456546 - Acting Games

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Acting Games

After the audition process is over, it is still a fun and useful idea to frequently playacting games with the students. It gives the students some useful acting skillsand is a fun way to begin or end a session of work.

A. Name that Movement

Have the students sit in a circle. One by one they must say their name and thinkof some kind of a movement that goes along with their name. The net person inthe circle must first repeat the name and action of all previous actors and thencreate a movement to go along with their own name.

!. Professor

This gives the actors more practice with improvisation. The actor is the professor,

the epert on one topic. They have one minute to epound all the wisdom theyhave on the given area of epertise. It doesn"t matter how absurd the topic, theyare the epert and everything they have to say must be the truth.

#ossible areas of epertise could be$

%% fashion sense of &editerranean glass blowers

%% courtship rituals of earthworms

%% the origin of the name 'linton

%% the most powerful love potion known

%% what really happened to (lvis

%% why &adonna is really an alien

%% the lost city of )ngah

%% why the Titanic is the worst movie of all time

%% cannibalistic women of the ancient world

%% #icasso"s lost paintings from his rainbow period

'. The Line Up

!lindfold all students and then have them line up. They must feel the heads andshoulders of the person in front of them. Then, move the students to various

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locations in the room. They must find the person in front of them and get back inline eactly as they started.

The lead and end people will occasionally have to announce his or her location togive the others a reference point. Those two people stay in position while the

others roam freely about the room in search of their partners.

*. The Circle of Trust

It is important to have trust in the acting troupe. In this activity, have students getin small circles of five students. A sith student stands in the middle of the circlewith eyes shut. The student in the middle leans into the members of the circlewho gently push this student in other directions. The student in the center mustnot bend body or knees during the entire activity.

(. Running Blindly y !aith

The entire cast scatters to various edges of the room. One volunteer walks aboutthe room blindfolded. This person must trust the others for guidance. The cast isnot to allow this person to walk into the wall or other ob+ects that may be harmful.

After a little practice, have the volunteer pick up the pace. It is possible to do thiseven at a +ogging pace.

. The Great "racle

This is a highly successful activity when members must work together. Threepeople come before the rest of the room as the -reat Oracle. hen asked a

question, they must assume the pose of the answer. Then, they must answer thequestion %% each person taking turns to add one word at a time to the sentence.

After giving an eample, let the audience ask questions of the -reat Oracle./ample questions could be$

Oh, -reat Oracle, who is the man0woman of my dreams1

Oh, -reat Oracle, what must I do to find the fountains of youth1

-. The Photograph

In this activity it is important for the students to communicate non%verbally. Ingroups of five, the students need to form a photograph of a scene. One by onethey assume the position needed to frame the photo.

/ituations could include a wedding, II, graduation, the dentist"s office, analien invasion, or an &T2 video.

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H. Tag Team Photograph

Two people are required. The first person strikes a pose 3perhaps pointing a gun4and then the second person strikes a pose to complete the pose 3like raisinghands in the air4. After the pose is completed, the first person sits down but the

second person remains. Then, a third person comes in to complete the newphotograph.

I. The #uman Machine

One by one the participants form part of a machine. (ach person assumes afunction and a sound. It is good if not all parts of the machine are standing butthey need to assume poses that they can sustain over a period of time.Otherwise, it will be a painful eperience.

After the machine is fully assembled, try it in gear two, three, four, possibly ten,

and then end the activity with a breakdown.

5. $ho%s in Control&

One person leaves the room while the other members of the cast separate andsit around the room at different angles. (ach person is assigned a number.#erson one, the leader, must be in clear view of number two. #erson two must beclearly seen by person three. The leader moves in a very slow motion performingmany different kinds of activities. These motions are copied by person two, andthen three, etc. Once the entire room is in motion, the person who left the roomreturns. It is that person"s +ob to figure out who is in control.

6. '(plosion Tag

/tudents pretend to be fighter pilots. They 7oom around the room chasing otherfighter pilots. hen they tag the 8plane8 it eplodes.

Afterthe eplosion, they may continue the activity pursuing other pilots.

9. Brea) *n

Two actors pretend to be either a cop or a robber. One tries to steal the crown

+ewels that the other protects. They pretend to do this in the dark. :et, the samesituation is repeated with blindfolds. The actors and audience are asked todiscuss differences they observed in the two performances.

&. #edge $al)ers

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/imilar to the break in, have the students pretend they are walking on a ledge amile up. :ote their movements. Then, have them walk on an actual ledge. Arethe movements the same or different1

:. Bus Ride

A bus driver takes his passengers to one location. (ach character enters the busone at a time with a specific emotion or characteristic. It could be laughter,depression,a gangster, or a flirt. hen it becomes evident what that characterrepresents, all passengers on the bus must follow that lead.

O. #uman Manne+uins

Actors pretend to be mannequins performing several activities like tossing a ball,bowling, painting a house, or climbing through a window.

Theatre GamesOnce again, I was trying to do a search to find out some cool new(or even old) theatre

games. Why? Well, I know that in youth theatre, we always do the same games time after

time and I know I get sick of them, so why wouldn't everyone else? Here are some theatregames that are currently used, and not necissarilly everywhere. ome are uni!ue games

that kids "ust like to #lay, while others make you do things to hel# you to $ecome a $etter

actor or actress. %n"oy and try 'em out&

Do You Want To Buy A Duck?

grou# of #eo#le sit in a circle formation. $eginer, usually a staff mem$er, starts offthe game $y saying to the #erson on his or her right *+o you want to $uy a duck?* he

#erson on the right re#lies * what?* -eginer * duck.* /ight #erson *+oes it !uack?*

-eginer *Of course it !uacks.* hen the #erson on the right goes to the #erson on his orher right and everything is the same... e0ce#t after the *Of course it !uacks* the #erson

adds another !uestion like for e0am#le *+oes it eat $lue $erries?* and the !uestions

alway go $ack to the leader. he last #erson, or the #erson to the left of the $eginer, must

ask all of the !uestions. 1ay $e confusing, suggested for ages 10 and up

The Name Game

grou# of #eo#le sit in a circle formation. One #erson, #erson **, $egins $y saying

their name, the #erson *-*(sitting ne0t to #erson **) say his or her name followed $y#erson **'s name. he game continues, #erson *2* says *erson 2, erson -, erson *

and so on. /ecommended for ALL AGES

Red L!ht Green L!ht

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his game is well known, and many theatre grou#s use it. One #erson #lays the role of a

sto# light, and says *3reen 4ight* sym$oli5ing go, and */ed 4ight* sym$oli5ing sto#.

