Describes the University of Texas 6-week summer performance workshop in Shakespearean drama held at a small town in Windale, Texas. (PG)

The Young Playwrights' Festival is a project of the Dramatists Guild, New York City, for young writers aged 8-18. This article discusses the Festival of 10 plays written by children and presented professionally at New York City's Circle Rep Theatre and the playwriting workshops for children taught by project director Gerald Chapman. (PD)

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)

Relates a middle school teacher's experiences at an ISTA (International Schools Theatre Association) conference in Budapest, including viewing or participating in short performances, small ensemble work, and workshops. Describes her activities in the movement workshop. (PA)

Describes three exercises used at the Oregon Shakespeare Festival in workshops for students and teachers to get participants on their feet, speaking Shakespeare's language, giving them a kinesthetic experience Shakespeare, and deepening their intellectual appreciation of the language. (SR)

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…

In the South African context, "impact" is one of those words that has gathered a set of layered meanings in the field of research and evaluation. It is generally used to mean the "effect" an activity or experience has had on its target audience. Has the experience changed things in any way? Has it made a difference? This paper…

Describes the process and outcomes of researching, rehearsing, and performing a dramatic representation of the Kensington Market street life in Toronto, Canada. (RL)

Focusing particularly on the individuals involved, this article describes the formation of an Asian American theater company in Los Angeles. Financial problems, public support, selection or creation of plays to perform, and problems of casting and directing have all affected the East West Players. (GC)

A teacher in the high school drama club recounts the experience of producing a controversial play about teenagers, "Sometimes I Wake Up in the Middle of the Night." Reports initial apprehensions and eventual satisfaction of actors, the drama coach, and audience members. (JG)

Describes the following features of the Cutler Playwrights Festival: (1) the contest, which involves publicity and choosing a play; (2) the workshop, in which the play's content, expert, release time, size, and follow-up are decided; and (3) the production, which determines the cast and crew and the final performance. (JD)

Explains the creation of the New Visions/New Voices festival which focuses attention on developing new scripts for young audiences. Notes that unlike other playwriting programs, New Visions does not require a complete script for application. Outlines the selection, casting, rehearsal process, dramaturg involvement, and post-reading discussions of…

Describes an academic discussion on assessment in which 35 teachers and administrators from New Jersey took part. States that three panelists brought to life the educational concept of teaching the "whole person" through the arts. Describes the exercises in which the participants joined, including dance, and an improvisational scene.…

Describes the Orange Summer Shakespeare Festival, which offers teenagers from New Jersey (most of them African American) the opportunity to perform Shakespeare for their community and to cocreate an exemplary piece of theater that serves as a forum for the cast to transmute their stories and express their dreams, fears, rage, and joy. (SR)

Considers why educators should teach theater arts to kids, what educators want kids to get out of it, and whether the art itself should be subordinated to how it can support other subjects. Argues that both school arts programs and outreach companies should reconnect with their communities. (SR)