DOCUMENT RESUMEED 391 206 CS 509 153AUTHOR Annarella, Lorie A.TITLE Creative Drama in the Classroom.PUB DATE [92]NOTE 22p.PUB TYPE Viewpoints… [625026]

DOCUMENT RESUMEED 391 206 CS 509 153AUTHOR Annarella, Lorie A.TITLE Creative Drama in the Classroom.PUB DATE [92]NOTE 22p.PUB TYPE Viewpoints (Opinion/Position Papers, Essays, etc.)(120)GuidesClassroom Use Teaching Guides(For Teacher) (052)EDRS PRICE MF01/PC01 Plus Postage.DESCRIPTORS *Class Activities;. Cognitive Processes; CommunicationSkills; *Creative Development; *Creative Dramatics;Elementary Secondary Education; *ExperientialLearning; Higher Education; Holistic Approach;*Sensory Experience; *Student: [anonimizat] *Drama in EducationABSTRACTThe use of creative drama in the classroom is astudent-focused process where experiential learning can be fosteredand developed within any given curriculum. It can help students todevelop divergent thinking skills, inventive creativity, andcognitive thinking skills, and it can stimulate the development oforal and written communication skills. Used in a social context,creative drama can show the student: [anonimizat], creative drama helps thestudent: [anonimizat] "knowing" into concreteaction. Creative drama is a holistic approach to academic learning.Non-threatening classroom exercises can provide a genuine feeling ofsurprise and fun in the classroom and help students to become awareof the utilization of their imagination. In one exercise, student: [anonimizat]'s essay "Fate"; they dressed in black and,turning off all the lights, read the essay aloud with flashlights.Afterwards, students talked about how fate influences lives. It isimporiant, if such activities are to be successful, that theinstructor instill students with a sense of trust. Students must notbe forced to participate–they should be asked. In an exercisepromoting trust, a student: [anonimizat] 14 references.) (TB)
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TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."Creative Drama in the Classroom
by
Dr. Lorie A. AnnarellaU S DEPARTMENT OF EDUCATIONOrhCe o Ech.calrena, Research and !niproveniereEDUCATIONAL RESOURCES INFORMATION
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Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy.
Much emphasis today is being placed on educational goalsthat foster creativity, cognitive learning, divergent thinkingskills, and oral and written communication skills. For yearsthe majority of classroom atmospheres were developed aroundthe teacher in the front of the classroom supplying knowledgeto the students. The teacher would ask the questions, and thestudent: [anonimizat]
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methodology, creative drama can provide a student focusedbase for learning.The use of creative drama in the classroomis a student focused process where experiential learning can befostered and developed within any given curriculum. Many ofthe above goals mentioned were at one time fostered insituations other than the classroom. Therefore, the type ofabstract sequential teaching methods that are still being usedin the classroom were adequate for many students (Gregorc,1985).Not too many years ago the majority of students walkedto school. Many lessons were taught, as well as learned, bychildren walking to school.Students became aware of theirenvironment, and this helped to establish a sensory perceptionto their surroundings. There was exposure to plants andanimals as well as social compatibility to be learned. Walkingto school in the morning, and home in the evening, brought on acommunity spirit with the students. Problems arose, andproblems were solved by the communilty of students. Thedevelopment of this microcosm helped the child to
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communicate, think, and cope with the macrocosm of the largerworld.It was a small world, but as the child grew, moreknowledge of the world and its surroundings were taken intothe child's life as experiential learning.Consider the fact that our schools are much larger andtherefore elicit a less personal atmosphere for fosteringrelationships with other students, and also with teachers.Many children, if not most, ride the bus to school. There is aloss of experiential learning when children are no longer ableto form a community bonding where they can learn to functionand develop skills such as decision and perception in their owncapacity.Visual acuity and sensory perception of the worldaround the student was at one time easily learned on theplayground, at home, and at school. Today, many children donot have much access for unstructured play. Much of their playconsists of structured activities where there is little room forthe development of creativity and inventiveness. Many stayindoors and are occupied with television for their companionand play time.
