Dyslexia

and Drama
Other titles in this series

Dyslexia and Maths

Julie Kay and Dorian Yeo
1-85346-965-3
Dyslexia and English
Elizabeth Turner and Jayne Pughe
1-85346-967-X
Dyslexia and Physical Education
Madeleine Portwood
1-85346-970-X
Dyslexia and Modern Foreign Languages
Gaining Success in an Inclusive Context
Margaret Crombie and Elke Schneider
1-85346-966-1
 Dyslexia
and Drama
Helen Eadon
David Fulton Publishers Ltd
The Chiswick Centre, 414 Chiswick High Road, London W4 5TF

www.fultonpublishers.co.uk

David Fulton Publishers is a division of Granada Learning, part of

ITV plc.

First published 2005

10 9 8 7 6 5 4 3 2 1

Copyright © 2005 Helen Eadon

British Library Cataloguing in Publication Data

A Catalogue record for this book is available from the British
Library.

ISBN 1 84312 048 8

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system or transmitted, in any form, or by any
means, electronic, mechanical, photocopying, recording or otherwise,
without the prior permission of the publisher.

Typeset by GCS Composing Services, Leighton Buzzard

Printed and bound in Great Britain by Ashford Colour Press.
Contents

Acknowledgements vi

Foreword by Dr Lindsay Peer CBE and Dr Gavin Reid vii

1 Dyslexia 1

2 Dyslexia and Drama 11

3 Examples from Practice 21

4 Children’s Views and Experiences 38

5 Dyslexia, Drama and Other Difficulties 44

6 Parents and Dyslexia 53

References and Further Reading 57

Index 60
Acknowledgements

I would like to thank the following persons and organisations for their
help and support:

Gillian Chatterton
The British Dyspraxia Foundation
Dr Sionah Lannen
The students of the Red Rose School
Dr Gavin Reid

vi
Foreword

It is a privilege to write the foreword for this book. We are confident

that it will be warmly welcomed by all teachers; speech and drama
specialists in particular will appreciate it. It will be relevant for
teachers in both primary and secondary schools. To an extent, all
teachers, particularly in primary schools, engage in speech and drama
activities. Such activities are fun and motivating. This book has a
comprehensive chapter outlining these types of activities, flavoured
by the author’s own personal and professional experiences.
Dyslexia is an area that is still clouded in controversy and
confusion. This is not helpful for the class teacher who often
recognises the talents in children but is perplexed as to why some
children may not be making the expected progress in some subjects.
This, of course, could be due to dyslexia, or to some other specific
learning difficulty. In this book Helen Eadon provides a succinct
outline of dyslexia and the other associated difficulties that students
may experience. She describes the characteristics of dyslexia and the
implications they have for teaching drama.
There is also an insightful chapter on children’s own experiences.
This is an important chapter because children need to be heard,
particularly children with dyslexia. They may be harbouring strong
emotional feelings of frustration and, in some cases, anger. Helen
reiterates throughout this book the importance of self-esteem for
learning and for life. There is also a chapter focusing on the needs and
views of parents. This is an important issue because communication
with parents is vital. It is important to ensure that the links between
home and school are constructive.
There is an emphasis here on both the child and the curriculum.
The book contains a plethora of strategies and information to help
teachers deal with dyslexia effectively, and we congratulate the
author on her work.

Dr Lindsay Peer CBE

Dr Gavin Reid

vii
Chapter 1

Dyslexia

What is dyslexia?
Dyslexia affects around 10 per cent of the population. This means that
in virtually every class it is likely that there will be at least one person
with the disorder. The British Dyslexia Association defines dyslexia
as a difference in the area of the brain that deals with language. Brain
imaging techniques show that dyslexic people process information
differently. This difference in processing affects the underlying skills
that are needed for learning to read, write and spell.
Dyslexia, however, affects more than reading or writing; it can
have an impact on learning, memory and organisation. The ‘popular’
view of dyslexia is that it is a condition that affects reading and
writing. This is understandable as the word ‘dyslexia’ comes from the
Greek meaning ‘difficulty with words’. It is important, however, to
be aware of the range of characteristics associated with dyslexia.
These will be discussed throughout this book. It is also important to
be aware of the individual differences, the needs and the learning
preferences of students with dyslexia.

Characteristics of dyslexia
The main characteristics of dyslexia are:
• lack of fluency and speed in reading
• hesitant predictive reading (using context)
• hesitancy in reading

1
Dyslexia and Drama

• losing the place in reading

• failing to recognise words
• low level of comprehension
• difficulty using dictionaries
Students with dyslexia will usually have difficulty with reading and
this can include any or all of the above. Difficulties in reading
comprehension may be due to a lack of understanding but could be
attributed to weakness with reading fluency. Additionally, if the
student is light-sensitive or colour-sensitive, a suitably coloured
overlay or tinted glasses may help.

Writing
The problems associated with writing are as follows:
• poor handwriting
• badly set out work
• lack of punctuation and grammar
• difficulty copying from the board or from a book
Dyslexic students can be frustrated when it comes to writing. Often
there is a block with the transfer of ideas from their imagination to the
blank exercise book in front of them. Handwriting may lack style and
consistency, as may grammar and punctuation. These problems will
be heightened under stress, particularly in exams and tests. Spelling
difficulties are an obvious problem and can be a source of frustration.

Self-esteem
Reading and writing aside, one of the most significant difficulties
faced by the dyslexic student is lack of self-esteem and confidence,
which is probably the most acute problem when it comes to drama.
The first day at secondary school is a big step to take. Suddenly the
student finds him/herself in an unfamiliar building, with new teachers
and a range of different subjects. For all students these factors can cause
stress, but for most it would only be temporary. The dyslexic student
will also have difficulties in reading, spelling, writing and possibly
mathematics, and these factors will contribute to low self-esteem.
We all have a self-image and we develop strategies to deal with our
own imperfections, but if we begin to believe that we are inadequate,
then eventually we will behave as if this were true. Undermining a
child by destroying their self-esteem will have a significant effect on

2
 Dyslexia

their potential to learn and on their success in life. Dyslexic children

need to feel supported in order to succeed.
It is common in secondary schools that the differences between
dyslexic students and others become apparent in learning and in basic
attainments. At first there may only be slight discrepancies, but if
new skills are taught to the dyslexic learner without effective
strategies to accompany them, then he/she will fail and a low self-
esteem will result. The dyslexic child will probably be the first to
realise that there is something wrong, and may not discuss his/her
worries with parents or teachers. This is a vicious cycle that may lead
to emotional and personal difficulties.
In order for learning to be successful, the student must value
him/herself as well as others. Dyslexic learners entering secondary
school will have already faced failure, so secondary schools must be
aware of the needs and problems that they are bringing with them.

Achieving in drama
All of these difficulties could stand in the way of potential
achievement in drama.
If we look at the area of reading first, we can see that a difficulty
could cause problems with script work. In this case, when
introducing a new script or play to the group, it might be best to
summarise the whole plot first, before a full read-through. The next
step would involve preparing improvisations around the main
characters and storylines. This would mean that the students would
have a general idea of the play before they start to read. It may be
possible for the play or script to be transferred to an audio device
so that the student can follow the words while hearing someone
else read them. It may be traumatic for the dyslexic student to
be given the script in black-and-white format, especially if they
have scotopic sensitivity which involves visual acuity. It may be
helpful to photocopy the script onto coloured paper and make the
font bigger.
In a situation like this the role of a Special Support Assistant (SSA)
would be valuable; if there are a few students with a learning
difficulty, the assistant could work with the group on the content of
the script, going over unfamiliar words and making the lines familiar
to the students, thus saving the embarrassment of having to sightread
in front of the whole class.

3
Dyslexia and Drama

Of course, there are times when reading aloud is necessary. If the

student normally uses his/her finger to follow the words, try
suggesting the thumb technique. I use this technique with all my
students, dyslexic or otherwise. Hold the script with both hands and
make sure that you have a thumb on each page. As you start to read
down the lines, your thumb moves with you, so even if you look
away, your thumb will indicate which line you are on.
Correct posture is important for all students, and it may be
worthwhile devoting a lesson to this and reinforcing it from time to
time. When we are nervous or tense we hunch up, making breathing
and speaking more problematic. By using correct breathing and
positive techniques, students will feel more relaxed and in control and
will undoubtedly give a better performance. This, of course, will lead
to better self-confidence.
The teacher must make it clear what is expected from the students
and must be ready to repeat instructions as necessary. This way, the
student will be confident of knowing what to do. It should be made
clear that they are working in a safe and protected environment. With
the right approach the drama lesson will engender in the students a
sense of achievement, regardless of their academic ability.
Group games build trust among individuals and these activities
should be accessible to all. It would be best to start off with easier
games and then progress to harder ones as time goes on. (See ‘drama
ideas’ in Chapter 3 for suggested games.)
It is important that both teacher and student see progress in the
work. This can be achieved through assessment techniques. A drama
diary can be kept by the students, where they can record their own
progress and keep a checklist of targets. The SSA could help
individuals record their thoughts and feelings, even by mind
mapping® (see Chapter 3).

Writing frames
Writing frames might be produced by the teacher to assist self-
analysis. These would include the following headings:

4
 Dyslexia

Topic

Title

Outline of idea

Best part of my performance

In future I would change…

I could improve by…

Similarly styled frames may be useful when writing play reviews.

Again, mind-mapping techniques can be used, instead of general
note-taking, when watching a performance. The mind map would
give a plan and a starting point for writing up the review.

5
Dyslexia and Drama

Suggestions
You will have your own rules to which the students should adhere.
However, keep in mind the following:
• Always warm up and cool down with appropriate activities
(cooling-down games are very important – it is difficult, as we all
know, to teach a sit-down, formal lesson to a group of students who
are buzzing from a physical drama lesson).
• Encourage all students to exercise self-discipline.
• Give as much praise and feedback as you can – all students thrive
on encouragement and develop self-confidence – not just dyslexic
ones.
• Ensure that everyone knows the rules of the activity – repeat them
to reinforce them.
• Don’t interfere too much – let imagination and creativity lead the
way.

Explanations of and responses to dyslexia as

a syndrome
Theoretical background – conflicting perspectives
The different perspectives of those working in the field of dyslexia
have been described as an ‘ecosystem’ by Rod Nicolson at the fifth
BDA conference. He described those working in dyslexia research as
‘a group with overlapping but often conflicting needs attempting to
inhabit the same space’. Quite often, the viewpoints of researchers
involved in the area of dyslexia will be conflicting, stating differences
in approaches rather than shared common ground. These different
perspectives on dyslexia can be confusing for teachers.
However, there has been progress in dyslexia research involving
new techniques in neurosciences, brain-imaging and genetics. These
theories have been classified by Frith (1995, 2002) on three levels:
biological; cognitive; and behavioural.
Nicolson and Fawcett (1999) suggested that the cerebeller deficit
hypothesis was an important factor in dyslexia. It had been known for
some time that the cerebellum is involved in speed-learning and
motor skills, and further research suggested that it might also be
involved in language dexterity. Again, on a psychological level, the
work of Galaburda (1993) had an influence both in the conceptual
understanding of dyslexia and in practice. His work suggested that

6
 Dyslexia

dyslexic adults and children may prefer to use right-hemisphere skills

when learning. This may have implications for subjects such as
drama.
Right-hemisphere processing relates to tasks that require a holistic
approach – seeing the whole picture. On the other hand, left-
hemisphere processing involves analysis of detail and small chunks
of information. West (1997) used this information to emphasise the
positive side of dyslexia, saying that right-hemisphere people can
often have an advantage. This is pertinent to drama, as creativity
involves right-hemisphere skills but the learning of words is
essentially a left-hemisphere task.

