Teaching English Through Drama

EDB Language Arts Electives
Professional Development for Teachers

Learning English through Drama
EDB Professional Development for Teachers
British Council Hong Kong
Teaching English through Drama
1
EDB 2008 / 2009
1 Teaching Drama
In part 2 of the workshops we experienced two demonstrations. In this section
we review the two teachin se!"ences and consider the staes# aims and
rane of activities avai$a%$e for deve$opin En$ish ski$$s thro"h drama.
1.1 A Structure Approach to Teaching Drama
&eachin Drama to $are ro"ps p$aces a n"m%er of demands on the teacher.
'hen teachin drama we can expect(
a fair$) hih $eve$ of conversationa$ noise
different ro"pins# with st"dents standin# movin# sittin# and "sin
space to express themse$ves
different ro"ps workin at different paces towards different oa$s
In the workshop we addressed the fact that $earners ma) not %e confident
a%o"t their En$ish# or ma) think that drama is *"st f"n and ames.
+s teachers we are aware that the main aim of this mod"$e is to deve$op
st"dents, $an"ae ski$$s - not prod"ce actors or actresses. .or this reason
we need to caref"$$) str"ct"re o"r $essons so that the) have c$ear $in"istic
and ski$$s/deve$opment aims# and to comm"nicate these aims c$ear$) to
st"dents so that are c$ear on what is expected of them.
In Demonstration 1 we saw that it was important to have c$ear $an"ae aims
for $essons. 'e a$so saw that a eneric str"ct"re for a $esson sho"$d contain a
foc"s on aims and expectations# warm "p activities which taret $an"ae as
we$$ as performance aims# a context - s"ch as a stor) - within which to
deve$op the drama# a rane of drama conventions which foc"s on ski$$s s"ch
as character %"i$din# expressin emotion thro"h voice and movement and#
of co"rse# creativit) and confidence with $an"ae. 0essons# or series of
$essons# sho"$d provide opport"nities for st"dents to ref$ect on their proress
and to identif) areas for f"rther deve$opment.
Demonstration 2 i$$"strated the process of movin from stor) to script and we
saw how a n"m%er of different performance/%ased activities co"$d %e
incorporated into $essons. &he EDB scheme of work offers man) options for
teachers in terms of the t)pe of performance/%ased work the) do within the
drama mod"$e. 1choo$s co"$d# for examp$e# adapt their c$ass reader or "se a
prepared script that st"dents can then persona$ise %) editin and addin. 2e)
drama ski$$s deve$oped in this process invo$ve characterisation and stain
conventions. In the workshop# we worked thro"h a series of tasks which
foc"ssed on these ski$$s# whi$e sti$$ %ein foc"ssed on $an"ae ski$$s
deve$opment.
3art two of the scheme of work a$$ows st"dents to deve$op# amonst others#
their writin ski$$s. 1cript writin has a n"m%er of conventions which st"dents
need to %e aware of. B"t the fact that writin dia$o"e is often easier than# for
examp$e# writin a stor)# even $ower $eve$ st"dents wi$$ %e a%$e to achieve
somethin the) can fee$ pro"d of# iven the riht s"pport from the teacher.
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EDB 2008 / 2009
1.! Demonstration 1 " Lesson Plan an #esources
Lesson plan: A Structured Drama Class
1 Esta$lishing the focus
Aims% To ensure stuents are clear on the learning o$&ectives an 'hat
is e(pecte in terms of $ehaviour an participation.
& oranises startin circ$e and arees on the aims of the $esson. E$icit words
%einnin with 4# e.. comm"nication# co/operation# creativit)# content#
co$$a%oration.. 4heck spe$$in and write on the %oard.
2 )i(ing space
Aims% To encourage learner autonom* an responsi$ilit*. To ensure
stuents have a efine 'or+ area.
1et "p ro"ps and assin performance space.
5 ,arm-.p
/aterials% 1 set of word cards / 6 or 7 st"dents
Aims% To introuce an provie practice 'ith +e* voca$ular*. To evelop
range of e(pression through movement an encourage colla$oration 0 co-
operation
Introd"ce the voca%"$ar) %) showin the word cards and checkin st"dents
"nderstand the words.
Human Sculptures
Introd"ce %) demonstratin with a st"dent. 8o" are a sc"$ptor9 the st"dent is the
sc"$ptin materia$s. :ove the st"dent to make the o%*ect ;chair< written on the
card. 4heck st"dents "nderstand what to do( if necessar)# et a pair of st"dents
to demonstrate for the ro"p.
1t"dents work in ro"ps of 7 or =# the word cards are face down. >ne st"dent
se$ects a card and sc"$pts their partner to form the o%*ect. &he) co"$d "se so"nd
effects and movement as we$$. &he rest of the ro"p watch and tr) to "ess the
correct word on the card.
Teacher Lift Door
Bottle of 'ater Chair /o$ile phone
Scissors Train )irefighter
E(ample A% ,or Cars for Human Sculptures
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EDB 2008 / 2009
6 .sing Stimuli
/aterials% 1 set of pict"re cards / 6 or 7 st"dents
Aims% To further evelop language s+ills in the conte(t of a narrative. To
encourage creativit* an confience 'ith English through eveloping a
group narrative.
Exp$ain that a$$ the words in the $ast activit) re$ate to a tr"e stor) a%o"t a teacher.
1how %i pict"res on the %oard.
1t"dents work in ro"ps to match words to pict"res. & checks answers# stickin
the word cards next to the correct pict"re
In ro"ps# st"dents ora$$) create a %asic stor) in ro"ps# "sin the pict"res. &he)
te$$ the c$ass. 4heck ideas %) re/orderin the pict"res and words on the %oard.
+sk other ro"ps to sa) if their stor) is the same or different - if time a$$ows# ask
another ro"p to te$$ their stor).
7 1oice 'or+
/aterials% 1entence word cards ;*"m%$ed order on the %oard<
Aims% To evelop range an control of pronunciation. To learn a$out the
effect of voice on creating a character. To introuce a s*stem of notation to
learners for further voice 'or+.
& c$arifies the stor) for st"dents(
?&his stor) is a%o"t a )o"n teacher# 2ate. It is 1at"rda) mornin and she doesn,t
have to o to work. 1he is oin to a hairdresser on 0anta". 'hen she is there#
she ets a phone ca$$ which chanes her da) - for the worse@,
& sticks the *"m%$ed word cards on the %oard. Exp$ain that this is what 2ate said
when she received the phone ca$$. Aive st"dents time to tr) and reorder the words
to make the correct sentence. E$icit s"estions from st"dents and rearrane the
cards on the %oard. 4heck meanin and st"dents cop) the sentence.
2,ell3 45m reall* not sure that that is going to $e possi$le65
& works with the st"dents on pron"nciation ;show st"dents how to annotate "sin
s)m%o$s<. :ake a note of the decisions made a%o"t the character,s voice in
re$ation to(
word / sentence stress (draw dots over words to indicate stress)
pa"sin (use // to indicate any pauses)
accent ;BritishB +mericanB Con 2onB<
speed ;fastB 1$owB< (Use an arrow under phrases that are spoken quickly
and a dotted line under slow sections)
vo$"me ;$o"d$)B soft$)B whisperedB< (write the words on the text)
intonation (use arrows to indicate direction)
pitch ;hihB $owB< (underline high pitch, draw a line over low pitch)
Additional practice
Dictate a different# $oner piece of speech - possi%$) a short dia$o"e %etween
2ate and the hairdresser
1t"dents work in pairs to decide how to sa) the sentence. &he) annotate their
script# "sin the conventions a%ove. In open c$ass# st"dents de$iver their $ines.
&a$k to the c$ass a%o"t how each one so"nds# e.. hih or $ow pitch# stressed
words# speed# etc.
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EDB 2008 / 2009
'ith more advanced ro"ps# ask st"dents a%o"t how the voice can he$p create a
character# e.. does the character so"nd )o"n or o$d# what is her %ackro"nd#
did she o to "niversit)# what kind of a person is sheB

= Soun collage
Aims% To provie opportunities for creativit*3 suita$le to mi(e level
groups. To emphasise the importance of soun an soun effects in
creating rama.
& works with the c$ass. Aive st"dents time to %rainstorm the different thins )o"
can hear at a hairdresser,s.
E$icit a rane of so"nds that we can hear in the $ocation ;a hairdresser,s< &. writes
"p ideas on the %oard. +sk st"dents for how the st"dents can make the different
so"nds. 1t"dents cop) the $ist of so"nds# for examp$e(
1cissors 3eop$e ta$kin
Cairdr)er Door openin and c$osin
'ater &raffic
Dadio / m"sic
Deceptionist answerin the
phone / makin appointments
3eop$e readin / %rowsin
newspapers and maaEines
4ash reister / Fideo ames
E(ample B% Souns ,e Hear at the Hairresser7s
1t"dents work in ro"ps. &he) create a so"nd co$$ae for the scene ;finishin with
$ine of dia$o"e the) practised %efore<. &he) "se their voices and an) other o%*ect
in the room to he$p them. 'ork with the ro"ps to enco"rae and s"pport.
Aro"ps perform their so"nd co$$ae. >ther st"dents $isten and identif) the so"nds
the) hear. &he) tick the so"nds the) hear on their $ists.
Additional practice
If )o" have the e!"ipment# have st"dents practice and then record their ?so"nd
tracks,# as if the) were makin a fi$m. 3$a) the so"nd tracks to the who$e c$ass#
and identif) the different so"nds. Disc"ss how thins co"$d %e improved or
a$tered.
G Bo*scaping 8Preparation for free9e0unfree9e an thought trac+ing:
/aterials% Deve$opin )o"r character - !"estions ;1 per st"dent<
Aims% To practice forming an responing to a range of ;uestions in
'riting. To focus stuents on characterisation an prepare them for
performance.
& prepares st"dents to create a short performance of the scene. Individ"a$$)#
st"dents think a%o"t the character the) are p$a)in# writin answers to the
!"estions. +sk st"dents to write 2 or 5 other !"estions and to answer them a%o"t
their character. &e$$ st"dents that we wi$$ ask them !"estions a%o"t their character
d"rin the performance
1t"dents work in ro"ps to create their %od)scape scenes. & monitors and he$ps.
