Number One
Winter 2003
Editors: Zachary Moore
David Montgomery
In This Issue
Theatrix!
Pg. 2
New Faculty
Spotlight
“Joe Salvatore”
Pg.3
Production Page
Pg. 4
Faculty Spotlight
“Laurie Brooks”
Pg. 5
New Student
Perspectives
Pg. 6
Outreach Projects
Pg. 7
Student
Reflections
Pg. 8 ,9, and 16
Partnership
Spotlight
Pg. 10
Student Spotlight
“Daphne Sicre”
Pg. 11
Summer 2004
Course Schedule
Pg. 12
Faculty
Publications
Pg. 14
Important dates
Pg. 15
EdTh News
Published Twice a Year, Winter and Summer
NYU Program in Educational Theatre*
Happenings
This past fall, the Program in Educational
Theatre welcomed twelve new students
to its freshmen class, over sixty MA
students to our three masters programs,
and three new doctoral students. These
students joined another hundred who
returned to their studies at NYU. We
appointed a new fulltime faculty member,
Professor Joe Salvatore, a storytelling
coordinator, Ms Regina Ress, and seven
new adjuncts.
The Program in Educational Theatre is
dedicated to the training of theatre
educators, teaching artists and scholars
for a variety of educational, vocational
and community contexts. The Program is
an American and international leader in
drama education.
Faculty are
recognized authorities in their field and
have published many of the formative
texts which are used in higher education
institutions across the world. The
Program and faculty have received
numerous awards for their leadership
and service, notably from the American
Alliance for Theatre and Education,
Children’s
Theatre
Foundation
of
American, College of Fellows of
American Theatre, and the Association
for Theatre in Higher Education.
Our graduates work in schools, colleges
and community centers, arts and
government agencies, cultural houses.
Many of our alumni hold prestigious
positions in universities across the US
and abroad. They are directors of
education programs at major cultural
centers, they work as teaching artists
and arts educators, performers,
dramaturges,
designers
and
administrators in varying contexts.
There is a strong sense of
community in the Program with
faculty and students jointly working
on a range of creative and academic
projects. This year, the Program
launched its theatrical season in
England
with
AH—SSESS,
a
dramatic commentary on school
assessment; followed by Theatrix!,
the student dramatic club; 5 X
Wilder, a series of one acts by
Thornton Wilder rarely performed,
and A Midsummer Night’s Dream.
Our new overhauled website is being
updated as I write, and I invite all
members of the educational theatre
community to check it out:
http://www.nyu.edu/education/music/
edtheatre/
As well, the Program has established
an elist which provides latest
updates. To get on this Ed theatre
email group, please contact Zachary
Moore
212
998
5256,
ztm200@nyu.edu
It’s all Happening in the Program in
Educational Theatre!
Philip Taylor, PhD
Director, Program in Educational
Theatre
To receive a paper copy of Ed Theatre News please call (212) 998-5868
*Established in 1966 by Lowell and Nancy Swortzell. If you would like to contribute to the
Swortzell Scholarship in Educational Theatre please check out:
www.nyu.edu/education/music/swortzell
Page 2 of 16
Theatrix! Fest 2003 –
“The work was
profound, funny,
touching, sometimes
disturbing, complex,
and highly memorable
for audience members.”
by David Montgomery
In April of 2003, a group of students got
together to form a student-run organization
dedicated to providing NYU's educational
theatre students with the opportunity to develop
and showcase creative endeavors within a
supportive community.
This goal was
successfully realized with the launching of the
Theatrix!Fest. While finding time and space to
rehearse was a challenge, the result was an
unqualified triumph for Theatrix! With exciting
workshops, mounted plays, original play
readings, and variety shows offered, there was
something for everyone to witness and/or
participate in.
The festival's first weekend opened
strongly with the fast-paced, hilarious and
skillfully performed The Complete Works of
Shakespeare Abridged. The following day found
some of us involved in a physically demanding,
inspirational, and invigorating workshop on biomechanics, (a German actor training technique),
which was led by Brewster McCall and Charles
Alexander. At night, our first variety show
brought together the singers of our program for a
fun evening of music which had a distinct
cabaret atmosphere, thanks to the co-ordination
of undergraduate student Merielle Berger. The
first weekend ended on Sunday afternoon with a
series of scenes and short plays, (some original
and some published), which showcased acting,
directing, and even mask-making talents within
our program. In the evening, Voices of Women
was presented by women in the program who
devised original material which they presented in
solo segments. The work was profound, funny,
touching, sometimes disturbing, complex, and
highly memorable for audience members.
“It is truly remarkable for
me to see the numerous
ideas and talents that
that our community has
to offer.”
The second weekend of Theatrix!Fest
began on a Thursday night with two original
readings. The first play, Different, written by
PhD student Brad Vincent, and the second play,
The Tea Exercise, written by master's student
Nina Walushka, not only gave the playwright's
the opportunity to hear their plays read with
audience feedback in a post-performance
discussion, but the actors, though they had
limited rehearsal time, gave honest, often
spontaneous and vivid performances. Friday
night was our Halloween Extravaganza, as many
of our students dressed up and participated in our
festivities in the black box, and the next day
a workshop entitled Working Well With
Others was led by master's student Stuart
Nager. The students who attended this
workshop not only laughed a lot, but they
also expressed their satisfaction with the
practical
teaching
techniques
and
conventions they learned that they could now
add to their teaching repertoire.
That
evening, Noah Kass's clever play, advice on
the upper east side, premiered with, once
again, truthful and exciting acting from its
participants. The Theatrix!Fest concluded
later that evening with a final variety show
which brought a large number of students
together for diverse acts which ranged from
singing and performing original songs with
instrument accompaniment, to physical
theatre acts, to a poetry reading and a rap.
Theatrix! has already provided
excitement in the program, and now we are
happy to report that Theatrix! has been
offered the 10th slot at the Provincetown
Playhouse. What does this mean exactly? It
means that Theatrix! has access to the
Provincetown Playhouse from March 29April 25 to mount a production of our choice.
Additionally, Theatrix! still has the black box
theatre from March 30th to April 4th to
mount one weekend of Theatrix! events.
