TIME DRAMA

Open University Press English, Language, and Education series General Editor: Anthony Ada s Lecturer in Education, University o! "a #ridge

FOR

This series is concerned $ith all aspects o! language in education !ro the pri ary school to the tertiary sector% Its authors are e&perienced educators $ho e&a ine #oth principles and practice o! English su#'ect teaching and language across the curriculu in the conte&t o! current educational and societal develop ents% TITLE( I) T*E (ERIE( Ti e !or Dra a Ro a +urgess and Pa ela ,audry "o puters and Literacy Daniel "handler and (tephen Marcus -eds%. "hildren Tal/ A#out +oo/s0 (eeing The selves as Readers Donald Fry The English Depart ent in a "hanging 1orld Richard 2nott Teaching Literature !or E&a inations Ro#ert Protherough Developing Response to Fiction Ro#ert Protherough Microco puters and the Language Arts +rent Ro#inson The 3uality o! 1riting Andre$ 1il/inson The 1riting o! 1riting Andre$ 1il/inson -ed%. In preparation English Teaching0 Progra es and Policies Anthony Ada s and Es or 4ones

Literary Theory and English Teaching Peter ,ri!!ith Open University Press Open University Educational Enterprises Li ited 56"o!!eridge "lose (tony (trat!ord Milton 2eynes M255 5+7, England and 686 "herry (treet Philadelphia, PA 595:;, U(A

First Published 1985 by Longman Cheshire Pty Limited this edition published 1986
"opyright < Long an "heshire Pty Li ited All rights reserved% )o part o! this $or/ ay #e reproduced in any !or i eograph or #y any other eans, $ithout per ission in $riting !ro pu#lisher% +ritish Li#rary "ataloguing in Pu#lication Data +urgess, Ro a Ti e !or dra a 0 a hand#oo/ !or secondary teachers% = -English language and education series. 5% Dra a = (tudy and teaching -(econdary. I% Title II% ,audry, Pa ela III% (eries >:>%6 P)5?:5 I(+) :@AAB@5B689@C Li#rary o! "ongress "ataloging in Pu#lication Data Ti e !or dra a% -English, language, and education series. +i#liography D P% Includes inde& I% Drama in education. II% Title.
III. Series. 79 !."7!1 86#1 677 ISBN "#33$#1$ %9#& PN3171.B87 1986 I. Gaudry, Pamela.

#y the

Printed in Great Britain 'y St. (dmunds'ury Press, Bury St (dmunds, Su))ol*

CONTENTS ,eneral EditorEs Introduction PART O)E0 The Dra a Event

Dra a FF 13 "reating the Role 14
?

ix Pre!ace

xi Ac/no$ledge ents

xii

F 3 Approaches to Dra a 3 "o

onality in

5 Dra a in Education0 an Overvie$

6 The Dra a Model

Individual Develop ent and Dra atic Action GHH 18 "ontrolling Dra
the Art For and Meaning in Dra atic Action 22 *u an Develop ent in Dra a 24

atic Action

19 Ele ents o!

A Funda entals o! the Dra a

(ituations 29 Dra atic Action

26 The "o ponents o! Dra a 31 "onventions o! the Dra a 33

27 Dra atic "ontent

27 Dra atic

8 "lassi!ying Dra a Activities "o ple entary Dra a

Dra a 41 46 48 Learning O#'ectives

37 Preparatory Dra a

40 Fringe

Esta#lishing Planning Principles Ela#oration o! the O#'ectives : 9li9A8i encc o! ,eneral O#'ectives
Drama5 6'7ecti4es 3ssessment in Drama
50

B O#'ectives and Assess ent in Dra a

48

50 + (,am-les o) .i/0 and 1o2 3c0ie4ement 2it0in t0e , 52 3c0ie4in/ 3rt 8orm and .uman De4elo-ment learnin/ 57 60
67

PART T96: ;ontrollin/ t0e Drama ; T0e Teac0er a< 1eader

71

69 Introduction: T0e =ole o) t0e Teac0er 7 T0e Serious Business o) 8un in Drama 79 ;ontent 88 79

6> ?a*in/ t0e =ules 77 Ntaiin/ Drama

I Grou- ;o#o-eration
.a--en 77

? T0e Teac0er as Play2ri/0t (tyle

8 @nity 86 Im-act

> T0e Teac0er as Director

;reatin/ t0e =ole

9! 3ims o) t0e Director 106 (motion arid =ole Ta*in/ "10

9! 3ttitude To2ards Direction

95

Tas/, Action and E otion in Role Develop ent 9 T0e Teac0er as 3ctor Propping the Role Playing the Part Ta/ing the Pint (tep 5: Ano2in/ 90at to Say
127 115 117

The )ature o! the Acting Role

118 119 121 12

The Direction o! the Dra a

125 ;0aracterisation and 1an/ua/e $%& 17

125

# Drama Boca'ulary

The Language o! Re!lection

PART T*REE0 The Dra a Lesson

3ustralian ;on4icts E

U Dra a LessonG !or 7ear ? 140 Joyage to a Distant Planet 140 T0iC Dri/in o) t0e
T0e 6ri/in o) t0e 3ustralian ;on4icts EF 1esson Nostradamus 160 151 T0e S0o--in/ ;entre 156

4 1 Drama 1essons )or Gear 8 The "ity Jicti s upG

170 171 H T0e Pran*

170

17 K>L5,#: T0e ;on)erence 181 \r , A Feature Progra

175 e )ori Per)ormance: !Gro2in/

HF0lA Dra a Lessons !or 7ear 9

m
186 '

MKM The Ideal Parent and "hild

J The +lind Date

t0e ;0ild 21!

197 5 60 Trial

202 T0e Gan/

205 21
(

N58 pra a Lessons !or Gear 1" The Legend o! )ed 2elly O4B (enior Dra a

21 tl90ole Gear ;ourse 6utline 221

T0e 9orld o)

217 l45 T0e Billa/e o) Ganyt0ia

22! PQ 7ear Eleven 1liole "ourse Outline 2 #" 2!

22!

IF m Joly
29

=elations0i-s 228 K1LIrte!l<<tituuon iII7ear T2el4e 90ole ;ourse 6utline

Mm

State

2 8 !)e I ;ity o) T0e'es

l Iend'i: T0e Sc0ool Play 250 %RRgraphy S Inde&

267

62B

This kaok is dedicated ith lot! to" #$san% Gain and Elisa&eth 'urgess
)ri* and +ilms ,audry-

TM 41 ,eneral EditorEs Introduction $1 Dra a is possi#ly one o! the ost !e!ed, and least understood ele ents in the English curriculu % Indeed, there are any $ho $ould deny that it #elongs $ithin that curriculu at all and 20o 2ould ar/ue )or its -lace as a se-arate curriculum dement in
its o2n ri/0t. Still ot0ers 0a4e ar/ued t0e case )or !drama across t0e curriculum!, t0e role o) dr)cNla in 0istory and /eo/ra-0y teac0in/ )or e,am-le. .ere, -er0a-s, is t0e source o) muc0 o) our di))iculty in t0in*in/ a'eIt drama in t0e secondary sc0oolI t0e need to )ocus on 20at ieit once a su'7ect Oor -art o) oneP and a met0odolo/y o) 2ide iQIlication, 5 T0is 0as led to a similar con)usion 1a die )laany 'oo*s t0at 0a4e 'een 2ritten on drama in t0e sc0ool.#iT0ey. 4itry )rom t0ose t0at see* to -ro4ide a serious t0eoretical )ocus, ,rnost nota'ly in recent years tn t0e 2or* o) Ga4in 3oiton, or t0ose t0at /i4e a /lim-se o) t0e 'rilliant -ractitioner at ytot. Oas in t0e case o) Dorot0y .eat0coteP to t0ose t0at are sim-ly -ractical ti-s )or t0e classroom -ractitioner. 90at many o) us 0a4e )elt 2as needed )or some time 2as a 'oo* t0at could com'ine a 2ealt0 o) classroom e,-erience and understandin/5 alon/side an adeQuate t0eoretical understandin/ o) 20at 2as 'ein/ ac0ie4ed in t0e -rocess. It 2as, t0ere)ore, 2it0 considera'le e,citement t0at I )irst read t0e -resent 4olume. Its t2o 3ustralian aut0ors seem to 0a4e ac0ie4ed a m7)tar*< a'le success in ma*in/ t0is 'lend o) t0eory and -ractice< and Omore im-ortantly stillP 0a4e dra2n eclectically u-on a 2ide ran/e o) traditions in t0eir analysis. Since drama in education 2as )irst considered seriously many o),t0e issues 0a4e tended to 'e discussed in a -artisan 2ay ma*in/ muc0 o) suc0 dic0otomies as !t0eatre 4ersui ! drama!, !2'7ect 4ersus met0od!, or !-rocess 4erRus -ttI;c5S ?uc0 6) to de'ate 0as ran/ed s0rilly in Britis0, outside t0is

(t/a I4Ierre recently, 3merican -u'lications, and it may JI<TU1<I

! 4k tradition to #e U#te to stand #ac/ !ro

-ers-ecti4e.

t 0e )ray and a--reciate t0e issues in a 2ider

( This 'oo* is, t0ere)ore, non#-artisan 'ut not uncommitted. T0e aut0ors insist t0at t0ere is
more in common 'et2een drama and t0eatre t0an t0at 20ic0 di))erentiates t0em, t0at 'ot0

are concerned 2it0 content and 2it0 a uniQue 2ay .o) e,-lorin/, e,-eriencin/ and understandin/ t0e 0uman condition.

A i l t is appropriate that the #oo/ #egins $ith an overvie$ o! odelG !or dra a and an atte pt to de!ine Ethe dra a eventE% Many classroo teachers $ill turn !irst to Part I4I and the very practical illustrations !or actual dra a lessons across the $hole age range o! the secondary school% Many o! these lessons could stand #y the selves or #e integrated into the $ider English curriculu , especially $here this is organised on the atic lines% +ut the #est use o! these E odel lessonsE $ill #e !ound $hen there is a clear understanding o! the theory on $hich they are #aaed% It is to #e hoped, there!ore, that all users o! the #oo/ -and it is essentially one to #e used. $ill ta/e as uch note o! Parts I% and V as they do o! Part III% @Under the co ing i pact o! the ,"(E e&a ination in the United 2ingdo , there is li/ely to #e even ore interest in the role o! dra a in the senior secondary school in connection $ith sylla'us<< 'ot0 )or (n/lis0 and )or Drama in its o2n ri/0t. T0e )inal
c0a-ters o) t0e -resent 4olume 2ill -ro4ide muc0 tarl- )or t0ose concerned 2it0 2or* at t0is le4el in t0e sc0ool. But atP t0ose in4ol4ed in (n/lis0 teac0in/ are li*ely to )ind its -a/es 'ot0,stimulatin/ and illuminatin/. 3nt0ony 3dams

Preface In the early to id@seventies, $e co pleted our teacher training in dra a and #egan teaching ) Mel#ourne% At that ti e the e phasis on Edra a as doingE denied teachers the opportunity to engage in any signi!icant consideration o! the nature o! learning in dra a, or o! the teacherEs role 'n achieving that learning% Teachers spent ost o! their ti e searching !or ideas $hich $ould aintain a constant hive o!Gctivity in dra a classes% There appeared to #e no coherent criteria !or the se@ lection o! activities, and role@ta/ing ay or ay not have occurred% Teachers !elt inadeWuate i! they !ailed to provide cathartic, !un e&periences !or their students% To cope $ith the de ands !or ne$ activities, teachers !ound the selves going to any di!!erent sources, o!ten to !eel let do$n #y the lac/ o! satis!ying aterial% This #oo/ atte pts not only to satis!y teachersE needs !or activities #ut also to provide a co prehensive consideration o! the dra atic process% This consideration e&poses the need !or dra a to #e a separate su#'ect discipline $ith adeWuate ti e allocation i! signi!icant learning is to #e achieved% The #oo/ is di4ided into t0ree -arts. Part 6ne esta'lis0es a de)inition o) drama, Part T2o
e,amines t0e role o) t0e teac0er in t0e classroom and 8art T0ree -ro4ides lesson -lans )or 4arious a/e /rou-s. (ac0 -art in)orms t0e ot0er5 Parts 6ne and T2o -ro4ide t0e essential )rame2or* )or im-lementin/ t0e lessons in Part T0ree. T0e teac0in/ o) drama reQuires a continual -rocess o) re#)lection, e4aluation and re)inement i) 2e are to teac0 2it0 clarity and con)idence. 9e 0o-e t0at t0is 'oo* 2ill 0el- teac0ers in t0is im-ortant -eocaese.

Acknowledgements To 4ohn McLcod, !or his insight into the dra atic process, !or hit vision o! dra a as para ount to learning, !or his pro!essional support and his valued Wualities as a !riendM to 2ate DonclXA, !or her endless enthusias !or dra a and her sound theoretical and practical e&pertise, $hich she has #een $illing to generously share over the yearsM to *den "ollins and Tony Tartaro, $ho $e have #een privileged

to $or/ $ith on pro!essional pro'ects and $hose capacity !or pleasure trans!or ed the ost undane pro!essional tas/s into Edra aticE eventsM to +rian 2ogan, $hose outstanding a#ilities as an edu@cato! and leader continually challenge and otivate those $its. $ho he has contactM to Russel Davies, $hose Wuiet E strength and practical $isdo *ave in!luenced our thin/ing in this #oo/M to 4ohn Deverall, $hose a#ility to o#'ecti!y and articulate aspects o! educational dra a has signi!icantly contri#uted to this $or/M to ,$yneth Mc"u##in and )or an Price, $hose passionate co it ent *o artistic and educational e&cellence is inspirationalM to Lindy 2e p, Myrna Mc,rae and Peggy (tetiin, !or their ideas, !riendshipFAnd constant pro!essional integrityM to ,a#y 1er!!elt and 'txh *all $hose year@long visits $ere do inated #y the endless process o! this #oo/M to David Mus/er, !or his a#ihty to shoulder added #urdens and re ain caring and considerateM, and to 4udy "arlson, !or her co ents on EThe (chool Play5.
T0an*L also to our many students 20ose 2or* and res-onses -rimarily in)orm t0e ideas o) t0is 'oo*5 to t0e collo/ues 2it0 20om 2e 0a4e interacted5 and to t0e drama educators 20ose 2ritten ideas 2ill 'e O'und t0rou/0out t0e 'oo* and 20ose 2or*s 2e trust you 2ill ma*e time to read. 3nd, )inally, untold lo4e and t0an*s to ?a, Bur/ess, Peter 8u@erton and Danet9illiams, 20o in t0eir uniQue 2ays 0a4e tt2)e t0is Dteo* V-attStte.

P3=T 6N (
The Dra a Event
This polarisation o! opinion posed so e di!!iculty !or the dra a teacher% *istorically, dra a eant Eacting on a stageY% 7)iK:5 TeacherG ris/ed Incurring the $rath o! other sta!! e #ers
GY F20en t0ey re)used to 'e in4ol4ed in t0e -roduction o) %ho0boat

+,-./01 ,tt 1our dm- @n)ortunately, it 2as di))icult to e,#!<U -ress any dear e,-lanation )or
t0is stance, 'eyond claimin/

Pi that it $as detri ental to theeducational develop ent o! the child% In their constant search !or $hat to do $ith ?E, 3+ or the other eighteen dra a classes !or the $ee/, teachers tended to thin/ o! dra a ore in ter s o! ho$ it $as applied rather than no$ it $or/ed% Even no$ Wuestions as/ed a#out $hat

dra a is are o!ten ans$ered in general ter s $hich state that ,K%@Z[ dra a is co unication, personal develop ent, theatre s/ills, or si ply, GItEs Li!eG\ (uch responses ay reveal the teachersE goals, certainty they re!lect diverse ethodological in!luences, yet they give no clues as to the #asic nature o! dra a% The nature o) t0eatre and its relations0i- 2it0 !drama as
-ersonal de4elo-ment! 2as ne4er )ully e,-lored, and )or many teac0ers t0is con)lict 0as yet to 'e resol4ed. T0e ran/e and di4ersity o) t0e role o) drama )or -ersonal de4elo-ment and t0e e,tent to 20ic0 t0eatre im'ues t0e curriculum can 'e illustrated 'y e,aminin/ statements )rom -articular drama -ro/rammes in se4eral di))erent sc0ools. 3Tc32W D E# a lar/e middle#class /irls 0i/0 sc0ool !6ramaamu to e))ect a marria/e 'et2een s*ills and content. T0e -ro/ramme e,-oses t0e c0ildren to a 2ide 4ariety o) s*ills in4ol4ed la t0e dramatic medium 2it0in t0e -arameters o) a -rescri'ed content. !It is en4isa/ed t0at t0e c0ildren 2ill 'ecome )amiliar and reasona'ly -ro)icient 2it0 t0ese s*ills as a necessary -art o) -ursuin/ t0e content in4ol4ed.

% It is unnecessary to teach the s/ills separately #e!ore #eginG Z content, there!ore eli inating s/ills lessons %%%%% 20ic0 may 'e su-er)icial and time#consumin/.

ning to teach the

X <T0e -ro/ramme is /rou-#centred and eaten )or a -er)orm#K ance 'asis i) desired.

The dra a progra e ai s to engender sel!@a$areness t0rou/0 t0e de4elo-ment o) student initiati4e and res-onsi'ility5 to de4elo- -ersonal MtprcssiveFcreative a#ilities, and to encourage responsi#ility in the initiation and e&ecution o! tas/s% 6
Rvs4oat'otto! the studentsE progress is a su#'ective appre@ ciation #y ,d$r teacher%

O#Jioui!tr oiac can record the acWuisition o! s/ills, #ut it is dedd 5 ote eG!cO;Guh to deter ine to $hat e&tent a student F E 5 has 'si11]GGRalion,Gttd ;reati4e a'ilities to
com-lete a !Drama!s ma7or aim is nyItneoura/e a -ositi4e and oo< o-erati4e s-irit in /rou- acti4ities In most ot0er su'7ects t0e: c0ildren do not normally /et t0e o--ortunity to -lan and e,ecute tas*s in /rou- utaauon), 'at arc restricted to -er)ormin/ indi4idual and ta*in/ res-onsi'ility only )or t0emsel4es. T0ere ia a distinct di))erence 'et2een t0e cIrt curriculum, t0at o) s*ills acQuisition, etc., and t0e 0iddenF curriculum t0at o) de4elo-in/ a -ositi4e and con)ident sel) conce-t, 2it05 t0e )ormer )acilitatin/ t0e acQuisition o) t0e latter.! In t0is e,am-le, t0e acQuisition o) s-eci)ic t0eatre s*ills occurs 2it0in t0e conte,t o) acti4ities desi/ned )or -ersonal de4elo-ment.

#chool E a lar/e inner#city 0i/0 sc0ool 2it0 a su'stantial mi/rant -o-ulation

Drama is run as a c0ild#centred ac@4ity.IT0e main aim o) t0e drama -ro/ramme is to increase t0e!Students! social s*ills. Some o) t0e areas are 0el-in/ t0e students Ieara 0o2 to sol4e -ro'lems in a non#a//ressi4e manner, learnin/ to 2or* 2it0in a /rou-, clear 4er'al e,-ression, e,tendedi-0ysical e,-ression and con)idence in t0eir . . : lan/ua/e,F t ^ O#viously, this approach is purely a Epersonal develop entE one $ith an e phasis on proUe @ sohFing activities%

#chool 3 #Lr a lar/e su'ur'an tec0nical sc0ool ,E)ERAL AIM( OF T*E DEPARTME)T

E*o provide learnin/ situations 20ic0 ma,imise t0e e,-ressi4e, creati4e and ima/inati4e
-otential o) eac0 student.

E6 To encourage students to analyse the $orld in $hich they 4ive, ay ore clearly identi!y0 -a. !t0emsel4es! E t0eir sel)#conce-t:

order that they

O0P t0eir res-onsi'ilities, 'ot0 -ersonal and social5 OYP t0eir 4alues systems. !3 To encoura/e students to ta*e an acti4e role in t0e society 2 3' in 20ic0 t0ey li4e, 'y de4elo-in/ social and aest0etic YR^G a$areness% ...Z FF[J<[.

E8 To eWuip students $ith a $ide range o! practical,

con)idence and com-etence \] % Ta. intuitive thin/ing processesM ,r

trens"sruh4

s*ills. To de4elo-

-#. perception and re!leet'onM -c. critical analysis and a--raisal,

OdP decision ma*in/.

EB To !oster an appreciation !or7J0< arts and an a2areness o) it< -otentisi m -etttatD)3II Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers This polarisation o! opinion posed so e di!!iculty !or the dra a teacher% *istorically, dra a eant Eacting on a stageE% Teachers ris/ed incurring the $rath o! other sta!! e #ers $hen they re!used to #e involved in the production o! #ho &oat or 4nnie Get 7o$r G$n8 Un!ortunately, it $as di!!icult to e&press any clear e&planation !or this
stance, #eyond clai ing that it $as detri ental to the educational develop ent o! the child% In their constant search !or $hat to do $ith ?E, >+ or the other eighteen dra a classes !or the $ee/, teachers tended to thin/ o! dra a ore in ter s o! ho$ it $as applied rather than ho$ it $or/ed% Even no$ Wuestions as/ed a#out $hat dra a is are o!ten ans$ered in general ter s $hich state that dra a is co unication, personal develop ent, theatre s/ills, or si ply, EItEs Li!eE\ (uch responses ay reveal the teachersE goals, certainly they re!lect diverse ethodological in!luences, yet they give no clues as to the #asic nature o! dra a% The nature o! theatre and its relationship $ith Edra a as personal develop entE $as never !ully e&plored, and !or any teachers this con!lict has yet to #e resolved% The range and diversity o! the role o! dra a !or personal develop ent and the e&tent to $hich theatre i #ues the curriculu can #e illustrated #y e&a ining state ents !ro particular dra a progra es in several di!!erent schools%

#chool 1 = a large

iddle@class girls high school

Dra a ai s to e!!ect a arriage #et$een s/ills and content% The progra e e&poses the children to a $ide variety o! s/ills involved in the dra atic ediu $ithin the para eters o! a prescri#ed content% GIt is envisaged that the children $ill #eco e !a iliar and reasona#ly pro!icient $ith these s/ills as a necessary part o! pursuing the content involved% EIt is unnecessary to teach the s/ills separately #e!ore #eginning to teach the content, there!ore eli inating s/ills lessons $hich ay #e super!icial and ti e@consu ing% @ EThe progra e is group@centred and caters !or a per!or ance #asis i! desired% The dra a progra e ai s to engender sel!@a$areness through the develop ent o! student initiative and responsi#ilityM to develop personal e&pressiveFcreative a#ilities, and to encourage responsi#ility in the initiation and e&ecution o! tas/s% EEvaluation o! the studentsE progress is a su#'ective appreciation #y the teacher% O#viously one can record the acWuisition o! s/ills, #ut it is decidedly used her i agination and creative a#ilities to co plete a tas/% ore di!!icult to deter ine to $hat e&tent a student has

3ra)a in Ed$cation: an 9:er:ie

EDra aEs a'or ai is to encourage a positive and cooperative spirit in group activities% In ost other su#'ects the children do not nor ally get the opportunity to plan and e&ecute tas/s in group situations, #ut are restricted to per!or ing individual and ta/ing responsi#ility only !or the selves% There is a distinct di!!erence #et$een the overt curriculu , that o! s/ills acWuisition, etc%, and the hidden curriculu o! developing a positive and con!ident sel! concept, $ith the !or er !acilitating the acWuisition o! the latter%E = that

In this e&a ple, the acWuisition o! speci!ic theatre s/ills occurs $ithin the conte&t o! activities designed !or personal develop ent%

#chool 2 = a large inner@city high schoolE$ith a su#stantial

igrant population

Dra a is run as a child@centred activity% The ain ai o! the dra a progra e is to increase the studentsE social s/ills% (o e o! the areas are helping the students learn ho$ to solve pro#le s in a non@aggressive anner, learning to $or/ $ithin a group, clear ver#al e&pression, e&tended physical e&pression and con!idence in their % % % language%E O#viously, this approach is purely a Epersonal develop entE one $ith an e phasis on pro#le @solving activities%

#chool 3 = a large su#ur#an technical school GENERAL A !S O" T#E $EPART!ENT ; To provide learning situations $hich
a&i ise the e&pressive, creative and i aginative potential o! each student% ay ore clearly identi!y0 E6 To encourage students to analyse the $orld in $hich they live, in order that they

-a. Ethe selvesE = their sel!@concept0

-#. their responsi#ilities, #oth personal and socialM -c. their values syste s%

EA To encourage students to ta/e an active role in the society live, #y developing social and aesthetic r Z a$areness% -a. intuitive thin/ing processesM -#. perception and re!lectionM -c. critical analysis and appraisalM -d. decision a/ing%

[-

, O in $hich they

E8 To eWuip students $ith a $ide range o! practical, trans2era&le s/ills% To develop con!idence and co petence in0

EB To !oster an appreciation !or the arts and an a$areness o! its potential in recreational and vocational real s% EDra atic s/ills, $hile !or ing an i portant part o! the Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers This polarisation o! opinion posed so e di!!iculty !or the dra a teacher% *istorically, dra a eant Eacting on a stageE% Teachers ris/ed incurring the $rath o! other sta!! e #ers $hen they re!used to #e involved in the production o! #ho &oat or 4nnie Get 7o$r G$n8 Un!ortunately, it $as di!!icult to e&press any clear e&planation !or this
stance, #eyond clai ing that it $as detri ental to the educational develop ent o! the child% In their constant search !or $hat to do $ith ?E, >+ or the other eighteen dra a classes !or the $ee/, teachers tended to thin/ o! dra a ore in ter s o! ho$ it $as applied rather than ho$ it $or/ed% Even no$ Wuestions as/ed a#out $hat dra a is are o!ten ans$ered in general ter s $hich state that dra a is co unication, personal develop ent, theatre s/ills, or si ply, EItEs Li!eE\ (uch responses ay reveal the teachersE goals, certainly they re!lect diverse ethodological in!luences, yet they give no clues as to the #asic nature o! dra a% The nature o! theatre and its relationship $ith Edra a as personal develop entE $as never !ully e&plored, and !or any teachers this con!lict has yet to #e resolved% The range and diversity o! the role o! dra a !or personal develop ent and the e&tent to $hich theatre i #ues the curriculu can #e illustrated #y e&a ining state ents !ro particular dra a progra es in several di!!erent schools%

#chool 1 = a large

iddle@class girls high school

Dra a ai s to e!!ect a arriage #et$een s/ills and content% The progra e e&poses the children to a $ide variety o! s/ills involved in the dra atic ediu $ithin the para eters o! a prescri#ed content% EIt is envisaged that the children $ill #eco e !a iliar and reasona#ly pro!icient $ith these s/ills as a necessary part o! pursuing the content involved% EIt is unnecessary to teach the s/ills separately #e!ore #eginning to teach the content, there!ore eli inating s/ills lessons $hich ay #e super!icial and ti e@consu ing% EThe progra e is group@centred and caters !or a per!or ance #asis i! desired% The dra a progra e ai s to engender sel!@a$areness through the develop ent o! student initiative and responsi#ilityM to develop personal e&pressiveFcreative a#ilities, and to encourage responsi#ility in the initiation and e&ecution o! tas/s% EEvaluation o! the studentsE progress is a su#'ective appreciation #y the teacher% O#viously one can record the acWuisition o! s/ills, #ut it is decidedly used her i agination and creative a#ilities to co plete a tas/% ore di!!icult to deter ine to $hat e&tent a student has

3ra)a in Ed$cation: an 9:er:ie

5:

EDra aEs a'or ai is to encourage a positive and cooperative spirit in group activities% In ost other su#'ects the children do not nor ally get the opportunity to plan and e&ecute tas/s in group situations, #ut are restricted to per!or ing individual and ta/ing responsi#ility only !or the selves% There is a distinct di!!erence #et$een the overt curriculu , that o! s/ills acWuisition, etc%, and the hidden curriculu o! developing a positive and con!ident sel! concept, $ith the !or er !acilitating the acWuisition o! the latter%E = that

In this e&a ple, the acWuisition o! speci!ic theatre s/ills occurs $ithin the conte&t o! activities designed !or personal develop ent%

#chool 2 = a large inner@city high schoolG$ith a su#stantial

igrant population

Dra a is run as a child@centred activity% The ain ai o! the dra a progra e is to increase the studentsE social s/ills% (o e o! the areas are helping the students learn ho$ to solve pro#le s in a non@aggressive anner, learning to $or/ $ithin a group, clear ver#al e&pression, e&tended physical e&pression and con!idence in their % % % language,E O#viously, this approach is purely a Epersonal develop entE one $ith an e phasis on pro#le @solving activities%

#chool 3 = a large su#ur#an technical school GENERAL A !S O" T#E $EPART!ENT _ To provide learning situations $hich
a&i ise the e&pressive, creative and i aginative potential o! each student% ay ore clearly identi!y0 E6 To encourage students to analyse the $orld in $hich they live, in order that they

-a. Ethe selvesE = their sel!@concept0 -#. their responsi#ilities, #oth personal and socialM -c. their values syste s% EA To encourage students to ta/e an active role in the society R R in $hich they live, #y developing social and aesthetic X rG a$areness% Y`Y
E8 To eWuip students $ith a $ide range o! practical, trans2era&le s/ills% To develop con!idence and co petence in0

-a. intuitive thin/ing processesM -#. perception and re!lectionM -c. critical analysis and appraisalM -d. decision a/ing% B To !oster an appreciation !or the arts and an a$areness o! its potential in recreational and vocational real s% EDra atic s/ills, $hile !or ing an i portant part o! the 55
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

$or/ing process, arc not taught as ends in the selves, rather, they are seen as tools designed to assist the student to pose and see/ solutions to Wuestions o! personal, interpersonal and universal signi!icance% The dra a progra e has a pronounced social #ias or orientationM the pri ary concern is !or value clari!ication and student sel!@actualisation%E *ere $e see a li ited EtheatreE contri#ution $ith the !ocus clearly on personal develop ent% #chool 4 = a s
all independent senior school o! dra a% The students $ill EThe dra a course ai s to provide opportunities !or the student to understand the art !or develop individual e&pressive talents% The course co prises a Rpt

study o! theatre history and the evolution o! various acting styles, stage design and construction, theatre technology, lighting, and voice production% All students $ill #e involved in at least t$o a'or theatrical per!or ances each year%E This course is clearly designed !or the training o! actors $ith

a strong e phasis on technical /no$ledge and design s/ills% Personal develop ent ai s are not
courseM although they

ade e&plicit in the a

ay #e a #y@product, they are not speci!ically the o#'ectives o! this $or/%

These state ents re!lect the ost co on ethodological approaches to the planning o! dra a% +ut, as 4ohn Deverall highlighted in his teaching at Mel#ourne "ollege o! Advanced Education, other approaches also !ocussed on thN use o! dra a as a ethod o! teaching in other su#'ect areas and as a !or o! therapy in #oth educational and #roader social set tings% 4ohn identi!ied !our general classroo approaches to student develop ent through Dra a% *e la#elled these approaches EPersonal Develop entE, ETherapyE, ELearning Mediu E and EArt For E% The !ollo$ing analysis uses these la#els as categories !or a discussion o! teaching ethods and strategies in dra a%

Personal De4elo-ment This approach to dra a con!idently asserted the need !or dra a activities to !ocus on the !eelings and attitudes o! individuals and the s/ills o! social interaction and co unication% Personal develop ent and the creative sel!@e&pression o! the student $ere the a'or teaching o#'ectives% Dra a $as seen as the ost e!!ective eans to this end and the goals $ere clai ed to #e su!!iciently i portant to deserve consideration #y curriculu co ittees% Dra a on the ti eta#le $ould develop the individualEs sel!@con!idence and interpersonal co unication s/ills% (pontaneous sel!@e&pression and Ti)e<or 3ra)a: 4 5and&ook 2or #econdar6 Teachers 3ra)a in Ed$cation: an =$r:ii> 1 plication o! dra a% The need !or the acWuisition o! special s/ills in therapy is essential% (pecial education courses no$ #eing run #y tertiary institutions are evidence that this
need is #eing catered !or% (uch training should eWuip teachers $ith /no$ledge related to speci!ic areas so that appropriate
and e!!ective dra a strategies can #e adopted%

1earnin/ ?edium As vehe ently as so e clai the raison d?etre o! dra a to #e personal develop ent, others assert that dra a %should e&ist M3 service the learning in% pth'eta&eo! the Rur'rRuiuinTTnis stance is a strong a!!ir ation that dra a is a ethod o! teaching capa#le o! sti ulating and achieving po$er!ul learning% The co ercial availa#ility o! pac/aged si ulation ga es ai ed to teach a #road spectru olY su#'ects highlights this !aith in dra a to get the point across% 1hen this utilitarian application o! dra a is adopted the dra a teacher o!ten #eco es a resource !or other teachers in the school, particularly irt theYhuhlanitiesEdepa!t ents% The content is dra$n !ro the topics #eing studied and the dra a !ocusses Wuite clearly on the pursuit o! speci!ic learning% Perhaps it should #e stated that $e are not discussing dra a activities adopted in other classroo s, ost !reWuently in English, in order to develop the social health o! the group or their personal co unication s/ills% The pri e o#'ective o! the dra a $hen it is applied as a learning ediu $ill #e to have the students leave the dra a /no$ing ore a#out a particular issue or event than $hen the lesson #egan% The teacher anipulates the dra a structures so that this learning can #e highlighted% Re!lection and discussion play a a'or part in the dra aM the learning ust #e ade e&plicit% A isunderstanding o! ho$ to apply dra a as a learning ediu so eti es occurs% In an English classroo recently, the teacher $anted to set up dra a $hich $ould allo$ the students to act out a !actory situation% 1or/ers $ould carry out

#oring and repetitive tas/s under the constant supervision o! #osses $hose responsi#ility lay in increasing the productivity o! the $or/ers% 1hat clouded the issue and changed the entire learning !ocus $as the i position o! a ga e structure over the #asically sound dra a already set up% A theatre status ga e $as used to in'ect interest and !un into the dra a% 1hilst the situation $as #eing played out, the $or/ers $ere to !ind o ents $here they could snatch the #ossesE hats !ro their heads
and there#y alter their status% The preoccupation $ith such a strategy o#viously does not allo$ a !ocus on the learning o#'ectives% There is a con!usion as to target o! a great deal o! antagonis #ecause they $ere grappling $ith the Wuestion o! $hat the Especi!icsE o! dra a $ere% An o!t@heard state ent #y dra a teachers $as, EAs the authors are not $or/ing in the !ield, they canEt possi#ly understand the di!!iculties e&perienced in the classroo E% This $as untrue, as any authors $ere, and indeed still are, practitioners in their o$n right% Regardless o! this, their $or/ is constantly dis issed as #eing distant and theoretical and there!ore irrelevant to the classroo teacher% For this reason, the dra a $ritersE $or/ did not reach a large target audienceM oreover in so e instances it $as regarded as a direct threat to the integrity and accounta#ility o! the ethods e ployed #y the classroo teacher% To conclude, social issues and the e&ploration o! personal !eelings and attitudes $ere central to the dra a curriculu , although in any schools no dra a curriculu or speci!ic sylla#us $as ever as/ed !or% Indeed, $riting out such details $as a denial o! the essential need !or spontaneity in dra a%

