Children's Theatre My Journal - Drama and the Curriculum Week Two

We started off the second week of study with a relaxing warm-up. While lying in the floor, we were asked to tense the muscles in our body one section at a time. I tried wearing my shoes today rather than taking them off, an experiment that was probably the most inappropriate day to try. We were also asked to close our eyes and reflect on some of the activities that we experienced last week. Robin verbally guided our thinking, yet also assisted us to picture the page in our journal to help our memory. I used this method as my mind works semi-photographically; therefore I can take mental picture of a book’s layout or the placement of objects in a room. It is my memory that requires the extra attention and focus, something that this activity provided.

The class then focused on the group performance. We were introduced to the concept of a collective script, a combination of everyone’s ideas that slowly are developed into a final production. Concepts and scenes are depicted graphically to build an understanding of the classes progression. We split into groups to devise a scene for the performance, namely decide on a concept and present an improvised scene. We were then asked to illustrate the scene so it could be added to the collective script.

The class focus shifted to lesson strategies and assessment. We looked at multiple strategies that could be used in the classroom, centring on planning and progression. We were given an activity that could be used in the classroom and then asked to provide a definition that will be used by another student to explain how it works. I received ‘hot seating’, and activity where ‘a person is questioned in role by the rest of the group who are out of role’.[8] I have heard and used this term before in EGL212 Acting. I provided a written and an illustrated description of the activity to help explain the term to someone else. In groups of five we worked on certain strategies including ‘freeze-framing’, ‘specking thoughts aloud’ and ‘group sculpture’. We present an improvisation of ‘speaking thoughts aloud’ to the class as a means of explaining the process and demonstrating its use. We looked at the elements of assessment and planing, we discussed teachers’ anxieties, student fears and the ‘simple’ solution to classroom planning; find out what they don’t know and teach them. Is it really that easy?

Some very simple warm-ups were implemented today; I found them easy to use and relaxing. The muscle exercise creates body awareness, which is important, as drama is very physical. Next time however I will not wear shoes as they got in the way and were awkward. The exercise on reflection was cleaver as it combined a warm-up and a reflection simultaneously. I believe reflection offers many advantages, mainly because it allows self-analysis and development. There are some people however who find it difficult to describe or verbalise their experiences, how do they complete a journal? I assume you would find out their strengths and ask them to either illustrate or create a photographic montage of their reflection. Writing in a journal is important, but I would assume it is not the only option.

Showing students the process of constructing a project, or in this case the final performance, is clever. At the beginning of today’s class I must confess that I felt a bit apprehensive about the direction of the final performance; however after seeing the basic first steps through the collective script, I started to breathe again (no really!) I find collective work quite difficult sometimes because many people put forward multiple ideas. I believe our group was successful mainly due to one person suggesting the concept, and the others adding to it. Jenny put forward the theme of wind as the carrier of ‘wildness’, thus giving a clear base for our improvisation. I can sometimes take over in a leadership role (even though I may not always be confident), today I sat back and expanded ideas, rather than producing them. I need to experience both sides to understand this process better.

I had read a lot about these activities in the unit text, however the physical interaction with the concepts was very helpful. I find the readings give a great deal of information, however hands-on activities offer life-long experiences that I tend not to forget. I know my strength is not in reading and writing, rather from physically doing; today’s exercises assisted my learning. In the future I need to learn how to receive the same knowledge from reading, as sometimes that is the only way to process the information being provided. Assessments are an interesting topic, however I believe them to be the most dominating aspect of teaching. A student has to be graded in some way and assessments offer a solution. ‘The potential learning outcomes of any particular unit of work need to be identified if the lessons are to contribute to an overall scheme designed to facilitate progression’.[9] Without assessments, I assume teaching becomes futile (like process drama without a performance).

In learning about drama throughout history, we acted out a scene while imagining we were present in the established era. Robin verbally described the setting and, in small groups, we constructed a scene depicting our interaction with the imagined environment. We worked through a number of time periods, focusing on where the performances were held, who came to the productions, who performed and what type of material was presented. We then were instructed on the two distinct styles of performance, namely presentational and representational. Presentational refers to a naturalistic style of acting and representational refers to a performance that uses techniques to construct an image of location, rather than constructing it for you. Television examples were given to guide our understanding.

