considers process drama's sources and connections with more familiar kinds of improvisation: the texts it generates, the kinds of roles available, factors such as audience and dramatic time, and the leader's function in the event. She provides examples of several process dramas and identifies key dramatic strategies and characteristics. The explicit associations between theatre form and process drama make this approach accessible and its purposes and possibilities easy to understand, particularly to those working in actor training and theatre. Teachers and directors will discover effective ways to explore drama worlds and achieve a significant dramatic experience for all participants.

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