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The article from Theatre Topics explores the unique aspects of theatre, emphasizing its role in building equitable and inclusive communities. It discusses various essays that delve into topics such as audience engagement, cross-institutional collaboration, accessibility, and the importance of stage directions in new play development. The article also includes letters from theatre scholars and practitioners reflecting on their experiences and offering advice to their younger selves, highlighting the importance of community, inclusivity, and care in the theatre landscape. [Extracted from the article]

Copyright of Art Vision is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

At the request of Csíki Játékszín, András Hatházi wrote and directed a classroom performance in the 2023/2024 theatre season titled At This End of the Line. The young actor of the Miercurea Ciuc theatre company, Zsuzsa Tatár, plays in the performance in one person, her character is a substitute teacher. In her essay, Zsuzsa Tatár analyses the experiences of this rehearsal process and of the first performances. In her acting work, she is looking for ways to do non-acting. In her view, the following four elements are needed: not playing a character, pure presence, attention, and openness to let anything happen. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study explored the influence of using Curriculum-Based Readers Theater (CBRT) on promoting 12 sixth graders' oceanic knowledge and vocabulary learning in an elementary school in Taiwan. Based on the analysis of both quantitative (oceanic knowledge tests and vocabulary knowledge tests) and qualitative data (interviews, videos, and reflections), the study had the following major findings. First, CBRT instruction was effective for improving learners' oceanic knowledge through repeated reading. Second, CBRT was beneficial for learners' receptive ability in recognizing spoken forms of the target vocabulary. Suggestions on effective implementation of CBRT into content areas or issues were provided. [ABSTRACT FROM AUTHOR]

Copyright of Cultura, Ciencia y Deporte is the property of Cultura, Ciencia y Deporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Social awareness and relationship skills are two essential components of children's socioemotional development that undergo rapid consolidation in middle childhood. Previous research has found that growing up in poverty can undermine the development of social awareness and relationship skills and has also suggested that theater education might serve as an important context in which these skills can develop. In the current study, we examined whether participation in a program of theater education was associated with higher levels of two key aspects of social awareness—empathy and perspective-taking—and openness to establishing relationships with their peers among a sample of children placed at risk by poverty. After participating in the program, children exhibited significantly higher scores on measures of empathy (B =.32, SE =.10), t(7.65) = 3.33, p =.011, and openness to establishing peer relationships (B =.77, SE =.23), t(5.05) = 3.29, p =.021, than their comparison group peers. Among a randomly selected subset of students from both the treatment and comparison groups, children in the treatment group exhibited larger gains in their perspective-taking than children in the comparison group. These results are interpreted considering previous research, and their implications for educational policy, especially as it relates to arts education for children in poverty, are discussed. [ABSTRACT FROM AUTHOR]

This article aims to explore how the staging of Papet Pasyon, a children's play by Amelia Lapeña-Bonifacio, a Philippine National Artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. This is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision of a children's theatre. Afterward, Papet Pasyon is asserted as a pedagogy for younger audiences. Results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an understanding of Filipino cultural traditions and an appreciation of the art of puppetry; (2) how the performance serves as a venue for experiential learning; (3) how the art of puppetry challenges one's imagination in manipulating the puppet (in the case of the puppeteer) and in creating meanings from what they hear and see onstage (in the case of the audience); (4) cooperation and integration are made evident by the interactions between the puppet and the puppeteer and the puppet and puppeteer with the audience; and (5) that although puppetry is foreign to the audience, they have expressed appreciation of the art form by repeatedly watching the performance through the years. [ABSTRACT FROM AUTHOR]

Theatre and performance have long been used to platform, challenge, and agitate for social justice. Using contemporary work focussed on marginalised communities can facilitate and broaden the reach and understanding of such work. This paper reports on a case study using It's A MotherF**King Pleasure (FlawBored, 2023) in a formal higher education setting, examining what can be gained in the use(s) of such work. In moving through arguments advocating for working with 'fringe' artists and their work, the benefits of conscious enaction of critical pedagogy and the highlighting of the potential benefits to students-- and educators--in their understanding of social justice, this paper argues for the inclusion of those new artists making work now, into the teaching material. The case study emphasises the importance and ability of creating a space in higher education (and beyond) for open and engaged inquiry into deeply held viewpoints, with suggestions of how to enact it, offered. [ABSTRACT FROM AUTHOR]

