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[...]the self-described “dramatic” students sparked the coalescing of a visible and persuasive youth-led gun-control movement, one that models how to organize efficiently and communicate widely, how to acknowledge privilege and practice inclusionary activism, how to take up space traditionally occupied by adults, and how speak truth to power.2 David Hogg conducted and filmed hushed interviews with classmates during the school’s lockdown, the viral cell-phone footage of which is simultaneously raw in content and deliberate in intent. [...]recasting trauma survivors as professional actors presupposes that there are many more deceptions at play within the event in question. [...]perhaps most importantly, in their cries of “It’s all pretend!,” conspiracy theorists attempt to disable or inhibit natural empathetic responses to human suffering. How can theatre be a site of dangerous illusion that demands passive credulity from audiences (as Brecht warned), as well as a vehicle for revelations, for peeling away layers of detritus and artifice, and for deep audience/performer collaborations?

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Kathy Foley is a distinguished scholar, performer, and director based at the University of California, Santa Cruz, and she has also taught at the University of Hawai'i, Chulalonkorn University, Yonsei University, and the University of Malaya. A specialist in wayang golek puppetry of Sunda (West Java), she has also published widely on a diverse range of performance forms from all over Southeast Asia as well as India, Tibet, Japan, and Korea. She has vmtten and directed plays and operas and curated exhibitions of masks, puppets, and performing objects and has been the editor of Asian Theatre Journal since 2004. Margaret Coldiron is a specialist in Asian performance and masks, and deputy head of the BA in world performance at East 15 Acting School/University of Essex. She is the author of Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance Drama (Mellen Press 2004), is a contributor to The Routledge Handbook of Asian Theatre (2016), and has published numerous articles and reviews in journals such as Asian Theatre Journal, New Theatre Quarterly, Indonesia and the Malay World, and Consciousness, Literature, and the Arts. She is the associate director of Thiasos Theatre, specializing in intercultural productions of ancient Greek plays; performs Balinese topeng with Lila Bhawa Indonesian Dance Company; and plays with Gamelan Lila Cita in London.

