2011 AATE National Conference Program

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1
Special Thanks
AATE wishes to thank the following sponsors of the 2011 National Conference:
Apple
Hal Leonard
Music Theatre International
AATE would like to thank:
AATE wishes to give special recognition to the following outstanding organizations for support of AATE programs:
AATE wishes to thank the following for contributing to the AATE Annual Fund:
AATE is funded in part by a co-occupancy grant from:
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2
Sandra Asher
Cyndee Brown
Rives Collins
Robyn Flatt
Mara Goldman
Joanne Guthrie-Gard
Glen Hall
Jennifer Hartmann
Ruth Heinig
Deborah Irwin
Gai Jones
Lynn Kelso
Joanna Kraus
Julie Larkin
Ruth Markind
Joyce McGreevy
Gary & Gina Minyard
Allison Morgan
Romano
John Newman
Diane Nutting
Michele Palermo
Judith Rethwisch
Joseph Robinette
Lindsay Shields
Karin Stratton
Anne Thurman
John Tolch
Dorothy Webb
AATE 2011 Conference Committee
AATE 2002
Lucas Adams
Jeremy Adkins
Mary Kate Barley-Jenkins
The Butts Family
Anne Cantrell
Londi Carbajal
Diane Claussen
Jean Deven
Jane Fitzgerald
Andrew Harris
Linda Hartzell
Susan Lee
Kate Lichter
Brian Lieske
Tim McCarty
Mollie McDougall
Joyce McGreevy
Diane Nutting
The Querciagrossa-Green Family
Sarah Sinclair
Carol Trawick
Andy Wiginton
Lin Wright
Vanessa Valliere
Suzan Zeder
Arena Stage
Barrel of Monkeys
Beiging Playhouse
The Childrens Theatre Foundation of America
Columbia College Chicago
Illinois Theatre Association
Indiana University
The Ivy Group
Kaiser Permanente Educational Theatre
Programs
Nederlander Corporation
Northwestern University Theatre Department
Purple Crayon Players
Quest: arts for everyone
Renaissance Downtown Hotel Chicago
Roundabout Theatre Company
School Tube
Seattle Childrens Theatre
Southeastern Theatre Conference
Stage One Family Theatre
TYA/USA
United Airlines
University of Texas, Austin
Tabl e of Contents
Welcome to Chicago! 4
Reecting on the Past, Present, and Future 5
Reecting On Our Theme 11
You Said, We Heard 11
Schedule At-A-Glance 12
Exhibitors 15
Detailed Schedule - Wednesday, July 27 - Preconferences 16
Detailed Schedule - Wednesday, July 27 - Meetings and Events 17
Detailed Schedule - Thursday, July 28 18
Detailed Schedule - Friday, July 29 33
Concurrent Sessions at a Glance - Thursday, July 28 37
Concurrent Sessions at a Glance - Friday, July 29 38
Concurrent Sessions at a Glance - Saturday, July 30 39
Concurrent Sessions at a Glance - Saturday, July 30 40
Detailed Schedule - Saturday, July 30 53
Detailed Schedule - Sunday, July 31 68
Maps 69
Index 74
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Welcome to Chicago!
A Letter from the President
Welcome to the 2011 national conference of the AATE Lakeside Reections. Whats my favorite piece of
reecting art in Chicago? The Bean also known as the Cloud Gate sculpture. The Bean reminds us that
when we look at great art, we see ourselves somewhere within, gazing back. The Bean has a way of
inviting us to see the world from another point of view and check our blind spots (especially when you step
inside it and have a reected view of your derriere). And as it reects the Chicago skyline and the stars in
the evening, the Bean reminds us that art compels us to lift our gaze higher the work is always about
something bigger and more important than the immediate travails that surround us. Heres wishing you a
marvelous conference. May it be lled with reunions with old friends, even as you meet dynamic new
colleagues for the rst time. May it be a time of renewal and growth. May it be a time of synergy that
comes from bringing great people together in a beautiful place. May reection help magnify all that is truly
important as we continue our important work together.
Rives Collins
President, American Alliance for Theatre and Education
AATE Board of Directors
AATE Staff
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AATE Mission Statement
The American Alliance for Theatreand Education
connects and inspires a growing collective of thea-
tre artists, educators, and scholars committed to
transforming young people and communities
through the theatre arts.
AATE Diversity Statement
AATE embraces diversity and encourages inclusion
of all races, social classes,ages,genders, religions,
sexual orientations, national origins, and abilities.
Rives Collins
President
Betsy Quinn
Immediate Past
President
Daniel Kelin, II
President-Elect
Joseph Furnari
Treasurer
Gary Minyard
Communications
Director
John Newman
Development
DIrector
Katherine Krzys
Ex Ofcio
Christina Marn
Membership Director
Karina Naumer
Programming
Director
Manon van de Water
Publications and
Research Director
Lynne Kingsley
Executive Director
Kelly Prestel
Membership and Marketing
Coordinator
Elizabeth Brendel Horn
Editor, Incite/Insight
Scott Oser
Sales Manager
Henry Suchman
Designer, Incite/Insight
Amanda Windes
AATE Intern
Reecting on the Past, Present, and Future
A Letter from the 2011 National Conference Co-Chairs
In 1944, theatre artists and educators passionate about working with young people traveled to Evanston,
Illinois to dream together. Their gathering marked the formation of the organization now known as AATE.
More than 60 years later, in March of 2010, Illinois/Chicagoland members of AATE gathered just steps from
that original meeting place to dream of the conference you are attending right now. We began our planning
process with a visit to the past as we dreamt of the future.
While the 2011 conference committee has been meeting formally since last
spring, seeds of this conference were planted and growing in our minds and
hearts for years--since the two of us drove from Chicago to Minneapolis for our
rst AATE conference together in 2002, beginning a journey that led us from co-
chairing the new guard reception to co-chairing a conference. In the past year,
we have revisited so many memories of our time with AATE thus far memories
that have shaped us personally and professionally. We've reected on the many
successes and challenges we encountered as event chairs, network chairs,
coordinators, and AATE staff, harvesting collective wisdom from conference
sessions, network gatherings, and board meetings. We've smiled thinking back
to communities formed beside chocolate fountains and during ice cream sundae receptions. It has been
our dream to weave together the sum of our experiences from our journey so far, into this, our tenth
conference together, creating space to reect on the themes and ideas that have challenged and inspired
us over this past decade, and dream of the journeys to come.
We hope your conference experience will give you the space and time to do the same-- to look back, to
look forward, and to dream with your minds and hearts.
Leigh Jansson and Talleri McRae
AATE 2011 National Conference Co-Chairs
Conference Co-Chairs
Talleri McRae is an Education Associate at Stage One Family Theatre in Louisville, KY. She has worked alongside theatre artists and
educators in California, Texas, Alaska, Kentucky, and Illinois, including collaborations with About Face Theatre, The Goodman Theatre,
and Next Theatre in Chicago. During her graduate studies,Talleri researched perceptions of theatre and disability with young people,
and offered ongoing professional development workshops to teachers and administrators in south Texas and rural Alaska. A proud
member of AATE since 2002, Talleri also holds a BS from Northwestern University and an MFA from the University of Texas at Austin.
Leigh Jansson rst joined AATE 2002, and has since been a project chair, network chair, and manager of the AATE National Ofce
from 2004-2009. While in DC, she also worked with Imagination Stage, The Little Gym, Potomac Theatre
Company, and other local organizations as a teaching artist, performer, and director. Leigh currently lives
in Beijing where she is a curriculum developer for The Ivy Group, a provider of early childhood education
throughout China. She provides teacher workshops and after school drama programs in addition to her
work with Beijing Playhouse as Artistic Director of the Family Stage Theatre Camp. Leigh holds a BS
from Northwestern University and an EdM from the Harvard Graduate School of Education.
Conference Committee
2011 Conference Committee (picture - March 2010)
Top Row (L to R): Talleri McRae, Leigh Jansson, Kat Matassarin
2nd Row (L to R): Erin Michael, Karen Weberman
3rd Row (L to R): Kathleen Arcovio, Katie Eckert
4th Row (L to R): Jerry Proft, Laura Steenveld Hamilton
Not Pictured: Tom Arvetis, Steven Barker, Steve Barberio, Rives Collins, Betsy Driver, Chris Eckles, Jeff
Glass, Elise Hauskin, Rachel Jamieson, J. Daniel Herring, Kim Kolher Hort, Jenny Sawtelle Koppera,
Emily Labbe, Anne Lefkovitz, David Lundin, Margaret McLaughlin, Alli Metz, Anakin Morris, John
Muszynski, Anne Negri, Betsy Quinn, Merissa Shunk, Jacob Watson
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Talleri McRae, Leigh Jansson
Winnifred Ward and members of the
Children's Theatre Committee of the
American Educational Theatre Association
State Representatives
Alaska
Arizona
California
Connecticut
Washington D.C.
Georgia
Idaho
Illinois
Indiana
Kansas
Kentucky
Louisiana
Maryland
Missouri
New Jersey
New York
North Carolina
Oregon
Pennsylvania
South Carolina
Tennessee
Virginia
Washington
Wisconsin
Anne Williams
Mat Su School District
Teresa Minarsich
Arizona State University
Wendy Maples
Step UP Theatre
Nora Matthews
Mitch Mattson
Arena Stage
Brenda May Ito
Columbus State University
Valerie Baugh-Schlossberg
Boise State University
Jacob Watson
Kaycee Sewchok
Gustave J. Weltsek, Ph.D
Indiana University
Jennifer Van Bruggen
Jeremy Kisling
Lexington Childrens Theatre
Troy Compas
North DeSoto High School
Julian Lazarus
Linganore High School
Judith Rethwisch
Affton High School
Maurice J. Moran
Verona High School
Jennifer DiBella
Nicole Lorenzetti
Young Playwrights Inc.
Gordon Hensley
Appalachian State University
Dan Stone
Linn Benton Community College
Barry Kornhauser
Fulton Opera House
Joseph Baldino
Laura Manning Turner
College of Charleston
Laurie Melnik
University of Tennessee at Chattanooga
Steven Barker
Lejuene High School
Jennifer Reif
Julia Magnasco
First Stage
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Plays & Musi cals
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How I Lear ned
t o St op Bei ng Af r ai d
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A one-act comedy
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Some doubli ng possi ble
For get t he school yar d bul l y.
Ther es al ways one t eacher who can t er r or i ze us!
AATE Debut Panels
AATE introduced Network Sponsored Debut Panels after the time
honored component of ATHEs conference programming con-
vened by their Focus Groups. This year we continue this tradition
started in 2009 and welcome rst time presenters to share their
work during these special sessions. Debut panels, reviewed and
moderated by experts in our eld, showcase the work of teach-
ers, artists, practitioners and scholars who have never presented
before this year at an AATE conference. Please join us in welcom-
ing this years Debut Panelists of the Playwriting, College/
University/Research (C/U/R), International, High School, Profes-
sional Theatre, and New Guard Networks!
Professional Theatre Debut Panel: Thursday, 11:00am - Wacker
Playwriting Debut Panel: Friday, 2:45pm - Old Town
International Debut Panel: Friday, 2:45pm - LaSalle
C/U/R Debut Panel: Friday, 4:00pm - LaSalle
High School Debut Panel: Friday, 4:00pm - Bucktown B
New Guard Debut Panel: Saturday, 10:45am - Bucktown A
Networks
The AATE Networks offer opportunities for drama and theatre specialists not only to network within their areas of expertise, but also to
reach out to other specialists for potential cross-collaboration. Although participation in networks is optional, members are
encouraged to join one or more networks that address their needs, and investigate multiple networks that span several areas of
interest. AATE Networks foster the exchange, development, and implementation of ideas throughout the year, providing professional
development, advocacy, and other tools within and across both theatre and education.
Current AATE Networks
APPLIED THEATRE
Chairs: Angela Sweigart-Gallagher, Andy Wiginton
This network includes individuals working with organizations
that produce theatrical events of Applied Theatre (a form of
educational theatre). It is comprised of artistic management and
educational staff members from a wide variety of theaters and
organizations, as well as freelance artists and artist-educators.
COLLEGE/UNIVERSITY/RESEARCH
Chairs: Valerie Baugh-Schlossberg, Matt Omasta
This network includes individuals and organizations interested
in college, university, and research concerns.
HIGH SCHOOL
Chair: Alicia Sanders
This network services the needs of secondary schools teachers
and those professional theatres committed to providing for
adolescent audiences. The network provides resources for the
secondary school teacher, including lesson plans, support for
innovative classroom ideas, and communication among its
members.
INTERNATIONAL
Chairs: Bethany Lynn Corey; Helen Zdriluk
This network strives to create connections on an international
level between the elds of drama and theatre for youth.
NEW GUARD
Chairs: Donald Amerson; Brianna Stapleton-Welch
This network recruits new members of AATE and supports the
professional elds it represents. It also serves as a support
network for seasoned professionals without a permanent AATE
network home. Yearly conference events include the New
Guard Reception and related conference sessions.
PLAYWRITING
Chairs: Kelby Siddons, Laura Turner
This network supports playwrights and advocates of quality
new plays for youth. Activities include publishing the Award
Winning Plays list, as well as the Unpublished Play Projects and
the Playwrights In Our Schools Residency Project.
PRE-K - 8
Chair: Dinah Barthlemess
This network represents AATE members who teach drama to
preschool, primary, intermediate, and middle school (junior
high) students. Constituents include drama specialists,
elementary teachers, elementary or middle school theatre
educators, or college professors training elementary drama
teachers.
PROFESSIONAL DEVELOPMENT
Chair: Katie Dawson, Laurie Melnik
This network provides opportunities for reective analysis and
sharing of professional development programming, current
research, and professional development program or framework
development that meaningfully responds to the articulated
needs, wants, and voices of teachers (pre-service and
practicing) across the curriculum, arts educators (specialists,
teaching artists, consultants), administrators, and professional
development providers and communities.
PROFESSIONAL THEATRE
Chair: Wendy Bable, Ali Oliver-Krueger
This network includes individuals working with organizations
that produce theatrical events. It is comprised of artistic,
management, and education staff members from a wide variety
of theatres and organizations, as well as freelance artists and
artist-educators.
YOUTH THEATRE
Chairs: Wendy Maples, David Markey
This network is comprised of artistic, management, and
educational staff from a diverse array of youth theatres and
organizations, as well as freelance artists and artist-educators.
Youth Theatre is dened as quality theatrical experiences and/
or performances by students (typically ages 8-18) for an
audience.
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Dont miss the Network Breakfast Meetings on Friday and
Saturday at 8am in the Grand Ballroom! Join a new network,
collaborate with others in your network or sign up to be a net-
work chair!
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8
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Active Committees
Finance and Development
Rives Collins
Joseph Furnari
Lynne Kingsley
John Newman
Betsy Quinn
Programming Advisory Council
Karina Naumer, Programming Director
Stacey Ardelean
Alexandra Lopez
ChristinaMarn
Diane Nutting
Rachel Prouty
BetsyQuinn
Research and Publications
Manon van de Water, Research and Publications
Director
Jennifer Chapman
Helen Cahill
Drew Chappell
Jeanne Klein
Laura McCammon
Debra McLauchlin
Beth Murray
Matt Omasta
Johnny Saldaa
Carmine Tabone
Gustave Weltsek
Patricia Zimmer
Incite/Insight Editorial Board
Elizabeth Brendel Horn, Editor
Rives Collins
Daniel Kelin, II
Lynne Kingsley
Gary Minyard
Theatre In Our Schools
Gary Minyard, Communications Director
Karina Naumer, Programming Director
Steven Barker, MD/DC/VA
Ashley Forman, MD/DC/VA
Mitch Mattson, MD/DC/VA
Jacob Watson, IL
Kaycee Sewchok, IL
Jennifer DiBella, NY
Nicole Lorenzetti, NY
Gustave Weltsek, IN
Bethany Lynn Corey, TX
Roxanne Schroeder-Arce, TX
Youth Theatre Journal Editorial Board
Gustave Weltsek, Editor
Manon van de Water, Publications and Research
Director
Cyndee Brown
Lenora Inez Brown
Drew Chappell
Jennifer Chapman
Robert Colby
Mara Ins Falconi
Steve Feffer
Lorenzo Garcia
Amy Petersen Jensen
Jeanne Klein
Debra McLauchlan
Laura McCammon
Carole Miller
Beth Murray
Johnny Saldaa
Manon van de Water
E.J. Westlake
Stephani Etheridge Woodson
Awards
Katherine Krzys, Awards Committee and General
Awards Chair
Angie Sweigart-Gallagher, Distinguished Book Award
Chair
Pamela Sterling, Distinguished Play Award Chair
Rita Kotter, Lin Wright Grant Chair
Judith Rethwisch, Lin Wright Grant Chair
Joe A. Babb
Wendy Bable
Dinah Barthelmess
Max Bush
Jennifer Chapman
Rives Collins
Xan Johnson
Lise Kloeppel
Kat Matassarin
John Newman
Amy Oakeson
Tim Ortmann
Bryna Rifkind
Janet Rubin
Alicia Sanders
Kelby Siddons
Xanthia Walker
Lin Wright
Organizational Members
Academy of Theatre Arts
ACES Educational Center for the Arts
Actors Theatre of Louisville
Adventure Stage Chicago - Northwestern University
Settlement Association
Adventure Theatre
Alley Theatre
Alliance Theatre Company
Anglo-American School of Moscow
Appalachian State University
Arena Stage
Asolo Repertory Theatre
Barrel of Monkeys
Bay Area Children's Theatre
Berkeley Repertory Theatre
Brimmer & May School
C&T
Caryl Crane Children's Theatre
Children's Civic Light Opera (CCLO)