Whoever reaches the *to# 4ight* first gets to $e the sto# light for the ne0t game. hesto# light can call on anyone still moving during the */ed 4ight* #eriod. /ecommended

for A!es " # 1$

%&&er

%veryone #uts their heads down, a staff mem$er goes around if you get one ta# you are a

killer, if you get two ta#s you are a detective. When the staff mem$er is done choosing

one or two of each heads go u#, and the killer winks at #eo#le, if you get winked at youdie, and you have to die dramatically($ut dont' act too dramatic, you might #ull a $rain

cell.). he detectives cannto $e killed, and if they know who the killer is they can state an

arrest. /ecommended for ages '#1$

T(n Ta!

In twin tag everyone has a #artner, e0ce#t the #erson who is *It* and the #erson they are

chasing. %ach set of twins stands together with linked arms. he #erson $eing chased $ythe #erson who is *It* runs around $eing chased, and linked arms with anyone making the

third #erson(the #erson whom you linked with's earlier #artner. If the #erson $eing chased

gets caught, theat #erson $ecomes it. /ecommended for ALL AGES&

)opy )ats*a&so kno(n as +ror,

6ou and a #artner work together to $ecome one. 6es, this sounds confusing& 4et one

#erson start off as the leader, the follower miroring every movement made. hen switch

"o$s, 7ollower8894eader. ry it again this way. fter you feel familiar with each other,without any ver$al communication, know a sym$oli5m that stands for letting the other

#erson $egin. If you are that good, anyone watching won't $e a$le to tell who the leadernor the follower a#art from each other, $ecause, you will $e one. /ecommended for ages

'#1-.

Smon Says

his one is overused, $ut still remains #o#ular. One #erson is imon and and gives orders

for the #layers to do, whether it $e *imon says #ut your right hand on you left shoulder.*

or *it down.* Wwhich onw do you listen to? 6ou do whatever starts off with *imon

ays* otherwise you will $e dis!ualified from the game. /ecommended for ages '#1$.

.ree/e

wo actors make u# a scene and when someone wants to take one of the actor's #lace,and they say *7/%%:%* and the actors free5e in the #osition they were last acting in.

hen the #erson that yelled *7/%%:%* will take one of the actor's #laces and start a

whole new scene. here are different kinds of 7ree5es to use, like cademy ward

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Winning, when they overact when someone says their names and they #retend to win. Or,

if it is a sad scene, they would have to $e e0tra sad and stage cry. /ecommended for ages

'#1'

ts As Easy As A#B#)

wo actors are instructed to create a scene $y $egining their line with the letters of the

al#ha$et88 in order(e0. ()nother day in my $oring life. (-)orring? 6ou have a great life&&(2)areful who you say that around? (+)ave's here? ect.....) /ecommended for ages 10#1-

Ta! Lne

wo #erformers are given a situation and relationshi# from the audience. hey must act

this out on stage. lso on the stage are two chairs were two audience mem$ers sit.

hroughout the action, one of the #erformers will start a line of dialogue then #ause, and

ta# one of the audience mem$ers on the shoulder. hat audience mem$er must then say

the first word or line that comes to mind and the #erformer must work that into his;herne0t line (as well as finding a way to "ustify it).

)han o2 .oo&s

hree #erformers are sent out of the room. fourth asks the audience for an o$"ect, an

activity, and a location. One of the three #erformers then enters and the first must relay all

the information to the second without the use of words (and, only has two minutes to doso). When the second knows all the information (or the two minutes is u#) he;she kills the

first actor with the o$"ect. he ne0t #erformer enters and the cycle starts again (using the

same o$"ect, action, and location). t the end of the game each actor is asked (in reverse

order of entrance) what was done, with what o$"ect, are where 8 the actor who originallystarted gives the real answer last.

Edwena's Gameshis is a collection of concentration and im#rovisation games, $est suited for 1iddle

chool and older students. hese games were sent to me $y %dwena

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Concentration GamesTelling It

he class divides into #airs.

%ach has to think of a story to tell the other88for e0am#le, the #lot of a recent =

#lay or film they have seen. t a signal from the teacher, they $oth start telling each other the story at the same

time.

hey must look at each other in the eye without looking away, and they must kee#

talking without a $reak and without laughing.

If either $reaks down, the other has *won.*

Telling the Group One #erson tells the rest of the grou# a story, or gives them a talk on a set su$"ect.

he others interru#t him $y asking totally unrelated !uestions.

he s#eaker must answer the !uestions and then continue with the story or talkwithout hesitation, and from e0actly the #oint where he left off.

Truth and Lies he class divides into #airs. In each #air, one is the !uestioner and the other the

answerer.

he !uestioner asks !uestions in ra#id succession.

he answerer must answer the !uestions, alternating $etween true answers and

lies. He must not hesitate or laugh, and he must kee# strictly to the alternation. If the answerer hesitates or laughs, or if he fails to alternate $etween truth and

lies, he is *out* and the #artners reverse roles.

-ack to to# of 2oncentration 3ames

-ack to to# of #age.

Situation and Acting Games

Making Enquiries his rather com#licated game is #articularly useful with a new class who do not

know each other very well.

he class divides into #airs and each #air decides who is '' and who is '-'.

o $egin with, has to find out as much as he can a$out - in > minutes.

t the end of that time, the s stay where they are and the -s change #artners.

he class are then told that - is a #oliceman who is sus#icious of and intends to

!uestion him.

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has to #retend that he is the - he has "ust !uestioned. He has to remem$er all

the details that he can from that conversation so that when the new - starts

!uestioning him 8 a$out his name, address, and so on 8 he can answer withdetailed information, in role as his former #artner. (When he can't remem$er, he

is at li$erty to invent.)

/e#eat the game with new #artners (and with s $ecoming -s).

All Change - Conersations he class divides into #airs and decide on who is '' and who is '-'.

he teacher then gives the class a sim#le and straightforward to#ic for

conversation, or a situation (e.g. is a local in the town and - is a stranger. - is

asking the way to the station.)

hey converse for a minute or two and then the teacher interru#ts with fresh

instructions that alter the situation #artially $ut not com#letely (e.g. ow is old

and deaf@ or, now - is a rich and famous #erson).

eacher continues to make changes, with increasing swiftness and strangeness, as

the game #rogresses.

