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| Foreword | |
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| Acknowledgments | |
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| Critically Oriented Drama Education Shapes Growth | |
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| Stepping From Temporary Stages to Temporary Stages II | |
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| Rethinking Power Relationships in the Theatre Classroom and Rehearsal | |
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| Sections of the Book | |
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| Promoting Critical Consciousness: The CODE Classroom and Rehearsal | |
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| National Trends Demonstrate Need for Critical Investigation of Secondary theatre Education | |
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| Seven Guiding Concepts of Temporary Stages II | |
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| Power | |
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| Authority | |
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| Student Artistry | |
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| Incomplete Understandings | |
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| Change | |
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| Privilege | |
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| Place | |
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| The Adventure of Teaching Theatre for Self-Agency and Critical Consciousness | |
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| Characterizing CODE Classrooms and Rehearsal Spaces | |
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| Self-Reflection: The Gateway to Critically Conscious Classrooms and Rehearsals | |
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| Qualities of a CODE Classroom | |
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| Positioning the Listening Ear | |
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| Reflection as Evaluation: What About Grades? | |
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| Balancing Passion and Censorship | |
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| Promoting Critical Consciousness Through Drama/Theatre Education | |
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| Daily Demands and Tradition Hinder Change | |
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| Language and Homosexuality Prompt Censorship | |
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| Plays With Themes of War Prompt Censorship | |
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| Treading the Divides of Partial Understanding | |
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| Personal Commitment to the Social Cause Contributes Conditions for Change | |
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| Discovering CODE in Musical Theatre | |
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| Critical Directing Challenges Conventional Hierarchies in Musical Theatre | |
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| Asking "Where Are the Stars?" | |
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| Involving Students in All Aspects of Artistry and Production to Strengthen the Whole | |
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| Securing Confidence in Collaborative Leadership | |
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| Steering Away from Stereotypes by Designing Rehearsals that Foster Critical Consciousness | |
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| Questioning Assumptions of Privilege: Dramaturgy Unveils Identity | |
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| Contemplating Complexities of Cultural Border-Crossing | |
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| Postscript | |
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| Critically Oriented Drama Education Alters Traditional Power Dynamics | |
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| Examining Power Dynamics in a CODE Theatre Design Classroom | |
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| Perpetuating Dominance In Spite of Principles | |
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| Evolution of a Design | |
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| Resisting Authority and Authorizing Resistance: Students and Teachers Negotiate Control | |
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| Whose Vision Is This? On Artistry and Compromise | |
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| Co-Authored Vision: The Winter's Tale | |
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| Teacher's Vision: Much Ado About Nothing | |
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| Artistic Compromise and Compromising Artistry | |
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| Much Ado About Trees | |
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| The Winter's Tale of Trees | |
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| A Midsummer Night's Nightmare | |
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| Binaries Blend When Students Exercise Power | |
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| The Teacher/Student Binary | |
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| The Actor/Crew Binary | |
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| The Leader/Follower Binary | |
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| Emerging Conflict, Paradox, and Social Change When Students Exercise Power | |
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| Multiple Perspectives Fuel Power Straggles | |
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| Paradox: Democratic Teacher and Director Authority | |
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| Conflict Arises from Paradox: Democratic Teacher or Authoritative Director? | |
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| Social Change Evolves from Conflict: Democratic Teaching Strengthens the Co-curricular Theatre Program | |
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| Conventional Mindsets Rear Heads When New Ideas Depart From Tradition | |
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| Shaping an Ensemble Approach to Casting Understudies with a Mindset for CODE | |
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| Critical Partnership versus Conventional Substitution | |
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| Conditions for Understudy/Principal Critical Partnership | |
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| Play Selection | |
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| Terminology | |
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| Shadowing | |
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| Ensemble Roles | |
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| Ensemble Improvisations and Workshops | |
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| Switching Out | |
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| Added Time | |
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| Adjusting to a New Theatre with Critical Awareness | |
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| Adjusting With Unease to a Place of Privilege | |
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| Effective Power Dynamics Manage Transition into a Performing Arts Center | |
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| Scheduling Activities in the New Performing Arts Center: Feminist Leadership Involves All | |
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| Top-Down Management Seeps In | |
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| The Politics of Danger: Technology Presents New Cautions | |
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| Evaluating Co-Governance in a Technological Environment | |
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| A State-of-the-Art Space: The Creativity/Technology Binary | |
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| Technology and the Spirit of Theatre | |
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| Technology: The Science/Theatre Binary | |
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| Performing Arts Center-Turned-Classroom Engages Science Students in a Fresh Way | |
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| Critically Oriented Drama Education Examines Controversy and Oppression | |
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| Establishing a Foundation for Examining Tough Issues | |
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| Evolution of Original Scripts with Controversial Themes | |
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| Leading Discussions of Controversial Subject Matter | |
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| Exploring What Works… And What Doesn't: Sometimes Traditional Teaching Methods Are Best | |
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| Testimonies Contribute Substance to Research | |
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| Unfolding Ongoing Reflective Practice Through Five CODE Strategies | |
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| Students Resist Teacher-Fed Script | |
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| CODE Conditions in a Classroom Support Student-Written Scenes on Hot Topics | |
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| The Spoonful of Sugar-Incorporate Satire to Advance Serious Work | |
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| "The Best Drunk Driver" | |
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| "Fagzilla" | |
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| Invite Self-Disclosure | |
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| Build Trust to Raise Social Consciousness and Express Emotion Honestly | |
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| Integrate Teacher Voice to Model Vulnerability as Strength | |
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| Involve Tempered Teacher Authority as Process Evolves into Product | |
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| Investigating Student and Teacher Identity | |
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| Positioning Student Identity in the Classroom | |
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| Positioning Teacher Identity in Rehearsal | |
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| The CODE Classroom: A "Safe Space" With Consequences | |
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| Seeing the Opposite Reveals identity | |
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| Strong Critical Classroom Experience is an Ongoing Process | |
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| Unveiling Whiteness in a "Safe Space With Consequences" | |
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| Positioning Whiteness in Performance when the Joke is on Who? | |
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| Preparing for the Audience | |
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| Working Through the Audience "Fear Factor" | |
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| When Emotions Aren't Enough: Integrating Facts for Healthy Digestion of Controversial Material | |
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| The Responsibilities of Democratic Teaching-Include Preparing for the Audience | |
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| Postscript | |
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| Epilogue | |
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| Works Cited | |
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| Index | |