Concentrated Study in Educational Theatre
The NYU Program in Educational Theatre provides concentrated study in three areas:
I.
II.
III.
Drama Education
Applied Theatre – Community based initiatives
Play Production for Artists and Educators
By concentrated study, we mean areas of specialization in the broad field of educational
theatre in which the program has particular expertise. Potential applicants to NYU, as
well as current students, will find detailed descriptions of each concentration area
enclosed. As well, a recommended reading is included for each section.
We believe you will find these descriptions comprehensive and illuminating in that they
cover the broad terrain of the program’s work. Nonetheless, these areas are not meant to
delimit your focus, but rather they highlight those fields of study where we can offer the
most support and where our reputation has been built.
If you have any questions of how your area of interest fits into our concentrated study, or
if your questions are not answered through the following descriptions, then please contact
the appropriate academic advisors, or make an appointment with the program office to
speak to an advisor over the phone or in person:
Program Office
Administration:
ed.theatre@nyu.edu Phone: 212.998.5868
Ms. Julia Spanja: jbs263@nyu.edu
BS (ETHR)
Dr. Christina Marín: cm120@nyu.edu
Mr. Joseph Salvatore: js1655@nyu.edu
Dr. Nancy Smithner: ns23@nyu.edu
MA (EDTA)
MA (ETED)
Mr. Joseph Salvatore: js1655@nyu.edu
Dr. Nancy Smithner: ns23@nyu.edu
MA (EDTC)
Dr. Christina Marín: cm120@nyu.edu
Ms. Desiree Hamburger: dph239@nyu.edu
EdD/ PhD (EDTH/EDTC) Dr. Philip Taylor: pt15@nyu.edu
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DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
JOSEPH AND VIOLET PLESS HALL
82 WASHINGTON SQUARE EAST, 223
NEW YORK, NY 10003-6680
TELEPHONE: 212.998.5868
FAX: 212.995.4569
EMAIL: ed.theatre@nyu.edu
CONCENTRATED STUDY III: Play Production for Artists and Educators
The Program in Educational Theatre provides many course offerings in the areas of
Acting and Directing, Technical Theatre and Design, Theatre History and Criticism, and
Dramaturgy and Dramatic Literature. We embrace the philosophy that in order to teach
dramatic skills on the elementary, secondary and college level, a student must have a
thorough understanding of acting techniques, a strong knowledge of dramatic literature,
and an in depth comprehension of the workings and management of the stage. The
Program also encourages a thorough grounding in theatre history and criticism, dramatic
literature and dramaturgy. A suite of historical and theoretical courses provide a strong
literary foundation in critical thinking and dramatic textual analysis.
In addition to a range of classes in which students can develop performance and design
techniques through practical coursework and delve into dramatic literature, they are
encouraged to audition for four productions that are held each year. There are also many
opportunities for students to participate in theatrical works in the capacities of director,
producer, designer, dramaturg and playwright. Two productions a year are overseen by
students, and offer them the chance to direct, write and produce either their own work, or
the texts and performance concepts of well-known or new playwrights of both young and
adult audiences.
Graduates hold teaching and senior university posts worldwide; they develop artist in
residency programs; they write and implement curriculum resources; and they lead
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performance and production companies in urban and rural landscapes. Alumni hold
notable positions as artists, educators, academics and producers.
At NYU, baccalaureate through doctoral students study how they can effectively use
dramatic knowledge and theatrical techniques to promote learning and create new and
compelling productions in academic, professional and community settings. The Program
is committed to developing future leaders and artist-practitioners who:
•
•
•
•
Bring a strong knowledge of cultural and historical theatrical practices to schools
and communities
Develop a thorough knowledge of performance and staging techniques
Comprehend the many angles of making, creating and assessing these practices
Apply a rich variety of performance and production techniques in diverse contexts
What are Theatrical Production, Performance, and Literary Foundations at NYU?