Children's Theatre Company
Children's Theatre of Charlotte
Childsplay
Citi Performing Arts Center
Creative Arts Team - CUNY
Creative Directions of Illinois, Ltd.
Dallas Children's Theater
danact3.com
Deer Park Schools
Denver Center for the Performing Arts
Detour Co Theatre
District 65 Evanston, c/o Haven Middle School
Dreamwrights Youth and Family Theatre
Eastern Michigan University
Easy Ware Corporation
Educational Arts Team, Inc.
Flint Youth Theatre
Ford's Theatre Society
Fort Lauderdale Children's Theatre
Fulton Opera House
Gifford Family Theatre
Hartford Stage
Holton-Arms School
Imaginarium Theater of Thought Experiments
Imagination Stage
Improbable Players
InterAct Story Theatre
JMU Children's Playshop
Kaiser Permanente Educational Theatre Program- CA
Kaiser Permanente Educational Theatre Programs - CO
Kensington Parkwood Elementary School
Kent Place School
Kentucky Shakespeare
Lexington Children's Theatre
Li'l Buds Theatre
Lincoln Center Theater
Linn Benton Community College Theater
Magik Theatre
Main Street Arts Children's Theatre
Manhattan Theatre Club
Maui Academy of Performing Arts
Mesa Arts Center Outreach
Metropolis Performing Arts Centre
Mosaic Youth Theatre of Detroit
National Constitution Center
National University of Tainan Department of Theatre of
Creation and Application
New Trier High School
NOORDA Regional Theatre Center for Children & Youth
at UVU
Olympia Family Theater
Omaha Theatre Company
Oregon Children's Theatre
Orlando Repertory Theatre
Palo Alto Children's Theatre
Pennsylvania Youth Theatre
Performing Arts Workshop
Portola Valley Theatre Conservatory
Quest Academy
Quest: arts for everyone
Saint Mary's Hall
San Francisco United School District
Shakespeare Theatre Company
SHINE! LA's Youth Theatre
St. Paul's School
Stage One
Stages Theatre Company
The Agnes Irwin School Theatre Program
The Chapin School
The Episcopal Academy
The New Victory Theater
The Paper Bag Players
The Theater Offensive, INC
The Theatre School DePaul University
University of Northern Colorado
University of Washington Libraries
Young Actors Theatre
Youth Stages, LtLC
University Departmental
Members
Brigham Young University
CUNY School of Professional Studies M.A. in Applied
Theatre
Emerson College, Division of Performing Arts
New York University Program in Educational Theatre
Northwestern University, Department of Theatre
Rowan University
The Catholic University of America
University of New Hampshire, Department of Theatre &
Dance
University of Texas at Austin - Department of Theatre
and Dance
University of Wisconsin - Madison
Corporate Member
Kaiser Permanente
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9
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10
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Reecting On Our Theme
How can reection can be woven into our time together at conference? How can we
relate what we see, hear, and feel at conference to ourselves, our students and our work?
How can we remember and record our experiences together?
In order to navigate these questions, we are fully equipped with two Reection Facilitators,
Jose Cruz Gonzlez and Juliana Saxton, to shape our time as a community during
conference. What questions do we ask ourselves and our students as we work? Which
structures help our reective process? Which structures hinder it?
Throughout the conference our Reection Facilitators will be reminding us to reect as we
learn, share, network, engage and listen. Dont miss these opportunities for reection:
- Storytelling Event: Reecting Identities-- Thursday July 28, 7:30pm-8:45 pm ,
Grand Ballroom
- Morning Reection and Yoga-- Friday July 29 & Sat July 30, 7:00 am ,Grand
Ballroom
- Reection by Region - Friday July 29, 11:00am-12:30 pm, Grand Ballroom
- Closing Reection and Annual Meeting - Sunday July 31 9:30-11:45 am
Ref l ect i on Faci l i t at or s
Jos Cruz Gonzlez's plays include The Sun Serpent, Super Cow Girl and Mighty
Miracle, Los Valientes, Sunsets and Margaritas, Invierno, The Hearts Desire, The Blue
House, Toms and the Library Lady, September Shoes. A collection of his plays, Nine Plays by Jos Cruz Gonzlez Magical Realism &
Mature Themes in Theatre for Young Audiences was published by the University of Texas Press in 2009. Mr. Gonzlez has written for PAZ,
the Emmy Award nominated television series produced by Discovery Kids for The Learning Channel. Mr. Gonzlez was a recipient of a 2004
TCG/Pew National Theatre Residency grant. In 1997 he was awarded a NEA/TCG Theatre Residency Program for Playwrights. He teaches
theatre at California State University at Los Angeles. He is a member of The Dramatists Guild of America and TYA/USA. He is an Associate
Artist with Cornerstone Theater Company (CA), and Playwright in Residence with Childsplay (AZ).
Juliana Saxton, professor emeritus, Department of Theatre, University of Victoria. Co-author (with Norah Morgan) of Teaching Drama: a
mind of many wonders (Nelson Thornes, 1987) and Asking Better Questions (Pembroke, 1994/2007); (with Carole Miller), Into the Story:
Language in Action through Drama (Heinemann, 2004); (with Monica Prendergast) Applied Theatre: International Case Studies and
Challenges for Practice(Intellect, 2009). Co-chair of the 2ndInternational Drama in Education Research Institute (IDIERI) and the Academic
Program for the 5thWorld Congress of International Drama Education Association (IDEA), she has received the University of Victoria Alumni
Teacher of Excellence award and a Campton Bell Lifetime Achievement Award from AATE.
You Said, We Heard
The AATE 2011 conference committee has put a lot of effort in ensuring that, in keeping with the theme, Lakeside Reections take place
during the days of the conference. At the same time, we wanted to be intentionally thoughtful throughout planning the conference.
So, we asked ourselves: How can we intentionally and purposefully allow the logistical planning of our conference to reect our values as
conference chairs, conference committee, and an organization?
What we came up with feels like a good start: carefully considered feedback from
previous years events, paired with an articulation of the efforts that this years
planning committee, staff, and other volunteers have made toward continually
improving AATEs programming. Reecting on you said and we heard
reminds us that AATE volunteers, attendees and planners are in fact one and the
same, and that AATE programming IS, proudly, the direct result of its members
hard work.
You Said, We Heard notes are scattered throughout the program. These notes
highlight feedback received from conference attendees and our responses.
-Leigh and Talleri
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11
On Reection---
Reection is, in Bill Dolls (1993) words, taking
experience and looking at it critically, variously,
publicly ... [and is] the only reliable guide to further
action.
Theatre, Peter Brook (1998) reminds us, is not just a
place, not simply a profession. It is a metaphor. It
helps to make the process of life more clear. When
we reect together on that process, those acts of
theatre can become for us all stations of departure for
future actions.
And while reection is, rstly, intrapersonal, it
functions best as shared experience. Our rst simple
thoughts become more complex as they mix together
with others ideas and responses and the variety of
facets for these new points of view promote different
ways of thinking about the world and ourselves.
Thoughts compiled by:
Reection Facilitator Juliana Saxton
YOU SAID: You enjoyed the facili tation of the New Guard Reception/
Net working Event.
WE HEARD: We worked wi th the New Guard Net work once again to
make the tradi tion of the New Guard Mentee/Mentor Reception
(also known as the Speed Net working Event) a thoughtful and enjoy-
able event. In fact, the New Guard added onto the reception this year,
and introducing a year-round mentor/mentee project.
Schedule At-A-Glance
TIME EVENT LOCATION
Wednesday, July 27, 2011
8:00 am 9:00 am Preconference Registration open Registration Desk
8:15 am - 8:45am Directing Preconference departs Columbia College Chicago (Ofsite)
9:00 am 5:00 pm Directing Preconference Columbia College Chicago (Offsite)
9:00 am 5:00 pm Young Playwrights Preconference Renaissance Ballroom
11:00 am - 4:30 pm AATE Board Meeting #1 Wrigleyville
4:00 pm 8:00 pm General Registration open Registration Desk
4:30 pm 6:00 pm Welcome Meeting and Conference Orientation Grand Ballroom Foyer
6:00 pm - 7:30 pm Incite/Insight Editorial Board Meeting Wrigleyville
7:30 pm 9:00 pm Opening Reception: APTP Performance and Reections Grand Ballroom
Thursday, July 28, 2011
7:45 am 6:00 pm Registration / Information Desk open Registration and Information Desks
8:00 am 7:00 pm Meet the Exhibitors / Exhibit Hall Open Grand Ballroom
8:00 am 9:15 am Meetings: State Reps; Network Council; Various Locations
TIOS Leadership; Awards
9:15 am 9:30 am Morning Announcements Grand Ballroom
9:00 am 12:15 pm Workshop A: Redmoon (Paid Workshop)* Gold Coast
9:00 am 12:15 pm Workshop B.2: Albany Park Theater Project (Paid Workshop)* Cuisines
9:30 am 10:45 am Session Block T1 Various Locations
11:00 am 12:15 pm Session Block T2 Various Locations
12:15 pm 1:15 pm Lunch Break
12:15 pm 1:15 pm National Standards/Advocacy Meeting Gold Coast
1:15 pm 2:30 pm Presidents Welcome and Grand Ballroom
Featured Speaker Vivian Gussin Paley
2:45 pm 5:45 pm Workshop B.1: Albany Park Theater Project (Paid Workshop)* Gold Coast
2:45 pm 4:00 pm Session Block T3 Various Locations
4:15 pm 5:45 pm Session Block T4 Various Locations
4:15 pm 6:30 pm Shakespeare High Screening & Discussion Grand Ballroom
6:00 pm - 7:00 pm Session Block T5 Various Locations
6:00 pm 7:15 pm Research & Publications Meeting Gold Coast
6:30 pm 7:15 pm Meet the Exhibitors for Passport to Prizes / Dinner Break Grand Ballroom
7:30 pm 8:45 pm All-Conference Storytelling Event: Reecting Identities Grand Ballroom
9:00 pm 10:15 pm New Guard Reception: Speed Friending Gold Coast
10:30 pm Playwrights Slam Gold Coast
Friday, July 29, 2011
7:00 am Morning Reection and Yoga Grand Ballroom
7:30 am 9:00 am Doyle Fellowship Breakfast Presidents Suite
8:00 am 4:00 pm Registration open Registration Desk
8:00 am 6:00 pm Information Desk & Exhibit Hall open Grand Ballroom
8:00 am 9:15 am Network Breakfast Meeting #1 Grand Ballroom
9:15 am 9:30 am Morning Announcements featuring Barrel of Monkeys (BOM) Grand Ballroom
9:30 am 11:00 am Session Block F1 Various Locations
11:00 am 12:30 pm Reections by Region Event Grand Ballroom
11:45 am 1:30 pm CTFA Corey Medallion Luncheon* Petterinos (Offsite)
12:30 pm 1:30 pm Lunch Break
1:30 pm Chicago Architecture River Cruise* Offsite
1:30 pm 2:30 pm Session Block F2 Various Locations
1:30 pm 3:45 pm Conversation with CTFA Corey Medallion Recipients Gold Coast
2:15 pm 5:15 pm Workshop C: The Cooperative Classroom w/ Karen Hall (Paid Workshop)*Michigan
4:00 pm 6:00 pm Lois Lowry Book Signing Grand Ballroom
5:00 pm 6:00 pm Passport to Prizes Rafe and Reception Grand Ballroom
6:00 pm 7:30 pm AATE Awards Ceremony Grand Ballroom
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12
TIME EVENT LOCATION
Friday, July 29, 2011 (cont.)
7:15 pm AFTYs Whats the T?* Victory Gardens Theatre (Ofsite)
7:30 pm Beauty & the Beast* Oriental Theatre (Offsite)
7:30 pm Awards Dinner Reception (Tickets $5)** Renaissance Ballroom
8:45 pm TYA Trivia IQ: The Game Show Renaissance Ballroom D
9:30 pm Publishers Showcase Renaissance Ballroom A - C
10:30 pm Blues Night Gathering Cuisines
Saturday, July 30, 2011
7:00 am Morning Reection and Yoga Grand Ballroom
8:00 am - 9:30 am Past Presidents Breakfast Presidents Suite
8:00 am 12:00 pm Registration / Information Desk open Registration/Information Desks
8:00 am 9:15 am Network Breakfast Meeting #2 Grand Ballroom
8:00 am 9:30 am Past Presidents Breakfast Presidents Suite
9:00 am 9:15 am Morning Announcements featuring Barrel of Monkeys (BOM) Grand Ballroom
9:00 am 12:00 pm Workshop D: Lenora Inez Brown (Paid Workshop)* Wacker
9:15 am 10:30 am Session Block S1 Various Locations
10:45 am 12:00 pm Session Block S2 Various Locations
12:00 pm 12:45 pm Load busses for Northwestern University Outside Hotel Lobby
1:00 pm 1:30 pm AATE Conference arrives at Northwestern Arts Circle (NU)
1:00 pm 4:30 pm NU Registration Desk/Info Desk open Norris Student Center (NU)
1:00 pm 4:00 pm Tours of the Winifred Ward Archives (approx. 45 mins) Northwestern Library (NU)
1:30 pm 2:30 pm Nurturing Partnerships: Connecting with AATE and Partners Louis Room (NU)
on Theatre In Our Schools
2:45 pm 4:00 pm Session Block S3 Norris Student Center (NU)
4:15 pm 5:30 pm Session Block S4 Norris Student Center (NU)
5:30 pm 7:30 pm Dinner Break
5:45 pm 6:45 pm Leadership Interest Meeting Pizza Party Annie May Swift (NU)
6:45 pm 7:30 pm National Conference Planning Meeting Annie May Swift (NU)
8:00 pm 10:00 pm The Edge of Peace Keynote Performance
^
Barber Theatre (NU)
10:00 pm 11:30 pm Post-Show Reception sponsored by Northwestern University Barber Theatre Lobby (NU)
10:30 pm 12:00 am Busses depart Northwestern University for the Renaissance Hotel Arts Circle (NU)
Sunday, July 31, 2011
8:00 am 9:15 am Finance Committee Meeting Wrigleyville
9:30 am 11:45 am Closing Reection Breakfast Event and Annual Meeting Grand Ballroom
featuring Suzan Zeder and Henry Godinez
12:00 pm 3:00 pm Board Meeting #2 Wrigleyville
* - Tickets must be purchased in advance.
** - Tickets available for purchase at the Registration Desk until 5pm on Thursday, July 28.
^ - The Edge of Peace was originally commissioned and developed by Seattle Children's Theatre. This keynote performance is produced with support from the Children's Theatre Foundation of America.
Bold denotes an all-conference event.
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13
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14
Exhibitors
1-Danact3.com: Teaching-Artist: Mr. U.S. Grant one person
performances; Creative Dramatics Workshops, Acting, Improv, Playwriting,
Directing, Equity Actor, Musician; www.danact3.com
2-Kryolan: Kryolan Professional make-up: Professional make up for the
Theatre and Film Industry
3-Broadway in Chicago: Broadway In Chicago Group Sales presents
Broadway hits in Chicago-Mary Poppins, Peter Pan, Memphis, West Side
Story, Beauty and the Beast, and Million Dollar Quartet (through 2012).
Ask about: Workshops, Study guides, Q & As, and $15.50 tickets for
select performances.
4-CUNY/CCNY: Promoting the two graduate degrees available through
the City University of New York, CUNY: 1. M.S.Ed in Educational Theatre
at the City College of New York; 2. M.A. Applied Theatre though the
Creative Arts Team at the School of Professional Studies
5, 6, 7-The Scholars Choice: Exhibits academic books on behalf of
university and scholarly publishers.
8-Theatre Sage
9- MTI: Music Theatre International (MTI) is one of the worlds leading
dramatic licensing agencies, granting schools as well as amateur and
professional theaters from around the world the rights to perform the
largest selection of great musicals from Broadway and beyond.
10, 11, 12-Dramatic Publishing: We provide plays, musicals and theatre
resource books and license productions.
13-Intellect: Intellect is an independent academic publisher committed to
original thinking and emerging disciplines. We publish scholarly, peer-
reviewed work at the cross section of arts, performance, media, creative
practice and popular culture. Please visit www.intellectbooks.com to learn
more.
14-Drama Ed Network: Standards-based products and teacher training
services for arts and literacy for ages preschool-adult.
15-Stage Stars Records: Accompaniment CDs of Broadway shows
used for rehearsals and auditions
16-Ticket Peak: TicketPeak is a web-based ticketing application that
enables theaters to sell tickets online or from the box ofce. It includes
features like print-at-home tickets, barcodes, check-in and user seat
selection. Its low cost ensures you will save money by using it.
17-My Theatre Apps: Scene Partner, an iPhone app that helps actors
get off-book fast. Uses text-to-speak software, voice recording and the
actors script to provide a new tool for memorizing lines.
18-Plays for Young Audiences
19-TYA/USA
20-Drama Sound: We sell original, instrumental, mood-based music (in
CD and/or MP3 format) for arts and education. Our music is copyright free
for educational/creative projects.
21-Routledge: For two centuries, Taylor & Francis has been fully
committed to the publication of scholarly information. Under our Routledge
Imprint, we publish a variety of journals in the Arts and Education eld.
Visit the Routledge Table to view our journals and pick up FREE sample
copies of our journals.
22-University of South Carolina: The University of South Carolinas
Masters of Arts in Teaching-Theatre Degree.
23-Easy Ware: Easy-Ware's Total Info is an affordable, family-friendly
CRM solution for schools of all sizes combining comprehensive fundraising
(including wealth prospecting, events, auctions, volunteers, grants and
more) with advanced ticketing, marketing and patron management. No
per ticket fees, integrated online donations and ticketing make Total Info
the only solution you'll ever need.
24-Childs Play: Childs Play Touring Theatre believes in encouraging and
validating the creativity of children and is dedicated exclusively to
performing stories and poems written by children. Since 1978, we have
reached over 4 million audience members through performances,
workshops and residencies and have performed the works of over 15,000
young authors.
25-Creative Directions
27-AMDA: American Musical and Dramatic Academy is an accredited
college with campuses in the heart of New York City and Los Angeles.
AMDA offers a 4 year BFA or a 2 year conservatory program in : Musical
Theater, Acting or Dance. AMDA has an audition process, offers
scholarships and seeks talented students around the world. Teachers,
please come visit our table and well be happy to schedule a time to visit
your high school or visit www.amda.edu.
________________________________________________________________________________________________________________________
15