We then looked at drama management, specifically, how to organise in order to meet desired outcomes. Robin explained to us that a teacher requires a daily and weekly lesson plan, which has the final outcome in mind. Information and skills are scaffolded to build on top of each other to develop the individual student. We were also reminded that, as a high school drama teacher, new schools have specific areas built solely for drama; therefore you may be in charge of a million-dollar plus building. If I don’t know how to work a lighting rig or control the microphones, I need to find out. The responsibility of the building is on your shoulders.

The second part of today’s class focused upon the responsibilities of a post-compulsory teacher. On one hand, your class’s outcomes, set text and course are set out in a fixed progression. The outcomes of students in relation to their years of study have prescribed tasks and a culminating exam and performance. This also brings with it a lot of responsibility for a drama teacher. Robin discussed how we would be in charge of a student’s future; and therefore we must meet the needs of every student. As a teacher, I am offering a commodity of information and skills, the consumer should receive all of the information that they are entitled to. This places emphasis upon the planning and structure of teaching. The ‘Performance Criteria’[10] listed in the unit reader provides a great visual example of the demands of the post-compulsory teacher. The outcomes and means of assessing students are detailed on paper, but how useful are they in the classroom environment?

Drama needs to create hands-on activities so that learning is encouraged, why is this important? People learn in different ways, and by reading, writing and physically working with information, meaning is created. Limited interaction with a concept is not enough. Reflecting on a previous entry, I found it hard to read and take in the strategies for a classroom, however, hands-on activities combined with research or reading is a benefit often only experienced in drama. Meaning is created through multiple interactions of themes and terms such as presentational and representational. I had read and taken a photo of the poster, and even performed in both styles, however, by physically discussing the topic I was finally able to retain the knowledge. I found it very helpful when the terms were given a human context such as a show on television. As plays stem from human interaction, so does the collecting and retaining of knowledge.

Today’s class changed my thinking again, namely that my overall theory to teaching is scaffolding rather than growing a tree (perhaps it’s a combination of both). It makes sense to plan towards a desired outcome, as you teach students the skills and then give them the opportunity to use them. Development of skills and concepts is essential in teaching; if I was to only repeat the same lesson or theory every day, my students would get nowhere. Teaching must always progress students’ learning, teach and expand by adding on to it; yet always return to the basic concepts if necessary. The responsibility of an expensive building is in a similar sort of vein; if I don’t know how something works, I should find out. As a teacher, I believe I should progress my own learning (just like my students). I need to always add to my skills and knowledge by research, interaction and exploration within my environment.

It does scare me that I will be in charge of a person’s future and that I must teach them the appropriate skills that they may require. It is essential that I have detailed planning that coincides with the appropriate assessments and outcomes. This is where I see communicating and sharing with colleagues a crucial aspect of teaching. Creating a base of colleagues to bounce concerns and ideas around is essential in teaching. I assume most of the time they have experienced the same situation and may have discovered a solution. Learning how the assessments work is also an important factor as well, you need to know what is expected before you teach someone else. I recently took part in a Department of Education assessment program.[11] I found it one of the most useful experiences in order to understand the elements of assessment, how to assess and what to look for in a student’s performance and writing.

Again, today was another non-attendance day, however, I had to hand in my poster and ask Liz Pascoe some questions in relation to the presentation of my voice. I have been experiencing some difficulties in presenting an appropriate voice for my child character for the final performance. The voice I have been using is too stereotyped and over whiney, however the only other voice I could create was too low in pitch and emotionless. In the workshop space, Liz was able to work through some of my concerns and offer a workable solution. Liz suggested that I talk like my seven-year-old son; the voice and mannerisms should follow. I have tried this idea, and so far the concept is working extremely well.