As part of the Theatrix! Committee
which looks over student proposals for these
performance dates, it is truly remarkable for
me to see the numerous ideas and talents that
that our community has to offer. The
enthusiasm and dedication to making
Theatrix! work is strong now, and it will only
get stronger. The committee looks forward
to announcing very soon what productions
will be mounted in April. Stay tuned!
Page 2 of 16
New Faculty Spotlight ~ Joe Salvatore
Joe Salvatore is a theater artist and educator
based in Brooklyn, New York. Along with his
NYU affiliation, Joe has also taught at Long
Island University, Barnard College, and for
the Brooklyn Academy of Music, where he
also worked as the Education and Humanities
Manager. Joe serves as the Artistic /
Education Director for Learning Stages, a
non-profit youth theater company in southern
New Jersey, and he creates curriculum
materials for Dance Theater Workshop’s
school time performance series.
Joe’s most recent directing project
was 5 X Wilder: Plays from the Seven Deadly
Sins Cycle by Thornton Wilder at the
Provincetown Playhouse. Other directing
credits include Pericles with the Looking for
Shakespeare ensemble of young performers at
NYU in August 2003, August is a Thin Girl
for LAByrinth Theater Company’s 2002 Barn
Series, Cowbird at the 2001 Lincoln Center
Directors Lab, and additional projects at the
Brooklyn Arts Exchange, Learning Stages,
New WORLD Theater in Amherst, the Del
Corazon Festival in Chicago, INROADS: The
Americas in Miami, Jump-Start Performance
Space in San Antonio, Santa Fe Stages, and
the University of Massachusetts.
Joe's writing has appeared in
American Theatre, Dramatics, and Teaching
Theatre, and in the book The Color of Theatre
(Continuum Press, 2002). His play full of
grace... received the James Baldwin
Playwriting Award in 1998. Other original
works include That’s Not How You Do It,
mindlynes, Dashboard Photographs, and
fag/hag and At Wit’s End: You Are Here (both
with performance partner Kate Nugent). Joe
holds an MFA in Theater
(Dramaturgy/Directing) from the University
of Massachusetts-Amherst and a BA in
History from the University of Delaware.
Welcome To Our New Adjunct Faculty!
Peter Avery B.A. 1989, Washington
University; MFA 1999, University of
Maryland. Character Study and Motivation
Manhattan College; M.A. 2001, New
York University. Dramatic Activities in the
High School
Jason Brantman B.S. 1997, Cornell
University. Stagecraft
Evan Mueller B.A. Duke University,
M.F.A. Rutgers University. Acting I
Michael Growler B.Mus., University of
Minnesota. Costume Design
Billy Mitchell B.A. 1992, M.A. 1995,
University of Maine, Orono; A.B.D.
2003, New York University. Acting I
Sobha Kavanakudiyil B.A. Fordham
University, M.A. New York University.
Integrated Arts in Early Childhood
Education
Frances McGarry B.S. SUNY, M.A.
SUNY, Ph.D. New York University. Styles of
Acting and Directing
David Montgomery B.A. 1999, Marymount
Brad Vincent B.S.Ed. 1990, Baylor
University; M.A. 1994, University of Texas.
Intro to Educational Theatre I, Theory of
Creative Drama, Drama Activities in the
Secondary Classroom
Jenni Werner B.A. 1997, Knox College;
M.F.A. 2000, University of
Massachusetts at Amherst. Collegium
Page 2 of 16
5 x Wilder Opens
Storytelling ~ by Regina Ress
Storytelling is one of the oldest and purest
art
forms.
It
is
about
direct
communication from teller to listener. No
costumes, no sets, no fourth wall. There
is nothing to hide behind. There is the
story, the teller, the audience and the
interplay between them. There is the
space between the words, the images
formed in the imaginations of the
listeners and the individual understanding
each brings to the experience. It is a
partnership. It is a risky business!
Storytelling often has audience
participation in the form of caller
response, songs within the story, or
suggestions as to how the story should
proceed. Stories generally are learned
not memorized, allowing for the shifts,
play and interplay, and the unexpected.
It is a risky art because, when done
well, it is truly an on the moment art.
Storytelling entertains. Storytelling
teaches.
Storytelling challenges.
Storytelling transforms. Storytelling
heals. And storytelling is lots of fun!
The 2003-2004 storytelling
season at the Provincetown brings a
wide variety of professional tellers
offering programs of depth and delight. We
are so pleased you’ve come to hear the
stories, for without you, the listener, there is
no storytelling.
“Storytelling entertains.
Storytelling teaches.
Storytelling challenges.
Storytelling transforms.
Storytelling heals.”
A Midsummer Night’s Dream ~ Director’s Notes by Nan Smithner
“In
an environmental
and physical context,
we will examine
elements of dream,
passion, and
power…”
In Shakespeare’s delightful and imagistic
comedy, various planes of experience are
repeatedly contrasted -- the physical and
the metaphysical, the real and the
supernatural, the civilized and the natural
world. Existing within the play are many
small ensembles -- the world of royalty
and authority, the realm of the fairies, the
clown play of the rude mechanicals, and
the desires and complexities of the lovers'
plight. By building a strong sense of
ensemble with the entire cast I hope to
explore and develop these worlds which
delve into magical inversions of authority.
In an environmental and physical context,
we will examine elements of dream,
passion and power -- exploring notions of
transformation, of the voyeur, and of status
within many contexts -- male and female,
smart and stupid, powerful and weak.
The cast will meet several times
before the holiday break to review the text,
discuss the concept of the play and begin
ensemble building. They will reconvene
on January 12, 2004, for a quick six week
rehearsal
period
culminating
in
performances on February 26th , 27th , 28th ,
and 29th, and March 5th, 6th , 7th and 8th.