&he %od)scape finishes when 2ate answers the phone and de$ivers her $ine.
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EDB 2008 / 2009
1 'hat is )o"r character,s nameB
2 Cow o$d are )o"B
5 'hat do )o" doB
6 'here do )o" $iveB
7 'ho do )o" $ive withB
= 'h) are )o" at the hairdresser,sB Is
there a specia$ part) or is this a
re"$ar visitB
G Do )o" a$wa)s come to this
hairdresser,sB
8 Do )o" know the peop$e at the
hairdresser,sB
9 'hat did )o" do %efore )o" arrivedB
10 'hat wi$$ )o" do afterB
E(ample C% Sample <uestions for Characterisation
8 )ree9e 0 .nfree9e an thought trac+ing
/aterials% H"estion on the %oard ;as a prompt for st"dents d"rin the tho"ht
trackin task<
Aims% To evelop a short3 group performance that ena$les stuents to
freel* practice the concepts an techni;ues covere in the lesson. To
provie practice in self-irection an evelop confience
Aro"ps perform their short scenes. &eacher and st"dents freeEe and "nfreeEe the
action as necessar).
3erformers are !"estioned on their character and motivation ;re$atin to the
!"estions set in the previo"s stae<. If time# other ro"ps a$so perform.
9 Evaluating achievements an learning an closing the session 8rama
log:
/aterials% drama $o ;1 per st"dent<
+ims( &o enco"rae ref$ection on proress in re$ation to the aims of the $esson /
series of $essons. Deve$op capacit) to critica$$) ref$ect on $earnin.
&eacher works with st"dents to ref$ect on the $esson and comp$ete the drama $o.
Date
1 &oda) we I
What did you do? Why did you
do it?
! &oda)# I didn,t "nderstand I
What language was difficult?
= Jext time# I want to I
ow will you i!prove in the next
lesson?
> Cow we$$ did )o" doB
"ircle a nu!#er
4omm"nication
4o/operation
4o$$a%oration

E(ample D% E(ample of a Self-#eflection ?ournal
=
EDB 2008 / 2009
1.!.1 Developing Autonom*
+ ke) part of the new c"rric"$"m is the deve$opment of $earner a"tonom) and
in the session we stated that this imp$ies a chane of attit"de in# first# teachers
and then st"dents. 'e see a"tonom) as the a%i$it) and wi$$inness of the
$earner to take responsi%i$it) for the direction of their $earnin. In c$ass we
need to provide st"dents with opport"nities to exercise a"tonom) and work
independent$) of the teacher.
0essons# therefore# sho"$d inc$"de aims and staes which a$$ow st"dents to
deve$op their a"tonom). &o do this we ma) choose to incorporate the
fo$$owin techni!"es
1e$f/monitorin ;e.. a proress
record<
Aro"p work
1e$f/correction ;a$so peer/correction< 3ro*ect work
Faria%$e pacin ;ro"ps# rather than
$ockstep<
&ro"%$e/shootin sessions ;i.e.
disc"ssin $earnin pro%$ems
Extensive readin and $istenin 4hoice of activities# or contexts
Kse of p"pi$ teachers# either forma$$)
or informa$$)
1harin o%*ectives ;i.e. invo$vin
st"dents in some wa) with the
p$annin of their co"rse<
.i"re 1( &echni!"es for deve$opin a"tonom)
If we ref$ect %ack on these techni!"es# we can see that the demonstration
$esson incorporated man) opport"nities to deve$op $earner independence. 'e
accept that rea$ independence of the teacher is somethin most $earners need
to achieve %) the time the) o to "niversit). 'e a$so see that man) $earners
are "nwi$$in to take on more responsi%i$it).
Deve$opin a"tonom) is a process and if we permit o"rse$ves to pass some of
the contro$ of the $earnin %ack onto the st"dent# we can %e s"re that over
time the effect wi$$ %e %eneficia$.
1.!.! The 4mportance of ,arm up Activities
&he warm/"p is a ke) feat"re of a performance/%ased c$ass and sho"$d
a$wa)s %e "sed even if there is on$) time for 7 min"tes. &he warm/"p works
on a n"m%er of $eve$s foc"sin on ;a< warmin "p the %od) to ena%$e st"dents
to "se a ood rane of movement and ;%< warmin "p the voice so st"dents
are read) to "se the f"$$ rane of pitch# intonation and vo$"me $eve$s. .or o"r
p"rposes# warm "ps sho"$d have a c$ear $an"ae foc"s as we$$.
In terms of the ro"p# this is the teacher,s ke) moment to %rin a%o"t a sense
of cohesion and co$$a%oration in the ro"p. Each activit) in the ta%$e opposite
has a different foc"s and can %e "sed a$one. &hink a%o"t the %asic $eve$ of
%ehavio"r in )o"r c$ass as each activit) re!"ires increased foc"s and reater
ph)sica$ or voca$ o"tp"t.
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EDB 2008 / 2009
,armer Proceures @utcomes
1 Change
places
1t"dents stand in a circ$e facin
one another and swap p$aces
dependin on the instr"ction# e#
change places if you$re wearing
#lack socks%
1s et a sense of who,s in the
ro"p9 the) think# respond and
think !"ick$) and so et a ph)sica$
warm/"p9 the) have to work "sin
e)e contact and so this form of
comm"nication increases in the
ro"p.
! /agnets &he circ$e disperses as st"dents
wa$k aro"nd the room9 the
teacher ca$$s o"t ro"pin
n"m%ers and feat"res# e#
groups of three & wearing
trousers' those who are not
wearin tro"sers stand a$one or
form other ro"ps# e# skirts
+nother ph)sica$ warmer which
a$so re!"ires !"ick thinkin and
co$$a%oration especia$$) when
st"dents are not in a ro"p and
have to form another ro"p "sin
somethin the) have in common.
= #aising
the flag
1t"dents form a circ$e aain and
this time the teacher exp$ains
that the f$a for the c$ass has
fa$$en - ?we have to raise the f$a
aain,. 1s work toether to raise
the f$a aainst a storm.
&his is $ess ph)sica$# %"t re!"ires
ro"p work# p"rpose and foc"s.
1ome peop$e sho"$d stand at one
end of the imainar) po$e $iftin it
with ?ropes, whi$e most stand at the
other side p"shin it "p. +n
opport"nit) exists here for "sin a
voca$ warmer with ?heave9 heave,
or a workin chant. :ake s"re
ever)one shows how m"ch effort
the) are p"ttin in and drops after
the),ve $ifted the f$apo$e with
handshakes# s$aps on the %ack
and %i smi$es.
> @rchestra Kse an orchestra $a)o"t on the
3ower3oint# or on the %oard#
and have st"dents stand in
certain sections. Kse the
me$od) )o" have devised ear$ier
and orchestrate the ro"p in the
fo$$owin wa)(
;1< 3erc"ssion ;c$aps# stamps<
;2< Do"%$e %ass ;$on# $ow
notes<
;5< 'ind L %rass section ;hih
notes<
;6< 1trins ;hih# !"ick notes#
main me$od)<
Brin in each section one at a
time# have the ro"p ?p$a)in,
toether for a%o"t 60 seconds#
then spot$iht one ro"p and
fina$$) fade the piece o"t.
&his is a ood wa) to oranise the
ro"p to work toether and
comp$ement one another9 the "se
of spot$ihtin one ro"p whi$e the
others p$a) in the %ackro"nd
mirrors the spot$ihtin techni!"e
we wi$$ "se in 3art 5. &he
techni!"e re!"ires that st"dents
take "p a rh)thm and $isten to one
other for pitch. +s s"ch# it is a
ood voca$ warmer.
.i"re 2( Examp$es of 'arm "p +ctivities
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EDB 2008 / 2009
1.!.= .sing Stimuli
In $an"ae teachin# we enera$$) refer to tasks# activities and exercises.
&his $an"ae can %e "sed in drama# %"t there are a$so other terms "sed to
refer to materia$s.
&he word ?stim"$"s, ;sin"$ar< or ?stim"$i, ;p$"ra$< is "sed to refer to materia$
the teacher "ses to enerate a foc"s or create a stor).
1tim"$i can come from a rane of so"rces as is $isted %e$ow# and can %e "sed
a$one or in com%ination(/
Stimuli E(amples
1 Fis"a$ 3hotoraphs# paintins# pict"res# cartoons
2 +"ra$ + so"ndtrack# so"nd effects in a se!"ence# a son
5 Dea$ia or props + %a containin a character,s possessions
6 0iterat"re + diar) entr) from a character# a $etter# an e/mai$# a phone
%ook
+ poem# an excerpt from the news# a passae from a stor)
7 3ersona$ events +n anecdote from someone,s experience# for examp$e# the
teacher co"$d te$$ a stor) from her persona$ experience
)igure =% T*pes of Stimuli
>ne wa) to "se stim"$i is to %"i$d "p an event or a character thro"h the
piecin toether of a rane of stim"$i# for examp$e# the fo$$owin co"$d %e "sed
to create a stor)(
a newspaper c$ippin a%o"t a dramatic event
a son/so"ndtrack to indicate ;a< traed)9 ;%< comed)9 ;c< excitement
an ;invented or rea$< report from someone who was invo$ved in the
event
&he "se of stim"$i is one wa) to provide opport"nities for the st"dents to
co$$a%orate comm"nicate and think creative$) ;three of the nine eneric ski$$s<.
1t"dents "se a$$ the $an"ae the) have at their disposa$ to neotiate what
kind of stor) is %ein introd"ced and what opport"nities exist for deve$opin it.
In o"r session# we "sed photoraphs of distinct$) different scenes. &he
$an"ae work invo$ved foc"sed on(/
descri%in what was in the pict"re ;main$) voca%"$ar)# e# tr"ck# crowd#
d"st<
descri%in where it miht %e ;$an"ae of spec"$ation<
descri%in what peop$e miht %e doin ;$an"ae of spec"$ation<
1.!.> Developing )ree9e )rame Activities
4reatin a sti$$ imae ;a$so known as ?ta%$ea", ;sin"$ar<# ?ta%$ea"x, ;p$"ra$<< is
a partic"$ar$) "sef"$ for $ower $eve$ st"dents# or $earners at the %einnin of
the co"rse. 3art of the appea$ of mime work# in enera$# is that it he$ps to
deve$op the ke) ski$$s of concentration and ph)sica$ expression.