!oin in he class sits in a circle and the teacher asks for a volunteer to start the game.

he volunteer thinks of a mime88either a task or an activity88that involves a lot of

#eo#le doing different things (e.g. $uilding a house@ sho##ing at a su#ermarket).

he volunteer $egins the mime he has thought of.

he teacher then indicates different mem$ers of the class who must "oin in, either

assisting the first #erson or using the location he has chosen.

he teacher's aim is to get as many #eo#le in the class involved as he can, and in

as short as time as #ossi$le.

-ack to to# of ituation and cting 3ames.

-ack to to# of #age.

"rama #rom $icture

%ooksI often use children's #icture $ooks as lesson starters in my classroom. -elow are somesuggestions, $ased on the kind of a##roaches I have taken, for how you can turn a #icture

$ook into a 2reative +rama lesson. here is also a link to a list of #icture $ooks I havefound es#ecially well8suited to +rama, each with a short e0#laination of how I have used

it.

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Simple Stor& "ramatiation

his is the most sim#le and straightforward a##roach, $ut it often does not yield a sim#leresult. fter reading a story to the class, you can have them act out the story. his

re!uires $oth careful #lanning and fle0i$ility. With older kids, I use the $lack$oard (seeGroup 3&ay(rtn! 3ro4ect) $ut with very young children this is counter#roductive.till, you have to #lan who will #lay each character, and which #arts of the story to act

out. Asually I will not go $ack and fi0 things, $ut sim#ly forge ahead until the end is

reached. s I said, while this is the easiest a##roach to think u#, it is not so easy to do.

Asually I #refer to take a more carefully structured a##roach, like one of the ones $elow.

Works $est with Bindergarten or elementary.

-ack to to#.

$ro(lem-Soling E)ercise

-efore reading the story, I tell my students that we will $e acting out some of the scenes

from the story afterwards. In order to do this safely, following the classroom rules, we

may have to $e #retty creative. I tell my students to $e thinking, while listening to the

story, a$out what some of the #ro$lems might $e when we try to act out the story. Ichoose for this e0ercise a story with a lot of #hysicality, and some knotty #ro$lems. The

Story of Ferdinand (see 5se2u& 3cture Books) is great $ecause it has a lot of*violence*88$ulls $utting their heads together, etc.88and we have a rule in my youngerclasses that we don't touch each other and we are always careful. Once the story is

finished, we discuss the #ro$lems we will have to solve $efore acting out the most

e0citing scenes. Asually I have every child act out the scenes in unison rather than tryingto *cast* the story. (In the case of 7erdinand, we might decide to act out the head8$utting

in *su#er slow8motion,* which my students love, or to use our own two hands to

re#resent two $ulls crashing into each other. Whatever the #ro$lems88and they need not

$e safety8related88the class $rainstorms solutions, and then tries them out.

Works $est with elementary.

-ack to to#.

Soundtrack

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I read the story, showing the #ictures, fairly !uickly, sto##ing at every #icture if the $ook

is short or at the most e0citing ones if it is longer. When we sto# at a #icture, I ask my

students to imagine what are all the sounds we might hear in the de#icted scene. I try tocoach them to really get in8de#th. In a #icture of a cow in a farmyard there are lots of

things $esides *moos.* 2hickens, a rusty weather8vane, $oots in mud, the farm dog, the

cow's $ell, a creaking gate, $irds overhead, all make a com#lete soundtrack. We #racticemaking the sounds while watching me *conduct*88indicating louder or softer, and

eventually cutting the sound off like an orchestra conductor. We do this with each

#icture. hen we return to the $eginning of the $ook and I read it again, $ut this time thesounds ha##en automatically when each #icture is revealed. (I still ordinarily do the *cut8

off* with younger students, $ut older ones cut off on their own when the #age is turned.)

his results in a smooth telling of the story with a running soundtrack.

Works $est with Bindergarten and lower elementary.

-ack to to#.

*arratie $antomime

his is a sim#le activity that can $e done with any story, whether from a $ook or not, $utI #ut it here $ecause a $ook is a good source for a story. t its sim#lest, it works like

this %ach #erson finds his own #ersonal s#ace in the room. here will $e no interaction

$etween the children88each is in his own story. s the teacher reads or tells a sim#le

story, each #erson, on his own, *acts it out.* Ordinarily there would $e no sound, sincethat would make it hard to hear the story, and there are no #ro#s of costumes. %ach

student sim#ly goes through the #hysical movements of #rotagonist of the story, andconcentrates on the five senses88on really *e0#eriencing* the character's adventures.

Works $est with elementary.

-ack to to#.

Instant Illustrations

/ead a $ook to the class $ut don't show them the #ictures. %0#lain to them that while the

illustrator has one idea a$out how the scenes in the story might look, there are many

#ossi$le ideas. eriodically88once #er #age if the $ook is short, less fre!uently for alonger $ook88sto# and have the students create the illustration, using their $odies in

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fro5en ta$leau. his can $e more or less involved, de#ending on the age of the children.

With young ones I "ust have each student make his own illustration, $ut sometimes with

older children I e0#ect them to work together to create one definitive #icture.(ometimes it works $etter to read the whole story through first, then go $ack and make

the illustrations88it "ust de#ends on the com#le0ity of the story.) I like this activity

$ecause it will work with literally any $ook, and need no #re#aration or #lanning, so it isa good fall$ack if whatever I have #lanned is im#ossi$le for any reason88if I've #lanned a

lesson with music and left the ta#e home, for e0am#le. I can "ust gra$ u# any $ook off

the shelf and go.

Works $est with lower elementary.

-ack to to#.

+hat's ,p Tiger Lil&.

Woody llen once made a movie $y taking a

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When the grou#s have had a chance to rehears their scenes (with the teacher, or course,

side8coaching as needed, they share their stories with the class. Once the #ro"ect is over,

you can read the original story and discuss how it is similar and different.

Works $est with u##er elementary or older.

-ack to to#.

