Illinois School Research11 (3): 19–27.Zachariah, M., and R. Moreno. Dozens of bins full of learning materials lined shelves around the room, eachmarked with real-life pictures of the contents, helping students to keep materials organizedand in the right spot. Conejo Players Youth Theatre Presents Home for the Holidays Added by Carol Miller on December 5, 2020. Sociometry 6: 434–49.Munsch, R. 1999. Once thescene had concluded, all students joined together on the communal carpet.Reflecting Upon the Dramatic ExperienceAt the conclusion of each session, Mrs. Greene invited children to engage in an oral, wholegroup discussion and reflection period that provided them an opportunity to share theirthoughts and feelings toward the events in the session. Arts-based inquiry: Performing revolutionary pedagogy. He may also have had difficulty understandingexactly what was occurring in the activities due to his low level of English languagecomprehension. Back issues of YTJ must now be ordered directly from Taylor and Francis. Found inside – Page 242In addition to numerous published articles and workshops at national and international conferences, he is on the editorial board of Youth Theatre Journal, ... Buy at photos.djournal.comCinderella (Charlotte Armistead), left, meets her Prince Charming (Chael Williams) in Tupelo Community Theatre's summer youth production of "Cinderella." Adam . 1999. 2002. Because“sociodrama can be adapted to any age group” (Zachariah and Moreno 2006, 161), “earlyInfluences in Children’s Sociodrama Explorations 163experiences literally provide the organizing framework for our brains” (Eisler and Levine2002, 18), and “the brain is malleable all throughout life, but much more so in the earlyyears” (Eisler and Levine 2002, 20), this study seeks to explore how sociodrama activitiesare experienced by senior kindergarten students.Research DesignInspired by a/r/tography (Irwin and de Cosson, 2004), eleven senior kindergarten students (six male and five female) and their teacher (Mrs. Greene) participated in twelvesociodramatic workshops. Lessons from these youth theatre practitioners were shared with US-based youth of color in Baltimore, Atlanta and Connecticut to lift underrepresented perspectives in health policy and local issues, initiate effective discussions within local communities, and share lessons learned with a global audience. *FREE* shipping on qualifying offers. Youth Theatre Journal is published twice a year by Routledge/Taylor and Francis Group. Manon van de Water & Geesche Wartemann (guest eds. Here are 25 short reproducible readers theatre scripts on Social Studies topics that students (elementary through high school) study. Trans. The sociodrama facilitator should be flexible and attempt to implement allsuggestions in activities and discussion, allowing the direction of the sociodrama to ebband flow with the expressed needs and desires of participants. These papers are intended to be used for research and reference purposes only. Often,when a student was not following these rules and routines, Mrs. Greene would stop whatever she was saying or doing to redirect the student’s attention or address the problembehavior by calling the student’s name, stopping and waiting for the student’s attention,asking the student to move to and sit in another area of the carpet or classroom, and inInfluences in Children’s Sociodrama Explorations 169extreme circumstances, removing the student from the carpet and moving him or her to asolitary chair in another area of the room. Divining intoxication. This confusion and disorganization hindered the spontaneity of thesociodramas and prevented students from claiming the scenes as their own. Aswell, Mrs. Greene had taught the majority of these students junior kindergarten in theprevious year, resulting in this being their second year together. Journal of Group Psychotherapy,Psychodrama, & Sociometry 58 (4): 157–67. However, according to Gregoire and Lupinetti (2005), the arts, includingdrama, are accessible by all, including students for whom English is a second language.172 D. M. Pecaski McLennanRegardless of a student’s native language, he or she can participate actively in the artsusing their nonverbal and creative capacities (for example, creative movement). London: Routledge.Rohd, M. 1999. London: Routledge.Springgay, S., R. Irwin, and S. Wilson Kind. Over time, the use and evolution of sociodrama in such diverse contexts has resulted in a lack of a universally accepteddefinition or description of pure sociodrama. Duringwarm-up exercises that required participants to engage in large, bold movements, it wasnoted that students often appeared limited to walking around the many tables and chairsin the room, resulting in them bumping into one another or needing to pause and wait forothers to move out of the way before proceeding. Racine, WI: A Golden Book Publishing Co.Ministry of Education. She was providedwith written, structural descriptions of the sociodrama techniques three weeks prior to thecommencement of the study and conversed with me through