Phonological aspects
At a cognitive level, the dominant theory in dyslexia has been the
phonological deficit hypothesis. This theory has been supported by
considerable research (Bradley and Bryant, 1991; Hatcher and
Snowling, 2002). This suggests that learning to read is an interactive
process that involves the use of different language skills. Hatcher and
Snowling state that activities such as non-word reading are
problematic because of the difficulties associated with sound symbol
relationships. This is seen as one of the most robust signs of dyslexia.
The evidence for this view comes from studies, some of which
investigate the development of dyslexic children before they fail to
read. This was done by following children who were at a higher risk
of being dyslexic, e.g. if they (a) had dyslexic parents and (b) had
difficulties with early language skills and activities such as rhyming.
Wolf and O’Brien (2001) have suggested that dyslexia can be
described as a ‘double-deficit hypothesis’. This means that in
addition to phonological differences, dyslexic children have a
processing speed difficulty and therefore process information more
slowly.
Fawcett (2002) comments that children with dyslexia ‘show
impairments in a wider range of skills, including sensory deficit
(flicker, motion sensitivity, rapid auditory discrimination), motor
(bead threading, balancing) and cognitive (phonological, working
memory, speed)’. She noted that there seemed to be a difference in
the ‘fluency’ with which dyslexic pupils carried out the tests.
This hypothesis, known as Dyslexia Automaticity Deficit (DAD),
was suggested to highlight the difficulties children with dyslexia may

7
Dyslexia and Drama

have with automaticity of learning. The research found that when

children were asked to perform two tasks simultaneously, dyslexic
children experienced problems with balancing in particular and had
difficulty in completing the tasks.

Dyslexia as a syndrome
Nicolson (1996) suggested that ‘for many years there has been
considerable unease as to how developmental dyslexia should be
defined’. This relates to distinguishing dyslexia from poor reading.
Nicolson and Siegel (1996) suggested that although people display
dyslexia in different ways, and there are sub-types of dyslexia,
dyslexia is a syndrome. This view has been challenged by some
researchers such as Stanovich (1996) who argues that research has
failed to find any qualitative difference in the performances of
dyslexics and poor readers.
In response to this notion of dyslexia as a syndrome, and how the
syndrome can be precisely defined, there are a number of different
views from researchers working in the field. One view is that of
Stanovich; he questions the assumption whether poor readers of high
or low intelligence need different explanations for their reading
difficulties. This fits with Frith’s belief that reading difficulties may
not necessarily be a product of dyslexia, and that the problems could
be social-emotional, of environmental origin, and that by improving
the teacher–pupil relationship, reading and writing skills might
improve. Stanovich believes that intelligence has nothing to do with
reading ability and that the problem lies within the ‘word recognition
module’, including the reading of pseudo-words, phonological
segmental language skills, orthographic processing and
spelling–sound regularity, whether of high or low intelligence. He
questions why a child with a low IQ, speech problems, poor
phonological skills, poor word recognition skills and poor
comprehension skills may not be dyslexic.
Tunmer and Chapman (1996) have an important view that should
be considered in the teaching of dyslexic children. They argue that
dyslexia is the result of a meta-cognitive dysfunction affecting the
phonological processing model, despite utilising correct
environmental and linguistic opportunities. This means that children
acquire and use inefficient cognitive strategies to deal with reading.
As a result of these repeated learning failures, dyslexic children will

8
 Dyslexia

have a low expectation of themselves and a low self-esteem. They

must therefore be made aware ‘that they can achieve by using more
effective learning strategies’.
In opposition to Stanovich, Nicolson believes that IQ is important
to the dyslexia theory. He believes that the phonological deficit
hypothesis is not a complete account of the difficulties that dyslexic
children encounter. He also says that we must distinguish between
poor readers with a low IQ from those who are dyslexic, in order to
differentiate the cause of phonological deficits. Nicolson goes on to
suggest that early identification should lead to proper support, which
should avoid reading problems in the future.
Snowling (1998, 2000) believes that characteristic features of
dyslexia are independent of intelligence and relate to phonological
processing. She feels that if sensitive enough testing is used then
phonological difficulties will be found. She goes on to argue that
dyslexia is a form of language impairment affecting the phonological
features of spoken words encoded in the brain, as a result of poorly
specified phonological representations. In addition to this, Snowling
says that dyslexia affects the development of reading and spelling
skills. However, its effect can be changed through appropriate use of
developmental skills.

Conclusion
It is quite clear that there is still controversy as to how dyslexia can
be defined. We must realise that dyslexia is a label and that everyone
placed in that category is an individual with their own strengths and
weaknesses regardless of intelligence or reading ability. It could be
argued that tests are not necessarily as valid as they should be. In my
own experience, I have worked with children who have overcome
reading difficulties and are able to read a book aloud, yet when tested
in reading isolated words their reading score is lower than the
standard of books they are capable of reading. This is because they
are capable of predicting words when they form part of a sentence,
but when words are singled out they find it harder. This has been
noted by Reid (2003) who explains that ‘bottom-up/top-down’
approaches to reading suggest that fluent readers look first at
the component features of the letters in words before they consider
the meaning of the actual word. Top-down readers, on the other hand,
anticipate the meaning of the text before checking for syntax and

9
Dyslexia and Drama

graphical clues. Stanovich backs this theory up by suggesting that

some children are more dependent on visual clues while others rely
on contextual ones. Again this shows how each child is different,
relying on their own individual ways of encoding and processing
information.

10
Chapter 2

Dyslexia and Drama

This chapter focuses on the drama curriculum and those features

within it that may have an influence on children with dyslexia.

Stage KS3/GCSE
Drama is a very important lesson on its own or as a cross-curricular
activity. It enables students to:
• understand themselves and others
• develop literacy skills
• develop teamwork and communication
• self-educate
• problem-solve and make decisions
• build self-esteem and confidence
• explore issues and experiences in a safe and supportive environment
• follow rules
All of the above skills are vital for all students, but are especially
important for the dyslexic learner.
Drama makes up an important part of English. It stands alongside
reading and writing and makes up a separate strand of speaking and
listening at Key Stage 3. It becomes a subject in its own right at
GCSE.
The National Curriculum details drama objectives as follows. Each
student should:

11
Dyslexia and Drama

• identify with characters and actions through role-play (e.g. in a

dramatised story and as spectators of a performance);
• have the confidence and ability to put across a particular point of
view;
• learn how to work with others to solve human and practical
problems;
• create and take part in improvised scenes in order to explore
issues;
• invent and develop convincing roles in specific situations;
• know how to structure dramatic sequences in order to convey
meaning;
• be aware of the need for dramatic conventions (e.g. light, dark,
movement, pause, sound, silence);
• be aware of and use a variety of dramatic forms and techniques to
express ideas and feelings (e.g. mime, movement, costume, make-
up, props, set design);
• appreciate drama in performance, both as participants and as
spectators;
• understand the educational, cultural and social purposes of drama;
• develop a vocabulary of theatre/drama;
• explore the variety of human emotions through drama;
• learn to listen and concentrate;
• learn to respect and, where appropriate, depend on others (e.g. trust
skills);
• develop awareness (sensitivity) and enjoyment of the ways groups
work (e.g. decision-making, problem-solving, negotiation,
willingness to accept responsibility, a democratic approach);
• evaluate achievements as an individual and through groups and
learn critical awareness;
• appreciate the values and attitudes of own and others’ communities,
recognise social conventions and stereotypes and be prepared to
examine them;
• explore cross-curricular themes.
Drama requires a clear sense of discipline and direction from both
teachers and students. All are equally responsible for the quality of
learning that takes place.

12
 Dyslexia and Drama

Exam criteria
Assessment objectives
The GCSE Drama and Theatre Arts syllabus will assess the candidate’s
ability to:
• demonstrate knowledge and understanding of practical skills and
techniques relevant to Drama and Theatre Arts;
• respond imaginatively and relevantly to a given stimulus in a
dramatic context;
• demonstrate practical skills and techniques associated with Drama
and Theatre Arts;
• evaluate work carried out in studies relating to Drama and Theatre
Arts.

Scheme of assessment
• coursework (60%)
• controlled test (40%)
The table below shows the weighting of the assessment objectives.

Objective Controlled Practical Written

test coursework
Knowledge and 10% 10%
understanding of
practical skills and
techniques
Imagination and 10% 10%
relevant response
to a given stimulus
Demonstration of 30% 20%
practical skills and
techniques
Students’ evaluation 10%
of their own work
Total 40% 40% 20%

13
Dyslexia and Drama

There are external exams that are available in the field of drama.
These include those given by the London Academy of Music and
Dramatic Arts, which have recently been accredited. For the purposes
of this book we will be focusing on the GCSE syllabus and its
accessibility to the dyslexic student.

Coursework (60%)
Two of the following options, only one of which may be a
technical/design skill:
1. Devised thematic work for performance to an audience
2. Acting
3. Theatre in education presentation
4. Improvisation
5. Dance/drama
6. Set
7. Costume
8. Make-up
9. Properties
10. Masks
11. Puppets
12. Lighting
13. Sound
14. Stage management
Each option is assessed through 50% practical work (preparatory
work and end-product) and 10% response to the process of
development. Internally assessed and externally moderated.

Written paper (40%) – 2 hours

A choice of any two questions based on the following sections:
A. Set plays – a choice from six
B. Response to live productions seen during the course
Externally set and marked.

At a glance the scheme of assessment (60 per cent coursework and 40

per cent written paper) could work well for the dyslexic student.
However, a two-hour literacy based exam may seem daunting and
might deter candidates from taking the GCSE if they were not given
the appropriate help and support.

14
 Dyslexia and Drama

The Joint Council for General Qualifications gives an explanation

of the rationale for special arrangements in its Regulations and
Guidance (JCGQ 2001).
The awarding bodies recognise that there are some candidates who
have coped with the learning demands on a course but for whom the
standard arrangements for the assessment of their attainment may
present a barrier. Such barriers may arise as a result of:
• a permanent or long-term disability or learning difficulty;
• a temporary disability, illness or indisposition;
• English being a second or additional language; or
• the immediate circumstances of the assessment.

Inclusion and special arrangements

The SEN and Disability in Education Act 2001 (SENDA 2001) applies
to all UK education provision and ensures that schools and colleges
consider minorities in all assessments. The Inclusion Statement of the
English National Curriculum states the following:

Overcoming Potential Barriers to Learning and Assessment for Individuals

and Groups of Pupils

• Teachers must take account of these requirements and make provision,

where necessary, to support individuals or groups of pupils to enable them
to participate effectively in the curriculum and assessment activities. During
end of key stage assessments, teachers should bear in mind that special
arrangements are available to support individual pupils with disabilities.

• Not all pupils with disabilities will necessarily have special educational
needs. Many pupils with disabilities learn alongside their peers with little
need for additional resources beyond the aids, which they use as part of their
daily life, such as a wheelchair, a hearing aid or equipment to aid vision.
Teachers must take action, however, in their planning to ensure that these
pupils are enabled to participate as fully and effectively as possible within
the National Curriculum and the statutory assessment arrangements.
Potential areas or difficulties should be identified and addressed at the outset
of work, without recourse to the formal provisions for disapplication.

• Teachers should take specific action to enable the effective participation of

pupils with disabilities by planning appropriate amounts of time to allow for
the satisfactory completion of tasks.

15
Dyslexia and Drama

It is interesting to note that special arrangements for tests and

assessments at key stages remain simple; GCSE special arrangements
are less straightforward. Due to the rise in the 1990s of applicants,
developments in national policy and SEN procedures, changes were
brought about. Where regulations permit schools to make a decision
– for example extra time or rest breaks – an educational psychologist
or specialist teacher can write a report specifying individual needs. A
history of provision can validate a request for special arrangements.
With a decision held by the awarding body, again a specialist teacher
and/or educational psychologist will write a report detailing the
candidate’s assessment needs. A history of individual needs and
provision made for these needs must be included.

