Reaffirms the position of directors (Peter Brook, Tyrone Guthrie, Peter Hall, and others) concerning the "balance of power" between director and playwright in transforming a playscript into a theatrical performance. (PD)

Argues that schoolwork with the plays of Shakespeare should be rooted in the twin concepts of performance and audience, for which the teacher needs to understand the scripts in terms of Elizabethan theatrical presentation and response. (FL)

Maintains that individuals rely on various elements to structure activities that reflect various intersections between thinking and feeling. Intersections arise because events are social processes that require interweaving of scripts, roles, physical setting, audience characteristics, and other features derived from dramatic metaphors. (Author/BB)

Most performer-writers accept the writing process simply as a means to an end: the shared performance event with a live audience. While writer-performers regard a script as more important than the performance, a solo performance is, however, a showcase of the artist's talent, and creating one's own text offers the performer artistic control. Some…