Page 2 of 16
Faculty Spotlight ~ Laurie Brooks by Zachary Moore
Laurie Brooks has written ten plays including
Imaginary friends, Selkie, A Laura Ingalls
Wilder Chrstmas, Everyday Heroes,Devon’s
Hurt, The Match Girls Gift: A Christmas
Story,
Franklins
Apprentice,
Deadly
Weapons, The Tangled Web, and, The
Wrestling Season. She has been awarded the
Distinguished Play Award by the American
Alliance for Theatre and education twice,
The John Gassner Memorial Playwriting
Award, and The Aurand Harris Memorial
Plywriting Award,. She teaches Introduction
to Theatre for Young Audiences I and II,
Beginning
Playwriting,
Advanced
Playwriting, and Changing Concepts of
Theatre for Children for New York
University’s Program in Educational Theatre.
Laurie has embarked on a new
commissioned
play
for
Graffiti
Theatre Company in Cork, Ireland. Laurie
spent ten days in Cork this month devising
with the company and Artistic Director,
Emelie FitzGibbon, familiar to many from
Ireland Study Abroad. The play will
premiere
in
Ireland
in
2005.
Laurie continues her work on the
ASSITEJ/USA Executive Board, meeting
with them this fall in Atlanta. The Board is
particularly
excited
about
the
upcoming International Festival in Montreal,
September
2005.
A reading of her play, The Wrestling
Season, took place in October in
preparation for a co-production this spring
from Nashville Children's Theatre and
Mockingbird Theatre. Laurie was in
Nashville, meeting with Director Renee
Copeland and community partners. She will
be in Nashville again in December for
the Nashville Children's Theatre production
of
A
Laura
Ingalls
Wilder
Christmas.
Laurie is this years' recipient of the
American Alliance for Theatre and
Education's Charlotte Chorpenning Cup for a
distinguished
body
of
work
for
young audiences.
I was recently given the opportunity to
interview Laurie about her work in the fields
of theatre for youth and educational theatre.
Why write plays for young audiences as
opposed to adult audiences?
At the time I began writing my
children were four, five and eight years old.
That gave me both a window into young
people and a deep interest in their particular
concerns. In fact, if you track my work you
will see how it parallels the growth of my
daughters: Joanna is the model for Ellen
Jean in Selkie, Elizabeth is Lizzie in The
Match Girl’s Gift, and Stephanie is the
inspiration for Devon’s Hurt. Later, when
they became teenagers, they (and their
friends) influenced the characters, plot and
dialogue in the four plays for young adults,
The Wrestling Season, Deadly Weapons, The
Tangled Web and Everyday Heroes.
Writing for young people is
intensely personal for me. I believe that
young people are an unrecognized minority
in this country. They have little or no power
and are often discounted, patronized and,
when they become teenagers, vilified.
Don’t get me started.
Often interviewers ask me, “How
do you write such authentic dialogue for
young people?” I just say, “I listen.”
Why is theatre for young audiences
important?
Why is theatre important for
anyone? Theatre is an aesthetic experience
that elucidates other lives and cultures,
teaches us empathy and encourages
emotional intelligence. It allows us to know
the world beyond our own small experience.
The best theatre raises questions, encourages
critical thinking and travels from personal
stories to universal concerns.
Why do you choose to teach as well as
write?
Teaching allows me to stay in touch
with the basics. Through teaching others we
teach ourselves. For me, teaching is an
enriching experience. I learn a great deal
from my students.
What are some of the issues that youth
face today that you believe are important
for theatre to address?
I never begin with issues. For me,
theatre is about characters in situations.
Playwriting is about story – characters in
action. Never issues.
What advice would you give to
future playwrights who want to
write for young audiences?
Study with the best teachers,
those who both work professionally
and teach. Spend time with children.
Talk to them. Go to the theatre as
often as you can. Read plays. Never
dumb down to children and young
adults. Always write to your smartest
audience. I like to say that children
have all the same emotions and
thought processes as adults. They just
have less experience. Write only what
you feel passionately about and never
give control of your work to someone
else. Listen to your own, authentic
voice. Write plays that explore big
questions.
What advice would you give to
future theatre educators?
Never agree, under any
circumstances, to standardize the arts.
How do you decide what to write
about?
I write what compels me. I
write plays that raise questions rather
than give answers. I am interested in
opening a dialogue with the audience.
I write characters that take me on a
journey in the writing process,
characters I love so much they become
a permanent part of me. I put them in
difficult situations then let them bleed
on the page
Page 2 of 16
New Student Perspectives
Freshman Student ~ Scott Lupi
“The best part about the
program is the package
offered.”
When I was searching for just the right
college and major, I was completely
distraught. My problem was that there were
so many different aspects of the performing
arts that I aspired to pursue, but it seemed
that there was no major broad enough to
accomplish all that I wanted. On top of all
that, while I had always had a passion for
teaching, I didn't know for sure if it was
really my calling. Then I came across the
Educational Theatre Department in the
Steinhardt School of Education and it all fell
into place. The faculty and advisement staff
were phenomenal, to say the least.
The best part about the program is
its package offered. From the Bachelor of
Science and Teaching Certification (Grades
K-12), to the performance opportunities with
all the forms of technical design to choose
from, I have found my calling. Now I'm
completely immersed in the world of theatre
and how it can be used in the classroom.
MA Student ~ Enza Giannone
Around April of this year, distraught with the
path that my life was taking, I despondently
took a walk down to NYU during a lunch
break. I was looking for a sign from my
alma mater and found one. I walked into the
NYU information center and saw the
brochure for summer study abroad and was
immediately attracted to it. The one thing I
regretted about my undergraduate studies
was that I was never able to study abroad and
it was something I knew I had to do. I
flipped through the pages and found the
Program in Educational Theatre. After much
deliberation and numerous attempts to ignore
the inner voice which kept telling me that I
might be admitting defeat as an actor if I
decided to become a teacher, I filled out the
application and was accepted to the summer
abroad program as well as the master's
program. I accepted the chance to study
abroad, receive my graduate degree AND a
teaching certificate that would allow me to
teach Theatre (K-12)! Filling out the
application was one of the best decisions I
could
have
made.