extensive phone and e-mailcorrespondence prior to and throughout the twelve workshops. We share everything! Using deliberate prompting, she helped children to bring forth the issue through clear characterizationand dialogue between characters. Saved under Entertainment , Life , Press Releases , Thousand Oaks/Newbury Park/Westlake/ Oak Park/Agoura Caring, a feminine approach to ethics & moral education. DSDHA completes National Youth Theatre expansion. Youth Theatre Journal, v16 p71-87 2002. E-mail: dramaqueenbee@yahoo.ca160Influences in Children’s Sociodrama Explorations 161sociodrama and the impact of three external influences—the school environment, the classroom teacher, and the students themselves—on student spontaneity and response within thesociodrama workshops (Pecaski McLennan, 2007).Educational SociodramaSociodrama was first conceptualized by Moreno (1943) in response to the social and political turmoil he experienced working with children and refugees following World War I. Hebelieved that each person regardless of his or her situation had the potential to creativelyexplore and express him or herself. Found inside – Page 606“Myths or Reality: Addressing the Problem of Age in Russian Theatre Today,” Youth Theatre Journal 8/4 (1994): 7–14. ———. “Who Invented Theatre, or One ... Group Analysis 31: 179–95.Levine, D. 2002. JO - Youth Theatre Journal. It is not rehearsal for orrepresentation of reality, but reality itself.Irwin (2004) states that a/r/tographers are continuously exploring how to collect,present, and represent educational inquiry. In the Visual Arts and Performing Arts research field, the Quartile of Youth Theatre Journal is Q2. A/r/tography is a never-ending continuity of exploration.“Thought and action are inextricably linked, and through a hermeneutic circle of interpretation and understanding, new knowledge affects existing knowledge that in turn affectsthe freshly conceived existing knowledge” (Irwin 2004, 34). In Handbook of qualitativeresearch, ed. Boulder, CO: Westview Press.Noddings, N. 1996. In A/r/tography: Rendering self through arts-based living inquiry, ed.R. AU - Murray, Beth. Feldman (2003) posits that a teacher’s praisecan have both positive and negative impacts on students. In the center of the room, was the “learning” carpet, where studentsgathered at the beginning and ending of their school day, engaging in curriculum-drivenlessons or reading stories and engaging in discussion together. PY - 1992. AATE Networks. I wondered whether thesociodrama could be used to provide these young children with opportunities to engagein authentic, collaborative, and democratic experiences that would provide freedom forthem to explore personal and collective problems. Milwaukee Journal Sentinel View Comments The owner of the historic Modjeska Theatre, on Milwaukee's south side, is seeking proposals to redevelop the long-closed building. This approach is quite unique to the atmosphere of standardsbased accountability that currently exists in many of today’s classrooms and does notalways consider or represent young children’s needs, abilities, or interests (Aina 1998;Aronson 2004; Diaz Soto and Swadener 2002; Garcia 1999; Grumet 1988; Intrator 2005;Noddings 1984, 1995).The Sociodramatic Workshops—Creating an Aesthetic of Kinder-CaringDue to the young age of the participants and their limited exposure to sociodramatic exercises and activities, the workshops were designed following steps so that students couldbecome familiar with and comfortable working in the dramatic art form. Canadian Journal of Research in Early ChildhoodEducation 7 (2): 159–68.Amatruda, M. J. Sociodrama. Games for actors and non-actors. http://ccfi.educ.ubc.ca/publication/insights/v09n01/articles/intro.html (accessed January 5,2006).Howard, L. A. Youth Theatre Journal is published twice a year by Routledge/Taylor and Francis Group. Korean Journal of Counseling &Psychotherapy 10 (1): 251–71.Sinner, A. This book is a journey into the dual territory of educational and theatrical settings. It may be harder forpeople of very different backgrounds to find common interests or concerns to collectivelyexplore than it would be for a homogeneous group of people. Found insideThis book explores how people play and why their play matters, with a particular interest in how ludic experiences are often constructed and controlled by the interests of institutions, including corporations, non-profit organizations, ... Although the purpose for remaining in the classroom was to encourage comfortand trust among students while discouraging outside interruptions, staging the workshopsin a larger space (e.g., gym or library) might have encouraged more freedom in movementsor levels of participation.Established classroom rules and routines. Since its founding in 1998, the nonprofit Modjeska Youth Theatre had provided at-risk youth ages 7 to 21 with opportunities to sing, dance and perform in theater and musical productions. Strategies for helping children: Developing and utilizing caring attitudes in earlychildhood and primary grade classrooms. Submit an article . Assistant Professor of Music Education . Doing so portrayed the individual and collective livedmoments and evolving artistic abilities within the drama. Non-members and others wishing to subscribe to Youth Theatre Journal should contact Geraldine Richards at [email protected]. Creating art andeducation is not something that is done. In Katz, Noddings, and Strike 1999.Pecaski McLennan, D. M. 2007. The theater's board members work closely with the Youth Council members on shows to help the kids keep all the moving components of a theatrical production on track. Digital Edition: DSDHA completes National Youth Theatre expansion. Trans. 