The Program in Educational Theatre is committed to cultivating the artist who teaches
and the teacher who is an artist. Through an extensive suite of production and
performance-based courses, undergraduate and graduate students study and train in the
art form of theatre. This training is fundamental for artists and teachers who want to use
the theatre for educational purposes, as well as for those who want to pass on their craft
to students. Through this course of study, production and performance values are linked
to academic foundations through the study of theatrical styles and genres, dramatic
literature, and theatre history and criticism.
Students have countless opportunities to perform, direct, and design in a variety of studio
settings. In acting classes, students perform scenes and monologues from classical and
contemporary works and receive constructive feedback from instructors and peers. In
directing courses, students cast and direct their peers, exploring their own directorial style
and approach to creating material. Design courses (set, costume, and lighting) focus on
developing the visual aesthetic of a production through the creation of models, drawings,
renderings, and design plots. Students have the opportunity to create original plays and
performance pieces in courses such as Physical Theatre, Creative Play in the Arts, and
Seminar in Applied Theatre.
Beyond coursework, students have the opportunity to participate in the Program’s
production season, which consists of at least ten performance projects per year, some of
which are in conjunction with the Department of Music and Performing Arts Professions.
This production season allows students to apply what they are learning in their
production and performance-based courses to the actual act of creating an original
production. In the Program, faculty members direct two productions a year, and the
Program’s student-run company, Theatrix!, presents two productions a year including a
festival of new and experimental work and a fully-designed production. Students may
also audition to participate in a touring company, Shakespeare to Go, which performs two
plays in repertory to over 30 schools throughout the New York City metropolitan area.
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Each summer the Program also sponsors the Looking for Shakespeare project and The
New Plays for Young Audiences, both at the historic Provincetown Playhouse. Looking
for Shakespeare brings middle and high school students, NYU graduate students, and a
professional production staff together to create an original adaptation of one of
Shakespeare’s plays. The New Plays for Young Audience series provides students with
the opportunity to work with leading playwrights to workshop four new plays for young
audiences.
Here are some specific examples of how performance and production are manifested in
the Program in Education Theatre at NYU:
•
NYU undergraduate and graduate students create and perform a production of
Bertolt Brecht’s Caucasian Chalk Circle at the Provincetown Playhouse. Many of
the students have just finished the course, Theatre of Brecht and Beckett, where
they have read plays and
created production books.
Audiences for the
production include the
NYU community, the
New York community at
large, and high school
students from Manhattan,
Brooklyn, and Queens.
•
The “Shakespeare to Go” ensemble performs Taming of the Shrew for 500
students at a high school in Brooklyn. After the performance the high school
students invite the company to a
birthday party for Shakespeare.
One teacher reported, “You can
show them a video, but they don’t
care. Seeing it live makes it a
totally different experience. They
get it. They really get it.”
•
Eighteen students work with a faculty member
to create an original performance collage called
(m)BODY that explores moral, aesthetic and
social aspects of body image. Many of these
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students have taken Physical Theatre and Improvisation, learning acting
techniques that focus on conveying meaning through physicality and creating
original physical theatre performance pieces in pairs and groups.
•
Another faculty member collaborates with a playwright and seven students to
create a new play, transfigured, that deals with a violent homophobic attack that
occurred at a prep school in
Massachusetts. Many of these
students have taken Styles of
Acting and Directing II, which, a
special focus for the semester,
has explored plays by and about
gay, lesbian, bisexual, and
transgender people. The students
performed and directed scenes
from plays by Tennessee
Williams, Tony Kushner, Paula
Vogel, Lisa Kron, Moisés
Kaufman, Diana Son, Holly
Hughes, Craig Lucas, Tim Miller, and others. The course also examines how these
playwrights have contributed to the canon, and how teachers can effectively convey these
themes and relate them to work in their own classrooms.
