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iii

FULLER, Rex Maxwell, 1941-CREATIVE DRAMATICS: INSTRUCTIONAL METHODOLOGIESFOR THE ELEMENTARY CURRICULUM.

The Ohio S ta te U n iv e rs i ty , P h .D ., 1973 E ducation , cu rricu lu m development

University Microfilms, A XEROX Company, Ann Arbor, Michigan

($l) C opyright by

Hex Maxwell F u lle r

1973

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.

CREATIVE DRAMATICS:

INSTRUCTIONAL METHODOLOGIES FOR THE ELEMENTARY CURRICULUM

DISSERTATION

P resen ted i n P a r t i a l F u lf i l lm e n t o f th e Requirem ents fo r

th o Degree D octor Of Ph ilosophy i n th e Graduate

School o f Tho Ohio S ta te U n iv e rs ity

By

Rex Ifexwell F u l l e r , B#S#, K.A#

* % * % +

The Ohio S ta te U h iv o rs ity

1973

Reading Committees

Dr# George L# Lewis

Dr# Roy n* Bowen

l)r# James L# Golden

Approved By

/ \ lêJb/ Advi/bor

-fir

Department o f h u m an ities E duoation

ACKNOWLEDGMENTS

The w r i t e r Y/ishes t o p u b l ic ly acknow ledge and e x p re ss h is

a p p re c ia t io n t o th e many people who c o n tr ib u te d t o th o developm ent

and co m p le tio n o f t h i s study*

To h i s m a jo r a d v is o r , P ro fe s so r George L* L ew is, f o r h is consummate

d i r e c t io n , i n s p i r a t i o n and f a i th *

To h i s r e a d in g com m ittee, P ro fe s so r James L* Golden and P ro fe s s o r

Roy H* Bowen, f o r gu idance and encouragem ent th ro u g h o u t th e e n t i r e

d o c to ra l program *

To th e s tu d e n ts o f In d ia n o la E lem en ta ry School and West Mound

E lem entary S ch o o l, Columbus P u b lic S c h o o ls , f o r a llo w in g me t o be

t h e i r te a c h e r and t e s t many o f th e id e a s su g g e s te d i n t h i s study*

To th e a d m in is t r a to r s and te a c h e r s o f In d ia n o la E lem entary S choo l

and West Mound E lem en ta ry School, Columbus P u b lic S c h o o ls , f o r t h e i r

su g g e s t io n s , i n s i g h t s and encouragem ent.

To h i s tw o s o n s , G eoffrey Uaxwoll and John W illia m , f o r t h e i r

p a t ie n o o , lo v e and energy*

F in a l ly and m ost o f a l l , t o h i s f a i t h f u l w i f e , J a n e , f o r th e many

y e a rs o f s u p p o r t , u n d e rs ta n d in g and lo v e t h a t have u l t im a te ly r e s u l t e d

i n th e c o m p le tio n o f t h i s d o c to r a l p ro g ram .

ii

VITA

September 13, 1941 Born - M ille r s b u rg , Ohio

1968 • • • « . » « B .S * , The Ohio S ta te U n iv e rs ity , Columbus, Ohio

1968-1971 • • • • T eacher i n p u b lic s c h o o ls , Columbus, Ohio

1971 • » • > • • • • H .A ., The Ohio S ta to U n iv e rs ity , Columbus, Ohio

1971-1972 . . • « T each ing A s so c ia te , Tho Ohio S ta te U n iv e rs ity ,Columbus, Ohio

1972-1973 • • • • T eacher i n p u b lic s c h o o ls , Columbus, Ohio

1973 • • * • • • • F h .D ., The Ohio S ta te U n iv e rs ity , Columbus, Ohio

FIELDS OF STUDY

Major F ie ld : Speech E d u ca tio nB .S . Speech E d u ca tio nH*A. Speech E d u c a tio nPh.D .

S tud ies in Speech E ducation . P ro fe sso r George L . Lewis

S tu d ies i n R h e to r ic . P ro fe s so r Jones L. G olden

S tud ies i n T h e a tre . P ro fe s so r Roy H« Bcwon

iii

TABLE OF CONTENTS

ACKNOWLEDGEMENTS........................................

VITA . • . . .................................................

LIST OF FIG U RES..................................... *,

CHAPTER

I . BACKGROUND OF THE PROBLEM

S tatem ent Of The Problem D esign Of The Study | L im ita tio n s Of The Study D e f in itio n s Of Terms

I I , REVIEW OF LITERATURE

In tro d u c tio n And Background D esign For The ReviewP ro cess O riented C rea tiv e D ram atics I k t e r i a l s P ro d u c t O riented C rea tiv e D ram atics M a te ria ls S to ry te l l in g I h t e r i a l s C r e a t iv i ty S tu d ie s And M a te ria ls Summary Of The L i te r a tu r e

I I I , READING AND LANGUAGE ARTS

Reading Language A rts

IV , LRTHEMATICS AND SCIENCE «

1.5athematicsS cience

V, SOCIAL STUDIES

PagoV I. SAFETY, HEALTH, AID PHYSICAL EDUCATION;

ART AND MUSIC .......................... • • l£ 2

S a fe ty , H e a lth , and P h y sica l EducationA rtlAtsio

V II. SUMMARY: RECOMMENDATIONS AND IMPLICATIONS . • . . 195

Summary Of P rocedure Recommendations And Im p lic a tio n s

APPENDIX............................... 202

SELECTED BIBLIOGRAPHY................................................................................ 206

v

FIGURES

F ig u re Page

1 laik c a r to n rod puppet • • • • • • « • • • « • • • 10f>

2 R e f r ig e ra to r c a rto n puppet s ta g e • • • • • • • • • 106

3 L ig h t p ro je c tio n s v d th p rim ary c o lo r s • • • • « • 10p

v i

CHAPTER I

Background Of Tho Problem

The e d u o a tio n a l i n s t i t u t i o n i n th o U n ited S ta te s has endured much

c r i t i c i s m in th e p a s t decade# C r i t i c s a t ta c k in g th e sch o o l fTctn n e a r ly

a l l p o s s ib le a n g le s have p roposed v a r io u s ex trem e a l te r n a t iv e s # "What

has p r e c ip i ta te d th e s e c r i t i o a l a n a ly se s and a t ta c k s i s th e r o le and

purpose o f e d u c a tio n i n th e l i v e s o f human beings# For th e m ost p a r t ,

c r i t i c i s m r e s t s w ith th e p rem ise t h a t sc h o o ls a re n o t e d u c a tin g and a re

f a i l i n g to o m eet th e needs o f t h e human b e in g i n our so c ie ty #

H e rb e rt R# Kohl c lo s e s h i s book The Open C lassroom w ith an o b se r

v a t io n w hich i s , X f e e l , o h a r a o te r i s t i c o f m ost contem porary c r i t i c s .

Our sch o o ls a re crazy# They do n o t se rv e th e i n t e r e s t s o f a d u l t s , and th e y do n o t s e rv e th e i n t e r e s t s o f young p e o p le . They te a c h " o b je c tiv e " knowledge and i t s c o r o l l a r y , obed ience t o a u th o r ity # They te a c h av o idance o f c o n f l i c t and o b e isan ce t o t r a d i t i o n i n th e g u ise o f h is to ry # They te a c h e q u a l i ty and demooracy w h ile c a s t r a t i n g s tu d e n ts and c o n t r o l l in g te a c h e rs#Most o f a l l th e y te a c h p e o p le t o be s i l e n t ab o u t w hat th e y th in k and f e e l , and w o rs t o f a l l , th e y te a c h peop le to p re te n d t h a t th e y are sa y in g w hat th e y th in k and f e e l , 1

Many c r i t i c s o f Am erican e d u c a tio n su g g e s t t h a t th e p r e s e n t

e d u o a tio n a l i n s t i t u t i o n i s f a i l i n g t o p ro v id e n e c e s s a ry le a rn in g and

th e y eaoh su g g est a l t e r n a t iv e s o lu t io n s , Ivan l l l i o h s ta n d s o u t as

^H erbert R# K ohl, The Open C lassroom (New York: Tho Hew York Review, 1969) , p , 116,

1

2p

th e m ost r a d ic a l o f a l l th e c r i t i o s w ith h i s o a l l t o desohool so c ie ty *

The fundam ental concern o f a l l th e c r i t i o s o f contem porary educa

t i o n i s t h a t th e fo c u s o f e d u ca tio n be th e human bein g r a th e r th a n th e

i n s t i t u t i o n * Contemporary c r i t i c s a re re a c t in g t o a chang ing , e v o lv in g . _

view o f man* A* II, I&slow a s s e r t s t h a t "a new W eltanschauung i s in th e

p ro c e ss o f being developed , a new Z e i tg e i s t , a new s e t o f v a lu es and a

new way o f f in d in g them , and o e r ta in ly a new image o f man*"^ As a

r e s u l t o f t h i s new develop ing s e t o f v a lu es and im ages, a new k in d o f

p h ilo so p h y i s a ls o b e in g developed , a hum anistio philosophy*

G enerated by th e new hum anistio ph ilo sophy i s a new co n c e p tio n o f le a rn in g , te a c h in g , and e d u c a tio n . Such a co n cep tio n h o ld s t h a t th e g oal o f ed u ca tio n —-the human g o a l, th e hum anistio g o a l— i s u l t im a te ly th e * s e l f - a c tu a l i z a t i o n ' o f a p e rso n , th e developm ent o f th e f u l l e s t h e ig h t t h a t th e human sp e c ie s o r a p a r t i c u la r in d iv id u a l can come to * l’n a le s s te c h n ic a l way, i t i s h e lp in g th e p e rso n to become th e b e s t t h a t he i s a b le to become* Such a g oal in v o lv e s v e ry s e r io u s s h i f t s in le a rn in g s tr a te g ie s *

T his view i s f u r th e r supported by Ivan I l l i o h who b e l ie v e s t h a t .

Most people le a rn m ost o f th e tim e when th e y do w hatever th e y e n jo y ; most peop le a re c u rio u s and w ant t o g ive meaning t o w hatever th e y come in c o n ta c t w ith ; and most people a re oapable o f p e rso n a l in tim a te in te rc o u rs e w ith o th e rs u n le ss th e y a re s tu p e f ie d by inhuman work o r tu rn e d o f f by schooling*-*

Îvan I l l i c h , "Tho A lte rn a t iv e t o S ch o o lin g ," S atu rday Review, June 1 ? , 1971# PP* 44-60*

Â* H, l& slow, "Peak E xperiences in E ducation and A r t ," Theory In to P r a c t ic e , X (Ju n e , 1971}# 149#

4 Ibid*

^ I l l i c h , " A lte rn a tiv e t o S ch o o lin g ," pp* 44-60*

3

In a d d i t io n t o th e developm ent o f a h u m an istio p h ilo so p h y in

e d u c a tio n th e r e h a s been a r e c o g n i t io n o f th e need f o r and v a lu e o f

c r e a t iv i ty * R esearch f in d in g s have shown t h a t c r e a t i v i t y , o r i t s

p o t e n t i a l , i s e v id e n t i n eao h human being* F u r th e r , o r e a t i v i t y In t h

in d iv id u a l con be en co u rag ed and developed by and f o r th e in d iv id u a l*

The n a tu re o f o r e a t i v i t y and i t s i d e n t i f i c a t i o n may be g e n e ra liz e d a s

fo llo w s $

a c r e a t iv e p e rso n1 ) has m u lti- re sp o n s e t o a g iv en s t im u lu s ,2 ) i s in d ep en d en t enough t o i s o l a t e h im s e lf from crowd o p in io n <ir

a c t io n t o pu rsue h i s own i n t e r e s t s and a c t i v i t i e s ,3 ) i s m o tiv a te d by a sense o f d e s t in y and w i l l so lv e problem s

u s in g new a p p ro a c h e s , o r new m a te r ia ls i f th e o r ig in a l approaches o r m a te r ia ls a re n o t a v a i l a b le ,

4 ) i s p e r c e p t iv e end c u r io u s abou t many th in g s ,5>) w i l l r i s k f a i l u r e i n a d e s i r e t o make new a lig n m en ts o f

m a te r ia ls o r id e a s ,6 ) i s s k e p t ic a l and p rone t o a sk q u e s tio n s w hich probe th e unknown,7 ) has a h ig h sen se o f humor and may u se s a t i r e , and iro n y in

fo rc in g th e im probable i n t o p ro b ab le s i t u a t i o n s ,8 ) i s more i n t e r e s t e d in m eanings and im p lic a tio n s th a n w ith

sm all d e t a i l , and9 ) shows l i t t l e d i r e o t c o r r e l a t i o n w ith in te l l ig e n c e above th e

le v e l o f IQ 120*6

I f e d u c a tio n , a s a s o c ia l i n s t i t u t i o n , i s go ing t o resp o n d t o tl

o u r re n tly i d e n t i f i e d needs o f s tu d e n ts i t muBt a l t e r i t s p o s tu re to

in c lu d e th e new h u m a n is tic p h ilo so p h y id e n t i f i e d b y Mas low and th e

10

^Donald W* I& ckinnon, " C h a r a c te r i s t i c s o f th e C rea tiv e P erson : Im p lic a tio n s fo r th e T each ing -L earn ing P ro c e s s ," p ap er p re se n te d a t th e S ix te e n th R a tio n a l C onference on H igher E d u ca tio n (Ifcrch 6 , 1961)*As quo ted i n George L* L ew is, e t a l >, Teaching Speech (Columbus, Ohio* C harles E* I .f e r r i l l P u b lish in g Company, p* 424*

4

p o te n t i a l f o r c r e a t iv e development* " I f o r e a t iv i t y and th e developm ent

o f c r e a t iv e t a l e n t i s th e g o a l, th e n a_ c lim a te must be e s ta b lis h e d f o r

th e a l t e r n a t iv e re sp o n se , i n w hich s tu d e n ts a re encouraged—alm ost

r e q u i r e d - - to look f o r o th e r s o lu t io n s , w here one may r i s k th e e r ro r i n

I n response t o th o se s o c ia l c r i t i c s who have c h a ra c te r iz e d th e

sch o o ls a s dehum anizing a g e n ts , and in resp o n se to th e c a l l f o r a more

h u m an is tic e d u c a tio n a l e x p e r ie n c e ; th e U nited S ta te s O ffice o f E ducation

p roposed t o r e c o n s tru c t s e v e ra l s e le c te d e d u c a tio n a l programs t o t e s t

th e c o n te n tio n t h a t a cu rric u lu m fooused on a e s th e t ic and a f f e c t iv e

developm ent would r e s to r e th e human q u a l i ty t o education# Of fu r th e r

s ig n i f ic a n c e was th e c o n te n tio n th a t a sohoo l environm ent and program

w hich was p e rc e iv e d as e s s e n t i a l and rew ard ing to th e s tu d e n t would

enhance th e s tu d e n t* s c o g n itiv e and m otor s k i l l perform ance#

The p r o je c t developed by th e U nited S ta te s O ffice o f E ducation was

c a l le d A rts IMPACT ( I n te r d i s c ip l in a r y Model Programs i n th e A rts f o r

C h ild re n and T eachers)# F ive sohoo l system s were s e le c te d t o p i l o t th e

p r o je c t and th e s e f iv e werex P h i la d e lp h ia , P ennsy lvan ia; Troy, Alabama;

G le n d a le , C a l i f o rn ia ; Eugene, Oregon; and Columbus, Ohio#

P a r t ic ip a n ts i n A rts IMPACT a re committed t o d em onstra ting w hat happens t o th e le a rn in g env ironm ent, as w e ll as t o th e le a rn e r and t o th e te a c h e r , when em phasis i s p laced on th e a f f e c t iv e r e sponse (on d ev e lo p in g f e e l in g s ) r a th e r th a n on th e c o g n itiv e

an e f f o r t t o f in d new arran g em en ts , movements, and so u n d s.11̂

'G eorge L# Lev/is, e t a l # , Teaching Speech (Columbus, Ohio: C harles E» M e r r i l l P u b lish in g Company, l?t>^J, p#

re sp o n se (on le a rn in g f a c t s ) . Since i t i s the a r t s w hich n o u rish re fin e m e n t of s e l f - i d e n t i t y and developm ent o f r e s p e c t fo r o th e r s , th e d e s ig n e rs o f th e p r o je c t d ecreed th a t in s t r u c t io n in v is u a l a r t , m usic , dance and d ra m should he th e m ajo r t h r u s t of th e program,®

The p a r t i c ip a t io n o f th e Columbus, Ohio sch o o l system , to w hich

t h i s s tu d y i s l im i te d , began w ith two e lem en tary s c h o o ls . These two

e lem en ta ry s c h o o ls , Cranbrook and E a st g a te , were committed to th e tw o-

y e a r p r o j e c t . However, th e second y ea r o f th e p r o je c t in c lu d ed th e

a d d i t io n o f fo u r s a t e l l i t e s c h o o ls , two assig n ed t o Cranbrook and two

a s s ig n e d t o E a s tg a te , A lthough th e i n i t i a l p r o je c t on ly inc luded

f in a n c i a l a s s is ta n c e fo r th e two o r ig in a l s c h o o ls , th e fo u r s a t e l l i t e

sc h o o ls a ttem p ted t o d ev e lo p s im i la r programs w ith th e h e lp o f th e

s t a f f s o f Cranbrook and E a s tg a te ,

T h is y e a r , th e program*s t h i r d (1972-73), th e program has been

expanded t o in c lu d e s ix new sch o o ls b rin g in g th e t o t a l number o f schools

in v o lv ed to tw e lv e . The o o s t o f th e se s ix new sc h o o ls , a s w e ll a s th e

c o s t o f th e o r ig in a l two and s a t e l l i t e fo u r , has been assumed by idie

Columbus Board o f E d u c a tio n ,

O f fundam ental im portance in the A rts IMPACT p r o je c t i s th e use o f

a team o f re so u rce te a c h e r s o f v is u a l a r t , m u sic , dance and drama. The

a r t s team works w ith th e t o t a l sch o o l env ironm ent, to in c lu d e a l l

t e a c h e r s and s tu d e n ts i n a l l g rades a t a l l l e v e l s , b r in g in g th e a r t s

® Iiir t in R u s s e l l , "A R eport At The End Of The F i r s t Year Of P ro jec t. Im pact In The Columbus P u b lic S o hoo ls," Ohio A rt E ducation Jo u rn a l, X (Septem ber, 1971)#

in to sh a rp e r focus and g r e a te r re lev an ce* The a r t s team*s o b je c tiv e

i s t o develop a e s th e t ic and a f f e c t iv e response a s w e l l as in te g ra te

th e re p re s e n te d a r t s in to th e e x ta n t sch o o l curriculum * I t i s s ig n i

f i c a n t t o n o te t h a t th e a r t team i s n o t p r im a r i ly concerned w ith th o

developm ent o f a r t i s t i c p ro f ic ie n c y , r a th e r i t i s concerned w ith th e

s tu d e n t* s h u m an istic development*

The fu tu re o f A rts IMPACT in Columbus, Ohio w i l l bo determ ined by

th e su ccess or f a i lu r e o f th e s e tw elv e sohools* I f th e p rem ises upon

w hich th e program was developed prove v a l id and i f th e su o cess o f th e

program i s p e rce iv ed by th e schoo l board a s b e in g s ig n i f ic a n t and sub

s t a n t i a l , th e program w i l l be co n tin u ed and expanded*

The assum ption form ing th e b a s is o f t h i s s tu d y i s t h a t an A rts

IMPACT ph ilo sophy i s indeed s ig n i f io a n t and s u b s ta n tia l* The s tu d y

f u r th e r assumes t h a t th e re c o g n ise d v a lu e o f an A rts IMPACT ph ilo so p h y

w i l l le a d t o w id e-sp read im p lem entation and adoption* T h e re fo re , a

s tu d y o f o u rre n t as w e ll a s p o te n t i a l p r a c t ic e and procedure i n an A rts

IMPACT program would o b v io u sly f a c i l i t a t e fu tu re adoption*

C urriculum developm ent and th e o rg a n iz a tio n o f cu rricu lu m i s

c e n t r a l ly im p o rtan t t o an A rts IMPACT program , A fu n c tio n o f A rts

IMPACT i s t o b r in g th e a r t s in to th o cu rricu lu m i n a r e le v a n t and

m eaningfu l way* A rts a c t i v i t i e s o r tech n iq u es m ust be j u s t i f i e d in

te rm s o f th e sohool ourriculum *

TJhen tho a r t s a c t i v i t i e s r e l a t e t o , c o r r e la te w ith , and supplem ent

th e e x ta n t cu rricu lu m , th o a r t s w i l l a u to m a tic a lly beoame an in te g r a l

p a r t o f th e ourriculum * A f te r th e cu rricu lum and th e a r t s a re fu se d ,

th o a r t s can b e g in t o e s t a b l i s h t h e i r d i s t i n o t a e s t h e t i c i d e n t i t i e s *

For t h e a r t s to become c e n t r a l t o , r a t h e r th a n e x tra n e o u s t o , th e

c u r r ic u lu m , th e r e nrust be m ethods and p ro c ed u re s i d e n t i f i e d f o r th e

a r t* s in v o lv em en t* T h is a s p e c t o f t h e A rts IMPACT program i s o r u o ia l

t o th e c la ssro o m te a c h e r b ecau se i t i s w i th th e o lassro o m te a c h e r t h a t

r e s p o n s i b i l i t y f o r s tu d e n t g row th I s p laced *

S ta te m e n t Of The Problem

T h is s tu d y d ev e lo p s and d e s c r ib e s a method f o r th o c o n tin u ed

im p lem en ta tio n o f an A r ts IMPACT philosophy* I n te g r a l t o t h i s s tu d y

i s th e c r e a t io n o f s p e c i f i c s u g g e s tio n s and m ethods f o r e f f i o i e n t a s

w e l l a s s u c c e s s f u l developm ent o f an A r ts IMPACT program w ith in th e

so h o o l s e t t in g * E s ta b l i s h in g t h e a r t s a s an i n t e g r a te d p a r t o f th e

o u rr ic u lu m i s th e p r im a ry g o a l i n an A r ts IMPACT program* To a ch ie v e

t h i s g o a l th e a r t s m ust f i r s t su p p o rt t h e cu rricu lu m * When th e a r t s

a r e s u c c e s s f u l ly in te g r a te d th e y become a f u n c t io n a l p a r t o f th e

o u rricu lu m * T h is s tu d y 's fo r ty -o n e su g g es te d sam ple le s s o n s have

been c r e a te d t o i l l u s t r a t e t h e i n t e g r a t i o n o f c r e a t iv e d ra m a tic s

a c t i v i t i e s in to t h e e le m e n ta ry s c h o o l 's t r a d i t i o n a l o u rrio u lu m a s w e l l

a s p ro v id e th o c la s s ro o m te a c h e r w ith p r a c t i c a l m a te r ia l s f o r e f f e c t i v e

te a c h in g *

C re a tiv e d ra m a tic s and dram a a re th e c e n t r a l foous o f t h i s s tu d y

f o r tw o re a so n s* F i r s t , th e a u th o r i s p r im a r i ly concerned w i th drama

and c r e a t iv e d r a m a tic s , and com peten t i n th e s e a re a s* Seoond, th e

a u th o r f e e l s t h a t drama and c r e a t iv e d ra m a tic s i s a t th e co re o f A rts

IMPACT p h ilo so p h y * The a u th o r a g re e s w ith th o h i s t o r i c a l n o t io n t h a t

drama i s indeed th o complex in te g r a t io n o f a l l a r t s # S p e c i f ic a l ly ,

drama e x i s t s as th o a r t form -which b r in g s to g e th e r th e s e p a ra te a r t s

o f m usic , dance and v is u a l a r t # Drama may e x i s t as an e n t i t y d i s t i n c t

from m u sic , dance and v is u a l a r t , b u t i n th o f u l l e s t sen se may in c o r

p o ra te any o r a l l a r t forms#

The c o n tr ib u t io n o f t h i s s tu d y t o th e f i e l d o f knowledge i s a

c r e a t iv e one# The p rim ary o b je c t iv e i s t o e s t a b l i s h as w e l l as l e g i t i

m ize th e u se o f c r e a t iv e d ram a tic s and drama i n th e te a c h in g o f t r a d i

t i o n a l e lem entary cu rricu lum # Some c re a t iv e d ram atic s a u th o r i t i e s

o b je c t t o th e use o f c r e a t iv e d ram atic s as a te a c h in g t o o l and p lead

f o r c r e a t iv e d ram atics* s e p a ra te id e n t i ty # W hile n o t ig n o rin g th e

v a lu e o f c re a t iv e e x p re s s io n a s an a r t , t h i s a u th o r su g g e s ts t h a t one

p rim ary v a lu e fo r c r e a t iv e d ra m a tic s i s i t s u se a s a te a c h in g to o l#

U sing c re a t iv e d ram a tic s t o make th e t r a d i t i o n a l e lem en ta ry cu rricu lum

more e x c i t in g , r e l e v a n t , and m ean ingfu l in no way d ec re a se s the

a r t i s t i c i d e n t i ty o f c r e a t iv e d ram atics#

D esign Of The Study

Curriculum o b je c t iv e s and g o a ls have been id e n t i f i e d from th e *

Teaching Agreements m anual, a p u b l ic a t io n o f th e Columbus P u b lic Sohools

Columbus, 0hio#9 The w r i te r assumes t h a t th e s e cu rricu lu m goals and

o b je c tiv e s a re s im i la r t o th e ou rricu lu m g o a ls and o b je c t iv e s o f schoo l

system s th ro u g h o u t t h e n a tio n # Teaching Agreements i d e n t i f i e s seven

grade l e v e l s , k in d e rg a r te n th ro u g h s ix th grade# Eaoh g rad e le v e l i s

^Columbus P u b lic S ohoo ls, Teaching Agreements fo r P rim ary and In te rm e d ia te Grades (Columbus, d h io ; Columbus P u b lic Schools)#

re p re se n ted by e ig h t s u b je o t a r e a s ; reading* language a r ts * m athem atics,

s o c ia l s tu d ie s , sc ie n o e , s a fe ty -h e a l th and p h y s ic a l e d u c a tio n , a r t

and music* Goals and o b je c tiv e s a re l i s t e d f o r each s u b je c t a re a a t

each grade l e v e l in Teaching Agreements* The g o a ls o r o b jec tiv es-w h io h

can be met o r achieved th rough a r t s a c t i v i t i e s , s p e c i f i c a l l y c r e a t iv e

dram atics a c t i v i t i e s , a r e i d e n t i f i e d by th e w r i t e r . One n o t ic e s th e

absence o f drama from th e l i s t o f s u b je c ts . A r t and music have fo r

many y ea rs been e s ta b lis h e d in th e cu rricu lu m . T his s tudy focuses upon

th e need f o r drama in th e ou rricu lum and w ith an A rts IMPACT approach

a r t and m usic have a new p lace i n th e c u rric u lu m .

For t h i s s tu d y th e seven grade le v e ls a re combined in to th r e e

le v e ls ; g rades k in d e rg a r te n , f i r s t and second a re Level I ; g rades

th re e and fo u r a re Level I I ; and g rades f iv e and s ix a re L evel I I I .

In t h i s v r r i te r *fl o p in io n , ap p rox im ate ly o n e - th ird o f th e e lem en tary

sohool *s ourricu lum g o a ls and o b je c t iv e s can be s ig n i f i c a n t ly ach ieved

th rough c r e a t iv e d ram atics a c t i v i t i e s .

Each suggested sample le sso n in d ic a te s th e Teaching Agreements g o a l

or o b je o tiv e fo r which i t i s d es ig n ed t o a c h ie v e . Each le s s o n i s f u l l y

d iscu ssed a s i t might be in tro d u ce d and developed w i th a o la s s . Mate

r i a l s and re so u rce s a re su g g ested , p ro v id in g th e te a c h e r w ith a d d i t io n a l

m a te r ia l t o develop s im i la r le s s o n s . S ev era l suggested sample le s so n s

a re p rov ided fo r each o f th e e ig h t su b je c t a r e a s . Tho number o f

suggested sample le sso n s designed f o r each s u b je c t a re a r e f l e c t s th e

a p p l i c a b i l i ty o f c re a t iv e d ram atio s a c t i v i t i e s f o r m eeting t h a t s u b je c t 's

g o a ls and o b je c tiv e s* The fo r ty -o n e suggested sample le s so n s a re d i s -

tributed as follows;S u b jec t Number o f Suggested Sample Lessons

Reading Language A rts M athematics ScienceS o c ia l S tu d ies S a fe ty , H ea lth and P h y s ic a l E ducation

$$3S8$

A rtMusic

73

L im ita tio n s Of The Study

The b a s is f o r t h i s s tu d y i s s p e c i f i c a l ly l im ite d to th e Columbus,

Ohio A rts IMPACT p r o je c t and th e Columbus P u b lic Sohools p u b lic a t io n ,

Teaching Agreem ents. P u b lish ed and u n pub lished A rts IMPACT m a te r ia ls

have been used to form th o base o f t h i s s tu d y , supplem ented w ith

r e le v a n t l i t e r a t u r e o f p u b lish ed a u th o r i t i e s in th e f i e l d .

T his s tu d y i s f u r th e r enhanced by th e au tho r*s obvious en thusiasm

fa r c r e a t iv e d ram atic s and dram a. As ex p ressed e a r l i e r , th e a u th o r

f e e ls t h a t c r e a t iv e d ra m a tic s in c lu d e s tech n iq u es o f a l l a r t forms and

an A rts IMPACT program can be e f f e c t iv e ly and e f f i c i e n t l y developed

from t h i s fo u n d a tio n .

T his s tu d y does n o t a ttem p t t o prove t h a t c r e a t iv e d ram atics has

ach ieved th e i d e n t i f i e d o b je c t iv e s a t any s p e c i f ic degree o f e f f i c ie n c y .

I t i s a p i l o t s tu d y fo cu sin g upon m a te r ia ls and p ro cesses e f f e c t iv e in

in s t r u c t io n a l p ro c e s s e s . No d e f in i t iv e p re -p o s t t e s t s tu d y has been

made. The t o t a l i n t a c t o f A rts IMPACT w i l l be s tu d ie d by Columbus

Public Schools a s i t c o n tr a s ts and compares th e s tan d a rd iz e d t e s t

Bcoros o f IMPACT sohool s tu d e n ts a g a in s t comparable groups and e a r l i e r

11t e s t s *

D e f in itio n s Of Terms

ArtB IMPACT i s a p ro c e s s desig n ed t o g e n e ra te p o s it iv e a t t i tu d e s

tow ard le a rn in g through*

• Improving th e q u a l i t y o f human in t e r a c t io n w hich goes on in schools*

•P rov id ing an appealing* humane environm ent f o r lea rn in g * a p la c e where p eo p le want t o he*

•S tim u la tin g s tu d e n ts and te a c h e r s t o approach a l l le a rn in g experiences w i th a m utual r e s p e o t f o r each o th e r and w ith th e e x p e c ta tio n t h a t th e ex p e rien ce w i l l b e p le a s a n t and m eaningful*

The co re o f th e IMPACT p rocess i s an a e s th e t io one* I t fo cu ses on

dance* drama* music and v i s u a l a r t a s f a c i l i t a t o r s o f grow th and

le a rn in g in a l l a reas f o r b o th s tu d e n ts and te a c h e rs* T h is focusing

on th e a r t s i s based on t h e prem ise th a t* a lth o u g h man has c o n s is te n t ly

reaohed some o f h is h ig h e s t le v e ls o f achievem ent in and th ro u g h th e

a r ts * th e a r t s provide an a r e a o f le a rn in g w h ere in :* j

•There i s c o n s ta n t encouragem ent fo r con tin u o u s improvement,b u t th e re a re n o r ig h t o r wrong answ ers*

• ' *

•C om petition, a s w e ll as t h e s tan d a rd f o r improvement* i s w ith one’s s e l f and everyone can e x p e rien ce th e jo y which accompanies s u c c e s s ,

• S e lf - re s p e c t and ro sp e c t f o r o th e rs a r e n u rtu red **

I n th e IMPACT p ro cess re so u rce te a c h e rs i n dance* dram a, music and

v is u a l a r t w ork as a team w ith c lassro o m te a c h e rs in r e v e a l in g th e, ¥ •

in te r r e la te d n e s s o f the a r t s and* in d e e d , o f a l l a re a s o f human l iv in g

fynri le a rn in g * Hopefully* IMPACT w i l l th u s p ro v id e a means f o r accom

p l is h in g t h e im perative t a s k o f s c h o o ls in t h i s complex, fragm ented*

Im personal w orld we l iv e i n - - t h a t o f " g e t t in g i t a l l to g e th e r

C re a tiv e d ram a tic s i s an in fo rm a l, fTee-form drama in w hich th e

p la y e rs p a r t ic ip a te fo r t h e i r own b e n e f it* C rea tiv e dram atios i s

u s u a l ly c h a ra c te r iz e d by th e la c k o f s c r i p t s , la c k o f sco n io , l i g h t in g ,

o r costum e e f fe c ts * P ro cess , r a th e r th a n p ro d u c t, i s th o aim o f

c r e a t iv e d ram atics an d the t o o l s o f c r e a t iv e d ram atics a re s to r y t e l l i n g ,

s to ry d ra m a tiz a t io n , dance-dram a, im p ro v isa tio n , p u p p e try , pantomime

and im ag in atio n * These s p e o if io term s w i l l be d efin ed as th e y ocour

i n d is c u s s io n s o f r e le v a n t su g g ested sample le sso n s*

C r e a t iv i ty i s b r i e f l y d e f in e d 11 * * « a s th e a b i l i t y to ta p p a s t

e x p e r ie n c e s and come up w ith som ething nevr* This p ro d u c t need n o t be

new t o t h e w orld b u t i t must be new t o th e in d iv id u a l , though th e most

c r e a t iv e a c ts a re th o se which r e s u l t in som ething new t o th e world*

^ M a r t in R u s s e l l , unpub lished s ta tem en t s e n t t o p a re n ts o f IMPACT schoo l c h i ld r e n , December, 1972*

11James A* Sm ith , C rea tiv e Teaching o f th e C rea tiv e A rts i n th e E lem en tary Sohool (Bost'ons'A lTyn and Bacon, In c * , 1970 )Y pY ‘J*

CHAPTER II

REVISV7 OF LITERATURE

In tro d a o tio n And Background

The h i s to r y o f man's developm ent i l l u s t r a t e s h is d e s iro and need

fo r d ra m a tiz a tio n * P rim itiv e m an 's se a rc h fo r communication to o ls le d

him t o d isc o v e r d ra m a tiz a tio n 's e f fe c t iv e n e s s and value# W in ifred Ward

w r i te s ;

From th e tim es when p r im it iv e trib esm en gave pantomimic r e p re s e n ta t io n s o f th e deeds o f t h e i r gods and h e ro e s , and dram atio dances o f t h s i r id eas o f l i f e , d ea th , and e t e r n i ty , dorm th rough c e n tu r ie s o f im provised drama in D ionysian f e s t i v a l s , i n m edieval i n t e r lu d e s , in I t a l i a n Cammodia d o l l 1 A r te , we have evidence w hich le a d s us t o b e lie v e t h a t th e im pulse t o c r e a te drama has been s tro n g s in c e th e beg inn ing o f time#

I n e d u c a tio n , however, c r e a t iv e d ram atics has been a decided l a t e

comer# I n t e r e s t and concern has been growing s te a d i ly s in c e th e l a t e

n in e te e n th c e n tu ry and e s p e c ia l ly s in c e th e 1920 's* As e a r ly as 1880,

Edward A u s tin Sheldon experim ented w ith c r e a t i v i t y in e d u c a tio n .