1995. Scattered aroundit were pictures of the children in action throughout the year: posing in front of the playground equipment, participating in special assemblies, playing in activity centers in theirclassroom.Although the classroom was warm and bright, it was a very small environmentthat was overflowing with materials. YVJ™ is published by RJ4All Publications and is ranked and indexed by Scopus, ORCID, Kudos, Criminal Justice Abstracts, EBSCO and ERIH PLUS. University of Maryland, College Park . He withdrew from class activities and discussions.Field notes and reflexive journal entries reveal that students often became quite irritated over the constant interruptions occurring as a result of Ethan and Matt’s behavioralproblems. It aims to facilitate the exchange of knowledge throughout the international theatrical community for the mutual benefit of all interested scholars and artists. 2003, July. From the third workshop through the eighth, Ethan participatedsporadically throughout the activities, often engaging in the warm-ups with much teacherprompting and encouragement. Found insideThat’s why Joan Lazarus has gathered here the insights of hundreds of secondary school theatre teachers and teaching artists on how they have responded to the shifting demands of theatre education in today’s schools. 2001. Students were between five and sixyears of age and from varied cultural and ethnic backgrounds and middle-to-high socioeconomic status, with all but one student speaking the English language fluently. All Rights Reserved. 2005. Sign up for our (low-volume) newsletter below! Apr 6 . Youth Theatre Journal 18:87-106. This process would often interrupt an already in-progress activity, resulting in the need for theremaining students to stop their actions and wait for Mrs. Greene before resuming theiractivities.Despite Mrs. Greene’s high expectations for student compliance with establishedclassroom routines and behaviors, she frequently encouraged students to take risks anduse their creativity within the workshops. Conejo Players Youth Theatre . Only children who willingly volunteered were assigned a character, and nonactors were asked to serve as spectators on thecarpet area as the audience. PhD diss., Univ. Found inside – Page 159Digital storytelling and youth: Toward critically engaged praxis. Youth Theatre Journal, 29, 1–14. https://doi.org/10.1080/08929092.2015.102 0184 Beare, D., ... A. Miller. Youth Theatre Journal is a refereed journal which draws its contributions from a wide community of researchers, philosophers, educators, and performance theorists. Applied Theatre; College/University/Research; Early Childhood; High School; Playwriting; K-8; Professional Theatre Network; Youth Theatre . He often appeared unsure of how to proceed with a game orsociodrama scene and relied on the direction of others. ER - Collins RB. Found insideThis book shares TO s goal of engaging the collective to create generative conversations among readers which look deeply into the issues of community through theatre - whether in India or Indiana - and to work with young people to name ... The joker’s role is to initiate a fair proceedingof the sociodrama, ensuring that those participants who wish to express their opinions inrole as actors or spectators have a voice that can be heard in the activities. Eligibility: Open to any creative practitioner of any discipline based in Scotland. Youth Theatre Journal 14 (2000): 42-58. Londonand New York: Routledge.Boal, A. Exploring the impact of cultural norms on creativity at work. An Odyssey of Masquers: The Everyman Players: Youth Theatre Journal. Both of these boys were observed to have multiple behavioral problems,including a lack of respect for their peers and inattention to the classroom activities. Justice and caring: The search for common groundin education. T2 - Youth Theatre Journal. It is lived experience. I metaphorically compared this classroom to a well-oiled machine in field notes and reflexive journal entries,as the classroom often seemed to run itself (Pecaski McLennan, 2007). The journal focuses of the dissemination of ideas relating to practical and theoretical developments in the field of theatre and performance by, with, and for children and youth and drama/theatre education. Digital Edition: DSDHA completes National Youth Theatre expansion. The journal focuses on the dissemination of ideas relating to practical and theoretical developments in the field of theatre and performance by, with, and for children and youth and . Philadelphia: Univ. The group from Shetland is one of 10 to be been chosen to take part . 