The work of Students Informing Now (S.I.N.), an immigrant student organization at the University of California, Santa Cruz, is described in this column. The authors argue that S.I.N.'s diverse activities and textual products construct a counternarrative that challenges and reframes the debate on undocumented students and immigration. Focusing on one textual product, a theatrical show called Voces Sin Verguenza (Shameless Voices), the column illustrates how S.I.N. members not only read the world and the word but also write against some of those texts. S.I.N.'s counternarrative emerged organically from the necessity to survive, heal, and reclaim their humanity. لقد تمت في هذا العمود وصفة لعمل ((الطلاب المشاهدون على العصر)) وهو اسم لمنظمة الطلاب المهاجرين في جامعة كاليفورنيا في مدينة ساتا كروز. ويزعم المؤلفون أن أنشطة المنظمة المتنوعة ومنتجاتها النصوصية تشكل خطاباً معاكس يتحدى ويعيد الإطار في الجدل بشأن الطلاب غير المسجلين وكذلك الهجرة. إذ يبين العمود أن أعضاء المنظمة لا يقرؤون العالم والكلام فحسب بل يكتبون ضد بعض تلك النصوص أيضاً مركزين على منتج نصوصي وهو مسرحية فوييسز سين فرجونزا ((الأصوات الوقحة)). وقد انبثق خطاب المنظمة المعاكس عضوياً من حاجة للبقاء والشفاء واسترجاع إنسانيتهم. 本专栏描述在美国加州大学圣克鲁兹分校的一个名为「学生告知现在之声」的移民学生组织（简称S.I.N.）的工作。作者认为「学生告知现在之声」这组织通过各式各样活动与文字作品，建构出一种反抗叙事语篇，以挑战及重塑有关无入境证明的学生与移民问题所引起的争议。本专栏聚焦于一文本作品上，该作品就是「无愧之声」(西班牙语称为Voves Sin Verguenza)这个戏剧表演，并说明「学生告知现在之声」这组织的成员，不仅阅览世界及阅览文字，更对所阅览的其中一些语篇，通过写作来提出反抗。「学生告知现在之声」这种反抗叙事语篇是从实际生活中需要活下去，需要治愈创伤，及需要夺回人类尊严这些争取过程中萌发出来的。 On décrit dans cette rubrique le travail qu'effectue le S.I.N. (Student's Informing Now), une organisation étudiante de l'université de Californie à Santa Cruz. Les auteurs soutiennent que les diverses activités et les textes produits par S.I.N. constituent une contre narration qui met en doute et restructure le débat sur les étudiants non informés et l'immigration. En ce centrant sur un texte produit, un spectacle théâtral qui s'intitule Voces Sin Verguenza (Voix sans honte), cette rubrique montre comment les membres du S.I.N. non seulement lisent le monde et le mot, mais aussi écrivent contre certains de ces textes. La contre narration du S.I.N. est née tout naturellement de la nécessité de survivre, de guérir, et de récupérer son humanité. В этой рубрике описывается деятельность S.I.N., организации студентов‐иммигрантов в Калифорнийском Университете Санта‐Круз. Авторы утверждают, что различные акции S.I.N. и их печатная продукция бросают вызов официальной точке зрения на статус студентов без необходимых документов и заставляет общество пересмотреть взгляды на иммиграцию в целом. В данном материале речь идет об одном тексте – о театральной постановке под названием Бесстыдные голоса (Voces Sin Verguenza).Члены S.I.N. не только воспринимают печатное слово и мир через печатное слово, но и создают в противовес им свои собственные тексты. Деятельность S.I.N. – проявление естественной потребности иммигрантов выжить, залечить раны и вернуть себе человеческое начало. En este artículo se describe el trabajo de Estudiantes Informando Ahora (S.I.N. por sus siglas en ingles: Students Informing Now), una organización de estudiantes inmigrantes en la Universidad de California, Santa Cruz. Los autores razonan que las diversas actividades y productos textuales de S.I.N. construyen una contra narrativa que desafía y pone en un marco nuevo el debate sobre estudiantes e inmigrantes no documentados. Enfocándose en un producto textual, Voces Sin Vergüenza, esta columna ilustra cómo los miembros de S.I.N. no sólo leen el mundo y la palabra sino que también escriben en contra de algunos de estos textos. La contra narrativa de S.I.N. surgió de la necesidad de sobrevivir, sanar y reclamar su humanidad.

A high school teacher collaborates with three local college colleagues to expose her students to the interpretive processes of dramaturgy.

This essay reports on a Shakespeare collaboration between a university and high school English teacher and their classes. Students from the two groups discussed \"The Tempest\" online in both synchronous and asynchronous spaces and, in several cases, produced a project together. The technology that made possible this collaboration between students who were separated in time and space also influenced social and intellectual relationships between them. While students were discussing Shakespeare, in some ways \"school\" became the subtext of their discourse as they tried on new roles and addressed new audiences through electronic communication. Furthermore, while asynchronous conversation produced more orderly, \"academic\" exchanges, the spontaneous nature of chat room discussion challenged students from both groups to reach beyond their familiar institutional roles.

To reach urban high school students, incorporating art and drama can be an effective strategy for teaching literature.

During the last three years, Lincoln Middle School has been the site of a Professional Development School partnership in conjunction with the Illinois State University Middle School Department. With more than 90% of its 400-plus students receiving free or reduced price lunches, Lincoln is an eight-year-old, \"Title I\" building whose students come from the North side of Peoria. Like many high poverty schools, Lincoln is on the State of Illinois School Watch list, due to low scores on the annual standardized exams. This article describes how a group of four student teachers who were completing the final year of their teacher preparation created an after-school drama club at Lincoln Middle School. The drama club was aimed to teach urban middle school students about the role that young adolescents had during the Civil Rights movement in the Southern United States. This article also presents the positive outcomes experienced by the students who participated in the drama club and the learning opportunities obtained by the student teachers who created it.