Aro"ps can take photoraphs of their sti$$ imaes and "sin one person as a
?sc"$ptor,# the) create a sti$$ imae to %est represent the imae. >nce the
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EDB 2008 / 2009
$earners have deve$oped confidence with the task# )o" can %ein to introd"ce
some of the devices drama that offers "s.
1.!.A #eflecting on Learning
&he session sho"$d contain some attempt to eva$"ate what has %een done#
what achievements st"dents have made and what the) have $earnt. &here
are different wa)s to do this from simp$e to comp$ex and the ta%$e %e$ow sets
o"t some s"estions.
/aterials neee Proceure an purpose
1 &raffic $iht cards( sma$$ 5cm
M 5cm cards of red# am%er
and reen ;can %e
$aminated<
1s iven cards of red# am%er and reen. & asks
specific !"estions# and st"dents show the card
that most ref$ects how the) assess this
themse$ves.
2 :in"te papers 1s are iven a ?min"te paper, - often %oxes with
;a< what did I $earnB ;%< what didn,t I
"nderstandB ;c< what do I sti$$ need to work on
next timeB 1s have 2/5 min"tes to fi$$ them o"t
with points. &he) can share them with a partner
or with the teacher. &he min"te paper co"$d %e
part of a $o/%ook or the portfo$io and occ"r after
ever) session.
5 1e$f/Datin 1s are iven a $ist of statements a%o"t ;a< their
performance# and ;%< what the) $earnt# which
the) respond to with a n"m%er %etween 1 and 6#
1 meanin - I didn,t do ver) we$$/didn,t
"nderstand M# and 6 meanin# I did ver) we$$/I
"nderstood M.
&here is a worked examp$e of this in 3art 6 of the
da).
6 4ompetenc) %ades &he teacher has a co$$ection of competenc)
%ades# for examp$e# ?ood rasp of $eve$s,9
?ood rasp of aEe,9 ?ood "se of space,9 ?ood
"nfreeEe,# and st"dents nominate who sho"$d et
them for that session. If the) are stickers# these
co"$d %e mo"nted on an on/oin wa$$/chart.
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EDB 2008 / 2009
Aspect of the rama 1isual effect
De$ative stat"s Levels 8o" can "se hih $eve$s and $ow $eve$s ;someone who is
standin hih9 someone who is cro"chin<.
De$ationships Distance 3h)sica$ distance %etween characters can show the
c$oseness in their re$ationships. 4haracters can %e $ined "p
%ehind one another to show s"pport or for protection.
Emotion Stance an gesture &he est"re and stance a character takes
can s)m%o$ise his/her emotiona$ attit"de and invo$vement in the
scene. 0ack of foc"sed est"re a$so indicates one,s invo$vement.
.oc"s of attention Ba9e &he aEe can %e "sed to show re$ationships# emotions#
foc"s of attention and# a$on with the wa) the head is positioned#
can indicate the $ike$) action a character wo"$d take.
)igure >% Techni;ues for Developing Ta$leau(
7 Aoa$s to work on &his is another techni!"e that can %e "sed with a
wa$$/chart. :ake a $ist of competencies# s"ch as
;a< workin co$$a%orative$)9 ;%< workin in
En$ish9
;c< "sin the space p"rposef"$$)9 ;d< "sin $eve$s
meaninf"$$)9 ;e< "sin aEe meaninf"$$)# and
so on# and have st"dents p"t their name next to
two tarets to work on for the comin session. In
this wa)# the) can "se this as an aim at the
%einnin of the session and come %ack to it in
order to assess their foc"s and proress at the
end.
)igure A% E(amples of #eflective Tas+s
1.= Demonstration ! " Lesson Plans an #esources
Lesson plans: Developing Stories and Writing Short Scenes
&his fo$$owin $esson o"t$ines foc"s partic"$ar$) on parts 2 and 5 of the EDB
1cheme of 'ork. &he aim of the demonstratin was to show the main staes
of the proression from introd"cin a stor)# or inventin one# to writin and
rehearsin the script.
1
4ntroucing the stor*
/aterials% 4assette ;stor)<# 3aper and pens ;for note takin<
Introd"ce the stor) "sin the pict"res from the previo"s $esson. 3"t the pict"res on
the %oard.
'orkin in pairs# st"dents $isten to the stor) and make a note of the main action. 3$a)
aain if necessar).
4heck their "nderstandin %) %rief$) e$icitin the main action - referrin to the
pict"res to he$p c$arif). 'rite "p the names of the main characters in the stor) ;2ate#
Cenr)<
2
Developing a'areness of character
1t"dents do a variet) of tasks to deve$op awareness of different aspects of the main
characters in the stor).
1: #ole on the 'all 8Character Kate:
/aterials% H"estion hando"t ;1 per pair<# +5 paper for ro$e/on/the/wa$$.
1t"dents work in pairs. &he) answer a series of !"estions on their hando"ts
a%o"t the character# 2ate.
Dead thro"h the instr"ctions for the task.
Aro"ps create an o"t$ine for their character and write in the information "sin
co$o"r# etc.
4haracters are p"%$ished - ro"ps $ook at each other,s characters and answer
some !"estions ;e.. 'hich version of 2ate wo"$d )o" most $ike to have as a
teacherB 'hich one do )o" think is f"nniestB :ost strict or serio"sB<
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)igure C% Sample Tas+ Sheet for #ole on the ,all
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#ole on the 'all - Kate
&hink a%o"t the character# 2ate. 'rite answer the fo$$owin !"estions.
'hat,s her *o%B
Cow o$d do )o" think she isB
Is she at work toda)B 'here is sheB 'h) is she thereB
4an )o" descri%e what she $ooks $ikeB Cow ta$$/heav)/s$im is sheB
'hich words %est descri%e her persona$it)B
De$ia%$e Knre$ia%$e
."nn) 1erio"s
0aE) Card/workin
3ractica$ .$ak)
4$ever 1i$$)
4onfident Jervo"s
Decide on three more words to descri%e her persona$it).
Cow does she fee$ when she receives the phone ca$$ in the hairdressersB
'rite three fee$ins she has at the same time. .or examp$e( anr)# happ)#
sad# s"rprised# etc.
5 Draw a %od) temp$ate for 2ate. &hink a%o"t the c$othes she is wearin.
6 Decide where )o" wi$$ write the words that descri%e(
her ph)sica$ appearance
her persona$it)
her fee$ins after she ets the phone ca$$
(ip)
*e!e!#er that you can write outside the outline and inside the outline' close to the #ody
and far fro! the #ody% +ou can use colour for different reasons, and you can add words
to this character at any point%
!: Boo angel 0 Ba angel 8Character Henr*:
/aterials% Cando"t ;1 per st"dent< - Aood ane$ / Bad ane$
1t"dents exp$ore another character and do some simp$e performance / voca$
warm "ps. & introd"ces the activit) and "ides st"dents with $an"ae.
In ro"ps of three# st"dents ro$e p$a) ood ane$ / %ad ane$. & monitors and
he$ps with $an"ae.
If time a$$ows# st"dents perform for other ro"ps.
.i"re G( 1amp$e &ask 1heet for Aood +ne$ / Bad +ne$
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Boo angel 0 Ba angel
1: Dead a%o"t Cenr)# the $oca$ reso"rce assistant.
Henr* the resource assistant
Cenr) is in his ear$) =0,s# is a widower# and has ad"$t chi$dren and randchi$dren. Ce
has %een workin at this schoo$ for 27 )ears9 knows ever)one9 knows a$$ the
ro"tines# and is ver) oranised. Ce is friend$) man# who $ikes to chat. 'hen thins
do not o to p$an# Cenr) fee$s responsi%$e for findin so$"tions# and wi$$ sometimes
tr) to do or ta$k a%o"t doin heroic thins that are %e)ond his ph)sica$ a%i$it).
4over "p the text. 'hat can )o" remem%er a%o"t Cenr)B
!: 'ork in two ro"ps.
,roup - - think of a$$ the positive thins a%o"t the sit"ation. 'rite sentences
ivin advice or s"estions for Cenr).
Examp$e( 2,h* on5t *ou rela(3 Henr*. Ever*thing is @K65
,roup . - think of a$$ the neative thins a%o"t the sit"ation. 'rite sentences
ivin advice and s"estions for Cenr)
Examp$e( 24t5s *our fault. Dou shoul sa* sorr* to Kate.5
=: 'ork standin in ro"ps of three. >ne of )o" is Cenr)# one is the ood
ane$ and the other is the %ad ane$.
Aood ane$( make s"estions to Cenr) a%o"t the %est wa) he can react in the
sit"ation# and a$$ the ood opport"nities that exist at this moment.
Bad ane$( te$$ Cenr) a%o"t a$$ the %ad thins a%o"t this sit"ation9 frihten him
with fears a%o"t the worst possi%$e thins that can happen %oth now and when
he event"a$$) ets o"t of the $ift.
Cenr)( $isten to what the ood and %ad ane$ each sa) to )o" and see how )o"
fee$ a%o"t each comment and s"estion. 'hich has the %est advice and
s"estionsB Is it the ood ane$ or the %ad ane$
=: Thought tunnel
& introd"ces the task. 1t"dents $isten and decide on their ideas. &he) p$an short
$ines of dia$o"e for the character,s tho"hts.
1t"dents work in two ro"ps. &he) take it in t"rns to speak the character,s
tho"hts and wa$k thro"h the t"nne$ $istenin to them.
8See section 1.=.1 for more conventions:
5 Developing a'areness of plot structures
/aterials% :atchin cards ;1 set / ro"p or 5 or 6<# answer cards# +5 paper and pens
In pairs# st"dents match different p$ots t)pes to their definitions. & checks
answers "sin the $are cards and c$arifies as necessar).
1t"dents make a ?poster, with examp$es of each of the p$ot t)pes and decide the
t)pe of p$ot of the stor) ;introd"ced in stae 1<
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The 2,5 plot
&his p$ot %eins with %ackro"nd
information.
