Good s Thing

A Teachers Resource Pack by Katherine Morley & Gillian Lees of Reeling & Writhing for West Lothian Council

The

USING DRAMA AS A TEACHING TOOL

Good s g n i h T
Contents
PAGE 2 3 4 5 5 6 7 8 11 12 29 32 34 36 37 39 Reeling & Writhing A short introduction Who this pack is for and how it can be used The play The Good Things and why it was made The Good Things acknowledgements West Lothian Arts Education Service Contact Information West Lothian Drug and Alcohol Information Services Facts about Drugs Table of Drugs Information Why use drama as a teaching tool? Games, exercises and stimuli Drama conventions for teaching across the curriculum What to do now - a generic workshop plan Control versus Expression trouble shooting Evaluation and where to get drama support Further reading Your own notes from CPD or classroom sessions

The

This pack can be downloaded from: www.reelingwrithing.com and West Lothian Council Education Services website: http://edweb.westlothian.org.uk/artseducation Reeling & Writhing Ltd, 2005

Reeling & Writhing

brilliant, ground-breaking theatre makes you feel the earth move a little under your feet Joyce MacMillan, The Scotsman (Standing Wave)

Reeling & Writhing is a Glasgow based company founded by joint artistic directors Katherine Morley and Tim Nunn. Our performances start from, or are immersed in, fine text and beautiful words, through which the company aims to inspire and educate. Reeling & Writhing creates a magnetism between the textual and the physical worlds of performance, to exercise text and ingenuity, to employ music as much as a physical dynamic and to find and embrace human complexity. Productions are often accompanied by an education or community project, to allow access, and to encourage people of all ages, colours and sizes to benefit from all that the arts can offer. We engage with people from all sectors of the community in which we live, as our audience and as collaborating artists. Reeling & Writhing was born from the need to make beautiful things.

voluntary positions for Scottish theatre. He has always had a professional connection to the arts but also worked for ten years as a human rights campaigner including a term as director of the Free Tibet Campaign. In January 2004 we produced White Lament the performance production for National Holocaust Memorial Day commissioned by the Scottish Executive.We worked with a young cast from East Renfrewshire to create the show in workshop, ultimately written by Tim and directed by Katherine. The performance was very successfully shown to an audience of politicians and business and community leaders from all over Scotland. After the success of White Lament we were commissioned by the Scottish Executive to write a five chapter, cross-curricular teachers pack about The Arts and The Holocaust. Entitled The Arts and The Holocaust. Lessons from the past for citizens of today the pack was launched by Peter Peacock, the Education Minister on Holocaust Memorial Day 2005 and has been distributed to every Secondary school in Scotland. In between these two big education projects we also produced a new mainstream play called Standing Wave as a co-production with the Tron Theatre, Glasgow. It told the story of Delia Derbyshire, a talented electro-acoustic composer who worked at the BBC Radiophonic Workshop in the 1960s and was best known for arranging the Dr. Who theme tune for its first broadcast series. Our three week run of Standing Wave in October 2004 received four star reviews from the Herald, the Guardian, the Times, the Express, the Sunday Herald and the Metro and a five star review from the Scotsman. A full company biography is detailed, with photographs, on our website: www.reelingwrithing.com.

Reeling & Writhing was founded by Katherine Morley and Tim Nunn, who are committed to creating theatre for a broad and new audience in Scotland. We are arts professionals with strong combined experience and a history of working in Scotland and throughout the UK. Katherine has been working as a Glasgow-based theatre director and workshop leader for 6 years, since the completion of her research based MA. She has most recently directed shows for the Tron Theatre, TAG, Grey Coast and Reeling & Writhing. Tim moved to Glasgow in February 2003 and has been busy at the Centre for Contemporary Arts establishing the Creative Lab and in various professional and

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Who this pack is for and how it can be used

This pack has been written to give practical help for Primary teachers in West Lothian to tackle a range of subjects across the curriculum, using drama as a teaching tool. The activities within this pack have been designed for teachers to use in a normal classroom or hall space and for any teacher to use, regardless of their previous drama experience. Although many of the exercises and activities are aimed at the P6 and P7 age group, much of the work can easily be adjusted to suit your own class and subject-specific needs. In addition to this pack, Reeling & Writhing has been commissioned by the Arts Education Service to make The Good Things a play for P6 and P7 audiences, about drugs awareness and substance misuse. This play is designed to dovetail into the multi-layered drugs programme already active in West Lothian. Teachers attending performances of The Good Things and the accompanying CPD sessions can use the supporting material within this pack to assist in the running of their follow-up classroom sessions on drugs awareness, as well as strengthening drama skills for exciting cross-curricular integration. The practical example exercises in this pack are generic and applicable to any issue-based topic. For clarity and continuity, when citing example exercises, we have often referred to our original issue-based commission about drugs awareness. This pack has been written by Katherine Morley and Gillian Lees of Reeling & Writhing Theatre, Glasgow with research advice from West Lothian Councils Arts Education Service and West Lothian Drug and Alcohol Service.

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What is the show and why did we make it?

In May 2005 Reeling & Writhing were commissioned by West Lothian Councils Arts Education Service to make the performance The Good Things. The Good Things is an interactive theatre experience that engages a P7 audience in drugs related issues. Actors help the audience to share knowledge and air their opinions about drugs related issues by, as young characters in the play, talking directly to the audience, asking for their opinions and advice about the drugs related scenarios those characters find themselves in (at a party, at work, at school, in the park, at home, with friends, with strangers). This style of performance theatre allows the audience to make decisions on behalf of the characters and take an active role in determining the outcome of their actions.As with many other issue-related topics, this style of active learning revolves around understanding the concepts of choice and consequence or cause and effect. We are pleased that this play is part of a network of drugs awareness learning involving West Lothian Police education department, National Choices for Life, the West Lothian network of School Nurses and West Lothian Drug and Alcohol Service.

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Produced by Reeling & Writhing, Glasgow

The Good Things

was devised by the company Performer 1 Gillian Lees Performer 2 Mary Wells Performer 3 Brian Ferguson

Director Katherine Morley Designer Tim Nunn Stage Manager Catherine Milestone Sound Design Rhythm & Wriggle Set Construction Dana Payet

Project Researchers Katherine Morley & Gillian Lees Specialist Research Advisors Joanne Sinclair, Schools Co-ordinator and Brian Pringle, Education Training Manager from West Lothian Drug and Alcohol Service.

With thanks to; Elly Reid,Viv Gee

West Lothian Council The Good Things Project Management: Laura Tyrrell Arts Education Co-ordinator Fiona Macfarlane Cultural Co-ordinator Nancy Douglas Cultural Co-ordinator Sandy Crawford Theatre Technician

Craigsfarm Theatre John Hoey Community Development Officer

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Useful Contacts for Drugs Information in West Lothian

(As of September 2005) Education Officer West Lothian Council Education & Cultural Services Lindsay House South Bridge Street Bathgate EH48 1TS Tel: 01506 776136 Schools Drug Education Co-ordinator West Lothian Drug & Alcohol Service 43 Adelaide Street Craigshill Livingston EH54 5HQ Tel: 01506 446658 Back on Track (support for young people affected by substance use) West Lothian Drug & Alcohol Service 43 Adelaide Street Craigshill Livingston EH54 5HQ Tel: 01506 430 225 Police Drug Awareness Officer Livingston Police Station Almondvale South Livingston EH54 6PX Tel: 01506 431200 or 445618 or 445671 Cloud Nine Project (smoking cessation) West Lothian Drug & Alcohol Service 43 Adelaide Street Craigshill Livingston EH54 5HQ Tel: 01506 446655 Pack It In Project (smoking cessation & education) West Lothian Drug & Alcohol Service 43 Adelaide Street Craigshill Livingston EH54 5HQ Tel: 01506 446659

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Facts about drugs

Through talking to teachers and young people during our research, we have discovered that many people are confused about the basic facts concerning both legal and illegal drugs and the effects they can have on the body, both physiologically and mentally. The following table of drugs information has been taken from advice published by Know the Score. Depending on the drugs climate in your teaching area, P6 and P7 pupils may well have some knowledge of the drugs included in the table and want to ask you more about them. This table should help provide direct and accurate information in situations deemed appropriate by you, for your individual class. N.B. After seeking advice from the West Lothian Drugs and Alcohol Service, we have chosen to focus the play The Good Things around nicotine, alcohol and cannabis, as these are the drugs the P6 and P7 age group are most aware of.