Questions? Call Scott Oser at 301-279-0468, Email: scott@aate.com

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Passport to Prizes
Collect stickers from each exhibitor on your Passport to Prizes,
found on the back of your conference welcome letter. Submit
your completed passport in the collection box by 4pm on Fri-
day. You can win a multitude of prizes, including an iPad and
AATE membership at the Exhibitor Rafe at 5pm on Friday.
Detailed Schedule - Wednesday, July 27 - Preconferences
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16
Di r ect or s on Di r ect i ng Pr econf er ence
Wednesday, July 27, 9:00am-5:00pm
Columbia College Chicago (off-site)
This preconference is designed for anyone interested in how a director can maintain both a unied vision and creativity throughout the rehearsal process.The rst half of the day
will be conducted in small group settings. A panel of professional directors from Chicago and professional TYA directors will prepare the same scene to direct in their own style
with and for the participants of his/her assigned small group.
The second half of the day will be a whole-group reection: sharing of the various scenes rehearsed in the small group settings, followed by a moderated discussion comparing
and contrasting the various directing styles, strategies and rehearsal techniques.
Presenters
Tom Arvetis is the Founder and Producing Artistic Director for Adventure Stage Chicago at the Northwestern Settlement House in Chicagos West Town community. Recentdi-
recting credits includeAnd A Child Shall Leadby Michael Slade (Chicago Premiere),Katrina: The Girl Who Wanted Her Name Backby Jason Tremblay (World Premiere),The
Blue Houseby Jos Cruz Gonzlez (World Premiere). With Silk Road Theatre Project:Dragon/Skyby Elizabeth Wong (workshop reading).As a writer:I Dream in Blues(produced
at ASC in 2006) andWalk Two Moons(to be produced at ASC in Fall, 2011).With the support of the Doris Duke Foundation, Tom is presently working on a community-based
project that synthesizes ASCs TYA aesthetic with stories that are emerging from within the West Town community.
Katy Carolina Collins is a founding member and co-artistic director of the Vintage Theater Collective. Previous productions with Vintage include: A Wintertime Tale, Misan-
thrope, or the Impossible Lovers and Hedda Gabler. In Chicago she's worked with: Steppenwolf, Chicago Shakespeare Theater, New Beast Theater, and The Building Stage.
Regionally she has worked with: The Guthrie Theater, Shakespeare on the Cape, Theatre de la Jeune Lune, and The Minneapolis Playwrights Center. She is a graduate from the
University of Minnesota/Guthrie Theater BFA Actor Training Program.
Frank Maugeri became the Artistic Director of Redmoon in 2009 and Co-Artistic Director in 2011. He has served as a director, designer, and performer for over 15 years; in
addition, he shapes the aesthetic of Redmoons marketing materials, leads the staff in community vision work, and manages much of Redmoons large community of freelance
artists and interns.
Young Pl aywr i ght s Inc. s Teacher Tr ai ni ng Inst i t ut e Pr econf er ence
Renaissance Ballroom
Young Playwrights Inc.s Write A Play! Teacher Training Institute provides educators a blueprint for integrating playwriting into
English Language Arts and Theatre Arts curricula, grades 3-12. This standards-based interactive professional development work-
shop builds a foundation of dynamic individual and collaborative writing exercises that introduce and explore the fundamentals of
dramatic writing; tested over 30 years in the classroom, this approach has proven successful with young people at all levels of
academic ability and for teachers with a range of specialties. Each participant receives the Write A Play! Curriculum Guide, detail-
ing key concepts and exercises including character, dialogue, setting, and conict.
Presenter
Brett W. Reynolds career in the theater spans four decades and two continents. For Young Playwrights Inc.: directed Caitlin
Parrishs The View From Tall (YPF XXII); Lauren Gundersons Parts They Call Deep (YPF 2002) and Julia Jarchos Nursery (YPF 2001); Jerome Hairstons The Love of Bullets (YPF/
Public Theater); David E. Rodriguezs Im Not Stupid (YPF School Tour) and numerous original staged readings (including Madeleine Georges The Most Massive Woman Wins,
Graham Parkes The Writer, and Melanie Wallners Simultaneity); Set Designer, Young Playwrights Festival XXIV. For the Independent Shakespeare Company: directed Henry V
(Odyssey Theater); Macbeth (London at The Kings Head, Los Angeles at CSUN/Northridge and Samuel Goldman Amphitheater) and Noel Cowards Still Life. Resident play-
wright for Great American Childrens Theater: The Secret Garden (Dallas Theater Center, LA Times Pick of the Week), Journey to the Center of the Earth (Pentages, LA), The
Wind and the Willows (Wilshire, LA) and The Velveteen Rabbit (with music by Tom Kochan). As an educator, Reynolds has trained teachers worldwide in Young Playwrights
Inc.s Write A Play! Curriculum (Guthrie Theater, North Carolina Theater Arts Education Conferences, Texas Educational Theater Association). Recently, Reynolds was invited by
Victoria University to work with the newly-launched Culture Shack in Melbourne, Australia, bringing Young Playwrights Inc.s work to their immigrant and refugee populations.
Consultancies: President Clintons Summit for Americas Future, Massachusetts Arts Council. He has taught for Young Playwrights Inc. since 1993.
Detailed Schedule - Wednesday, July 27 - Meetings and Events
Grand Ballroom
AATE Board Meeting
Wednesday, July 27, 6:00-7:30pm
Wrigleyville
Incite/Insight Editoral Board Meeting
Tips for First Time Attendees
1. Dont be afraid to separate from your colleagues and friends! If you want to attend a session that your colleagues and friends arent interesting in attending,
go anyway! Ultimately the conference is what you make of it, so be sure to attend sessions that will specically inspire your work.
2. If there are two sessions happening at the same time that you really want to attend, dont be afraid to divide and conquer! Decide
with friends, colleagues, or new friends who will attend specic sessions and then chat later about what you learned over delicious food and drinks.
3. Graduate students (and undergrads!) are strongly encouraged to mingle with students from other programs. Its really interesting and fun to learn about
other programs in theatre and education. Friendships and future collaborations often come from meeting at AATE!
4. Dont be afraid to take some time off to explore the city. While in a perfect world you could attend every session and event possible, if you want a night off
to go out for dinner and paint the town red, then go for it!
5. When you get contact information or a business card from someone, take a moment later that day to jot down on the back of the business card how you
met them, where you met them, or any interesting conversations that you had with that person. This might help you keep everyone's names and faces
straight once you get home from the conference and sort through that pile of business cards and scraps of paper.
6. If you have them, tuck a few of your own business cards into the back of your conference nametag so that they are easily accessible to hand out.
7. Attend the network breakfasts and visit! These are a great way to nd out about the various networks of AATE and to see the faces involved. You will meet a
lot of new people in a short time, which can be overwhelming, but helpful if you want to become more involved in AATE.
8. Enter the exhibitor rafe for prizes because they give away great stuff, like AATE memberships or conference registrations for the coming year.
9. Remember to take off your conference nametag when you leave the hotel so that you don't walk around the city broadcasting your name and personal
information to everyone you meet on the street.
10. Attend the Awards Ceremony. Even if you don't know any of the nominees.
11. Try to map out your day in the morning or the night before. There are so many wonderful sessions held simultaneously and trying to decide which session
to attend during the short breaks can be frustrating.
12. Take advantage of opportunities to meet new people. If you are usually shy, push yourself to meet new people, the AATE Annual Conference is a friendly
and open environment.
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17
ALL CONFERENCE EVENT
Wednesday, July 27, 7:30pm-9:30pm
Grand Ballroom
Albany Park Theater Project Reects on Past, Present and Future
The ensemble of Albany Park Theater Project kicks off the conference! This opening event will include scenes and excerpts from past APTP shows, from their most
recent production, Feast, and may even include works in progress for an upcoming show this fall. After the excerpts, APTPs artistic staff (including David Feiner)
and teen ensemble will reect on the elements of their process, and stay after that to discuss how reection will be woven through the conference.
Wednesday, July 27, 4:30pm-6:00pm
Grand Ballroom Foyer
Conference Orientation and Welcome Meeting
Join members of the conference committee and both new and returning attendees for an overview of the conference schedule and structure, major events, and not-
to-miss traditions. Also, familiarize yourself with the AATE Networks and interest strands, and how to navigate the conference's many sessions to meet your
personal and professional goals and individualize your conference experience.
Detailed Schedule - Thursday, July 28
Thursday, July 28, 8:00am-9:15am
Old Town
Awards Committee Meeting
The AATE Awards Committee will gather to plan nal arrangements for
the 2011 AATE Awards Ceremony and Dinner Reception. Early plans for
2012 Awards Process will begin to unfold. Meeting is open to AATE
Awards Committee members and those who are interested in joining
the committee.
Dearborn
Network Council Meeting
This meeting will update current AATE Network Chairs of the changes
to AATEs Project Proposal model and engage in dialogue about the
new model. AATEs Membership Director and Membership Coordinator
will be available to answer questions about the new model and inform
Network Chairs how their valuable project ideas can be supported by
AATE in the coming years. This meeting is open to AATE Network
Chairs and members who wish to serve as network chairs in the future.
Dearborn
State Representatives Meeting
Current and prospective state representatives are invited to attend this
meeting to discuss the new state representatives program and
guidelines. State representatives will begin planning their efforts for
membership, programming, and advocacy in their state. Those
interested in representing their state are welcome to attend.
LaSalle
Theatre In Our Schools Planning Meeting
Join AATE leaders as we plan Theatre In Our Schools (TIOS) 2012!
Building on the successes of the 2011 TIOS regional mini-conferences,
student activities, social networking, awareness items, advocacy tools
and more, have your say in making 2012 the best TIOS year yet. Learn
how to get involved to advocate and raise the awareness of the
benets of theatre in schools in your area.
Grand Ballroom
Morning Announcements
Start your day with All-Conference Announcements. Find out about the
different kinds of events, schedule changes, and any other important
updates brought to you by the 2011 Chicago Conference Committee.
Grand Ballroom
Moments and Memories from Mother Hicks and The Taste of
Sunrise
Scenes and excerpts from the rst two plays of The Ware Triology
(commissioned and developed by Seattle Children's Theatre). The
excerpts will be directed by Tom Arvetis and featuring actors from
Northwestern University's production of The Edge of Peace. These two
award winning plays represent landmarks in the contemporary cannon
of dramatic literature for young audiences and have been produced by
theaters, universities, and high schools all over the United States. If you
have ever seen or been involved in any of these productions come and
share your stories.
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18
Devi si ng Wor kshop wi t h Al bany Par k Theat er
Pr oj ect - Mor ni ng Sessi on
Paid Workshop
Thursday, July 28 9:00am-12:00pm
Cuisines
Join David Feiner and members of Chicagos highly-acclaimed
Albany Park Theater Project (APTP) for an interactive workshop
on devising original theater from real-life stories. APTPs multi-
ethnic community of teen artists has been devising award-
winning, ethnography-based theater for nearly 15 years. At this
workshop, you will learn hands-on how APTP engages youth in
creating theater that tells the stories of immigrant and working-
class Americans. The workshop will go beyond the basics of
brainstorming and theme selection, to focus on the techniques
APTP uses to transform raw material into sophisticated theater.
APTP is an ensemble of youth artists who collectively write,
choreograph, compose, and stage original performance works
based on people's real-life stories. Since 1997, APTP has cre-
ated more than 50 performance works integrating theater, mu-
sic, and dance. They have performed for more than 25,000
people at their 90-seat home theater in Albany Park and at
venues throughout Chicago and beyond. Their performances
bring together one of the most truly diverse audiences in Chi-
cago.
Room f or Ri t ual : Desi gni ng Int er act i ve
Ref l ect i ve Spaces wi t h Redmoon
Paid Workshop
Thursday, July 28 9:00am-12:00pm
Gold Coast
Redmoons workshop will provide participants hands-on experi-
ence using the tools of spectacle to transform public space.
Using techniques derived from Redmoons teaching methods,
participants will engage in ritual design, installation design, and
art making that will turn the conference hotel space into an in-
teractive, experiential environment for reection. The completed
Room for Ritual installation will be open as a space for private
or group reection throughout the conference.
Redmoon provides artistic events for public engagement, creat-
ing unexpected theater in unexpected locations. Founded in
1990 to promote a unique brand of Spectacle performance
committed to the highest quality artistic product and civic well-
being, Redmoon transforms streets, stages, and architectural
landmarks into places of public celebration. With a style that is
equal parts puppetry, pageantry, gadgetry, robust physical per-
formance, and visual art installation, Redmoon creates unique
theatrical experiences that galvanize community and celebrates
the human imagination.
The workshop will be led by Neighborhood Arts Director Angela
Tillges.
Renaissance Ballroom A
Applied Theatre Network Meeting
Wacker
Assessing Classroom Theatre Performance in the Age of Rubrics
and 5-point Scales
Chair:
Andrew Ryder
Presenters:
Andrew Ryder
JoBeth Gonzlez
Julia Ashworth
As states ratify standards for theatre education, they seek ways to
effectively assess classroom theatre performances. Such experiences
are immensely valuable, but we need evidence of specic skills.
Authentic assessments are based on aesthetic, theatre-specic criteria,
and include: clear focus and expectations; developmental process; a
sense of the whole; and attention to ensemble and individual skills.
Presenters will describe state-provided assessments; participants will
create their own, which the larger group will discuss. Participants will
leave with guidelines for developing classroom-based performance
assessments.
Michigan
Deep Dramatic Currents--How 20th Century American Small Play
Publishers Contributed to the Depth of the Dramatic Canon for
Young Audiences
Chair:
Katherine Krzys
Presenters:
Ashley Hare
Max Bush
This session will reect on how owners of small 20th century play
publishers, namely: the Association of Junior Leagues of America
(1910s-1950s), Anchorage Press (formerly Children's Theatre Press
created in 1935 by Sara Spencer), Coach House Press Chicago
(created by Louise Dale Spoor in 1945) and New Plays (created by Pat
Whitton Forrest in 1964), inuenced playwriting trends, encouraged
playwrights to write for young audiences, established new criteria for
playwriting and created our diverse canon of dramatic literature in the
eld. Rather than reading papers, the panel participants will discuss
their in-depth research on the former subjects and on playwright
prol es, commi ssi oni ng, pre-pri nt producti on qual i cati ons,
connections to AATE and its predecessors, advisory boards and play
publicity. They will read quotes from correspondence, articles and
publicity. Following questions for each presenter, the audience will be
asked to participate in a discussion regarding playwriting trends for the
future and the viability of production of these early plays.
Bucktown A
Dramatic Viewpoints: Linking Role Drama to Literature and Writing
Chair:
Carmine Tabone
Participants will experience two activities (Vote From Your Seat and
Dramatic Viewpoints) that have been used successfully with
elementary, middle school and high school students and teachers both
in language arts and theater classes to help clarify and afrm students'
values and points of view around various topics. These topics can then
be extended to the study of a book or play and the examination of
themes, characters and scenes. Participants will have the opportunity
to present topics in which they are interested and develop connections
to their own work. The session will also demonstrate the connection to
writing genres such as persuasive writing and character narrative.
Renaissance Ballroom C
HERE COMES GOSLING! Reections on Varied Approaches to a
Script for Very Young Audiences.
Chair:
Lynda Sharpe
Presenters:
Sandra Fenichel Asher
Judy Matelzschk-Campbell
Abby Schwarz
Patricia Zimmer
Full immersion, traditional proscenium, in the round, on tour? All of the
above? In a series of workshops and productions of Sandra Fenichel
Asher's adaptation of her own picture book with music by Ric Averill,
participants explored these possibilities. Children danced, bubbles
bounced, feathers ew as Head Start and other nursery schools shared
in the joyful birthing of a very new script for young audiences. Come
help us reect on our process, various styles and results as we ponder
the prospects for future Theater for Very Young Audiences.
Old Town
Inclusion in the Theatre Arts Class: Asking (and Answering) the
Hard Questions
Chair:
Diane Nutting
Presenters:
Kelly Cates
Mary ElizaBeth Peters
Jamie Querciagrossa
Inclusive theatre education experiences have the power to create an
environment that welcomes all, breaks down barriers, and pushes all
students to reach beyond self-determined limitations. Theatre artists
who have created and facilitated an inclusive environment know that
there are equal benets to those students with and without disabilities.
Yet, the very nature of an inclusive theatre arts classroom can bring
some very hard questions to light, such as:
- How do we teach across the spectrum of learning to insure that
students of all abilities are able to be equally challenged?
- What happens as the "academic content" of the curriculum
becomes more challenging as students become older and more
advanced in their studies?
- What happens when inclusion strategies don't work (or stop
working)?
- Is there ever a time when inclusion is not the best option?
- How do you communicate your philosophy of inclusion to (and
gain the advocacy of) parents of students without disabilities
throughout your organization?
This session will bring together practitioners who are in the midst of
their inclusion journey to explore and discuss the "nitty gritty" (and
often unspoken) challenges of an inclusive theatre arts environment.
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19
Renaissance Ballroom B
Let the Seventy-Fourth Hunger Games Begin: Experiencing and
Reecting Upon Young Adult Literature through Dramatic
Exercises. And May the Odds be Ever in your Favor!
Chair:
Jessica Batey
Presenters:
Jessica Batey
Daniel Mahler
This workshop will model methods educators can utilize to engage
young people in literary texts using interactive participatory exercises.
We will be using Suzanne Collins' popular young-adult novel, The
Hunger Games, as a means of developing classroom strategies for
bringing literary ction to life. During our session we will simulate some
of the circumstances experienced by the society in which the book
takes place, using excerpts from the text. We will adapt techniques of
Dorothy Heathcote, Jonothan Neelands and Augusto Boal, among
others, to model ways in which theatre can be used to spark
discussions and reections on how the themes portrayed in literature
translates to the reality in which we live.
Bucktown B
Make it or Break it: What are Keys to Successful Facilitation?
Chair:
Teresa Fisher
Without a strong capable leader at the helm, workshops can go horribly
wrong with goals unmet, not enough reection time, participants left
emotionally bereft, and mass chaos. As theatre educators, how do we
prepare for success and avoid pitfalls? What are the keys to effective
facilitation? How do we meld our unique personality styles with
effective teaching practices? How do we learn to balance encouraging
full participation in our workshops without pushing participants too far?
In this hands-on discussion/workshop, we will explore what makes or
breaks a successful facilitation. Using our collective experiences and
knowledge, we will examine the factors which lead to success or failure
when facilitating workshops to gain a better understanding of how we
can support each other in becoming successful facilitators.
Printer's Row
Our Different Stories: Using stories to recognize and embrace
difference
Chair:
Emily Hooper Lansana
Emily Hooper Lansana is a professional storyteller, school administrator,
and consultant. For more than twenty years she has worked creating,
adapting, collecting and teaching storytelling in a range of diverse
communities. In this hands-on workshop Ms. Lansana will share
experiences that encourage participants to reect on the role that
storytelling can play as we seek to recognize and celebrate difference.
She will share examples from work with teachers and students in
Chicago Public Schools as well as the larger cultural communities in
Chicago. Storytelling serves a critical role in the educational setting by
allowing students and teachers to share their unique voices and
experiences. It helps to build relationships and foster an environment of
respect. Participants will reect on where stories come from and how
we can most effectively share them. The workshop will include practical
techniques for how to collect/present/discuss/and reect on stories and
their role in unique educational settings.
Renaissance Ballroom D
Student Educational Theatre Internships: Building A Quality
Experience For College-students Through Partnership Between
Higher Education And Professional Theatre
Chair:
Sarah Mae Johnson
Presenters:
Brian Harper
Dr. Marilyn Cookie" Hetzel
Sonsharae Tull
Jose Zuniga
Explore a credit-bearing internship created through Metropolitan State
College of Denver and Kaiser Permanente's Educational Theatre
Programs. Session focuses on three success factors: a shared
philosophy balancing educational value with quality theatre;
commitment to unleashing the potential of students; mutual goal of
bettering the community. Video clips, coordinator expertise and
interactive discussions with participating interns lead session
participants to reect on the value of quality internship as viewed by
students, academic institutions, and community organizations.
Bridgeport
The Humanizing Language of the Arts
Chair:
Carole Miller
Presenters:
Carole Miller
Juliana Saxton
Last year, in constructing our argument for advocacy of the arts, we
looked at drama education as a discipline in its own right and its
relationship to brain research. This year, we take up something to
which we alluded, namely that drama is a valued servant to a number
of legitimate curriculum subjects. In this paper, we focus on literacy as
more than handmaiden to the language arts/social science curriculum.
Thursday, July 28, 11:00am-12:15pm
Bridgeport
ACTivate: Stimulating Dialogue, Deepening Understanding, And
Cultivating Respect Through Creative Drama And Theatre For
Social Change
Chair:
Julia Newby Magnasco
In this workshop, participants will actively explore First Stage's Bully
Ban program - an initiative designed to address a Wisconsin State
mandate to implement effective bullying prevention policies in all
schools. Using activities based in theatre for social change and creative
drama, the Bully Ban invites students to bring their issues, concerns,
and realities to the table. As a group, we explore and reect on best
practices, maintaining the attitude that we do not have all the answers,
and that bullying behavior is complex and more often than not won't be
solved in one exchange. This curriculum engages students in critically
thinking about issues of power in their school community and creating
practices for developing respect for one another.
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20
Old Town
Building a Diverse Theatre Curriculum: Students, Teachers, and the
Role of Privilege
Chair:
Jennifer Chapman
Presenters:
Christina Marn
Stephen Gundersheim
This session will explore the question: "what actions work strategically
to build a diverse high school theatre curriculum?" The discussion will
include work that could be done in both the college/university and high
school arenas. Session participants will use others' personal narratives
about challenging teaching moments to: 1) discuss the role of power
and privilege in moments when we get "stuck"; 2) brainstorm actions in
response to challenges that narratives pose; and 3) identify different
stakeholders that teachers can turn to for help in moments of conict,
when they get stuck in a teaching moment, and when they come face
to face with an issue of diversity that they do not know how to respond
to. The personal narratives used will come from the "Building a Diverse
Theatre Curriculum" session participants at the 2010 conference and
will be available to pick up at the registration desk upon check-in.
Participants may choose to read and reect upon the narratives before
attending; copies will also be available at the session for review.
Printers Row
Revision Reections: North Carolina's New Essential Standards
Chair:
Gordon Hensley
Can state arts standards consciously center around transferable "soft
skills" such as communication, collaboration, and creative thinking? In
response to this leading question North Carolina has just launched new
essential standards in the arts. This session, lead by revisioning task
force member Gordon Hensley, is a preview of the new North Carolina
theatre curriculum.
Bucktown B
"Can We Talk?" A Forum for Emerging and Diverse Playwrights -
and Frustrated Drama Teachers.
Chair:
Spring Hermann
Presenters:
Spring Hermann
D.W. Gregory
Daphnie Sicre
Karl O. Williams
Playwrights and drama teachers want to talk! How do theatre-making
institutions cultivate new plays - and how do drama teachers nd
them? What do teachers mean by appropriate material for their
schools, and what are the issues in selecting new material to develop?
Teacher, director, or playwright - who should have the most authority in
structuring new plays for youth? We will encourage an open sharing of
opinion and dialogue by all.
Differentiated Drama
Chair:
Lisa Dennett
Presenters:
Lisa Dennett
Stacy Deemar
This presentation combines power point, hands-on activity and open
interactive dialogue. Participants will learn basic learning styles in
addition to how to differentiate instruction. The session will explore the
following two questions: How can we make our teaching, directing,
productions and classroom experience more engaging and appropriate
for all of our students? How can we enhance our current practices to
be more aware of different learning and teaching styles? All participants
are encouraged to reect and share their own experiences in the area
of differentiating drama.
Early Bridges: The Conduit Between Theatre and the Early
Childhood Classroom
Chair:
Maria Asp
John Sessler
Informed by the latest research in child development for ages 2 to 5
years old, an early childhood adaptation of Childrens Theatre
Company's signature critical literacy program, Neighborhood Bridges,
has emerged. In this new program, Early Bridges, we believe that
children's play is essential to their well-being and that when given time
and opportunity, self-initiated play is the surest way for children to fully
realize all of their intellectual, emotional and social potential. Early
Bridges is rooted in Developmentally Appropriate Practice, as outlined
by the National Association for the Education of Young Children
(NAEYC). Workshop participants will be guided through a hands-on
Early Bridges session, learning the strategies for bringing substantive
theatre-arts education experiences to preschool-aged children based
on the Neighborhood Bridges model.
Bucktown A
"Far Beyond the Classroom Walls": The Lifelong Impact of High
School Theatre and Speech Teachers-Implications for Teacher
Education
Chair:
Laura A. McCammon
Presenters:
Laura A. McCammon
Johnny Saldaa
"Quality high school theatre and speech experiences can not only
signicantly inuence but even accelerate adolescent development,
and provide residual, positive, lifelong impacts throughout adulthood."
This was the key assertion from a 2009-2010 survey of 234 North
American adults who participated in secondary Speech and/or Theatre
programming. Respondents reported gaining self-condence and
self-awareness, public speaking skills, and personal work ethics and
habits. The teacher's role was vital. The majority of respondents noted
that their teachers were professional, knowledgeable, nurturing, and
passionate; however, 10% of teachers were viewed as dysfunctional.
This session will focus on how pre-service and in-service teacher
education programs can develop these competencies in future
teachers.
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21
________________________________________________________________________________________________________________________
22
The CUNY School of Professional Studies
in partnership with the
Creative Arts Team
is pleased to offer a unique graduate degree
For more information, contact:
Matt Freeman, M.A. Program Manager
212.652.2820 or Matt.Freeman@mail.cuny.edu
or visit: http://www.sps.cuny.edu/programs/maat
M.A. IN APPLIED THEATRE
First degree its kind in the United States!
Using theatre to FACILITATE ~ EDUCATE ~ ACTIVATE
Wacker
Professional Theatre Network Debut Panel - Innovation &
Subversion: Radical Acts in Professional Theatre for Young
Audiences
Chair:
Wendy Bable
Ali Oliver-Krueger
Rather than allowing current economic challenges, organizational
structures, and audience appetites to limit our creativity and tempt us
to work from a space of fear, how might these limitations be a useful