The summer program consisted of 12
credits completed in six weeks. Needless to
say it was very intense. It also consisted of
practical, hands on work. In London we
participated in workshops run by leaders in
our field. We also had the opportunity to
work directly with students in the London
schools. We were fortunate to observe their
drama classes and lead our own NYU
student-run workshops. In Ireland we also
had the opportunity to watch pieces devised
by Activate Youth Theatre, a youth theatre
company based in Cork with participants
who ranged from ages 11to 20 years of age
and once again we were given the privilege
to lead our own youth theatre
workshops. In addition to all of this
we saw the sights of London and the
magical countryside of southern
Ireland and attended 13 plays! It was
one of the most amazing experiences.
Most importantly, with the help of my
advisors, I realized that it's ok that I
love to teach and that I am not
admitting failure as a performer if I
want to be a teacher. Theatre and
Education do belong together and in
fact it is my passion as an artist that
will help me to spread the word about
the importance of theatre in one's life.
The summer abroad prepared me for
what was to come when I returned to
continue my studies on campus in
New York City
Ph. D. Student ~ Rebecca Hollander
“Why Am I here? I guess
as teachers and lovers of
education and knowledge
our goals are ongoing...to
teach and to learn.”
Why Am I Here? I graduated from the
Program in Educational theatre with my
master's degree in May, 1999. I was ready to
take on the world- I had a great job teaching
drama at one of the best schools in New
York City. I imagined my life as a teacher
twenty years down the line. Cut to...four
years and five months later. I am back at
NYU's program in Educational Theatre...a
student again, only this time with four years
of teaching under my belt. I love my kids- I
love my job- I love teaching. So why am I
back? My reasons are two-fold. First my
students; they are smart- genius smart- gifted
-bound for Harvard, Yale, or M.I.T., but one
thing I have discovered is how much drama
can teach them, impact them and help them
to work, listen and share with each other. So,
I'm back to study how I can help them moreto find ways to learn from them and teach
them at the same time. The second reason I
came back is related to my goals for the
future. Someday I'd like to share my
experiences in the field with other teachers.
For my experiences mentoring student
teachers has excited and inspired me to
teach future teachers.
Page 2 of 16
Outreach Projects
MS51 ~ By Joe Salvatore
This fall NYU’s Program in Educational
Theatre has been preparing for Year 2 of a
three-year grant from the Center for Arts
Education. The grant is a partnership with
MS51, a middle school in Park Slope,
Brooklyn, and the Metropolitan Opera Guild.
The project, spawned by the parents of the
students at MS51, focuses on integrating the
arts into core subject areas at the school.
MS51 asks its students to declare an arts
concentration in the sixth grade, and they stay
with that concentration for their three years at
the middle school. Parents, administrators,
and teachers hope that this grant will help
educate teachers in the core subject areas to
create curricular connections with the arts
disciplines.
NYU has two roles in the project.
First off, we serve as the main evaluator,
creating the evaluation and assessment report
required by the Center for Arts Education at
the end of each granting cycle. Through
professional development workshops with the
teachers at the school and observations
conducted in classrooms, we collect
information about how teachers are already
integrating the arts into their teaching practice
and in what areas those teachers need more
training. These observations lead to our
second role, which is to place NYU graduate
students participating in the Practicum in
Educational Theatre into classrooms at the
school to assist the teachers with arts
integration in the core subject areas.
Last spring, we had ten graduate
student teaching artists integrating
drama in six classrooms--three social
studies classrooms, one visual arts
classroom, one theatre classroom, and
one English language arts classroom.
This spring graduate students
in the Practicum will be working with
teachers in social studies and English
language arts to generate and
implement integrated unit plans that
utilize dramatic activities. Graduate
students interested in participating in
the Practicum should contact their
advisor or Joe Salvatore.
Shakespeare To Go ~ By Brad Vincent
We are very excited about our new outreach
project - Shakespeare to Go. The goal of
STG is to take 40 minute adapted
Shakespeare plays to schools all over New
York City. We feel that an exciting, live
version of some of Shakespeare's most
popular plays would be a great introduction
to the characters, stories, and language that
has enriched people's lives for hundreds of
years.
STG is modelled after the traveling
players that actually inspired a young Will
Shakespeare when they wandered into
Stratford and put up a play in the town
square so many years ago. Our troupe relies
on the most minimal props and costumes,
and they each can play numerous parts in the
play.
Our current production of The
Taming of the Shrew features: Lisa Shreiner,
Shannon Lynch, Jen Netz, Leslie Moore, Zac
Moore Jason Zacnitch Daryl Embry, Mike
Yurchak, Alex Serian, Michael Cunningham,
and Beau Johnson .
The play is directed by Brad
Vincent. Rumor has it that the next
play on the horizon is Julius Caesar.
lights, Maya Ishiura designed the costumes,
and Danny Ashkenasi composed original
music for the production, using the
improvisations of the ensemble. Undergrads
Michael Kimm and Katie Rogers served as
assistant director and stage manager
respectively. Former NYU professor Alistair
Martin-Smith served as the artistic director
for the project.
Throughout the five weeks, the
ensemble members explored the various
worlds of Shakespeare’s complex play, while
designing their own costumes. They also
developed original writings about water and
personal journey, two prevalent themes in the
play, and these pieces served as the transition
moments between the scenes from Pericles’
life. The ensemble presented two public
performances and was featured as
part of the joint ATHE/AATE
National Conference.
Theatre
educators from throughout the
country had the opportunity to see
the performance by this very
talented group of young people.
Youth Theatre ~ By Joe Salvatore
In the summer of 2003, NYU’s Program in
Educational Theatre hosted its annual
Looking for Shakespeare project.
This
summer youth theatre ensemble, composed of
twenty-six middle school and high school
students from throughout the metropolitan
region, worked for five weeks to create an
original adaptation of Shakespeare’s romance,
Pericles. The ensemble was assisted by ten
NYU graduate students taking the Practicum
in Educational Theatre. Graduate students
helped with speech and diction, analysis and
interpretation, and with various production
elements and responsibilities.
The production was directed by Joe
Salvatore and dramaturged by Jenni Werner.
Educational Theatre alum Spica Wobbe
designed the sets, Cris Dopher designed the
Plans are already underway
for the summer 2004 project. Any
graduate students interested in
taking Shakespeare’s Theatre and
working with the youth theatre
ensemble on an original adaptation
of Romeo and Juliet should contact
Joe Salvatore at 212.998.5266 or
joe.salvatore@nyu.edu.
