Asserts that drama is one of the most popular genres among adolescent students. States that it mobilizes their energies, exercises their imaginations, and rewards them for social interaction. Reviews four anthologies of plays for classroom reading in secondary school. (PRA)

Describes a high quality full-length Shakespearean production mounted by a small high school. Discusses generating interest for the production in both school and community. (SR)

Contends that, in childhood, work and play seem to come together. Says that for young children their play is their work, and the more adults encourage children to play, the more they emphasize important lifelong resource. Examines some uses of children's play, making and building, artwork, dramatic play, monsters and superheroes, gun play, and…

The words "theater" and "theory" have the same etymological source. "Theater" originates from a Greek word meaning "where you view"; theory comes from the same source and means contemplation, looking at, investigation. Theater, then, is both the location and the act of theoretical encounter, and as such has much the same value as a laboratory in…

Describes the methods of three eccentric teachers of Shakespeare and claims that Wordsworth, as one of those teachers, can serve as go-between in most transactions with Shakespeare. (NH)

Reviews the descriptions of acting classes appearing in the University of Miami's "Undergraduate Studies Bulletin." Advises instructor and students to remember: reading a play for production is not like reading a play for English class; effective script analysis requires written work and class discussion; and playwrights write plays to…

The series editor of the "Cambridge School Shakespeare" describes how recent Shakespearean theatre productions, involving astonishing cultural transpositions of space and time, have influenced his views about teaching the bard in schools. To reach students, teachers in multicultural settings should replace the pedagogy of explication and…

Compares Susan Smith's murder of her two children to a myth figure familiar to southwestern Mexican Americans, La llorna. Summarizes the La llorna story, in which the main character has all that is important taken from her, and kills her two children, later committing suicide to join them. Presents six different ways to dramatize the story. (PA)

Asserts that the numerous advantages of interweaving drama into education are not being fully utilized. Inspired by Foucalt, it is this paper's intent to unmask the discursive practices inherent in drama as they occur in education. Power relations are revealed. Subjects are exposed. Strategies are unraveled. Resistance to controlling ideology and…

Presents an index to all articles published in the journal "Drama/Theatre Teacher." Uses Library of Congress Subject Headings and added local subject headings. Notes the index is downloaded from a database being developed in Special Collections at Arizona State University. Provides ordering information for individual articles. (RS)

Discusses drama in English in light of what actually happens in the classroom. Claims drama is valuable when discussed as a separate, autonomous subject in the school curriculum as opposed to one subsumed within English. Emphasizes the primacy of performance in drama education. (NH)

This essay describes five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education. Providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and…

Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how does one know and how can it be achieved? This article is the authors' personal account of revisiting memories of her passion for theatre in all its forms (first as a child and years later as a teacher) in the light…

"The Capeman" Paul Simon's first and only Broadway musical that embodies a peculiar authenticity unique in the history of Latino-themed musicals that stem from its reception by Latino audiences during its limited run is described. Capeman's music, dialogue and narrative gave authenticity for Latino audiences starved for representations of their…

The way two English teachers have used collaborative dramatic activities to help students make connections to the next, develop critical awareness and become empowered by language is described. The collaborative dramatic activities can be used with a variety of plays as well as other types of literature.