Explores the relationship between solo performance and theatrical spectacle emphasizing the important factors of audience expectation and acceptance. (MH)

To investigate the development of symbolic play, 18 Japanese normal boys and girls were individually tested once every even-numbered month from when they were 12 to 24 months of age. Symbolic play was generally defined as behavior which represents actual or imagined experience by using objects, gesture or language alone or in combination. The…

Relationships between kindergarteners' symbolic functioning in free play, selected demographic variables (sex, age, and socioeconomic status), and the children's ability to generate isolated written words were investigated. Sixty-five kindergarteners (37 male, 28 female) were tested and observed in their classes over a 4-week period. Play was…

Official censorship should not exist in university theatre productions. What censorship does exist is primarily unofficial--often unspoken--and consists of group, authority, and financial pressures on the director and the production staff, influencing them to avoid risks necessary for artistic growth and intellectual development. This sort of…

The third of four related manuals describing the goals and methods of an established developmental theatre project at the University of Colorado, this manual presents practical guidelines for producing a touring drama. With the audience as the focus in all of the suggested techniques and concepts, the manual discusses financing, casting, the…

The monograph on creative arts for severely handicapped persons presents 18 papers on program development and implementation. Among topics addressed are personnel preparation, self expression as a human right, mainstreaming severely and profoundly handicapped children in creative arts, square dancing, adapting wheelchair dance, arts for the…

Frame analysis is an approach to social situations that can be applied profitably to literature and performance. A frame is the reality status of a situation; keys are the characteristics that define a frame. Most literary works are keying on real life frameworks. Literary works that are based on other literary works, such as parodies, are…

This paper sets forth step-by-step procedures which novice sign-language theatre directors can use as a guide for their first sign-language theatre experiences. Since the procedures were developed during the production of a play for a mixed adult and child audience, it is assumed that the general guidelines set forth are applicable to a production…

To exclude Afro-American playwrights from curriculum offerings leads to the erroneous conclusion that blacks have contributed little to the development of the American theater. In order for Afro-American drama to be fully appreciated, it must be performed and read as literature. It must be used as a viable teaching strategy, as a motivator for the…

This study is the last in a series of explorations, conducted during the period from 1969 through 1972, into the applicability of group training to theatre at the University of Utah. The experimental group, which consisted of the 1971 and 1972 University of Utah Shakespeare Players, were compared to two control groups. Two personality measures…

Improvisation, or creative dramatics, has come to be regarded as a learning tool in English instruction. This study provides a comparative history of informal drama as it developed in England and the United States from 1910 to 1975. Pivotal writers on improvisation were identified, compared, and contrasted, analyzing their goals and practices.…

This document describes teacher requirements in three different instructional systems and the implications of the requirements for teacher training. Short descriptions of the composition skills, spelling, and drama systems produced by the Southwest Regional Laboratory (SWRL) are given. Materials and procedures are briefly described for each…