Page 8 of 16
Reflections From the Aquarium ~ By John D. Newman
As the sixteen member ensemble met with
Jonothan Neelands, the day before the first
drama session at the International Drama in
Education
Research
Institute
in
Northampton, England, we knew that we
would serve as participants in the drama
praxis sessions and that we would be
observed as we did so. What we didn’t
visualize was how many people would be
looking on. When someone inquired about
the number, Jonothan yawned, “Oh, around
a hundred and sixty…”
To my surprise, he didn’t laugh.
Neither did anyone else.
That
fact
that
observers
outnumbered participants ten to one was
daunting. We were tropical fish in a
hexagonal aquarium, with three hundred
and twenty magnified eyes looking on. The
first morning, we instinctively gathered in
a tight circle in the middle of the dance
studio as observers filled the benches
against the six sides of the space. Despite
my initial trepidation, I was relatively
unaware of the natural observers. I found
it surprisingly to “be” in the drama little
sense of “performing” for others.
However, there were moments
when the audience was included in the
scope of the drama. On the last day, the
sixteen of us were arranged in concentric
circles facing outward. The inner circle of
voices spoke to the next circle, which
spoke to the next, which spoke to the
hexagon of observers and onlookers behind
the windows. The impact of the drama
rippled through the participants in the
aquarium, through the audience and
beyond.
While we think of process drama
as a non-audience event, we are often
observed in our drama work by
supervisors, researchers, and fellow
students. Perhaps it would be more useful
to regard process drama as an event with
less audience focus rather than no audience
focus to allow us to acknowledge, reflect
on, and refine the audience components in
our work.
I was impressed by many of the
approaches that Jonothan Neelands used
during the sessions. What impressed me
most
was the courage Jonothan
demonstrated in putting himself, his ideas,
and his practice to the scrutiny of his
peers.
Before the praxis sessions
were reflected, or, more accurately,
refracted, in the final presentations of
the research groups, Jonothan prefaced
the session with three points: (1)
observers only get a partial view from
the outside (2) critique of drama praxis
should be aimed at empowering rather
than inspecting the teacher and (3)
those on the outside should be
cautious in assuming that they know
more about what’s happening than
those on the inside.
Our
experience
in
Northampton allowed us the rare
opportunity to observe the dynamics
of a master practitioner from within
his dramatic creation.
My Experience being Ahh-sessed ~ By Jonathan Jones
At first look, the text, Assessment:
Putting the Pieces Together, by Lisa
Donovan, gave me a moment of
“shock and awe.” The script is in no
way active, nor is it meant to be. From
the ethnographic framework which
created the piece, this in-action is
completely acceptable, however, from
an actors’ perspective and a
performance perspective, creating
action and drama was a challenge.
Our headings, anal probes,
lock step, cookie cutter, MCAS,
question, pressure points, and
imagination, emerged from director
Philip Taylor’s structure. He saw in
the text a progression starting with the
inherent difficulties in assessment
based education, to the concerns and
dilemmas held by the classroom
teacher, to the expectations of school
administrators, to the frustrations
borne out of such a situation, resulting
in the questions and possibilities that
can move the system forward – a light
at the end of the tunnel.
This illumination in Dr.
Taylor’s conceptualization of the
structure of the piece refers quite clearly
to his mantra, “Action, Reflection,
Transformation!” Dr. Taylor saw the text
as a fitting piece for presentation at both
the IDIERI conference in Northampton
and the Forum on Arts Assessment here
at NYU. The presentation of the work
can be viewed as the ‘action’. A
structured plenary response at the Forum
by Dr. Judith Ackroyd, and also informal
dialogue among conference participants
after both presentations can be viewed as
the ‘reflection’. The ‘transformation’
was left to the participants of both
conferences, in that they might reconceptualize
their
ideas
about
assessment and open a dialogue voicing
the
concerns
from
both
the
administrative and classroom teacher
perspectives.
Ah-ssess was a creative endeavor which
engaged the talents and commitments of
several members of the program in
Educational Theatre. Joe Salvatore’s
work with Ms. Donovan on the structure
and format of the script helped to
reign in the divergent ideas
expressed in the text. Noah Kass
offered a rap influenced by the ideas
expressed in the piece, which helped
to elucidate some of these ideas for
the audience, relating them to
current
events
and
social
conundrums equally pressing on the
classroom
teacher.
The
characterizations
and
physicalizations created by the cast
(including myself, Mr. Kass, David
Montgomery, Elizabeth Stephan,
Brad Vincent, and Jessie Weber)
helped put a face to the voices that
Ms. Donovan wanted to be heard.
Philip Taylor’s vision in his
direction created a palatable and
cohesive presentation, making use
of key words that fully exemplified
the thematic elements of the text.
Page 9 of 16
Study Abroad ~ By Lisa Schreiner
“We construct meaning according to
the circumstances we’re in,” said
Philip Taylor as he opened the
formal address at IDIERI Goes 4th in
Northampton this summer, which I
attended smack middle of my studies
abroad. If this is true, then going to
England and Ireland to begin my
master’s degree in Educational
Theatre at NYU was the best choice
I could have made for myself. Living
in another culture stimulated my
thinking brain to its fullest capacity
and made the knowledge I received
there all the more rich. However, if
my surroundings hadn’t inspired me
to seize the day the intensity of the
program would have forced me to.
Sleep? Who needs it? I can sleep
for the rest of my life, and besides,
there were just too many wonderful
things to do. England and Ireland
are amazing places to grapple with
the interaction between ideas,
theater events and youth, because
the people there are so good at it.
New York City is of course a full and
dynamic place to see and study
theater, however, to do so while
observing and collaborating with
outstanding
English
and
Irish
facilitators on a daily basis is a
special opportunity.
To attend professional performances
at places such as Shakespeare’s
Globe, Stratford upon Avon, The
Abbey Theatre, Graffiti Theatre
Company and Siamsa Tire, Ireland’s
National Folk Theatre was unique
and specific to this summer only and
infused my studies with top notch
artistic endeavors.
