Higher education students are increasingly becoming aware of the importance of being successful in oral academic presentations (OAP) in their academic endeavors. For English as a second language students in English-medium institutions, it also provides them with opportunities for language socialization. However, succeeding in the delivery of an…

This paper illustrates the use of two language-teaching and learning methods (process drama and theatre) in a class of Italian. Process drama is based on improvisation, over-identification, and dramatisation from a short set of coordinates that students can read just a few minutes before the activity that will be later performed in class (see…

When the lights come up on College of Menominee Nation's theater productions they illuminate the stories that students want to tell. These stories have traveled from the campfires, to classrooms, and then to the stage. They are original in execution but build on a long tradition of Indigenous storytelling. The stories are specific to the students,…

It's no mystery that fun and exciting programs bring teens into the library. Theater programs provide a venue for teens to express themselves creatively, encourage their participation in library programming, and offer them the opportunity for lively interaction with peers and adults. In "Library Programs for Teens: Mystery Theater," Karen Siwak…

Advocacy begins with an assumption that if a number of community members are suffering, then there must be something wrong, not with the individual members, but with the community as a whole; therefore, the community must be changed to help alleviate that suffering. Advocacy creates a platform for change by allowing individuals to begin the…

What do actors have in common with bigots, bullies and their victims? They play the same script over and over. This article discusses how social justice theater can teach students to take the story into their own hands. It describes Forum Theater, a dramatic method that sets up tightly scripted dramas of power and difference, then encourages the…

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)

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…

The last of four related manuals describing the goals and methods of an established developmental theatre project at the University of Colorado, this manual discusses the processes involved in selecting and adapting scripts for specific audiences. The manual suggests ways to cut longer plays for school audiences, methods for organizing parts of…

Creative drama, as a language art, has been a part of the elementary school curriculum for a number of years. Community organizations also have long been concerned with offering children rewarding experiences in creative dramatics, and many have pioneered in the establishment of children's theaters. Because of the relatively small percentage of…