Therapy "losely associated $ith the personal develop ent approach to dra a is the recognition o! the therapeutic #ene!its o! the su#'ect% In this approach it is i plicitly assu ed that the participants in dra a are in need o! curative treat ent and the dra a teacher holds the s/ills o! the therapist% In its ildest !or this ani!ests itsel! in a spontaneous openness and !reedo o! response $hich is re'uvenating and cathartic% Many o! the ga es and e&ercises used in dra a achieve this endM they evo/e 'oyous involve ent and o!ten a good healthy laughM the Esocial healthE o! the group can #e i proved% Theatre ga es and i provised dra a also o!!er the possi#ility !or a cathartic release o! energy and e otion% Other activities are geared to the sti ulation o! dull and ailing senses% Perhaps a less desira#le orientation is that $hich ani!ests itsel! in Wuasi@psychodra a% *ere personal dile as are played out in the dra a or individuals use the group structure to Econ@ structivelyE e&plore the annoying or negative #ehaviour o! one o! its e #ers% (o !ar $e have #een discussing the usual school situation% I! $e turn no$ to the area o! special education, the use o! dra a as therapy assu es its right!ul place% In dealingY $ith physically or entally handicapped students, !or e&a ple, the application o! dra a has a speci!ic and identi!ia#le role to play in the therapeutic develop ent o! individuals% In these cases, dra a ta/es on a specialist !unction and the teacher also needs to #e a$are o! the para@ edical nature o! the ap Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers $hat learning is inherent in the activities the selves% The role ta/ing and e&perience o! the dra atic situation in this instance $ere su#su ed #y the s/ill needed to play the ga e% Re!lection revolved around the success!ul strategies adopted #y individuals to get the hats\ Related to this !unction o! dra a is the e phasis, once again, on dra a as a process used to service a teaching goal $hich is not in itsel! dra atic% This e phasis has, in the past, added ore strength to the processFproduct de#ate entioned earlier% There can #e no dou#t that so e ost e!!ective teaching occurs in dra a $hen this clear learning goal is pursued% This should not, ho$ever, deny the dra a its o$n

integrity% *eathcoteEs $or/ !ir ly re inds us that the Wuality o! e&pression is an indication o! the Wuality o! learning li/ely to occur% I! the class does not see a sincerity, !or e&a ple, in the $or/ o! the students, *eathcote ay choose to stop the dra a andFor change its direction% This occurred $hen she $as $or/ing $ith a group o! A erican children on EThe +uilding o! a )ationE% The groupEs insincere e&pression o! grie! over a death indicated the need !or teacher intervention in the dra a i! the learning goal $as to #e achieved% Unless the dra a Wuality is seen as signi!icant, neither the learning nor *tht ediu $ill #e o! uch value% Art For *istorically, uch o! $hat occurred in dra a $as play reading% The value o! acting out scenes $as clear, students enhanced their understanding o! the te&t and at the sa e ti e developed sel!@con!idence and s/ills in e&pressive co unication% Rehearsal and per!or ance o! the play intensi!ied and #roadened the learning still !urther- Personal and so*ial de5elopment 0ere seen as an important

learning bonus6 but in this approa*h to drama6 the play and its per(orman*e 0ere the methods used to a*hie5e these goals% One can still
!ind so e very strong dra a progra es in schools $hich are the heritage o! innovative English teachers $ho sa$ the need to capitalise on this learning and introduce dra a into the curriculu as a separate su#'ect% Although in so e progra es the learning !ocus oved Wuic/ly to an e phasis on ga es and e&ercises !or personal develop ent, there $ere others $hich speci!ically taught theatre s/ills and e7pended their energies in the preparation and

per(orman*e o( playsMany teachers still see the theatre product as the pri e !unction o! dra a% (o e schools are even changing the na e o! the su#'ect Dra a to ETheatreE or EPer!or ing ArtsE so that 3ra)a in Ed$cation: an 9:er:ie 58

the orientation is Wuite e&plicit% In these progra es, even $hen a less !or al i provised dra a occurs to develop s/ills, per!or ance is the real sti ulus !or activity underta/en in the classroo % Ti e is spent developing characterisation s/ills through ove ent, i provisation and voice e&ercises% (tudents ay create their o$n scripts, #ut 'ust as o!ten, the te&t is the !ocus o! the lesson% Practice in creating theatrical scenes and i ages is constant% Units o! $or/ ay also develop s/ills in related technical and design areas such as a/e@up, as/, costu ing, set design and lighting% In this approach to dra a, !inding appropriate aterial is o!ten a pro#le % Dra a consultants are constantly #eing as/ed !or good plays !or years ?, >, 9, 5: and so on% Per!or ance in dra a !estivals and co petitions o!!ers a $ider perspective !or learning a#out !he art !or and can #e a otivation !or groups to devise their o$n aterial !or per!or ance% The E$inners and losersE syndro e or the Egood and #adE aspects o! co petitions can change the !ocus o! the learning% In contrast $ith dra a as a learning ediu , the art !or approach to dra a is not pri arily concerned $ith the learning inherent in speci!ic content, an approach not usually associated $ith the production o! #ho &oat8 Instead, its !ocus is the e&ecution o! the dra a, the Wuality o! its e&pression and its e!!ect on an audience,

"o

onality in Dra a

I! $e re!lect !or a o ent no$ on the co onalities that e&ist #et$een the learning areas and their associated activities, it is possi#le to understand $hy there is con!usion $hen it co es to planning dra a curricula% 1hen personal devel@ op ent, sel! e&pression and interpersonal co unication $ere the desired

o#'ectives, the activities adopted $ere ost o!ten ga es and e&ercises $hich #ore no relation to role ta/ing and i aginative, dra atic situations% Instead, participation in dra a involved the students in activities $hich $ere sti ulating, invigorating and !un% The individualEs e&periences $ere essentially egocentric and introspective% Much o! $hat has #een said a#out dra a !or personal develop ent also holds true !or the therapeutic application o! dra a in the classroo % Many o! these activities pro oted a release o! personal energy aREe otionR e&te aTToE'[artici@F pation in dra atic situations% Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers 1hen dra a $as used as a learning ediu the !ocussing occurred so e$hat di!!erently% The studentsE participation in the dra atic situation provided the content and learning !ocus !or the dra a% The eaning o! the dra a lay in the signi!icance o! the studentsE interaction $ithin dra atic situations% (i ilarly, $hen dra a $as pri arily concerned $ith the art !or , interactions $ithin dra atic situations provided the !ocus and eaning o! the dra a% 1hat e erges !ro this search !or co onalities in the teaching o! dra a is, once again, the disparate nature o! activities and learning goals% Trying to esta#lish a !oundation !ro $hich to plan curricula is a daunting tas/% It is little $onder that o#'ective onloo/ers and ne$co ers to dra a teaching encounter any di!!iculties% % T&e $rama !odel I! $e are to arrive at a co on understanding that $ill responsi#ly in!or our planning andEteaching in dra a it is going to reWuire a o entEs patience and o#'ectivity% In the !irst instance, it $ill #e help!ul to distance ourselves !ro dra a@ in@education philosophies, teaching goals and classroo activitiesM these hold ore potential !or con!usion than !or the clarity and co onality o! understanding that $e see/% (econdly, $e need to put aside our classroo #lin/ers, especia!ly those $ith tinted anti@theatre lenses, #ecause it is the dra atic and artistic e&perience o! theatre that prWvides us
$ith insights rich in eaning anct i plications% )o$, #e@Y!ore you i patiently close the #oo/, re e #er the #lin/ers and then consider the !ollo$ing !unda ental aspects o! dra a%

Dra a@in@Theatre b% Dra a is a series o! i aginary events #ased on li!e and acted out #y people $ho tacitly agree to adopt the created situation% Play$rights, director actors and technicians $or/ i aginatively and
their e&periences o! !i!e to create the arti!icial and sy #olic li!e o! the'play% 1hilst it is the i eracEtiOnEd! evRn*J$nich holds the audienceEs interest in the play, it is the individualEs e&periences o! the real $orld, co #ined $ith a capacity !or thought!ul re!lection, that results in the creation o! personal sy #olic eaning% artistically !ro

characterG Rahii

*o$ Meaning is "reated There can #e no dou#t that the interaction o! characters creates the li!e o! the playM the essence o! that li!e, ho$ever, is the deve'#p Rnt and e&pression o! role% In developing a
character, the actor creates personal eaning through a role relationship #et$een the E eE and Enot eE -1innicott 59?5.,

5B i
c

Ti)e "&1 8rama9 : ;andboo. (or %e*ondary 1ea*hers

and e&presses this in concrete artistic i ages $hich see/ to co unicate% Although the actorEs personal /no$ledge and e&perience o! li!e in!or s this develop ent o! character, his understanding and co and o! the eaning inherent in the art !or allo$s hi to co petently e&press and co unicate the !ullness o! that character% I! the event o! the play is to #e signi!icant, then #oth actors and audience depend on this ^bFG Wuality o! dra atic e&pression% 1hile $atching the actors at d $or/ in the dra a, the audience identi!ies and e pathises $ith the characters as they are e&pressed% Individual e @@ #ers o! the audience esta#lish passive role relationships #e@Q t$een the sel! and the characters% Any personal eaning EQ evolving !ro this relationship $ill #e
e&pressed in passive, Q a#stract thought rather than the concrete actions o! the characters% At this point it $ill #e use!ul to loo/ in detail at this cre@Y ation o! eaning through role relationships% To do this $e ', $ill #orro$ !ro an e&a ple developed in a recent research "k'' paper -59>6. #y the $riters $ith teaching colleagues, *elen "ollins and Tony Tartaro,

"reating the Role 1hen an actor is playing the role o! a character, he is si ultaneously a$are that he is hi sel! -the E e5. and that he is playing at #eing so eone else -the Enot eE.% *e does not give up his Esel! to
#eco e the other, #ut rather pro'ects onto the role, e&tending his notion o! sel! to incorporate that o! the role = the character% This is illustrated in Figure 5% LetEs i agine an actor is to play the role o! Mac#eth% 1hat this actor has e&perienced and !eels su#'ectively a#out leader ship, duty, courage, po$er, love, a #ition and honour $ill #e tested against $hat he /no$s o! these concepts !ro his

AiB$re 1: The notion o2 sel2 and role

)8 The 3ra)a Codel

5B o#'ective o#servations o! the $orld% (ha/espeareEs script $ill also #e part o! the actorEs range o! o#'ective /no$ledge% An oscillation occurs in the relationship #et$een the su#'ective and o#'ective realities -the E eE and Enot eE. until a reconciliation o! the t$o allo$s !or the creation o! personal sy #olic eaning% This a#stract internal eaning is then e&pressed in the concrete $ords and actions o! the actor in role as Mac#eth% This is illustrated in Figure 6% Figure A -page 5;. o!!ers an appro&i ation o! one particular o ent in the actorEs per!or ance% 1hen Mac#eth $oodenly

AiB$re 2: Dreation o2 role is anti@royalist has never e aterial $ealth not i portant $ants to

#een Ein 2 [% succeed in loveE f A"TORQ theatre no religious J " i s challenged #elie!s =# *E responsi#ilityy
acting s/ills highly developed lac/s respect !or authority

(U+4E"TIJE REALIT7 OF A"TOR Ea #loody #utcherE #ehind every great po$er corrupts% 2err #etrayed 1hitla "*ARA"TER vaulting E)OT MEE a #ition Mac#eth #lac/ and deep desires #rave Mac#eth O+4E"TIJE REALIT7 OF "*ARA"TER an%%%

ECPRE((ED 2)O1LED,E Con*rete :*tion

$ooden, #o$ hesitant

:bstra*t $nner <eaning

-e%g%
l

%%% (o hu #ly ta/e y

*o$ s all and $ea/ a 2ing can #eE.

T*E A"TIO)

leaveE
REFLE"TIO) O)

U)DER(TA)DI), OR "R7(TALLI(ED MEA)I), -e%g% EOur personal desires #lind us to $ider realitiesG, or EThe slo$er pacing o! the !inal lines resulted in a rising dra atic tensionG.% Fote: This illustration isolates one particular
o ent in the play% and hesistantly #o$s his !are$ell to Duncan, these concrete sy #olic actions ay represent Ean internal a#stract eaning o! Y*o$ s all and $ea/ a /ing can #e\YE Inherent in the act is the potential !or a change in personal understanding% The actor is $or/ing $ith eanings related to the hu an condition and $ith /no$ledge a#out the art !or % It ay #e thai the actor is !ully a$are o! the signi!icance o! #oth levels o! eaning and in thought or discussion is a#le to articulate this% It is 'ust as possi#le ho$ever, that the particularity o! the o ent $ill si ply #eco e part o! the larger li!e o! the play% Essential to this change o! understanding is the actorEs a#ility to #e conscious o! the o ent and to re!lect upon the e&perience o! it% (o e individuals are #etter at this than others% During rehearsal it is the directorEs tas/ to $or/ closely

The 3ra)a Codel

5?

$ith the actorFs to #ring a#out this change o! understanding% The Wuality o! the actorEs develop ent $ill #e closely related to the directorEs s/ills in handling this process%

The sy #olic creation o! eaning is ine&trica#ly !in/ed $ith the product o! its e&pression% The ele ents o! the art !or , na ely rhyth , !ocus, cli a&, sound, dyna ic, con!lict, sy #ol, space and contrast, are utilised in the e&pression o! role and playing through o! the dra atic situation% Per!or ance e&plicitly uses these ele ents !or their sy #olic e!!ect on an audience% I! the individualEs e&pressive act is going to co unicate eaning e!!ectively then the actor ust #e a$are that !eeling and e&pressing eaning does not auto atically guarantee its co unication to others% "o and o! technical s/ills and /no$ledge o! ho$ to apply the allo$s the actor to #e ore responsive and e&pressiveE$ithin the creative process% Me #ers o! an audience then have a greater opportunity to #eco e involved in the role relationships and creation o! personal eaning% To use the e&a ple o! Mac#eth again, a so e$hat cynical individual in the audience ay e&press this personal eaning in thought as, Esel!@gain !or s the #asis o! all hu an interactionsE%E Alternatively, so eone else ay #e a$are o! the su#tlety and contrast o! ove ent $hich carries the inner private thoughts o! hu ans% 1hatever the eaning, those $ho participate in the process are !ully a$are o! the conventions and arti!ice that constitute the theatrical event% Their e&pectations and #ehaviour are a direct response to the nature o! that eventM they are in volved in a dra atic process $hich is e&pressive, e&periential and co unicative% To isunderstand Ihe process is to have the e&perience and iss the eaning\

Dra a in Education In the classroo students act out i aginary situations #ased on li!e% They $or/ i aginatively and artistically !ro their e&periences o! li!e to create the arti!icial and sy #olic li!e o! the dra a% The interaction o! characters and events holds the studentsE interest in the dra a, #i* their real@li!e e&''eRienRes are essential to the creation o! personal sy #olic eaning% Participation IIS this dra atic process Involves the
students in e&periential, e&pressive and co unicative odes o! action% Dra a in education then, is erely the educational, rather than theatrical, application o! the dra atic process% Partici pation in the process ho$ever, $ill vary depending upon the ode o! dra atic action adopted and e phasised% The a'or in!luence on the selection o! a particular ode o! action $ill

5>

Ti)e<or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

#e the individualEs changing a#ility to use role and create eaning% 4ohn (eely -59?;. suggested that the ode o! dra atic activity varies according to the changing use o! role% *is classi!ication o! three #asic odels o! role #ehaviourM e&@ ploratory, illustrative and e&pressive, has ade a signi!icant contri#ution to our understanding o! ho$ dra a $or/s in the classroo % 6 Individual Develop ent and Dra atic Action 7oung children readily adopt roles% They #eco e totally a#sor#ed in the action and these, actions re ain sincere and spontaneous% At this stage o! dra atic develop ent, especially $ith younger students, the play is not clearly separate !ro the real $orld% The children are largely una$are o! an audience and as (lade -59B8. states0 E% % % they have no need !or spectators #ecause the play e&ists only !or the sel!M it is egocentric and private%
5

eeeIndeed, a$areness o! an audience $ill destroy the childEs D !ocus and #rea/ the rote% These role relationships are used to [y
% g e&plore ne$ e&periences in Ean atte pt to, a/e senRiRp! the , R @G`g real $orld and develop con!idence in dealing $ith%it% ^I! is 1ith the onset o! pu#erty, adolescents enter a very sel!@con@

rEG7? H8* scious and con!used stage o! their develop

Q con!usion that occurs at this ti e

ent% The identity

a/es !or a sensitivity and

F vulnera#ility $ithin the group% There is a /een desire to use role as a eans o! co unication #ut this con!licts $ith a hyper@a$areness o! Ethe eE in #uilding role and e&pressing character to an audience% "o edy and caricature o!!er so e security in this dra atic presentation that is not al$ays poss@

i#le in the ore a#sor#ed and naturalistic e&pression o! roles% (tudents use the dra a to test out their ideas and opinions through the co unication o! their roles to others in the group% As (eely states -page 65.0 EThey -the students. i itate other peopleEs #ehaviour in order to #ac/ up so
e analytical point the6 $ish Sh ateM this type o! person #ehaves in this $ay, they say, and hereEs an e&a ple to prove itE -p% 65. In iddle and later adolescence, the concern $ith co unication is intensi!ied and the sa!ety o! co edy and e&aggeration assu es less i portance% (tudents are a#le to ta/e on a range o! roles $ith uch greater ease and the individual pushes !or a ore sophisticated e&pression o! role% Individuals no$ have a stronger sense o! sel! -Ethe eE. and can readily e&tend the selves into the $orld o! the other -the Enot eG. $ithout too uch personal threat% They are involved in the

The 3ra)a Codel 59

sa e t$o!old process as the actor in theatre0 creating personal eaning and !inding a $ay to clearly and dra atically co @ unicate this% (eely relates this type o! co unication to the theatre o! +ertholt +recht% ERather than analysing aspects o! #ehaviour in interpersonal relationships, the spea/er is concerned to co unicate #oth !actual in!or ation a#out an event and co ent on its general social signi!icance% This is close to the e&pressive !or o! adult theatre #ut -as +recht a/es clear. it is a !or o! theatre in $hich hat is co unicated is i portant to #oth actors and eaudicnceR-p%YY6Y6rRE At this stage a ore intense interest in the ele ents o! the art !or is present as students see/ to #eco e e!!ective co unicators to $ider audiences% They are very a$are o! their need to consciously anipulate e&pressive sy #ols !or the purpose o! e!!ectively co unicating eaning%

"ontrolling Dra atic Action Involve ent in dra a engages the individual in a develop ent o! understanding a#out the hu an condition and the ele ents o! the an !or % Dra a e&plores aspects o! hu an endeavour and it does so #y consciously anipulating the ele ents o! the art !or % It is our capacity to identi!y $ith these situations !ro our o$n e&periences o! li!e that results in us #eing entertained and challenged in our perceptions o! li!e% +ecause the dra atic situation and the interaction o! characters $ithin it are arti!icial, the artistry $ith $hich the dra a is created is essential to its eaning% To put it si ply, the $ay in $hich the dra a is presented is $hat the dra a I
eans% Participation in the dra atic process ust then involve us in an e&perience that a!!ords /no$ledge a#out li!e Rand a#out art% Richard "ourtney -59>:., dra$s a distinction #et$een the intuitive /no$ledge o#tained $hilst participating in dra atic action and /no$ledge gained through tal/ing, re!lecting and $riting a&o$t the dra a% This distinction is use!ul in re inding us that dra atic activity itsel! ust #e signi!icant and eaning!ul i! it is to contain /no$ledge that can #e e&perienced% Any re!lection on the e&perience should crystallise, and a/e e&plicit, eaning that has #een encountered in the dra atic action% This e&plicit /no$ledge $ill then #e tested and utilised in !urther dra atic action% As "ourtney points out -page ?6.,

59

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

EAlthough #oth /inds o! /no$ledge are i portant in the classroo , /no$ledge I) is para ount% It leads to /no$ledge A+OUT% Thus, throughout all school li!e, curriculu design should #e #ased on e&periential /no$ledge% Discursive /no$l@ edge should arise !ro direct dra adc action%E I! e&perience and intuitive /no$ledge are overe phasised, ho$ever, there is a danger that the learning process $ill #e devalued and retarded% Re!lection on the event outside the e&perience o! it is o! para ount i portance% It cannot #e assu ed that the individualEs e&pressive act is the #e@all and end@all% Liv U* ann -59?9. highlights so ething o! this process $hen she discusses her rehearsal o! the part o! ,rusha !or a production o! The Da$casian Dhalk Dircle% in Oslo in 59;6 -pages B;@?.% E1hen I $as t$enty@t$o, Peter Palitiseh, a ,er an director, ca e to our theatre in Oslo% *e taught e that everything $e portray on the stage ought to #e sho$n !ro t$o sides% +e illustrated in #oth #lac/ and $hite% 1hen I s ile, I ust sho$ the gri ace #ehind it% Try to depict the counter@ ove ent = its counter@ otion% I

learned to $or/ ore consciously% -These concepts are ore !ully discussed in chapter >%. I re e #er the opening scene o! the Dhalk Dircle8 At the !irst reading I thought I $as to play a $o an in a heroic situation% *er na e $as ,rusha%
ERevolution had co e to the village $here she lived in poverty% Everyone had !led the urder and !ire that !ollo$ed in the $a/e o! $ar% 1hile she hersel! $as running a$ay she !ound an in!ant a#andoned #y its other% (he stopped $ithout /no$ing $hat she $ould do $ith the little #undle $rapped in sil/ and velvet, precious aterials that she had never touched #e!ore% My interpretation $as to sit do$n and loo/ tenderly and so!tly at the #a#y% (ing to it, pic/ it up, and ta/e it $ith e% YThin/ a #it deeperY, the director said% Y(ho$ her dou#ts0 surely she ust have had so eH *er co$ardiceM donEt you !eel itH And $hat a#out her a #ivalence in the !ace o! this ne$ responsi#ilityH The audience $ill sy pathise $ith you any$ay% Even i! they donEt grasp everything you are trying to illustrate, they $ill recognise you as acting in a $ay they the selves ight have acted% )o spontaneous no#ility% )ot necessarily sy #olising goodness all the ti eY% EMy interpretation #eca e this0 The $o an is sitting $ith the #a#y, #ut puts it do$n as she realises $hat a hindrance it $ill #e on her !light% (he stands up and $al/s a$ay% (tops% Dou#t% Turns #ac/% Reluctantly sits do$n again% Loo/s at its little #undle% Loo/s a$ay% Then, !inally, she pic/s it up $ith a gesture o! resignation and runs on % , %

The 3ra)a Codel

65

_, $ho !or years had /ept (tanislavs/yEs #oo/ on the art o! acting on

y #edside ta#le, no$ #egan to loo/ !or other $ays% Partly, I !ound a ne$ techniWue $hich see ed right !or e % % % Less !eelings, ore concentration on giving e&pression to the !eelings%E -pp% B;@?. +y !ocussing attention on this artist at $or/ in the dra atic process $e can see the co ple entary relationship #et$een involve ent o! !eelings in the e&perience, the re!lection upon the e&perience, and the gro$th in understanding that is achieved% The actress is e&tended in her understanding o! the hu an condition as e&perienced #y her characterM she also learns ho$ to control the artistic ediu $hich e&presses this understanding% Ull ann see/s to #eco e involved in the e&perience o! the situation, #ut at the sa e ti e is conscious o! the arti!ice o! it% (he recognises the need !or a #alance #et$een the su#'ective and o#'ective realities o! the role and the dra atic situation% (he ust at the sa e ti e #e participant and spectator in the dra atic event% ELess !eelings = ore concentration on giving e&pression to the !eelings%E

Feeling and Meaning in Dra atic Action Role relationships in dra a use a Wuality o! !eeling that is di!!erent !ro that $hich $e e&perience in our everyday interactions% The spontaneous actual e otions o! real@li!e situations are replaced in dra atic action #y e otions $hich ay recall real li!e !eelings, #ut $hich change to #eco e Ei aginative and artistic !ictionE% -(tanislavs/y 59A;, page 565.% These i agined !eelings are controlled and e&pressed in such a $ay that a sense o! truth is created out o! the % Participant actors and audience recognise this artistic truth $ith its Wuality o! sincerity and so #elieve in the dra a that is happening% 2no$ing a#out this !eeling Wuality and #eing a#le to use it to create dra atic truths is one aspect o! understanding that ust evolve !ro participation in the dra atic process% (tanislavs/y points out that any actors, $hen they #eco e involved in the dra a, lose this capacity to discri inate #et$een $hat is artistically true and !alse% 1ithin the dra a, it $ould see , they #eco e so involved in the a/ing o! it that they are una#le to pay due attention to ho it is #eing ade% 7et these t$o processes ust
consciously co@e&ist !or e&pressive eaning to occur% The essential !actor in this e&pression o! e otion is the sense o! truth that is recognised in the concrete, physical ac tions o! the dra a% The hollo$, !alsi!ied e otion o! poorly i agined andFor i itated activity devalues the dra atic e& perience and deprives it o! eaning%

6:

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

Ele ents o! the Art For

and Meaning in Dra atic Action

In atte pting to create artistic truths and #uild dra atic tension, play$rights, actors, directors and technicians e&ploit the ele ents o! the art !or % +y anipulating these ele ents they are a#le to add truth and signi!icance to the dra a% This heightened artistic eaning elevates the Wuality o! the dra atic e&perience as $ell as the Wuality o! its e&pression% The pri e purpose o! using these ele ents relates to the dra a% This heightened artistic eaning elevates the Wuality o! the dra atic e&perience as $ell as the Wuality o! its e&pression% The pri e purpose o! using these ele ents relates to the desire lo consciously create sy #olic

eaning% As $as o#vious in the e&a ple used #y Liv Ull ann, the e&tent to $hich the actor is a$are o! this anipulation o! artistic ele ents $ill vary% In dra a in education the develop ental stage o! the students and the speci!ic teaching !ocus o! the lesson $ill #e a'or !actors in!luencing the degree to $hich this anipulation is ade e&plicit% 1hat is !elt $ithin the dra atic e&perience $ill !irst reWuire attention #y the directorM ho$ this is e&pressed $ill !ollo$ !ro there% +e!ore $e #rie!ly consider these ele ents and ho$ they ani!est the selves in the dra a, it is i portant to realise that there is an inter@dependent relationship #et$een -he % The use o! one ay call into action the e!!ect o! others% Ih6th)
is essentially related to the notion o! ti e, intensity and repetition% It can #t heard in the e&hausted travellerEs slo$ dull /noc/ing on the doorM the landlordEs rapid resounding #anging as he tries to $a/e his tenantsM the 'udgeEs deli#erate, evenly spaced repetition o!, E7ou are charged $ith disloyalty, you are charged $ith dishonesty, you are charged $ith irresponsi#ility % %

Aoc$s

is the converging or concentration o! energy% "aesarEs #lood@stained toga $hich Antony holds #e!ore the Ro an cro$d illustrates this anipulation o! the ele ent o! !ocus% The use o! teachcr@in@roie in classroo dra a is also a clear e&a ple o! an e!!ective strategy !or achieving !ocus% For e&a ple, the teacher as Pro!essor +rainstor inspects the ap@ prenticesE invention, their ti e achine% The use o! o#'ects such as the ysterious sealed cas/et in The Cerchant o2 Jenice% or the curious loo/ing #o& placed #e!ore the class #y the Evisiting archeologistE, also act as !ocussing agents% A speci!ic setting !or the dra a ay also provide this !ocussing o! energy%

The 3ra)a Codel

6A

!or e&a ple, the convicts cro$ded in a hul/ a$aiting transportation to Australia%

#pace is the e&panse o! the $or/ing area and the

ove ent and grouping patterns adopted $ithin it% For e&a ple, con @ victs in a $or/@gang $idely distanced !ro each other as they #uild the road, or a large group o! !actory $or/ers !orced to argue their grievances !ro the !actory !loor $hilst the Tour e&ecutives stand in the o!!ice overhead -the raised rostra at the end o! the roo Fstage.%

36na)ic is o!ten the result o! other ele #6)&ol 's any o#'ect, and so Dli)ax

ents co #ining to create the energy o! the dra a% This can #e achieved through surprise or sudden changes in the action o! the dra a, the 'u&taposition o! co icFtragic events, or the accu ulation o! particular dra atic !orce does uch toEgather involve ent and !ocus the energy o! the participants% eti es sound, light, or ove ent $hich is used e&plicitly to add a rever#eration o! ean@ ing to the dra a% EThe sunEs co ing upE, $hen spo/en #y the ,rand Master at the $itchesE coven, needs no !urther e&pla @ nation% The gun or cross are o#'ects readily understood !or their depth o! eaning% occurs $here a dra$ing together o! actions and eaning !orces resolution or a change in the direction o! the dra a% -This is o!ten the place $here *eathcote $ill stop the dra a !or re!lection, in order to crystallise its eaning%.

Dontrast

is actually the anner in $hich certain ele ents such as sound, ove ent or rhyth are anipulated% Di!!erences are 'u&taposed so that the variation is e phasised and there!ore signi!icant, Ro#ert +oltEs "o on Man, in 4 Can 2or 4ll #easons -I9;:., o!!ers contrast o! a di!!erent nature% +y stepping aside to co ent colloWuially upon the actions and theatricality o! the playEs events there is a dyna ic contrast in the dra atic style itsel!%

#o$nd +et$een the e&tre

es o! silence and the loudest o! sounds there e&ist endless possi#ilities !or portraying ean ing% O#viously the very range and su#tlety o! the language used #y the actor to e&press character is one e&a ple o! the anipulation o! this artistic cle ent% Tic/ing cloc/s, door #ells, !ootsteps and usic are sounds $hich ay #e technically added to #uild dra atic tension%

Don2lict is a state o! tension that arises #ecause o! contrasts or inconsistencies Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers The 3ra)a Codel 65

in the #ehaviour or values o! di!!erent

o! a tea playing a ga eE approach, un!ortunately distorts the issue, and diverts attention !ro the artistic and sy #olic nature o! the dra a% Personal and social s/ills $ill #e developed as a result o! participation in dra a% This is a positive #y@ product o! the dra atic process, although a great deal o! the develop ent in this respect $ill occur outside any involve ent in dra atic action% ,avin +olton -59?9. states his reservations a#out the e phasis on this /ind o! learning in dra a -pages 56A@8.%

_a

not sure that I can accept so e current practice that appears to connive at a lo$@level standard o! dra a on the grounds that the all@i portant social needs are #eing etM and it see s to e that it should #e a rare occurrence !or social i prove ent to #e the only goal $hen clearly sensi#le structuring could concurrently eet a nuni#er o! additional re@ Wuire ents related to eaning % % , and aesthetic !or E -pp% 56A@8.

characters% It is the su#tle antagonis and irreconcila#ility o! the con!lict $hich provides greater potential !or creating dra atic tension than the direct clash or Wuarrel #et$een opposing vie$s% Mac#ethEs plotting to /ill Duncan and then his in@ a#ility to carry out the deed are e&a ples o! personal con!lict e!!ectively used to #uild dra atic tension% Ine&perienced actors and students too readily resort to direct ver#al and physical clashes as a eans o! dealing $ith di!!erences and as a $ay o! e&pressing con!lict% It is signi!icant that these artistic ele ents are not seen as ends in the selves% Rather they arc a eans to an end, $hich has to do $ith o!!ering ne$ perspectives on the hu an condition and the individualEs struggle to !ind order and eaning $ithin it -see chapter ?.% *u an Develop ent in Dra a The pri ary !unction o! dra a in theatre and dra a in education is to provide a conte&t $here#y individuals ay participate in the e&perience and conte plation o! issues o! hu an concern% +oth ani!estations o! the dra atic process serve to increase personal understanding and e&tend a$areness o! oneEs relationship $ith the $ider $orld% The nature o! role@ta/ing and dra atic action hold the potential !or personal eaning to #e created% Dra a is al$ays a#out so ething and as characters live through the dra atic o ents o! the play, actors and audience participate in a sy #olic and eaning!ul event% +ecause the event depends upon the conventions o! interpersonal interaction and group support, there is a secondary type o! learning $hich occurs at the personal, social level% +eing sensitive, a$are and tolerant o! others, developing personal con!idence in e&pressing thoughts and initiating ideas in the planning and a/ing o! the dra a are interpersonal Wualities that are vital to the dra atic process% 1e are a$are that one actorEs poor per!or ance can signi!icantly reduce the i pact o! a piece o! theatreM this holds true !or the classroo as $ell% Dra atic action relies on the active and positive support o! each participant i! the play is to evolve% It is as !unda ental as transgressing a rule in !oot#all, tennis or any other ga e% In !act, so e dra a theorists - ost recently 1at/ins, 59>6. $ould clai that dra aEs raison d?etre is at #ase lin/ed to this personal, social aspect o! dra atic action% *o$ever, to !ocus on the learning
that occurs #ecause o! E$eEre all part

")ndamentals of t&e $rama

To this point $e have descri#ed the !unda entals o! the dra atic process, analysing role relationships and the creation o! eaning% Role relationships are seen as central to the dra atic process and dra atic action as e&periential, e&pressive and co unicative in nature% Dra atic eaning $as intrinsically related to hu an develop ent and the art !or % Dra a in education applied this process $ithin the classroo % Figure 8@ illustrates the !unda entals o! the dra a in education process% AiB$re !9 Fundamentals o( the drama

"O)TE)T (ELE"TIO) LI)E 5=^ QQ% -TEA"*ER% E

Q Q R (TUDE)T(.

K"

j AREA( OF Q A ARTI*"IATTREALIT7F F -a. *u an Develop ent% F LEAR)I),

k

Q -a. Q-#g Art For B ALL 2)O1LED,E A)D ECPERIE)"E A$nda)entals o2 the 3ra)a
6? At the centre o! the diagra lie the personal e&periences and /no$ledge #rought to dra a #y the participants, pri arily the students, and teacher% This s all circle o! e&perience -the su#'ective reality. is contained $ithin the large outer circle o! all /no$ledge and e&perience -the o#'ective reality.% The iddle circle sho$s the dra atic ediu #y $hich these t$o areas o! e&perience are #rought into a creative relationship $ith one another% Role relationships and the arti!icial reality o! this dra atic ediu act as an e&pressive !ilter !or #oth su#'ective and o#'ective e&periences and /no$ledge% A line dra$n as the radius o! the circle constitutes content selection% Dra a lessons can #e planned !ro content chosen !ro any point along this line = !ro the studentsE o$n e&periences, !ro the dra atic ediu itsel! -characterisation, i provisation, theatre history, or ove ent s/ills, !or e&a ple., or !ro the vast, /no$n e&periences o! all /no$ledge% Inherent in the dra atic ediu is a creative tension $hich gives rise to speci!ic learning% This tension evolves !ro the 'u&taposition o! real li!e e&periences $ith the arti!icial e&perience o! the dra a% (peci!ic learning relates to -a. the art !or , and -#. hu an develop ent% Fro here $e can no$ e&tract the !our #asic co ponents o! dra a%

The "o ponents o! Dra a 5 Li!e e&periences and /no$ledge $hich provide the dra atic content% 6 An arti!icial reality #ased on li!e $hich !or s the dra atic situation, A Individuals using role relationships $hich constitute the dra atic action% 8 To ensure that the dra atic event can indeed happen and #e eaning!ul $e also need individuals $ho agree to participate in the dra atic event Eas i! it $ere real = to a#ide #y the conventions o! dra a% (o, $hat i plications do these co ponents have !or the planning and teaching o! dra aH Dra atic "ontent In dra a in theatre the play$rightEs /no$ledge and e&periences o! li!eEs events provide the ra$ aterial or content !ro $hich the play $ill #e created% The personal sensitivity and richness
o! insight associated $ith that content selection

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

deter ines uch a#out the playEs Wuality and inherent eaning% )ot all play$rights, !or e&a ple, are capa#le o! giving us the richness o! eaning contained in 9edip$s Iex or 5a)let8 1e cannot deny ho$ever, that any plays o!!er !ar too little in ter s
o! interest or signi!icance% )either the content nor the $ay in $hich it has #een anipulated provide su!!icient interest or challenge !or others to participate in it% In such instances the play$right $ill si ply need to learn !ro his e!!orts and consider ore !ully the ra$ aterial and the !or $ith $hich he $or/s% In dra a in education the teacher ust loo/ to the play$right to gain insight into setting up dra a, !or #oth share the !unction o! providing the i portant !ra e$or/ !or the dra atic process% 1hat the teacher o!!ers the students as sti ulus !or their $or/ is a/in to dra atic content selected #y the play$right !or the dra aM it ust #e su#stantial enough to create interest and personal eaning% Unli/e the artistFplay$right, the teacher is !irstly a pro!essional educator, and secondarily a dra MG teacher% Teachers assu e the added responsi#ility o! ensuring that the content provides opportunities !or the students to a&i ise learning% Thus the content ust not only #e capa#le o! involving and e&tending the stu dents, #ut it should also suggest dra atic situations $ith $hich the developing students $ill #e a#le to cope% The pre viously cited e&a ple o! *eathcoteEs students atte pting unsuccess!ully to deal $ith grie! in the dra a is one instance in $hich the content gave rise to a dra atic situation $ith de ands clearly #eyond the capa#ilities o! the students% "hoice o! content there!ore, $ill have a direct #earing on the Wuality o! dra a in the lesson and its potential to e&tend the studentsE e&periences% "are!ully selected content and a teacher $ho has con!idence in anipulating it $ill #uild a !ir #asis !or the e&pressive act and the learning associated $ith it% I! the dra atic content is selected !ro events close to the studentsE su#'ective e&periences, it ay prove di!!icult !or in@ dividuals to ove into dra atic action in $hich !eeling responses are appropriate% (o e content used to e&plore social issues places students in situations $hich are Etoo close to ho eE e otionally !or the to enter !ully the arti!icial reality o! the dra a% On the other hand, dra atic content selected !ro events too re ote !ro the studentEs personal e&periences ay also result in dra atic action that has no ring o! truth or dra atic integrity% "ontent $hich evo/es intense and co ple& e otional responses too !reWuently destroys dra atic action in the classroo % lDisaster dra aE that e&plores topics

A$nda)entals o2 the 3ra)a

69

such as nuclear holocausts, ship$rec/s, deaths and a ultitude o! other sensational events reWuires a great deal o! s/ill and sensitivity #y the teacherFplay$right i! the student actors are to engage in eaning!ul dra atic activity% It ust #e the teacherEs responsi#ility to understand the dra atic process and anipulate content in such a $ay that it provides the appropriate #ase !or dra atic engage ent% Understanding so ething o! the studentEs su#'ective reality and the /ind o! issues that interest the $ill ean the teacher has a greater chance o! providing appropriate dra atic con tent% There is a great deal o! con!usion in teachersE and studentsE inds a#out the Wuality o! e otional input needed !or the dra a% There is 'ust as uch dou#t, too, a#out the type o! content li/ely to achieve this% One thing is certain0 the teacher ust #e constantly in search o! content aterial that is #road in its range o! e&perence and varied in its !or o! presentation% To rely on the e&periences that students and teacher carry $ith the as the sole eans o! structuring dra a is a very rando and super!icial $ay o! approaching the dra atic process% "o ple&ity and richness o! content that a/es !ir lin/s $ith the e&periences o! the participants is essential to the a/ing o! good dra a% "ontrary to popular #elie!, dra a is not contentless, it is content dependentM #ut #ecause the individualEs e&perience ust lie at the centre o! dra a, curriculu content $ill not #e prescriptive% This does not ean, ho$ever, that choice o! content can #e ignored as i aterial% Teachers, li/e play$rights, pay ho age to the i portance o! content $hen they associate the selves $ith the arti!icial $orld o! the play% Dra a ust #e a#out so ething\ Dra atic content ust #e capa#le o! tapping into the e&periential reality o! students in order to ove #eyond it%