catalyst for creativity? This session will share and interrogate deliberate
approaches (taken by the panelists) to different aspects of Theatre for
Young Audiences that have affected important shifts in organizational
ideology and methodology. Panel participants will share recent acts of
innovation and subversion, ranging from radical actions to gentle
disturbances, in their artistic, leadership, and/or organizational
practices that have disrupted or altered established patterns of working
with benecial results. Each panelist will present a short case study
detailing the given circumstances framing their approach and a
description of the action they chose to disrupt or alter those
circumstances. The case study presentations will be followed by a
dialogue/brainstorming session amongst the panelists and the
participants to examine and interrogate other practices or situations
that would benet from unorthodox approaches and problem solving.
Dearborn
Other People's Stories: How to Activate Ally-ship through Theatre
Activism
Chair:
Sara Kerastas
Presenters:
Anna Rangos
Sukari Stone
Ruben Castro
Cristian Gorostieta
Britney Fryer
How do we create oral history theatre/docudrama that focuses around
other people's stories? How do we activate ally-ship through
theatre-making? These two questions stem directly from our on-going
experience in our current youth-driven oral history project, WHAT'S
THE T?. The theme for the project is trans-identity, yet, there are
currently no trans-identied folks in the ensemble. How do we proceed
in a comprehensive, non-exploitative, socially conscious way? How do
we tell stories that are not our own?
The Power of Theatre: Exploring Successful Methods to Inspire
Change in your Community
Chair:
Frieda de Lackner
Presenters:
Frieda de Lackner
Jared Randolph
Celebrating their 25th anniversary serving audiences in Northern
California, Kaiser Permanente Educational Theatre Programs shares its
model for community engagement. Learn about the power of
harnessing the inuence and "star" status of performers through
follow-up interactions, activities and resources that deepen the
theatrical experience and make students ambassadors of change.
Effective tools and methods will be presented based on current work
addressing the following topics:
- bullying
- self-esteem
- healthy eating
- active living
- HIV awareness and prevention
Participants will be given time to reect on the needs of their own
community and resources already available to them, receive coaching
from Kaiser Permanente facilitators, and strategize how their own
program can make a positive impact.
Michigan
Unpack Yourself: A Theatre Experience Infusing Collaborative
Learning Strategies to Support English Learners
Chair:
Susan Brantley
Presenters:
Susan Brantley
Ray Conseur
John K. Brown
Dr. Xan Johnson
Storytelling serves a critical role in the educational setting by engaging
English learners in an introduction to theatre to share their unique
voices and experiences. An emphasis on oral presentation built through
social interaction and cultural exchange builds relationships and fosters
an environment of respect. Dr. Xan Johnson and Susan Brantley will be
on hand to discuss the impact of sociocultural learning theory,
linguistics and the drama experience. How prepared are we as
educators to engage students not yet procient in English in drama
programs? How do we support EL students through effective,
scaffolded lessons that anticipates learning that is on the horizon? How
does your current belief system regarding language acquisition impact
your lesson design and execution?
Whose Reection Counts?: International Perspectives On Process
Drama As Inclusive Educational Pedagogy And Practice.
Chair:
Brian S. Heap
Presenters:
Pamela Bowell
Aud Bergraf
Worldwide 75 million children of primary school age are not enrolled in
school.
25 million of these are children with disabilities. Others are working
children, rural, nomadic & indigenous groups, linguistic minorities, &
those affected by HIV/AIDS. But the thrust to promote inclusive
education is not about underdevelopment. In all countries both children
and adults may be excluded from access to education because of
poverty, homelessness, disability, language, ethnicity, gender, sexual
orientation, and religious afliation. The leaders of this session, from the
UK, Jamaica and Norway will conduct an abridged version of process
drama work about inclusion conducted with older teenagers over a
two-day period in Sandnes, Norway in October 2011.
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23
Thursday, July 28, 12:15pm-1:00pm
Gold Coast
National Standards Update And Discussion
AATE is an ofcial member of The National Coalition for Core Arts
Standards (NCCAS), the newly formed partnership of organizations and
states that will lead the revision of the 1994 National Standards for Arts
Education. The standards will describe what students should know and
be able to do as a result of a quality curricular arts education program.
This meeting will be the rst of the AATE National Standards/Advocacy
Committee to learn about, discuss and plan AATEs involvement in the
Standards Revision process and national arts advocacy. This meeting is
open to AATE Standards/Advocacy Committee and members who are
interested in advocating for the arts at the national level.
________________________________________________________________________________________________________________________
24
Grand Ballroom
Presidents Welcome and Featured Speaker Vivian Gussin Paley
Vivian Gussin Paley writes and teaches about the world of young children. She examines their stories and play, their logic and their
thinking, searching for meaning in the social and moral landscapes ofclassroom life. A kindergarten teacher for 37 years, Mrs. Paley brings
her storytelling/story acting and discussiontechniques to children, teachers, and parents throughout the world.
She is the recipient of the 1987 Erikson Institute Award for Service to Children and a MacArthur Fellowship in 1989. She received the
American Book Award from the Before Columbus Foundation forLifetime Achievement in 1998. In 1997, her book, The Girl with the Brown
Crayon, was given the Harvard University Press Virginia and Warren Stone Prize as the outstanding book about education and society.In
1999 the same book brought her the NCTE David H. Russell Award for Distinguished Research in the Teaching of English. Mrs. Paley
received the John Dewey Societys Outstanding Achievement Award for the year 2000, and, more recently, in 2004 was named
Outstanding Educator in the Language Arts bythe National Council of Teachers of English.
YOU SAID: You loved the lunchtime storytelling event in San Francisco!
WE HEARD: We decided to present a similar event around the theme of
identi ty, this year showcasing talent from the Chicago storytelling commu-
ni ty! We also incorporated our theme of reflection into the eventallowing
the stories to be a springboard for how our own stories interact wi th the
stories of our students.
Assessing the Arts: Creating Qualitative And Quantative Tools To
Assess Your Theatre Education Program
Chair:
Pamela DiPasquale
Presenters:
Pamela DiPasquale
Erin Rife
Without solid evidence supporting the successes of your theatre
education program, it can be difcult to make a convincing case to
funders, school districts, teachers and even parents that your program
is valuable. This hands-on workshop will help you create the necessary
tools to assess and evaluate students' cognitive, social and physical
learning improvements that result from participation in your program.
Gold Coast
Calling All Directors
Chair:
Jeanne Hopson
Peter Loffredo
Presenters:
Dr. Xan Johnson
Rives Collins
Robyn Flatt
Charla Cochran
Steve Barberio
Dr. Harvey Miller
Directors from all theatre milieu, (freelance, comm.. theatre, youth
theatre, middle/high school, university and Equity) will informally lead
exploration into specically chosen areas of discussion. This is a
continuation of former sessions with attendees polled so we can focus
on common goals, problems and solutions. We build connections
among the various areas of directing. Our panel serves to moderate an
open discussion to facilitate the continued exchange of ideas. Session
has had immediate appeal to directors from every network and arena
and has proved to be very popular as a directors forum for those with
little Or extensive experience. Panel represents AATE, AACT, ATA and
ATHE. We strive to examine our similarities and appreciate our
differences with an emphasis on cooperation and communication in
order to benet and facilitate our professional growth. A rst-day
90-minute session facilitates networking from early on in the
conference.
Dearborn
Child's Play: A Journey Through Early Childhood Dramatic
Activities
Chair:
Mary Quest
This session will focus on drama experiences for young children in
group settings and explore appropriate ways to provide opportunities
for children to perform. The value and benets of drama experiences
for young children will be discussed.
Wacker
It's Brave To Fail
Chair:
Jacqueline Stone
Take risks, develop your own voice, and take chances. Know who you
are. This workshop is designed to give tangible tools for teaching artists
who are working with students from ages 3-18 years but will provide
adaptations that will be applicable to all teachers looking for some new
strategies. In this hands on workshop participants will analyze and
assess their own individual strengths and weaknesses, common
challenges, and an expansion of their own teaching toolkit. Topics
covered will be teacher and student fears and dreams, classroom
management, improvisational theatre exercises and early learning
comprehension. Skill sets focused on include communication,
spontaneity, building an ensemble, trust, physical and verbal
engagement, and self-condence. Know who you are and how you can
best support your students.
Bucktown B
Latino TYA Plays: What's Available? Who's Producing Them?
Who's Not? Why?
Chair:
Roxanne Schroeder-Arce
Presenters:
Roxanne Schroeder-Arce
Gillian McNally
Marilee Miller
Gayle Sergel
The 2010 census is anticipating documenting over fty million Latino/as
l i vi ng i n the Uni ted States; however, these numbers are
disproportionately underrepresented in the TYA produced nationwide.
From professional TYA companies to plays performed by youth in
school theatre programs, Latino stories and characters are absent or, at
best, decient. There is a lack of awareness about what plays are
available and a need to talk about its challenges. In this interactive
panel presentation/workshop, we will provide resources for those
interested in offering Latino TYA plays in their communities. We will
hear from the elds most produced publisher about what Latino plays
are available. Participants will engage in a discussion about the
challenges in representation, resources, and audience development.
________________________________________________________________________________________________________________________
25
Bucktown A
Making Waves in Critical Literacy: Animating Creativity and Critical
Pedagogy in the Classroom
Chair:
Kiyoko Motoyama Sims
Presenters:
Kiyoko Motoyama Sims
Tessa Flynn
Neighborhood Bridges is critical literacy in action. Elementary and
middle school students in this signature literacy program of the
Minneapolis Children's Theatre Company understand the power of
narrative by becoming examiners not only of the text but of the world
around them. As they identify assumptions, and the dominant social
and cultural values in stories both written and performed, Bridges
students ask questions, reect on and challenge their own biases and
ideals, and ultimately transform the narratives. Through a sample of
interactive storytelling, creative writing and theatre exercises,
participants in this session will experience rst-hand how critical
literacy is facilitated throughout the four phases of a typical
Neighborhood Bridges session. Workshop participants will also explore
and reect on the recent research ndings of a two-year assessment
project, in partnership with the University of Minnesota, which
highlights the direct correlation between creativity and critical
pedagogy achieved through dramatic play in the classroom.
Neighborhood Bridges is recognized by the United States Department
of Education as a recipient of the Arts in Education Model Development
and Dissemination (AEMDD) grant which has funded the dissemination
of the program to thirteen sites nationally, from New York to Hawaii.
Printer's Row
Participant Perspectives on Ethics & Theatre for Young Audiences
Chair:
Matt Omasta
Presenters:
Matt Omasta
Millie Struve
Machaela Watson
This session invites participants to explore the ethical relationships
among participants involved in Theatre for Young Audiences (TYA).
Specically we will address questions about how theatres handle
controversial material: who (if anyone) is responsible for processing
difcult themes with young people, if TYA companies have a
responsibility to engage with social issues in their programming,
perceived educational responsibilities, and other ethical matters. We
will rst present the results of a survey that involved over 400 TYA
professionals, educators, funding agencies, and parents. Following
this, all participants will be invited to discuss the study and reect on
their own perceptions and experiences.
Michigan
Process and Performance: Devising Non-Traditional Theater with
Teens
Chair:
Courtney J. Boddie
Presenters:
Sobha K. Paredes
What happens when we build real opportunities for teens to truly
collaborate in a creative process? This professional development
session, inspired by a Belgian production created by teens and
presented at The New Victory Theater in the 2009/10 season, will ask
participants to work as theater artists to devise an original performance
piece. During this session they will build ensemble skills, a performer's
toolbox and fully contribute to create an original work. Participants will
utilize a peer reection process that will give time for them to rehearse,
reect and revise their work, promoting ownership of the process and
the nal theater piece. Participants will also be able to reect on the
work overall and make practical applications to their own specic
teaching situations.
LaSalle
Purposeful Planning and Rigorous Reection: Exploring Expertise
in Teaching Artist/Teacher Partnership
Chair:
Bridget Lee
Presenters:
Katie Dawson
Within the Drama for Schools professional development model,
teaching artists partner with classroom teachers to explore the potential
of drama-based instruction to activate learning for all students. To
prepare each lesson, teaching artists and teachers move through a
planning protocol; after the lesson, they use a reection protocol to
revise the lesson for future use. This session interrogates the need for a
lesson planning and reection process that views expertise in the arts
and education as an ongoing process, less about the mastery of
content or one skill and more about an ethos of problem-solving and
inquiry. Participants will be invited to share their arts integration
planning/reection protocols, and consider larger recommendations for
the eld. As artists and teachers, we will consider interdisciplinarian
mindfulness as part of the arts integration partnership. We will weigh
out a potential hierarchy of expertise (e.g., the delity of the art form vs.
classroom management) and consider how intentionality can help
frame our planning and reection conversations. This is a working
session with attendees. Please bring your ideas and examples of
planning/feedback protocols to share.
Students in Mask, Transformations Across the Curriculum and
Beyond
Chair:
Shawnna Pledger
A transformative learning experience happens when one puts
third-graders in a full face mask. I propose to recreate this experience
for my colleagues at the AATE conference by leading a full face mask
workshop just as I would for my third-grade students. It has been my
experience that masks allow children to step out of themselves and
safely make bold choices; to actually be somebody else. Mask work
invites discussions about the power of body language. Mask work
helps students learn to interpret social cues. Masks produce
class-wide empathy by giving the students insight about what each
character is going through. It fosters understanding of character and
emotions while developing skills in the areas of self-control and
kinesthetic awareness.
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26
Old Town
Teaching With, About, In And Through The Arts For Young People.
To Develop An Essentials Of Fine Arts Course For The Classroom
Teacher Or Education Major.
Chair:
Cheryl Kaplan Zachariah
Presenters:
Manon van de Water, PhD
Cheryl Kaplan Zachariah, MFA
A round table discussion for and by university and college professors
teaching courses in Arts Integration for the classroom teacher. Arts
Integration courses are the introduction and investigation of the
essentials of aesthetic arts including expression and exploration
through visual art, music art, dance art and theatre arts for young
people. The current cuts in arts education, as well as the aftermath of
NCLB requirements and the testist nature of our school system force
the arts educators--music, dance, visual arts and theatre/drama--to
create integrated arts courses, instead of offering courses focusing on
the individual arts. This raises a number of pertinent questions about
the role and place of arts in the education of our children. This will be
an open dialogue in which we share experiences with everyone to
discuss the creation of successful and unsuccessful Arts Integration
courses.
The Cooperative Theatre Classroom
Chair:
Karen Hall
As theatre educators we all know the importance of ensemble -
working together towards a mutual goal. Adding cooperative learning to
your teaching tools will help you achieve the ensemble you desire and
provide you with strategies to keep your classroom engaged during
rehearsals, warm-ups and critiques. This abbreviated version of Karen
Halls paid workshop is open to all registrants.
The Mosaic Model for Youth Development through the Arts - In
Action!
Chair:
Rick Sperling
Presenters:
Rick Sperling
Kate Mendeloff
Youth Members of Mosaic's Next Stage Company
This high-energy session will explore both the theory and practice
behind one of the nation's most acclaimed youth arts programs,
Mosaic Youth Theatre of Detroit. Remarks by Mosaic founder Rick
Sperling will be followed by a brief live performance by a small group of
Mosaic young artists, ending with interactive small group discussions
and Q-and-A facilitated by Kate Mendeloff, drama and community
engagement faculty at the University of Michigan Residential College.
The session will focus on the results of a three-year study by the
University of Michigan Psychology Department and School of Social
Work documenting Mosaic's youth development impact, featured in the
publication Excellence on Stage and in Life: the Mosaic Model for Youth
Development through the Arts. (All session attendees will receive the
publication.) The Mosaic Model involves utilizing three E's -
Expectations, Environment and Empowerment to achieve three S's:
Skills, Self and Society. Through presentation, performance, and
discussion, attendees will leave with a deeper understanding of the
Mosaic Model and with practical ideas for how principals of the model
can be applied to enhance the impact of their artistic work with youth
and teens.
Unmasking the Metaphor: Filling in the Blind-spot of a
"Color-Blind" Culture
Chair:
Lise Kloeppel
Presenters:
Lise Kloeppel
Jodi VanDerHorn-Gibson
Our session seeks to not only share the beginning steps of a larger,
arts-based research project on the topic of race but also to use the
tools of theater to reect upon our personal and professional
relationships to race. W.E.B. DuBois named the problem of the
color-line THE problem of the 20th century. Can we say the same is
true for the 21st century or have we entered a post-racial age? In
searching for solutions, do we turn to despair and hopelessness as if
this is a social reality we'll never transcend? Using arts-based and
ethnographic research methods, we aim to devise an ethnodramatic
performance that situates the personal inside the political and
examines the everyday metaphors masking the accepted power
structures in our lives.
Bridgeport
AATE Research Awards Presentations
Chair:
Lorenzo Garcia
Presenters:
AATE Research Awards Finalists
The AATE Research Awards are offered annually for signicant
theoretical, empirical, ethnographic, critical, historical, or other research
in any area of drama/theatre for young people.
A Journey Through Early Childhood Dramatic Activities: Reecting
on Ways to Transform a Safe and Fun Space to Learn for All Ages
Chair:
Heidy M. Perez-Cordero
This workshop intends to engage the participants in a journey experi-
enced by early childhood education students. The facilitator will invite
the participants to play the games her early childhood students experi-
enced, as a way to develop the skills to start kindergarten. After each
exercise, the facilitator will invite the participants to reect on what
variations they would like to apply to the game, according to the demo-
graphics and contexts of the communities in which they might share
them in the future. The participants will have the opportunity to try out
each activity during the workshop, as a way to give them the chance to
actively engage and then reect on the techniques before taking the
games to their community. The session will conclude with a video pres-
entation of the facilitators experience applying some of these dramatic
activities in an early childhood setting.
________________________________________________________________________________________________________________________
27
________________________________________________________________________________________________________________________
28
EmpowHER Yourself: OverHERcoming Self SabHERtage
Chair:
Rachel Brill
This workshop is designed to empower women to challenge the
obstacles that society has placed on them, which lead to self
sabotaging behavior. Participants will nd their own sense of
empowerment throughout their exploration in the workshop.
Every Idea is a Good Idea (Part One): Group Story Writing and
Performance with Barrel of Monkeys
Chair:
Luke Hatton
Elizabeth Levy
Presenters:
Rani Waterman
Tom Malinowski
Part One will explore the Barrel of Monkeys (BOM) process in the
classroom. Participants will have a hands-on experience of our
in-school curriculum as we explore how BOM works to create
enthusiasm for language arts and performance. We'll start with the
BOM classroom agreements, then warm up, have an interactive
introduction to the literary concept of the day, move on to original story
writing in small, collaborative groups and nally, theatrically present our
work to the rest of the participants. There will be 5-10 minutes at the
end for reection/discussion. While participants are encouraged to
attend Part Two of the workshop (Saturday, July 30, 4:15-5:45pm), it is
not required in order to participate in Part One.
Michigan
Improbable Players: Using Educational Drama in Addictions Pre-
vention
Chair:
Lynn Bratley
This workshop weaves curriculum strands of health and theater
education to set the stage for thinking about how substance abuse
affects everyone: all the the ways it impacts us, our friends, our family
and our community. We'll draw on issues we have heard about, seen in
the media, or read about. Using sociodrama, we will improvise scenes
that illuminate the topic, observing effects of substance abuse on
characters, action, conict, and resolution. We will see how people get
pulled into certain roles when substance abuse is present and how to
change that: handling peer pressure, identifying classic roles people
play where there is substance abuse, and how to do a simple
intervention. The conclusion of the workshop will leave participants
empowered with new tools to use with youth. Improbable Players'
how-to guide for using drama in prevention education will be available.
Bucktown B
Picking Yourself Up By Your Analogical Bootstraps: Linking
Cognition Research and Applied Theatre
Chair:
Peter Duffy
There has been a much attention paid in recent years to cognition,
theatre in education and learning. Though some connections between
theatre and cognition are spurious at best, there is some exciting
research that theatre artists and educators can benet from in order to
deepen embodied learning through theatre. This presentation will
summarize several theories of mind and demonstrate how research can
be activated within a theatrical context to increase student learning.
Specically we will consider a model called Analogical Bootstrapping
as a method to deepen emotional connections to applied theatre
techniques. Participants will be given opportunities to apply
presentation content to applied theatre techniques in order see how
facilitators can deepen empathetic responses. This hands-on
presentation is geared toward theatre in education practitioners.
Drama teachers, arts administrators, and university professors will
benet from the material because the content is specic, instantly
applicable, and research-based. The goal of the presentation will be to
offer practitioners insight and practice into the complex eld of
cognition and neuroscience and their links to applied theatre with
youth.
Bucktown A
Sensory Theatre (or Theatre for More)
Chair:
Aimee Reid
Child audiences with physical disabilities require simple adjustments to
be engaged in mainstream theatre; additionally, their presence offers
unique artistic challenges to mainstream theatre for youth. Based on a
discussion held at last year's AATE conference in conjunction with
research conducted between 2009-2011, video clips of The Blue Light
and Other Stories, produced in the Phoenix area, will be shown along
with demonstrations of the techniques used in the performance.
Afterwards, a discussion will be held on the ndings of the production,
along with a brainstorm session to improve upon the techniques.
Grand Ballroom
Shakespeare High Screening and Reection
Shakespeare High is a riveting documentary about a socio-economic
cross-section of teens in Southern California who study Shakespeare to
compete in a drama Festival run by the many thousand-strong
volunteer teacher organization: DTASC (Drama Teachers Association of
Southern California). The lm focuses primarily on under-served teens,
highlighting the life-changing effect that this activity and competition
have for them, and underscoring the necessity of an arts curriculum,
and its effectiveness in saving lives and keeping kids and teens
engaged and in school.
________________________________________________________________________________________________________________________
29
LaSalle
Speaking Aloud the Silenced Story: Emergent Identity, Storytelling
and Critical Literacy.
Chair:
Gustave J Weltsek Ph.D.
Presenters:
Amy Hert
Scott Van Buskirk
Using the theoretical work of Deborah Britzman and Judith Butler as a
jumping off point, one drama and theater education professor and three
education students speak the silenced story of the complex negotiation
of an emergent self within the intense power dynamics of teacher
education. Situated in notions of critical and multi-literacies (Harste,
Leland et al) and critical performative pedagogy (Weltsek and Medina)
the group uses master storyteller George Shricker's storytelling process
as a vehicle for critical self-reection. This interactive session engages
participants in storytelling strategies while the group deconstructs the
hybrid socio-cultural relationships between student and teacher.
Why Is There More Drama Surrounding My Drama Class Than The
Drama I Teach? Techniques To Master Discipline in Elementary and
Middle School Drama Classrooms
Chair:
Stacy Deemar
Discussion in both small and large groups will target key discipline
strategies in both the elementary and middle school drama classrooms.
The group will share and analyze positive and negative responses to
specic methods. We will also critique how school rules may or may
not always be the best methods to apply in a drama classroom. The
group will be introduced to 1, 2, 3, Magic by Thomas W. Phelan, a book
about effective discipline in elementary and middle schools.
Dearbown
Writing Dramatic Action: A Mini-Workshop for High School
Teachers
Chair:
D.W. Gregory
Torn from the playbook of The Playwrights' Gymnasium, a Washington,
D.C., playwrights' workshop, this 90-minute session is devoted to
clarifying a key element of the playwright's craft. We know all about
action; without it, we have no drama. But how do you create action on
the page? This session combines an acting exercise with a writing
exercise to vividly illustrate the concept. Taught by a widely produced
and published playwright, this workshop has been conducted to great
success with middle school and high school students as well as adults.
Come prepared to wing it and take away an activity that will drive home
the point for your students and yourselves.
APTP Reections
Join APTP as they reect on their day with AATE.
Current and Future Artistry in TYA: A Conversation with the Doyle
Fellows
Chair:
Abra Chusid
Presenters:
Abra Chusid
Jennifer Hartmann Luck
Jenny Anne Koppera
Kathy Krzys
Aimee Reid
Brianna Stapleton Welch
Karl O. Williams
Since 2008, AATE has presented the Don and Elizabeth Doyle
Fellowship to outstanding graduate-level students of demonstrated
artistic ability in the area of Theatre for Youth. In this session,
fellowship recipients will share their artistic contributions to TYA, and
Kathy Krzys will moderate a discussion on current and future artistry in
TYA with all session attendees.
EMU's Celebration of the Life and Legacy of Virginia Koste
Chair:
Jenny Anne Koppera
Current EMU Drama and Theatre for the Young students, alumni, and
faculty
Join Eastern Michigan University Drama and Theatre for the Young
graduate students, alumni, and faculty to celebrate the life and work of
Virginia Koste. Be with us to share your personal stories of Jinny and to
reect upon how her mentorship continues to ourish in abundance!
Our presentation will cover Koste's multi-faceted career and her
ongoing legacy in the eld. The discussion following will seek to
analyze the current trends involving play as it relates to drama,
improvisation, theatre, social development, creativity, and more! By
reecting together on Jinny Koste's life work, we will ensure that future
generations will continue to connect and intersect with her passion and
vision for the eld.
Music Theatre International Information Session
Join one of our conference sponsors, Music Theatre International, for
an informational session.
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30
Grand Ballroom
Reecting Identity through Storytelling
Please see the following page for a full description.
