rama
Whole School Plan
Drama
• Guiding Principles
The guiding principles which underpin the teaching and learning of Drama in our school are:
1. Drama is a subject
2. Drama is for all teachers and all children
3. Process Drama explores the real world through the fictional world
• Introductory Statement and Rationale
(a) Introductory Statement
This plan was developed in consultation and collaboration with Dympna O'Byrne and the
teaching staff of Scoil Ide in 2009 and updated in 2014.
(b) Rationale
This plan is a record of our decisions regarding Drama. It reflects the Primary Curriculum, 1999.
It is intended to guide teachers in their individual planning for Drama.
• Vision and Aims
(a) Vision
In line with the mission statement of Scoil Ide, through the teaching of Drama as part of a
balanced curriculum which aims to develop the whole spectrum of the child's intelligence, it is
hoped that the child will have an opportunity to develop his/her aesthetic, intellectual, emotional,
creative, expressive and cultural development through engagement in positive Drama experiences.
(b) Aims
We endorse the aims of the Primary School Curriculum for Drama
• To enable the child to become Drama literate
• To enable the child to create a permanent bridge between make-believe play and the art form
of theatre
• To develop the child's ability to enter physically , emotionally and intellectually into the
Drama world in order to promote questing, empowering and empathetic skills
• To enable the child to develop the social skills necessary to engage openly, honestly and
playfully with others
• To enable the child to co-operate and communicate with others in solving problems in the
Drama and through the Drama
• To enable the child to understand the structures and modes of Drama and how they create
links between play, thought and life
• To enable the child to acquire this knowledge of Drama through the active exploration of
themes drawn from life (past and present), whether they have their source in other curricular
areas or in general areas relevant to the child's life
• To enable the child to begin the process of translating a knowledge of Drama into the active
exploration of life themes from Drama literature, leading to the appreciation of world Drama
culture.
2
• Curriculum Planning
1. Strand and Strand Units
Drama has one strand at each class level -Drama to explore feelings knowledge and ideas, leading to
understanding.
The strand is divided into three strand units
• Exploring and Making Drama
• Reflecting on Drama
• Co-operating and communicating in making Drama.
The objectives for each strand unit are detailed in the tables below.
Exploring and Making Drama
Junior and Senior Infants
• develop the instinct for make-believe play into Drama
•
•
•
•
1st &
nd
2 classes
•
•
•
•
•
•
•
3rd & 4th classes
•
•
•
•
•
5th & 6th classes
•
•
•
develop the ability to play in role as an integral part of the
action
experience how the use of space and objects can help to create
the reality of the make-believe world
experience how the fictional past and the desired fictional
future influence the present Dramatic action
develop awareness of how he/she, as part of a group, helps to
maintain focus in the Dramatic action
develop awareness of tension in the Drama
use the ability to play at make-believe to enter fully into
participation in Drama
use his/her emerging awareness of the differences in people in
order to begin to develop an understanding of the relationship
between role and character
experience how context is built and a Drama reality created
through the use of space and objects
experience how the fictional past and the desired fictional
future influence the present Dramatic action
develop the ability to help maintain the focus in the Dramatic
action
begin to see how tension adds to Drama the suspense that
ensures the interest of the participants
enter into the fictional Dramatic context with the same
spontaneity and freedom that he/she has earlier applied to
make-believe play
understand the relationship between role and character and
develop the ability to hold on to either role or character for as
long as the Dramatic activity requires
discover how the use of space and objects can help in building
the context and in signifying Dramatic themes
explore how the fictional past and the desired fictional future
influence the present Dramatic action
begin, as a member of a group, to include in Drama activity
the elements of tension and suspense
begin the process of using script as a pre-text
enter appropriately and with facility, whether watched or
unwatched, into the fictional Dramatic context
extend plaving in role and in character to include the abilitv to
3
accept and maintain a brief that has been decided on by either
the teacher, the group or himself/herself
•
•
explore how the fictional past and the desired fictional future
influence the present Dramatic action
•
become adept at implementing the 'playing rules' that
maintain focus in Dramatic action
•
Reflecting on Drama
Junior and Senior Infants
nd
distinguish between various genres, such as comedy, tragedy,
fantasy
•
become comfortable with script and understand the basic
processes by which script becomes action
•
develop the ability to reflect on the action as it progresses
experience the relationship between story, theme and life
experience
share insights gained while experiencing the Drama
•
•
•
•
th
3rd & 4
classes
5th & 6th classes
help to plan Dramatic activity to include the particular tension
and suspense appropriate to the theme being explored
•
te
I st & 2 classes
discover how the use of space and objects helps in building
the context and in signifying the Drama theme
•
use reflection on a particular Dramatic action to create
possible alternative courses for the action
experience, through Drama, the relationship between story,
theme and life experience
share insights while experiencing the Drama or insights that
arise out of the Drama
use reflection on and evaluation of a particular Dramatic