Opposite is a list of local contact information for different aspects of drugs advice.

Regional colloquialisms mean that sometimes names of drugs are swapped around and may have alternative meanings in different local authority areas.Young people may have adopted the wrong name for a particular drug, and so it is essential, during drug-awareness work in the classroom, to ascertain that both teacher and pupil are discussing the same substance so that accurate information can be given.

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Slang Names Depressant drug - enters the bloodstream within 30 minutes and then travels straight to the brain. Reduces inhibitions and increases sense of relaxation. Each unit takes an hour for the body to process. Stimulant drug - Acts fast, first increasing alertness then producing a sense of relaxation. Nicotine addiction can develop quite rapidly and regular smokers often feel anxious and irritable if unable to smoke. Smoking can restrict growth in young people. Impairs ability to concentrate and conduct complex tasks. Can lead to tiredness and lack of motivation. Other chemicals in tobacco cause lung cancer and stomach diseases, heart disease, circulation problems, wrinkled skin and premature ageing. Hangover including dehydration, headache, nausea and depression. Intoxication can lead to aggressive/irrational behaviour and accidents. Regular heavy drinking can cause stomach disorders, cancer of mouth, throat and gullet, liver cirrhosis, brain damage, high blood pressure, problems with the nervous system, sexual and mental health problems, and family and work problems.

Effects

Short-Term Risks

Long-Term Risks

Law LEGAL however is illegal to sell alcohol to anyone under 18 years old.

Drug Name/Appearance Alcohol Liquid drunk as alcopops, spirits, beers and wines.

Booze, Bevvy, Drink

Nicotine - Cigarettes, pipes, cigars, loose tobacco, chewing tobacco. Is smoked or chewed.

Cigarettes, Fags, Ciggies

LEGAL however it is illegal for retailers to sell tobacco to anyone under 16. ILLEGAL - Class C

Cannabis - Comes as solid lump resin; leaves, stalks and seeds called grass; or sticky dark oil. Can be smoked or cooked and eaten with food.

Hash, Dope, Blow, Draw, Grass

Hallucinogenic drug - users feel relaxed and may have sharper sense of colours and sounds. Some feel urge to eat. If taken in food, effects can be stronger and harder to control.

Regular heavy use can lead to development or worsening of mental health problems including paranoia. Smoked with tobacco, it increases health risks associated with tobacco use and can lead to nicotine addiction. Very heavy use can lead to withdrawal symptoms.

Slang Names Depressant drug - Similar to being very drunk. Users feel dizzy, giggly and light-headed. Some hallucinate. Effects last from a few minutes to 30 minutes. Hangover for a day or two. Nausea, vomiting, blackouts, bad cough, spots/sores around mouth, persistent cold and heart problems. Inhaling with a plastic bag can cause suffocation. It is extremely dangerous to squirt gas into the mouth as this can cause sudden death. Never chase anyone sniffing solvents as their heart may suddenly stop beating. Dangerous mixed with alcohol or other drugs, particularly other depressant type drugs Damage to brain, liver, kidneys, nervous system, lungs and reproductive organs.

Effects

Short-Term Risks

Long-Term Risks

Law It is illegal for retailers to sell butane gas refills to anyone under 18. Also illegal for solvents to be supplied to people of any age in the knowledge that they are to be abused

Drug Name/Appearance Solvents - Butane gas cigarette lighter refills, disposable cigarette lighters, aerosol sprays, whipped cream cans and glue tins or tubes. Sniffed or breathed in through a cloth or sleeve. Gas may be squirted straight into the back of the throat. Depressant drug - relieves anxiety and tension. Calms users and slows them down. High doses can make users drowsy and forgetful. Stimulant/hallucinogenic drug within 20 minutes to one hour, increases energy and sense of well-being. Sounds, colours and emotions more intense. Lasts up to 6 hours. Regular use can damage short term memory and reduce energy. Almost all tranquillizers are addictive. Withdrawal symptoms include depression, insomnia and panic attacks. Ecstasy use has been linked to mental health problems, and liver, kidney and brain damage.

Gas, Glue, Buzzin

Tranquillizers Tablets or capsules. Can be swallowed or injected

Vallies, Jellies, Tranx, Benzos. Brand names include: Valium, Librium, Mogadon

Ecstasy - Tablets of different shapes, sizes and colours - often with a designer logo. Taken by swallowing the tablet.

E, Eccies, Mitsubishis, Diamonds, Euros (MDMA is the chemical name)

Use can lead to overheating and dehydration if users dance without taking breaks or sipping non-alcoholic fluids. This can be fatal. Drinking a pint of liquid every hour and eating a salty snack from time to time are advised. Users can feel tired and depressed for a few days after use.

If possessed without a prescription or supplied illegally, classified as Class C. ILLEGAL Class A

Slang Names Stimulant drug - for 3 or 4 hours users feel excited, confident, alert and full of energy. Reduces appetite and ability to sleep Some users may feel tense and anxious while using and afterwards many feel very tired and depressed. The drug can cause sudden death from heart attack or stroke. Frequent high doses can cause panic, hallucination and weight loss. Heavy long-term use places strain on the heart and can cause mental illness. Amphetamines are addictive.

Effects

Short-Term Risks

Long-Term Risks

Law ILLEGAL - Class B or Class A if prepared for injection

Speed, Whizz, Base

Smack, Scag, H, Junk, Gear

There is a real risk of drug overdose, possibly leading to coma or death, particularly when mixed with other depressant drugs Trips cannot be controlled, changed or stopped. A bad trip can be terrifying, which requires help and reassurance from others. Mental health problems can be triggered and existing conditions made worse.

Heroin is highly addictive and larger and more frequent doses may be needed to feel normal. Injecting can damage veins; sharing needles can spread hepatitis and HIV. Users may have flashbacks where they relive a trip without taking the drug again.

ILLEGAL Class A

Drug Name/Appearance Amphetamine - Grey or white powder that is snorted, swallowed, smoked, injected or dissolved in drink. Tablets are swallowed. Also comes as base a wet putty like substance. Heroin - brownishwhite powder. Some heroin comes in a brown/black form that looks like hard toffee. Smoked, dissolved or injected. LSD - Comes in small squares of paper, often printed with designs, or as tiny tablets called microdots and dots. Tablets are swallowed. It is a myth that LSD can be absorbed through the skin from transfers. Depressant drug - Slows the brain, heart rate and breathing. Small doses bring a sense of warmth and wellbeing; larger doses make users drowsy and relaxed, and free from worry and pain. Hallucinogenic drug - the hallucination or trip starts within an hour and can last 8 12 hours. Surroundings seem different. Colours brighter, sounds new, movement and time may seem to speed up or slow down.

Acid

ILLEGAL Class A

The information above has been taken from www.knowthescore.info Signs and symptoms of drug use can vary greatly among individuals depending on the drug being used and the environment the person is in. It is important that teachers know their pupils well and can therefore gauge whether any significant changes occur. Never assume that it is drug use that is causing any unusual behaviour. The pupils welfare should always be of paramount importance. However, if you do have any concerns regarding drug use among pupils in schools then please refer to;

West Lothian Councils Schools Substance Policy or contact West Lothian Drug & Alcohol Service on 01506 430 225.

Drama as a teaching tool

Possibly the biggest myth about drama work is that its always highly theatrical and necessitates costumes, makeup, lights and lots of rehearsal. Of course there are some situations where this is true, but all you really need to use drama as a teaching tool is:

a clear learning objective a good workshop plan a group of young people and an empty space.

The knowledge that we instinctively acquire as children to observe, listen, repeat and trust through means of verbal and non-verbal communications1 - helps determine the success of our development into fully rounded, creative, expressive people. Engaging in games that test nerves, observation, trust and listening is an everyday activity for the young child. Drama is an extension of just such constructive play, using different kinds of cerebral and physical activity to enhance communication skills, encourage positive self-esteem, assist with informed decision-making and increase self-confidence, all of which are prerequisites for effective learning. Enabling young people to better understand and express a message, a story or important information no matter what their topic-area or subject-specific focus, is key to the aims of this pack. Using drama as a teaching aid offers an opportunity to take a theoretical subject and enable young people to engage in that subject through practical means, building up the context of the chosen topic, and using practical examples to support reading and writing work. When describing example activities we have made clear what the social and citizenship focussed outcomes can be and we hope this will form a good platform to then use the activities for any subject across the curriculum, since each exercise can be easily modified to fit your own needs and objectives.