Sustainable education and teaching excellence in Egypt remain significant challenges due to the persistent reliance on conventional and theoretical curricula, highlighting the dire importance of innovative practices for educators. Specific education should be encouraged at higher education levels, particularly in educational media. However, its adoption remains challenging due to unclear objectives and ineffective practices. High-impact educational practices (HIEPs) would provide an incentive for improved learning among the students. Thus, the current study focuses on the high impact of educational practices in exploring the importance of HIEPs in higher education in general and the educational media for specific education at Mansoura University in particular. Fifty faculty members in the field of educational media from specific educational colleges across various Egyptian universities participated in the survey. The study identifies the government's focus on quantity over quality, poor teaching standards, and social inequalities as critical factors necessitating the implementation of HIEPs. In turn, all these practices add to deriving improved engagement, delivery of transferable and elementary skills, or synthesizing learning from related courses. The study concluded that it is important for the Department of Educational Media and its sub-specialties, including Drama, Educational Theatre, Radio, Television, and Educational Journalism, to integrate HIEPs and foster innovative practices in theatre education, in light of the 21st-century skills, skills gaps, ICT implementation, and support of teachers to increase the sustainability, particularly in educational media. [ABSTRACT FROM AUTHOR]

This paper discusses dramaturgy and artistic research's evolving role in theatre education, focusing on the Master's programin Theatre at Oslo National Academy of the Arts as a case study. Drawing inspiration from Richard Jochum's ideas in "After Artistic Research," the paper highlights the shift towards incorporating artistic research into the curriculum of art universities. However, it acknowledges the challenges in establishing a clear framework for artistic research within these institutions. The author argues that teaching and practising dramaturgy and artistic research in theatre academies have significant implications, marking a departure from traditional theatre education paradigms. The paper aims to contribute valuable insights and practical strategies to educators and practitioners involved in theatre education and artistic research, emphasising the importance of understanding and navigating the complexities of this evolving field. [ABSTRACT FROM AUTHOR]

Dramatic performance through rituals and ceremonies has an ancient and respected past, for celebration, status confirmation, and healing. This is particularly so in non-Western cultures. However, in the United Kingdom and the West, it has had a chequered development, and actors for many years were considered vagabonds and of questionable reputation. Initiatives in drama and theatre in education enabled the development of drama as a therapy. However, there was less emphasis on the art form, as in other arts therapies, and more focus on techniques. Performance for healing in dramatherapy slowly became eroded. Parallel to drama as a therapy, psychodrama slowly emerged as an approach to therapeutic applications of role-play. Attention is drawn to the very early dramatic expression, through neuro-dramatic-play, commencing during pregnancy. [ABSTRACT FROM AUTHOR]

In Quebec, Indigenous cultural resurgence is expressed through all areas of creation, including theatre, which allows the expression of concerns related to identity reaffirmation and cultural reappropriation. In this movement, Indigenous women are particularly present in public space through art. As a path of resistance and resilience, artistic culture is an important factor of wellness for First Peoples. Anchored in a decolonial epistemology, this theatre-based research involves the implementation of a collective creation approach with Indigenous female college students. It questions the benefits of the theatricalization of life stories on learning related to the dimensions of holistic wellness. Faced with systemic obstacles resulting from colonization, Indigenous students follow atypical schooling trajectories, hence the importance of supporting them with culturally safe approaches based on traditional knowledge. Combining the fields of Indigenous education and theatre education, it is hoped that through this project, the narrative sovereignty of Indigenous women is strengthened and recommendations for the realization of culturally safe artistic educational projects with Indigenous youth and adults are provided. [ABSTRACT FROM AUTHOR]

The Wellness, Community, and Aging (WCA) Focus Group has flourished over the past five years at the Association for Theatre in Higher Education (ATHE). In this article, we recount the history of this focus group, document its transformation, and look to future directions. [ABSTRACT FROM AUTHOR]

This Note discusses the creation and goals of the Middle Eastern Theatre (MET) Focus Group in the Association of Theatre in Higher Education (ATHE). Reflecting on current and future projects, this article highlights how MET contributes to building a more inclusive, just, and equitable future for theatre. [ABSTRACT FROM AUTHOR]

