Clean Break is a theatre group offering learning opportunities to women with mental health problems or criminal justice involvement. The women act as peer researchers, conducting interviews to elicit information on mental health issues that is used to provide appropriate support. (SK)

Addresses the role that artists might have in the process of preparing teachers of drama in the United Kingdom. Suggests that initial teacher education has a role to play in this process and draws upon a small-scale research project, which proposes a conscious engagement of particular kinds of artistic practice in Initial Teacher Training. (SG)

Discusses an international research study that explores the way middle school girls manage "girl-friendly" drama processes. Argues that narrative based drama methods offer girls an enactive space to explore their lives through the art form of drama whilst offering opportunities to travel through and play with the workings of culture, gender and…

Discusses how a projective technique known as "cartoon tests" can be used by drama educators for programme evaluation and for learning-needs analysis and monitoring. Provides findings in which cartoon tests were used as one of several methods to explore student perceptions of a drama-based marketing subject at an Australian university.…

Defines "community conversations" as discussions which take place after performances in communal spaces, with audience members and artists speaking as equals. Outlines egalitarian qualities which define the best community conversations. Proposes that when an academic program or cultural institution is reconsidering its role in the community, a…

Offers a theoretical basis for undergraduate theatre studies that stresses the participation, democratization, and popularization that are necessary to sustain the arts in American society. Argues that the curriculum should be reoriented to emphasize theatre's functional value by building on students' already acquired and practiced aesthetic…

Notes that though process drama is a touchstone of educational theatre, those who profess and practice it fail to engage in a critical examination of its efficacy. Contends that one of the reasons process drama does not accomplish what it sets out to do is because its role-play elements can be characterized as simplistic, restricted, stereotypical…

Takes stock of the variety of uses of "drama" in Singapore. Looks at the environment in which drama is operating to trace the growth and development of drama in Singapore schools. Concludes that much has happened in the area of educational drama over the past 10 years, both in and out of schools, from assembly plays, student drama…

Discusses the subtle psychological strategies good directors know how to employ with actors. Contends that if a director demonstrates a diplomatic attitude toward every student involved in a production, a perfect working atmosphere is created. Explores diplomacy basics; first impressions; rehearsal problems; personality issues; and talking points.…

Contends that drama education is a potent and emotional way of learning that connects to other areas of the curriculum. Describes ways in which drama and story-telling inspire students from elementary grades to pre-service teacher training. (PM)

Notes that in times of economic downturn and uncertainty, theatrical risk is usually abandoned, except by those organizations that are already financially strong. Explains that the commissioning of new works is relatively new to the area of Theatre for Young Audiences. Contends that college and university theatre programs need to broaden their…

Suggests that staged readings are an effective way to introduce students to plays encompassing a wide range of subjects, styles, and writers. Discusses the spectrum of staged readings and describes producing staged readings with students. Concludes that staged readings allow students to work with several complete scripts in a relatively short…

Presents a lesson that might be useful early on teaching a play writing class. Considers how audiences care about things that a character cares about. Explains that in a story the higher the stakes are for the character, the more an audience will invest in the story. Presents a seven question quiz with answers including a discussion of each…

Outlines "The Imagination Station," a project which develops, implements, and evaluates an early drama curriculum for children ages three to five and an imaginative play skills building program for preschool teachers. Examines how a project such as "The Imagination Station" could serve as a means for educating teachers. (PM)

Defines "collective creation" as a collaborative process undertaken by actors/students and their director/teacher and the resulting creative product. Describes a study of a collective creation as an instructional practice. Suggests that collective creation teaching approaches might work effectively to serve social justice purposes in the…