arts education 5142_pt2_october

UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013

ARTS EDUCATION 5142: ARTS EDUCATION 5142: DramaDrama

Drama offers children a way of knowing Drama offers children a way of knowing that is not replicated elsewhere in the that is not replicated elsewhere in the

curriculum.curriculum.

John O’Toole & Julie Dunn: Pretending to John O’Toole & Julie Dunn: Pretending to learn (2002)learn (2002)


Drama educationDrama education

What is the intended learning?What is the intended learning?Why is it important?Why is it important?What do children bring?What do children bring?

WHAT DO WE WANT OUR STUDENTS WHAT DO WE WANT OUR STUDENTS TO LEARN IN AND THROUGH TO LEARN IN AND THROUGH DRAMA????DRAMA????


The multi-dimensional and The multi-dimensional and physical physical

nature of drama activity means nature of drama activity means that children’s cognitive abilities that children’s cognitive abilities

are engaged more are engaged more comprehensively than in comprehensively than in

sedentary learning activitiessedentary learning activities (Jensen, 2001, p72, as cited in (Jensen, 2001, p72, as cited in

Dinham, pge 180).Dinham, pge 180).


Stage oneStage one

Drama/theatre warm up Drama/theatre warm up activityactivity

WHY?WHY?


Drama or theatre activities are Drama or theatre activities are used to develop a range of skills used to develop a range of skills

and competencies such as and competencies such as physical movement skills, physical movement skills,

imagination, concentration, imagination, concentration, trust, spatial awareness and trust, spatial awareness and

team skills.team skills.Dinham (2011) pge 187Dinham (2011) pge 187


Stage twoStage two

Knowledge in, skills and Knowledge in, skills and practices that form drama practices that form drama educationeducation


Intended learning……Intended learning……

1.1. VoiceVoice


Verbal expression involves using Verbal expression involves using the voice to represent different the voice to represent different

characters and to convey moods characters and to convey moods and content expressively by using and content expressively by using

tonetone (timbre), (timbre), intonationintonation (pitch, (pitch, volumevolume (dynamics) and (dynamics) and pacepace

(tempo). (tempo). Diction Diction (clarity), (clarity), pronunciationpronunciation (accuracy) and (accuracy) and

improvising dialogue are other improvising dialogue are other vocal skills required for dramatic vocal skills required for dramatic performance. (Dinham 2011, pge performance. (Dinham 2011, pge

203)203)


Reader’s TheatreReader’s Theatre

Activity: Read the script for Activity: Read the script for Tacky the Tacky the PenguinPenguin by Helen Lester by Helen Lester

www.teachingheart.net/www.teachingheart.net/readerstheater.htmreaderstheater.htm


Voice

Tone Clarity Pace


Intended learning…….Intended learning…….

2.2. Movement/Movement/gesturegesture


Movement/gesture

Consistent AppropriateEnhances character


MimeMime

Mime is acting without words and Mime is acting without words and focuses attention on the use of focuses attention on the use of facial expression, gesture, body facial expression, gesture, body language and action. Focus on non-language and action. Focus on non-verbal ways of communicating.verbal ways of communicating.

Dinham (2011), pge 183-7Dinham (2011), pge 183-7


Activity: Opening of birthday Activity: Opening of birthday presentpresent

1) Non-verbally communicate 1) Non-verbally communicate what it iswhat it is

2) Non-verbally communicate your 2) Non-verbally communicate your emotional response emotional response


Intended learning……Intended learning……

3.3. TextText


Text

Beginning context

Point of tension

Resolution


Activity: Word prompts for Activity: Word prompts for narrativenarrative

(person, place, object)(person, place, object)

Focus: structure of the plot – Focus: structure of the plot – beginning, middle and end, beginning, middle and end, with an area of conflict and with an area of conflict and

resolutionresolution


AudienceAudience

Roles and responsibilitiesRoles and responsibilitiesEtiquette Etiquette


Audience checklistAudience checklist

Drama skillsDrama skills VoiceVoice Movement/gestureMovement/gesture Maintaining characterMaintaining character Story structureStory structure Production Production

(lighting/sound/sets..)(lighting/sound/sets..)

Drama dispositionsDrama dispositions ConfidenceConfidence Team workTeam work Risk takingRisk taking Co-operationCo-operation

Issues/moral Issues/moral dilemmas/ character dilemmas/ character traitstraits


Drama education – Drama education – why???why???