Sheldon’ s in v e s t ig a t io n s w ere conducted in th e p u b lic sch o o ls o f Oswego,

Mew Y ork and r e s u l te d in th e p u b l ic a t io n o f two t e x t s w hich inc luded

th e f i r s t vague s te p s tow ard c r e a t iv e d ra m a tic s , A Manual o f E lem entary

W in i f r e d Ward, Playmaking W ith C hild ren (Hew Yorks A ppleton- C o n tu ry -C ro fts , I n c . , T957T*~P«

13

142

I n s t r u c t io n and Lessons on O b jec ts#

The a p p l ic a t io n and u se o f c re a t iv e d ram atic s a c t i v i t i e s i n

sc h o o ls co n tin u ed t o grow, however s low ly , i n th e f i r s t decade o f th e

tw e n t ie th c e n tu ry . In C hicago, th e Parker Sohool, founded i n 1901

by C o lonel F ra n c is W, P a rk e r , was d ed ica ted t o th e concept o f a f r o e r ,

more c r e a t iv e approach t o e d u c a tio n . The G ary, In d ian a schoo ls i n 1920,

under t h e guidance o f W illiam W irt, in te g ra te d c re a t iv e d ram atics

a c t i v i t i e s in to th e e lem en tary ourriou lum . The n e x t im p o rtan t s te p

tow ard in te g r a t in g c re a t iv e d ram atics a c t i v i t i e s and ed u c a tio n was

made b y W in ifred Ward,

The re c o rd o f W inifred W ard's dream a t N orthw estern U n iv e rs ity

and th e sh a rin g o f t h a t dream w ith th e p u b lic sch o o ls o f E vanston ,

I l l i n o i s , i s leg en d a ry . I n 1924 W inifred Ward was named su p e rv iso r f o r

th e E vanston e lem entary sch o o ls d ram atics program . Her ta s k was c l e a r .

She had e f f e c t iv e ly oonvinced th e schoo l a u th o r i t i e s o f th e e d u c a tio n a l

v a lu e o f c r e a t iv e d ram atics a c t i v i t i e s and now had th e ch a llen g e as

w e ll a s o p p o r tu n ity to t e s t th e p rem ise . Under W in ifred W ard's guidance

th e e lem en ta ry d ram atics program beoamo an im p o rtan t elem ent i n th e

s c h o o l 's curricu lum * At th e same tim e th e p u b lic schoo l program was

b e in g d ev e lo p ed , Ward was t r a in in g c re a t iv e d ram atics le a d e rs i n an

o u ts ta n d in g program a t N orthw estern U n iv e rs i ty , The t e x t s . C rea tiv e

D ram atics and Playmaking W ith C h ild re n , a re sem inal works by Ward,

2James E , Popovioh, "Development o f C rea tiv e D ram atics i n th e

U nited S ta te s ," in C h ild re n 's T heatre and C rea tiv e D ram atics, e d , by G era ld in e B rain S iks and H azel B ra in Dunnington (B e a tt ie s U n iv e rs ity o f W ashington P re s s , 19&1), P* 116,

Since Tfard's s u c c e s s e s , many p r iv a te and p u b lic e d u c a tio n a l

systems have aooepted c r e a t iv e d ram a tic s a s an im p o rtan t to o l o r method

ology f o r education* Tho broad accoptanco o f c re a t iv e d ram atio s i n

ed u ca tio n has been accompanied by on abundance o f l i t e r a t u r e d esig n ed

to i l l u s t r a t e c re a t iv e d ra m a tic s ' r o le and fu n o tio n * Tho l i t e r a t u r e

e x is ts i n th e form o f c o lle g e t e x t s designed f o r th e t r a in in g o f p o ten

t i a l te a c h e r s and c r e a t iv e d ra m a tic s ' le a d e r s , manuals and pam phlets

fo r th o con tinued developm ent o f p r a c t ic in g te a c h e rs and le a d e r s , and

a r t i c l e s i n p ro fe s s io n a l jo u rn a ls and m agazines r e p o r t in g s c h o la r ly

s tu d ie s and experim ents*

T his -w riter has id e n t i f i e d th e most o u ts ta n d in g as w e ll as m ost

re p re s e n ta t iv e m a te r ia ls fo r t h i s review* The abundanoe o f a v a i la b le

l i t e r a t u r e i s p r o h ib i t iv e as w e l l a s r e p e t i t i o u s . T h e re fo re , th e body

o f l i t e r a t u r e was surveyed f o r r e le v a n c e , im portance , and s ig n if ic a n c e .

The s p e c i f i c m a te r ia ls in c lu d ed i n t h i s c h a p te r r e p re s e n t th o se s e le c

t io n s , w hich in th e o p in io n o f t h i s w r i te r , a r e r e le v a n t fo r t h i s

s tu d y 's c o n s id e ra tio n , im p o rtan t a s sem inal w orks in th o f i e l d o f

c re a tiv e d ram a tic s , and works o f in d iv id u a l s ig n i f ic a n c e .

Design For The Review

For purposes o f c l a r i t y , fo u r c a te g o r ie s o f c r e a t iv e d ram atios

l i t e r a t u r e are i d e n t i f i e d . Each c a te g o ry in c lu d e s s e le c te d m a te r ia ls

th a t g e n e ra l ly agree i n t h e i r c r e a t iv e d ram atio s g o a ls o r o b je c tiv e s#

George L* Lewis w r i te s t h a t th e v a r i e t y o f c r e a t iv e dram atics*

p e rc e p tio n s may be th e r e s u l t o f i t s being " , , * m isunderstood b ecause

o f w e ll e s ta b lis h e d d e f in i t io n s o f drama u t i l i z e d by laym en, te a c h in g

16p e rso n n e l and among th e a t r e people them selves • « « * A t a l l o f th e se

l e v e ls (e lem en ta ry , seco n d ary , and c o lle g e ) th e re i s a lm ost t o t a l la o k

o f communications because o f lo o se d e f in i t io n s o f many t h e a t r i c a l p ro

c e s se s and d e f in i t i o n s *"3

In g e n e ra l , th e r e a r e two opposing c r e a t iv e d ram atics p h ilo so p h ie s*

One v iew co n sid e rs c r e a t iv e d ram atics a p ro c e ss o r ie n te d a c t i v i t y con

cerned w ith th e p a r t ic ip a n t *s grow th and developm ent as a su c c e s s fu l

and p ro d u c tiv e member o f s o c ie ty . The p ro cess o r ie n te d view i s l e a s t

concerned w ith th e p ro d u c t r e s u l t o f c re a t iv e d ram atics a c t i v i t i e s and

o f te n ig n o re s th e p ro d u c t i n fav o r o f a g r e a te r c o n c e n tra tio n on th e

p a r t i c i p a n t 's developm ent i n th e a c t i v i t y . The o p p o site p o in t o f view

c o n c e n tra te s on th e p ro d u c t o r a r t i s t i o r e s u l t o f th e a o t i v i t y , Produot

o r ie n te d c re a t iv e d ram atics m a te r ia ls a re more i n t e n t on developing

a r t i s t i c perform ance and com petent p a r t ic ip a n ts in th e a r t , th a n in th e

p a r t i c i p a n t 1 s s o o ia l growth and developm ent as an in d iv id u a l , P rocess

o r ie n te d c re a t iv e d ram atio s m a te r ia ls and p ro d u c t o r ie n te d c r e a t iv e

d ra m a tic s m a te r ia l r e p re s e n t two o f th e fo u r c a te g o r ie s o f l i t e r a t u r e

i d e n t i f i e d f o r t h i s rev iew .

The t h i r d ca te g o ry in c lu d e s c re a t iv e d ram atics m a te r ia ls

s p e c i f i c a l l y r e le v a n t t o s to r y t e l l i n g . S to ry te l l in g and s to ry .dram ati

s a t io n i s a t th e oore o f c r e a t iv e d ram atio s and s e v e ra l im portan t

s t o r y t e l l i n g s e le c t io n s a re in c lu d e d . S to ry te l l in g m a te r ia ls a r e o f te n

^G eorge L, Lew is, "C rea tiv e D ram atics: Problems and P ro c e sse s ,"The C e n tra l S ta te s Speeoh J o u rn a l , XXIII (S prang , 1 9 7 2 ), 18 ,

c re a te d o u ts id e th e f i e l d o f ore& tive dram atios "but a r e im portan t and

r e le v a n t t o c re a t iv e d ram atics s tu d y ,

M a te r ia ls in v e s t ig a t in g o r e a t iv i t y , i t s n a tu re and a p p lic a t io n ,

a re in c lu d e d i n th e fo u r th m a te r ia ls oategory* C re a tiv e dram atics

a c t i v i t i e s , e s p e c ia l ly in e d u c a tio n , a re concerned w ith the s tu d e n t 's

c re a t iv e growth* Tho r e c e n t , w ith in f i f t e e n y e a r s , su rge i n i n t e r e s t

o f c r e a t i v i t y in e d u ca tio n and e d u c a t io n s ro le in develop ing c r e a t i v i t y

i s re sp o n s ib le f a r many im portan t l i t e r a r y c o n tr ib u tio n s * ^ho most

im p o rtan t a s w e l l as r e le v a n t s tu d ie s o f o r e a t i v i t y , as ap p lio ab le t o

o re a tiv e d ram atics a re d iscu ssed i n t h i s category*

Process O rien ted C rea tiv e D ram atics I fe te r ia ls

The fo llo w in g l i t e r a r y m a te r ia ls a re s p e c i f i c a l l y concerned w ith

th e u se o f c re a t iv e d ram atios a s a methodology fo r encouraging in d iv i

d u a l p a r t ic ip a n ts growth as s u c c e s s fu l and p ro d u c tiv e members o f

so c ie ty * These m a te r ia ls a re r e le v a n t t o s c h o o l 's cu rricu lu m ; o b je c t

iv e s o r g o a ls* B duoators w orking t o develop s tu d e n t 's c o g n itiv e ,

a f f e c t iv e and psychomotor s k i l l s have found th e se m a te r ia ls o f value*

C rea tiv e d ram atic s has become a v is a b le a c t i v i t y i n many e lem entary

school program s, m ain ly as a r e s u l t o f th e im pact o f th e se m a te r ia ls*

W in ifred W ard 's , Flaynoking W ith C hild ren i s th e s in g le most

im p o rtan t t e x t f o r two reasons* F i r s t , W in ifred W ard, an e a r ly and

i n f l u e n t i a l le a d e r o f o re a tiv e d ram atic s in e d u c a tio n , b r in g s a l i f e

tim e o f o re a t iv e d ram atios work and experience i n e d u c a tio n to su p p o rt

h e r c l e a r l y s ta te d philosophy* Secondly, W ard's t e x t amply co n sid e rs

th e th e o ry o f o re a t iv e d ram atics in ed u ca tio n w h ile p ro v id in g v a lu a b le

18to o ls and su g g estio n s f o r th e a p p l ic a t io n o f o re a t iv e d ram atics

a c t i v i t i e s to schoo l programs*

F ive o b je c tiv e s a re i d e n t i f i e d i n Haymaking TYith C hild ren and

are s im i la r ly ex p ressed in most o r e a t iv e dram atios te x ts * The f iv e

o b je c tiv e s a re :

1* To p ro v id e fo r a c o n tr o l le d em otional o u tle t* To a llo w th e s tu d en t an o p p o rtu n ity t o grow toward em otional m a tu rity *

2* To p ro v id e each c h i ld w ith an avenue o f s e lf - e x p re s s io n i n one o f th e a r t s *

3* To encourage and g u id e th e c h i ld 's c r e a t iv e im agination* To develop th o in d iv id u a l c h i l d 's c re a tiv e p o te n t ia l s and a b i l i t i e s t o e x e rc is e c re a t iv e behavior*

4* To g iv e young people o p p o r tu n it ie s t o grow in s o c ia l u n d erstan d in g and cooperation* To provide ex p erien ces making th e s tu d e n t more aware o f th e th o u g h ts and f e e l in g s o f o th e rs and develop h is a b i l i t y to r e a c t t o o th e rs as w e l l as h is own fe e lin g s*

$• To g iv e c h ild re n ex p e rie n ce in th in k in g on t h e i r f e e t and ex p ress in g id e a s f e a r le s s ly *

In a d d itio n t o th e s ta tem en t o f o b je c tiv e s f o r playm aking, Yfard

l i s t s n in e p r in c ip le s f o r idie u se o f c re a tiv e d ram atic s in education*v

These n in e s ta te m en ts c l e a r ly i d e n t i f y th e ro le o f o re a tiv e d ram atio s

in e d u c a tio n , as v is u a l iz e d by W in ifred Ward*

1* E duoation i s n o t m ere ly p rep arin g a c h i ld fo r h is fu tu re l i f e ; i t i s g iv in g him th e chance t o l iv e r i c h ly now in th o b e l i e f t h a t t h i s i s th e b e s t p re p a ra t io n f o r the fu tu re *

2* Those who make th o cu rricu lu m should ta k e in to co n s id e ra t i o n th e c h i l d 's n a tu r a l in t e r e s t s *

3* A c h i ld le a rn s b e s t -what he ex p erien ces*4* What c h i ld re n le a r n sh o u ld have r e a l meaning f o r them* f>* C h ild ren should b e g iv e n th e chance t o h e lp p la n w hat

th e y do , to p r a c t ic e ch o o sin g , t o o r ig in a te *6* Every c h i ld should be g iv en a sense o f adequacy b ased on

s e lf -c o n fid e n c e *7* A tt i tu d e s and a p p re c ia t io n s should b e valued above s k i l l s

and fa c ts*

4Ward, Playmaking W ith C h ild ren* pp* 3-9*

8* C h ild ren shou ld bo oduoatod no t f o r th o s ta tu s quo b u t f o r a c i v i l i z a t i o n t h a t changes so r a p id ly t h a t t h e i r b e s t p re p a ra t i o n i s l iv in g d e m o c ra tic a lly i n tho c lassro o m , growing c o n s ta n tly i n re so u rc e fu ln e s s , ta k in g p a r t i n th e p lan n in g and c a rry in g o u t o f w o rth y p r o je c t s , and develop ing t h e i r power o f c re a t iv e th in k in g t o tinder s ta n d t h e i r co u n try and t h e i r world* ^

9* Our c h i ld re n should be educated fo r deraooracy*

The b a lan ce o f W ard's t e x t d is c u s s e s th e p o te n t ia l a p p l ic a t io n o f

c r e a t iv e d ram atic s a c t i v i t i e s t o th e e d u c a tio n a l s e tt in g # C hapters a re

d e s ig n e d fo r s p e c i f ic age groups and in c lu d e r e le v a n t m a te r ia ls as w e ll

as m ethodo log ies fo r v a r io u s s tu d e n t m a tu r i t ie s and a b i l i t i e s * Consid

e r a t i o n i s g iv en t o tho problem s o f s e le c t in g a p p ro p ria te l i t e r a t u r e

fo r c r e a t iv e d ram atios a c t i v i t i e s and th e a r t o f s to r y te l l in g * The

te a c h e r* s r o le and p re p a ra tio n i s a ls o d iscu sse d in Playmaking W ith

C h ild ren w ith v a lu a b le d is c u s s io n s o f th e c r e a t iv e d ram atics l e a d e r 's

r e s p o n s i b i l i t i e s •

G era ld in e B ra in S ik s , f o r many y e a rs c lo s e ly a s s o c ia te d w ith

W in ifred Ward a t N orthw estern U n iv e rs ity and th e Evanston P u b lic S ch o o ls ,

i s th e a u th o r o f C reative D ram atios; An A rt For C h ild ren * The t e x t

r e p re s e n ts a d e ta i le d d is c u s s io n o f o re a tiv e d ram atic s a c t i v i t i e s and

p ro v id e s e x p l i c i t d i r e c t io n s fo r th e c r e a t iv e d ram atic s lead e r* S ik s :

d e s c r ib e s th o t e x t ' s p h ilo so p h y and p o in t o f v iew i n th e opening c h ap te r#

" C re a tiv e d ram atic s i s an a r t f o r c h ild re n * I t may be d e fin ed a s a

group eaqaerience in w hich ev ery c h i ld i s guided t o exp ress h im se lf a s he

works and p la y s w ith o th e rs fo r th o jo y o f c r e a t in g im provised drama*

% b i d . , p p . 17-19*

^ G era ld in e B rain S ik s , C rea tiv e D ram atics: An A rt For C h ild re n - (New Y ork : H arper & Row, P u b lis h e r s , 19^0)0 p* l^#

20The a p p l i c a b i l i ty o f o re a tiv e d ram atio s a c t i v i t i e s as en v isio n ed

by b o th Ward and S ik s , i s p r e c is e ly s ta t e d in ’'C re a tiv e D ram atics In

tho E lem en tary S chool," b y W inifred Ward* The a r t i c l e d e so rib e s as

■well a s defends th e use o f c re a t iv e d ram atio s in th e e lem en tary o la s s -

roonu J u s t i f i c a t i o n fo r c r e a t iv e d ram atics i s proposed in th o claim

t h a t , ni t b roadens ones h o rizo n s and g iv e s one a chance to l iv e in

o th e r t im e s , p la c e s and c irc u m sta n c es . I t l e t s one s te p o u t o f ones

own p e r s o n a l i ty in to th a t o f a n o th e r ," ^ W ard's d e fen se co n tin u es be

yond th e academ ic values o f c re a t iv e d ram atic s a c t i v i t i e s t o inc lude

i t s v a lu e f o r developing s tu d e n t co o p e ra tio n and s e lf - c o n f id e n c e .

W hether a c h ild i s a b u l ly o r a show -off, w hether he i s p a in f u l ly sh y , s e l f i s h , lack in g in c o n tro l o f tem per; v rith snobb is h n e s s , p re ju d ic e o r low e th i c a l s ta n d a rd s , o r ig in a l d ram atic w ork o f f e r s p le n ty o f o p p o r tu n it ie s fo r develop ing in him a h ig h e r degree o f s t a b i l i t y and a b e t t e r sense o f v a lu e ,0

C h ild r e n 's T heatre and C rea tiv e D ram atios i s a c o l le c t io n o f

e ssa y s b y o u ts ta n d in g a u th o r i t i e s on s p e o if ic to p ic s re le v a n t t o a

g r e a te r u n d erstan d in g o f c h i ld r e n 's t h e a t r e and c r e a t iv e d ra m a tic s .

This i s th e o n ly t o r t t h a t a ttem p ts t o d isc u s s as w e l l as compare th e se

two f i e l d s i n d e t a i l . The book i s o rg an ized in to th re e s e c t io n s .

S e c tio n I se rv es t o in tro d u ce th e f i e ld s and p ro v id e background in fo r

m a tio n , S e c tio n I I i s devo ted t o c h i ld r e n 's th e a t r e and a u th o r i t ie s

suoh a s ; A lb e r t 0 , M itc h e ll , B urdette F i tz g e ra ld , George Latshaw ,

Jed H, D a v is , S ara Spencer and Frank M, W hiting , have c o n tr ib u te d

^W in ifred W ard, "C rea tiv e D ram atics i n th e E lem entary S choo l,"The Q u a r te r ly Jo u rn a l o f Speech, XXVIII (December, 1942), 447• -

8I b i d „ 4 4 9 .

21a r t i o l e s t o t h i s s e c t io n . S e c tio n I I I i s d e s c r ip t iv e o f o r e a t iv e

d ram a tic s* Jamos E , Popovich, V /in ifro d Ward, Agnes H aaga, and

I s a b e l B. Burger a s fro 11 as o th e r o u ts ta n d in g c r e a t iv e d ra m a tio s

a u t h o r i t i e s have a r t i c l e s in c lu d e d i n t h i s s e c t io n *

The a u th o rs o f C h i ld r e n 's T h e a tre and C re a tiv e D ram atios have n o t

a tte m p te d t o c re a te a s in g le t e x t f o r th e combined s tu d y o f c h i l d r e n 's

t h e a t r e an d c r e a t iv e d ram atio s* The w ork i s in te n d e d t o b r in g to g e th e r ,

in a s in g l e volum e, th e m a jo r, r e l e v a n t p h ilo so p h ie s and in s ig h ts *

Now th a t many o f th e program s have had y e a r s o f e x p e r ie n c e and new program s a r e b e in g d ev e lo p ed th ro u g h o u t th e c o u n try , we need th e k in d o f s to c k ta k in g t h a t w i l l poo l th e e s p e r ie n o e and judgm ent o f le a d e r s * I t seems w ise t o make a su rv e y , t o ta k e s to c k o f b a s i c concep ts* T his h as b een o u r c h ie f p u rp o se * * * *9

B r ia n Way, a u th o r o f Developm ent Through Drama* h a s p re p a re d a

t e x t n* • • concerned f r i th p r a c t i c a l m a t te r s —th e 'w h a t ' t o do r a t h e r

th a n th e 'why*—on t h e assum ption t h a t many e d u c a t io n i s t s a r e a l r e a d y

f a m il ia r w i th a t l e a s t th e b a s ic n e c e s s i t i e s * " ^ D evelopm ent Through

Drama i s t h e r e s u l t o f B rian TTay'o many y e a rs e x p e r ie n c e a s a te a o h e r

o f c h i ld r e n and t r a i n e r o f p o t e n t i a l te a c h e rs * The t e x t c o n s id e rs a

v a r i e ty o f c r e a t iv e d ra m a tic s and drama te c h n iq u e s and p ro v id e s s te p by

s te p i n s t r u c t io n s f o r th e in t r o d u c t io n and developm ent o f th e s e te c h

n iques* I n th e o p in io n o f t h i s w r i t e r , W ay's t e x t i s an a c c u ra te

re c o rd o f c la ssro o m and workshop a c t i v i t i e s b u t n o t an a l to g e th e r v a l -

^ S ik s and D unnington , C h ild re n ?6 T h ea tre and C re a tiv e D ram atics , p* ix«

^ B r i a n Tfay, Developm ent Through Drama (London: Longman Group L im ited , I 967 ) , p* 2*

22u a b le re so u rc e fo r th e p o te n t i a l o r e a t iv e d ram atics le a d e r* Had more

a t t e n t io n been g iv en to th e purpose o r g o a l o f in c lu d ed m a te r ia ls , th e

te a c h o r would be b e t t e r p rep ared to c r e a te new and o r ig in a l a c t i v i t i e s *

C re a tiv e Power: The E ducation o f Youth i n th e C rea tiv e A rts by

Hughes H earns and C h ild ren and D ram atios by R ichard Crosscup a re two

t e x t s o re a te d b y d ed ic a te d te a c h e rs who have f o r many y e a rs used

o r e a t iv e d ram atios a c t i v i t i e s in t h e i r c lassroom ex p erien ces* Hearns *

book, named one o f th e tw en ty fo rem ost books i n e d u c a tio n b y th e

N a tio n a l E ducation A s so c ia tio n , re o o rd s ex p erien ces from a c a re e r o f

te a c h in g c h ild re n t o r e s p e c t them selves and t h e i r p o te n t ia ls * A w r i t in g

man, and n o t a te a c h e r o f w r i t in g i s H earns1 v iew o f h im se lf* His book

b eg in s and ends w ith th e ph ilo so p h y t h a t , ’’c h i ld re n a re c r e a t iv e p e r

so n s , n o t s c h o l i a s t s ; th e y use language as th e a r t i s t th e w orld over

and i n a l l ages has used h i s me d im , n o t as an end in i t s e l f b u t as a

means f o r th e e x p re ss io n o f th o u g h t and f e e l in g '* " ^

R ich ard Crosscup*s C h ild ren And D ram atics i s a p ro cess o r ie n te d

d e s c r ip t io n o f c r e a t iv e d ram atic s a c t i v i t i e s * The m a jo r i ty o f a t t e n t io n

i s d ev o ted t o develop ing o re a t iv e dram a, and te c h n iq u e s f o r developing

s tu d e n t s k i l l s i n c r e a t iv e d ram atics a c t i v i t i e s * The fo c u s , however,

rem ains on th e a r t i s t i c i d e n t i t y o f c re a t iv e d ram atios r a th e r th an i t s

i n t e g r a t io n in to th e sohool curriculum * Crossoup ad v ise s t h a t ,

Under good a d u l t le a d e r s h ip , d ram atios a c t i v i t y o f f e r s r i c h

^H u g h es H earns, C rea tiv e Power: The E ducation o f Youth in the C re a tiv e A rts (2nd e d , ; New York: Dover P u b lic a t io n s , In c * , 19%8) ,' p* 9*

23

contributions t o th e development o f ch ild ren , richer perhaps than those offered by any other a c tiv ity #

D ram atics o f f e r s , as do read in g o r a good u n i t o f s tu d y , on e x te n s iv e su b je c t m atter# I t o f f e r s , as good d is c u s s io n s and h e a r t - to - h e a r t t a l k s do, an exam ination o f l i f e , b u t ren d ered more c o n c re te by th e s e t t in g up o f a r e p l i c a - o f - l i f e s i tu a t io n # ^

C h a r lo tte Edwards' b r i e f t e x t . C rea tiv e D ram atios, i s ' w r i t t e n f o r

th e p r a c t ic in g o lassroom teach e r# The s h o r t ch ap te rs in tro d u ce and

d esc rib e s p e c i f ic c r e a t iv e d ram atic s a c t i v i t i e s and tech n iq u es#

Edwards' d e fin it io n o f creative dramatics i s an important statement o f

ph ilosophy f o r o re a tiv e d ram atics use as an e d u ca tio n a l to o l#

C re a tiv e d ram a tic s d i f f e r s r a d i c a l ly from th e accep ted d e f in i t i o n o f drama • • * • The " c r e a t iv e 11 elem ent i s th e core around w hich c r e a t iv e d ram atic s fu n o tio n s# The c h i ld re n b r in g i t i n t o e x is te n c e ; th e y form i t out o f n o th in g , and from th e v e ry f i r s t d ay o r ig i n a l i t y i s th e substance o f i t s being# *

C h a r lo tte Edwards su g g ests t h a t te a c h e rs t r y u s in g c r e a t iv e

d ram atics i n t h e i r c la s s e s # The t e a c h e r 's im ag ination i s h i s b e s t

p re p a ra tio n and no s p e c ia l t r a in in g i s r e a l l y im portan t o r n e ce ssa ry t o

te a c h c r e a t iv e d ram atics# A c t iv i t i e s grow and develop a s th e te a c h e r

and students gain from th e ir experiences# Creative dramatics can be

pursued as a separate subject but can more importantly be incorporated

in to any subject# Many subjects and top ics found in the tra d itio n a l

elem entary o lassroom 11 # # • can be t r a n s la t e d in to a c t io n , pantomime,

or im provisation#"^

^ R ic h a r d C rosscup, C h ild ren And D ram atios (Hew York: C harles S c r ib n e r 's S ons, 1966), p# 13#

^ C h a r lo t t e Edw ards, C re a tiv e D ram atics (D a n sv ille , N#Y#: The I n s t r u c to r P u b l ic a t io n s , In c# , 19 7 2 ), p# £•'

^ I b i d . , p#7#

24

C rea tiv e D ram atics in th e Classroom i s add ressed t o th o se te a c h e rs

concerned w ith keeping a l iv e th e p la y im pulse in t h e i r s tu d e n ts ,

keeping a l iv e th e jo y and freedom in p la y t h a t i t may co n tin u e t o en

hance t h e i r le a rn in g and e n r ic h t h e i r l iv e s# N e llie IJbCaslin su g g ests

t h a t many o f t h e o b je c tiv e s o f c re a t iv e d ram atios a re in common w ith

o b je c tiv e s o f modern e d u c a tio n and o f f e r s th e fo llo w in g as exam ples;

(1 ) C re a t iv i ty and a e s th e t ic developm ent(2 ) Tho a b i l i t y t o th in k c r i t i c a l l y(3 ) S o c ia l growth and th e a b i l i t y t o work c o o p e ra tiv e ly w ith

o th e rs(4 ) Improved communication s k i l l s .(5>) The development o f m oral and s p i r i t u a l v a lu es#

C rea tiv e D ram atios i n th e Classroom o u t l in e s a program f o r i n i t i a t i n g

c r e a t iv e d ram atics i n th e e lem en tary sch o o l classroom # Each o h a p te r

develops a s p e c i f ic c re a t iv e d ram atics tech n iq u e o r a c t i v i t y and in

c ludes d e ta i le d su g g estio n s f o r th e t e a c h e r 's use# These su g g estio n s

a re l im i te d , however, t o th e developm ent o f c r e a t iv e d ram atic s and do

n o t in c lu d e th e use o f c r e a t iv e d ram atios a c t i v i t i e s in t r a d i t i o n a l

s u b je c t areas#

C rea tiv e Teaching o f th e C rea tiv e A rts in th e E lem entary School

by James A# Sm ith, i s v a lu a b le f o r i t s sim ultaneous tre a tm e n t o f a r t ,

m usic , dance and drama# These id e n t i f i e d c re a t iv e a r t s a re d iscu ssed

and many in s ig h ts a re o f fe re d t o guide th e classroom te a c h e r 's a c t iv i ty #

Because drama in c lu d e s a l l th e a r t s , and a com petent c re a t iv e d ram atics

^ N e l l i e I&Caslin, Creative Dramatics in the Classroom (New York: David lie Kay Company, Inc#, 1965), pp. 3-4#

le a d e r needs s k i l l s in a l l a r t s , t h i s te x t; i s a v a lu a b le re source

Two a r t i c l e s p u b lish e d in The Speech Teacher i l l u s t r a t e th e v a lu e

o f c r e a t iv e d ram atic s a s a te a c h in g methodology i n th e e lem en tary school*

l i l y M* T jam sland, a sp eech c o r r e o t io n i s t in e lem en ta ry s c h o o ls , f e e l s ,

" th e re i s no f in e r means t o te a c h c h a ra o te r , sp o rtsm an sh ip , teamwork,

and good w i l l and g ive p r a c t i c a l o p p o r tu n ity fo r th e s o c ia l u n d ers tan d in g

th a n th ro u g h d ram atics,"^ -? "C o n tr ib u tio n s o f C re a tiv e D ram atics to

