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The article explores I don't know what version of this essay she ended up submitting for her college applications. In the end, she graduated as valedictorian and was accepted into many of the colleges she wanted. In her valedictory speech, she praised her mother for all her many "sacrifices" and said she hoped that in her "new life in college" she could find ways to "give back" and make her mother proud.

Ryerson University theatre professor Natalie Alvarez is currently helming a large, interdisciplinary team in southern Ontario that is testing the power of Forum Theatre to build better, more responsive scenarios for police officer training in de-escalation and mental crisis response. In this interview, Alvarez sits down with issue editor Kim Solga to talk about where this project came from, what challenges arise when working in an intensively interdisciplinary way – and how theatre and performance can serve effectively as a methodology at the heart of a wide range of scholarly investigations, both inside and outside of the arts and humanities. [ABSTRACT FROM AUTHOR]

In Nancy, France, at the Centre for Theatre Training and Research, Kerry attended a workshop with Jerzy Grotowski, whose work at his Theatre Laboratory in Poland was exciting the European theatre world. Grotowski and his leading actors taught the international students their basic approach to actor training and dramaturgy. The work was intense, rigorous and spiritual, and had a profound effect on her. On her return to Melbourne, keen to share her discoveries of the intensity and power of Grotowski's work with colleagues from university theatre days, she found that they were engaged in fostering a new Australian theatre. It was 'Ocker' theatre with a decidedly male point of view and in no way sacred. Determined for women's voices to be heard, Kerry and a group of women created Betty Can Jump, a powerful, witty, provocative feminist theatre piece at the Pram Factory, partly in response also to Grotowski's question to her, 'Who are you?'. [ABSTRACT FROM AUTHOR]

The article reports on training actors for the digital age. Topics discussed include the Stanislavski methodology for teaching in college theater programs, actor training programs, and repetitiveness of body posture required by electronic devices primarily cellphones) require which causes physical ailments.

Copyright of Forum Modernes Theater is the property of Narr Francke Attempto Verlag GmbH & Co.KG 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 theater audiences decline society-wide, university theater programs have felt the impact, with many being cut back as institutions face difficult economic decisions. The Tacoma Theater Project at the University of Washington-Tacoma is an innovative effort to resist this trend. By working with professional theater groups in a partnership inspired by a collective insourcing model, the university uses its resources to support fringe theater groups in order to diversify and grow the local audience. [ABSTRACT FROM AUTHOR]

The article reviews the Anatomical theatre of the Archiginnasio, which designed by Antonio Levanti in the University of Bologna in Bologna, Italy, and mentions the linden-wood statues which are present on the walls of the theatre.

Viewpoints are a structural approach to training and directing for theatre. Originating from the innovative, inventive and exploratory approach of Mary Overlie and the self-confessed scavenger approach of Anne Bogart, Viewpoints offers a practical philosophy of working. As a training approach it begins with a disciplined engagement of the body in space and time. The tangible elements of the Viewpoints provide a set of tasks on which the student can focus, thus freeing the imagination and spirit to create. Yet at the same time the systematic logic of Viewpoints supports novice practitioners to begin to question their perception, invest in creative practice that demands action and exploration, and to deconstruct, re-organise and rebuild scores and sequences in the pursuit of theatre that is visceral and visual. This essay reports on undergraduate student experiences of learning Viewpoints. It interrogates the demands of embodied learning of the movement/structural system on non-dancers and examines student-actor experiences of embodied learning from multiple of subject positions – observer/participant/creator/reflector/actor. [ABSTRACT FROM AUTHOR]

This article examines the role of theatrical performance as a means of addressing the embodied and spatio-temporal manifestations of race and racism within South African higher education. As part of Jansen's proposal for a post-conflict pedagogy in South Africa, the article argues for the development and inclusion of embodied knowledges as an appropriate means of addressing issues of diversity and social transformation on South African campuses. Through a case study of one theatrical production aimed at tackling issues of diversity with incoming first year students at Rhodes University, it is argued that it was the embodied processes that the student performers in the production did that enabled them to interrogate the complexities of power and identity. The article suggests a move from intellectualised and abstracted engagements with race towards pedagogical methods that involve embodiment that, in this case, facilitated significant shifts in thinking about race and racial privilege amongst white students. [ABSTRACT FROM PUBLISHER]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana 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 Loucultura project was started as a university extension activity in December 2010. This work describes the experience of Loucultura, an amateur touring university theatre group. Theatre is a dramatic art based on representations of times, situations, or problems. It involves a collective social practice that is able to link the real with the imaginary through an irreverent means of communication. Here, stagecraft was used as an interactive tool to facilitate the establishment of communication between academics, actors, and the audience. The objective can be understood as having educational and motivational aspects, and included consideration of the role of emotions in the development of health-promoting actions. It is concluded that the combination of health education with dynamic and innovative teaching practices, such as the university theatre, can make a positive contribution to interdisciplinary development. [ABSTRACT FROM AUTHOR]

At a time when our graduates are facing a world of ever more perplexing change and when funding for university arts is coming increasingly under threat, this paper is perhaps a means of reminding ourselves of our subject's strength ... of its value to university curricula and its clear contribution to the international creative economies. In this sense, the following paragraphs are as much about sharing with colleagues what it is that the study of performance does well as with making suggestions for enhancement. Notwithstanding this, the article concludes by suggesting ways in which deep approach learning can be applied to the study of performance, and its argument throughout is that performance study and actor training are weakened by boutique borrowing and the making of false promise. [ABSTRACT FROM AUTHOR]

After the democratic revolution, alongside with all political changes, the biennium of 1975 76 was a transition period also rich in diverse cultural experiences and representations. Usually within academic sites, which then integrated a heterogeneous urban young middle class, emerged experiences in the field of theatre, indicating an attitude of independence. This article intends to recognize the strategies developed by a significant sector of students in order to build processes of construction and definition of urban cultural resistance throughout this period [ABSTRACT FROM AUTHOR]

In this article, the author discusses dance artist Rudolf Laban's principles of form and movement with students in a university theatre program. The author focuses on Laban's unique ability to restore amicable relations between students' internal feeling life and their external performing life. It mentions that Laban's work helps students build a bridge across their perceived internal-external divide, and finally serves as a key that unlocks unacknowledged imaginative potential.

The purpose of this article is to strengthen the theoretical foundation that supports the theater fact, to decipher the role of the pedagogue and theater pedagogy in the university theater growth in the region and in the implementation of the practice in the theater education processes in the classroom. As a vision of teaching theater as pedagogical poetry, our experience and reflections in the Scenic Direction area, we formulate the pedagogical principles proposed by Maria Knébel and the key principle in scenic direction: the construction of wholeness and the ability to connect all points in that wholeness, referring to the constant problematic in the actor and director's educational processes in our environment. [ABSTRACT FROM AUTHOR]

The article reports on academic-related developments in the U.S. The construction of a theater at the central unit of the Music and Speech Building at the University of Alabama campus was completed. Mary Louise Gehring has resigned as director of debate at Mississippi Southern College. Wilbert Pronovost of Boston University has served as special consultant for the third annual conference for speech correction held at the University of Florida.

The article presents the author's views on the American educational theatre of the college and the community which have the potential to wield great influence on the stream of its culture. He comments that educational theatre seems weak and unimportant when compared to the impact professional stage and screen theatres have to the society. The author also believes on the failure of the educational theatres to learn about the needs of the present-day student.