Theater Classes Research Articles

Social Competence Intervention Program

The social competence intervention program (SCIP) is a multi-sensory intervention that includes a metacognitive component. The underlying assumption of the intervention is that some children suffer from perceptual and interpretive deficits as well as poor social skills. In this pilot program, we adapted exercises used in theatre classes to remediate these underlying deficits in children with learning disabilities and attention deficit disorders. Anecdotal evidence from the pilot study suggests that participating children began to develop some self-awareness of their feelings and behaviors and the subsequent impact on social interaction. Future refinements based on the results of this pilot are discussed.

Jogos teatrais na escola pública

O artigo apresenta os resultados parciais de pesquisa etnográfica que acompanha aspectos do desenvolvimento cultural de pré-adolescentes com a linguagem teatral em classe multisseriada, através do ensino regular de Teatro, em escola de ensino fundamental da rede pública estadual de São Paulo-SP. Os dados obtidos permitem afirmar que a linguagem cênica contribui na conscientização das novas possibilidades de significação da palavra na prática discursiva.

The Fictional Family: in Drama, Education and Groupwork

In recent years, texts for and about drama teaching in recent years have tended to focus on the theoretical examination of old methods. There’s not been much in the way of the new or unusual in terms of actual practice. Much of the work described in “The Fictional Family: in Drama, Education and Groupwork”, Muriel Gold’s account of her teaching with a theatre class at McGill, is familiar. There’s a strong developmental drama base, the idea that teaching drama leads students towards a healthier perception of themselves, pioneered by Brian Way thirty or so years ago. Teachers, myself included, who tend to agree that Way’s approach is the most humane and effective method of introducing students to the often unexpected demands of the drama class will find echoes of themselves here. There are improvisational exercises based on Spolin’s Who, What, Why, Where tactics.

"Playing Out the Play": Actors, Teachers, and Students in the Classroom

Journal Article "Playing Out the Play": Actors, Teachers, and Students in the Classroom Get access Barbara C. Millard, Barbara C. Millard BARBARA C. MILLARD Professor of English at La Salle College, has published articles on Jonson, Nashe, and Shakespeare in various journals and has just completed work on an annotated bibliography of As You Like It to be published by Garland Press Search for other works by this author on: Oxford Academic Google Scholar Georgianna Ziegler, Georgianna Ziegler BARBARA C. MILLARD Professor of English at La Salle College, has published articles on Jonson, Nashe, and Shakespeare in various journals and has just completed work on an annotated bibliography of As You Like It to be published by Garland Press Search for other works by this author on: Oxford Academic Google Scholar Geraldine R. Custer Geraldine R. Custer BARBARA C. MILLARD Professor of English at La Salle College, has published articles on Jonson, Nashe, and Shakespeare in various journals and has just completed work on an annotated bibliography of As You Like It to be published by Garland Press Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 35, Issue 5, December 1984, Pages 609–615, https://doi.org/10.2307/2870067 Published: 01 December 1984

Ethical Perversity in America: Some Observations on David Mamet's American Buffalo

David Mamet, currently an associate director of Chicago's Goodman Theater, was born in Chicago in 1947 and grew up on the city's South Side. He attributes his sense of dramatic rhythm in part to a job during his high-school years as busboy at Second City, the famous Chicago improvisational cabaret. After several years in New England attending college and working at various theaters as a house manager and actor, Mamet returned to his native city and a series of odd jobs which included a stint teaching theater classes at the University of Chicago. Some of his plays were staged at small Chicago theaters during the early '70's — including the St. Nicholas Theater of which Mamet was a founding member and first artistic director. The title of my essay is a pun on the title of a play for which Mamet received the Joseph Jefferson Award (best new Chicago play) in 1974, and later an Obie Award, Sexual Perversity in Chicago. So there is some reason to associate him with that city. It is the setting of many of his plays, including the one I shall examine here. For American Buffalo Mamet again received an Obie, and it was named the best play in 1977 by the New York Drama Critics' Circle.

Ethical Perversity in America: Some Observations on David Mamet's <i>American Buffalo</i>

David Mamet, currently an associate director of Chicago's Goodman Theater, was born in Chicago in 1947 and grew up on the city's South Side. He attributes his sense of dramatic rhythm in part to a job during his high-school years as busboy at Second City, the famous Chicago improvisational cabaret. After several years in New England attending college and working at various theaters as a house manager and actor, Mamet returned to his native city and a series of odd jobs which included a stint teaching theater classes at the University of Chicago. Some of his plays were staged at small Chicago theaters during the early '70's — including the St. Nicholas Theater of which Mamet was a founding member and first artistic director. The title of my essay is a pun on the title of a play for which Mamet received the Joseph Jefferson Award (best new Chicago play) in 1974, and later an Obie Award, Sexual Perversity in Chicago. So there is some reason to associate him with that city. It is the setting of many of his plays, including the one I shall examine here. For American Buffalo Mamet again received an Obie, and it was named the best play in 1977 by the New York Drama Critics' Circle.