Drama Activities/Document

Drama activities

Drama is a specific discipline and a powerful tool for thinking together and learning across the curriculum. Through drama, pupils can explore a wide range of issues, situations, information and texts, developing insights and understanding in an active and interactive way. Drama is particularly helpful in engaging the interest of boys.

The following techniques can all be used to support, draw out and deepen learning.

• A supportive and creative environment using a variety of stimuli relevant to the unit of work: Stimuli can include drawings, props, costumes, photographs, text extracts from novels, plays, poems, letters, newspaper articles, travel writing, diaries, autobiographies, television or radio.

• Effective use of questions: What is happening? Who is involved? Where and when is it happening? Why is it happening? What has happened to bring this about? What do you think is going to happen next? How might the character be feeling? Why might he/she be feeling this way?

• Speculative language: What would you do if …? What other alternatives are there? What could he/she be thinking/feeling? Is it possible that …? Where might this be / lead to? What other options or possibilities are there?

Each of the following activities needs to be modelled by the teacher before being tried out by pupils working collaboratively. Pupils need to be given frequent opportunities to reflect on, evaluate and explain their work. Ensure that appropriate conventions and guidelines are established to prevent improvisations from becoming unfocused.

• Improvisation using written or non-written stimuli: Pupils are given a stimulus or a set of stimuli. They improvise the situation suggested by the stimulus and also show how it would develop. This is the easiest type of activity to lose control of, so tasks need to be sharply defined, with a clear outcome and structured within tight time frames.

• Freeze-frame/tableau: Pupils select a key moment, theme or idea and create a group sculpture to represent it. This can be used for reflection by other groups or can lead into a thought-tapping activity.

• Thought tapping: While in role, pupils speak aloud private thoughts, feelings and reactions. The teacher freezes an improvisation or scripted piece and activates an individual’s thoughts by tapping them lightly on the shoulder.

• Mime: Pupils show or interpret a key moment, theme or idea using exaggerated gesture and facial expression but no speech.

• Hot-seating: One pupil takes on the role of a particular person or character (usually, but not necessarily, from a text, e.g. a historical figure). Other pupils plan and ask questions while the pupil responds in role.

• Alter ego: Groups act as ‘thoughts in the head’ and offer advice to a character at a critical moment.

• Forum theatre: One group acts out a scene or situation in front of the others, who surround them in a circle. Those watching in the circle are able to stop the action and make suggestions for improvement, possibly by demonstration, before the action proceeds.

• Pupil in role / teacher in role: A pupil or the teacher takes on a role in a given context to explore the tensions within a particular dilemma.

Make use of the drama department if your school has one. Drama teachers are familiar with the strategies outlined above and can provide valuable INSET sessions for staff.

Task 7 Classroom assignment: teacher in role 1 hour

‘Teacher in role’ is a versatile cross-curricular strategy. For example, you could take on the persona of a member of the council chairing a meeting with residents opposing the construction of a new airport. You could be a figure from history. You could be a character from literature (any genre). You could be a scientist defending the use of animals for experimentation.

Design a teacher-in-role activity. If this is your first attempt, keep it simple. You should split the task over two lessons, giving time for planning and preparation in one lesson and running the role-play in another. It is a good idea to practise responses to the questions you know you will be asked.

The most challenging aspect of this approach is moving in and out of role to intervene and guide. You must establish guidelines for this before you begin. You could even practise it like a game at first, so pupils learn when to stop in order to listen to you as teacher. Putting your hand up can work well.