Drama in Schools
Drama in Schools
Drama in Schools
second edition
Like theatre, drama in schools can unlock the use of imagination,
intellect, empathy and courage. Through it, ideas, responses and
feelings can be expressed and communicated. It carries the
potential to challenge, to question and to bring about change.
Jude Kelly (theatre director and founder of Metal)
1 Introduction 4
6 Conclusion 46
Acknowledgements 67
1
Drama in schools
Foreword
This is an exhilarating time to be involved in teaching the arts in schools.
Government understands the importance of creativity in education and this
is demonstrated in a range of recent policies and initiatives.
Arts Council England is therefore delighted to publish the second edition
of the highly popular and influential document Drama in schools. This new
publications central theme reflects the message of the earlier edition: drama
is an arts subject with its own distinct discipline and methodology. Direct
engagement in drama is essential as part of an arts-rich curriculum that every
pupil has a right to experience. Through it they become familiar with the
culture and conventions of theatre and learn to exercise critical judgement
when making, performing and responding to drama of all kinds.
Teachers and headteachers welcomed the 1992 edition of Drama in schools
as it provided clear guidance on effective provision of drama. It also suggested
a curriculum framework that enabled teachers to plan for pupils progress in
the subject. Over 96,000 copies were distributed during the first five years of
publication and since then Arts Council England has received continual
requests for further editions, particularly from teachers.
Education has changed and developed considerably since the original
publication. Many initiatives have had a profound impact on the curriculum
and organisation of schools. Meanwhile, dramas popularity continues to
grow as its value in education becomes increasingly understood. In addition,
the purview of drama is extending beyond theatre into television, film, radio
and new media. Arts Council England recognises Drama in schools should be
updated to take account of these changes. This edition, therefore, has drawn
together all relevant initiatives, while detailing dramas specific nature and
uniqueness as a creative arts subject in its own right.
Drama in schools does not attempt to prescribe how teachers should teach
or the content of their lessons. Rather, it aims to reflect good practice in the
provision of drama education and to provide guidance on what constitutes
pupil progression. Direct engagement with professional theatre is seen as an
essential part of this curriculum, complementing and enriching teaching and
learning at all stages of education.
2
Foreword
Drama in schools is for teachers of drama. It is also for all those who are involved
in education, including headteachers, governors, initial teacher trainers, Local
Education Authority (LEA) advisers, professional theatre practitioners, and parents.
Consequently extensive consultation has taken place with teachers of all phases,
headteachers, LEA advisers and inspectors, initial teacher trainers and theatre
practitioners. The document has also been informed by advice from key
government agencies and national organisations and its aim is to ensure that
drama teaching is sustained and enriched.
This second edition of Drama in schools will be welcomed wholeheartedly by
those who know the power of skilled drama teaching; the social, moral, spiritual,
intellectual, physical, emotional and cultural development it engenders, and the
sheer joy it brings.
Lesley King
Lead Advisor, Education and Learning, Arts Council England
Headteacher, Stantonbury Campus (retired 2003)
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Drama in schools
1 Introduction
The most valuable asset a nation has is the creativity
of its children.
Alan Plater (playwright)
1
The NACCCE All our Futures report, 1999, defines culture as: The shared values and patterns of
behaviour that characterise different social groups and communities.
4
Introduction
Pupils working in drama will be constantly involved in these activities and may
participate in more than one at any time (for detailed definitions of these
activities see section 4: Structuring drama in schools). A pupil making drama
could be one of the following: an individual researching the historical or cultural
background to a play; someone with profound and multiple learning difficulties
experimenting with a sound instrument to transform a mood; a member of a
group contributing to an improvisation; or a student devising an original piece
of work. Performing takes place in many different spaces from the infant,
imaginative role-play area to the secondary school drama studio, where it may
involve pupils as technicians as well as actors. Pupils can be found responding
to drama in many settings, including classrooms, when watching film, video
or television, as well as in theatres and school halls.
It is important that schemes of work provide a clear framework for pupils
progression and that they integrate with whole school assessment practices to
help students achieve the highest possible standards in drama. Drama schemes
of work should be differentiated to take account of pupils differing abilities. They
should also take account of examination requirements and, where appropriate, the
drama elements of English and literacy. They should incorporate the contribution
made by activities such as professional performances and workshops. Section 4
of this document is a framework designed to support teachers in writing schemes
of work for drama and to assist in the assessment of pupils progress.
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Drama in schools
Drama flourishes in classrooms across the country. All pupils are required to study
aspects of drama throughout their education as part of English and literacy and it
is a key part of school provision for the arts. Many secondary schools have thriving
drama departments, with specialist accommodation and at least one specialist
drama teacher.
Over the past 10 years, the number of candidates taking GCSE Drama has
more than doubled; in 2003, nearly 100,000 young people were entered for
the subject. In the same year, nearly 18,500 candidates were entered at AS
level and 15,000 at A level for Drama and Theatre Studies. This makes it one
of the two most popular arts subjects in all three examinations.
Pupils can have access to professional theatre throughout their time in education.