Dra atic (ituations I! $e consider !or a o ent the arti!icial $orld o! the play, it is i possi#le to avoid $ondering at the i agination and artistry o! a $or/ such as 9edip$s Iex8 It is also so e$hat
daunting $hen $e tal/ in the sa e #reath a#out dra a teachers% O#viously, i! $eEre seeing ourselves as needing to #e so ething o! a (ophocles, (ha/espeare or +ec/ett, $eEre all !ailures #e!ore $e #egin% 1hat does see to #e $ithin our grasp ho$ever, is an understanding o! the #asic principles that in!or the structuring o! the dra a%

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers A$nda)entals o2 the 3ra)a Dra atic Action Dra atic actions are the concrete, physical e&pression o! roleM they give dra atic !or to a#stract thoughts and !eelings and are there!ore sy #olic and eaning!ul% Dra atic actions arise out o! dra atic situations and #ring li!e and interest to the dra atic event% Dra atic action ay #e totally spontaneous and i provised or ti e ay #e spent planning and rehearsing the dra a% Usually, classroo dra a is ini ally rehearsed or totally spontaneous% Per!or ance o! scripts is ore o!ten intensely rehearsed, especially !or !or al theatre%
68

Dra atic action is #uilt around the $illingness o! actors to e&press personal !eelings honestly and to accept and develop ne$ responses in relation to the actions o! others% 1ithout this supportive #uilding the dra a $ill lac/ unity and su#stance% Artistic sincerity and truth!ulness o! dra atic action is also o! pri e i portance to the integrity o! the dra a% It is !or this reason that a director $or/s closely $ith actors in preparing the !or per!or ance% Dra a teachers should nonetheless #e interested in the sincerity and truth!ulness o! dra atic action% +ut $hereas the director has one clear goal o! per!or ance is ind, the goals o! the teacher vary, odi!ying the orientation o! the action and the criteria #y $hich the Wuality o! the dra a is 'udged% Dra atic action is e&periential, co unicative and e&pressive in nature% In pursuing speci!ic learning goals, dra a teachers are a#le to e phasise one particular orientation o! the dra atic act, thus changing the /ind o! thought and !eeling processes reWuired in the particular dra a e&perience, E&periential Dra atic Action An e&periential e phasis in the dra a stresses the i portance o! the individualEs e&perience $ithin the role% 1hat is understood a#out the !eelings, actions and ideas con!ronted during the dra atic action is #oth the eaning and the purpose o! the dra a% The a/ing o! personal eaning, or learning a#out the sel! and the $orld, is ore i portant than !inding an artistic !or $hich $ill co unicate i ages and eaning to an audience% Dra atists o!ten clai that this type o! action is closely related to the childEs dra atic playing% 1hat the teacher loo/s !or in the $or/ o! the students is a#sorption and co it ent% E&periential dra atic action is usually o! an i provised !or , although it is true that the sa e !ocus can also #e In the !irst instance the dra atic situation is an i aginative conte&t arising out o! perceptions o! the events o! real li!e% "ontrivance o! this i agined and arti!icial li!e uses the ele ents o! the art !or , as distinct !ro the actual !eelings and desires that govern real@li!e situations% (econdly, a dra atic event -the play or classroo dra a. is co prised o! a nu #er o! dra atic situations $hich give !ocus to the dra atic content and o!!er ne$ insights into its eaning% To this end, the dra atic situations ust aintain a sense o! unity and direction% Participation in one dra atic situation should sti ulate a$areness and #uild resources !or involve ent in the ne&t% This interlin/ing and interdependent relationship #et$een situations is vitally i portant in esta#lishing artistic unity and eaning% Thirdly, the creative tension that evolves !ro the erging o! t$o opposing realities -real li!e and dra@ atic li!e. is !urther heightened #y conscious anipulation o! the ele ents o! the art !or so that particular dra atic situations are elevated in their signi!icance, And !inally, in heightening the dra atic signi!icance o! given situations, the nature o! the characters $ho people the dra a is o! pri e i portance% The selection o! the particular conte&t = the setting o! the dra a = is one thingM the personal situation o! the character is another% (o it is that a $ould@#e assassin plays host to his proposed victi in lavish and $ar surroundings% The resulting dra atic tension is su#tle and i ediate% A ne$ perspective on the dra atic content is evident% Dra atic situations ust there!ore #e contrived to this artistic and eaning!ul end\ A play$right can not assu e that a potGpo$rn o! dra atic situations can #e placed #e!ore an audience and
trust that the rest $ill ta/e care o! itsel!% On the contrary, the play$right ust shoulder the responsi#ility o! providing a $or/ $hich $ill invite, challenge and involve others in its e&perience% Teachers ust shoulder this sa e re sponsi#ility% They cannot assu e that their students $ill a/e eaning!ul connections #et$een dra atic situations consisting o! super!icial and

disparate e&periences% )or can students #e e&pected to intuitively understand ho$ to contrive dra atic situations in order to e&plore content $ith satis!action% These are !unctions $hich the teacher ust #e prepared to !ul!il% At ti es this $ill ean that a relatively detailed scenario, $hich hones in on speci!ic e&periential learning, $ill #e contrivedM at others, #are #ut signi!icant dra atic situations $ill #e needed% The play$right o!!ers a odel !or this particular teaching !unction%

6;

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers AA

A$nda)entals o2 the 3ra)a E&pressive Dra atic Action

E phasis on e&pressive action de onstrates a consciousness o! the ele ents o! the art !or as the rules o! the ediu through $hich the individualEs inner thoughts and !eelings $ill #e pro'ected and e&pressed% Feeling and !or are !ashioned together so that the relationship #et$een the individualEs su#'ective and o#'ective realities, #et$een real li!e and arti!icial li!e, is consciously realised% In e&pressive dra atic action, there is little li/elihood that the presence o! an audience $ill carry su!!icient in!luence to distort eanings carried #y the dra a% In !act, ne$ and varied e&periences are sought $hich test and challenge the individualEs developing capacity !or e&pressive action% Per!or ance o! e&isting dra atic $or/s, o!ten scripts o! co ple& sy #olic eaning, ove the students into real s o! thin/ing and !eeling not previously encountered in their dra a% Analysis and criticis o! dra atic literature and theatre is an i portant ad'unct to the learning processes o! e&pressive action% The social, cultural and artistic levels o! eaning in this realised !or are an i portant e&tension o! the studentsE dra atic develop ent% The critical and appreciative perspective on dra a !urnishes the students $ith an a#stract /no$ledge a#out the dra a% 2no$ledge $ithin the dra a is #alanced and enriched #y this critical appreciation% O! course the reverse is also trueM /no$ledge !ro $ithin the dra a gives richness and #alance to /no$ledgeE a#out dra a% +oth processes are essential to !ull artistic /no$ledge% In e phasising a particular orientation o! action, the dra a teacher is guided #y the needs o! di!!erent student groups% Their changing capacity !or role ta/ing in!luences the e&tent to $hich any aspect o! dra atic action can #e e!!ectively used% 1hatever orientation is e phasised ho$ever, the teacher $ill need to help the student !ind appropriate involve ent in the action% The role o! director o!!ers a odel !or this teaching !unction% "onventions o! the Dra a Ulti ately dra a as/s participants to straddle the !orces o! reality and unreality% This is the constraint that !ocusses and gives artistic li!e and signi!icance to the dra a% This is a $orld $here, in (tanislavs/ian ter s, $e #ehave Eas i! things $ere really happeningE% It is the real o! childrenEs a/e@#elieve, o! Dorothy *eathcoteEs E#ig lieE, and o! $hat is !reWuently re!erred to as the E$illing suspension o! dis#elie!% achieved in dra a that is rehearsed% Living through the dra a e&perientially and spontaneously o!!ers a&i u potential !or individuals to test the e!!ect o! their responses upon the direction and outco e o! the dra a% "o unicative Dra atic Action 1hen co unication to others is e phasised in the dra a a ore distant spectator stance is needed in the a/ing o! the dra a% This o#'ectivity !orces a ne$ perspective on dra atic action%

1hether the action is spontaneous or planned is o! little conseWuence, since the processes o! thought and !eeling are no$ odi!ied #y the e&ternal reality o! an audience% Ideas and !eelings ust #e shaped in such a $ay in the dra a that they represent eanings to onloo/ers rather than directly e&pressing e&perience% Despite the desire to co unicate personal eanings that are held to #e i portant, the pu#lic and social nature o! the e&perience i poses a !urther e&ternal consideration on the students% )ot only ust the dra a clearly represent ideas, #ut it ust #e such that it $ill #e !avoura#ly received #y the audience% Personal and social realities that operate $ithin the group $ill #e a a'or in!luence on the $ay ideas are given dra atic !or % +eing E2ingE or E"lo$nE $ithin the dra a ay have ore to do $ith the nature o! peer@group relations than the dra atic representation o! personal e&periences and ideas% "o unicative dra atic action leads to a consciousness o! ho$ the dra a loo/s, rather than ho$ it !eels% 1hen the appearance o! the dra a is e phasised, an understanding o! the art !or ele ents and the dra atic s/ills o! individuals are called into !ocus% Maintaining a relationship #et$een the eaning o! the dra a and its co unication is i portant i! integrity o! dra atic action is to #e preserved% I! a$areness o! audience is $hat gives rise to the shape o! the dra a, then the learning is clearly o! Wuite a di!!erent nature% *o$ to e&ploit dra a !or oneEs o$n gains ay #e the a'or lesson learned% The Wuality o! sincerity and truth in co unicative dra atic action is related to the $ay the eaning is represented% "oncrete i ages ust #e Etruth!ulE enough to evo/e artistic #elie! in the , Dra a that is pri arily a response to the social reality o! its audience ore o!ten carries a Wuality o! pre@cocioustiess and play acting = control o! the artistic ediu disappears% Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers Participation in a dra atic event, then, reWuires individuals to a/e a conscious co it ent to #ehaving in a anner $hich allo$s the creative act to happen% For so e, young children !or e&a ple, this setting aside o! the nor al rules o! reality in order to live through an i agined reality is not an issueM perceptions o! $hat is real and $hat is not are readily incorporated into the $ider sche e o! things% Many individuals, ho$ever, are shy o! actively co itting the selves to an unreality such as dra a% It is easy enough to EconE so eone #y #ehaving in a !ictitious $ay -the $hite lie., #ut it is uch ore di!!icult, indeed pointless, i! you /no$ that so eone recognises your act as !ictitious% To change the tone o! the interaction, #oth parties ust agree to #ehave in a li/e annerM #oth ust agree to participate in the EconE -Ethe #ig lieE.% The instant this agree ent is ade, di!!erent eanings accrue to the situationM the !ictitious #eco e part o! a ne$ reality, an arti!icial reality lived through in the present% In this sense, 1arren Lett -59>6., denies the validity o! notions o! a/e@#elieve in dra a% EThis is not a a/e@#elieve reality, it is an actual pheno e@nological e&perience o! sel! in a/ing % % % although the e&ternal is i aginary, the e&perience is actualE, -p% 5B. Many students in the classroo !ind the present reality o! the e&perience very threatening% In !act, sel!@consciousness do inates the e&perience, a/ing participation and co it ent e&tre ely di!!icult% To help overco e this di!!iculty teachers need to /no$ ho$ to provide personal security !or their students in a potentially threatening situation% *elping the students

understand $hat is reWuired o! the in the a/ing o! dra a is !unda ental% 2no$ing Ethe rules o! the ga eE -"ourtney, 59>:5 o!!ers security and control !or #oth students and teachers% The a/ing o! dra a cannot #e seen as a ysterious process that de!ies the e&istence o! any guidelines and accepts any interaction as valid% (uch guidelines ust #e intrinsic to the nature o! dra a and not si ply e&trinsic rules set to aid general classroo control% A consideration o! role ta/ing, i provising and the creation o! eaning $ill give rise to these Erules o! the ga eE% An audience in dra a ust also participate appropriately in the dra atic event% In theatre, !or e&a ple, e #ers o! an audience understand that they ust tacitly agree to #e passive participants in the role relationships% Their responses are constrained and !ocussed #y the nature o! the dra atic event% I! a e #er o! the audience $ere to invade the acting space, dra atic co unication and sy #olic eaning $ould A$nda)entals o2 the 3ra)a
AB #e destroyed% "onversely, i! the theatrical event is designed to use audience responses and the audience do not respond, sel!@ consciousness $ill predo inate a ongst the participants, again destroying the dra a% In #oth situations, inappropriate responses result !ro a con!usion a#out ho$ to #ehave $ithin the event% "lassroo audiences also need to have access to these conventions o! dra a% +ecause the teacher understands $hat is reWuired i! speci!ic learning o#'ectives are to #e et, it $ill #e up to hi Fher to e&plicitly teach students a#out this aspect o! dra a% It is a part o! classroo dra a that reWuires clear, !ir and sensitive leadership%

Class+f,+ng $rama Act+-+t+es

1hen $e spea/ o! doing dra a, certain ele ents have co #ined to #ring a#out a creative tension $hich carries the potential !or sy #olic learning% The dra atic event itsel! is the $ay o! /no$ingM re!lection on the dra a occurs to a/e the learning e&plicit% In the dra a classroo , ho$ever, teachers use a range o! activities $hich !all outside this description o! dra a% Many o! the ga es and e&ercises re!erred to in chapter 5 are e&a ples o! non@dra a events used to develop personal s/ills as varied and co ple& as co unication, co@ordination, spontaneity, i agination and sel!@/no$ledge% (o e activities are also used speci!ically to develop the e&pressive s/ills o! voice, ove ent and i provisation% 1hen these ga es and e&ercises are analysed in ter s o! inherent sy #olic eaning and Eas i! Wualities o! e otional involve ent, they cannot #e classi!ied as dra a per se8 On the other hand, so e activities ove participants into areas $here the pursuit o! Wuite speci!ic technical and art !or s/ills is called !or% Puppetry, dance and i e, !or e&a ple, de and that individual s/ills #e used in e&pressive !or s Wuite di!!erent !ro that o! EactingE% I! such !or s, there!ore, are to #e used $ith a satis!actory level o! personal control and e&pressive con!idence, ne$ a$arenesses and /no$ledge have to #e acWuired% In using any o! the a#ove activities, decisions a#out dra a o#'ectives, their priorities and ho$ uch ti e to devote to the , have to #e ade, It a/es sense that a dra a@in@education curriculu ought to use the a'ority o! its ti e to achieve learning through involve ent in dra a, rather than other vaguely associated tas/s% It !ollo$s then, that $hatever the activity o! the classroo , its relationship $ith dra a needs to #e understood% It is one clear $ay that $e have o! /no$ing $here $e are in ter s o! curriculu planning and the develop ent thro$Bh
dra)a o! our students%

Dlassi26inB 3ra)a 4cti:ities

A?

The nature o! activities and the purposes !or $hich they are used can #e classi!ied as either Eco ple entaryE, EpreparatoryE or E!ringeE in their relationship $ith dra a%

"o ple entary Dra a Activities $hich are co ple entary in their relationship $ith dra a have the potential to directly enhance the e&pressive Wuality and eaning o! the dra a, yet in the selves ay not constitute participation in the dra atic event% These activi@ ties, ho$ever, are an essential part o! any dra a class and ay o!ten #e very ti e@ consu ing% Jer#al and $ritten language tas/s and activities to develop s/ills in theatre cra!ts are the ost o#vious e&a ples o! co ple entary dra a% Oral Language _ 1ords are the ost accessi#le currency !or co unicating ideas, clari!ying thoughts and sharing e&periences in relation to the dra a, (tudents need to tal/ a#out the a/ing o! the dra a, a#out the signi!icance o! interactions $ithin it and certainly a#out ne$ eanings that ay have evolved as a result o! the e&perience% In addition, #oth teacher and students rely on state ents and Wuestions as essential aids in #uilding #elie! in characters and situations% Regardless o! the particular o#'ectives o! the dra a, discussion, Wuestions, state ents and instructions are reWuired as an ad'unct to it% This is not to say, ho$ever, that any tal/ $hich happens is auto atically capa#le o! servicing the dra a and its learning% All tal/ is constrained #y the !ocus o! the dra a and the clear intention o! using $ords as a $ay o! i proving the e&pressive e&perience o! the dra a and its eaning% The responsive leadership o! the teacher is e&tre ely i portant in this sense% (topping discussions $hich have strayed too !ar !ro the !ocus o! the dra a is not in itsel! so e /ind o! a$!ul authoritarianis % (tate ents $hich are clearly Ered herringsE or tenuous in their relationship $ith the dra a $ill not i prove the Wuality o! $or/ or the individualEs learning% Instead o! co ple enting the dra a, the discussion si ply ta/es on a li!e and eaning Wuite separate !ro the dra atic event% Tal/ in dra a is clearly lin/ed $ith /no$ing through the e&perience o! the dra a% 1ritten Language0 Reading, E2iting, Research These A rEs o! classroo activity are other valua#le aids to the a/ing o! good dra a% (o eti es the teacher ay si ply read a story or poe at the #eginning o! a lesson to A>
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

otivate interest andFor #roaden the o#'ective e&periences o! the group% Alternatively, the dra a itsel! ay sti ulate students to do their o$n reading and research% The use o! $ell@chosen resources provides a rich input $hich co ple ents the learning #y ensuring that things not already /no$n have a chance to deepen and e&tend the dra a e&perience% In this $ay, i! #oth teacher and students engage in research, a range o! personal, social, historical, political, cultural and theatrical perspectives can #e gained% Tas/s ay range !ro si ply cutting out a ne$spaper ite on a particular issue to the detailed study o! an aspect o! political po$er% 1hat re ains i portant is the need !or its dra atic e&perience to #e central to the tas/s and the learning% 1riting activities ay #e adopted to help plan the dra a, deepen co it ent or perhaps advance the action% +rainstor ing, !or e&a ple, provides a use!ul $ay o! allo$ing students to share ideas and e&plore avenues !or the !ocus o! the dra a% This #eginning provides a ore representative and realistic #asis !or negotiating $hat the dra a $ill #e a#out% 1hen the dra a is

a#out to #egin, students ay #e as/ed to $rite do$n i portant details o! their character as a !oundation !or esta#lishing and sustaining role% During the dra a, a deeper co it ent to role and situation is gained $hen students, as speci!ic characters, are as/ed to $rite letters, reports or diary entries, !or e&a ple% Individual characters or groups $ithin the dra a ay !ind the selves $riting legends, or perhaps rules and la$s $hich advance the plot o! the dra a and govern the actions o! the participants% O! course it is !easi#le that other $riting ay occur in re@r lation to reading and research activities% Teachers at ti es prescri#e tas/s !or students to do #e!ore speci!ic dra a e&periences% One group o! year 5: students, $ho $ere doing dra a a#out co petition and sport, $ere reWuired #y their teacher to attend a 'unior sporting event and $rite a#out an incident $hich they !elt thre$ so e light on the su#'ect% These detailed o#servations added real insight into the content they $ere e&ploring, and at the sa e ti e provided a concrete #asis !or so e satirical dra a% Recently, log #oo/s and dra a diaries have gained popularity $ith teachers as $riting activities% These are designed to co ple ent the learning in dra a via the process o! re!lection% (tudents are usually reWuired to record the activities o! the lesson, co ent on their participation in the and evaluate the e!!ectiveness o! the dra a in sti ulating learning% +ecause o! the di!!iculty o! these de ands, students at 'unior secondary levels arc o!ten only reWuired to record $hat Dlassi26inB 3ra)a 4cti:ities A:
happened, ta/ing turns at $riting up and reading out the description o! the lesson% 1hilst there is no dou#t that at ti es such activities can #e a real help in co ple enting the action and learning in dra a, it is eWually true that a closer e&a ination o! the tas/ ay reveal little or no such relationship% I! the $riting is to #e a eaning!ul e&ercise, a great deal o! care!ul guidance is needed !ro the teacher%

Theatre "ra!ts Activities $hich develop /no$ledge and s/ills in theatre cra!ts do not depend on role relationships as the ediu o! learning, yet the application o! these s/ills ay have a direct #earing on the Wuality o! the dra a% 1or/ related to a/eup, as/, costu ing, set design and lighting !all into this category% R At ti es, aspects o! these cra!ts are used to otivate students, !ocus energy and gain co it ent to the dra a% Di!!erent coloured green lights can certainly help #uild #elie! in the agic !orest or tropical 'ungle% The cloa/ o! the /ing or the $hite coat o! the pro!essor ay provide an i portant step in the process o! esta#lishing roles and characters% 1hen used in this $ay, ho$ever, interest and involve ent in the dra a can 'ust as easily #e $ea/ened or destroyed% A preoccupation $ith these dra a cra!ts ay overshado$ all other considerations% A group o! year ? students, !or e&a ple, $ho $ere allo$ed to used the costu e #o& to help #uild a dra a a#out 2eystone cops, co pletely lost the !ocus o! their $or/ #ecause the !un o! dressing up and seeing $hat their !riends loo/ed li/e provided a stronger otivation !or action than #eing 2eystone cops% Despite such occurrences, though, these theatre aids can $or/ e!!ectively to co ple ent the dra a i! they are used $ith care!ul restriction% Jery sel!@conscious and disparate social groups o! students o!ten !eci less personally threatened #y the dra a $hen their involve ent is supported #y the use o! these aids% I! the develop ent o! s/ills in theatre cra!ts #eco es an end in itsel!, ho$ever, and participation in dra a happens only at this technical cra!t level, then clearly the individualEs learning $ill not #e directly related to /no$ing through role re@

lationships $ithin the dra atic event% Rather than these activities #eing classi!ied as co ple entary dra a, they $ill have assu ed a learning status o! their o$n as Etheatre artsE, Etheatre cra!tsE% Only $hen these s/ills and /no$ledge are used to enhance the direct e&perience and eaning o! the dra a can these cra!ts #e seen as co ple entary dra a% A5
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

Preparatory Dra a A ultitude o! si ple ga es and e&ercises co e under this heading% Ostensi#ly the activities are used to develop those s/ills and a$arenesses that any teachers !eel are necessary #e!ore the group can #egin doing dra a% Interpersonal co @ unication !or e&a ple, concentration, i agination, spontaneity, group trust and co@operation, and the e&pressive s/ills o! voice language, ove ent, i provisation and characterisation% Activities are usually short ter and they can #e repeated several ti es, i! not endlessly% Fun and si plicity are i portant selection criteria although so e EdrierE s/ill drill is so eti es considered to #e EnecessaryE% Li/e edicine, it ay not #e very pleasant, #ut it is good !or you\ Role relationships, i! present at all, #ear only a tenuous lin/ $ith an Eas i! reality% The !unction o! the activities is clearly one o2 preparation% and any relationship $ith the Wuality and eaning o! dra a is tangential% (/ill Develop ent Many o! the activities re!erred to in dra a !or personal develop ent and therapy are standard approaches !or preparing students !or doing dra a% There are e&ercises o! all /inds, designed to isolate the senses, the ind, the uscles, the li #sM ga es that range !ro the stillness and concentration o! Assassin, to the physical, energetic Tag and the interpersonal inti acy o! Musical 2neesM #lind!old activities $hich see/ to develop trust and co unication $ithin the groupM rela&ation and E ind tripsE to develop i agination and instruction ga es to sharpen responses and develop spontaneity% Dra a #oo/s are availa#le o!!ering a range o! ideas !or developing instant progra es #ased on the notion that these activities are essential to any dra a progra e, yet clearly $e are still a long $ay !ro dra atic learning% I provisation ga es and e&ercises designed to develop e&pressive s/ills appear to ove closer to dra a, #ut although so e vague thought o! role and Eas i! situation is present, they are o!ten too loosely developed to a!!ord signi!icant dra atic learning% It ay #e the case that astering the particular s/ill o! spontaneity and cleverness o! dialogue do inates the individualEs thin/ing and learning% The popu@ lar i provisation ga e, Is that your % % %H illustrates the point0 one e #er o! the group #egins the i provisation #y as/ing, !or e&a ple, EIs that your elephant on the !ootpathHE Another ust spontaneously respond and develop the i provisation% 3uic/, clever and hu orous dialogue is valued and players easure their s/ill develop ent in these ter s% Dlassi26inB 3ra)a 4cti:ities %1 All the a#ove activities share the !unction o! preparing the individual and the group !or dra a% 1hether or not this preparation is e!!ective or not is Wuestiona#le, #ut its ost negative aspect is that progression into dra)a is o!ten i possi#le% Even $hen the teacher $ants
to ove on, the students see hoo/ed into a ga es and e&ercise syndro e and resist other $ays o! $or/ing% 1hat #egan as preparation !or the dra a #eco es the dra a\

1ar @ups

3uite apart !ro the develop ent o! a $ide range o! s/ills, preparatory dra a is o!ten used as a #eginning to the dra a session% The traditional ten@ inute E$ar upE co #ines si ple e&ercises and short ga es as a eans o! li #ering up, !ocussing energy, developing concentration Rind generally getting in the ErightE !ra e o! ind !or the dra a that !ollo$s% More o!ten than not there is no direct lin/ #et$een the preparation and the rest o! the lesson% (tudents o!ten choose $hich ga e they $ant to #egin $ith and this ight #e #alanced #y a teacher@directed ove ent isolation e&ercise% Little i pact is ade on the Wuality o! $or/ in the rest o! the lesson% I! the $ar @up activities are to have a legiti ate !unction, then the ensuing dra a should #e the criteria used !or their selection% For e&a ple, a group o! year > students $ere to do dra a a#out asse #ly line $or/ers in a eat !actory -pro pted #y the /angaroo eat e&port scandal.% They spent !i!teen inutes on preparatory dra a, #ut the teacher handled the $ar up in such a $ay that it oved into a direct and co ple entary relationship $ith the dra a% The students E#uiltE the i aginary !actory !loor, chose their individual tas/s on the line and then spent ti e on ove ent $or/ designed to !ocus energy and develop speci!ic actions% To help sti ulate and re!ine ove ent responses the teacher paid attention to the senses #y developing, $ith the students, i ages appropriate to the tas/s = Eheadless !roien carcassesEM Egrey steel pulleys $renchingEM E#ac/ #rea/ing $eightEM Esharp #lades slicingEM E onotonous sorting o! #onesE% These i ages !ocussed energy, developed e&pressive s/ills and #uilt #elie! in the dra a% Ti e spent on unrelated $ar @up activities $ould not have prepared these students nearly as e!!ectively% Fringe Dra a This classi!ication o! dra a re!ers to e&pressive activity $hich has its o$n distinctive artistic !or and language% Under this heading co e puppetry, dance, i e, clo$ning, usic and 86
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

art% Although role relationships ay #e used in the activity, the e&pression and co unication o! eaning does not occur through the ediu o! acting in an Eas i! reality% Rather, the develop ent o! role assu es a ore arginal, indirect re@ lationship $ith the e&pression o! eaning% I! dra a is used in the pursuit o! these e&pressive !or s, it is used as the eans to another artistic end, a tool $hich sti ulates e&perience and e&pression o! a di!!erent order% Artistic Process and For )o$ there ay not see to #e anything particularly i portant a#out identi!ying so e !or s o! dra a activity as E!ringeE in nature% A!ter all, dra a is used as a tool to service learning in other areas o! the curriculu , so $hy shouldnEt it do so here $here it appears to #e uch closer to its artistic ho eH The reason is si ple and practical% More o!ten than not, neither teacher nor student su!!iciently understands the nature o! the art processes and the learning encounters arc ha strung at an Ee&ploratory, play!ulE phase $hich #eco es cu #erso e and !rustrating% The particular ediu o! e&pression !ails to achieve artistic integrity and signi!icance, and personal eaning is lost% In itsel! this ay #e e&cused as 'ust a !e$ lessons $hich never see Eto get o!! the groundE #ut un!ortunately, any dra a progra es include units o! $or/ or i e, puppetry, clo$ning and dance, !or e&a ple, as a atter o! course% 1hat can easily

happen is that uch ti e is spent engaged in activities $hich have little relationship $ith dra a or these art !or s% In the classroo , students can #e !ound Eacting outE situations in i e $hich are ore a/in to a ga e o! charades than an e&perience in i e% (i ilarly, it happens $ith puppetry that a great deal o! ti e is spent constructing the puppet and any e phasis on the e&pressive co unicative !or , and dra a, is to/en% A s all group EplayE ay #e acted out at the end o! the puppetry class, $ith dra atic or artistic pro#le solving very lo$ on the learning scale% At #est in these pursuits, the individual is involved in !ree, hope!ully creative play, at its $orst, un!ocussed energy results in e&pedient decision a/ing $hich is artistically eaningless% The end product o! such activity is o!ten regarded $ithout respect and so eti es $ith !rustrated e #arrass ent% "learly, i! the creative and educational e&perience is to #e signi!icant then, !irstly, the nature o! the particular artistic process and the !or o! its e&pression ust #e ac/no$ledged as !unda ental% And secondly, dra aEs relationship $ith that process ust #e clari!ied and ade e&plicit in the e&perience% Dlassi26inB 3ra)a 4cti:ities AA
Other$ise, the student is li/ely to leave as one leaves the s orgas#ord !east = having parta/en o! an endless range o! poten@ tial delicacies #ut $ith no recall o! the !lavours and su#tleties o! any particular one%

Focus on Dra a I! these !or s o! !ringe dra a are recognised !or their o$n nature and used #y the dra a teacher to heighten the Wuality o! the dra atic e&perience, then they ay assu e a less cloudy place in the dra a progra e% 7ear > or 9 students, $ho arc typically pre@occupied $ith hu our and caricature in their $or/, gain satis!action and s/ill develop ent !ro using i e techniWues to highlight the e&aggeration% (i ilarly, individuals $ho lac/ con!idence in using role ay #e encouraged into dra a through a $ell@considered uie o! puppets or other art !or s% In the videotape
Thro$Bh the LookinB Glass% the year 9 students arc led into the dra a via the construction o! li!e@siie, cut@out characters% There is no dou#t that the art e&perience $or/s e!!ectively to aid the dra atic processes and heighten the Wuality o! learning% The art pieces in this dra a helped to #uild character and co it ent $hilst constantly serving to re ind the students that they $ere involved in a creative ediu $hich they the selves $ere e&pected to anipulate and control in the pursuit o! eaning% Perhaps it is signi!icant that the dra a teacher, in this instance, is also a teacher o! art% It appeared that E ily Par/er, unli/e ost dra a teachers, $as con!ident in her /no$ledge o! the art process, its !or and its relationship $ith the dra a% In the sa e $ay, the dra a teacher $ho has, !or e&a ple, also studied dra atic literature, or dance, can #e e&pected to have acWuired the necessary s/ills and /no$ledge o! these art !or s to #e a#le to used the soundly to sti ulate the studentsE individual dra atic develop ent%

(i ulation ,a es Although the $ide range o! si ulation ga es availa#le does not readily !it the earlier description o! !ringe dra a, this !or o! activity also needs to #e scrutinised to sec ho$ it relates to dra a% There is a considera#le #ody o! literature $hich e&plores the relationship #et$een play, ga es and dra atic activity% (trong lin/s e&ist #et$een the psychological and social develop ent o! the child and such activity% 4ohn Deverall -59>5. highlights and e&tends this relationship, pointing out that any teachers are attracted to the use o! si ulation ga es in the classroo #ecause they Eprovide the teacher $ith AA Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers a co paratively controlled and predicta#le environ ent in $hich to $or/E% In this sense, there is no dou#t that the ga e $ill%

E% % % o!!er an easy solution to t$o very pressing classroo pro#le s = otivation and anage ent % % % particularly $ith those teachers $ho !eel unsure o! the selves and o! their ethods and aterials%E -p% A9. On the sur!ace, si ulation ga es appear to o!!er all the ingredients !or good dra a = content, role relationships, an Eas i! reality, and the Erules o! the ga eE% "loser analysis reveals, ho$ever, that these rules o! the ga e are not ce ented in the conventions o! the dra atic event, #ut rather are the highly speci!ic guidelines that control and dictate interactions $ithin the ga e so that predeter ined learning can occur% The rules ust carry the capacity to engage the e otions o! the participants and strongly otivate their involve ent% Teachers ust assu e the role o! re!eree, and intervene only $hen a stated rule has #een transgressed and is li/ely to un@ der ine the o#'ectives o! the ga e% "learly the anage ent o! the class is straight!or$ard = the usual uncertainties o! the dra a and constant decision a/ing are re oved% Playing the ga e, ho$ever, has little to do $ith dra a and the creation o! eaning through role relationships, !or role develop ent is su#verted #y the notions o! ga e and rules% Dra atic action does not occur as a result o!EcharactersE responding to one another or to the anipulation o! artistic ele ents% "haracters, or roles, can only #e developed in response to the rules o! the ga e% The disconcerting #y@product o! this structure is that the personal and social realities o! the group cannot there!ore #e transcended su!!iciently to provide the protection and sa!ety that is possi#le in dra a% Individuals !ind the selves trapped in a ra$ e otional e&perience $here the ost i portant o#'ective, !or e&a ple, is li/ely to #e the accu ulation o! to/ens, o! $inning the ga e no atter $hat% Ostensi#ly the si ulation ga e e&plicitly teaches to$ards its learning !ocus, #ut in reality the ga e itsel! #eco es the !ocus, $ith e otion and action tied to the rules o! the ga es rather than its content or its roles% An educational point ay #e ade #ut an artistic one $ill not\ 1hatever activity is happening in the dra a classroo , its relationship $ith dra a needs to #e understood% Increased a$areness o! the nature and purpose o! particular activities ust help teachers to clari!y their curriculu decisions and develop con!idence in structuring dra a progra es o! sure!ooted, high Wuality e&periences% (o e activities ight $ell #e discarded !orever, $hile others $ill #e anipulated to Dlassi26inB 3ra)a 4cti:ities
8B AiB$re 5: Dlassi2ication o2 acti:it6 and its relationship ith dra)a

e!!ectively serve the dra a% Figure B illustrates the relationship #et$een the various activities o! the classroo as they have #een classi!ied in this chapter% In Figure B the Dra a circle assu es the do inant position and e&presses the pri ary i portance o! role relationships and dra atic activity in the dra a progra e% This circle contains the !our #asic co ponents o! dra a = dra atic content, dra atic situation, dra atic action and the conventions o! dra a% Lin/ed directly to this action is co ple entary dra a, the necessary ad'unct to the dra a event, although a considera#le proportion o! this activity !alls outside the circle o! dra a and the interaction o! the co ponents% Any preparatory or !ringe dra a has #een anipulated so that its relationship $ith dra a is essentially co ple entary and in part, directly dra atic in structure% (o e preparatory dra a is !ringe in nature and vice versa, such as puppetry, i e or dance, The type o! relationship that is !orged #et$een these activities $ill depend upon the teacher and the e&plicit e phasis and !unction o! th%e #asic dra a co ponents% 1hilst all action is either dra a or co ple entary dra a in essence, it is the do inance o! dra a% AB C
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

AiB$re 6: 3irection o2 c$rric$l$) decisions in dra)a

Dra atic "ontent Q Dra atic (ituation Q Dra atic Action U "onventions o! Dra a

Preparatory Fringe Dra a Dra a and its #asic co ponents that is vital% In planning dra a, the teacher see/s to ensure that these relationships are achieved% Thus the constant pull o! all action is to$ard the goal o! e&@
perience and /no$ledge through dra a% Figure ; represents the direction o! all curricula decisions%

S "o ple entary Dra a Esta#lishing Planning Principles At the outset o! this #oo/ $e #egan a search !or a co on understanding o! dra a in education that $ould provide a clear #asis !or planning and teaching dra a% It is no$ ti e to consider $hat #asic principles can #e esta#lished !ro our analysis o! the activity o! the classroo and the !unda entals o! the dra a in education process% The !ollo$ing principles also serve as a #rie! su ary o! $hat it eans to #e doing dra a%
Principles !or Planning and Teaching Dra a

5 The studentEs /no$ledge and e&perience o! li!e is central to dra a% 6 Dra a is content dependent% A "ontent arises out o! all /no$ledge and e&perience o! li!e% 8 Role relationships are essential to dra a% B Role relationships are created through an oscillation o! the studentEs su#'ective and o#'ective realities% Dlassi26inB 3ra)a 4cti:ities
8?