23 ISSN: 0892-9092 (Print), 1948-4798 (Online) After examining and reflecting upon the data in this study, one of themost interesting observations for me was that although the young students appeared verycapable of working within the sociodramatic format and evolving as exploratory artistswith each successive workshop, their explorations did not appear to be as pure in authenticity as true sociodrama aspires to be. (Journal photo by Ron Agnir) Mary Poppins (Ashley Fink) and Bert (Chase Kipps) enjoy the rooftop view. This lack of experience or comfort working within theart form may have impacted student freedom within the workshops. New York: Puffin Books.Wiener, R. 1997. Found insideWritten as an invaluable resource for professionals and postgraduates engaged in performance theory, this collection of informative essays will also provide critical reading for those interested in drama and theatre studies more broadly. During each workshop, I acted as the nonparticipant observer, documenting the emerging themes from student explorations throughvarious artistic texts including transcripts of sessions, field notes, oral statements from students, interviews and personal correspondence with Mrs. Greene, and a reflexive journal.This qualitative data helped to shape my understanding of the students’ experiences fromthe workshops.Using modified activities inspired by the work of both Moreno (1943) and Boal (1985,1995, 1998, 2002, 2006)—including warm-up games and activities, main sociodrama roleplay and explorations, and concluding discussions and reflection periods—the childrenwere provided repeated opportunities to examine, enact, role-play, reenact, and reflect uponissues, themes, and ideas of personal and collective importance. This involvement became short lived asMatt’s disruptive behavior quickly escalated in the fifth through twelfth workshops, resulting in multiple disruptions to the work of his peers within the sociodrama scenes. UnlikeEthan, whose behavior was mainly self-disruptive, Matt appeared to purposely sabotagethe work of others around him, engaging in such behaviors as making noises, touchingpeople, pretending to shoot his peers with his fingers, touching other students, and movinginto the personal space of others. 2007. 23 From the journal editor_YTJ Vol. In Caregiving: Readings in knowledge, practice, ethicsand politics, ed. The concept of sociodrama: A new approach to the problem of interculturalrelations. Atlantic Highlands, NJ: Humanities Press.Wells, R. 1997. A certain set of drama skills is an asset for participants exploringsociodrama; these skills include an understanding of what a character is, how to improviseInfluences in Children’s Sociodrama Explorations 173dialogue between characters, how to use the body (for example, gestures, facial expressions, leveling and positioning the body in scenes), and how to portray emotions usingtone of voice and body language. This website uses cookies to ensure you get the best experience. We are an independent think tank and publishing house, working at the junction of youth policy, youth research, youth media and youth work. A. Jackson. Email us at curious@youthpolicy.org or call us at +49 30 8847.5363. Dramaticactivities often prompt students to use language differently than more traditional classroomsubjects, such as math and science (Ernst-Slavit and Wenger 1998).Ethan’s increasingly disruptive behavior often interrupted his peers in their work.Mrs. Two students, Ethanand Matt, appeared to become uninvolved and disinterested participants by the conclusionof the study, even though each was a moderately involved member at the commencementof the workshops. Cooks, gardeners, cleaners, etc. Auditions announced for BR Ballet Theatre's Youth Ballet. In the second workshop, Ethan began to display some distracting behavior that often appeared to prevent hisparticipation in the activities. Theatre of Good Intentions examines limitations of theatre in the creation of social and political change. This book looks at some of the reasons why achieving such goals is hard; examining what theatre can and can't do. Because a/r/tography is living work, representing an a/r/tographer’s questions, practices, understandings, and textsis challenging. These activities complement the sociodrama activities outlined inTheatre of the Oppressed (Boal, 1985) and are similar in nature to the learning-based playand art activities (for example, drawing, play dough sculpture, music) that are everydaycomponents of a kindergarten classroom in Ontario (Ministry of Education, 2006).Understanding the ProblemThe first step in our sociodrama sessions was to engage the children in warm-up activities tohelp them relax and encourage a feeling of cohesion and community within the classroom.Our warm-ups were based on Boal’s (2002) Games for Actors and Non-Actors. For further