They should be given opportunities to respond to high quality performances as
part of their experience of drama. A trip to the theatre or a visit to the school
from a touring theatre company introduces pupils to a range of theatre arts,
different genres and various cultural traditions. Experiencing professional
performances helps to foster understanding of how different forms of theatre
are made and how their creative potential can be used.
Pupils minimum statutory entitlement to drama is acknowledged in the
National Curriculum for English, where drama activities are an explicit strand (see
Appendix 2). The Qualifications and Curriculum Authority (QCA) has produced
guidance and resources that support this strand of English for Key Stages 1 to 3
(see the relevant Key Stage sections of section 3: Recognising good drama).
6
Why drama in schools?
2
See Drama Sets You Free, published by the Secondary Heads Association, 1998,
ISBN 0 9069 16 47 X
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Drama in schools
as well as posts in film and television. Employers in other sectors recognise the
contribution drama makes to the development of creative thinking and effective
teamwork, as well as to the key skills of the National Curriculum.
The creative industries sector is growing significantly faster than the
economy as a whole. Between 1997 and 2000, it grew by an average
9% per annum compared to an average 2.8% for the whole economy
over this period. In December 2001, creative employment totalled 1.95
million jobs: significantly more than the financial sector. (Figures from
Department for Culture, Media and Sport, www.culture.gov.uk).
8
Recognising good drama
3.1 What does good drama look like at the Foundation Stage?
Pretending to be others in imagined situations and acting out situations or stories
are important activities in the dramatic curriculum for the Foundation Stage, as
identified by QCA (see Appendix 1). The imaginative role-play area and other play
situations provide many opportunities for very young children to experience and
develop their early drama skills and knowledge, and to learn about the world.
Drama supports the development of Foundation Stage early learning goals in
many ways. Children can suggest their own ideas for planning and creating a role-
play area. Then, as they play, the teacher or other adult can intervene sensitively
as an active participant. This validates and extends the narrative of the play,
supports appropriate language and allows the children to explore the power of
their roles. Creative drama develops alongside imagination, confidence and
language. As children engage in these drama activities they become increasingly
aware of the use of space and the way body language communicates meaning.
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Drama in schools
The QCAs Curriculum guidance for the foundation stage indicates that drama is
an ideal context for children to retell and understand traditional and contemporary
stories, as well as for sharing their own personal responses and ideas. They may
use a stage block to represent a bridge or pretend the classroom is a giants cave,
while taking on the roles of characters they have met in the story. Good drama
gives children a living context in which they can create narratives, draw on patterns
of language and speak confidently. The teacher (or other adult) can support the
dramas development by taking the part of a relatively low-status character in
the story. This strategy is popularly known as teacher-in-role (TIR).3 Children are
encouraged to adopt a helping or other higher-status role and to explore
appropriate language and gesture.
For example, the teacher (or other adult) adopts the role of the old woman who
lives in a shoe; she needs help from the children, who are expert carers and who
can advise her on how to keep her many offspring out of trouble. At this age
children also enjoy sharing their make believe and play-making with others.
Drama provides a meaningful context for all children (see Appendix 5: Inclusive
education) at the Foundation Stage to experiment in role with language for
different purposes, whether English is their heritage or additional tongue.
Through drama, the teacher provides new opportunities for children to begin
to make sense of a range of events, situations and feelings that go beyond the
everyday. They have a greater chance to understand what they hear when
gesture, sign, facial expression and other symbols are used.
3
In different contexts it might be more appropriate for the teacher to adopt a relatively high or
equal-status role.
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Recognising good drama
The following day, after discussing the different characters of the three
bears, all the children wore costume signifiers such as furry gloves or
fur-covered Alice bands with round ears attached. They each chose to be
one of the bears, demonstrating this through their movements and facial
expression. The three bears mended furniture, tidied and cooked. One
child, playing Baby Bear, looked especially cross and when the teacher
questioned him in role, he confirmed that he was still angry with
Goldilocks and would be speaking to her himself. The teacher used this
as the moment to suggest that the note be delivered and the children
sat in a circle to allow the next stage of the drama to take place.
Very young children, and those working significantly below the expectation for
their age, can respond to drama by listening to and watching another group at
work in the classroom, or as an audience to a visiting theatre company. Children
can also record their thoughts and feelings afterwards in a variety of ways, for
instance by talking about the drama or painting their favourite character or scene.
3.2 What does good drama look like at Key Stages 1 and 2?
A flourishing arts curriculum in a primary school enables pupils to enjoy drama as
a subject in its own right, and as a learning medium across the curriculum. Drama is
a vital element of primary pupils entitlement to a balanced arts education. There is
evidence that the arts are being given a higher profile as primary schools become more
confident and effective in their implementation of the Primary Strategy (the umbrella
under which the National Literacy and Numeracy Strategies for YR to Y6 sit). (See
Ofsted report: The Curriculum in Successful Primary Schools, and the number of
primary schools gaining Artsmark (see Appendix 8) which has tripled in the three
years since it was introduced). Pupils at this age unselfconsciously mix drama, dance,
music, visual art and aspects of media in assemblies, concerts and less formal events.
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Drama in schools
Afterwards, the teacher explained that this pupil had not mentioned his
father in school since the tragedy. In the drama created, the guardian
angel told the child his father was fine and was thinking about him.