1. Non-verbal communication: an amalgamation of facial expressions, body language, and proximity to those we communicate with.Verbal communication: measured by the volume, speed and intensity of our speech.

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Games, Exercises and Stimuli Name Games

TITLE: I LIKE
LEARNING OUTCOME: This exercise allows participants to get to know each other a little better and relaxes them into working within the context of drama.

TITLE: SHOUT IT OUT

LEARNING OUTCOME: This exercise allows participants to get to know each other a little better and relaxes them into working within the context of drama. It begins to develop a group ethos, encouraging good eye contact and non-verbal communication.

WHAT YOU NEED TO PLAY: A clear empty space. WHAT YOU NEED TO PLAY: A clear empty space. DESCRIPTION: As a group, stand in a large circle. Each member in turn says their name followed by something that they like. The thing that they like must begin with the same letter as their name, for example: My name is Sarah, and I like snakes. When each participant has spoken, the game begins again. Having said the same sentence for the second time, the participant then introduces the person to their right and the thing that that person likes, for example: My name is Sarah and I like snakes. Your name is Peter and you like parties. Peter then continues by saying his own name and what he likes followed by the name and preference of the person to his right. The game ends when everyone has spoken for the second time.

DESCRIPTION: Part A -Stand in a large circle. One participant is handed a ball. The person with the ball shouts out his or her own name, then throws it to someone else in the circle. The person catching the ball receives it, shouts their own name, then throws the ball to someone who has not yet received it; this continues until all participants have shouted their name out. Part B - The game begins again. This time, when a participant has received the ball and shouted their own name, they must make eye contact with another participant. When they definitely have eye contact with someone, they shout the name of that person and throw the ball to them.This continues until everyone has participated.

HINTS AND TIPS: Once the group has become familiar with the game, instead of moving around the circle in sequence and introducing the person to their right, participants can choose to introduce any other participant from the circle. In this instance, teachers should be aware of who has not been included to ensure that they will be.

HINTS AND TIPS: When the participants have become confident with the game, extra balls can be added to the circle. This develops the concentration, focus and awareness of the group.

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Warm-up Games
TITLE: RUBBER CHICKEN
LEARNING OUTCOME: This exercise incorporates a physical and vocal warm-up, as well as encouraging participants to work as part of a team

TITLE: PARTNER-TO-PARTNER
LEARNING OUTCOME: This exercise is useful as a physical warm-up, but it also allows for safe physical contact to be made between participants, breaking down the barriers between male and female pupils, which so frequently disrupt concentration.

WHAT YOU NEED TO PLAY: A clear empty space.

DESCRIPTION: Stand in a circle. The group collectively shake their right arms into the circle 16 times, then their left arms 16 times, then right legs, then left legs. Participants are encouraged to count in time with the shakes. The process is then repeated counting only 8 shakes of each limb. Continue in the same way, reducing the number of shakes by half each time, from 8 shakes to 4, to 2 and then 1. As the counts get shorter and invariably faster, the conclusion to the exercise is an enthusiastic wobbly rubber chicken dance. Wobble the body from toe to head whilst shouting Rubber Chicken.

WHAT YOU NEED TO PLAY: A large, clear, empty space

DESCRIPTION: Participants move through the space at a normal walking pace. One person shouts Partner to Partner. On hearing this, the participants form pairs and await instruction. An appointed leader shouts out the name of a body part, for example right hand to right hand. The participants bring their right hands together and keep them there awaiting further instruction. Another part of the body is shouted, and again those body parts should be brought together and remain together. The group leader continues to rapidly call out body parts. At the point where the partners are losing balance because so many of their body parts are together, the group leader shouts Partner To Partner and the participants move to find another partner. When all participants are in pairs and ready, the process begins again. Hints and Tips: Keep this game moving along quickly to ensure both brain and body are constantly exercising.

HINTS AND TIPS: The idea of this game is to get the body and the brain active, so ensure that full energy is being used and that it is clear to the participants that the faster and louder they can be, the better!

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Warm-up Games cont.

TITLE: THREE ELBOWS, FOUR WALLS
LEARNING OUTCOME: This exercise is useful for waking up both mind and body. It promotes accurate listening skills and encourages participants to work as a team. WHAT YOU NEED TO PLAY: A large, clear space. Description: Participants stand in a circle.They are asked to observe their own place within the circle. Set three physical tasks to be completed one after another, for example, touch three walls, then do 10 star jumps, then shake hands with 12 different people. Tell the class they must return to their original places in the circle once they have completed the set tasks. Time the activity and keep the counter going until every team - member is back in their original place. Repeat the exercise, encouraging teamwork to improve the time it takes to complete all tasks.

HINTS AND TIPS: The participants should be encouraged to rise to the challenge of completing the tasks within the time limits given, to heighten the levels of excitement. It is usual for each picture to contain 6 participants, after which, the picture can be discussed. The first group of participants return to the circle and the group starts another picture. It is possible to include more participants in each picture but keeping it to around 6 ensures energy is kept up by the high turnover of participants, ideas and pictures.

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Diagnostic Exercises
TITLE: LINE UP
LEARNING OUTCOME: This exercise allows the teacher or group leader to gauge the group dynamic and level of communication skills.

TITLE: 3 TRUE / 3 ASPIRATIONAL THINGS

LEARNING OUTCOME: This exercise allows the group to learn more about each other and the teacher to gauge the group dynamic. It also allows less confident participants to deliver information to the larger group, as part of a team.

WHAT YOU NEED TO PLAY: A large, clear, empty space. WHAT YOU NEED TO PLAY: A classroom or hall space DESCRIPTION: The participants are divided into two equal groups, and are informed that this game will be a race between the two teams. Each team must line themselves up without talking (with no adult help) from the tallest to smallest member in the group. The first group to stand in the correct order and in a straight line is the winner.

HINTS AND TIPS: Variations of the line up could be, alphabetically using first names or month of birth from January to December with each of those born in January then organising themselves in date order before joining the class line.

DESCRIPTION: Working in pairs, participants should exchange 6 pieces of information about themselves, with the aim of presenting what they have learned about their partner to the rest of the group. Firstly, partners should share 3 things that are true about themselves, ie. facts about pets, siblings or favourite hobbies. Secondly, they should swap three aspirational pieces of information ie. countries you would like to visit, jobs you would like to do as a grown up or things you would like to achieve. Form a circle and sit down so that each pair can present their findings to the rest of the group.

HINTS AND TIPS: Categories of information sought and presented could relate specifically to the termly classroom topics being explored.

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Diagnostic Exercises cont.

TITLE: IM A?
LEARNING OUTCOME: This exercise encourages the development and stimulation of imagination and encourages participants to think laterally. HINTS AND TIPS: The initial object, animal or person can be themed before the game commences, so that participants work within the realms of topic related material, gaining subsequent insight in to a subject or topic, affirmed by a visual aid The main aims of this game are to allow the group to think laterally and to work together to physically create an environmentally aware, three-dimensional picture. If suggestions for the next part of the picture are really not relevant to the first, briefly discuss why and move on quickly to keep the energy positive. When the inevitable football scene occurs, actively avoid having more than one footballer and think instead about all the different layers of things to see at a match, inside or outside the grounds, or at home with the tv. There need not be any physical boundaries or realities to this game. Scenes set in space are always particularly successful!

WHAT YOU NEED TO PLAY: A space large enough for the group to sit in a circle on the floor.

DESCRIPTION: One participant is selected to begin the exercise by thinking of an object, animal or person they would like to represent physically in the middle of the circle. When they have thought of something, they move into the empty space, strike an appropriate pose, and exclaim Im a followed by the name of the object they have chosen to be. The participant remains frozen in their pose. For example participant one might say Im a shoe, Im a litter bin or Im an endangered tiger The remaining participants are asked (ordinarily up to a maximum of 6 people per picture) to offer suggestions of what else or who else could join the frozen picture.Ask the group to consider the pose and position of the first participant and then all the different possibilities there are for a context. (The shoe could be in a shop window, or abandoned in the street, or in a bedroom.The litter bin could be in a park or school, over flowing or empty.) After ascertaining which object they think would be best to accompany the existing object, the next participant is asked to place himself or herself in close physical proximity to the first object, stating what or who they represent. (The shoe could be joined by a shoe box, a pavement or a radiator.The bin could be accompanied by a park keeper, an empty drinks can or a dog.) The picture is built up person by person no one person having overall say on how the picture is completed instead, each new participant responds to what has gone immediately before. It is usual for each picture to contain 6 participants, after which, the picture can be discussed. The first group of participants return to the circle and the group starts another picture. It is possible to include more participants in each picture but keeping it to around 6 ensures energy is kept up by the high turnover of participants, ideas and pictures. page 16

Concentration games
TITLE: 1-10
LEARNING OUTCOME: This exercise encourages the development of concentration skills and teamwork.