•
Graduate students learn strategies for bringing stories to life theatrically in the
courses Dramatic Activities in the Elementary Classroom, Introduction to Theatre
for Young Audiences, and Storytelling, and then work with a faculty member to
devise a piece for young audiences. The resulting show, Folktale Journey: Old
Stories Told in New Ways, depicts stories from around the world through
movement and music. Folktale Journey performs at the Provincetown Playhouse
for the general public as well as to invited New York City elementary school
students, and an accompanying resource guide for classroom teachers is created
by NYU students involved in the project.
Courses of Study
Our comprehensive group of performance and production courses falls into four major
categories:
•
•
•
•
Acting and Directing
Technical Theatre and Design
Theatre History and Criticism
Dramaturgy and Dramatic Literature
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Acting and Directing
The Acting Sequence provides a series of acting classes that offer a strong foundation in
Stanislavski/Uta Hagen based method acting. Students begin by learning basic
improvisational and acting skills, and build to explore scene study, monologue and
character work and more advanced improvisational techniques.
E17.1050 Acting: Fundamentals
E17.1051 Acting: Scene Study
E17.1052 Acting: Character Study
This series of courses offer a
foundation upon which to build the
technique needed to do the actor’s
job: to live truthfully under the
imaginary circumstances of the
play. In the first section of this
Stanislavski/Uta Hagen based
approach, Acting: Fundamentals,
students participate in a guided
study of self-observation and apply
discoveries to scene work. In the
second offering, Acting: Scene
Study, students continue their exploration with in depth scene and monologue preparation
from the contemporary stage. Studio work will focus on the given circumstances,
creating a physical life for the character, and mining the relationships that drive the play.
The third course, Acting: Character Study, provides an advanced exploration into the
tools and techniques of creating character within the context of the “world of the play.”
Through script analysis and attention to style, students will learn how to create the
imaginary world in which the character lives. Scenes will be selected from both
contemporary and classical genres.
Texts that have been used for these courses include:
Barrish, S. (2000) An Actor’s Companion: 99 Bits of Craft. TBG Publishing.
Barton, R. (1992) Style for Actors. McGraw-Hill Humanities/Social Sciences/Languages.
Bruder, M. (1986) A Practical Handbook for the Actor. Vintage.
Chekhov, M. (1991) On the Technique of Acting. Collins.
Cole, T & H. Chinoy, eds. (1995) Actors on Acting. Three Rivers Press.
Hagen, U. (1991) A Challenge for the Actor. Scribner.
Stanislavski, C. (1926, 1989) An Actor Prepares. Theatre Arts Books, Reprint Edition.
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The following performance courses are designed to develop skills and enhance
knowledge of theatrical art forms.
E17.1113 Physical Theatre Improvisation
This course entails the study of the art of improvisation through the layering of words,
sound and movement. There is focus on vocal and movement techniques and tools
including atmosphere, imagery, gesture, isolation, abstraction, timing, rhythm, spatial
awareness, character development, body graphics, and the theories of Yakim, Delsarte
and Laban. The creation of original material will also be studied.
Texts that have been used for this course include:
Dennis, A. (1995) The Articulate Body: The Physical Training of the Actor. NY: Drama
Books.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre. NY:
Routledge.
Montanaro, T. (1995) Mime Spoken Here: The Performers Portable Workshop. Maine:
Tilbury House.
Wangh, S. (2000) An Acrobat of the Heart: A Physical Approach to Acting Inspired by
the Work of Jerzy Grotowski. NY: Vintage.
Yakim, M. (1990) Creating a Character: A Physical Approach to Acting. NY: Back
Stage Books.
Zaporah, R. (1995) Action Theatre: The Improvisation of Presence. CA: North Atlantic
Books.
E17.1108 Studies in Acting
This intensive workshop course is
designed to acquaint directors, actors,
and teachers with the fundamental
requisites of acting. Prominent
theories are examined and practiced
in monologue and scene study.
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Texts that have been used for this course include:
Hagen, Uta. (1973) Respect for Acting. NY: Macmillan Publishers.