action to create possible alternative courses for the action
•
learn, through Drama, the relationship between story, theme
and life experience
•
use the sharing of insights arising out of Dramatic action to
develop the ability to draw conclusions and to hypothesise
about life and people
•
reflect on a particular Dramatic action in order to create
possible alternative courses for the action that will reflect
more closely the life patterns and issues being examined
•
learn, through Drama, the relationship between story, theme
and life experience
•
use the sharing of insights arising out of Dramatic action to
develop the ability to draw conclusions and to hypothesise
about life and people
Co-Operating and Communicating in Making Drama
Junior and Senior Infants
• develop the ability, out of role, to co-operate and
communicate with others in helping to shape the Drama
bnd
I st & 2 classes
•
develop, in role, the ability to co-operate and communicate
with others in helping to shape the Drama
•
•
develop, out of role, the ability to co-operate and
communicate with others in helping to shape the Drama
develop, in role, the abilitv to co-operate and communicate
4
•
•
•
•
•
•
5th & 6th classes
•
•
•
•
with others in helping to shape the Drama
develop fictional relationships through interaction with the
other characters in small-group or whole-class scenes as the
Drama text is being made
re-enact for others in the group a scene that has been made in
simultaneous small-group work
develop, out of role, the ability to co-operate and
communicate with others in helping to shape the Drama
develop, in role, the ability to co-operate and to communicate
with others in helping to shape the Drama
develop fictional relationships through interaction with the
other characters in small-group or whole-class scenes as the
Drama text is being made
enact spontaneously for others in the group a scene from the
Drama, or share with the rest of the class a scene that has
already been made in simultaneous small-group work
develop, out of role, the ability to co-operate and to
communicate with others in helping to shape the Drama
develop, in role, the ability to co-operate and communicate
with others in helping to shape the Drama
develop fictional relationships through interaction with the
other characters in small-group or whole-class scenes as the
Drama text is being made
enact spontaneously for others in the group a scene from the
Drama, or share with the rest of the class a scene that has
already been made in simultaneous small-group work
The school recognises that the strand units and the content objectives for Drama are interlinked and
therefore we encourage all teachers at each class level to plan for all of the objectives.
Outlines of the lessons suggested for implementation are attached to this plan. (cf: Appendix 1)
2. Approaches and Methodologies
Belief is central to all drama and should be characterised by a willingness to believe in the drama
itself, sincerity in playing roles and characters, a willingness to accept the fictional consequences of
drama and a willingness to explore.
Building a safe environment based on trust and mutual respect
(a) Drama Contract
Each teacher is also encouraged to use a drama contract to establish a safe environment. A sample
drama contract is attached to this plan ( cf: Appendix 2)
The safe environment is important for effective drama work to take place. In our school each class
may develop a drama contract. To build confidence and further embed the safe environment, classes
will play appropriate warm up games to develop various drama skills necessary skills for their drama
work. Discussion about the contract and the safe environment may be included where appropriate,
both before and after the drama activity.
(b) Warm-up activities
Warm-up games should be seen as an integral part of the drama process and are essential in allowing
children the opportunity to develop the three Cs:
- Concentration
Communication
Co-operation
5
The development of these skills contributes to the creation of a safe environment, as well as
deepening the children's ability to engage in the dramatic process.
Sample warm-up activities are available in the Drama Resource Pack.
Content for Drama
The strand 'Drama to explore feeling, knowledge and ideas leading to understanding' will be
important for teachers in this school in informing the content that they choose for Drama activities.
Content for Drama will come from life experience.
It will be from something:
that the children have experienced
something that they have read
something that emerged in another subject area
a worry or concern that the teacher might have
or something generally that the teacher wants the children to explore.
The Fictional Lens
The fictional lens is the story used through which specific themes or content are explored. Teachers
will carefully select a fictional lens for their chosen content. A character or story will be selected in
which the children will easily believe, whose context will allow for the content to be explored.
Exemplar
Fictional Lens: Goldilocks and the Three Bears
Content Covered:
Number Three: The ritual of setting the table
Respect for other people's property
Telling the truth
Reflection
We see reflection as being of vital importance to the drama process. We will strive to ensure that
reflection takes place at the appropriate points in the drama experience. We will also strive for a
balance of methods of reflection using
discussion
writing
visual arts
speaking
listening
doing &
questioning
A list of drama reflection methods are to be found in the appendix.
Strategies
In this school we recognise the usefulness of Drama strategies. Below is a table showing some
suitable strategies for the different class levels. This is not an exhaustive list, rather a list of
suggested strategies. Teachers have the freedom to introduce other strategies that they might find
useful in their own particular class or in a particular dramatic context.