; Role relationships occur $ithin an arti!icial reality% ? The arti!icial reality o! dra a gives rise to artistic and sy #olic eaning% > Doing dra a ena#les students to learn a#out the hu an condition and the art !or % 9 Dra a progra es ust ac/no$ledge the dra atic develop ent o! students% ust involve students in e&periential, co ust involve students in re!lective action% unicative and 5: Dra a structures e&pressive action% 55 Dra a structures

56 The teacherEs role in dra a is one o! con!ident, responsive and varied intervention% 5A All activity in the dra a classroo B is anipulated to co ple ent the dra a% G

Objectives and

Assessment +n $rama To this point, $e have esta#lished that in dra a students learn a#out the art !or and hu an develop ent through a particular topic $hich is signi!icant and eaning!ul% For this to occur, teachers ust have a set o! learning o#'ectives de@ signed to achieve these ends% It !ollo$s that control o! learning o#'ectives is tanta ount to control o! the dra a curriculu % Further to this, a set o! learning o#'ectives !or dra a $ill ena#le teachers to plan classes and to indicate the range o! activities in $hich the students $ill #e involved%

EIt is very use!ul in dra a to express evaluative and assess

ent criteria in ter s o! speci!ic learning o#'ectives % % % assess ent criteria in relation to those activities are highlighted !or stu dents % @ % o#'ectives provide a convenient $ay o! opening up a progra e to e&ternal scrutiny% O#'ectives provide a succinct overvie$ o! #oth the activities and learning potential o! the dra a progra e% This can #e particularly use!ul !or parents, school ad inistrators and e #ers o! the co unity % % % o#'ectives provide a YgridY to #e laid on dra a e&periences% This grid !orces the e&perience into patterns so that it can #e easily understood% "o ents can then #e ade a#out studentsE $or/ % % % The !or ulation o! educational o#'ectives in dra a pri arily ai s at ans$ering the !ollo$ing Wuestions0 1hat do you $ant to go on in the dra aH 1hat do you $ant the students to learnH % % % o#'ectives $ill there!ore generally direct attention to the tvpe o! activities $hich $ill #e set up in dra a classes%E -McLeod, 59>A. 1hat then, are the learning o#'ectives in dra aH

Learning O#'ectives E./ress+-e and Comm)n+cat+-e $e-elo/ment 5 The dra a ust provide a&i u opportunities !or the students toM E&plore through role a range o! hu an ideas and e&periences !ro any perspectives% 9&Mecti:es and 4ssess)ent in 3ra)a
%9

6 Develop the e&pressive s/ills o! voice, e&plore and e&press hu an e&perience% A Develop the e&pressive s/ills o! voice, co unicate eaning to an audience%

ove ent and i provisation in order to ove ent and i provisation in order to

8 Develop a#ility to receive, o!!er and initiate artistically sincere and logical character actions $ithin the dra atic situation% B Develop appropriate dra atic i ages to e&plore and e&tend the dra a% ; (elect and use appropriate ele ents o! the art !or eaning% in order to $or/ to$ards usic,

? Use other e&pressive !or s -e%g% pyppetry, as/, dance, i e, lighting, set design. to enhance the e otional tone and eaning o! the dra a% Analytical and Evaluative Develop ent :

5 The dra a ust provide opportunities !or the students to re!lect, analyse, evaluate and articulate, orally andFor in $riting, an understanding o!0 the a#ility to sustain and e&tend co structuresM it ent to role $ithin di!!erent dra atic ove ent, voice and

the a#ility to anipulate ele ents o! the art !or through i provisation in order to e&press and co unicate eaningM Personal develop ent in relation to speci!ic dra a o#'ectivesM (el! in relation to the ideas and e&periences o! others%

6 The dra a ust provide opportunities !or the students to select relevant and appropriate data in order to0 e&tend the ideas, the es or concepts o! the dra aM relate and use the data in the dra aM co petently discuss and evaluate the data in relation to the dra a% A The dra a ust provide opportunities !or the students to descri#e, analyse and evaluate orally andFor in $riting, process involved in the creation o! speci!ic products -e% g% as/, costu e, lighting #loc/. related to the dra aM the e&tent to $hich the product !ul!ils its particular ai or !unction in the dra a%

B:

1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

Ela#oration o! the O#'ectives E&pressive and "o unicative Develop ent 5 Perspective = di ension, ne$ angles o! vie$ing% "learly all perspectives interrelate% Focus on a particular perspective $ill alter the content and structuring o! the dra a0 personal perspective, !or e&a ple, police an, !ather, child, 2ingM political perspective, !or e&a ple, ideological approaches to the organisation o! societyM ti e perspective, !or e&a ple, past, present, !utureM cultural e&a ple, co unity, tri#al, national% perspective, !or

6 Dra atic i age = crystallisation o! thoughts and !eelings through role into a coherent, concrete !or % Analytical and Evaluative Develop ent 5 Re!lect = to recall the events and !eelings o! the dra a% 6 Analyse = to divide and e&a ine the various ele ents o! the dra a% A Evaluate = to assess the signi!icance o! the eaning created in the dra a% 8 Articulate b= to clearly e&press thoughts and !eelings% B "o it ent to role = Ethe reconciliation #et$een su#'ectivity and o#'ectivity% The !or er precludes other vie$pointsM the latter is characterised #y detach ent% "o it ent is the a#ility to !ollo$ through the i plications o! a particular stance and a/e it a true and reasona#le course o! action%E -McLeod, 59>:. The A#sence o! ,eneral O#'ectives Dra atic literature in the si&ties and seventies usually listed a set o! ai s and o#'ectives !or dra a% These $ere !reWuently e&pressed in general ter s o! Eencouraging initiative and sensitivityE, Edeveloping leadership s/illsE and Edeveloping the a#ility to $or/ co@operatively $ith other studentsE% +rian 1ayEs
3e:elop)ent% thro$Bh 3ra)a and ost su#seWuent literature stressed the personal develop ent aspects o! dra a $hich, in part, led to the notion that dra a $as aligned $ith the pastoral curriculu o! the school% Teachers regarded general ai s such as Edeveloping personal concentration, use o! senses, -developing. i agination % % % social co unication % % % overco ing sel!@consciousnessE -1ay, pp% 5B;@9. as ends in the selves% I! a child reacted i aginatively in an activity,

9&Mecti:es and 4ssess)ent in 3ra)a 38 then that child had achieved one o! the o#'ectives in dra a% This approach has #een re!lected in al ost all dra a curricula since the si&ties% It is possi#le that this approach arose !ro teachers interpreting (ladeEs $or/ as Eadvocating total !reedo $ithout constraint and then -teachers. $ondered $hy they had discipline pro#le sE -*ogan, 59>A.% I t is clear that teachers $ere devising curricula #ased on personal develop ent o#'ectives rather than
the speci!ics o! the dra a discipline% This e phasis on the personal develop ent aspects o! dra a tended to distort our understanding o! the nature o! dra a and has clouded the process o! content selection% The a#sence o! a dra a sylla#us in ost school appears to support this e phasis% As Pat "oo/ states0

E% % % e&travagant clai s o! $hat could #e achieved in these areas have re ained unsu#stantiated% This do inant trend % % % has also led to a good deal o! vague and o#scure thin/ing a#out $hat is integral to the dra a process% Although it is Wuite proper that dra a should #e child@centred % % % the !ocus should #e on the childEs learning rather than his
aturation

-"oo/, 59>6.

(everal colleges o! advanced education and teacher training institutions esta#lished courses in E"o unicationsE to aid the personal develop ent o! their students% The activities in these courses $ere o!ten isinterpreted as dra a% 3uite o#viously, personal develop ent goals are ones $hich are co on to ost teachers, not, as uch dra atic literature $ould suggest, only to dra a teachers% Dra a practitioners ust recognise the need !or o#'ectives $hich #elong speci!ically to the discipline o! dra a in order to plan eaning!ul and signi!icant lessons !or their students% For this reason the authors have deli#erately o itted general o#'ectives !or dra a% The (ocial *ealth o! the ,roup Again, a teacherEs desire !or a good $or/ing relationship #et$een students in the classroo is co on to all su#'ect areas% English teachers and Maths teachers, !or e&a ple, $ould hope to esta#lish a good $or/ing relationship 'ust as the dra a teacher does% In the past, in dra a, this desire has #een translated into ga es and play activities designed to pro ote social health #e!ore the ErealE dra a can #egin% As $e have entioned previously, in so e circu stances these activities #eca e the dra a progra e% "ertainly, a degree o! social cohesiveness and so e #asic collective co the dra a is necessary !or learning A9
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

it ent to

to occur% The a'ority o! students are Wuite a#le to accept the conventions o! dra a and to !ocus energy on particular tas/s% For the a'ority o! classes, dra a $ill enhance the social health o! the group% It is not necessary, contrary to popular #elie!, to engage in activities designed to instil the Ehealthy attitudesE, o!Eco@ operation5, Esensitivity to peersE, or Ecollective co it entE, !or e&a ple% 4ust as, in English, $hen a s all group o!
students discuss their interpretation o! a poe they si ultaneously develop co dra a, students develop these attri#utes through the dra a tas/% unication and co@operation s/ills, so too in *o$ever, in unusual circu stances, the nature o! the group $ill ean that it $ill not #e possi#le !or the students to understand or apply the conventions o! the dra a% For e&a ple, students in corrective institutions, or in schools $ith a high non@English spea/ing population, or $here there is e&tre e peer con!lict% I n these cases, it is pro#a#ly ore $orth$hile to adopt a di!!erent range o! activities #e!ore the students are e&pected to engage in dra a% The Edi!!erentE activities ay include e&cursions, si ulation ga es designed !or group interaction and co@operation and tea @e!!ort tas/s such as running a panca/e parlour !or the school !ete% It is the teacherEs responsi#ility to deter ine $hich o! these ap proaches is ost appropriate !or the teaching conte&t%

E&a ples o! *igh and Lo$ Achieve ent $ithin the Dra a O#'ectives E&pressive and "o unicative Develop ent any To e&plore through role a range o! hu an ideas and e&periences !ro perspectives0 5iBh achie:e)ent8 Lo

During a role play e&ploring $or/er and anage ent relationships, a year 5: student $as a#le to develop and sustain several di!!erent roles $ithin the dra a = e%g% ,eneral anager, young e&ecutive, ne$ $or/er and union leader%

achie:e)ent8 1hen playing the role o! /ey $or/er in the !actory, a student de onstrated appropriate role #ehaviour #ut $as una#le to sustain co it ent to other roles o! a !a ily e #er, a television intervie$er or a e #er o! the +oard o! Directors%
To develop the e&pressive s/ills o! voice, ove ent and i provisation in order to e&ploreY and e&press hu an e&perience0

9&Mecti:es and 4ssess)ent in 3ra)a $3

5iBh achie:e)ent8 A student in year 56 $as a#le to e ploy a $ide range o! vocal s/ills to clearly e&press su#tleties o! e&perience, $hen e&ploring the role o! a priest, IMW achie:e)ent8 A student al$ays adopted loud, assertive vocal tones regardless o! character or conte&t%
To develop the e&pressive s/ills o! voice, ove ent and i provisation, in order to co unicate eaning to an audience0

5iBh achie:e)ent8

In a year 5: dra a per!or ance involving the selection o! a hu an sacri!ice !or an ancient religious ritual, a student chosen as the sacri!ice oved slo$ly to the altar in a anner $hich clearly co unicated the su#tle range o! !eelings !ro Wuiet courage and dignity, to vulnera#ility and !ear!ul anticipation%

Lo achie:e)ent8 In the sa

e per!or ance, a s all group o! students $ere per!or ing a ritualistic dance as part o! the sacri!icial cere ony% One o! the dancers $ere erely !ollo$ing the ove ent steps o! the dance $ith no a#ility to portray the sense o! a$e, signi!icance and spirituality o! the o ent% To develop the a#ility to receive, o!!er and initiate artistically sincere and logical character actions $ithin the dra atic situation0

5iBh achie:e)ent8 In a year ? i provisation a student playing the role o! a other arrives ho e through the !ront door loo/ing depressed and tired% Another student playing the role o! the teenage son e&presses concern at his otherEs state and says E(it do$n and IEll a/e you a cup o! tea% DonEt $orry, IEll cancel #as/et#all training and get the dinner tonightE% Lo achie:e)ent8 A year ? student playing the role o! a other $al/s
through the door as i! she $ere dripping $et and !reeiing cold% Another student playing the role o! the !ather says, E*ello, you old #ag% LetEs go to the #each !or the dayE% O#viously, this student is not responding sincerely or logically to the i ages created #y the other% To develop appropriate dra atic i ages to e&plore and e&tend the dra a0

5iBh achie:e)ent8

7ear > arc doing dra a a#out a co e orative service e&tolling the heroic virtues o! AustraliaEs notorious #ushranger% )ed 2elly% A student in role as )ed 2elly care!ully plans an a #ush o! the ail coach $ith his !ello$ #ushrangers% The student assertively conde ns the 'udicial syste o! the ti e and rallies support o! the gang !or the planned a #ush%

Lo achie:e)ent8
denied the

Another student in role as )ed 2elly portrays hi

as a #u #ling, incoherent !ool% This

B8

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

9&Mecti:es and 4ssess)ent in 3ra)a 8:

past e&periences o! the character, he deepened his #elie! in the role and $as a#le to !ind ne$ directions !or the dra a% The student e&plained that his character $as al$ays e!!icient and a#le to organise other tea e #ers, so he /ne$ e&actly $hat to do in this situation% (tudent A sustained co it ent to role and e&tended that role #y suggesting that his past e&perience $ould allo$ hi to underta/e repairs i! given three other tea e #ers to assist%

Lo achie:e)ent8 Tea e #er l slouches $ith hands in poc/ets, loo/ing sel!@ consciously at peers and is una#le to respond to the co anderEs Wuestions% This student, in discussion, is una#le to analyse either his use o! role or that o! other group e #ers, *e clearly has a lo$ co it ent to role and is certainly una#le to sustain or e&tend
the role, G To re!lect, analyse, evaluate and articulate an understanding o! the a#ility to anipulate ele ents o! the art !or ove ent, voice and i provisation in order to e&press and co unicate eaning0 through

5iBh achie:e)ent8

A!ter an i provisation a#out children visiting a haunted house, student A articulates the e!!ect o! an une&pected loud screech 'ust as the children crept slo$ly up the stairs% (he !elt that !ear and e&cite ent $ere generated at this point%

Lo achie:e)ent8 "onversely, student l

and a!ter !urther Wuestioning $as una#le to e&tend this response%

erely co

ents upon ho$ stupid Danny loo/ed as Dracula

To re!lect, analyse, evaluate and articulate an understanding o! personal develop ent in relation to speci!ic dra a o#'ectives0

5iBh achie:e)ent8 A year 9 student, a!ter co pleting a !eature progra e a#out Australian heroes, articulates the di!!erences in her a#ility to sustain role during per!or ances as co pared $ith $or/shops% (he stated that her research on the onths leading up to the ,ough 1hitla F'ohn 2err controversy clearly aided her

a#ility to sustain the role o! 2err during $or/shop e&ploration and in the per!or ance% Lo achie:e)ent8 Another year 9 student regards her a#ility to attend all lunchti e rehearsals
on ti e as re!lecting signi!icant personal develop ent% The student did not analyse her li ited a#ility to adopt and sustain role during $or/shop e&ploration o! the per!or ance aterial% Although her punctuality ay have suggested a co it ent to the ideas or the es #eing e&plored, this develop ent is not related to any o! the dra a o#'ectives% 3uite o#viously, the teacher should co end the studentEs ne$@!ound punctuality, as this praise possi#ility !or other students to !eel respect or ad iration !or the could not e&tend the dra a% To select and use appropriate ele ents o! the art !or an% The dra atic i age $as there!ore inappropriate and eaning0

in order to $or/ to$ards

5iBh achie:e)ent8

In a year 5: dra a e&ploring the e!!ects o! conscription on !a ily relationships, a student playing a conscientious o#'ector suddenly Wuells the !a ily discussion #y purpose!ully and reverently placing his grand!atherEs $ritings on the ta#le% *e gently opens the #oo/ and recounts his grand!atherEs !ervent appeal !or non@violent actionY in all circu stances% This student used his grand!atherEs $ords as a sy #ol to encapsulate his !a ilyEs unity and values% *e $as a#le to give a dra atic !ocus to the i provisation and highlight the signi!icance o! his stance%

Lo achie:e)ent8

In the sa e dra a, another student interrupts a tense !a ily discussion a#out the co$ardice o! conscientious o#'ectors #y #ringing in a travelling sales an $ho is selling garden !ertiliser% O#viously, this $as an inappro @ priate use o! the art !or ele ents to $or/ to$ards eaning% To use other e&pressive !or s to enhance the e otional tone and eaning o! the dra a0

5iBh achie:e)ent%

In a year 5 5 dra a a#out child@#ashing and a#use, a student creates a li!e@siied, caricatured parent !igure% This puppet depersonalises the parent !igure and there#y distances the audience !ro the sensitive nature o! the issues involved and, through the !antastical #ehaviour o! the puppet, highlights the grotesWue and pathetic aspects o! child a#use% Lo achie:e)ent8 A student creates a caricatured s all puppet $earing outlandishly enor ous #o&ing gloves% As the parents atte pt to use violence on the child, the puppetEs gloved hands counter all aggressive #lo$s% "learly, the do inance o! the childEs puppet denies the dra a its appropriate !ocus, $hich is the childEs vulnera#ility in child a#use situations%

Analytical and Evaluative Develop ent To re!lect, analyse, evaluate and articulate an understanding o! the a#ility to sustain and e&tend role $ithin di!Ferent dra atic structures0 5iBh achie:e)ent8 85
In a 7ear > dra a a#out setting up an e&ploration tea in Antarctica, tea e #ers are reporting the al!uncation o! a vital generator to the co ander% Tea e #er A Wuietly #ut urgently reports in detail on the al!unction in engine 6% In discussion a!ter the dra a, student A is a#le to identi!y and articulate that, #y dra$ing on the 1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

ay #e a pri e !actor in engaging the student

ore !ully in the dra a%

To re!lect, analyse, evaluate and articulate an understanding o! sel! in relation to the ideas and e&periences o! others0 5iBh achie:e)ent8 A vear ? student, discussing her contri#ution to
the planning stages o! the Ehaunted houseE dra a, co ents that her idea o! !inding a long tunnel that led to a strange, ne$ land $as re'ected #y the rest o! the group, $ho $ere ore interested in !inding "ount Dracula in the house% *o$ever, she also stated that she $as a#le to involve hersel! in the groupEs ideas and !ound that her role o! the victi $as helped #y a !ello$ student, playingEthe rote o! a considerate careta/er% Another student recalls her e&perience o! a novel $here a teenage runa$ay $as !orced to hide in an a#andoned old !ar house% The dra a a#out the Ehaunted houseE highlighted the !ear that the runa$ay !elt $hilst isolated in the !ar house a t night%

Lo achie:e)ent8 Another student $hose ideas had #een re'ected #y -he group $as una#le to contri#ute ideas to the planning o! the E"ount DraculaE dra a and, during discussion, $as una#le to see $hy he $as saiirising the $or/ o! the group% The studentEs involve ent in the role play $as li ited to his i ic/ing o! "ount DraculaEs outh ove ents% To select relevant and appropriate data in order to e&tend the ideas, the es or concepts o! the dra a0 5iBh achie:e)ent8 In a year 5: dra a e&ploring the the e o! the !uture, a student #rings to class an e&tract !ro a current science 'ournal $hich suggests that a hu anEs li!e e&pectancy $ill increase to 5A? years #y the year 6:::% Lo achie:e)ent8 Another student #rings to class a picture o! the Muppets clothed in !uturistic space
out!its%

To select relevant and appropriate daia in order to relate it to and use it in the dra a0

5iBh achie:e)ent8 I n

discussion, the student $ith the science 'ournal article clearly relates the data to the possi#le socioecono ic i plications o! this longevity% The student suggests the dra a could e&plore the concept o! societyEs acceptance o! a large, $or/ing, geriatric population%

Lo achie:e)ent8 The student $ith the Muppets picture suggests that in the !uture $e $ill loo/ di!!erent, and this is
the only $ay in $hich the student can relate the data to the dra a% Further ore, the student suggests that in $or/shop e&ploration o! the the e, the class should #e dressed as closely as possi#le to the picture%

9&Mecti:es and 4ssess)ent in 3ra)a $7 To select relevant and appropriate data in order to co petently discuss and evaluate the data in relation to the dra a0 5iBh achie:e)ent8
A student clearly e&presses the notion that the costu ing adopted during $or/shop e&ploration o! the E!utureE the e actually i peded role develop ent and destroyed serious e&tension o! the the e,

Lo achie:e)ent8 Another student, co

enting on the use o! costu ing, states that ihc dra a loo/ed colour!ul and i pressive and ade the audience respond $ith laughter% The student !urther suggests that in per!or ance, i! a larger audi @ ence responded si ilarly, then the dra a $ould have #een highly success!ul% To descri#e, analyse and evaluate processes involved in the creation o! speci!ic products related to the dra a0 5iBh achie:e)ent8 A senior student preparing as/s !or a production o! The Io6al 5$nt o2 the #$n isolates the research o! Inca art as #eing the ost valua#le process in the creation o! the as/s, and secondarily, e&peri entation $ith various as/@ a/ing aterials%

Lo achie:e)ents8 Another student si

ply descri#ed the construction o! the #ird portray particular o inous or other artistic Wualities in the as/s $as entioned%

as/s% )o analysis o! the need to

To descri#e, analyse and evaluate the e&tent to $hich the product !ul!ils its particular ai or !unction in the dra a0 5iBh achie:e)ent% A student $as a#le to suggest that the geo etric shapes o! Inca art, $hen co #ined $ith the star/ colours in the as/, clearly captured the ysterious and o inous Wualities reWuired to highlight the di!!erences #et$een the (panish and Inca cultures%

Lo

achie:e)ent8 1hen as/ed to evaluate the e!!ectiveness o! the #ird as/s during rehearsal, the student $as una#le to identi!y any relationship #et$een the as/s, the the es o! the play or the theatrical i ages created% Achieving Art For and *u an Develop ent Learning 1e ust, at this point, reiterate that art !or learning and hu an develop ent learning are present at all year levels, and that these learning areas can have an e&plicit or i plicit e phasis depending upon the speci!ic o#'ectives o! the lesson% Every lesson should contain an e&plicit !ocus on either art !or or hu an develop ent learning or an e&plicit !ocus on Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers AiB$re 7: Ielati:e ti)e percentaBes 2or skills acN$isition and per2or)ance in achie:inB h$)an de:elop)ent and art 2or) learninB

:U TI?( P(=;(NT3G( `""a RR!l Per)ormance com-onent

S*ills acQuisitionWcom-onent

#oth% For e&a ple, a 7ear 9 dra a class e&ploring the $or/ing conditions o! the early settlers in Australia ay have either a hu an develop ent !ocus or an art !or !ocus% I! the e phasis $as on hu an develop ent, then particular attention $ould #e directed to the !eeling response o! the students% 3uestions li/e the !ollo$ing ay #e as/ed0 E*o$ did you !eel $hen your horses $ere stolenHE, EIn $hat $ay do you thin/ the pro#le s you encountered $ere co on a ong the early settlersHE, or EAt $hat point did you decide to ove inland to the ountainsHE (i ilarly, the dra a tas/s should ai to encourage a co it ent to role e&ploration o! the issues o! the topic% I! the e phasis $as on art !or learning, then particular attention $ould #e directed to the studentEs control and understanding o! art !or s/ills% 3uestions li/e the !ollo$ing ay #e as/ed0 E1hat $as the e!!ect created 'ust a!ter the gunshot $as heardHE, E1hy did you approach the door as slo$ly and care!ully as you didHE, or E1hy $as the soldier standing on a higher level than the convictsHE (i ilarly, the dra a tas/s should ai to encourage a conscious anipulation o! the ele ents o! the art !or in the e&ploration o! a topic% 9&Mecti:es and 4ssess)ent in 3ra)a $9 Further ore, the students should #e ade a$are o! the e&plicit learning !ocus, #oth at the #eginning o! the lesson, during the activity and in !inal discussion% 1hat has tended to happen is that the lesson ends #e!ore any re!lection on its !ocus can ta/e place% O!ten teachers !ear Wuestioning as they are unsure o! $hat they $ant to !ind out or $hat learning they $ish to rein!orce% I! they have a set o! precise o#'ectives, then they can prepare speci!ic Wuestions to crystallise the learning% There!ore, the per!or ance co ponent and s/ills acWuisition co ponent are the
)eans o! achieving hu an develop ent and art !or learning%

Per!or ance "o ponent The purpose o! a per!or ance co ponent in 7ears, 9, 5:, 55 and 56 is to achieve learning% Per!or ance in dra a ust #e designed to achieve speci!ic dra a o#'ectives, unli/e a school production $hich clearly lies in the do ain o! the pastoral curriculu % 1hilst $or/ing on a per!or ance pro'ect students in dra a are applying #oth e&isting and ne$ art !ro s/ills in order to co unicate eaning to an audience% O!ten it is appropriate at the 7ear 9 and 5: levels to $or/ on an original production on a topic or the e suita#le to the studentsE stage o! develop ent% Then, at 7ear 55 and 56, scripted $or/s ay !or the #asis o! the per!or ance co ponent% One !urther point $orthy o! ention is that the choice o! the e or scripted $or/ is o! para ount i portance% The aterial should #e rich enough to provide a&i u opportunity !or role develop ent and character portrayal tied to the speci!ic o#'ectives o! the progra e% A ore detailed e&plication o! the es and scripts $ill #e presented later in this #oo/% (/ills AcWuisition "o ponent

7ou $ill notice that, unli/e the per!or ance co ponent, the ti e allocated to s/ills acWuisition is co on across all year levels% The reason !or this is that at every year level the teaching o! s/ills $ill #e tied to the dra atic conte&t% *o$ever, the teaching o! art !or s/ills in isolation is an appropriate activity !or all year levels% For e&a ple, a lesson designed to teach a 7ear > class slo$ !loating ove ents ay #e an appropriate !irst step #e!ore e #ar/ing on a unit o! $or/ on astronauts #uilding a ne$ society on the oon% O! course, there ay #e e&ceptions to this structure% For e&a ple, a school $ho has entered a group o! 7ear 5: students in a state$ide dra a co petition ay spend a great deal o! ti e on ;:
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

the teaching o! voice pro'ection% I t

is i portant to recognise, ho$ever, that unless this voice pro'ection $or/ is related to role develop ent in the per!or ance, then the students are not doing dra aM that is, the eaning is isolated !ro the action% The gradual #uilding o! #asic s/ills has a spiral e!!ect0 students ay then use these s/ills to e&plore increasingly co ple& aterial $hich, in turn, re!ines s/ill develop ent, and #rings a#out hu an develop ent and !urther art !or learning%

Assess ent in Dra a *aving e&pressed dra a learning in ter s o! speci!ic o#'ectives, it is no$ possi#le to assess student achieve ent in dra a ore precisely% Assess ent is generally regarded as an esti ate o! the Wuality o! a studentEs $or/M a su ative process involving easure ent and gradation% Evaluation, on the other hand, tends to #e a holistic appraisal o! a yearEs dra a progra e% Evaluation includes teacher re!lection on lesson strategies, teacher role, develop ental !ra e$or/s and any su#seWuent ad'ust ents% Assess ent, there!ore, can #e seen as a su#set o! evaluation, and this chapter $ill con!ine itsel! to a discussion o! ho$ to assess student per!or ance in dra a% Assess ent and reporting in dra a have proved to #e pro#le atic and diverse% Reporting procedures have varied ar/edly #et$een schools% Again, this di!!iculty in esta#lishing co on assess ent criteria and procedures can #e directly attri#uted to the lac/ o! a sound theoretical #ase !or dra atic $or/% Many teachers con!ined report re$ards to the studentsE attitude and e!!ort% The passive, co@ operative student o!ten achieved a high letter grade $hilst the Eloud outhE 7ear > student $as severely ad onished% 1e have pro#a#ly all $ritten reports such as0 EMary is a pleasant, $ell@ annered student $ho has $or/ed $ell in dra a this year% (he is a delight to teach% (he has ade rapid progress in this su#'ect, and her co@ operative attitude has allo$ed her to $or/ productively $ith other students%
5

and0 E4oe is a disruptive, inattentive student% *e o!t distracts other students !ro their $or/% *e constantly interrupts others and teases the girls in the class% (u#seWuently he has not achieved a satis!actory standard in this su#'ect% *e needs to apply hi @ sel! !ully in dra a in the !uture i! he is to progress%E 9&Mecti:es and 4ssess)ent in 3ra)a %% One $onders ho$ these reports can in!or students or parents o! e&actly $hat the student has achieved% (urely the value o! a super!icial personality 'udge ent is Wuestiona#le% *o$ever, lac/ing any clear o#'ectives !or dra a, is it any $onder that teachers searched vainly !or an approach to assess ent and reportingH Re ar/s ade #y teachers in reporting on students !ell into the categories o!0

= participation in the activitiesM = co@operation $ith !ello$ studentsM = degree o! sel!@con!idence% The !ollo$ing situation $as o#served at a recent parentF teacher night0 EThe Maths teacher $as #e oaning the !act that Mrs C $as very upset that her son had !ailed Maths% The dra a teacher retorted, EItEs a pity that Mrs C $asnEt upset a#out her sonEs dra a report% LetEs !ace it, i! a child !ails Maths, the child has erely !ailed MathsM i! the child !ails dra a, the child has !ailed as a hu an #eing%E This o#servation clearly illustrates the dra a teacherEs preoccupation $ith the develop ent o! personality, An ad'unct to this pre@occupation $as the teacherEs un$illingness to ran/ student a#ilities% Letter grades or any achieve ent ar/s $ere shied a$ay !ro , even a t the senior levels% I t $as the studentsE e!!ort and attitude $hich
#eca e para ount in assess ent and reporting% I! a teacher did esta#lish clear assess ent criteria, these $ere usually couched in ter s o! the social develop ent o! the child% *aving esta#lished a set o! learning o#'ectives !or dra a, $e can provide lucid reports o! a studentEs develop ent in dra a and the degree to $hich the o#'ectives have #een achieved% All teachers have a pro!essional responsi#ility to provide credi#le, eaning!ul reports !or students, parents and the co unity% This responsi#ility is even nore o#vious no$ adays $hen the de ands !or pro!essional accounta#ility have increased, and $hen schools are under close scrutiny% 1hat is the ost appropriate !or o! reporting !or dra aH There are, o! course, any advocates o! non@co petitive as @ sess ent and non@grading o! students% I t is a truis that ost $estern societies provide re$ard !or a#ility and achieve entM not to distinguish #et$een studentsE varied a#ilities $ould #e to go against the educational tide o! the eighties and perhaps deny students the i petus to realise their !ull educational potential% As $as descri#ed earlier in this chapter, there are clear distinctions #et$een high and lo$ achieve ent in dra a, and students should #e ade a$are o! the degree to $hich they have et the o#'ectives o! a dra a course% To

8B

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

so e it ay see that in providing a descriptive assess ent o! the studentsE $or/ and a letter grade, $ p ay #e atte pting to have our ca/e and eat i t too, yet this co #ination $or/s particularly $ell !or dra a% The letter grade allo$s !or a suc@ cinct su ary o! a studentEs achieve ent in relation to his or her peers% The descriptive assess ent conveys the detailed portrayal o! the studentEs $or/ and develop ent, in relation to the learning o#'ectives, and the studentEs individual progress% For e&a ple, a student in dra a ay have progressed throughout the year !ro an mE standard o! $or/ to a E" standard% This degree o! i prove ent can #e descri#ed clearly in the report% The
letter grade alone does not give an indication o! the a ount o! progress ade throughout a course% +e!ore $e go on to providing sa ple reports !or dra a, $e !irst need to esta#lish so e general principles !or the $riting o! descriptive assess ents0

5 The criteria !or assess ent should #e e&plicit% These criteria are the learning o#'ectives !or dra a, there!ore co ents should re!er directly to the o#'ectives% 6 The report should descri#e $hat the student has learned, $ith direct re!erence to actual activities so that the co ents are clear and reasona#le% A Descriptive reports should allo$ the studentEs develop ent and i prove ent throughout one year or any years to #e recorded% I t can #e an ongoing record o! the process o!
learning%

8 The report is an account o! a studentEs particular stage o! develop

and $ea/nesses, should #e cited%

ent in dra a% These achieve ents, including strengths

1e have already esta#lished in this chapter that general social o#'ectives are not the speci!ic responsi#ility o! the dra a classroo M oreover, to descri#e aspects o! a studentEs personality $hich are not directly relevant to classroo achieve ent is not the !unction o! a report% I! a student appears to #e ill@ annered, this ay have

little to do $ith hisFher a#ility to ta/e on a role, !or e&a ple% ,ood anners, $hilst desira#le, are not one o! the speci!ic learning o#'ectives !or dra a, and unless they are a stated o#'ective, it is un!air to re!er to the in a report% This type o! social learning is every teacherEs responsi#ility% All students should #e given a copy o! the learning o#'ectives at the #eginning o! a dra a course% "learly, not all o#'ectives apply to 7ear ?M those that do should #e $ritten in a language appropriate to 7ear ?, distri#uted and e&plained% 9&Mecti:es and 4ssess)ent in 3ra)a 63 Once this is done, then the students /no$ ho$ they $ill #e assessed and $hat $ill #e e&pected o! the % In $riting reports, teachers need to re e #er the Edra atic ageE o! the student% In 7ear >, !or e&a ple, it is unrealistic to e&pect that the students $ill display Erole truthE% I!% i n the report, the teacher descri#es the studentEs role $or/ as unsatis!actory #ecause i t is stereotyped, then this description totally ignores the studentEs stage o! develop ent,
and a/es un!air e&pectations o! the studentEs achieve ents% Let us no$ loo/ a t several sa ple reports0

7ear #e:en (tudentEs na e0 Mary ( ith Letter grade0 A MaryEs achieve ent in dra a has #een e&cellent% (he e&plored a range o! characters and situations $ith lively insight, (he ade unusually perceptive connections #et$een the dra a and real li!e% This $as particularly so in our $or/ on !actory conditions during the Industrial Revolution, and Outer (pace% (he collected ne$spaper clippings on U%F%O% sightings and used these to i aginatively e&tend the story line o! the (pace dra a% 7ear EiBht (tudentEs na e0 4ohn Murphy Letter grade0 D 4ohnEs achieve ent has #een satis!actory% * e
usually played a variety o! characters in dra a, although he anipulated the role so that the sa e loud and aggressive characteristics $ere do inant%

At ti es these roles have #een appropriate #ut in our $or/ on spies, !or e&a ple, his over@reliance on this type o! charac ter hindered the $or/ o! other students and the general progression o! the dra a%

It

is i portant that 4ohn !ocusses on using di!!erent character #ehaviour so that he can gain a #roader understanding o! dra a and its relationship $ith real li!e%

7ear Fine (tudentEs na e0 Anne 4ones Letter grade0 l

Anne has sho$n a very high level o! achieve ent in dra a% (he ade e&cellent progress in e&periencing and portraying any di!!erent characters, #oth in dassroo e&ploration and per!or ance $or/% In the Feature Progra e per!or ance her voice and i provisation s/ills de onstrated intense

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers concentration o! energy and thought% This resulted in su#tle and truth!ul dra a% Anne $or/s supportively $ith s all groups in solving dra atic pro#le sM she sho$ed i aginative initiative in e&ploring several poetry pieces% During discussions Anne has de onstrated a very good understanding o! ho$ art !or ele@ ents $or/ in dra a% 7ear Ten

(tudentEs na e0 +en Ascot Letter grade0 " +en has sho$n a good level o! achieve ent in dra a% *e $or/ed hard to develop his ove ent s/ills and is to #e co ended !or the $ay he used these in the ritual dance per!or ance% *e created clear and eaning!ul i ages !or the audience% In
e&ploring situations in i provisation, he did !ind it di!!icult, ho$ever, to respond appropriately to other characters, and this li ited his opportunity to e&plore hu an e&periences% On the other hand, +en clearly analysed and articulated his learning in so e areas o! the dra a% (ound connections $ere ade #et$een the role #ehaviour o! tri#al leaders and conte porary authority !igures%

7ear Ele:en (tudentEs na e0 (ally 1indsor Letter grade0 n (allyEs achieve ent in dra a has #een unsatis!actory% Rarely $as she a#le to develop characters su!!iciently to e&plore situations and content !ro di!!erent vie$points% Despite con@
sidera#le rehearsal ti e, !or e&a ple, she $as still una#le to develop the character o! the Fe ale FactoryEs Matron !ully enought to carry the eaning o! the scene during per!or ance% This situation o!ten repeated itsel! in classroo group dra a% (ally did not co plete the reWuired research or reading and $as there!ore not a#le to planning or evaluation o! the dra a% a/e eaning!ul contri#utions to the

7ear T el:e (tudentEs na e0 To To Ro#inson Letter grade0 A has sho$n an e&cellent level o! achieve ent in 7ear T$elve dra a% * e $as a#le to e ploy a $ide range o! vocal and ove ent s/ills to clearly e&press and co unicate role su#tleties and readily e&plored and sustained a range o! di!!erent characters% I n our production o! Io6al 5$nt o2 the #$n% !or 9&Mecti:es and 4ssess)ent in 3ra)a 6$ e&a ple, he $as a#le to portray three contrasting roles clearly, $hich de onstrated highly re!ined i provisation and characterisation s/ills% *is set design clearly re!lected the e otional tone and eaning o! the play and he $as a#le to clearly evaluate the e&tent to $hich this product !ul!illed its !unction in the dra a% *is $ritten su# issions clearly descri#ed his understanding o! ho$ several ele ents o! the art !or $ere anipulated to add i pact to the ideas o! the script in per!or ance% In character $or/ he responds $ith honesty and su#tlety to the dra atic i ages o! others, there#y e&tending his co it ent to role and his a#ility to learn through the dra a% PART