Subject content
The GCSE Drama coursework component states that ‘Candidates
must offer two different options for coursework’, and that ‘there is
also a requirement for GCSE specifications in Drama that all
candidates must present some performance work’. Candidates may
therefore present only one technical and design skill option for
assessment.

Group 1 – Scripted work

Devised thematic work for performance to an audience:
Acting
Set
Costume
Make-up
Properties
Masks
Puppets
Lighting
Sound
Stage Management
Work for the technical and design skill options must contribute to a
group performance of scripted work.

16
 Dyslexia and Drama

Group 2 – Unscripted work

Devised thematic work for performance to an audience:
Improvisation
Theatre in Education presentation
Dance/drama
Set
Costume
Make-up
Properties
Masks
Puppets
Lighting
Sound
Stage Management
Work of the technical and design skill options must contribute to a
group performance of unscripted work.
It is important that all students make informed choices of their
specialist areas and that they are not merely told what to do. It is the
general assumption of many that dyslexic students are naturally
creative. This is not always the case, as Peer (2001) points out: ‘some
children have outstanding creative skills, others have strong oral
skills, yet others have no outstanding talents’.
The coursework component of the GCSE should pose no great
hindrance to the dyslexic student (if appropriate help and guidance are
given, as mentioned previously); however, the written paper might.

Written paper
The written paper assesses all Assessment Objectives and comprises
two sections:
A. Set plays
B. Response to live productions seen during the course.
Candidates may choose either section or both. Consideration should
be given to the following aspects as necessary:
• Characterisation
• Voice – volume, accent, pace, timing, emotional range
• Physical qualities – movement, posture, gesture, facial expression
• Visual qualities – costume, make-up, properties

17
Dyslexia and Drama

• Design qualities – scale, shape, colour, texture

• Use of scenic devices, lighting and sound
• Social context and genre
• Awareness of health and safety factors
Candidates should study their chosen set texts from a practical
perspective and from the viewpoint of their preferred area of either
performance or design. Candidates would find it helpful to have had
practical experience of applying their chosen area either in workshop
presentations or in full productions of their chosen set play(s).
In preparing for the examination, and in their answers, candidates
should be aware of the potential effectiveness for an audience. They
should be able to demonstrate their understanding of practical skills
(AO1), their knowledge and understanding of the chosen play from a
performance perspective (AO2) and analysis and evaluation of the
effectiveness of their ideas (AO3). They should also be aware of the
social context and genre of the play (AO2).
Candidates will be offered a choice of six questions, one on each
of the set plays. Within each question candidates will be offered an
alternative of either a performance or design perspective from which
to approach their answer.
Candidates are expected to take plain copies of the chosen play(s)
into the examination.
The plays set for the examination in 2004, 2005 and 2006 are as
follows:
Brecht: The Caucasian Chalk Circle
Foxton: Sepia and Song
Miller: The Crucible
Potter: Blue Remembered Hills
Shakespeare: Twelfth Night
Waterhouse and Hall: Billy Liar
Set texts will be unchanged up to and including the 2006 examination.
Thereafter there will be changes of one or two texts each year, which
will be published annually in the Spring term and posted on the
website.
Candidates are required to review a production of live professional
or non-professional theatre that they have seen. Productions chosen
must be of scripted plays; they must be substantial, complete texts, as
defined in Section 8.3. Candidates are required to have studied the

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 Dyslexia and Drama

text before or after seeing the production and to be able to

demonstrate their knowledge and understanding of the text.
Candidates should be able to demonstrate:
• a clear understanding of the play and the production;
• informed criticism of the acting performances and the skills
involved;
• their response to the technical and design elements and the skills
involved;
• their response to the effectiveness of the production as a whole.
Candidates may take personal notes relating to the production(s) into
the examination.

Requirements for access to texts and to

personal notes on live productions
There are QCA requirements for access to texts, which apply to
GCSE Drama as follows:
• Plain texts must be used. Annotation is not permissible.
• Details of the edition used in the examination room must be
provided. The rubric for Section A therefore requires candidates to
give these details at the start of their answers.
In relation to the second point, teachers should ensure that candidates
are aware, in advance of the examination, of the details to be
provided. The name of the publisher is required, accompanied by
Student Edition or Acting Edition if applicable.
• The notes of each production must not exceed two sides of A4 and
must be in note form, not continuous prose, nor must they be in
essay or theatre form.
• The notes must be the candidate’s personal notes. Any printed
material, e.g. programmes from a theatre visit, teachers’ notes or
notes marked or annotated by teachers are prohibited.
• The notes may be handwritten or word-processed.
• The personal notes will be collected at the end of the examination
and will be sent to the examiner with the scripts. The notes will not
be returned to centres and will therefore need to be photocopied if
required in the future.

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Dyslexia and Drama

We are reminded that for the written paper a choice of any two
questions based on the following sections must be answered by the
candidate:
A. Set plays – a choice from six
B. Response to live productions seen during the course
In my opinion I would advise preparing to answer questions for
section B. As stated earlier, the printed version of the plays for section
A can be overwhelming and confusing for the dyslexic student
whereas personal notes can be taken into the exam for section B. The
requirements state that ‘the notes may be handwritten or word-
processed’. It does not state that colour or diagrams cannot be used,
therefore a mind map on the performances might be an acceptable
form of note-taking for the exam. The candidate would have prepared
the notes themselves and would therefore be familiar with the layout
and content.

Summary
The Drama GCSE curriculum is accessible to the dyslexic student.
Full access to the drama curriculum would help with other curriculum
subjects, as the course aims to encourage candidates to develop:
• an understanding of and response to a wide range of play texts, an
appreciation of the ways in which playwrights achieve their effects
and the ability to communicate the authors’ intentions to an audience;
• an awareness of social, historical and cultural contexts and influences
through an investigation of plays and other styles of dramatic
presentation;
• increased self- and group awareness and the ability to appreciate
and evaluate the work of others.
These aims would help to promote skills of creativity, self-
confidence, concentration, self-discipline and communication.
Drama, therefore, can be a useful resource to help the student with
dyslexia overcome some of the academic and self-esteem hurdles that
are often, for them, the reality of the learning experience in both
primary and secondary school.

20
Chapter 3

Examples from Practice

Preparation for lessons

Mind mapping®
‘While traditional learning such as taking notes used very few of the brain’s
resources, Mind Maps® encompass all the skills, combining logic, words,
colour and pictures.’
Phillip Chambers, World Mind-Mapping Champion

The term ‘mind mapping’® was first used in 1974 by Tony Buzan in
his book and the BBC television series Use Your Head. However, it
has taken some time for it to be accepted in education.
The method of mind mapping uses the whole brain, with a bias
towards the right brain, ‘whole picture’ thinking process. It is highly
visual and uses key words and pictures to recall information.
Different colours and symbols can also be used, making it an ideal
technique for dyslexic students. Mind mapping can be used by
teachers and students alike.
Because of the high success that dyslexic students have in producing
work using mind mapping, it has actually been incorporated into the
timetable at the school where I work. I use it mainly in literacy lessons,
but it can be used across the curriculum and, as stated earlier, would be
of use in GCSE drama. Instead of the more usual note-taking, students
could mind map performance reviews, which would later stimulate the
memory and aid them in writing.
Mind mapping can be done freehand or by using one of the many
computer software packages now available. If free-handing the mind

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Dyslexia and Drama

map you must always start with a blank canvas, be it a sheet of paper
or a whiteboard, starting in the centre with the topic you are mapping.
Use different colours, draw lines coming away from the centre and
use block capitals to write your main ideas on each strand. Secondary
ideas can then be drawn off each main strand and you can use small-
case letters, pictures or symbols to represent these ideas. You can add
or take away as your map becomes more detailed.
Mind mapping is used within the Red Rose School, both freehand
and by using software. The program ‘Mind Genius’ by Gael Ltd is
used mainly. Originally it was developed for business use but now
has many applications for educational work. Tony Buzan says that
‘Mind Genius makes excellent use of mind mapping techniques, not
only preparing students for the needs of education, but also for
employment and indeed life’. Buzan lists the benefits of mind maps:
• They automatically inspire interest in the students thus making them
more receptive and co-operative in the classroom.
• They make lessons and presentations more spontaneous, creative
and enjoyable, both for the students and the teacher.
• They enable teachers’ notes to become less rigid, more flexible
and adaptable. In these times of rapid change the teacher needs to
be able to alter and add to teaching notes quickly and easily.
• They present only relevant material in a clear and memorable
form, enabling students to get better marks in examinations.
• They show not just the facts but also the relationship between those
facts, thus giving the students a deeper understanding of the subject.
• They enable the volume of lecture notes to be reduced dramatically.
• They are especially useful for children with learning difficulties,
particularly dyslexia. By freeing the child from the ‘tyranny of
semantics’, the mind map allows the child a far more natural,
complex and accelerated expression.

Reflective learning
Colour and light
Reflective learning can be split into two components: conditions; and
reflections on own thought and behaviour. The first component is
extremely important when dealing with the dyslexic student and the
classroom. It has been shown that lighting, sound and furniture
design can all have an impact on learning. Some children like the

22
 Examples from Practice

blinds up and the lights on, others prefer the main light off and the
blinds part way down. Each child has their own preference so they
have their choice of working conditions. Bright light can cause unrest
and disruption among some children, yet others are unaffected. Dunn
et al. (1985) believe that lighting can either increase or decrease
academic achievement for many students who react strongly to the
intensity of light.
An observation was carried out by Barbara Given, a learning styles
consultant. She saw how the power of lighting could affect behaviour.
When the light in the classroom was bright and strong, the majority of
the students’ facial expressions tightened, their eyelids drooped and
they put their heads on the desk, while the teacher’s behaviour
continued as normal. After the lighting had been changed, i.e. blinds
lowered, lights off, the behaviour of the children changed; they
became more willing to co-operate. However, the teacher’s behaviour
also changed from a light-hearted to a more serious manner.
The colour of classrooms can also have an effect on learning and
behaviour. At the Red Rose School the Educational Psychologist
carefully selects colour schemes for different rooms to create the
desired mood effect.
Sound is another important part of the learning environment and,
again, its power should be used to full advantage.

Music
Don Campbell (2001) writing in The Mozart Effect believes that
some sounds have healing and restorative powers and can enhance
concentration and academic performance. Other sounds interfere
with learning, even for those who prefer background sound. He
writes that:

Sound is energy that can be organised into shapes, patterns, figures and
mathematical proportions, as well as into music, speech and utterances of
agony and bliss … We absorb these energies and they subtly alter our breath,
pulse, blood pressure, muscle tension, skin temperature and other internal
rhythms.

In the school we play Mozart concertos as they have a calm and

energising effect. The same music is also played in hospitals for
premature babies and burns patients and in recovery rooms, as it can
promote rapid healing.

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Dyslexia and Drama

When using sound in school we must realise that although some

students like sound, others do not. Perhaps students who respond well
to sound could be allowed to use Walkmans playing appropriate
music.

Ideas for drama

As a drama teacher there are goals that you have to reach and
sometimes it can be difficult to find resources for activities to reach
those goals. A lot of drama game books are aimed at younger children
and play scripts for older children tend to have too many parts or
characters. The London Academy of Music and Dramatic Art have
good resources for solo work and for small groups. Their books are
published by Oberon.
On the Internet there is a list of games and activities written
especially for Key Stage 3 and GCSE Drama. They have been
adapted by Simone Hennigan of South Hunsley School in the East
Riding of Yorkshire. I hope that you enjoy these games. Some of
them you may know, others may be new.