Last night I had the opportunity to see Shakespeare in the Park.[12] Although I had studied the unit EGL308 Shakespeare, last semester, I had not yet read this play or had any idea what it was about. I have seen a number of different Shakespeare plays performed, however this was the first performance I had seen outside. As venue was different, so was the standard performance that most people would expect from a Shakespeare interpretation. Actors ran through the audience, interacting with the spectators and using the space off stage just as much as on stage. Regular conventions associated with a Shakespearian performance were severely altered (for instance when someone sneezed in the audience, the actor called out bless you).

I really enjoyed the production as it offered some new perspectives on performance presentation that I had never thought of previously. It also offered me an idea of the type of production that our culture currently wants to see in relation to Shakespeare. I had the opportunity to see someone’s interpretation of a set with minimal properties, how a director has used the outdoor space most efficiently and even how the programme was designed.

I think one of the crucial things with drama and the arts in general, is that there are many professional people who can provide help. Acting, just like teaching does not have to be done on your own; if you need help you should ask for it. I would guess without Liz’s assistance I would still be using an unsuitable voice that would project well but would be uncomfortable and difficult for the audience to listen to. I thought that using a person from my real life was a clever notion; as drama springs from real world experiences, the characters we portray also can come from these interactions. I feel by using real life experiences, my character should become more believable as my voice, movement, inflection, gestures and pitch become more suitable to the age of the child. Believing I’m the child on stage is the first step to making the audience believe.

Extending my knowledge and understanding of concepts is important as I become a teacher. Although I have completed a unit on Shakespeare, my knowledge is not comprehensive and it will continue to develop. I must take opportunities to see productions of all styles for multiple reasons. I need to see other people’s direction of the script, how they change it, improve it, or recreate their own style; but why was this performance such a different style to others? I assume that the location and variety of audience changes the presentation of the play. To conform to the needs of the audience, performances should be accessible to many and not the few. Shakespeare in the Park is accessible by all ages, therefore all the audience should be able to understand and enjoy the performance. This means that the performance needs to cater not only for the space it is performed in, but the expected audience.

As a drama teacher it is important that I view as many performances as possible, why? I need to understand what is happening in the community and collect information about possible ideas or styles I could use in my own performance. I need to continually build upon my own information and ideas about productions and I need to be seen as an ambassador for the Arts.[13] I need to model a respect and love for drama to my student. The biggest reason for viewing such a performance is completing an activity that I would ask my students to undertake. If I expect my students to critique a production every term, I must view these productions in order to help them choose an appropriate performance that they would like to see, and create focus for their reflection.

It was a great opportunity to view everyone’s posters today. All groups created completely different posters, some full of pictures or just text or a combination of both. We were asked to look at each groups’ work and ask a question or two in relation to the design or presentation of the poster. I observed that most of the posters seemed to lack a clear audience, although smartly, these posters seemed to provide universal information for whoever read it. In a group circle we discussed the process of each poster, justifying our choices and direction in the presentation. Most people questioned the parameters of the term poster, some suggested it should focus on text, others believed the KISS (keep it simple stupid) principle was important. I pointed out that the parameters were stated in the study guide as containing both information as well as aesthetic impact, so everyone was indeed correct. Individually, we were then asked to mark each poster out of 15 marks.

We then watched a video called ‘Telling our Stories’. It was a short documentary that chronicled the work of a class whose teachers constructed activities that focused upon a Tasmanian train crash. The teachers started out by asking the class to think about the possible belongings the passengers had on the train and then the students wrote some letters. The class then role-played scenes from either the day of the rescue or people waiting at home for their relative to arrive. The class was then given an activity that required them to create a documentary about one of the heroes who stopped to rescue passengers on the day. Through various activities, the class constructed a project that the students felt deeply proud of.

Before the week ends, I wanted an opportunity to write about this style of reflective journal. I have found the two-sided entry system quite difficult although rewarding to work with. The normal method I use is Feldman’s method of reflection[14]; namely 10% description and 90% reflection. I am not a confident writer as I have grave concerns for my grammar usage. The limited use of description works well for me as I often have difficulty describing events, while I can analyse them fairly well. I have found this system useful as it has taken me from my comfort zone and forced me to work on weaker areas.