TITLE: 123, 123

LEARNING OUTCOME: This exercise promotes concentration whilst encouraging the development of movement skills, body awareness and confidence building.

WHAT YOU NEED TO PLAY: A clear empty space WHAT YOU NEED TO PLAY: A clear empty space DESCRIPTION: Participants stand or sit in a tight circle, with all eyes focussed on the floor at a point at the middle of the circle. A target number of 10, 15 or 20 is set. Participants count, as a group, from 1 to the target number, without any two people speaking at once. It is never predetermined who should speak at any point, participants are merely encouraged to listen carefully to each other and be patient. Only call out a number if it seems no one else is about to speak.

DESCRIPTION: Participants stand in pairs, face to face, ensuring that plenty of space exists between each pair. Decide which of the pair will be A and which will be B. Firstly, each pair counts from 1 to 3, taking it in turn to say a number, for example: A:1, B:2, A:3 B:1, A:2 B:3

and so on. Participants should aim to keep the dialogue at a steady pace. After a few minutes of practice, choose one or two pairs to quickly present their dialogue to the group. Some pairs may struggle to keep to a regular rhythm; encourage them to keep constant eye contact and a fairly steady pace. At the next stage, each pair should substitute the number 3 (in their 1, 2, 3 conversation), for an action of their own choice, which they must decide between them, for example- a jump, a clap or a nod. The number three is no longer spoken. Now the dialogue starts again A:1, B:2, B: jump and so on. Just as before, this is practiced for a few minutes prior to presenting examples of the work to the rest of the class. Stage three involves the substitution of the number 1 with yet another action, agreed by the pair. Now both number 1 and number 3 are substituted with an action i.e. A: clap, B:2, B: jump. A: jump, B: clap, A:2, A: Jump, B:1, A:2

HINTS AND TIPS: Beware of very keen participants who often fall in to the trap of always being the one to start the sequence off again, especially without waiting for all of the group to be fully ready and concentrating.

Examples of the work are presented to the group in the same fashion. page 17

Concentration games cont.

123, 123 CONT.
Stage four is a full movement dialogue with all of the numbers substituted by simple actions.This dialogue can go fast or slow, loud or soft. Encourage each pair to come up with their own performance style.

TITLE: SQUEEZE
LEARNING OUTCOME: This exercise helps to develop a sense of focus and concentration amongst the participants. It strengthens teamwork and helps to build confidence.

WHAT YOU NEED TO PLAY: A clear empty space HINTS AND TIPS: It is essential that those pairs who are asked to demonstrate their dialogues are not necessarily chosen because they are the best in the group. It is encouraging for those struggling to see dialogues from pairs who may not be coping, to make them aware that they are not alone.This can also encourage those who are more adept, to try to help struggling pairs.

DESCRIPTION: Participants stand in a circle holding hands, with eyes closed. One person, referred to as (A), walks round the outside of the circle and taps a participant, referred to as (B), on the shoulder or back. Participant (B the detective) must leave the room until they are asked to return.When (B) has left the room, (A) once again walks round the outside of the circle and taps a participant, referred to as (C group leader), on the shoulder or back. When person (A) returns to their place in the circle, they announce to the group Beware of the squeeze, its coming your way!. On hearing this, all participants open their eyes and the group leader (C) squeezes the hand of the person either to their left or to their right, depending on which direction they would like the pulse to travel. Once you feel your hand being squeezed, you pass the squeeze on as secretively as possible. When the pulse has started, participant (A) invites participant (B the detective) back into the space. Participant (B) stands in the middle of the circle and tries to locate the pulse. If participant (B) guesses incorrectly, they remain in the circle for two more attempts. If participant (B) guesses correctly, a new detective is chosen. This new person must close their eyes or leave the room whilst participant (A) taps a new group leader on the shoulder or back. Once again, when (A) utters the words Beware of the squeeze, its coming your way, the new group leader begins a pulse to their left or right, all eyes open and the exercise begins again.

HINTS AND TIPS: This game should promote teamwork and the more secretive you can persuade the class to be with the pulse, the better. It is also possible to start two or more pulses going as long as the detective knows how many pulses there are to find. page 18

Concentration games cont.

TITLE: MOVEMENT DETECTIVE
LEARNING OUTCOME: This exercise encourages and develops the participants ability to concentrate. It also develops a sense of teamwork and focus.

WHAT YOU NEED TO PLAY: A clear empty space

DESCRIPTION: This game is similar to wink murder, but is based around movement. Participants sit cross-legged in a circle and appoint a detective. The detective is asked to leave the room. Another participant is appointed as the movement master, and it is this persons job to lead the group in basic movements (using arms, hands, upper body and legs) which all the group are capable of copying. Once the movement master has started leading the group in simple, quickly changing movements, the movement detective is invited back into the room and asked to stand in the middle of the circle to find out who is leading the movements. When the movement master feels there is an opportunity, they swap and change the repeating small movements. The movement detective is allowed three opportunities to guess who the movement master is.

Hints and tips: It is useful to ensure that the group remain seated to avoid movements becoming over excited and erratic. It is necessary for the movement master to change the movements every few seconds, allowing the detective a chance to observe change. Encouraging the group to only subtly look at the movement master will help keep things exciting.

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Physical Exercises
TITLE: ZOMBIES
LEARNING OUTCOME: This exercise encourages and develops the participants ability to concentrate. It allows the participants the opportunity to work and perform as part of a team, and engages them both mentally and physically. HINT AND TIPS: Participants can only move across the circle once in the exercise. Eye contact is essential to release each participant, allowing them to move across the circle (A moves to Bs place, B moves to Cs place, C moves to Ds place etc. The group should be encouraged to remember who moved into their place and whose place they moved into, so that the whole sequence can be exactly repeated over and over, gathering speed as the groups confidence builds.

WHAT YOU NEED TO PLAY: A clear empty space.

DESCRIPTION: Participants stand in a circle with plenty of space in between each group member. One participant is elected to begin the exercise, participant (A). Participant (A) begins by looking across the circle and catching the eye of another participant (B). When eye contact is secured, both of the participants nod at each other, so they each know the other participant is ready. The nod allows participant (A) to move towards participant (B), and as (A) walks across the circle towards (B), (A) must stretch out his or her arms as though a sleepwalking or threatening Zombie. (B) must find a new participant to make eye contact with, participant (C), and must have exchanged a nod with (C) before (A) has reached (B)s place in the circle. If (A) reaches (B)s place in the circle before (B) has made eye contact and exchanged a nod with participant (C), then participant (B) is out and must sit down in their place in the circle. Participant (C) then begins the exercise again by catching the eye of participant (D). If (A) does not reach (B) before (B) has made eye contact, nodded at and begun to move towards (C), then (A) moves in to (B)s place in the circle. The process is repeated until every member of the group has had the chance to move into a new place.

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Physical Exercises cont.

TITLE: OPPOSITES
LEARNING OUTCOMES: This exercise develops the participants, both physically and mentally. It involves acting upon instruction and responding physically.

TITLE: WALKING EXAMINATION

LEARNING OUTCOMES: This is a good exercise for self-awareness, spatial awareness and self-confidence.

WHAT YOU NEED TO PLAY: A clear empty space

WHAT YOU NEED TO PLAY: A clear empty hall space

DESCRIPTION: Ask the group to move randomly through the space at a leisurely pace, taking care to avoid making physical contact with anyone else in the group. Ask each person to listen carefully for instructions whilst on the move. At well-spaced intervals, call out a series of instructions stop, go, run, walk, fast, slow jump, crouch. N.B. It is important to allow enough time in between each instruction for the participants to alter their movement. When comfortable, inform the participants that whatever the instruction given, they must perform the opposite movement. For example, if the instruction is to run, participants should walk through the space, and if the instruction is to stop then they should continue to move. Instructions can be given slowly at first and then gather space to test reaction rates and concentration.