Teaching S o c ia l S tu d ie s ," by "Wanna II, Z in sm aste r , re c o rd s th e s u c c e s s fu l

a ttem p t o f one te a c h e r t o use c r e a t iv e d ram atic s i n a t r a d i t i o n a l sub

j e c t a rea*

Through c r e a t iv e d ra m a tic s , th e p a r t ic ip a n ts can re c o n s tru c t th e e v e n ts o f th e s o c ia l s tu d ie s as r e l a t e d by th o reco rd ed fa c ts *These p a r t i c ip a n t s , a t t h e i r own l e v e l , j u s t a s th e d ra m a tis t and h i s t o r i a n a t h is crvm l e v e l , can se e k t o d isc o v e r th e in n e r s p i r i t o f th e e v e n ts an d , th e r e f o r e , comprehend th e e v e n t v rlth g re a te r t o t a l i t y * 1^

C re a tiv e D ram atics For Handicapped C h ild ren by Regina Schattner^-9

20and Drama by Pamela B la c k ie , Bess B u llough , and D oris Nash a re two

James A, Sm ith, C re a tiv e Teaching o f th e C rea tiv e A rts in th e E lem entary School (B oston: A lly n and Bacon, Inc*',' 1967)*

^ I d l y IJ* T jom sland, "S a n ta ’s Speech Toys," Tho Speech T eacher,V (November, 195&)# 309•

a f tWanna IJ, Z in sm aste r , "C o n tr ib u tio n s o f C re a tiv e D ram atics t o

Teaching S o c ia l S tu d ie s ," The Speech T eacher, XIV (November, 1 30J>*

^ R e g in a S c h o ttn e r , C re a tiv e D ram atics For Handicapped C h ild ren (ifew Y ork: The John Day Company, 19&7/«

^ P a m e la B la c k ie , Bess B ullough and D oris N ash, Drama (New York: C i ta t io n P re s s , 1972)*

26very sp ec ia lize d creative dramatics sources* Schattner»s te x t considers

the p o ten tia l use o f oreative dramatics for p h ysica lly handicapped

children* The emphasis* however, i s upon the development o f dramatic

products and providing opportunities for handicapped ch ild ren 's p arti

c ip a tio n in those products*

Drama i s a b r ie f descrip tion o f the use o f dramatic a c t iv i t ie s in

the B r it ish primary schools* The t e x t ' s three chapters d iscuss the ro le

of drama in the infant school, in the junior school and the sp e c if ic

th ru st o f integrated creative dramatics a c t iv i t ie s . The author's des

c r ip tio n of dramatic a c t iv it ie s in the B r itish schools in d ica tes a

strong relian ce upon movement, both b asic and expressive* A c tiv it ie s

suggested for the junior school and for th e infant school are very move

ment oriented "which i s a somewhat d ifferen t view than most American

te x ts suggest*

These se lected lite r a r y m aterials are,, in the opinion o f th is

w r ite r , the most representative as w e ll as most s ig n if ica n t examples

of process oriented creative dramatics litera tu re* In so far as these

m ateria ls are concerned w ith tho c h ild 's so o ia l growth and development

they are tho most relevant for educators' consideration* This study i s

s ig n if ic a n t ly indebted to the philosophies and methodologies suggested

in th e se m aterials*

Product Oriented Creative Branatios l& ter ia ls

The litera tu re reviewed in th is section represents m aterials

in terested in the development o f an a r t i s t i c dramatic product* The

a p p lic a b ility o f these m aterials t o education and education goa ls, as

suggested “by represented authors, varies s ig n ifica n tly * Each o f the

selected lite ra r y m aterials i s recognized, by th is w r ite r , as a valuable

contribution to creative dramatics* However, the educational value of

these sp ec if ic m aterials i s somoiv/hat le s s than m aterial more concerned

with the process development o f th e participant* YJhile these se lec tio n s

contain valuable information and suggestions for the educator, they are

prim arily focused on the development o f art*

Peter Slade brings more than tw enty-five years experience working

with ch ildren , in B ritain and elsewhere, t o h is te x t , Child Drama* This

very complete te x t describes dramatics techniques and approaches for

the ch ild from b ir th through age fifteen * Slade's th r u st, however, i s

in the d irection o f formal theatre and the preparation o f students

capable o f participating in the a r t is t ic experience o f formal theatre*

Understanding the focus o f Child Drama, educators in the elemen

tary school can b en efit from S lad e's d iscu ssion of the c h ild 's early

development* Children's p h ysica l, emotional, and oreative development

through play a c t iv i t ie s i s ca re fu lly observed by Slade* The ro le o f

imaginative playing in the c h ild 's early years i s discussed and sugges

tio n s for the teach er's role in developing th e child through imaginative

play opportunities are provided* Slade id e n tif ie d s ix sp e c if ic ways

in which drama can 11 * * * lend i t s e l f to th e aim3 o f the school to a

greater degree than any other a c t iv ity , « •

(a) I t can bo the natural outcome, and a continuation o f the ch ild 's games of "make b e lieve," which begin very soon after a ch ild can move from one place to another*

(b) I t can, together with the use o f m usic, stim ulate a ch ild to movements which can be in d iv id u ally controlled and d is c ip lin ed as an outcome o f the use o f imagination*

28( c ) 7?hen a l l i e d t o m usic , movement in drama oan be th o h ig h e s t

form o f a e s th e t ic movement, and i s so n a tu r a l f o r a c h i ld t h a t h is p sy c h o lo g ic a l ba lan ce i s aided*

( d ) Through froodom , a f t e r i n t e r e s t i s c ap tu red and s e l f - o o n sc iousness b an ish e d , comes in s p i r a t io n fo r im ag in a tiv e e x p re ss io n th ro u g h movement and sneeoh,

( e ) Through dram a, th e c h i ld can be in tro d u c e d t o th e r i c h e s t m a te r ia l i n l i t e r a t u r e , h i s to r y and human ex p erien ce th rougho u t the w o rld ; and sh a re the d ep th and o o lo r embodied in th e c r e a t iv e g en iu s o f music*

( f ) I f drama i s guided sy m p a th e tic a lly and w ith tinder s tan d in g o f t h e age o f th e c h ild concerned , w h ile d iv o rced from su p erim p o s it io n , i t can s tim u la te in th e c h i ld , as few o th e r media w i l l , c r e a t iv e sp eak in g , c re a t iv e w r i t in g o f l i t e r a t u r e , rhythm and m usic * " ^

S lade su g g ests th e c h i l d 's p a r t ic ip a t io n i n d ram atic ex p erien ces

and a c t i v i t i e s should be l im ite d t o non-audience s i tu a t io n s u n t i l age

tw elve* O lder c h i ld re n can use th e fo rm al t h e a t r e 's p r e c is io n and d i s

c ip l in e t o develop d e s ir a b le t r a i t s and h a b its* H* • • L ife ex p erien ces

can be p re -e x p e rie n c e d a s p a r t o f p e rso n a l p re p a ra t io n fo r L i f e , by

sim ple im prov ised scen es * * * * i f you know enough o f th e t h e a t r e , you

con u s e th e p r e c is io n o f tech n iq u e w hich i s n e c e ssa ry t o th e s tag e* In

t h i s way you can a id o ld e r C h ild ren trem endously i n becoming more

c u l tu re d and l ik e a b le b e in g s *,,22

• “tib l e a r n th ro u g h experience and e x p e r ie n c in g , and no one te a c h e s

anyone a n y t h i n g V i o l a S p o l in 's opening s ta tem e n t i s o f g r e a t s ig n i

f ic a n c e fo r anyone p u rp o rtin g t o be a te ac h e r* The t e x t », Im p ro v isa tio n

21I te te r S lade , C h ild Drama (Hew York: P h ilo so p h ic a l L ib ra ry , I n o i , 19$$)» P* U 4*

22I b id * , p . \$9m

2^ V io la S p o lin , Im p ro v isa tio n fo r th e T heatre (E vanston , 111*: H o rth w este ra U n iv e rs ity P re s s , iS>£>3)V '?• 3*

fo r t h e T h e a tre , i s a handbook o f to u ch in g and d i r e c t in g techniques, .fo r

a c tin g * The t e x t ’s obvious em phasis i s upon im p ro v isa tio n and th e

developm ent o f t h e a o to r 's c r e a t iv e p o t e n t i a l . Im p ro v isa tio n f o r th e

T heatre i s a c o l le c t io n o f t h e a t r e games and a c t i v i t i e s designed t o

develop th e s tu d e n t’s s k i l l s * The t e x t in t ro d u c t io n , e x p la in in g th e

p h ilo so p h y and p rocedure fo r th e t e x t ' s u s e , in c lu d e s th e fo llo w in g

s ta te m en t w hich c l e a r ly i d e n t i f i e s i t s v a lu e i n e d u c a tio n .

Since th e r e i s no r i g h t o r wrong way to so lv e a problem , and s in c e th e answer t o ev e ry problem i s p re f ig u re d i n th e problem i t s e l f (and m ust be to be a t ru e p ro b lem ), con tinuous work on and t h e so lv in g o f th e se problem s opens everyone t o t h e i r a m sou rce o f paver* How a s tu d e n t- a c to r so lv e s a problem i s p e rso n a l t o h im , and , a s i n a game, he can ru n , s h o u t, c lim b , or tu r n somers a u l t s as long as he s ta y s w ith th e problem* A ll d i s to r t io n s o f c h a r a c te r and p e r s o n a l i ty slow ly fade away, f o r t r u e s e l f - i d e n t i t y jus f a r more e x c i t in g th a n th e f a ls e n e s s o f w ith d raw al, e g o c e n tr ic i ty , e x h ib i t io n is m , and need f o r s o c ia l a p p ro v a l.

C re a tiv e Drama i n Schools, by G ab rie l B a rn f ie ld , i s very s im ila r

to P e te r S la d e ' s C h ild Drama. "The drama 't e a c h e r » i s n o t p r im a r i ly

concerned w ith im p artin g f a c tu a l knowledge b u t w ith develop ing and

b r in g in g o u t th e c h i l d 's p e r s o n a l i ty and q u a l i t i e s o f c h a r a c t e r , " ^

The t e x t i s d es ig n ed t o p rov ide th e c h i ld w ith e a r ly dram atio e x p e r

ien ces t o develop h i s p e rso n a l o h a ra c te r t r a i t s and d ram atic s k i l l s

le a d in g t o p a r t i c ip a t io n in d ram atic p ro d u c tio n s u s in g tech n iq u es and

m a te r ia ls o f th o form al th e a tr e * C rea tiv e Drama i n Schools c o n ta in s

a o t i v i t y su g g es tio n s based on dance and movement tech n iq u es and f o r

24 I b id *, pp . 20- 21.

G a b r ie l B a rn f ie ld , C rea tiv e Drama i n Sohools (Hew York: H art P u b lish in g Company, In c* , 19 6 b ), p . iH'.'^

30t h a t re a so n i s in d iv id u a lly s ig n i f ic a n t*

A ctin g fo r C h ild ren ; A ftriraor by Kary Kane Lew is, i s s ig n i f ic a n t

fo r i t s immediate and c o n c e n tra te d fo cu s upon th e c h i ld a s a c to r* The

t e x t i s designed a s an a c t in g t e x t fo r c h i ld re n and. i s concerned t o t a l l y

w ith th e conven tions o f fo rm al th e a tre * T h irty -tw o le sso n s in tro d u ce

and develop in th e c h ild s p e c i f ic t h e a t r i c a l a c tin g s k i l l s * Very l i t t l e

em phasis i s p laced upon th e developm ent o f c h a ra c te r , p e r s o n a l i ty o f

c r e a t iv i ty * " , * * This i s n o t a book ab o u t c re a t iv e d ra m a tic s . R ather

i t i s a book t h a t approaches a c tin g as an a r t fo rm ,"2^ L ew is' t e x t i s

rev iew ed h e re t o i l l u s t r a t e i t s in d iv id u a l p o in t o f view and because

th e re a re i n t e r e s t in g and v a lu a b le su g g e s tio n s fo r th e ed u ca to r i n t e r

e s te d i n develop ing th e drama a s a r t ,

I s a b e l B, B u rg e r 's , C rea tiv e P lay A c tin g 2? and C h ild ren and th eOQ

T heatre by C aro lin e E, F ish e r and Hazel B la i s t e r R obertson concen

t r a t e on th e r o le o f form al th e a t r e and a c t in g in th e l iv e s o f c h i ld re n .

Both t e x t s d is c u s s i n d e t a i l th e p o te n t ia l growth p o s s i b i l i t i e s fo r

c h i ld re n i f g iv en ex p erien ces i n d ram atic p ro d u c tio n s* These two t e x t s

a re o f l i t t l e v a lu e fo r th e e lem en tary c lassro o m te a c h e r f o r th e y d ea l

s p e c i f i c a l l y w ith form al t h e a t r e te ch n iq u es and p ro d u c tio n c o n s id e ra -

2Ûary Kane Lewis, A c tin g fo r C h ild re n : A Prim er (Hew York: The John Day Company, 1969), p* tJ.

27Is a b e l B, B urger, C re a tiv e P lay A c tin g : Learning Through Drama

(Hew Y ork: The Ronald P ress Company, 196&)V '28C aro lin e E , F ish e r and Hazel G la i s t e r R obertson , C h ild ren and

th e T heatre (S ta n fo rd , C a l i f o rn ia : S tan fo rd U n iv e rs ity P re s s , 19Ji>0")‘*

31t i o n s .

T h re e t e x t s , P la y s and C re a t iv e V/ays Vfith C h ild re n b y G ertru d e

L e rn e r K erm an ,^ C re a t in g P lay s Y fith C h ild ren b y Sandra S a n d e rs ,3 0 and

Seven S te p s t o C re a t iv e C h ild re n ’s D ram atios b y Pam ela P r in c e W a l k e r , 3 ^ -

a re r e p r e s e n ta t iv e o f p u b l ic a t io n s -which r e c o rd t h e s t o r y d r a m a t is a t io n

e x p e r ie n c e s o f a g ro u p a s w e l l a s s c r i p t s c r e a te d i n th e e x p e rie n c e s*

Each t e x t in c lu d es an in t r o d u c to r y s e c t io n e x p la in in g th e m ethodology

fo r d ev e lo p in g s c r i p t s th ro u g h s t o r y d ra m a tiz a tio n * The b a la n c e o f

each teari; r e c o rd s , i n s c r i p t fo rm , th e p ro d u c t o f c r e a t iv e d ra m a tio s

s to r y d ra m a tiz a tio n *

“P lay ^n ak in g I n The F i f th G rade"3^ and "S peech T ra in in g Through

C h ild re n * s P l a y s "33 d e s c r ib e tw o c lassro o m te a c h e r * s a t te m p ts t o u se

c r e a t iv e d ram atios te c h n iq u e s f o r t h e im provem ent o f t h e i r s tu d e n t* s

speech h a b i t s . B oth a r t i c l e s d e s c r ib e d ra m a tic a c t i v i t i e s p lan n ed

s p e c i f i c a l l y fo r t h e s tu d e n t 's p a r t i c i p a t i o n and p o t e n t i a l g ro w th .

However, b o th a r t i c l e s d e s c r ib e a c t i v i t i e s a p a r t from th e r e g u la r c u r

ricu lu m * "Speech T ra in in g Through C h ild ren * s P la y s ," w h ich em phasizes

^G ertru d e Lerner Kerman, Plays and Creative Ways With Children (irvington-on-Hudson, ICevf Yorks' 'Harvey House, P ub lishers, Tpc'l')'," ' ' '

3® Sandra S a n d e rs , C rea tin g P la y s W ith C h ild re n (Hew Yorks C i t a t i o n P re s s , 1970)*

^^P ianola P rin ce Y falker, Seven S teps t o C re a t iv e C h ild re n *s D ram atics (Hew York: K i l l and I'/ang, 19p 7) •

^ ^ E liz a b e th M a rtin B u r t, "P lay-m aking I n The F i f t h G rad e ," The Q u a r te r ly Jo u rn a l o f Speech , XXI (November, 193£)» $38-^43*

^ F r a n c o s P e a rso n , "Speech T ra in in g Through C h ild ren * s P la y s ,"The Q u a r te r ly J o u rn a l o f Speech, XXII (Decem ber, 1 9 3 6 ), 660-668*

32puppet use c o n c lu d e s , ” , . , t h a t th e shadow p la y and th e puppet o r

m a rio n e tte show a re two forms o f drama t h a t can be used from prim ary

sch o o l th ro u g h th e h igh schoo l w ith tho most s a t i s f a c to r y r e s u l t s , c e r

t a i n l y w ith a minimum o f c o s t and o f 't im e o u t ' from th e r e g u la r w o rk ."3^

S to r y te l l in g I & te r ia ls

In t h i s w r i t e r 's op in io n tho most v a lu ab le as w e ll as comprehen

s iv e d e s c r ip t io n o f th e s t o r y t e l l e r 's a r t and c r a f t f o r c r e a t iv e drama

t i c s a c t i v i t i e s , i s Joseph A, W agner's C h ild re n 's L i te r a tu r e Through

S to r y te l l in g , S to ry te l l in g i s fundam ental t o c re a t iv e d ra m a tio s .

Most c re a t iv e d ram atic s a c t i v i t i e s in v o lv e th e developm ent o f an o r ig i

n a l s to r y or th e use o f an e x ta n t s to r y . S to r i e s , however complex or

s im p le , form t h e b a s is f o r v i r t u a l l y a l l c r e a t iv e d ram atics a c t i v i t i e s

and W agner's t e x t c le a r ly i d e n t i f i e s th e s t o r y t e l l e r 's r o le and p ro v id es

many in s ig h ts f o r choice and development o f s p e c i f i c s t o r i e s .

S to r y te l l in g i s an im p o rtan t to o l fo r develop ing s tu d e n t 's la n

guage s k i l l s . LSany le ad in g t e x t s in th e f i e l d o f e lem en ta ry ed u c a tio n

reo o g n ize th e v a lu e of s to r y t e l l i n g and in a c o lle g e su rv ey 211 o f 267

resp o n d in g i n s t i t u t i o n s " , • • in d ic a te d t h a t some in s t r u c t io n in

s to r y te l l in g i s being o f f e r e d , " ^

34I b i d . , 663 .

•^ Jo se p h A* Wagner, C h ild re n 's L i te r a tu r e Through S to ry te l l in g (Dubuque, Iowa: \Um, C. Brown Company P u b lish e rs1,

^ R ogq L . A bernathy , "The Role o f S to ry te ll in g -A P re lim in a ry R eport o f an In v e s t ig a t io n i n th e U nited S ta te s , " The Speech T eacher,IX (Kovember, i 960) , 286,

33Ruth Tooze's S torytelling^? i s the s in g le most complete as w ell as

d eta iled s to r y te llin g to r t available*. S tory te llin g i s divided in to

three section s* Section one describes fu l ly th e orig ins of the art and

the ro le o f the s to r y te ller as v ;o ll as discussions o f s to r y te ll in g pro

cedure and story selection * Section two contains a se le c tio n o f good

s to r ie s to t e l l , and section th ree contains a d eta iled bibliography o f

m aterials and sources for sto ry te llin g *

Three outstanding anthologies of s to r ie s s p e c if ic a lly se lec ted for

dramatization and creative dramatics a c t iv i t ie s are; S tories To Drama

t iz e by TJinifTed ?Iard,^® Children’ s Literature for Dramatisation by

Geraldine Brain Siks,39 and World Tales for Creative Dramatics and

S to ry te llin g by 3urdette S. Fitzgerald*^0

C reativ ity Studies And Ih ter ia ls

Educators have become in creasingly aware o f c r e a t iv ity ’s import

ance and the ro le o f education in developing crea tiv ity * ISany import

ant o r e a t iv ity stu d ies have been made and published documents record '

the c ru c ia l ro le o f th e school and teacher in ch ild ren’s creative

development* Host oreative dramatics au th orities agree that p a rtic ip a -

^?Ruth Tooze* S torytellin g (Englewood C l i f f s , II,J*: .P rentice-H all, In c ., 1959 ).

3®winifred Ward, ed*, S tor ies To Dramatize (Anchorage, Kentucky:The Children’s Theatre Press',' 19i£0*

^ G erald ine Brain Siks, ed*, Children’s L iterature for Dramatization (Hew York; Harper & Row, Publishers, 1964)*

4°Burdette S, F itzgerald , ed*, 7/orld Tales for Creative Dramatics and S to ry te llin g (Englewood C l i f f s , II,J1*: P rontice-H all, In c ,, 1962)*'

34t i a n i n c r e a t iv e d ram atic s a c t i v i t i e s can e f f e c t iv e ly in f lu e n c e th e

c h i l d 's c r e a t iv e development*

E* P au l T orrance, le a d in g a u th o r i ty in th e s tu d y o f c r e a t i v i t y ,

sug g ests t h a t , '•since drama c a l l s f o r problem so lv in g and has good

warm-up q u a l i t i e s , c r e a t iv e d ram a tic s seemed a n a tu r a l v e h ic le f o r

sea rch in g fo r hidden t a l e n t s * " ^ Encouraging C r e a t iv i ty in th e C la ss

room i s o f s p e c ia l i n t e r e s t and v a lu e t o th e p r a c t ic in g e d u c a to r f o r

i t s obvious re lev an ce t o th e sch o o l and classroom * The b r i e f t e x t d i s

cusses th e n a tu re o f c r e a t i v i t y and a v a r ie ty o f methods f o r developing

c r e a t i v i t y i n o lassroom s i tu a t io n s *42G uiding C rea tiv e T a le n t p ro v id e s a more com prehensive tre a tm e n t

o f c r e a t i v i t y , i t s i d e n t i f i c a t i o n and developm ent. In c lu d ed a re r e s u l t s

from many c r e a t i v i t y s tu d io s as w e l l a s in s ig h ts ga ined from re sea rch *

C hapters d e a l w ith a v a r i e t y o f c r e a t i v i t y co n cern s; i d e n t i f i c a t i o n ,

m easurem ent, developm ent and m aintenance* The t e x t i s e x trem e ly v a lu

a b le fo r e d u ca to rs in th e e lem en ta ry school because i t c o n c e n tra te s on

th e c r e a t iv e developm ent o f e le m e n ta ry sohool age c h ild re n *43The A r t end Science o f C r e a t iv i ty by George F* K n e lle r i s a

d is c u s s io n o f v a rio u s co n cep ts o f c r e a t i v i t y and recom m endations fo r

e d u ca tio n s u se o f th e s e co n cep ts* K h e lle r i s e s p e c ia l ly in t e r e s t e d i n

41e . P au l T orranoe, E ncouraging C r e a t iv i ty i n th e C lassroom (Dubuque, Iowas h5n. C* Brown Company P u b lish e rs , “T!?70), P*

^ E * P au l T orranoe, G uiding C re a tiv e T a len t (Englewood C l i f f s ,H*J.s P re n tic o -H a ll , I n c 1^65")'*

^ G o o rg e F , K n e lle r , The A r t and Science of C r e a t iv i ty (Mew York; B o l t , R in e h a r t and W inston , In c * , 19&5}*

35an ex am in a tio n o f th e p lace o f c r e a t i v i t y i n th e c lassroom and th e

m ost e f f e c t i v e methods f o r s t a r t i n g , s u s ta in in g , and consummating th e

c r e a t iv e p ro c e ss in ch ild re n # The p am p h le ts , C r e a t iv i ty and C h ild ren , ^

The G ifte d C h ild in th e E lem entary S ch o o l,^ and C r e a t iv i ty ^ a d e q u a te ly

supplem ent a s v re ll as r e in fo rc e th e in fo rm a tio n p ro v id ed in K n e lle r1s

t e x t . These m a te r ia ls a re s ig n i f i c a n t f o r t h e i r fo cu s on and ooncem

w i th , th e s c h o o l 's p o te n t i a l f o r develop ing c r e a t i v i t y in c h ild re n #

Summary Of The L i te r a tu r e

L i te r a r y m a te r ia ls have been i d e n t i f i e d and d isc u sse d as th e y

a p p ly t o each o f fo u r l i t e r a r y c a te g o rie s# lE a te r ia ls s p e c i f i c a l l y

p ro c e ss o r ie n te d were f i r s t d isc u ssed and have p rim ary re le v an ce fo r

t h i s study# C rea tiv e d ram atics i s viewed i n th e s e m a te r ia ls as a means

f o r dev elo p in g th e p a r t ic ip a n ts s o c ia l l y , and t h e i r a b i l i t y t o work

c o o p e ra tiv e ly # P rocess o r ie n te d t e x t s o re concerned w ith develop ing

im proved communication s k i l l s a s w e ll a s m oral and s p i r i t u a l v a lu e s

and th e a b i l i t y to th in k c r i t i c a l l y and c re a t iv e ly #

P roduct o r ie n te d t e x t s a re i d e n t i f i e d and d isc u s se d to i l l u s t r a t e

t h e i r e x is te n c e as w e l l a 3 p o in t o f view* These m a te r ia ls a re on ly

in c id e n ta l l y r e le v a n t t o t h i s s tu d y fo r th e y fo cu s upon th e developm ent

^ A n n Adams, C r e a t iv i ty and C h ild ren (Columbus, Chios C ooperative E x ten s io n Serv ice-T he Ohio S ta te U n iv e rs i ty , B u l le t in 522)#

James J# G a lla g e r , The G if te d C h ild in th e E lem entary School, (W ashington D#C#: N a tio n a l E ducation A sso c ia tio n o f th e U nited S ta te s ,19$9).

^ 3 # P au l T o rran ce , C r e a t iv i ty (W ashington D#C#: N a tio n a l E d u ca tio n A sso c ia tio n o f th e U nited S t a t e s , 19^3)•

36o f an a r t i s t i o p ro d u c t. S e lec te d a c t i v i t i e s and m a te r ia ls .from th e s e

t e x t s a re a p p lic a b le f o r c lassroom u s e .

S to ry te llin g te x ts and m aterials are included for th e ir very

important ro le in crea tive dramatics a c t i v i t i e s . The se leo ted te x ts

represent the most comprehensive as vrell as most fundamental d iscussions

a v a ila b le . Creative dramatics, whether in the classroom or in the

th ea tre , u n iversa lly works from s t o r ie s . S tory te llin g i s an important

and valuable to o l for developing language s k i l l s in the olassroom and

as th is study w i l l shcrvr, i s applicable to the study o f many tra d itio n a l

su b jects . V irtu a lly any c o n flic t or problem situ a tio n can be developed

and expanded in to a story for t e l l in g and dram atization.

Studies o f o r e a tiv ity and m aterials s p e c if ic a lly relevan t to

c r e a t iv ity in education are included because creative dramatics i s , in

th e vievr o f some educators, th e most e f fe c t iv e method for developing

c r e a t iv ity in ch ild ren . An examination of these m aterials w i l l provide

the teacher w ith a greater understanding o f h is role in developing

c r e a t iv ity in the classroom , "Educational research has indicated r e

peated ly th a t people tend to learn along the l in e s they fin d rewarding.

I f we want children t o think c re a tiv e ly , we must learn t o reward

oreative b eh avior ," ^

This study i s an attempt to use ideas and concepts gained from

m aterial in oach of these categories and develop methodologies for the

elementary curriculum which more s p e c if ic a lly integrate creative drama-

47I b id ,, p, 16,

t i c s a c t iv i t ie s vdth tra d itio n a l subject areas* This v /riter i s most

ooncerned vdth the student*s educational development. This study i s

s p e c if ic a lly process oriented and i s focused upon the stu dent's acqui

s i t io n o f behavior to o ls and procosses for growth in problem solving

a b i l i t i e s and c r e a t iv ity , T.liatever a r t i s t ic products m y be suggested

by th is study are in c id en ta l. However, v/hereas th is study i s prooess

oriented and in terested in the stu dent's growth and development, i t goes

beyond the lim ited objectives o f other process oriented m ater ia ls .

This v/riter agrees fu lly th at creative dramatics a c t iv i t ie s are

valuable for developing the stu dent's so c ia l s k i l l s . P articipation

develops emotional m aturity, se lf-co n fid en ce , and c r e a t iv ity . However,

creative dramatics a c t iv i t ie s can be developed to a tta in educational

goals suggested in th e tra d itio n a l elementary curriculum. This study's

point o f view i s ; th at while crea tive dramatics a c t iv i t ie s are e ffec tiv e

in the c h ild 's so c ia l development, they are a lso e f fe c t iv e for the

c h ild 's cogn itive , a f fe c t iv e and psychonotor educational development.

CHAPTER III

READIKG AUD IAHGUAGE ARTS

Teaching Agreements id e n t i f ie s reading and language arts as the

su b jects most concerned w ith language development* This chapter focuses

upon the use o f creative dramatics a c t iv i t ie s to achieve goals and

o b jectiv es s ig n if ic a n t to reading and language arts* Reading i s repre

sented by fiv e suggested sample lesson s and language arts i s represented

by f iv e suggested sample lessons* Each suggested sample lesso n i s

constructed using a f iv e sectio n format* The format's design i s as

f o i l owsi

A* a statement o f the subject area for which the suggested

sample lesson i s developed*

B* quoted goals and ob jectives as they are sta ted in

Teaching Agreements* Applicable ob jectives are l is t e d

for each sample lesso n w ith a numerical prefix* Roman

numerals in d icate the grade le v e l for which the objec

t iv e i s w ritten in Teaching Agreements* Arabic numerals

id e n t ify each o f the stated ob jectives which are app li

cable fo r the suggested sample lesson* The f i r s t numeral

i s the suggested sample le s so n 's number in order and the

numerals fo llow ing suggest the o b je c tiv e 's order from most

appropriate to le a s t applicable*

th o suggested sample le sso n w i th p re -c la ssro o m p lan n in g

su g g estio n s and a c t i v i t i e s , and a d e ta i le d e x p la n a tio n

o f c lassroom p ro ced u res and a c t i v i t i e s ,

su g g estio n s fo r a d d i t io n a l m a te r ia ls and re so u rc e s to

in c lu d e s e le c te d b ib lio g ra p h y i f a p p lic a b le # I n eaoh

su g g ested sample le s s o n th e o lassroom te a c h e r i s encouraged

t o r e f e r t o , as w e ll as u t i l i z e c u r r e n t ly a p p ro p ria te adopted

t e x t fo r sc h o o l, s u b je c t and grade l e v e l ,

a t l e a s t one sample b e h a v io ra l o b je c tiv e w hich m ight be

used t o e v a lu a te th e s tu d e n t 's goal achievem ent a f t e r

th e su g g ested c r e a t iv e d ram a tic s a c t iv i ty *

40

A, Academic A rea : Reading

B« Teaching Agreements G oal:-

I 1*01 D iscuss and r e t e l l s h o r t s t o r i e s , reo o g n ize a sequence o f e v e n ts , and a n t ic ip a te outcom es,

I 1 ,02 Have many o p p o r tu n it ie s t o r e a c t to and en joy good l i t e r a tu r e ,

C, Suggested Sample L esson:

S to r y te l l in g i s one o f th e core te ch n iq u es i n o re a t iv e d ra m a tic s .

I t p ro v id e s th e s tu d en t w i th an in tro d u c t io n t o l i t e r a t u r e as w e l l as

v a lu a b le language e x p e r ie n c e . S to ry te l l in g and open-ended s to r i e s

w i l l be v a lu a b le to o ls in th e achievem ent o f g o a ls in d ic a te d h e r e .

P re -c lassro o m p la n n in g : S e le c t a s to ry t h a t i s a p p ro p r ia te fo r th e

age and m a tu r ity o f the s tu d e n ts in th e c l a s s . P rep a re th e s to r y fo r

t e l l i n g by c a r e f u l ly re a d in g and s tu d y in g th e s t o r y 's ev en ts and in c i

d e n ts , 3ecome com pletely f a m il ia r w ith th e s to r y and c h a r a c te r s , as w e ll

as th e sequence o f e v e n ts . U n til you become secu re i n s to r y t e l l i n g ,

you w i l l f in d i t v a lu ab le to re h e a rse th e s to ry by t e l l i n g i t t o

y o u r s e l f . I t i s a lso re v e a l in g t o ta p e re c o rd y o u r t e l l i n g and ev a lu a te

yo u r p erfo rm ance.