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The use of creative drama in the classroom is a powerfultool to help combat the inertia that has crept into ourclassrooms.Creative drama in the classroom can help todevelop divergent thinking skills, inventive creativity,cognitive thinking skills, and stimulate the development oforal and written communication skills.Rollo May discusses creative courage as, "the discoveringof new forms, new symbols, new patterns on which a newsociety can be built" ( May,1975). The ability to be creative ispresent within every individual. The use of creative dramahelps the student to process that internal ability into anexternal form."Education is concerned with individuals; drama isconcerned with the individuality of individuals, with theuniqueness of each human essence" (Way, 1973). The use ofdrama within the classroom endeavors to develop theindividual student.Many times drama is thought of as anotherclass, such as theatre.Drama is not theatre; drama is aprecursor for theatre.In order to have a justifiable portrayal
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of theatre character, drama is often studied. I have often usedcreative drama techniques to awake the creative forces inacting students.But aside from theatre production, creativedrama is its own entity.Its use as a teaching strategyincorporates the individual student in a communityatmosphere where he/she can share individual thoughts andactions.Fostering intuition, creative drama helps the studentto relegate inner strengths of "knowing" into concrete action.It permits the emotional strengths of the individual to combinewith external facts in order to produce a valid outcome. Usedin a social context, creative drama can show the student theway to be empathic to the needs of others and consequently thestudent will be better able to form a value judgment.The idea of imagination and creativity being only placedwith the arts has long been an educational practice. TheNational Endowment for Arts Education in a recent studyproposes that art should transcend into all fields of study. Itshould not be considered a separate entity. Just as everyperson is born with imagination, drama exists in every facet

of our lives.It is an internal art form that can be used in anoperational mode when divergent thinking skills are needed inproblem solving. As was stated above, the use of theimagination creates inventiveness. "In terms of education, itis vital that each human being is helped both to develop his orher own imagination and to feel confidence in it" ( TowardCivilization, 1973).Creative drama is a very holistic approach to academiclearning.It creates trust among students because of the basicneed for understanding, not only from the group, but from theindividuals within the group.There is a definite relationshipthat is created because of the extensiveness of all of the groupparticipation.Thus, the students are taught to functionindividually within a group situation. The sharing experienceis also an important point to remember when the use ofcreative drama is used as an educational tool. All of the workthat is done by the individual is shared by the group. Learningthis way produces understanding and communication skills.The oral development of words and thought patterns is
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another added benefit of using creative drama. The student isintroduced into a world of oral participation. There is noexpectation to perform as in theatre. Students are encouragedto listen to, and share ideas. The threat of defeat is not thereto promote undue risk.Eased into creative drama activities,the student can grow and learn how to cope with problems thatarise in a controlled and non-risk taking atmosphere. It is atthis level that confidence can become instilled in the student.Multiple perspectives can be taught. An example of this wouldbe using chamber theatre in order to evaluate a story. Thenarrator not only is telling the story, but parts of the story areread and acted out using improvisation. The group is workingtogether as a unit and each person is acting individually, yet,working toward one common goal. Each part of the grouphinges on the other promoting trust and acceptance. This ideaof group participation lends itself particularly well with thepractice of cooperative learning. Creative drama activities canbe implemented very easily within the cooperative learningstructure by involving the students in a task oriented project
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associated with content material. I often tell students, "If youcan see it– read it– think it– write it– be it– it's yours."Creative drama can be Creative play resulting ininventiveness.Years ago I met and elderly gentleman who told me thathe never worked a day in his life. When I asked him what he did,he told me that he spent his life playing. I was astonished.Helooked at me with a twinkle in his eye and told me he was anairplane pilot, and that he loved his work so much that he neverconsidered it a job, just play. I have always remembered thatincident.Ireflect on it when sometimes I hear criticism ofthe arts supplying too much "fun" for students to engage in.Why then do so many of us, educators included, believe that ifwe are having a good time doing something, even somethingimportant, it ceases to lose its beneficial meaning or value–or it is not considered to be constructive work, therefore, it iswasted–it is play.Johan Huizinga ( 1950 ) states in HomoLudens, in nature and significance of play, that one can denynearly all other abstractions: justice, beauty, truth, goodness,
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mind, and God, but one cannot deny the seriousness of play. Byacknowledging p!ay, one acknowledges the mind. He furtherstates:To our way of thinking, play is the ftect opposite ofseriousness…We can say:play is non-seriousness.But apartfrom the fact that this proposition tells us nothing about thepositive qualities of play, it is extraordinarily easy to refute.As soon as we proceed from 'play is non-seriousness' to 'play isnot serious,' the contrast leaves us in the lurch –for someplay can be very serious indeed. ( Huizinga,1950)
Sensory Learning or sensory awareness exercises–a creativepre-writing activity
Objective:The student will react to various forms ofstimuli.