Freeze-frame

Introducing freeze-frame
Move away from your chairs and find a space. The teacher says
[adapt this as necessary]: ‘In a minute I want you to get into the
group size I call out and form a snapshot from our imaginary
album. [Use the list you have made on the flipchart paper and
adapt it, e.g. in fours – a holiday snap; in sixes – a party; whole
class – a football match or a community celebration.] I will
count from ten to one and then say “Hold it and freeze.” Hold
the picture you have made until I say “relax”.’
Go through about ten freeze-frames, quickly making
comments on any good ones you see. If there are any which
particularly impress you by their clear depictions, body
language, facial expressions and so on, ask the rest of the class
to relax and look at them and discuss the strengths of each one.

24
 Examples from Practice

Tableaux to create simple improvisations from freeze-frames

Begin by asking the class to form simple freeze-frames in small
groups, e.g. typical photo album snaps. Ask the whole class to
produce two large-scale freeze-frames of first day at school and
end of term (facial expressions are important). Split the class
into two large groups – A and B. Ask each group to create a
photo freeze-frame from the members of the other group. Give
each group until the count of ten to mould the opposite group
into the picture. Give the finished product a title. From the
enforced picture each group must produce two minutes’ worth
of improvisation, either before or after the freeze.

Role play
Introduce the activity with these words, or a variation to suit
your own situation:
Go back to your chairs. In groups of four, talk about a memorable event that
happened during the holidays. If nothing interesting happened to you, invent
something! Decide on a freeze-frame to start the drama. You are going to
bring it to life for 30 seconds and use words this time. You have three minutes
to practise it. The events can be quite commonplace, like going shopping with
friends, or extraordinary, like witnessing an accident.

After two minutes stop the class and tell them that they have one
minute left to work on their best moment in the drama. During
this time you must move about the class, helping, questioning
and encouraging the students. Your job is to motivate at this
early stage. Keeping the student under pressure of time helps to
clarify and focus the role play, otherwise it can ramble.
Now you are ready to bring the freeze-frames to life. Get the
students to relax and ask for volunteers to show their freeze-
frames and role play to the class.
Ask each group to hold their freeze-frame and then count
down: ‘3, 2, 1, GO!’ After about 30 seconds say: ‘And freeze’.
Respect for their peers is essential. Take a bit of time with this.
Try and find something good in each group, but do not tolerate
walking off. It will spoil the drama in the long run if the students
do not take their work seriously. Do not tolerate chatting while
others are showing their work. They are practising their audience
as well as performance skills.

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Dyslexia and Drama

Extending the role play

Introduce the activity with these words, or a variation to suit
your own situation:
Get into groups of four. One of you works for a local paper or TV company,
in a seaside town that is very short of news at the moment. Your job is to go
to the beach and interview tourists. The rest of the group are the tourists. All
of you need to spend one or two minutes deciding what makes a newsworthy
item. Practise this for five minutes, deciding what makes a start with a freeze-
frame, and be ready to bring it to life for 30 seconds. Set this up as before
(with preparation time of two minutes).

See all the groups. Praise everything you can, but point out
things that are obviously wrong and see if the group can identify
what would improve it. As their confidence grows, gradually
introduce more detailed and constructive criticism.
You are looking for examples of realism, controversy,
humour and inventive treatment of the situation.

Mime
Walking with beasts
In this mime, pupils become creatures in an alien or prehistoric
environment. They can do this individually, or several can join
to form one large animal. Ask them to contort themselves and
make their faces ugly, scary or unusual. You will talk them
through a series of activities:
It is night – they must stay still, so predators cannot see them, but
they may make occasional strange noises, as they sleep and dream.
Gradually, light begins to grow as the day breaks. Creatures
stir and wake. Now, fully awake, animals may move around,
mark territory or look for food. Animals may attack or prey on
one another.
It begins to rain. Creatures find a place to shelter. They
explore environment, find a mate and so on.

Tableaux and movement

Do this in groups of four or five. Each group has three titles:

26
 Examples from Practice

The Feather is Falling

Moving the Piano
Stretch that Jumper

Encourage the pupils to think laterally and to produce frozen

movements which are original. Avoid the obvious. They should
link each picture with movement, counting the steps. Everyone
should be in time and synchronised. Think about arms as well
as legs and facial movements.

Improvisation
Titles for spontaneous improvisations
Use titles from this list to inspire or challenge students:

Quick change Excuses Wanted: Trainee

No Smoking Pardon me, but could you…?
Change in status Waiting Room
Help! Stuck
Keep off the grass Engaged

Scenarios for improvisation

These are ideas for scenarios with two performers – so students
should work in pairs (or threes) with one directing. The situations
work best if the pupils get straight into them and avoid long
discussions.

Director instructing rather useless, awkward, overpaid actor

Fortuneteller and client
Hairdresser and customer (after hair disaster)
Photographer and awkward supermodel
Traffic warden and driver about to get a ticket
Married couple watching TV – arguments over what to watch
Casualty – nurse informing family of bad news
Two tramps arguing over box/newspaper/bench
Two strangers on a train – one lights up in a non-smoking compartment
Suspect being interviewed by the police
Boss giving employee the sack
Door-to-door salesman and lonely pensioner

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Dyslexia and Drama

Pregnant woman and claustrophobic stuck in a lift

Job interview
Parent and teenager – teenager three hours late, parent waiting up
Two cars meet coming from opposite directions down a narrow country
lane. One belongs to farmer, the other to a wealthy businessman –
who moves?
Boyfriend proposing to girlfriend – she’s trying to dump him
Pupil sent to head for bad behaviour
Doctor and patient – patient is a hypochondriac
Two wrestlers warming up, or two men on the moon

Prop boxes
Students prepare spontaneous (no time for prior discussion or
preparation) or polished improvisations in groups of two, three or
more using objects in prop boxes as stimuli (can be made up of any
object, e.g. hat/book/ball).

Titles from teacher

The Letter
Good News
Get Your Hair Cut
The Doctor and the Patient
Frou-Frou the Wonder Dog, or The Dog that Can Do Amazing Tricks
Crime
The Eavesdropper
The Baby
The Girl with Green Hair
Kidnapped
Gangsters
Marooned on a Desert Island
The Green Paper Bag
In the Middle of the Night
A Fairy Tale
Family Matters
The Secret Formula
The Box of Chemicals
The Key
The Door Marked ‘Private’
Fire
The Hijacker

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 Examples from Practice

In the Aeroplane
The Time Machine
The Secret
Grandad
Beauty and the Beast
The Dream
The Man from the Council
Mother and Son
Father and Son
The Boy (or Girl) Who Wouldn’t Speak
Old Uncle Bayram
The Thieves
Danger at the Zoo
The American Girl
Robbery with Violence
The Stranger at the Door
The Doctor
The Forbidden Planet
The Bomb that Wasn’t
The Birthday Surprise
The Conflict
Robots
Bad News
The Bully at the Bus Stop
Shock
Gunman City
The Visitor who Came to Tea
Rat Poison
In the Year 2100
Planet X
Accident
The Black Box
The Special Dress
Incident at the Bus Stop
The Nagging Mother
The Monster
Ebenezer Scrooge
The Hat
Dial M for Murder
Two Workmen

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Dyslexia and Drama

The Haunted House

Whodunnit?
World War II
The Gipsy Fortune Teller
The Nightmare
Grandma
Spoilt Children
The Truants
Teacher’s Pet
Mother and Daughter
Father and Daughter
I Can Read Your Thoughts
Pauline and the Pop Star
Divorce
The Invisible Mane
Baby-snatcher
Poison Gas
The Man-Eating Plane
Grandad’s Will
Please Don’t Tease
Round the Flats
The Telephone
Money, Money, Money
It’s Just Not Fair
Why Don’t You Ever Listen to Me?
My Dog’s Just Died
What’s the Big Idea Then?
Go On, Amaze Me!
You’ve been talking about me behind my back, haven’t you?
I saw you hit my little brother
Don’t go on and on about it
Please don’t tell her I told you
What ever possessed you to do it?
You jealous or something?
He’s/she’s packed me in
Why do you tell so many lies?
That’s an excellent piece of work, but there’s just one thing…
You’ve just been chosen for a mission from which you are very unlikely
to return
I don’t want to go to school today

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 Examples from Practice

How can I tell him/her that it’s over?

Do you know something? You really get up my nose
Why are you always in such a bad temper?
Why did you tell Mum on me?
Dad’s mad with you
Don’t be such a greedy-guts
Stop pretending to be something you are not!
Don’t be a dog in the manger!
Why can’t you ever see it from my point of view?
Why did you hurt Mum’s feelings like that?
You’ve got things out of all proportion
Mum said never accept lifts from strangers
What a waste of money!
How dare you treat your pet like that?
I told you before, you must not bunk off school
You’re all mouth and no trousers
It’s easy to be an armchair critic – don’t just sit there, do something!
Why do you give up so easily?
Haven’t you got any manners?
Get up out of that bed immediately!
If you don’t mind my saying so, you need to go on a diet
I hate to say this, but I think you’ve got anorexia nervosa
Look, I’m only giving you a warning

Eventually, students should be in a position to use skills acquired and

their own imaginations to create group improvisations lasting
between three and five minutes. If you wish to impose a more rigid
structure consider:
• three-scene performances for all improvisations;
• freeze-frames at beginning and end of a performance and possibly
of each scene too;
• a checklist of techniques, for example one scene must be mime or
involve talking to the audience.

Starters and fill-ups

Use starters for warming up before a session. Fill-ups are useful
activities to fill in extra time.

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Dyslexia and Drama

Sometimes warm-up games are useful for starting a session. They

can raise the energy level of a group, calm down a boisterous one and
improve concentration and focus. They can also be used at the end of
a session as a way of bringing a class back together, or simply when
you have a spare ten minutes at the end of a session and it is not worth
starting new work.
You may wish to use some of the frames and exercises to help
students improve their skills in improvisation, observation, listening
or inventiveness, for example. If so, make the aim of the exercise
clear to the class, as an overdose of seemingly pointless game-playing
is demotivating for students in the long run. Try to keep a balance
between fun and serious activities.
In this section there are frames for the whole class (warm-ups and
calm-downs) and also starting points for small group work.

The class are seated in a circle

One person is chosen to mime holding a cardboard box, placing
it on the floor in front of them and opening the lid to take out an
imaginary object. The person then handles or uses the object for
a moment before placing it back in the box.
The rest of the group are then invited to put their hands up if
they think they can guess what the object is. The person who
guesses correctly can then open the next box and the game
begins again.
As a variation on this, or if the imaginary object is hard to
guess, it may be passed around the circle. The leader may give
clues as to its identity by making comments such as ‘Be careful,
it can bite’ or ‘Mind, it’s slippery/cold/wet/sticky’, etc.

Name that person

This game is very useful for getting to know a new class. The
activity becomes tedious with a group larger than 20 but it is a
surprisingly effective way for a teacher to learn new names or
for a group to get to know one another.
The class stands in a circle and everyone says their name in
turn. One person is chosen to start. This pupil must look at
someone in the circle and call that person’s name. Once it has
been called, the caller walks to the other person’s place.

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 Examples from Practice

Meanwhile the person whose name has been called must look
at a third person, call that person’s name and walk towards
her/him. No-one must leave his or her place before calling the
name of the person whose place they intend to take. Make sure
that everyone moves at least once during the game.

What are you doing?

This game is good for energising a group and freeing the
imagination. It also requires concentration and develops skills
in mime.
The group stand in a circle. One person begins to mime an
activity – for example, mowing the lawn or posting a letter.
The person next to him/her asks ‘What are you doing?’ and
the first person is obliged to say something different from what
he/she is actually doing (e.g. ‘I’m frying an egg’). The second
person must then mime the first person’s answer until the third
person asks ‘What are you doing?’, at which point he/she must
make up another lie for the third person to act out.
This game can go round the circle twice before you stop it –
unless the students are particularly inventive!