T96

Controll+ng t&e $rama0 1 T&e Teac&er as Leader Introduction0 The Role o! the Teacher 1hen it co es to putting dra a principles into practice, the $ould@#e teacher see s to #e plagued #y a series o! dou#ts Wuite unli/e those associated $ith the teaching o! other su#'ects% Relationships $ith students and classroo anage ent techniWues are suddenly thro$n into a ne$ light and seen as !ar ore crucial to dra a than other su#'ects% *o$ on earth does one discipline a student, !or e&a ple, and then e&pect that student to spontaneously participate in a a/e@#elieve $orldH *o$ can a teacher encourage ris/ ta/ing in this creative process i! !ear o! discipline !or !ree, play!ul activity is presentH *o$ can role #e used so that the students donEt

Eget out o! controlEH And i! the class cannot co@e&ist co@operatively and have respect !or each otherEs contri#utions then $hat hope !or doing dra a any$ayH For any teachers these Wuestions re ain unans$ered and provide a constant source o! irritation% Jague resolutions ani!est the selves in one o! t$o general approaches to teaching dra a% The !irst resolution is availa#le through a tightly structured, controlled, e&ercise and theatre@#ased progra e -$hat ,avin +olton f59>:o classi!ies as Etype AE and Etype " dra a.% *ere the teacher can set up a ultitude o! tas/s $here#y a range o! s/ills can #e taught and then applied = to script $or/, !or e&a ple% Un!ortunately, $ith this approach it is unli/ely that the studentEs /no$ledge and e&perience $ill #e central to the dra a% Tas/s and scripts are o!ten such that they have no personal, creative relevance !or the students% A second very popular $ay o! resolving the issue has #een to adopt a passive, !acilitator approach to running the dra a class% All the teacher has to do is present the class $ith a topic !or their play, cast a pastoral eye over the groups and organise 8>
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers ?5

The Teacher as Leader

ost di!!icult ad'ust ents that has to #e ade% E&tension o! sel! into this social role o! responsi#ility can create ore ap@ prehension than the thought o! playing Antigone or *a let to a pac/ed house% "o ing to ter s $ith the co ple&ities o! these characters appears less daunting than leading a group o! t$enty or thirty students in so e e&ploratory piece o! dra a% Li/e$ise, the e&perienced teacher ta/ing up a dra a allot ent !or the !irst ti e o!ten !inds that the con!ident lead ership displayed in other classroo s is no$ replaced #y isgivings and ti idity% For a variety o! reasons a range o! #ehaviour is tolerated $hich $or/s against achieving purpose!ul direction in the dra a and satis!ying develop ent in the students% The !irst step to$ards overco ing such pro#le s is to realise that the teacherEs criteria !or esta#lishing $hat is accepta#le #ehaviour does not change si ply #ecause the su#'ect is called Dra a% )or should the students in dra a !eel unsure o! the leadership o! the class and $hat actions are to #e tolerated% (ecurity and con!idence a#out this is essential !or #oth teacher and student i! the appropriate environ ent !or dra atic e&perience, co unication and e&pression is to #e created% ,roup dyna ics and the social and personal realities o! the class $ill have a direct #earing on the /ind o! rules that need to #e esta#lished to achieve sa!ety and security !or group e #ers% The teacherEs o$n values, teaching strengths and tolerance li its $ill #e part o! that reality% 1hat is i portant, ho$ever, is that $hatever rules are ade, e #ers o! the group accept the as #eing purpose!ul and !air% It helps, there!ore, i! students are invited to a/e their o$n rules, $ith the teacher o!!ering suggestions #ased on e&periences that ay #e relevant #ut unavaila#le to the students% One such e&perience concerned a year > #oy !alling !ro his seat on a high rostra #loc/% *e ended up $ith several stitches in his an/le, not to ention an e&tre ely pain!ul !oot !or a !e$ $ee/s% This teacher $as severely repri anded !or having al lo$ed the student to !eel that this $as an accepta#le position to #e in !or the co ence ent o! a class% 1hen a/ing rules, teachers need to #e a$are o! the potential trou#le spots in the classroo should #e the guidelines !or decision a/ing% and $ithin the group% These

Ma/ing the Rules 3ra)a space8

ensure the the order o! presentation and the concluding discussion% The disadvantage o! this approach to dra a lies in the ad hoc and super!icial nature o! the learning% It ay #e !un and easy, #ut the co ple&ity and challenge o! dra a is lost% The concepts o! si plicity and ease associated $ith !acilitation allo$ the teacher to rest too easily in a passive leadership role% To e&pect the students to have the s/ills and /no$ledge to progress unaided in dra a is as unproductive as to thin/ that the teacher ust #e responsi#le !or the lot% O#viously in dra a, as in all teaching, the pro!ita#le #alance lies so e$here #et$een the t$o% At a si ple legal level the teacher is responsi#le !or seeing that reasona#le and due care is ta/en to

Finding a Focus !or the Role o! the Teacher In the past, the dra a teacherEs role has #een o#scure and ysterious% In part this has resulted !ro the e phasis o! dra a in education on spontaneous creative play as the central !actor in the dra a process% This isses the point% (pontaneity, creativity and play!ulness are so e o! the any i portant ele ents that are used in the individualEs dra atic action #ut, as 4ohn McLeod -59>:. has articulately discussed, so too are the ele ents o! i agination, identi!ication, e pathy and co it ent% I! the e phasis is placed $here it ore accurately #elongs, $ith the

#asic co ponents o! dra a, then the teacherEs role is clear% Intervention $ill constantly #e needed to ensure that the studentEs energy is !ocused $ithin these co ponents, and on the pursuit o! dra atic eaning% A doting aunt approach $hich indulgently !acilitates and praises all /inds o! activity in the #elie! that spontaneous creative play is too personal and precious to inter!ere $ith, has uch to ans$er !or% A good dra a teacher ought to #e ore li/e a good coach, and since $e are Tn the #usiness o! dra a, then the $or/ o! such people as (tanislavs/y, +recht and +roo/ o!!er ore !ruit!ul odels !or our #ehaviour% Funda entally, the nature o! teacher intervention in dra a arises directly out o! the co ponents o! dra a and the reality o! classroo anage ent% The teacherEs role is varied and distinct% It involves decision a/ing !ro !our speci!ic plat!or s0 5 The teacher as leader 6 The teacher as play$right A The teacher as director 8 The teacher as actor% The Teacher as Leader It is understanda#le that the student teacher !inds the transition !ro to EleaderE o! the group one o! the ?6
1ime (or 8rama9 : ;andboo. /or %e*ondary 1earners

group

e #er

sa!ety o! students% It is i portant, then, that students !ully understand their relationship $ith the physical resources and environ ent o! the dra a space% (o e areas ay #e ta#oo territory !or certain age groups unless attended #y the teacher% "lear signs $ith instructions !or use are help!ul around sound and lighting eWuip ent, !or e&a ple% Oersonal space8 The !reedo o! open space and no des/s can #e rather a #urden !or
so e highly #oisterous groups o! students% Esta#lishing an understanding a#out physical contact and rough@housing is necessary i! energy is to #e controlled and !ocused in the dra a% Respect !or the actorEs personal space is an a$areness that has to #e developed in i provisation and this can provide a parallel odel o! #ehaviour !or the social interactions o! the group% Encouraging sel!@discipline in these areas rein!orces this vital dra a s/ill and si ultaneously provides a !ra e$or/ !or the develop ent o! social s/ills%

3i22ic$lt st$dents8 It has #een popular in dra

a to allo$ students to a/e their o$n decisions a#out $hether or not they should participate in the dra a% Unless the teacher $ants to #e plagued #y egocentric and $hi sical e&cuses as to $hy individuals donEt !eet li/e #eing involved on a particular day or in a speci!ic activity, an understanding that everyoneEs par @ ticipation is reWuired needs to #e stated at the outset% This is e&pected in other su#'ect areas and dra a should #e no di!!erent% (uch an understanding helps the reluctant or socially isolated child to rise a#ove su#'ective !eelings rather than indulge the % The onus is on the teacher and the group to !ind $ays o! encouraging this involve ent, despite the !act that this is o!ten e&tre ely di!!iculty and, on rare occasions, i possi#le% O#viously the si plest o! tas/s and roles, $ith ini al de and !or group interaction $ill #e tried at !irst% Assisting Eteachcr@in@roleE can #e a positive $ay o! providing strong support, encourage ent, direction or control !or a pro#le atic student% "reating a dependence on the teacher, ho$ever, can #e destructive, so the strategies adopted need to ta/e the goal o! peer interaction and co@operation into ac count, (o e students are #eing helped #y (pecial (ervices personnel in the school and consultation $ith these specially Wuali!ied people can help to deter ine appropriate leadership strategies !or the group% In especially di!!icult situations the help o! these specialists provides the teacher $ith care!ully considered 'udge ents a#out particular students% This ena#les the teacher to proceed $ith uch needed con!idence in the anage ent o! the group%

< rtt t eairitT as i=eaaer > ' Ulti ately, i! a student is una#le to participate in the dra a $ithout destroying the $or/ o! particular individuals, or o! the group as a $hole, the teacher ust protect the $or/ing environ ent in 'ust the sa e $ay as $ould happen in other classroo s% The individual ust #e ade a$are o! the destructiveness o! particular actions and the need !or positive co@
operation to #uild the dra a% Responsi#ility !or accepting the conseWuences o! negative actions ust rest $ith the stu dent% Ensuring that the conseWuences are et rests $ith the leader% Unpalata#le as it ay #e !or teacher and students, there are ti es $hen an individual has to #e re oved !ro the dra a% A spell on the sidelines $atching others allo$s the dra a to proceed and rein!orces the idea that li its o! #ehaviour operate here as else$here% Moreover, the studentFs learn that one, or a !e$, cannot hold the entire groupEs $or/ to ranso % Overloo/ing transparency destructive actions invites a rippling e!!ect -hat

a/es !or trou#led $aters in the leadership o! the class% The students understand this and loo/ !or !air and con!ident leadership that encourages sel!@discipline, sel!@ otivation and the develop ent o! a positive $or/ing environ ent%

,roup "o@operation Dra a as/s individuals to put the selves on the line as no other su#'ect Wuite does% As the sel! is #oth the ediu and the o#'ect o! e&pression there really is no re!uge !ro the eyes and ears o! others% And i! personal relationships are uncertain or hostile, dra a can #eco e all the ore threatening% As 2en Ro#inson -59>:. points out0 EThe actions o! a group in a dra a session, in role or out o! it, are not 'ust a response to $hat the teacher as/s the to do% They are also responses to the e&pectations they have o! each other% 1e do not si ply drop our nor al social roles 'ust #ecause $e are as/ed to act out another one% On the contrary, $e no$ have t$o sets o! roles to handle%E -p% 5;B. +eing laughed at or ridiculed !or particular actions in dra a is hardly conductive to providing personal and creative sa!ety !or e&ploration and develop ent% I! everyone /no$s and is encouraged to play Ethe rules o! the ga eE% -"ourtney 59>:., trust, support and security $ill develop in the group% This #uilt@in protection helps to !oster con!idence and creative ris/ ta/ing% The Wuality o! the dra a soars% Richard "ourtney -59>:. presents us $ith the !ollo$ing !unda ental Erules o! the ga eE, as the a'or device in controlling dra a and providing a !eeling o!Esa!etyE !or students% B:
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

ETa. 1hat is true in i provisation is accepted = $hether it contradicts li!e or notM -#. 1hat is acted honestly is accepted honestlyM -c. Apart !ro necessary preparation, the student in role discovers $hat happens ne&t in the situation $hile he or she is i provisingM -d. A* energies o! a group are !ocused on the speci!ic tas/M -e. Dra a activities are a co it ent to the %E eaning!ul and signi!icant, and #oth teacher and class have

These rules are directly tied to the nature o! the dra atic eventM $ithout !ir leadership in i ple enting the , the Wuality o! dra a !lounders% Lac/ o! respect !or the su#'ect is then ore li/ely to #e !i&ed to the poor Wuality o! the learning e&perience than so e pre'udice a#out the eccentricity o! the arts% It is $orth re e #ering, too, that as the individual atures, spontaneous, open@ended play !or its o$n sa/e gives $ay to play #ounded #y rules% Pari o! the 'oy o! playing #eco es the challenge o! developing s/ills directly related to the constraints applied to the ga e #y particular rules% I plicit in dra a, as in any artistic event, are !unda ental rules associated $ith e&pression and co unication through that ediu % Teacher and students ust agree to $or/ together in de!ining rules and goals $ith respect, trust, uch good hu our and a generosity o! spirit% This cannot #e achieved in a !e$ Wuic/ ga es sessionsM it is a continuing social learning process $hich reWuires patience, encourage ent, support and rein!orce ent% Parado&ically, one o! the strengths and $ea/nesses o! the dra atic event is its dependence on group $or/% It is not unusual !or teachers to argue the case !or dra a on the #asis o! the positive personal develop ent to #e gained through the social interactions o! s all groups as they plan, act out and discuss the dra a% In

sharing ideas, e&pressing thoughts, clari!ying opinions and negotiating in pro#le solving, the student is o#liged to engage in in!or al learning o! a Wuite challenging /ind% +ut $hilst this aspect o! dra a is i portant and positive, it is also a $ea/ness $hich can threaten the dra atic develop ent o! the students, !or t$o reasons% Firstly, individuals can Wuic/ly sort out $hich group allo$s the ost easily to adopt the #ehaviour they !eel ost co !orta#le $ith% "on!ident tal/ers assu e the leadership roles $hile the passive onloo/ers rest easy in their su#servience to the ones $ith the ideas% Roles are cast in the dra a according to peer pressures rather than dra atic considerations% E&tension and develop ent o! the individual is retarded% (econdly, in sharing ideas and negotiating the content o! the dra a, personal !eelings and thoughts are odi!ied through The Teacher as Leader
7$

co pro ise% The ideas and the dra a are in danger o! #eco ing at once everyoneEs and no@oneEs% (u#'ective e&periences needed !or the individualEs sti ulus !or role ta/ing and dra atic e&pression can #e lost to the collective, o#'ective ideas o! the group% As a result, the dra a loses its e&periential and e&pressive sharpness and the eaning co unicated in the action #eco es paler and ore insipid than is desired = so ething li/e parta/ing o! an arti!icially atured cheddar or cha pagne, the e&perience o! it leaves one thin/ing $ist!ully o! the !ullness o! the real thing% +y #eing a$are o! the $ea/ness inherent in this /ind o! group organisation o! the dra a, the teacher can adopt structures and strategies $hich ta/e account o! the a#ove !actors and pro ote positive rather than negative outco es% (o eti es groups are $illing to accept that one o! the rules o! dra a is that individuals $or/ in di!!erent groups each $ee/, #ut $here it is o#vious that this is si ply Enot onE, the teacher can adopt planning rules $hich atte pt to circu vent the $ea/nesses% For e&a ple0 -a. Planning and sho$ing $or/ in s all groups is avoided as the predo inant $ay o! structuring dra a% -#. 1here groups are used, they are devised through rando selection, such as nu #ers ga es, or allocation o! coloured discsFcards $hich then signi!y the tas/s or role !or the dra a% -c. 1hole group i provises the dra a together $ith s all group structures contrived $ithin the action so that EcharactersE $ith si ilar interests or otivation interact to solve pro#le s, discuss issues or co pile data necessary !or the dra a% -d. (ti ulus aterial is provided $hich gives a concrete !ocus !or the groupEs ideas and negotiation o! the dra a% (uch aterial ay include so e details a#out characters, action or !acts a#out an incident% )e$spaper articles, e&cerpts !ro history or literature can #e used% This approach ai s to re ove the Epressure !or ideasE !ro the con!ident, i aginative or tal/ative !e$M the ore passive !eel less po$erless in creating the dra a% At another level each individual ust interpret hisFher personal e&perience in the $ider conte&t o! the sti ulus aterial, not 'ust in the light o! the peer group% -e. I provising, $or/ing spontaneously !ro e phasised in planning% #are #ut signi!icant details, is

-!. (tructures are used $hich give a&i u opportunity !or individuals to !ind appropriate and clear dra atic e&pression !or their o$n ideas and !eelings% This $ill ean Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers that students o!ten $or/ on their o$n, in pairs or $ith the $hole group in spontaneous, i provised dra a% At ti es a s all group $ill $or/ spontaneously on dra atic pro#le s $hile the rest o! the group $atches and contri#utes, through suggestion, to solving the pro#le , or e&ploring speci!ic eaning% Organisation o! the group is essential to controlling the dra a and a&i ising the individualEs develop ent% Leadership ust #e con!ident and lin/ed assuredly to the nature o! the dra atic event% To #e sWuea ish a#out this authoritative stance ulti ately under ines the learning process% The (erious +usiness o! Fun in Dra a *and in hand $ith this leadership role and the teacherEs /no$ledge o! the dra atic event goes the a#ility to sti ulate and !ocus the interest and energy o! the group% "learly the teacher ust !ind appropriate $ays to encourage, support, coa& and guide to$ards develop ent in dra a% *u our and a sense o! !un are i portant aids in this respect% 1hat the group and the teacher can laugh and s ile $ith each otl through the good and #ad o ents in dra a, personal e!!orts are ore li/ely to #e encouraged% The creative process -and this includes all learning, not 'ust dra a. is at once de anding, !rustrating, 'oyous and e&hilarating% As +recht has taught us, !un and pleasure in the theatrical event are i portant ingredients !or its success, yet this does not e&clude the Wuite speci!ic and signi!icant learning associated $ith that event% The leaching !unction o! +rechtian theatre used a use ent and pleasure as one o! its vital tools% 1e can do the sa e% +y understanding #oth the co ple&ity and si plicity o! this, the dra a teacher can a/e enor ous head$ay in leading the group to$ards its learning goats% The $orn out cry o! EDra a should #e !unE needs considera#le rethin/ing% I! $e loo/ to (ha/espeare and +recht !or so e guidance, $e are already stepping a$ay !ro the sel!@indulgence o! pursuing activities $hich generate o entary pleasure #ut have no lasting signi!icance% +a#ysitters ay productively adopt such a strategy, #ut as educators in dra a $e are #ound to action o! a di!!erent order, Ma/ing Dra a *appen A%s $a& sl!ilrd in chapter A, participants in dra a
in a $ay that allo$s the dra a

ust

a/e

i o n i u s decision to #ehave

The Teacher as Leader 77 to happen% There ust #e an agree ent to pretence, to #uild a a/e@#elieve reality $ithin the reality o! the classroo and the undane e&periences o! the school day% The !ragility o! classroo dra a is lin/ed to the di!!iculty that any students have in straddling these realities% At #ase it is an act o! individual $ill% Each participant ust agree to let the dra a $or/ upon hi Fher, and at the sa e ti e underta/e to a/e the dra a $or/ upon hi Fher% The attitude o! _ $ill let the dra a $or/ upon eE a#dicates responsi#ility !or the input o! personal creative energy needed to #ring a#out learning and develop ent in dra a% I! the teacher, !or e&a ple, play@ $rights and directs the dra a $ith the vie$ that heFshe alone ust a/e the dra a happen to the students, it is Wuite li/ely that little $ill happen% The teacherEs constant instructions, directions and e&planations prevent the students actively con@

tri#uting to the satis!actory #uilding o! role and #elie! in the dra a% *urried and i pulsive actions arc li/ely to result in super!icial dra a $hich loses its Esi ilar to li!eE Wuality and its artistic sincerity% The _ a letting it happenE do inates% Leadership strategics $hich give consideration to the _ a a/ing it happenE aspect o! dra a $ill reap re$ards in ter s o! student involve ent and develop ent% Ti e ust #e allo$ed !or students to thin/, e&perience, a/e decisions, shape, order and e&press in
dra a, I! the teacher understands the strengths and $ea/nesses o! individual students in intervention can occur to circu vent the pro#le and save the dra a% a/ing the dra a happen, con!ident An e&a ple o! this leadership occurred $ith a year > class $hen a group o! #oys $ere acting out an i provised play that involved the Ehead asterE dealing $ith three Erecalcitrant studentsE% The dra a $as progressing $ell until the Ehead asterE co anded one o! the students to hold out his hand !or three stro/es o! the strap% The #oy de!ied the conventions o! the dra a and re!used to accept the dra atic actions o! his !riend% EAh, no ya donEtE, ca e the u!*cd reply through sti!!ed giggles% The Ehead asterE struggled to sustain co it ent to the dra a and again issued the co and% (a e responses !ro !riend, only larger\ Fir ly and con!idently the teacher intervened !ro her position across the roo % ELet hi strap youE, $as all that $as needed to re ind the #oy o! his responsi#ilily to the dra a% In this instance the play continued, its eaning su!!iciently intact to #e co unicated to the audience% The conventions o! the dra a had #een rein!orced, everyone $as i plicitly re inded o! the G5 a letting it happen = I a a/ing it happenE rules% And instead o! turning the lapse o! concentration into a disciplinary issue,

Ti) 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers the teacher had si ply used the role o! leader to upgrade the Wuality o! the $or/% All the ti e $e are teaching in dra a, $e ust #e teaching a#out dra a% (o eti es the teaching $ill happen i plicitly, as in the a#ove e&a ple, #ut 'ust as o!ten conventions and rules ay need to #e openly and clearly restated and rein@ !orced% 1hy there should #e ystery and preciousness a#out the dra atic process is di!!icult to !atho % Teachers and students need to understand that it doesnEt 'ust happen = it is ade to happen\ ?

The Teacher as Playwright

Theatre recreates li!e $ith a ro#ustness, de!initeness o! !or , and coherency o! order !ar greater thin $e e&perience in everyday li!e% Participants in a theatrical event have the opportunity to see their undane, chaotic and repetitive e&periences in a crisp, clear light% The playEs capacity to #ring a#out this heightened a$areness is tied to the play$rightEs a#ility as an artist and o#server o! li!e% +oth e&plicitly and i plicitly, play scripts o!!er /no$ledge a#out li!e and a#out the artistic ele ents used in the a/ing o! the script% In the dra a classroo , the teacher as play$right accepts responsi#ility !or ensuring that the dra a lesson = Ethe scriptE = is capa#le o! supporting this sa e learning a#out the hu an condition and the art !or % In striving to achieve this, the teacher is conscious o! the need0 -a. !or dramat+c situations and dramat+c actions
eanings inherent in the contentM -#. to a/e e&plicit the !unction o! the art !or in contriving dra atic tension and heightening eaningM ove the dra a to #e in a !or $hich e&poses the

-c. !or the students as actors to #eco e increasingly con!ident in play$righting in order to constantly to$ards eaning%

Content Scr+/ted Drama O#viously the easiest $ay o! approaching the dra a lesson is to provide the students $ith a pu#lished script and let the get on $ith the #usiness o! Eputting on BA
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers
5

their interpretation o! it% In this $ay no de ands are ade on the teacherEs play$righting or lesson@structuring s/ills, content is already !i&ed, and the running o! the class $ill, !or the ost part, only call

upon the teacher to organise and control the group, As a $ay o! saving teaching energy and ensuring survival, this approach is not unattractive% The de and !or co ercial dra a /its, #oo/s o! scripted plays, o! dra a ga es and lesson ideas, highlights the di!!iculties teachers have in co ing to grips $ith this part o! dra a teaching% The very real $ea/ness in going a#out things in this $ay, ho$ever, lies in the inappro@priateness and irrelevance o! uch o! the aterial availa#le% Play scripts are usually too long or o! poor Wuality in ter s o! the issues e&plored andFor artistic challenges o!!ered% It is not unco on to see young students putting ost o! their energies into English or A erican accents, !or e&a ple, #ecause the scripts they are dealing $ith are so o#viously alien to their e&periences% In ost cases it $ould serve the studentsE develop ent uch #etter i! the teacher $ere to e&tract the issues or the es !ro the script and have the class $or/shop the % As a $ay o! !inding a ne$ perspective on the studentsE ideas, the script, or part o! it, ay #e use!ul and any preoccupation $ith accents is then irrelevant% It is also i portant to realise that #y o!!ering scripted plays too early to students, their capacity !or spontaneous e&pression and decision@ a/ing $ithin dra a runs the ris/ o! #eing retarded% Language !lo$ in i provised dra a can #e inhi#ited and sel!@conscious, #ecause $ords provided #y a script see ore Edra aticE and Ereal
than the studentsE o$n% A ore open@ended lesson script o!!ers greater opportunities !or uch $ider learning and s/ill develop ent% 1hen students are ready to approach the !ully scripted play they $ill need to have adeWuately developed the s/ills o! analysis and interpretation so that in giving dra atic li!e to the $ords, the richness o! the su#te&t is availa#le and used to in!or their e&pressive #ehaviour%

)on@scripted Dra a E&peri ental theatre o! the si&ties and early seventies pro oted sel!@e&pression and the e&perience o! the o ent as #asic to the dra atic process% In such an artistic cli ate the value o! preconceived dra a in the !or o! scripts $as ini al% Move ents in education re!lected the sa e preoccupation $ith the supre acy o! sel! and dra a teaching $as certainly no e&ception% For so e teachers these issues have still not yet have resolvedM any planning or scripting o! the dra a lesson is seen as antithetical to the creative dra a process% The ideal lesson evolves !ro the teacherEs E1hat shall $e a/e a play a#out The Teacher as Ola6 riBht
>5 todayHE The $ritersE reservations a#out such an approach are three!old% In the !irst instance e phasis on personal and so cial develop ent through peer interaction and spontaneous sel!@e&pression devalues the dra a e&perience% (econdly the EplayE usually re ains at a plot level $here the super!iciality and sensationalis o! the action do inate the $or/% And thirdly, s/ills in anipulating and guiding the direction and e&perience o! the dra a need to #e e&tre ely $ell developed i! con!usion is to #e avoided% The teacherEs /no$ledge also needs to #e #road and rich and hisFher a#ility to a/e spontaneous a#stractions and concrete connections needs to #e sophisticated = Wuite a tall order in the course o! a #usy teaching day% Play$righting the dra a in this $ay reWuires a great deal o! energy and precision o! thought that cannot let up !or the duration o! the lesson = !i!ty to 5:: inutes, and perhaps another 6:: inutes o! dra a le!t in the day %% %H A uch sounder alternative is to $rite the script #e!ore the lesson and then #e prepared to leave the responsi#ility !or its e&ecu tion to the teacherFdirector% Margaret "roydonEs co ents -59?8. on the e&peri entalist theatre ove ent o!!er !ood !or thought a#out so e o! our approaches to dra a in the classroo %

p serious pro#le

% % % $as the e&peri entalists reliance on sel!@e&pression as a predo inant aesthetic = the old ro antic tenet% (el!@e&pression #eca e the ans$er to all argu ents and served to hide a dearth o! shallo$ ideas and un$or/a#le the@ atrics % %% sel!@e&pression cultivated an intense and li ited su#'ectivis and #red, in the na e o! an ill@de!ined individualis , a ne$ anti@intellectualis %E -p% 6>9.

The Lesson (cript "ontent = Dra

a is contrived !ro our /no$ledge and e&perience o! li!e% Events !ro the ost undane to the highly e&traordinary provide ra$ aterial !or the play$right% This is the content o! dra a and, $ith such an a#undance o! ra$ aterial, designing lessons ought to #e easy, #ut it isnEt% (election o! content is si ple0 ta#les, $atching television, doing the shopping, icecrea s ight #e regarded as content% Finding the signi!icance o! content, ho$ever, and /no$ing $hat relationship it holds !or individuals and groups, is o! greater i portance% I! the dra a is to have $orth, then the

teacherFplay$right needs a very clear understanding o! the i plications o! the speci!ic content selected% 1e ust #e a#le to a/e a $ide variety o! connections at #oth a#stract and concrete levels $hich $ill help create a richness o! e&perience $ithin the lesson script% To do this, the dra a teacher ust #e

Ti)e 2or 3ra)a: P ;andboo. (or %e*ondary 1ea*hers 1he 1ea*her as Play0right
>A $ill o! course #e deter ined #y the particular group !or $ho the dra a is designed% Insights gained into the hu an con @ dition $ill vary according to the perspectives $hich arc o!!ered #y the lesson script% Possi#le perspectives !or consideration ight #e0

Personal Oarents
status.% = other !ather single parent -ages can #eco e signi!icant added perspectives, as can social and econo ic

Dhildren = se&
)eigh#our% ]

age

occupation -student, $or/er. Ielati:es = ,randparents e #ers o! the !a ily !ro a ore distant perspective = Teacher E ployer

9ther people $ho have contact $ith Ti e Oast = +y

oving into the past, e&periences !ro the present are given added eaning through contrast and co parison% The speci!ic perspective is selected !or its a#ility to illu inate the the es o! dra a% Possi#le choices0 Fa ilies in Jictorian EnglandM Australian pioneering !a iliesM Fa ilies in the (econd 1orld 1ar%

A$t$re = +y

oving into the distant and i aginative un/no$n, ideas a#out the present can #e

ade

ore vivid%

(ocialFcultu ra'Fpolitical Any o! these perspectives ay in!luence the details o! content selection and provide !resh $ays o! a/ing sense o! the concept o! !a ily% Attitude 5$)o$ro$s = satire, !arce, (tyle *aving selected content the anner in $hich it is to #e e&perienced in the lesson is decided% +et$een the e&tre es o! serious e&peri ental dra a and light@hearted, caricatured co edy and satire there are a variety o! approaches to the dra atic e&perience that can #e ta/en% The social and intellectual nature o! the group and the dra atic develop ent o! the students $ill help to suggest the ost appropriate !or !or the dra a% Although three #road styles are discussed here, o#viously there are variations and e&tensions possi#le in each% prepared to o#serve, to read, to research, to collect resources and, perhaps a#ove all, to conte plate and to a/e connections% All in all, a /ind o! continuous super #rainstor ing% +y paying tri#ute to the place o! content in our teaching $e are not only de onstrating an understanding o! the nature o! dra a #ut also ac/no$ledging our role as educators% It is si ply not possi#le, !or e&a ple, to learn signi!icantly a#out the co ple&ities o! status #y playing theatre ga es such as the popular Estatus hat ga eE, $here those in positions o! authority go a#out their #usiness $earing hats $hich those #eneath the atte pt to surreptitiously re ove and $ear in order to change their status% )or can you e&pect the students to learn a#out the co ple&ities o! isolation #y #lind!olding the and su#'ecting their senses to a variety o! sti uli% 1hat is evident here is a isunderstanding o! the nature o! learning in these activities and a so e$hat idiosyncratic !ocus on the su#'ect o! dra a% The place o! content in the a/ing o! dra a has #een ignored%
elodra a #enc$s = light dra a, tragedy

One very easy $ay o! providing content $hich challenges and e&tends the e&periences o! the group is to use literature o! all /inds% It ay #e used si ply to sti ulate the teacherEs thin/ing and planning, or it ay #eco e a concrete part o! the lesson itsel!% Issues, the es, and etaphors can #e a#stracted and the dra a scripted so that learning occurs around $hat the content has opened up% Thus a Roald Dahl short story is not Eacted outE, #ut provides the starting point !or an e&ploration o!Ethe #iiarreEM a +ruce Da$e poe pins the dra a to a seWuence o! i provisations designed to e&perience and e&press aspects o! pride and sel!@ estee %% 1hatever content and related issues are selected !or the dra a, it eans that the decision to pursue that particular path necessarily re oves the possi#ility o! other speci!ic learning% The play$rightEs choice o! aterial and his attitude to$ards it results in a particular play $ith a speci!ic capacity to illu inate so e aspect o! li!eEs e&periences% 1ithin a speci!ic dra a lesson only a li ited e&ploration o! a particular the e $ill #e possi#le% To allo$ !or sound learning ne$ perspectives on the issues involved $ill need to #e planned !or and pursued in su#seWuent lessons% I!, !or e&a ple, $e return to the concept o! !a ily, and play$rights through the ages have !ound it co pelling content !or their dra a, there are any perspectives and issues $hich could #e scripted into a seWuence o! lessons% A One@o!P approach $ill deprive the content o! its teaching potential% The anner in $hich the content is scripted and the e&tent to $hich issues are e&plored Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers It is also !easi#le that $ithin the course o! one dra a session, ele ents !ro each dra atic style ight #e used to ost e!!ectively serve the teaching o#'ectives% Nat)ral+st+c 1hether it is in spontaneous, i provised dra a $ithout an audience or polished i provisation to #e per!or ed to the group, the anner ha acting is natural and e phasises the e&perience o! the role and situation% Actors are as/ed to assu e a E!ourth $allE approach to their dra a space and #ehave Eas i! it $ere really happening% )atural use o! voice and gesture
are called !orM pretentiousness, stereotyping and caricature are avoided% Realis and illusion are sought% The dra a is ideally suited to the pursuit o! /no$ledge a#out personal, social and political concerns% The audience is e&pected to identi!y $ith the characters% The audienceEs attitude should #e one o! privileged $atchers o! a private a!!air% Plot and hu our are i portant only in so !ar as they advance the situations and pro#le s #eing con !ronted in the dra a% Re!lection and discussion $ithin, or !ollo$ing the dra a, $ill #e concerned $ith the e otional, psychological otivation !or certain actions and ulti ately $hat the dra a highlighted a#out the issues #eing e&plored% Depending on the age and dra atic develop ent o! the students, acting ay occur in the round, in a thrust or tongue !or ation, or in a ore !or al #o&ed arrange ent% "ostu e and lighting is used only i! essential to creating and aintaining a natural at osphere% 1hen $or/ing $ith young students, the addition o! adult costu ing does ore to #rea/ the illusion o! realis than pro ote it% The sa e can #e said !or the gi ic/ry o! coloured lights or lighting changes% Partici pants are at once re inded o! the unnatural, theatrical !or o! the event% MeyerholdEs innovations in naturalistic theatre o!!er the teacher a !le&i#le and appropriate variation o! (tanislavs/yEs realis % All lights $ere turned on, o#ile cu#es and rostra $ere used !or actors and audience and a nu #er o! short scenes staged rapidly li/e ontages, And although he #ased his theatre on dra atic literature, he changed it ruthlessly to suit his actors and his audience% Later still one o! his pupils $as to introduce the spontaneous, i provised dra a that suits so $ell the e&ploration and discovery associated $ith classroo dra a%

Epic The plays and theatre o! +recht o!!er the teacher a valua#le alternative structuring dra a% *ere the e phasis The Teacher as Ola6 riBht B;
is placed on thought processes rather than e otions, on entertain ent and on getting the essage across in a casual at osphere o! !un% The dra a is e&pository, didactic and narrative, openly using its scenes and i ages to air social and political pro#le s through the telling o! stories% The notion o! change and revolution is i plicit in epic dra a%

odel !or

(pecial e!!ects are used to #rea/ do$n any notion o! illusion, or intention o! identi!ication and e pathy $ith characters% Actors are as/ed to use their a#ility to de onstrate rather than !eel and e&press% Everything e otional ust #e e&ternalised and developed into gesture% 1hilst the dra a has an artistic sincerity the Eas i! Wuality changes gear to #eco e Ean appearance o! or Ea co entary uponE% Actors $or/ing in this epic ode are !ree to tal/ directly to the audience, to give instructions or co unicate !acts necessary to the eaning o! the play% A variety o! edia is used in the de onstration o! ideas0 usic, !il s, placards, song% I! costu e, a/e@up and light are used, they ust e&aggerate the dra a, counter any illusion o! reality and highlight its teaching point% This particular style o! dra a is aptly suited to the young adolescent $ho !inds e otional identi!ication and e&pression an e&tre ely threatening and sel!@conscious e&perience% +ecause the sho$ing and the eaning is e phasised rather than the !eeling, there is a uch greater sense o! security and sel!@protection availa#le% Re!lection and discussion in relation to the dra a $ill no$ !ocus on the ediu o! co unication and the clarity o! the essage received% "learly in this approach to the dra a e&perience, an audience is necessary,

Anti@theatre Many senior students are struggling lo decipher a $orld that see s !rightening, co ple&, e&citing and, hostile% Their e&periences are !illed $ith i ages o! #eauty and horror, scenes that are #iiarre, unreal and nonsensical% Li!e ta/es on a sense o! urgency, an e otional and intellectual intensity that at ti es threatens to engul!% "o ing to ter s $ith the reality o! such an un'ust and hypocritical e&istence suggests the $isdo o! a non@rational $ay o! perceiving the $orld% Perhaps !or these reasons alone, there is an attraction !or the i ages o! dadaists, surrealists and a#surdists% *ere i ages spea/ !orce!ully o! the pri itive and deep un/no$nM they capture the e ptiness and despair o! the current generation $ho understand $hat it is to !eel po$erless and alienated !ro their lives% 1ithin the dra a there is a need to e&press grotesWuely B?
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

Unity In the play script and theatre, indeed all art, there needs to #e a sense o! each part essentially contri#uting to a $hole% "haracters, situations, i ages and scenes need to #e interdependent and to #uild a satis!ying overall i pression% I! this doesnEt occur, participants in the event arc li/ely to lose concentration, #eco e #ored, con!used and dissatis!ied% A lesson script presents the sa e possi#ilities% Unless its parts can #e e&perienced as essentials #uilding to$ards a o ent o! insight and purpose, the studentsE concentration, co it ent and learning $ill #e !rag ented% Ti e $ill have passed #ut little ore $ill have happened% Regular e&periences o! this /ind soon lead one to assu e that nothing uch o! signi!icance happens in dra a% One $ay o! achieving unity in the lesson script is to #uild activities around a central !ocus% Focus on "haracter 1 hen a particular character has #een selected, activities are designed $hich
r

reveal the co ple& $e# o! desires and

The Teacher as Ola6$)Bkt

>?

interactions $hich have E ade the anE% A personal, social e phasis ight #e ai ed !or, in $hich the characterEs attitudes and values, and $hat has contri#uted to the , are e&plored% I! literary sti ulus is used -a poe , ne$spaper or agaiine article, !or e&a ple., interpretation o! $ords and phrases can #e used as the #asis !or the dra a e&periences% In this $ay the purely su#'ective or stereotyped responses o! the group can #e challenged and ideas e&tended% +ruce Da$eEs The Fa ily ManE, EAt (haggerEs FuneralE and EFlashing o! +adgesE, or 4udith 1rightEs EThe Metho Drin/erE are readily accessi#le resources $hich o!!er e&cellent sti ulus !or such $or/% Political, historical or ythical !igures, such as 4ohn 2err, )ed 2elly or 4oan o! Arc, present interesting and challenging aterial !or the !ocus o! the dra a% +y supporting the lesson $ith $ell@chosen sti ulus aterial andFor care!ully guided research, the Wuality o! e&perience $ithin the dra a can #e heightened%

Focus on Event -The Dra a Plot.