Ref l ect i ng Ident i t y t hr ough St or yt el l i ng
Thursday, July 28, 7:30pm-8:45pm, Grand Ballroom
Join Chicago-based storytellers Anne Shimojima, Donna Washington, and Crom Saunders for an evening of folktales, personal
narratives, and other stories about identity. Stay after the stories to be a part of a community discussion about how our own
stories and identities affect the work we do with young people. This event was co-conceived by the Multiculturalism and
Diversity Forum.
Crom Saunders is very passionate about his performing! In addition to several appearances in full productions, and
performing with the ASL Comedy Tour circuit, Crom has his own one-man show, Cromania!, which tours nationwide,
featuring skits incorporating over 40 different characters, comedy, improv, and storytelling. Crom also co-founded ICEWORM in
2000, a nationally touring troupe which featured improv and sketch comedy. He recently completed his fth directing job- an
ASL production of the musical, The Wiz, after having directed four other plays, two of which Crom wrote himself. Crom has
also been gaining recognition online with his Clogs, his unique vlogs which have been viewed by thousands of people on
YouTube and Facebook. Crom also has interpreted dozens of plays, from childrens theatre to musicals and has taught dozens
of ASL linguistics and theatrical workshops across the nation. He currently teaches at the ITP program featured at Columbia
College, Chicago, and is working on launching a nationally touring ASL Improv Troupe, known as Interpreters Nightmare. You
can check out some of his work on http://cromsaunders.tripod.com or search Crom Clog on YouTube.
Anne Shimojima has delighted youth and adult audiences of all sizes with her graceful and spirited tellings of folktales from
her Asian heritage and around the world. Her thirty-plus years as a school library media specialist have given her a rich
knowledge of story and a keen ear for performance. Anne has also taught graduate courses in storytelling and for seven years
was on the Board of Directors of the Wild Onion Storytelling Celebration in Chicago. To nd out more visit her at
www.anneshimojima.com.
Donna L. Washington is an author and award-winning storyteller & multicultural folklorist who has been sharing stories with
audiences for over twenty years. Her amazing vocal pyrotechnics and dynamic physicality make her stories come alive and
enthrall and delight audiences from four to one hundred and four. She has been featured at the National Storytelling Festival
and numerous festivals, schools & libraries across the country. Donna has seven multiple-award winning CDs. She is an
accomplished author of four children's books with her next one due in 2012. Donna presents a wide range of tales from many
different cultures. Korean Stories, Greek and Celtic myths, African folk tales, Arthurian Legends, English lore, American folk
heroes, Halloween stories, holiday stories and a mixture of many other things! She also has a wide range of additional tales
including personal narratives and stories of her own creation. She spends her days roaming the county performing for schools,
libraries, festivals & special events as well as doing workshops for librarians and educators and anyone else who will listen to
her. She lives in Durham, NC with her husband Dave, son Devin, daughter Darith & two cats. To nd out more, visit her at
www.DonnaWashington.com.
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31
Anne Shimojima Crom Saunders Donna Washington
AATE Conference Scholarship Fund
This year, the AATE Conference Scholarship Fund beneted Crawling With Monsters, a group of seventeen theatre artists
and students from the University of Texas Pan American. Originally
founded as a touring, bilingual childrens theatre troupe, these students
became alarmed and disturbed by the recent mass killings,
kidnappings, displays of tortured and mutilated bodies, decapitations,
and more in Northeastern Mexico. Last year, they transformed into a
different type of theatre company in an effort to respond to the violence
and intimidation in our community. Their work addresses the effects of
the regional violence on children, their parents and their teachers. Most
of the script is comprised of transcripts from interviews with people in
Reynosa. They and their sources remain anonymous out of fear of
reprisals, and have not risked performing the play in South Texas or
Mexico.
Please join us in honoring the recipients of the 2011 AATE Conference
Scholarship Fund at the AATE Awards Dinner Reception on Friday, July
29 at 7:30pm. Tickets may be purchased at the registration desk by
Thursday at 5pm. Check out Crawling With Monsters on Friday at 9:15am in the Grand Ballroom and Saturday at 2:45 in
McCormick.
AATE wishes to thank the following contributors to the 2011 AATE Conference Scholarship Fund:
Sarah Andaloro
Stacey Ardelean
Sandy Asher
Steven L. Barker
Jane Bonbright
Drew Bowen
Lucy Bryson
Jennifer Chapman
Kirsty and Rives Collins
Rosalie Contino
Jennifer DiBella
Kristen Evans
Daryl Farrington Walker
Aminisha Ferdinand
Melba Fey
Rosalind Flynn
Pam Freedy
Joseph Furnari
Jo Beth Gonzalez
Theresa Grywalski
Rosana Gutierrez-Rios
Henry Hamilton
Jesse Hawkes
Bob and Jeanne
Hopson
Rachel Jamieson
Coleman Jennings
Barbara Johnson
Lynne Kingsley
Cher Laston
Amy Lee Ellowitz
Mary Alicia McRae
Kateri McRae
Talleri McRae
Patti Meyers
Carole Miller
Gina & Gary Minyard
William C. Mitchell
Diane N.
Karina Naumer
Kelly Prestel
Jerry Proft
Betsy Quinn
Judith Rethwisch
Joseph Robinette
Dan Rosenthal
Alicia Sanders
Juliana Saxton
Roxanne Schroeder-
Arce
Robert & Melissa
Schultz
Gayle Sergel
Nick Sheridan
Donna Stone
Anne Thurman
Diana Torres
Manon van de Water
Daryl Walker
Xanthia Walker
Eric Wiley
Patricia Zimmer
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32
Thursday, July 28, 10:30pm-12:00am
Grand Ballroom
Playwrights Slam
Come one, come all to the Annual Playwrights Slam! In this tradition emceed by "the Queen of the Slam," Sandy Asher, a dozen or more
playwrights will read ve-minute excerpts of their own new plays. A great opportunity to sample scripts and hear what your colleagues have
been working on (as well as their character voices!). Handouts and time to schmooze included.
New Guard Wine and Cheese Reception
Whether you are brand new to AATE or a seasoned pro, attendees are invited to mix and mingle at the New Guard Reception. Meet new
people with speed friending and reect on your experiences with your new pals. New this year, AATE is excited to announce its new
Mentorship Program. Come out to learn more about the program, and to make new friends!
Detailed Schedule - Friday, July 29
Friday, July 29, 7:00am-8:00am
Grand Ballroom
Morning Reection for Mind and Body
Wake up your body and mind during morning reection with a variety of
gentle stretching exercises. Prepare yourself for the day through
informal guided meditation on your personal goals for each day.
Grand Ballroom
Morning Announcements featuring Barrel of Monkeys (BOM)
Come and start your day with All-Conference Announcements, brought
to you by Barrel of Monkeys! A highlight of Chicagos vibrant theatre
scene, BOM is an arts education theater ensemble that works with
elementary-aged students in Chicago. BOM teaches fundamental
creative writing skills; provides a safe and supportive learning
environment; builds self-esteem and condence in children, and adapts
stories written by children for the stage performed professional actors.
BOM travels to schools presenting smart, funny theatre experiences
and throughout the conferences morning announcements, they are
going to share some of their favorite songs and sketches with you!
________________________________________________________________________________________________________________________
33
ALL-CONFERENCE EVENT
Grand Ballroom
Network Breakfast Meetings
The AATE Networks offer opportunities for drama and theatre specialists not only to network within their areas of expertise, but also to reach out
to other specialists for potentials cross-collaboration. Members are encouraged to join one or more networks that addresses their needs, and
investigate multiple networks that span several areas of interest. AATE Networks foster the exchange, development, and implementation of ideas
throughout the year, providing professional development, advocacy, and other tools within and across both theatre and education. During these
in-person network meetings, members discuss current news and developments related to the network, create and propose network projects, and
encourage networking among members.
Old Town
Build More Than a Ramp: The Art of Accessibility in American
Theatre
Chair:
Kristen Link
Mary ElizaBeth Peters
Over 50 million Americans self-identify as disabled - making Americans
with disabilities the largest minority group in the country. Theatres
struggle to address revised standards from the ADA, and wrestle with
the question of Accessibility. We will explore and challenge the meaning
of Accessibility: How can we create a more inclusive theatre for people
with disabilities? How does Accessibility affect drama education?
Kristen Link (City Theatre Company) and Mary ElizaBeth Peters
(Wheelock Family Theatre) will lead attendees through a practical and
philosophical session, discussing the implementation of successful
Access initiatives at model theatres.We aim to broaden our view of
Accessibility. Attendees will be challenged to evaluate their own
preconceptions, and will leave with concrete strategies to make theatre
arts education more universally accessible. http://accessibletheatre.org
Gold Coast
Changing the Way We Think
Chair:
Jennifer Little
Public school curriculum can do more than teach students "theatre
skills." We can expand our curriculum to encourage students to
challenge their knowledge of the world, history, politics, math and
science through the arts by collaborating with academic teachers;
using applied theatre techniques and pushing students to explore other
points of view. This workshop will explore what our award-winning
program has accomplished to date, along with exploring what other
possibilities are available to theatre educators working with public and
private elementary and secondary schools. In these times of economic
cuts and needing to justify the arts existence in school curriculum, this
collaboration helps everyone - the students, the arts, the administration
and the academics. A powerful tool that inspires young people to get
up and get involved.
Printer's Row
Community-Based Programming and Youth Development at
Arizona State University
Chair:
Presenters:
Kathleen Arcovio
Sarah Sullivan
Aimee Reid
Rachel Hamilton
The child drama program at Arizona State University (ASU) has been
investing time and resources into community-based programming.
Over time we have begun to identify best practices in order to both
provide robust and challenging education and training in the practice of
engaged theatre, teaching artistry and positive youth development and
to develop ethical partnerships with communities. In this session, ASU
faculty and students present our organic model and talk through the
challenges, mistakes and knowledges we have gained in experiential
learning and community engagement.
________________________________________________________________________________________________________________________
34
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Grand Ballroom
Crawling With Monsters: A Theatrical Testimony from the war zone
from the Mexico-Texas Border
Chair:
Joseph Furnari
Presenters:
Eric Wiley
Crawling With Monsters
Twelve actors and musicians present stories of children and theatre
from the war zone on the Mexico-Texas Border. Students at the
University of Texas Pan-American were working on a children's play to
be performed in the US and Mexico when they were told because of
the violence in Reynosa, Tampaulipus, Mexico they would not be able
to travel there. Their response was to create a play that tells a gripping
story, that many people do not want to be told, of what is happening in
Reynosa. Secretly-recorded testimonials and messages to the outside
world are delivered in English and in Spanish with subtitles. Do we as
artists have a moral responsibility to tell stories of social injustice?
Can theatre truly effect social change?
Directing the High School Musical: Five Acting Techniques that
Work
Chair:
Joshua Streeter
Sometimes the mark of a successful high school show is that students
have memorized all their lines, but what are we teaching students about
the craft? This workshop will give high school theatre directors practical
tools that will transform their rehearsals into acting studios. Creating a
character and working collaboratively is the focus of this workshop.
There are many simple and easy ways to help high school students do
this within the context of a musical or play. This workshop is designed
to add tools to your tool box and is appropriate for any secondary
educator or youth theatre director.
Wacker
Exploring A Raisin in the Sun with English Language Learners:
Scaffolding Speaking Skills and Engagement with Text
Chair:
Andrea Dishy
Presenters:
Kati Koerner
Karina Naumer
In this session, we will highlight the current work of Lincoln Center
Theater's Learning English and Drama (LEAD) Project in New York City.
LEAD is a collaborative, in-class theater residency that pairs an LCT
teaching artist and a teacher of English Language Learners (ELLs). The
program brings theater techniques into the classroom to bolster
student condence and skill in speaking English, as well as to provide
students with a concrete understanding of key literary concepts. LEAD
partners choose a piece of literature as the basis for residency work,
building toward an informal culminating presentation in the classroom.
We will frame this workshop by getting an overview of participants'
prior experience and best practices working with ELLs. We will provide
a snapshot of the LCT model, offer a basic understanding of the
categories of English language prociency, and will convey our
perspective on well scaffolded instruction for ELLs via hands-on
activities drawn from a unit exploring A Raisin in the Sun by Lorraine
Hansberry. The demonstration will be the basis for further reection on
the demands and challenges of scaffolding arts-integrated experiences
for ELLs.
Michigan
Faith, Spirituality and Religion in Theatre For and With Youth
Chair:
Jo Beth Gonzalez
Presenters:
Christina Marin
Matt Omasta
Gustave Weltsik
Jo Beth Gonzalez
The presenters of this session argue that spirituality is an essential
aspect of the creative spirit. In secular settings where theatre is
practiced with youth, discussions of spirituality, and by extension
religion, are often skirted to avoid possible repurcussions from
administrators, parents, colleagues and community members. This
proposal focuses on the roles of spirituality, faith and religion in drama
classrooms, play rehearsals, and theatre productions with and for
youth. An introduction to the workshop's themes will include
engagement with the "14 stages of Mindfulness Training" as developed
by Thich Nhat Hanh. This will be followed by an on-our-feet exploration
of his book for young people Mindful Movements: Ten Exercises for
Well-Being. Discussion among the particiants will comprise the
culminating phase.
Frday, July 29, 9:30am-11:00am
Bucktown A
Hidden Treasures
Chair:
Drew Chappell
Kelby Siddons
"Hidden Treasures" will present readings of plays that have great merit,
but are not produced regularly due to content or casting issues
AND/OR were done regularly at one point, but now have fallen off the
current TYA "repertory radar." Two well known as well as up and
coming playwrights will be asked to select two plays/musicals each
they would like to highlight. Excerpts will then be shared as well as
production/award history. This will be followed by a short discussion of
the plays concerning obstacles to presenting these shows and how can
they be dealt with, including success stories from attendees who have
tackled issues like these.
________________________________________________________________________________________________________________________
35
LaSalle
Know Thyself: Social Identity, Personality, and Perspective Through
Drama
Chair:
Jennifer Katona
Presenters:
Steven Beckingham
Jessica DiCarlo
Keeshon Morrow
Hollie Rosenberg
This will be a presentation based on four different case studies
conducted through research as part of the Graduate Program in
Educational Theatre at the City College of New York. The individual
case studies explore Identity formation through Shakespeare,
playwrighting, devised theatre, and academic and professional casting
experiences. Along with discussions about study ndings and
processes, the presentation(s) will be supplemented with video footage
and ethnodrama of the researchers experiences.
Bridgeport
Literacy in Action: Integrating Theatre & Language Arts
Chair:
Elana Lagerquist
This interactive workshop will demonstrate the use of dramatic tools to
build early literacy skills. Through practical, hands-on activities,
participants will learn to integrate dramatic games into the language
arts curricula with a focus on oral language development, word work,
reading comprehension, and writing. We will work from a grade-level
text to bring narrative story elements to life in a holistic way to deepen
literacy skills. The participants will be taken through a progressive
structure that includes pre-reading activities to engage students,
dramatic approaches to presenting a new text, and follow-up
experiences to deepen the understanding of a narrative piece of
literature. Within the session, research and resources will be presented
to advocate for the integration of the theatre arts into every language
arts classroom.
Dearborn
New Boots for the Winter
Chair:
Juliana Saxton
Presenters:
Carole Miller
Juliana Saxton
In this interactive workshop, we will explore the difference between
needs and wants by walking in the shoes of a little boy who learns
about that difference rst hand. Those Shoes serves as a structure in
which we examine, through multiple theatrical languages, how stories
shape us, our families and our friends.
Reections on Bullying and Intervention
Chair:
Taren Hastings
Due to the rise in suicides as a result of bullying, this workshop is
designed to encourage reection on how teachers and administrators
currently address bullying and how we can implement new strategies to
discourage a culture of hate in our schools and communities. The
workshop is based on applied theatre techniques to allow group
exploration and practice. Participants are encouraged to share their
discoveries and some of the activities from the workshop with their
students in an effort to begin a dialogue in a safe space.
Theater as a Martial Art: Presence and Creativity in Transforming
Conict
Chair:
Jiwon Chung
This workshop will demonstrate exercises from Theatre of the
Oppressed and the Martial Arts to depict, explore, contain and
transform conict, including physical and psychological/emotional
violence. This workshop is for those who work in conict resolution,
with traumatized populations, or who encounter violence enacted or
expressed in forum theater or in the classroom. The workshop will
enrich, extend, support, and compliment the work and techniques of
the actor through the martial arts, expanding the physical, emotional
and energetic range, presence, and tactics of the performer. We will
demonstrate how this creative exploration gives an embodied
understanding of how to transform violent conict, both metaphorical
and actual, allowing an integrated expression of courage, presence,
energy and insight in the expression and transformation of the human
condition.
Cuisines
Youth Theatre Network: Games Exchange X: Part I
Chair:
David Markey
Wendy Maples
Presenters:
Youth Theatre Network
We're back!! Join us for a hands-on exchange of dynamic and
purposeful games and exercises for those working in the eld of Youth
Theatre. The goal of the exchange is to help identify and share games
and exercises for building foundational theatre skills (e.g. ensemble,
trust, risk-taking, active listening etc...) and an understanding of the
processes of theatre (e.g. character creati on, sequenci ng,
objective/obstacle, etc.). Participants receive packets with detailed
games for rehearsal and for class.
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36
Friday, July 29, 11:00am-1:00pm
Grand Ballroom
Reections by Region
Take time to connect with other AATE members in your geographic region. Use this casual meeting time to discuss how thoughts and ideas
you gather throughout conference could be implemented at a local level.
Concurrent Sessions at a Glance - Thursday, July 28
________________________________________________________________________________________________________________________
37
T1
9:30am-10:45am
T2
11:00am-12:15pm
T3
2:45pm-4:00pm
T4
4:15pm-5:45pm
T5
6:00pm-7:00pm
Bridgeport
Bucktown A
Bucktown B
Cuisines
Dearborn
Gold Coast
Grand Ballroom
LaSalle
Michigan
Old Town
Printers Row
Renaissance
Ballroom A
Renaissance
Ballroom B
Renaissance
Ballroom C
Renaissance
Ballroom D
Wacker
The Humanizing
Language of the Arts
ACTivate Assessing the Arts Research Awards Presentations Research Awards Presentations
Dramatic Viewpoints
Far Beyond the
Classroom Walls
Making Waves in
Critical Literacy
Sensory Theatre (or
Theatre for More)
Make It or Break It Can We Talk? Latino TYA Plays
Cognition Research
& Applied Theatre
Workshop B: Albany Park Theater Project
(morning)
(morning)
(afternoon)
(afternoon)
Other Peoples
Stories
Childs Play
Writing Dramatic
Action
Workshop A: Redmoon Workshop A: Redmoon Calling All Directors!
Research/
Publications Meeting
Reections on the Ware Trilogy Reections on the Ware Trilogy
Shakespeare High Screening and
Reections
Shakespeare High Screening and
Reections
Purposeful Planning/
Rigorous Reection
Speaking Aloud the
Silenced Story
Deep Dramatic
Currents
Unpack Yourself
Process and
Performance
Improbable Players
Inclusion in the Theatre
Arts Classroom
Building a Diverse
Theatre Curriculum
Teaching with, about,
in & through the arts
Our Different Stories Revision Reections
Participant
Perspectives
Applied Theatre
Network Meeting
Early Bridges Students in Masks
Why is There More
Drama
EMUs Celebration of
Virginia Koste
Let the 74th Hunger
Games Begin
Differentiated Drama
Cooperative Theatre
Classroom
Every Idea is a Good
Idea
MTI Informational
Session
Here Comes Gosling!
Whose Reection
Counts?
Unmasking the
Metaphor
EmpowHER Yourself
Student Educational
Theatre Internships
The Power of Theatre
Mosaic Model for
Youth Development
A Journey Through Early
Childhood Dramatic
Activities
Conversation with
the Doyle Fellows
Assessing Classroom
Theatre Performances
Professional Theatre
Debut Panel
Its Brave to Fail
Concurrent Sessions at a Glance - Friday, July 29
________________________________________________________________________________________________________________________
38
F1
9:30am-11:00am
F2
1:30pm-2:30pm
F3
2:45pm-3:45pm
F4
4:00pm-5:00pm
Bridgeport
Bucktown A
Bucktown B
Cuisines
Dearborn
Gold Coast
Grand Ballroom
LaSalle
Michigan
Old Town
Printers Row
A
B
C
D
Wacker
Literacy in Action Engaging Urban Youth I Made Myself Reective Assessment
Hidden Treasures
A Hidden Curriculum
within Theatre Ed.
Teaching Historical
Context
4th Grade Reections on
Empowerment
What Does it Mean to
be Human?
The Pakistan Project
High School Network
Debut Panel
Games Exchange, Part 1
New Boots for the Winter Complicated Business Casting a Wider Net
Recession Proong for
Arts Sake
Changing the Way We
Think
Conversation w/ Corey Medallion Recipients Conversation w/ Corey Medallion Recipients
Reimagining Arts
Integration
Crawling With Monsters Every Idea is a Good Idea
Know Thyself
Theatre Artist/Teaching
Artist
International Network
Debut Panel
College/University/
Research Debut Panel
Faith, Spirituality &
Religion in Theatre for
and with Youth
Workshop C: Karen Hall Workshop C: Karen Hall
Build More Than a Ramp
Wanted: HIgh School
Drama Teacher
Playwriting Network
Debut Panel
Community-Based
Programming & Youth
Development
Capturing the Faculty
Voice
An Adaptive Theater 2nd Folio
Reections on Bullying &
Intervention
Reawakening the Poetic Spirit Reawakening the Poetic Spirit What is PTO?
Theater as a Martial Art
Productive Discomfort in
Teaching and Research
Discovering the Power of
the Written Word
Arts Integration in the
Classroom
Language to Life Reections on the Field
Directing the High School
Musical
Going Beyond the Show Active Dramaturgy
Exploring a Raisin in the
Sun
InsideOUT: Digital Story-
telling with LGBTQ Youth
And Thats a Blue Day
Why Doesnt Rapunzel
ask the Prince...
Concurrent Sessions at a Glance - Saturday, July 30
Renaissance Hotel
________________________________________________________________________________________________________________________
39
S1
9:15am-10:30am
S2
10:45am-12:00pm
Bridgeport
Bucktown A
Bucktown B
Dearborn
Gold Coast
LaSalle
Michigan
Old Town
Printers Row
Wacker
Xernona and Grand Dragon X Intersections of IPAY and AATE
Video Game Avatars New Guard Network Debut Panel
Working from Inside and from Outside the
Student
Theatre History for Middle School
Safe Theatre Project From Devising to Map-Making
Reecting on the Past, Creating in the
Present
The Right to Play
5 Steps Forward, 1 Step Back Adapting Plays for Young Audiences
Beyond Bueller Calling all Education Directors!
Where Have All the Flowers Gone? Things Were Not Supposed to Talk About
Drama/Theatre as Recursive Research
Medium
Performing the Margins
Collateral Bodies REALITY Theatre: A Walk in our Shoes
Educating, Empowering, Liberating Theater at the Core
Workshop D: Lenora Inez Brown Workshop D: Lenora Inez Brown
Concurrent Sessions at a Glance - Saturday, July 30
Northwestern University
________________________________________________________________________________________________________________________
40
S3
2:45pm-4:00pm
S4
4:15pm-5:30pm
1851
Annie May Swift
Arch
Armadillo
Big Ten
Chicago
Evans
Lake
Louis
McCormick
Northwestern B
Rock
Scholars
Wildcat A
Wildcat B
Evanston District 65 Drama Classes DIS/Ability and Drama
The Road to Ware
Best Practices: Teachers Embodied
Practice
Pre Preservice Teacher Education
Demystifying Negative Perceptions
AATE Conferences: Deconstruct/
Reconstruct
Unmasking the Metaphor Our Haven: Site Specic Devising
#Tweatre: Harnessing the Power of Twitter
Put on a Safe Face Mommy, Why are the Stepsisters Boys?
Planning a Network Advance Games Exchange, Part 2
Engaging High School Audiences The Bully Menace and Applied Theatre
Crawling with Monsters (Encore)
Chalk and Mirrors Beyond Elementary
Whats Really Working Were Still Here: A Model Drama Session
Igniting Young Voices Collaborating with Young Writers
Process of Developing New Theatre for
Young Audiences
Grafti Project
Beyond Story Drama
Bridging Multi-Language Communication
Gaps
________________________________________________________________________________________________________________________
41
AUTHOR
SIGNING
FOR
APPLIED
THEATRE
Friday, July 29
12:00 - 2:00 pm
with Juliana Saxton
Afl]dd][looo&afl]dd][lZggck&[ge
Applied Theatre
International Case Studies
and Challenges for Practice
Edited by Monica Prendergast
and Juliana Saxton
ISBN 9781841502816
Paperback | $35 $28
Friday, July 29, 1:30pm-3:45pm
Gold Coast
A Conversation of Corey Medallion Recipients
Chair:
Dorothy Webb
Presenters:
Gloria Bond Clunie
Rob Goodman
Coleman A. Jennings
Provides an opportunity for a dialogue with these special guests and
especially for those who may be unable to attend the CTFA Luncheon.
Bucktown A
A Look at the Hidden Curriculum within Theatre Education.
Chair:
Angela R. Hines
A preliminary comparative study was conducted prior to dissertation
development, during fall 2010 at Arizona State University. The
demographic information of the Drama teachers was compared and
charted to the demographic information of their school. Additionally,
current play production playwright's ethnicity was also charted
alongside the information of the teacher and the school's population.
First, to determine if there were signs of possible areas of hidden
curriculum, both covert and overt, and secondly, to determine if the
ndings were relevant to possible areas of hidden curriculum within
Drama education. Critical feminist theory provides a framework for
understanding through bell hooks (1994) sociocultural lens, and helps
understand possible areas for dominant hegemonic discourse, while
Patricia Hill Collins (1990) intersectionality lens helps complicate the
problem further.
Arts Integration in the Classroom through "Drama Frames", a
Professional Development Model
Chair:
Jenny Goodfellow
Presenters:
Patricia Black
Korbi Adams
By strengthening integrated arts instruction and the ability for teachers
to create integrated lesson plans that meet state and national
standards, the use of drama standards in the classroom creates a
scaffolding approach to learning that ensures student learning success.
In this spirit, Childsplay shares the model that was developed through a
US Department of Education "Arts in Education Model Development
and Dissemination" grant and how it translates to Arizona classroom
teachers and teaching artists at Children's Theatre of Charlotte. This
interactive session explores the potential for arts integration in the
classroom and its success in the community.An instructional manual on
the Drama Frames Professional Development Model will be distributed
to workshop participants.
Printers Row
Capturing the Faculty Voice: Creating theatre for faculty
development and enrichment
Chair:
Jessica 'Decky' Alexander
Presenters:
Tommy Simon
Diviin Huff
Tae Yoo
Silenced or less addressed in many applied and educational theatre
productions is the voice of the faculty and their experiences both in the
academy and in the classroom. This session will showcase several
theatre pieces developed by faculty and for faculty audiences through
Eastern Michigan University's C2, a collective of faculty and students
who address issues of teaching and learning through the creation of
original theatre. The selected pieces capture an array of faculty
successes and struggles including: issues of balance, classroom
accommodation, cultural marginalization, gender inequity, and
professional insecurity. A discussion on how theatre can be used as
tool for faculty development will springboard the session. An exercise
on how to generate authentic theatrical material from faculty
experiences will close out the session.
________________________________________________________________________________________________________________________
42
THE 2011 COREY MEDALLION EVENT
will be held at
PETTERINOS
150 N. Dearborn Street, Downtown Chicago
(2 blocks from the conference hotel)
Friday, July 29, 2011, 11:45 am-1:30 pm
Orlin Corey Medallions will be awarded to:
Rob Goodman, founder of First Stage Childrens Theatre in Milwau-