Lines and proverbs

Groups of three to six students can be given the following lines
or proverbs as the theme for a short improvisation. The lines
need not actually be spoken. The improvisation can simply
reflect the subject matter.

Lines
I knew it would end like this.
It’s not my fault.
Why don’t you get a job like the others?
I’m sorry, I didn’t mean it.
No-one here understands me; I may as well leave.
Have you heard the latest?
This is nothing to do with me; I’m staying out of it.

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Dyslexia and Drama

Proverbs
A rolling stone gathers no moss.
A friend in need is a friend indeed.
Too many cooks spoil the broth.
Handsome is as handsome does.
A bird in the hand is worth two in the bush.
A stitch in time saves nine.
Absence makes the heart grow fonder.

Group shapes
This is a simple game but it needs co-operation. Ask students to
walk around the room using all the space and trying not to bump
into each other. Once this is established, call out a shape which
the whole class must form. Start with a circle as this is easy.
Other useful shapes include: triangle; square; diamond; any
capital letter; five-pointed star; umbrella.
The whole class must make one shape between them, as
though it were to be viewed from the air. Between making
shapes, ask them to walk steadily as before, using all the space
in the room.

Drama and media – advertising campaign

(preparation work / warm-ups / the advertising agency / the
advertising campaign)

Preparation work
Display: pupils produce advertisement collages where they
examine different advertising styles/techniques (such as before
and after, celebrity endorsement, comparison, humour, pseudo-
science, narratives, etc.).

Warm-ups
Verbal: any quick-fire word games, such as Word Tennis
Physical: mirror-imaging, hand hypnosis
Improvisation: give each pair a prop and allow them 30 seconds
to prepare an advertisement. Perform to the group, swap props
and repeat

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 Examples from Practice

Variation: create another use of the prop (e.g. a hairbrush

becomes a mobile phone) and act it out.

Shake hands or introductions

Pupils have one minute to shake hands with everyone in the
room and ask for four bits of information:
• favourite colour
• favourite food
• home town or village
• birthday
After one minute, get everyone seated and see what they can
remember about each other.

Name circles
Sit in a circle and introduce yourself, then ask the child on your
right to introduce himself/herself, plus you. The next child on
the right then has to introduce himself/herself, plus the previous
child, plus you, and so on until it comes back to you. The last
child will have to introduce everyone in the group! This can be
done as a group activity with everyone reciting the list as it
grows.

Jumping name circle

Stand in a circle and get everyone to do a star jump while
shouting their own name. Then choose a starting point in the
circle. Everyone must count to three, then jump. At the same
time, the student who has been chosen to start shouts his or her
name. On the second jump everyone else repeats that student’s
name. Keep up the rhythm as you work around the rest of the
group, jumping and repeating names.

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Dyslexia and Drama

Co-operation circle
Form a circle, then sit down with feet and legs straight. Take
hold of the hands (or wrists) of the people on either side of you.
The object is to stand up without bending your knees or letting
go of your partners. The winners are the ones who realise that
you must help others before you can help yourself!

Sitting circle
Begin standing quite close together, then all turn to the right and
on the command ‘Go!’ try to sit on the knees of the person
behind you! If it works, everyone is supporting someone else, so
the weight is evenly distributed.

Gesture circle/follow my leader

All sit in a circle and choose one person to lead (the teacher
could start, to give an example). Whatever the leader does
(movement or gesture) the rest must follow. Now choose
someone to be the ‘detective’. This pupil must leave the room
while you choose the leader. They then re-enter the circle and
try to determine who’s in charge of the movements. Remind
them that if everyone stares at the leader, it will be obvious –
they must devise another way around it.

Wink murder
The ‘detective’ leaves the room while you choose a ‘murderer’
(either in front of other students or ask them to close their eyes
and tap the murderer on the back). The detective enters the
circle and the murderer can begin winking at his or her victims,
who must try to die convincingly. The detective has three
chances to identify the murderer – if he/she fails, the murderer
must then reveal himself or herself. Being the murderer yourself
makes an interesting variation!

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 Examples from Practice

Squeezing circle
All must hold hands in a circle (or wrists if they prefer). Choose
one to begin sending a ‘squeeze’ message around the circle, by
squeezing others’ hands or wrists (you can vary the number of
squeezes and speed rhythm). Now choose one to be the
‘detective’. This student must enter the circle (after you have
secretly chosen the student to begin the message) and try to
identify who has the squeeze. To make it more difficult, choose
more than one to begin the message.

Group count
The players have to count to twenty. They must only speak one
at a time, and are not allowed to pre-plan the sequence. If two
people say the same number, or if there is a gap (as judged by
the teacher), the game starts again.

Impossible knots
In a circle the group hold hands and do not let go. Someone is
nominated as a lead person and begins to weave in and out of
the others, going under and stepping over other people’s hands.
When sufficiently knotted, the group has to unravel itself back
into the original circle without speaking.

Summary
This chapter has provided examples that can be used in improvisation
and within the scheme of work in a formal curriculum framework.
Drama is one of the few subjects that has almost a free licence in this
respect. Activities can be improvised and made to be fun, yet at the same
time the student is developing crucial skills in learning and social
development. This is ideal for the student with dyslexia as it makes
learning fun and motivating. Furthermore, it is possible that by
using some of the strategies highlighted in this chapter the student
with dyslexia can experience success. This can have considerable
implications for self-esteem and performance in other curriculum areas.

37
Chapter 4

Children’s Views and

Experiences

There is no substitute for experience. Experiencing the feelings and

the views of children with dyslexia is important in order to gain a
fuller understanding of the challenges they face in learning. All
dyslexic children are different – they are individuals. It is important
to recognise their individuality.
It is important that teachers understand the difficulties that these
students have faced and will face, and, more importantly, how they
deal with them. It is disheartening when students with dyslexia are
not identified or fully assessed. This can lead to low self-esteem,
failure and frustration, which, in turn, may lead to disruptive
behaviour.
Below are some examples of dyslexic children’s written thoughts,
feelings and coping strategies.

Anthony
My mum thought I was dyslexic when I was two years old. When I
was doing a jigsaw I was slower than my brothers. I found out in Year
5. I was ten. In Years 1 to 5 I got picked on. In Year 6 my class built
up my confidence. I found out when I was watching TV with a
dyslexic film on. I asked my mum ‘Am I dyslexic?’ She said ‘yes’. I
said ‘cool’.
My teacher in Class 3 in Red Rose School helps me a lot. She
understands me. Drama helped me a lot with my co-ordination.

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 Children’s Views and Experiences

Daniel
At my previous schools I had trouble with everything – reading,
writing, spelling and maths. Other people called me names and made
fun of my running. I had lots of tests with my brain. I found out I was
dyslexic but I didn’t understand what that meant. At Red Rose School
what has helped me most is everyone understanding me and being
patient.

David
At my previous schools things were terrible. I was bullied and picked
on because I was always behind with my work. I found out I was
dyslexic through my mum’s friend who knew about dyslexia and I had
a test. I was pleased to find out what my problems were because I
knew it wasn’t just me and I had an answer so I could get better. This
school has boosted my confidence. Drama lessons have brought me
‘out of my shell’.

Adam
When I was not at Red Rose School I got beaten up so I would want
to go home so much I would try to go home by running away from
school.

Richard
Before I came to Red Rose School I was told I had dyslexia. I was
always behind with my work. I got bullied by a boy at school. When
I found out I was relieved. What helped me most was coming to the
Red Rose School. I am more confident.

Jordan
After moving from two different schools my mum said that you have
to go for a test because we think you are dyslexic, so I went and I
found out that I was dyslexic. I carried on struggling and then my
mum found me a special school to go to. I am still at the Red Rose
School and it is the best school.

Chris
I was in Year 1 when I found out that I was dyslexic. My teacher said
that it would be okay. I had some tests and then my behaviour went
from bad to worse. My teacher sent me out but I did not know why or
what I had done wrong. I used to be sent to the head teacher because

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Dyslexia and Drama

I had not finished my work. It was always the same. I also got picked
on by some people in my class. At the beginning of Year 6 we had a
test to see what group we would go into and I passed by two marks
just to get into the bottom group. Life was miserable and my self-
esteem used to be low.

Tom (A)
I was 10 when I found out I was dyslexic. I knew that something was
wrong but I didn’t understand what was wrong. Now, looking back
on this, some of the hardest times of my life were not knowing what
was wrong with me and trying to do the same work as everyone else
but finding it even harder to do.
I have a lot of anger inside of me. The reason why is because
people thought I was not trying to do well, but I was. I was trying
even harder than the rest of the class at this time. I was often seen in
my class crying over my work. Just looking at it made me cry, and
sometimes now it makes me cry inside when there is something I find
hard to do.
The other kids in the classroom made fun of me too. I was crying
as I could not do the work. I also found it hard to get on with some
teachers and they had a go at me too for not trying. I was trying to
learn but finding it a lot harder to learn, and it is still hard to talk
about what happened to me. I still get scared inside when I find
something hard but I’m learning to get over this problem.

Tom (B)
When I found out I was dyslexic I was about five years old and I was
pretty annoyed. I thought I was thick at my old school. I used to get
bullied but then I moved to Red Rose School. It is a lot better and I
get a lot more help there. The teachers are great.
Drama has helped me talk in front of people because I never used
to have confidence, but Mrs Eadon has helped me a lot. I have
become a lot more expressive. I would like to thank my mum and dad
and my family and the Red Rose School.

P.S. People who are dyslexic, just ask for help!!!

Lisa
Before I found out I was dyslexic, I went to high school. I was always
falling behind with my work and the teachers gave me more

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 Children’s Views and Experiences

homework than others did. Most of the time I didn’t understand it. I
didn’t get any help either, so I got detention for it.
I was always getting bullied every day. The teachers did nothing
about it and if they did, it ended up worse than before!
When I found out I was dyslexic it did come as a relief to me
because I wasn’t thick, and dyslexia was the reason that I was falling
behind with my work and probably being bullied as well.
My best friend is dyslexic, and before I found out she thought that
I should take the test. When I found out she helped me with the work
at school and we worked together, helping each other. We still do. My
family has been great and has supported and helped me.
I ended up moving to a special school. When I got there I was
pleased. Since I got there I have not been bullied and I have made lots
of friends. The teachers understand me, and you can bond with them.
They help you whenever you are stuck or don’t understand
something. You don’t feel left out.
Drama gives me confidence, helps my self-esteem and gives me
valuable social skills which will be useful in years to come. As well
as this, drama games can help with my dyspraxia, which is vital.

Jade
I found that I was a bit strange to other people. I could cope with
the work, though I got bullied by a girl. I went to high school and the
work seemed OK, but that was because it was only the first week.
I felt I was a bit left out of the group that I was hanging around with.
I didn’t want to go to school. When I found out that I was dyslexic it
wasn’t a big surprise. I thought that I had it. I just tried to carry on
as normal. My friends and family helped me by being nice and
understanding. When I came to Red Rose and settled in I loved it. The
small classes are great. The teachers can concentrate more on a one
to one basis. Friends are great and everyone is friends with everyone
else and knows what it is like. I feel better and more confident. I feel
that my social skills have improved and I can mix more. Drama helps
me with co-ordination and self-esteem, also social skills. I like
drama a lot.

Lawrence
I couldn’t do my work, I was always behind with it and being sent out
of the classroom. I was bullied by other kids and nothing made any
difference. I felt like the whole world was against me. When I found

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out that I was dyslexic I tried to carry on as normal, but it was not
possible. I moved to a special school and I felt better. The classes
were smaller and everyone was dyslexic. I was relaxed and NOT
LEFT OUT!
My mum and dad helped me the most. My mum tried to get me a
statement and I got one, and I also got a support teacher to help me.
This September I am integrating back into mainstream high school.

