TOPIC 1 : Introduction to plays and drama

Introduction In this unit , you will learm about features of childrens drama types of childrens drama reasons for using childrens drama in the language classroom and for aesthetic appreciation.

You will also discuss Drama in the Malaysian Primary School Curriculum in relation to inter/intra personal and language development through plays and drama linking plays and drama with the different themes - World of Knowledge - World of Stories - World of Self

What is childrens drama? Can you name a few plays that were produced specially for children? How different were they from other forms of drama?

Read the notes adapted from [email protected] 1998 According to the Children's Theatre Association of America, one can look at all Dramatic activity as existing on a continuum with Drama in its Natural State (the kind of dramatic play all children, and indeed all humans engage in) at one extreme and formal Theatre at the other. Between the extremes we find Creative Drama and Participation Theatre. These forms do not exist as discreet disciplines, but rather as flexible points on a continuum. (In other words, a specific activity may have characteristics of Participation Theatre and of Creative Drama, and two observers may put the same activity in slightly different places on the line.) The distinctions between the various points on the continuum are drawn in part from the classical definitions of Drama (a thing done) and Theatre (to gaze). Basically the more the focus of Drama work is on the PROCESS of doing the work, the closer it is to Creative Drama, and the more the focus is on the PRODUCT-the performed work and its impact on an audience-the closer it is to formal Theatre. Creative Drama is of benefit to every age. Davis and Behm say in their definition of Theatre by Children and Youth, "preferably the performers are no younger than ten years old and

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have been well schooled by a director in their primary task of bringing the dramatic material to life for an audience." CONTINUUM Drama in its Natural State----Creative Drama----Participation Theatre-----Theatre Some definitions: CREATIVE DRAMA "An improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact, and reflect upon human experiences." (Davis and Behm) Creative Drama is not primarily concerned with teaching theatre skills, although this may of course occur. The purpose of Creative Drama is to use the natural dramatic impulse to facilitate learning in an unlimited number of fields and areas. Children naturally act out their perceptions, try out roles, and play "pretend." It is the primary way the very young learn about their world. Creative Drama allows students to explore topics experientially. Aristotle said, "Tell me and I will forget. Show me and I will remember. INVOLVE me and I will understand." Creative Drama can foster personality growth and self-esteem. It can help children learn to work together and to think creatively. It is often a classic problem-solving exercise. It builds language and communication skills better than just about any other activity in school. It promotes empathy by letting students step into others' shoes. It can also be used as a tool to teach literally any other subject, if lessons are carefully designed. Creative Drama is also sometimes called "Creative Dramatics" or "Creative Play." THEATRE FOR YOUNG AUDIENCES "The performance of a largely predetermined theatrical art work by living actors in the presence of an audience of young people. . ." (Davis and Behm.) TYA is formal Theatre. Ideally the performers are skilled actors and the production is overseen by skilled and trained directors and technical staff. The story line can be drawn from history, literature for children, folk and fairy tales or real life issues important to young people. Contemporary playwrights are becoming ever more aware that children can handleindeed should handle-sophisticated ideas and serious issues. Children's plays are being written today that challenge young audiences both by their subject matter and by their theatricality. The most important thing Theatre for Young Audiences should be is ABOUT children. Children live in an increasingly complex world, and their real concerns deserve to be addressed. Children's plays with real child protagonists are important stories we should be telling where protagonists are truly active. An active protagonist makes things happen, and