The reflective
journal I kept there, as well as the
library I amassed of lesson plans,
teaching tools, and workshop
exercises will prove a significant
launching pad for many future
endeavors.
And finally, team
teaching young people with my
colleagues, whose histories also
taught
me
much,
created
opportunities for deep reflection and
critical thinking about the kind of
teacher and artist I aspire to be.
Now that I’m back in New York,
these experiences resonate with
everything I do here by informing and
extending my comprehension of
current studies and activities. Best
of all, it was just lovely to walk into
my fall classes and be greeted and
embraced by so many familiar faces.
Not only did the summer grant me
new friends, but I came to a fuller
understanding of the significance of
offering young people meaningful
experiences, and hopefully, my
newfound abilities to create
poignant
and
powerful
circumstances will be all the
stronger
for
my
having
participated in such an insightful
one myself.
Research Spotlight ~ By Jay Pecora
“I had long wondered
how students
experience and process
the more horrifying
aspects of history….”
During the fall semester of the 2003 –
2004 school year, I conducted
practitioner
research
for
my
dissertation at an alternative high
school in a large, northeastern city in
the United States. As a high school
social studies teacher I had long
wondered how students experience
and process the more horrifying
aspects of history exposed to them by
teachers. After adding classroom
drama to the course in an attempt to
strengthen my students’ personal
understanding of the Holocaust the
answer to this question became
imperative to understanding the
relationship between process drama
and difficult historical materials. My
study presents some of the findings
from the qualitative study that emerged
from
these
concerns.
The curriculum examined was the
intersection of three distinct
disciplines: process drama, social
studies education, and Holocaust
studies. Over a sixteen-week
semester I collected data in the
form of log entries and engaged
students as co-researchers. They
contributed their insights through
interviews, journal entries and their
individual assignments. Readers
of my dissertation will have the
opportunity to hear about the
experience of exploring the difficult
history of the Holocaust in the
teacher/researcher
and
student/researcher’s
unique
voices.
Page 10 of 16
Partnership Spotlight ~ The New Victory Theatre ~ By David Kilpatrick
The New Victory Theater is buzzing this
fall, especially with the help of many
undergraduate and graduate students
from the Program in Educational
Theatre!
Rachel Hull and Daron
Hawkins, two MA students in the
Program, are working with the Education
Department as Apprentices. They have
been heavily involved in writing and
editing the organization’s resource
guides, called School Tools, and have
gone into schools to assist in pre- and
post-show classroom workshops. The
Schooltime Performance Series has
benefited greatly from their involvement
as well.
At the same time, many
undergraduate Collegium students have
had the opportunity to work as ushers
during
the
weekday
education
performances. Caroline Abellas, Kristin
Barca, Kelly Delaney, Michelle Healy,
Arianna Lechan, Haruka Mori, Samantha
Nathan and Kate Neidorff are the
students involved.
Besides learning about typical
front-of-house duties, these students
have had the chance to see all of the
eclectic programming on The New
Victory stage, ranging from South
Korea’s Cookin’ to Theatre de la Jeune’s
Hamlet
Rounding out this exciting fall,
the Education Department has, for the
first time, hired a team of Teaching
Artists to accompany staff into the
classrooms
and
during
weekend
workshops.
Recent MA recipient
Courtney Boddie joined the department
as an Education Associate in September
and administers the team, whose
members’ skills cover the full spectrum
of the performing arts.
The team
includes another Program alumni, Spica
Wobbe!
Applications for the spring
Apprentice Program can be found at
www.newvictory.org and are due by
December
8th.
E-mail
apprenticeprogram@new42.org for more
information.
“Besides
learning
about typical front-of-house
duties, these students have had
the chance to see all of the
eclectic programming on The
New Victory stage, ranging
from South Korea’s Cookin’ to
Theatre de la Jeune’s Hamlet.”
The
New
Victory
Theater presents a year-round
season of the highest quality
professional works, crossing all
artistic genres, and celebrating
New York's culturally diverse
traditions.
Daytime
school
programs,
pre-performance
family workshops and theater
apprenticeships for high school
and college students are offered
in an effort to forge a needed
connection
between
the
performing arts and tomorrow's
theater audiences.
Faculty Book Launch
Applied
Theatre:
Creating
Transformative Encounters in the
Community by Philip Taylor was
launched by Lawrence Ferrara at NYU,
December 2003
The
book
was
recently
published by Heinemann and the
Foreword was written by Tom Barone “I
am convinced that the book Applied
Theatre like applied theatre itself can
unleash us from our constrained visions
of what the arts in general, and the
theatre in particular, can be, and of what
they can help us become.” --Tom
Barone, Arizona State University
Applied theatre is both a term
and a movement that's gathering
momentum. The movement springs from
the desire to change or transform human
behavior through the medium of theatre.
In this book, Philip Taylor offers
strategies for using theatre to raise
awareness,
propose
alternatives,
provide
healing,
and
implement
community
change.
Anndrama.com/shared/p
roducts/E00535.asp
As Professor Taylor demonstrates,
applied theatre teaches us to teach
others, helps communities deal with
issues, and gives voice to the views of
the silent and the marginal. In numerous
examples, Taylor shows exactly how the
theatrical art form is being harnessed to
help communities question aspects of
who they are and what they aspire to be.
Further Information:
http://www.heinemanndrama.com/shared
/products/E00535.asp
NYU students have the opportunity to
study applied theatre in Dublin next
summer.
Page 11 of 16
Student Spotlight ~ Daphne Sicre, M.A. Candidate
For the first time ever in North Miami
Beach Sr. High, Florida, a young cast
of Advanced Acting Students joined
forces
with
AP
Spanish
Literature students to create a play about
the oppression of Latin American high
school immigrants to the United States.
Using techniques learned from this
summer's Educational Theatre courses;
including Boal's theatre of the oppressed,
six African American kids from Ms.
Daphnie Sicre's Advance acting class
and seven Hispanic kids from AP
Spanish
literature
develop together
a play for Hispanic Heritage month.
Previously, the Spanish Literature
students had never acted before or even
interacted with the Drama students.
