Swortzell has constructed a seminal reference work that chronicles the history, current state of artistic achievement, and foremost future needs of children's theater in 44 different countries. . . . an excellent first resource for diverse forms of research, and quite accessible to both undergraduate and graduate students. "Choice"

After a visit to the Children's Educational Theatre in New York City, the first American theatre intended specifically for children and adolescents, Mark Twain declared that children's theatre is one of the very, very great inventions of the twentieth century.

The "Guide" is designed as a reference book, surveying theatre for young people in forty-five countries from Australia to Zimbabwe, as well as examining some of the provocative paradoxes, questions, and concerns that plague and inspire children's theatre. Arranged in alphabetical order by country, the Guide documents the history of the children's theatre movement in each country, defines its current state of artistic achievement, and projects its foremost needs for the future. For each chapter, the "Guide" includes profiles of representative companies. Important productions and influential dramatists, directors, designers, performers, and pedagogues are also mentioned.

The year 1988 was notable for being the centennial of playwright Eugene O'Neill's birth and a time of unprecedented democratization in the People's Republic of China and rapprochement with the West. In this optimal climate, a remarkable festival and conference devoted to O'Neill was held in Nanjing, China, orchestrated mainly by Haiping Liu, who secured the funds and cooperation necessary to lure noted O'Neill scholars and theatre artists from around the world. Liu selected and edited papers for publication after the conference, but he realized that this would be a difficult task conducted from China. At his invitation Lowell Swortzell, a conference participant, became co-editor, and in the dark days following the political upheaval in China in 1989, Swortzell assumed much of the burden of editing, organizing, clearing rights, and generally readying the final volume. The essays included capture the intellectual and artistic stimulation of the conference. Organized in divisions similar to the order in which the papers were delivered, they explore the major areas of O'Neill scholarship by some of the most renowned scholars from the United States, Western and Eastern Europe, Japan, and China. They emphasize O'Neill's international reputation and productions, particularly in Asia. Included is an open forum discussion of the festival productions, as well as photographs. The circumstances of the festival and conference are a story unto themselves, and in their individual introductions, the co-editors relate some of the background and convey some of the flavor of the events--providing insights into the continued appeal of O'Neill in China and the world.

The subject of Swortzell's book is a selection of plays created by the Children's Theatre units of the Federal Theatre Project. . . . Most of the six plays in Swortzell's anthology resonate with political messages integral to the post-Depression, post-World War I era. . . . Though some of the scripts, like Chorpenning's "A Letter to Santa Clause," which is an indictment of war, and Yasha Frank's "Pinocchio," which celebrates the rewards of a virtuous life, hammer away at theme to the point of becoming tedious, the plays written and performed during this brief heydey in the history of children's theatre reveal just how far the genre could move beyond the narrow focus and prescribed subjects which once defined its boundaries. "Children's Literature Association Quarterly"

The plays published here were originally commissioned by the Federal Theatre Project (FTP) of the Works Progress Administration. Editor Lowell Swortzell has selected six plays representative of the reportory of the children's theatre productions of the FTP and reprinted them in their entirety. The plays, whether original scripts or adaptations of fairy tales and folklore, emphasized both educational and entertainment value. The plays are preceded by an extensive introduction detailing the history and goals of the children's theatre unit.

The plays are: "Horse Play" by Dorothy Hailparn, a comedy from the Negro Unit of New York City; "Flight" by Oscar Saul and Louis Lantz, a documentary play in the style of the "Living Newspaper"; "The Boiled Eggs" by Rught Fenisong, a comedy form the Marionette Unit of New York City; "The Revolt of the Beavers" by Oscar Saul and Louis Lantz, a controversial fable from Broadway; "A Letter to Santa Claus" by Charlotte Chorpenning, an anti-war Christmas pantomine produced as a gift to the children of Chicago; and "Pinocchio," a popular adaptation first produced in Los Angeles, then transferred to Broadway.

Includes: EThe Flying DoctorE (Molire) U EThe Love of Three OrangesE (Carlo Gozzi) U EEscape to FreedomE (Ossie Davis) U ENo WorriesE (David Holman) U ESoul Gone HomeE (Langston Hughes) U and more!

Six Plays for Children by Aurand Harris brings together a variety of dramatic forms that have enormously enriched the literature of children's theatre in this country and around the world. These works by this respected children's theatre playwright show Harris's great versatility: in the commedia dell'arte of Androcles and the Lion; the musical melodrama Rags to Riches; the sober, absurd comedy Punch and Judy; the realistic historical drama Steal Away Home; the farce Peck's Bad Boy; and the musical review Yankee Doodle. Each of the six plays exhibits a vital theatricality which is sure to win a child's attention and response.

Editor Coleman A. Jennings traces Harris's development as a playwright in a biographical study based on interviews with Harris. This enlightening section treats Harris's philosophy and teaching methods, as well as his creative process.