kee, Wisconsins premier professional theatre for young people and
families, about to celebrate its 25th year.
Gloria Bond Clunie, Chicago-based award-winning playwright and

drama specialist in Evanstons District 65.
Coleman A. Jennings, professor, administrator, director, playwright,

author, producer and eminent leader in Theatre for Young Audiences.
On-Site Tickets may be purchased at the Dramatic Publishing
exhibit table in the Grand Ballroom.
Ticket Prices:
AATE Members - $50
Students - $30
Patrons - $80
Others - $60
YOU SAID: You needed free Wi-Fi throughout the hotel.
WE HEARD: We followed in the footsteps of the San Francisco Commi ttee
and provided computers in the main meeting room on the second floor on
Thursday and Friday. In addi tion, any guests staying the Downtown Renais-
sance Chicago Hotel have free wi-fi in their hotel rooms.
________________________________________________________________________________________________________________________
43
The CUNY School of Professional Studies
in partnership with the
Creative Arts Team
is pleased to offer a unique graduate degree
For more information, contact:
Matt Freeman, M.A. Program Manager
212.652.2820 or Matt.Freeman@mail.cuny.edu
or visit: http://www.sps.cuny.edu/programs/maat
M.A. IN APPLIED THEATRE
First degree its kind in the United States!
Using theatre to FACILITATE ~ EDUCATE ~ ACTIVATE
Dearborn
Complicated Business: Theatre for Dialogue in the Business
School Setting
Chair:
Katie Dawson
Presenters:
Lynn Hoare
How can theatre strategies be used to create moments of dialogue in
business education? What are the ethical challenges of choosing to
work in a business environment? What questions does an applied
practitioner need to ask when developing an interactive theatre
presentation for MBA students? This session interrogates the Career
Services Theatre for Dialogue program, a partnership between the
McCombs School of Business Career Services ofce and theatre
faculty/staff at the University of Texas at Austin. During this interactive
session, participants will explore business school content through a
theatre for dialogue program development session. We will identify key
learning theories that support applied practice in business settings and
discuss plans for future research studies on this topic.
Bridgeport
Engaging Urban Youth
Chair:
Michele Miller
Engaging Urban Youth in Theatre will examine tools used in teaching
theatre to urban high school students and how theatre strengthens
communication, imagination, and problem solving skills. The workshop
will explore two activities in improvisation and scripted work that allow
students to be the critical investigator. In the rst activity, facilitator will
ask participants to portray good and bad job interviews. Facilitator will
demonstrate the activity by having the participants choose aspects of a
good and bad boss and interviewee. Volunteers will portray one an
interview scenario using those character aspects. Facilitator will then
have participants partner off and create two small improvised scenes
that depict a good and bad interview. Facilitator will reect with
participants on how this is useful in an urban high school setting and
how it explores why theatre skills are important for high school students
to learn. The second activity will allow the participants to read and act
out two scenes written by students at Emily Fisher Charter High School
in Trenton, NJ. This activity will illustrate how students can learn how to
develop plot and character through their own experiences,
strengthening their communication and problem solving skills. As a
closing activity facilitator will show a video clip of a dramatic scene
created and performed by students at EFCS, evidence of how Frieres
idea of teachers being the listener as well as the educator, promotes
cognitive growth.
Grand Ballroom
Every Idea is a Good idea (Part Two): Adaptation for Performance
with Barrel of Monkeys
Chair:
Luke Hatton
Elizabeth Levy
Presenters:
Rani Waterman
Tom Malinowski
In Part Two, participants will be introduced to the company's
fast-paced rehearsal and adaptation process. After a brief introduction
and warm up, we will read aloud the pieces generated in Part One, as
well as some choice stories created in our actual workshops with
children. Participants will then decide which piece or pieces they would
like to adapt for performance. Each adaptation group will be guided by
a member of BOM through our collaborative process of preparing child
authored (or, perhaps, adult authored) material for performance. We will
rehearse the pieces a couple times, dive into the signature BOM bins of
props and costumes, and then present our work to the group. There will
be 5-10 minutes at the end for reection/discussion. While participants
are encourage to attend Part One of the workshop (Friday, July 29
1:30-2:30pm), it is not required to participate in Part Two.
Wacker
InsideOUT: Digital Storytelling with LGBTQ Youth
Chair:
Anne McNamee
This interactive paper presentation and workshop will explore the
concepts of visibility and authenticity as they relate to the planning and
implementation of the InsideOUT digital storytelling workshop. The
session will include excerpts from a paper critically positioning the work
of Inside Out within a broader context of applied theatre, media studies,
and queer theory, exploring how both applied theatre within a
designated safe space and digital social media can serve as effective
mediums of authentic communication and autobiographical
performance for LGBTQ young people. Additionally, participants will be
invited to get a glimpse of the process and product of InsideOUT by
engaging in interactive applied theatre exercises and viewing
InsideOUT participants' digital stories. Participants will leave the
session with a better understanding of the unique challenges and
opportunities inherent in planning and implementing self-representation
projects geared toward LGBTQ youth.
Reawakening the Poetic Spirit: While Intellect Seeks To Control
The World, The Poetic Spirit Bows With Reverence Before Its
Mysteries. Now More Than Ever We Must All Be Poets.
Chair:
Kate Randolph Burns
Presenters:
Kate Randolph Burns
Jamie Silver
In Part One, participants are presented with an essay written by
Daisaku Ikeda, Educator & Philosopher, dening the poetic spirit &
humanity's need for its reemergence. The ideas of Daniel Pink (A Whole
New Mind) are introduced. Session presenter, Jamie Silver, invites
participants to reect on these ideas. Part Two is a 40-minute
performance (by Kate Randolph Burns) from William Luce's play The
Belle of Amherst, based on the life & poetry of Emily Dickinson. Emily
herself discusses with the audience the difference between "having the
facts" and nding the "light within." She then demonstrates that it is the
poet that recognizes within each person a "unique & irreplaceable
humanity." Having experienced viscerally the essence of the session's
topic, participants are then led in a dynamic dialogue & concrete
exercises (Part Three) centering on the ideas of the central theme:
reawakening the poetic spirit.
________________________________________________________________________________________________________________________
44
LaSalle
Theatre Artist/Teaching Artist: A Model for Relevance in the 21st
Century
Chair:
Susan J. Rotkovitz and Steven J. Satta
Presenters:
Susan J. Rotkovitz
Steven J. Satta
For Theatre to be perceived as more than a luxury or part of the
entertainment marketplace, for the art to be relevant in the 21st
Century, we artists must make ourselves a necessity by working within
our communities. Theatre artists must be Teaching Artists (TAs).
Recognizing this, Towson University's Theatre Department created
Towson Theatre Infusion, a program in which undergraduate Theatre
majors become vibrant TAs through pedagogy and practice. The
training reects a variety of school curricula and national standards;
teaching in area high schools; and linking lessons to a production. By
sharing experiences, including the need for such a program, its design,
results, and outreach to the greater community, we wish to stimulate
discussion in order to advance our work, both pedagogically and
structurally.
Old Town
Wanted: High School Drama Director - Must Know How To Design
Lights, Set, Sound, Costumes, Props, Blocking - Carpentry -
Budgeting - Publicity - Electricity - All While Keeping Your Sanity.
Chair:
Colleen Cartwright
As a high school teacher, I wear many hats. I am expected to pick three
shows a year and put on a performance for each. I nd myself staying
after school every day from September through April. In each show,
utilizing and teaching my theatre students, I am expected to design and
construct a set, lights, sound, costumes, props, make-up, special
effects, and lead a management team in publicity, house and stage
management, as well as budgeting and raising funds for supplies for
each show, on top of actually directing it. I came into this position as a
performer, not a technician, designer, or director. As a performer, I
knew a little bit about a lot of things. As a theatre teacher, I am
expected to know a lot about a lot of things. I know I am not alone in
my struggle.
Bucktown B
"What Does It Mean to be Human?": A Process Drama with Third
Graders
Chair:
Selena Burns
In this session we will discuss preliminary results of a research project
investigating how third graders explore the question "What does it
mean to be human?" through a process drama that takes place in a
magical town where human-like creatures such as vampires,
werewolves and cyborgs exist. We will engage in select activities from
the drama while analyzing which in-role and out-of-role activities
allowed some students to recognize that dening characteristics of
"being human" were sometimes changeable or ambiguous rather than
black and white. We will also discuss how emotional attachment to role
impacts students' connection to the concept of "human" rights, and
collectively design a potential follow-up drama that further explores the
question of what human rights are and who should have them.
________________________________________________________________________________________________________________________
45
The Cooper at i ve Theat r e Cl assr oom wi t h ITA
Dr ama Speci al i st Kar en Hal l
Presented in partnership with the Illinois Theatre Association
Paid Workshop
Friday, July 29, 2:15-5:15 pm
Michigan
Participants of this workshop will watch a teaching
demonstration with a diverse group of high school students
from Maine East High School, debrief what was seen, and talk
about the Johnson & Johnson method of Cooperative Learning.
Through observation and discsussion, teachers will be able to
take away practical strategies for their own classrooms to
enhance student learning including lesson plans, critiquing
strategies, and rehearsal strategies that use informal and formal
cooperative learning strategies. At its heart, Cooperative
Learning is about creating inclusion-- taking groups of people
and bringing them together to enhance their personal learning.
The more practical educational tools we have in our arsenal, the
more effective our teaching will be and the stronger artists our
students will be.
Karen Hall has been a high school theatre teacher and director
for the past 21 years.Currently she teaches speech and drama
atMaine East High School in Park Ridge, Illinois.In 2008, moti-
vated by the success she was having implementing Cooperative
Learning in her classroom; Karen became certied as a Johnson
& Johnson Cooperative Learning Trainer and now leads training
sessions for her colleagues. Karen holds a BFA in Musical Thea-
tre from Syracuse University and an MA in Theatre Education
from Emerson College. In 2010 she was elected a Secondary
Education Representative to the Illinois Theatre Association.
Off-Site
Chicago Architecture Foundation River Cruise
(pre-registration required)
Marvel at Chicagos soaring towers on this 90-minute river
cruise, narrated by a Chicago Architecture Foundation docent.
This tour spotlights more than 50 signicant sites and provides
a whole new perspective on the city. The cruise departs just
steps from the Conference, at Michigan Ave and Wacker Drive.
(Approximately 1.5 blocks from the Renaissance Chicago Ho-
tels main entrance).
Printers Row
An Adaptive Theater: Creating Accessible Theater Experiences for
Individuals with Autism Spectrum Disorder.
Chair:
Marielle Duke
This session will examine the social, emotional, and behavioral
differences of individuals with Autism Spectrum Disorder and the effect
it may have on their experience of viewing and participating in theater.
We will explore ways of adapting theater pieces and the performance
space itself to create a more inviting and accessible production for
audiences with Autism and sensory processing disorders. We will also
look at how to create an effective theater residency program in a
classroom of students with Autism.
Wacker
And That's a Blue Day
Chair:
Karen L. Erickson
Presenters:
Edward L. Erickson
Beth Bowman
Essential, guiding, and reection questions are important components
of drama instruction. This session explores the role of questions in
teaching and learning rst through participants experiencing a lesson,
"And That's a Blue Day" on the role emotions play in story and life and
then through reection and discussion about the value, type, and
importance of questions used in the lesson to guide and shape the
habits of mind and dramatic work of students.
Dearborn
Casting a Wider Net: Discussing Race and Gender Representation
in Educational Theatre
Chair:
Amissa Miller
Presenters:
Amissa Miller
Sara Simons
This session will be a moderated discussion with participants on issues
of race and gender representation onstage in an educational theatre
setting. We will consider ideas of non-traditional casting, color-blind
versus color-aware casting, overcoming barriers to representation, and
strategies for changing the face of a theatre program. Participants will
be invited to share their own experiences and generate their own
questions for discussion. This session will consider the director's role
in balancing education with aesthetics and how this role impacts the
show selection and casting process. This session will also focus on
how teachers, professors, and theatre professionals can meet our
responsibilities as educators as we consider the race and gender
implications of casting decisions.
Going Beyond the Show: Building Education Programs to Enhance
Your Production
Chair:
Jenny Kostreva
Getting students in the door of the theatre is a goal we all have. This
session will explore how to enhance the eld trip experience for
schools, making theater vital to the younger generation. How can we
create programming that will keep the students wanting to come back
for more? How do we best connect our productions to the school
curriculum and give the opportunity for schools to get the most out of
their experience? Bring examples of your own programming as well as
questions for discussion.
Bridgeport
"I Made Myself": Playmaking, Urban Youth, and Change
Chair:
Robert Colby
Presenters:
Bethany Nelson
This workshop explores the effects of playmaking on the development
of urban students' identity as change agents in the cultural hegemony
that informs their lives and constrains their futures. The content reects
a research project conducted with urban high school students of color
in a low-income community faced with a host of social and economic
challenges.
This workshop integrates action and reection, inviting participants to
engage in playmaking structures designed to bring together their
personal orientation with broader ideas about cultural hegemony,
community, and the role of collective action in fostering social change.
The session will include discussion of the research and student
outcomes, and participants will reect on the role of playmaking in
understanding the self in relationship to society.
LaSalle
International Network Debut Panel: Sharing International
Experiences in the Arts with and for Youth
Chair:
Christina Marn
Presenters:
Elizabeth Schildkret
Erica Siegal
Jane Leavitt
Jen Bleir
This will serve as the International Network's rst debut panel. It will
feature panelists new to AATE who will share their experiences abroad
working with and for youth in the arts. It is our intent for this panel to
give participants an opportunity to bring their experiences to the AATE
community and for the community to gain an understanding of the
participants work, its value to the culture of the host nation and the
lessons learned.
________________________________________________________________________________________________________________________
46
________________________________________________________________________________________________________________________
47
Language to Life - Using English Language Arts Standards in
Theatre Arts Integration Residencies
Chair:
Jackie Wolff
Presenters:
Manuel Simons
English Language Learners are the fastest growing school aged
population. This workshop presents clear ways to demonstrate ESL
performance indicators in theatre arts integration workshops.
Presenters will guide participants through several dramatic activities
used successfully in this work, able to be adapted across the
curriculum. Additionally, participants will consider ways to make their
own teaching practices more inclusive of new language learners by
building and adapting both activities and assessment pieces.
Old Town
Playwriting Network Debut Panel
Chair:
Kelby Siddons
Presenters:
Spring Hermann
Alyssa Mulligan
New voices in TYA dramatic literature and new voices to AATE will be
showcased in this panel discussion of playmaking and presentation of
works.
Bucktown A
Teaching Historical Context?! Isn't That the Responsibility of the
Social Studies Teacher?
Chair:
Stacy Deemar
Discussion and a power point presentation will focus on the strategies
and techniques used in the elementary, middle school and/or high
school drama classrooms to teach historical context that directly
correlates with a story, book or play that is being studied. What are the
most effective methods to teach historical context without turning our
drama classes into history classes? What is considered a sufcient
amount of historical context in a drama lesson? How much time
should be allotted to accomplish this goal?
Bucktown B
The Pakistan Project: A School Wide Dramatization of Greg
Mortenson's Work as Described In His Book, Three Cups Of Tea,
Fully Integrating The Arts Throughout The Preschool - Second
Grade Curriculum.
Chair:
Victoria Brown
Presenters:
Victoria Brown
Elizabeth Gekas
This presentation will introduce participants to a school-wide, arts
integration methodology, with drama central to the work, and will
challenge practitioners to consider sophisticated topics with young
children (ages 3-8). Teachers at Lucy School were interested in Greg
Mortenson's work building schools and bridging cultures in Central
Asia. Dramatizing this story as related in the book Three Cups of Tea,
helped build school-wide community while at the same time fostering a
positive image of Central Asia. Victoria Brown, school director and
Elizabeth Gekas, drama teacher, will share their orchestration of this
ten-week school-wide dramatization and how each classroom teacher
integrated this work across the curriculum at Lucy School: An Arts
Based School and Teacher Training program in Middletown, MD.
Interest in arts integration is growing across the country with arts
integrated schools now appearing in most states. However many of
these programs do not understand the full potential of drama as a
learning medium, beyond the benets of theatre performance work. We
also hope to encourage drama specialists and university drama
programs to become more active in the growing national arts
integration movement.
Productive Discomfort in Teaching and Research: A Discussion
Chair:
Dani Snyder-Young
Teachers, teaching artists, and researchers encounter moments of
discomfort in which participants articulate beliefs, enact stereotypes, or
put forth ideas grating against our personal values and worldviews. In
these moments of discomfort, how do we respond? How can we use
them to grow? This discussion will engage participants in posing
problems and sharing strategies for negotiating and growing from
moments of productive discomfort in the classroom and the eld
research site.
Printers Row
2nd Folio: Re-inventing Shakespeare for the Internet Generation
Chair:
Dr. Paul Sutton
Presenters:
Dr. Paul Sutton
Max Allsup
Colliding Shakespeare, Manga, trading card games and online bar code
reading technologies, 2nd Folio is the latest project by UK theatre
company C&T. This workshop will offer participants the chance to play
the card game 2nd Folio (www.2ndfolio.net), learning how it enables
young people to deconstruct the language and semiotics of
Shakespeare's plays, making them accessible and relevant to the
digital generation. Participants will then learn about the project's
underpinning pedagogy. The session will also demonstrate the
functionality of the 2nd Folio website and explore how C&T has
deployed QR reader technologies for use in classrooms. The session
will demonstrate the growing database of media resources and learning
experiences created by young participants themselves, working
alongside theatre professionals such as Pilot Theatre. This database
represents a growing set of reections on students' experiences of
Shakespeare and the 2nd Folio game and a desire by young people to
share their discoveries online.
________________________________________________________________________________________________________________________
48
________________________________________________________________________________________________________________________
49
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Bucktown A
4th Grade Reections on Empowerment Through Production
Chair:
Lisa Mitchell
This school year, ve New York City elementary schools embarked on
their rst musical theatre production through a residency with a cultural
organization. The impact of the production process on students was
researched and lmed; this session presents a documentary which
captures student reections, explores the effect of theatre on
self-efcacy beliefs, and encourages a dialogue about the capacity of
in-school performance to empower young people. The session includes
an overview of the residency program on which the research was
based, an exploration of the research techniques used to gather
student reection, and a discussion on the implications and
applications of the work.
LaSalle
College/University/Research Network Debut Panel
Chair:
Matt Omasta
Valerie Baugh-Schlossberg
Reviewers:
Johnny Saldaa
Gustave J. Weltsek, Ph.D.
Panelists:
Sarah Coleman
Suzanne Katz
The annual College/University/Research Network Debut Panel will
include presentation of research by scholars who are new to AATE and
have not presented at the conference in previous year. Presenters were
selected by peer review, and presentations will be followed by
comments from scholars in the eld.
Discovering the Power of the Written Word: Building up the Desire
to Write while Increasing the Level of Literacy through Creative
Drama and Movement Techniques
Chair:
Arianna Ross
From the beginning of time, writing has had the ability to inuence how
a person feels. Many students need support in developing a strong
author's voice. Storytelling and drama can both enhance and motivate
people's desire to write, build an understanding of high level vocabulary
words, increase self-condence, strengthen literacy skills, develop
self-respect, create positive group dynamics, and gain an appreciation
for literature. Everyone will walk away with stories to tell and ideas to
share with their co-workers, collaborators or students. How can the
dramatic arts be both an empowering and educational tool for both the
teacher and the student to use while teaching reading and writing?
How can the arts specically storytelling, movement, and drama be
integrated into our daily activities?
Bucktown B
High School Network Debut Panel - A Controversy By Any Other
Name....
Chair:
Alicia Sanders
Presenters:
Gene R. Frank
Troy Compas
Michael Schwartz
Steven Barker
As high school drama educators, we are compelled to challenge our
students by exposing them to material that is diverse and powerful, but
so many of the "classics" can also be seen as potentially controversial.
How can we continue to direct powerful productions that encourage
our students to push limits while balancing the challenges of appealing
to a community of parents and administrators? How far is too far? A
panel of educators will answer these questions and more as they reect
on their experiences with works such as The Crucible and The Laramie
Project in the high school environment, sharing tips and ideas for how
to approach these issues. There will also be an opportunity for a larger
group discussion.
Dearborn
Recession-Proong for Arts Sake: Integration of Theater into the
Curriculum
Chair:
Carolyn Chryst
The session will focus on ways to deliver content using theater in
economical, efcient, effective and engaging ways for learners of all
abilities and mobilities. To date, more than 1200 perservice teachers
have experienced the "Infusing Theater across the Curriculum"
workshop. The workshop typically occurs the week before the
students' 3-week participation in area classrooms. I have witnessed
both dramatic and subtle shifts in perspectives of practicing teachers
about using theater elements in their classrooms because of
interactions with perservice teachers who have experienced the
workshop. Participants would experience portions of the reective
session imbedded in the seminar designed to challenge the TC to
consider how racial, SES and gender stereotypes have constructed
their understanding of teaching and learning. We would also explore the
need to deconstruct our visions of the character "teacher" and our
scripts for what constitutes "good" teaching so we are better able to
offer all our students an opportunity to learn.
Reections on the Field: Observing, Contemplating, and Imagining
Chair:
Janet E. Rubin
Presenters:
David Rzeszutek
Laura McCammon
Susan D. Wood
Colleen Cartwright
Danielle Shoeny
Janet E. Rubin
This session is designed to identify commonly acknowledged strengths
and weaknesses in the eld as well as to look at what is unique to each
respondent's perspective. Breakout group work will include all session
participants and provide further opportunities to offer observations of
shared experiences, contemplate solutions to professional challenges,
and imagine steps for improving practice.
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50
Bridgeport
Reective Assessment
Chair:
Stacey Ardelean
A discussion revolving around the creation of an assessment program
created and used during the 2010-2011 school year of an elementary
drama curriculum using skill based rubics and reective writing by
students and teacher. Please bring any and all assessments (and
questions!) used to support the validity of a formal drama curriculum for
discussion.
Gold Coast
Reimagining Arts Integration: Using CORE Curriculum to Inform
YOUR Curriculum
Chair:
Aliza Mendelewicz
We all recognize the value of bringing the arts into the core academic
classes to reinforce student learning, but in this interactive workshop, a
theatre teacher from a Manhattan middle school turn arts integration on
its head. We will guide you through the process of reciprocal arts
integration, where the theatre curriculum is informed by the mandated
core curriculum, which, in turn, is reinforced by the theatre curriculum.
Try out your own ideas, share your experiences, and explore the
possibilities in aligning a theatre class or residency with the work
students are already doing in their academic classes.
What is PTO and How Could AATE Members Connect Their Work
with this International Conference?
Chair:
Jasmin Cardenas
Presenters:
Jasmin Cardenas
Willa Taylor
Kelly Howe
A session to offer an opportunity to discuss the Pedagogy and Theater
(PTO) conference and to link the kind of work that is shared at AATE
and PTO. Reecting on how arts education can be Freirian in practice.
Reecting on work that would have been brought from other parts of
the world to the PTO conference. Sharing examples of theatrical work
being done around the globe that is specically about social justice.
Reecting on the kinds of discussion the popular educators (PO) and
Theater of the Oppressed (TO) practicioners may have had at the
conference that could be very similar to AATE attendees. Brainstorming
whether future collaborations could be made between conferences or
its attendees. PTO is an annual international conference in its 17th year.
Its mission is to challenge oppressive systems by promoting critical
thinking and social justice. We organize an annual meeting that focuses
on the work of liberatory educators, activists, and artists; and
community organizers. It is founded in the idealogies and works of
Paolo Freire and Augusto Boal.
Wacker
Why Doesn't Rapunzel Ask the Prince for a Ladder? Researching,
Playwrighting, Producing the Grimm's Tales
Chair:
Max Bush
Presenters:
John Newman
Teresa Lee
Why doesn't Rapunzel ask the Prince for a ladder? To begin to answer
this simple question it is necessary to look into the history of the
recording and adapting of the tales by the Brother's Grimm, as well as
the maany psycholoical interpretations of the tales. It is also necessary
that a contemporary producer address this question and others like it if
they are to produce the tales with their full, authenic voice. A
researcher, a playwright and a producer will examine the Rapunzel
question and other questions that arrise concerning the adapting and
producing for the stage of the Grimm's Tales. Along with members
attending the session, the presenters will have a conversation reecting
on the long and uneven history of producing the Grimm tales on the
stage.