Classroom procedures and a c t i v i t i e s : In tro d u ce and warm-up th e

c la s s by d e s c r ib in g s p e c i f ic c h a ra c te rs in th e s t o r y , "The C o b b le r 's

Hump," - an o ld co b b le r who has a hump on h i s back- h is o ld b u t v e ry k ind w ife- v a rio u s v i l l a g e r s , e s p e c ia l ly a s e l f i s h t a i l o r- f o r e s t f a i r i e s and e lv e s- a k in g 's m essenger- a k in g

As you in tro d u c e th e s e c h a ra c te rs by name, e x t r a c t v e rb a l and pan-

41

tomime descriptions from the class# Let the students, as a group, try

on these various characters# Once the characters have heen introduced

and the students have had an opportunity to explore them, the students

w i l l he more eager to hear the story and learn more ahout these new

friends #

Announce th a t you know a very sp ec ia l story ahout these very same

people# The name o f the story i s "The Cobbler*s Hump" and i t i s about

a very fine cobbler, who w ith h is kind w ife , made wonderful hoots and

shoes for a l l the people o f tho v illa g e# Beoause the cobbler was such

a f in e and kind man, and beoause he worked so very hard to mate boots

and shoes for everyone, he was loved by a l l the people and h is fame

reached for and wide •

One day the King, who lived on the other side o f the kingdom, a very far away p lace, sent h is messenger to summon the cobbler to the palace# The king wished for the cobbler to measure h is fee t and make him a pair o f royal boots#

The messenger made the long journey and announced to the oobbler and h is w ife th a t the King wished the cobbler to make a pair of royal boots# However, the cobbler said that he was very busy and had so much worl: to do for the v illa g e r s th at he couldn’t come ju st then but would come ju st as soon as he could# So the messenger returned to th e palace and the oobbler worked very hard to catch up on h is work# The cobbler*s w ife and the v illa g e r s were a l l very proud that the cobbler had been se lec ted by the King to make th e royal boots for th is brought great honor to the v illa g e and they helped the cobbler prepare for h is journey to the palace#

At la s t i t was time far the cobbler to mate the journey# He decided th a t he would take the shorter path through the deop fo r e s t , because he d idn 't have time enough to take the road which went far around the edge of the forest# As he was walking along the path in the forest the cobbler came upon a clearing in the fo rest where many fo rest fa ir ie s and e lves were playing games and dancing#TThen they sow the cobbler they surrounded him at once and were very happy because a stranger had come to play w ith them and they d idn't see many strangers. The cobbler, however, explained that he was in a great hurry to mate the King a pair o f royal b oots, and could not stay and play and dance with the fa ir ie s# But the fa ir ie s demanded

42

th a t tho oobbler ploy a t le a s t one game, so he consented* They chose to play leap frog and as soon as they were done th e fa ir ie s •wanted to p lay a new gone* The cobbler sa id though th a t he had to • go and he had played leap frog , so good-bye* The f a ir i e s w eren't happy though and asked th o cobbler t o cone back and p lay some more •when he had completed th e royal boots* The oobbler sa id he would and sta r ted to go but th e fa ir ie s decided th a t th ey sould do someth in g to make sure th a t th e ir now friend would r e a l ly come back*They thought fo r a few minutes and decided to take something very valuab le from th e cobbler so th a t he would have t o return t o claim i t baok* w e ll, sin ce th e y had l i t t l e experience w ith humans, th ey r e a l ly didn’t know what would be valuable to a human* But one th in g for su re , they had never seen a human w ith such a curious hump on h is baok so th e y guessed th a t i t must be o f great value to have such a hump* The f a ir i e s gathered around the cobbler and w ith th e ir sp ec ia l magic th ey l i f t e d the hump o f f h is baok*

TiTell, the cobbler d id n 't l e t on th a t he was g lad to be r id o f h is hump* Instead he c r ied for i t s return and sa id th a t i t was a very valuable p o ssess io n and th a t th e f a ir ie s must take groat care o f i t w hile he was gone* And o f f went the cobb ler, a new man now, a man who for th e f i r s t tim e in memory could stand s tr a ig h t and walk w ith h is head high*

The cobbler arrived a t the palace and was admitted to the King’s quarters where he measured the K ing's f e e t and proceded to make a f in e p a ir o f roya l boots for the roya l f e e t o f the King* TThen he was done and the boots completed he began h is journey homo. But he chose to take the long road around the fo r e s t rathor than take the sh ort path through the f o r e s t . For i f tho cobbler took the path through the fo r e s t he would be g iven baok h is hump and ho su re ly d id n 't w ish t h a t ,

V/hen he arrived back in the v i l la g e a l l the v i l la g e r s were very happy to have him sa fe ly home and were even more surprised to see him standing stra igh t* They asked the cobbler to t e l l them what had happened so he explained about the fo r e s t f a ir ie s and how he had played leap frog and how they had taken the hump, th in ld ng i t was v a lu a b le , so th a t he would return t o play w ith them again* He to ld the v i l la g e r s about making the roya l boots for the King and how he took th e long road home so th a t he w ouldn't g e t h is hump back*

A l l h is fr ien d s in th e v i l la g e v/ero very e x c ite d and happy for the oobbler and h is good fortu n e, a l l except for the s e l f i s h t a i lo r who always was jea lou s o f anyone e l s e ' s good fortune and wanted a l l fo r him self* The t a i lo r became very angry and sa id th a t th e f a i r i e s should do a good turn for him i f th e y \vere going to do a good turn fo r the cob b ler . So the t a i lo r hurried out o f the v i l la g e to look for th e fb r es t f a i r i e s . He wandered about the fo r e s t and c a lle d for th e f a ir ie s but was having no luck in fin d in g them*

However, the f a ir i e s had heard him coming and th e y , th in ld n g i t was th e ir fr ie n d the cob b ler, decided t o hide from him u n t i l

43

he was i n th e m iddle o f them . VJhen th e t a i l o r d id g e t i n th e m idd le o f th e h id in g f a i r i e s th e y a l l jumped ou t t o s u r p r i s e th e c o b b le r and becau se i t vas v e ry l a t e and th e shadows w ere -very lo n g , th e f a i r i e s d i d n ' t n o t ic e t h a t i t w a s n 't th e c d b b le r * They a t once r e tu rn e d th e hump t o t h e t a i l o r ' s b ack and b eg an to danoeand s in g f o r jo y b ecause t h e i r f r ie n d had re tu rn e d * They werec e le b r a t in g so much t h a t th e y d i d n ' t n o t ic e th e t a i l o r was v e ry u p s e t and was c ry in g b ecause he w a s n 't th e c o b b le r an d th e hump d i d n 't b e lo n g t o him# .And b e ca u se i t \m s g e t t in g d a r k th e f a i r i e s had t o go b a ck in to t h e i r m agic lan d and le a v e th e t a i l o r a l l t o h im s e l f , t o f in d h i s way back t o th e v i l l a g e w ith t h e hump on h i s b ack f o r th e r e s t o f h i s s e l f i s h l i f e #

The t a i l o r had le a rn e d h i s le s s o n , t h a t i t i s enough t o be th a n k f u l f o r o th e r s good fo r tu n e and w a i t o n e 's t u r n f o r such b e n e f i t s # The c o b b le r and h i s 'w ife , th e v i l l a g e r s and th e King l iv e d h a p p i ly e v e r a f t e r #

A f te r th e s to r y i s t o l d have th e s tu d e n ts r e t e l l i t i n sequenoe#

L e t a l l s tu d e n ts p a r t i c i p a t e i n t h i s a c t i v i t y and m a in ta in c o n t r o l o f

th e s to r y i n s i s t i n g t h a t a l l e s s e n t i a l e lem en ts a re r e ta in e d # I t may

b e n e c e s s a ry t o c l a r i f y p o in t s a 3 t h e s to r y i s r e t o ld b u t ta k e ca re

n o t t o d w e ll on u n im p o rta n t o r m inor e lem ents#

S uggested fo llo w up a c t i v i t i e s may in c lu d e hav in g t h e s tu d e n ts

i l l u s t r a t e sc e n e s from th e s to r y o r h av in g th e s tu d e n ts d ra m a tiz e th e

s to ry # However, th e t e l l i n g and r e t e l l i n g o f th e s to r y w i l l have

a c h ie v e d th e g o a ls su g g ested #

D . M a te r ia ls and R e so u rc e s : A S e le c te d B ib lio g ra p h y

T ooze, Ruth# S to r y te l l in g # Englewood C l i f f s , N*J«: P r e n t ic e - H a l l , I n c . , 1 9 tr .

Yiagner, Jo sep h A# C h i ld r e n 's L i t e r a tu r e Through S t o r y t e l l i n g . Dubuque, Iovra: Yira# b# Brown 'Company P u b lish e rs* 197^•

H e l l ie ISaC aslin , C re a tiv e D ram atics I n The C lassroom (Hew Y ork: D avid ISsKay Company, In c # , 19&&), pp# 91-92# M cC aslin 's v e r s io n o f t h i s o ld s to r y i s th e o n ly o th e r p r in t e d so u rce known t o t h i s w r i te r #

44

O u ts tan d in g S to ry A n th o lo g ie s :

Chase, R ic h a rd , e d , G ra n d fa th e r T a le s , B o sto n : Houghton M if f l in Company, 1948.

C hute, M a rc h e tte , S to r i e s From S h a k e sp ea re . Hew Y ork: The W orld P u b lish in g Company," "l9i>6,'

F i t z g e r a ld , B u rd e tte S , , e d , World T a le s For C re a t iv e D ram aticsand S to r y te l l in g * Englewood C l i f f s , H . J . : P r e n t i c e - H a l l , In o * , 19552,

U a r tig n o n i, M arg are t 3 , , ed* The I l l u s t r a t e d T re a s u ry o f C h ild re n 1 s L i t e r a t u r e , Hew Y ork : G ro sse t and D unlap , P u b l i s h e r s , 1955 •

Rasm ussen, In g e r M a rg re te , B as t _0* The Sun and W est _0’ The Moon, C hicago: A lb e r t Whitman and Company P u b l i s h e r s , 1924,

S ik s , G e ra ld in e B ra in , od* C h ild r e n 's L i t e r a tu r e f o r Dram ati z a t i o n : An A n th o lo g y , Hot; Y ork: H arper an d Rot; , P u b l i s h e r s , 1964*

E , B eh av io ra l O b je c t iv e :

G iven an a p p r o p r ia te s to r y f o r th e s t u d e n t 's a g e , m a tu r i ty , and

a b i l i t y , th e s tu d e n t s , a f t e r b e in g to ld t h e s t o r y , w i l l i n n o t more

th a n f o r ty - f iv e m in u te s o r a l l y r e t e l l th e s t o r y in c lu d in g a t l e a s t

80 p e r c e n t o f t h e s t o r y ’ s i n c id e n t s in p ro p e r se q u e n c e .

45A* Academio A rea: Reading

ê a °hiJag Agreements G oal:

I 2 .0 1 Develop th e a b i l i t y t o h e a r , t o rep ro d u c e , and to r e o a l l sounds made by an im a ls , to y s , and v e h ic le s .

C. Suggested Sample L esson:

Two v a lu ab le te c h n iq u e s t o accom plish t h i s g o a l a re n o isy s to r i e s

(see appendix) and sound e f f e c t s s to r i e s on ta p e . N oisy s to r i e s develop

th e s tu d e n t 's s k i l l in c re a t in g sound from c h a ra c te r s tim u lu s and sound

e f f e c t s s to r i e s on ta p e develop s k i l l s in develop ing c h a ra c te r s from

sound s tim u lu s .

f re^ c la ssro o m p la n n in g : Secure a v a r ie ty o f m a te r ia ls capab le o f

producing sound; ev e ry th in g from b o n a fied m u sica l in s tru m e n ts t o ju n k .

The more c re a t iv e and o r ig in a l your s e le c t io n and c o l l e c t i o n , th e more

c re a t iv e and o r ig in a l th e e x p e r ie n c e . E very th in g from empty m ilk

c a r to n s , t i n c a n s , paoking s ty ro fo am , b a l l s and p l a s t i c b le a c h b o t t l e s

a re w onderfu l sound p ro d u c e rs . You w i l l a l s o need a ta p e r e c o rd e r . I

su g g est a p o r ta b le c a s s e t te because th e p o r t a b i l i t y i s o f g r e a t v a lu e

and conven ience .

Classroom p ro ced u res and a c t i v i t i e s : In tro d u c to ry warm up a c t i v i t y

should d e a l f i r s t w ith sounds produced by th e human body. Explore th e

range o f sounds produced by th e v o c a l in s tru m en t and move in to sounds

produced by o th e r p a r t s o f th e human body . A f te r e x h a u s tin g body

sounds, p a ss t o e a ch s tu d e n t one sound p roducing i te m . Have th e s tu d e n ts

p la y w i th , e x p lo re , experim ent w i th th e item and d isc o v e r i t s sound

ra n g e . A f te r a few v e ry loud moments, c a l l f o r q u ie t and l e t

A6in d iv id u a ls dem onstrate t h e i r d isc o v e rie s*

A f te r a few have in d iv id u a l ly dem onstrated th e sounds th e y have

d iscovered* c a l l fo r v o lu n te e rs t o produce s p e o if io sounds* Ask fo r

anim al sounds and when a v o lu n te e r o f fe r s an example* t r y t o i d e n t i f y

th e anim al su g g ested and th e p o s s ib le c o n d it io n o f t h a t anim al* Ask

f o r m echanical sounds made by machines and fo llo w w ith d iso u s s io n o f

th e ty p e o f machine* i t s lo c a tio n * i t s age* i t s s iz e and so on* Some

sounds su g g est mood or time* o th e rs su g g est p la c e o r em otion* Have th e

s tu d e n ts s e r io u s ly co n s id e r and o o n o en tra te on th e sounds produoed and

w hat th e y may suggest*

Next* i d e n t i f y a group o f f iv e o r s ix v o lu n te e rs* Have th e se

s tu d e n ts s e le c t a sound p roducing item and w ith i t p rep a re a b r i e f

sound sequence* Encourage th e s tu d e n ts t o ex p lo re extrem e sound p o ss

i b i l i t i e s and oouple th e i te m 's sounds w ith sounds produced by t h e i r

human in s tru m en ts*

A f te r l i t t l e or no r e h e a rs a l* tap e th e sounds in sequence* leav e no

b lan k ta p e betw een sounds and a tte m p t to o re a te a m ural i n sound* A f te r

th e sequence i s ta p e d p lay i t f o r th e e n t i r e group* D iscuss th e sounds

and w hat they* a s a mural* m igh t suggest* E a rly a ttem p ts a t t h i s

le s so n w i l l r e q u ire th e t e a c h e r 's c o n s ta n t le a d e rsh ip *

Develop as many d i f f e r e n t and o r ig in a l id e a s a s p o s s ib le from

s tu d e n t comments about th e sound e f f e o ts s to r y on tape* I t may be o f

v a lu e t o r e p la y s e v e ra l tim es t o r e f r e s h memory and t o sp a rk new id eas*

A f te r a number o f c re a t iv e su g g e s tio n s have been made* a l l th e c la s s

47should ag ree upon a 3 in g le s to r y l in o to work w i th . Begin b y id e n t i

fy ing th e s to r y ’s lo o a t io n , env ironm ent, and m ain c h a ra c te r s or

p a r t i c ip a n ts , 7<hen th e s e i n i t i a l d ec is io n s a re made i t i s r e l a t i v e l y

sim ple t o develop a s to r y . Each sound elem ent on th e ta p e r e p re s e n ts

an even t in th e s to r y and i t i s b e s t to p lay each sound elem ent in t u r n

develop ing th e s to r y l in e as you p ro g re s s .

The le s s o n may be con tinued by having th e s tu d e n ts d ram atize th e

s to ry l i n e , develop ing s p e c i f ic c h a ra c te rs f o r th e d ra m a tiz a tio n . The

s to ry may a ls o be w r i t t e n and used as read in g n a t e r i a l f o r th e s tu d e n ts ,

D, M a te ria ls and R eso u rces;

In tro d u ce th e c h i ld re n to as many sounds as p o s s ib le , spending a

g re a t d e a l o f tim e e x p lo r in g th e s ig n if ic a n c e o f sounds and t h e i r

c o n n o ta tio n s . Sound e f f e c t s re c o rd s and ta p e s , as w e ll a s c l a s s io a l

themes from th e w orks o f B eethoven, Bach, T chaikovsky, and o th e rs a re

e x c it in g sou rces f o r c lassroom a c t i v i t i e s ,

B, B eh av io ra l O b je o tiv e ;

Given a sound p roducing o b je c t and tw enty m in u te s , th e s tu d e n t w i l l

exp lo re th e o b je c t ’ s sound p o te n t ia l s and c r e a te a t l e a s t f i \ re s to r y

l in e a l t e r n a t iv e s a s suggested by th e o b j e c t 's v a rio u s so unds.

48

A* Academic A rea ; Reading

B* le a c h in g Agreements G oal;

I 3*01 Draw In fe re n c e s from p lo tu re s and from co n ten t*

1 3*02 Read p ic tu r e s i n o rd e r t o n o te d e ta i l s * t o c l a r i f y concepts* t o develop v o cab u la ry , t o use com plete sen tences* and t o e s t a b l i s h s k i l l s f o r re a d in g p r in te d symbols*

I 3*^3 S tre n g th en h is a b i l i t y t o a s s o c ia te words w ith id eas*

C« Suggested Sample L esson;

T his ex p e rien ce may use a s in g le p ic tu r e a s s tim u lu s o r many p ic

tu r e s i n th e form o f a c o lla g e o r m ural* The p rim ary aim i s t o develop

a s to r y l i n e w ith s p e o if io c h a ra c te rs* p laces* e v e n ts , and a c t i v i t i e s *

The so u rce o f th e s to r y l in e w i l l be th e v is u a l s tim u lu s and th e r e a re

two b a s ic tech n iq u es*

F i r s t* i f a s in g le p ic tu re i s used th e teo h n iq u e i s much th e same a s

i n u s in g an open-ended s to r y (see p , 72)* That i s , th e p ic tu r e se rv e s

a s an i n i t i a l s tim u lu s fo r th e s tu d e n ts who u se t h e i r c r e a t iv e im ag in a t

io n s t o develop a s to r y from th e s in g le s tim u lu s* The second

te ch n iq u e in v o lv e s th e use o f a c o lla g e o r m ural* Here th e s to r y i s

t o ld i n p ic tu r e s o r v is u a l images* much a s th e s to r y i s to ld in sound

i n sound e f f e c t s s to r i e s on ta p e (se e p* 45)*

P re -c la ssro o m p la n n in g ; P rep are sh e e ts o f pap er la rg e enough f o r

e ig h t to tw elve c h ild re n t o w ork w ith (about tw e n ty f e e t by th r e e f e e t ) ;

n e w sp rin t o r brown w rapping p ap er a re v e ry s u i ta b le * P rov ide many p io -

t u r e so u rces su ch a s m agazines* c a ta lo g u es* new spapers* and p r in t s and

a r t m a te r ia ls such as crayons and w a te r c o lo rs* S o is s o rs , tap e* and

p a s te w i l l a ls o be u s e fu l i n th e p r o je c t t o p rep a re and assem ble th e

49r .u ra l o r c o l la g e .

G laosroon p rocedures and a c t i v i t i e s ; In tro d u ce th e p r o je c t by

d is c u s s in g p o s s ib le s to r y s u b je c ts and themes w ith th e c l a s s . S tre s s

th e id e a t h a t a s to ry develops v /ith in s p e c i f ic l im i ts and th e s e l im i t s

a re o f te n e s ta b l is h e d b e fo re th e s to ry i s c re a te d . Through group

d is c u s s io n id e n t i f y s e v e ra l p o ss ib le s to r y s i tu a t io n s and l im i ta t io n s

o f e a c h . For exam ple, one group may develop th e theme "C ircu s" l i m i t

ing th e s to ry t o c h a ra c te r s , e v e n ts , and in c id e n ts r e le v a n t to a c irc u s

env ironm en t. A nother group may develop "Camping” and su g g e s t obvious

l i n i t s fo r s to r y developm ent. A fte r s e v e ra l themes have been

i d e n t i f i e d , c r e a te groups o f e ig h t t o tw elve c h i ld re n . Encourage each

group t o d evelop a s to r y in p ic tu r e s . The s to r y ’s theme should be

common, t o a l l members o f th e group and a minimum le v e l o f p lan n in g w i l l

p ro v id e w orkable l im i ta t io n s fo r th e s to r y ’s developm ent. Each s tu d e n t

sh o u ld make c o n tr ib u t io n s t o th e m ural b y ap p ly in g p ic tu r e s secured

from p r in te d so u rces a s w e ll as o r ig in a l drav/ings and p ic tu re s in

c ray o n and w a te r c o lo r .

Hang th e com pleted m urals so th e y can be viewed by th e c l a s s .

I d e n t i f y each m ural by i t s theme b u t r e f r a i n from s to ry developm ent

u n t i l a l l s tu d e n ts have had an o p p o rtu n ity t o scon and contem plate each

m u ra l. Begin th e s to ry l in e developm ent by id e n t i fy in g th e m u ra l’s

theme o r s u b je c t and c e n t r a l c h a r a c te r . S ta r t a t th e l e f t edge o f th e

m ural and e x p lo re in d is c u s s io n th e s i t u a t io n i l l u s t r a t e d . E s ta b l is h

s p e c i f i c s o f c h a r a c te r , s i t u a t io n , t im e , p la c e , and a c t i v i t y in each

scene moving from l e f t t o r ig h t a c ro ss th e m u ra l. The s to r y i s

developed by s o l i c i t i n g id o as from in d iv id u a l s tu d e n ts and as a group

u sin g th e most s a t i s f a c to r y and w orkable id eas t o develop a sequence

o f e v e n ts accep tab le t o th e g roup .

The com ple te ly developed s to r y may be to ld in s to r y t e l l i n g form

u sin g th e v is u a l s tim u lu s o f th e m ural. The le s s o n may be f u r th e r

developed by d ram atiz in g th e s to r y , develop ing c h a ra c te r s and d ia lo g u e ,

and im prov ising th e sequence o f e v e n ts . D ram atizing th e s to r y develops

th e s tu d e n t 's s k i l l and f a o i l i t y w ith th e s to r y and i t s language as w e ll

as o f f e r s an o p p o r tu n ity to t e l l th e s to ry th ro u g h th e s to r y 's

c h a r a c te r s ,

M a te ria ls and R esources;

C o lle c t as many p ic tu re so u rces as p o s s ib le fo r th e more v a r ie d

th e c h o ic e , th e more s ig n i f i c a n t and c r e a t iv e th e ch o io e . F ilm i s

an o th e r v is u a l medium w hich nay be used t o p rep are t h i s ty p e o f le s so n .

Film s such as "The Red B a llo o n " , "The R e f in e r 's F i r e " , and " L i t t l e Blue

and L i t t l e Yollow" a re o u ts ta n d in g f ilm s dosigned t o s tim u la te s to ry

l i n e s . The s tu d e n ts may a ls o c re a te t h e i r own film s b y u s in g a v a r ie ty

o f m a te r ia ls In c lu d in g "home movie" type equipm ent and by p r in t in g and

draw ing on exposed f ilm t h a t has been c le a re d w ith household b leao h ,

S , B eh av io ra l O b je c tiv e ;

Given a supply o f p ic tu re s th e s tu d e n t w i l l , in n o t more th an one

h o u r, s e le c t s p e c i f ic p ic tu re s from th e supp ly and a rran g e th e n in to

an o rd e r su g g estin g a s to ry l i n e . The s tu d e n t w i l l o r a l ly t e l l th e

s to ry u s in g th e s e le c te d p ic tu re s as s tim u lu s .

$L

A, A oadeaio A rea ; Reading

B, Teaohing Agreements G oal:

I I 4 ,0 1 Develop an a p p re c ia t io n and enjoym ent o f good l i t e r a t u r e , in c lu d in g p o e try .

I l l 4 .0 2 Improve h is t a s t e fo r good l i t e r a t u r e and become aware o f th e a u th o r 's s ty l e and p o in t o f v iew .

C, Suggested Sample L esson ;

S to ry d ra m a tiz a tio n i s one o f th e most e f f e c t iv e as w e l l as e x c i t in g

methods fo r dev elo p in g a p p re c ia tio n f o r l i t e r a t u r e . Then th e s tu d e n t i s

com m itted to and involved w ith th e l i t e r a t u r e , a s in s to r y d ra m a tiz a tio n

he devo lops s ig n i f i c a n t in s ig h ts and a t t i t u d e s ab o u t th e l i t e r a t u r e .

The t e a c h e r ’s r o le i s t o p rov ide th e s tu d e n t w ith examples o f good

l i t e r a t u r e and p ro v id e fo r th e s tu d e n t 's p a r t ic ip a t io n and involvem ent

w ith th e l i t e r a t u r e .

P re -c lassro o m p la n n in g ; S e le c t a s to r y or poem th a t c o n ta in s th e

e lem en ts d e s ire d in th e le s s o n . The te a c h e r may w ish to in tro d u o e

d e s c r ip t iv e p ro se , or p o e try ; an o b je c tiv e m ight be to d evelop a sense

o f rhythm in l i t e r a t u r e ; o r i l l u s t r a t e an a u th o r 's p a r t i c u la r s ty l e .

A fte r th e s e le c t io n i s made, p repare i t fo r p re s e n ta t io n t o th e c l a s s .

U su a lly , m u ltip le co p ies a llo w in g each s tu d e n t a copy w i l l be s a t i s

f a c to ry or the te a c h e r nay p re fe r a s in g le copy in la rg e p r i n t so t h a t ■

a l l can use i t s im u lta n e o u s ly . I t i s n e ce ssa ry t h a t th e te a c h e r have

s e v e ra l a l t e r n a t iv e methods o r approaches t o th e l i t e r a t u r e 's d ram a ti

s a t io n . V.:i t h s e v e ra l p o s s ib le a l t e r n a t iv e s , th e te a c h e r i s in a

p o s i t io n t o guide and ooach th e d ra m a tiz a t io n 's developm ent.

Very s im p ly , th e re a re two s to r y d ra m a tiz a tio n approaches* The

f i r s t i s u s u a l ly i d e n t i f i e d as danoe-drama and i s developed by having

a l l th e s tu d e n ts p la y eaoh p a r t i n th e s to ry sequence as i t i s

n a r ra te d b y th e lead e r* The second tech n iq u e i s th e more ty p ic a l

s to r y d ra m a tiz a tio n which i s developed by having in d iv id u a l s tu d e n ts

p la y s p e c i f i c c h a r a c te r s , develop ing d ia lo g u e i n c h a ra c te r by way o f

im p ro v isa tio n * The cho ice o f approach i s u s u a l ly d ic ta te d by th e

l i t e r a t u r e and th e s tu d en t* s s k i l l * O bviously , dance-dram a i s l e s s

th r e a te n in g to th e in d iv id u a l because o f th e group a c t i v i t y , y e t allow s

f o r in d iv id u a l o re a t iv e development* The s k i l l e d te a c h e r w orking w ith

an in e x p e rie n c e d c la s s w i l l o f te n b e g in w ith th e dance-dram a tech n iq u e

t o develop th e s tu d e n t 's s e lf -c o n fid e n c e and a o re a t iv e atm osphere*t

TVhen th e s tu d e n ts a re c o n fid e n t and read y c r e a t iv e ly , th e te a c h e r can

b e g in t o in tro d u c e s to r y d ra m a tiz a tio n te c h n iq u e s w ith suooess*

C lassroom p ro ced u res and a c t i v i t i e s ; The in tro d u c t io n shou ld be

d esig n ed t o develop an i n t e r e s t in th e s to r y f o r d ram a tiza tio n * The

s u b je c t o f th e s t o r y may be d iscu ssed and s tu d e n ts may w ish t o ex p ress

t h e i r a t t i t u d e s and o p in io n s about th e su b je c t* Major c h a ra c te r s or

ty p e s may be d is c u s s e d , even used t o s tim u la te pantomime and im provi

s a t i o n , a s a means f o r develop ing s tu d e n t 's i n t e r e s t*

U sing th e F lo renoe Page Jaques poem "A G oblinade” , th e te a o h e r

m igh t a s k fo r s tu d e n t 's id e a s ab o u t goblinB ; w hat i s a g o b lin , where

do g o b lin s l i v e , w hat do g o b lin s do and so on* S tu d en ts may w ish t o .

d em o n stra te i n pantomime t h e i r own in t e r p r e t a t i o n o f g o b lin c h a ra o te rs

and g o b lin a c t i v i t i e s * B ring in to th e d is c u s s io n th e id e a t h a t

d i f f o r e n t p eo p le have a v a r i e t y o f id e a s and c o n c e p ts abou t a s u b je c t

su ch a s g o b lin s and t h a t a l l n ay be a c c u r a te , th e d i f f e r e n c e i s on ly

in th e in d iv id u a l . In f a c t , n o t everyone in th e c l a s s had th e sane

id e a ab o u t g o b l in s , F lo re n c e Page J a q u e s , a p o e t , h a s a s t i l l d i f f e r

e n t id e a ab o u t a g o b lin and made a s to r y poem ab o u t h int. I t b e g in s :

A g ree n h o b g o b lin ,Sm all b u t q u ic k .

Went o u t w a lk in gW ith a b la c k th o rn s t i c k .

He -was f u l l o f M isc h ie f ,F u l l o f g l e e .

He f r ig h te n e d a l l T hat he co u ld s e e .

He saw a l i t t l e maiden In a wood.

He looked as f i e r c e as .A g o b lin s h o u ld .

He c r e p t by th e hedge row .He s a id , "B ool"

"B ool" laughed th e l i t t l e g i r l ,"How a re you?"

"W hatl" s a id th e g o b lin ," A re n 't you a f r a id ? "

" I th in k y o u 'r e fu n n y ,"S aid th e m aid ,

"H al" s a id th e g o b lin .S i t t i n g down f l a t ,

"You th in k I 'm funny?I d o n 't l i k e t h a t ,

" I 'm v e ry f r ig h te n in g ,You should f l e e i "

"Y o u 're c u n n in g ," she s a i d ,"As you can b e l"

Then she laughed a g a in , and Went away.

But th e g o b lin s to o d th e r e A ll t h a t d a y .

A b e e t le oamo b y , and “W ell?" i t s a id .

But th e g o b lin on ly Shook h i s h ead .

"For I am fu n n y ,"He s a id t o i t .

" I th o u g h t 1 was a la rm in g ,And I 'm n o t a b i t . "

" I f I 'm am using,"He s a id to h im s e lf ,

" I w o n 't be a g o b lin ,1*11 be an e l f i "

"For a g o b lin m ust be g o b lin A l l th e day ,

But an e l f need o n ly Dance and p la y ."

So th e l i t t l e g reen g o b lin Beoame an e l f ,

And he dances a l l d ay , and He l ik e s h im s e lf .

A fte r th e poem i s re a d o r t o l d , have th e c la s s r e t e l l th e s to r y as a

sequence o f e v e n ts o r in c id e n ts * The r e t e l l i n g may v a ry from c l a s s t o

c l a s s because d i f f e r e n t e lem en ts w i l l be em phasized. However, a b a s io

r e t e l l i n g should fo llo w t h i s o u tl in e s

I . a hobgob lin o u t m ik in g m ee ts ,I I . a l i t t l e maid i n a wood,

I I I . hob g o b lin t r i e s t o f r ig h te n th e m aiden,IV . maiden th in k s th e g o b lin i s funny ,

V. hobgoblin i s met by a b e e t le who i s n ' t f r ig h te n e d e i t h e r ,- so -

V I. th e g o b lin d e c id e s t o become an e l f i n s t e a d .

oF lo ren ce Page Ja q u e s , "A G o b lin ad e ," i n Time For P o e try , e d . by

Ifey H i l l A rbu thno t (Chicagos S c o t t , Foresman and Company, 1951)* p p . 284-285.

&

When th e s to ry lin o i 3 e s ta b l is h e d and each s tu d e n t knows th e

sequence o f ev en ts and th e a c t i v i t y o f each e p iso d e , b eg in th e t e l l i n g

o f th e s to r y poem w h ile a l l th o s tu d e n ts c re a te th e c h a r a c te r s .

During th o dance-dram a s tu d e n ts w i l l change frara c h a ra c te r to c h a ra c te r

as suggested by th e s to ry l i n e . Stops to a llo w t i n e fo r more com plete

and s o p h is t ic a te d c h a ra c te r development may be n e c e ssa ry and s tu d e n ts

should be g iv en th e o p p o r tu n ity t o experim ent w ith s e v e ra l approaches

t o a c h a ra c te r .

F u rth e r developm ent can bo ach ieved by having In d iv id u a l groups

p la y th e dance-dram a, w h ile o th e r s tu d e n ts observe and c o n s tr u c t iv e ly

comment. The dance-dram a nay a ls o be developed in to a s to r y d ram ati

z a t io n by encouraging in d iv id u a l s tu d e n ts t o p la y s p e o if io c h a ra c te r s

in th e poem and develop a p la y by im prov ising c h a ra c te r and d ia lo g u e

w ith in th e s to r y l i n e .

D. M a te ria ls and R esources:

O ther w e ll known poems w hich a re v e ry s u i ta b le fo r t h i s type o f

a c t i v i t y a r e : "Jabberw ocky", by Lewis C a r ro l l ; " In J u s t " , by E . E .