Simple /ole "rama

/ole +rama is a com#le0 form which originated in -ritain, in which students take on

roles, either of their own creation or suggested $y the structure of the activity, and then

enter into the drama as thinking #artici#ants. It can $e a little frightening for teachers$ecause the outcome is not #reordained, and $ecause it fre!uently involves the teacher in

role, $ut it is highly enriching. tudents in /ole +rama activities must make choices,

must react and interact in role88making decisions $ased not on what they #ersonallywould do or what they think would make a funny story, $ut rather $ased on the real

situation into which their characters are #laced. here is a short discussion of /ole

+rama on my +efinitions #age and a good $ook on the su$"ect in my -i$liogra#hy. his

e0ercise is a very sim#le, one8 or two8day /ole +rama activity. It can $e done with anynum$er of $ooks, $ut I'll use a s#ecific e0am#le $ecause it is the easiest way to descri$e

the #rocess. What follows is a descri#tion of a /ole +rama lesson I use with

Bindergarten, $ased on the $ook, The Little Baby Snoogle Fleejur,$y (or all #eo#le)

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some strange sights in the surf. Would someone like to tell me what he has seen?* I call

on the students as they volunteer, and, still in role, interrogate them. ll the while I am

coaching them to flesh out their characters with as much detail as #ossi$le. *%0cuse me,sir, $ut $efore you go on, would you mind identifying yourself? Who are you and what

do you do for a living? Where do you live? ll right, now what is your concern?* I try

to kee# the discussion moving logically, while at the same time giving everyone a chanceto s#eak. *1y, that is worrying. Has anyone else seen something like this? Has anyone

a suggestion a$out what it might mean?* We continue until everyone who wants to has

had a chance to #artici#ate actively.

o continue the activity, and $ring in some other kinds of activitites, I may say, *ow,ladies and gentlemen, there is a re#orter here from the +aily ews #rogram, and he

wants to interview some of you. Would that $e all right? When I turn around, I will $e

the re#orter.* hen as the re#orter I might interview some students $riefly. (omething Ido that seems to entertain my students no end is to constantly interact, irrita$ly, with an

invisi$le cameraman named -o$, who seems una$le to do anything right. -ut there is no

real necessity for acting fluency here88it shouldn't scare a teacher away from this ty#e ofactivity.)

s the re#orter I sometimes announce that we've $een trying unsuccessfully to get video

of the creature. *ince most of you have seen it, I wonder if you would mind drawing

some #ictures of it for us?* his way we $ring another kind of creativity into #lay.

t this #oint at least on day's lesson has $een used u#, often two. e0t we go $ack to thestory and read further, to a #art in which the monster turns out to $e friendly. (Or to the

end.) hen we can "um# from there into an activity in which we create the monster using

our $odies, either individually or in grou#s. (ee cul#ture 3allery.) Or we can act out,

as in im#le tory +ramati5ation a$ove, the ending of the story. If I have sto##ed $eforethe end we might try to finish the story in several different ways (as in the film, 2lue). I

usually don't, with Bindergarten, $ecause of time, $ut you might have another townmeeting, at which

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6and Anma&shis is an activity I do with all of my young students who are new to +rama. (ince I

teach every student in our school, my new students are generally Bindergartners, $ut the

activity works with somewhat older children as well. It serves as an introduction to thestructured use of the imagination and to the idea or character. It's also great fun and gives

all of the students a chance to *#erform* on the first class.

Look at your hands7

We $egin $y e0amining our hands. I coach in the following vein *Hold your two

hands u# and look at them. Ase one finger to trace the lines and the sha#e of your

other hand. Wiggle your fingers. O#en and close your fists. %0ce#t your face,your hands are the most e0#ressive #art of your $ody. 4ook at all the different

things they can do& ry to find as many different ways to move your hands as you

can.*

he students s#end several minutes (or until they're done) closely e0amining theinfinite #ossi$ilities of hand movement.

Anma& )haracters

e0t I show them that I can make my hand or hands into an animal. Asually I show them

a s#ider. One hand $ecomes the s#ider, and it *crawls* u# my arm, across my chest, andfinally over my head, as I make comic8terrified faces and generally react as I would were

a real s#ider crawling on me. he children love this, $ut they also get the #oint. I am a$le

to make my *hand8s#ider* real for them.

I then coach the children to invent their own hand animals. -y raising their hands (ana$solute must in my school), children volunteer to show their new creations to the class.

fter we have seen and admired each character, the whole class tries to make it. (his

reinforces for each child the worth of his or her creation, and gives the whole class#ractice in o$servation and mirroring.)

If the grou# is so#histicated enough I will coach discussion in some of the following

ways

*4ook at this #articular $ird (or dog or wilde$eest). 7or this #erformer, what do

you think is the most im#ortant characteristic of a $ird?* (I'm looking for the

#rimary feature8a $ird can $e mostly wings and flight, $ut it can also $e mostly$eak and #ecking motions. I've even seen $irds whose #rinci#al characteristic was

their distinctive ho##ing walk.)

*What do you think this character would do if he saw that character?*

*Is one character *$etter* than another?* (O8"ust different.)

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*What is a #u##et? In some ways can we call these hand animals #u##ets?*

Once we have all made many different hand animals, I use this activity as a s#ring$oard

into using more of our $odies to create characters.

1att -uchanan

-ack to to#.

*urser& /h&meCharades

I use this activity with my really little ones88re8Bindergarten88when they are learninga$out nursery rhymes and 1other 3oose. It is very sim#le, and a lot of fun for mystudents.

We $egin $y discussing nursery rhymes in general, and $y naming as many of them as we

can. hen we #lay the game.

%ach student in turn goes to the center of the circle and #antomimes an element from a

nursery rhyme. (7or instance, he might #antomime someone slee#ing for *4ittle -oy-lue.*)

he rest of the class tries to guess what nursery rhyme is meant.

When dealing with very young students88although I su##ose this activity would work

with older kids as well88it is very im#ortant for the teacher to carefully guide the actingand guessing, and to make #ositive comments a$out the #erformances (*Wow& that's a

really interesting way to act out -o ee#&*) and a$out the guesses (*Well, no, that isn't

what he's doing, $ut I can see what you mean. He does sort of look like he's "um#ingover a candlestick, doesn't he&*) so that everyone feels a #art of the learning.

1y re8Bindergarten class is my most difficult, and this activity works e0tremely well

with them.

-ack to to#.