&here is a sma$$ 1
st
pro%$em# and a
so$"tion. &hen# a m"ch %ier pro%$em
happens. +fter some diffic"$t moments#
this pro%$em is so$ved and $ife ret"rns to
norma$.
Ksed in &F soaps# Co$$)wood fi$ms
1imp$e L reconisa%$e for a"dience
The Episoic plot
&his p$ot is rea$$) series of events which
ma) or ma) not %e connected to one
another.

&his was ver) common in 18
th
cent"r)#
for examp$e 4har$es Dickens.

&his p$ot t)pe is $ike rea$ $ife %eca"se the
dramatic se!"ences are not so extreme
The Hero5s &ourne*
&his is the stor) of a hero who is ca$$ed to
advent"re. &he hero is tested in a minor
sit"ation L wins
&he hero is then tested in a ma*or
sit"ation L a$tho"h it $ooks $ike s/he wi$$
$ose# fina$$) wins. .ina$$)# the hero ret"rns
to societ).
&his p$ot t)pe is "sed in m)ths# $eends#
fair)/ta$es# fa%$es# fo$k ta$es
The /ountain plot
&he characters face a series of
increasin$) dramatic incidents#
responses# and so$"tions or
comp$ications - each one worse than the
$ast.
&his p$ot t)pe is "s"a$$) excitin %eca"se
it deve$ops dramatic tension.
&here are often s"%p$ots# which keep the
a"dience interested.
)igure E% Samples of Plot T*pe /atching Cars
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)igure F% Sample Plot Braph 'or+sheet 8a:
1=
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6
Planning an 'riting the script
1t"dents $earn a%o"t the %asic conventions of script writin and %ein to deve$op their
own scripts.
/aterials% Cando"t - .oc"s on p$ot str"ct"res
& introd"ces the p$ot raph. 1t"dents divide the stor) "p into scenes and write
these on their raphs. &he) note the main action in each scene. & checks in open
c$ass.
1t"dents make a $ist of the main characters in each scene. &he) write these on
their hando"t.
& introd"ces the next activit) %) e$icitin $an"ae for how the characters fee$
d"rin each scene. 1t"dents contin"e makin a $ist of ad*ectives to descri%e the
fee$ins of the characters at different points in the stor).
a< Jame the 5 main scenes in the stor). 'hat action happens in each sceneB 4omp$ete the
raph with )o"r ideas.
%< 'ho are the characters in each sceneB 'hat are the) fee$inB 4omp$ete the ta%$e with
)o"r ideas. Kse the words in the %ox to he$p )o".
1 ! =
happ) re$axed anr) scared tired sad excited s"rprised re$ieved
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/aterials% Cando"t - 'ritin scripts
& introd"ces the main feat"res of a p$a)script. & writes "p the information on the
%oard.
1ettin# props# new characters# cost"me# what happened %efore#
stae directions# $ihtin# so"nd effects
1t"dents $ook at the examp$e scene and $a%e$ the different feat"res of the
introd"ction. & checks in open c$ass.
& %eins workin with dia$o"e. 1ome of the dia$o"e is written in# st"dents work
in pairs to comp$ete the missin parts.
Introd"ce some adver%s for the manner of de$iver) ;e.. h"rried$)# ca$m$)# happi$)#
sad$)# anri$)# etc.<
1t"dents practice readin the dia$o"es. &he) decide which adver%s ;or
ad*ectives< descri%e the manner of de$iver)# writin the adver%/ad*ective at the
%einnin of each $ine ;e.. happi$). sad$)# ca$m$)# tired# anri$)# etc.<
In open c$ass# st"dents practise readin their dia$o"es. >ther st"dents $isten and
decide on the emotion in the voice.
Dead the examp$e introd"ction for 1cene 5. :atch the words to the
information in the text
Setting3 props3 ne' characters3 costume3
'hat happene $efore3 stage irections3 lighting3 soun effects
The Sub and the Lift
Scene 3
Kate has finally arrived at Kwai Hing school after a long and difficult
journey where she nearly gets lost.
She is met in a messy staffroom by Henry, the Resource assistant.
There are desks, chairs, papers and a hamster in a cage.
Kate enters stage left, Henry appears stage right!
2< 'ork with a partner. 'rite )o"r own introd"ction for a different scene.
)igure 1G% Sample Tas+ Sheet for Anal*sing Pla*scripts
)igure 11% Sample Tas+ Sheet for Developing Dialogue
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7
To'ars performance
& introd"ces the %asic parts of the stae and their notation. 1t"dents $isten to the
instr"ctions from the teacher and do the action ;e.. wa$k s$ow$) "p stae $eft# r"n
down stae centre# staer stae riht# etc.<
1t"dents practice their short scenes and %$ock in the moves on their scripts.
Dead the examp$e dia$o"e for scene 1. In pairs# contin"e the
dia$o"e for a few more $ines.
Kate( ;h"rried$)< I,m so $ad to see )o"# Cenr).
Henr*( ;ca$m$)< 'e tho"ht )o" ot trapped on the :&D or somethin#
%"t here )o" are@
Kate( ; < NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN
NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN
Henr*( ; < NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN
NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN
10< 'rite a short dia$o"e for a different scene. Don,t foret to
inc$"de information on(
a. Cow the character is fee$in
%. 'hat the character is doin
c. 'here the) are and the o%*ects the) "se
d. +n) specia$ effects with $iht or so"nd
1.=.! Discussion factors affecting plot an script evelopment
Developing stories
+ n"m%er of h"man sit"ations can %e worked o"t thro"h drama. Each of the
fo$$owin sit"ations invo$ves either a critica$ moment that the drama hines on#
a process of %ein in one state and %ecomin another# or makin connections
%etween peop$e# events or thins(
se$f/discover) or the discover) of know$ede
achievin a oa$ thro"h hard work# $"ck or inf$"ence
%ein tested ;tr"th# temptation<
ettin to know someone or somethin - enco"nterin the "nfami$iar
experiencin a connection with the wor$d aro"nd "s( anima$s# nat"re
facin a di$emma and choosin a co"rse of action
%ein ca"ht in the act of doin somethin wron
keepin or %reakin promises/tr"st
escapin from diffic"$t circ"mstances
pers"adin someone to do somethin
takin revene or resistin takin revene
facin the same pro%$em and tack$in it in different wa)s
mat"rin as a res"$t of oin thro"h a diffic"$t experience
Theme
+ second area to consider when decidin what stories to work with is the
theme. :an) teachers find that a pro%$em that is fami$iar can %e worked o"t
we$$ in a drama c$ass. &hemes that miht resonate with )o"r c$ass inc$"de the
fo$$owin(
fami$) re$ationships and press"re
$eavin home
competin demands at schoo$
cheatin# %"$$)in
the press"re to smoke
the press"re to conform - fashion# $an"ae# possessions
the need for a %o)friend/ir$friend
the oriins or effects of "i$t# pride# reed
+$ternative$)# teachers miht want to foc"s on socia$ iss"es with wider
themes# s"ch as(
povert) vs. wea$th
racism / aeism / sexism
crime
menta$ hea$th and i$$ness
teenae prenanc)
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divorce
the effects of war
the effects of mass media messaes/perspectives
the extent of the portra)a$ of vio$ence in societ) and its effects
the treatment of anima$s
Plot structure
3$ot str"ct"re is the term we "se to refer to what action takes p$ace in the
stor) which hooks and keeps the a"dience interested. :an) stories we see
as drama on &F# read or $isten as p$a)s fo$$ow fami$iar str"ct"res.
&he most common and easi$) accessi%$e p$ot str"ct"re is .re)ta,s# which
when written as a diaram# is $ike an "pside down ?F,. In the simp$est terms# it
contains some or a$$ of the fo$$owin se!"ence(
settin and context
an event that starts the action ;ca$$ed ?dramatic hook, or ?comp$icatin
action,<
p"rs"it of action# deve$opment of character ;see processes a%ove<
crisis
reso$"tion
Creating Dialogue
Dia$o"e has fo"r ke) f"nctions. It creates the context of the p$a)9 esta%$ishes
and maintains the theme9 revea$s and shows deve$opment in character# and is
"sed to advance the component parts of p$ot.
2e) "ide$ines to %ear in mind when he$pin st"dents to write dia$o"e are(
the motivation and aims of the characters ;%ased on processes - see
a%ove<
the re$ationships that are formed and deve$oped
the conf$icts and str"$es that are created and reso$ved
the re$ationship with the a"dience ;%"i$ds L maintains or %reaks the
fo"rth wa$$<
&o achieve this re$ationship to %est effect# the fo$$owin techni!"es can %e
"sed(
Esta%$ish and find s)non)ms for important words and themes and
make them appear in the dia$o"e of different characters# for examp$e#
one character ma) refer to his randmother with a neative word# and
another with a positive word# %"t the character of the randmother is
present and maintained %etween them.
1imp$if) speeches %) restrictin each speech to one ke) idea
Deve$op ideas %) "sin more than one character# e..# "se the main
character ;the protaonist< and his opponent ;the antaonist<# or the
main character and a s"pport character with different %"t not opposin
traits ;a foi$<.
&here is a traditiona$ r"$e of three in drama writin. &his is interpreted
in different wa)s# %"t can %e "sed as a r"$e to state and re/state
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EDB 2008 / 2009
important information in the p$a). .or examp$e# a character ma) %e
warned in three different wa)s not to p"rs"e a co"rse of action.
.or the p"rposes of emphasis# when statin names# p"t them at the
%einnin or the end of the $ine. 'hen introd"cin new information#
especia$$) references to ke) events or o%*ects in a p$a)# p$ace it at the
end of $ine.
Ens"re that the $ast $ine %efore a character $eaves the stae in each
scene ;the exit $ine< is memora%$e. 'a)s to do this are to ;a<
s"mmarise an overa$$ fee$in a%o"t what has happened in the scene9
;%< make a hint a%o"t what is to happen in the forthcomin scene9 ;c<
make reference to someone,s response to events.
Blocking
B$ockin is the word we ive to the stae directions9 where the actors m"st
stand/sit9 which direction the) sho"$d face9 how the) sho"$d move across the
stae or set. B$ockin is an important consideration as the a"dience needs to
maintain its siht of events and action. 'e refer to the a"dience,s ?siht$ines,.