Cunnings; "The Duck and th e Kangaroo", by Edward L ear; and most M other

Goose rhym es.

E . B ehav io ra l O b.jeotivo:

Given p a r t ic ip a t io n in th e developm ent o f a dance-dram a using a

s p e c i f i c s to ry l in e a 3 s tim u lu s , e i t h e r p rose o r p o e try , th o s tu d e n t ,

w i l l in n o t more th a n t h i r t y m inutes o r a l ly t e l l th e s to r y in sequence

in c lu d in g a t l e a s t 9$ p e r o e n t o f th e s to ry * s in c id e n ts and e v e n ts .

A, Academic A rea: Heading

B, Teaching Agreements G oal:

I I I 5*01 Be encouraged to form and r e a c t to sen so ry images w ith in w r i t t e n m a te r ia l and to in t e r p r e t f ig u r a t iv e , id io m a tic , and c o lo r fu l speech*

I I £ .0 2 Grow in o r a l read in g s k i l l s th rough sh a rin g s to r i e s and in fo rm ation*

I I 5>*03 P a r t i c ip a te in o h o ra l re ad in g and d ram a tiz a tio n *

C, S uggested Sample Lesson:

O ral in te r p r e ta t io n and c h o ra l re ad in g in c lu d in g re a d e rs th e a t r e

a c t i v i t i e s a re v a lu a b le as vrell as s tim u la tin g in n o v a tio n s in a read in g

program . B ring ing l i f e to l i t e r a t u r e by o r a l ly p a r t ic ip a t in g in i t s

c r e a t io n i s a t h r i l l i n g ex p erien ce and con m otiva te the s tu d e n t to

re a d w ith g r e a te r c o n c e n tra tio n and com prehension. The te ch n iq u e s fo r

t h i 3 approach t o read in g and l i t e r a t u r e a re s u re ly as v a r ie d as th e re

a r e te a c h e r s and s e le c tio n s * The go a l i s to use l i t e r a r y s e le c t io n s

and approaches t h a t o hallenge th e s tu d e n ts as w e ll as e x c i te them .

P re -c la ssro o m p la n n in g : Choose a l i t e r a r y s e le c t io n v/hich i s

a p p ro p r ia te f o r th e s tu d e n t 's ag e , i n t e r e s t , and m a tu r i ty . The s e le c

t i o n sh o u ld a ls o be chosen fo r i t s c o n te n t o f f ig u r a t iv e , id io m a tic ,

and c o lo r f u l spoech* C a re fu lly p lan s e v e ra l approaches to th e s e le c t io n

b e fo re th e c la s s so t h a t s tu d e n t id eas and su g g estio n s may be used

c r e a t i v e l y and e f f e c t iv e ly . F in a l ly , i t i s u s u a lly most conven ien t

f o r each s tu d e n t t o have a copy o f th e m a te r ia l* A p e rso n a l copy nay

b e u sed , worked w ith , and d ig e s te d w ith o u t concern fo r i t s p h y s ic a l

p r e s e r v a t io n . A lso , a p e rso n a l copy nay be r e ta in e d by th e s tu d e n t and

nay in d eed become a p a r t o f h is l i f e .

C lassroom p rocedures and a c t i v i t i e s : In tro d u ce th e l i t e r a t u r e by

d is c u s s in g p o s s ib le ways t o use and enjoy l i t e r a t u r e . D iscuss th e

p r e s e n ta t io n o f l i t e r a t u r e by a s in g le r e a d e r , o r by a s in g le re a d e r

re a d in g a loud t o a group o f l i s t e n e r s . L i te r a tu r e nay be d ram atized

and made in to a p la y , and l i t e r a t u r e can be road aloud by a group o f

peop le f o r t h e i r own enjoym ent and fo r an au d ie n c e .

D is t r ib u te in d iv id u a l cop ies o f th e l i t e r a t u r e and encourage each

s tu d e n t to read i t s i l e n t l y loo k in g fo r th e id e a s , im ages, and purpose

in te n d e d o r suggested by th e l i t e r a t u r e . A s i l e n t re a d in g w i l l a llo w

th e s tu d e n t t o ex p lo re new words and become g e n e ra l ly f a m il ia r w ith

th e s e l e c t io n .

AS LONG AS THE GRASS SHALL GR0S7

The Senecas a re an In d ian t r i b e o f th e I ro q u o is n a t io n ;Down on th e New Y ork-Pennsy lvan ia l in e y o u 'l l f in d t h e i r

r e s e r v a t io n .A f te r th e U. S , r e v o lu tio n C o rn p lan te r was a c h ie f -He t o l d th e t r i b e th e s e men th e y could t r u s t ; t h a t was h is

t r u e b e l i e f .He w ent down t o Independence H a ll and th e r e a t r e a t y s ig n e d .T h a t prom ised peace w ith th e USA and In d ia n r ig h t s combined;George W ashington gave h is s ig n a tu r e , th e governm ent gave i t s

hand,They s a id t h a t now and fo re v e r more t h i s was In d ia n la n d .

'As long as th e noon s h a l l r i s e .As long as th e r iv e r s flow ,As long as th e sun w i l l s h in e .As long as th e g ra s s s h a l l grow.

On th e Seneca R e se rv a tio n , th e r e i s much sad n ess now,W ash in g to n 's t r e a t y has been broken , th e re i s no hope, no how.A l l a c ro ss th e A llegheny R iv n r, th e y 'r e th row ing up a dam.I t v r i l l f lo o d th e In d ia n c o u n try , a sad day f o r Uncle Sam.I t h as broken th e a n c ie n t t r e a t y , w ith a p o l i t i c i a n 's g r in .

58

I t w i l l drovm th o Ind ians* g rav ey a rd s , C o rn p la n te r , can you swim? Tho e a r th i s m other to th e S enecas, t h e y ’r e tra m p lin g sao red ground , Change th e m int g reen e a r t h to b lao k mud f l a t s .As honor hobbles down*

As long as th e moon s h a l l r i s e ,As long as th e r iv e r s flo w ,As long as th e sun w i l l s h in e ,As long as th e g ra ss s h a l l grow.

The I ro q u o is In d ia n s used t o r u le from Canada vray so u th ,But no one fe a rs th e In d ia n s now, and sm iles th e l i a r ’s m outh.The Senecas h ire d an e x p e r t t o f ig u re an o th er s i t e .But th e g r e a t good Amy en g in e e rs s a id t h a t he had no r i g h t j A lthough he showed th e n an o th e r p la n , and showed them an o th e r way, They laughed in h i s face and s a id no d e a l , Kinzua Dam i s h e re t o

s ta y .Congress tu rn e d th e In d ian s down, b ru sh ed o f f th e In d ia n s ’ p le a ,So th e Senecas have renamed th e dam, th e y c a l l i t Lake P e r f id y ,

As long as th e moon s h a l l r i s e ,As long as t h e r iv e r s flo w ,As long as th e sun w i l l s h in e ,As long as th e g ra ss s h a l l grow,

■Washington, Adams and Kennedy, now h e a r t h e i r p led g es r i n g ,The t r e a t i e s a re s a f e , we111 keep our w ord, b u t w hat i s t h a t

g u rg lin g ?I t ' s th e backw ater from P e r f id y Lake, i t ' s r i s i n g a l l th e t im e ,Over th e homes, and over th e f i e l d s , and over th e prom ises f i n e ,Wo b o a ts w i l l s a i l on Lake P e r f id y , i n w in te r i t w i l l f i l l ,In summer i t w i l l be a swamp, which a l l th e f i s h w i l l k i l l .The F a th e r of our co u n try m ust be wrong —- t th a t ’s an In d ia n anyhow.

As long as t h e moon s h a l l r i s e ,As long as th e r iv e r s flo w ,As long as th e sun v d l l s h in e ,As long as th e g ra ss s h a l l grow,**

A fte r a s i l e n t re a d in g t o become f a m il ia r v d th th e l i t e r a t u r e , re a d

th e s e le c t io n a lo u d . An e f f e c t iv e tech n iq u e a t t h i s p o in t i n th e

^ F e te r La Fargo, "As Long As The G rass S h a ll Grow," in S to r ie s In Song And V erso , ed , b y M arjo rie B, Sm iley, R ichard C orb in , and John J , IkiV at'ante" \lfew Yorks The I. he m il Ion Company, 1966), p p , 30"32 ,

l i t e r a t u r e ’s developm ent i s t o have in d iv id u a l s tu d e n ts read a loud

p e r io d ic a l ly ohanging re a d e rs by way o f a v is u a l cue so t h a t ev e ry

s tu d e n t has a ohanoe to re a d .

Whon th e s e le c t io n has been read o r a l ly d isc u ss th e con ten t* What

i s i th e s u b je c t , th e p o in t o f view h e ld by th e a u th o r , th e purpose o f

th e s e le o t io n , how does th e a u th o r w ish fo r h is audience to r e a c t?

The poen "As Long As The Grass S h a ll Grow" is v ery t ira e ly and powerful*

The s o c ia l and e th i c a l as -.veil as p o l i t i c a l them es a re obvious and

im p o rtan t and th e r e i s f ig u r a t i v e , id io m a tic and c o lo r fu l speech in th e

s e le c tio n *

An e f f e c t iv e approach to t h i s l i t e r a r y cho ice would invo lve an

e x p lo ra t io n and d iso u s s io n o f th e mood changes as th e poem d ev e lo p s .

There a re r a d ic a l changes in mood and tho s e le c t io n 's o r a l p re s e n ta t io n

must i l l u s t r a t e th e change* Using vo ice v a r ia t io n s o f r a t e , rhythm ,

p i tc h , and volumej th e m eaning, f e e l in g , and in te n t o f th e s e le c t io n

nay be communicated. However, th e s tu d e n t must read and comprehend th e

s e le c t io n b e fo re he i s ab le to communicate i t ; th e r e f o r e , th e s tu d y and

p re p a ra tio n o f th e s e le c t io n must ta k e ca re to develop u n d erstan d in g

and comprehension*

Experim ent w ith th e o r a l p re s e n ta t io n by having th e c la s s work in

groups and make each group re sp o n s ib le fo r a d i f f e r e n t s e c t io n o f th e

l i t e r a t u r e , o r have one group c o n s is te n t ly perform th e chorus w h ile

v a r io u s groups perform o th e r s e c t io n s o f th e poem* S o l i c i t su g g estio n s

from th e c la s s and t r y as many approaches as p o s s ib le b e fo re f i n a l l y

d ec id in g upon th e one co n s id e red b e s t o r most e f fe c t iv e * Remember t h a t

Each re a d in g b rin g s th e s tu d e n t c lo s e r to th e s ta t e d o b je c t iv e and a t

th e same t i n e in c re a se s h is p e rso n a l connitiaent t o th e l i t e r a t u r e .

D. M a te r ia ls and R esouroes:

S e le c te d w e ll known l i t e r a t u r e fo r o ra l in t e r p r e t a t i o n and re a d e rs

t h e a t r e . ’’The Crem ation o f 3am McGee", Robert S erv ice

’’The Mountain ’Thipparv/ill'.', Stephen V incen t Benet

"Tho Charge o f th e L ig h t B rigade” , A lf re d Lord Tennyson

’•Chicago” , C arl Sandburg

• 'B irch es", R obert F ro s t

S e le c te d B ib liog raphy :

A rb u th n o t, May H i l l , e d . Tine For P o e try . Hew York: S c o t t , Foresmanand Company, 195*1.

F r o s t , R o b e rt. S e le c te d Poems o f Robert F r o s t . New York: H o lt,R in e h a rt and w in sto n , I n c . , 1 9($5>.

K a r tig n o n i, M argaret E . , ed . The I l l u s t r a t e d Treasur?^ o f C h ild re n *3 L i t e r a tu r e . Hew York: G ro sss t and Dunlap, P u b lis h e r s , 1955.

Sm iley, M arjo rie B .j C orbin , R ich ard ; and K a rc a ta n te , John J . , ed .S to r ie s In Song and V erse. New York: The MacMillan Company, 1966.

M il le r , James 3 , , e d . Complete P o e try and S e le c te d Prose By jYaltV.Tiitnan. Boston: Houghton Iv lifflin Company, 195*9*

Vfoods, Ralph L . , e d . A T reasu ry Of The F a m ilia r . Hew York: TheM acM illan Company, 1?42.

Vfoods, Ralph L . , e d . A Third T reasu ry Of The F a m il ia r . New York: TheKaoHillan-Corapany “ 1970*

E . B eh av io ra l O b je c tiv e :

Given a l i t e r a r y s e le c t io n a p p ro p ria te f o r th e s tu d e n t 's age ,

m a tu r i ty , and a b i l i t y , the s tu d e n t , in no t more th a n one h o u r , w i l l

p rep are th e s e le c t io n fo r o ra l p r e s e n ta t io n . The p r e s e n ta t io n w i l l

i l l u s t r a t e th e s tu d e n t 's th o u g h tfu l approach to th e s e le c t io n and

d em o n stra te h i s u n d e rs ta n d in g and com prehension o f f i g u r a t i v e ,

id io m a tic , and c o lo r f u l speech co n ta ined*

62

A* Academic A rea ; Language A rts

B. Teaching Agreements G oal:

I 1 .0 1 R e la te e x p e rie n c e s and s t o r i e s in c o r r e c t sequence .

I 1 .0 2 L is te n t o good s to r i e s and poems t o become an a t t e n t i v el i s t e n e r , and t o len g th en h is i n t e r e s t and a t t e n t io n - s p a n .

I l l 1 .03 C ontinue to have an o p p o rtu n ity 1 t o h e a r p ro se and p o e try re a d e f f e c t i v e l y .

C. S uggested Sample L esson:

S to r y te l l in g i s one o f th e most e f f e c t iv e as w e ll a s v e r s a t i l e

te c h n iq u e s f o r develop ing language a r t s s k i l l s . P ro v id in g th e s tu d e n t

w ith many s to r y t e l l i n g e x p e r ie n c e s w i l l develop h i s u n d e rs ta n d in g o f

e v e n ts in sequence and d ev e lo p an a p p re c ia t io n f o r th e a c t io a - r e a o t io n

n a tu re o f in c id e n ts in a seq u en ce . The a r t o f s to r y t e l l i n g i s

b a s i c a l l y a sim ple p ro c e s s , b u t th e c h o ic e s a v a i la b le t o th e s t o r y t e l l e r

a re many and c r u c i a l . The s t o r y t e l l e r i s r e s p o n s ib le f o r th e s e le o t io n

o f n a t e r i a l v/hich m ust be s u i t a b le f o r th e aud ience and c o n ta in

w hatever e lem en ts th e s t o r y t e l l e r w ish es to em phasize. To ach iev e th e

o b je c t iv e s ta t e d f o r t h i s le s s o n th o te a c h e r o u s t be ooncerned w ith th e

s e le c t io n o f a s to r y t h a t h as a c l e a r l y d e f in e d sequence o f e v e n ts .

The s tu d e n t* s f i r s t s t o r y t e l l i n g e x p e r ie n c e s should be w ith uncom pli

c a te d and r e l a t i v e l y s h o r t p l o t s . Y/hen th e s tu d e n t b e g in s t o d evelop

an u n d e rs ta n d in g o f th e w orkings o f a s to r y h i s e x p e r ie n c e s sh o u ld b e

come n o re s o p h is t ic a te d and c h a lle n g in g .

P re -c la ss ro o m p la n n in g : S e le c t a s to r y or poea t h a t i s a p p ro p r ia te

f o r th e s tu d e n t 's a g e , i n t e r e s t s , m a tu r i ty , and a b i l i t y . Take c a re t o

p r e s e n t m a te r ia l w hich c l e a r l y i l l u s t r a t e s your g o a l and m a te r ia l t h a t

63w i l l d ev e lo p th e s tu d e n t 's s k i l l s *

C lassroom procedures and a c t i v i t i e s : P rep are th e m a te r ia l f o r

p r e s e n ta t io n t o th e o lass* The s to r y t e l l e r must work w ith th e s to ry

u n t i l i t becomes a p a r t o f him* a p e rso n a l ex p erien ce beyond th e

l im i t a t io n s o f a mere s to r y on th e p r in te d page. The g o a l i s t o know

th e s to r y , i t s m eaning, i t s im p lic a tio n s , i t s o h a ra o te r s , and th e con

f l i c t s so t h a t when th e s to r y i s to ld t o an aud ience each s tu d e n t w i l l

p e rc e iv e th e s to r y as p a r t o f th e s t o r y t e l l e r ' s p e rso n a l experience*

I t i s d i f f i c u l t to e x p la in th e e f f e c t iv e s t o r y t e l l e r 's a r t , perhaps

t h a t i s th e n a tu re o f th e a r t . However, th e e ssen ce l i e s in th e s to ry

t e l l e r ' s knowledge o f h i s s to ry and h i s p e rso n a l committment t o i t*

The A n ericcn -E n g lish fo lk t a l e “Old Dry F ry e” i s an e x c e l le n t

example o f a s to r y w ith c l e a r , uncom plicated p lo t developm ent and very

obvious a o t io n - r e a c t io n e lem en ts . The s to ry d iv id e s v e ry w e ll in to

s e p a ra te in c id e n ts which makes i t an e f f e c t iv e s to r y t o b e g in th e

developm ent o f s tu d e n t 's s k i l l s . An a p p ro p ria te in tro d u c t io n t o th e

s to r y n ay be prov ided by d is c u s s io n o f th e c h a ra c te r ty p e s and th e

g e o g ra p h ic a l lo c a t io n o f th e s to r y 's a c t i v i t i e s *

"Old Dry Frye"

One t i n e th e re wa3 an o ld nan named Dry F ry e . He was a p reacher b u t a l l he preached f o r was r e v iv a l c o l le c t io n s and a l l th e f r i e d ch ick en he oould ea t* And one t i n e he s ta y e d fo r supper and he was e a t i n 1 f r i e d ch icken so f a s t t h a t he g o t a bone s tu c k In h i s th ro a t* Choked him t o death* V /ell, th e man of th e h o u se , he was scared* "Law n e l" he say s , " t h e y ' l l f in d o ld Dry Frye h e re and t h e y ' l l hang me f o r m urder su re 111 So he to o k o ld Dry Frye to a house down th e ro a d a p ie c e and propped him up a g a in s t th e door* Somebody went .to ' go o u t th e door d i r e c t l y and o ld Dry Frye f e l l in th e h o u se . " H i t 's o ld Dry F ry e l" (Everybody knew o ld Dry F ry e .) "We g o t t o g e t sh e t o f him q u ic k or w e ' l l l i a b le t o be hung fo r m urderi"

64

So ho to o k old Dry Frye and propped h i* up In th e b re sh 's id e th e road* And way up in th o n ig h t same non cone a lo n g , though t i t was a highway robber lay in* fo r 'o n . So th e y chunked rooks a t him , knocked h in down, and when th e y seen who i t was th e y though t th e y 'd k i l l e d him , and th e y got se a re d th e y 'd be hung fo r murder 'c au se th e y 'd passed s e v e ra l people on th e ro ad who'd *a knowed

who was along th e re th a t n ight*W ell, th e y took o ld Dry Fryo and propped him up a g a in s t a m an's

oornhouse* And th a t man he wont o u t e a r ly th e n ex t m o rn in 'j and h e 'd been n is s in * corn —• so when he soon th e re was somebody over th e r e a t h is cornhouse he ran and g o t h is gun. S lipped around, h o l le r e d , "Get away from th e ro or I ' l l sh o o t1"

And when o ld Dry Frye never moved he sh o t and Dry Frye tum bled over and h i t t h e ground.

"Law me I" says th e n an . " I b e lie v e t h a t was o ld Dry F ry e ." (Everybody knew old Dry F ry e .) "How I 'v e done k i l l e d him and I ' l l g e t hung fo r n u rd e r ."

So he went and saw i t was him and seen how dead he w as, and w ent t o s tu d y in ' up some way to g e t sh e t o f him . W ell, he th ro n ed him in th e oornhouse t o h id e him, and th a t n ig h t he to o k old Dry Frye down t o a b ap tiz in * plaoe 's id e a bend in th e r iv e r where th e y were f i x i n ' t o have a b ig b ap tiz in * th e nex t day , propped him up on a stump on th e r iv e rb a n k — ev er a r ig h t deep p lace where th e bank was p r e t ty high - - propped h is elbows on h i s knees and h is oh in in h is hands. Made him look aw ful n a tu r a l . L e ft him th e r e , w ent on home and s le p t sound.

So e a r ly th e nex t m o rn in ', 'f o r e anybody e l s e , a l i t t l e o ld f e i s t y boy cane down th e re f o o l in ' around th e b a p t i z in ' p la c e . Saw o ld Dry F ry e , h o l le re d , "Howdy, Mr. F rye ."

Went over c lo s e r ."Howdy, Mr. Dry F ry e ."Old Dry Frye s a t r ig h t on." I s a id Howdy, Dry F ry e ,"Old Dry Frye kept on s i t t i n ' . That boy, now he was j u s t as

f e i s t y as he could b e . He d id n 't o a re how he spoke t o nobody."L o o k -a-h ere , Old Dry F rye, i f you d o n 't answer me Howdy I 'm

g o in ' t o knock your elbows out from under you. — Howdy, Mr. F ryeJ"So t h a t f e i s t y boy he reaohed over and swiped o ld Dry Frye a

l io k and over in the r iv e r th e o ld non w ent, r i g h t down to th e bank in to t h a t deep w a te r , sunk c lean o u t o f s ig h t . Then t h a t boy th o u g h t sure h e 'd drowned Dry F ry e . He got so ared abou t b e in ' hung fo r murder b u t he c o u ld n 't do no th in* about i t r ig h t th e n 'c au se h e 'd seen fo lk s cornin' down th e road fo r th e b a p t i z i n ', and th e y w a ited and w a ite d fo r o ld Dry Frye t o come and p reaoh , b u t he d i d n 't oome and d id n 't cone and when th ey g o t t o a s k in ' who'd seen o ld Dry F ry e , one man s a id h e 'd l e f t h is p lace r ig h t a f t e r su p p er, and ano ther man sa id why, no , h e 'd n o t seen o ld Dry Frye s in ce l a s t m o o tin '. And th a t f e i s t y boy he 'u ld l e t ou t a g ig g le where he was s i t t i n * on one o f th e benohes in the b ack , and th e o th e r boys

6f>

*uld ask hira what he was la u g h in ' a t h u t h e 'd j u s t g e t t i c k le d a g a in and n o t t e l l ‘en n o th in '. So f i n ' l l y th e fo lk s sung a few hymns and to o k up a c o l l e c t io n . So m e e tin ' broke and everybody w ent on horse, and t h a t boy he wont on hone, to o .

Then 'way along l a t e t h a t n ig h t he vient down and hooked o ld Dry Frye o u t o f th e r i v e r and p u t him in a sack . Got h i s sh o u ld er under i t and s ta r te d down th e ro ad t o h id e hira somewhere, ’V e il, th e r e were a couple o f rogues cornin' a long t h a t same n ig h t , had s to l e a oouple o f hogs and had 'o n sacked up ca rry in * 'e n on t h e i r s h o u ld e rs . Thera rogues cane over a l i t t l e r i s e in th e ro a d , saw t h a t boy and th ey g o t s c a re d , dropped t h e i r saoks and ru n back l i o k e t y - o p l i t and h id in th e b re s h . The boy he never saw th e two rogues so he eoae on , saw thera tw o sacks and s e t o ld Dry Frye down t o see w hat was in th e o th e r s a c k s . Then he l e f t o ld Dry Frye l a y i n ' t h e r e , p icked up one o f th e hogs and went on b ack hone.

So th o two rogues th ey s lip p e d ou t d i r e o t ly and when th e y saw th e two sack s s t i l l l a y in ' th e r e , th e y p icked 'era up and k ep t on g o i n ' . Got in hone and hung th e saoks up in th e m eathouse. Then th e n e x t rao rn in ' th e o ld woman g o t up t o cook b r e a k fa s t , went ou t t o th e smokehouse t o c u t sone m eat. Ripped open one o f thera saoks and th e r e hung old Dry F ry e , W ell, she h o l le re d and dropped h e r b u tc h e r k n ife and she g o t away frora th e re in such a h o r ry she to r e down one s id e o f th e smokehouse, broke o u t two p o s ts on th e back p o rc h , and knocked th e k ito h e n door c le a n o f f th e hingeB , She was s o r t a s c a re d . She h o lle re d and sq u a lle d and th e men oorae runnim ' in t h o i r s h i r t - t a i l s and f i n ’ l l y looked o u t in th e smokehouse, saw o ld Dry Frye h an g in ' up th e re in th e p lace o f a hog,

’’Law me!" says one o f 'em , " H i t 's o ld Dry F ry e!" (Everybody knew o ld Dry F ry e .) "W e 'll be hung f o r raurder i f we d o n 't g e t s h e t o f him sorae way o r o th e r ,"

W ell, th e y had some w ild h o rse s in a w ild e rn e ss o u t on th e m ountain . So th e y rounded up one o f 'e n , g o t h ln in th e b a rn . Then th e y p u t an o ld n o - 'c o u n t sad d le on him and an o ld p ie c e o f b r i d l e , and p u t o ld Dry Frye on. S trapped h is le g s to th e b e lly b a n d , t i e d h i s hands t o th e sad d leh o rn and p u lled th e r e in s th ro u g h , s tu c k h is o ld h a t on h is head; and th e n th e y s lip p e d ou t and opened a l l th e g a te s . Opened th e b a rn door and l e t th e h o rse go . He sh o t o u t o f th e r e and down th e ro a d he w ent w ith t h a t o ld preacher-raan a-bounoin* f i r s t one s id e and th e n th e o th e r . And them rogues ru n o u t and w ent to s h o o tin ' and h o l l e r i n ' , "H e 's s to le our h o rse ! Stop him! Somebody s to p him yonder! Horse t h i e f ! Horse t h i e f ! "

Everybody down th e road came runnin* o u t t h e i r houses a -s h o u n tin ' and h o l l e r i n ' and a - s h o o t in ' around , b u t t h a t h o rse had done jumped th e fence and to o k o u t up th e m ountain and i t looked l ik e he was headed f o r Kentucky,

66

And a s f a r a s I 101017 o ld Dry Frye i s over th e r e y e t a - t e a r i n ’ around th ro u g h th e w ild e rn e s s on t h a t w ild h o r s e *4

"When th e s to r y has b een t o l d and ev ery o n e has had a chance t o

s t r e t c h and c a tc h h i s b r e a th , b e g in th e r e t e l l i n g o f t h e s to r y b y a sk in g

i f anyone rem em bers how th e s to r y began# L e t th e s tu d e n ts r e t e l l th e

s t o r y , i n t h e i r own words o f c o u rs e , scen e b y scen e t a k in g tim e t o d i s

co v er th e e s s e n t i a l e lem en ts o f each# There a re n in e soenes i n "Old

Dry F rye" and w i th an o u t l in e o f th e s to r y i n mind th e s t o r y t e l l e r can

e f f e c t i v e l y d i r e c t th e r e t e l l i n g # The scen e by scen e s t r u c tu r e fo llo w s

t h i s b a s ic form#

I# Old Dry Frye e a t in g and chok ing t o d e a th on a p ie c e o f f r i e d c h ic k e n and th e man ta lc in g Dry F rye t o th e house down th e r o a d ,

I I # Dry Frye p ropped up a g a in s t th e door and f e l l i n w hen i t w as opened,

I I I # D ry Frye m is ta k e n f o r a highw ay r o b b e r ,

17# D ry Frye p ropped up a g a in s t a o o rn h o u se ,

V# D ry Frye s e t up on a stump b y th e r i v e r ,

VI# L i t t l e b o y 's e n c o u n te r w i th Dry Frye a t th e r i v e r ,

V II# The two ro g u e s g o t t h e sao k w i th Dry F ry e ,

V III# The o ld woman's t r i p t o th e m ea th o u se ,

IX# D ry Frye on t h e w i ld h o rse#

^ R ich ard C hase , e d # , G ra n d fa th e r T a le s (B ostons Houghton I & f f l in Company, 1 9 4 8 ), pp# 100-105#

67

D» M a te r ia ls and R eso u rces: A S e lec ted B ib lio g rap h y

C hase , R ich a rd , ed . G randfather T a le s . B oston: Houghton M if f l inConpany, 1948 •

D obbs, Rose, e d . Once Upon A Time. How York: Random House, In o .^19#>.

A r n e t t , K a th leo n , ed . A fric a n Ityths and Legends. New York:Henry Z. Walok, I n c . , 1963.

H o llo w e ll, L i l l i a n , ed* A Book Of C h ild re n 's L i t e r a tu r e . New York:R in eh art and Conpany, Ino .j 1951*

S ik s , G erald ine B ra in , e d . C h ild re n 1a L i te r a tu r e fo r D ra raa tiz a tlo n .New York: H arper and Row,” Pub'l"is her s , 1964.

F i ta g e r a ld , B u rd e tte S . , e d . World T ales For C rea tiv e D ram atics And S to r y t e l l i n g . Englewood C l i f f s , TTew J e rs e y : '" iV e n tic e - HaTl, I n c ., 1962.

Rasm ussen, la g e r M arg re te , e d . E a s t O' The Sun And West O' The Moon. C hicago: A lb e r t YJhitnan and" Co»panyi"T924T

B e tk in , B .A ., e d . A T reasu ry o f W estern F o lk lo re . New York:Crown P u b l is h e r s , I n c . , 1^£1.

B e tk in , B .A ., e d . A T reasu ry o f S outhern F o lk lo re . New York:Crown P u b lis h e r s , 1949*

E . B eh a v io ra l O b je c tiv e :

G iven a s to ry o r poem w hich i s a p p ro p ria te f o r th e s tu d e n t 's ag e ,

i n t e r e s t s , m a tu r i ty , a b i l i t y , and o o n ta in s on uncom plicated and c l e a r ly

d ev e lo p ed p lo t , th e s tu d e n t , w ith in one hour o f b e in g to ld th e s to r y ,

w i l l b e ab le to r e t e l l th e s to r y in c o r r e c t sequenoe t o in c lu d e a t

l e a s t 75> per c e n t o f th e o r ig in a l in c id e n ts , e v e n ts , and c h a r a c te r s .

A, Aeadeiaio Areas Language A rts

Teach in r; Agreements £ o a l :

I 2*01 D ram atize s t o r i e s , rhym es, poems, and songs and en joy group o r a l exp ression#

C. Suggested Sample L esson :

OrAl in t e r p r e t a t i o n , c h o ra l re a d in g , and r e a d e r 's th e a t r e a s w e ll

as s to r y d ra m a tiz a tio n c o n tr ib u te t o th e s tu d e n t 's developm ent o f s k i l l s

in o r a l e x p re s s io n . Each o f th e se s p e o if ic te ch n iq u es o r approaches

t o l i t e r a t u r e has i t s own advan tage , and th e te a c h e r w i l l f in d t h a t

p a r t i c ip a t io n in a l l th e s e a c t i v i t i e s w i l l improve th e s tu d e n t 's s e l f

con fid en ce in o r a l s i tu a t io n s and h i s f a o i l i t y w ith language .

P re -c la ssro o m p la n n in g : The te a c h e r m ust s e l e c t l i t e r a r y m a te r ia l

c a r e f u l ly , b ased upon th e c la s s t o be ta u g h t and th e o b je c t iv e s t o be

re a c h e d . E q u a lly im p o rtan t i s th e t e a c h e r 's own p re p a ra t io n o f th e

s e le c t io n . P re p a ra tio n w i l l in o re a se th e t e a c h e r 's co n fid en ce a s w e ll

as p ro v id e s e v e ra l a l t e r n a t iv e approaches fo r th e s p e c i f io le s s o n . I t

i s c r u c ia l t h a t th e te a c h e r be p rep ared t o a cc ep t and use s tu d e n t id eas

and su g g e s tio n s and t h i s can on ly be done i f th e te a c h e r i s seou re in

th e m a te r ia l .

An e f f e c t iv e and fun example o f s h o r t v e rse a p p ro p r ia te f o r a

le s so n d es ig n ed t o re a c h th e s ta te d g o a ls i s Edward L e a r 's "L im erick s ."

There was a Young Lady whose ch in Resembled th e p o in t o f a p in j

So she had i t made sh a rp ,And purchased a h a rp ,

And p layed s e v e ra l tu n e s w ith h e r c h in .

There was an Old Man in a t r e e .Who was h o r r ib ly bored by a Bee;

Ythen th e y s a id , "Does i t b u zz?11 He r e p l ie d , "Yes, i t does I"

I t ' s a r e g u la r b ru te o f a Bee*"

There was an Old Man w ith a b e a rd ,Who s a id , " I t i s J u s t as I f e a r e d ! - -

Two Owls and a Hen,Four Larks and a Wren,

Hare a l l b u i l t t h e i r neBts in my beard*"

There vms an Old Man who s a id , "How S h a ll I f le o from t h i s h o r r ib le Cow?

