ABSTRACT The article details some of the process of creating and performing the participatory, virtual play, Re-Writing the Declaration, which invited the audience to re-imagine our nation’s founding through a Black, queer, feminist lens. The article highlights the unique challenges and opportunities of creating theatre in a virtual space, particularly the use of Zoom’s chat function as a tool for audience participation and community building. The author reflects on the ensemble’s shared identity as educators and how this shaped the play’s creation and performance. The article concludes by suggesting potential applications for the play in the field of Theatre for Young Audiences and emphasizing the importance of centering marginalized voices in the creation of theatre.

ABSTRACT In the post #MeToo era, the professional creative industries have engaged with the vital work of examining and re-imagining the centering of its processes and structures. Often excluded from the current discussion and fora, youth and student theatre performed in training and academic environments engages young people with materials that challenge and provoke through intimate exchanges. There have been pertinent strides in the identification of the importance of ensuring that creative theatrical learning experiences for young people engaged in theatre endeavor are safe, equitable and empowering beyond core essential safeguarding considerations. Looking to the formal field of theatre literature on the growing discipline of intimacy and intimacy coordination in professional theatre events, this proposal seeks to bridge the gap in the theoretical literature by offering new knowledge that seeks to bring together the growing fields of intimacy coordination and empowered student performers by (re)centering the process of the theatrical event as the student performer’s safeguarded experience of theatrical intimacy, with the author drawing up and recommending the adoption of Intimacy In Performance Guidelines For Legal Minors.

ABSTRACT This article documents the creation and implementation of a multilingual (Spanish and English) Theatre in Education (TIE) play for general education and Dual Language kindergarten and first-grade classrooms. The author illustrates how enacting “role work” and dramatic play in TIE supports Lev Vygotsky’s zone of proximal development and Howard Gardner’s multiple intelligence theories in enhancing learning in the early childhood classroom. The author argues for the need to create more multilingual Theatre in Education. Through an analysis of critically engaged pedagogy by scholars Sonia Nieto and D. Pakkar-Hull, as well as the author’s implementation of a multilingual TIE play, the article highlights the positive outcomes in classroom learning when students’ languages and cultures are embraced in the learning environment while wrestling with the challenges of creating multilingual spaces in traditional monolingual theatrical and classroom structures.

ABSTRACT This proposal reveals the significance of Applied Theatre in Ghana, with special interest in Drama in Education (DIE) as a teaching tool for teachers and learners. As a teaching tool, Drama in Education places tremendous emphasis on Process, Performance and Skill oriented activities to achieve its teaching and learning goals. The dramatic experiences derived from the improvisations; creative dramatics, mime, role-play and other Ghanaian indigenous art forms such as games, symbols, proverbs, storytelling, etc. in the learning explorations expedite transformation in learners. In these dramatic developments, creativity helps to improve not only learners but society as a whole. This paper aims at exhibiting some of the games employed in various sessions with students in the University of Ghana.

ABSTRACT This article presents the findings of an extensive survey of published LGBTQ+ Theatre for Youth plays. The research team of academic faculty and undergraduate students cataloged, read, analyzed, discussed, and coded over 75 titles and extracted information about the narrative tropes, identity structures, and other patterns present in the current corpus of queer youth theatre.

ABSTRACT Theatre has the potential to impact students’ mental health, especially when creating and telling stories with traumatic themes. Theatre teachers are uniquely positioned to unintentionally inflict further harm on their students if they do not incorporate trauma-informed practices (TIP) in the work they do in class and in productions. As theatre educators typically do not have special certifications or credentials in mental health, knowing TIP is crucial to help prevent the retraumatization of students who have experienced trauma. This study discusses current practices in the high school production process in the United States and the absence of TIP in theatre teacher training programs and professional development.