Chekhov, M. (1991) On the Technique of Acting. NY: HarperCollins.
E17.1099/1100 Styles of Acting and Directing I & II
This is a course in performance styles and techniques for actors, director, designers,
teachers, and those interested in the practical application of theatre history and criticism.
Scenes and movement styles from period plays (Greek, Shakespearean, Neo-classical
French, Restoration, Realism, and Departures from Realism) are studied, acted and
directed. The course may also have a special focus such as queer theatre, commedia or
Asian theatre.
Texts that have been used for this course include:
Barton, R, (1993) Style for Actors. CA: Mayfield.
Crawford, J. (1995) Acting: In Person and in Style. WI: Brown and Benchmark.
Harrop, J. (1990) Acting with Style. NJ: Prentice Hall.
St. Denis, M. (1960) Theatre: The Rediscovery of Style. NY: Theatre Arts Books.
E17.1108 Studies in Directing
This intensive workshop course
helps the student “think like a
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director, as the head of a “creative committee.” Scenes or short pieces are prepared from
the ground up and students explore and discuss every aspect of the director’s process,
from inception to performance. For the novice directing student, this course provides an
excellent introduction to the elements of the director’s craft. For the experienced
director, it offers an opportunity to sharpen already existing skills and a chance to explore
new techniques and methods within the rehearsal process.
Texts that have been used for this course include:
Chekhov, M. (1984) To the Director and Playwright. NY: Limelight.
Cohen, R. and John Harrop. (1984) Creative Play Direction. NJ: Prentice Hall.
Marowitz, Charles. (1998) “Otherness: the Director and the Discovery of the Actor,” New
Theatre Quarterly 53, XIV, 1: 3-8.
Shapiro, Mel. (1998) The Director’s Companion. Fort Worth: Harcourt Brace College
Publishers.
E17.1081 Directing
E17.2098 Advanced Directing
These courses begin with a basic exploration of the directing process: working with
actors, understanding a play in context, script analysis and dramatization, the dynamics of
the stage, and the rehearsal process and organization. Students then move on to a mastery
of directing in the following areas: communication with actors and writers, concept and
vision, script analysis and interpretation, director/designer relationship, languages of the
stage and the use of theatre space, production values and elements, and
production/rehearsal organization. Through a discussion and exploration of performance
aesthetics, original works are devised and directed.
Texts that have been used for these
courses include:
Ahart, J. (2000) The Director’s Eye.
Colorado Springs: Meriwether
Publishing Ltd.
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Ball, W. (1984) A Sense of Direction. NY: Drama Book Publishers.
Bogart, A. (2001) A Director Prepares. NY and London: Routledge.
Brook, P. (1968) The Empty Space. NY: Simon & Schuster.
Dean, A. and L. Carra. (1989) Fundamentals of Play Directing. NY: Holt Rinehart and
Winston.
Clurman, H. (1972) On Directing. NY: Simon and Schuster.
Cole, T. and H. Chinoy. (1970) Directors on Directing. NY: Macmillan Publishers.
Dixon, M. and Joel A. Smith, eds. (1995) Anne Bogart Viewpoints. NH: Smith and
Kraus.
Green, A. (1994) The Revisionist Stage. Cambridge: Cambridge University Press.
LeNoir, N. "Improving Director/Dramaturg Collaboration," Voice of the Dramaturg:
Journal of the Southeastern Theatre Conference, 3.
Rees, M. & J. Staniunas. (2002) Between Director and Actor: Strategies for Effective
Performance. NH: Heinemann.
Schechner, R. (1994) Environmental Theatre. NY: Applause.
Schneider, R. and G. Cody. (2002) Re:direction: A theoretical and practical guide.
London and NY: Routledge.
Technical Theatre and Design
This strand of instruction focuses on developing skills in the technical areas of theatre
production including design, construction, and execution.
