Outlines steps in casting a play: the group should choose a piece with the group in mind; people should be shown off to their best advantage; and ageism, sexism, or racism should not enter the casting process. Performance reality should be kept in mind. (PA)

Explains L. Kuleshov's body-oriented theory of acting. Describes how actors begin their Kuleshov training with short etudes that are confined to a linear matrix. Proposes that these etudes help students understand how their bodies fit into a planimetric composition, to remain in control of their bodies when confronted with complex floor patterns,…

Explains experience design as an emerging multidisciplinary approach to design and considers implications for the design of instruction and learning experiences. Discusses experience design applications in education; what experience is and how people experience things; the role of stories and drama; boundaries and constraints; and implications for…

Presents an interview with Author/Screen Writer David Klass. Discusses his dual role as young adult author and Hollywood screenwriter. Illuminates important differences that Klass finds when working as writer of young adult books and as a screenwriter. (SG)

Explains the work of six children's theatres. Includes information from interviews of youths from around the country who were involved in theatre programs and projects. Lists quotes from children interviewed. (PM)

Details the life of Stella Adler, an actor, director, and teacher who studied with Stanislavsky. Includes an interview (conducted in 1974) which touches on her influences, teachers, theatre groups, and styles of acting. (PM)

Note that the exercise, Roll Call, is designed to demonstrate that character is most effectively and reliably created through a careful selection and execution of actions, not by magically inhabiting a character. Concludes that by the end of this sequence of exercises, students should have a better understanding of how character can be created…

Defines adaptations as translations of another's ideas to new or changed circumstances. Outlines the three main sources for adaptations: dramatic, non-dramatic, or literary material. Details challenges of adaptations, such as deciding what to keep and what to leave out, and the need to capture the essence of the original. (PM)

Defines "applied theater" as a theater work which aims to process important social issues and which takes place in non-theatrical surroundings. Follows the evolution of one particular applied theater project about Matthew Shepard and examines the issues raised for those interested in applied theater's possibilities and constraints. (PM)

Discusses four works of criticism written since 1983 on the subject of Shakespeare's histories. Describes the approaches of works by Graham Holderness, C. W. R .D. Moseley, and Alexander Leggatt. Argues that Leggatt, whose writing reflects love for Shakespeare's histories, has produced the most nourishing work of its kind in years. (SG)

Discusses the historical foundations of children's theatre and drama/theatre education. Raises questions and suggests challenges for the future of the field. (MS)

Recounts the author's personal experiences in the field since winning the Winifred Ward Scholarship. (MS)

Discusses the need for drama in preschool education and for students with learning disabilities. Suggests that theatre professionals with disabilities be hired as actors, in production, and elsewhere. (MS)

Analyzes "Natalie Mann," an unproduced and little-known drama of ideas by Jean Toomer. Discusses the revolutionary feminist treatment of both the female and male characters. (FMW)

Describes an innovative program for ethical education at LaGrange College in Georgia which is built around a condensed version of Friedrich Durrenmatt's play, "The Visit," and an extended discussion following the performance of the play's ethical issues by the actors and the participants. (SR)