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51
Grand Ballroom
Passport to Prizes Exhibit Rafe and Cocktail Hour
Win wonderful prizes, including an iPad and a 2012 AATE National Conference Registration, at the Passport to Prizes Exhibit Rafe. Instructions
on how to enter can be found on the back of your welcome letter in your registration packet.
Grand Ballroom
AATE Awards Ceremony
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52
You are cordially invited to attend
The American Alliance for Theatre and Education
2011 Awards Ceremony
Friday, July 29, 2011 at 6:00 PM in the Grand Ballroom
to honor the following recipients:
!
Dina Rees Evans Theatre in
Our Schools Award
Jennifer M. DiBella
Nicole L. Lorenzetti
Lin Wright Special
Recognition Award
Kati Koerner
Research Award
Lifelong Impact: Adult
Perceptions of Their High
School Speech and/or
Theatre Participation
Johnny Saldana
Laura McCammon
Matt Omasta
Angela Hines
Distinguished Dissertation
Award
"Say It How It Is": Urban
Teenage Girls Challenge and
Perpetuate Cultural
Narratives through Writing
and Performing Theatre
Dana Edell
Distinguished Thesis Award
Ten Years After: A
Qualitative Study of
Students Experiences in a
High School Theatre
Company
Helen Zdriluk
Distinguished Book Award
Barrier-Free Theatre: Including
Everyone in Theatre Arts--In
Schools, Recreation, and Arts
Programs--Regardless of (Dis)
Ability
Sally Bailey
Publisher:
Idyll Arbor
Campton Bell Lifetime
Achievement Award
Larry OFarrell
Susan Pearson
Youth Theatre Director of the
Year Award
Barry Kornhauser
Adele Ulrich
F. Loren Winship Secondary
School Theatre Award
John Muszynski
Distinguished Play Awards
Category A: The K of D
Laura Schellhardt
Publisher:
Dramatic Publishing
Category B: A Best Friends Story
Sandra Fenichel Asher
Publisher:
Dramatic Publishing
Category C: The Giver
Eric Coble
Publisher:
Dramatic Publishing
Winifred Ward Scholar
Lisa Barker
Don and Elizabeth Doyle
Fellowship
Doyle Fellowship Recognition
Award
Noah Adams
Lin Wright Professional Teaching
Grant
Recipient
Diana Torres
Nominated by
Laurie Melnik
Lin Wright Professional Teaching
Grant
Runner up
Colette Silvestri
nominated by
Barry Kornhauser
Runner up
Heather Wilson
nominated by
Lisa Kramer
!
The Awards Ceremony does not require tickets and is free to all conference registrants. A dinner reception will follow the Awards Ceremony.
Reception tickets ($5) may be purchased at the registration desk until Thursday 7/28 at 5pm.
Detailed Schedule - Saturday, July 30
Saturday, July 30, 7:00am-8:00am
Grand Ballroom
Morning Reection for Mind and Body
Wake up your body and mind during morning reection with a variety of
gentle stretching exercises. Prepare yourself for the day through
informal guided meditation on your personal goals for each day.
Grand Ballroom
Morning Announcements featuring Barrel of Monkeys (BOM)
Come and start your day with All-Conference Announcements, brought
to you by Barrel of Monkeys! A highlight of Chicagos vibrant theatre
scene, BOM is an arts education theater ensemble that works with
elementary-aged students in Chicago. BOM teaches fundamental
creative writing skills; provides a safe and supportive learning
environment; builds self-esteem and condence in children, and adapts
stories written by children for the stage performed professional actors.
BOM travels to schools presenting smart, funny theatre experiences
and throughout the conferences morning announcements, they are
going to share some of their favorite songs and sketches with you!
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53
ALL-CONFERENCE EVENT
Grand Ballroom
Network Breakfast Meeting
The AATE Networks offer opportunities for drama and theatre specialists not only to network within their areas of expertise, but also to reach
out to other specialists for potential cross-collaboration. Members are encouraged to join one or more networks that address their needs, and
investigate multiple networks that span several areas of interest. AATE Networks foster the exchange, development, and implementation of
ideas throughout the year, providing professional development, advocacy, and other tools within and across both theatre and education. During
these in-person network meetings, members discuss current news and developments related to the network, create and propose network
projects, and encourage networking among members.
LaSalle
5 Steps Forward, 1 Look Back: Devising Original Work With Step
UP Theatre
Chair:
Wendy Maples
Presenters:
Wendy Maples
Jamie Koottarappallil
Join us as we reect on ve seasons of Step UP Theatre. Jump into
the creative process of this teenage youth theatre company. Teens of
Step UP Theatre volunteer their time each season to create an original
full-length performance, OUTreachIN' to youth in and around San
Diego. All are welcome to attend this session that will include elements
of performance AND process. In this session you'll become a Step
UPper and create something important with very few resources. Here,
we'll give you techniques to begin devising theatre with your students
and help guide their writing. We invite you to "Step UP and join us!".
Michigan
Beyond Bueller: Improvisational Theatre Training for Secondary
Classroom Discussion
Chair:
Lisa Barker
Through interactive exercises and large-group reection, participants
will examine the ways in which improv theatre skills overlap with the
skills teachers need as they facilitate classroom discussion with and
among students. Since last summer's AATE workshop, "Embracing
Chaos," Lisa has designed a dissertation study and begun to collect
data around the question: To what extent does explicit training in key
improvisational theatre tenets affect (1) how teachers understand
discussion, (2) the nature of teachers' verbal offers during discussion,
and (3) students' oral argument literacy? After actively engaging in
introductory improv exercises, session participants can expect to hear
a brief overview of Lisa's research design and collectively reect on the
ways in which this study could be expanded and improved for future
research and professional development.
Collateral Bodies
Chair:
Erin Kaplan
Collateral Bodies is a play that investigates human rights violations that
happen specically to women around the world. While human rights
violations are universally atrocious, they always seem to be just a little
more so for women and for most part, we evaluate "rights" though a
western feminist context. This play seeks to subvert those assumptions
asking what is a human right, why do we violate them, and investigates
the role of sex and gender as a tool for empowerment, procreation,
violence, defeat and commerce as it applies to different cultures around
the world.
Educating, Empowering, Liberating: Applied Theatre in the
Philippines, Uganda, Israel, and Korea
Chair:
Joohee Park
Presenters:
Joohee Park
Michelle Solberg
Jessica Brown-Velez
Erika Hughes
In this session, we will reect on the histories and practices of Applied
Theatre in four nations bearing the marks of continued conict: the
Philippines, Uganda, Korea, and Israel, where artists, teachers, and
activists (often the same persons) have used theatre to empower
members of their communities, to educate them on social and political
issues, and to liberate them from prejudice, neocolonial mentalities, and
defeatism. The participants of this session hope to generate broader
theoretical discourse on the practices and histories of Applied Theatre
through these examples, and contemplate the future of applied theatre
in community settings. We hope to draw parallels, explore differences,
and prompt critical conversation about the role of applied theatre in
environments of conict. While each is drawn from a different set of
political, cultural, and material contexts, we believe that reecting upon
each will reveal important connections, suggesting new paths or angles
through which to address these problems and ethical issues in applied
theatre research.
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Open Quest i ons: The Key t o Act i ve Dr amat ur gy
wi t h Lenor a Inez Br own
Pai d Workshop
Saturday, July 30, 9:00am-12:00 noon
Wacker
This unique workshop introduces whats needed to develop new
work in a variety of settings: the classroom, ensemble, or single-
author dramatic texts. During this 3-hour hands-on workshop,
participants will learn the central skills needed to help generate
and deepen dramatic work. In addition to learning whats
needed to craft an Open Question and why they work, the work-
shop explores ways to create Open Questions in conjunction
with developing new work. Going beyond Liz Lermans Critical
Response Process and her idea of Neutral Questions, partici-
pants will leave with a new set of writing and dramaturgical ex-
ercises, and a better sense of how to enter collaborative conver-
sations, as well as a working knowledge of the dramaturgs basic
skill: Open Questions.
Lenora Inez Brown is the author of The Art of Active Dramaturgy:
Transforming Critical Thought into Dramatic Action (Focus Pub-
lishing), and the former Head of Dramaturgy and Dramatic Criti-
cism at The Theatre School, DePaul University. She served as a
dramaturg at numerous new-play workshops and festivals in-
cluding The Goodman Theatres New Stages Series, Victory
Gardens Ignition Festival, The Bonderman Festival at Indiana
Repertory Theatre, New Visions/New Voices at The Kennedy
Center, and The Sundance Theatre Labs 2000 and 2001. She
dramaturged the world premieres for numerous plays including
Karen Zacarass Mariela and the Desert, which received the
2006 Francesca Primus award, and Lydia Diamonds award-
winning adaptation of Toni Morrisons The Bluest Eye. She is the
immediate past president of the Theatre for Young Audiences/
USA board and a member of the ASSITEJ 2011 Congress Advi-
sory Committee. She has an MFA in Dramaturgy and Dramatic
Criticism from the Yale School of Drama.
Gold Coast
Reecting on the Past, Creating in the Present: Life Stories as a
Source for Drama / Theatre
Chair:
Jennifer Kulik, Ph.D.
As our world becomes increasingly mobile, and the ability to connect to
people from cultures other than ours becomes easier, nding an
authentic way to connect with each other gains importance. A common
place to begin this connection is through stories. Through hands-on
exercises and activities based in reminiscence and playback theatre
techniques, this workshop will demonstrate how memories and life
stories can be generated and used as a source for creative drama
activities and theatre productions. The participants will engage in a
discussion of the ethical implications of using life stories in drama /
theatre.
Old Town
Safe Theatre Project
Chair:
Nora Matthews
This session will explore a range of safety concerns that both amateur
and professional theatres can encounter when working with young
people, and brainstorm as to how they might be prevented and/or
remedied.
Printers Row
The Use of Drama/Theatre as a Reective and Recursive Research
Medium
Chair:
Joe Norris
Presenters:
Joe Norris
George Belliveau
Lynn Fels
Johnny Saldaa
This panel will focus on the three distinct yet interrelated arts-based
research acts of data generation (aka collection), data mediation
(analysis), and data dissemination (audience engagement). Joe Norris
will articulate his experiences with playbuilding and the use of guided
imagery, improvisation and storytelling as ways to generate data and
how reection produces themes upon which theatrical vignettes
emerge. Johnny Saldaa will discuss various ways in which qualitative
data can be translated into theatrical forms - ethnodrama - that reect
the lived experiences of the Other. Lynn Fels, through her work in
performative inquiry, will focus on moments in both process and
performance that invite us into spaces of reection and learning.
George Belliveau will provide data responses given by audience
during/after viewing research-based theatre.
Bucktown A
Video Game Avatars: A Reection of Self?
Chair:
Maurice J. Moran
Presenters:
Chris Klug
Players of video games are well in tune with the creation of avatars: a
reection/creation of the player themselves in the game world.
Carnegie Mellon's Master's Program at the Entertainment Technology
Center features the use of improv, dramatic structure, and character
development in teaching interactive entertainment in the worlds of
video games as well as location-based entertainment. Chris Klug,
Faculty at the Center, will present how students at the center are
trained in skills evolved from traditional theater to the application of
those skills in the Virtual World.
Old Town
Where Have All The Flowers Gone? Reecting On Plays With
Strong Political Import For High School Performers
Chair:
Max Bush
Presenters:
Drew Chappell
Max Bush
Jo Beth Gonzalez
In this increasingly politicized culture--both domestically and
internationally--why are there so few conemporary-set plays with a
strong political element written for and performed by high school
actors? They can and do vote. Within a year some will go to war.
Others have already begun a long journey into national and
international business and politics. Political decisions, both personal
and national, affect their lives everyday. This panel will concern itself
with writing and producing plays with a strong political component
for/with high school performers and audiences. It will focus not on
openly didactic plays but scripts and productions that remain in the
aesthetic realm, and also contain political content. Two playwrights and
two high school teachers/directors will make short presentations, then
open the session to all attendees.
Bucktown B
Working from Inside and from Outside the Student: How
Drama/Theatre Teachers can Promote Creative Achievement.
Chair:
Laura A. McCammon
Presenters:
Laura A. McCammon
Larry O'Farrell
Aud Bergraff
Brian S. Heap
Globally schools are asked to develop young people's creative
capacities; for some policy makers this has an economic imperative, for
others it is a humanistic one. For the past ve years, the workshop
leaders explored the relationship between creativity and drama/theatre
teaching and learning. We believe that creative abilities exist in all of us
and that expanding our creative capacities can be transformational and
empowering. We know that drama and theatre each offer opportunities
for young people to expand both condence and competence and
realize their own creative potentials. While creativity occurs naturally in
the arts, if the teacher understands the nature of creativity and how to
build creative capacity, drama/theatre teaching and learning improves
and benets both student and teacher.
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55
Bridgeport
Xernona and Grand Dragon X: Using Process Drama to Explore
Race Amity
Chair:
Bethany Nelson
This hands-on workshop uses process drama to explore a little-known
event in our racial history: the unlikely friendship of Xernona Clayton,
who worked with Martin Luther King during the Civil Rights Movement,
and Calvin Craig, Grand Dragon of the KKK. Beginning as opponents
on either side of the racial divide, Craig ultimately renounced his Klan
membership, and they gradually developed a shared understanding
and lifelong friendship. Through process drama, participants will
explore issues of "us and other" which still exist today, debate the
nature of change, and consider possibilities for fostering race amity in
the present. Finally, through consideration of a one-act play on the
topic, participants will reect on the potential of process based and
performance centered approaches to addressing this challenging topic.
Saturday, July 30, 10:45am-12:00pm
Michigan
Calling All Education Directors!
Chair:
Ali Oliver-Krueger
Ashley Forman
Education Director, Education Associate, Program-Education Director,
Outreach Coordinator, Community Engagement Director - whatever
your title, if you are tasked with your theatre company's education and
outreach efforts, then this session is for you! In this roundtable
discussion moderated by Ashley Forman (Youth Theatre Network) and
Ali Oliver-Krueger (Professional Theatre Network) participants pose
questions, share ideas and experiences, and discuss some of the
issues and challenges facing our members today. Bring your questions
and ideas, bring your expertise and experience, and come tap into the
tremendous knowledge base of your fellow AATE education and
outreach professionals!
Dearborn
From Devising to Map-Making: Using Applied Theatre and
Site-Specic Performance to Activate Public Participation in City
Planning at Waller Creek
Chair:
Michelle Dahlenburg
Presenters:
Michelle Dahlenburg
Lynn Osgood
Join an applied theatre practitioner and an urban designer for an
interactive workshop revisiting the techniques used in "The Ghosts of
Waller Creek" project. The project explored applied theatre and
site-specic performance as methods for generating public interest in
issues at Waller Creek in Austin, TX. Waller Creek has historically been
the site of urban decay and neglect and is undergoing redevelopment.
By examining the creek's past, present, and future through theatre, we
hoped to help Austinites connect to the space and participate in
planning efforts. This workshop explores the challenges of translating
information gathered from participants into the language of city
planners. We invite discussion, reection, and ideas regarding the
difculties of conveying the effects of applied theatre work to
stakeholders and funders.
Bridgeport
Intersections of International Performing Arts for Youth (IPAY) and
AATE
Chair:
Abra Chusid
Presenters:
Dr. Coleman A. Jennings
Abra Chusid
The 2012 IPAY Showcase in Austin, TX, marks the rst time an
academic institution, The University of Texas, will co-host the event.
Join us for a discussion to help shape IPAY as it moves from primarily a
booking showcase to a showcase that includes an educational and
professional developmental component.
Bucktown A
New Guard Debut Session
Chair:
Donald Amerson
Presenters:
Colleen Clement
Gene Frank
The AATE New Guard proudly presents two new presenters to the AATE
Conference. Join us for these fresh and innovative presentations by the
newest members of the eld. Colleen Clement will present an
interactive mini session titled "Bridging Multi-language Communication
Gaps with Improvisation: Teacher Perspective and Reection." Gene
Frank will present an interactive mini session titled 'Educating
Communities for Parenting and Norristown Educational Theatre, a
Communi t y Par t ner shi p i n t he Ar t s: Rol e-Pl ay i n Yout h
Development-Teen Parents." Attendees should come ready to get on
their feet and try out new ideas from our presenter's work.
Printer's Row
Performing the Margins: Reections on the Theatre of
Transgressive Youth
Chair:
Manon van de Water
Presenters:
Manon van de Water (moderator)
Mary McAvoy
Pete Rydberg
Andy Wiginton
In order to reect upon the ideologies that shape our eld, this panel
presents research about performances that challenge notions of
acceptable and appropriate theatre for young people. We examine
punk performance and the embodiment of youth rebellion as a
challenge to privileged theatrical forms, the performance of
transgendered young people in queer youth theatre as a challenge to
privileged identities in theatre for youth, and Prince/Prince, a
Spanish-language fairytale play that challenges both privileged
narratives and privileged geographies in the eld. We intend for our
panel to inspire dialogue and creative reection about the limitations
and possibilities when considering performance that challenges,
disrupts, and transgresses our understanding theatre with, by, and for
young people.
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56
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57
REALITY Theatre: A Walk In Our Shoes
Chair:
Kim Kohler Hort
Presenters:
Kim Kohler Hort
Emily Labbe
This dynamic and interactive workshop will allow participants to explore
REALITY Theatre's teen theatre program. Since 1994, REALITY has
allowed young people the opportunity to create original productions via
drama, movement, music and creative writing that explore the
experiences and ideas of their generation. By infusing personal
storytelling with current research and theater, REALITY's performance
pieces are compelling and honest. In our workshop, we will share a
performance by the teen ensemble. Then, together with the young
actors, participants will reect on the production and play with
REALITY's devising techniques via verbal and experiential methods.
LaSalle
Reections on Adapting Plays for Young Audiences
Chair:
John Newman
Presenters:
Drew Chappell
Dorothy Webb
Gayle Sergel
Kristen Leahy
Much of the playwriting in the eld of theatre for young audiences is
adaptations of novels and other stories. Writers face intrisic challenges,
such as remaining true to the original while creating their own artistic
vision, as well as external challenges, such as obtaining rights, gaining
approvals, facing production limits, considering cultural ownership of
stories, and disqualying for development labs. The panel will explore
how playwrights, dramaturgs, play developers, publishers, and
novelists perceive these challenges from their own perspectives and
help the group to arrive collectively at potential strategies and solutions
to better facilitate adaptation writing in the eld.
Gold Coast
The Right to Play: Engaging Young People in a Reection on
Human Rights Issues through Theatre Games
Chair:
Christina Marn
Presenters:
Christina Marn
Melissa Bergstrom
Lindsay Weitkamp
Alex Sarian
This workshop will focus on how the power of theatre games and
drama activities can be harnessed to motivate dialogue among young
people regarding human rights issues. Employing the documents
written and ratied by the United Nations in 1948 and 1989
respectively, the Universal Declaration of Human Rights (UDHR), and
the Convention on the Rights of the Child (CRC), we will facilitate a
participatory experience through drama activities and reexive praxis.
The session is aimed at high school teachers and workshop facilitators
who will be able to adapt and incorporate the games and activities
presented for their classrooms and rehearsals. The workshop is meant
to address both academic and artistic goals and can be tailored to
diverse curricular needs. Exercises from the workshop can be used in
Social Studies, Humanities, Civics, English Literature, and Political
Science courses. Participants will be invited to participate in games
and exercises drawn from the texts of Augusto Boal, Viola Spolin,
Michael Rohd, Liz Swados, and Julie McCarthy, among others. This will
be a hands-on session with reection built into the process. Workshop
attendees will be constantly engaged in an ongoing praxis through
written reection and verbal engagement on paired, small group, whole
group, and individual levels.
Theater at the Core: Theater Education and the Common Core
Standards
Chair:
Peter Avery
The national Common Core Standards have the potential to be the
most seismic inuence on K-12 public school education in a
generation. However, the current version of the Common Core does not
explicitly reference arts education. What are the implications for theater
education? Through an exploration of student voice, theater educators
and administrators will discuss where there is genuine alignment of
theater learning with the Cores stated goals of the literate individual.
Participants will consider if there is any common ground with the
NYCDOE Blueprint for Theater and other existing arts based
benchmarks. Additionally, educators will view lm of student theater
work that will help illuminate specic Core standards in ELA and Social
Studies. The session will provide opportunity for reection on
participants own practice as well as time to consider the role theater
education might play in addressing gaps within this initial Common
Core iteration.
Bucktown B
Theatre History for the Middle School Student
Chair:
Laura Steenveld-Hamilton
What can middle school students learn about their world and the past
through theatre history? How does theatre affect history? And how has
world history impacted theatre? Learn how to create a Theatre History
Unit that can be used with middle school students. Discover how to
use remarkable websites like Folger, Artsedge, the BBC, Scholastic,
Youtube, and educational videos, in order to incorporate Project Based
Learning technology into learning more about theatre history.
Old Town
Things We're Not Supposed to Talk About: A Participatory
Workshop in Pushing the Envelope
Chair:
Bethany Lynn Corey
Within any classroom, theater or workplace there are certain subjects
that are just off-limits. There are the written and unwritten codes of
conduct that tell us what subjects are taboo. This session seeks to give
us a space to discuss these taboo subjects and help us discover for
ourselves what keeping them off-limits means for us, our practice and
society. It seeks to provoke people to explore their own boundaries and
provides the opportunity to push the envelope.
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Saturday, July 30, 1:30pm-2:30pm
Louis Room
Nurturing Partnerships: Creating and Maintaining Successful Collaborations
Facilitated by Barry Kornhauser and Betsy Driver
Once busses arrive at Northwestern University, this all-conference gathering will explore how attendees can nurture partnerships throughout the year.
Using AATEs ongoing partnership with the Illinois Theatre Association as a springboard for conversation, come to connect with specialists, whether
they compliment or contrast your own specialty, to dream about future partnerships. A special highlight will be to recognize AATEs national advocacy
campaign and regional programs each March,Theatre In Our Schools, in which partnerships are a vital component for success.
Transportation to Northwestern
On Saturday, July 30, conference programming will move north to Evanston, IL, on campus at Northwestern University. Busses will
load outside the main doors of the hotel, on Wacker Drive between noon and 12:45 pm, and arrive at Northwestern between 12:45
pm and 1:30 pm. Box lunches will be provided on the bus.
Busses will return to the hotel after the featured performance of The Edge of Peace at Northwestern University. Busses will load at
the Arts Circle (just outside the Barber Theatre Lobby doors) between 10:00 pm and 11:30 pm, and arrive back at the Renaissance
Chicago Downtown between 10:45 pm and midnight.
All registered conference attendees are welcome to take the busses to/from Northwestern. The Northwestern excursion is co-
sponsored by the Northwestern University Theatre Department.
Arch
Best Practices: Reecting on Teachers' Embodied Practice
Chair:
Amy Petersen Jensen
Presenters:
Joan Lazarus
As the nature of theatre pedagogy shifts to accommodate new
concerns, policies and standards developed for 21st century teaching
and learning we are interested in the best practices of teachers who
inevitably inuence the eld at the ground level.
This session explores what constitutes best practice in a twenty-rst
century K-12 theatre classroom. We specically address how theatre
teacher educators embody those best practices. To this end we
investigate what theatre teachers self-report about their own best
practice, and how peer-teachers describe other successful teachers
who they believe surpass standard benchmarks for quality classroom
and extra-curricular instruction in the eld.
Wildcat B
Beyond Story Drama: Using Kids' and Teen Lit as a Starting Point
for Creative Exploration
Chair:
Presenters:
Sarah Sullivan
Most of us use picture books or fairy tales as inspiration for our creative
drama work. Despite loving those time-tested stories, are you ready to
try something new? In this session, we will explore new ways of
engaging with children's and young adult literature as theatre artists.
Participants will engage in tangible exploration of activities that can be
used with your students/community to deepen engagement with
literature, using drama to build a community of critical readers and
innovative thinkers. We will workshop specic book-related activities
that could be used with your students - please come ready to dive into
stories! You will also leave the session with lists of book suggestions
based on age group and topics and resources for nding other books
and connecting with the Kidlit Community at large.
Northwestern B
Chalk & Mirrors: A Discourse on Race through Personal
Encounters Teaching Drama
Chair:
Daphnie Sicre
Presenters:
Karl O. Williams
Daphnie Sicre
This discussion is designed to engage the participants in a reective
conversation about race in America today, as well as present ideas and
ways on how to teach it through Drama. We will explore our own
personal encounters as teachers of color, through dramatic work and
curricula. Acknowledging that the classroom is a racial space, we will
reect on our own personal journeys with our students and the impact
it has had on our pedagogy. The session aims to mirror our teaching
experience in collaboration with those attending, thereby creating a
quilt of shared thoughts and reections.
McCormick
Crawling With Monsters: A Theatrical Testimony from the War Zone
from the Mexico-Texas Border
Chair:
Joseph Furnari
Presenters:
Eric Wiley
Crawling With Monsters
Twelve actors and musicians present stories of children and theatre
from the war zone on the Mexico-Texas Border. Students at the
University of Texas Pan-American were working on a children's play to
be performed in the US and Mexico when they were told because of
the violence in Reynosa, Tamps., Mexico they would not be able to
travel there. Their response was to create a play that tells a gripping
story, that many people do not want to be told, of what is happening in
Reynosa. Secretly-recorded testimonials and messages to the outside
world are delivered in English and in Spanish with subtitles. Do we as
artists have a moral responsibility to tell stories of social injustice?
Can theatre truly effect social change?
Armadillo
Demystifying Negative Perceptions: Working with the Hesitant
Teacher.
Chair:
Laurie C. Melnik