The following are in place pantomimes used to stimulateimagination and to provide motivation and practice.
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k
Listeningrecall
1. Think about a favorite piece of music that you know. recallthe song and attempt to play the tune on any instrument thatyou prefer.
2.Think about a favorite piece of music that you know. Leadan orchestra, be the conductor, and perform the music.
3.You are sitting at the computer or typewriter. See the_screen or the paper before you.. Begin to type. Hear the soundsof the keys as you create a written assignment.
Tactilerecall
1. Touch the top of your left hand. Imagine that there issomething sticky on the top of your knuckles. Try to remove it.
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2.Look in an imaginary mirror at your face. You notice thatthere is a smudge on your nose. Try to remove this smudge, butdo it carefully because your nose is sunburned.
3.You are thirsty, but you have no glass or cup from which todrink. In front of you is a stream of clear and clean springwater. Get a drink.
Olfactoryrecall
1.Think of a very pleasant smell that you remember from longago. Use a movement to show what it is.
2.You have just picked a bouquet of roses–smell them anddeeply inhale their fragrance.
3. You are in the fish market on a hot summer day. Respond tothe smell of the fish just as you open the door to the market.
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f4).,

Tasterecall
1.You have just come into your house and someone has justbaked an apple pie–react.
2.You have just put a dill pickle into your mouth–react.
3.Eat your favorite dessert. We will guess what it is.
Outcome:
Besides providing a genuine feeling of surprise and fun in theclassroom this non-threatening exercise helps the student tobecome aware of the utilization of his/her imagination. Themind over matter properties of this exercise can help thestudent to realize just how much imagination can surface intothe real world.This can bea marvelous pre-writing exerciseusing cause and effect.
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Creative drama promotes cognitive learning.
By using the physical aspects of the body and oralinterpretation, the student can create a climate to experiment.Divergent thinking skills begin to form, and since the studentis in a non-threatening atmosphere he can begin to experimentwith divergent thinking patterns on the subject. When theclimate of experiment is created, and the student feelscomfortable taking risks, creatiwity can begin to work. Thedream can become the reality.The use of long term memory is greatly enhanced by theuse of creative drama. Because the student is acting out andcarrying on problem solving techniques, reinforcement ofacquired knowledge that is being learned is taking place.
Reflective Learning with the use of Reader's Theatre andChamber Theatre in the English ClassroomObjective:The student will read and identify aspects
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of Emerson's essays.I have used readers theatre and chamber theatre inliterature classes.With the use of readers theatre andchamber theatre the story or piece of literature is read fromthe script.The student's text is the script. In both mediumsthere is a narrator.In readers theatre the narrator does nottake an active part in the drama. The narrator stays away fromwere the rest of the cast will be portraying the story as it is
read.Each member of the cast may read a part; deletions canbe made from the text and addftions are permitted.Sometimes the narrator will read the piece and the rest of theplayers will mime a scene.Readers theatre uses no costumesas opposed to chamber theatre.Several readings were done by Ralph Waldo Emerson. Onein particular was an excerpt from the essay Fate .The group ofplayers who elected to present Fate decided to do chambertheatre. The classroom was set in an arena fashion. Theplayers chose the back wall to do the reading. Each of fivestudents dressed in black and brought in flashlights. They
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formed a pyramid and read Fate in the dark using only theirflashlights for light.Outcome:After the reading we had a debriefing. Application wasmade as to how fate influences our lives and the lives ofothers.Questions were asked about how we can create our ownfate. Some students thought that hope played an importantpart in people's view of fate. Ideas were freely flowing. Ithink Emerson would have approved.The creative drama teacher must structure activitiestoinstilltrust.The student must first feel basic trust from theinstructor.This is created by the teacher becomingunderstanding and committed to each student. The teacherbecomes a mentor for the students, guiding them throughactivities and creating a non-threatening atmosphere for the
class.Creative drama tasks should not be forced upon thestudent. The student must be asked to participate in theactivities.If a student refuses, patience must be exerted by
