Introduction

Those of us who study, teach, and create theatre can most assuredly understand its analogy to youth. Conceptually, both theatre and youth may contain moments of wonder and fresh discoveries, among other surprises. I find myself faced with a pleasant surprise in the form of a keynote speaker who fulfills the intent of an introduction and allows me to keep my remarks relatively brief.

In the first article of this volume, Suzan Zeder reflects on her experiences as keynote speaker of the symposium, the event that led to the volume’s publication. As an award-winning playwright, recently retired professor at the University of Texas at Austin, and artist of boundless creativity, she took a novel approach to a keynote address and conference response. The resulting article connects her experiences over the weekend of April 11–13, 2014, to the theme of “Theatre and Youth,” as well as to her remarkable career.

Although authors approached the symposium theme in varied ways, the organization of Theatre Symposium Volume 23 falls into three broad categories. Following Suzan Zeder’s keynote reflection, this edition offers analyses of youth in drama and performance. Edward Journey considers both genre and generational divides in the work of Frank Wedekind; Sarah McCarroll discusses the visual and performative implications of an iconic youthful character, Peter Pan; Kathryn Rebecca Van Winkle uses Christopher Marlowe’s drama to examine Elizabethan boyhood; and Seth Wilson highlights the political subtext of The Dragon. The volume continues with explorations of theatrical practice involving youth. Becky Becker, Camille Bryant, Andrea Dawn Frazier, and Amanda Rees outline their efforts in combing theatre and geography to enhance spatial thinking; Carol Jordan and Jerry Daday share the results of a theatre-in-diversion program; Aaron L. Kelly provides an example of devised theatre that serves as a rite of passage; and Beth Murray, Irania Patterson, and Spencer Salas discuss their unique adaptation project viewed against the backdrop of the New Latino South. Zeder’s opening article includes observations from the field regarding the state of the art. The volume concludes with two essays addressing related concerns: Ashley Laverty contemplates the significance of theatre-for-youth programming choices, while Christopher Peck offers thoughts on shifts in attitude that follow a youthful generation into the audience.

Each edition of this journal involves executing an event, creating a publication, and managing all of the associated steps of both. Just as youths need mentors and theatre artists need production teams, the effort surrounding Theatre Symposium requires many collaborators. The remarkable Suzan Zeder enlivened our April 2014 gathering of scholars in ways too many to enumerate. Although it is not possible for this volume to include every paper presented during the symposium, each presenter and member of the audience made valuable contributions and all deserve gratitude for their efforts.

By the time these comments appear in print, Agnes Scott College will have hosted its fifth event. While I have had the good fortune to call myself the host, the hospitality actually emanates from several directions—the college’s administration, led by President Elizabeth Kiss, for its continued encouragement; Gail Meis, Registrar, and the staff of the Office of the Registrar, Tanzania Revels and Cheryl Green, for securing space; Demetrice Williams, Director of Special Events and Community Relations, for logistical consideration; Pete Miller, Director of Dining Services, and his remarkable staff who make every guest feel welcome and every organizer feel proud; the student members of the Blackfriars of Agnes Scott College for their enthusiastic assistance; and the remarkable Leah Owenby of Faculty Services for never-ending creativity and goodwill. Thanks also are due to Dan Waterman and Vanessa Rusch of the University of Alabama Press for their ability to combine professionalism and patience. Jane Barnette, associate editor, has my thanks and best wishes for new adventures. My deepest appreciation goes to my wife, Sara Shockley Thompson, for making everything better, to my son Robert, who has made me proud by learning to navigate both the highs and lows of college life, and to my son Daniel, who has made me proud by learning to drive, learning to become academically curious, and learning to dodge...