Discusses the benefits of producing theater for young audiences and some of the scripts available. Considers the value of theater for young audiences. Discusses where to look for scripts including several play anthologies. Presents a list of 13 publishers of plays for young audiences. (SC)

Discusses the necessity of clear speech in the theater, especially in this age of media "watching, not listening to." Finds that theater professionals cannot expect an audience to listen if the language is not spoken as if it mattered. (PA)

Suggests site-specific theatrical productions can create innovative productions in nontraditional spaces. Discusses the experiences of the author as he directed a site-specific production (Wendy MacLeod's "The Shallow End," set at an indoor pool) and addresses the lessons he learned from it. Includes advice on creating site-specific productions.…

Describes incorporating a community outreach program. Notes that it is a smart and reliable strategy that theatre artists - onstage and backstage alike - can use to engage their audiences and build stronger ties to the community in which they work that go beyond just filling seats. (SG)

Explains that the exercise "Pictures at an Exhibition" is designed to remind student actors of their responsibilities to the script and audience while simultaneously giving them a chance to employ the basic tools of the acting craft. Presents the activity in two rounds: (1) what do you see? and (2) painting by the numbers. (PA)

Argues that good directors are not as autocratic and individualistic as they are often portrayed. Suggests that theater is much more of an ensemble effort. States that good theater grows out of the performers' desire to reach the audience. Articulates guidelines for the teacher or theater director who wishes to change "I" to…

Presents a lesson that might be useful early on teaching a play writing class. Considers how audiences care about things that a character cares about. Explains that in a story the higher the stakes are for the character, the more an audience will invest in the story. Presents a seven question quiz with answers including a discussion of each…

Notes that the number of Hispanic children in schools is growing. Presents an annotated bibliography of 46 Hispanic plays, sources of information, and organizations dealing with Hispanic themes and ideas. (PA)

Asserts that directors and teachers should understand a script from the points of view of the audience, playwright, and characters. Explains how making notations in a script can help actors find, make and remember choices while acting. Explains a notation system for "scoring" a script. Concludes that teaching students how to score their parts…

Explains how the author's father taught her about theatre in their everyday life. Discusses artistic sensibilities such as the use of voice, body, mind, and values. Explains the following theatre specifics: pacing; language; telling the story; relaxation and humor; participation; the audience's job; inflation of titles; history; subtext; and…

Presents an exercise that will show acting students how to tell the audience a good story. Discusses how students must assume responsibility for creating the best possible story based on a central object as insignificant as a penny might appear to be. Describes experiences of taking the students through four "rounds" of this exercise. (SC)

Discusses theatre educators' role by relating stories of the author's college theatre teacher. Notes that in order to tell stories to this generation, educators need to focus on making time for reflective thought. Concludes that theater can teach audiences to respect others, especially those who are different. (PM)

Presents an outline of six steps for touring with secondary school students. Describes the challenges of taking a show on the road, including creation of a theater space where none existed before, design and construction of a portable set, and doing and redoing the necessary "blocking." Includes a calendar for major steps in preparing…