Applying !or the doleM An act o! treasonM Jisiting a political prisonerM MurderM (uicideM "heating in an e&a M An act o! !raudM Declaration o! $arM Leaving ho eM the possi#ilities are endless% The dra a is structured so that the event is e&plored !or its causes and its e!!ect% Each situation in the dra a ust #e a#le to provide a logical connection $ith the central o ent% Focus on Place PrisonM (choolM *o eM An aeroplaneM *otelM (ocial 1el!are AgencyM *igh rise !lats% 1hat goes on #et$een the characters $ithin the particular place ight #e e&tre ely varied and #ear a relationship $ith others only #y virtue o! the location% +y the sa e to/en a diversity o! interests and personalities ight #e dra$n together in the particular place #y a co on desire or speci!ic dile a% Focus on Ti e 1ithin the course o! dra a, ti e can #e used as a tool !or heightening dra atic tension and intensi!ying the learning% Events that $ould ta/e place over a considera#le period o! ti e in real li!e are co pressed and e&perienced $ithin a short space o! ti e% For e&a ple, students could plan and conduct a revolution, a #an/ ro##ery, an escape !ro prison or develop strategies !or the survival o! earth% and loudly through distortion, nonsense language and #iiarre characters% In e&ploring content in this anti@theatre style, etaphor, sy #ol, disconnected rhyth ic thought and a language o! sound, silence and ove ent o!!er e&ploratory, e&pressive challenges% The !unction o! art, dra a and theatre is called into !ocus and a $ide variety o! a:antGBarde dra atic styles and theatrical techniWues are used in e&peri entation%
Acco panying this 'ourney into anti@theatre there $ill need to #e an understanding o! its relationship $ith the classical and conte porary theatre% A critical appreciation o! a range o! dra a e&periences and theatre ove ents provides a sound counterpoint !or the studentEs develop ent% The $or/ o! Peter +roo/ and his contri#ution to e&peri entation in theatre can o!!er a sti ulating !ocus% In the interests o! dra a and theatre, our senior studentsE love !or dra a needs to #e nurtured through a variety o! soundly guided e&periences, into a lasting passion !or the su#'ect% 1e arc surely not in the #usiness o! $or/ing $ith students !or !ive or si& years si ply to have the regard the e&perience as a pleasant $ay to develop sel!@con!idence% Dispensa#le dra a deserves a dispensa#le place in the school curriculu %

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers The Teacher as Ola6 riBht 4cti:it6
B> 2- A portraitFphotograph o! an aged person is used to sti ulate an i aginative #uilding o! a character pro!ile% Participants spea/ in !irst person = I re e #er hi Fher telling e a#out the hardship that !ollo$ed the #ush!ires o! +lac/ FridayE, etc%

4cti:it6 38 (

all groups are as/ed to prepare an i provisation% a !acing the !a ily $ith $ho the relative is living% "haracters0 Individual

-a. ,roup Q = a scene $hich e&poses the dile !a ily e #ers Aged relative%

-#. ,roup 6 = a scene $hich sho$s the !a ily discussing the pro#le -c. ,roup A = a scene $hich sho$s the !a ily discussing the pro#le -d. ,roup 8 = a scene $hich satirises the issue%

$ith the relative% $ithout the relative present%

4cti:it6 !- ( all groups si ultaneously and spontaneously play through the !ollo$ing scene0 Fa ily e #ers a/e a visit to the aged relative, $ho is no$ in a nursing ho e% 4cti:it6 5- A!ter $atching the $or/ o! the groups, pairs are as/ed to !ind three gestures, and three $ords or sounds, $hich can #e repeated in a seWuence to e&press the concepts highlighted #y the dra a% O#viously there are a ultitude o! approaches $hich can #e ta/en in any particular dra a% 1hat is i portant is that

each activity adds an i portant step $hich #roadens and deepens the e&periences o! the action% A co on $ea/ness o! dra a lessons is the sa eness o! the activities prescri#ed !or the group, so that a!ter the initial e&perience -perhaps the sho$ing o! the sa e i provised scene., a sense o! dullness and deMa :$ sets in% All that occurs is a range o!
inor variations on the sa e ideas% For the dra a to have vitality and depth o! eaning, contrasting e&periences need to #e called !or% For the ost pari this is possi#le even in a !orty or !i!iy inute session% ,avin +oltonEs -59>5. Etype D dra aE notion o! $eaving a variety o! e&periences -e&ercise, dra atic play and theatre. into the dra a, highlights this need !or variation in a&i ising student learning% 1hatever activities are used in the lesson, unity ust still #e preserved% 1e are not discussing a range o! disconnected events, #ut rather a variety o! lin/ed approaches $hich add i pact to the dra a and its central learning issues%

Language Theatrics -a. Restricted language = this involves a co pression o! thought, e otion, gesture and speech% The scene is reduced to a li ited nu #er o! ideas and i ages, thus On the other hand, #y !ocusing on a particular
o ent in ti e, the sa e heightening o! tension can occur% Thus t$o opposing ar ies in their separate trenches a$ait the #attle signal $hich #ec/ons their con!rontation $ith death% A group o! re!ugees $ait !or ne$s $hich $ill ta/e the to !reedo , or conde n the to perish% Ti e is also used to suggest ood and at osphere, A particular scene -e% g% leaving ho e. $hich ta/es place at idnight in $inter = sunset in su er = at da$n = at #rea/!ast, $ill have its eaning odi!ied, A cheery departure at idnight in $inter reveals an i portant su#te&t to the action $hich the sa e departure at sunset in su er $ill not #e capa#le o!% Ti e $ill not #e used as a separate central !ocus so that occurs around character, event and place% uch as it $ill #e used to heighten the tension and eaning o! the dra a

I pact A a'or consideration in structuring dra a is the e&tent to $hich its various parts $ill carry particular eaning and, o! course, hold the interest o! those involved in the e&perience% This is so in theatre and it holds eWually true !or the classroo % For e&a ple, in a short, i provised piece o! dra a in $hich e #ers o! a !a ily arc discussing $hat to do $ith a
pro#le atic aged relative, the predo inance o! casual, colloWuial speech ay seriously $ea/en i portant eaning $ithin the action% And should a nu #er o! groups #e as/ed to prepare and sho$ the sa e scene, interest in the dra a is li/ely to $ane% I! the lesson script prescri#es alternative $ays o! approaching the content, ho$ever, the i pact o! the dra a can #e increased through a heightened dra atic tension% (o e speci!ic tools !or achieving this are $orth descri#ing%

2ar+et, of Experience "are!ul 'u&taposition o! contrasting perspectives, as $ell as the nature o! the activity, are si ple devices !or anipulating the dyna ics and !ocus o! the dra a% I! $e return to the i provisation in $hich the characters are discussing the aged relative pro#le , the lesson script could $ell as/ that e&ploration o! the issue occur in the !ollo$ing $ays% 4cti:it6 18 Individuals are as/ed to sculpt their #odies into a shape $hich depicts Eyouth and
vitalityE% This is !ollo$ed #y !inding a ove ent sculpture $hich depicts Every old ageE%

B9

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

9`

The Teacher as Ola6 riBht

sharpening its action and e otionalFdra atic intensity% Only short sentences or single $ords are used% Move ent is reduced to a series o! single gestures% Jariations can occur, such as characters #eing as/ed to use short sentences o! the sa e length $hich, $ith the help o! pauses, gives a rhyth ic Wuality to the dialogue% Repetition o! /ey $ords or short phrases throughout the scene can also add i pact to the e&perience o! the dra a, -#. Ela#orated language = a particular character is given the opportunity $ithin the dra a to present a speech $hich e&presses hisFher private thoughts and !eelings% This ay #e spo/en to other characters, #eco e a soliloWuy or, i! appropriate, #e directly addressed to the audience%

A narrator ay #e called upon to present added in!or ation or si ply pass attitudinal co ents upon the action% This ay occur as a prologue or epilogue to the scene% The use o! a s all nu #er o! participants as a chorus Teven t$o $ill do. is also an interesting $ay o! increasing the i pact o! the dra a% -It is also an e&cellent $ay o! involving the shyer student $ho doesnEt !eel co !orta#le EactingE%. In the a#ove instances, o! course, preparation ti e $ill #e needed to ensure adeWuate con!idence in dialogue, other$ise the i pact $ill #e lost% These devices are also appropriate !or lin/ing together a nu #er o! scenes $hich e&plore the sa e idea, #ut $hich do not have a logical and clear connection #et$een the % Dile a Once content, situation and characters have #een denned, the action and eaning o! the dra a can #e intensi!ied #y the introduction o! a particular pro#le , or indeed a series o! pro#le s throughout% LetEs say the dra a is a#out a 'ourney to planet q and, $ith uch e&cite ent and apprehension a#out 'ourneying into the un/no$n, the action proceeds at a !airly straight!or$ard, si ple plot level% Jery soon the spaceship is on the planet% +y introducing certain dile as, the progression o! the dra a can #e slo$ed do$n and the i pact o! action heightened% Thoughts and deeds no$ have to #e care!ully
considered #ecause their i plications have #eco e ore vivid and their conseWuences ore #inding% (o, ne$s is co unicated to the space travellers that one o! their group has #een ta/en hostage #y the aliens and $ill #e re turned only in e&change !or top secret in!or ation a#out their countryEs satellite stations% I! desired, the personal details o! characters can also #e contrasted so that the dile a is even ore co plicated% Thus, the hostage does not possess the in !or ation #ut certain oilier group e #ers do% *aving reached this particular !or/ in the dra a, a de!inite path ust #e chosen% 1hatever decision is !inally ta/en, the a$!ul conseWuences cannot #e avoided = sacri!ice a tea e #er, or #eco e traitors to their country\ The eaning o! the dra a is #ound up $ith the dra atic tension that arises out o! the atte pt to cope $ith the dile a% It is in this sense that con!lict evolves su#tly #ut strongly $ithin the dra aM it is the result o! contrasting attitudes and desires, rather than the direct clash o! opposites% +y scripting contrasting personal details and dile as !or characters, and posing pro#le s $hich the $hole group ust deal $ith, the plot o! dra a oves !ro a si ple to co ple& level% A series o! su#@plots develop as the dra a intensi!ies and Ethe plot thic/ensE% Depending upon the ai s o! the dra a, it ay #e that the action concludes #e!ore the deci sions are ade% I! ho$ever, understanding a#out the di!!iculty o! living $ith conseWuences is i portant, then $ays ust #e !ound to achieve the decision% The direction o! the dra a is then altered% It ay #e that a change o! event, place and ti e is needed = all space travellers ay no$ !ind the selves political prisoners on trial !or treason in their ho e country%

(urprise, (uspense and Irony In the space e&a ple a#ove, the ele ent o! surprise $as used #y introducing the idea o! a hostage% Further surprise could have #een used i!, upon the s ug eeting o! the aliensE de ands $ith !alse in!or ation, it $as stated that the planetEs research to date clearly sho$ed that tric/ery $as at $or/% A ne$ aspect o! the action has no$ to #e dealt $ith % % % (urprise in dra a, ho$ever, should #e used $ith caution% Une&pected events can easily startle participants i! the surprise is acco panied #y outragcousness and un#clieva#ility% *ighly e otional events such as deaths can lead to loss o! co it ent to the dra a, especially i! one o! the group is as/ed to appear as the dead victi % It is $orth #eing a$are also that the sudden introduction o! a #iiarre or co ic event can 'ust as readily threaten the dra a = a drun/en alien, !or e&a ple, $ho lurches into the space ship to o!!er the /eys to the hostageEs !reedo , is ore li/ely to produce hilarity outside the dra a than internal i pact% It ight serve us $ell to ta/e a lesson !ro event reported to the players instead% ,ree/ dra a and have the surprising

;5

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers 9A

The Teacher as Ola6 riBht

sel! can #e used to add !orce to the thoughts and e otions o! the dra a% I#senEs plays a#ound $ith sy #ols used to po$er!ul e!!ectM the anuscript in *edda ,a#ler $hich is re!erred to as Lov#org and TheaEs EchildE is 'ust one illustration% The $ay in $hich certain o#'ects !unction as sy #ols $ill depend upon the conte&t o! the dra a% A s ashed photograph, a sealed envelope, a loa! o! #read, a recorded voice % % % ay all carry a $ealth o! eaning in particular dra atic situations% 1hen the o#'ect or sound is seen or heard, the participants in the dra a are caught up in the suggestion o! li!e !orces $hich are deeply stirring, perhaps !eared and not $holly understood% The eanings continue to rever#erate throughout the action% (cripting sy #ols into the #eginning o! lessons can o!ten #e a po$er!ul $ay o! gaining otivation and co it ent% The o#'ect instantly calls up eanings upon $hich the action can #uild% In this chapter $e have #een concerned $ith articulating $ays in $hich the dra a teacher can e!!ectively play$right the dra a so that learning a#out the art !or and the hu an condition is a&i ised% The $riters #elieve it essential that teachers understand the devices that can #e used and the e!!ect that they ay produce so that the dra a e&perience can #e strengthened in its vitality and learning potential% O! course $e ust realistically ac/no$ledge that #y scripting lessons !ro such a perspective $e have erely increased our li/elihood o! i proving the !or and Wuality o! the dra a% +ut the, proo! o! the pudding is in the eating and the script ust ove $ith the teacher to the classroo , the students and the speci!ic o ents o! the dra a% There the e phasis ust #e on !le&i#ility, adaptation and colla#oration in order to achieve the lesson ai s% The play$righting !unction o! the teacher does not end $ith the #eginning o! the dra a% On the contrary it $or/s hand in hand $ith the added responsi#ility o! direction% As players in the dra a, the students e&perience the e!!ect o! the di!!erent approaches and gain i plicit /no$ledge o! their application% It cannot #e assu ed, ho$ever, that this $ill occur #y a process o! os osis $hich results in the student #eing a#le to use the techniWues in dra a% Re!lection on their dra a e&perience to identi!y reasons $hy learning $as heightened or $ea/ened ust #e ade e&plicit through discussion and !urther practice and e&perience% A!ter all, in the long ter $e are ulti ately ai ing to have the students capa#le o! controlling their o$n artistic e&perience% I! they are not provided $ith the tools and the insight to do so, their years o! dra a and their co and o! the art !or $ill have given uch less than it inherently pro ises% In the space dra a, !or e&a ple, all action to do $ith the aliens can si ply #e co unicated #y using the strategy o! Eteacher in roleE% "are!ul use o! language and role #y the teacher can provide all the innuendo or detail that is needed to create the appropriate i pact% Finally, the over@riding consideration is to ensure that die surprise is relevant and, a#ove all, a#le to #e perceived and accepted as an integral part o! the dra a% Other$ise tension o! a non@dra atic nature $ill result% (uspense is closely related to the anipulation o! ti e in the dra a% 1aiting !or an anticipated event can provide !ar greater dra atic tension than participation in the actual event o!ten a!!ords% 1e are all too !a iliar $ith this concept !ro e&periences in our everyday living% EI! only $c could get on $ith itE, EIs it ever really going to happenHE contain a $ealth o! personal energy, thought and e otion% (oldiers $aiting !or the #attle signal are trapped in a ti e li #o $hich parado& ically increases the e&periences o! the living o ent% In the space dra a, suspense can #e achieved #y holding the group captive $hilst the aliens consider $hat is to #e done $ith the % Interest and !ear co #ine to achieve the i pact% Irony is the ele ent o! certain people #eing Ein the dar/E a#out events or actions going on around the % I! so e characters $ithin a spontaneously acted play have in!or ation that others are not party to, then irony $ill #e added to $hat is done and said in the dra a% The dra atic e!!ect is i ediateM the o ent is heightened in intensityM ne$ eanings are revealed% I! $e turn to the space dra a once again this can #e illustrated% "ertain e #ers o! the space group are a$are that the so called EhostageE is already deadM they /illed hi #ecause he had discovered their co plicity $ith the aliens% Or alternatively, having decided as a group to give the desired in!or ation to the aliens in e&change !or the hostage, they !ind too late that their !ello$ traveller had escaped and $as sa!e in the space ship% In planned and polished dra a, a chorus or narrator can use irony si ply and e!!ectively, #y giving the audience !acts that are un/no$n to the players% Either co ic or tragic i pact can #e achieved in this $ay% 1ill any o! us, in conte plating the use o! irony, not thin/ auto atically o! (ophoclesG gripping and in 9edip$s IexQ A po$er!ul dra atic device indeed% aster!ul use o! irony

(y #ol As $as #rie!ly entioned in chapter 6, any o#'ect $hich is capa#ie o! suggesting eanings !ar greater than its aterial 3

The Teacher as Director

As !ar as dra a in education is concerned, it has #een unthin/a#le to conte plate the notion o! teacher as director% The idea has #een associated $ith a heartless disregard !or the creative, educational processes o! the su#'ect% Direction has #een interpreted as a series o! eddleso e, destructive acts thai result in the studentsE echanical, puppet@li/e responses to the dra a% Individual and creative develop ent under such conditions is necessarily inhi#ited%

1ell it $ould #e !oolhardy to deny these tatter charges% Rad direction $ill certainly produce #ad results, so $ill #ad leaching% The pro#le $ith this attitude to$ards direction and dra a, ho$ever, is that it operates !ro !alse assu ptions% Direction in dra a and theatre has never ai ed to deny the actorEs creative process and there#y produce a puppet@li/e #eingM in !act it ai s to do e&actly the opposite% I! directors have !ailed in this regard then they have !ailed to understand their role in dra a and the eans #y $hich creative ends are achieved% The teacher as director and students as actors ust $or/ creatively together to esta#lish appropriate role relationships $ith the characters o! the play% The teacher ust #e the pri e strategist in ensuring that character interactions can e&press the dra aEs sy #olic eaning% In this chapter $e $ill spend ti e de!ining the creative, constructive intervention that constitutes good directing, and there!ore good leaching, in dra a% The Ai s o! the Director +roadlyEspea/ing, the director ta/es the $or/ o! the play$right -the lesson script. and a group o! actors -the students., and goes through a series o! processes in order to #uild creative, eaning!ul dra a% 1hilst the actorFstudent is to0 The Teacher as 3irector
6

a#solutely central to this dra atic process, !ocus is al$ays on the groupEs e&ploration, e&pression and co unication o! eaning% Any attention to s/ill develop ent and personal e&pertise is relevant only in so !ar as it represents the eans to this
end% +ad teaching in dra a has o!ten #een the result o! a isplaced !ocus on characterisation and i provisation as ends in the selves% Their !unction in 4he a/ing o! the dra atic event #eco es decidedly #lurred% To understand ho$ the teacher as director !unctions to achieve good dra a, $e need to loo/ at the assu ptions $hich underlie good direction and the speci!ic details o! direction processes%

Attitude to$ards Direction Y The )ature o! the Process First and !ore ost, the director needs to ac/no$ledge that dra a is a creative, colla#orative process% Play$right, director and actor each #ring their o$n e&periences, /no$ledge and creativeness to the dra a event% "reative interactions during the a/ing o! the dra a ay suggest that the script has to #e odi!ied to ensure adeWuate e&ploration o! its eanings% "hanging character details andFor !inding ne$ dra atic situations ay #e appropriate in the studentEs pursuit o! eaning% "ertainly the student is not vie$ed as so e o#'ect !or anipulation in the directorEs interpretation o! the lesson script% Rather the teacherFdirector ust value and see/ to li#erate and e&tend the individualEs e&perience and creativeness% As educators, $e can not assu e that this $ill occur naturallyM as dra a teachers $e are #ound to !ind strategies $hich $ill unloc/ these processes in the individual and speed up the artistic and hu an develop ent inherent in the su#'ect o! dra a% In conclusion $e o!!er so e general guidelines !or teachersFdirectors% 5 At all ti es the !ocus o! the class is on e&ploration o! lesson content and its eanings% Positive or negative co ents !ro teacher or students ust #e !ir ly tied to this !ocus% The reasons !or Wuestions or instructions are e&plained so that students see a reason !or $hat is done and, at the sa e ti e, they learn a#out the processes o! their ediu %

6 2eeping the develop ent o! the group in ind, donEt accept o#viously hal!@ hearted, sloppy e!!orts $ithin the dra a% +e prepared to stop the action, i! necessary, and #egin again% *onesty o! actions and responses is vital, ;A
Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

A Use side@coaching to encourage co dra a%

it ent and support e&ploration $ithin the

8 Discourage notions o! students acting to please teacher or entertain !riends% (top and re!ocus on the content o! the dra a% 3uestion the studentsE actions !or character otivation% h "o
entaries and discussions are a necessary part o! the dra a process% DonEt allo$ o!!ensive or de!ensive #ehaviour to #eco e part o! the re!lective process% Find the cause and handle accordingly% -A Wuic/ discussion o! the issue@a!ter class ay #e less e #arrassing and ore e!!ective than a pu#lic airing o! unhelp!ul #ehaviour%. +e prepared to classi!y so e co ents as irrelevant or unproductive%

; 1atch !or the e!!ects o! your instructions, Wuestions and handling o! particular students% Direction is a t$o@$ay co unication #et$een you and the student% Loo/ to your o$n actions !irst !or the possi#le cause o! any $ea/nesses in the dra a% (ee/ open, direct !eed#ac/ !ro students = not 'ust !ro the vocal !e$\ Individual E&perience and the Dra atic Event 2no$ledge and e&perience o! li!eEs events provide the ra$ aterial !or the director, as $ell as !or the actor, it is i perative that the director #e 'ust as ardent an o#server and gatherer o! /no$ledge as the play$right% Finding the richness o! eaning $ithin the script and /no$ing ho$ to a/e connection $ith the e&periences o! actors is !unda ental, And 'ust as the director in theatre has to research #ac/ground aterial !or the play, so too does the dra a teacher% In order to #roaden the /no$ledge #rought to the dra a #y the actors, research and o#servational tas/s ay have to #e designed !or the as $ell% In so e approaches to dra a teaching, this #roadening o! /no$ledge is seen as i portant, #ut the dra a e&perience is used erely as a tool !or pro oting interest in research a!ter the event% 1hat $e arc advocating here is the need !or the dra a to #e e&perienced $hen the participants have learned enough to add greater signi!icance to the e&perience% 1here this is a !airly si ple tas/, o! course, the teacher as play$right ust #e prepared to ta/e responsi#ility !or the provision o! the aterial as a sti ulus and integral part o! the dra a% *o$ever, the order o! the activities is crucial = the dra a event is the artistic ediu $here synthesis o! /no$ledge, e&perience and eaning is activated% In other $ords, not only docs the gate need to #e closed #e!ore the artistic horse has #olted, #ut the horseEs cart should #e loaded #e!ore the The Teacher as 3irector
9? 'ourney\ "are is then needed to ensure that the cart is not overloaded and the horse not too over#urdened to #egin\ Understanding the nature o! this #alance #et$een #roadening e&perience and using it productively in dra a is ine&trica#ly lin/ed to the group o! students $ith $ho $e are $or/ing, and the co ple&ity o! creative learning $ithin dra a% +ut #y #roadening the studentsE e&periences in this $ay, the teacher as director is #eginning the process o! li#eration and e&tension that oves the individual #eyond pre'udiced and stereotyped vie$s o! the $orld = a necessary prereWuisite i! the dra a e&perience is to #e a deeply satis!ying one%

(o e Use!ul Principles !or Action

5 1here $ritten sti ulus is used as a part o! the lesson, allo$ ti e !or its eaning and i pact to #e a#sor#ed% One reading o! a poe , letter, agaiine article, case study, etc, ay not #e su!!icient% 6 Teacher as director -$ho has seen the aterial and is there!ore !a iliar $ith it. reads the aterial !irst so that its eaning can #e e&posed% A Di!!icult voca#ulary needs to #e e&plained, Wuestions as/ed !or clari!ication% Material is re@read !or crystallisation o! i ages and eaning% -A student ay no$ read i! the eaning $ill #e co unicated clearly%. r &
2eep purpose o! reading clearly in ind% +roadening o! /no$ledge, heightening a$arenesses, #et$een personal e&periences and the ideas o!!ered #y the aterial, in preparation !or the dra a, a/ing connections

"o plete the activity as e!!iciently as possi#le = the dra a $hich is to !ollo$ is the ulti ate learning !ocus% DonEt get sidetrac/ed into interesting discussions and personal anecdotes $hich disperse energy and re ove the !ocus o! the lesson

; During the a/ing o! the dra a #e alert to the eanings to #e e&plored and% $hen unproductive divergence occurs, re!ocus the group #y returning to speci!ic details o! the
resource used%

1hen

ore e&tensive research is desired =

? Enlist the aid o! li#rary personnel and prepare a #o& o! aterial $hich can #e ta/en to the dra a space !or easy access and Wuic/ !ocus% -This a/es !or easy leadership o! the class%. > As/ s all groups to research a particular aspect o! a topic and have the in!or ation presented to the group as a $holv% Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers Topic0 )ed 2elly0 Myth or *eroH Areas !or research0 +ac/ground on )edEs !a
(ettlers conditions in )orth@East Jictoria% Property la$s and police attitudes% Alleged cri es o! 2elly gang% At ,lenro$an% The trial% A!ter the hanging% Focus o! the research needs to #e on people, $hat they did and $hy they did it% ily%

9 DonEt thro$ a$ay details o! research% 1here appropriate /eep anila !olders and nil $ith details o! topic, resources and the results o! studentsE aterial search% In this $ay an ever@e&panding #ody o!
/no$ledge is ready to #e dra$n upon #y teacher and students% 5: I! research is as/ed !or, a/e sure that the results o! it are used in the dra a in a concrete and eaning!ul $ay% -That doesnEt ean engaging in re@enact ent theatre\. O#viously students $ill !ind it a eaningless tas/ i! con nections are vague and tenuous% Re!lection on the dra a e&perience should direct attention to the si ilarities and di!!erences #et$een the dra a and the /no$ledge gained through resources%

The (ocial (el! and Role Ta/ing In chapter 6 $e co ented #rie!ly on the changing capacity o! young students to adopt and play out i aginary situations% The situation is little di!!erent $ith adults% 1hilst $e all have the capacity to adopt di!!erent social roles in the course o! our everyday interactions -,o!T an, 59?5., and to present di!!erent !aces $ithin those roles, the e&tent to $hich any o! us do this success!ully varies enor ously% (o too does our a#ility to engage in i aginative pro'ection and ental role playing% EI! I $ere this /ind o! person, in this particular situation, I $ould % % Flights o! !antasy

and daydrea ing are occupations that !ro childhood are usually !ir ly discouraged as !rivolous and e pty headed, i! not do$nright destructive% Ta/ing another step then and acting out or ha ing up a situation to $hich $e have #een party in so e $ay -+rcchtEs (treet (cene concept o! role #ehaviour., can #e Wuite !oreign and certainly threatening% ItEs ore li/ely that one si ply spea/s a#out such things, ore or less e otionally, depending upon the conte&t% (o e $ill colour the situation EtragicEM others $ill !ind hu our in it% E&posure o! sel! in the co unication is usually ini ised% The Teacher as 3irector 99 The situation is no di!!erent $ith our students% It cannot #e assu ed that they all !ind the ta/ing o! role natural, easy ahd pleasura#le, or that they have a #road and !le&i#le a#ility to ani!est role in serious naturalistic dra a, or e&aggerated gesture and co edy% One o! the dra a teacherEs ost #urdenso e handicaps is the #elie! that a group o! students ought to #e capa#le o! Wuic/ly assu ing role and entering the i aginative $orld o! the play on the teacherEs instructions% Disappoint ent, !rustration, loss o! patience and anger are destined to go hand in hand $ith such a vie$% The ideas o! (lade, +recht and ,o!l an give us valua#le insights into role ta/ing, #ut insights $hich need to #e te pered $ith a co on@sense approach to $hat is occurring #e!ore our eyes% ,eorge "% (cott once co ented that acting $as schiioid #ecause it reWuired that the actor #e hi sel!, so e#ody else -the character. and, at the sa e ti e, a e #er o! the audience loo/ing on at $hat the other t$o $ere doing% That concept o! the actorEs Esel!, ho$ever, is not so easily isolated, especially in the reality o! classroo group dyna ics% Individuals have their inner sel! to contend $ith, as $ell as the sel! they $ish to pro'ect to their particular peer group% A!ter, that co es the dra atic role, $ith its participantFspectator duality = I a e, I a e playing the role o! another%
(o $hat has this got to do $ith dra aH Fro the teacherFdirectorEs point o! vie$ it can have a great deal to say a#out the honesty o! role ta/ing and the sincerity $ith $hich roles are used to e&plore the dra atic content% (tudents $ho !eel isolated and insecure $ithin the group ay #uild roles $hich call !or a passive andFor peripheral contri#ution to the action% Dead #odies and statues o!!er the ulti ate escape and sel!@protection, #ut police en, aids, delivery #oys and a host o! other characters can #e anipulated so that their roles and interactions $ith others re ain very uch these o! a passive #ystander% On the other hand, i! individuals !eci insecure $ith their peers they ay create relatively sel!@con!ident, hu orous, do inant or #iiarre roles in the hope o! gaining the groupEs positive support !or such interesting action% As the teacherFdirector ai s to /eep the !ocus al$ays on the content and eaning o! the dra a, sensitive and con structive intervention is needed so that this Ereal socialE use o! the dra a can #e ini ised or re oved% Develop ent o! the individual and the progress o! the group in dra a is dependent on this% During the course o! the dra a, so e Wuic/ thin/ing on the teacherEs part can change the direction and e phasis%

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers -i. A statue is suddenly endo$ed $ith a li!e $hich allo$s co unication $ith other inani ate o#'ects = the i aginary la p post or the $ishing $ell% The result is a ne$ perspective on the actions and otives o! characters% -ii. Alternatively, the concept o! +rechtian narration is e ployed and the statue no$ !inds itsel! directly addressing an audience, or other players in the dra a% -iii. 1here a do inant or hu ourous role has #een created, a turn o! events or a change in the dra atic situation ight reduce or re ove the po$er o! the character% The ai o! the change is to engage the individual in honest e&ploration o! the character in changed circu stances = the deposed /ing, an ousted group leader, the clo$n $ithout an audience% It goes $ithout saying that appropriate teacher

encourage ent and support acco panies such changes% And, strangely enough, #y !inding these alternative roles !or individuals see s to a/e peer group approval ore !orthco ing and genuine% (tudents are Wuic/ to recognise the integrity o! each otherEs $or/ and the satis!action that co es !ro honest co it ent to the dra a% (uch achieve ents are $orthy o! the increased pride that they !eel in their $or/ and learning in dra a% Audience and its E!!ect on Role Ta/ing Most o! us have at so e ti e e&perienced the sel!@consciousness that results !ro our suddenly #eing the centre o! attention, or having to deliver a prepared speech to an audience% Feelings o! trepidation and sel!@dou#t have a $ay o! sur!acing% Until the o ent arrives it is di!!icult to give proper attention to other things happening a#out us% Even the ost co petent and e&perienced o! actors are #esetged #y such an&ieties% It see s that $hen the individual is on sho$ and the success o! the o ent depends on oneEs Eper!or anceE, these natural an&ieties have a $ay o! co plicating issues% In theatre the responses o! an audience can signi!icantly alter $hat happens in the event% Actors !eel the responses o! the audience and ad'ust the pacing o! their lines, !or e&a ple, so that greater suspense is achieved or hu our highlighted% (o e actors inappropriately #egin to play to the audience, see/ing the thrill o! gaining personal attention at the e&pense o! the scene and the play as a $hole%
In classroo dra a, as $e /no$, the pressure o! an audience can result in considera#le distortion o! dra atic teacher as director ust #e very sensitive and open eaning% The

The Teacher as 3irector 1 :5 inded a#out using an audience in dra a i! role creation and sy #olic eaning is to #e protected% LetEs loo/ !irstly at 'ust $hat e!!ect an audience has on e&pression and co unication% I! a !riend is oneEs audience the high degree o! responsiveness and support encourages one to indulge in ela#orate sel!@e&pression% There is ho need to #e an&ious a#out shaping and ordering state ents and signals so that the #est possi#le !or is !ound to e&press the % There is little real !ear, either, that the audience $ill #e unresponsive or critical% In dra a and theatre, the presence o! an audience changes the co unication in the !ollo$ing $ays% anner o! the

5 The co unicator ust no$ order ideas and present the clearly in dra atic i ages $hich can #e understood #y others% There is, there!ore, a concern $ith !or and the e&ternal appearance o! the dra a% 6 It pro otes co unication at #oth the Ereal socialE and the Edra atic sy #olicE level% The dra a is shaped #ecause o! a direct a$areness o! the audience as separate individuals and #ecause the co unicator $ishes to a/e a personal state ent !or hisFher o$n #ene!it% A Me #ers o! the audience are !ully a$are o! their role as o#servers% The critical appicciative !unction o! spectator constrains the dyna ics o! the interaction% To pursue this ore !ully $e $ill loo/ at dra atic sy #olic role ta/ing and its relationship $ith audience% 4ohn (eelyEs -59?;. i itative vole odels, Ee&ploratoryE, illustrativeE and Ee&pressiveE, serve as a #asis !or this e&a ination%

7oung children readily engage in the e&ploratory odel o! role ta/ing in the course o! natural play% It is a private, i itative and i aginative event in $hich the child e&plores a range o! situations in a totally a#sor#ed and sincere anner% Realis o! action is, ho$ever, not necessary to its progression or its personal eaning% To adult onloo/ers e&ternal details ay see #lurred and inaccurate% (uch an interpretation is irrelevantM the i portance o! the dra atic play lies in its a#sorption and honesty o! co it ent% I! the players #eco e a$are o! an audience, dra atic actions are li/ely to #eco e sel!@conscious and precocious = co it ent to the role is #ro/en% The !ollo$ing e&a ple !ro 3ra)a and Theatre R 4 #hared Iole in LearninB clearly illustrates the contrast #et$een spontaneous, a#sor#ed dra atic play and that $hich is a!!ected #y
an a$areness o! audience and per!or ance% It also highlights the need !or the teacher to understand $hat the !ocus o! dra a is and $here the e phasis o! action should #e% (o e year B children $ere continuing $or/ing on a play they had #een a/ing a#out E#eing arooned on a dangerous

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers islandE% It $as the third session on the play and the children had #een involved in a nu #er o! dra atic activities $hich !ocussed on i ediate survival and eventual escape% (uch horrors as the an@eating plan\, $hich had prevented access to $ater, and the huge lava onster had to #e astered, i! they $ere to live% A!ter a concerted e!!ort #y the class, the an@eating plant !a student teacher in role. lay de!eated on the ground% +urning torches had !inally /illed the deadly leaves\ The surge o! e&cite ent at their conWuest had 'ust su#sided $hen a girl -$hose participation in the dra a had !luctuated noticea#ly. oved to the $all o! the classroo and, s$eeping her right hand to her !orehead in a large theatrical gesture, e&clai ed loudly, Oh, $onEt so eone please, please save c\E The girl $as deter ined to rein!orce in her ind, as $ell as the groupEs, that $hat her teacher had said last year a#out her #eing EgoodE in dra a $as indeed true% This e&ploratory odel !or dra atic action has #een pro oted as the ideal #asis !or dra a in education progra es at #oth pri ary and secondary level% Teachers have atte pted to use e&ploratory role as a eans o! #roadening studentsE e&periences o! the real $orld% The role o! teacher in this process has #een so e$hat con!used #y the di!!iculty o! gaining the desired a#sorption, sincerity and una$areness o! audience% On the one hand intervention has #een dee ed inappropriate to the processM on the other hand, a great deal o! e!!ort has #een e&pended in creating an environ ent necessary !or this natural and unsel!conscious co it ent to play = the #lac/ened space, su#dued lighting, etc% The ost co on $ay o! approaching the pro#le ho$ever, has #een to create $hole group dra a $here everyone is involved si ultaneously in the action% This re oves the pro#le atic audience, #ut a/es de ands on the teacher that $e are not al$ays a#le to eet e!!ectively% Despite this reality, teachers have re ained #edevilled #y an in!lated regard !or this type o! dra atic role playing, especially in the secondary school% A ani!estation o! this is !ound in the endless progra es o! rela&ation e&ercises, E ind tripsE and concentration activities that !ill out dra a lessons% The hope is that $ith su!!icient practice, these desired Wualities o! a#sorp@ tion and sincerity $ill #e !orthco ing% The teacher as director needs to te per the attraction o! these child play ideals #y paying attention to studentsE changing use o! role and #y ac/no$ledging $hat dra a and theatre styles highlight a#out role ta/ing and the creation o! eaning%