In Indonesia, the Covid-19 pandemic dramatically affected many sectors, in particular modern theatre and higher education institutions that host campus theatres. This study focuses on the strategies employed by campus theatres to survive the pandemic, focusing on digital theatre productions by Petra Theatre (formerly Petra Little Theatre) in Surabaya, Play Performance Class in Yogyakarta, and Teater Kampus in Makassar posted on YouTube in 2020–2022. Taking the perspectives by Matthew Causey on digital performance, supported by Sarah Bay-Cheng's dramaturgy of distortion of mediated theatre, and by Philip Auslander on liveness in mediatized performance, we analyze the emergence of certain aspects of mediatized/digital theatre that pertain to actor-audience relation and time-space relations exemplified by the digital performance offered by these three campus theatres. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to understand and explore the experience of a creative supervision group for drama teachers. The group was organized as part of the network of the Theatre Studies Alumni of the University of Athens (Greece) from January to June 2021. The restrictions imposed by the COVID-19 pandemic moved these meetings to the Zoom platform, giving the opportunity for drama teachers living outside Attica to participate. In this article, the author discusses the distinctions between dramatherapy and theatre education, as well as their similarities and differences in practice. The author first presents how theatre education works in Greece and then discusses the results of a questionnaire completed by the participants in the creative supervision group. The results suggest that a creative supervision group can provide the necessary feedback, release, and the safe aesthetic distance for drama teachers to work and reflect on issues that concern their students, parents, fellow teachers, as well as their own role. [ABSTRACT FROM AUTHOR]

Inspired by Valerie Curtis-Newton's keynote address at the 2023 AATE conference, this piece explores the necessity of creating failure-friendly drama classrooms. In a time when students are experiencing unprecedented rates of anxiety and other mental health challenges, I argue that explicit instruction about and opportunities for failure are necessary for the social, emotional, and academic success of students. Furthermore, I address why drama educators and theatre classrooms are uniquely positioned to facilitate healthy relationships with failure. I end the piece with suggestions for ways to incorporate more failurelearning opportunities into drama and theatre education spaces. "Prepare for the best and be secure in your ability to survive the worst," I scrawled fervently in my notebook as I watched Valerie Curtis Newton's keynote address at the 2023 AATE conference in Seattle (Curtis-Newton, 2023). Curtis Newton's career as a director, educator, and champion of African-American performance in the U.S. is prolific. While she gave us, her captive audience of educators and artists, some insight into her illustrious career, she chose to focus her talk on the anxiety epidemic with which many of our students struggle and theatre's ability to teach our students (and ourselves) to be brave. She urged us to model courage and curiosity for students. She spoke of the creative process as a balm to the wounds of self-doubt and paralyzing pessimism. She reminded us that risk and resilience are essential to the creative process. While she never explicitly said the word "failure," I found myself coming back to that word again, and again, scribbling it in my notebook, circling it, and tracing the letters to create deep grooves in the paper. Teaching young people to take risks and navigate the outcomes of those risks is one of the most important skills educators can offer, especially in a time of extreme anxiety. In this essay, I present the anxious context young people face, review the literature on how drama and theatre can support resilience, share some examples of successful and unsuccessful failure stories from a decade of teaching artistry, and offer some tools for drama and theatre educators that want to recenter failure in their classrooms. [ABSTRACT FROM AUTHOR]

This article analyses the implementation of a theatrical performance for the prevention of micro-chauvinism violence and the promotion of equality created by vocational training students and aimed at secondary school students. Using a qualitative research methodology based on case studies and the use of narratological and semiotic models of theatrical reception, this work focuses on analysing the acting roles of the characters who represent situations of micro-chauvinism in adolescence, and understanding the theatrical performative characteristics of the artistic work. The results allow us to draw conclusions about the advantages of theatre applied to education to diagnose the current situation of youth micro-chauvinism; the orchestration of teaching with a gender perspective through the dramatization of micro-chauvinism among young adolescents; and the choreographies of learning for the promotion of gender equality through theatre applied to education. [ABSTRACT FROM AUTHOR]

Copyright of Human Sciences Journal / Revue des Sciences Humaines is the property of Universite des Freres Mentouri Constantine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As the American Theatre and Drama Society (ATDS) celebrated its thirty-fifth anniversary at ATHE 2022, the group hosted the roundtable "Imagining New Possibilities: Career Diversity and Doctoral Education in Theatre and Performance Studies," welcoming faculty and graduate students to think expansively about the present and future of doctoral education. Co-organizers Michelle Granshaw (University of Pittsburgh) and Mia Levenson (Tufts University), along with panelists Courtney Colligan (University of Pittsburgh), Mac Irvine (Tufts University), Victoria LaFave (University of Pittsburgh), Noe Montez (Tufts University), and Elizabeth W. Son (Northwestern University), reflected on pressing questions and exciting opportunities surrounding career diversity. Faculty and students highlighted issues including how to shift program and field cultures to erase stigma and elitism and create an openness to career diversity conversations; incorporate career diversity and fields like the public humanities into programs and curriculum to serve students' individualized career paths; contextualize and understand the job market and career trajectories to help us consider ways to improve career planning and mentorship; understand how graduate education and career diversity impact student labor; and prioritize and implement equitable practices. [ABSTRACT FROM AUTHOR]

