Describes a drama course, which included 20 play readings and discussions as well as descriptive commentary focusing on the play's inherent strengths and the laws which govern the world of the play. Explains how, when reading a certain student play, many of those present grew impatient with the play's alleged inaccessibility. Contends that…

Explains that five members of the Cornish faculty from various departments and a student came together across lines of discipline and departments to form a dramaturgy team. Notes that this experience created a new presence for the scholar/artist in the productive process. Suggests that the team's commitment to the students as educators contributed…

Characterizes dramaturgy as where an artist conceives and germinates individualized artistic processes to facilitate and instigate the transmission of creativity. Explains a process, which can be used to create a new work or analyze existing plays that begins with a detailed examination of the Four Elements--Air, Earth, Water, and Fire. Notes that…

Provides the history of the Sundance Institute, which has grown to help many artists in hopes of contributing unique and original voices to the culture of the country. Describes the present structure of the institute and details the work of the 2002 lab. Notes that as the Sundance Theatre Lab continues to bring theatre artists of all disciplines…

Examines the coming of age experiences in the protagonists in Josefina Lopez's play "Simply Maria" and Jose Cruz Gonzalez's play "The Highest Heaven." Highlights how two Mexican-American protagonists face the personal challenges of adolescent adjustment as well as the geopolitical difficulties of adapting to two distinct cultures. (PM)

Provides a brief account of some of the philosophical, social, educational, and artistic factors that initially shaped theatre for young audiences (TYA). Examines how the rhetoric of theatre for the young has both reflected the changing nature of childhood as well as helped shape ideas of what childhood is. (PM)

Presents a script for a 1-act play about a 17-year-old girl whose mother neglects her and her alcoholic absentee father. Relates how the protagonist, Tara, becomes pregnant by a classmate who she barely knows, and plans to leave home to raise her child alone after graduating high school. (PA)

Asserts that theater educators have become too specialized and have forgotten their purpose as teachers. Argues for protecting the ivory towers from the pressures of the outside world; for expecting faculty to have comprehensive knowledge of all the arts, history, and literature of theater; and for being teachers first, last, and always. (PRA)

Offers practical advice for directors and actors regarding script analysis. Contains questions which the director can use to create a thorough analysis of the script and questions to challenge the actors. Asserts that answering these questions helps actors build a detailed character analysis providing directors with hints about how gesture and…

Interprets for the American reader the untranslated dramatic methods of Hans van Dam, a leading drama theorist in the Netherlands. Discusses the functions of drama as a method, closed dramatic methods, open dramatic methods, and applying van Dam's methods. (SR)

Contends that Eurocentric criticism cannot adequately explain or interpret the works of African American dramatists. The African American dramatist and his work should be interpreted by a member of his primary audience. (DM)

Examines the kinds of broad questions that researches in drama education ask. Describes descriptive, historical, theoretical, qualitative, and quantitative research methodologies currently being employed. Gives examples of studies exemplifying each methodology. (HB)

Describes an approach to teaching William Shakespeare by which one teacher had students take the plays from the page to the stage by becoming actors and directors as well as scholars. Shows ways of relating various plays to more contemporary works. (HB)

Argues that William Shakespeare's "Henry IV, Part I" is an appropriate and useful text for secondary English classrooms. Shows how the play lends itself to performance-based instruction. Outlines ways of accomplishing student engagement, using film versions, and assigning written work. (HB)

Argues for the use of poems by other poets alluding to plays by William Shakespeare when those plays are studied. Gives four examples of poems and explains how the poems relate to the plays. (HB)