Book Review

divide their book into four parts.They address topics on compassionate pedagogy, adaptation of dance and movement principles to an online space, doing theater online, and how educators can teach design and production by considering both tangible elements and the temporary aspects of the now.This review offers a condensed summary of each of the four sections.It starts with a brief overview based on the editors' introduction, then a more in-depth exploration of key elements in each section, and concludes with analysis and recommendations of the reviewer.In Part I the focus is on adapting to online teaching (due to COVID-19), stressing a shift towards a caring pedagogy.It advocates for releasing rigid expectations of rigor and embracing a compassionate pedagogy.It further addresses issues such as academic ableism and navigating the challenges of teaching trauma, as well as the evolving nature of professionalism and the need for adaptability in response to students' and staff 's mental health needs.Part II explores the unique challenges and advantages of teaching dance and movement online, with a central focus on the body.New teaching practices, inventive approaches to dance space, and a reimagining of traditional pedagogies like using social media and live streaming are examined.Part III advocates for the benefits of hybrid teaching in archival research, featuring experiences of new play dramaturgs, a director's adaptation to a disrupted production, and a playwright's perspective on virtual performance.Lastly, Part IV covers Michael Schweikardt's remote design pedagogy and discoveries in online teaching by costume design professor Charlene Gross.Next, with online stage management experience, lighting designer Christina Thanasoula demonstrates the adaptability of digital performance to online environments.The section concludes with a case study by Professor Meg Hanna-Tominaga, highlighting challenges and showing the importance of flexibility and clarity in managing the hybrid stage management classroom.The editors' introduction sets the foundation for a new teaching approach in theater courses designed for non-arts majors, where students submit creative works and engage in discussions online, without traditional quizzes or exams.Departing from conventional assessment methods, instructors adopted a labor assessment approach, granting an A to students who completed all assignments.Their smooth transition to online learning during COVID-19 underscored the importance of prioritizing joy over rigor in education.In Part I, Chapter 1, Jane Barnette, an Associate Professor at the University of Kansas, challenges the transactional models of educational practices, advocating for a shift from a rigorous to a compassionate teaching approach.She introduces the concept of "ungrading" as an alternative to traditional grading, aiming to alleviate students' learning anxiety.Barnette,