In partnering with occupational therapy (OT) degree programs to enhance students' preparedness for the field, the applied theatre in education company, Theatre in Tandem, implemented sessions utilizing the applied theatre forms of structured improvisation and role-play to rehearse the profession. This piece documents learning possibilities found in the unpredictability of these theatre conventions: supporting the classroom curriculum, navigating realistic interactions in simulated scenarios, and creating space for the students to negotiate ambiguity as they made connections between the classroom learnings and the professional field. [ABSTRACT FROM AUTHOR]

This document provides a concise summary of an article discussing a drama-based activity called "A Day in the Life Of..." that can be used in English language classrooms. The activity involves students creating and presenting a short, mimed drama using student-made art and context clues. It aims to improve language skills, vocabulary development, group participation, and cultural engagement. The article provides step-by-step instructions for implementing the activity and highlights its benefits in terms of experiential learning and fostering creativity in language classrooms. The document also briefly mentions the interests of an individual and provides information about its production and printing. [Extracted from the article]

This paper presents a conversation that took place via Zoom on 6 September 2022, between Adriana Schneider Alcure and Bruce Adams, curated by Pedro de Senna. In it, Alcure and Adams discuss their experiences, respectively, at the Universidade Federal do Rio de Janeiro (UFRJ) and Middlesex University, London (MDX). Both universities offer BA courses in theatre directing, but follow very different models. Both universities also offer MAs in Theatre Arts (MDX) and 'Artes da Cena' (UFRJ), with similar interdisciplinary ethea. Mediated by de Senna's experience of both cultural contexts, Adams and Alcure talk about commonalities and differences, addressing two key pedagogical questions: in what ways can directing be taught, if at all? And: what is the role of theatre (and theatre directors) in society? The conversation is not directly transcribed, but edited and organised by de Senna, drawing on the themes explored, and addresses contemporary theatre director training from an intercultural perspective. The exchange touches on questions of academic and artistic labour, student cohorts, curriculum design, interdisciplinarity; and the relationship between 'training' and 'education', when it comes to the performing arts in general, and theatre directing in particular: are these terms even adequate? It is clear that these questions are imbricated with those relating to the purpose of, and access to, the arts and education more broadly, in societies that, while very different, have more in common than might at first be acknowledged. [ABSTRACT FROM AUTHOR]

Copyright of Revista Umbral is the property of Revista Umbral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Recreating the Stage (RCS), a Roundtable for our New Reality was a virtual, nationwide, and free summer program produced & organized by K.B. Theater Company members & collaborators. Hosted over the video conferencing platform Zoom between July 11th, 2020 and August 15th, 2020, this program was predominantly aimed at undergraduate/graduate-level students and young industry professionals in the United States who lost their internships, apprenticeships & summer work opportunities due to the COVID-19 crisis. Our program consisted of 1) industry-focused panels of both up-and-coming & established industry professionals as well as 2) creative workshops centered around the collaborative nature of theater making & storytelling. Our program also aimed to collect qualitative & quantitative research in the areas of inclusivity & accessibility in educational & professional theater institutions by 3) hosting various affinity spaces. These affinity spaces were closed to the general public and open only to 30 applicants who sought to be part of difficult yet paramount conversations regarding various marginalized groups within the American theater community.

This study explores Finnish teenage students' performative encounters with a performance, a theatre in education (TIE) programme called #nofilter, concerning young people and social media. The structure of the study regarding the TIE programme is based on educational design research with iterative cycles of inquiry. Thinking with theory is used as a methodology based on Barad's agential realism guided by the analytical question: what diffractive learning events were co-created in the TIE programme #nofilter in the intra-action with the students? The agency produced can theoretically be understood as performative learning based on the materiality of the performance, including affective and performative encounters of the students' intra-action with the theme of the TIE programme concerning social media on the internet with an entanglement of matter and meaning. The students recognized that they need to be aware of how to handle affects and situations that could appear in the intra-actions with social media to produce knowledge and perspective in their learning events. [ABSTRACT FROM AUTHOR]