DESCRIPTION: First, ask the group to find their own space within the hall, and with arms outstretched ensure they cant touch anyone else in the room. With closed eyes or looking at his or her toes to help concentration, each person must choose a small part of their body to think about. This could be an elbow, the back of the neck, an eyebrow, a knee or a hip, for example. When the group are given the signal, each chosen body part will start to lead each person slowly round the room. For instance, if the knee is the chosen part, the rest of the body must always be behind the knee as it makes its way round the room. This invariably alters how the person walks and also how they feel about the world After the initial walk around (always encouraging participants to walk in different directions, never sticking to the same direction of travel for more than a few paces) ask the group to find a way to say hello as this new character.When meeting the eye of another person, ask them to greet each other as their new character. Depending on your workshop objectives it might be useful to organise an impromptu catwalk of newly created characters, introducing themselves, with ages, occupations and favourite hobbies.

HINTS AND TIPS: Altering the pace of this exercise to suit the flow of the workshop is a good idea. If you need to boost the participants energy, change the instructions frequently to keep them on their toes and quickly segue into your next exercise or impro. On the other hand, evening out the pace of the instructions can also help to focus and calm the class in preparation for following work.

HINTS AND TIPS: This exercise can be used to examine how the body works, what kinds of habits we develop using our bodies and to build interesting new characters starting with their physicality and letting other character traits follow, for example how they speak and how sociable they are. Walking Exam can be used in isolation for a fun warm up or help begin a longer process of developing characters for an improvisation or particular scenario. page 21

Vocal Exercises
TITLE: DIDDLY DAH
LEARNING OUTCOMES: This is excellent for listening skills, concentration and working together as a team.

TITLE: 1 121 12321

LEARNING OUTCOMES: This is a fantastic game to encourage understanding of mathematical patterns and logical thought. Its a brainteaser, demanding good concentration to be enjoyed with a large group of people. Once the exercise is known well, it serves very nicely as a straight vocal warm-up.

WHAT YOU NEED TO PLAY: Any space where a class can sit down in a circle and are able to see one another.

DESCRIPTION: Ask the group to repeat the following rhyme one line at a time. Do bear in mind the word diddly (did-a-lee) has three syllables not two, as this will effect the rhythm of the game: Diddly Dah / Diddly Dah / Diddly, Diddly, Diddly Dah Once everyone can say all the words as a complete sentence repeated over and over, suggest saying the sentence one word at a time, going round the circle, for example, A begins by saying; A: Diddly B: Dah C: Diddly D: Dah E: Diddly F: Diddly G: Diddly H: Dah Continue to repeat the sentence round and round the circle. Encourage speed and volume once the group have gained confidence.

WHAT YOU NEED TO PLAY: A piano or recorder to play a clear starting note around about middle C or perhaps a few notes higher.

DESCRIPTION: After listening carefully to the starting note, for example Middle C (though this pitch may need to be changed according to where your class are comfortable singing) the first word of the game is sung one to the note middle C. The game works on the principle that the words sung (one, two, three etc.) correspond with an octave, ie. singing from middle C up to D, E, F, G,A, B and C. 1 = C. 8 = C an octave higher. The game begins by singing the word one to the note of C and then starting again on the next line (see below), singing one two one. The next line continues one two three two one, following on to one two three four three two one etc. etc. until the final line one two three four five six seven eight seven six five four three two one. 1 121 12321 1234321 123454321 12345654321 1234567654321 123456787654321 The fun really starts when the group rhythm and confidence has been well established (this usually takes a couple of sessions) and the number three is then rubbed out of the pattern leaving a blank space there instead. For example, we would sing, one, one two one, one two _ two one, one two _ four _ two one etc HINTS AND TIPS: Keep a regular pace to the pattern and dont think of the exercise as actual singing so much as thinking out loud to a predetermined pitch!

HINTS AND TIPS: Theres no room for smarty pants in this game, everyone needs to listen like a hawk to ensure they say the right word at the right time. Similarly, each person must speak up so that the rest of the group can hear accurately.

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Group Work
TITLE: FURNITURE
LEARNING OUTCOME: This exercise works well to increase body awareness and helps to develop effective group communication.

TITLE: GLASS COBRA

LEARNING OUTCOME: This exercise encourages an acute sense of self awareness and spatial awareness. It highlights the necessity of working as a team, in order to succeed in the completion of the exercise.

WHAT YOU NEED TO PLAY: A clear empty space. WHAT YOU NEED TO PLAY: A clear empty space DESCRIPTION: Each participant moves around the space by themselves, changing direction sharply by turning on 90 degree angles every 7 or 8 paces. The class are asked to freeze, which means that they stop, look and listen to what is being instructed. An item of furniture is called out, followed by a number. The participants should arrange themselves in groups of the number stated, to create the item of furniture announced with only their bodies. Examples could be a chair, a table, a toaster, a washing machine, a lamp, a vase or a television. Each persons body should be used to create part of the furniture. No real furniture can be used to help. View each item and decide which to buy from the examples constructed by each sub-group.

DESCRIPTION: The group should stand in a tight circle. Participants are then asked to turn to their right hand side so that they are facing the back of the person in front of them, and should all therefore be facing in the same direction. Each person places their hands on the shoulders of the person in front, and closes their eyes. Pupils are allowed a few minutes to investigate the hair, shoulders, neck and back of the person in front of them. With their eyes remaining closed, pupils are asked to move out of the circle formation and walk slowly throughout the space, being careful to avoid contact with other participants. At a point when the participants seem well distributed throughout the space, ask the group to freeze. After a few seconds of stillness, ask the group to try and move slowly back into the circle they had previously been in, without opening their eyes. The object of the exercise is to reconstruct the circle, but also reconstruct the order of people in the circle, so each person is again standing behind the person they investigated so carefully. When a participant makes contact with another participant, they must undergo a physical investigation of each others head, shoulders, neck and back to try to ascertain whether or not this person was standing in front of them in the circle. If they were, then whoever was at the back of the person, places their hands on the other participants shoulders and as a unit, they continue looking for other members of the circle.

HINTS AND TIPS: It can get quite noisy with 5 or 6 groups working quickly in the same space, so its best to ensure the class is well briefed on the freeze signal and that when you slowly count aloud from 10 to 1, those are the remaining seconds left to complete the task. Encourage different groups to form for each new furniture item, to allow a good mix of participants to work with one another.

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Group Work cont.

GLASS COBRA CONT.
HINTS AND TIPS: It is essential that participants keep their eyes closed during the exercise. If necessary, scarves can be tied over the eyes to make things easier. This is a complex exercise and to make things easier split the class into two groups and ask one group to be the audience and the other group to perform the task. Then swap over. What do we learn about ourselves and the task by being in the audience?

TITLE: BABY SHOAL OF FISH

LEARNING OUTCOME: This exercise focuses on awareness of self and others and what it is to work as part of a team.

WHAT YOU NEED TO PLAY: A clear empty space

DESCRIPTION: Participants are asked to form groups of 3, and number themselves 1, 2 and 3.The number 1s are invited to move around the space making a specific noise and creating an action or movement of their choice. Numbers 2 and 3 must copy their number 1s. Number 2s are then invited to lead their group by creating a different noise and action. 1s and 3s must copy their number 1.This pattern is repeated by the number 3s leading the group. When numbers 1, 2 and 3 have had the opportunity to demonstrate their own individual noise and action they are asked to perform their own instead of copying or leading. Each participant should perform their own action and sound. When participants hear the word unify, members of the sub-groups must decide instinctively, whose action should be copied, and then it must be demonstrated. If there is a discrepancy as to which participant should be copied, the majority always wins, so that all three participants make the same noise and the same action or movement together.

HINTS AND TIPS: When the participants have fallen into a rhythm with this game, larger groups can be formed. Perhaps two groups of three join together, shifting the group dynamic.

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Music & Sound

TITLE: WEST SIDE STORY
LEARNING OUTCOME: This exercise concentrates on the development of rhythm and movement, as well as encouraging teamwork.

TITLE: SOUNDSCAPES
LEARNING OUTCOME: This exercise envelopes each participant in a wall of sound that they contribute to creating. Soundscapes encourage an interest in environmental sound without intimidation or exposure.This exercise can be used to help participants understand how sounds are layered to make music or atmosphere. With some simple constituent parts, it is possible to create a soundscape for the weather, the jungle or even a journey of adventure.

WHAT YOU NEED TO PLAY: A clear empty space.