Richard
I felt I was left out and I couldn’t do my work. I was always behind
in my work. Other kids bullied me and no-one seemed to do anything
about it. I had no friends and I felt bad. When I found out I was
dyslexic I understood why I was bullied at school and the teachers
treated me differently. I did have a helper but they helped the rest of
the class instead of just me. My family moved me to a special school.
When I got there I felt better and I was more confident and relaxed.
My social skills developed and the teachers understood. Drama gives
me more confidence and helps with my social skills.

Comment
These accounts from children with dyslexia highlight very clearly the
challenges and traumas they face. They also indicate how sensitive
children with dyslexia can be when faced with an uncomfortable
learning situation. For many, a large school can be an uncomfortable
environment as there is a tendency for them to become ‘lost’ or
‘forgotten’. Relationships and a feeling of belonging are important, and
in a large school this may be more difficult to achieve. Yet the reality
of the situation is that most secondary schools and many primary
schools are large, and therefore pose additional challenges and threats
to the emotional development and stability of children with dyslexia.
School size, however, is not the only important factor. One theme
that came out very strongly in the above accounts was the sense of
being taken seriously (or not) and that teachers need to make an effort
to acknowledge and understand dyslexia. Children with dyslexia
often have a good personal understanding of their strengths and
weaknesses, but they still need the teacher’s help in enabling them to
believe in themselves. When their dyslexia is not fully diagnosed or
supported they can feel confused and perplexed. This in itself can
lead to low self-esteem, as in Tom Benson’s account, when he says:

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 Children’s Views and Experiences

I knew that something was wrong but I didn’t understand what was wrong.
Now, looking back on this, some of the hardest times of my life were not
knowing what was wrong with me and trying to do the same work as everyone
else but finding it even harder to do. I have a lot of anger inside of me.

Feelings of frustration are very common for children with dyslexia

and can lead to anger and subsequent behavioural difficulties in the
classroom. The frustration can arise when they know they have
abilities but are not able to display those abilities in their classroom
performance.
One of the reasons for a chapter such as this is to ensure that the
voices of children with dyslexia are heard and that their views and
feelings are understood. Without this the development work on the
curriculum, the differentiation of tasks and the selection of appropriate
resources will not have as powerful an impact as they should.
Perhaps it may be suggested that the starting point for classroom
planning should not be the curriculum or the syndrome of difficulties
the students experience but the learners themselves – their views,
their feelings and their aspirations.

Jay
Peering through the looking I used to feel so lonely
glass In that tunnel away from
You see your own reflection, the rest,
But no one knows the person But now I am getting some
inside more help
You hide for your own I can only do my best.
protection.

People who don’t understand The light is getting brighter

They sometimes pity me, My futures looking good,
No-one knows that hurt inside For now there’s people to help
of me So I am not misunderstood
Only my mum and I can see.

So looking back at my reflection

I can see my inside
For god be my witness
I will restore my pride.

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Chapter 5

Dyslexia, Drama and

Other Difficulties

Associated conditions
As dyslexia is a specific learning difficulty, there are often other
learning difficulties that may overlap and have an impact on learning.
In my opinion the two that would relate most to drama and dyslexia
are dyspraxia and language difficulties. Dyspraxia because drama can
involve a degree of movement and co-ordination, and language
difficulties because of the speech element in many drama activities.

Dyspraxia
The following information has been provided by the Dyspraxia
Foundation.
Dyspraxia and dyslexia overlap and often co-exist in the same
person. Dyspraxia is an impairment of the organisation of movement
and is often accompanied by problems with language, perception and
thought. Dyslexia is primarily a difficulty with learning to read, write
and spell and is often accompanied by other problems such as poor
organisational skills. The pattern of difficulties experienced by a
person with dyspraxia may vary widely, as with dyslexia.
There may also be overlaps with conditions such as ADD
(Attention Deficit Disorder), ADHD (Attention Deficit Hyperactivity
Disorder), Asperger’s Syndrome and dyscalculia (difficulty with
mathematical concepts). Some people with dyspraxia have tactile
defensiveness – they are over-sensitive to touch. Others may have

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articulatory dyspraxia, which causes difficulties with speaking and

pronunciation.
People with dyspraxia often suffer from low self-esteem. They may
suffer from depression, have mental health problems and experience
emotional and behavioural difficulties.

What is dyspraxia?
Developmental dyspraxia is an impairment or immaturity of the
organisation of movement. It is an immaturity in the way that the
brain processes information. This results in messages not being
properly or fully transmitted. The term dyspraxia comes from the
word ‘praxis’, which means ‘doing, acting’. Dyspraxia affects the
planning of what to do and how to do it; it is associated with
problems of perception, language and thought.
Dyspraxia is thought to affect up to 10 per cent of the population
and up to 2 per cent severely. Males are four times more likely to be
affected than females. Dyspraxia sometimes runs in families and
there may be an overlap with related conditions.
Other names for dyspraxia include Developmental Co-Ordination
Disorder (DCD), Perceptuo-Motor Dysfunction and Motor Learning
Difficulties. It used to be known as Minimal Brain Damage and
Clumsy Child Syndrome.
Statistically, it is likely that there is one child with dypraxia in
every class of 30 children. We need to make sure that everyone
understands and knows how best to help this significant minority.

Reading and spelling

Children with dyspraxia may have difficulties with reading and
spelling. Limited concentration, poor listening skills and literal use of
language may have an effect on reading and spelling ability. A child
may read well but not understand some of the concepts in the
language. The child may also be reluctant to read because of
articulation difficulties or because he/she lacks self-confidence.
Exercises may be beneficial for children with reading and spelling
difficulties. Take Time by Mary Nash-Wortham and Jean Hunt
(1997) provides a series of exercises for parents, teachers and
therapists that can be carried out with children. Computers can also
help with reading and spelling: Wordshark 2 (NCTE 1999) is a
widely used program, available from the Dyspraxia Foundation.

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Research has shown that children with developmental verbal

dyspraxia whose speech difficulties persist beyond the age of 5.6
years are at risk of having literacy difficulties. The risk is increased
if there is a family history of speech, language or specific learning
difficulties.
The child with developmental verbal dyspraxia has an impaired
speech processing system which affects their ability to make
sound–letter links and to carry out phonological awareness tasks
(e.g. segmenting, blending, rhyming etc.) essential for literacy
acquisition. Spelling is usually more affected than reading.

Dyspraxia in children
Although dyspraxia may be diagnosed at any stage, increasing
numbers of children are identified as having the condition. Early
recognition of dyspraxia will enable early intervention and practical
steps to help a child achieve his/her potential. Children whose
dyspraxia is identified at an early stage are less likely to have
problems with acceptance by their peers and with lowered self-
esteem.
When children become teenagers their problems may change, as
social and organisational difficulties become more pressing.
The Dyspraxia Foundation can help and support you and your
child through its services and publications.

Symptoms
3 years old
Symptoms are evident from an early age. Babies are usually irritable
from birth and may exhibit significant feeding problems. They are
slow to achieve expected developmental milestones. For example, by
the age of eight months they still may not sit independently.
Many children with dyspraxia fail to go through the crawling
stages, preferring to ‘bottom shuffle’ and then walk. They usually
avoid tasks which require good manual dexterity.

3 to 5 years old
Children with dyspraxia may demonstrate some of these types of
behaviour:
• very high levels of motor activity, including feet swinging and
tapping when seated, hand-clapping or twisting; unable to stay still;

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 Dyslexia, Drama and Other Difficulties

• high levels of excitability, with a loud/shrill voice;

• easily distressed and prone to temper tantrums;
• may constantly bump into objects and fall over;
• hands flap when running;
• difficulty with pedalling a tricycle or similar toy;
• lack of any sense of danger (jumping from heights etc.);
• messy eating – they may prefer to eat with fingers and may
frequently spill drinks;
• avoidance of constructional toys, such as jigsaws or building
blocks;
• poor fine motor skills; difficulty in holding a pencil or using
scissors; drawings may appear immature;
• lack of imaginative play – may show little interest in ‘dressing up’
or in playing appropriately in a home corner or Wendy house;
• limited creative play;
• isolation within the peer group – rejected by peers they may prefer
adult company;
• laterality (left- or right-handedness) still not established;
• persistent language difficulties;
• sensitive to sensory stimulation, including high levels of noise,
tactile defensiveness, wearing new clothes;
• limited response to verbal instruction – may be slow to respond
and may have problems with comprehension;
• limited concentration – tasks often left unfinished.
If dyspraxia is not identified, problems can persist and affect the child
at school. Increasing frustration and lowering of self-esteem can
result.

7 years old
Problems may include:
• difficulties in adapting to structured school routine;
• difficulties in PE lessons;
• slow at dressing; unable to tie shoelaces;
• barely legible handwriting;
• immature drawing and copying skills;
• limited concentration and poor listening skills;
• literal use of language;
• inability to remember more than two or three instructions at once;
• slow completion of class work;

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• continued high levels of motor activity;

• hand flapping or clapping when excited;
• tendency to become easily distressed and emotional;
• problems with co-ordinating a knife and fork;
• inability to form relationships with other children;
• sleeping difficulties, including wakefulness at night and
nightmares;
• reporting of physical symptoms, such as migraine, headaches,
feeling sick.

8 to 9 years (Primary education)

Children with dyspraxia may have become disaffected with the
education system. Handwriting is often a particular difficulty. By
the time they reach secondary school their attendance record is often
poor.

Dyspraxia in teenagers
Life as a teenager can be particularly difficult if you have dyspraxia.
All teenagers have to cope with bodily and emotional changes. Those
with dyspraxia may find that their co-ordination and ability to cope
with daily life is affected by those changes.
School or college may become particularly challenging,
academically and socially. Examinations can be the cause of stress
and uncertainty.
Teenagers are particularly aware of appearing different and may be
acutely self-conscious about their appearance. The Dyspraxia
Foundation’s newsletter for teenagers, Dyspraxia.net, is a forum for
teenagers with dyspraxia to share their problems.

Specific language impairment

It must be noted that the link between Specific Language Impairment
and Specific Language Difficulties is well documented (Stackhouse
and Wells 1991) and that levels of expressive and receptive syntax and
semantics in the pre-reading years influence later reading and spelling
ability.

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 Dyslexia, Drama and Other Difficulties

Language is an important communication tool as well as being a

powerful cognitive one; it aids thinking, memory and learning. The
consequences of SLI may not just be restricted to communication; it
covers all areas of language difficulties, from the actual muscles used
for speech production to the ability to use and understand language at
all. Specific Language Impairment can have other names such as
‘language delay’ or ‘developmental dyslexia’.
Areas of difficulty can include: speech apparatus; phonology;
grammar; semantics; pragmatics; and prosody.
If results are to be achieved, extra help, i.e. from a speech therapist,
should be introduced as early as possible. As for dyslexia, it is
important to understand that each person is an individual and that
intervention strategies work differently for different people. Someone
who needs the long-term help of a speech therapist will often be
statemented with special educational needs. There are some important
factors to be considered with specific language impairment. These are
shown below:
• late talking in childhood may be a sign of SLI;
• a child with SLI does not necessarily have a low IQ or poor
learning ability;
• speech impediments are different for language disorders;
• an incomplete understanding of verbs is an indicator of SLI;
• reading and learning will be affected by SLI;
• SLI can be diagnosed precisely and accurately;
• the condition may be genetic;
• the nature of the disability limits a child’s exposure to language;
• early intervention can begin during pre-school.