Both classes performed in assembly to the whole school. Eight pupils from
each class later performed on the stage of the repertory theatre, sharing
a fantastic range of glove and rod puppets, including a guardian angel
in the form of a tree.
Exploring a story imaginatively in drama can include what may happen before the
story begins or at the end, as well as beyond the events of the story. The opportunity
to act out a story to others can be a highlight of the school experience for some
pupils, particularly if they find other means of expression more difficult. Primary
school pupils benefit from visits to and from theatre companies. This may help
them to understand the process of making, performing and responding to plays
and provide insights into a range of cross-curricular themes and issues, enhancing
the teaching of other subjects, such as history and citizenship.
12
Recognising good drama
The two sides were then brought together. During the forum theatre
(or trial scene), children questioned each other in role. Mixed groups
were formed and the children discussed their different experiences of
the drama as well as the skills they had used to interpret character. They
created still images to show how a compromise could have been reached.
Finally, the drama was linked to contemporary religious conflict taking
place at a global level.
During Key Stage 1, pupils move from make-believe dramatic play for themselves
to a more consciously planned form of drama, which may involve communicating
with an audience. Good practice at Key Stage 1 involves pupils in activities such
as exploring their ideas through devising scenes. They can work with a TIR, enacting
their own stories for others through small group playmaking, using symbolic
costumes and props to stimulate drama narratives. Pupils become increasingly
aware of their audience and act out stories using voice, movement, gesture and
basic sound effects. When they talk about dramas they have seen or in which
they have taken part, they can differentiate between them and explain how
effects were achieved.
During Key Stage 2, pupils use a wider range of dramatic devices and techniques.
Increased control of voice and body means that they portray more precisely
defined characters. Pupils produce work with a clear story line and structure.
They become familiar with forms such as shadow puppets, mime and chorus
work, and those in other media, like animation. Pupils may learn lines and write
short scripts which grow out of practical exploration of a story. They make
connections between broader dramatic traditions and their own work, suggesting
improvements. They may also experiment with simple technical effects and
equipment, such as digital camera and video.
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Drama in schools
At the arts centre, the event was brought to fruition. Pupils watched each
others performances, and were challenged by a drama consultant to evaluate
and articulate their strengths, weaknesses and experience of acting on a
professional stage. A level Photography students from a local secondary
school captured the magic of each schools performance, and in the intervals
GNVQ Performing Arts students introduced pupils to the basic concepts of
lighting, demonstrating ways in which it could enhance the drama.
The project brought huge gains in knowledge and understanding of
Shakespeare for the teachers and their pupils: the conventions of drama
scripts, the practicalities of theatre as well as the self-knowledge acquired
through the discipline of performance. It reasserted the role of drama and
oracy within the Literacy Hour and provided an enriching and hugely
enjoyable experience.
At both Key Stages 1 and 2 drama plays a significant role in developing pupils
insights into narrative and character as well as their speaking and listening skills.
It thus supports the objectives of the English strand in the Primary Strategy
(see Appendix 3) and the English National Curriculum (see Appendix 2). QCAs
publication, Speaking, listening, learning: working with children at key stages
1 and 2, published in November 2003, provides a framework of objectives for
teaching which traces progression in the speaking and listening curriculum and
suggests how to plan work on a termly basis from Y1 to Y6.
Both improvised and scripted drama provides a strong stimulus for writing. By
writing from the point of view of a particular character (writing in role) children
are enabled to express their understanding of the roles, events or situations
they have experienced.
They can also write as young playwrights, developing their improvised drama into
scripts. As a result of teachers skilful intervention, drama helps childrens writing
come alive, resulting in written work that features more effective vocabulary,
striking imagery, pace and style.
14
Recognising good drama
Within the story context, pupils took on the role of Amrita, the central
character in the story, teaching her child how to hug trees and appreciate
their significance. The class created still images of key symbolic objects in
the story and, working to music, mimed activities in the village. When they
had heard the next part of the story, their still images of a key confrontation
were particularly expressive. Analysis of these and questioning in role
deepened understanding of the use of gesture and space.
The teacher took on the role of Amrita who needed the children as
villagers to help. They sustained their roles during a village meeting, in
which they empathised with Amritas situation and suggested creative
solutions to her dilemma. They created a whole class still image of the
villagers protecting trees, followed by a heightened confrontation with
the teacher in role as the axe man. They improvised his meeting with the
maharajah through role-play, demonstrating use of appropriate vocabulary
and body language. Pupils articulated the conflicting arguments and
arrived at a resolution using the technique of forum theatre, demonstrating
their understanding of power and environmental issues. Finally, village
celebrations were devised and performed, enhancing pupils knowledge
of Indian culture. Afterwards the teacher encouraged them to reflect on
their learning, using basic theatre terms, as well as making connections
with geography, literacy, and personal, social and health education (PSHE).
Drama teaching often explores issues, ideas and dilemmas relevant to pupils lives
and investigates the behaviour of individuals and the nature of relationships. It
therefore makes a particular contribution to personal, social and moral education.
Drama is a social activity requiring pupils to communicate, cooperate and collaborate.