Having such an open definition of the term poster has created such a varied display of assignments. Although in this project the definition was deliberately open-ended, such errors in my teaching could result in confusion and mistakes to student assessments. If I do not explain each task completely or fail to define the assignment parameters, my students could produce incorrect information. What’s worse, I may not realise and unfairly grade students’ projects. In whatever activity or assignment I set in a school, my expectations and parameters should be clear. The activities that Robin asked us to complete today were also quite important. As our poster’s purpose is to be read, the class was asked to accept this information and question the elements presented in the posters. Even down to asking us to evaluate the other posters insured that we experienced activities that a drama teacher would have to do in a regular week. I believe activities that place us in the shoes of a drama teacher are valuable exercises; after all that’s what drama is about, walking in other peoples’ shoes (well, not literally).

I find examples like this video to be extremely useful as it supplies me with an activity plan that has been used and has worked. It also physically demonstrated an activity plan that progressed the class to the predetermined outcomes. The lesson appeared to begin at a basic level then progressed to include hands-on activities like role-playing. I believed this was important because it helped to create belief in the event by recreating possible experiences that may have occurred. The activities worked the group to such a level that they began to feel passionately about the material they were studying. I would love to create this type of passion in my classroom; the question is how do I do it? I think the ‘hook’ to grab the students’ attention is the most vital element in any activity. The way a subject is presented to a class, I guess, will determine the way they interact with it.

In my journal I usually feel extremely confident in the way I write, however in this unit all the elements I am comfortable with have been taken from me and it has made it a very difficult yet rewarding experience. I find a lot of confidence, for instance, from having the prescribed readings completed well in advance; a luxury I have not had in this unit. I have however implemented new skills to overcome this disadvantage and I have learnt how to cope without my anal need to be completely over prepared. With the journal, again it has been useful to experience a method of reflection that is different. I assume each style has its own rewards; if it doesn’t work for me I’m sure it will work for someone else. This whole unit, just as university itself, is designed to build my skills and knowledge; all my experiences will assist me to be the best teacher I can be.

The day of the performance has finally arrived, although first the exam. The questions were extremely important as they presented in a nice ascending order. Closed/knowledge questions began the exam and open/inferential questions were used near the end. There were unfortunately too many questions to work through in such a short manner of time unless you planned ahead. Only because I was watching the clock and budgeting my time (as many did not) I was able to suitable finish all questions. I have problems with exams as they ask you to produce information in a short period of time, where everything else about my studies requires weeks of research and many drafts. Exams seem to contradict the overall philosophy of study.

I have no problem being assessed for this evening’s performance as I have had the opportunity to research, develop and create my character. I have used what we have been taught in this unit to expand my approach to the character of the son. Today was quite difficult as being in such a large group required lots of focus, and a bucket full of patience. I had realised what was missing from our performance last night and produced a rewrite of the scene. It took me a while to work it out; by while reflecting over my journal I noted a section on the importance of narrative structure and how it works. I realised that our scene had a clear opening and a strong middle, yet lacked an obvious conclusion and was void of a climax. Last night I storyboarded our opening scene from beginning to end, and included a climax where the son decided he didn’t want to be ‘wild’ any more and wanted to return home. Today I contributed this idea and it was adapted and improved to fit in all the necessary elements and characters, and eventually link the scenes together as we had planned.

It was great to have a final production to end the unit. To successfully perform this evening, I had to reflect upon all elements of my studies to create my performance and assist others. Using my confidence in the performance area I was also able to comment on lack of projection, a need for actors to use the space and create contrast with each other. It was everyone’s skills combined, however, that created the final performance.

The one thing about university that really annoys me is that (with the exception of some Educational areas) units teach one concept, however present it in a contradictory fashion. Drama and the Curriculum is a rare unit that shows what it teaches, that is it presents the way you should teach through modelling it. It’s a strange concept I know, but the units that fail to demonstrate what they preach loose credibility. As a teacher I hope to model the example of fair teaching; that is I expect the same from my students as I would expect from myself. If I could not complete an activity or a performance, how could I expect them to do the same? Assessments like the solo performance and the final production offer avenues that I can assist, as I feel extremely comfortable in those areas. By doing group work, watching performances and constructing the poster, I have created an understanding of what my students could be thinking, and therefore I can assist them effectively. Even evil exams have their place (eh!)