Description: Participants are split in to two teams, team A and team B. Each team stands at opposite ends of the room in a line (although they should be a few feet away from the wall behind them so they have space to move backwards and forwards). Each team selects a leader who stands in the middle of the line. The leader of team A must present a repeatable, stylised movement and sound that the rest of the team can copy. This movement and sound are repeated six times.The rest of team A should join in with their leader when they have picked up the rhythm and sound. The team move forward confidently in their line towards team B as they repeat the sound and movement together 6 times. Team B must move backwards, the equivalent number of steps that team A has taken forwards. When the team leader has finished their round of the rhythm and sound, having advanced into the middle of the room, they allow someone else in their team to take over as the leader. The new leader then waits, and retreats, as team B display their rhythm and sound advancing forward, towards the middle of the room. The exercise continues with both teams advancing and retreating, until every member of both teams has had the opportunity to be a team leader.

WHAT YOU NEED TO PLAY: A clear empty space, preferably with good acoustics.

DESCRIPTION: Participants sit cross legged in a circle, with their hands free, ready for work. Split the class into sub-groups whilst still remaining in the large circle and allocate different starter sounds to each group. If the group were going to create a rainstorm from the first drips, to a light pitter patter, developing to a rain storm with thunder, you could use the following sounds to help you; snapping fingers, light clapping, rubbing the palms together, low shoe tapping or shuffling, fast tapping of hands on thighs. Its useful to set up an interesting base sound (as described above), made up of many different sounds and then progress to allowing each group, one group at a time, to create individual elements of sound, increasing the intensity and volume of the sounds produced and eventually letting them slowly die away again to signify the end of the storm and the last few drips of rain. Vocal sounds and the stamping of feet can also help the soundscape develop. Random classroom items could also be chosen to help the soundscape in complexity and intensity.

Hints and tips: Participants should be encouraged to create loud, percussive rhythms, which are different from any that have already been demonstrated. It is easy to understand why the game is called West Side Story think about gang behaviour and how music and rhythm was used in the film to create tension and excitement.

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Music & Sound cont.

SOUNDSCAPES CONT.
HINTS AND TIPS: The creation and development of a fire soundscape is also effective, but it neednt be a natural phenomenon that is depicted. Football matches, arguments, the noises heard walking through a shopping mall, are all excellent possibilities for a soundscape and can be recreated with the collective imagination of the group. Indeed most topic areas could be recreated through soundscape to better understand a time and place through a controlled experience and free imagination.

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Warm down games

TITLE: PASS THE OBJECT
LEARNING OUTCOMES: A feast for the imagination and brilliant for stimulating follow-up creative writing sessions. Fun to conclude a session with because each participant can add information from his or her own imagination.

TITLE: MIRRORING
LEARNING OUTCOME: This is a fantastic exercise for getting the group to focus and concentrate but its also useful to slow down the pace of the group towards the end of a practical session.

WHAT YOU NEED TO PLAY: A clear empty space. WHAT YOU NEED: A clear empty space DESCRIPTION: The participants pair up, and face one another in their pairs. They stand with the palm of one hand at shoulder level, facing their partner. It is essential that if one participant is holding up their right hand, then the other is holding up their left, as the idea of the exercise is to mirror one another. Neither participant should instigate or lead the exercise. Once the pair is confident about copying one anothers movements, more of the body can be used in the exchange. There should be a constant, imperceptible exchange of leadership and control as they move and follow each others movements as if facing a mirror. When the partners are confident enough in doing this, they can explore different physical levels, for example, moving close to the floor or moving with their back to the mirror. Speed of movement can also be tested.

DESCRIPTION: Sit or stand in a circle with some space in between each person.The group leader or teacher should secretively take a small (imaginary) object out of his/her jacket or trouser pocket, concealing it from the group and cupping it in the hands. Tell the group that you have brought this special thing for them to see. Tell them not to be frightened (reverse psychology!) and that the object wont bite them. (These instructions are very important as they encourage the participants imaginations to run wild). Next, gently hand the imaginary animal or object to the person next to you. Make a fuss about handing the thing over, ensuring it is ok and that the next person has it securely in their hands. By concealing it from the group as you hand the object over, curiosity is heightened and imaginations crank up another gear.

Hints and Tips:The objects can be as big or small, as heavy or light, as dangerous or cute as the individuals imagination will allow. Encourage participants to change the size and weight of the object and to show that change in their bodies.

HINTS AND TIPS: Participants should be made aware that in order to be accurate, it is best to mirror slowly. The aim of the exercise is not to catch people out by making them copy difficult movements.

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Warm down games

TITLE: BAKE THE CAKE
LEARNING OUTCOME: This exercise allows the participants to enjoy a physical warm down, whilst breaking down barriers between participants who might not normally work together.

WHAT YOU NEED TO PLAY: A clear empty space.

DESCRIPTION: Participants sit in a circle, facing the same direction, and place their hands on the shoulders of whoever is in front of them. Lead the participants carefully through the basic stages of baking a cake and give physical instructions to accompany each stage.The back of the person in front is the mixing bowl, into which ingredients will be added.

INSTRUCTION Pour the flour into the bowl

PHYSICALITY Participants should tap their fingers down the back in a sprinkling motion from neck to the base of the spine. Holding the side of their hands vertically, participants should make a light chopping gesture onto the back. Again, tap their hands down the back in a sprinkling motion from neck to the base of the spine, and also from side to side. Participants should place the palms of their hands on the back, and move them in a slow circular motion across the whole area of the back. Using the tips of the fingers, participants should gently tap on the head of the per son in front. Using the heels of their hands, participants should drag their hands down the back as though pouring the mixture from the bowl. In small circles, the participants should rub up and down the arms, across the neck and up and down the back.

Crack the eggs

Pour in the sugar

Whisk the mixture

Add the raisins

Pour the mixture

Baking the cake

HINTS AND TIPS: Inform the participants to be extremely gentle when Baking the cake taking care not to hurt his or her working partner.This exercise can also be performed in pairs. page 28

Drama conventions for teaching across the curriculum

The conventions we have detailed are easy to get to know, simple to set up and can be used universally across the curriculum. Some of these conventions can provide a structure for a whole series of workshops; others will be more useful for a one off lesson. See the Control verses Expression and What to do now sections of this pack for suggestions on how to contextualise the following conventions.

start and end the scene with a frozen picture. Take time to visit each sub-group once or twice during the improvisation and rehearsal period to make sure participants are working well, listening to one another and meeting the learning objectives.

2. ROLE ON THE WALL. This is excellent for issue-based work.The description here offers a template around which any topic could be framed. Divide the class into groups of 4 or 5 and give each group one thick pen and a large A1 sheet of paper with a very basic body outline pre-drawn onto it. Tell the class that two characters must be created, one healthy and one unhealthy, both adults. Each sub-group is asked to create one of these characters and must then decide on the characters level of engagement with sport, hygiene, diet, smoking, drinking, modes of transport, appearance and leisure activities. They should also write the characters name, age and occupation onto the paper. After 10 minutes or so, bring the sub-groups back together to present their characters. It is possible to use these characters as a means of exploring issues of general health, stereotypes of drug takers, or exploring the consequences of the characters lifestyles on themselves and those around them. Discuss the kind of advice the class could give to each character for a healthier lifestyle.