I w i l l s i t on t h i s s t i l e .And co n tin u e to sm ile ,

Which may s o f te n th e h e a r t o f th e Covr*"

There was an Old Man on whose nose Most b ird s o f th e a i r oould rep o so ;

But th e y a l l f lew away At th e c lo se o f th e day ,

Yihioh r e l ie v e d t h a t Old Man and h is n o se .

There was an Old P erson o f Dean Who dined on one pea and one bean;

For he s a id , "More th a n t h a t ,Would make me to o f a t , "

That c a u tio u s Old P erson o f Dean*

There was an Old P erson o f Ware,Who rode on th e back o f a b e a r ;

When th e y a s k 'd , "Does i t t r o t ? "He s a id , " C e r ta in ly n o t j

H e 's a Moppsikon F lo p p sik en b e a r !"

There was a Young Lady whose nose V/as so long th a t i t reached t o h e r t o e s ;

So she h ire d an Old Lady,Y/hose conduct was s te a d y ,

To c a r ry t h a t w onderfu l nose*

There was an Old Mon in a b o a t ,Who s a id , " I 'm a f lo a t ! I 'm a f lo a t ! "

When th e y s a id , "Ko, you a i n ' t ! "He was re a d y t o f a i n t ,

T hat unhappy Old Man in a boat*

There was on Old P erson whoso h a b i t s Induced him t o fe e d upon R a b b its ;

Then h e 'd e a te n e ig h te e n ,He tu rn e d p e r f e c t ly g re e n , ^

Upon w hich ho re l in q u is h e d th o s e h a b i ts

Classroom p ro ced u res and a c t i v i t i e s ; Read a lo u d th e lim e r ic k s as

a group and ex perim en t w ith v a r i a t io n i n r a t e , p i to h , rhythm , and

volume t o communicate th e m a te r ia l . One method t o develop t h i s m a te r ia l

o r a l ly in v o lv es d iv id in g th e c la s s in to sm all groups o f fo u r t o s ix

s tu d e n ts . A ssign each group a l im e r ic k t o develop o r a l l y . S uggest t h a t

th e group read th e lim e ric k s and d e te rm in e i t s c o n te n t , o h a r a c te r s ,

en v ironm en t, and a c t i v i t y . The group i s th e n d i r e c te d t o p rep are th e

l im e r ic k fo r o r a l as w e ll as v is u a l p r e s e n ta t io n . That i s , o f th e f iv e

s tu d e n ts i n th e g ro u p , th re e may re a d th e l im o r ic k w h ile th e o th e r two

pantomime th e c h a ra c te r s and a c t i v i t y . In a n o th e r case th e l im e r ic k

may be d ram atized w ith a n a r r a t o r . For example -the l im e r ic k ,

There was an Old Ban i n a b o a t ,Tfho s a id , " I 'm a f l o a t ! I 'm a f l o a t ! "

Vfhen th e y s a id , "No, you a i n ' t ! "He was re a d y t o f a i n t ,

That unhappy Old Nan i n a bo at«

may be developed i n th e fo llo w in g manner*

D iv ide s ix s tu d e n ts in to th re e groups o f two e a c h . The f i r s t

group w i l l be c a l le d th e n a r r a to r g roup ; th e seo o n d , th e o ld man g roup;

and th e t h i r d , th e o ld woman g ro u p . The perform ance I s p lanned a s

fo l lo w s :

Êdward L e a r, "L im erick s ," in A Book Of C h ild re n 's L i t e r a tu r e , ed* by L i l l i a n H ollow oll (New York: R in e h a rt and Company, I n c . , 1950), p p . £69-£70.

71

N a rra to r Group* There was an Old Man i n a b o a t , 7/ho s a id ,

Old Han Group " I 'm a f l o a t ! I 'm a f l o a t ! " (pantomime as i f in a b o a t)

N a rra to r Groups V/hen th e y s a id .

Old Woman Groups "Ho, you a i n ' t ! "

N a rra to r Groups He was re a d y to f a i n t .That unhappy Old Man in a boat#

L im ericks as w e l l as most Mother Goose and o th e r v e rse may be

p re p a red i n t h i s fa sh io n # No doubt a s tu d e n t who has an o p p o r tu n ity

t o ex p erien ce l i t e r a t u r e and p o e try i n an e x c i t in g , fun and c h a lle n g in g

way w i l l develop an a p p re c ia t io n fo r t h a t l i t e r a t u r e #

D. M a te r ia ls and R eso u rces ; A S e leo ted B ib liography#

A rb u th n o t, I&y H i l l , ed# Time For P o e try # New Yorks S c o t t ,Foresnan and Company, l ^ l T "

H o llo w e ll, L i l l i a n , ed# A Book Of C h ild r e n 's L i t e r a tu r e » New Yorks R in e h a rt and Company, In c# , ljfjO’#

S ik s , G erald ine B ra in , ed# C h ild re n 's L i te r a tu r e f o r D ram a tiz a tio n # New Yorks H arper and Row, i ru b lis h e rs , 1954#

Mother Goose# •

E# B eh a v io ra l O b je c tiv e s

Given a s to r y , rhym e, poem, o r song , th e s tu d e n t , e i t h e r in d iv id u a l ly

o r a s a member o f a g ro u p , w i l l i n n o t more th a n one hour determ ine an

a p p ro p r ia te as w e ll a s e f f e c t iv e mode o f o r a l e x p re ss io n f o r th e

s e l e c t i o n 's p re s e n ta t io n # F u r th e r , th e s tu d e n t w i l l be p re p a re d t o

d em onstra te th e s e le c t io n o r a l ly i n th e p re -d e te rm in ed s ty le #

A# Aoadenio A rea : Language A rts


I 3*01 P a r t i c ip a te in im ag in a tiv e s i tu a t io n s th ro u g h pantomime, p lay a c t in g , and puppetry#

C. Suggested Sample Lesson:

P a r t ic ip a t io n i n com m unication a c t i v i t i e s such a s pantomime,

a c t in g , and pu p p e try p rov ides an o p p o r tu n ity fo r th e o h ild t o develop

e f f e c t iv e language s k i l l s and h a b i t s . As language s k i l l s im prove, th e

s tu d e n t T rill ex p erien ce in c re a se d s e lf -c o n fid e n c e and h is a b i l i t y to

employ c r i t i c a l th in k in g , c o n c e n tra tio n , s e n s i t i v i t y , and l i s t e n in g

s k i l l s w i l l improve h i s s u c c e s s fu l p a r t i c ip a t io n i n language e x p e r i

e n c e s . Pantomime, a c t in g , and puppetry a re th re e v e ry d i s t i n o t d ram atic

te c h n iq u e s and th e te a c h e r sh o u ld r e f e r t o s p e c i f ic t e x t s and re so u rc e s

f o r d e ta i le d d is c u s s io n s o f e a o h . However, each o f th e s e te c h n iq u e s ,

a s i n m ost d ram atic a c t i v i t i e s , proceeds from a s to ry base# A s to r y

l i n e in v o lv in g c h a ra c te r s p a r t i c ip a t in g i n a problem so lv in g a c t i v i t y

o r a c o n f l i c t s i t u a t io n i s b a s ic to a lm o st a l l dram a.' The te a c h e r

who can develop a re so u rce o f id eas and m a te r ia ls t o develop s to r y l in e s

w i l l f in d a p p l ic a t io n o f th o se s to ry l i n e s to v a rio u s d ram atic a c t i v i

t i e s o bv ious, as we 11 as easy#

R ê-classroom o la n n in ^ : A b a s io t o o l fo r th e s t im u la t io n and

developm ent o f a s to r y l in e i s th e open-ended s to r y . Very s im p ly ,

th e open-ended s to r y p ro v id es th e s tu d e n t w ith an in tro d u c t io n t o a

s to r y t h a t w i l l be developed b y th e s tu d e n t# The open-ended s to r y

u s u a l ly c o n ta in s th e s p e c i f ic s o f p la c e , t im e , m ain c h a r a c te r s .

73

s i t u a t i o n , and always ends a b ru p tly c re a tin g a s i t u a t io n o r c o n f l io t

w hioh o a l l s fo r r e so lu tio n * For exam ple, "The S ta n le y 's Garden"

in tro d u o o s a fam ily o f c h a ra c te r s in th e perform ance o f an a c t i v i t y .

The e lem en ts o f c o n f l i c t or suspense are m inim al and th e in te r a c t io n

o f th e c h a ra c te r s and t h e i r c o o p e ra tio n i s o f o e n tr a l im portance .

"A ll A lo n e" , on th e o th e r hand, in v o lv es one c e n t r a l c h a ra o te r involved

in a v e ry su sp e n sfu l s i t u a t io n and th e p ro sp ec t fo r o o n f l i c t i s g r e a t .

The S ta n le y 's Garden

On a f in e sunny day in th e sp rin g Mr. S ta n le y s a t a t th e noon meal t a b l e w ith h i s fam ily : h i s w ife who was an e x c e l le n t cook,h is 12 y e a r o ld d au g h te r L au ra , and h is 8 y e a r o ld tw in s Jake and

Boa.— Mr.—S ta n le y had a f in e fam ily , and th e y l ik e d t o do th in g sto g e th e r . Of co u rse sometimes Laura needed t o be coaxed t o jo in i n , b u t one th in g she a b s o lu te ly loved was w orking o u t in t h e i r g a rd en .

The S tan leys had a f in e garden which was la rg e and had many p la n ts and v e g e ta b le s growing in i t . Li*. S ta n le y d ec id ed th a t th e re was s t i l l room in th e g ard en , and th a t i t would be a good idea to p la n t some f lo w e rs . This was j u s t th e sp r in g day fo r doing t h a t , so he b rough t i t up t o h i s w ife and c h i ld re n .

Everyone was v e ry much in fa v o r o f t h i s , and each p erso n o a lle d ou t w hat he chose fo r h is t a s k in th e p la n tin g p ro c e s s . A fte r lu n ch , everyone began g e t t in g rea d y . I t s t a r t e d o u t a s a re g u la r a f te rn o o n doing a r e g u la r th in g l ik e p la n tin g f lo w e rs , when. • . •

A l l Alone?

I t was about t e n o 'c lo c k a t n ig h t when I a r r iv e d hone a f t e r s tu d y in g a few h ours a t th e l i b r a r y . I was v e ry s u rp r is e d to see th e house a l l d a rk as my m other and b ro th e rs and s i s t e r s should have been in s id e ending t h e i r days a c t i v i t i e s and p re p a rin g fo r b ed . 1 w ent t o th e f r o n t door and t r i e d to open i t t o g e t i n , b u t i t was loo k ed . Luokily I had a key in my p u rse . I opened th e door and w ent on in . A f te r c a l l in g f o r anyone who m ight answ er and re c e iv in gno r e p ly I went up t o ny room. I though t perhaps th e y had a l l gonet o a m ovie, b u t t h a t was c e r t a in ly a s tra n g e th in g t o do on a weekday n ig h t . The wind w hich had been b low ing b e fo re seemed to beblow ing h a rd e r now and I cou ld h ea r ra in d ro p s s t a r t i n g t o b e a ta g a in s t my bedroom window. I deoided t o g e t re a d y f o r bed and hope th e r e s t o f my fa m ily would ooae home and do th e same. About an

74

h o u r passed and s t i l l no one was home* The r a i n was coming down i n hue Ice t s now and th u n d e r and l ig h te n in g f i l l e d th e sky l A l l was b lao k o u ts id e # The wind was making v e ry s tra n g e n o ise s how ling p a s t th e window and blow ing t ro e b ranches h e re and th e re # The window s h u t te r s were banging m adly w hich made them sound as i f someone was stam ping t h e i r f e e t up th e s ta irw ay # I decided t h a t my im ag in a tio n had been g e t t in g c a r r i e d away and t h a t i t would be b e s t fo r me to j u s t go t o bed and t r y to s lee p # I sw itched o f f my l i g h t , clim bed in to bed and cudd led under my covers# Suddenly th e r e was a loud c ra sh dow nsta irs# X s a t up s t a r t l e d , w ondering w hat i t oould be# I s a t th e r e m o tio n le ss l i s t e n in g f o r f u r th e r n o ise s# H earing no more I decided I 'd b e t t e r in v e s t ig a te #Perhaps a window had been l e f t open and th e vrLnd blew a vase t o th e f lo o r# X q u ie t ly creeped o u t o f bed and n e rv o u sly opened th e door# As I s ta r te d down th e s t a i r s , ! th o u g h t I h ea rd a n o ise b eh in d me# X tu rn e d t o lo o k and • • •

C lassroom p ro ced u res and a c t i v i t i e s : In tro d u ce th e o la s s t o th e

open-ended s to r y in much th e same way as a n y s to r y would be in tro d u ced #

The s i tu a t io n s may b e d iso u sse d and m ain c h a ra c te r s id e n t i f ie d # The

te a c h e r should c o n c e n tra te on warming up th e s tu d e n t 's im ag in a tio n and

use c a r e f u l ly c o n s tru c te d q u e s tio n s t o s tim u la te o re a t iv e th in k in g #

T e ll t h e open-ended s to ry and s o l i c i t re sp o n ses from th e c la s s#

U n ti l th e te a c h e r has m astered th e te c h n iq u e i t i s u s u a l ly most

e f f e c t i v e to s o l i c i t id e a s and su g g e s tio n s from s e v e ra l s tu d e n ts d i s

c u s s in g th e p o te n t i a l f o r each su g g estio n # He f i n e , c o n s o lid a te ,

in t e g r a te as many id e a s and su g g e s tio n s as p o s s ib le c o n tin u in g t o

develop th e s to r y lin e # Depending, o f c o u rse , upon th e t e a c h e r 's g o a l ,

th e s to r y may be co n tin u ed in d e f in i te ly # T h e re fo re , i t i s f o r th e

te a c h e r t o a o t iv e ly guide th e s t o r y 's developm ent and draw i t t o a o lo se

^ P h y l l is C o re n th a l, "The S ta n le y 's G arden ," and D a rlin e K le in , "A ll A lo n e? ," (u npub lished open-ended s to r ie B w r i t t e n fo r c r e a t iv e d ram a tic s p a r t i c ip a t io n in Columbus P u b lic S ch o o ls, Columbus, O hio, 1971)•

7$

a p p ro p r ia te ly # I t i s im p o rta n t t o t e l l th e com pleted s to r y a f t e r i t s

developm ent i s com plete# The t e l l i n g w i l l sm ooth o u t i t s p l o t and w i l l

more f irm ly s e o u re th e s t u d e n t s com prehension#

W ith th e com ple ted s t o r y , th e o l a s s n ay u se i t f o r d r a m a t iz a t io n ,

p u p p e t d r a m a t iz a t io n , pantomime o r a n y o th e r d ra m a tio a o t iv i ty # Because

s tu d e n ts have c r e a te d t h e s to r y th e y o f te n f e e l th e y have a g r e a t e r

in v e s tm e n t i n i t s developm ent# The s tu d e n t* s p r id e o f accom plishm ent

a f t e r th e s u c c e s s f u l developm ent o f a d ram atio a o t i v i t y b ased on a n

open-ended s to r y w i l l m o tiv a te h i s c o n tin u e d p a r t i c i p a t i o n in

lan g u ag e a r t s a c t i v i t i e s #

D# M a te r ia ls and R e s o u rc e s : A S e le c te d B ib lio g rap h y #

B a r n f ie ld , G a b rie l# C re a tiv e Drama i n Schools# Hew Y ork: H a r t P u b lish in g Company, in 'c# , 1968#

IfcC a s lin , H e ll ie # C re a tiv e D ram atics i n t h e C lassroom # New Y ork: D avid IbKoy Company,1 I n c # , 1^68#

S ik s , G e ra ld in e B ra in # C re a tiv e D ra m a tic s : An A r t For C h ild re n #Hew Y ork : H arp er and ilow, P u b lis h e r s

Ward, W in ifred # Playm aking vri.th C h ild re n # New Yorks A p p le to n -C e n tu ry -C rd f ts , ' 'in o # ,

Way, B rian# D evelopm ent Through Drama. Londons Longman Group L im ite d ,1 9 ^ 7 #

9E# B e h a v io ra l O b je c t iv e :

Given a n open-ended s t o r y , th e s tu d e n t , i n n o t more th a n one h o u r ,

w i l l com plete a s to r y w h ic h s u c c e s s f u l ly a s w e l l a s s e n s ib ly r e s o lv e s

th e p roblem o r c o n f l i c t in tro d u c e d i n th e open-ended s to ry # The

s tu d e n ts * co m p le ted o r i g i n a l s to r y w i l l be s u i t a b l e f o r d ra m a tiz a t io n

i n pantom im e, a c t i n g , p u p p e try , o r o th e r d ra m a tic a c t i v i t y #

A* Academio A rea : Language A rt3

B. To ach in g Agreements G oal:

I I 4 .0 1 Be c r e a t iv e i n w r i t in g n o te s , i n v i t a t i o n s , l e t t e r s , s t o r i e s , poems, d i a r i e s , and book re v ie w s .

I 4 .0 2 D ic ta te o r w r i te o r ig in a l poems.

I I 4.Q3 Develop a b i l i t y in c re a t iv e e x p re s s io n by w r i t in g and d ram a tiz in g s to r i e s and poems.

I l l 4 .0 4 Have o p p o r tu n it ie s to con tinue t o develop c r e a t iv e a b i l i t y th ro u g h w r i t in g , d ra m a tiz in g , and sp e a k in g .

C. Suggested Sample L esson :

P ro v id in g th e s tu d e n t w ith many e x p e rien c es i n an e f f o r t to develop

h is s k i l l and f a c i l i t y w ith language i s the g o a l o f t h i s le s s o n .

Working as a g roup , th e c la s s can r e a c t to a s tim u lu s c r e a t in g language

i n th e form o f p o e try , s t o r i e s and c r i t i q u e s . There i s no l im i t to

th e range o f e f f e c t iv e s tim u lu s o r a p p ro p ria te e x p e r ie n c e s . The s p e c i f ic %

l im i ta t io n s m ust be de term ined by th e te a c h e r and by th e c l a s s . However,

i t should be remembered t h a t a s in g le s tim u lu s may be v a lu a b le fo r a

v a r i e ty o f s tu d e n ts w i th th e u n d e rs tan d in g t h a t r e a c t io n s w i l l vary a s

g r e a t ly as th e s tu d e n ts .

P re -c lassro o m p la n n in g : P rep are an e x p e rie n c e fo r th e c l a s s . The

p re p a ra t io n may be a s uncom plicated a s showing a fi3m , o r i t may in v o lv e

th e g a th e r in g and c o l le c t in g o f many d i f f e r e n t item s and m a te r ia ls . For

exam ple, i f th e e x p e rien ce p a r a l l e l s th e " S ty l i s h K onster T h ing ," th e

te a c h e r w i l l need to seo u re s e v e ra l la rg e cardboard b o x e s , random p o le s ,

lum ber, p a p e r , c lo th , p ap er mache, ta p e , p a i n t , c ray o n s , household ju n k

l ik e m ilk c a r to n s , p ap e r cup s , pap er tu b e s , t i n p l a t e s , and any th ing e l s e

t h a t may be a v a i la b le . A ll t h i s m a te r ia l i s p i le d in th e c e n te r o f th e

work a re a and made r e a d i ly a v a ila b le to th e o la s s .

Classroom prooedureB and a c t i v i t i e s ; In tro d u ce th e c la s s to th e

m a te r ia ls and th e range o f cho ices a v a i la b le . D isouss n e cessa ry

a t t i t u d e s fo r su c c e ss fu l group work, even to th e e s ta b lish m en t o f ru le s

f o r th e e x e ro is e . Y/hen a l l s tu d e n ts a re aware o f th e m a te r ia ls and th e

need f o r c o o p e ra tio n , r e s p e c t , and o o n tro l , d i r e c t th e s tu d e n ts t o

c o n s tru c t som ething. Take co re n o t t o d i r e o t th e c o n s tru c tio n b u t be

a v a i la b le t o h e lp w ith c o n s tru c tio n problems and ao t as c o n s u lta n t .

During th e c o n s tru c tio n phase s tim u la te random d isc u ss io n about th e

''th in g s" i d e n t i t y . I b i s anim al o r p la n t , i t may be a m achine, o r i s i t

a man? Yftiere nay i t be from? Why i s i t here? How does i t oommunicate,

e a t , s le e p ? Does i t have any f r ie n d s? Can i t move? These q u es tio n s

as w e ll a s many more w i l l s tim u la te th e s tu d e n t 's im ag inations and beg in

t h e i r sh a rin g o f id e a s . The sh arin g o f id eas w i l l in tu rn s tim u la te th e

development o f new p o s s i b i l i t i e s fo r th e c r e a t io n o f t h i s " th in g ."

Ydien th e " S ty lis h M onster" (p lease d o n 't use t h i s term w ith th e

c la s s , l e t th e n e v e n tu a lly name i t them selves) i s f in is h e d ,ta k e th e tim e

to look i t over co m p le te ly . Then s i t down and b eg in to d isc u ss th e

c re a t io n u sin g th e sane k in d s o f q u e s tio n s used during th e c o n s tru c tio n

phase . Encourage every s tu d e n t to c o n tr ib u te t o th e d iso u ss io n and

acoep t a l l comments, id e a s , and su g g e s tio n s . A t t h i s p o in t i t i s n o t

n ecessa ry t o make s to ry l in e d e c is io n s , r a th e r th e o b je c tiv e i s t o

develop and s tim u la te c re a t iv e th in k in g ,

Enoourage th e s tu d e n ts t o reco rd t h e i r r e a c t io n s in w r i tin g p o e try

and p rose* The te a o h e r should be a v a i la b le fo r ad v ice and in fo rm a tio n

b u t i t i s c r u o ia l t h a t th e s tu d e n t f e e l he i s t o t a l l y f r e e t o r e a c t in

h i s own w ay, as h is own c r e a t i v i t y and im ag in a tio n d ic ta te * F in a l ly ,

e no our age s tu d e n ts t o sh a re t h e i r work by o r a l ly p re s e n tin g and

d isp la y in g i t so t h a t o th e rs may en jo y and grow from th e ex p erien ce*

The le s s o n may be f u r th e r developed by s e le c t in g in d iv id u a l poems

o r s to r i e s and d ev e lo p in g them in to d ra m a tiz a tio n s* S ev era l s e le c t io n s

m ight be p rep ared as a c h o ra l re a d in g supplem ented by a pantomime o r

danoo-drama* Puppets m ight be u sed t o c re a te a fa n ta s y d ra m a tiz a tio n

b ased upon a s tu d e n t 's o r group o f s tu d e n t 's c r e a t iv e r e a c t io n to th e

" S ty l is h M onster Thing*"

B* M a te r ia ls and R eso u rces ;

C o lle c t a s g re a t a v a r i e ty o f m a te r ia ls as p o s s ib le to use fo r

c o n s tru c tio n s* There i s no l i m i t t o th e m a te r ia ls t h a t may p o te n t i a l ly

be u sed i n s tu d e n t c o n s tru c tio n s* However, a v a i la b le space and s to ra g e

f a c i l i t i e s w i l l i n h i b i t th e use o f some m a te r ia ls * Cardboard boxes o f

ev e ry s iz e end shape a r e m ost v a lu a b le and v e r s i t i l e and c an be used

as th e base o r fo u n d a tio n fo r any c o n s tru c tio n * C olored p a p e r , c lo th ,

egg c a r to n s , m ilk c a r to n s , aluminium p ie pans and sc rap lumber a re

u s u a l ly th e most u se a b le and e a s i l y o b ta in a b le c o n s tru c t io n m a te r ia ls *

E* B eh av io ra l O b je c tiv e :

Given a v a r ie ty o f c o n s tru c t io n m a te r ia l s , th e s tu d e n t , w i l l i n n o t

more th a n one hour b u i ld a c o n s tru c t io n and r e a c t t o th e f i n a l c o n s tru c

t i o n i n w r i t in g by d ev e lo p in g a poem o r s to r j i u s in g th e c o n s tru c tio n

p ro d u c t as s tim u lu s , f o r o r a l o r d ram atic p re se n ta tio n *

79

A* Academic A rea; Language A rts

B* T eaching Agreements G oal:

I I I £*01 Develop in c re a s in g confidence and e f fe c t iv e n e s s i n speaking w ith o r w ith o u t no tes*

I I 5>*02 Develop an aw areness o f th e r o le o f speech in everyday l i f e and c o r re o t m istak es c o o p e ra tiv e ly *

C* Suggested Sample Lesson:

A llow ing th e s tu d e n t many o p p o r tu n it ie s t o e x p re ss h im se lf o r a l ly

w i l l develop h is co n fidence i n speaking b e fo re a group and s t a t i n g h is

own id e a s and th o u g h ts . E a r ly ex p e rien ces i n c h o ra l re a d in g , s to ry

d ra m a tiz a t io n , and p u p p e try w i l l e s ta b l i s h a good s e l f image and develop

s e l f co n fid en ce in o r a l s i tu a t io n s * As th e s tu d e n t m atures h i s

c h a lle n g e s should a ls o m ature o f fe r in g new d i r e c t io n s f o r growth* An

e x c e l le n t tech n iq u e f o r develop ing new ch a lle n g e s fo r s tu d e n ts w ith

ex p erien ce i n d ra m a tiz a tio n i s im p ro v isa tio n *

B re-o lassroom p la n n in g : S e le c t and p rep a re t h e s tim u lu s f o r improv

i s a t i o n s . O b jec ts , p i c tu r e s , sounds, o r words may be used t o s tim u la te

th e s tu d e n t* s c r e a t io n o f c h a ra c te r s and c o n f l i c t s . The te a c h e r may

sim ply p re p a re b lan k ca rd s t o be d is t r ib u te d t o t h e c la s s t o l e t them

c re a te th e s tim u lu s elem ents*

C lassroom procedures and a c t i v i t i e s : D is t r ib u te fo u r b la n k oards

t o eaoh s tu d e n t in th e c la s s * I n s t r u c t th e s tu d e n ts t o in d ic a te on one

o f th e c a rd s a p lace or lo c a tio n * On an o th e r c a rd in d ic a te an a c t i v i t y ,

i t may be a commonly known a c t i v i t y l ik e sh o p p in g , h u n tin g , p la y in g a

game, s le e p in g , or swimming* On th e l a s t two o a rd s in d ic a te a person

o r c h a r a c te r , th e se may be in d ic a te d by sex and r a c e , o ccu p a tio n ,

8o

n a t io n a l i t y , o r s o c ia l s t a t u s .

P repare th re e boxes t o c o l l e o t th e o a rd s , one box w i l l be th e

c h a r a c te r box, a n o th e r w i l l be th e p lace box, and th e t h i r d i s th e

a o t i v i t y box. "lien a l l c a rd s a re c o l le c te d in fo r a th e s tu d e n ts t h a t

th e y w i l l be random ly chosen , two a t a t im e , t o s e l e c t in d iv id u a l ly a

c a rd from th e c h a ra c te r box . 'iVhatever c h a ra c te r i s drawn i s t o be

c r e a te d by th e s tu d e n t . Then each p a ir o f s tu d e n ts s e le c t s one ca rd

f r e e th e p lace box and one card from th e a c t i v i t y b o x . The o b je c t iv e

i s f o r the s tu d e n ts t o c re a te th o se c h a ra c te r s in t h i s p lace in v o lv ed

w ith th e suggested a c t i v i t y in some fa s h io n . Alio?/ a b r i e f p e r io d fo r

p la n n in g th e a o t i v i t y and c o n f l i c t , t h i s shou ld n o t exceed one m in u te .

Then perm it th e s tu d e n ts t o perform t h e i r im p ro v isa tio n b e fo re th e

c l a s s . E arly a tte m p ts a t im p ro v isa tio n shou ld n o t be openly c r i t iq u e d

o r d iscu sso d by th e c l a s s . I t i s im p o rtan t t h a t th e s e e a r ly ex p e rien ces

be s u c c e s s fu l and en jo y ab le in o rd er to develop s e l f confidence and th e

cou rage to ex p ress c r e a t i v i t y v /ith h o n e s ty .

A s in g le s i t u a t i o n f o r im p ro v isa tio n may be a ttem p ted by s e v e ra l

groups in an e f f o r t t o d isc o v e r d i f f e r e n t ap p ro ach es. The im p ro v isa tio n

may a l s o be re p e a te d by a group u sin g id ea s s o l i c i t e d from th e c l a s s .

In some in s ta n c e s , when w orking w ith ex p erien ced s tu d e n ts , s e v e ra l

im p ro v isa tio n s may be combined in to a d ra m a tis a tio n b y c a r e fu l ly

d ev e lo p in g and r e f in in g th e im p ro v isa tio n s th ro u g h a p ro cess o f

r e p e a te d ly p la y in g , look ing f o r more e f f e c t iv e d ram a tic m anents.

D. M a te ria ls and R eso u rces ;

C o lle c tio n o f su g g ested im p ro v isa tio n s :

W here: A h ig h schoo l danco*Yihat: Very f i r s t d a te .Vfho: A h ig h schoo l boy and g i r l ; b o th shy,

ll/here: A departm ent s to r e in th e l in g e r ie departm en t."What: lAtn w ants to buy som ething fo r h is l 6j> pound w if e .Viho: Man-abou t $ x 5>", 130 pounds ( s h y ) , and C le rk -young la d y ,

b u i l t w e l l , v e ry experienced a t h e r jo b .

Where: In a b a rb e r shop,Wh&t: Old b a rb e r i s t r y in g t o o u t c h i l d 's h a i r b u t c h i ld d e f in i t e ly

d o e s n 't w ant him t o .Ylho: R a th e r o ld , im p a tie n t malo b a rb e r and v e ry young ( fo u r y e a r

o ld ) e n e rg o tio , l i t t l e sm art-a leo boy.

Where: Large c ir c u s o r f a i r .Yihat: M other d isc o v e rs h e r l i t t l e d augh ter i s no lo n g er a t h e r

s id e (she canno t see h e r anyplace n e a rb y ).Viho: N ervous, t a l k a t i v e , so ared m other and m iddle aged, v e ry

d e d io a te d policem an who does e v e ry th in g ’'s te p - b y - s te p " , calm ly , and s t i c k s to a l l r u l e s .

W here: A l iv in g room.W hat: Two o ld la d ie s t e l l i n g each o th e r o f when eaoh was h ig h

sohoo l queen. One o f th e la d ie s i s o b v io u sly ly in g about h e r e x p e r ie n c e s .

T7ho: Two v e ry e ld e r ly l a d ie s , one who i s dom ineering and a b i th a rd o f h ea rin g and one who i s l e s s e g re s s iv e and i s somewhat so ftsp o k en and sw eet.

Where: A l iv in g room.W hat: Yi'ife t r y in g t o oonvince h e r husband t h a t she needs a new

d re s s fo r th e n ex t b rid g e p a r ty and luncheon (husband d e f i n i t e l y th in k s n o ) .

Who: Yfeak, f r a g i l e , w ife who seldom g e ts h e r way, and dom ineering ,husky , la rg e man fo r h e r husband.

Where: A d o c to r 's o f f i c e .Yihat: P a t ie n t i s angry because d o c to r w ants t o p u t h e r in th e

h o s p i t a l . He has a re a so n , (T his i s up to th e ac to rs .)Viho: N ervous, ou tspoken , nagging ty p e o f woman who th in k s on ly o f

h e r "d ear s e l f " , and a very p ro fe s s io n a l ly o r ie n te d , somewhat oalm d o c to r whose p e rso n a l f e e l in g s fo r th e woman a r e n ' t to o g r e a t .

W here: A lau n d ra -m a t.•That: I t ' s a h o t , s t ic k y day and two women, who d o n 't l ik e each

o th e r anyway, f in d thom selves in a p redicam ent when on ly one o f th e w ashers w orks, so th e y b o th have t o use i t . And t h i s

i.

Viho:

9, Where Yiihat: Yiho:

10* Where What:

Who:

11* Where What:

Who:

12, Yihere What:

Who:

13, Where What:

Who:

14, There What:

Who:

li>. Where What:

Who:

82

poses a problem because t h e i r o lo th e s g e t a l l mixed up , e t c . Two women o f abou t th e same age ( in t h e i r t h i r t i e s ) . They a r e n ' t v e ry f r io n d ly ; a re angry w ith one an o th e r f o r some re a so n . N e ith e r i s v ery o o n s id e ra te .

R e s ta u ra n t.Man t r y in g t o g e t th e w a i t r e s s 's a t t e n t io n .

Shy man on h is f i r s t d a te w ith a v e ry p ro p er woman,t

A l iv in g room o f a home.F a th e r se e s h i s d augh ter coming homo tw en ty m inutes la te from h e r f i r s t d a te ,

A concerned and u p se t f a th e r w ith h is a p p a re n tly unconcerned teen ag e d a u g h te r ,

Mon in a phone b o o th ,A man t r y in g t o lo c a te a p erso n by ta lk in g to a te lep h o n e o p e ra to r •

Confused b u t demanding man w ith a busy ju s t-d o in g -h e r - jo b fem ale o p e ra to r .