I guess some people may see the exam as easy, and the performance as difficult. I enjoy and get energised from performance; therefore I was able to use my experience to enhance our scene. I assume the experiences that we had today will help us understand and improve the interactions we have with our own students. I was consistently viewing what went wrong today and what went right to understand how I would teach my own students. Our group for instance was too slow in constructing a strong narrative structure, even when Robin hinted to us about it the day before. Next time I would construct a checklist for each group and the elements required for each scene could be marked off. What other benefits would this have? It would offer a written structure of required performance elements as well as the focus aspects of the assessment. Students would have the opportunity to reflect upon their studies to locate information, thus improving the performance.

Only producing process drama in class would become pointless, having a ‘finish line’ combines all of the skills and information from the unit into practical and physical form. Other people have helped me in this unit in areas I lack confidence; the performance space is an area I have skill and knowledge in. Next time I would split groups off so that each group contained a performance knowledgeable individual who didn’t take over, but guided the group efficiently. Drama should be enjoyed, and I certainly enjoyed it immensely.

I am a drama teacher because I believe in, and love, drama with a passion. Drama is real life, and it offers students a physical way to view and understand the world around them. Drama provides a situation for students to engage with concepts and create their own workable solutions. Drama develops social and life skills that are vital for enhancing students’ maturity. Through these skills, students are turned from dependent to independent individuals, an important development in the point-of view of all teachers.

I am a drama teacher because I want to improve and develop my own skills. Teaching drama offers a way to make me think about the approaches I use with my students. I have to constantly reflect upon my teaching method, regularly improving the ideas and information I provide to my students. I believe drama teachers offer a unique style of teaching that should be shared with the whole school and the community at large. Teachers need to share concepts and successes with each other in order to improve the way we teach the next generation of adults.

I am a drama teacher because I believe in my students’ ability. I believe my students deserve the best approach to learning, and drama is the most effective method I can use to achieve this. Hands-on activities can create student awareness and enhance their perspectives. Spontaneous activities that occur in drama offer a way to develop students’ mental and physical reactions. As drama is a positive and non-confrontational activity, all students can achieve learning through the social interaction it provides.

I am a drama teacher because I believe the cultural history that drama illustrates, tells us a lot about the history of the world. Drama has been an important activity in the development of all major cultures. By examining the reaction that a community had towards drama, students can begin to understand the cultures beliefs and the historical role of different societies. Drama can also be a political tool for communicating ideas and theories to the world. I believe such investigations of drama illustrate the benefits and power of a common social activity.

[1] Where the Wild Things Are by Maurice Sendak and Red Fox

[2] Overarching Learning Outcomes number 10 and 12, (1998) Curriculum Framework, Curriculum Council, p. 19

[3] Robin Pascoe (2000) Drama and Theatre: Key Terms and Concepts, Stage Page: Subiaco, WA, p. 26.

[4] Louise Tourelle and Marygai, The Fundamental Elements of improvisation, p. 103.

[5] Louise Tourelle and Marygai, The Fundamental Elements of improvisation, p. 102.

[6] Robin Pascoe ‘Stretching the Envelope for Arts Literacy’ in Drama and learning, Melbourne Studies in Education, Vol 43, No 2.

[7] Voice Warm-Ups EDU204 (handout)

[8] John Carey (1995) Drama Conventions – A Quick Reference Guide in Drama, Vol. 4, No. 1.

[9] Andy Kempe and Marigold Ashwell, (1995) Progression in Secondary Drama, Heinemann: Oxford, p. 10.

[10] Drama/Drama Studies syllabus, Curriculum Council of WA, p. 30.

[11] Drama group performance scoring guide, (2004) prepared by the Australian Council for Educational Research in consultation with the Department of Education and Training, Western Australia.

[12] Much Ado About Nothing, in the Botanic Garden, Kings Park. Presented by Bankwest.

[13] Wright and Gerber, (2004) NJ Drama Australia Journal, Vol. 28, No. 2.

[14] Robin Pascoe Approaches to reflection, unpublished research material.