It fosters creativity and thinking skills (see section 2: Why drama in schools?)
raising pupils self-esteem and confidence through self-expression. These aspects
of learning are important for all pupils (see Appendix 5: Inclusive education).
Collaborating in and out of role, the pupils used and refined their
performance and technical skills in drama, music, art and video to produce
commercials for TV, radio or print. During the process, a letter arrived from
the warden of the outdoor pursuits centre where they had stayed. This
dramatic device informed the company that many farmers in the area
were using chemicals marketed by the same chemical group that produced
Tick Away, and that they were causing great harm to the environment.
There was great consternation at the news. Roles significantly deepened
through consideration of the issue, with the company hotly debating
whether to carry on producing its commercials and what to say to the
group representative on his return. Finally, it decided to present its
environmental arguments to him, pressuring him to withdraw the
product from sale. The climax of the project was a dramatic confrontation
between the company and the chemical group representative. Pupils in
role presented their arguments and finally persuaded him to withdraw
the product. After the drama, pupils were able to analyse their use of
space and voice, facial expression and gesture, as well as the depth of
their involvement in the role-play and its ecological and moral implications.
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Recognising good drama
10 and 11. The Year 7 unit of work, lasting half a term (six lessons of
one hour) involved the pupils working on the aspects of Act One only.
A feature of this unit was that all Year 7 classes also watched a dress
rehearsal, in school time.
Before the pupils saw the play, the teacher worked in role as a storyteller
with the pupils as young actors who would have to act out aspects of the
tale and perform it to each other. The teacher also explained to the pupils
that they would see a production of this story, performed in the round,
as part of their studies. They would also perform in the round and had
to consider what effect that might have on both actors and audience.
Starting from still images of key moments, each group prepared a short
scene based on a different section of the story, which the teacher as
storyteller then linked together. Specific theatre skills, such as how to
represent a deep ravine crossed by a weak bridge, were taught during
some lessons. Towards the end of the unit, short, scripted sections of the
play were introduced for the groups to work on. The pupils learnt some
theatre criticism vocabulary during plenary sessions to express their views
on the success of different scenes.
The production used some Chinese elements, such as music, costume and
Tai Chi movement. The Year 7 pupils were completely absorbed in the
production, as they already knew aspects of the story and had to struggle
with how to perform difficult scenes. Consequently, the quality of their
comments after the play was high; they could articulate how the central
themes (right and wrong, tugs of love) were relevant to a contemporary
audience, although the play told a 2000-year old story and was written
60 years ago by a German Jew in the US. All agreed that one strength of
this unit was that it linked drama learning to the school production.
The Speaking and Listening strand of the English National Curriculum (statutory,
see Appendix 2) identifies activities for drama within English. QCAs publication
Giving a voice: drama and speaking and listening resources for Key Stage 3,
provides helpful sample units of work for English teachers and these complement
DfES Key objectives bank (non-statutory for years 7, 8 and 9) and the Key Stage 3
Drama objectives bank (see Appendix 4) which is also non-statutory. These
materials support the drama objectives in English with extensive exemplification
and encourage links between drama and English departments. The requirement
for pupils to study a play by Shakespeare provides one example of an opportunity
for teachers of drama and English to collaborate, so that pupils learning
experiences are enriched.
17
Drama in schools
18
Recognising good drama
4
See DfES Key Stage 3 Drama objectives bank, July 2003, which outlines a number of drama teaching
techniques, and is available to download from www.standards.dfes.gov.uk/keystage3/publications
19
Drama in schools
On a good GCSE drama course, pupils have opportunities to enhance their interest
in drama through additional performing activities, such as the school play, drama
residencies, workshops with professional artists and theatre visits. Opportunities
exist for the innovative integration of specific projects in drama with other GCSEs,
like media studies. Drama lessons or the GCSE examination rehearsals may be
one of the most motivating factors for attending school for some pupils. Those
who underachieve in other areas can be those who, because of the nature of the
drama curriculum, demonstrate their gifts and talents, working sensitively and
creatively with others and taking effective roles in school productions.
Insights, skills and confidence gained through effective learning in drama contribute
significantly to preparation for the world of work. As pupils increasingly seek
employment in the creative sector of the economy (see section 2: Why drama in
20
Recognising good drama
schools?) schools should take care to offer realistic, current advice about these
opportunities. Many pupils seek work experience placements within cultural venues,
alongside creative artists. Initiatives such as Creative Partnerships, delivered through
Arts Council England on behalf of the Department for Culture, Media and Sport
(see Appendix 8), also offer a bridge between schools and cultural organisations,
enabling pupils to have a chance to experience working with creative
professionals and organisations.
21
Drama in schools
22
Recognising good drama
On a good post-16 drama course, students may choose from many options,
such as directing, acting, musical theatre, costume, make-up, set construction,
stage design, stage management, theatre technology and arts management.
Often students who study drama beyond the age of 16 continue with it into
higher education. Some who wish to enter professional theatre will seek a place
at an accredited drama school to follow a degree in acting or a theatre design
course; others may read theatre studies or a drama-related degree course at a
university. As at Key Stage 4, it is important that students have up-to-date and
comprehensive advice on possible career routes and what courses are available
to them after leaving school.