Apraxia of speech
(The following information has been provided by the Dyspraxia
Foundation.)
Children with developmental verbal dyspraxia have difficulty in
making and co-ordinating the precise movements required for the
production of clear speech, and yet there is no evidence of damage to
nerves or muscles. They have difficulty in producing individual
speech sounds and in sequencing sounds together in words. As a
result, their speech is often unintelligible even to family members.
The speech disorder is the predominant presentation but children
with developmental verbal dyspraxia may also have oro-motor

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dyspraxia – affecting their ability to make and co-ordinate the

movements of the larynx, lips, tongue, and palate – and/or
generalised dyspraxia, affecting gross and fine body movements.
The favoured term in the UK is developmental verbal dyspraxia.
However, it is also sometimes referred to as articulatory dyspraxia,
and in the USA the usual term is developmental or childhood apraxia
of speech.
Speech and language therapists usually diagnose developmental
verbal dyspraxia by referring to checklists of characteristics and
identifying a symptom cluster of presenting features. In addition to
speech characteristics, checklists usually refer to commonly reported
language, learning, clinical and motor characteristics.
Characteristics identified in the literature include:
• speech characteristics;
• a limited range of consonant and vowel speech sounds;
• overuse of some sounds (favourite articulation);
• vowel distortions;
• inconsistent production;
• breakdown in sequencing in words, particularly as length
increases;
• errors of omission and substitution – idiosyncratic substitutions
may occur;
• glottal stop insertions and substitutions;
• voice difficulties affecting volume, length, pitch and quality;
• resonance difficulties affecting the overall tone of the speech;
• prosodic difficulties affecting rate, rhythm, stress, intonation;
• unintelligible speech;
• co-occurring characteristics;
• family history of speech, language or literacy difficulties;
• delayed language development – expressive usually more affected
than receptive;
• delayed development of early speech skills, e.g. babbling;
• feeding difficulties;
• oral dyspraxia affecting movements of the larynx, lips, tongue or
palate;
• generalised developmental dyspraxia affecting fine and/or gross
motor co-ordination;
• literacy difficulties affecting reading, spelling and writing.

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Intervention and progress

Developmental verbal dyspraxia has been described as an unfolding
and changing condition. The range of problems experienced ‘unfold’
as the child progresses and more demands are placed on him/her. As
a result, the presentation of a child with developmental verbal
dyspraxia is different according to age and stage of development.
Unfortunately, this complicates diagnosis.

Help for children with developmental verbal dyspraxia

Children with speech difficulties should be referred to a speech and
language therapist as early as possible. This can be arranged through
a GP or Health Visitor or by contacting your local clinic or health
centre. The speech and language therapist will be able to assess your
child, identify the presenting difficulties and advise on management.
He/she will be able to advise whether a label of developmental verbal
dyspraxia is appropriate to describe your child’s speech difficulties or
whether another descriptor is more appropriate. Diagnosis of
developmental verbal dyspraxia is complex and often becomes clearer
over time.
Your therapist may also prefer to describe your child’s difficulties
rather than assign a label; e.g. ‘Tom has a severe speech disorder,
characterised by typical dyspraxic features’, rather than ‘Tom has
developmental verbal dyspraxia’. This is accepted practice within the
speech and language therapy profession.
It is generally recognised that children with developmental verbal
dyspraxia do not get better without help. Usually they require regular,
direct therapy delivered by a speech and language therapist,
supported by frequent practice outside the therapy sessions at home
and/or in school.
The Nuffield Dyspraxia Programme (1985,1992 and forthcoming)
is one of the only published therapy approaches specifically for
developmental verbal dyspraxia and is used widely by speech and
language therapists in the UK and overseas. It offers a systematic
approach to the assessment and treatment of developmental verbal
dyspraxia and is particularly suitable for children aged 3–7.
In the early stages of the Nuffield Dyspraxia Programme, basic
oro-motor exercises are advised to help the child develop with
accurate and rapid movements of all areas of the speech apparatus in
preparation for co-ordinating these movements in the production of

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speech sounds. If you are waiting to see a speech and language

therapist, or you want to start doing something helpful with your
child, these exercises provide a good starting point.

Summary
This chapter has provided some insights into other related conditions
that can be associated with dyslexia. The examples used of dyspraxia
and specific language impairment are particularly relevant to drama.
This underlines the view that every child has to have their individual
needs identified and catered for within the curriculum.

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Chapter 6

Parents and Dyslexia

This book can be accessed by parents as well as teachers. It is

therefore beneficial to incorporate the responses of parents of
dyslexic children. It is also important that teachers are aware of
parents’ views. Dyslexic children have needs but so do the family. It
is important to be able to handle day-to-day activities and to
understand how you can help your child.
This chapter is based upon the work of Pat Heaton who collected
parent responses from a questionnaire.
On being told that their child is dyslexic many parents feel relief.
It will have been frustrating to know that there was a problem with
their child but not knowing what the problem was, and it can be a
relief to finally put a name to the problem. Explanations of learning
failures can range from brain tumours to being mentally retarded, and
parents are vulnerable in that they often do not know what to believe.
It is common for parents to feel angry and guilty – angry for not
getting help sooner and guilty for forcing learning or for being
dyslexic themselves. The psychologist’s report on a child will also
reveal the emotional and behavioural aspects of dyslexia and can
often bring families closer once they start discussing the situation,
instead of blaming one another. On the other hand, some parents
prefer to keep the diagnosis to themselves, thus avoiding other
people’s opinions. Sometimes, naivety to the condition may result in
a negative attitude to the student.
The questionnaire discussed labelling, its advantages being that
those with a knowledge of dyslexia will be empathetic, but

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disadvantages may occur in later life where, for example, an

employer might reject a dyslexic candidate in favour of a ‘more
intelligent’ one. Heaton says that ‘It is important to remember that
recognition is only a step along the way, so to speak.’ The disability
causes many problems, some more obvious than others. Assessment
and diagnosis merely identify the disability; they do not cure it.
Once a child is recognised as being dyslexic, provision can be
made to help with education. More support can be offered at school
but that can take time. Some parents may opt for outside private
tuition, but this can be a strain, both financially, for the parents, and
for the student, who already has to work harder at school to maintain
a decent level of learning and attainment. This pressure can begin to
affect everyday family life, causing irritability and shyness.
We must not forget that dyslexia is not just restricted to reading
and writing; memory and organisational skills can also be a problem.
Parents can help their child by marking or coding days on a big
calendar, e.g. green = PE, geography and history – then perhaps put
green stickers on the appropriate books and bags. Organisation and
awareness is central to coping with dyslexia. Prepare in advance for
important meetings and events. Meet with other parents of dyslexic
students. Some parents find that enrolling on a learning difficulties
course can help them to understand their child’s condition.

Parents’ hurdles
Gavin Reid (Reid 2004) asked parents for their views on the
difficulties they experienced having a child with dyslexia. The
questions he asked included the following:
• What are the factors that made it difficult for you as a parent of a
child with dyslexia?
• From where did you get your support?
• What strategies did you, as a parent, use to help support your child?
The responses to these questions were very illuminating. One of the
parents found that the main challenges in parenting a child with
dyslexia included:
• helping to maintain the child’s self-esteem;
• helping the child start new work when he/she had not consolidated
previous work;

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• protecting the dignity of the child when dealing with professionals/

therapists;
• personal organisation of the child;
• peer insensitivity; and
• misconceptions about dyslexia.
This response is quite interesting because it touches on some of the
key aspects, particularly the emotional ones, of dyslexia. It also
touches on the misunderstandings and misconceptions that many
people can have about the condition.
This parent also provided additional information and suggested that:

self-esteem is a huge issue and one that is not helped by dyslexia being seen as
a deficit! The continued emphasis on academic achievement and the issues of
labelling are problematic for me. A major difficulty with the teaching profession
is attitudinal – a lack of knowledge on dyslexia is apparent –although I have
found there are also some exceptional teachers, but it is always difficult for a
parent to know what advice to take. By the time they are in a position to decide,
it can be too late, or less effective than it could have been.
The balance between home and school is a key issue, and although I have
had little advice on this I have still had to argue a case for the need for school
to understand the fatigue element in a long day. I feel like my child is a square
peg in a round hole. (Reid 2004)

Secondary school
Once in secondary school it is important that every member of staff
involved with the student is aware of the child’s particular difficulties.
It is important to keep the school updated about any external meetings
or appointments so that the teaching staff can plan ahead.
As mentioned before, memory can cause problems for the dyslexic
student and this can be infuriating for all concerned. Some parents
find that a calculator is best for times tables work in order not to have
to go over the same calculations every day. Stories can be another
coping device, as can post-it notes around the house. When I was
studying I found this useful and would write or put important pictures
on papers around the house on objects I would spend some amount of
time looking at – for example, on a cereal box, when having my
breakfast, or the bathroom mirror, when I was doing my hair.
The use of information technology at home can be important, not
only to run a spellcheck but also to aid with presentation of work,
something that some dyslexic students struggle with.

55
Dyslexia and Drama

For parents there is no easy way of dealing with dyslexia. What

works for one family may not work for another. It is all about trial
and error and, above all, patience. This is clear from the words of one
parent who responded to the questionnaire in Gavin Reid’s research:

Remember to take time out. Have fun as a family. Home is a safe place – no
criticism. Try not to push, push, push. Encourage your child to pursue the
things he/she is good at. Keep self-esteem high. Set up good working
relationships with the school teacher. Keep trying; there is help available; just
keep chipping away. (Reid 2004)

Summary for parents

• Find out what the school will do to help your child.
• If it is possible, it may be helpful to fund an external dyslexia tutor
who can help.
• Remember that your child is intelligent and that it is no-one’s fault
that he/she is dyslexic – do not blame yourself.
• Colour-coding books and materials, as well as days on the calendar,
can help.
• Organisation and awareness are the control to success.
• Meet with other parents of dyslexic children; you are not on your
own.
Be patient!

56
References and
Further Reading

Bradley, L. and Bryant, P. (1991) ‘Phonological skills before and after learning to
read’, in Brady, S.A. and Shankweiler, D.P. (eds) Phonological Processes in
Literacy. London: Lawrence Erlbaum.
Campbell, D. (2001) ‘The Mozart Effect: Tapping the Power of Music to Heal the
Body, Strengthen the Mind and Unlock the Creative Spirit’. London: Hodder
and Stoughton.
Department for Education (1994) The Code of Practice for the Identification and
Assessment of Special Educational Needs. London: DfE.
Department for Education and Employment (1998) Framework for Teaching the
National Literacy Strategy. London: DfEE.
Department for Education and Employment (2000) Draft Revised SEN Code of
Practice. London: DfEE.
Department for Education and Skills (2001) Special Educational Needs Code of
Practice. London: DfES.
Dunn, R., Krimsky, J., Murray, J. and Quinn, P. (1985) ‘Light up their lives: a
review of research on the effects of lighting on children’s achievement’. The
Reading Teacher, 38 (9), 863-9.
Fawcett, A.J. (2002) ‘Dyslexia and literacy: key issues for research’, in G. Reid
and J. Wearmouth Dyslexia and Literacy: Theory and Practice. Chichester:
Wiley.
Fawcett, A.J. and Nicolson, R.I. (1996) The Dyslexia Screening Test. London: The
Psychological Corporation.
Frith, U. (1995) ‘Dyslexia: can we have a shared theoretical framework?’
Educational and Child Psychology, 12 (1), 6-17.
Frith, U. (2002) ‘Resolving the paradoxes of Dyslexia’, in G. Reid and J.
Wearmouth Dyslexia and Literacy: Theory and Practice. Chichester: Wiley.
Galaburda, A. (ed.) (1993) Dyslexia and Development: Neurobiological Aspects of
Extraordinary Brains. Cambridge, MA: Harvard University Press.
Given, B.K. and Reid, G. (1999) Learning Styles: A Guide for Teachers and
Parents. St Annes on Sea: Red Rose Publications.