B$ockin is a feat"re of the p$a) that is worked o"t in performance# %"t script
writin sho"$d a$wa)s inc$"de reference to the stae set# and ive some idea
of where the actors enter and exit.
Kp stae riht ;KD< Kp stae centre ;K4< Kp stae $eft ;K0<
1tae riht ;D< 4entre stae ;4< 1tae $eft ;0<
Down stae riht ;DD< Down stae centre ;D4< Down stae $eft ;D0<
+KDIEJ4E
)igure 1!% Stage areas an shorthan names
Play script conventions
&he fo$$owin contains a %asic description of the oranisation and writin
conventions "sed in p$a) scripts. +s an examp$e# we wi$$ take the stor) we
worked with in the workshop# ?&he 1"% and the 0ift,.
1 +cts and scenes
?&he 1"% and the 0ift, divides %est into a one/act p$a) divided into three
scenes. &he act dea$s with an event that happened to a teacher9 and each
scene fo$$ows the p$ot str"ct"re we disc"ssed in section c a%ove.
1cene 1 1ets the scene ;in the hairdresser# havin hairc"t<
4omp$icatin action/narrative hook ;ca$$ to s"%stit"te a
c$ass<
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EDB 2008 / 2009
1cene 2 B"i$d "p of action ;r"shin o"t of hairdresser,s/awf"$
sandwich<
1cene 5 4risis and reso$"tion ;arrivin at the schoo$# ettin st"ck
in the $ift# %ein resc"ed %) the fire %riade<
In this wa)# each scene takes a part of the p$ot str"ct"re and deve$ops and
conve)s it in the fo$$owin wa)s(
thro"h "se of space and vis"a$ imae
thro"h action
thro"h s)m%o$ and props
thro"h $ihtin# ;co$o"rs# darkness< and so"nds ;m"sic# so"nd effects<
thro"h dia$o"e
&he convention is to write +ct 1# 1cene 19 +ct 1# 1cene 2# and so on.
2 1ettin# %ackro"nd
Each scene starts with a short# perhaps 5/$ine# description of the settin of the
scene. It miht a$so ive a $itt$e %ackro"nd to the scene. &his is especia$$)
important if the p$a) incorporates the "se of ;a< f$ash%acks to an ear$ier time in
the histor) of the characters ;not the main foc"s of the p$a)# %"t perhaps the
reason $eadin to some action<# or ;%< cross/c"ttin# which is when the foc"s
of a p$a) moves to a ver) different scene ;this is a techni!"e common$) "sed
in fi$m9 first we see what character + is doin9 then we see what character B is
doin at the same moment<. Backro"nd miht a$so %e important if a
dramatic incident has not %een inc$"ded in the p$a).
5 1ettin tone# dia$o"e conventions and props
1t"dents can f"rther enhance their scripts %) addin in detai$s a%o"t how the
character is fee$in or how s/he wi$$ approach the scene. .or st"dents
$earnin En$ish# the most accessi%$e wa) to do this is to "se adver%s.
2ate( ;h"rried$)< I,m so $ad to see )o".
Cenr)( ;ca$m$)< 'e tho"ht )o" ot trapped on the :&D or somethin#
%"t here )o" are@
/ote that the na!e of the character appears followed #y a colon (0), then the
description of the e!otions/approach of the character and finally the line of
dialogue%
.ina$$)# there needs to %e c$ear reference made to props "sed on stae.
&hese need to %e inc$"ded in a$$ rehearsa$s so that the actors can et "sed to
%rinin them on stae at the riht time and ho$din and "sin them for effect.
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EDB 2008 / 2009
6 +ddin in so"nd and $ihtin c"es to create atmosphere
&his ma) come at a m"ch $ater stae in the script/writin process# %"t
st"dents wi$$ a$most certain$) want the advent"re of addin some of the
fo$$owin to he$p create atmosphere(
$ihtin# "se of darkness# "se of co$o"rs# "se of shadow# spot$ihts
so"nd in the form of so"nd effects ;e..# footsteps# a $ass smashin<
m"sic
:ake s"re that st"dents add $ihtin and so"nd c"es into the script so that
actors are aware of the effects that accompan) and a"ment the action. +s
we$$ as p$acin the c"es in the script# there sho"$d %e a separate c"e sheet for
st"dents who are responsi%$e for makin s"re the effect takes p$ace at the
riht time. Cere is an examp$e(
4"e 0ihtin effect
+ct 1# 1cene 1
2ate( >h# that m"st %e m) phone. 1cene oes dark# spot$iht on 2ate as
she takes the ca$$.
2ate( >ka)# then. I,$$ do m) %est to
not et st"ck in the traffic. B)e.
.$ood$iht/norma$ $iht res"mes.
)igure 1=% Sample lighting cue sheet
&here wo"$d %e a simi$ar sheet for ?1o"nd effects, and c"es.
Sound eects
Cere,s a $ist of common$)/"sed so"nd effects. 1ometimes the so"nd effect is
"sed to show the res"$t of an action# sometimes it is "sed to show the inner
state and fee$ins of a person. Examp$es are iven.
Soun effect E(ternal action 4nternal state
1o"nd of app$a"se &o show a crowd c$appin &o show that a character
fee$s that s/he has done
we$$ and the wor$d
approves.
+ $ass %reakin &o show a minor accident &o show that someone has
made a mistake
.ootsteps on rave$
;cr"nch) noise<
&o show that someone is
comin
&o show that someone is
expectin somethin ;%ad<
to happen - comic
3hone rinin ;same< &o show some examp$e of
comm"nication that has
taken p$ace or needs to
take p$ace
+$arm %e$$ .or an emerenc) &o show a character is
panickin a%o"t somethin
+ th"nder storm or stron
wind
&o show weather
conditions o"tside
&o show that a sit"ation or
character %rins tro"%$e
with them
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EDB 2008 / 2009
1omeone h"mmin a
t"ne
;same< &o create an atmosphere of
happiness and sense of
%ein carefree
)igure 1>% Common soun effects an 'hat the* can represent
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EDB 2008 / 2009
1.=.! Activit* Ban+% Theatre Conventions
O"st as in En$ish c$asses we "se activit) t)pes s"ch as ap/fi$$s or sentence
comp$etion# in Drama there are man) esta%$ished activities# which are known
as conventions.
In this section we $ist some of the most wide$) "sed drama conventions# in the
order that )o" ma) do them in c$ass. &hese sho"$d %e interated into a $esson
str"ct"re simi$ar to demonstration $esson 1.
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1ti$$ Imae / a$so a component of ?freeEe/framin,
'orkin definition
;a< + st"dent# or st"dents in ro"ps form the static imae of a scene
;%< 4an %e "sed as a means of foc"sin the a"dience on a moment in the
drama when the performers ?freeEe, in position whi$e action either contin"es on
a different part of the stae ;ca$$ed ?sp$it stain,<# or one character contin"es
actin/movin in the spot$iht ;ca$$ed ?spot$ihtin,< whi$e the others freeEe
aro"nd him/her.
1tim"$"s Fis"a$( paintin# photo# advert
+"ra$( m"sic# so"nd effects
Fer%a$/written( poem# stor)# advert# report# head$ine# a named
fee$in
Aro"pin :ost often sma$$ ro"ps
3roced"re +fter "sin steps to access the meanin of the stim"$"s# $earners
ph)sica$$) form a rep$ica of it# %"t ma) a$so chane one part or
interpret it different$).
>ther mem%ers can ?sc"$pt, the sti$$ imae participants into the riht
form.
Ksed for 1 Aro"p d)namics( co/operation# !"ietenin# concentration
2 Improvisation( the first ?enterin in, to a mood# idea# concept9 the
first co$$a%orative piece9 it can %e the startin or end point of a scene
5 0ive performance( can he$p the a"dience "nderstand the
ke) moments in a scene and heihten tension. Ksed with
effective ;spot< $ihtin and the "se of so"nd or m"sic# it can
reat$) enhance a piece. It can %e "sed at the %einnin ;to
create foc"s<# in the midd$e ;to mark a moment for attention<#
or at the end ;to ive the a"dience time to assimi$ate what
the) have *"st witnessed<.
3ro%$ems C"man It can $ead to ?corpsin, ;one meanin of this is that st"dents
start to i$e as the) rea$ise that the) ma) $ook si$$)<.
&echnica$ It,s important the a"dience,s siht$ines are
considered when freeEe/framin. 4an each character %e seenB
+re st"dents "sin the three %asic horiEonta$ $eve$s ;near the f$oor9
cro"chin9 standin ta$$<B
2=
EDB 2008 / 2009
&ho"ht/trackin
'orkin definition
Ksin freeEe/framin or sti$$ imae# the teacher taps a character on a sho"$der and
asks her/him to ive =0 seconds of tho"ht from that character,s perspective. &his
can %e repeated with other characters.
1tim"$"s &he stim"$"s comes from the importance of the moment in the
drama to each character.
Aro"pin Done whi$e in sma$$ ro"ps
3roced"re &he freeEe/framin or sti$$ imae sho"$d %e we$$ esta%$ished %efore
oin into tho"ht/trackin %) tappin someone on the sho"$der.
&here sho"$d a$so %e an a"dience to hear what the character sa)s
so that s/he fee$s that s/he,s speakin a$o"d for a reason# and not
simp$) for the teacher.
Ksed for 1 +ccessin a character,s interior tho"hts# emotions# responses#
motivations
2 Ksef"$ when different characters ma) %e experiencin
different reactions to the co"rse of events# e..# if someone
wins a priEe# character + ma) %e de$ihted# character B ma)
%e disappointed# 4 ma) %e pro"d# and D ma) %e *ea$o"s.
&his wi$$ %e in response to the dramatic moment of the priEe/
winnin.
5 ;&E.0< Ksef"$ to enco"rae spontaneo"s speakin# f$"enc) and
confidence/%"i$din
6 4o"$d %e "sed in a $ive performance accompanied %)
specific co$o"red spot$ihts for effect# e..# 4haracter 4
speaks pro"d$) and is $it %) a %riht white $iht# 4haracter D
has *ea$o"s words and is $it %) a movin reen $iht.