A Tree Gro(s*Narrat8e 3antomme,

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I use this lesson with my Bindergarten and

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Here come some children. 6ou can't talk to them, $ut you know they are coming

for the a##les. hey have $ushel $askets. hey are laughing and singing. he

children #ick your a##les, and your $ranches feel light. 6ou know they will takethem away and eat them. 6ou know they will throw away the seeds, and that

some of those seeds might grow to $e new a##le trees.

lmost all of your a##les are gone. -ut you know you will grow more ne0t year.6ou feel grateful to those children. 6ou ho#e they will en"oy the a##les.

(ake a longer #ause here.)

ow it is winter. ll of your leaves have fallen. -ut you know you will grow

more ne0t s#ring. ow it is time to rest. 6ou rest.

The end7

C ersonal s#ace is a conce#t all of our students learn in gym, so I use it. It "ust means

find a s#ace in which you can turn around with outstretched arms and not touch anyone.

-ack to the to#.

Dscusson

fter the story is done, I ask my students !uestions a$out the e0#erience. I focus on

*how did it feel* !uestions, and when, as invaria$ly ha##ens, the students have clear

answers to these !uestions, I use this to demonstrate how #owerful is the imagination.-elow are some sam#le !uestions. (ote In each case, the first !uestion is the

im#ortant one. I ask that !uestion and get as many original res#onses as I can. Only if

necessary do I then coach $y asking the follow8u# !uestions.)

How did you feel when you first $roke through the seed #od? Who felt a sense of

accom#lishment? +id anyone feel a little afraid? What was it like when you first saw the sun? How many were ha##y? How

many were #roud?

How did it feel to $ecome a $ig strong tree?

How did you feel when the children #icked your a##les?

1ost of you felt a very strong emotion when you first saw the sun. How is that

#ossi$le, since we were all right here in the classroom and the sun doesn't even

shine in here?

What #art of your mind did you use to see the sun?

+id you know your imagination was so #owerful?

(2learly these are only a few of the !uestions you could ask.)

-ack to the to#.

BA)% T9 LESS9N 3LANS

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3antn! theBo:I use this e0ercise with my Bindergarten classes. It is a way to get them started thinking

a$out using their imagination in a #hysical way, and a$out reallyseeingwhat they

imagine in real s#ace. It starts out as a sim#le narrative #antomime, so I've written that#art out in the form of a story, "ust as I would say it in class.

I usually #lay music during this e0ercise. +e$ussy works well. void lyrics, as they are

too s#ecific. 6ou want music that can mean something different to each student.

3antn! the Bo:%veryone find your own #ersonal s#ace in the room. -e sure you have room to turn all

the way around with arms outstretched and not touch anyone else. Once you have foundyour #ersonal s#ace, sit down comforta$ly.

Imagine you are inside a small $o0. he $o0 is $ig enough for you to $e comforta$le, $ut

not !uite $ig enough to stand u# in. In your hand is a #aint$rush, and at your feet is a

large can of #aint.

ick u# the #aint and feel how heavy it is. his is magic color8changing #aint. %ach time

you di# your $rush in the #aint, it comes out whatever color you want. he #aint won't

get on your clothes, and it dries instantly. ome #aint, huh?

aint the inside of your $o0 with the magic #aint. 6ou may #aint it any color or colorsyou want. +on't forget to #aint the ceiling and the floor. /emem$er that since the #aint

dries instantly, you won't end u# #ainting yourself into a corner. -e as creative as youwant. It's your $o0.

When you're finished, #ut down the #aint can, $ut kee# the $rush. 6ou'll need it, $ecausenow there's another can of #aint in your hand. his is magic door #aint. If you #aint a

door on one wall of you $o0 with the magic door #aint, it will $ecome a real door that

o#ens. +on't forget to #aint a doorkno$&

Once you have #ainted on your door, use it to ste# outside your $o0. 6ou may want tostretch a little88it was kind of cram#ed in there, wasn't it? Walk all around your $o0. he

inside is very nice, $ut the outside needs something. aint&

/each inside and retrieve the can of color8changing #aint. Ase it to #aint the outside of

your $o0 any way you like. 1ay$e you'll even #aint a #eaked roof or castle turrets ontoyour $o0. hey all look wonderful. If you want windows or more doors you can use the

door #aint. It's your own little house, so make it the way you want it.

ll these $o0es look fantastic&

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-ack to to#.

Sharn! the Bo:esfter we've finished *#ainting our $o0es,* I have my students share their work with one

another. I go around the room from student to student, asking each one to *show* us his$o0, and to descri$e it in detail. I coach the students to $e as descri#tive as #ossi$le, and

es#ecially to hel# us *see* the colors. s necessary, I coach the rest of the class to *see*each $o0, and com#liment each creator on his work. Asually the descri#tions $ecome

gradually more ela$orate as the students try to *to#* each other, $ut right from the start I

get clear, s#ecific descri#tions, and the class is a$le to $uy into the conceit and *see* theirclassmates' work. his is generally a very successful lesson, and one I've used for many

years. I often follow it with *ainting the 1usic.*

1att -uchanan

)9NTA)T +E

3antn! the +uscI use this activity with my Bindergarten classes, usually right after *ainting the -o0.* It

differs from that activity mostly in that there is an outside *ins#iration* guiding their

#ainting, and in that they are more likely to *#aint* images, whereas in *ainting the

-o0* they mostly #aint decoration. *ainting the 1usic* can only work with music,whereas music is hel#ful $ut not necessary for *ainting the -o0.* lso, this is a

somewhat less #hysical activity, which makes a change.

2hoose a #iece of music with a fair amount of emotional range. +e$ussy is may$e a littletoo static for this e0ercise88rokoffiev works $etter, or Wagner, or 1o5art in his less

mannerly moods. %veryone res#onds to music differently, $ut the chances are if the

music stirs a *story* in you, it will in your students as well.

3antn! the +usc%veryone find a comforta$le s#ot and sit. Imagine you have a $ig easel in front of you,

with a new $lank canvas on it. In your hand is a #alette with every color of #aint you can

think of.

(tart the music.) 4isten to the music. 4isten es#ecially to the feelings in the music.

How does this music make you feel? What do you think it is a$out?

s you listen to the music, $egin to #aint what you hear. ome of you will #aint #ictures,

$ut some of you will #ro$a$ly "ust #aint colors and sha#es. Whatever you hear is whatyou should #aint. Really listen! 4isten to the changes in the music. 4isten for characters

and listen for events. Whatever you hear, that's what you #aint.

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hese #aintings are really starting to look good.