Working together these students
had a lot of stereotypes to overcome,
since Latinos and African-American
students tend not to mix at NMB especially if the Latinos are recent
immigrates to the United States. "It was
interesting to work with students whom
I’ve never met before. The funny thing
about it is that they were familiar faces,
yet I’ve never communicated with them
before. I was actually impressed with
their stories about their triumphs over
adversities", said senior Gregory
Geffrard, a Haitian drama student.
First time actor and sophomore, Angel
Rosado said, "Coming to practice for the
first time was a strange experience for
me because I had to meet so many
people and had to get used to being
around them. But after I got to know
everyone, it was cool because we always
joked around and we were laughing. I
guess I was really scared of going on the
stage in front of all the people. But at the
end it all paid off, because now, if I had
to do it again, I wouldn’t think twice
about it."
After struggling with language
barriers, rewrites of the script, confusion,
stress and sometimes a lack of
understanding, the play was performed
on Oct. 9, 2003 in honor of Hispanic
Heritage to a predominantly African
American school community. It was
performed twice, once for the students
during school hours and then in the
evening to the local community. Both
performances met with great success.
The play and it's process of creation
taught a lesson on prejudice, and how in
reality students can get along no matter
where they come from or what the color
of their skin is. "This was perhaps the
hardest thing I have ever put on. I had to
deal with keeping my patience in an
ensemble setting and trying to
understand the fact that this was the first
time performing for many. Also, that we
all came from different backgrounds and
cultures," said another Haitian drama
student, Marckenson Charles. "Let's not
forget, not knowing what the script said,
or what the show would look like until a
week before we opened was insane. But
this is an experience I wouldn't give
back," said Charles.
“Working together these
students had a lot of
stereotypes to
overcome…”
Page 12 of 16
Summer 2004 Course Schedule
First Summer Session (May 17 – June 25)
TOTAL CLASSES OFFERED:
EDTH CLASSES OFFERED:
CAT CLASSES OFFERED:
12
2
10
E17.2023
IMAGES OF WOMEN IN THEATRE
MTWR 6.30pm-8.45pm 5/17 – 6/4 3 credits
SMITHNER
E17.2952
LEARNING THROUGH THEATRE:
The Theory and Practice of TIE
MTWRFU 10AM-5PM & TBA 5/17-5/23 3 credits
CAT STAFF
E17.2152
THEATRE PRACTICES:
Problems in Play Production
MTWR 6.30pm - 8.45pm
6/7 -- 6/25 3 credits
SWORTZELL
E17.2960
DRAMA WITH SPECIAL POPULATIONS
LEVEL I
F 6:30-9:30PM, S 10AM-5PM 5/21 & 5/22 1 credit
Class meets with E17.2961 & E17.2962
GRANET
E17.2961
DRAMA WITH SPECIAL POPULATIONS
LEVEL II
F 6:30-9:30PM, S 10AM-5PM 6/4 & 6/5 1 credit
Class meets with E17.2960 & E17.2962
GRANET
E17.2962
DRAMA WITH SPECIAL POPULATIONS
LEVEL III
F 6:30-9:30PM, S 10AM-5PM 6/18 & 6/19 1 credit
Class meets with E17.2960 & E17.2961
GRANET
E17.2971
TEACHING LITERACY THROUGH DRAMA
U 10AM-5PM, M 4-6:15PM 6/6 & 6/7 1 credit
Class meets with E17.2972 & E17.2973
CARR
E17.2972
CREATING EDUCATIONAL THEATRE SCRIPTS
TWR 4-6:15PM, S 10Am-1PM 6/7-7/12 1 credit
Class meets with E17.2971 & E17.2973
CARR
E17.2973
EXPLORING LITERATURE THROUGH DRAMA
S 2-5PM, U 10AM-5PM 6/12 & 13 1 credit
Class meets with E17.2971 & E17.2972
FLETCHER
Page 13 of 16
CREATING THEATRE WITH
YOUNG PEOPLE II: PLAYBUILDING*
UMTWRFS 10AM-5PM 6/20 – 6/30 & TBA 3 credits
WHITE
E17.2990
CURRENT EVENTS IN EDUCATIONAL DRAMA
TBA 1-6 credits
CAT STAFF
E17.2999
CREATIVE ARTS TEAM: PRACTICUM
IN DRAMA-IN-EDUCATION
TBA 1-6 credits
CAT STAFF
Second Summer Session (June 28 – August 6)
TOTAL CLASSES OFFERED :
EDTH CLASSES OFFERED:
CAT CLASSES OFFERED:
11
11
0
E17.2171
SHAKESPEARE'S THEATRE 1
MTWRF 9.00am-4.00pm 6/28--7/16
SALVATORE
E17.2131
THEATRE OF EUGENE O'NEILL
MTWR 6.30-8.45pm
6/28--7/16
SWORTZELL
E17.2135
CHANGING CONCEPTS OF
THEATRE FOR CHILDREN
MTWR 6.30-8.45pm
7/19--8/6
BROOKS
E17.2031
DRAMATIC ACTIVITIES IN THE
HIGH SCHOOL
MTWR 3.45pm-6.00pm
7/19--8/6
EDTH STAFF
E17.100001
IND STUDY
1-4 points
TAYLOR
E17.230001
IND STUDY
1-4 points
SMITHNER
E17.230101
PRAC IN EDUC THEATRE
1-6 points
SALVATORE
Study Abroad
LONDON
E17.2172099
June 28-July 19
SHAKESPEARE'S THEATRE II
TAYLOR
E17.2133099
DRAMA WITH AND FOR CHILDREN
TAYLOR
DUBLIN
E17.2101099
July 22-August 12
APPLIED THEATRE I
TAYLOR
E17.2101099
APPLIED THEATRE II
SALVATORE
Page 14 of 16
Did You Know?
That the faculty in the program has published 28 books and monographs, and 27 published plays.
Many of these titles have been used in programs across the US and the world since 1968. Here’s some of
them:
Published Plays
BROOKS, L. (2002) Deadly Weapons, Dramatic Publishing.
BROOKS, L. (2001) Devon’s Hurt, Dramatic Publishing.
BROOKS, L. (2000) The Wrestling Season, Dramatic Publishing.
BROOKS, L. (1997) Selkie, Anchorage Press.