Class Level
Suggested Strategies
Defining
the Space, Still Images, Teacher in Role, Mimed Narration
Junior
&
Senior
Infants
1st and 2nd
Defining the Space, Mimed Narration, Teacher in Role
Classes e1
3rd i & 4th Classes
Defining the Space, Teacher in Role, Mimed Narration, Still
Imaging
Improvisation, Ritual, Flashback/flashforward
Defining the Space, Teacher in Role, Mimed Narration. Still
Images, Thought Tracking, Improvisation in Pairs, Briefing,
Conscience Alley. \\'hole Group Improvisation, Small Group
Improvisation , Hot seating, Ritual, Flashback/flashforward,
An explanation of each strategy is contained below.
5th &
6 th Classes
Still Image
Groups use their bodies to create an image of a moment(s) in the drama e.g. the moment the bears
see Goldilocks asleep in the bed. Older groups may depict a more complex or abstract idea
('winning ', 'fear'). Similarly an individual can act as a sculptor to another student or group.
Thought-Tracking
This technique involves the teacher freezing the action and tapping her hand on the shoulder of
some student (or students) in the still image or drama. This student-in-role then reveals publicly her
private thoughts/reactions at that specific moment e.g. one of Christopher Columbus' sailors
thoughts when they finally sight land.
Mime
The class mime an action as the teacher describes what a character or occupation or as she
narrates astory. Older students may develop more abstract mime sequences.
Narration
The teacher can narrate in or out of the lesson text. Narration has many uses. These include:
providing a link or commentary between drama moments ; creating an atmosphere; initiating a
drama; moving the action on; create tension. Similarly the participants might report back in story
form, providing narrative to accompany or bridge action - 'We came to the river and saw that the
bridge had been destroyed, so we....'
Hot-Seating
This involves students questioning a character (teacher-in-role or student-in-role). The students who
are questioning the character may be working as themselves or in role as journalists. Hot-seating can
be used to start a drama or improvisation may be frozen at any point so as in-role characters are
released to answer questions often formally seated facing questioners.
Caption-Making and Headlines
This strategy can be used at any point of action. Individuals or groups are asked to give a title or
caption or newspaper headlines/slogans to a piece of drama. They summarize their own scene or
another group's scene in When used with still images several headlines can be given to the same still
image in order to highlight points of view and bias.
Conscience Alley
A character who has a difficult decision to reach, walks down a corridor of people who, one after
another from either side, give conflicting advice about a given situation. This can be done in role by
other characters in the lesson and by voices in the character’shead played by other members of the
group. It is possible to develop this convention by allowing the character to engage in conversation
with the voices and thus challenge the advice being offered.
Defining Space...
Available furniture, objects, clothing are used to represent the 'ship', 'castle', 'bears' house '
where the drama is happening. They may also represent the physical scale of someone
(Daddy Bear) or something (the beanstalk) in the drama. Also they may be used to fix the position
or proximity of rooms, houses, places where events have taken place.
7
Soundtracking .. .
Sound may be used in different ways in a drama; narration can be devised to accompany some
mime; animal sounds, human sounds, environmental sounds can be devised to accompany a
moment of action. Voices or instruments are used to create a mood.
Living Picture
The teacher asks the group to bring their improvisation alive for a few moments. She does not necessarily
add tension by briefing some students. The living picture , however , may develop into an improvisation the difference being that 'living picture' has no particular tension in it whereas the improvisation usually
features some tension.
Briefing
Before a whole group improvisation,the teacher takes aside an individual or a number of
individuals, and gives him/them a set of instructions that create tension. This will drive the drama
forward. The teacher may choose to give another set of further conflicting instructions to a
different individual/individuals. As the children develop their drama skills, they will begin to offer
their own briefs. Briefing is a key strategy in creating tension in drama. The teacher can build
tension by suggesting any of the following - 'You have a secret ....; 'Something strange and
mysterious has happened ', 'You are planning a surprise' , 'You are in a hurry' , 'You are all
crowded together ', 'You have an unusual object' or through a challenge.
Small-Group Play-Making
Small group and whole group improvisation constitute the heart of the drama curriculum. The
children make up the story as they go along. This story usually explores a character(s) in a dilemma.
Small groups plan, prepare, sequence and present their improvisations to show their understanding
of that moment in the drama. Briefing (see above) helps to drive the improvisation forward. The
teacher can greatly enhance the drama by adopting a role herself.
Flashback Flashforward
The children select and depict a moment through such strategies as still image, mime and narration
or improvisation. They can then move backwards and forwards in time creating other such moments
in time in the drama. This enables the children to reflect on the characters and their dilemmas.
Ritual
Ritual in Drama is a stylized activity that shows a special occasion or some daily routine that shows
that a character is part of a community. Some rituals in drama include: a meal, saying goodbye, the
night before a battle, praying.