(When the music comes to an end88or you make it come to one.) 4et's all finish u# our

#aintings now. hey really look fantastic. %veryone take your #ainting over to a walland hang it carefully. hen return to your seat.

(With Bindergarten and younger, I find that I can only #lay a$out five minutes of music

$efore the #aintings are done. Older or more deli$erate children can take much longer.

Ase your $est "udgment.)

-ack to to#.

Sharn! the 3antn!ss in *ainting the -o0,* I give each student a turn to go to the wall, show us where his

#ainting is hung, and share it with the grou#. I coach the artists to $e s#ecific and

descri#tive, and I coach the *audience* to really *see.*

When we're done I ask the students if they would like to leave their #aintings to decorate

my classroom. ome do, $ut those who don't may *take them down,* and *take themwith them.*

In some ways this activity is sim#ler than *ainting the -o0,* $ut I usually do it second

$ecause I use it to segue into other activities that use music for story ins#iration.

1att -uchanan

)9NTA)T +E

-ack to to#.

Ran2orest Lessonshe following lessons were develo#ed (or ada#ted from other sources) for my

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A Tree n Le8e&sI invented this lesson on the s#ur of the moment once when another lesson ran short and Ihad e0tra time. I have since refined it and it works well. It is designed to teach or review

the four levels of the rainforest, and which animals live in which levels.

3reparaton

his #art is not really necessary, $ut it makes the lesson nicer and more formal. Asingmasking ta#e (or chalk, if your floor will $ear it), draw a large outline of a rainforest tree

on the floor. It should take u# as much s#ace as you have. -e sure it has a clearly

defined sha#e, with roots, a trunk, and a cano#y sha#e. lso $e sure there is at least alittle floor s#ace *a$ove* it. If you want to, you can make lines that divide it into 7orest

7loor, Anderstory, 2ano#y and %mergent 4ayer, $ut I usually leave that for the children.

Dscussonake as much or as little time as necessary for this. +iscuss the four main levels of therainforest887loor, Anderstory, 2ano#y, and %mergent 4ayer. +iscuss some of the animals

that live in each level.

Game

One at a time, children get u# and announce the animal they have chosen to $e. hen,moving like that animal, they go and stand;sit;slither in the a##ro#riate #art of the tree

diagram. (If there is no diagram, sim#ly esta$lish where the $ottom is and use your

imagination.) 3ive them hel# as necessary to choose the right level.

;aratons

With older students, you can make the game more challenging in a cou#le of ways

re#are a num$er of inde0 cards, each with the name of an animal on it. tudents

draw cards and must $e the animal on the card. In this way, they must figure outwhich level their animal $elongs in, rather than "ust #icking an animal whose level

they already know.

6ou could #lay that they are *out* if they don't end u# in the right level after a

certain time has ela#sed88say EF seconds. /e#eat until a winner is crowned (oruntil you tire of the game).

his one is hard, $ut fun& +ivide the class into small grou#s. %ach student takes

a card, and the grou# must arrange themselves in the *correct* order to# to$ottom. nimals from the same level stand ne0t to each other. he catch is that

they cannot communicate with each other. %ach #erson must act his or her own

animal so well that her or his #artners can recogni5e it, and at the same time mustwork at recogni5ing his or her #artners' animals, so that they can all move into the

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a##ro#riate locations relative to each other. (O$viously you don't use an outline

on the floor for this, or everyone would "ust go to the right level of the outline.

he #oint is that they must arrange themselves in order relative to each other.) Ifyou want to make this game a com#etition, try this When a grou# $elieves they

have themselves correctly arranged, they shout, *7ree5e&* %veryone free5es while

the teacher checks the cards and makes sure they've got it right. If so, they win.If not, they are dis!ualified and everyone *unfree5es* and continues.

-ack to to# of lesson.

-ack to to# of #age.

Be the Ran2oresthis lesson is a slight revision of one I learned from the folks I work with at ight 7light

at the hiladel#hia :oo. It needs a $iggish grou# (more than G or ten) to work really well,and actually works $est if there are some adults in the grou#. (I did it on arents' +ay

this year, with great success.)

Dscusson

What is a rainforest?

What animals live there? (he children suggest do5ens of animals, most of which

actually do live in rainforests. 6ou can decide for yourself whether to correct

them when they say *cheetah,* or *#olar $ear.*)

Why do these animals live in the rainforest instead of, say, in the desert? (We

discuss the way that the trees and the rain make the animals' lives #ossi$le. 1anyanimals live in the trees themselves. Others de#end for food on the trees, or on

the animals that live in them. Without88with

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forest with animals from all layers of the rainforest ($ut don't actually have them

clim$ the trees), leaving only one or two students left over.

he remaining student or students $ecome loggers, and stand to the ready.

And7 7 7Acton< *ow it is time to $ring the rainforest to life. 7irst, let's see what a healthy

rainforest is like.*

%veryone moves around, and makes noises (within reason) like their real8life

counter#arts. he trees may make the sound of the rain (since otherwise they

have nothing to do $ut stand there). I generally let this go on for around a minute.

*-ut now let's see what this logger (or loggers) is u# to& He's got a $ig saw. tart

it u#&*

he logger moves from tree8to8tree and *cuts them down.* he trees die in

dramatic fashion. (If children are #laying the trees, $e sure you control their

deaths carefully. hey can $e $ig and histrionic, $ut they should not fall in such away as to hurt themselves or others.)

*ow look around, animals& here are no trees left. 2an you live without trees?* I #oint out, one $y one, why each animal cannot live without the trees, and, one

$y one, they *die.* When all the animals are gone, I might say something like

*Oh, no& Without all those animals and #lants, we can't make medicines we

need& Without those trees, there isn't much o0ygen& What are we humans to do?*

hen I might myself *die.* It de#ends on the grou# and how much I can trust

them not to run amok once the teacher is *dead.*

I always end this lesson $y reconstructing the forest.

*-ut let's see what ha##ens if #eo#le sto# slash8and8$urn agriculture. If #eo#le

#lant new trees when they take old ones. If #eo#le are more careful, and don'ttake too many trees. rees, come $ack to life&*

*nimals, look& here are trees& 1ay$e some of you can come $ack now, too&*

hen we close with a discussion of things we can do to hel# #reserve the

rainforest.

-ack to to# of lesson.

-ack to to# of #age.

