Lists 29 research projects in progress within the field of theater, drama, and education. Provides the researcher's name, research title, school/organization affiliation, type of research, and estimated date of completion. (MM)

Describes how one classroom teacher uses improvisational drama to encourage student creativity and language learning. (MM)

Discusses connections between play and reading at the primary level. Notes that sociodramatic play has the clearest link to reading because it involves imagination and manipulation of time and reality. Argues that play facilitates reading when it involves both the manipulation of symbols and acts of reading and writing. (MM)

Describes an exercise designed for K-6 grade levels based on books where the characters undergo transformation. Explains that students should write a story in which the main character goes through a transformation, and then act out the story. Emphasizes that younger students may not pay attention to the "why" or "how" of the…

Describes the "Power Game," which has only one rule: the object is to win, and the game is over when one player speaks or touches the other. Explains the structure and progression of the game in rounds. States that the game provides a launching point for a discussion of power, winning and losing, and listening clearly. (PA)

Students in mental health nursing participated in researching, writing, acting in, and evaluating a play about schizophrenia. The experience demonstrated drama's effectiveness as a tool to develop sensitivity about health care concerns. (SK)

Describes five steps for increasing the literacy level of adult beginning readers using creative plays. Notes that creative plays as reading material empowers the adult beginning reader because (1) the content is personalized; (2) it allows for positive reinforcement on an affective level; and (3) it provides insights into possible strategies for…

Suggests that a special quality of reinforced learning can take place by use of the preshow workshop, which plants the seeds of thought and actions. Illustrates the method by discussing two practical but utterly different models for preshow workshops. (RS)

Discusses racism, sexism, and sexual orientation through an analysis of the play "M. Butterfly." Focusing on the French diplomat, Gallimard, the essay discusses sexual orientation, explores Gallimard's racist investments in his orientalized vision of Song, and discusses his attempt to explain his love affair as heterosexual love gone…

Theorizes that dramatic play involves and can potentially develop the three conditions that promote and characterize creativity--interaction, transformation, and imagination. Notes that children involved in dramatic play are enhancing their creativity and potential for creative work. (TM)

Untutored dramatic play (free, undirected play) and tutored dramatic play (creative drama) involve interaction, symbolic transformation, and imagination as children enact roles in imaginary situations. Both types of play serve the child's artistic, emotional, and intellectual needs. They differ in the degree of spontaneity, consistency of play,…

Describes one way for students of any age to meet and experience Shakespeare through classroom performance, making their own way into Shakespeare's text. Notes that students come to understand what is happening in a scene by working through the process of getting the scene from the page to the performance. (SR)

Presents an interview with theater director Jeff Church. Discusses difficulties encountered and accomplishments realized as a director of youth theater. Describes the goals of learning more about one's field, being open to new insights, and selecting materials. Offers suggestions about knowing the community. (CR)

Discusses complex struggles that occurred when attempting to negotiate a development agenda for a drama workshop involving people with mental health problems. Notes that the context of the intervention was "highly problematic." Suggests that for substantial change to take place the project worker and participants need an agenda of…

Defines a critical pedagogy as a moral vision of human justice and decency. Argues that a critical pedagogy of the theatre could help create an analytical discourse of entertainment to allow children a different type of cultural literacy. (NH)