS OF INSTITUTE DIRECTORS, AND DETAILED REPORTS OF OBSERVERS. THE GREATER EMPHASIS ON SUBJECT CONTENT THAN ON…

This bibliography contains entries in the following areas: (1) bibliographic guides, bibliographies, and checklists; (2) encyclopedias, language dictionaries, glossaries, literary dictionaries, handbooks, histories, and manuals covering literature and performing arts; (3) sources of critical reviews; (4) checklist and indexes to journal articles;…

This report surveys projects involving the arts funded under the ESEA Title III Projects to Advance Creativity in Education (PACE) program between January 1966 and July 1967. Over 20 percent of the projects funded during this period, 226 of over 1300, included at least one of the arts as a component. The survey covers planning projects,…

Three major planning questions on developing a fine arts facility for higher education institutions are discussed--(1) whether to concentrate the arts in a single place or thread them through the campus, (2) the practicality of the multi-use space--the auditorium that can function as theater, concert and lecture hall and classrooms, and (3) the…

With the celebration of the United States bicentennial as impetus, university students and faculty attempted several approaches to the creation of a touring documentary production composed almost completely from primary sources. This paper describes the process involved in producing a traveling show which featured groups relatively excluded from…

Designed as a practical guide for teachers, this handbook presents ways of introducing drama and movement into secondary school curricula. A basic program for a movement class is offered, based on three objectives: one's own movement, secondary or underlying motives, and the balance of freedom and discipline. In the first section of the book,…