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the teacher. The student must be drawn into the group by usingtenuous efforts to gain involvement. Such phrases as, "how doyou feel," should be asked by the teacher. "Show us if you can,and share with us if you would like to," are also some of thepossible ways a teacher can ask for the student to present apoint.By doing this technique, the student is not put upon, butis asked to share, thus, increasing student feelings of personalworth. The student is being asked to contribute, and his/herknowledge is being synthesized. The creative drama teachernever acknowledges that someone has performed well. Theword, "good", as an acknowledgment after a student's reply, israrely used. What everyone in the class says has merit. It isthe substance of what is being contributed that is of value, notthe manner in which it is being done. Creative drama isnon-judgemental.The voice of the teacher is very important for thecreative drama teacher.It is very important that the voice beused as a instrument with which the instructor can control theclass by the use of an inflection. If the voice is harsh, the
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students will feel the stress of the vibrations in the exercise.The voice should promote confidence and trust within thestudent for the instructor.If the class needs to move forwardat a faster pace, the teacher's voice can help create the pace byspeeding up the vi6ice commands. If the pace needs to be acomforting one, the teacher need only to create a softer andmore reassuring voice. The students will soon recognize thevoice quality as part of the creative drama practice.Social Learning Using the Blind Walk ExerciseObjective: generate and develop trustThis exercise must be done in complete silence. The only voicethat is to be heard is the teacher's. This exercise is done insmall groups of not more than five. The players stand besideeach other, one with a blindfold in hand. It is important thatthe teacher ask the players to close their eyes and relaxationbreathing exercises can be done. If the class has been exposedto centering this can be also effective as a relaxation tool. Apassage of prose or a poem evoking imagery should be read asthe blindfold is placed .over the eyes of one player. The blind

walk begins as each player takes a turn in leading theblindfolded person on the walk. The idea that is developed isone of total trust on the part of the blindfolded person; andcomplete caring on the part of the people who are leading theblindfolded player.Outcome:Before the debriefing, it highly suggested that the classwrite their experiences down as poetry. They might bepermitted to write free verse to describe the feelings andsensations they felt on the blind walk. This is an extraordinaryexercise in sensory perception. I have not always participatedin these exercises with my students as a player, but in thispartfr.ular one Idid.The experience I had was very gratifying.The caring and security I sensed gave me an added feeling ofhope and pride in my students.Drama is a part of everyone's life. It is a vital part ofour existence. We play out scenarios in our every day lives. Touse creative drama as a threshold where students can totallyidentify the self with the reality of knowing, Ibelieve, is an

definite enhancement to learning. How else can education beapproached in such a humanistic way by involving the wholeperson? Creative drama can open many avenues of pleasurablelearning for students, but the teacher must remember that theaim of creative drama, "is to build on pupils' past experienceand give them a deeper knowledge not just of themselves but ofwhat it is to be human, as well as an understanding of thesociety they live in and its past, present and future"(Heathcote,1984).
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Bibliography
Bloom, Benjamin, S. (1987). Taxonomy of Educational Objectives. NewYork: Longman, Inc.Buscaglia, Leo. (1983).Living, Loving & Learning. New York:FawcettColumbine.Cottrell, June. (1987). Creative Drama in the Classroom. Chicago,Illinois:National Textbook Co.Cushman, Ann. (March-April 1992). Are You Creative? Utne Reader. pp.52-60.Gardner, Howard. (1982). Art, Mind, and Brain. New York: Basic Books,Inc.Gregorc, Anthony F.(1985). Style Delineator. Columbia, CT.Heathcote, Dorothy. (1991). Collected Writings on Education and Drama.Evanston,Illinois:University Press.Heinig, Ruth, Beall &Stillwell, Lyda.(1974). Creative Dramatics for theClassroom Teacher.Englewood Cliffs, New Jersey: Prentice-Hall.Huizinga, Johan. (1950). Homo Ludens. Rout ledge & Kegan Paul, Ltd.,London.May, Rollo. (1969). Love and Will. New York: W. W. Norton & Company. Inc.May, Rollo. (1975). The Courage to Create. New York: Norton & Company.Inc.
Po !sky, Milton, E.(1980). Let's Improvise.Englewood Cliffs, New Jersey:Prentice-Hall.Toward Civilization.( May, 1988). A Report on Arts Education. NationalEndowment for the Arts. Washington D. C. : Library of Congress.
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Way, Brian. (1973).Development Through Drama. London: Longman GroupLimited.
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