Research shows that children Research shows that children involved in rich forms of drama involved in rich forms of drama

education develop greater education develop greater fluency and versatility in fluency and versatility in

language and non-verbal forms language and non-verbal forms of communication than those of communication than those

who are not (Fiske, 1999, cited who are not (Fiske, 1999, cited in Dinham pge 181.in Dinham pge 181.


The Practice/processThe Practice/process

Child centeredChild centeredTeacher initiatedTeacher initiated


Child CenteredChild Centered

Drama cornerDrama cornerPlay boxesPlay boxesBox of costumesBox of costumesVariety of propsVariety of props…………………………....


Teacher initiated – the practiceTeacher initiated – the practice- process drama- process drama

Dramatic role playDramatic role playStorytellingStorytellingPuppetsPuppets ImprovisationImprovisationMimeMimeScriptsScripts


Additions to your teachingAdditions to your teaching

Windmill Theatre: Windmill Theatre: www.windmill.org.auwww.windmill.org.au Patch Theatre: Patch Theatre: www.patchtheatre.org.au www.patchtheatre.org.au Slingsby Theatre: Slingsby Theatre: www.slingsby.net.auwww.slingsby.net.au No Strings Attached:

www.nostringsattached.org.au

Carclew Youth Arts Centre: Artist in Schools Program - carclew.com.au

Outreach Education (DECD) - Adelaide Festival Centre, Art Gallery of SA, ……


AssessmentAssessment

Strategies…………….Strategies…………….


AssessmentAssessment

What is your assessment focus? (skills What is your assessment focus? (skills or dispositions)or dispositions)

Teacher assessment – checklist, Teacher assessment – checklist, observation (with or without notes)observation (with or without notes)

Peer assessment – verbal feedback on Peer assessment – verbal feedback on performancesperformances

Group assessment – Group assessment – verbal/drawn/written reviews of formal verbal/drawn/written reviews of formal performancesperformances

Video – for teacher, students, parentsVideo – for teacher, students, parents


Drama elementsDrama elements

Role, character and Role, character and relationshipsrelationships

Situation/settingSituation/settingFocusFocusTensionTensionSpace and timeSpace and time


Drama skills and knowledgeDrama skills and knowledge

Technical: Technical: VoiceVoiceBodyBodyTextTextAudienceAudience


Drama pedagogyDrama pedagogy

Learning inLearning in:: Focus on the specific skills, knowledge Focus on the specific skills, knowledge

and vocabulary of dramaand vocabulary of drama

Learning throughLearning through:: Using the dispositions of drama to Using the dispositions of drama to

enhance other learning areas and enhance other learning areas and personal and social competencies.personal and social competencies.


Cross curriculum prioritiesCross curriculum prioritiesSustainability: opportunities to explore issues through Sustainability: opportunities to explore issues through

dramatic role playdramatic role play

Aboriginal & Torres Strait Islander histories and Aboriginal & Torres Strait Islander histories and cultures: traditional and contemporary dance (SA – cultures: traditional and contemporary dance (SA – Kurruru Youth Theatre, National - Bungarra Dance Kurruru Youth Theatre, National - Bungarra Dance Theatre), visual artTheatre), visual art

Asia and Australia’s engagement with Asia:Asia and Australia’s engagement with Asia: Japan: Bunraku Puppetry, Noh Theatre, KabukiJapan: Bunraku Puppetry, Noh Theatre, Kabuki China: Marionette and hand puppets, OperaChina: Marionette and hand puppets, Opera Vietnam: Water PuppetsVietnam: Water Puppets Indonesia (Bali): Topeng – mask dance-dramaIndonesia (Bali): Topeng – mask dance-drama Indonesia & Malaysia – Wayang Kulit (shadow Indonesia & Malaysia – Wayang Kulit (shadow

puppets).puppets).


Drama is an embodied form of artistic Drama is an embodied form of artistic expression that engages children’s expression that engages children’s

emotions, intellect, imagination, spirit emotions, intellect, imagination, spirit and body. Children have a natural and body. Children have a natural instinct for drama, as seen in their instinct for drama, as seen in their

earliest ‘let’s pretend’ forms of play. earliest ‘let’s pretend’ forms of play. When children enter the imaginative When children enter the imaginative world of make-believe they enter the world of make-believe they enter the world of dramatic play. By building on world of dramatic play. By building on these instincts, teachers can create these instincts, teachers can create

rich and satisfying learning rich and satisfying learning experiences for children. experiences for children. Dinham, pge Dinham, pge

209.209.

arts education 5142_pt2_october

Education

textunisa drama tutworkshop

drama elements role

rich forms of drama

team skills

assessment focus

dinham pge

vocal skills

range of skills