John Newman is a theater professor living in Sandy City, Utah.

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• CreditsAcknowledgmentsForewordIntroduction: Navigating the Theatre Curriculum with PlaywritingPart I: The Practical Navigator – Charts, Tools, and DynamicsChapter 1: Phases of Playwriting1. Preparation2. Generation3. Experimentation4. Determination5. Clarification6. Exhibition7. Examination8. Production9. EvaluationMapping devised theatreChapter 2: Generating and Workshopping ScriptsPreparing studentsGrounding students in dramatic theoryReading and analyzing plays as a classPartnering with creative writing teachersIntroducing students to professional playwrightsGenerating materialVisual image promptingRapid-fire promptingCard promptingInterviewingWinnowing and draftingExperimenting with possibilitiesClassroom readings of initial draftsDescriptive feedbackVariation draftsWorld-buildingDetermining the centerMural-makingCharacter tableauRole-on-the-wallClarifying textQuestion selectionDraft-trackingChapter 3: Presenting and Premiering PlaysExhibiting scriptsTheoretical designsStaged readingsExamining textWritten responsesPost-reading discussionsDay-after responsesIn-the-moment responsesProducing new playsPremiere productionsActor interviewsSubsequent productionsEvaluating product and processChapter 4: Employing the Tarot Card ModeThe Tarot card model and exercise by Suzan ZederWhy Tarot?Leading the exerciseCreating the cardsLaying out the cardsReading the cardsWhat the Tarot doesWhat the Tarot does not doHow to use the Tarot to develop plays in schoolsPart II: Ports of Call – Learning Environments for Student PlaywritingChapter 5: School Productions of Student-Written PlaysCollaborating with creative writing classesMentoring student directors and producersInvolving student playwrights in rehearsalSounding off: Teacher-advisors at East High SchoolChapter 6: Developing Plays through Playwriting ContestsDeveloping plays through Thespian PlayworksPre-workshop developmentCollaborative castingRole of the adult dramaturgRole of the adult directorTheoretical designsPublication of student-written playsDeveloping plays through Young Playwrights for ChangeWritten feedbackMentoring by adult playwrightsStaged readings and performancesSounding off: Middle school playwrightsChapter 7: Team-Playwriting with StudentsPlaywriting teams at Le Jardin AcademyPreparing student playwrightsLeading playwriting teamsSounding off: Students on a playwriting teamTeam-playwriting at Middleton High SchoolChapter 8: Playwriting-Centered Drama ProgramsFriends Academy: A community of equalsAn inclusive production seasonA vertical playwriting curriculumSounding off: Graduates of a playwriting-centered curriculumCleveland School of the Arts: A constellation of voicesA collaborating literature teacherPlaywriting-centered drama cohortsSecond draft strategiesA repertory of non-traditional productionsA festival of new worksPart III: Apprentice to a Playwright – Modeling Playwriting in School ResidenciesChapter 9: Preparations for a School Residency 149Preparing for the voyageFinding the playwrightFinding the schoolForging the agreementFinancing the ventureManning the shipThe teacher-directorThe teacher-director’s other hatsThe playwrightStudent actorsStudent dramaturgsStudent designersExpert student participantsBuilding bridges: Sharing power in play developmentChapter 10: Playwright Residencies at Highland High SchoolThe ARK 5 ProjectDevelopment residency at Highland High SchoolPremiere production at Highland High SchoolSecond production at Middleton High SchoolMounting second productionsDeveloping novel adaptationsDeveloping a musicalFacilitating playwright residencies in schoolsMounting plays by the teacher-director and studentsAddressing technical challengesEmploying guest directorsReading additional plays by the guest playwrightLetting the playwright process the presentationActing with students to experience the textSounding off: Student actors in new playsChapter 11: Playwright Residencies at Other Secondary SchoolsPlaywrights In Our Schools residencies at DaVinci AcademyThe residency for Escape from the Labyrinth by playwright Ric AverillItinerary of a school residencyThe residency for Max Bush’s What RemainsComponents of Playwrights In Our Schools residenciesStudent preparationPre-residency developmentWorkshop explorationTheoretical designsClassroom visitsMentorship of student playwrightsInformal interactionsStaged readingsPost-reading discussionsChapter 12: Playwright Residencies and Visits at Primary SchoolsDeveloping When She Had Wings with Lucy School students by playwright Suzan ZederEngaging with children in researchDiscussing the script with childrenExploring design possibilitiesFinding an alternate titleInvolving children in rehearsal and productionChild learning in the script development of When She Had WingsProject-based, arts integrated learningSocial skills developmentSeeking clarity and dealing with ambiguityValidating children’s perspectivesDesign collaboration with children for When She Had WingsConfronting limitations creativelyBalancing child perspectives with adult expertiseEmulating the “Wings Project” Playwright classroom visits for Lily Plants a Garden with the Bonderman SymposiumEpilogue: Embarking on Your Voyage of DiscoveryAppendix: Books on teaching playwritingBooks on play developmentBooks on devising theatreOnline resourcesReferencesBiographiesIndex