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addresses the conflict of the story directly. This is empowering for a child audience. CHILDREN'S THEATRE This is often used as a synonym "Theatre for Young Audiences." The problem is that the term "Children's Theatre" is also often used as a synonym for Theatre BY Children or indeed used to mean anything that involves both Theatre and children. CHILDREN'S PLAY A play written to be performed for children, usually by skilled actors. This term has the same problem as the term "Children's Theatre," in that it is also used to describe plays performed by children. PARTICIPATION THEATRE It consists of "the presentation of specially written, adapted or devised drama with an established story line constructed to involve limited and structured opportunities for active involvement by all or part of the audience Participation may range from simple verbal responses to an active role in the outcome of the drama.." (Davis and Behm.) Usually this kind of Theatre is done with very young children. More ambitious participation theatre is constructed so the audience actually determines the outcome of the play. The idea is very exciting, and if it is done well it can be very effective. The problem is that it is almost never done well. Typically playwrights or producers "cheat" to be sure of the outcome they want. Even when the actors truly intend to incorporate the children's suggestions, often they are only prepared for a limited range of suggestions. THEATRE BY CHILDREN AND YOUTH This term applies to any formal Theatre performed by young people, and particularly to Theatre for Young Audiences performed by young people. Children are a wonderful, responsive audience. It is very important, however, to make sure that your young actors are ready to be really professional, because you owe it to your audience Formal Theatre is necessarily and by definition primarily concerned with PRODUCT. The repetition and rote memorization necessary to do a good play provide an inefficient learning experience and are unnecessarily stressful for young children. It is inefficient because once all of the lines and blocking have been experienced and understood, any further repetition (rehearsal) is devoid of new learning, and it is stressful because it "must" be "perfect" by a (usually) specific, pre-determined time. PROCESS oriented Creative Drama is more appropriate.

Jed H. Davis and Tom Behm, Terminology of Drama/Theatre with and for Children: A Redefinition, from Children's Theatre Review, XXV11, 1 (1978), reprinted in the book Theatre, Children and Youth, by Jed H. Davis and Mary Jane Evans. (Anchorage Press, Inc., revised edition, 1987.)

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Try to answer these questions. 1. What is the main focus of Creative Drama?

2.

What is the main focus of Formal Theatre?

3.

Suggest three benefits of Creative Drama.

4.

What should be the main focus of Theatre for Young Audiences?

5.

What are two weaknesses of Participation Theatre?

The answers to these questions will be discussed in class.

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Now let us consider some of the global benefits of using drama in the classroom.

Drama Brings Literature to Life

Abstract learning is easier when acted or demonstrated

It teaches cooperation, empathy for others, decision making skills and encourages an exchange of knowledge

Drama as a Powerful Teaching Tool Students begin to realize the importance of shared space, time, attention, information and ideas. It sparks spontaneity and minimizes selfconsciousness which often inhibits learning.

Drama Reveals Aspects of the Human Condition

Adapted from: Chris Boudreault, The Benefits of Using Drama in the ESL/EFL Classroom iteslj.org

There are other benefits to using drama in the classroom. Drama

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brings learning to life, by animating an actual historical character or event, an established story or an original fictional context, children are able to engage with learning in an immediate and dynamic way provides no right and wrong answers, instead children are encouraged to speculate, say what they think and feel, share experiences, make choices and to reflect upon consequences accommodates different learning styles including kinesthetic, spatial and interpersonal, drama provides opportunities to learn through discussion and debate, physical expression and group work provides a good strong context for learning, there is another world which pupils can be immersed in and explore. acts as an imperative for learning, children want to know what happens next particularly when the drama is story-based

deals in human dilemmas and conflict which encourage lateral thinking and seeing things from multiple points of view embeds the development of skills which can be practised from within the drama: e.g. writing in role, persuasive writing, reportage acts as a metaphor for actual experience, exploring challenging issues within a fictional frame, enabling objective discussion and debate to take place about issues children face in their own lives. allows cross curricular links to be made, for example history, PHSE, citizenship, and literacy can be explored within the same fictional frame enables practice for life, imagining being in a drama motivates children to apply and make links between their existing skills and experiences

What other benefits can you think of? List them out. Discuss with your peers. Were their views similar to yours? Do you use drama in your teaching? Why?

Refer to the KSSR syllabus. Explain how you would incorporate plays and drama in your Language Arts lessons so that your students will be able to benefit at an aesthetic, cognitive and linguistic level. Your answer should include references to curriculum specifications and drama or plays that you would use. (500 words)

This assignment should be submitted during your second interaction. (20%)

Well done! Take a break before you start on Topic 2.

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