57
Dyslexia and Drama

Hatcher, J. and Snowling, M.J. (2002) ‘The phonological representations

hypothesis of dyslexia: from theory to practice’, in G. Reid and J. Wearmouth
Dyslexia and Literacy: Theory and Practice. Chichester: Wiley.
JCQ (2001) Regulations and Guidance, London: Joint Council for Qualifications.
Leonard, L.B. (1998) Children with Specific Language Impairment. Cambridge,
MA: MIT Press.
Morton, J. and Frith, U. (1993) ‘What lessons for dyslexia from Down Syndrome?’
Comments on Cossu, Rossini and Marshall, Cognition, 48, 289-96.
Morton, J. and Frith, U. (1995) ‘Causal modelling: a structured approach to
developmental psychopathology’, in D. Cicchetti and D.J. Cohen (eds) Manual
of Developmental Psychopathology. New York: Wiley, pp. 357-90.
Mutter, V., Hulme, C. and Snowling, M.J. (1997) Phonological Abilities Test. San
Francisco, CA: The Psychological Corporation.
Nash-Wortham, M. and Hunt, J. (1997) Take Time: Movement Exercises for
Parents, Teachers and Therapists of Children with Difficulties in Speaking,
Reading, Writing and Spelling.(4th edn). Stourbridge: The Robinswood Press.
NCTE (National Centre for Technology in Education) (1999) Wordshark 2.
London: White Space.
Nicolson, R.I. (1996) ‘Developmental dyslexia: past, present and future’. Dyslexia,
2 (3), 190-207.
Nicolson, R.I. and Fawcett, A.J. (1999) ‘Developmental dyslexia: the role of the
cerebellum’. Dyslexia: An International Journal of Research and Practice, 5
155-77.
Nicolson, R.I. and Siegel, L. (1996) Special issue on Dyslexia and Intelligence
(Editor’s Foreword). Dyslexia, 2 (3), 153.
Nuffield Centre for Speech and Language Therapy (1985, 1992, forthcoming) The
Nuffield Centre Dyspraxia Programme. Available from Nuffield Hearing and
Speech Centre, RNTNE Division of Royal Free Hampstead NHS Trust, Gray’s
Inn Road, London WC1X 8DA, tel. 020 7915 1535.
Peer, L. (2001) ‘Dyslexia and its manifestations in the secondary school’, in L.
Peer and G. Reid (eds) Dyslexia: Successful Inclusion in the Secondary School.
London: David Fulton.
Reid, G. (2003) Dyslexia: A Practitioner’s Handbook (3rd edn). Chichester: Wiley.
Reid, G. (2004) Dyslexia: A Complete Guide for Parents. Chichester: Wiley.
Reid, G. and Given, B.K. (1999) ‘The interactive observation style identification’,
in B.K. Given and G. Reid, Learning Styles: A Guide for Teachers and Parents.
St Annes on Sea: Red Rose Publications.
Rice, M.L. (2000) ‘Grammatical symptoms of specific language impairment’, in
D.V.M. Bishop and L.B. Leonard (eds) Speech and Language Impairment in
Children: Causes, Characteristics, Intervention and Outcomes. Hove:
Psychology Press, pp.17-34.
Rice, M.L. (2002) ‘A unified model of specific and general language delay:
grammatical tense as a clinical marker of unexpected variation’, in Y. Levy and
J. Schaeffer (eds) Language Competence Across Populations: Towards a Definition
of Specific Language Impairment. Mahwah, NJ: Lawrence Erlbaum, pp. 63-95.
Rice, M.L. and Wilcox, K. (eds) (1995) Building a Language-Focused Curriculum
for the Preschool Classroom: A Foundation for Life-long Communication.
Baltimore, ML: Brookes Publishing Company.

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 References and Further Reading

Schuele, C.M. and Hadley, P. (1999) ‘Potential advantages of introducing specific

language impairment to families’. American Journal of Speech–Language
Pathology, 8, 11-22.
Snowling, M.J. (1998) ‘Dyslexia as a phonological deficit: evidence and
implications’. Child Psychology and Psychiatry Review, 1, 4-11.
Snowling, M.J. (2000) Dyslexia (2nd edn). Oxford: Blackwell.
Special Educational Needs and Disability Act (SENDA) (2001). London: Her
Majesty’s Government.
Stackhouse, J. and Wells, B. (1991) ‘Dyslexia: the obvious and hidden speech
disorder’, in M. Snowling and M. Thomson (eds) Dyslexia: Integrating Theory
and Practice. London: Whurr.
Stanovich, K.E. (1991) ‘Discrepancy definitions of reading disability: has
intelligence led us astray? Reading Research Quarterly, 36, 7-29.
Stanovich, K.E. (1994) ‘Annotation: does dyslexia exist?’ Journal of Child
Psychology and Psychiatry, 21, 7-9.
Stanovich, K.E. (1996) ‘Towards a more inclusive definition of dyslexia’.
Dyslexia, 2 (3), 154-66.
Stanovich. K.E.(1998) ‘Explaining the difference between the dyslexic and the
garden variety poor readers: the phonological core model’. Journal of Learning
Disabilities, 21 (10), 590-604.
Tager-Flusber, H. and Cooper, J. (1999) ‘Present and future possibilities for
defining a phenotype for specific language impairment’. Journal of Speech,
Language and Hearing Research, 42, 1275-8.
Tomblin, J.B. (1997) ‘Prevalence of SLI in kindergarten children’. Journal of
Speech, Language and Hearing Research, 40, 1245-60.
Tunmer, W.E. and Chapman, J. (1996) ‘A developmental model of dyslexia: Can
the construct be saved?’ Dyslexia, 2 (3), 179-89.
West, T.G. (1991, 1997) In the Mind’s Eye. New York: Prometheus.
Wolf, M. and O’Brien, B. (2001) ‘On issues of time, fluency and intervention’, in
A. Fawcett (ed.) Dyslexia, Theory and Good Practice. London: Whurr.

59
Index

access creativity 12, 17, 34

to curriculum 20 cross-curricular skills 20, 21
to texts 19
activities see games DAD (Dyslexia Automaticity Deficit) 7–8
advertising campaigns 34 design skills 16–17
alienation 41–2 detail analysis 7
annotated texts 19, 20 double-deficit hypothesis 7
assessment 13, 14 drama 11, 41 see also individual terms
barriers and 15, 16 dyslexia 54–5
by mind-mapping 5 characteristics 1–2
by recording 4 conflicts in vii, 6
by reporting 16 defined 1, 8
by writing frames 4–5 prevalence 1
attainment 3, 38, 39–41, 42 scope 1
automaticity 7–8 see also individual terms
Dyslexia Automaticity Deficit (DAD) 7–8
barriers 15, 16 dyspraxia
behaviour 39–40 children’s characteristics 46–8
breathing techniques 4 defined 45
bullying 39, 40, 41, 42 labels 45
Buzan, T. 22 on language 45–6, 49–52
overlaps with 44
Campbell, D. 23 prevalence 45
cerebellar deficit hypothesis 6 recognition 46, 47
Chapman, J. 8–9 scope 44–5
children vii, 43 see also individual terms teenagers 48
colour 23
components, meaning and 9–10 educational psychologists 16
computers 55 engagement 12, 18, 19, 20, 22
mind-mapping by 22 environment 22–3
confidence 2, 38, 39, 40, 41, 42 exams 14
co-operation 34, 36–7 annotated texts in 19, 20
co-ordination 34, 35–6, 37 reviewing in 18–19
coursework 14, 18 scope 17–18, 20
scope 16–17 see also tests

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 Index
experience 38 left-hemisphere skills 7
exploration 12 lighting 22–3
London Academy of Music and Dramatic
family see parents Art 14, 24
Fawcett, A.J. 6, 7 lying 33
fear 40
freeze-frames 24–5 meaning, components and 9–10
frustration 40–1, 42–3 media campaigns 34
fun 37 memory aids 54, 55
meta-cognition 8–9
Galaburda, A. 6–7 mime 26–7, 32, 33
games 4 Mind Genius (program) 22
co-operation in 34, 36–7 mind mapping 5
co-ordination in 34, 35–6, 37 by hand 21–2
creativity in 34 by computer 22
freeze-frames 24–5 scope 21, 22
groundwork for 31–7 motivation 25
guessing in 32, 36–7 Mozart Effect 23
improvisation 25, 27–31, 33–4, 37 music 23–4
mime 26–7, 32, 33
props 34–5 National Curriculum 11–12
recalling in 32–3, 35, 37 on inclusion 15
role-play 25–6 Nicolson, R.I. 6, 8, 9
scope 24 notes 55
GCSE 11 Nuffield Dyspraxia Programme 51–2
accessibility 20
assessment in 13, 14, 16 organisational aids 54, 55
coursework 14, 16–17, 18 overlaps 7–8
exams 14, 17–20 dyspraxia 44–8, 49–52
games see games language deficits 45–6, 48–52
Given, B. 23
group work 12 parameters 6
games see games parents vii, 42
guessing 32, 36–7 disclosure from 53
mixed emotions from 53
Hatcher, P. 7 organisational aids from 54, 55
home–school liaison 53, 55 solidarity from 53, 54–5, 56
on tuition 54
improvisation 25, 27–31, 33–4, 37 understanding from 54
inclusion 15 patience 56
independent learners 9–10, 17, 22–3 perseverance 56
individual learners 1, 9–10, 16, 17, 22–3, phonological deficits, reading and 7, 9
38, 49, 51 plays
information processing 1, 7 exams on 17–20
instruction giving 4 reading of 3
intelligence, reading and 8, 9 posture 4
prejudice 53–4, 55
Joint Council for Qualifications (JCQ) 15 props 34–5

Key Stage 3 11 Qualifications and Curriculum Authority

games see games (QCA), on access 19

labels 9, 45, 50, 51, 53–4 reading 1–2, 45

latitude 6 aloud 3–4

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Dyslexia and Drama
of plays 3 labels 50
scope 7, 8–9 reading 45
tests on 9 scope 49, 51
with thumb technique 4 speech 46, 49–50
recalling 32–3, 35, 37 spelling 45
recognition 38, 39–41, 42–3, 46, 47, 54 strategies 45
recording 4 therapy 49, 51–2
reflective learning speech 46, 49–50, 51
environment 22–3 speech therapists 49, 51
sound 23–4 spelling 45
Reid, M.L. 9–10 SSAs (Special Support Assistants) 3
relationships 40, 41, 42 Stanovich, K.E. 8
with parents 53, 54–5, 56 stress 2, 40
reporting 16 success 2–3, 37
research 6–8 symbol–sound assimilation 7
respect 25 syndrome theory 8
reviewing 5, 18–19
rhythm 35 teamwork 12
right-hemisphere skills 7, 21–2 games see games
role-play 25–6 technical skills 16–17
tests 9 see also exams
scripts, reading of 3 theories 6–9
self-esteem 2–3, 8–9, 20, 40, 41, 42–3 therapy 49, 51–2
SEN (special educational needs) 14–16 see thumb technique, reading with 4
also individual terms trial and error 56
SEN and Disability in Education Act 2001 tuition, additional 54
(SENDA) 15 Turner, W.E. 8–9
sensitivity 39, 40, 41–2
size of schools 41, 42 understanding 12, 18, 19, 22, 38, 39–41,
SLI see specific language impairment 42–3, 54
Snowling, M.J. 7, 9
social skills 12, 40, 41, 42 visual aids
solidarity 53, 54–5, 56 freeze-frames 24–5
sound 23–4 mind mapping 5, 21–2
sound–symbol assimilation 7
special educational needs (SEN) 14–16 see West, T.G. 7
also individual terms whole picture analysis 5, 7, 21–2
Special Support Assistants (SSAs) 3 word recognition, reading and 8
specialist teachers 3, 16 writing 2
specific language impairment (SLI) 48 writing frames 4–5
characteristics 49, 50

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