Teacher-in-Role
The teacher takes on a role in the drama. This allows her to do a number of things. She can manage
the learning opportunities within the drama by adopting a suitable role in order to excite interest,
control the action, invite involvement, provoke tension, challenge superficial thinking, create
choices and ambiguity, develop the narrative, create possibilities for the group to interact in role.
3. Children with Different Needs
In line with the underlying principles of this curriculum, we believe drama to be for all children and
all teachers. Therefore, each child in this school will be involved in drama, regardless of difference
or ability.
It is the policy of our school that all children will participate in Drama activities. Based on a
teacher's professional judgement, and in co-operation with other teachers and special needs
assistants, Drama activities will be differentiated as necessary in order to meet the needs of the
children in a particular class. This will be done by careful grouping of children, consciousness by
the teacher of children's abilities when giving briefs and by providing opportunities for different
8
methods of reflection.
Resources and specific activities for children with different needs are contained in the Resource
Pack.
4. Linkage and Integration
Drama can be integrated with many curricular areas e.g. English, Gaeilge, SESE, SPHE, Music,
Visual Arts.
Exemplars
English/Gaeilge
- Using story or poetry as a fictional lens, or exploring themes from story or poetry.
E.g., the story of Goldilocks, with, e.g., the social theme of learning how to set a
table.
SESE
- Dramatising actual historical events, e.g. the Famine, through a fictional lens in order
to explore specific themes, e.g. family loyalty, making difficult choices, poverty.
SPHE
-
SPHE issues can be explored, e.g. bullying, relationships , healthy eating.
Music
Visual Arts
-
Music can be used as a stimulus to draw the children into a drama activity, to create a
scene.
Visual art can be used by the children themselves to help create a scene, and is also
useful as a means of reflecting on the drama.
Linkage occurs naturally throughout the 3 strand units. Each lesson will include aspects of
exploration, reflection , co-operation and communication .
5. Assessment and Record Keeping
As has been outlined in our schools Assessment & Record Keeping Policy we recognise the
importance of assessment and record keeping in the delivery of the Drama Curriculum.
Teachers will use teacher observation as a primary tool when assessing drama work in class.
Other forms of assessment can include basic teacher-designed tests and tasks, projects, recordings of
children's work, and graphic I pictorial scores.
Teachers should approach assessment in Drama by referring to the Curriculum Statement p 43-44
and examine children’s engagement in terms of the three strand units. e.g:
o Exploring and making Drama - the extent to which the child enters into a role or a
character and develops it in the context of the action
o Reflecting on Drama - the extent to which they use reflection to create alternative
courses for the action or the quality of the insights they gain from the Drama
experience
o Co-operating and communicating in making Drama - the child's ability to contribute
to the shaping of the Drama, both individually and in group in-role and out-of-role
discussion about the Drama as the action takes place
The table below outlines how the teacher might begin to observe the development of the elements in
class.
9
Elements in Drama
Belief
Role and Character
Action
Place
Time
Tension
Significance
Genre
(Fifth and Sixth Classes only)
How the elements might look ...
How can the child be encouraged to enter into the
drama with full belief? Evident in the child's trust
in and ease with make-believe play
How will the child move from role playing to
entering into character? Taking on the
characteristics, attributes and thought process of
another person
What is happening in the drama? Action in drama
comes from the interaction between characters
and situations in which they find themselves in the
drama
Where is the action taking place? How is real place
and space used to represent this?
When is the action taking place? The fictional
past and fictional future will have a bearing on
the drama
How will tension drive forward the action of the
drama? The characters will be faced with choices,
desires and uncertainties. Such tension causes
characters to make decisions and moves the drama
forward
What is the relevance of the drama to the child 's
life? In what way can the child relate to the drama?
Is the drama naturalistic , absurd, tragic, comic or
fantasy? Genre is the style of the drama
6. Equality of Participation and Access
Equal opportunity of access to Drama will be given to all children.
• Organisational Planning
7. Timetable
The curriculum documents provide information and guidance to individual teachers for their
timetabling of drama in their individual classes.
8. Resources
Books
A selection of drama hooks have been sourced, a l ist of which is attached to this plan. (cf; Appendix
3)
Internet
A selection of short videos dealing with all curricular areas and teaching issues: ,www.teachers.tv
Association for Drama in Education in Ireland: http://www.ict.mic. ul.ie/adei /
www.creativ edrama.com
Props
10
.
Teachers will source a variety of props for use in their classrooms. A selection of props for use by ·
all classes will also be stored in the storage press on the landing.
9. Health and Safety
As with all curricular areas, the Drama Curriculum will maintain due care to our school's Health
and Safety Policy.
Care and attention will be given to the following:
o Hidden dangers if children are moving around the classroom
o Storage facilities
o Ventilation of the classrooms
o Amount of space for children to sit or stand when engaged in Drama work
o Particular care will be needed when children are setting up the Drama space.
o Appropriate volume levels when using audio equipment or when engaged in a very loud
activity.