+daptations +n adaptation for in/c$ass improvisation is to freeEe the character
%ein foc"sed on# and have the peop$e aro"nd him/her sa) the
character,s tho"hts for him/her. .or examp$e# 4haracter + wins
the priEe# and characters aro"nd him revea$ different aspects of his
tho"hts and fee$ins thro"h speakin whi$e 4haracter + sta)s
froEen and !"iet. Ce$ps others to %"i$d "p an "nderstandin of the
interior of a character. &his techni!"e is ca$$ed# ?his tho"hts# her
tho"hts, %) Brian :cA"ire.
2G
EDB 2008 / 2009
'ritin in Do$e
'orkin definition
1t"dents are iven the opport"nit) to write somethin whi$st in character and therefore
express themse$ves in writin from this perspective.
1tim"$"s &his can take p$ace after some improvisation work has taken p$ace
with sti$$ imae# freeEe/framin# or ro$e/p$a).
Aro"pin &his is an individ"a$ activit).
3roced"re +fter havin had some time to %e in ro$e# and perhaps after
experiencin an event or an exchane with another character#
st"dents are iven a choice of written tasks# e..# to write a
postcard# a diar) entr)# a $etter# an e/mai$# a text messae# to
"pdate a %$o# to write on ?parchment,# to raffiti on a
prepared wa$$. If takin part in a thri$$er or histor)# st"dents
ma) wish to reco"nt what the) witnessed in a po$ice report or
for a historian,s doc"ment.
Ksed for 1 &o deve$op the fee$ins and tho"hts of a character
2 &o he$p a st"dent ;a< "nderstand and ;%< create the perspective a
character has towards a set of events or towards another character
5 ;&E.0< &o create a %a$ance %etween the ora$ ski$$s "sin in ro$e/
p$a) and written ski$$s. Ens"re that st"dents have a c$ear mode$ of
the format the) miht %e "sin.
6 +dd the writin to the portfo$io %"i$d/"p for that character#
e..# it co"$d accompan) ro$e/on/the/wa$$ diarams.
3ro%$ems 1 1t"dents ma) draw a %$ank so it is important that the writin is in
response to somethin that has %een experienced or witnessed.
2 ;&E.0< 1ome s"pport with ke) words and spe$$in wi$$ %e
needed. 2eep the writin short at first and enco"rae st"dents to
add to it.
28
EDB 2008 / 2009
29
EDB 2008 / 2009
Do$e/on/the/'a$$
'orkin definition
+ wa) to exp$ore a character creative$)
1tim"$"s + character from a p$a) or sti$$ imae s"ch as a paintin
Aro"pin 1ma$$ ro"ps enco"rae co$$a%orative thinkin9 individ"a$ work
can promote concentration and depth.
3roced"re
+n o"t$ine of a character is created on a piece of paper. &his
can either %e $ife/siEe# or sma$$ so that it can fit into a fo$der. If it
is $are# it a$$ows access to man)# and can %e a foca$ point for the
ro"p faci$itatin co$$a%orative ro"p work and opport"nities to
deve$op each other,s ideas.
1t"dents think a%o"t the character and start to write thins the)
know a%o"t him/her o"tside the o"t$ine of the %od) s"ch as
his/her mannerisms# appearance# est"res. &he) ma) a$so
consider the forces that other characters exert on him ph)sica$$)#
emotiona$$) or menta$$). 1t"dents then think a%o"t the
character,s inner states possi%$) in response to others#
motivations# emotions# needs and wants. >ften# the inner states
can on$) %e worked on as the improvisation proresses so it is
"sef"$ to start a session with the ro$e on the wa$$# keep it "p on
the wa$$# and add to it over a n"m%er of sessions as st"dents,
appreciation and "nderstandin of the character deve$ops and
deepens.
>ne adaptation is to have three +6 siEe ro$e/on/the/wa$$
temp$ates for st"dents and ive them a few min"tes in an ear$)
session# a mid/wa) session and a $ater session to show the
additions the) made to the ro$e and wh)# ref$ectin the
experience that triered it.
Ksed for(
1 Deve$opin a character - especia$$) if "sed over a few
sessions
2 4an show c$ear the press"re one character exerts on another
5 Ce$ps st"dents $ink inner states to o"ter est"res and actions
6 ;&E.0< 3repare to demonstrate and expose st"dents to $exica$
items to descri%e dress# post"re# e)e/hair co$o"r# and
characteristics. Demem%er to show $an"ae that co$$ocates#
;keeps his eyes lowered<# and word stress# ;"n2E:3&<.
3ro%$ems 1 4an $ead to stereot)pin and sha$$ow# exterior characters if
"sed once on$) and not deve$oped over time
2 If the st"dents don,t consider the re$ationships %etween
characters in a piece# the ro$e wi$$ remain %asic and "ndeve$oped
5 Ens"re that )o" have s"fficient materia$s ;paper# co$o"red
markers< for ever)one to contri%"te to avoid one person,s view
dominatin.
Cotseatin
'orkin definition
+ character is interviewed in depth %) a ro"p
1tim"$"s
Aro"pin >ne character sits in the hotseat whi$e other sit aro"nd him/her
read) to interview. &his is enera$$) not done in character %) the
rest of the ro"p# who are themse$ves.
3roced"re 4hoose a character which needs deve$opin. 3$ace her/him in the
hotseat and ive some preparation to the others to deve$op
!"estions a%o"t the character,s ro$e and his/her re$ations to other
characters inc$"din(/
'h) did )o" do IB
'ho,s c$osest to )o"B 'ho do )o" dis$ike and wh)B
Cow did )o" fee$ whenB Cow does it fee$ when s/he doesIB
'h) are )o" tired/happ)/nois) a$$ the timeB
If I ave )o" P1#000# what wo"$d )o" do with itB
Cave )o" ever done ;somethin %ad/advent"ro"s/kind<B
Cow do )o" eat nood$esB ;mime<
Ksed for &his techni!"e is "sed in improvisation to he$p a st"dent deve$op
his/her "nderstandin and connection with his/her character. &he
speed with which the !"estions are asked can sometimes he$p a
st"dent move into character more deep$). It a$so he$ps other
characters "nderstand the hotseatin character.
3ro%$ems 4orpsin and stae friht - it ma) %e too m"ch for the st"dent. If
)o" sense anxiet)# aree to $imit the !"estions to 2/5 and check
%efore oin on.
0ack of empath) with the character. In this case# )o" miht want to
resort to a !"ick session of pair/work where ever) other st"dent
takes on character + and is interviewed %) another st"dent on 1/5
ke) !"estions and take the most perceptive answers.
50
EDB 2008 / 2009
&ho"ht &"nne$
'orkin definition
+ means of he$pin st"dents to artic"$ate the tho"hts of a character especia$$) when
s/he faces a di$emma in the ro$e/p$a) or improvisation
1tim"$"s + character,s di$emma or pro%$em
Aro"pin 'ho$e c$ass ro"p of 20
3roced"re 1t"dents are divided into two e!"a$ $ines facin each other and *oin
hands to form a %ride. &he character foc"sed on s$ow$) and
de$i%erate$) wa$ks down the h"man t"nne$. +s s/he passes# each
st"dent makes a statement a%o"t ;a< what s/he is thinkin9 ;%< what
s/he needs to consider9 ;c< action and decisions that need to %e
made in response to a di$emma or pro%$em that the character has.
Ksed for &o deve$op a character and hih$iht considerations that need to %e
taken into acco"nt.
3ro%$ems Dependin on the c$ass profi$e# this activit) ma) need to %e r"n with
fewer participants to ens"re st"dents sta) on/task.
51
EDB 2008 / 2009
52
EDB 2008 / 2009
Aood +ne$ / Bad +ne$
'orkin definition
+ means of he$pin st"dents consider two sides of a pro%$em the character is
dea$in with
1tim"$"s + character,s di$emma or pro%$em enco"ntered in
improvisation
Aro"pin Aro"ps of 5 with one main character %ein foc"sed on
3roced"re 1t"dents enco"nter or decide on a pro%$em one character
has# for examp$e# whether to $ie or not. >n one side stands
the ?ood ane$, - the voice of reason# mora$it) and
oodness9 and on the other side stands the ?%ad ane$, - the
one who has no mora$ code# tries to take advantae of an)
sit"ation for short/term materia$ or stat"s ains# and wi$$ "se
an) means to advance him/herse$f.
&he centra$ character asks a !"estion# e# ?1ho"$d I $ie to m)
father ;a%o"t somethin that has taken p$ace<B, &he ood
ane$ sho"$d come "p with reasons and wa)s of avoidin
$)in9 the %ad ane$ wo"$d come "p with reasons for $)in
and of ainin advantae thro"h the process.
&E.0 teachers ma) want to "se this as an opport"nit) to feed
in $an"ae forms for h)pothesiEin# s"estin# or for the
%ad ane$# wa)s of maskin the immora$it) of what s/he,s
s"estin(/
If )o" $ie# )o",re $ike$) toI
'h) don,t )o"IB
8o" co"$d a$wa)sI
Cave )o" ever tho"ht a%o"t IB
'o"$d it %e s"ch a %i dea$ if )o"IB
It,s on$) the once# and he wo"$dn,t even noticeI
'hat )o" don,t know can,t h"rt )o".
Ksed for &o he$p a character consider co"rses of action# and decide
how to mo"$d the character.
3ro%$ems 4an $ead to s"perficia$ or inf$ated s"estions. Aive st"dents
time to think# or %rainstorm %efore the) tr) this o"t.
+$ternative$)# $et them tr) it o"t twice in different ro"ps so
the) can refine some of their s"estions.
.ixin 1pace
'orkin definition
&he wa) in which actors mark o"t the area the) are to work within either for
improvisation or ro$e/p$a).
:ateria$s 1t"dent ma) do this with avai$a%$e materia$s s"ch as ta%$es
and chairs# shoes# or even cha$k on the f$oor.
Aro"pin In improvisation or ro$e/p$a) ro"ps.
3roced"re 1t"dents divide the space the) have avai$a%$e for ro$e/p$a)#
and proceed to choose their wa) of markin o"t their
performance space. It ma) inc$"de decidin where rooms or
parts of a street/vi$$ae are.
Ksed for &he most practica$ "se of this is to he$p esta%$ish re$ative
movement of one character to another# $ines of siht and
direction of siht to different parts of the $andscape of the p$a)#
and c$ear siht $ines for the a"dience.