23
Drama in schools
24
Recognising good drama
into mirrors. Through their interactions with the sound-beam, they created
dialogues of birdsongs. Lastly, they exchanged symbols to create their own
choice of environments in which to perform.
The sessions ended as they began, with the same familiar song. The pupils
engaged happily and demonstrated anticipation for and recognition of the
song. This had become a world that they interacted with independently,
where we had become the audience and they the performers. They
manipulated their environment with independence and enthusiasm.
Their self-esteem grew with the important realisation of their increasing
control and sense of performance.
25
Drama in schools
26
Recognising good drama
27
Drama in schools
5
Connexions home page, www.connexions.gov.uk
28
Structuring drama in schools
4 Structuring drama in
schools
Drama should be taught progressively through and across each key stage,
building upon previous learning. The three interrelated activities of making,
performing and responding provide a useful framework for identifying and
assessing progression and achievement, and match similar categories in music:
composing, performing and appraising, and in dance: creating, performing and
evaluating. For the purposes of planning and assessment, making, performing
and responding are treated separately, although they are frequently integrated in
practice. Pupils improvising, for example, are simultaneously making, performing
and responding. Similarly, the emphasis placed on each can change across the
key stages. However, the principle of balance is important and teachers should
aim to include aspects of each activity in their schemes of work.
Making encompasses the many processes and activities employed when
exploring, devising, shaping and interpreting drama.
Performing covers the skills and knowledge displayed when enacting, presenting
and producing dramas, including the use of theatre technology.
Responding incorporates reflecting on both emotional and intellectual reactions
to the drama. This reflection is deepened as pupils gain a knowledge and
understanding of how drama is created.
To ensure breadth of study during each key stage, pupils should be taught the
skills, knowledge and understanding required to make, perform and respond to
drama through:
a broad range of stimuli, including artefacts, literature, non-fiction and
non-literary texts such as photographs and video clips
working in groups of varying size and as a class
performing to a range of audiences
a range of genres and styles and via different media
seeing a variety of live and recorded performances from different times
and cultures
using ICT to explore and record ideas, research themes and enhance their
production work
29
Drama in schools
30
Structuring drama in schools
Please note, the following level descriptions, unlike those in the national
curriculum, are not statutory and are intended to illustrate progression in drama.
The examples given are included as guidance only.
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Drama in schools
Level descriptions
Level Making
1
Pupils can:
take part in a wide range of pretend
activities when they explore situations
and stories through imaginative play
respond to other characters in role
pretend to be a character, demonstrating
emotion through actions and language
2
Pupils can:
take part in a range of drama activities
and use simple theatre devices/techniques,
eg narration and still image
explore problems in an imagined world and
make up plays from stories or other stimuli
use the dialogue in existing texts as well as
create their own
32
Structuring drama in schools
Performing Responding
33
Drama in schools
Level Making
3
Pupils can:
devise plays from a range of stimuli
respond to the use of drama techniques
to deepen the role or understanding of
the situation, eg hot seating
select appropriate lighting or simple symbolic
props, sets or costumes, and understand
their effect
choose vocabulary and movement to match
the person, place and time required by their
story or situation
4
Pupils can:
work confidently in groups using a range
of drama techniques to explore situations
and devise dramas for different purposes
plan and structure plays that make use of
a range of techniques and forms to express
their ideas, eg narration in story theatre,
mask work, and mime in physical theatre
actively interpret the work of playwrights
write and perform their own simple scripts,
demonstrating an understanding of some
correct theatre conventions
establish a character, with control over
movement and voice
34
Structuring drama in schools
Performing Responding
35
Drama in schools
Level Making
5
Pupils can:
explore and interpret ideas, issues and
relationships in their drama work, and structure
it using appropriate dramatic forms, eg
documentary drama, and conventions such
as the use of the aside
combine their skills and knowledge of drama
to devise plays of different types for different
purposes
sustain a defined character for a reasonable
amount of time
select and use a range of available technical
resources for dramatic effects, eg a CD player,
an overhead or data projector and lights
interpret and rehearse extracts from a range
of scripted plays
write scripts or short plays based on devised
work, using appropriate theatre conventions
6
Pupils can:
devise dramas in various forms, based on
a range of challenging issues and themes
give and accept suggestions and ideas
during the rehearsal process
make plays which employ symbolic
representations or effects to communicate
meaning
create and represent clearly defined characters
from the written word, add depth and
consider motivation
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Structuring drama in schools
Performing Responding
37
Drama in schools
Level Making
7
Pupils can:
create performances for different audiences
and purposes using various genres, styles
and traditions, eg using theatre conventions
drawn from a range of traditions, such as
a chorus from Greek theatre or costume
from Kabuki theatre
contribute creatively to the devising and
collective authorship of their own dramas
make considered use of appropriate theatrical
devices and technical effects to establish
atmosphere and enhance the whole
presentation, eg using simple props as
symbols throughout the piece or creating
specific colours in stage lighting and costume
interpret material from assorted sources,
including both classic and contemporary
texts, creating pieces of drama which can
both educate and entertain
8
Pupils can:
experiment with, explore, and use without
prompting, a wide range of theatre resources,
techniques, genres and traditions
collaborate sensitively with others in creating
performance pieces that are challenging,
structured and appropriate for their intended
audience
make use of appropriate software to develop
and translate ideas for performance
demonstrate imagination and considered
justification when interpreting a range of texts
38
Structuring drama in schools
Performing Responding
39
Drama in schools
Making
Pupils can:
Exceptional organise their own work confidently, either
performance as part of an ensemble or a solo piece
often lead and direct others in rehearsal
use a very wide range of different conventions,
devices and techniques to create a desired
effect on an audience
show subtlety as well as panache in their
dramatic interpretation of texts, either as
performers, directors or designers
demonstrate an awareness of different levels
of meaning through their use of metaphor
and symbol
40
Structuring drama in schools
Performing Responding
Range of levels and expected attainment by the end of each Key Stage
Range of levels within which the great Expected attainment for the majority
majority of pupils are expected to of pupils at the end of the key stage.