E17.0009 Stagecraft
E17.1017 Design for the Stage
E17.1079 Masks and Puppetry
E17.1143 Stage Lighting
E17.1175 Costume Design
These practical courses
explore theatre
architecture, using tools,
planning, building,
painting, mounting
scenery and constructing
props in conjunction with
university productions.
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Through a series of class projects in drafting, model making, and sketching, students will
be exposed to the basics of stage, costume and lighting design. In the mask class,
students will learn to make light-weight masks that can be used in performance.
Character masks, comic masks, demonic masks, half masks, full face masks, giant heads,
as well as basic hand puppet construction are explored.
In this strand of coursework, students learn to work visually, in collaboration with
directors and other designers, incorporating both historical and conceptual research into
set design for both classical and contemporary plays. Students gain valuable hands on
experience through laboratory hours in which they help build sets, run lights, create
masks, puppets and make costumes for departmental productions.
Texts for these courses might include:
Aronson, A. (1985) American Set Design. Theatre Communications Group.
Campbell, D. (2004) Technical Theatre. NY: Allworth Press.
Gillette, J.M. (2004) Theatrical Design and Production: An Introduction to Scene Design
and Construction, Lighting, Sound, Costume, and Makeup. McGraw-Hill
Humanities/Social Sciences/Languages.
Jones, R. (2004)The Dramatic Imagination: Reflections and Speculations on the Art of
the Theatre. Theatre Arts Book.
Pecktal, L. (1975) Designing and Painting for the Theatre. Harcourt School.
Theatre History and Criticism
The courses in this section provide grounding in theatre history and criticism, providing a
historical and theoretical foundation that is designed to develop critical thinking and
deepen understanding of dramatic textual analysis.
E17.0050/51 Introduction to Educational Theatre I & II
Undergraduate students are
required to take this course as
a preparatory experience in
the Program. Evolutions of
theatre styles, movements,
genres and dramatic texts
serve as a background to a
preliminary investigation of
the field of educational
theatre. Drama in education
strategies are used to engage
students with course content,
with a focus on absorbing and
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accumulating historical knowledge to create a dynamic and stimulating teaching arena.
Texts that have been used in this course include:
Hartnoll, P. (1998) The Theatre: A Concise History. NY: Thames and Hudson.
O’Neill, C. & Lambert, A. (1989) Drama Structures. London: Hutchinson.
Taylor, P. (2000) The Drama Classroom: Action Reflection, Transformation. London:
Routledge Falmer
Worthen, W.B. (1995) The Harcourt Brace Anthology of Drama. Orlando: Harcourt,
Brace & Co.
E17.2021 Development of Theatre and Drama I & II
E17.2103 World Drama
Development of Theatre involves the study of
the evolution of plays and production styles
from the Greek Theatre to Elizabethan (first
semester) and then Restoration Drama to
Postmodernist Experimental Theatre. The
history of theatre is viewed not merely through
the lens of dramatic literature, but as theatre
rising from particular political, social, and
aesthetic contexts. Styles, genres and
movements are viewed as performing art forms
and reflections of human endeavors. World
Drama explores the wealth of dramatic literature
in eastern and western cultures. The relationship
of drama to society and larger culture is
examined. The relationship between form and
idea, idea and action is explored, as well as
close readings of texts in the framework of performance. A significant portion of the
course focuses on the diversity of contemporary drama and current alternative American
voices -- writers who are changing the future of American theatre. Emphasis is placed on
writers of color, women, gay and lesbian authors.
Texts that have been used in this course include:
Bentley, Eric. (2002) The Psychology of Farce.
Brockett, O. (2002) History of Theatre. Boston: Allyn & Bacon, 9th Edition.
Esslin, Martin. (2004) The Theatre of the Absurd. Vintage.
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Meisel, Martin. Melodrama.
Miller, Arthur. Tragedy and the Common Man.
