INTRODUCTION TO THEATRE IN EDUCATION

WEEK 4

INTRODUCATION TO THEATRE IN EDUCATION

I was very excited for the opportunity of having to work with profession theatre company. The session was held in theatre at the Half Moon premises and we will be devising a project that will be facilitated and performed with a group of school children. Beccy gave us a brief tour of Half moon and we then we were introduction to Theatre In Education. lisellWe were put in pairs and asked to go through documents from the archive which we believed would be ideal for the project performance. After we all agreed to settle for Bilingual (The Hare and the Tortoise.) it was a play written in Bilingualism and English and was targeting the Bangladeshi community which had about 90% of the children in schools in Tower Hamlet. This play toured Tower Hamlet in 1988.

We had a quick run through the script. It was a play set up in a forest with different animals and what stood out for is it was how the play tried address appreciating our differences and the use of different language. Our group consisted of 8 people different Counties and our Facilitator Lisselle though that we can utilise our different backgrounds and cultures during the performance.

Beccy provided us with forms with instructions on how to apply for DBS. She was emphasised that we need to call and get it sorted as we would not work with children unless the CRB was available.

 

PRECIS

DRAMA LESSONS FOR FIVE TO ELEVEN YEAR OLDS BY JUDITH ACROYD AND JO BOULTON

Is a book carefully selected to meet  a range of learning objectives in various curriculum areas and develop areas and particular literacy skills that combine new which identify how the drama activities  and classic lessons. The authors break down terms used in lesson plans as below

 Collective drawing This means individuals adding details to a picture or a map. The teacher prepares a basic outline of the picture or map and one and two children come forward at a time and draw on the basic outline. To quicken the process, sometimes each child can be given a paper or ‘post it’ note on which to draw. Then each of their drawing is stuck on the outline picture. This when finished gives the finished product collective ownership and if time is restricted, they can finish later

Collective or collaborative storytelling: This means, the whole class joins in with the telling of the story. The details of the story is supplied by the children eg by use of sound effects, words, phrases and whole sentences and the teacher controls the development of the plot by leading the storytelling and inviting the children.

Costuming: Selected props or items of cloths are chosen by the teacher to indicate a particular role to the class. its important as a teacher to put on the any costume in front of the children. So they observe the teacher going into role and dispel confusion about who the teacher actually is. Sometimes with little children, you can let them help you put on the costume and fastenings and also giving advice as to which to put on first

Defining space: This is the way in which the teacher and class agree on the fictional space’s features and parameters. The classroom space is defined as the place in the drama and items of furniture may be used to define the space. e.g. two chairs may mark the position of the gateposts leading to a castle

Hot seating : The teacher or child is questioned in role by the others. Whoever is in the ‘hot seat’ answers as their character would

Improvisation: The children act and speak in role without preplanning. the teacher often leads in improvisation to enable her keep control of the direction of the improvisation

Narration: The teacher uses narration in drama activities as a controlling device. its useful as the teacher is empowered to dictate particular aspects of the drama

Overheard conversations: Children in groups make up conversations that people in their drama may have had. they then overhear one another’s conversations as though eve dropping. this enables the children to work in small groups and give all of them the chance to comment in role on the action of the drama

 Ritual: Any action no matter how simple and mundane can be performed in a formal and dignified manner to make actions seem significant. eg putting goodies into Grandma’s basket in a ritualistic manner one at a time with a particular phrase will bring about a more serious level of though and an exciting atmosphere

 Role on the wall: The outline of a person is drawn onto a large sheet of paper. information about the person in the drama is collected and written around the outline. it is possible to contrast different types of information in a role on the wall. for example, what the character says can be written in one colour and what she thinks in another

Sculpting: This involves the children making statues of each other or the teacher through suggestions and physical manipulation. Sculptures can be made to crystallise ideas about a character such as what the bully looked like or to express a feeling like anger physically

 Statementing : This involves the children making statements about a person, event or place in the drama. The statement can be made in a ritualistic manner with children stepping forward one at a time to say their statement. They may remain frozen in a gesture appropriate to the statement

Still image or frozen picture: This is similar to sculpting but involves small groups or the whole class. Children depict a moment in time using their own bodies. It’s a frozen moment that we imagine time has stopped giving us opportunity to look closely at it

 Teacher in role: The teacher takes the role of a character in the drama. This enables the teacher to work with the children from inside the drama. Additional information can be given through the teachers role and questions asked to challenge the children’s ideas

Though tracking: thought tunnels and though tapping: Though tracking enables children in role to speak aloud the thoughts that would normally remain concealed. This can be done in different ways such as ‘thought tunnels’ and ‘though tapping’.

Thought tunnels: requires the children to face one another in two lines. Then the teacher or child walks slowly between the two lines through the tunnel as character X in the drama. the children can then be asked to speak loudly the thoughts that character X might have at this point in the drama. its best to have voices from alternating sides speaking at the moment character x passes them by.

Thought tapping: is where the teacher literally taps a child on the shoulder as a signal for the child to speak the thoughts of the character he is playing. This may be done in the midst of mimed activity or in still images

 

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