The illustrative odel o! role ta/ing is characterised #y studentsE desire to co unicate through the dra a% This is The Teacher as 3irector * :A
ade di!!icult, ho$ever, #ecause o! adolescent identity con!usion and personal vulnera#ility% (tudents are /een to use the dra a as a eans o! i itating other peopleEs #ehaviour to test out or prove points o! vie$% (el!consciousness is nevertheless a #urden $hich reWuires sensitive handling #y the teacher% Roles cannot al$ays #e sustained easilyM a$areness o! o#servers or particular peers can result in !rag entation o! roles and dra atic situations% E&aggerated roles and caricatures ani!est the selves in the dra aM gar#age en, an old $ino, Dracula, school principal, gang leader% Through e&aggeration o! the story line, the students atte pt to entertain the audience% (tudents hide #ehind these caricatures and !ind security in presenting outrageous events in their plays% The studentFactor derives a great deal o! satis!action !ro this per!or ance% The rest o! the class is easi!y involved in the !antasy and en'oys sharing the action% The !ollo$ing e&a ple is typical o! $hat occurs in dra a at this stage0 The class is e&ploring the notion o! authority and in this i provisation, A is playing the role o! the principal, $hile l assu es the role o! a student $ho has #een caught s o/ing% During the scene, A e&aggerates the role o! the principal into a tyrannical despot, using snatches o! a ,er an accent to co ple ent his loud, authoritative voice% The caricature is !urther encouraged #y the audienceEs laughter and +, struggling to protect his sel! identity, under ines his partnerEs character #y attac/ing his authority, telling hi ho$ stupid he is and asserting, EIEll s o/e any ti e I $ant to\E% Laughter and cheers !ro the audience are no$ !or +%

There is no dou#t that the caricatures have entertained, heightened interest and evo/ed sy pathy !ro o#servers% There is a general identi!ication $ith the characters as portrayedM the audience /no$ $hat is #eing said a#out this !igure o! authority and share the !antasy o! +Es actions in this situation% Everyone has a laugh, en'oying the o ent
!or its outrageous cathartic nature% The hu our is !ir ly pinned to the groupEs understanding o! $hat really occurs in such situations% They /no$ the helpless hu iliation o! su# ission to authority% *u our, stereotype and caricature e&press this sa!ely% ,iven this stage o! develop ent, the !ollo$ing situation is also #ound to occur% In a ne$ pair no$, A ta/es the role o! the principal seriously and, during the i provisation, Wuestions the student a#out the incident $ith a concerned, counselling approach% +, ho$ever, needs the protection o! e&aggeration and so plays the Edu # studentE, giving one@$ord responses in a EspaiioE !ashion% The audience laughs tentatively at this #ut the i provisation #rea/s do$n%

;>

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

The Teacher as 3irector 1"$ preparing the theatre, historical edical in!or ation, legal docu ents and agaiine articles had #een used alongside current research into the e!!ects o! television on adolescent se&ual attitudes% 3uestionnaires had #een care!ully prepared and intervie$s conducted $ith parents and a range o! other adults% Results $ere used to gain a greater understanding o! the groupEs o$n !eelings a#out the issues% In a so e$hat daring ove, dou#tless designed to shoc/ as $ell as entertain, students ade a theatrical state ent a#out astur#ation $hich $as handled $ith artistic astery and intellectual aturity% A #alance #et$een su#'ectivity and o#'ectivity had #een struc/% +ecause the essage and the ediu o! its co unication are i portant to actor and audience, the teacher as director accepts responsi#ility !or guiding theG search !or EtruthE% This applies not only to the su#'ect atter #eing e&plored, #ut to the artistic e&pression o! its eanings% Reading, research and tal/ing $ith people provide i portant #ac/ground aterial !or the search, #ut it is through the dra atic e&ploration and e&perience o! aterial that personal eanings ust #e !ound% 1hen /no$ledge in the dra a has #een synthesised, its theatrical !or can then #e tried and tested through $or/shops and rehearsal% The teacher continues to !ocus the group on the eaning o! the dra a and to !ind $ays o! leading the actors into an e&pression o! their eaning in clear artistic i ages !or the #ene!it o! the audience% Although the audience is a necessary ele ent in the dra a at this stage, care needs to #e e&ercised in deciding $ho the audience $ill #e% As the students are in a very

early stage o! their per!or ance develop ent, and #ecause the theatre has a speci!ically didactic !unction, the audience needs to #e s all, supportive and interested% Fello$ students, !riends and !a ily arc o#vious choices% As the students ature into later adolescence their personal and dra atic develop ent leads the into dra a that no$ challenges $ith its variety and depth o! roles, and its su#tleties o! eaning% There is a ne$ con!idence o! sel! and a $ill@ ingness to try out all anner o! #ehaviour as it relates to characters% For al scripts and the discipline o! creating a character $hose li!e is e #edded in the language o! the play #eco e a ne$ dra atic challenge% The plays o! (ha/espeare and the ancient ,ree/s can appeal to students $hose love o! language and i agery invites the into the play $ith its age@old essages and odern@day truths% Other students $ill #e attracted #y the plays o! 1illia son, Ro eril or Dic/ens, in $hich the language and essage is distinctly Australian% The teacherEs tas/ is not easy% (ocial role and dra atic role are intert$ining and 'ostling !or supre acy% 1ays o! varying the dra a so that ne$ content and di!!erent perspectives can #e e&plored are constantly #eing searched !or% Patience and persistence is needed as students are gently encouraged into a greater sense o! security $ithin the group and the dra a% Fir , supportive control o! the critical responses and co ents o! the peer audience $ill #e needed% The eaning o! the dra a needs to #e /ept in clear vie$ i! a positive $or/ing environ ent is to #e aintained% Forcing e otional depth in role ta/ing can result in e #arrass ent and loss o! con!idence in the teacher% A $illingness to understand the concerns and interests o! the group is essential% Using approaches -satire and parody !or e&a ple. $hich tolerate stereotype and e&aggeration as a necessary step to$ards ore su#tle learning $ill reap re$ards% +eing a$are o! the reasons $hy students respond so positively to the essages o! 4$stralia 7o$?re #tandinB in It% or Fot the Fine 9?clock Fe s% gives us a clue as to ho$ to achieve creative, colla#orative interactions $ith the group% +e!ore long the
protection o! hu our and caricature $ill #e less i portant% More serious dra a $ill #e used to analyse and e&plore aspects o! hu an relationships% The e&pressive role odel, according to (eely, occurs naturally in iddle and later adolescence% There is no$ a uch easier relationship #et$een actors and audienceM individuals are less li/ely to lose concentration and co it ent to role #ecause o! the presence o! an audience% The nature o! dra atic co unication rese #les that o! +rechtian theatre, $here the socialFpolitical eanings o! the dra a arc as i portant to the actors as the audience% Entertain ent, persuasion and change are !unctions o! the co unication% In this sense the dra a has a revolutionary e phasis% "ontent, and the $ay in $hich it is presented is heavily sta ped $ith the individuality o! the group% All /inds o! issues related to adolescence, personal relationships, authority, se&ual values, legal rights o! students and young people, are li/ely to #eco e the su#'ect atter o! the dra a% The teacher as director has a role to play in /eeping the essages o! the dra a su!!iciently o#'ecti!ied to avoid overindulgence in su#'ectivity and sel!@e&pression% *istorical and cultural perspectives can #roaden the groupEs /no$ledge and e&perience in this respect% One particular piece o! student@devised theatre -a year 55 group. consisted, in part, o! i ages $hich e!!ectively per suaded its audience o! the contradictions and a#surdities surrounding attitudes to$ards se& and se& education% In

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers The Teacher as 3irector
1"7

!ro tour di!!erent characterisation levels -+roc/ctt, 59;8.0 physical, social, psychological and oral% Oh6sical "oncerned only $ith details such as se& o! character, age, siie, colour etc% In ter s o! dra atic action these details in the selves arc not li/ely to #e o! uch use to the dra a% Dharacter" thirty@year@old, suntanned, sli , #londe !e ale% (uch a description doesnEt really ta/e us any$here%

#ocial ,ives us details such as !a ily relationships, #usinessFpersonal relationships, econo ic status, occupation, pro!ession, religion, living conditions% The character no$ has a eaning!ul conte&t and this is essential to understanding her actions% There is still little chance ho$ever (! the dra a developing signi!icantly% Dharacter" Fe Os6choloBical In!or ation !ro this level e&poses the characterEs patterns o! thin/ing and !eeling = attitudes, needs, li/es, disli/es, otivations, aspirations% (ince thoughts and !eelings otivate actions, this psychological level is essential to the dra aEs eaning% Dharacter%
#urdenso e, As a#ove, and interested in social 'usticeM has strong political a #itionsM regards li!e as dreary and ale la$yer% 1ealthy, un arried, lives alone in taste!ul appart cnt% Aged thirty% (li , tanned, #londe%

Coral Moral and ethical principles $hich underpin character actions usually have the e!!ect o! casting a serious, deli#erative at osphere over the dra a% I! searching at this oral level !or a course o! action, the character identi!ies those values $hich arc essential to hisFher #ring% In 4 Can 2or all #easons% Tho as MoreEs actions ste !ro deep oral
principles to do $ith the relationship #et$een ,od and an% (uch principles are voluntarily held and action $hich tests the strengths o! these #elie!s can lead serious dra a to tragedy% Dharacter8 As a#ove, and #eli eves that $o en ust de onstrate their strength and po$er to society% During the dra a, such #elie!s o!ten highlight contradictions in the characterEs actions, there#y co plicating the plotFs%

#i)ple Dharacterisation A great deal o! the dra a $e set up in classroo s uses si ple characterisation as a eans o! e&ploring issues% (tudents select or are given in!or ation that is pri arily to do $ith 1or/shop ping a range o! aterial helps students to develop an understanding o! the di!!erent de ands ade #y play$rights on their character develop ent s/ills% I! per!or ance o! a !ull@length scripted play is to #e atte pted, the teacher as director needs to understand the i plications o! the play !or the dra atic develop ent o! the students = particularly $hen the $ider co unity and other school populations arc to #e a part o! the audience% In this respect the teacher ai s to ensure that the overall e&perience $ill not only #e a developing one, #ut pleasura#le as $ell% It is sad to see students lose their con!idence and sel!@estee a!ter per!or ances $hich highlighted that their s/ills $ere si ply not su!!iciently developed to allo$ the to esta#lish adeWuate, eaning!ul co unication $ith the audience% I! handled intelligently and responsi#ly, ho$ever, the presence o! an audience !unctions positively in deepening the learning e&perience !or the students% This discussion o! role ta/ing and its relationship $ith audience indicates so e generally accepted patterns o! role #ehaviour in the developing individual% 1ays in $hich the teacher as director can use this /no$ledge to in!or classroo actions have also #een suggested% The co ents and suggestions o!!ered should #e seen as a starting point !or $or/ $ith various groups% O#viously the speci!ic nature o! the group $ill then indicate appropriate !urther directions% "reating the Role

"haracterisation is the develop ent and e&pression o! character = :! a dra

the actor and, o! course, the play$right% It is the the dra a%

atic role = #y eans #y $hich the play$right dis tinguishes one character !ro another in

An actorEs a#ility to develop and e&press roles lies at the centre o! the dra aFtheatre event% During the process o! characterisation, the $ords and gestures o! characters -dra atic actions. co #ine to give e&pression to the plot o! the dra a% "haracterisation is there!ore central to the arti!icial reality o! dra a and the creation o! personal, sy #olic eaning%

De!ining "haracter Much o! the role ta/ing that happens in dra a does not need ela#orately de!ined character traits% Indeed this /ind o! ela#oration ay hinder progression o! the action and its learning potential% In!or ation !or character de!inition can #e ta/en 5:>
Ti)e 2ir 3ra)a: 4 5and&ook 2ir #econdar6 Teachers

social details o! character% Thus the #uilding o! role co ences $ith the concept o! scientist, guide, #uilder, other, ercenary, !e inist, each o! $hich suggests a range o! characteristic #ehaviours% As a guide IE o#viously going to #e dealing $ith aps, co passes, peopleM _ can instantly thro$ ysel! into so e action = getting aps organised, !or
e&a ple% I! IE not care!ul, ho$ever, I ay !ind ysel! involved in a lot o! doing $ithout uch eaning% To add that eaning, detail !ro the psychological level o! characterisation is needed% The ap@reader no$ has a thin/ing and !eeling level to in!or all actions = EPeople depend on eM I canEt a!!ord to a/e ista/es%E ,avin +olton -59>5. stresses the i portance o! $or/ing !ro an attitude i! the dra atic action is to #e purpose!ul and understanding is to #e changed% Too o!ten students $or/ in dra a $ith physical and social details o! character onlyM the resulting dra a is sloppy and super!icial% There is plenty o! noise and action #ut the e&perience is #asically e pty% Energy goes into the e&ternal details o! character and action, and inner otivation !or actions is ignored% (o e students ay intuitively !ind their o$n psychological details #ut this canEt #e guaranteed% *o$ any E#usyE party, ar/et, or airport scenes have $e $itnessed $here action $as insincere and the dra a un!ocussedH At the conclusion everyone $onders $hat there is to re!lect on%

Dharacters and Fa)es It is handy i! characters have na es $hich can #e readily dra$n onM E*ey youE, is o#viously di!!icult\ ,iven the opportunity, students o!ten incorrectly select EinterestingE na es !or their charactersM *arry +utler, or 4ohn Ley4and = ap@ reader and guideM Dr 4ohn 4cc/el = scientistM Mainey ,reer = !e inist@ The associations produce interest and hilarity, #ut in doing so the !ocus o! the dra a is lost@ A $hole range o! irrelevant #usiness has no$ #een introduced $hich a/es everyoneEs 'o# $ithin the dra a uch ore di!!icult% An i portant pari o! the studentEs learning in dra a has to do $ith the actorsE concepts o! econo y and e!!iciency in role ta/ing% Only those details necessary to the dra aEs particular o@ ent and eaning are used, other$ise $e !ind ourselves diverted !ro the real purpose o! the play% To avoid the pro#le s o! a Dr 4ec/el and Mr *yde, it is #etter that students use their o$n na es% Despite so e teachersE reservations a#out this practice there really is no cause !or concern% "reating roles and participating in dra a eans that there is al$ays an a$areness o! Ethe eE and Enot cQ I /no$ that The Teacher as 3irector 1"9 I ta/e y na e and use it as part o! the li!e o! y character% This si ple level o! characterisation is o!ten re!erred to as Erole playingE #y dra a teachers% +ecause participants are essentially trying out a range o! social roles and learning a#out their responses $ithin the , they distinguish this aspect o! role !ro notions o! characterisation% (uch a distinction see s ore li/ely to con!use than clari!y the teacherEs understanding o! learning in dra a% A si ple level o! charac@ terisation is #eing used, regardless o! the learning o#'ectives $hich ay dictate that either e&periential, co unicative, or e&pressive dra atic action is e phasised% O#viously it is the levelEo! characterisation that is easiest to use and there!ore li/ely

to #e the starting point !or $or/ in dra a% 1hilst it is o!ten used in association $ith spontaneous dra atic playing, this is #y no eans its natural place% And re e #er, it is not an end in itsel!, erely the $ay into an e&perience o! other dra atic eaning% Do)plex Dharacterisation The ore in!or ation the actor has a#out a character the ore di!!icult creation o! role is li/ely to #e% I! physical and social details are inter$ined $ith psychological altitudes and philosophical #elie!s, the character #eco es ore co ple& and is capa#le o! responding $ith !ar greater su#tlety% Teachers o!ten use role cards as an e!!icient $ay o! assigning character details, and getting the dra a going% Insu!!icient thought at this early stage, ho$ever, can under ine the dra a% "are is needed to ensure that the students is not overloaded $ith details or given too speci!ic details% (o eti es characters are assigned particular involve ent in events $hich have supposedly ta/en place #e!ore the present dra atic situation% The teacher atte pts to play$right a #ac/ground $hich gives the character insight into the present o ent% 1hat happens instead is that the details o! prior incidents and actions actually inhi#it the dra a% 1hen this occurs dra atic actions are li/ely to #o tentative and insincere as the student struggles to re e #er details and a/e decisions a#out character #ehaviour% (i ilar results are li/ely also i! the character has aspirations andFor deep oral convictions vvhich the student has no understanding o!% The teacherEs directing s/ills are needed to a/e the necessary connections #et$een the studentEs e&@ periences and the attitudes o! the character% (o e details ay need to #e odi!ied, others re oved% 1atching actions and listening to the studentsE di!!iculties are essential i! teacher and student arc to achieve success!ul characterisation, Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers The Teacher as 3irector
555 ove% se i@hypnotic state #elieving that they $ere su!!ering pain to the e&tent that they couldnEt

Fortunately such an e&tre e situation is not co on% +ut there is a range o! activities used that place e otions at the centre o! the e&perience% Most o! us have #een guilty in various $ays at so e stage in our teaching = ove ent in usic designed to evo/e e otional states, $al/ing around the roo !eeling happy, sad, angry % % % or using an o#'ect onto $hich a range o! e otions are pro'ected = 'oy, !rustration, love% Is it any $onder that students !eel apprehensive and !ello$ teachers suspicious a#out these tas/sH 1hat is e&posed in these approaches is a isunderstanding o! the relationship #et$een role, !eelings and actions%

Tas/, Action and E otion in Role Develop ent (tanislavs/y ai ed to have his actors !ully identi!y and e pathise $ith their characters% To achieve this an actor had to have a range o! oods and !eelings at his co and% E otional recall $as an i portant step in the role@#uilding process% +ut $hat he ade very clear in his teaching and directing $as that attention should not #e !ocused on the e otion% Instead the concentration had to #e on $hat is to #e done and $hy, on the action and the desire, or otivation !or it% "oncentration on !eelings in general, as in the a#ove e&a ples, $ill only result in over@acting and untruth!ul e&pressions o! !eelings% In reality, the concepts o! pain, 'oy, !ear, etc, $ill ani!est the selves in such a variety o! $ays in di!!erent instances that it is !ruitless to engage in generalised e&pression% 1ho I a , $hat y te pera ent is, $hether I a alone, all a!!ect y actions and e otional responses% LetEs loo/ at an e&a ple given #y Rapaport -"ole, 598?, p% BA. o! this relationship #et$een actions and e otions%

E% % % I a in a hurry to catch a train, y things are in y roo , pac/ed and readyM I co e !or the , #ut the door is loc/ed and I cannot !ind the /ey% In this case a purely physical o#'ect con!ronts e = a loc/ed door, $hich I have to open io get y
things%

The ore di!!icult it is to overco e the o#stacle, the ore actively the tas/ $ill develop and the !eelings $hich result !ro !ul!il ent o! the tas/ $ill #eco e deeper and ore e&pressive% I shall #e upset, angry, annoyed at y a#sent@ indedness -as I islaid the /ey., etcM in a $ord, I shall e&perience the sa e seWuence o! !eelings as $ould have #een aroused i! such an accident had happened in real li!e%E A si ple $ay o! achieving co ple& characters is to su#tly contrast social and psychological details% (uch details o!!er a solid #ase !ro $hich to $or/ #ut allo$ a&i u opportunity !or the student to #uild creatively !ro that point% O! course contrasting personalities #et$een characters $ill serve to co plicate the dra atic action #y highlighting speci!ic details o! character, In this sense chatacterisation is deepened as the dra a progresses, (o e students $rongly assu e that their character ust doggedly cling to speci!ic attitudes throughout the dra a% Although consistency o! #ehaviour is necessary, characters ust also respond to the actions o! other characters and the events o! the dra a% A con!ident, articulate political leader ight #eco e an&ious and inarticulate in a situation in $hich a heFshe !eels threatened% 1hen and i! changes occur, they ust #e truth!ul responses to the dra atic situation, !or they provide the opportunity to learn a#out the co ple& nature o! hu an #ehaviour% A change that is too easily acco plished threatens the credi#ility o! the character and o! the dra a% E otion and Role Ta/ing 1hen it co es to the #usiness o! developing roles in dra a, the place o! e otion in the event has #een hotly de#ated% (o e have #een ready to declare that i! the individual has Ehad an e otional e&perienceE, then theyEve #een involved in psychodra a\ Others have clai ed that unless there has #een e otional invove ent, then the dra a has #een a $aste o! ti e\ The !or er attitude has resulted in teachers #eing hesitant a#out Eusing role playE so their classes have #een a series o! group@devised, hu ourous s/its and a range o! co unication ga es% The second #elie! o!ten resulted in a preoccupation $ith activities designed to give students practice in e&periencing and e&pressing di!!erent e otions, The !ollo$ing e&a ple illustrates this point% A group o! year 5: students $as told that the lesson $as to #e spent e&ploring e otional states = anger, 'oy !ear and pain% (u#dued lighting $ith coloured spots $as organised, Wuiet #ut appropriately evocative usic selected% (tudents lay on the !loor, $ere tal/ed into a rela&ed state and then led through a ental e&ploration o! each e otion% At the end o! so e !orty inutes, the teacher concluded the e&ercise and as/ed the students to sit up% Three students, ho$ever, had concentrated very $ell\ They re ained on the !loor in a E&ternal tas/s $ere -a. to catch the train -#. to get the luggage -c. to unloc/ the door

-d. to !ind the /ey The unloc/ed door and lost /eys #eca e o#stacles $hich co plete the tas/% Al an internal level the tas/ $as, -a. to $ill actions not to use up vital ti e, -#. to chastise sel! !or a#sent@ indedness% Another e&a ple $ill !urther highlight the internal nature o! the tas/% I sit outside the principalEs o!!ice, in$ardly $or/ing at $illing the principal to #e erci!ul and consider y previous good record% Out$ardly, y actions ay #e al ost negligi#le #ut the internal actions -the counter@action, or $hat Liv U* ann re!erred to as the counter otion. $ill #e re!lected in y eyes, the hesitancy or sharpness o! certain oves, the general appearance o! y #ody% 1hat I a certainly not doing is concentrating on a particular e otion, !ear, !or e&a ple% That ay ani!est itsel! in so e $ay, 'ust as anger, or hu iliation ay, #ut it is the internal tas/, or actions, that produces the !eelings, This is $hy $e thin/ o! other things in the dentistEs $aiting roo , $hen thoughts a#out the co ing event result in an&iety and !ear% 1e can turn to the internal tas/ o! deciding $hich ovie to go to later, or $hich shop, ight o!!er the ost #uying pleasure% The action is to sit and $ait !or your turn in the dentistEs chairM the counter@action is to avoid the reality #y deciding $hich ovie to see% "on!licting actions $ill struggle $ith one another and !ro the tension a range o! e otions $ill result% O#viously, in this process o! action and counter@action the e&perience o! e otion is inevita#le and productive% 5 have the e&perience, I understand $hat otivated y actions and ho$ this a!!ected y e otions% I /no$ ore a#out y character, and ore a#out ysel!% +oth are pre@reWuisites !or e&pression and co unication o! character $ithin the dra a% I! I a guided to re!lect upon the e&perience, the e&pressive #ehaviour that $as part o! it and its eaning, 5 can ove into a process o! re!ining actions !or the purpose o! theatrical co unication% 1ithout this #asic /no$ledge, ho$ever, y gestures and intended eaning $ill #e unconvincing, I $ring y hands in an&iety, y eyes gro$ larger and y outh opens in !earM I s/ip and s ile #roadly $ith 'oy% In !act I protect ysel! !ully !ro the e&perience o!
genuine e otion and in the process I learn nothing o! the su#tle realities o! hu an #ehaviour = the !irst principle !or eaning!ul dra a

ade it

ore di!!icult to

I e&periences% (o e actors and trained dra a teachers ad it they cannot use role as a eans o! e&ploring and understanding the hu an condition% Their /no$ledge co es through other avenues, -o#servation, reading, discussion. #ut it re ains intellectual and o#'ectiveM it has never #een synthesised and internalised through the dra atic e&perience% The direct learning po$er o! dra a re ains a ystery% Dra atic action is vie$ed, and used, as a purely echanical techniWue !or EtheatricalE co unication or, $ithin the school, as a eans o! developing positive interpersonal relationships% I! $eEre $or/ing $ith children, adolescents and young adults in dra a, this !ocus on tas/ and its associated actions is a#solutely crucial to healthy personal and dra atic gro$th% It is !unda ental to the individual a/ing contact $ith his inner sel!, and to allo$ing his actions and their associated !eelings to #e sel!@generating%

EThe actor #ases % % his understanding on the characterEs #ehaviour % % % upon the uniWuely personal connection $hich he has ade #et$een his unconscious and that o! the character% This aspect o! characterisation there!ore reWuires the actor to pro'ect his deepest !eelings into those o! the characterM this is a necessary aspect o! the gro$th o! the role, #ut one $hich ust #e approached $ith great care and patience%E -+enedetti, 59?;, p% 66A. The tas/ is the legiti ate #ase !or the develop ent and e&pression o! !eeling in dra a% 1e are surely not $anting to teach the sel!@ indulgent ha#it o! tru ping up e otional states at $hi % (ensitivity and co on sense are needed, o! course, $hen $or/ing at this e otional level $ith students in early adolescence% The #asis o! everything in dra a ust #e this tas/@orientated action, internal tas/Fe&ternal tas/ = action and counter@action% "haracter, dra atic situation and tas/% Feelings $ill naturally ta/e care o! the selves% The teacher as director, in colla#oration $ith the student, holds the /ey to creative, eaning!ul dra a% +y understanding ho$ to achieve a relationship #et$een the individualEs personal e&periences and the separate artistic identity o! the character, a $ealth o! learning can #e contacted% In The 4ctor at >ork% +enedetti -59?;. co ents on the actorEs
develop ent through the e&perience o! the dra atic event% *is $ords also tell us $hy $e #elieve that dra a is a necessary su#'ect in the school curriculu %

% % the actor is continually e&panding hi sel!, continually having e&periences that are inaccessi#le to the average person% +y !eeling $hat it is to live in past ages, in odier
places, and

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers inside o! people Wuite di!!erent !ro ourselves, actors !ind then o$n lives continually challenged and e&panded% The actOI $ho loo/s only $ithin hi sel! !or the aterials o! creation is ro##ing hi sel! o! vast riches o! e&perience % % % the actor $ho, on the other hand, re!uses to involve hi sel! in his creation $ill re ain una!!ected #y the e&periences he erely pretendl to #e having%E -p% 68 [.
This #oo/ is a#out ac/no$ledging the relationshop 4etween dra a and theatre, #et$een students and actors, teachers and directors% It is a#out the learning that is e #edded !or us %ill in contacting those realities rather than avoiding the %

The Teacher as Actor

In theatre the actor is the pri e agent in the dra atic, co unicative e&perience% The e&tent to v!lhich the audience identi!ies $ith and understands the sy #olic arti!ice o! the event rests $ith the s/ill and sensitivity o! the actors% In the classroo , the teacher is the central agent in the interactive, educational e&perience% I! students are to #e engaged in signi!icant learning encounters, teaching s/ills ust #e su!!iciently developed to otivate the individualEs pursuit o! eaning% +oth the dra atic and teaching processes are arti!icial interventions in the natural course o! hu an develop ent% They are speci!ic atte pts to overtly anipulate hu an encounters !or the purpose o! pro oting individual gro$th and learning% Any classroo teacher can e!!ectively use the actorEs

co unicative s/ills as a eans o! heightening the learning e&perience% For e&a ple, care!ul attention is paid to vocal and physical gesture, to delivering the sa e su#'ect aterial $ith !reshness and vitality, to the s/ill o! i provising productively !ro the responses and interactions o! students%
It doesnEt see unreasona#le to e&pect that the teacher $ho is also trained in dra a is ost adeWuately eWuipped to use the s/ills o! the actor to achieve good teaching and vitality o! learning% The teacher as actor constantly and i plicity applies techniWues $hich allo$ hi Fher to capture the classEs intention and !ocus it on the e&ploration o! speci!ic eanings%

The Teacher as Actor -I plicit. 5 Is directly responsi#le !or esta#lishing a creative co

unicative relationship #et$een teacher, student and su#'ect atter% This reWuires a thorough /no$ledge o! the lesson script, its Esuper o#'ectiveE and its speci!ic contri#uting eanings%

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers inside o! people Wuite di!!erent !ro ourselves, actors !ind their o$n lives continually challenged and e&panded% The actor $ho loo/s only $ithin hi sel! !or the aterials o! creation is ro##ing hi sel! o! vast riches o! e&perience % % % the actor $ho, on the other hand, re!uses to involve hi sel! in his creation, $ill re ain una!!ected #y the e&periences he erely pretends to #e having%E -p% 68B.
This #oo/ is a#out ac/no$ledging the relationshop #et$een dra a and theatre, #et$een students and actors, teachers and directors% It is a#out the learning that is e #edded !or us all in contacting those realities rather than avoiding the %

The Teacher as Actor

In theatre the actor is the pri e agent in the dra atic, co unicative e&perience% The e&tent to $hich the audience identi!ies $ith and understands the sy #olic arti!ice o! the event rests $ith the s/ill and sensitivity o! the actors% In the classroo , the teacher is the central agent in the interactive, educational e&perience% I! students are to #e engaged in signi!icant learning encounters, teaching s/ills ust #e su!!iciently developed to otivate the individualEs pursuit o! eaning% +oth the dra atic and teaching processes are arti!icial interventions in the natural course o! hu an develop ent% They are speci!ic atte pts to overtly anipulate hu an encounters !or the purpose o! pro oting individual gro$th and learning% Any classroo teacher can e!!ectively use the actorEs co unicative s/ills as a eans o! heightening the learning e&perience% For e&a ple, care!ul attention is paid to vocal and physical gesture, to delivering the sa e su#'ect aterial $ith !reshness and vitality, to the s/ill o! i provising productively !ro the responses and interactions o! students%
It doesnEt see unreasona#le to e&pect that the teacher $ho is also trained in dra a is ost adeWuately eWuipped to use the s/ills o! the actor to achieve good teaching and vitality o! learning% The teacher as actor constantly and i plicity applies techniWues $hich allo$ hi Fher to capture the classEs attention and !ocus it on the e&ploration o! speci!ic eanings%

The Teacher as Actor -I plicit. 5 Is directly responsi#le !or esta#lishing a creative co unicative relationship #et$een teacher, student and su#'ect atter% This reWuires a thorough /no$ledge o! the lesson script, its Esuper o#'ectiveE and its speci!ic contri#uting eanings%

55; Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

6 Uses controlled, discreet, and arti!icial devices !or the purpose o! adding i pact and liveliness to the learning processes% A Is a$are that the classroo Eper!or anceE is erely the eans to an educational end% (el!@centred teaching, li/e acting, under ines the overall purpose o! the event% 8 "hooses a style o! co unication appropriate to the su#'ect atter% E&aggeration, hu our and entertain ent ay #e used alongside a serious, deli#erate appeal to the intellect or the e otions% B Uses i provisation and e&ploration as a predo inant style o! $or/ing% "on!ident input and speci!ic selected o!!erings !ro the teacher are as i portant as the a#ility to receive, and yield to, the responses and !eed#ac/ !ro students% (pontaneously #uilding !ro interactions to$ards the e&ploration o! learning o#'ectives is the essence o! this i provisation in teaching% ; "ontrols, anipulates and varies the use o! space and organisation o! o#'ects $ithin it -des/s, people, aids. to aid the interactive co unication process% A teacher E onologueE delivered !ro the !ront o! a class is as appropriate and e!!ective in pursuing speci!ic eanings as a circle o! students and teacher in!or ally discussing ideas% To vary the pro&i ity o! teacher to particular individuals, s all groups or o#'ects can capture attention andFor e phasise eaning% ? Understands the language o! physical ove ent and e&ploits this in the co unication process = a very i portant aspect o! classroo presence and the a#ility to otivate and sti ulate learning% > Is s/illed in using variety and contrast o! vocal gesture to enhance co unication, e&ploration o! eaning and anage ent o! the group% Jariation in volu e and pitch, use o! pauses and silence, nuance o! tone and intonation arc essential aids to e!!ective teaching%
9 Uses vocal and #odily gesture =

to enthuse to !ocus to persuade to coa& to startle to encourage to lead to !ollo$ to chastise to hypothesise to support to evo/e to instruct to highlight to negotiate to criticise to analyse to ponder to inspire to storytell to
to evaluate to search li#erate

The Teacher as 4ctor

??

5: )ever loses sight o! the !act that the role o! teacher co

es #e!ore that o! actor% Egocentris , e otional invest ent, entertain ent and applause are $ords that should not apply to acting s/ills in the classroo % The less attractive language o! teaching duty, pedagogy, educative process and leadership distance should #e /ept $ell in ind%

The Teacher as Actor -E&plicit.