E17.2087 American Theatre I & II
An investigation of important writers, actors, directors, producers and educators in
American theatre, and the changes they brought in dramatic forms and theatrical
productions from the Colonial period to the 1920’s, and on to the present.
Texts that have been used in this course include:
Barlow, J, ed. (1985) Plays by American Women 1900-1930. NY: Applause.
Gassner, J., ed. (2000) Best Plays of the Early American Theatre: 1787 -1911. NY:
Dover.
Hatch, J. & Shine, T. (1996) Black Theatre USA: Plays by African Americans. Free Press
E17.1101 Musical Theatre: Background and Analysis
E17.2063 American Musical Theatre: Background and Development
These courses offer a historical and
critical investigation of the origin and
development of musical comedy;
European and native influences;
important
lyricists,
composers,
performers and directors. Changes in
the modern musical theatre; analysis of
current Broadway and off-Broadway
productions.
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E17.2023 Images of Women in Theatre
This course is an exploration of
the images of women in
diverse styles of dramatic
literature throughout theatre
history. Women’s roles and
contributions as subjects,
authors, actors, critics,
directors and performance
artists will be investigated, as
well as concepts of feminist
theory, race, gender and
interpretations of the male
gaze.
Texts that have been used in this course include:
Austin, G. (1990) Feminist Theories for Dramatic Criticism. Ann Arbor: University of
Michigan Press.
Barlow, J., ed. (1985) Plays by American Women 1900-1930. NY: Applause.
Case, S. (1988) Feminism and Theatre. NY: Routledge.
Chinoy, H. & Linda J., eds. (1987) Women in American Theatre. NY: Theatre
Communications Group.
Ferris, L. (1989) Acting Women: Images of Women in Theatre. NY: NYU Press.
Roth, M. (1983) The Amazing Decade: Women and Performance Art in America 1970 1980. Los Angeles: Astro Arts.
Sullivan, V. & J. Hatch, eds. (1974) Plays By and About Women. NY: Random House.
E17.2091 Dramatic Criticism I & II
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This course entails a historical and theoretical examination of the major themes of
dramatic criticism from the ancient Greeks through the Renaissance, Neo-classism,
Romanticism, and the postmodern age. There is an application of major dramatic
theories to plays throughout history, as well as exploration of dramatic structure, play
analysis and dramatic appreciation.
Dukore, B. (1974) Dramatic Theory and Criticism. TX: Holt, Rinehard & Winston.
Carlson, M. (1993) Theories of the Theatre. NY: Ithaca.
Strunk, W. & White, E.B. (2000) (latest edition) The Elements of Style. Longman.
Dramaturgy and Dramatic Literature
In this suite of courses students are able to explore classical and contemporary repertoire
for a diverse community of theatre makers and audiences.
E17.1005/1006 Introduction to Theatre for Young Audiences I and II
Students will consider play and audience analysis, directing methods, and production
techniques for theatre for young audiences. Each student plans a complete children's
theatre production. Field trips and guest speakers are scheduled, and students participate
in Program in Educational Theatre productions.
Texts that have been used for this course include:
Harris, A. (1964) Androcles and the Lion. Anchorage Press.
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Jennings, C. ed. (2005) Theatre for Young Audiences: 20 Great Plays for Children. St.
Martin’s Griffin.
E17.1057 Masters of Modern Drama
This course will trace the development of different styles of Western drama from Ibsen to
the present day, paying special attention to realistic and non-realistic approaches.
Playwrights studied have included Strindberg, Chekhov, Brecht, Churchill, Miller,
Williams, Fornes, Shepard, Beckett, Mamet, Wilson, Wallace, Genet, Shange, and
others.
Texts that have been used in this course include:
Addison, S.B. (2000) Types of Drama. Longman.
Clurman, H. (1981) Nine Plays of the Modern Theatre. Grove Press.