This session provides time and space to reect on our work as a
community of professional development providers, while driving
through dilemmas that stem from both positive and negative
perceptions about our work. For some teachers, drama-based activities
become a break from the daily grind. For others, it provides a way to
foster deeper understanding of the world around them. In this
interactive session, participants will explore differing viewpoints from
teachers who percieve drama from both ends of the spectrum.
Louis
Engaging High School Audiences: Reecting on Innovations in
Programming
Chair:
Jacob Watson
Presenters:
Ellen Abram
Alison Mahoney
Alyssa Ramos
In this session led by Purple Crayon Players of Northwestern University,
we will explore the means by which a university or theatre company can
work to engage high school age artists and audiences through creative
programming, productions, and unique partnerships. Topics addressed
will include everything from the marketing of such programs to the
logistical and educational framework necessary for their successful
implementation. As a starting point for discussion, we will consider
Purple Crayon Players' rst-ever internship program, which charged
high school youth to create an original, devised performance in
response to our production of Laurie Brooks' The Wrestling Season.
During the session, we will share excerpts of this performance and
highlight the process by which it was created.
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Scholars
Igniting Young Voices: A discussion about young playwrights
festivals from across the United States.
Chair:
Jim DeVivo
Presenters:
Elizabeth Bojsza
Jim DeVivo
Jacob Stoebel
Kristina Sutherland
Over the past 30 years, the number of playwriting programs for young
people has grown throughout the country. Regional theatres sponsor
festivals of new plays by young artists through their education and
outreach departments and some organizations exist solely for the
purpose of developing work by this population. This panel discussion
will bring together a variety of these organizations to discuss the state
of the eld, explore the signicance of the work, and to introduce some
of the voices of their young playwrights.
1851
Memories: Reections on Evanston District 65 Drama Classes
Through the Years
Chair:
Nancy Norvell Ball
Presenters:
Jamie Querciagrossa
Nancy Norvell Ball
Katherine Kryzs
After a brief history of the District 65 Drama Program, Ms. Kryzs will
lead a discussion with a group of former drama students focusing on
how their elementary and middle school drama classes experiences
have impacted their lives.
Lake
Planning a Network Advance
Chair:
Wendy Maples and David Markey
Presenters:
Wendy Maples
David Markey
Youth Theatre Network Members
The Youth Theatre Network is planning a second advance! The advance
plans to bring 20-25 Youth Theatre artists together for a 2 day event in
Bethesda, MD in early 2012. Our goal will be to explore, share, and
dene best practices in working with young people aged 8-18. The
weekend will include six participatory sessions on ways of working with
young people using both scripted and devised entry points. and four
working meals to share lesson planning, assessment creation,
publishing opportunities, parent/student contracts, etc. Recorded
interviews with YTN members that will share the scope of Youth Theatre
work to be used as an educational and recruitment tool for the eld and
for AATE. Join us as we discuss successes and challenges of planning
a Network Advance.
Evans
Put on a Safe Face: Makeup safety for classroom, stage and life
Chair:
Kristi Ross-Clausen
Learn the latest in safe selection, application and use of makeup via
demonstration of products. This is a constantly changing area of
technical theatre and one where a visual demonstration is worth far
more than a thousand words. Anyone who designs makeup, teaches
makeup application, or wears makeup for stage or street can beent
from attending.
Wildcat A
Reecting on the Process of Developing New Works for Young
Audiences: Examining Themes of Modern Families and Accep-
tance
Chair:
Emily Freeman
This session reects on devising new work for young audiences, spe-
cically looking at "mature" themes of sexuality, and modern families.
And Then Came Tango, a play developed at the Co-Op Presents Cohen
New Works Festival at The University of Texas at Austin is based on the
true story of two male penguins who fell in love, were given an or-
phaned egg, and raised a baby edgling. The penguins were protested
and a children's story written about the events was banned in many
libraries. This session will be an interactive workshop exploring devising
methods used in the rehearsal process, as well as a discussion about
the content and our responsibility as practitioners and artists to pro-
mote representation on stage and in the classroom.
Rock
Reections on What's Really Working . . . in their Own Words.
Chair:
Camilla Morrison
Presenters:
Detour coaches and actors
You're invited to choose - deaf, blind, cognitively challenged, autistic -
participate with an open mind and heart. Detour coaches have gone
out into several communities this year to make theatre games,
opportunities and magic REAL and accessible to even more excited
folks. You are invited as we reect and then join in the doing of what's
worked, as well as participate in a few scenes from HONK, the road
show with our own Detour actors.
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YOU SAID: You fel t there were too many sessions for similar target audiences
(such as playwrights or drama specialists) happened at the same time.
WE HEARD: While quali ty conference programming includes quali ty sessions
that overlap, this year we created a session coding system to track the
content of each proposed session. Our coding system made i t easier to iden-
tify each sessions target audience during the scheduling process, which
minimized (though did not eliminate) the overlap that more than one session
wi th the same target audience will happen at the same time.
Big Ten
Unmasking the Metaphor: Filling in the Blind-spot of a
"Color-blind" Culture
Chair:
Lise Kloeppel
Presenters:
Lise Kloeppel
Jodi VanDerHorn-Gibson
Our session seeks to not only share the beginning steps of a larger,
arts-based research project on the topic of race but also to use the
tools of theater to reect upon our personal and professional
relationships to race. W.E.B. DuBois named the problem of the
color-line THE problem of the 20th century. Can we say the same is
true for the 21st century or have we entered a post-racial age? In
searching for solutions, do we turn to despair and hopelessness as if
this is a social reality we'll never transcend? Using arts-based and
ethnographic research methods, we aim to devise an ethnodramatic
performance that situates the personal inside the political and
examines the everyday metaphors masking the accepted power
structures in our lives.
Chicago
#Tweatre: Harnessing the Power of Twitter to Build a Theatre
Education PLN
Chair:
Rachel Evans
Discover the value of creating a PLN (Personal Learning Network) 140
characters at a time! Participants will open Twitter accounts, practice
site/software navigation, and start to build a robust roster of followers
and following tweople. Reection upon personal professional
development needs will lead to identifying strategies to meet them
through tweets. Brainstorming possible uses of Twitter to strengthen
the eld will be included: advocacy, pedagogy, research, etc. Bringing
your own laptop, ipad, or smartphone will ensure maximum
participation in this hands-on opportunity to connect with the #tweatre
education twibe.
Armadillo
AATE Conferences: Let us Deconstruct and Reconstruct Our
Future!
Chair:
Karina Naumer
Chicago's Lakeside Reections serves as the perfect opportunity for
AATE conference attendees to come together to actively reect on our
annual conference structure. What is really working? What changes
might we like to try out in the future? Session attendees will participate
in a series of interactive theatre-based strategies and other reective
tools in order to formulate/brainstorm structural ideas that might be
useful to AATE moving forward. Ideas coming out of this session will be
communicated to the leadership of the organization.
Northwestern B
Beyond Elementary: Contemplating Puppetry with Adolescents
Chair:
Kathleen Arcovio
Presenters:
Kathleen Arcovio
Leslie Stellwagen
Our workshop will examine the many ways puppetry can be utilized
with older students (grades 7-12) in order to develop dramatic skills,
tackle difcult social issues, and master content standards in a variety
of subjects. In this hands-on workshop, participants will view abridged
lessons demonstrating puppetry's wide applications for adolescents.
Attendees will participate in a model lesson and construct their own
puppet. Participants will leave the workshop with tangible lesson plans,
new applications inspired by the workshop, and easy-to-use,
inexpensive construction techniques. Reection question - How is
puppetry an effective teaching tool for young adults and what
challenges does this kind of work face?
Wildcat B
Bridging Multi-language Communication Gaps with Improvisation
Chair:
Colleen Clement
In this session, attendees will be exposed to both the need for and
approaches to using improvisation as a means to bridge the
social/emotional communication gaps that occur in multi-language
classrooms. This session will not be addressing language acquisition
or teaching ESL, but instead will delve into the divisions, ostracism,
intelligence misconceptions, and low self-esteem issues that occur
among students who don't all speak the same language at the same
prociency. This is especially important as immigration is undeniably
on the rise.
Scholars
Collaborating With Young Writers: A Reection On Actors Theatre
Of Louisville's New Voices Young Playwrights Festival
Chair:
Jacob Stoebel
Presenters:
Jacob Stoebel
Steven Rahe
Jane B. Jones
Keith Nixon
Having just completed the sixth annual New Voices Young Playwrights
Festival, Actors Theatre of Louisville continues to reect on how our
program provides excellent opportunities for young people of all
backgrounds to identify, create and share their stories in the form of ten
minute plays. This session will outline our process from in-school
playwriting residencies, to programming the Festival, to working with
playwrights in script development and rehearsal. We will also open the
oor to reection from other attendees on best practices for teaching
young people to write plays.
1851
DIS/Ability and drama: Opening the Stage Door
Chair:
Sarah Mayper
Young people with disabilities must have access to the world of theater
- and this means more than just ramps! Theater educators can learn
what it means to provide "Voice, Choice, and Access" to young people
with disabilities through participation in theater work.
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Wildcat A
Grafti Project: Writing Plays with Literacy-Challenged High School
Students
Chair:
Doug Cooney
The experience of writing a full-length play that incorporates student's
own voi ces and concer ns can awaken even t he most
literacy-challenged student to the exhilirating power of "the word." It
also provides students with visceral and immediate exposure to the
dynamic potential of theater as a live medium.
Evans
Mommy, Why are the Stepsisters Boys?: Gender Identity and
Non-Traditional Casting in Theatre for Young Audiences
Chair:
Francene Kirk
Presenters:
Francene Kirk
James Matthews
Dana Sayre
The casting of two male actors as the stepsisters in a university
production of Rodgers and Hammerstein's Cinderella provoked
questi ons about gender i denti ty and casti ng from varyi ng
constituencies. From "Will you be making fun of who I am?" to "What
should I tell my daughter?" to "Will the story be the same?", what
started as an uncritical attempt at humor exposed a complex
intersection of attitudes about gender and gender identity construction.
This panel includes the production's faculty director, the faculty
dramaturge, and a former student currently in a graduate program in
performance studies. The panel will reect on the experience,
contextualizing it in the literature, and invite the audience to share their
own experiences and observations.
Big Ten
Our Haven: Site Specic Devising in a Public Middle School
Chair:
Betsy Quinn
Presenters:
Betsy Quinn
Briana Bower
Robyn Char
Jeff Glass
Elise Hauskin
Jacob Watson
Seventh and Eighth Grade Students from Haven Middle School
Designed to serve those interested in site-specic devising, middle
school theatre education and university/school collaborations, this
session will share practical techniques and golden moments from an
original play produced by Haven Middle School in Evanston, IL. "Our
Haven" was a devised play featuring 175 diverse public middle school
students performing in six sites around the school and sharing their
unique perspectives about the past, present and future of Haven.
Northwestern University theatre students directed the individual scenes
in each site and helped the Haven students nd their voices. The play
was performed for approximately 1200 audience members during the
fall of 2010. This workshop will feature middle school and university
students demonstrating techniques and reecting on the process of
creating "Our Haven". It will include information about specic devising
activities, unique issues with site-specic work, scheduling
complexities and working within the school community to make the
project possible. Participants will be invited to both observe and
participate in a number of exercises used in the creation of the play.
Reections written right after the performances last fall will serve as the
content for many of these exercises.
Arch
Reection in and on 'Pre' Preservice Teacher Education
Chair:
Joe Norris
Presenters:
Joe Norris
Glenys McQueen-Fuentes
Carolee Mason
Helen Zdriluk
This panel will reect on the role of an undergraduate 'pre' pre-service
Drama in Education (DIE) and Applied Theatre (AT) program in a
dramatic arts department. Joe Norris will examine the program, as a
whole, outlining its current offering and projecting future needs. Glenys
McQueen-Fuentes will discuss the teaching of reection to rst year
students (a mix of performance and DIE students). Helen Zdriluk will
reect on the variety of instructional approaches taken in a combination
of process drama and theatre courses that focus on teaching in, about,
and through. Joe will also discuss the fourth year reective practice
course to fourth year in which student volunteer in the eld. Carolee
Mason will conclude with her experiences teaching students after their
rst degree.
Louis
The Bully Menace and Applied Theatre: A reective performance
Chair:
Philip Taylor
Presenters:
Larry Brenner
Amissa Miller
Alex Siriani
After a series of disturbing hate crimes against young people, the NYU
Program in Educational Theatre was commissioned to develop a forum
theatre project on citizenship and justice. NYU students will perform the
forum piece and illuminate perceptions, which contribute to the
aggressors and victims in the bullying dynamic. Audience members will
be invited to intervene as spect-actors, providing all involved with the
opportunity to critically consider and meaningfully explore effective
responses to the events of the forum.
Saturday, July 30, 4:15pm-5:30 pm
Annie May Swift
The Road To Ware
The Ware Trilogy by Suzan Zeder is unique in the contemporary cannon
of dramatic literature for young audiences. Three plays set in the tiny
town of Ware, Illinois, focusing on three decades of American history
and issues of Deaf and Hearing culture. Suzan Zeder discusses the joys
and challenges of thirty years of her own writing life spent in the com-
pany of these characters and their stories.
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64
Rock
We're Still Here: A Model Drama Session from Evanston District 65
Chair:
Nancy Norvell Ball
Presenters:
Joan Lazarus
Laurel Serleth
Master Teacher Laurel Serleth will teach a drama class with Evanston
sixth graders. Professor Lazarus will follow with a discussion and
dissection of the strategies utilized and facilitate a feedback session
with students and audience members.
Lake
Youth Theatre Network: Games Exchange X: Part II
Chair:
David Markey
Wendy Maples
Presenters:
Youth Theatre Network
We're back!! Join us for a part II of a hands-on exchange of dynamic
and purposeful games and exercises for those working in the eld of
Youth Theatre. The goal of the exchange is to help identify and share
games and exercises for building foundational theatre skills.
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Annie May Swift
Leadership Interest Meeting
Ever thought about joining a national board? Would you enjoy rolling up your sleeves and making a difference in how AATE conducts business and
furthers the eld? The discussion, led by AATE leaders, will include opportunities for how to get involved, and learn what it takes to become a State
Representative, Theatre In Our Schools Chair, Network Chair, Board Member and/or how to serve on an AATE active committees. The benets and
networking opportunities that come with leadership roles in AATE are remarkable. Join us for pizza and discussion; add your voice and skills!
Annie May Swift
Conference Planning Meeting
Come share ideas for future AATE conferences with Programming Director, Karina Naumer and Executive Director, Lynne Kingsley and help shape
our future programming!
Saturday, July 30, 8:00pm
Barber Theatre
Keynote Performance: The Edge of Peace
Saturday, July 30, 10:00pm
Barber Theatre Lobby
Post-Show Reception
sponsored by Northwestern University
Join us for a reception immediately following the Featured Performance of The Edge of Peace, sponsored by Northwestern University.
Feat ur ed Per f or mance: The Edge of Peace*
Saturday, July 30, 8:00pm-10:00pm, Barber Theatre (Northwestern University)
Ref l ect i ons on The Edge of Peace, by Suzan Zeder
Friends and Colleagues,
The Edge of Peace is the end of a very long journey that began for me when I
wrote Mother Hicks in the 1980s. I had no idea then that this play would become
the anchor for a trilogy of plays that would dene thirty years of my writing life.
The response to Mother Hicks was remarkable, due in no small part to the powerful
presence of the Deaf character, Tuc, and to the artistry of Deaf actors who have
played him over the years and have challenged assumptions about competency
and communication. More than a decade after I wrote Mother Hicks, I gave Tuc his
own play,The Taste of Sunrise.
Now, I come back to nish the stories of characters who are as real to me as
members of my own family. Set in the last desperate days of World War II, The
Edge of Peace is a play about the challenges of leaving home, coming home, and
staying home when the danger and adventure of the world is far away.
Many of you who will see this rst full production of The Edge of Peace have been
on this journey with me. You have produced the two previous plays in your theatres
colleges, community theatres and high schools. You have read and discussed
them in your classrooms, creating a living legacy. So this is a kind of homecoming for you too.
I am deeply indebted to Linda Hartzell and Seattle Childrens Theatre for commissioning and supporting the development of all three plays.
The fact that they have allowed us to bring this play to you, prior to their own premiere production, is an act of supreme generosity.
I thank Rives Collins, Talleri McRae and Henry Godinez for the courage and faith it takes to produce a play of this size and complexity.
I am most grateful for the plays themselves and for the profound difference they have made in my life.
-Suzan Zeder
Art i st i c Team f or The Edge of Peace
Henry Godinez (Director) is the TIC Artistic Director, Northwestern University Theatre Department Associate Professor, and the resident artistic
associate at the Goodman where his directing credits include Mariela in the Desert, Millennium Mambo, Straight As A Line, the Goodman/Teatro
Vista co-production of Cloud Tectonics, and A Christmas Carol from 1996-2001. He is curator of the Goodman's Latino Theatre Festival and co-
founder of Teatro Vista, where he directed Broken Eggs, El Paso Blue, Journey of the Sparrows, Santos & Santos and The Crossing. Other directing
credits include Esperanza Rising and A Year with Frog and Toad (Chicago Childrens Theatre), Two Sisters and a Piano (Apple Tree/Teatro Vista),
Anna in the Tropics (Victory Gardens), Boleros for the Disenchanted (Yale Repertory Theatre), True West (Portland Center Stage), Urban Zulu
Mambo starring Regina Taylor (Signature Theatre in NYC), The Winters Tale (Missouri Repertory Theatre), Macbeth (Oak Park Festival Theatre),
Romeo and Juliet (Colorado Shakespeare Festival) and several seasons of Stories on Stage for WBEZ Chicago Public Radio.
The Theatre and Interpretation Center at Northwestern University (Producer) produces and presents as many as 40 productions annually, in
four theatres, for the School of Communication, and in partnership with the Departments of Theatre and Performance Studies, and the Dance
Program. In addition, the Center produces the annual Waa-Mu Show, an original student written and performed musical, and is home for the
American Music Theatre Project (AMTP) that is dedicated to developing and producing new musicals by leading local and national
artists.Celebrating its 30th anniversary the Center is a rich laboratory for experimentation for 400 undergraduate and graduate students who create,
design, direct and perform in classic and contemporary plays, dance performances and musicals directed by faculty, MFA students and guest
professional artists.
Suzan Zeder (Playwright) has been recognized nationally and internationally as one of the nations leading playwrights for audiences of all ages. Her
plays have been performed in all fty states, Canada, Great Britain, Japan, Australia, Germany, Israel, Ireland, and New Zealand. She is the three-
time winner of the Distinguished Play award from the American Alliance of Theatre and Education, has been inducted into the College of Fellows of
the American Theatre and the Academy of Distinguished Teachers and heads the Playwriting/Directing area in the Department of Theatre and Dance
at the University of Texas at Austin, where she holds an Endowed Chair in Theatre for Youth/Playwriting.
*Originally commissioned at developed at Seattle Children's Theatre. This production of The Edge of Peace was funded in part by The Children's
Theatre Foundation of America.
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66
The Edge of Peace staged reading at the University of Texas at Austin, Spring 2009.
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67
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Detailed Schedule - Sunday, July 31
________________________________________________________________________________________________________________________
68
Sunday, July 31, 9:30am-11:30am
Grand Ballroom
Closing Reection Breakfast Event and Annual Meeting
Start the morning with cast members and the artistic team of The Edge of Peace, including playwright Suzan
Zeder and director Henry Godinez. Reect on the performance from the night before, and also take part in
AATE's annual meeting with AATE President Rives Collins. In this nal event of the conference, reect on this
year's programming and look forward to 2012.
YOU SAID: You would like digi tal copies of session proposals and specifics of conference registration when you submi t information or register online.
WE HEARD: Based on your feedback, we researched several different online platforms to host digi tal session proposal information. We chose Form Assembly because of i ts user-
friendly nature. However, the technological capaci ty of Form Assembly, the AATE websi te, and the AATE conference websi te limi ts the amount of detailed information we are able
to share in mass communication. As we look forward to 2012 in Lexington, we are open to any technological tools you might know of to help us include session details in peoples
session confirmation.
Maps
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69

________________________________________________________________________________________________________________________
70
YOU SAID: You would prefer no sessions before 9 am, and no sessions
on Sunday.
WE HEARD: Working wi thin a very busy conference schedule, we were
able to schedule meetings around a record number of sessions, and
concentrate session blocks to be bet ween 9am-6pm on Thursday,
Friday, and Saturday of this years conference. One of the ways we
were able to accommodate this request is that we offered several
session concurrentlymeaning that there are more sessions offered
per session block than ever before. While we know that offers many
choices every session block, i t also represents the di versi ty and qual-
i ty of our sessionsso enjoy the tough choices!
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Index
Abram, Ellen 60
Adams, Korbi 42
Adams, Noah 52
Alexander, Jessica 'Decky' 42
Allsup, Max 48
Amerson, Donald 7, 56
Arcovio, Kathleen 5, 34, 62
Ardelean, Stacey 9, 51
Arvetis, Tom 5, 16, 18
Asher, Sandra Fenichel 19, 32, 52
Ashworth, Julia 19
Asp, Maria 21
Avery, Peter 58
Babb, Joe A. 9
Bable, Wendy 7, 9, 23
Bailey, Sally 52, 53
Baldino, Joseph 6
Ball, Nancy Norvell 61, 65
Barberio, Steve 5, 25
Barker, Steven 5, 6, 9
Barker, Lisa 52, 54
Barthelmess, Dinah 7, 9
Batey, Jessica 20
Baugh-Schlossberg, Valerie 6, 7, 50
Beckingham, Steven 36
Belliveau, George 58
Bergraf, Aud 23, 55
Bergstrom, Melissa 58
Black, Patricia 42
Boddie, Courtney J. 26
Bojsza, Elizabeth 61
Bowell, Pamela 23
Bower, Briana 64
Bowman, Beth 46
Brantley, Susan 23
Bratley, Lynn 29
Brenner, Larry 64
Brill, Rachel 27
Brown, Cyndee 9
Brown, Lenora Inez 9, 13, 54
Brown, John K. 23
Brown, Victoria 48
Brown-Velez, Jessica 54
Burns, Kate Randolph 44
Burns, Selena 45
Bush, Max 9, 19, 51, 55
Cahill, Helen 9
Cardenas, Jasmin 51
Cartwright, Colleen 45, 50
Castro, Ruben 23
Cates, Kelly 19
Chapman, Jennifer 9, 21
Chappell, Drew 9, 35, 55, 58
Char, Robyn 64
Chryst, Carolyn 50
Chung, Jiwon 36
Chusid, Abra 30, 56
Clement, Colleen 56, 62
Clunie, Gloria Bond 42
Coble, Eric 52
Cochran, Charla 25
Colby, Robert 9, 46
Collins, Rives 4, 5, 9, 25, 67
Collins, Katy Carolina 16
Compass, Troy 6
Conseur, Ray 23
Cooney, Doug 64
Corey, Bethany Lynn 7, 9, 58
Dahlenburg, Michelle 56
Dawson, Katie 7, 26, 44
de Lackner, Frieda 23
Deemar, Stacy 21, 30, 48
Dennett, Lisa 21
DeVivo, Jim 61
DiBella, Jennifer 6, 9, 52
DiCarlo, Jessica 36
DiPasquale, Pamela 25
Driver, Betsy 5, 59
Duffy, Peter 29
Duke, Marielle 46
Eckert, Katie 5
Eckles, Chris 5
Edell, Dana 52
Erickson, Karen L. 46
Erickson, Edward L. 46
Evans, Rachel 62
Falconi, Mara Ins 9
Feffer, Steve 9
Feiner, David 12, 17, 18
Fels, Lynn 58
Fisher, Teresa 20
Flatt, Robyn 25
Flynn, Tessa 26
Forman, Ashley 9, 55
Frank, Gene 56
Freeman, Emily 61
Fryer, Britney 23
Furnari, Joseph 4, 9, 35, 60
Garcia, Lorenzo 9, 27
Gekas, Elizabeth 48
Glass, Jeff 5, 64
Godinez, Henry 13, 66, 67
Gonzalez, Jo Beth 19, 35, 55
Gonzlez, Jose Cruz 11
Goodfellow, Jenny 42
Goodman, Rob 42
Gorostieta, Cristian 23
Gregory, D.W. 21, 30
Gundersheim, Stephen 21
Hall, Karen 12, 27, 45
Hamilton, Rachel 34
Hare, Ashley 19
Harper, Brian 20
Hastings, Taren 36
Hatton, Luke 29, 44
Hauskin, Elise 5, 64
Heap, Brian S. 23, 55
Hensley, Gordon 6, 21
Hermann, Spring 21
Herring, J. Daniel 5
Hert, Amy 29
Hetzel, Dr. Marilyn Cookie 20
Hines, Angela R. 42, 52
Hoare, Lynn 44
Hopson, Jeanne 25
Horn, Elizabeth Brendel 4, 9
Hort, Kim Kolher 5, 56
Howe, Kelly 51
Huff, Diviin 42
Hughes, Erika 54
Ito, Brenda May 6
Jamieson, Rachel 5
Jansson, Leigh 5
Jennings, Coleman A. 42, 56
Jensen, Amy Petersen 9, 60
Johnson, Xan S. 9, 23, 25
Johnson, Sarah Mae 20
Jones, Jane B. 62
Kaplan, Erin 54
Katona, Jennifer 36
Kelin, II, Daniel 4, 9
Kerastas, Sara 23
Kingsley, Lynne 4, 9, 65
Kirk, Francene 64
Kisling, Jeremy 6
Klein, Jeanne 9, 50
Kloeppel, Lise 9, 27, 62
Klug, Chris 55
Koerner, Kati 35, 52
Koottaarappallil, Jamie 54
Koppera, Jenny Sawtelle 5, 30
Kornhauser, Barry 6, 52, 59
Kostreva, Jenny 46
Kotter, Rita 9
Kramer, Lisa 52
Krzys, Katherine 4, 9, 19, 30, 55, 61
Kulik, Jennifer 55
Labbe, Emily 5, 56
Lagerquist, Elana 36
Lansana, Emily Hooper 20
Lazarus, Julian 6
Lazarus, Joan 60, 65
Leahy, Kristen 58
Leavitt, Jane 46
Lee, Bridget 26
Lee, Teresa 50
Lefkovitz, Anne 5
Levy, Elizabeth 29, 44
Link, Kristen 34
Little, Jennifer 34
Loffredo, Peter 25
Lopez, Alexandra 9
Lorenzetti, Nicole 6, 9, 52
Lowry, Lois 12
Luck, Jennifer Hartmann 30
Lundin, David 5
Magnasco, Julia Newby 6, 20
Mahler, Daniel 20
Mahoney, Alison 60
Malinowski, Tim 29, 44
Maples, Wendy 6, 7, 36, 54, 61, 65
Marn, Christina 4, 9, 21, 35, 46, 58
Markey, David 7, 36, 61, 65
Mason, Carolee 29, 64
Matassarin, Kat 5, 9
Matelzschk-Campbell, Jud 19
Matthews, Nora 6, 51
Matthews, James 64
Mattson, Mitch 6, 9
Maugeri, Frank 16
Mayper, Sarah 62
McAvoy, Mary 56
McCammon, Laura 9, 21, 50, 52, 55
McLauchlin, Debra 9
McLaughlin, Margaret 5
McNally, Gillian 25
McNamee, Anne 44
McQueen-Fuentes, Glenys 29, 64
Mcrae, Talleri 5
Melnik, Laurie 6, 7, 52, 60
Mendelewicz, Aliza 51
Mendeloff, Kate 27
Metz, Alli 5
Michael, Erin 5
Miller, Carole 9, 20, 36
Miller, Dr. Harvey 25
Miller, Marilee 25
Miller, Michele 44
Miller, Amissa 46, 64
Minarsich, Teresa 6
Minyard, Gary 4, 9
Mitchell, Lisa 50
Moran, Maurice J. 6, 55
Morris, Anakin 5
Morrison, Camilla 61
Morrow, Keeshon 36
Murray, Beth 9
Muszynski, John 5, 52
Naumer, Karina 4, 9, 35, 62, 65
Negri, Anne 5
Nelson, Bethany 46, 55
Newman, John 4, 9, 50, 58
Nixon, Keith 62
Norris, Joe 29, 58, 64
Nutting, Diane 9, 19
O'Farrell, Larry 52, 55
Oakeson, Amy 9
Oliver-Krueger, Ali 7, 23, 55
Omasta, Matt 7, 9, 26, 35, 50, 52
Ortmann, Tim 9
Oser, Scott 4
Osgood, Lynn 56
Paley, Vivian Gussin 12, 24
Paredes, Sobha K. 26
Park, Joohee 54
Pearson, Susan 52
Perez, Heidy 25
Peters, Mary ElizaBeth 19, 34
Pledger, Shawnna 26
Prestel, Kelly 4
Proft, Jerry 5
Prouty, Rachel 9
Querciagrossa, Jamie 19, 61
Quest, Mary 25
Quinn, Betsy 4, 5, 9, 64
Rahe, Steven 62
Ramos, Alyssa 60
Randolph, Jared 23
Rangos, Anna 23
Reid, Aimee 29, 30, 34
Reif, Jennifer 6
Rethwisch, Judith 6, 9
Reynolds, Brett W. 16
Rife, Erin 25
Rifkind, Bryna 9
Rosenberg, Hollie 36
Ross, Arianna 50
Ross-Clausen, Kristi 61
Rotkovitz, Susan J. 45
Rubin, Janet 9, 50
Rydberg, Pete 56
Ryder, Andrew 19
Rzeszutek, David 50
Saldaa, Johnny 9, 21, 50, 58
Sanders, Alicia 7, 9, 50
Sarian, Alex 58
Satta, Steven J. 45
Saunders, Crom 31
Saxton, Juliana 11, 20, 36
Sayre, Dana 64
Schellhardt, Laura 52
Schildkret, Elizabeth 46
Schroeder-Arce, Roxanne 9, 25
Schwarz, Abby 19
Sergel, Gayle 25, 58
Serleth, Laurel 65
Sessler, John 21
Sewchok, Kaycee 6, 9
Sharpe, Lynda 19
Shimojima, Anne 31
Shoeny, Danielle 50
Shunk, Merissa 5
Sicre, Daphnie 21, 60
Siddons, Kelby 7, 9, 35, 48
Siegal, Erica 46
Silver, Jamie 44
Silvestri, Colette 52
Simon, Tommy 42
Simons, Sara 46
Simons, Manuel 48
Sims, Kiyoko Motoyama 26
Siriani, Alex 64
Snyder-Young, Dani 48
Solberg, Michelle 54
Sperling, Rick 27
Steenveld-Hamilton, Laura 5, 58
Stellwagen, Leslie 62
Sterling, Pamela 9
Stoebel, Jacob 61, 62
Stone, Dan 6
Stone, Sukari 23
Stone, Jacqueline 25
Streeter, Joshua 35
Struve, Millie 26
Suchman, Henry 4
Sullivan, Sarah 34, 60
Sutherland, Kristina 61
Sutton, Dr. Paul 48
Sweigart-Gallagher, Angela 7, 9
Swift, Annie May 64, 65
Tabone, Carmine 9, 19
Taylor, Willa 51
Taylor, Philip 64
Tillges, Angela 18
Torres, Dianna 52
Tull, Sonsharae 20
Turner, Laura Manning 6, 7
Ulrich, Adele 52
Van Bruggen, Jennifer 6
Van Buskirk, Scott 29
van de Water, Manon 4, 9, 27, 56
VanDerHorn-Gibson, Jodi 27, 62
Walker, Xanthia 9
Washington, Donna 31
Waterman, Rani 29, 44
Watson, Jacob 5, 6, 9, 60, 64
Watson, Machaela 26
Webb, Dorothy 42, 58
Weberman, Karen 5
Weitkamp, Lindsay 58
Welch, Brianna Stapleton 7, 30, 34, 52, 56, 60
Weltsek, Gustave 6, 9, 29, 35, 50
Westlake, E.J. 9
Wiginton, Andy 7, 56
Wiley, Eric 35, 60
Williams, Anne 6
Williams, Karl O. 21, 30, 60
Wilson, Heather 52
Windes, Amanda 4
Wolff, Jackie 48
Wood, Susan D. 50
Woodson, Stephani Etheridge 9, 34
Wright, Lin 9
Yoo, Tae 42
Zachariah, Cheryl Kaplan6, 27
Zdriluk, Helen 7, 29, 52, 64
Zeder, Suzan 13, 64, 66, 67
Zimmer, Patricia 9, 19
Zuniga, Jose 20
________________________________________________________________________________________________________________________
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2011 AATE National Conference Program

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2011 AATE National Conference Program

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________________________________________________________________________________________________________________________

Rob Goodman, founder of First Stage Childrens Theatre in Milwau-

Gloria Bond Clunie, Chicago-based award-winning playwright and

Coleman A. Jennings, professor, administrator, director, playwright,

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