1. NEWS REPORTS AND ADVERTS TV public information adverts or news reports are useful for exploring a whole gamut of issues because every child will quickly understand what the persuasive or informative function of any advert or news bulletin is. The medium of TV is exciting to most young people and enacting an advert can accommodate a range of personalities in your class, in that presenters, camera-persons, reporters and technical personnel are all needed to show the audience the form and content of the advert or news flash. Ask the class to consider some the different aspects of a news report ie. the facts of a news story, a jingle, a studio presenter, the tone or seriousness of the presenter, an outside reporter, two different sides to the story, effects of [the story] on the surrounding community, how the situation can be resolved, a concluding jingle. Or, ask the class to consider all the different aspects of an advert ie. a jingle, a catchphrase, a presenter, the tone or jovial manner of the presenter, product or concept information, supremacy over rival products, a target audience, a time limit, where to buy the product or idea. Divide the young people into groups of 4 or 5. Explain the learning points or objectives of the scene you would like them to make and that they must perform to camera. Set a time limit for the exercise and make clear that each group will perform their work to the rest of the class at the end of the timed rehearsal period. To help focus the adverts or news reports, encourage each group to

3.STILL IMAGES Still Images can be used to establish how much a group has understood about a topic, how people are affected in different ways by the related issues and for investigating the differing viewpoints particular scenarios might provoke. Divide the class into small groups of 4 or 5, in a large, clear, hall space. Still Images work well when set as timed tasks. A still image could be likened to a family photopage 29

DRAMA CONVENTIONS CONT.

graph where all the participants have the same focus and context, but each persons individual thoughts and opinions show through a still facial expression. A still image could also be like a busy scene frozen in time to show special or significant moments in a story.We could ask a group to show the story of Cinderella in five freeze frames, for instance. Another example might be to use freeze frames to show a story of bullying, the harm done and the resolve of the bullied to deal with the situation in an adult way.The benefits of freeze framing include the ability to tackle sensitive issues without the need for acting out actual violence or real time intimidation. The third possibility for still image work is to create tableaux showing different sides of a story, through gesture, body language and spatial proximity between characters. Abstract tableaux can be used to let young people demonstrate their understanding of large concepts such as conflict, citizenship, friendship, love, family, peace, freedom and religion. Tableaux can also be useful when asking a group to abstractly show the meaning of a story, a piece of music or a painting and how their understanding fits with other peoples opinions. It is also possible, with Family Photographs or Frozen pictures to ask each participant to prepare one word or sentence to describe how they (the character they are representing) are feeling in this moment in time. Still Images do work best in subgroups of 4 or 5 participants and after the remainder of the class has had a chance to observe a image and comment on it, you can tap each participant in turn to hear what they have to say. If the image concerns passive smoking, perhaps a mother is smoking near a window, a father is reading a book and two young people sit on the floor playing a game. The Mothers sentence might be I was dying for a cigarette. The Fathers sentence could be Im glad I gave up smoking for the kids sake and the young people might be thinking I wish Mum wouldnt smoke inside. We know the effects of passive smoking can be really dangerous.

4. STOP, THINK, GO. This is a technique useful during small improvisation scenes or Still Image work. By calling Stop any moving action in a scene freezes. Whilst saying Think, gesture towards which person you are speaking to. That person then speaks aloud the thoughts or feelings of his or her character at that moment in the scene or tableau. When calling Go any moving action in the scene continues as before. By freezing the action to ascertain any one characters thoughts and feelings we can reveal the difference between the text (that which is spoken) and the subtext (the underlying meaning or feelings beneath that which is spoken). For example, what a character says out loud may not be what the character really thinks or believes. Similarly, how a character behaves outwardly may be contrary to how he or she feels inside. This technique can be great for tackling peer pressure / peer selection issues, bullying, citizenship, or looking at social situations where young people might want to communicate a more mature image than they are properly capable of.

5. TEACHER-IN-ROLE. This exercise is always exciting for the class because from the beginning of the teaching session (for perhaps 510 minutes or so) the class teacher takes on the persona of another person. By donning a simple costume, perhaps a hat and scarf or an overcoat and newspaper, the class can reassess how they perceive the teacher and what is said. This allows a particular emphasis to be put on the information that is given whilst the teacher is in role. For example, if the teacher is in role as a journalist investigating local opinions about recycling provision or a policeman investigating information on local drug-crimes, the teacher can pretend to be that journalist or policeman and move the session along by presenting the information as a mono-

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DRAMA CONVENTIONS CONT.

logue or a question and answer session with the class. Once the information is presented, the teacher can step outside the room to remove the basic costume and immediately step back in again apologising that they had to leave for a few minutes and asking if they had seen the journalist who was looking for the class. The teacher then ascertains what it was the journalist wanted and what he asked the class to do. It is easy to see how this method could be applied to any interesting figure or teacher-in-role who enters the classroom to present new information for the class to consider or explore further. It might be that the figure chosen returns at the beginning of every session to find out how the class are getting on or to present them with fresh evidence for the next stage of their investigation. The pretence and distancing effect of teacher-inrole allows a third party character to help deliver new topic information to the class in a creative, controlled and intriguing way.

hotseating two characters together, to create a wider context for the scenario.This also allows the pupils in character to take confidence from each other.

7. CREATIVE WRITING EXERCISES. After studying the lives of special people through history, literature or citizenship lessons, a positive way to consolidate knowledge or further creative thought, is through controlled creative writing. At the beginning of the practical session ask each person to take a pen and paper to a particular place in the hall where they, individually, feel comfortable. This might be under a table or chair, or behind a curtain. Its important everyone feels they have a private, quiet place to work (thats not too far out of sight). Once each person has found a spot, request they put their name at the top of the A4 page. Once they have claimed a space, its best then to bring the group back together and continue with a few other activities surrounding the topic in question before focusing in on the lives of particular people they have learnt about and preparing them for the creative writing task. When you feel the class are full of stimuli and bursting with energy and knowledge, tell them they have three minutes to complete the following task. They are going to write a diary entry or a letter to a loved one, detailing their situation (perhaps they are an evacuee in wartime or an historical hero or heroine). Suggest phrases like I feel I remember I dream of I fear I wish I regret I hope They will only have three minutes to complete the task, in silence. As you walk round observing the work, if you feel the class need longer, covertly extend the time, by announcing they only have two more minutes left, when perhaps three minutes of the task has already passed. Urgency will undoubtedly produce fantastic results, as will pushing the class to consider to whom they are writing and why. This type of creative writing work can be applied to ANY subject within the curriculum page 31

6. HOTSEATING This is a brilliant device to ascertain the level of understanding an individual has concerning a topic area or contextualised character, whilst simultaneously encouraging peer education. When pupils are representing particular characters in a practical session, it can be useful to interview a character, (as represented by the pupil). Hotseating normally takes the form of a question and answer session, where the pupil must stay in character throughout the exercise, and is put in the hot-seat to answer personal questions about themselves (name, age, family etc.), their environment (where they live, what country they live in, where they are being interviewed etc.) and their status (their occupation, financial status etc.). These question and answer sessions are brilliant for establishing and developing character traits and could last three minutes or thirty minutes, depending on the needs of the group and the confidence of the pupil. Both the class and the class teacher can pose questions. Hotseating can be developed further by interviewing two pupils in character at one time thereby

What to do now!
If you feel confident about using drama as a teaching tool, we trust this pack has been a good starting point and stimulus, and hope it will help facilitate some exciting sessions. If you want to ask advice about further resources, please do email us at Reeling & Writhing and well try to point you in the right direction.All the books on our suggested reading list are available for short-term loan from West Lothian Council library service. If you feel nervous about using drama as a teaching tool, the best thing to do now is to have a go. First decide what your topic focus is, then determine what the learning outcomes of that one session should be. If the topic is Egyptians, the focus for one practical session may well be to follow-up on the class work already done on farming, societal hierarchy or burial rituals. If the topic is drugs awareness, the focus might be what drugs do to me and my body or how taking drugs effects those around me or the influence of advertising. Next, look through this pack to choose some of the games and exercises that fit your objective and formulate them into a workshop plan following a similar pattern to the template below. Some sections of this plan might be omitted if they are not relevant to your needs, for example if your class comes to a practical session straight after break time or P.E. you may not need to spend time playing a warm up game. The workshop model below is flexible and can be modified depending on your own time constraints.

1. a loud and exciting warm up game (this helps to burn off excess energy within the constructive context of a game and encourage an active, engaged brain to be switched on ready for learning through drama). 2. a circle-based concentration game (after the loud warm up its good to bring the group back together, in a circle, ensuring they know the boundaries of drama work and the discipline required for practical work, (concentration is required and can be fun). Its important for the group to be able to communicate clearly with one another during group discussions and concentration games. A well-constructed circle ensures this is possible, whilst also promoting equal status between all participants.). 3. an improvisation task splitting the class into working groups of 4 or 5 pupils (After carefully considering the focus for your session, set the class an improvisation task for example, take 10 minutes to devise a public information advert encouraging the T.V. viewer to look after their surroundings more carefully (recycle, refill, reuse, repair). OR Using a frozen picture to begin and end your scene, take 15 minutes to devise two scenes showing the negative and then positive outcomes of a pupil being bullied to try a cigarette. This will allow pupils to revise work from the classroom by working through ideas together, decision making in small groups, expressing their opinions page 32

about different aspects of the topic and presenting a practical example of the topic in action) 4. a show and tell of the improvisation work, with each group given time to show back the scene they created and answer questions posed by their peers afterwards. (By performing the work they have created, each group are testing their ideas of performance and discovering if their understanding of the topic holds water when presented to others. By allowing the audience of peers to ask questions and tell the group what they thought was good about their presentation, both performers and audience have the opportunity to revise their knowledge and verbalise their understanding.) 5. a sit down, circle-based discussion of the topic covered, the work produced and revision of the learning outcomes (Here, you the teacher, has the opportunity to pull all of the learning outcomes together, asking questions about the topic areas and each performance. If the topic is heavily factual, this is the place to perhaps use a quiz of several questions, asking the class to vote by moving into a designated corner of the room according to their answer ie. If your answer is yes, stand by the windows, if your answer is no stand by the piano, if you dont know or arent sure stand by the door). concluding with: 6. one or two warm down games as a reward for the classes hard work (its lovely to finish with a game all the class can enjoy together as one large group and that you, the teacher enjoy playing with them. Coming back together as a group shifts the attention, the group dynamic will have changed from the beginning of the session, its good to recognise that the learning tool was drama, concluding the session with a game that focuses less on a specific topic but rather on calming the group down. Rather like a full stop at the end of a sentence.