work in drama.
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Drama in schools
Is there a subject link governor for the arts, which includes drama?
Is there a specialist drama teacher on the staff and are there opportunities for
in-service training and professional development?
Have schemes of work been agreed that support pupils progression in drama
as they move through the school?
Is drama allocated sufficient time and resources to enable all pupils to make
good progress in the three key activities of making, performing and responding?
Does the school have:
adequate spaces for drama, which are accessible to all pupils?
a sufficient range of materials and equipment?
Does the drama curriculum embrace forms of expression from a wide range
of cultures, including those from within the school community?
42
Policy, facilities and resources
5.2 What does a good school policy for drama look like?
Dramas contribution to a broad and balanced arts provision for all pupils and
the requirement to teach it as part of the National Curriculum means that the
organisation and development of drama in schools needs to be systematically
planned. Where this is most effective, the subject leader for drama collaborates
closely with the subject leaders for the other arts and with the subject leader
for English, and the shared approaches to teaching and learning are reflected
in an overall arts policy.
The school improvement plan is the key to development planning and the guide
to the allocation of resources. Drama should be suitably acknowledged in this.
A good policy for drama ensures that:
all pupils have an entitlement to be taught drama throughout their time in school
drama has recognition and sufficient time allocation, both as part of arts
education and within the National Curriculum for English. This will be a
minimum of 2.5% of curriculum time in Key Stages 1 and 2 and approximately
4% in Key Stage 3
the contribution drama makes to pupils spiritual, moral, social and cultural
development, and their emerging citizenship is acknowledged
the contribution drama can make to learning in non-arts subjects is recognised
schemes of work are appropriately differentiated to ensure that all pupils
have equal breadth of experience, and equal opportunities to develop key skills
and to progress in making, performing and responding
the drama curriculum reflects the cultural diversity of both the school and
society as a whole
there is guidance on supporting pupils with special educational needs,
including talented and able pupils
clear assessment and reporting procedures are in place
there are regular opportunities to experience the work of professionals at
theatres, other arts venues and through visits to school by theatre companies
and individual theatre practitioners. Bilingual and multi-lingual performances
are especially valuable, as are those using integrated casting and additional
forms of communication, such as signing
the role of film, television, and video is recognised in pupils accessing drama
out of hours learning in drama is encouraged, such as school productions,
drama clubs, workshops and theatre visits
pupils are provided with up-to-date advice on drama-related careers, opportunities
in the creative industries, and further and higher education courses
health and safety issues are given due consideration
the quality of provision in drama is regularly monitored
a systematic programme of staff development is provided to facilitate the
highest standards of teaching
43
Drama in schools
6
See also Ofsted guidance documents Inspecting Drama 1116 with guidance on self-evaluation and
Inspecting post-16 drama and theatre studies with guidance on self-evaluation (www.ofsted.gov.uk)
7
Advice available from Association of British Theatre Technicians (www.abtt.org.uk/) and LEAs
44
Policy, facilities and resources
8
See Keeping Arts Safe, Arts Council England, April 2003, which is available to download from
www.artscouncil.org.uk
45
Drama in schools
6 Conclusion
The huge increase in demand for specialist drama teachers and the continuing
need for in-service training at all phases reflects the importance that schools
now place on drama. Saving a place for the arts a survey of the arts in primary
schools in England was published by the National Foundation for Educational
Research (NFER) in 2003. This document identifies the importance headteachers
in primary schools place on the arts, but it also demonstrates that there is real
concern that initial teacher training of primary teachers and in-service provision
in the teaching of drama at the primary level is frequently very limited. This is an
issue that must be addressed so that all primary aged children are given access
to the excellent learning opportunities that can be provided through drama.
The situation is different in secondary schools where the quality of specialist
trained drama teachers has never been higher. These specialist teachers often
have high levels of personal involvement, real passion and commitment to the
artform some of the qualities which were identified as being linked to effective
practice in teaching in the important research study Arts in education in
secondary schools: effects and effectiveness published by the National Foundation
for Educational Research in 2000. The importance of these same qualities has
been echoed more recently by the Secretary of State for Education and Skills,
who sees finding new ways to encourage and support teachers enthusiasm for
their subjects as one of the keys to improving standards of teaching and learning.