Ran2orest ;aratons on 9ther Lessonseveral of the other lessons on this site can $e ada#ted for a rainforest unit. -elow are

some suggestions on how to ada#t some of them, with direct links to the lesson #lans

mentioned. hese ada#tations are mostly #retty o$vious, $ut I think they #rovide someinsight into the way you can tailor your curriculum to su##ort other curricular su$"ects

without com#romising the dramatic education you are #roviding.

The Lon %n!s )ourt

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With or without the story that goes with it, this activity a$out a king choosing a##ro#riate

animal courtiers88who must know enough a$out themselves to make a good case for their

inclusion88will clearly work for other animals than those on the frican avanna. Insteadof a lion, I make the Bing a "aguar. (ctually, although the lion is traditionally *Bing of

the

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levels of so#histication. It looks more com#licated than it is 8 I've never had trou$le

making my students understand it.

I didn't make this u#, although I sus#ect I have made changes in it. I have used it foryears, and I can't remem$er who gave it to me.

$reparationfter e0#laining the game a little, $reak the class into small grou#s8three to five or so.%ach grou# is given a room in the house88the $edroom, the living room, the kitchen, the

$asement, the garage, etc. (6ou can use the $athroom as well if you think your students

can handle it. 1ine get too silly.) If you want to, you can #ut the names of rooms on cardsand have each grou# draw one. +on't let the students know what rooms the other grou#s

have.

Within each grou#, each student chooses one thing that would $e found in the room. (7or

e0am#le, if the room is the kitchen, one student might $e the refrigerator, one the stove,one the sink, etc.) ide8coach as necessary. fter choosing an o$"ect, each student

#ractices *$eing* that o$"ect.

%ach student must think of at least one88or with older kids, several88good reasons that

their o$"ect is im#ortant. ide8coach them to ask themselves what would ha##en if thething were not there.

3o $ack to the to#.

$la&ing the Game0Work with one grou# at a time. he other grou#s $ecome audience88which is incidentallyan o##ortunity to #ractice $eing a good audience.

he teacher goes to the first grou# and e0claims, *1y, look at all this useless stuff& I've

got to get rid of some of this "unk&* (Or some such.) he teacher selects one student and

says, *I think I'll take HI thing away.*

he student re#lies, *O, 6OA 2' B% 1%&*

*Why not?*

he student answers, without mentioning the name of his o$"ect, in this form *If you

take me away. . .* followed $y something that would go wrong without the o$"ect. (7or

e0am#le, if the student is #retending to $e the $ed, she might say, *If you take me away,no one will get any slee#.* student #retending to $e a waste$asket might say, *If you

took me, there would $e trash all over the #lace.*)C

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Once all the students have had their say, the audience tries to guess what room they are

in, and then what o$"ect each student is. hen the teacher moves on to the ne0t grou#.

C With younger children, I usually sto# at one answer. -ut with older students, I don'tgive u# so easily. I im#rovise some reason that the student's first answer isn't com#elling

enough. *Well, I never slee# anyway.* *I like trash on the floor. I'm taking you anyway.*In this way I ask the students to think of more than one reason that something is

im#ortant. If the students are so#histicated enough, I encourage them to think of creativeanswers. student #retending to $e the $ed might say, *What would the kids "um# on?*

student #retending to $e a lawnmower once said, *We'd get our feet wet walking through

the yard.* He meant that the long grass would hold water when it rained.

3o $ack to the to#.

1ariationsImmigrants =ariation;arts of the -ody =ariation; /ainforest =ariation; -ook =ariation3eneral i#s and =ariations

Immigrants 1ariation

1y fourth8graders were studying immigrants and %llis Island. I develo#ed this variation

of the game $ecause they s#ecially re!uested that we #lay this game (which they

remem$er from #laying it in the third grade), and my s#ecial #ro"ect this year is to tie my

fourth8grade curriculum into their ocial tudies and 4anguage rts work. It is #layed in$asically the same way, with the following changes

7irst I divide the class into three grou#s. One grou# $ecomes the *old country,* one the*shi#,* and one the *new country*in our case ew 6ork in the nineteenth century.

he students in the *old country* grou# had to come u# with something that animmigrant might have to leave $ehindsomething that would $e difficult to leave $ehind.

(2herished furniture, a #et or a friend, the silver, favorite toys, etc.) he students in the

*shi#* grou# $ecome something (or someone, if you want) on $oard a shi# that animmigrant might need on a long "ourney. ( $unk or hammock, the ca#tain, the $oats

engine, life$oats, etc.) he students in the *new country* grou# $ecome something a new

immigrant would need in his or her new land. ( grocery story, an a#artment, an %nglish

$ook, dollars, etc.)

When I a##roach the first grou# I say something like, *3ee, I dont have room to #ack all

of this& Ill have to leave HI $ehind&*

*o, you cant leave 1% $ehind&*

With the second grou# I say, *he shi# is too full. Ill have to throw something

over$oard. I think Ill throw HI over$oard&*

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*o, you cant throw 1% over$oard&*

With the third grou# I say, *heres so many things in this new country. Its all so

confusing. I think Ill get rid of some of it. I think Ill throw HI away&*

*o, you cant throw 1% away&*

1y students seem to really understand and en"oy this variation.

-ack to to# of =ariations.

$arts o# the %od& 1ariationInstead of a room in a house, the *#lace* is the human $ody, and each student $ecomes a

different $ody #art. 7or e0am#le, one student might $ecome a nose, another a lung,another a foot, and so on. (I have never had difficulty with students choosing

*ina##ro#riate* $ody #arts, $ut of course that's something to watch, and if you have a

grou# you think is inclined that way, it is #ro$a$ly $est to ni# it in the $ud ands#ecifically for$id *ina##ro#riate* res#onses.)

eacher says, *Wow, this #erson's $ody is O com#licated& I don't think we need all

these #arts. I think I'm going to take HI #art away.*

7rom here the game is #layed e0actly as in the $asic game. tudents must think of

reasons that their #articular $ody #art is im#ortant. nose *If you take me, you won't$e a$le to smell the flowers&* foot *Without me, you'd have to walk on your hands&*

heart *If you take me away, how will you get your $lood to your $ody?* n ear might

say, *How could you hear anything?* $ut one once said to me, *If you take me away, your

hat will fall down over your eyes and you won't $e a$le to see&*

Asually this works $est with the whole class at once, rather than $roken into grou#s, $ut a

more advanced class could $e divided into grou#s according to kinds of $ody #arts88one

grou# could $e internal organs, one $ones, and one muscles, for e0am#le.

