Describes an exercise for a beginning acting class at the outset of a semester that demonstrates, reiterates, and clarifies some of the fundamental points of acting craft. (SR)

Discusses the "mirror game," a classic acting exercise that gets young actors to understand that connecting to their scene partners is a crucial part of acting. Describes the learning opportunities offered by the mirror game, describes how to initiate it in class, and how to add challenges to the exercise. (SR)

Describes the "As If" technique, a mnemonic device that reminds actors what the action they are doing means and feels to them personally. Discusses introducing As If to students, the As If "game," and applying it to scripted scenes. (RS)

This article discusses the symbiotic relationship between emotion and rationality in leadership in primary schools. It uses the literature of both emotion and leadership to ask whether school leadership has learnt some of the lessons from the recent interest in emotion and leadership. Drawing on recent research into the lives of primary school…

An exploration of the potentials of the handicapped as actors. (CH)

Adapted from a paper presented at the AETA Convention (Los Angeles, Calif., 1968).

An organic approach to style in acting can lend credibility and power to performances and can enhance the clarity and extent of what is communicated to audiences about other social worlds. The organic approach is based on the following principles: mental experience and expressive behavior are inseparable and reciprocal; experience in either mode…

The paper describes a theater workshop for children with learning disabilities, and discusses its benefits, including improved oral and written language, self esteem, and self control. Comments of actors involved in the workshop are included. (CL)

Stage violence is a complex art which, when conceived inventively, approached with professional care and respect, and practiced with patience and energy, can be the highlight of a scene or of an entire play. This book is designed for amateurs who have not had the benefit of formal training in stage violence. Chapters discuss falling (the…

This is the second of a two-part article on theater arts for every classroom. The total program consists of structured lessons that incorporate role playing and improvisatory activities with learning the craft, creativity and art of the theater. (Editor)

Three things will help to change American theater's unsatisfactory climate for Blacks and its growing mediocrity: (1) an end to the cultural dependence on British theater; (2) an examination of America's racial history in "White" as well as "Black" productions; and (3) abandonment of the notion that Blacks and Whites can flourish in isolation from…

The training program of the San Francisco Opera was described. This glimpse at the behind-the-scenes demands of opera life was a good account of education at the professional level. (Editor/RK)

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)