This loose structure can fit into a 1 hour session but keep all available games to hand sometimes sessions go faster or slower than expected. If your session only lasts 45 minutes and youve achieved your goals and covered all the required material, thats fine! If you would like to write a workshop plan and then run it past someone by emailing it to: Reeling & Writhing (info@reelingwrithing.com) or Fiona Macfarlane, the Cultural Co-ordinator for Drama at West Lothian (fiona.macfarlane@wled.org.uk), wed be very pleased to help you. page 33

Control versus Expression Trouble Shooting

One of the most common challenges for the Primary teacher when using drama as a teaching tool is to ensure that you provide a productive, expressive practical lesson whilst staying in control of the class. Different techniques work for different people, but the following suggestions offer a range of ideas to help maintain a balance between control and expressive learning.

1. Before leaving the classroom for the hall space, expand and explore the topic and the learning objectives you are going to cover in the practical session. Also talk to the class about the specific drama convention you have chosen to work with in that one session ie. Frozen Pictures, News Reports or Role on Wall. Discuss what is required to succeed, both in relation to form (drama convention) and content (the topic area). Sharing the success criteria should help pupils to visualise the structure of work and what is required.

2. Clear Instructions. Before leaving the classroom, give clear instructions about what will happen as soon as the group enter the hall space. It is helpful if this is also a timed task ie. Before you have counted aloud to 10, the group must be silently sitting in a circle (or have each found a partner and be standing face to face, or individually each person must be lying down well away from anyone else with their eyes fixed on the ceiling) ready to work.

3. Set volume level controls. Take a few minutes to make sure the class knows which levels of noise are acceptable during each type of activity.This works well using a scale of 1 to 10.Ask the group to define the scale of acceptable noise, taking into consideration the type of activity and how many people are involved. 1 = whispering in pairs 4 = class discussion akin to circle time when one person speaks at once 6 = normal conversation level akin to that expected in classroom group work 9 = unacceptable level of noise, unless the class are preparing a crowd protest scene

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4. Timed Tasks. As previously discussed, timed tasks offer a brilliant way of ensuring expressionistic freedom and choice within neat, clear boundaries.Timing a task or activity makes it much more like a game, because pupils are racing against the clock and each other.The element of competition means that you can ask the group to do lively activities for a controlled amount of time but always return to stillness and order.Timed activities work especially well if you also define where the pupils go at the end of the task to a seated circle for example. (See the game Three Elbows, Four Walls in the Warm-Up Games section of this pack).

5. Routines. Try to follow a similar routine each time you use drama in a practical teaching session. Discuss learning objectives and techniques in the classroom, move through to the hall, start with a timed task and then use the chosen convention (different each week perhaps) to continue the work. Try to end the session in a similar way each time this way the class quickly learn what is expected of them.

6. Instructions and Understanding. Each section of the workshop will have a different set of objectives. Ensure that your instructions to the group are clear and that the class have a chance to clarify what you mean by asking questions. When working on improvised scenes or in small groups, double check the learning objectives are being fulfilled by continually visiting and interacting with every sub-group.

7. Groupings. Take an active role in determining which pupils work together. Creating a controlled and safe environment to use drama as a teaching tool is only achievable if sub-groups function with the minimum of disruption!

8. Know your conventions and how they can work for you. Make sure you know exactly why you are using a particular convention and what the benefits are. It will be useful to reread the conventions for creativity section of this pack and cross-reference that information with other publications. It will also help to discuss the chosen convention with your class and hear their thoughts on how to make Role on the Wall or Hotseating work for your topic area.

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Evaluating your process and practice

Before evaluating your process and practice using drama as a teaching tool, first consider revising the eight points for action as detailed within Control versus Expression - Trouble Shooting as well as our suggested workshop structure detailed in What to do now!. We find the following handful of questions useful when evaluating our own teaching sessions. Use the following questions to evaluate your workshop. Before attempting to answer, first consider and compare your written workshop plan with the actual workshop you conducted.

Were the pupils engaged in the set tasks? If the pupils were disengaged, when in the workshop was that and was it avoidable? Were my instructions clear? Was my time management of each section effective? Was there time to cover all the set objectives? Were the class able to tell me what they had learned at the end of the session both in terms of topic area and drama techniques used? At the conclusion of the workshop, how did I evaluate the session with the children? Did I use a successful mixture of open and closed questions? Did I have confidence and control of the class, whilst still allowing the young people freedom to experiment with ideas?

WHERE TO GET DRAMA SUPPORT IF YOU GET INTO A PICKLE

Katherine Morley, Artistic Director at Reeling & Writhing (katherine@reelingwrithing.com)

Fiona Macfarlane, Cultural Co-ordinator for Drama and Film at West Lothian Council (fiona.macfarlane@wled.org.uk)

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Further Reading

100+ Ideas for Drama by Anna Scher & Charles Verrall. Pub. Heinemann 1975. ISBN 0 435 18799 6 Drama 7-11 Developing Primary Teaching Skills by Neil Kitson and Ian Spiby. Pub. Routledge 1997. ISBN 0 415 14184 2 Games for Actors and Non-Actors by Augusto Boal. Pub. Methuen 1992. ISBN 0 415 06155 5 House of Games by Chris Johnston. Pub. Routledge 1998. ISBN 1 85459 309 9 Look Listen Trust by George Rawlins & Jillian Rich. Pub.Thomas Nelson & Sons Ltd. 1992. ISBN 0 17 432396 4 Structuring Drama Work by Jonathan Needlands. Pub. Cambridge University Press. ISBN 0 521 37635 1 Student Handbook for Drama by Brian McGuire. Pub. Pearson Publishing 1998. ISBN 1 85749 843 7 1

The Arts and The Holocaust - Lessons from the past for citizens of today by Katherine Morley and Tim Nunn. Pub. East Renfrewshire Council and The Scottish Executive 2005. Available from www.reelingwrithing.com 160 pages of games, exercises, discussion points, creative writing exercises all focused towards cross-curricular Citizenship work.

All the books recommended here are available for short-term loan from West Lothian Council library service. Contact: Lesley Reid or Carol Lennon at Information Services, Library HQ, Connolly House, Hopefield Road, Blackburn, EH47 7HZ, 01506 776328, isd.library@westlothian.gov.uk

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Evaluation of this pack

It is extremely useful for us as a company to receive feedback on the resources we produce and the practical projects we deliver, be they workshops for young people, CPD training for teachers or live performances. We would be grateful if you could send us some feedback on this pack. Just photocopy this page and return your responses to; Reeling & Writhing Theatre, 117 Saltmarket, Glasgow. G1 5LE We know youre busy; brief answers are fine!

Name of your school and which class you teach

How often do you intend to use / have you used this pack?

Which sections / information have you used, broadly speaking? Have some sections been more useful than others?

Have any other teachers in your school used this resource? Which age groups were involved?

Which subjects, topics or lessons have you taught using this pack?

How useful was it for those lessons?

What was the most useful thing about this pack?

Was there anything you found disappointing about the pack?

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This page has been left blank for your own notes, questions and comments from CPD and classroom sessions

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Good s Thing
USING DRAMA AS A TEACHING TOOL

The

West Lothian Council Arts Education Service Craigsfarm Craigshill Livingston EH54 5BP 01506 777588 laura.tyrrell@wled.org.uk