McCASLIN, N. Legends in Action, Players Press.
McCASLIN, N. The Rabbit Who Wanted Red Winds, Dramatic Publishing Co.
McCASLIN, N. The Young King, Row-Peterson.
SWORTZELL, L. (1999) The Nutcracker and the Mouse-King, The Twelve Plays of Christmas. Applause
Books
SWORTZELL, L. (1995) The Shepherds of St. Francis. Dramatic Publishing Company.
(Also included in The Twelve Plays of Christmas. Applause Books, 1999.)
.SWORTZELL, L. (1994) The Mischief Makers, New Plays, Inc.
(Also included in anthology Theatre for Young Audiences: Twenty Great Plays for Children,
edited by Coleman Jennings. St. Martin's Press, 1998.)
SWORTZELL, L. (1992) Cinderella: The World's Favorite Fairy Tale. New Plays, Inc.
Books and Monographs Published
McCASLIN, N. (1989) Shows on a Shoestring, New Plays, Inc. (Chinese Translation, 1999).
McCASLIN, N (1968) Creative Drama in the Classroom, Longman, Inc.
(5th ed., 1996, Players Press. paperback).
McCASLIN, N. (2000) Creative Drama in the Classroom and Beyond, Longman, Inc.
McCASLIN, N. (1975) Children and Drama, Longman Inc.
SWORTZELL, L. (1997) Editor. Around the World in Twenty One Plays: A Theatre for Young and
Adolescent Audiences. Applause Books.
Softbound edition published by Applause 2001. Featured as an alternate for the last four years by
Stage and Screen Book club.
SWORTZELL, L. (1996) The Theatre of Aurand Harris: America's Most Produced Playwright for Young
Audiences. His Career, His Theories, His Plays. Anchorage Press. "Distinguished Book of the
Year" Award, American Alliance for Theatre and Education.
SWORTZELL, L. (1992) Editor. Eugene O'Neill in China. Co-edited with Liu Haiping. Greenwood
Press. Includes original essay on the stage history of The Emperor Jones.
SWORTZELL L. (1990) International Guide to Children's Theatre and Educational Theatre.
Greenwood Press. Winner: "Distinguished Book of the Year" Award, American Alliance for
Page 15 of 16
Theatre and Education. Choice Award for Outstanding ReferenceBook.
TAYLOR, P. & Warner, C. (in press) Structure and Spontaneity, Stoke on Trent: Trentham.
TAYLOR, P. (2003) Applied Theatre: Creating Transformative Encounters in the Classroom, New
Hampshire: Heinemann
TAYLOR, P. (2000) The Drama Classroom: Action, Reflection, Transformation, London:
RoutledgeFalmer Press.
TAYLOR, P. (1998) Redcoats and Patriots: Reflective Practice in Drama and Social Studies, New
Hampshire: Heinemann.
TAYLOR, P. (1996) Editor, Researching Drama and Arts Education: Paradigms and Possibilities. London:
Falmer.
THOMSON, L. (2002) Between the Lines: The Process of Dramaturgy, co-editor with Judith
Rudakoff. Playwrights Canada Press and distributed in the U.S. by Theater Communications
Group; in Europe and the U.K. by Nick Hern Books
Important Dates ~ Spring 2004
January 2004
20: First Day of Classes
February 2004
2: Last day for torchtone or Albert
registration for spring 2004—UG
9: Last day of torchtone or Albert
registration for spring 2004—GE
16: Presidents’ Day - Holiday
26 – 29: A Midsummer’s Night Dream
performances (please see
article for more detailed information)
March 2004
4 – 7: A Midsummer’s Night Dream
performances (please see
article for more detailed information)
15-20: Spring Recess
April 2004
1 – 4: Theatrixfest (please see article for more
information)
12: Registration for Fall 2004 semester begins-MAKE SURE TO MAKE AN APPOINTMENT
WITH YOUR ADVISOR PRIOR TO YOUR
REGISTRATION DATE!!
22 -25: Theatrix at the Provincetown Playhouse
(please see article for more information)
May 2004
3: Last day of spring term classes
4: Reading day
5 – 12: Spring Finals
13: Commencement
31: Memorial Day - Holiday
Page 16 of 16
Program In
Educational Theatre
82 Washington Square
East
Pless Annex 223
New York, NY 100036680
PHONE:
(212) 998-5856
FAX:
(212) 995-4569
E-MAIL:
Ed.theatre@nyu.edu
We’re on the Web!
See us at:
www.nyu.edu/education/
music/edtheatre
“I can’t wait to
come back….”
What The Program Has Offered Me ~ By Julian Lazarus, M.A. Student
As a High School Drama Teacher, in
Howard County Maryland, I have
found the Graduate Educational
Theatre program at NYU to be an
incredibly rewarding and insightful
experience. I began working in the
program this past summer (2003) and
simply had a blast. By offering the
program over three summers I am
able to not only study and travel the
world, but also able to focus on my
normal job with very little
interference between the two. This
past summer was a wonderful chance
to meet and speak with other
professionals in my field and share
ideas with them. I found the
professors to be open and generous
with their time and knowledge.
Many of the activities I participated
in this past summer found their way
into my curriculum for this school
year. Currently I am working on
Streetcar Named Desire with my
students. The production company I
started with my Stagecraft class built
the set. The company is called
Center Line Production and we
design and build sets for other
schools in the county that can't do it
for themselves. The idea is to
improve the quality of drama
throughout the county. We have had
the opportunity to include a special
ed student in the play that is from the
life skills program. We are also
participating in the Cappies peer play
review program this year and are
having reviews of the play published
in the Washington Post and Baltimore
Sun. I was able to learn and
incorporate so much form the last
summer I can't wait to come back
next summer.
“I found the
professors to be
open and
generous…”
“The idea is to
improve the
quality of drama
throughout the
country.”
If you would like to contribute to the next EdTh News, please submit all contributions to David Montgomery
(dm635@nyu.edu) by March, 2004. If you would like to provide feedback on what you like or what you think could be
improved on this newsletter, or you need to be added to the E-list please contact Zachary Moore (ztm200@nyu.edu).