In its sim#le form this variation works even with #re8Bindergarten, yet is challenging

enough for much older students.

-ack to to# of =ariations.

/ain#orest 1ariationhis is e0#lained in more detail in Ran2orest Lessons=$ut the $asic idea is that the

*room* is re#laced with a rainforest, and students must $ecome different #lants oranimals that inha$it it, and e0#lain why each is im#ortant to humankind. conservation

e0ercise.

-ack to to# of =ariations.

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%ook 1ariation%ach grou# chooses a $ook, and then each #erson in the grou# $ecomes a character or an

o$"ect that is im#ortant to the story. hen the instructor comes around with a giant(imaginary) eraser, and threatens to erase each in turn. +e#ending on the level of the

students, you can coach them to res#ond $y e0#laining their character or o$"ect's

im#ortance in general, or, with a more advanced grou#, $y e0#laining their character oro$"ect's im#ortance to the story. (7or e0am#le, a student re#resenting 2harlotte in

Charlotte's Web might talk a$out the im#ortance of s#iders in the $alance of nature, $ut a

more advanced student might instead say something like, *-ut if you erase me, who will

teach the main character self8confidence?* or *Who will teach the reader a$out the circleof life?*)

-ack to to# of =ariations.

General Tips and 1ariations

I have done this e0ercise with states or countries instead of rooms. I have also done itwith everyone a different state. (hey had to come u# with a reason that state isim#ortant to the whole country.)

I have done this e0ercise with time #eriods instead of rooms.

With Bindergarten I sometimes do it without the guessing. (In other words, I sim#ly

*guess* myself what each item is, rather than throwing it o#en to the class.) On the otherhand, some Bindergarten classes do !uite well with the guessing.

With a small class, or a very young one, I don't divide the class into grou#s, $ut conduct

the game with the whole class as one grou#. his avoids the difficulties inherent in#aying #articular attention to one grou# while the other is left to its own devices.

-ack to to# of =ariations.

-ack to the to# of lesson.

BA)% T9 LESS9N 3LANS

)9NTA)T +E

Sant Geor!e and theDra!on

his lesson is designed to go along with the #icture $ookSaint George and the Dragon,

reto&d >y +ar!aret 6od!es= &&ustrated >y Trna Schart 6yman7 (4ittle, -rown and

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2om#any, EJGD) he $ook is $ased on a #art of #enser'sFaerie Queen,and no dou$t

there are #lenty of other versions of the same story that would work "ust as well. he

lesson teaches analytical thinking and involves $oth im#rovised and structured dramatic#erformances. I use it with my Bindergarten classes, $ut it would work with older

students as well.

his is a #retty violent story, and the $ook is #retty gra#hic, $ut my students love it.

(3ranted, I teach in an all8$oy school, $ut in this day and age I dou$t girls would $e muchdifferent.) 6ou must, of course, make a res#onsi$le decision a$out whether it is right for

your grou#.

-egin $y reading the $ook. ay #articular attention to the actual $attle $etween 3eorgeand the +ragon. hen $egin discussion and demonstration as follows

DscussonDemonstratonWhen we were reading this $ook, I noticed that the +ragon has many se#arate, im#ortant#arts, and that each #art #lays its own role in the story. Who can raise their hand and tell

me what one of the #arts of the dragon is? (Without too much coaching the students

should $e a$le to come u# with Head;1outh, ail, Wings, 2laws, and may$e -ody.)

Why are the wings s#ecial or im#ortant in the story? (hey let the dragon fly, at one timehe flies into the sky with the Bnight, and it is in the wing that the Bnight first wounds the

+ragon.) (I like to #oint out, $ecause the children think it's funny, that with a wounded

wing the +ragon must only $e a$le to fly in circles.)

Why is the tail s#ecial or im#ortant in the story? (It has two shar# stings on it, it is half a

mile long, and when the Bnight is tra##ed $y it, he cuts off the end of it.)

Why are the claws s#ecial or im#ortant in the story? (hey gra$ the Bnight, and later in

the story he cuts one of them off.)

Why is the head and the mouth im#ortant in the story? (It $reathes fire and almost cooks#oor 3eorge, and it is $y running a s#ear through the mouth that 3eorge finally kills the

+ragon.)

Who can think of a way to use their whole $ody to make the +ragon's tail? (t this #oint

I take volunteers, who demonstrate different ways of *$ecoming* the +ragon's tail.

%ventually, usually without coaching, they reali5e they can make a longer tail if theywork together. I don't move on until we seem to have e0hausted the grou#'s ideas.)

Who can think of a way to use their whole $ody to make the +ragon's Wings? 2laws?

1outh? (I give each as much time as seems a##ro#riate.)

-ack to to#.

8/11/2019 456546 - Acting Games

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Bu&dn! a Dra!onOnce we have e0#lored each #art se#arately, I tell the class we are going to make one+ragon out of the whole class. I take volunteers to $ecome each wing, each claw, the

head, the $ody, and (with whoever is left) the long tail. %ach #erson makes his or her

$ody #art in the way that he or she wants. (In other words, I don't try to make sure thatthe left wing looks like the right wing, etc.)

When the *+ragon* is finished, we carefully #ractice moving a$out the room. It takes

some work, $ut usually Bindergartners can do it with concentration.

7inally, we act out the e#ic $attle $etween Bnight (the teacher) and +ragon. here arefour ma"or confrontations, during each of which a different $ody #art is affected. he

whole thing is done in slow motion and carefully. I choose the more alert *wing* and

*in"ure* it with an imaginary sword. hat child #retends to $e an in"ured wing, and the

+ragon flies in circles. he *tail* swings around to sta$ at me with its *stings* and I hack

off one or two children, who wriggle on the ground se#arate from the rest of the +ragon.I hack off the most alert *front claw* in the same way. 7inally the dragon o#ens its

*mouth* and I run it through. It generally dies a noisy death.

In order to finish off the lesson on a more #ositive note (not that the students care, $ut itmakes e feel $etter) I usually have them act out the #easants cele$rating after the

+ragon is dead.

his is always one of the favorite lessons of my Bindergarten classes.

-ack to to#.

BA)% T9 LESS9N 3LANS

)9NTA)T +E