The teacherEs e&plicit use o! the actorEs role has #eco e a popular strategy !or controlling, upgrading and protecting the Wuality o! the dra atic e&perience% (o eti es it is used si ply as an interesting and evocative eans o! getting the dra a started% (ensitively and intelligently used, this ethod o! intervention can #eco e a !orce!ul, creative aid to dra atic learning%
To achieve this !unction, the teacher as actor adopts a role $hich is appropriate to the content and eaning o! the dra a% The teacherFcharacter is then a#le to su#tly anipulate learning !ro $ithin the action% Rather than having the teacher constantly interrupt the dra a to raise levels o! co it ent or #elie!, this can #e achieved #y the teacher as actor $ithout stopping the natural !lo$ o! the studentsE $or/% *aving the teacher repeatedly control the dra a !ro the outside can #eco e irritating and !rustrating !or students, even though they ay #e !ully a$are that intervention is needed i! the dra a is to #e o! a satis!ying Wuality% It is not unusual, $hen the dra a is !loundering, !or students to Wuietly signal !or help in the hope that so e inor intervention #y the teacher $ill solve the pro#le % It is o!ten appropriate !or the teacher to Wuic/ly and e!!iciently intervene directly as actor%

The )ature o! the Acting Role Dra a@in@education theorists and practitioners have #een care!ul to discuss the value o! Eteaching in
roleE $ithout e phasising its relationship $ith acting% Rose ary Linncll -59>6. particularly stresses that teaching in role is not acting, #ut si ply a teaching tool% This #egs the Wuestion so e$hat, although o! course it is also true% One o! the $ea/nesses o! the use o! this teaching tool, ho$ever, is that it o!ten !ails, through lac/ o!EactingE, to serve its !unction success!ully% Any notion o! character is deli#erately #uried, the nor al social role = the teacher -con!using, #ut stay $ith it. = is so do inant that the dra atic role = the character = is insu!!iciently

?>

1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

developed

to achieve the reWuired !ocus% The dra atic i ages are #lurred and li!eless, the students respond $ith con!usion to teacher authority rather than character actions%

Propping the Role To a/e the distinction #et$een teacher and character clear, teachers o!ten enlist the aid o! a piece o! costu e -hat or coat. or a prop o! so e /ind -#rie!case, $al/ing stic/.% They e&plain to the student that $hen they are $earing or carrying the particular thing, they $ill #e so eone else in the dra a and not the teacher% This approach has o#vious advantages% (tudents Wuic/ly recognise the e&ternal signs o! the teacher as character and ad'ust their responses accordingly% At the sa e ti e the teacher !eels ore con!ident in entering the dra a $hen supported #y these aids% There arc also distinct disadvantages in $or/ing this $ay, ho$ever% I! the students are e&pected to co unicate their dra atic i ages $ithout the aid o! costu e or props, it $ill see a little un'ust that teacher is allo$ed this privilege = canEt heFshe do it aloneH The !act is that the teacherEs acting #eco es a odel !or the group, $hether $e li/e it or not, and this carries certain i plications% 1hatever the acting role, it has to #e e!!iciently and e!!ectively presented = crisp, clear and #elieva#le% It ust #e capa#le o! adding i pact, increasing co it ent and intensi!ying #elie!% It is an e&citing $ay o! i plicitly de onstrating the convention o! _ a a/ing it happen, it is happening to e%E
1hen the teacher relics on aids to pro ote acceptance o! the character, it is very easy to !all into the ha#it o! doing little else% Jocal gesture and ove ents can re ain distinctly EteacherishE and the vitality that should #e #rought to the dra a is lost% LetEs #e very clear, ho$ever, that it is not #eing suggested that the teacher has to suddenly deliver so e e&otic, overplayed per!or ance\ That is 'ust #ad acting any$ay and does nothing ore than startle the students and change their participation !ro actors to audience% The e&pression o! the role $ill only #e developed !ar enough to e!!iciently contri#ute to the direction and eaning o! the dra a% In theatre one does not e&pect the telegra #oy $ith t$o lines o! dialogue to overact and upstage the rest o! the actors and actionM actors and audience, ho$ever, ust #elieve in the truth o! the o ent\ "larity and e!!iciency should #e the

The Teacher as 4ctor 119 hall ar/ o! the actorEs role, as it ust #e !or the teacher acting a role% Another $ea/ness associated $ith the use o! costu eFprops is that the transition !ro teacher to character can #e cu #erso e% I! the dra a has to #e stopped #y teacher, the coat or hat ust #e re oved so that the teacher is once again revealed, the article is then replaced to allo$ the dra a to #egin again% )ot so uch o! a pro#le perhaps, $hen the dra a is running $ell, #ut a$/$ard $hen the going is ore di!!icult% E phasising acting and character in relation to this teaching strategy is done so that the integrity o! the dra a $ill #e preserved% The teacher is eWually conscious o! the teaching and the acting role% A creative, #alanced relationship e&ists #et$een the teaching !unction and the acting !unction% The teaching purpose is !ir ly e #edded in the clear dra atic i ages o! the character% Too great a prc@occupation $ith characterisation and the teacher gets lost to the character and the action o! the dra a% Too do inant a !ocus on the teaching role and the intervention is li/ely to result in pseudo@ dra atic teacher direction = indigestion dra a, i! you li/e\
1hen $or/ing in the secondary school -and in the greater part o! the pri ary school as $ell., $e tend to underesti ate the sensitivity and intelligence o! the students $hen $e assu e that these added signals o! costu e or prop are necessary% ,reater con!idence is needed in the students and in the teacherEs a#ility to give dra atic e&pression to the selected role% 1ith a little thought, the teacherEs speech and #ody language can #e odi!ied su!!iciently to characterise the part% This in itsel! $ill clearly indicate $hen the teacherEs role in the classroo has changed to actor $ithin the dra a%

Playing the Part Mostly

the teacher $ill !ind that si ple characterisation is all that is reWuired% A social role and a psychological attitude $ill serve ost dra a needs very $ell = the Mayor $ho $ants to /eep votesM the engineer $ho gives his s/ills only as they are paid !orM the elderly citiien $ho see/s respect and dignityM the is!it $ho !ights !or group acceptance% (o eti es a deeply@held conviction can challenge the group into dealing $ith pro#le s that they $ould #e unli/ely to encounter on their o$n = a stranger $arns the group that a curse on the ancient house #rings death and ruin to anyone $ho entersM

?9

1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

an aged citiien re!uses to leave his ho e #ecause this $ould ean that in death his soul is da ned% Physical attri#utes o! the character, age, se&, #uild, are only i portant in so !ar as they ay arise !ro the social details o! the role% The Mayor ay #e young and there!ore ine&perienced, !or e&a ple% 1hen roles o! authority arc chosen #y the teacher, e&tra care is needed to ensure that $ords and gestures are di!!erent !ro those nor ally used in the everyday interactions o! the classroo % As chairperson o! a con!erence, !or e&a ple, it is relatively easy to !all into the trap o! using organisational and instructional language that is ore appropriate to the classroo situation than the dra atic one% EThis con!erence is a#out % % %, you are all here !or a purpose % % % there are 'o#s to #e done % % % #rea/ into s all groups and $or/ out your ideas, prepare a report % % % IEll hand out so e paper and te&@tas%E Much greater clarity and i pact $ill #e achieved i! ore !or al speech and specialised $ords are used% E1elco e to the !irst national con!erence on % % % as elected representatives, your ideas and your votes % % % $e are charged $ith the responsi#ility o! % % % s all group se inars $ill discuss agenda ite s % % % delegates $ill prepare state ents % % % $riting aterials are availa#le % % %E
1hat the teacherEs character says and does and the anner in $hich it is done have a po$er!ul in!luence on the ood o! the dra a and the Wuality o! the student interactions% I! they are challenged to spontaneously interact

$ith a !ello$ actor, rather than teacher and leader, ne$ di ensions o! e&ploration and e&tension are possi#le% Interactions in the dra a $onEt #e curtailed #ecause students !eel the teacher is loo/ing !or a particular ans$er or response% They $ill have to !ind the ost appropriate $ay o! dealing $ith this ne$ personalityM there $ill #e no set rules o! classroo #ehaviour, only the conventions o! the dra a to guide the % It is there!ore vital that $hen the teacher plays the part o! an authority !igure, the acting is su!!iciently pronounced to invite creative !reedo % 4ohn )or an -59>6. suggests that i! roles are selected $hich are very di!!erent in status !ro the accepted teacher authority, students have ore chance o! #eing li#erated $ithin the dra a% Thus characters $ho are $ea/, $ho do not /no$, $ho as/ naive Wuestions or $ho lac/ courage can place ne$ responsi#ilities and dile as at the !eet o! the student actors% O! course characters $ho have po$er and respect #ecause o! their social or econo ic status, can co plicate atters #y assu ing psychological attitudes $hich reduce their personal status% A /ing ay not #e a#le to a/e decisions on

The Teacher as 4ctor 1 1 his o$nM an ar y o!!icer is una#le to attac/% uster the courage needed !or the !inal

At ti es the teacherEs choice o! character or anner o! presentation is such that students !ind it di!!icult to constructively handle the intervention% Outrageous or sensational characters and actions can startle andFor e #arrass the studentsM their co it ent to and #elie! in the dra a is lost% In one particular lesson, year 9 students $anted to act out a party scene% During the dra a, the teacher sensed that so ething needed to happen !or the dra a to #eco e signi!icant% (uddenly, teacher appeared as a Eone@ leggedE character dragging hi sel! con!idently to$ards the rest o! the group = E*i, IEve only got one leg #ut IEve co e to 'oin the party
The incongruity o! the characterEs physical state co #ined $ith the surprise o! teacher playing such a part spelled disaster and the dra a disintegrated% 1hat the teacher had hoped to achieve $as a deepening o! the super!icial, stereotyped interactions o! Ethe partyE% In this case, intervention o! a di!!erent /ind $as needed%

Ta/ing the First (tep (o eti es teachers are reluctant to play a part in the dra
a #ecause they !ear the negative reactions o! the students = the initial giggling, the sel!@consciousness, the $ithdra$al or, alternatively, the precocious, over@con!ident response% 3uite o#viously, the e&perience o! seeing teacher !ro this ne$ perspective is unusual and it ay ta/e ti e !or so e groups to learn ho$ to cope productively $ith the idea% I! this is so, the teacher ay !ind it less pro#le atic i! authority roles are chosen, and teacherEs character spends a considera#le a ount o! ti e $ithin the dra a% Playing 'udge in a court trial, or a govern ent o!!icial on a research ission o!!ers scope !or giving !ocus to the dra a, as $ell as anaging the group% (uch roles allo$ the teacher to hand over the action and direction o! the dra a !or di!!ering periods o! ti e #ut al$ays $ith the possi#ility o! Wuic/ly e&erting authority and control $hen needed% As the group e&periences the satis!action o! #uilding e&citing, !ocussed dra a $ith their teacher, this $ay o! $or/ing #eco es easily accepted% Once this stage is reached, the teacher $ill have little di!!iculty in oving in and out o! the dra a using a range o! characters !or di!!erent teaching reasons%

>:

Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

A gentle and e!!ective $ay o! introducing

the idea o! teacher as actor is to #egin the dra a session $ith a short piece o! character $or/% The teacher si ply e&plains that today heFshe $ill #rie!ly appear as a character and $hat happens $ill #e i portant !or the rest o! the dra a% All the group has to do is $atch and listen, to re ain as the selves, and respond as an audience to the action% Discussion $ill then !ollo$% Thoughts and !eelings evo/ed #y the dra a provide the #asis !or the rest o! the lesson% The possi#ilities are li itlessM the teacherEs selection o! character and situation $ill #e suggested #y the ai s and content o! the lesson script%

s A cri e #oss ight a/e a telephone call to a partner in a respected govern ent position % % % s A co on$ealth o!!icial spea/s to the group o! the ai s and responsi#ilities o! the secret space ission % % % s EE ily Pan/hurstE delivers a short speech to a #and o! su!!ragettes % % %
s An elderly person $ho lives alone co unicates so ething o! the pride and loneliness o! old age % % %

An advantage o! $or/ing this $ay to #egin the dra a is that the teacher can endo$ the group $ith general roles and !eelings% These arc then ade ore speci!ic in the ensuing dra a as particular characters arc chosen and

situations e&plored% For the students, there is a sense o! participating in a ga e, an adventure $ith un/no$n conseWuences% +ecause o! this, their attention is easily gained and a dra atic !ocus is esta#lished !ro the outset%
(hould there #e initial giggles in response to the action, the teacherEs character has the opportunity to deal $ith the i! the concentration o! others is a!!ected% (ensitivity is needed, ho$ever, #ecause o!ten the giggles Wuic/ly su#side as the dra a continues and individuals #egin to identi!y $ith the character and the situation% The Ecri e #ossE ay suddenly $ish to cut short the telephone call #ecause voices can #e heard% The teacherFactor listens, loo/s to !ind the source o! sound, and in doing so gives the studentFs ti e to settle into the action% I! this doesnEt happen, the phone call is ended and the dra a stops% 1hen the incident is discussed, the group ay decide that they $ould li/e to hear ore o! the phone call to see i! they can pic/ up so e clues as to $hat is going on% The dra a reco ences and a signi!icant piece o! in!or ation is co unicated $hich adds interest to the dra a and re$ards the group !or its attention\ (o eti es the character ay tal/ directly to the student group, chastising the !or their lac/ o! sensitivity to the character, or the

The Teacher as 4ctor 56A situation% As the co ents are ade $ithin the conte&t o! the dra a, the group is invited to respond as players in the ga e, and ore o!ten than not they do so%
Enlisting the help o! one or t$o students can also #e an easy and interesting $ay o! getting started $ith teacher as character%

s (oldiers -the students. ay get caught #y a sentry -the teacher. as they atte pt to plan a seige% The conseWuences o! the action are ade clear%
s ,ang e #ers s$ear oaths o! secrecy and carry out deeds o! allegiance !or their leaders% ust there!ore #e su!!iciently

1hatever

happens, the dra a ust #e #elieva#le% The teacherEs acting !ocusscd and truth!ul to dra$ the sa e Wuality responses, !ro the students%

The Direction o! the Dra a 1hen

the group discusses this introductory action as preparation !or the dra a that !ollo$s, co should !ocus on0 ents

5 Aacts clearl6 stated in the drama- These $ill have #een purpose!ully !ed into the action #y the teacher, according to the content and ai s o! the lesson% Dates, ti es, characters, details o! situation ay #e i portant% 6 ThinBs in2erred &6 the action8 T$o or ore details $hich a/e suggestions at a su#@plot level, !or e&a ple% (tudents $ill need to #e a$are o! the ore su#tle details o! characterisation and their i plied eanings% Esta#lishing the relationship #et$een these eanings is also a necessary part o! this
process% A >hat is not 6et kno n8 +y using the /no$n or in!erred !acts as a starting point, those things $hich need to #e /no$n !or the situation to #e ore !ully understood can #e isolated% Di!!erent perspectives and vie$points can #e identi!ied as possi#le avenues !or e&ploration in the dra a% +ac/ground details in relation to characters or the situation ay provide access to the otives or circu stances that lead to hu an #ehaviour%

The Teacher as ActorFDe onstrator To conclude this chapter, it is $orth$hile cautioning against >5
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers the use o! teacherEs acting as a de onstration techniWue during rehearsal% Directors so eti es !ind that an actor is not giving e&pression to a character in a satis!actory $ay and resort to de onstration a s a eans o! achieving success% EDo

it li/e thisE or E1atch eE is hardly conducive to creative pro#le solving or develop ent in pro!essional actors or students% Puppet@li/e i itation o! the teacherEs characterisation only inhi#its and retards the studentEs role creation% A ore !ruit!ul approach is !or the teacher to adopt a character -perhaps one outside o! the te&t. and i provise a situation $ith the student $hich appro&i ates that o! the play% *ope!ully, teacherEs character can

challenge and goad the student into e&ploring at a level $hich e&poses i portant aspects o! the characterEs #ehaviour%
Despite this caution, there is no dou#t that the teacher as character has enor ous potential !or pro oting studentsE learning and develop ent in dra a% As an aid to e&periential dra atic action it could $ell #e argued that it is an essential teaching tool% It is ost productive to use this strategy !ro the very start, #e!ore ideas are !i&ed a#out $hat happens in dra a and $hat part the teacher $ill play in the process% The longer that students accept that the teacher is the leader or director #ut never an actor, the ore di!!icult it $ill #e to con!idently apply the teaching techniWue%

15 It

2no$ing 1hat to (ay

is clearly i possi#le to do dra a $ithout learning a#out language% Tone o! voice, the use o! particular $ords and the $ay $e use our #odies as $e spea/ are all part o! the eWuip ent #eing tested and sharpened in dra aM attention to these details e&poses the su#tle eanings o! the dra atic event% And #ecause the individual e&periences a range o! di!!erent roles and situations, /no$ledge is also gained a#out the ap@ propriateness o! language in particular circu stances% ,ood dra a can teach e!!ectively a#out language #ecause its use is tied to personal e&perience and action%

"haracterisation and Language (o eti es students !ind the selves unsuccess!ully trying to #uild roles% They ta/e on, or arc given, a role !or $hich they cannot atch language% A struggle #egins, #elie! in the dra a $avers and the role #rea/s do$n% LetEs loo/ at the !ollo$ing e&a ple%
A year 9 girl is atte pting to play a Eunion #ossE in a dra a a#out !actory $or/ing conditions% (he !inds hersel! needing to address a group o! agitated E$or/ersE, #ut nothing happens% (he stands sel!@consciously #e!ore the group, struggling to gra# hold o! $ords $hich $ould allo$ the dra a to !lo$% The role is a#andoned and she pleads !or help, _ donEt /no$ $hat to say%E Teacher appropriately stops the dra a and although others are volunteering to ta/e on the role this does not happen% Through Wuestions, discussion and suggestions, the group helps to solve the pro#le % Fairly Wuic/ly, a $ay o! identi!ying $ith the role is !ound as so eone suggests #eing a union #oss is a #it li/e #eing a !ooty coach% It suits $ell, a spar/ o! recognition lights up the girlEs !ace and she is Wuic/ly a/ing connections $ith her atte pts in role% +ac/

Ti)e 2or 3ra)a: 3 ;andboo. (or %e*ondary 1ea*hers in the dra a she !inds the language o! !orce and persuasion% (he no$ deals $ith the Wuestions and state ents !ro the group = she gets a hard ti e o! it, #ut she holds the role% 2no$ing $hat to say in role is not al$ays easy, especially in roles o! high responsi#ility and leadership% 1hen students arc /een to atte pt such roles, the teacher ay have to $or/ very hard to !ind $ays o! a/ing the e&perience achieva#le and eaning!ul% 3uite concrete suggestions ay need to #e ade a#out Epossi#le things to sayE% I! necessary the Eprepared speechE techniWue can #e used $ithin the i provised dra a% To achieve this, students out o! role ta/e ti e to thin/ a#out $hat is to happen ne&t% In the a#ove dra a, the $or/ers could #e as/ed to thin/ a#out their attitudes and personal positions, and to prepare a range o! Wuestions and state ents that they ay $ant to use% The union #oss $or/s $ith teacher -and a couple o! union representatives, i! appropriate. to prepare an o!!icial address% Responses to possi#le Wuestions are discussed and $ays o! avoiding di!!icult co ents are considered% A golden opportunity no$ e&ists !or the studentsE language to #e e&tended% 1hilst it is i portant that the speech is thoroughly understood #y the student, phrases li/ely to #e used in a particular conte&t can #e selected = Ea log o! clai sE, Eover@a$ard pay entsE, Epic/et linesE, E$or/ to regulationsE, EsolidarityE, Esca#sE, etc% At ti es appropriate support aterial can #e !ound and used to help students $ith the language o! dra a% A ne$spaper report on union stri!e is 'ust one e&a ple% E&cerpts !ro a range o! literary sources

can provide sti ulus !or the use o! a particular language style or voca#ulary selection% The language o! historical novels, !or e&a ple, or $ords that de!ine particular religious or social #elie!s = "hristianity, !e inis , conservation, a#original ythology% Patterns o! #ehaviour are suggested #y the language, a ood is cast and the dra a ta/es on vitality and $holeness% 1ords and phrases !ro particular literary sources can #e used as #asic in!or ation upon $hich roles and situations can #e #uilt% (i iles and etaphors provide e&cellent sti ulus !or a/ing dra a and e&tending language s/ills% Detailed suggestions !or developing dra a in this $ay are !ound in Part Three%
+y care!ully selecting sti ulus aterial o! high Wuality -and this ay include paintings, photographs, or actual o#'ects., it #eco es relatively easy to ove the language o! the group into levels o! !or ality and precision not nor ally e&perienced% (o o!ten dra a is structured so that it reWuires

Sno inB >hat to #a6 >A only the in!or al colloWuial $ords and gestures o! everyday interactions% I! $e ta/e the tas/ o! students creating a ritual in dra a, the !or alising o! speech and gesture is easily illustrated% Move ents, $ords and o#'ects used ust #e care!ully selected !or their sy #olic po$er% Used in con'unction $ith an e&ploration o! yths, legends and the !unctioning o! groups in society, the dra a e&plicitly challenges and e&tends the studentsE !acility in language and their understanding o! the po$er and !unction o! language%
The teacher as character o!!ers another i portant strategy !or helping students $ith the language and eaning o! the dra a% A si ple #ut !or al, perhaps Wuiet, E1hy do $e do such a thingHE, rather than the usual, E1hat are $e doing that !orHE creates signi!icant i pact in the dra a% The pace is interrupted, the o ent is heightened, !ocus on the event is sharpened and the i plications o! actions are called into Wuestion% (tudents respond to the i pact, their language and ove ents $ill #e changed $ith the e!!ect o! the $ords% The teacher need do very little else%

Dra a Joca#ulary +ecause the relationship #et$een dra a in education and theatre has #een so e$hat ysterious and con!using, any teachers have !elt very apprehensive a#out using language that i plied that a relationship clearly e&isted% 1hen 'unior students tal/ed a#out acting and a/ing up plays, teachers !elt an&ious lest the !ocus o! dra a #e ta/en !ro the individualEs Epersonal and socialE develop ent% Although the su#'ect on the ti eta#le $as still called dra a, and that $as another pro#le atic Wuestion, actors, characters and plays never see ed to get a ention% A ongst the ga es and e&ercises, students could #e as/ed to Ei agine that they $ere a gang leaderE or Esee $hat ight happen i! % % %E (uch !oundation attitudes in a su#'ect ta/e a long ti e to change% +ut in the eighties it is ti e !or dra a to ac/no$ledge its eaning and its !unction in the gro$th o! the individual% Part o! that ac/no$ledge ent entails the use o! a speci!ic voca#ulary%
I! $e $ant our students to develop to their !ullest capacity, part o! our tas/ in teaching dra a is to teach a#out dra a% 1e are o#liged to !ind $ays to de ysti!y the dra atic process so that students /no$ ho$ to gain access to it% Any area o!

>A

1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

study is characterised #y a voca#ulary that descri#es particular aspects o! its processes% Esta#lishing an understanding o! this language is si ply a Wuic/

and appropriate $ay o! $or/ing e!!icientlyM the voca#ulary teaches directly a#out the su#'ect% Teaching dra aEs speci!ic voca#ulary is not so ething that needs to #e handled li/e a spelling list, ho$ever% I! the need !or voca#ulary springs !ro the action o! the dra a itsel! a uch healthier relationship #et$een the $ords and their !unction $ill #e esta#lished in the studentsE inds% As the studentsE /no$ledge and s/ills in dra a increase, added de ands are ade !or voca#ulary $hich descri#es the % 1hat is reWuired at year ? $ill o#viously di!!er !ro year 5:%
LetEs ta/e an e&a ple o! the !irst dra a class $ith a year ? group% The ad inistrative preli inaries o! roles have #een dealt $ith, organisational details o! $here to put #ags and shoes and ho$ to sit in a circle have #een co pleted% 7ouEve introduced yoursel! and the children have done the sa e% May#e youEve played a na e ga e and already you and the group have #egun the process o! settling in together% It is no$ ti e to tal/ a#out dra a% 7our students need to /no$ $hat this particular su#'ect is all a#out, and you need to /no$ $hat they thin/ it is all a#out% The /no$ledge and e&pectations that they #ring to dra a $ill #e an i portant consider@ ation in the $ay you approach your teaching% Teacher0 O%2% )o$ that $e have started to !ind so ething out a#out each other, letEs see i! $e can !ind out so ething a#out dra a% *ands up and tell e anything you can a#out dra a% -Depending on the schoolEs conte&t, and the par@ 5 ticular group, you ay need to do ore pro pting and coa&ing than this%. (tudents0 -A range o! responses so ething along these lines usually !ollo$s%. ItEs acting % % % in plays % % % li/e "op (hop % % % i ing % % % playing ga es % % % singing and dancing % % % li/e Fa e % % % Paul *ogan % % % #eing e #arrassed doing stupid things % % % acting out scripts % % % having !un % % % using your i agination% Mostly $hat has #een o!!ered #y the students can #e used to #uild upon% Out o! the initial discussion the teacher is a#le to Wuic/ly isolate the i portant #asic ideas !or the studentsE understanding o! dra a%

5 Dra a is

a/ing

plays%

6 People -actors. create i aginary people -characters. and act out di!!erent situations as i! they $ere really happening% They Estep intoE other peopleEs shoes and #ehave Eas i! they $ere those people%

Sno inB >hat to #a6 1 9 A 1hen $e $atch the play -li/e 4 Do$ntr6 OracticeT $e
a/e #elieve it is really happening, although at the sa e ti e $e understand that it is Penny "oo/ or ,rant Dods$ell $ho are acting as though they are Jic/i Dean and Doctor +o$en% 1hen actors play other people they learn a#out $hat itEs li/e to #e those people% 1hen $e $atch the characters $e also learn $hat it is li/e to #e those people% Teacher0 1hen youEre doing dra a then youEre in a a/e@#elieve $orld% ItEs so ething li/e telling so eone a huge 'o/e, or a ade@up story, and trying to get the to #elieve in it% The di!!erence is that in dra a everyone /no$s itEs really ade up, so that can a/e it harder% IE going to tell you a story no$ and I $ant you to as/ e Wuestions or a/e co ents o! your o$n as though you really #elieve $hat IE saying % % %

EA#out 5: oEcloc/ last night, I received, #y special courier, a letter $ith the govern entEs red seal on it % % % etc % % %E -ItEs i portant that as the story is told, teacher assu es the role o! so eone elseM a spy, !or e&a ple%. A!ter this, a Wuic/ discussion o! $hat ade the a/e@#elieve success!ul can ta/e place% Through co ents and Wuestions you can isolate the !ollo$ing as essential to doing dra a% "oncentration -or !ocus, i! you pre!er to disassociate the ter !ro $hat students are constantly #eing as/ed to do. In language $hich is appropriate to the group, e phasise the nature o! concentration and !ocus% For e&a ple, in real li!e $e can choose to !ocus our attention on a particular thing -reading a #oo/. or it can #e !ocussed $ithout us #eing a$are o! it = a sudden loud noise gra#s our attention, !or e&a ple% 1hen this happens, $e lose concentration on the #oo/ and it #eco es hard to /eep reading% 1hen our attention is distracted $hile $eEre doing dra a, $hat $e do and say isnEt as convincingM itEs hard to #elieve in $hatEs going on #ecause $eEre only hal! doing it%
1hen $e concentrate all our attention and $eEre !ully !ocussed -li/e getting a clear picture through a !ocussed ca era., the dra a happens easily and see s #elieva#le%

(upport Everyone has to co@operate to help /eep attention !ocussed on $hat is happening in the dra : Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers students $ill /no$ o! Peter (ellerEs notoriety !or Fun *ave you ever heard actors say they didnEt love $hat they doH Although they ight $or/ hard at it, they see to have ore !un than ost other people % % %
Enough tal/ing = itEs ti e to get the students applying $hat they have learnt% essing up scenes #y laughing.% (o eti es outlandish ideas or Ered herringsE are introduced $hich a/e it di!!icult !or the dra a to continue so that it is #elieva#le% Tal/ing a#out $hy the dra a #rea/s do$n helps everyone understand ho$ to o!!er appropriate support% a% I! an actor !orgets $hat heFshe is supposed to #e doing or #rea/s into a !it o! giggles, the dra a #rea/s do$n and has to start again% -(o e o! the

Task (tudents !ind a partner and spread out around the roo so that there is plenty o! space to $or/ in% This helps to /eep attention !ocussed on $hat you are doing, rather than other people% One person has to a/e up a EtallE story and the other $ill as/ Wuestions or a/e co ents a#out it as $e did #e!ore% And re e #er that you have to help each other to #elieve in $hat is #eing said% During the tas/, teacher /eeps a close eye on the interactions and helps $here needed to get a story going, or to !ocus attention%
The a#ove e&a ples are given erely to illustrate ho$ i portant dra a concepts arc introduced at the outset% (tudents arc given access to so e o! the tools that help the understand and create in dra a% The concepts and the voca#ulary $ill change as e&perience in dra a develops%

The Language o! Re!lection Dra a is as uch a#out thought processes and intellectual develop ent as it is a#out !eelings and aesthetic develop ent% The t$o cannot #e separated% (tudents, li/e actors, directors and play$rights, need to understand the any parts o! the dra a e&perience i! they arc to co prehend and control the $hole% In li!e our a#ility to a/e sense o! e&perience, to order, categorise, #uild eaning!ul connections, is a a'or !actor in healthy psychological and intellectual develop ent% The process o! re!lection, and the s/ills o! analysis and interpretation arc there!ore essential co panions to e&perience%
In dra a, teachers and students arc o!ten at a loss to /no$ ho$ to enter into the re!lective process% A!ter the dra a e-er,one see s con!used a#out $hat to say% O! course,

Sno inB >hat to #a6 5A5 so eti es there ay not have #een a great deal happening that needs discussion\ On the other hand an e&perience that has #een signi!icant is o!ten !ollo$ed #y spontaneous discussion $hich helps to clari!y eanings% Other e&periences leave students !eeling puiiled as to $hat things $ere really all a#out any$ay% The teacher is then needed to lead discussion $hich de ysti!ies and crystallises the e&perience% 2no$ing $hat Wuestions to as/ during re!lection and discussion is o!ten pro#le atic !or teachers% Jague Wuestions and co ents are tossed a#out the group, never really !inding the concrete !ocus needed !or clear learning,

or heavy, la#oured discussions result% The dra a has o#viously not provided su!!icient sti ulus !or a eaning!ul discussion #ut the teacher is nevertheless intent on r eeing that EconnectionsE are ade $ith the o#'ectives o! the particular tas/s%
(uccess!ul re!lection and discussion needs to operate !ro a !ra e$or/ $hich is solid and clear%

5 Lesson o#'ectives = that is, the purpose o! the dra -a. 1hat are $e doingH -#. 1hy arc $e doing
itH

a e&periences = need to #e clearly understood #y the teacher% I! adeWuate thought and preparation has occurred, then this $ill #e so% "hanges o! direction in the running o! the lesson ay happen, #ut the teaching 'usti!ication !or this ust #e /ept clearly in ind%

-c. *o$ arc $e doing itH -This as/s Wuestions a#out the otivation and !ocus o! the group, as $ell as the dra a ethods and strategies #eing used to pursue the learning% It results !ro a consideration o! -a. and -#.%

6 Learning o#'ectives ust #e capa#le o! challenging and e&tending% I! students are erely e&periencing si ple concepts already understood, then the need !or re!lection and discussion is re oved% A 3uestions ust #e speci!ic enough to evo/e insights and eaning!ul responses% I! the teacher is $or/ing at vague, a#stract levels o! eaning, the studentsE a#ility to re!lect on the event is inhi#ited% 8 "onnections need to #e clearly ade #et$een concrete responses and a#stract concepts% Discussing the di!!erences and si ilarities #et$een ideas and e&periences $ithin the dra a helps esta#lish #asic lin/s necessary !or such con@ % nections and clarity o! understanding%
B The language used #y the teacher needs to #e appropriateM di!!icult a#stract voca#ulary should #e avoided% The teacher needs to he a#le to translate all a#stractions into concrete e&a ples, and vice versa% The nature o! the

Ti)e 2or 3ra)a: 3 ;andboo. (or %e*ondary 1ea*hers Wuestion and the thought processes de anded o! the students in ans$ering it need to #e understood i! discussions arc to #e !ruit!ul in clari!ying and e&tending the studentsE learning% (o e #rie! e&a ples o! Wuestions and their !unction in the dra a !ollo$% Ti ing 3uestions +e!ore to clari!y details, !ind direction, e&@ and plorc perspectives, deepen and e&@ during the dra a tend ideas, #uild character, deepen co it ent to o#'ecti!y e&periences, crystallise A!ter the dra a Fra ing 3uestions It is vital that Wuestions arc su!!iciently open to evo/e responses rather than i pose the % "losed Wuestions invite yes or no responses% e%g% Do you thin/ the play $as goodH Do you !eel the leader $as cruelH

eaning, #roaden understanding

1ere the aliens !air in their treat ent o! the prisonerH Did you notice ho$ $ell they used the spaceH Did you li/e the special $ay they tal/edH Open Wuestions arc ore e!!icient in !inding eaning, and ore satis!ying to respond to% They as/ !or considered, deli#erate choices to #e ade% c%g *o$ $ould you descri#e the leaderEs #ehaviourH 1hy do you thin/ the aliens treated the prisoner that $ayH In $hat $ay do you thin/ things ight have changed had the leader #een $illing to listen to the aliensH 1hat e!!ect $as created #y the use o! a special languageH 1hat e!!ect did the long silence have $hen the aliens approached the leaderH 1hat did the play teach us a#out peopleEs #ehaviour in un/no$n situationsH
Analysis These Wuestions relate to concrete, speci!ic details o! the dra a% They arc si ple co prehension Wuestions that relate directly to $hat can #e seen and heard = !acts that have #een dearly esta#lished during the action% These Wuestions test = that at a si ple level perceptions are valid and undis@

tortedM Sno inB >hat to #a6

#loc/edM = sensitivity to detail and there#y encourage and increase a$areness% >?

= the e&tent to $hich $hat is o!!ered in the dra a is a#sor#ed rather than

3uestions arc typically o! the $ho, $hat, $here, $hen, $hy and ho$ variety% c%g% 1ho suggested they $ag schoolH 1hy did 4ohn decide they should as/ Dic/ to 'oin the H 1hat reason $as given !or the $aggingH 1here $ere they $hen the idea $as !irst e&plain their (ynthesis These Wuestions arc ore di!!icult% They as/ the students to !ind, a ongst the detail, the ain idea or !ocus o! the dra a = the Esuper o#'ectiveE in (tanislavs/ian ter s% Depending on the degree o! co ple&ity $ithin the dra a, such a #road Wuestion ay $ell #e the !irst Wuestion as/ed% "are is needed, ho$ever% (tudents o!ten have di!!iculty in understanding eanings at this level, #ecause they have not understood details o! the dra a at the si ple co prehension level% A typical Wuestion $ould #e, 1hat do you thin/ this sceneFplay $as a#outH 1hat ain idea do you thin/ this group $as trying to get across to usH
a#senceH

entionedH

1hen did *arry decide that they $ould !orge notes to

*o$ did the group react to this ideaH

-To #roaden understanding and elevate languageM the ans$er can #e into the a#stract\. EIt $as a#out in'ustice and su!!ering%E EThey $ere trying to sho$ that students educational progra es%E ust

oved

a/e decisions a#out their o$n

I! this is the !irst Wuestion as/ed, the si ple analytical details $hich support the response can then #e #rought to light%
On re!ining and polishing a piece o! $or/ !or an audience, students they are to decide $hat can #e e phasised or disregarded% ust /no$ the ain !ocus o! the $or/ i!

In!erence These Wuestions can reWuire students to #e a$are o! very su#tle actions $ithin the dra a% 3uestions relate
to0

A5 >>
1ime (or 8rama9 : ;andboo. (or %e*ondary 1ea*hers

-a. Ideas intentionally i plied #ut not ade e&plicit% For e&a ple, E"an you tell us $hat gave you the !eeling that To had an in!eriority co ple&HE
-#. 4udge ents or deductions -t$o or ore. $hich gro$ logically !ro the dra a = the !acts or details seen or stated% For e&a ple, E1hat a/es you thin/ that the #oys arenEt very good at MathsH % % % arc a!raid o! getting poor resultsHE

Analogy 3uestions need to #e !ir

ly lin/ed to the lesson o#'ectives% They #roaden and deepen learning #y as/ing !or connections to #e ade at a personal, social, historical, cultural and universal level% I! Wuestions are oved into the a#stract, general level, students can #e protected !ro the pressure to relate speci!ic incidents !ro their o$n lives% E"an you thin/ o! other situations0

= $here rules arc #ro/en #ecause responsi#ilities canEt #e !acedH = $here #oredo leads to anti@social #ehaviourH
peopleH

= $here sel!@interest har s innocent

= $here apathy has led to evilHE

*ypothesis Discussions $hich re!lect on the dra

that sense can #e a allo$ past e&periences to #e #rought to the present o ent so ade o! $hat has #een seenFheardF!elt% It is then possi#le to hypothesise a#out the !uture%

= E1hat

ight have happened i! Dic/ had re!used to 'oin the groupHE real li!eHE

= E1hat is li/ely to happen i! the teacher !inds the notes arc !orgedHE = EIn $hat $ays $as the dra a the sa e asFdi!!erent !ro
= E1hat part o! the dra a do you !eel $as the ost true to li!eHE

For

and Organisation o! the Mediu

ation $ere organised and presented% They are concerned and dra atic principles, and e&a ining the e&tent to $hich dra atic

These Wuestions deal $ith ho$ the ideas or in!or

$ith identi!ying ele ents o! the art !or eaning $as highlighted% For e&a ple,

= E1hat $as it a#out the action that Sno inB >hat to #a6
13$

ade us !eel the

leaderGi strengthHE

= E1hat e!!ect did it have $hen Fran/ #e!ore he spo/eHE

oved right across to the $indo$

= E1hat could have #een done to a/e us !eel the prisonerEs desperationFhelpessnessFisolationF oreH The terror o! $aiting oreH The sense o! hope oreHE = E1hat changes o! ood $ere noticea#le during the sceneHE
= E1hat are the di!!erent parts that $e could divide the playFscene intoHE

Feed#ac/ and Evaluation (peci!ic Wuestions so

eti es need to #e as/ed to give the teacher clear !eed#ac/ a#out the progress and achieve ent o! the lesson% Responses allo$ the teacher to gain insight into the e!!ectiveness o! the speci!ic strategies adopted% They also help students to crystallise their e&periences and learning $ithin the role and the dra a situation% As dra atic action is #oth intellectual and e otional in nature, Wuestions !ocus on0

AeelinBs (tudents
ay #e as/ed to identi!y the range o! e otions e&perienced as a result o! the action = the strongest e otion, any une&pected or surprising !eelings, etc% 1ords $hich e&press these e otions are soughtM !or e&a ple, !rustration anger, !ear, con!usion, e&hilaration% Many students !ind the tas/ di!!icult and $ant to tell you $hat they $ere trying to achieve in the dra a instead% Ti e and patience is needed

= #oth aspects need to #e understood, that is, the

evo/ed%

otive !or action in the speci!ic situation and the !eelings

Tho$Bhts and Ideas (o

that the e otional e&perience o! the dra a is tied to its cause and related to the learning o#'ectives, a state ent that o#'ecti!ies the e&perience is called !or% A general Wuestion ay #e su!!icientM !or e&a ple,

= E1hat do you thin/ you learned !ro A

ore speci!ic Wuestion, ho$ever,

your e&perience in the dra aHE ay !ocus attention ore e!!ectively%

= E1hat did youF$e learn a#out, courageF'usticeFdeprivationHE

= E)a e one thing that you !eel the dra a toldFsho$ed you a#out the notion o! !a ily, guilt, revenge%E

The >9

i portant aspect o! these Wuestions is that each individual is given an opportunity to respond% I! the teacher is to !urther understand the dra a ediu and the e!!ectiveness Ti)e 2or 3ra)a: 4 5and&ook 2or #econdar6 Teachers

o! various structures and strategies in highlighting

learning, a #road range o! individual responses ust #e gained% O! course this process o! evaluation also helps students to isolate the strengths and $ea/nesses o! their o$n participation and co it ent to the dra a% *onest interpretation o! actions and otives + s F%b s o a pre@ reWuisite !or positive evaluation o! the dra a e&perience%

(tudents help teachers 'ust as

dra a happen%

uch as teachers help their students in /no$ing $hat to say to

a/e good

PART T&e

T.=((L
esson! "uide to Part Three

Drama

ntrod)ct+on6 Fote to Teachers

5 It is i portant that the !ollo$ing lessons are approached in con'unction $ith an understanding o! the concepts discussed in Parts One and T$o% The role o! the teacher as director in colla#orating $ith students in the a/ing o! the dra a is o! particular i portance% "learly, odi!ications to lessons ay occur in response to the needs o! teacher and students%
6 In presenting the lessons a range o! content and styles has #een selected so as to #eginning and e&perienced teachers in dra a% eet the needs o! #oth

A Although year levels and age groups are prescri#ed, in lessons can #e readily adapted !or other age groups%

any instances the

8 The !irst lesson e&a ple provides a co prehensive description o! the $ay in $hich the concepts discussed in Parts One and T$o arc applied to the lesson script% This description $ill #e a use!ul guide !or i ple enting other lessons presented in Part Three%