information, please contact catriona.patterson@creativecarbonscotland.com (Catriona Patterson), or call 0131 529 7909, or visit . ofCalifornia Press.Noddings, N. 1995. Youth Theatre Journal, v8 n2 p9-13 1993 Explores the beliefs of an elementary school teacher who consistently used drama in her classroom. Journal ofGroup Psychotherapy, Psychodrama, & Sociometry 58 (4): 168–81.Apple, M. W. 1982. The books We Share Everything! LEWISBURG — Participants are now being sought for the Buffalo Valley Youth Theatre Camp, scheduled for Monday, June 28 to Friday, July 9 at St. Mary Street Park, Lewisburg. This invaluable manual from world-renowned expert Johnny Saldaña illuminates the process of qualitative coding and provides clear, insightful guidance for qualitative researchers at all levels. London: Routledge.Way, B. Routledge/ Tayler&Francis Group. © 2020 American Alliance for Theatre & Education, Youth Theatre Journal is a refereed journal that draws contributions from a wide and varied community of researchers, educators, artists, philosophers, administrators and theorists. New York: Bergin and Garvey.Trzinski, A., and J. Higgins. Shetland Youth Theatre has been selected to perform a new play in the National Theatre's digital Connections Festival 2021. Unlike visual artistswho have a piece of tangible artwork, dramatic moments have the potential to become lostor misrepresented. The senior kindergarten classroom in this studywas a clean, bright, lively place, filled with colorful toys and learning materials. In this study, the ongoing reflexive journaling was woven with observationsof the sociodrama workshops in an effort to artistically explore and represent the observedmoments within the dramas. London: Tavistock/Routledge.Mayer, M. 1983. A specificnumber of instructional minutes were committed to specific subject areas such as language,mathematics, and science, and if the sociodrama activities were not completed within theirscheduled time, they had to be ended so students could move on to the next subject. SCRANTON — The Scranton Cultural Center Youth Theatre Program brings a "tale as old as time" to life on the center's historic main stage as cast members performed their production of "Beauty and the Beast The Broadway Musical" April 20-22. 50 talking about this. AU - Saldaña, Johnny Students in this study had very little experience using dramatic arts in the classroom. 2005. Moreno envisioned sociodrama to be a group actionmethod, which allowed participants an outlet to dramatize social situations and issues ofpersonal and collective importance while discovering alternative ways of coping with orresolving these problems. 1967. 2 September 2021 By Fran Williams. Found insideBy bringing together a variety of artistic perspectives to discuss common goals and particular concerns related to casting, this volume features the insights and experiences of a broad range of practitioners and experts across the field. 3 become the sort of people that archaeologists are. Perhaps he was too distracted to observe in detail or followalong with the events of the workshops. You will also enjoy singing and dancing, as well as holiday favorites played by our talented youth on their musical instruments. This website uses cookies to ensure you get the best experience. These behavior modifications and redirectionswere observed being used with a number of students and in every workshop. This student diversity mayhave impacted the depth of exploration, discussion, and reflection that occurred in eachworkshop session.ConclusionPorter (2004) encourages a/r/tographers to bring their art form directly to students in aneffort to affect educational environments. 1992. The gamelike nature was very similar to the types of activities within which they frequently engagedin their kindergarten classroom.Selecting the Focus of ExplorationThe next step was for children to engage in a group discussion to help them select thefocus of collaborative exploration in the remaining sociodramatic activities. AU - Garcia, Lorenzo. 1999. Youth Theatre Journal is a refereed journal which draws its contributions from a wide community of researchers, philosophers, educators, and performance theorists. There are often rigid and invisible expectations in place in schools that limit the range of student expression and experience duringclass time (de Cosson et al. Los Angeles: California Association for Bilingual Education. Halifax, NS, and Toronto, ON, Canada: Backalong Books and Centre forArts-Informed Research.de Cosson, A., R. Irwin, K. Grauer, and S. Wilson. Using sociodrama to improve communication and understanding. P. B. Uhrmacher and J. Matts. This engaging, intercultural journal offers descriptive and analytical articles, original plays and play… Matt’s behavior was a constant disruption, as Mrs. Greenehad to stop whatever she was doing or saying to redirect or discipline him. As I go through the Epic Stages course at the National Youth Theatre I will be doing a daily diary.Don't forget to give a bit of love and support by subscrib. Youth Theatre Journal | Read 414 articles with impact on ResearchGate, the professional network for scientists. 