E17.1105 Beginning Playwriting
E17.2106 Advanced Playwriting
Students will study the principles and methods of playwriting. In Beginning Playwriting,
several short writing assignments are required, as well as the completion of a one-act
play. In Advanced Playwriting each student writes a full-length play. Scripts will be
read and discussed in class, along with analysis of other works. The courses are
conducted in a workshop format concentrating as much as possible on the writing of class
members.
Texts that have been used for these courses include:
McLaughlin, Buzz. (1997) The Playwright’s Process. Back Stage Books.
The following graduate courses examine specific genres, playwrights and styles of
theatre, and how they have contributed to theatre history and dramatic literature
throughout time.
E17.2068 Farce and Comedy in the Theatre
E17.2131 Theatre of Eugene O’Neill
E17.2177 Theatre of Brecht and Beckett
E17.2171/2172 Shakespeare’s Theatre I and II
The latter is a practical approach to
presenting Shakespeare on the stage
or in the classroom. The class will
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examine historical and contemporary approaches to the material, and will address special
problems in producing Shakespeare’s plays for college, high school and community
theatres. Special emphasis placed on directorial approaches, actor coaching, and
dramaturgy.
E17.2152 Theatre Practices: Problems in Play Production
Students will work with the
playwrights and directors of the
"New Plays for Young Audiences"
series, attend rehearsals, and follow
in the step-by-step procedures of
bringing new scripts to life. This
practical course, designed for
teachers, directors, playwrights, and
play producers, gives particular
attention to script selection, play
analysis and rehearsal techniques.
Texts for this course might include:
Cohen, E. (1988) Working on a New Play: A Play Development Handbook for Actors,
Directors, Designers, and Playwrights. New York: Limelight Editions.
Swortzell, L. (2000) Theatre for Young Audiences: Around the World in 21 Plays. New
York: Applause Books.
E17.1000 Independent Study
E17.2300 Independent Study
E17.2301 Practicum in Educational Theatre
Undergraduate students and graduate students can register for these Independent Study
courses and complete an independent research project. Graduate students can register for
the Practicum and complete an internship, a practical project in theatre production, or a
culminating experience in teaching artistry, curriculum development, or Applied Theatre.
All projects are supervised by a faculty member in the Program in Educational Theatre.
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Selected Reference List in Play Production for Artists and Educators
Ackroyd, Judith. (2004) Role Reconsidered. Stoke on Trent, UK: Trentham Books.
Addison, S.B. (2000) Types of Drama. Longman.
Ahart, J. (2000) The Director’s Eye. Colorado Springs: Meriwether Publishing Ltd.
Aristotle. (1996) Poetics. Harvard University Press, Hardcover edition.
Aronson, A. (1985) American Set Design. Theatre Communications Group.
Austin, G. (1990) Feminist Theories for Dramatic Criticism. Ann Arbor: University of
Michigan Press.
Ball, W. (1984) A Sense of Direction. NY: Drama Book Publishers.
Barlow, J. ed. (1985) Plays by American Women 1900-1930. NY: Applause.
Barrish, S. (2000) An Actor’s Companion: 99 Bits of Craft. TBG Publishing.
Barton, R. (1992) Style for Actors. McGraw-Hill Humanities/Social Sciences/Languages.
Beckerman, Bernard. (1990) Theatrical Presentation. NY: Routledge.
Bentley, Eric. (2002) The Psychology of Farce.
Boal, Augusto. (1985) Theatre of the Oppressed. New York: Theatre Communications
Group.
---.
(2002) Games for Actors and Non-actors. Routledge.
Bogart, A. (2001) A Director Prepares. NY and London: Routledge.
Bowell, Pamela & Brian S, Heap (2002) Planning Process Drama. London: David
Fulton Publishers.
Brockett, O. (2002) History of Theatre. Boston: Allyn & Bacon, 9th Edition.
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Brook, P. (1968) The Empty Space. NY: Simon & Schuster.
Bruder, M. (1986) A Practical Handbook for the Actor. Vintage.
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