This volume of the Michigan Speech Association curriculum guide is a revision of the 1968 edition (ED 026 389). The first eight units comprise a first semester course that emphasizes theatre history, dramatic structure, and dramatic criticism and theory. There are also units on presenting a one-act play, music in the theatre, and children's…

The nineteenth-century scientism of Stanislavsky has produced actors who are mechanical and unspontaneous. An alternative to this traditional approach is based on the application of new psychological insights to the production of drama. This approach not only allows the actors to explore their "being," but also allows the audience to feel a…

This book explores the art of oral interpretation of literature and presents exercises designed to encourage awareness of various aspects of the interpretation process. Chapter one, "Harnessing Resources," examines the awakening of the body and voice and discusses basic sensory training. Chapter two, "Responding to Literary Worlds," details the…

Views oral interpretation festivals as educational exercises superior to competitive events and suggests methods for improving the organization, criticism and listening elements of these festivals. (MH)

Ninety-eight articles from the five issues of "Experimental Cinema" are annotated. The magazine appeared from 1930 to 1933 and is credited with stimulating the emergence of world cinema culture in the United States, while demonstrating perceptions of working class interests and even revolutionary projections. (JMF)

Outlines theatrical and teaching techniques for classroom discussion of Shakespeare's plays, including scene preparation and performance, sound/movement exercises, and improvising scenes that Shakespeare "might have written but discarded." Provides questions for post-performance discussion. (RL)

Describes a junior high language arts curriculum project in which students played the parts of famous authors. Notes stages of preparation, including reading, researching biographies, practicing speaking skills, and understanding authors' viewpoints. (JG)

States that well-planned, efficient music rehearsals are essential in achieving educational goals. Outlines five steps for planning rehearsals; explains how to use warm-ups effectively; and discusses how to tune musical instruments more efficiently. (BSR)

Discusses how David Booth's ability to elicit both commitment and authenticity in children's creation of improvised dramas distinguishes him as a teacher. Describes various phases and aspects of a drama lesson given to a group of fourth, fifth, and sixth graders that demonstrate his powerful teaching technique called "story-drama." (JD)

Surveyed administrators of theatre programs to determine the importance and value of artistic work by theatre faculty to institutional goals and in tenure decisions. Found (1) great variations in the degree to which artistic quality is valued and (2) dissatisfaction with the criteria and procedures for evaluating theatre faculty. (PD)

Presents the results of a survey of communication and theatre departments on budget changes, faculty demographics, student enrollment, department names, and general problems resulting from the state of the economy. (PD)

In the fall of 1996, the State Board of Education adopted Vermont's Framework of Standards and Learning Opportunities. Over the years, the aim has been to make the standards more useful as guides to curriculum development. In 2000, the standards were formally revised and again adopted by the State Board. In 2004, another chapter in the standards,…

Since the Internet has become a primary information source, this digest offers a list of online resources to assist teachers and educators in conducting research and curriculum development and in meeting the National Standards for Arts Education in Theatre. The digest provides brief summaries of three Web sites on theatre education. It then…

The authors assert that teachers are inherently performers and as such, techniques from the stage enhance and expand a teacher's ready repertoire of discipline-based content. Using performance theory, the authors demonstrate how an educator can transform ordinary classroom experiences into occasions that attract and engage students. In this second…

How did the bee get his bumble? How do birds get their feathers? Why is the bluebird blue? Curious first through fifth graders want to know how and why things happen! Judy Wolfman has created 40 Readers Theatre scripts based on imaginative and creative porquoi stories that stem from multicultural folktales as well as Native American Indian legends…