Arts Council Englands belief that pupils should be given access to a wide range
of dramatic experiences during their school years is shared by key national bodies:
the Department for Education and Skills, the Department for Culture, Media
and Sport, Ofsted, the Qualifications and Curriculum Authority, and the Teacher
Training Agency. The guidelines in this document are intended to reflect the
eclectic approaches to providing good experiences of drama in education.
All artforms are constantly adapting to the needs of the culture they reflect and
represent. The nature of drama in both content and form will undergo many
changes in the years to come. For example, the influence and use of film and
television, the growth of digital technology and the greater accessibility of high
quality equipment mean that the moving image will take on an even greater
importance in our schools. It is essential that teachers continue to seek ways of
combining their existing skills and knowledge with the new technologies, so that
they can enable our young people to go on creating and producing innovative
drama and theatre for the 21st century.
46
Appendix 1
47
Drama in schools
[The guidance on the early learning goals highlights the way that well planned
play is a key to the way young children learn with enjoyment and challenge.]
The role of the practitioner is crucial in, for instance:
extending and supporting childrens spontaneous play
extending and developing childrens language and communication in their play
Through play, in a secure environment with effective adult support, children can:
explore, develop and represent learning experiences which help them make
sense of the world
think creatively and imaginatively
express fears or relive anxious experiences in controlled and safe situations
48
Appendix 2
Reading
Literature
To develop their understanding of fiction, poetry and drama, pupils should be
taught to:
identify and describe characters, events and settings in fiction
use their knowledge of sequence and story language when they are retelling
stories and predicting events
learn, recite and act out stories and poems
respond imaginatively in different ways to what they read, for example:
using the characters from a story in drama, writing poems based on ones
they read, showing their understanding through art or music
The range should include:
stories, plays and poems by significant childrens authors
stories, plays and poems with patterned and predictable language
49
Drama in schools
Key Stage 2
Speaking and listening
To participate in a wide range of drama activities and to evaluate their own
and others contributions, pupils should be taught [the knowledge, skills and
understanding] to:
create, adapt and sustain roles, individually and in groups
use character, action and narrative to convey story themes, emotions, ideas
in plays they devise and script
use dramatic techniques to explore characters and issues (for example,
hot seating, flashback)
evaluate how well they and others have contributed to the overall effectiveness
of performances
The range of drama activities should include:
improvisation and working in role
scripting and performing in plays
responding to performances
Reading
Literature
To develop their understanding and appreciation of literary texts, pupils should
be taught [amongst other experiences] to:
read stories, poems and plays aloud
identify how character and setting are created, and how plot, narrative
structure and themes are developed
The range should include [amongst other texts]:
play scripts
Writing
The range of forms of writing should include [amongst other forms]:
play scripts
50
Appendix 2
appreciate how the structure and organisation of scenes and plays contribute
to dramatic effect
evaluate critically the intentions and performance of dramas which they have
watched or in which they have taken part
The range of drama activities should include:
improvising and working in role
devising, scripting and performing in plays
discussing and reviewing their own and others performances
Reading
Literature
To develop understanding and appreciation of texts, pupils should be taught to:
extract meaning beyond the literal, explaining how the choice of language
and style affects implied and explicit meanings
read and appreciate the scope and richness of complete novels, plays and poems
understand the authors craft how techniques, structure, forms and styles vary
The range should include:
two plays by Shakespeare, one of which should be studied at Key Stage 3
drama by major playwrights
recent and contemporary drama written for young people and adults
drama by major writers from different cultures and traditions
[Please note, the National Curriculum for English suggests some specific major
playwrights. It is expected that drama teachers may well use some of these, but
will ensure that they also prioritise excellent writing by new writers and by those
who are commonly underrepresented, eg women playwrights, non-European
playwrights and playwrights from a wide variety of cultural backgrounds.]
Writing
[As part of the development of their knowledge, skills and understanding,
pupils should be taught]:
Writing to imagine, explore, and entertain through [only the drama specific
example is cited below]:
drawing on their experience of good fiction, of different poetic forms,
and of reading, watching and performing in plays
The breadth of study should include [only the drama specific example is
cited below]:
forms for writing from different kinds of stories, poems, play scripts,
autobiographies, screenplays, diaries
51
Drama in schools
1 1 5
7
to describe story settings and incidents and relate
them to own experience and that of others
to re-enact stories in a variety of ways, eg through
role-play, using dolls or puppets
52
Appendix 3
2
1 3 to be aware of the difference between spoken and
written language through comparing oral recounts
with text; make use of formal elements in retelling
53
Drama in schools
5
1 3 to investigate how characters are presented,
referring to the text:
through dialogue, action and description
how the reader responds to them (as victims,
heroes etc.)