C h ild re n 's playroom a t home.Two o h ild re n p la y in g w ith th e to y s w h ile d iso u s s in g th e f a o ts o f l i f e ,

A f iv e y e a r o ld boy and g i r l b o th th in k in g th a t th e y "know th e whole s to r y ,"

The k i tc h e n ,A w ife f e e l s t h a t t h i s i s th e r ig h t moment t o t e l l h e r husband she i s p regnan t w ith t h e i r f i r s t c h i ld .

H appy-go-lucky young husband w ith h is r a th e r so a red b u t comp le te ly t h r i l l e d young w ife .

Shoe s to r e ,A shoe salesm an i s B e llin g some shoes t o a huge woman. She i n s i s t s she w ears a narrow , b u t from a g lance you can t e l l she w ears a t l e a s t a s iz e 7* She i s a r e g u la r custom er and th e boss t e l l s you "The Customer i s always R ig h t" .

A v e ry e a s i ly f r u s t r a t e d salesm an, and i t ' s th e end o f th e day and h is p a tie n c e i s s lim , however he i s determ ined to s e l l t h i s woman some sh o es . A v e ry b o is te ro u s , woman who f e e l s i t ' s a woman's p e rro g a tiv e to change h e r mind as many tim es b e fo re th e f i n a l purchase as she l i k e s , and she i s v e ry i n s i s t e n t ab o u t h e r shoe s iz e .

The ledge o f a t e n s to r y b u i ld in g .An o ld la d y i s a ttem p tin g to jump o f f and a firem an is t r y in g t o s to p h e r .

The firem an and th e sw eet l i t t l e old la d y .

83

16. IVhoroi The l i v i n g room .Vlhat: A 17 y e a r o ld boy i s t r y in g t o t e l l h ie dom ineering f a th e r

t h a t h i s g i r l f r i e n d i s p reg n a n t and he w an ts t o m arry her*Who: The boy and h i s f a t h e r .

17* W here: A b e a u ty p a r l o r .Vihat: A woman i s g e t t i n g h e r h a i r dyed and th e b e a u t io ia n has

made a m is tak e and tu r n s th e woman's h a i r l i g h t g re e n .Who: A shy and r e t i r i n g ty p e b e a u t io ia n . W hile th e custom er i s

a v e ry a g g re s s iv e and dom inooring ty p e woman.

18 . W here: A h ig h sc h o o l c la s s ro o m .Y ihat: A 16 y e a r o ld g i r l i s b re a k in g a new t e a c h e r .Who: The g i r l i s a to u g h h a r d - a s - n a i l s - d e l in q u e n t ty p e . The new

te a o h e r happens t o be " p ro g re s s iv e " and b e l ie v e s in " p e r m iss iv e n e ss " in th e o la ss ro o m .

19 . W here: A l i v i n g room .W hat: You a r e a young n e rv o u s young man t a l k i n g t o your f ia n c e e

th e n ig h t b e fo re th e w edding . She i s v e r y s e l f - a s s u r e d .Who: The young man and h i s b r id e - to - b e .

20 . YVhere: A b u s .W hat: Be an a t t r a c t i v e , r e s e rv e d young woman who i s on a b u s . An

o ld n an comes and s i t s down b e s id e h e r , he has been d r in k in g and w an ts t o t a l k . The t r i p w i l l ta k e s e v e ra l h o u rs and th e woman w an ts t o g e t r i d o f h e r com panion p o l i t e l y .

Viho: R eserved young woman and a s l i g h t l y d ru n k o ld man.

21 . W here: A l i v i n g room .W hat: A h ip p ie i s t r y in g t o e x p la in t o h i s m other why he g o t

a r r e s t e d th e n ig h t b e fo re f o r smoking m a r iju a n a .V?ho: A r e a l f a r - o u t h ip p ie and h i s m o th e r.

22 . V/hero: An o f f i c e i n R u ss ia n I n te l l i g e n c e .Vfhat: Be a member o f th e CIA cau g h t ta k in g p i c tu r e s o f a S o v ie t

m is s i l e b a se who i s b e in g q u e s tio n e d b y a member o f th e Communist P a r ty as t o how he g o t th e r e and w hat he d id w ith h is cam era .

Viho: Members o f th e Communist P a r ty and th e CIA mamber.

23 . W here: A c h i l d 's bedroom .W hat: M other, a f t e r a t i r i n g day a t th e o f f i c e , has f i n a l l y g o t te n

h e r so n t o go to b e d . Sonny, u n l ik e Mommy, d o e s n 't f e e l ab i t s le e p y .

Yftio: M other b e l i e v e s in t r y i n g tim e and tim e a g a in , i f a t f i r s tyou d o n 't su c c e e d . Sonny who l i k e s t o t e s t h i s M other t o se e how f a r he can g e t w ith h e r b e fo re she becomes a n g ry .

24. 7/here: At a p a r ty .What: The husband i s t ry in g t o t e l l one of h i s f a v o r i te jo k e s .V.ho: A nagg inf, w ife who loves f in d in g f a u l t and h e r hen-pcokod

husband.

25 . Vihere: O utside by a t r e e .What: A g i r l ' s o a t i s s tu ck up in a t r e e and c a n 't g e t down.Who: The g i r l i s an im p a tien t person who c a re s fo r h e r c a t . The

c a t i s a f r a id o f h e ig h ts and d o e s n 't th in k .

A S e lec ted B ib liog raphy :

B a rn f ic ld , G a b rie l, C rea tiv e Drama in Schoo ls. Now York: H artP u b lish in g company, I n c .7 19&Q.

S p o lin , V io la . Im p ro v isa tio n f o r th e T h e a tre« Chicago: The CoachHouse P ress I n c . , 1^°3*

Ward, Y /in ifred , Playraaking w ith C h ild re n . New York: A pploton-C o n tu ry -C ro fts , I n c . , 195?.

E . B ehav io ra l O b je c tiv e :

Given a su g g estio n fo r c h a ra c to r , p lace and a c t i v i t y , th e s tu d e n t

v / i l l develop ’w ith one or more s tu d e n ts an im p ro v isa tio n based upon th e

o r ig in a l s u g g e s tio n s . The a o t iv i t y w i l l be p repared fo r d em onstra tion

in n o t more th an te n m inutes and w i l l c l e a r ly r e f l e c t th e in flu e n c e o f

th e o r ig in a l su g g e s tio n s .

CHAPTER IV

MATHEMATICS AND SCIENCE

M athematics and sc ie n ce a re i d e n t i f i e d i n Teaching Agreements as

th e two s u b je c t a re a s most concerned w ith th e s tu d e n t 's s c i e n t i f i c

developm ent* The th r e e su g g ested sample le sso n s fo r m athem atics and

th e f iv e su g g ested sample le sso n s f o r sc ien ce fo cu s upon c r e a t iv e

d ram atic s a c t i v i t i e s s ig n i f i c a n t t o t h e achievem ent o f m athem atics

and s c ie n c e o b je c tiv e s*

86

A, Aoademio A rea: K athem atios

B, T each ing Agreements G oal:

I 1 .0 1 Begin to develop m athem atical co n cep ts such as m ore, le s s la r g e , sm a ll, few , many, b e fo re , and a f t e r .

C, S uggested Sample L esson:

U sing a m athem atical concep t as th e b a s is f o r d ra m a tiz a tio n con

t r i b u t e s t o th e s tu d e n t 's u n d erstan d in g o f th e co n c ep t. The concep ts;

m ore, l e s s , la r g e , sm a ll, few , many, b e fo re , and a f t e r , a l l suggest

change. T h e re fo re , a s to r y in v o lv in g change, su ch as p la n ts growing

and m a tu r in g , a p la n e t b reak in g up in to s t a r s , a group b e in g persuaded

t o change an a t t i t u d e or a c t i v i t y , may be in tro d u c e d . D ram atiza tions

i l l u s t r a t i n g m athem atical co n cep ts prov ide in s ig h t s fo r an u nder

s ta n d in g o f th e se concep ts in everyday e x p e r ie n c e .

P re -c la ssro o m p la n n in g : Choose a p a ir o f m ath em atica l te rm s

r e p re s e n t in g change, such a s more and l e s s , la r g e and sm a ll, few and

many, and b e fo re and a f t e r . P lan t o d i r e c t th e s tu d e n t 's a t t e n t io n t o

th e se tw o te rm s and use th e s e te rm s e x c lu s iv e ly f o r th e d ra m a tiz a tio n .

For exam ple th e te a c h e r may s e l e c t th e term s few and many.

C lassroom procedures and a c t i v i t i e s : A p h y s ic a l warm up i s o fte n

v a lu a b le t o consume excess en e rg y , develop p o s i t iv e b e h a v io r , and

p h y s io a l ly wake up and warm up th e s tu d e n t. An e a s y warm up beg ins by

hav ing a l l th e s tu d e n ts s ta n d in a re la x e d p o s tu re w ith f e e t f l a t on

th e f l o o r . Begin t h e warm up b y ask ing th e s tu d e n ts t o t ig h te n a l l

th e m uscles in t h e i r f e e t , h o ld , th e n r e la x . R epeat and in c lu d e more

o f th e bo d y , t h i s tim e th e f e e t and le g s . C ontinue th e e x e rc is e by

adding new p a r ts o f th e body each r e p e t i t i o n u n t i l a l l th e body i s

b e in g re la x e d and ten sed * When th e s tu d e n ts have developed a degree

o f s o p h is t ic a t io n in t h i s e x e rc is e i t may be done b y ta k in g even

sm a lle r a re a s o f th e body, suoh as to e s th e n f e e t t o a n k le s , kn ees ,

h ip s , stom ach, and so on* This warm up e x e ro is e i s a ls o q u i te e f f e c

t i v e fo r th e developm ent o f body c o n tro l and co o rd in a tio n *

Yihen everyone i s wanned up open d iso u s s io n on th e to p io o f "few11

and "many". V/hat do th e s e words mean? How do we use them? Yihy do we

use them? S o l i c i t exam ples o f "few” and "many" t o develop th e concep t

o f com parison , t h a t "few” i s on ly "few" when compared t o "many” *

A ttem pt t o develop an example o f t h i s com parison in l i f e e x p e r ie n c e , i f

p o s s ib le use id eas g en e ra te d by th e s tu d e n t 's d iscu ss io n *

A s tu d e n t may su g g e s t t h a t in th e sp r in g o f th e y e a r th e re appears

a s in g le d an d e lio n in th e yard and a f t e r i t blooms th e r e a re more and

more u n t i l th e r e a re many dandelions* A nother s tu d e n t m ight add h is

ex p erien ce o f being e a r ly to a p u b lio g a th e r in g and se e in g o n ly a few

people b u t as tim e p assed th e re were more and more people u n t i l th e re

w ere many* S t i l l a n o th e r s tu d e n t may remember when th e re w ere many

empty l o t s in th e neighborhood b u t now a f t e r a l l th e b u i ld in g th e re a re

few* The le a f in g o u t o f a t r e e in th e sp rin g i s an e x c e l le n t example

o f few t o many and th e e v e n tu a l f a l l i n g o f le a v e s in th e f a l l ag a in i s

r e p re s e n ta t iv e o f many t o few . Choose an example o f a "few" t o "many"

l i f e e x p e rien ce t o develop a s to r y fo r d ram a tisa tio n *

Tfhen w in te r b eg in s t o leave and sp rin g s t a r t s t o show i t s e l f , th e r e

a re a few good s ig n s t h a t sp rin g and summer a re coming* There i s a

88

b i r d , a f lo w e r , a bud on th e t r e e , and o th e r su re s ig n s o f spring*

These s ig n s grow and m u ltip ly u n t i l t h e i r growth i s oom plete and th e re

a re many s ig n s in d ic a t in g sp rin g and summer. Then a co ld wind blows

on th e many s ig n s o f sp rin g and summer and th e y beg in t o go away, o r

w ith e r and d i e . Then few er and few er s ig n s o f sp rin g and summer, u n t i l

th e r e a re o n ly a few s ig n s t o l a s t u n t i l n ex t sp r in g .

When th e s to r y l in e i s com plete rev iew i t in sequence w ith th e c la s s

making c e r t a i n each c h ild u n d e rs tan d s th e concep ts ’’few” and "many".

Then d e v e lo p a pantomime o r d an c e -d ra raa tiz a tio n a o t i v i t y t o accompany

a n a r r a t io n o f th e s to r y . In th e d ra m a tiz a tio n th e s tu d e n t w orks w ith ,

u s e s , and h as p e rso n a l ex p e rien ce w ith th e concep ts “few" and "many”

making them more r e a l as w e ll as more im p o rtan t to him .

D. M a te r ia ls and R esources:

B a r n f ie ld , G a b r ie l . C roativo Drama in Schoo ls. New York: H artP u b lish in g Company, In c . 196G,

Ward, W in ifre d . Playmaking w ith C h ild re n . New York: A ppleton-C e n tu ry -C ro fts , I n c . , 1937•

E. B eh a v io ra l O b je c tiv e :

Given a p a i r o f m athem atical term s r e p re s e n tin g change, such as

more and l e s s , la rg e and sm a ll, few and many, o r b e fo re and a f t e r , th e

s tu d e n t , in n o t more th an t h i r t y m inutes w i l l I d e n t i f y o r a l ly a t l e a s t

. u r l i f e e x p e rie n c e examples u s in g th e g iv en p a i r o f te rra s . F u r th e r ,

th e s tu d e n t w i l l o r a l ly develop a s to ry l in o s u i ta b le fo r d ra m a tiz a tio n

based on one o f th e fo u r p re v io u s ly id e n t i f i e d exam ples.

8 9

A. Academic A rea; H athem atios

B. T each ing Agreements G oal;

1 2*01 Reoognize s q u a re s , r e c ta n g le s , c i r c l e s and t r i a n g l e s ,

C. S uggested Sample L esson :

Pantomime and dance-dram a a re e f f e c t iv e te c h n iq u e s f o r th e develop

m ent o f space and shape u n d e rs ta n d in g . The o p p o r tu n ity t o e x p e r ie n c e

shape a s p a r t o f an environm ent in pantomime d ra m a tiz a tio n o r d an ce-

drama g iv e s th e shape a g r e a t e r , more in te n s e r e a l i t y , A s tu d e n t 's

p e rc e p tio n o f space and sh ap e ; s p e c i f i c a l l y s q u a re s , r e c ta n g le s , c i r c l e s

and t r i a n g l e s may be c o n s id e ra b ly in flu e n c e d by h i s im m ediate c o n ta c t

w ith them . I t seems most im p o rta n t t o expose th e B tudent t o a s many

e x p e r ie n c e s as p o s s ib le a llo w in g him t o p e rce iv e shape w ith a s many o f

h i s se n se s as p o s s ib le . E xperim ent w ith see in g sh ap e , f e e l in g sh ap e ,

h e a r in g sh ap e , and maybe even t a s t i n g and sm e llin g sh ap e .

P re -c la ss ro o m p la n n in g : P rep are shape models by c u t t in g from con

s t r u c t i o n paper th e sh ap es; sq u a re , r e c ta n g le , c i r c l e , and t r i a n g l e .

These shap es should be ap p ro x im a te ly th e s iz e o f a s ta n d a rd s h e e t o f

p a p e r , o r 8# by 11 in c h e s . These may be o f v a r io u s c o lo rs i f d e s ir e d

and m igh t be l a t e r used t o g roup th e s tu d e n ts . However, t h e r e should

bo an e q u a l number o f each shape model so t h a t each c h ild may be g iv en

one shape and when co m p le te ly d i s t r i b u t e d th e r e w i l l be fo u r groups

I d e n t i f i e d by shape m odels.

C lassroom p rocedures and a c t i v i t i e s : D is t r ib u te th e shapes and

encourage each s tu d e n t to exam ine h is sh ap e . What i s s i g n i f i c a n t

ab o u t h i s sh ap e , be i t s q u a re , r e o ta n g le , c i r c l e o r t r i a n g l e ? How i s

i t d i f f e r e n t from th e o th e r shapes? T/Jhere in th e r e a l w orld m ight a

p e rso n f in d t h i s shape? Have th e s tu d e n ts o lo se t h e i r eyes and im agine

t h a t th e y a re s tan d in g in th e c e n te r o f t h e i r shape . The shape has

grown b u t th e y can reach th e edge from where th e y a re s ta n d in g . Have

them f e e l th e edge o f th e im aginary shape w ith t h e i r hands u s in g t h e i r

im ag in a tio n s a s a g u id e . I f a c h ild com plains t h a t he cannot perform

th e a c t i v i t y w ith h is eyes c lo se d , su g g est t h a t he look more c a r e fu l ly

w ith h is im ag in a tio n .

A f te r a l l th e s tu d e n ts have ex p lo red t h e i r shapes and have developed

some aw areness o f t h e i r s h a p e d c h a r a c t e r i s t i c s , b eg in a d isc u ss io n o f

movement w ith in th e shape. Tihen th e s tu d e n t i s in s id e th e shape, what

i s th e most e f f e c t iv e o r e f f i c i e n t movement? How m ight a c h a ra c te r

move who was always in s id e th e shape? Id e n t ify some s p e c if ic ch arac

t e r s and develop m o tiv a tio n c h a r a c t e r i s t i c s . For example, a c h a ra c te r

in a c i r c l e may always be tu rn in g . The reaso n th e o i r c le c h a ra c te r

tu rn s i s he can on ly move by p iv o tin g on one le g th en th e n e x t , he

can n o t s te p in th e u su a l manner o f w alk in g . The re c ta n g le o h a ra c te r

may move on hands and knees by pushing th e handB o u t in f ro n t o f th e

body, th e n drawing up th e knees* The purpose o f t h i s c a t e r p i l l a r l ik e

movement i s t h a t th e c re a tu re must always have b o th hands and knees on

th e ground. Encourage and s tim u la te th e s tu d e n t 's c re a t io n o f charac

t e r s s tim u la te d by th e shape. An e f f e c t iv e c lo se to th e le sso n has

each group show th e o th e rs what i t has o re a te d . T his f in a l dem onstra

t i o n allow s th e s tu d e n t to show h is in d iv id u a l c re a t io n w ith o u t th r e a t

and i t g ives a l l th e s tu d e n ts an ex p erien ce w ith each o f th e fo u r sh ap es .

91D. M a te r ia ls and R eso u rces ;

Advanced or ex p erien ced s tu d e n ts m ight f u r th e r develop t h i s le s so n

id e a b y c r e a t in g c o n f l i c t s i tu a t io n s between shape c h a r a c te r s . For

example th e sq u a re , t r i a n g le and r e c ta n g le have s t r a i g h t l in e s and

sh a rp c o rn e rs in common. Three s tu d e n ts each p lay in g one o f th e se

shapes may c r e a te a f r i e n d ly threesom e invo lved in a happy a c t i v i t y .

Along comes a f o u r th s tu d e n t p lay in g a c i r o le c h a ra c te r , and as th e

c i r c l e has n e i th e r s t r a i g h t l in e s o r sh a rp co rn e rs he i s r e je c te d by

th e th re eso m e . The s q u a re , th e t r i a n g l e and th e r e c ta n g le m ust p r o te c t

t h e i r id e n t i t y and be o a re fu l o f making new f r ie n d s h ip s , e s p e c ia l ly

w ith t o t a l s t r a n g e r s . Thus a c o n f l i c t s i t u a t io n i s e s ta b l is h e d and may

be developed in im p ro v isa tio n .

E . B eh av io ra l O b je c tiv e ;

Given a sq u a re , r e c ta n g le , c i r c l e or t r i a n g le shape as s tim u lu s ,

th e s tu d e n t , in n o t more th a n f i f t e e n m inutes w i l l develop and demon

s t r a t e a c h a r a c te r iz a t io n b ased on th e s tim u lu s sh ap e . The s tu d e n t

w i l l be cap ab le o f o r a l ly d is c u s s in g th e r e le v a n t s im i l a r i t y between

s tim u lu s shape and developed c h a r a c te r iz a t io n .

92

A, Academic A rea: JJathematioB

B* Teaching Agreements Goal:

I I 3*01 C ontinue t o develop tech n iq u es in problem so lv in g u s in gnumber se n te n c e s , in c lu d in g th e whole approach , clue-w ord ap p ro ach , d iagram s, d ra m a tiz a tio n s , and e s tim a te s*

I 3*02 Be in tro d u ce d to th e concep ts o f m u l t ip l ic a t io n andd iv i s io n , d isco v e rin g f a c t s fo r 2 *s th rough 9 ' s t o 18*

I 3*^3 C ontinue to so lve s to r y problems u s in g number sen tences*

C* S uggested Sample L esson:

The o p p o r tu n ity t o develop s to r i e s and d ra m a tiz a tio n s in v o lv in g

m athem atical co n cep ts g ives th e s tu d e n t an e x c i t in g and in te r e s t in g b a s is

fo r th e com prehension o f th o se c o n c e p ts . V i r tu a l ly a l l l i f e ' s e x p e r i

ences in v o lv e m ath em atica l c o n c e p ts . The money ive spend m ust be added,

s u b tra c te d and co un ted ; th e day i s m easured in m inutes and h o u rs ; our

w eig h t i s c a lc u la te d in ounces and pounds; a f a i r y a llow s th re e w ish e s ;

and Snow Vihite i s k e p t by seven d w a rfs . I t i s f o r th e te a c h e r t o f in d

o r c r e a te a p p ro p r ia te examples o f m a te r ia l c o n ta in in g d e s ir e d concepts

f o r d ra m a tiz a tio n * S to r y te l l in g , p u p p e try , im p ro v isa tio n , n o isy s t o r i e s

(see a p p en d ix ) , open-ended s t o r i e s , o r s to ry d ra m a tiz a tio n may a l l be

used t o in tro d u c e a s v rell as i l l u s t r a t e m athem atical concepts*

P re -c lassro o m p la n n in g : S e le c t a s to ry t o t e l l , n o isy s to r y , o r

open-ended s to r y t h a t co n ta in s e lem en ts o f th e m athem atical concept t o

be developed* P rep are t h i s s e le c t io n fo r in tro d u c tio n t o th e c la s s and

any m a te r ia ls n e c e s sa ry fo r i l l u s t r a t i o n .

C lassroom p rocedures and a c t i v i t i e s : W ithout s p e c i f i c a l l y d e f in in g

th e m ath em atica l co n cep t f o r th e o la s s d iso u ss i t s p resence in th e

93e n v iro n m e n t. For exam ple , how does m u l t i p l i c a t i o n e x i s t In our w o rld ?

When w ould you ex p ec t t o f in d m u l t i p l ic a t i o n w o rk in g ? Does m u l t i p l i c a

t i o n o p e ra te in n a tu re a s w e l l as in s o c ie ty ? D e sc rib e th e e s se n c e and

c h a r a c t e r i s t i c s o f m u l t i p l i c a t i o n .

An open-ended s to r y may be in tro d u c e d w hich in c lu d e s th e co n cep t

m u l t i p l i c a t i o n as an e s s e n t i a l p a r t o f th e p l o t . E x p la in t o th e o la s s

t h a t you have d isc o v e re d an u n f in is h e d s to r y and th e y may be a b le t o

h e lp com plete i t . Then t e l l th e "W icked B ea s t o f th e M o u n ta in ."

Once upon a t im e , i n a f a r o f f kingdom , t h e r e l iv e d a k in g and a l l h i s s u b je c ts in p e r f e c t h a p p in e s s . Everyone in th e kingdom g o t a lo n g w ith everyone e l s e and t h e r e were n e v e r any f i g h t s o r a rg u m ents* Even th e c h i ld r e n w ere a l l f r ie n d s and n e v e r argued o r w ere m ean.

One m orning a s th e sun was com ing o v er th e m ountain w hich s to o d i n th e c e n te r o f th e kingdom , th e k in g awakened t o f in d a n o te p in n ed t o h i s crow n. He ru b b ed h i s s le e p y eyes and s lo w ly r e a d th e n o te .I t s a i d , "To th e k in g o f th e kingdom and a l l h i s r o y a l s u b je c t s , I , th e b e a s t o f th e m o u n ta in , have d e c id e d t o p lu n d e r , ra v a g e , d ev o u r, d e s t r o y , conquer, and l a y v /asted y o u r kingdom , s ig n e d ; The Wicked B e a s t ." W ell, th e k in g co u ld h a r d ly b e l ie v e h i s e y e s , he c a l l e d h i sc a b in e t f o r an em ergency m eeting and showed them th e n o te . They to oc o u ld h a rd ly b e l ie v e th e n o te b e c a u se f o r a s long a s anyone c o u ld remember no one had e v e r seen o r h e a rd th e W icked B e a s t o f th e m o u n ta in , n o t le s s r e c e iv e a n o te from i t .

The ro y a l s e c r e t a r y b ro u g h t o u t th e r o y a l h i s t o r y le d g e r and b eg an t o se a rc h f o r some re c o rd o f th e Wicked B e a s t . A l l th e p eo p le in th e kingdom had h e a rd th e le g e n d o f th e Wicked B ea s t b u t no one r e a l l y b e l ie v e d t h a t su ch a c r e a tu r e t r u l y e x i s t e d . The r o y a l h i s t o r y in d ic a te d t h a t many hundreds o f y e a rs b e fo re a b e a s t had come t o l i v e in a cave a t th e to p o f t h e m o u n ta in . Where th e b e a s t come from o r why i t ohoose t o l iv e on t h i s m o u n ta in w ere unknown.However, i t was known t h a t i f th e b e a s t gave w a rn in g , t h a t w arn in g m ust be h eeded . The b e a s t would n o t f a i l t o p erfo rm w h a tev e r a c the s a id he would p e r fo rm . There w as one l a s t b i t o f in fo rm a tio n i nth e r o y a l h i s to r y . The b e a s t i s known t o have m ag ica l power!M ag ica l pow er, w hat m a g ic a l power? The answ er waB n o t in t h e r o y a l h i s t o r y .

The k in g and h i s c a b in e t w ere n o t f u l l y conv inoed o f t h i s Wicked B e a s t and th o u g h t th e n o te may b e some s o r t o f jo k e . So th e y c a l l e d i n a c a p ta in o f th e r o y a l guard and o rd e re d him t o jo u rn e y t o th e to p o f th e m ountain and d isc o v e r i f th e r e was a w icked b e a s t in d e e d .

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The c a p ta in and h is a id e began t h e i r jo u rn e y up th e ro y a l m ountain and when th e y reached th e to p th e y d isco v e red a oave, j u s t l ik e th e ro y a l h i s to r y had s a id . Prom in s id e th e cave th e y h ea rd a s tra n g e sound, n o t to o scarey and n o t to o n ic e e i t h e r . They c a r e f u l ly w ent in s id e and th e re saw a c re a tu re l ik e none o th e r th e y had ev e r seen b u t i t w asn’t a g ia n t , i t was only as b ig as one o f them, th e s iz e o f a r e g u la r p e rso n .

W ell, th e c a p ta in and th e a id e th o u g h t how famous th e y would be i f th e y a lone were to d e s tro y th e b e a s t . I t s h o u ld n 't be v e ry d i f f i c u l t s in c e he was o n ly a s b ig as one o f them and th e re were two o f them . They faced th e b e a s t and began th e a t t a c k , b u t th e moment th e y began th e a t t a c k som ething happened. The b e a s t became tw ice i t s s iz e , i t was now as b ig as two p eo p le , o r s iz e tw o. This o f cou rse f r ig h te n e d th e c a p ta in and h i s a id e and th e y went f ly in g down th e m ountain so f a s t t h a t o n ly a t r a i l o f d u s t could be se e n . They w ent b e fo re th e k ing and h is c a b in e t and to ld t h e i r s to r y . However, th e k ing d id n ’t b e lie v e th e s to r y , and n e i th e r d id th e c a b in e t . The k ing s a id he would go see f o r h im se lf .

The k ing d re ssed in h is ro y a l w alking s u i t and c a l le d an o th e r c a p ta in o f th e guard and h is a id e . The th r e e vrere go ing to clim b th e ro y a l m ountain and le a r n th e t r u t h o f t h i s Wicked B east once and fo r a l l . They began t h e i r jo u rn ey and when th e y reached th e cave a t th e to p , j u s t as th e f i r s t c a p ta in had s a id , th e y h ea rd th e s tra n g e sound, j u s t as th e f i r s t c a p ta in had s a id , and th e y w ent in s id e and saw th e b e a s t , as b ig as two people j u s t as th e f i r s t c a p ta in had s a id . The k ing w a s n 't a f r a id though because th e b e a s t was o n ly a s iz e two and th e re were th r e e o f them. S ince th e r e were th re e o f them th e y should be a b le t o e a s i l y d e s tro y th e b e a s t and become honored in th e p ro c e ss . So th e y decided t o a t t a c k th e b e a s t . They l in e d up fo r th e a t ta o k and th e moment th e y began to a t t a c k a t e r r i b l e th in g happened. The b e a s t became a s iz e s i x . I t had m u lt ip l ie d i t s e l f by th e number o f a t t a c k e r s , h e l l , n e e d le s s t o say th e k in g , th e c a p ta in , and th e a id e to re down th e m ountain a s f a s t as th e y oould and c a l le d on emergency-emergenoy m eetin g .

They now knew t h a t th e b e a s t 's m ag ical power was i t s a b i l i t y to m u ltip ly i t s s iz e by th e number o f people a tta c k in g i t . They a ls o knew t h a t th e b e a s t 's prom ise t o d e s tro y th e kingdom was a ls o t r u e because th e ro y a l h i s to r y had s a id i t . What were th e y going t o do t o save them selves? • • • •

The m athem atica l concep t m u l t ip l ic a t io n i s v e ry b a s ic to th e p lo t

and poses an in t e r e s t in g problem f o r th e k ing and h is s u b je c ts as w e ll

a s fo r th e s tu d e n ts faoed w ith th e problem o f re so lv in g th e c o n f l i o t .

D iscu ss what answ ers o r su g g estio n s th e c la s s may have f o r t h i s problem .

What ch o ices e x i s t fo r th e k ing? How can he d e s tro y th e b e a s t b e fo re

9$th e b e a s t d e s tro y s th e kingdom?

Tiihen th e c la s s has f i n a l l y developed a s o lu t io n t o th e k in g 's

dilemma th e s to r y may be d ram atized . Review th e s to ry l in e and e s t a

b l i s h th e n e o e ssa ry c h a ra c te r s fo r th e d ra m a tiz a tio n and experim en t

w ith v a r io u s methods o f c r e a t in g a b e a s t t h a t can in s ta n t ly m u lt ip ly in

s i z e . Dram atize th e s to r y by e s ta b l i s h in g a lo c a t io n fo r th e p a la ce and

a lo c a t io n fo r th e cav e . L et in d iv id u a l s tu d e n ts p la y s p e c i f ic p a r ts

and th e drama may be re p e a te d enough tim es to a llo w s tu d e n ts t o p la y

s e v e ra l p a r t s . The developm ent o f a c r e a tu re t h a t can in f a c t m u ltip ly

i t s e l f b e fo re your very e y e s , and p la y in g th e s to r y se v e ra l tim es w i l l

i l l u s t r a t e m u l t ip l ic a t io n in an e x c i t in g d im ension .

D. M a te ria ls and R eso u rces;

The p lo ts o f many f o lk t a l e s , f a i r y t a l e s , and legends in v o lv e th e

w orking o f a s p e c i f ic m athem atical c o n c e p t. These s to r ie s may be used

fo r s to r y d ra m a tiz a tio n , p u p p e try , o r dance-dram a t o i l l u s t r a t e th e

m athem atical concep t as w e ll as give th e s tu d e n t an o p p o rtu n ity t o b e -

oome p e rso n a lly involved w ith th e c o n ce p t. Some w e ll known exam ples

o f s to r i e s u t i l i z i n g m athem atical co n cep ts in th e p lo t a re : s t o r i e s

u sin g numbers in a s e r ie s o r co u n tin g ; ’’Three L i t t l e P ig s” , "The Three

B ears” , "The Brave L i t t l e T a i l o r . ” S to r ie s u s in g o th e r m athem atical

concep ts a re : a d d i t io n , "The P rin c e ss and th e Pea” ; s u b tr a c t io n ,

"P inocch io"; m u l t ip l ic a t io n , " S o u rc e r 's A p p ren tice” ; and d iv i s io n , "The

Three B ro th e rs” and "The .Husband TTho Was t o Mind th e House.”

