• Selina Busby, The Royal Central School of Speech and Drama, UK

• Amy Cordileone, New York University, USA

• Ashley Hamilton, University of Denver, USA

• Norifumi Hida, Toho Gakuen College of Drama and Music, Japan

• Kelly Freebody, The University of Sydney, Australia

• Byoung-joo Kim, Seoul National University of Education, South Korea

• David Montgomery, New York University, USA

• Ross Prior, University of Wolverhampton, UK

• Daphnie Sicre, Loyola Marymount University, USA

• Tammie Swopes, New York University, USA

• James Webb, Bronx Community College, USA

• Gustave Weltsek, Indiana University Bloomington, USA

ISSN: 1552-5236

ArtsPraxis Volume 7, Issue 2a looked to engage members of the global Educational Theatre community in dialogue around current research and practice. This call for papers was released in concert with the publication of ArtsPraxis Volume 7, Issue 1 and upon the launch of the new ArtsPraxis homepage. The submission deadline for Volume 7, Issue 2a was July 15, 2020.

Submissions fell under the category of Educational Theatre in the Time of COVID-19

Educational Theatre in the Time of COVID-19

From the time government agencies and the press reported the emergence of a novel coronavirus in late 2019, there has been a fundamental shift in the way we congregate, communicate, and educate across the world. Artists and educators have been called upon to reinvent their practice seemingly overnight. While we struggle to balance our personal health and wellness, our community contributions remain as vital as ever. In tribute to this reinvention, ArtsPraxis invited contributors to share their scholarship, practice, and praxis. As we’ve asked before, we welcomed teachers, drama therapists, applied theatre practitioners, theatre-makers, performance artists, and scholars to offer vocabularies, ideas, strategies, practices, measures, and outcomes.

Article submissions addressed one of the following questions:

• How and why do we teach drama and theatre through distance learning?

• How do teaching artists navigate residencies in a virtual space?

• What is the role of drama education during a pandemic?

• How do we prepare future theatre artists and educators when fieldwork is disrupted?

• What are innovative ways of devising original works and/or teaching theatre using various aesthetic forms, media, and/or technology?

• How can integrated-arts curricula facilitate teaching, learning and presenting the craft of theatre in an online environment?

• How do we assess students' aesthetic understanding and awareness online?

• How can drama provide a forum to explore ideas online?

• What are innovative strategies for using drama to stimulate dialogue, interaction and change at this time?

• How is theatre being used to rehabilitate people in prisons, health facilities, and elsewhere when social distancing is mandated and a health crisis is evolving in these spaces?

• What ethical questions should the artist/educator consider in online work?

• How is theatre for young audiences innovating in the digital space?

• Theatre for Young Audiences has always been in the forefront of theatrical innovation. So how can social distancing be achieved while presenting work for young audiences?

• How do we define and measure success in theatre for young audiences in the digital space?

We encouraged article submissions from interdisciplinary artists, educators, and scholars engaged in work associated with these topics. Our goals were to motivate a dialogue among a wide variety of practitioners and researchers that would enrich the development of educational theatre in the coming years.

Call for Papers:

Papers were to be no longer than 4,000 words, had to be accompanied by a 200 word abstract and 100 word biographies for the author(s), and conformed to APA style manual. For this issue, articles could include traditional academic scholarship and narratives of practice.

Reviewing Procedures:

Each article was sent to two peer reviewers. They provided advice on the following:

• Whether the article should be published with no revisions/with revisions.

• The contribution the article made to the arts community.

• Specific recommendations to the author about improving the article.

• Other publishing outlets if the article was considered unacceptable.

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