Due to technological advancements, all areas of daily life undergo changes including the methods of the educational process. The traditional model of education, with the teacher as the transmitter and the student as the receiver, has been modified as the facts in today's era are completely different from what they were in the past. Especially now the use of ChatGPT has proven that education should be oriented towards methods that promote students' critical thinking and enhance interaction, communication, and creativity.The new generations of learners not only demand but also are entitled to new educational methods, which reflect the evolution of technology and respond to contemporary needs. The educational system should meet these requirements and shape new practices that will motivate the students, so that the learning result will be substantial and clear.This paper focuses on the use of the videogame "Minecraft" in the subject of Theatrical Education, which is included in its educational program of primary education, and more specifically in the third and fourth grade (3rd–4th) during the 2021–2022 school year in three elementary schools in a total of 223 students. Through this academic project has been proved that there is a bidirectional connection between these digital tools and the education of art and cultural heritage. This interactive experiment was completed using survey questionnaires so as to understand and define the value of the use of digital tools during the learning procedure. [ABSTRACT FROM AUTHOR]

Improv theater has expanded beyond a popular American form of entertainment into an educational experience for students and teachers. It may be difficult to imagine that an interactive, joyful, and collaborative improv workshop might be harmful, but our own experiences as professional improvisers led us to observe that even well-intentioned, antiracist improv theater interventions tend to reflect Whiteness more than democratic values. We investigate this observation through a systematic review of education research articles. Our review of 30 studies reveals that, to varying degrees, researchers have regarded improvisation as an instrumental practice to improve some other activity or as metaphor for the activity of teaching. We found that Whiteness has been central to the use of improvisation in educational contexts. Finally, this study illustrates that a turn toward disciplined improvisation or an improvisational ethos offers one way to practice the ideals of democratic education. [ABSTRACT FROM AUTHOR]

In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear , and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While 'body' is viewed from the perspective of 'bodyworld' to denote constitutive and reciprocally shaping human–nonhuman relationalities, the 'performance' that occurs in bodies is analyzed in terms of a 'drama of affect' to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming). [ABSTRACT FROM AUTHOR]

This is a reflection on The Score, a Research-Based Theater (RbT) project that has just begun, and some emerging ethical entanglements surrounding the work. The Score is a collaboration between First Nations and non-Indigenous artists and researchers, produced by ILBIJERRI Theatre Company—a leading First Nations theater company based in Melbourne, Australia. The goal is to create a community-engaged, participatory model for theater in health education that addresses sexual health for First Nations young people, to be delivered in schools, prisons, community centers and community health settings. Drawing on Indigenous and applied theater research methods, our article situates the discussion of ethics in RbT within the concept of relationality. Through a process of yarning (discussion), we explore the complexity of relations within the project and how relationality infuses all aspects of the project design. We argue that this approach is essential in ensuring respectful, accountable, and decolonial theater-research praxis. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Frankfurt Declaration is a UNESCO document that reminds and re-emphasizes the importance of promoting and applying arts education to the curriculum of all member states. In 2019, the World Alliance for Arts Education (WAAE) organized an international conference called Arts Education for everybody? Every student? Everywhere? It opened a discussion on various topics about arts education (e.g., in society, in school reforms, opportunities for the education of pedagogues, interconnection with other fields, its application at different levels of schools, its future, possibilities to spread and communicate it in different countries of the world). The education through theatre also belongs to the field of arts education. The study reflects and maps the topic of formal and non-formal education through theater. It ponders the question What is the status of formal and non-formal education through theater nowadays? It points to interesting and inspiring projects, to institutions dedicated to the education through theatre, to the educational activities of professional cultural institutions, the position of drama education in the school system and beyond it, the education through theater at universities, as part of festivals, etc. It also brings an excursion into the education through theater in abroad, in the Czech Republic and Slovakia. [ABSTRACT FROM AUTHOR]

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 FROM AUTHOR]

I hope the questions posed here and throughout the scholarship in this issue inspire you to revisit your own citational practice, how you teach citations, and what citation means for the field of theatre and performance studies. If we understand citation as a summons, we can approach citation as a call to transform our field. Pamela Kierejczyk Thielman describes one model of ethical citation praxis in her Note "Citing Images of Theatre and Performance in the Classroom.". [Extracted from the article]

What does culturally responsive teaching look like in the drama classroom? As a former NYC public high school teacher and current arts practitioner and educator, I've learned that implementing lessons where students feel valued and empowered, focusing on empathy and ensemble in the classroom, removing the teacher from a central classroom role, and actively listening are all facets of both theatre education and culturally responsive teaching. The following article details lists of dramatic activities that provide pathways into students' points-of-view and voices. They are specifically formulated to help create empathy among students and promote risk-taking and perseverance. It is my hope that this article, along with its coordinating website, will serve as a toolkit for educators wanting to incorporate cultural responsiveness in their drama classrooms but are struggling with the "how.". [ABSTRACT FROM AUTHOR]