3ro%$ems 1t"dents ma) find it diffic"$t to concept"a$ise what the
a"dience sees# therefore# it is important to ive c$ass time to
workin in the area to %e performed so that st"dents can work
thro"h the wa) the) $ook# the wa) the) move their arms in
partic"$ar ;so as not to %$ock their face# or to %$ock others< and
how to "se the space to %est effect.
55
EDB 2008 / 2009
56
EDB 2008 / 2009
.acin >"t
'orkin definition
+ means of maximisin the p$a) space.
3roced"re If a stae is not avai$a%$e# st"dents ma) make "se of this
techni!"e to show that characters are not c"rrent$) actin in a
scene. Cere# certain characters take the active part of the
scene actin in front of the a"dience# and the rest of the
characters stand with their %acks to the a"dience f"rthest
awa) from the a"dience and not performin.
Ksed for .or practica$ p"rposes# this minimises the on/ and off/stae
traffic.
.or the p"rposes of drama# it shows that even tho"h certain
characters are not foc"sed on in terms of the action# the) are
sti$$ present in the %ackro"nd# and perhaps exertin force on
the action.
1t"dents can ho$d a freeEe/frame to s)m%o$ise an aspect of
their character whi$e facin/o"t and creative "se of $eve$s
;$ow# mid and hih< can a$so %e "sed.
57
EDB 2008 / 2009
4oncentric 4irc$es
'orkin definition
+ means %) which characters can express and work o"t their c$oseness or
distance from other characters in a ro$e/p$a).
1tim"$"s 1t"dents wi$$ a$read) have read or desined a ro$e/p$a) to work
with which invo$ves re$ationships %etween characters.
Aro"pin &he n"m%er invo$ved in the ro$e/p$a)# %"t this can %e red"ced to
foc"s on the centra$ characters.
3roced"re >nce some warmer activities and a $itt$e work on the ro$e/p$a)
has %een done# show st"dents a diaram of the re$ationship
distances %etween someone ;co"$d %e )o"rse$f< and other
peop$e drawn ro"h$) a$on the $ines of concentric circ$es with
each circ$e o"t representin a person who is $ess c$ose to the
centra$ character. 2eep the n"m%er to six or $ess in tota$. &a$k
thro"h the re$ationship map with reference to wh) someone is
where the) are p$aced. &his ma) invo$ve reference to an
incident that took p$ace %etween the characters which meant
the) are now c$oser or more distant. >nce this mode$ has %een
done# ask st"dents to form a standin h"man map with the
character %ein foc"sed on in the midd$e# and other characters
standin c$oser or more distant dependin on their re$ationship.
If this works# take it one step f"rther# and have st"dents do two
maps( one BE.>DE a dramatic event in the ro$e/p$a)# and one
+.&ED in order for st"dents to think thro"h and show the
impact the decisions# events and emotions have on h"man
re$ationships. >ne techni!"e that can %e "sed is to have a
character that has %een distanced face the opposite direction
from the centra$ character to show $ack of connection.
Ksed for Knderstandin and showin re$ationships %etween characters at
different points in the p$a).
3ro%$ems 'itho"t a ood mode$ and reasons %ein iven# it ma) %e
diffic"$t for some st"dents to concept"a$ise this. 8o" co"$d start
off with a map of the characters in a we$$/known fair) ta$e# or a
star that st"dents know a $ot a%o"t and e$icit c$oseness and
distance in re$ationships.
&he difference %etween ph)sica$ c$oseness ;ie# +da $ives with
her mother< and emotiona$ c$oseness ;ie# +da dis$ikes her
mother< needs to %e made c$ear for the p"rposes of dramatic
conf$ict.
5=
EDB 2008 / 2009
:arkin the :oment
'orkin definition
+ wa) to make a moment in a p$a) sinificant %) actin# mime# "se of est"re#
words# $ihts or so"nds.
1tim"$"s 1t"dents wi$$ a$read) %e fami$iar with a ro$e/p$a) and have
chosen a sinificant moment when# for examp$e# a choice has
%een made that $eads to a se!"ence of events.
Aro"pin +s the ro$e/p$a) ro"p.
3roced"re Decide on a sma$$ n"m%er of sinificant moments in the ro$e/
p$a) and ive st"dents options for ?markin, them. &his co"$d
%e thro"h the "se of(/
.reeEe/framin
1$ow motion
4o$o"red spot$iht
1o"nd effects9 m"sic
+ vis"a$ s)m%o$ or prop
+ ke) phrase
+ $ook at the a"dience
Cave st"dents tr) o"t 2/5 different techni!"es and decide on
one or a com%ination of# e# s$ow motion Q red $iht.
Ksed for Cih$ihtin to the a"dience that a moment is sinificant and
wi$$ have an impact on the co"rse of the rest of the drama and
the characters invo$ved.
3ro%$ems 1t"dents ma) over$oad their moment with effects.
+$ternative$)# the) ma) create the wron effect# makin a
traic moment $ook f"nn) "nintentiona$$). :ake s"re that
feed%ack from other ro"ps is an areed part of the proced"re
to et some perspective.
5G
EDB 2008 / 2009
&heme Bank
&his %ank contains a $ist of themes )o" miht consider and work with d"rin
improvisation# and examp$es of stim"$i to start the st"dents workin.
.riendship &wo schoo$mates invite a third p"pi$ to participate in a
pro*ect or ame. &he third person is sh) and awkward#
and event"a$$) re$axes.
0o)a$t) + teacher acc"ses a 2e$vin of p$aiariEin. ."n defends
2e$vin in an "nexpected wa).
3eer press"re + ro"p of st"dents tr) to pers"ade two others to smoke.
>ne does# the other doesn,t - wh)B
1t"%%ornness :in is sick %"t won,t o to the doctor. 1choo$ friends tr)
to work o"t wh)# and fina$$) convince her to o.
Dishonest) +ne$ is $)in a%o"t where she oes after schoo$. 1he,s
ettin thin and has dark circ$es "nder her e)es. 1choo$
friends fo$$ow her one evenin# find o"t wh) and confront
her.
Deso$vin %"$$)in +$ex has %een %"$$ied after schoo$ for months. Cis work is
startin to deteriorate and his rades are ettin $ower.
+$ex tries to reso$ve the sit"ation. 'ho does he ta$k toB
'hat does he doB
Deso$vin racism 3ip is a non/4hinese ir$ in a Con 2on 4hinese schoo$.
&he st"dents have not %een we$comin %eca"se the)
%e$ieve she is different from them. 'ork o"t one moment
showin acceptance of the character %) the ro"p.
2indness Aood +ne$/Bad +ne$ techni!"e. 8o",ve earned
G00C2D from doin some work for a $oca$ shop. 8o"r
%rother needs the mone) to %") somethin for his
comp"ter. 8o" want to %") a pair of shoes. 'hat sho"$d
)o" do and wh)B
4are$essness 8o" spi$$ a can of 4oke over a hand/written piece of
homework on )o"r desk. 8o" don,t know who it %e$ons
to %"t )o" need to make amends %efore the person
arrives.
4heatin 4e$ia cheated d"rin her $ast En$ish exam. 1he is now
startin to wake "p in the midd$e of the niht with
nihtmares. 1he ta$ks to her friend a%o"t it.
'ea$th L povert) &wo st"dents from )o"r schoo$ have the same date of
%irth# %"t ver) different %irthda) experiences( one is rich#
one poor. 'hat happens to each one# and how are the
characters shaped and formed as a res"$tB
Cea$th L disease &wo schoo$mates. >ne has a co"h and co$d and ta$ks to
the hea$th) one. B) the end of the conversation# the first
character has recovered and the second character has
ca"ht the co$d. 'hat is the conversation a%o"t and does
it mirror the transfer of the co$dB
! "valuation and assessment
1t"dents need to ;a< ref$ect on their own $earnin and experience9 ;%< ref$ect
on other,s work and $earn from it9 and ;c< et feed%ack from the teacher which
wi$$ he$p shape and deve$op foc"s and awareness. &his can %e achieved
thro"h ;a< ?hot/sheets, - immediate tho"hts# ref$ections and ideas that the
st"dents have after havin experienced a techni!"e9 ;%< recordin devices for
ref$ection ;a diita$ voice recorder# or video recorder can %e "sed to watch
how the ro"p has achieved a oa$< and itemised ref$ection sheets can %e
"sed to "ide noticin9 ;c< a teacher can $ist competences and %ehavio"r that
s/he is oin to comment on d"rin the session whi$st workin with the
ro"ps# s"ch as co$$a%oration9 "se of voice# pitch9 workin in En$ish9 "se of
$eve$s9 "se of est"re9 "se of $iht/so"nd9 "se of si$ence and pa"sin.
1t"dents can record their tho"hts# work# research and feed%ack in an on/
oin $o%ook and portfo$io.
Log$oo+s an Portfolios
&he $o%ook can %e a simp$e note%ook# %"t sho"$d contain ;a< p$ans for work
and experimentation# ;%< techni!"es# ;c< stae directions# ;d< ref$ections on
the "se of techni!"es and stae directions on a re"$ar %asis. &ime can %e
set aside in c$ass# or it can %e set for homework. &his is an on/oin record of
the st"dent,s experiences and "ses of different techni!"es.
&he portfo$io can %e a $ever/arch fo$der with dividers. 'e recommend the
fo$$owin sections for notes.
;a< Improvisation and ro$e/p$a) techni!"es
;%< 3ractica$ $ihtin and so"nd ideas
;c< 1tae directions and props
;d< 4ost"me ideas# ;fa%rics# co$o"rs<
;d< Def$ections and $earnin points
;e< Drama watched or seen and ref$ections
;f< Dehearsa$ 3$anner
;< 3erformance doc"ments ;1o"nd/$iht c"e sheet# props c"e sheet#
%$ockin p$ans
58
EDB 2008 / 2009
Sel#assessment activities or role#on#the#$all and thought tunnel
@$&ectives
+< 'hat have )o" $earnt a%o"t the ro$e/on/the/wa$$ conventionB 4irc$e the
appropriate options.