10. Individual Teachers' Planning and Reporting
Long term plan cf. Appendix 5.
Each teacher will be given a copy of this school plan and will be encouraged to refer to it. When
doing their o w n long term and short term planning. Teachers teaching the same level are
encouraged to plan together
The elements of Drama should be carefully considered in the short term planning of Drama.
Themes
As mentioned in the integration section, teachers in the school approach much of their teaching
thematically and are encouraged to do so with Drama also. A list of possible themes may include:
• Everyday situations requiring social skills
* Halloween
• Autumn
• Winter
• Christmas
• Summer
• Pirates
• The Sea
• A journey
Cúntas Míosúil
The Cúntas Míosúil is an important indicator and record of work carried out in Drama. Teachers will
record their work in Drama for a particular month under two headings (see p 6 above) :
- Fictional Lens used
Content Covered
11. Staff Development
Teachers have access to reference books, resource materials, equipment and websites dealing with
Drama. We will continue to add to this in the coming years.
Drama will be on the agenda at one staff meeting per year. This will allow for review of the policy
and also give an opportunity for members of staff to share ideas that are working for them. This
arrangement will be subject to review.
Teachers will be informed about upcoming courses in the education centres and other bodies
providing professional development through the staffroom notice board.
11
Over the coming years we will, if possible , engage with the PDST cuiditheoireacht service to come
to the school to aid individual teachers with planning, to model lessons and to target the weaker
identified areas of the curriculum .
12. Parental Involvement
The subject of Drama should be introduced to and summarised for parents at welcome meetings at
the start of the year and in the course of parent-teacher meetings.
Where appropriate, and with managerial consent, parents may be invited to assist the teacher with
the process of Drama within the classroom.
13. Community Links
The local community, actors, theatre professionals living locally, local arts centres and education
officers, theatre, local Drama events and national support structures will all be considered as
valuable resources as support for The Drama Curriculum.
Events in which the school will consider participating in:- External children’s theatre productions. e.g. Baboro
- Invitation of theatre productions to the school, e.g.The West Midlands Theatre Company.
Relevant education packs to deepen the children's experience of such theatre productions w i l l
be provided where possible. Use of such packs is strongly recommended.
Success Criteria
The teacher's classroom planning will be based on this plan. The aims and objectives of this plan
will be followed with emphasis on developing a whole school programme that allows for
development and progression. Based on this, we hope that our Drama plan will prove successful in
its implementation. Success of this plan will be based on teacher/pupil feedback and also inspector's
reports and recommendations .
• Implementation
(a) Roles and Responsibilities
The plan has been drawn up through collaboration with PDST Cuiditheoir Dympna O'Byrne and
the teaching staff of Scoil Ide. Each teacher has the responsibility to implement the Drama
Curriculum in his/her classroom. Mrs. Claire Hynes and Ms. Anne-Marie Hennigan will support staff in
implementation, encourage feedback and update the plan again, if necessary.
(b) Timeframe
The policy will be reviewed again in 2017.
• Review
Roles, Responsibilities and Timeframe
After the initial review at the end of the 2015 school year, each teacher and the staff as a group
evaluate the progress in Drama by referring back to our set of stated objectives as stated in this plan
once every three yea rs. A short session at staff' meeting will be allocated to this work
12
• Ratification and Communication
This plan will be ratified by the Board of Management in January 2015. A copy of the plan is also
available in the school for perusal by individual parents . The plan was drawn up in April 2009 and
was reviewed again in 2014 and will be reviewed every three years after. Reviews will be based on
the success criteria stated above.
Appendix 1: Outlines of lessons
Appendix 2: Sample Lessons
Appendix 3:Drama Contracts
Appendix 4:Inventory of resources
13
Appendix 1
Initial Plan for Drama Implementation
List of Suggested Lessons by Class Level
Resource
Junior/Senior
'Step by Step '
- Ferdie the frog
- The season's
wizard
Joanna Parkes &
Sarah Fitzgibbon
Discovering
Drama
Paula Murphy &
Margaret O Keefe
- Drama and
play in the early
years
r 12nd
1
- The king of
the sea
- The
grumpy old
man
Winter's
Dilemma
3rd;4th
5th/ 6th
- Mystery at
the Monastery
- Samir's
life in Egypt
- Your country
needs you
- What's
wrong with
Sam?
