The contents of this book represent one critic's views on some qualities and questions in the theater between 1964 and 1975 and include relevant biographical (e.g., the career of Joseph Papp) and historical articles. The five parts of the book deal with theaters--American and foreign; productions--revivals and new plays; notes on music; stages of…

Describes the docudrama as television's newest genre; points out the danger to a realistic perspective when fact and fiction are mixed in a production. (MAI)

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Responds to Catherine Dezseran's call for children's plays with "serious" subject matter, approves of her ideas, and suggests that more pointed criticism of the contemporary plays she mentions would be helpful to writers of children's plays. (JC)

Illustrates a method to help students grasp what written and oral communication are actually like in business and industry. Describes the use of skits designed to illustrate circumstances that call for several kinds of writing--a short proposal, a progress report, a trip report, and a longer proposal. (HTH)

Analyzes the black contribution to American theatre by citing some early black plays and the critics reactions to them. (MH)

Identifies the activities recognized as drama in the curriculum and suggests that each offers a distinctive educational experience and has a particular educational justification. (Author/RB)

Ten readers theatre scripts based on some of the most famous, sensational trials in U.S. history provide a fascinating glimpse into our past and our justice system. These compelling dramas are based on actual trial proceedings, and have been adapted to the interest and reading level of students in upper elementary and middle school. Details of the…

Presents a brief history of "Cabaret" and analyzes the cinematic version for character changes which differ from the story originally written by Christopher Isherwood. (RB)

Compares three filmed versions of "Hamlet" in order to get a clearer notion of how Shakespeare's tragedy translates into the medium of film. (Author/RB)

Discusses the difficulties directors face when trying to capture Shakespeare's plays on film, citing Polanski's "Macbeth," Brook's "Lear," and Zeffirelli's "Romeo and Juliet" as examples. (RB)

Discussion of Brecht's aesthetic principles, particularly "Verfremdung" (the device of renewal and estrangement), including the opinions of the Berliner Ensemble concerning to what degree they have retained Brecht's principles in productions of his plays. (DD)

A description of locations that the National Capital Parks Service has redone and provided with live reenactments of the events that made them important in history. (JA)

Developed by the author, the Circle of Drama'' is a schematic framework for a drama unit that suggests television programs and plays which seem to fit into the various slots of the schema. With this, students can increase their perceptions and comprehension of drama. (MM)

Author defines the nature of the crisis in language; relates this crisis to a similar one in the life of an earlier civilization; and advances suggestions how present difficulties can be faced. (CB)