In this book, ten scripts derived from highly regarded sources bring World War II to life for students in grades 6–12 and serve as a springboard for further investigation of this pivotal world event. World War II mobilized 100 million military personnel and resulted in the deadliest conflict in human history. Everyone from students in grade six to adults will be engrossed by tales documenting the actions of Hannah Szenes, a young Hungarian woman who lost her life trying to save Jews, the sobering and shocking occurrences during the Bataan Death March, and the daring POW rescues like the raid at Cabanatuan. Each script in War Stories for Readers Theatre: World War II not only brings history to life, but also provides a perspective that readers may not have encountered. While some topics are familiar, such as the attack on Pearl Harbor, most readers are unaware of the motivations behind it. Some of the narratives are created from interviews with living World War II veterans. Every reader will be inspired to explore each subject more deeply after experiencing these intimate views of the specific events during World War II.

In this book, ten scripts derived from highly regarded sources bring World War II to life for students in grades 6–12 and serve as a springboard for further investigation of this pivotal world event. World War II mobilized 100 million military personnel and resulted in the deadliest conflict in human history. Everyone from students in grade six to adults will be engrossed by tales documenting the actions of Hannah Szenes, a young Hungarian woman who lost her life trying to save Jews, the sobering and shocking occurrences during the Bataan Death March, and the daring POW rescues like the raid at Cabanatuan. Each script in War Stories for Readers Theatre: World War II not only brings history to life, but also provides a perspective that readers may not have encountered. While some topics are familiar, such as the attack on Pearl Harbor, most readers are unaware of the motivations behind it. Some of the narratives are created from interviews with living World War II veterans. Every reader will be inspired to explore each subject more deeply after experiencing these intimate views of the specific events during World War II.

For years theater director Bryan Doerries has been producing ancient Greek tragedies for a wide range of at-risk people in society. His is the personal and deeply passionate story of a life devoted to reclaiming the timeless power of an ancient artistic tradition to comfort the afflicted. Doerries leads an innovative public health project—Theater of War—that produces ancient dramas for current and returned soldiers, people in recovery from alcohol and substance abuse, tornado and hurricane survivors, and more. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked. The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten.

War in the Western Theater offers fresh perspectives on pivotal Civil War events, shedding light on overlooked battles and figures, revealing untold stories that reshape our understanding of this crucial region. The Western Theater has long been pushed to the side by events in the Eastern Theater, but it was in the West where the Federal armies won the Civil War. Interest in this complex region is finally increasing, and the authors at Emerging Civil War add substantially to that growing body of literature with War in the Western Theater: Favorite Stories and Fresh Perspectives from the Historians at Emerging Civil War. Dozens of entries offer fresh and insightful aspects and angles to key events that unfolded between the Appalachians and the Mississippi River. Revisit an important Confederate charge at Shiloh, discover how key decisions won (and lost) the bloody fighting at Chickamauga, and ponder how whiskey may have impacted the fighting at Corinth. Readers will walk the battlefield at Fort Blakeley outside Mobile, fight in the hellish cedars at Stones River, and mourn with a Mississippi family. Insights abound. How many students of the war knew a Confederate major, watching the riverine bombardment of Fort Donelson up close and personal, rushed to send detailed sketches of the ironclads to Gen. Robert E. Lee to warn him of this new way of fighting—and the lethal dangers it portended? And these are just a taste of what’s waiting inside. The selections herein bring together the best scholarship from Emerging Civil War’s blog, symposia, and podcast, revised and updated, together with original pieces designed to shed new light and insight on some of the most important and fascinating events that have for too long flown under the radar of history’s pens.

Why use Readers Theater in history classes? The format gives students a sense of involvement with the human dramas that make up history. Performers can feel the excitement as Archimedes discovers the displacement of water. They can relate to the terrors of a slave s passage from Africa to the Americas. They can imagine the tension of wading through the water at Omaha Beach as bullets strike their buddies. Each script (12 15 per book) is accompanied by background information, literature connections, extension activities, and discussion questions.

Nandita Dinesh places Kipling’s "six honest serving-men" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh’s personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. No longer a detached observer, the researcher and practitioner has to be able to meld theory with practice; to speak to ‘doing’, without undervaluing the importance of ‘thinking about doing’. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry―Why, Where, Who, What, When―and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the ‘hows’ from the author’s own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre―practitioners, researchers, and students alike—as well as those seeking to understand the applications of the arts for ethics, politics, and education.

This collection has 20 tales in the popular theatre format.