- Tom Crean
- The
children of
Lir
The Toymaker 's This resource is
Workshop
for the Junior
Jo Boulton &
classes
Judith Ackroyd
- Humpty
Dumpty
- Toymaker's
Workshop
- Beside the
Seaside
- Billy Goats
Gruff
Finders
Keepers
Drama and
Traditional
Story for
the Early
Years
The Drama
Ideas bank
-
-
This resource
is for the
Junior classes
- The
Lonely
Dragon
- Off to the
Market
- Castl
e
Tales
- Forest
Adventure
- The Red
Garden
Baby Bear Did - Cinderella
It
- Jill and the
Goldilocks
Beanstalk
Little Bo Peep
Mary Brooks
Planning Pack
Day 1
Story
Poetry
Planning Pack
Day 2
This resource
is for the
senior classes
This resource
is for the
Senior classes
- Oisin and Tir
na nOg
- Lord Ulinn 's
daughter
- Little red riding
Hood
- Goldilocks
and the 3 bears
- Children of
Lir
- The teddy bear
and the kangaroo
- Katie
moving house
- It's Hot!
- Messy room
- Jane and
the treasure
Map
- Emigration
'Step by Step' -· the bones of some of the lessons
Note: The formatting of these lessons has become erratic
Elements of a Good Infant Drama Lesson
Infants:
'Season's Wizard' - Session 1
1. Discussion
2. Funny Walk
3. Teacher gives information. They decide roles as villagers. Individual mime work.
Jobs in village . Then working in pairs. Freeze
4. Wind down . Circle. Discussion. We're back in class but will return. Record roles
'Season's Wizard' - Session 2
1. Recap stozy and roles.
2. Divide the class into four season 's locations and devise matching actions. A
Game
3. Back into roles. Narration and mime
4. Derole. Discuss. Imagine what forthcoming character looks like. How do we
make him welcome. Draw wizard
'Season's Wizard' - Session 3
1. Recap. Teacher reports back that she has heard Visitor is corning
2. Season's game same as yesterday
3. Meeting. Teacher-in-role. Greeting and presenting present. Teacher asks their
advice. Problem -solving of fighting small wizards. Relates to fighting in class.
Problem-solving.
4. Derole. Discuss wizard . Discuss implications
'Season's Wizard' - Session 4
1. Recap. Task
2. Teacher-in-role. Children-in-role. Mime.
3. Circle. Teacher-in-role says 'You have helped me realise . . . ' Finds resolution
4. Circle. Discuss.
'Season's Wizard' - Session 5
1. Back into original roles as villagers. Recap. Need your help.
2. Teacher-in-role needs their help. Draw up rules
3. Children in role as villagers. Occupational job mime. Teacher thanks them
4. Circle. Reads letter. Party. Play favourite game.
OTHER NOTES Taken from sources other than 'Step by Step'
'In The Woods'
P.C.S.P. Drama Lesson - Single Lesson
Warm Up: Games
Development:
1. Preparatory occupational mimes for roles in drama
2. Allocating roles to three different groups
3. Mime and Narration of story
Reflection: Questioning
Visual Arts: Drawing
Follow-Up: Tell story through musical instruments
Integration Opportunities
'Baby Bear Did It' (Goldilocks)Based on Toye and Prendiville's drama
P.C.S.P. Drama Lesson - Single Lesson
Introduction:
1. Recap of story.
2. Children help teacher to define the space. Bears House
Development:
1. Teacher tells class that she will be going into role. Gives information. 'Listen to
Baby Bear. Don't speak to him. Observe him. See what you find out. Detectives'.
2. Teacher-in-role looking cross, similar movements. Out of role discussion about
what they picked up. Discussion on how and what to ask him. Teacher-in-role .
3. Out of role discussion
4. Teacher introduces object, bag. Discussion - found in woods. They open it. Items
belong to Goldilocks. Teacher-in-role as a silent Goldilocks. Out of role
discussion . Teacher-in-role as Goldilocks talks to class.
Reflection. Visual Arts picture of Messy Kitchen.
Development:
1. Teacher-in-role as Baby Bear throwing out lunch. Class talk to Baby Bear who
reveals a problem - he doesn't have many friends. Problem-solving.
2. Pair role work. Goldilocks and Baby Bear.
Conclusion:
Discussion.
Problem solving 'Did he say sorry?'
Ask the class if they will play with Baby Bear
Still Images of Baby Bear playing with new friends
'Humpty Dumpty'
P.C.S.P. lesson . .. . Adapted from Ackroyd and Boulton
Lesson 1
Warm Up. Mime the rhyme
Development
1. Discussion
2. Teacher-in-role as Humpty feeling down. No friends etc
3. Discussion out of role. What would they like to say to other children who won't
play with him?
