In a nation of over 200 million people, only two or three dozen make a good living writing plays. Of 16 playwrights interviewed for this article, only four have been making their living writing for three years or more. Presents insights and reflections. (PD)

Suggests that having political science college students perform in class Machiavelli's play "Mandragola" is an excellent way to expand student's appreciation of Machiavelli. Article provides a synopsis of the play, discusses Machiavelli's intent, examines the meaning of the play, and presents classroom logistics. (RM)

Twenty-ninth annual report of dissertations in progress in theater arts in the United States. Dissertations are arranged, for the most part, by subject according to geographical divisions. Entries include researcher's name, title of project, institution, academic department, faculty supervisor, and expected date of completion. (PD)

Examines the critical treatment of business in six late nineteenth century plays by two successful American playwrights, Bronson Howard and Augustus Thomas. Analyzes the elements of character and dramatic conflict arising from the antibusiness theme. (JMF)

Argues that theater is aimed at and presented to an ideal or abstract audience. Discusses the implications of performing for an actual audience, adaptation to various audiences, and the concept of the audience as an evaluative device. (See CS 705 536.) (JMF)

Defines documentary-drama or docudrama, which combines elements of drama with the television documentary. Outlines the antecedents of docudrama, traces its revival in recent years, and provides a quantitative description of its evolution. (JMF)

Suggests that, from nursery school throughout the elementary years, teachers can encourage children to participate in dramatizations by incorporating dramatic experiences into the classroom context. Provides guidelines for implementing a variety of drama activities--dramatic play, story drama, readers theater, role playing, and other creative…

Describes using situational drama with the short story "The Lottery" (by Shirley Jackson) in a high school classroom to help students create deep connections between the literature and their lives. (SR)

Explores a key concept in drama education, that of trust. Aims to demystify the practice of trust in relation to drama education. Challenges the history of liberal thought, which regarded all sentiments as equally morally trustworthy. Argues that trust is dependent on context and is continually negotiated and re-negotiated in action, as a…

Considers how Vivian Paley has probed ways in which social issues permeate who we are as learners and as teachers. Notes how for her, drama has been an essential tool in examining the social and emotional worlds that are foundations of literacy and learning. (SG)

Focuses on one phase of a five-year reflective study that involved a reflective play-building project. Outlines the working processes of the play-building group and discusses approaches to data collection and analysis before drawing conclusions about the key characteristics of aesthetic engagement. Concludes by drawing attention to aspects of…

Draws analogies between strategic management and experiences found in dramatic literature and symphony conducting. Provides examples of using the arts to support management learning. (Contains 50 references.) (SK)

Contends that process drama techniques can be beneficial for novice actors rehearsing a play set in a world vastly different from their own. Notes that the techniques can be designed as part of the rehearsal process. Provides examples of using process drama in this way, and notes that these activities are very structured, much as a play is…

Focuses on the first production of Edward Bond's play "The Children." Discusses Bond's interest in theatre in education and assesses the significance of his dramatic writing for young people. Examines the experiences of the young people in the first cast of "The Children" and the perceptions of the teachers who facilitated the…

Explores how the concept of "social capital" relates to the teaching of speaking and listening. Concludes that helping students identify, analyze and employ the aural, visual and verbal grammar of spoken English is not an adjunct to the subject of drama, but an intrinsic part of understanding the art form. (SG)