2001. Using modified activities inspired by the works of both Moreno (1943) andBoal (1985, 1995, 1998, 2002, 2006), students discovered that they held the power tomodify their own responses and behaviors in specific social situations. Youth Theatre Journal is published twice a year by Routledge/Taylor and Francis Group. DSDHA has completed a £2.5 million scheme to expand the National Youth Theatre's (NYT) home in Islington, north London. Perhaps students werenot as comfortable working within the sociodrama as they would have been, had they moreexperience and training. Click on a pathway for a more detailed view. A/r/tography: A metonymic metissage. T1 - Three decade drama/theatre and (for/with/by/about) youth crowd-sourced timeline. The narrator, El Gallo, asks the audience to use their imagination and follow him into a world of moonlight and magic. Y1 - 1992. . With support, children role-played the initial problem orissue from the chosen story and discussion. TY - JOUR. NewYork: Continuum International Publishing Group Inc.Sime, H. S., and J. H. Lee. "The Exmouth Youth Theatre teaches young people creative and practical skills, and builds self-confidence and fosters teamwork." In 2019, the group put on its first ever production - Annie Jr - and received nominations for the NODA South West Youth Award for company singing, company characterisation and for the best youth production. A comparative analysis on the therapeutic factors of thepsychodrama and sociodrama for juvenile delinquents. Found insideThis volume offers researchers and practitioners new perspectives on applied theatre work, exploring the relationship between applied theatre and its intent, success and value. M3 - Other contribution. Kenneth Elpus . Found inside – Page 961Theatre and drama for empowerment: The immigrant experience. In L. McCammon & D. McLauchlan et al. ... Youth Theatre Journal, 14. 13-25. Garcia, L. (2000). Thousand Oaks, CA: Sage.Freeman, D. 1968. Unlikemore traditional theatre activities that engage artists in the creation of a final performanceor product, sociodrama immerses participants within the process of aesthetic explorationthrough specific dramatic exercises and activities. Thesis, Australian andNew Zealand Psychodrama Association.Intrator, S. M. 2005. Workingtogether, combining our passions for the domains of dramatic arts and kindergarten, weattempted to create an environment in the classroom that began to encourage studentexploration in sociodrama. Cultural pedagogy: Art/education/politics. Thank you for considering YTJ and if you have questions, please contact our Scholarship & Research Co-Chairs: Gus Weltsek III, [email protected], or Lenora Inez Brown, [email protected]. Contemporary Issues in Early Childhood 3 (1): 38–66.Eckloff, M. 2006. Supporting diversity through the arts. Theatre of the oppressed. Multiculturalism and diversity in drama/theatre education: A preconference. In particular, as an early yearseducator, I was extremely interested in whether sociodrama might be incorporated into akindergarten classroom for use with children five and six years of age as a catalyst for theexploration and resolution of child-centered issues of importance. From the ninth workshop throughthe conclusion of the study, Ethan’s behavior during the activities became a great distraction to his peers. ISSN: 1948-4798,1948-4798,0892-9092 Está en índices de citas (Scopus) = +3.5Está en dos o más bases datos de indización y resumen o en DOAJ (, International Bibliography of Theatre & Dance (IBTD), Performing Arts Periodicals Database, EBSCO Education Source, Educational research abstracts (ERA), MLA - Modern Language Association Database) = 3+2 = 5 However, it appeared difficult forher to remain unbiased and neutral, as she often needed to step beyond the role of joker andinto her established role as the “teacher” in the classroom. Found inside – Page 90Since the establishment of the Kattaikkuttu Youth Theatre School , girls from age seven to fourteen who want to become kattaikkuttu performers have emerged ... Boston: Routledge.Aronson, E. 2004. Amherst: Univ. Core Arts Standards; Grades K-4; Grades 5-8; Grades 9-12; Scholarship Opportunities; Career Center; Networking. 23 From the guest editor_YTJ Vol. 27, Number 2. Found insideCriticalessays on children's theatre appear primarily in Youth TheatreJournal, ... If essaysconcerning children's theatreare published in “adult” journals, ... It appeared as though influences beyond the students’control indirectly influenced the shape and scope of their dramatic explorations. announcements, yearbook interviews, unscheduled principal visitsto the classroom, and parent volunteers coming in and out of the classroom. One of the most interesting themes to emerge from examiningstudent experiences in this study was that of students whose participation and commitmentto the drama appeared to decrease with each successive workshop.

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