4. Teacher-in-role as belligerent child. Children convince
5. Teacher reads letter from Humpty to children - very happy
6. Still Image of Humpty playing with others.
7. Discussion
Cool down activity. Draw picture of Humpty
'Humpty Dumpty'
P.C.S.P. lesson ... . Adapted from Una McCabe
Warm up: Role Game. Also Good morning your Majesty
Development
1. Game
2. Define the space - the palace
3. Choose roles. Teacher-in-role as the King
4. Mime to music
5. Out of role discussion on kind of king
6. Recommence action. T-i-r as king on phone
7. Out of role discuss. What kind of news?
8. Pupil in role improvises King's conversation
Cool Down: Narration and mime to music. Thought track children
Elements of a Good 181/2°d class Drama Lesson
Step by Step 'The King of the Sea'
Session 1
1. Circle. Letter . 'Do you want to help?'
2. Collective Drawing. Define space. Narration and mime
3. Circle. What do we need for journey , List. Consider what you need. Teacher-inrole welcomes them on board. Narration and mime
4. Out of role. Circle. Discussion. We will go back next week
Session 2
1. Recap. List of crew's jobs . Allocate roles
2. Redefine space. Boat. Teacher-in-role. Narration and Mime. Teacher inspects.
'Any problem on board our ship?' Problem-solving
3. Group still images of how to solve various sea dilemmas
4. Wind down. Night time mime. Back in class when clap hands. Discussion. Return
next week
Session 3
1. Circle. Reread letter
2. Rope game.
3. Teacher-in-role as King of the Sea. Welcomes class. Tells problems. Problemsolving
4. Role work cleaning up ship. Mindful of ISSUE - recycling. Sorting rubbish
5. Teacher-in-role thanks them , discusses where rubbish is coming from and how
help in future.
Session 4
1. Visualisation. Sandy Beach
2. Teacher-in-role as person having picnic. Props. Models littering. Provokes
response from class in role.
3. Out of role discussion. Make 'No Littering Signs'. Write collective letter to
factory
4. Wind down. Thank you letter from king
Grumpy Old Man
Session 1.
1. Imagine a garden. Discuss
2. Paper placement of flowers in garden
3. Children walk about exploring. Sights and smells. (in fact this is scaffolding for
next activity. They are breaking in)
4. Chair in front. When I sit down I will be owner. Listen to him and answer his
questions. Teacher-in-role as grumpy man. Children broke in. No permission.
•
Problem-solving. Build wall
Elements of a Good Drama - Third and Fourth Class
Egyptian Lesson
'Samir'
Pre- Drama Activity: Information on Egyptian life
Lesson One:
1. Discussion on market. Barter. List of stall
2. Groups of four/five. Define roles as families at home. Still images into action
until ready to go to market. Freeze
3. Discussion. Getting ready to go to market. Define space. Write or draw what they
are selling. Shopping list. Who's selling I buying? Whole group improvisation.
Teacher goes around
4. Discussion. Further research
Lesson 2
1. Recap. Teacher leaks information. Groups of 4 - Samir's family. Define house
space. Everyday rituals including going to river for mud.
2. Pairs in role. Teacher gives briefs to both. Find resolution
3. Our of role sharing how resolution
4. Fill in time line. Further research on Nile, floods, farming
Lesson Three:
1. Circle recap. Fast-forward orally. Samir 14. Pair work. Samir and Uncle teaching
him to be a good farmer. Narration and enactment of four different farming
activities
2. In-role all farmers sit. Teacher leaks information how we will meet Advisor about
flooding, seasonal work, afterlife etc. Teacher-in-role as Advisor - we need
volunteers for building pyramid -privilege. Conditions. Stress the honour. Any
questions. How many volunteers?
3. Group work (4). Still images of hard work. Everyone gets to be Samir.
4. Time line
Lesson 4:
1. Examining pictures of Frescoes.
2. Teacher - fast-forward. Samir master potter. Pyramid complete. Define classroom
as pyramid. Groups of 4 make still image of pictures. Compose background story.
3. Mapping of inside pyramid. Define space with chairs. Stick on Egyptian pictures.
4. Groups. Recreate frescoes. One as Samir. Off lights. T-i-r as Temple priest shows
Samir frescoes.
5. Time line. Discuss
Elements of Good Fifth and Sixth Class Drama lesson
What's wrong with Sam
Lesson 1
1. Teacher informs class that we're going to create a character Sam over next few
weeks. Draw role on the wall . Wall. Explain. Divide class into 5 groups. 4 groups
get Sam's diary and 5 gets Sam's school report . They extract information
2. Use information to create frozen pictures to show others. Maybe one of group
reads lines from diary
3. Feedback. Fill in role-on-wall
4. Same groups. Frozen pictures of happy times. Thought-track
5. Class hot-seat individual
Lesson 2
1. Same groups. Before and after frozen pictures of Sam losing temper
2. Groups of 5. Sam's family. Meal time. Each family member briefed. Define space
with chairs. Encourage them to share and interact. On count of three, bring scenes
to life. If they lose concentration stop and re-focus through questioning . Bring to
life simultaneously.