through examining their relationships with
other characters
5 to understand dramatic conventions including:
the conventions of scripting (eg stage directions,
asides)
character can be communicated in words
and gesture
how tension can be built up through pace,
silences and delivery
15 to write new scenes or characters into a story, in
the manner of the writer, maintaining consistency
of character and style
18 write own playscript, applying conventions learned
from reading; include production notes
19 to annotate a section of playscript as a preparation
for performance, taking into account pace,
movement, gesture and delivery of lines and the
needs of an audience
20 to evaluate the script and the performance for their
dramatic interest and impact
54
Appendix 3
6
1 1 to compare and evaluate a novel or play in print
and the film/TV version, eg treatment of the plot
and characters, the differences in the two forms,
eg in seeing the setting, in losing the narrator
9 to prepare a short section of story as a script,
eg using stage directions, location/setting
14 to develop the skills of biographical and
autobiographical writing in role, adopting distinctive
voices, eg of historical characters
55
Drama in schools
In Year 8
Pupils should be taught to:
reflect on their participation in drama and identify areas for the development
of dramatic techniques, eg keep a reflective record of their contribution to
dramatic improvisations and presentation
develop the dramatic techniques that enable them to create and maintain
a variety of roles
explore and develop ideas, issues and relationships through work in role
collaborate in and evaluate the presentation of dramatic performances, scripted
and unscripted, which explore character, relationships and issues.
In Year 9
Pupils should be taught to:
recognise, evaluate and extend the skills and techniques they have developed
through drama
56
Appendix 4
[Please note, a list of drama terminology that should be taught is also included in
the English strand of the Key Stage 3 National Strategy. However, many teachers
will ensure that a much greater range is taught and used.]
57
Drama in schools
Educational inclusion
An inclusive education is broader than a concern about any one group of pupils
such as those who have been or are likely to be excluded. It is concerned with
providing equal opportunities for all pupils, be they:
boys and girls
minority ethnic and faith groups, travellers, asylum seekers and refugees
pupils who need support to learn English as an additional language (EAL)
pupils with special needs such as those with disabilities, including pupils with
hearing, visual or multi-sensory impairments and other physical disabilities
pupils with special needs such as those with learning difficulties: emotional,
behavioural, specific, profound, severe or moderate and children on the
autistic spectrum
gifted and talented pupils
children who are looked after by the local authority
young carers
those from families under stress
pregnant school girls and teenage mothers
those who are at risk of offending
Extract from the English strand of Planning, teaching and assessing the
curriculum for pupils with learning difficulties
Who are the pupils?
The guidelines relate to all pupils aged between 5 and 16 who have learning
difficulties, regardless of factors such as their ethnicity, culture, religion, home
language, family background, gender or the extent of their other difficulties.
58
Appendix 5
This includes pupils who are unlikely to achieve above a Level 2 at Key Stage 4.
(These pupils are usually described as having severe or profound and multiple
learning difficulties.) This also includes pupils with learning difficulties who may
be working at age-related expectations in some subjects, but are well below in
others. (These pupils, alongside those with other significant difficulties, are often
described as having moderate or specific learning difficulties.)
59
Drama in schools
60
Appendix 6
61
Drama in schools
62
Appendix 7
63
Drama in schools
64
Appendix 8
65
Drama in schools
An advisory group also played an important part in the updating and rewriting
of Drama in schools. The following organisations were represented:
Arts Council England
Department for Education and Skills
National Drama
Ofsted
Qualifications and Curriculum Authority
Teacher Training Agency
66
Acknowledgements
Acknowledgements
Arts Council England and the authors of Drama in schools would like to thank
the following schools, theatre companies and individuals, who provided examples
of practice in drama:
Bispham High School and Arts College, Brune Park Community School, Coombes
Infant School, Cranbourne School, The Emmbrook School, James Rennie School,
Kennel Lane School, Kingswood High School, Low Hall Community Primary School,
Maiden Erlegh School and Visual Arts College, Stantonbury Campus, Steyning
Grammar School, The Place, Unicorn Theatre.
Stephen Alty, Jan Beats, Paul Bunyan, Maureen Bukht, Karen Butler,
Corinna Cartwright, Jacqui Crooks, Gaynor Davies, Anne Fenton, Jim Holian,
Ron Price, Shelley Upton, Chris Vaudin, Cathy Wardale, and Sarah Wind-Cowie.
We would also like to thank all those other teachers, artists and professionals
who contributed their time, energy and ideas to the document during the
consultation process including:
Patrice Baldwin, Stuart Bennett, Sarah Bergson, Danny Braverman, Jane Bryant,
Stephan Burky, Karen Butler, Philip Christopher, Marie Costigan, Kerry Cliffe,
Patty Cohen, John Coventon, Peter Daw HMI, Dr Mike Fleming, Anton Franks,
Sue Good, Tony Graham, Clive Goodhead HMI, Jim Holland, Mark Howell-Meri,
Carol Jay, Michael Judge, Lucy Kay, Andy Kempe, Tony Knight, Allan Lindsay,
Kath Macdonald, Pauline Marson, David Montgomerie, David Morris,
Jonathon Mottram, Chloe Newman, Nottingham Playhouse TIE, Allan Owens,
Caroline OFlaherty, OnO Theatre, Oxford Stage Company, Pop-Up Theatre,
Rebecca Peacock, John Rainer, Mark Reid, Theatre Centre, Allie Spencer,
Jackie Taylor, John Taylor, Ken Taylor, Simon Taylor, Jon Taverner, Elaine Wilcock,
David Wood, Astrid Watts, Tim Webb, Alastair West, Paul Wright, Carolyn Yates,
and Matthew Young.
67
Drama in schools
68
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