CR Foreword REATIVE DRAMA, as a language art, has been a part of the elementary school curriculum for a number of years. Community organizations also have long been concerned with offering children rewarding experiences in creative dramatics, and many have pioneered in the establishment of children's theaters. Because of the relatively small percentage of trained personnel in the field, advance has been slow. This bulletin is the result of a joint concern felt by the Office of Education and the Children's Theatre Conference for the apparent lack of easily available material in creative dramatics. There are two underlying purposes in this publication: first, to offer guidance in the art of creative drama with children; and second, to give some assistance to enterprising organizations that wish to give plays for children. It presents both creative drama and children's theater as an art form and is dedicated to the idea that these forms, when properly implemented in school and community, can bring beauty and richness into the lives of boys and girls. The bulletin does not encompass the therapeutic aspects of creative drama. Part I is an interpretation of the place of creative dramatics with and for children. Part II describes ways and means of guiding children in creative dramatics, and Part III is devoted entirely to children's theater-how to establish one in a community and provide details pertinent to theater production. The Office of Education and the Children's Theatre Conference are fortunate to have been able to engage the cooperation of Miss Winifred Ward to write the bulletin. Miss Ward's years of experience in working with children and directing them in plays, together with her own inimitable talents as author, teacher, and lecturer, made her the logical choice to write the manuscript. For 25 years she served as Supervisor of Dramatics in the elementary schools of Evanston, Illinois, and as Director of the Children's Theatre in the same city. The author's knowledge of and enthusiasm for her subjects can be felt throughout the pages of the publication. In an effort to present her material in accurate form, Miss Ward solicited the help and advice of many leaders in the field of Drama, Creative Dramatics, and Children's Theatre. Among the many w gave assistance were Eleanor Chase York, of Western Michig State College; Kenneth L. Graham, of the University of Minneso Agnes Haaga and Geraldine Siks, of the University of Washing Rita Criste, of Northwestern University; and Wilma McNess, of Keith Country Day School of Rockford (Ill.) College. Clarence Simon of Northwestern University offered great help and encoura ment. The photographs in the bulletin are from Vern Adix, Ute The for Young People, University of Utah; Gladys Andrews, New University School of Education; Frances Carey Bowen, Child Educational Theatre of Maryland; Rita Criste, Children's Th of Evanston, Ill.; Agnes Haaga, University of Washington; Heimbrodt, Children's Theatre of Western Springs, Ill.; Cath Hollingworth, Children's Theatre of Aberdeen, Scotland; Ga Latshaw, Cleveland, Ohio; Ann Pirtle, Seattle public schools: aldine Siks, University of Washington; Grace Stanist reet, Ade College, Garden City, N.Y.; Virginia Tanner, Conservatory of tive Dance, Sal Lake City, Utah; Margaret Woods, Seattle Pa College, Washington. J. DAN HULL, Director, Instruction, fo 01 E. GLENN FEATHERSTON. Jo יד vatory A Introduction PREMISE OF AMERICAN EDUCATION is to offer opportunities for every child to reach the utmost of his individual capabilities in cooperation with his peers. Edu'cation of this kind was indicated in the theme of the 1960 White House Conference, the purpose of which was "to promote opportunities for children and youth to realize street their full potential for a creative life in freedom and dignity.” It is the belief of the majority of those who work with children that in order to help them realize their full potential for a creative life in freedom and dignity, all children should have daily experiences in the arts. Since drama is a fusion of all the arts and deals with the actions and motives of man, it can perhaps be more closely integrated with the child's everyday living than many others. Creative dra THEESTA he's matics encourages freedom and dignifies dreams; it helps to cultivate imaginative thinking. As never before, the United States needs an original approach to the problems confronting her within the community of nations. Drama with and for children compounds the creative dynamics which contribute to the ingenuity characteristic of America. VII Creative Dramatics, and Children's Theatre. Among the many gave assistance were Eleanor Chase York, of Western Michi State College; Kenneth L. Graham, of the University of Minnes Agnes Haaga and Geraldine Siks, of the University of Washing Rita Criste, of Northwestern University; and Wilma McNess, of Keith Country Day School of Rockford (Ill.) College. Clarence Simon of Northwestern University offered great help and encour ment. The photographs in the bulletin are from Vern Adix, Ute The for Young People, University of Utah; Gladys Andrews, New Y University School of Education; Frances Carey Bowen, Child Educational Theatre of Maryland; Rita Criste, Children's Tl of Evanston, Ill.; Agnes Haaga, University of Washington; Heimbrodt, Children's Theatre of Western Springs, Ill.; Cathe Hollingworth, Children's Theatre of Aberdeen, Scotland; Ge Latshaw, Cleveland, Ohio; Ann Pirtle, Seattle public schools; aldine Siks, University of Washington; Grace Stanistreet, Ade College, Garden City, N.Y.; Virginia Tanner, Conservatory of C tive Dance, Sal Lake City, Utah; Margaret Woods, Seattle Pa College, Washington. J. DAN HULL, Director, Instruction. E. GLENN FEATHERSTON. Assistant Commissione |