3. Volunteers for each member of family hot-seated about mealtime
Lesson 3
1. Teacher gives information - Sam is moving house
2. Teacher-in-role as Teacher and class in role as Sam's class. Tension. Sent
her on a message, she may come back
3. Last day at old school. Small groups. Images of different moments of Sam's last
day. Thought-track. Add words to role on wall.
·
4. Wind down - discussion
Lesson 4
1. Teacher sets up scenario. First day in new school. Large circle. Enact playground.
On signal count to 3 bring to life. Ask 4 volunteers to be Sam. All ignore Sam 1.
All stare at Sam 2, all welcome Sam 3, all smile at Sam 4 . Hotseat all the Same
Discussion
2. Groups of 4/5 recreate images of Sam's first day in school. Compare with old
images of old school
3. Pairs in role. Incident has happened . Teacher and Sam. Set up the scene - chair
4. 3 of Sam’s volunteer to be hot-seated.
Lesson 5
1. Groups of 4. Images of the incident. Discussion on how to improve situation.
Problem-solving
2. Teacher gives information of Sam being bullied. Scenario - pairs in role. Getting
up early. Mother and Sam
Primary Curriculum Support Programme
fogh/aim agus forbairt
The Drama Contract
One of the prerequisites for making drama is a safe environment.
Drama in education is a social learning activity. "In order to increase
children's confidence, allay their fears and dissipate their inhibitions
they must be allowed to make the drama in a safe environment, where
what they do is valued and validated by other children and the
teacher". (Drama teacher Guidelines p. 9)
Before you start on drama activities with your class, it is wise to
establish some ground rules with the children.
One suggested activity is to set up a Drama Contract.
As with any class activity involving groups or a whole class working
together, it is necessary to make behavioural and procedural
expectations clear at the outset in a purposeful and positive way. The
drama contract may link with other class or school contracts or codes
of discipline but it should ideally also be established in its own right.
You will derive more benefit from the drama contract if it is drawn up
with the children rather than just given to them.
It is a good idea to engage the children in an activity such as one or
two drama games before discussing the contract.
The drama contract can be written as an individual contract which
will be signed by each child or a whole class contract on one large
sheet of paper which the children may sign. It may be re-negotiated or
revised.
J,
Primary Curriculum Support Programme
foghlaim agus forbairl
\'
Samples of a Drama contract
rama Contract
1. Be careful getting the drama space ready.
2. Pretend to be someone else.
3. Try your best.
4. Listen carefully.
5. Believe others.
Primary Curriculum Support Programm
The three C's contract
• Communication
• Co-operation
• Concentration
'T't. - r,._ _
_ - r< . ·- ,..
•
Primary Curriculum Support Programme
foghlaim agus forbairt
t
,.
We agree to
1. Work together
2. Listen to each other
3. Respect each other
We agree.not to
1. Tease or
make fun of others
2. Boast or show of f
When the drama is over, the drama is over
.
Signed ;
l_l'lu_.,__-
_
Primary Curriculum Support Programm
The Drama Contract
PCSP
Primary Curriculu m Support Programme
foghlaim agus forbairl
Drama contract
Concentrate
Allow others to
express themselves
/
.
.
/
Have fun and enjoy
'[
Consider feelings ourselves without hurting _j
of others
others
c
\.
/
· /
Take
turns
Ii
,,
Show respect
for each other
Co-operate and
work together
\.
Listen to each
other
Help one
another
\.
Positive behaviour/ 'Pass' if we need
positive comments
time to think
Primary Curriculum Support Programm{
Inventory of Resource Books
1. "Drama and Traditional Story for the Early Years", Nigel Toye.
2. "Ideas for Drama, Key Stage One, Ready to Go", Alison Chaplin.
3. "Creative Activities for Plot, Character and Setting, Ages 5-7", Teresa
Grainger, Kathy Goouch and Andrew Lambirth.
4. "The Toymakers' Workshop and Other Tales", Jo Boulton.
5. "Drama and Role-Play, New Bright Ideas", Nichola Rees.
6. "On Stage:Theatre Games and Activities for Kids", Lisa Bary-Winters.
7. "Drama 7-11", Neil Kitson and Jan Spilby.
8. "Step by Step Educational Drama", Joanna Parkes and Sarah Fitzgibbon
9. "100 + Ideas for Drama", Anna Scher
10. "Another 100 + Ideas for Drama", Anna Scher
11. "Drama Lessons for 5-11 year olds", Judith Ackroyd and Jo Boulton
12. "Ideas for Drama, Key Stage 2, Ready to Go", Alison Chaplin
13. "Improvisation with favourite Tales", Ruth Beall Heinig
14. "Beginning Drama 4-11", Joe Winston and Miles Tandy
15. "101 Drama Games and Activities", David Farmer
Useful Websites for Drama
www .seomraranga.com
vvvlw.dramateachers.co.uk
\Vww.artsonthemove.co.uk
“youtube”
www .enchantedlearning.com