Do$e/on/the/wa$$ is to he$pI
deve$op p$ot deve$op character deve$op imaes
&ho"ht/t"nne$ is to he$pI
a character to speak more c$ear$) %) prono"ncin his/her words
deve$op a character %) thinkin a%o"t his/her ro$e
a character to "nderstand different parts of a pro%$em and make a
decision
Language
B< Deview the voca%"$ar) )o" wrote in )o"r ro$e/on/the/wa$$. 4omp$ete the
ta%$e %) oranisin the voca%"$ar) into cateories
3h)sica$ appearance 4haracter >ther
Achievement
4< Date )o"r ro$e/on/the/wa$$ character. Cow satisfied are )o"B 4hoose one.
Hot ver* happ* #easona$l* happ* 1er* happ* Elate
'h) did )o" ive )o"r ro$e/on/the/wa$$ character this ratinB
Beca"se ...
Date )o"r tho"ht/t"nne$ activit). Cow satisfied are )o"B :ark M on the $ine
E(cellent 'or+ Average 'or+
59
EDB 2008 / 2009
Sel#assessment activities or good angel % &ad angel
1 'hat,s the minim"m n"m%er of peop$e invo$ved in a Aood +ne$/Bad
+ne$ activit)B
;a< 7 ;%< 6 ;c< 2 ;d< 5
2 'h) do we "se Aood +ne$/Bad +ne$B "ircle one%
;a< to deve$op a scene
;%< to create a character
;c< to write dia$o"e for more than one character
;d< to exp$ore two options for action
;e< to make *"dements a%o"t the character
;f< to practise speakin
5 &hink a%o"t the Aood +ne$. 'hat is her/his ro$eB 4irc$e )o"r ideas.
&o pers"ade a character
to do somethin
&o ive him reasons for
%e$ievin the sit"ation
can have a positive
endin
&o ta$k to and ar"e with
the Bad +ne$
&o $ist positive and
neative ideas
connected with a
sit"ation
&o make the character
happ)
&o $isten to
the character
6 &hink a%o"t the Bad +ne$. 4ross o"t the thins that s/he does not do.
;a< 0ists ideas a%o"t happ) so$"tions.
;%< &ries to he$p the character so$ve a pro%$em.
;c< .oc"ses on actions that are se$fish or ca"se tro"%$e.
;d< 1"ests actions that wi$$ shock other characters.
;e< 0istens to the Aood +ne$ and the character.
60
EDB 2008 / 2009
7 &hink a%o"t the t)pe of $an"ae )o" "sed in the Aood +ne$/Bad
+ne$ activit). 4omp$ete the appropriate section with $an"ae )o"
"sed toda)
61
EDB 2008 / 2009
0an"ae "sed
Suggesting 0
Persuaing
Biving an opinion
Challenging an opinion
Peer#assessment activities or plotting and scripting
+< 4an )o"r partner to remem%er the different p$ot t)pes and what the
meanB
The , plot The Episoic plot The Hero5s ?ourne*
The /ountain plot
Cow man) p$ot t)pes did )o"r partner exp$ain correct$)B
B< &est )o"r partner. Dead the sentences and )o"r partner "esses the
correct p$ot t)pe. &ick the ones the) ot riht
a< 'hen someone is ca$$ed to advent"re

%< Ksed a $ot in soap operas and Co$$)wood fi$ms
c< + series of increasin dramatic events and comp$ications
d< + series of events which ma) not %e connected to one other
e< :ore $ike rea$ $ife
;f< + wa) of testin mora$ character and the deve$opment of strenth
;< &his p$ot deve$ops dramatic tension
Answer 1ey
;a< 'hen someone is ca$$ed to advent"re. The Hero5s ?ourne*
;%< Ksed a $ot in soap operas and Co$$)wood fi$ms. The 2,5 plot
;c< + series of increasin dramatic events and comp$ications. The /ountain plot
;d< + series of events which ma) not %e connected to one other. The Episoic plot
;e< :ore $ike rea$ $ife. The Episoic plot
;f< + wa) of testin mora$ character and the deve$opment of strenth. The Hero5s ?ourne*
;< &his p$ot deve$ops dramatic tension. The /ountain plot
62
EDB 2008 / 2009
1 +$$ 6
' (esources
&his section contains a $ist of "sef"$ and practica$ reso"rces which come from
two main so"rces( p"%$ished %ooks and the internet. &he materia$s are
oranised accordin to when in the co"rse )o" are $ike$) to need them. 1ome
of the so"rces wi$$ need to %e adapted to make s"re the) are appropriate for
the needs of )o"r st"dents.
EDB #esources
Aenera$ Drama Deso"rce 3ae
http(//www.ed%.ov.hk/index.aspxBnodeIDR2G72L$annoR1
:ain index pae for +00 EDB doc"mentation( c"rric"$"m "ides# schemes of
work# teachin reso"rces# etc.
http(//www.ed%.ov.hk/index.aspxBnodeIDR2GG5L$annoR1
Deso"rces in s"pport of the 1chemes of 'ork
http(//www.ed%.ov.hk/index.aspxB$annoR1LnodeIDR2G=9
4amenE"$i# Domm 23 4i!ple 5ra!a ,a!es B"shfire 3ress ;1988<
Practical and simple short activities to use at all stages o a drama session) "ach
activity is less than *+ $ords long)
:cA"ire# Brian 4tudent and#ook for 5ra!a 3earson ;2005<
A main source o practical dramatic conventions and techni,ues put in simple and
accessi&le language)
:cA"ire# Brian (echnical "o!panion to 5ra!a 3earson ;2000<
Covers some o the same areas as the -.and&ook/ &ut also includes clear0 practical
e1planations on lighting and sound techni,ues)
Jee$ands# O. L Aoode &. 4tructuring 5ra!a Work 4K3 ;2000<
A detailed and e1tensive coverage o dramatic conventions0 and invalua&le resource
or the T"2L 3 drama teacher)
:a$e)# +. L D"ff +. 5ra!a (echniques in 6anguage 6earning 4K3 ;1982<
This is the classic techni,ues &ook or transerring drama to the T"2L classroom and
contains many practical lesson recipes)
:ok# + (ask7#ased 6earning, 6anguage Arts and the 8edia% A *esource
9ook for 4econdary :nglish (eachers IJ1&E3# .ac"$t) of Ed"cation# C2K
;2001<
A .ong 4ong speciic &ook) Chapter three in this &ook is -Drama 5 A Tool or
6ntegrating Language Skills/ &y 7ackie Wheeler) 2ull o practical ideas $hich sho$ the
language and learning areas that can &e $orked on through drama activities)
'esse$s# 4. 5ra!a >K3 ;198G<
8riginal ideas and lesson recipes going rom one#o activities to ull classroom
perormances)
65
EDB 2008 / 2009
Jew%rook# J. :xtracts & :nglish fiction for advanced students 1cho$astic
;1998<
Jew%rook# J. with Jew%rook O. (i!esaver ;hotocopia#le :xtracts . &
:nglish fiction for upper inter!ediate and advanced students (with "5)
1cho$astic ;2005<
Both good sources o photocopia&le literature) Teachers $ill $ant to select
appropriate theme and content rom e1cerpts availa&le)
Je$son,s 1"per1cript series# 4onnections and 1t"dio 1cripts - which provide
p$a)scripts for )o"n ad"$ts and a rane in n"m%er of speakin and non/
speakin ro$es. www.ne$sonthornes.com
?+, $eve$ Drama A$ossar)
www.kenta)$or.co."k/die/materia$s/docs/$essons/)r12/emonton1/aNlevelNglossar*.pdf /
Basic drama methods
http(//www.artsonthemove.co."k/reso"rces/amesmethods/methods.htm$
http(//www.*s!"ared.co."k/to%ias/tech.htm
http(//www.pem%schoo$.or."k/$earnin/htm$/0=hotsN1.C&:
Drama 0esson 3$ans
http(//www.kenta)$or.co."k/die/
1hort $esson ideas for the teacher.
Drama ames
http(//www.artsonthemove.co."k/reso"rces/amesmethods/ames.htm$
1hort# practica$# eas)/to/fo$$ow instr"ctions for drama ames for the teacher.
Detai$ed A$ossar)
http(//$itera1no6.tripod.com/e$ements.htm$
H"ite detai$ed - for the teacher.
3$ot str"ct"re diaram
http(//so"th.hinsda$e8=.or/departments/en$ish/e1we%/ho$es/ediaram.htm$
3$ot str"ct"re
http(//en$ish.t)$er.cc.tx."s/en1250Gn%)r/p$otstr"ct"re.htm
http(//www.s)c.k12.pa."s/Ssms/Eart/shortNstor)/30>&/s$d017.htm
&his is a powerpoint intended for proficient speakers. &he &E.0 teacher is advised to adapt
it.
1tat"s
http(//www.a"detwc.com/drama/drama1/d1!5Nstat"s.htm
+n exce$$ent on/$ine reso"rce for the teacher. 0ists wa)s in which stat"s can %e shown and
deve$oped thro"ho"t a dramatic piece.
1tim"$i
http(//www.artsonthemove.co."k/reso"rces/amesmethods/stim"$i.htm$
1tr"ct"rin a drama c$ass
66
EDB 2008 / 2009
www.teachers.tv
&)pe in a search for 5ra!a - exce$$ent 17/min"te videos for teachers with accompan)in
worksheets
&hemes
www. chal+face .com/N2e)N&hemesNinNDrama
>n$) a free samp$e down$oada%$e from this site %"t f"$$ of practica$ activities %ased on Ahosts#
:)ths and 0eends. If )o" want the f"$$ doc"ment# )o" wi$$ need to p"rchase it from the
we%site.
4n Hong Kong
Con 2on Drama .estiva$ for 1choo$s
http(//www.ed%.or.hk/schact/drama/
Con 2on +cadem) of 3erformin +rts
http(//www.hkapa.ed"/
British 4o"nci$ Con 2on# Come pae
http(//www.%ritishco"nci$.or/honkon
British 4o"nci$ En$ish >n$ine - reiona$ sites for teachers and st"dents
http(//www.en$ishon$ine.or.cn/en
67
EDB 2008 / 2009

Teaching English Through Drama

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EDB Language Arts Electives

Professional Development for Teachers

a< 'hen someone is ca$$ed to advent"re

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