E. B ehav io ra l O b je c tiv e :

Given an open-ended s to r y such as th e "Wicked B east o f th e M ountain”

which u t i l i z e s a m athem atical concep t f o r itB c e n tr a l p lo t developm ent,

th e s tu d e n t , in n o t more th a n t h i r t y m inutes w i l l o r a l ly re so lv e th e

c o n f l i c t or problem and be ab le t o e x p la in th e m athem atical co n cep ts

f u n c t io n in th e s to r y . The s tu d e n t w i l l f u r th e r be a b le to dem onstra te

o r a l l y , o r in w r i t in g , how th e m athem atical concept was used t o re so lv e

th e c o n f l i c t .

A. Academic A rea: Soience

B» Teaching Agroements G oal;

I 1*01 Become aware o f machines in h is environm ent.

C. Suggested Sample Lesson;

Pantomime e x e rc ise s and a c t i v i t i e s t h a t o f fe r th e s tu d e n t many

o p p o r tu n itie s to ex p lo re ex p ress io n th ro u g h movement. The w orld around

u s and our involvem ent w ith i t o f f e r e x c i t in g p o s s i b i l i t i e s f o r pantomime

as v /e ll as o th e r c re a t iv e d ram atics a c t i v i t i e s . The fo llow ing sample

le sso n i s s p e c i f i c a l ly in tended t o prov ide th e c h ild w ith an o p p o rtu n ity

t o exp lo re m ach ine-like movement and d isc o v e r how th a t movement i s

d i f f e r e n t from o th e r movement form s.

IV e-classroom p lan n in g ; An open a re a in which th e c la s s can move

f r e e ly i s n e c e s sa ry . There a re no m a te r ia ls n ecessa ry fo r t h i s a c t i v i t y

and th e on ly s tim u lu s re q u ire d i s th e te a o h e r 's and s tu d e n t’s im agi

n a tio n .

Classroom procedures and a c t i v i t i e s ; H ost c re a t iv e d ram atics

a c t i v i t i e s should begin v /ith p h y s ic a l warm up a c t i v i t i e s to g en e ra te

freedom o f movement and r e la x a t io n o f te n s io n s . Warm up a c t i v i t i e s

a lso te n d to d im in ish s e lf -c o n sc io u s b eh av io r in fav o r o f more s e l f -

confidence and s e c u r i ty .

Begin th e s e s s io n by having a l l th e s tu d e n ts form a la rg e c i r c l e

w ith com fortab le space between each so t h a t swinging arms w i l l n o t o o l-

l id o . E x p la in t h a t the o b je c tiv e i s to fo llo w w ith a s much p re c is io n

and aocuraoy as p o ss ib lo th e movement o f an id e n t i f ie d le a d e r in th e c i r

c l e . The te a c h e r m ight beg in th e e x e rc ise by dem onstra ting th e movement

p o s s i b i l i t i e s . The arm s, le g s , h ead , f o e t , f in g e rs as w e ll as a l l

o th e r p a r ts o f th e body should bo inc luded in to th e movement o f t h i s

e x e rc is e . The beginning movement should be uncom plicated and slow ly

ex ecu ted . I f th e s tu d e n ts f in d success in th e e x e rc is e th e y w i l l be

e n te r ta in e d b y i t and b e t t e r p repared t o moot th e ch a llen g e o f f a s t e r

ex ecu ted , more complex and more s u b tle movement. Change th e lo a d e r

o f te n t o a llo w many s tu d e n ts th e chance t o le a d th e c la s s and t o ex p lo re

new movement id e a s .

Yihen th e s tu d e n ts a re th o ro u g h ly warmed up and read y to r e s t fo r a

few moments, in tro d u c e a d is c u s s io n o f v a r io u s k in d s o f movement.

S p e c i f ic a l ly id e n t i f y " l iv in g movement" and "machine movement" in th e

c la s s d isc u s s io n and ex p lo re s ig n i f i c a n t d if f e re n c e s betw een them* The

c la s s w i l l undoub ted ly have many id e a s , b u t th e m ajor co ncep t to be

developed h e re i s t h a t " l iv in g movement" i s n o t i d e n t i f i a b le by ch a rac

t e r i s t i c r e p e t i t i o n b u t "machine movement" i s alw ays r e p e t i t i v e and can

always be id e n t i f i e d in e i th e r " l iv in g movement" examples o r in "machine

movement" exam ples.

The te a c h e r may f in d i t h e lp fu l to dem onstra te s e v e ra l movement

examples f o r th e c l a s s . F i r s t , th e te a c h e r m ight pantomime a housew ife

in a d ishw ashing a c t i v i t y . Follow .w ith a sim ple le v e r pantomime by

sim ply ex ten d in g th e r i g h t arm and r a i s in g and low ering i t many tim es

v /hile moving no o th e r p a r t o f th e body. Ask th e s tu d e n ts i f th e y could

i d e n t i f y th e " l iv in g movement" pantomime from th e "machine movement" pan

tomime, U ndoubtedly th e d if f e re n c e i s c l e a r ly enough p re se n te d th a t a l l

s tu d e n ts w i l l reco g n ize th e d if f e r e n c e .

99

A gain a rra n g e th e c la s s in to a c i r c l e and ask t h a t eaoh s tu d e n t he

p rep ared to dem onstra te a "maohine movement” . I t may enhance th e a c t i v i t y

t o su g g es t t h a t m achines a re seldom q u i e t , th ey o f te n can he id e n t i f i e d

by a sound p a t te r n th a t i s as r e p e t i t i v e as the movement and i s o f te n a

r e s u l t o f t h a t movement* T h e re fo re , th e dem onstrated movement p rov ided

by th e s tu d e n t may a ls o be accompanied b y sound* C ontinue w ith t h i s

a c t i v i t y , hav ing th e c la s s fo llo w th e dem onstrated movement w ith a s much

accu racy as p o s s ib le , w h ile encouraging th e s tu d en ts t o use in c re a se d

im ag in a tio n and c r e a t i v i t y in t h e i r dem onstrations*

C ontinue th e "machine movement" pantomime by ohoosing one s tu d e n t to

d e m o n stra te , in th e c e n te r o f th e c i r c l e , a "machine movement" f o r th e

c la s s t o o b se rv e . Encourage th e o b se rv in g s tu d en ts t o c o n c e n tra te on th e

d em o n stra tio n and t o th in k o f ways th e y m ight a t ta c h them selves t o th e

o r ig in a l d e m o n s tra to r , t o expand th e s iz e as w e ll as movement ran g e o f

th e dem onstra tion* S tuden ts may a t ta c h them selves one a t a tim e u n t i l

th e machine i s to o la rg e t o fu n c tio n o r u n t i l every s tu d e n t has jo in e d .

The p rim ary aim a t t h i s p o in t in th e a c t i v i t y i s to d evelop th e s tu d e n t 's

a b i l i t y t o c r e a t e , s e le c t , and id e n t i f y "machine movement" and p ro v id e

o p p o r tu n ity f o r a s in g le "machine movement" c re a t io n b y a group o f

s tu d e n ts . E x c it in g d is c u s s io n s o f te n r e s u l t from an in q u iry o f th e func

t i o n a l p o s s i b i l i t i e s o f th e c re a te d group m aohines. These d is c u s s io n s

a re h e lp f u l f o r s tim u la tin g l e s s im ag in a tiv e s tu d e n ts and v a lu a b le oppor

t u n i t i e s fo r c r e a t iv e e x p lo ra t io n by th e more im ag inative*

An e x c i t in g clim ax t o th e a c t i v i t y invo lves th e d iv i s io n o f th e o la s s

in to groups o f f iv e or s ix s tu d e n ts . Each group i s t o s e l e c t from th e

100

oomraon, everyday w o rld , a machine t h a t each o f us would reco g n ize i f i t

were p r e s e n t . Examples a re washing m achines, k i tc h e n a p p lia n c e s ,

e l e o t r io to o th b ru s h e s , b ic y c le s , and many hundreds m ore. Vihatever

machine each group chooses should be k e p t s e c r e t u n t i l th e y perform th e

pantomime which i s in ten d ed t o dem onstrate th e m ach ine 's movement. Allow

each group tim e t o s e le c t a machine and develop a pantomime o f i t . Then

have each group perform th e pantomime f o r th e c la s s who w i l l a ttem p t t o

guess th e m ach in e 's i d e n t i ty and fo llo w w ith d is c u s s io n o f how th e pan

tomime movement was s ig n i f i c a n t ly a p p ro p ria te o r o th e rw ise .

D. M a te ria ls and R eso u rces:

O bviously th e s e pantomimes may be f u r th e r developed in to s to ry l in e s

and used in any v a r ie ty o f c re a t iv e d ram a tic s a c t i v i t i e s . Machines may

be p laced in o p p o s itio n or th e y may f in d them selves in c o n f l i c t w ith man.

A lso , many s to r i e s o f fe r o p p o r tu n it ie s fo r maohine d ra m a tiz a tio n , such

as "C in d e re lla " w ith th e c a r r ia g e and "The Wizard o f Oz" w ith T in Man.

A lb e r ts , D av id . Pantomime; E lem ents and E x e rc is e s . Lawrence, K ansas: Tho U n iv e rs ity P ress o f K ansas, 1972.

B a rn f ie ld , G a b r ie l . C rea tiv e Drama in S ch o o ls . He?/ York: H artP u b lish in g Company, I n c . , 1966.

Way, B rian , Development Through Drama. London: Longman, 1967*

E . B eh av io ra l O b je c tiv e ;

1 . Given te n m inutes and a s p e c i f ic maohine (one known t o a l l c la s s

members) su g g e s tio n , th e s tu d e n t w i l l , a t l e a s t fo u r o f f iv e t im e s ,

be ab le to d ev e lo p a pantomime o f th e m ach in e 's movement w ith a le v e l

o f p r e c is io n and aocuracy making i t re c o g n iz a b le t o a t l e a s t 75 p e r

c e n t o f h i s c lassroom p e e rs .

2 . G iven a machine movement d em o n stra tio n , th e s tu d e n t, w ith in t e n

m in u te s , w i l l be ab le to a t ta c h h im se lf to th e d em o n stra tio n move

m ent w ith a machine movement pantomime o f h i s own c r e a t io n .

F o llow ing th e pantomimed machine c r e a t io n , th e s tu d en t w i l l w r ite a

l i s t o f a t l e a s t f iv e fu n c tio n a l p o s s i b i l i t i e s fo r th e c re a te d

m achine w i th in tw en ty m inu tes.

102

A. Academic A rea ; S cience

B. T each ing Agreem ents G oal:

I 2 .0 1 I d e n t i f y and d ev e lo p a d eep er a p p r e c ia t io n o f l i v in g th in g s .

I 2 .0 2 R ecognize th e s e a s o n a l changes and le a r n a b o u t t h e i r e f f e c t on h i s l i f e and on p la n t and an im al l i f e .

Suggested Sample L esson*

C re a tiv e d ra m a tic s a c t i v i t i e s based upon p la n t and an im al l i f e

c y c le s o f f e r th e s tu d e n t e x c i t in g as w e ll a s v a lu a b le i n s ig h t s i n t o

v a r io u s l i f e forms* S tu d en t* s a p p r e c ia t io n and u n d e rs ta n d in g o f th e

w orld around them c a n be s i g n i f i c a n t l y in c re a s e d when p e rm it te d t o p a r

t i c i p a t e d i r e c t l y o r v i c a r io u s ly w ith i t . Through c r e a t iv e d ra m a tic s

a c t i v i t i e s th e s tu d e n t can e x p e r ie n c e w hat i t m igh t be l i k e t o b e an

anim al o r a p la n t . The s tu d e n t may a ls o e x p lo re s p e c i f i c problem s o r

o o n f l i c t r e le v a n t t o an an im al o r p la n t , such a s th e c o n f l i c t b e tw een

an im als f o r food s o u rc e s o r how a p la n t com petes f o r s u n l ig h t and m ois

t u r e .

P re -c la ss ro o m p la n n in g ! P ic tu r e s o f s p e c i f io l i f e form s sh o u ld be

c o l le c te d by th e t e a c h e r . These v i s u a l s sh o u ld be r e p r e s e n ta t i v e o f

s p e c i f i c l iv in g th in g s and can b e e i t h e r an im al o r p l a n t . They sh o u ld

c l e a r l y r e p re s e n t th e s in g le s u b je c t and be la rg e enough t o be se e n by

th e c l a s s . These p i c t u r e s sh o u ld be s e le c te d b y th e t e a c h e r and

s p e c i f i c a l l y l im ite d b y s u b je o t . T hat i s , th e te a c h e r sh o u ld p la n th e

oou rse o f th e in te n d e d d is c u s s io n by s e l e c t i v e l y c h o o s in g s tim u lu s

v i s u a l s .

C lassroom p ro c ed u re s and a c t i v i t i e s : D is p la y f o r t h e o la s s one o f

103

th e s e le c te d v i s u a l s . I n i t i a t e a d is c u s s io n o f th e v i s u a l 's s u b je c t

and th e s p e c i f i c a c t i v i t y i l l u s t r a t e d . In a p ic tu re o f a r o s e , f o r

exam ple, th e a c t i v i t y may be sim ply l i f t i n g i t s p e ta l s to th e warm

morning sun t o d ry th e dew away. Another p i c t u r e 's s u b je c t , a ju n g le

l i o n , may be loo k in g f o r a l o s t cub or s ta lk in g game. Encourage th e

s tu d e n ts t o re a d as much in to th e p ic tu re d a c t i v i t y a s p o s s ib le . D is

p la y s e v e ra l p ic tu re s t o th e c la s s and t r y t o develop each d is c u s s io n

a s f u l l y a s p o s s ib le .

A f te r d iso u s s in g s e v e ra l p ic tu r e s r e tu r n to one w hich th e c la s s

seemed t o e n jo y , as w e ll as one Y/hich sparked t h e i r im a g in a tio n s .

R e in tro d u ce t h i s v i s u a l and ask f o r them t o c o n s id e r what has happened

im m ediately b e fo re th e p ic tu r e was produced. The c la s s may w ish to

in tro d u ce new c h a r a c te r s , ones n o t v i s ib l e in th e p ic tu r e , t o th e d i s

c u ss io n and t h i s should be encouraged . However, i n s i s t t h a t th e o h a r-

a o te r s and t h e i r r e la t io n s h ip s be c le a r and l o g i c a l .

Very l i k e l y th e p ic tu rd s a c t i v i t y i s in p ro cess r a th e r th a n th e

c u lm in a tio n o r co n c lu s io n o f an a c t i v i t y . The d is c u s s io n should c a r ry

th e a c t i v i t y t o a d ram atic co n c lu sio n or r e s o lu t io n . The t e a c h e r 's r o le

in th e a c t i v i t y i s to le a d th e d isc u s s io n and to keep th e s to r y l in e

from becoming en tan g led in an i l l o g i o a l p l o t . I t i s o ru c ia l t h a t th e

s tu d e n ts be p e rm itte d t o c re a te th e s to ry from th e p ic tu re s tim u lu s b u t

i t i s e q u a l ly c r u c ia l t h a t th e y u n d ers tan d th e need fo r c l a r i t y o f p lo t

and c h a ra c te r developm ent,

Vjhen a s to r y i s developed th e te a c h e r shou ld rev iew i t w ith th e c la s s

so t h a t e v e ry s tu d e n t u n d e rs tan d s th e p lo t developm ent. Then th e

104'

com pleted s to r y may be u t i l i z e d i n s e v e ra l c r e a t iv e d ram atic s a c t i v i t i e s *

Puppets a re o n ly one o f s e v e ra l c r e a t iv e d ram atic s approaches b u t th ey

o f f e r th e s tu d e n t an o p p o rtu n ity t o develop e x p re ss io n s k i l l s w ith o u t

th e f e a r o r t h r e a t o f te n ex p erien ced v /ith a c t in g a p o r t* A s tu d e n t oan

e x p re ss h im se lf th ro u g h th e body o f a puppet and rem ain h idden from th e

th re a te n in g audience* E s p e c ia l ly shy o r In tro v e r te d s tu d e n ts f in d t h a t

d ram a tiz in g w ith puppets i s very sa fe and fun* Given a number o f

s u c c e s s fu l e x p e rien ce s w ith p u ppets th e s tu d e n t w i l l g a in i n co n fidence

and be more secu re in p re se n tin g h im s e lf , r a th e r th a n a p u p p e t, t o an

audience*

S tu d en ts a t each o f th e th re e le v e ls oan s u c c e s s fu l ly c o n s tru c t

sim ple ro d p u ppets from junk* Junk i n t h i s case i s d e f in e d a s o ld p ap er

m ilk c a r to n s , p l a s t i c soap c o n ta in e r s , paper egg c a r to n s , sm a ll boxes,

b u t to n s , y a m , p ap er to w e l tu b e s , t o i l e t p ap er tu b e s , c o n s tru c t io n paper

and any o th e r s im ila r m a te r ia ls * From th e fo llo w in g b a s io c o n s tru c t io n

d e s ig n th e te a c h e r and s tu d e n t shou ld be ab le t o c r e a te hundreds o f

c o n s tru c t io n p o s s i b i l i t i e s *

The b a s ic m ilk c a r to n ro d puppet i s made v /ith one m ilk c a r to n and

m e pap er to ivel tube* I n s e r t th e tu b e in to th e c a r to n 's o r ig in a l

opening and w ith masking tap e secu re th e s e tw o p ie c e s to g e th e r* Because

th e c a r to n i s covered w i th wax i t shou ld be covered w ith p a p e r , co lo red

c o n s tru c t io n p ap er works f in e and a v a r i e ty o f o o lo rs can be u se d to

c r e a te an in t e r e s t i n g v a r i e ty o f c h a ra c te rs*

To t h i s b a s ic puppet fo u n d a tio n , m a te r ia ls can be a p p lie d w i th ta p e ,

10$

t i n f o i l p ie pan

— paper m ilk ca r to n

p a s te , o r s t r in g t o c re a te th e c h a r a c te r 's f e a tu r e s . M a te ria ls su ch as

b u t to n s , y a rn , p ie c e s o f cardboard o r s ty rofoam egg c a r to n s make good

e y e s , e a r s , h a i r , m ouths, and n o s e s . See f ig u re 1 ,

A sim ple s ta g e oan be c o n s tru c te d by o b ta in in g a la r g e cardboard

box , a r e f r i g e r a t o r c a r to n i s good. Open one co rn er o f th e box so t h a t

i t can be used l i k e a fo ld in g s c re e n . Cut a s ta g e opening in th e w a l l

o f th e box so t h a t i t i s h ig h enough t h a t s tu d e n t 's body cannot be seen

beh ind th e card b o ard when s tan d in g o r k n e e lin g , depending upon th e

c l a s s 's ag e . The o u ts id e o f th e puppet s ta g e can be e a s i l y d eco ra ted

w ith crayons and w a te r c o lo rs and may even be d eo o ra ted t o conform

w ith th e s to r y t o be d ram atized w ith th e p u p p e ts . See f ig u re 2 ,

106

— la rg e cardboard box

ou to u topening

F igure 2

TJhen th e puppets and puppet s ta g e are com pleted, encourage th e

s tu d e n ts t o perform th e s to ry w ith t h e i r p u p p e ts . Sm all groups o f

s tu d e n ts m ight be encouraged t o work from a v a r i e ty o f p ic tu re s t o

develop s to r i e s b ased on th e p i c t u r e 's s u b je c t and th e c o n f l ic t o r

problem i l l u s t r a t e d . Each puppet d ra m a tiz a tio n should be follow ed w ith

a c la s s d isc u s s io n o f th e s to r y and i t s developm ent from th e p ic tu r e .

S tuden ts should be encouraged th roughou t t h i s a c t i v i t y t o co n s id e r th e

r e l a t io n s h ip s between anim als o f v a rio u s ty p e s , between man and a n im a ls ,

and th e r e la t io n s h ip o f th e anim al w orld t o th e p la n t w o rld ,

D» M a te r ia ls and R eso u rces:

A f i l e o f anim al and p la n t p ic tu re s i s a v a lu ab le re so u rc e fo r many

o re a t iv e dram atics a c t i v i t i e s . A lso a c o l le c t io n o f ju n k m a te r ia ls i s

v a lu a b le f o r s tu d e n ts t o experim ent w ith and develop a r t i s t i o concep ts

107

o f s e le c t io n and arrangem ent.

E. B eh av io ra l O b je c tiv e '•

Given a p ic tu re o f an an im al o r p la n t , th e s tu d e n t , w i l l v e r b a l ly

c r e a te a s to r y t o in c lu d e p r io r ev en ts le a d in g t o th e p io tu re d a c t i v i t y ,

as w e ll as th e a c t i v i t i e s cu lm in a tio n w hich may occur a f t e r th e p io tu re d

a c t i v i t y . The s to r y w i l l ex p lo re th e s u b je c t 's r e l a t io n s h ip w ith a t

l e a s t one o th e r l iv e form , e i th e r p la n t o r an im al, and w i l l be com pleted

w ith in t h i r t y m in u te s .

108

A* Academic A rea: Science

B. Teaching Agreements G oal;

I I 3 .0 1 Experim ent w ith h e a t , l i g h t , sound.


The p resence o f h e a t , l i g h t , and sound in v a ry in g degrees and con

d i t io n s a f f e c t s m an's b e h a v io r . H eat, l i g h t , and sound a re n a tu r a l as

w e ll as a r t i f i c i a l l y c re a te d phenomenon and man u se s th e se e lem en ts or

phenomenon to make h is environm ent more com fortab le and s u rv iv a b le .

Through c r e a t iv e d ram a tic s a c t i v i t i e s th e s tu d e n t can v ic a r io u s ly

ex p e rien ce h e a t , l i g h t , and sound a l t e r n a t iv e s . In a c re a t iv e d ram atics

s i t u a t io n th e s tu d e n t i s g iv en an o p p o rtu n ity t o ex p lo re s p e c i f i c

env ironm en ta l and s u rv iv a l problems dependent upon th e a v a i l a b i l i t y and

c o n tro l o f h e a t , l i g h t , and sound.

P re-o lassroom p la n n in g ; The i n i t i a l s te p must be to determ ine th e

s p e o if ic s u b je c t to be in v e s t ig a te d . The fo llow ing a c t i v i t y i s s p e c i f i

c a l l y developed to experim ent w ith and e x p lo re th e phenomenon o f l i g h t .

Seoure c o lo r media in s o v e ra l c o lo rs e s p e c ia l ly th e p r im a r ie s re d ,

b lu e , and g re e n . Color m edia can be o b ta in e d from any t h e a t r i c a l supply

so u rce or any t r a n s lu c e n t c o lo red m a te r ia l such as ce llo p h an e o r s ta in e d

g la s s may be u se d . Three l i g h t so u rc e s , p re fe ra b ly s l id e p r o je c to r s ,

and a n e u t r a l background i s e s s e n t ia l f o r th e a c t i v i t y .

Classroom procedures and a c t i v i t i e s : Bogin th e c la s s w ith a d is

c u s s io n o f l i g h t and vrimt th e s tu d e n ts p e rce iv e as l i g h t . How do th e

s tu d e n ts d e f in e l ig h t? VJhat i s l i g h t made of? "Jhore does l i g h t

o r ig in a te ? Yftiat a re th e u se s o f l ig h t? Explore th e ro le o f l i g h t in

10?

man’s developm ent o f c u l tu r e and c iv i l i z a t io n * C onsider how man’s

o o n tro l o f l ig h t has e n a b le d him t o expand h i s w ork day and a l t e r th e

environm ent*

S e t up th e th re e p r o je c to r s a s i l l u s t r a t e d i n f ig u r e 3* The

c o lo r m edia may be u sed a s a s l ik e i n th e p r o je c to r o r sim ply a tta o h e d

t o th e o u ts id e o f th e p ro je c to r covering th e le n s*

b la n k w a ll

p ro je c to rs ~

re d b lu e . g reen

F ig u re 3

Enoourage th e c la s s t o observe th e l i g h t and c o lo r changes as a

p e rso n moves between th e p r o je c to r s and th e w a ll* The moving p e rso n

w i l l i n t e r r u p t c o lo re d l i g h t by o au sin g a shadow and w i l l cause th e

l i g h t t o m ix d i f f e r e n t ly * The r e s u l t , u s in g th e p r im a rie s r e d , b lu e and

g re e n , w i l l be t h a t many co lo rs w i l l be c re a te d due t o th e random m ixing

and th e e f f e o t 1b r e a l l y e x c itin g *

What i s viewed on th e w a ll o r sc reen i s a shadow and th e s tu d e n ts

nooan u se th e shadow f o r pantomime d ram atiza tio n * Suggest t h a t th e

s tu d e n ts experim ent w i th t h e i r shadows and how th e y oan c o n sc io u sly

p la n o o lo r changes* I f a v a r ie ty o f c o lo r media i s a v a i la b le th e s tu d e n t

may a ls o experim ent w ith a l t e r n a t iv e p o s s ib i l i t i e s *

D ivide th e c la s s in to groups o f two or th re e and encourage each

group to develop a pantomime d ra m a tiz a tio n i n shadow u sin g a v a r ie ty o f

o o lo red l i g h t sources* They should be g iv en th e freedom t o experim ent

w ith th e l i g h t sources and develop a p p ro p ria te l i g h t c o n d itio n s f o r th e

p la y in g o f t h e i r pantomime d ram atiza tion* TJhen a l l a rc p repared have

each group dem onstrate t h e i r pantomime fo r th e o la s s and fo llo w w ith a

d is c u s s io n o f th e group*s use o f l i g h t and how th e l i g h t c o n tr ib u te d t o

th e d ram a tiz a tio n *

D* M a te ria ls and R esources:

Light* and sound m a te r ia ls a re obv io u sly more ad ap tab le to c re a t iv e

d ram atics a c t i v i t i e s th e n i s heat* However* h e a t oan be used t o s tim

u la te d ra m a tiz a tio n s b ased on c lim a te changes* g eo g rap h ica l lo c a tio n s*

and s im ila r s i tu a t io n s * The fo llo w in g s e le c te d b ib lio g ra p h y h o p e fu lly

w i l l guide th e te a c h e r i n f in d in g a d d i t io n a l m a te r ia ls and re so u rc e s f o r

th e developm ent o f th e se k inds o f a c t i v i t i e s *

KLiegl T h e a tr ic a l L igh ting* C atalog Ho* T-6l* 32-32 4 8 th Ave** Long I s la n d C ity , K*Y. 11101.

H effner* H ubert C*; Selden* Samuel; and Soliman* Hunton D« Modern T h ea tre P ra c tic e * 4 th ed* Hew Y ork: Appleton-Century-Cro'ffcs'* 1959. X415-&7)

Cfcnanney* K atharine Anne and Schanker* H arry H* The Stage And The School* 4 th ed* Hew York: McGraw-Hill Book Company, T£72*'(4# ~ 460)

I l l

E . B ehav io ral O b je c tiv e ;

‘ Given th re e l i g h t s o u rc e s , such a s s l id e p r o je c to r s , and a v a r i e ty

o f c o lo r media t o in c lu d e th e p r im a rie s re d , b lu e , and g re e n , th e

s tu d e n t , i n a t l e a s t tw en ty m inutes w i l l s e l e c t th e p rim ary c o lo rs and

use them t o dem onstrate th e c r e a t io n o f a t l e a s t fo u r c o lo rs o th e r th e n

th e p rim ary , one o f th e se fo u r should be n a tu r a l w h ite .

112

A. Academic Area; Science

le a c h in g Agreements G oal;

I I 4 .0 1 Begin to develop i n t e r e s t in s c i e n t i f i c e x p lo ra tio n s and b io g ra p h ie s o f s c io n t i s t s ,

I I I 4 .0 2 Study th e l iv e s o f s c io n t i s t s , t h e i r t o o l s , m ethods, and ach ievem ents.

C. S uggested Sample L esson;

H is to r ic a l e v e n ts , s u b je c ts and f ig u re s a re commonly used b a s is fo r

s to r y d ra m a tiz a t io n s . Those d ra m a tiz a tio n s o f f e r th e s tu d e n t th e oppor

t u n i t y t o ex p lo re th e ev en t o r f ig u r e as an eye v /i tn e s s . D eveloping

d ra m a tiz a tio n s based upon s t r i c t ev idence can b r in g long p a s t ev en ts and

long dead s c i e n t i s t s t o v ib ra n t and e x c it in g l i f e in th e im ag in atio n o f

th e s tu d e n t .

P re -c lassro o m p la n n in g ; S e le c t a s to ry based upon th e s c i e n t i f i c

e v e n t o r person t h a t b e s t s u i t s th e needs o f th e c l a s s . The s to r y

sh o u ld be s e le c te d fo r i t s r e le v a n t co n ten t and f o r i t s a p p l i c a b i l i t y to

th e c l a s s 's i n t e r e s t s , a b i l i t i e s , and m a tu r i ty . P repare th e s to r y fo r

t e l l i n g by read in g and becoming f a m il ia r w ith th e p lo t and i t s sequence

o f in c id e n ts .

C lassroom procedures and a c t i v i t i e s ; The p lanned c r e a t iv e d ram atics

a c t i v i t y d e a ls s p e c i f i c a l l y w ith th e e x p lo ra tio n and s c i e n t i f i c re se a rc h

o f m an 's l a s t g eo g rap h ica l f r o n t i e r . The a c t i v i t y can be i n i t i a t e d by

b r i e f l y in tro d u c in g th e p rep ared s to r y to th e c l a s s , fo llow ed by th e

t e l l i n g o f th e s to r y .

Conquering th e South P ole

"Soon wo must s t a r t pack ing th e s ledges fo r our jo u rn e y t o th e

113

South P o le , ” Roald Amundsen announced to h is com panions.I t was J u ly , 1911. Since March, th e b eg in n in g o f w in te r in

th e a n t a r c t i c , Amundson, a Norwegian e x p lo re r , and h i s mon had been p re p a rin g fo r t h e i r jo u rn ey to th e South P o le , During th e fo u r months o f p o la r n ig h t , th e y had r e p a ire d and s tren g th en ed t h e i r equipm ent. A lthough th e sun would n o t r i s o above th e h o rizo n u n t i l August 24, ev e ry th in g must be read y when t h a t day a r r iv e d .

No one had y e t succeeded in roach ing th e e a r t h 's m ost so u th e rn a r e a . Now two groups o.f men wore in th e a n t a r c t i c p rep arin g to make th e jo u rn e y to th e p o lo . Amundsen had based h i s p a r ty on a g la c ie r overlook ing th e Bay o f .h a le s . The o th e r e x p e d itio n was camped about fo u r hundred m iles v:est o f Amundsen. I t was le d by an Englishm an, C aptain Robert S c o t t . There was keen r i v a l r y between th e two g ro u p s. Each was eag er to d isc o v e r th e South P o le .

A fte r making a com plete s tu d y o f th e a n t a r c t i c , Amundsen decided t h a t th e o n ly p r a c t i c a l way to g e t su p p lie s t o th e po le would be t o use s led g es drawn by, Eskimo d ogs. S c o tt p lanned h is jo u rn e y around th e use o f m otor s le d g e s and p o n ie s .

B efore th e long months o f darkness had begun, Amundsen's men had p la n ted a c h a in o f supply d ep o ts ex ten d in g f o r s e v e ra l hundred m iles in th e d i r e c t io n o f th e p o le . They f ig u re d th e e x p e d itio n could re a c h i t s g o a l more q u ic k ly i f th e s led g e s were n o t w eigh ted down w ith la rg e q u a n t i t i e s o f fo o d .

True t o Amundsen's s c i e n t i f i c s tu d ie s , th e sun was f i r s t seen on August 24. But th e m ercury in th e therm om eter reco rd ed d a i ly temp e ra tu re s o f more th a n f i f t y degrees below z e ro . September a r r iv e d w ith th e tem p era tu re s t i l l f o r ty deg rees below z e ro . T his was f a r to o co ld fo r th o men to s e t o u t on a long journey*

The Norwegians were im p a tie n t t o b eg in th e t r e k . They wondered o f te n w hether S c o tt had s t a r t e d .

" I t ' s much to o c o ld fo r S c o t t 's p o n ie s ," Amundsen assu red h is men. “Dogs are th e on ly anim als t h a t can su rv iv e th e se low tem pera t u r e s . ”

On O ctober 19, Amundsen announced, ’’We s h a l l leav e to d ay ! The vie a t her has improved g r e a t ly . And th e sun i s up a l l th e t im e .”

With a p a r ty o f f iv e men and fo u r s le d g e s , each drawn by t h i r t e e n dogs, Amundsen s e t o u t from th e Bay o f W hales. Enough su p p lie s were loaded on th e s le d g e s to ta k e th e e x p e d itio n t o th e f i r s t l in k in th e ch a in o f supp ly d e p o ts . On each sled g e was a m eter t h a t measured th e d is ta n c e as th e p a r ty p ro g re s se d .

At f i r s t th e go ing was e x c e l le n t . But th e men had n o t pushed v e ry f a r b e fo re th e y came t o an a re a made up o f seem ingly b o tto m less c re v a sse s z ig zag g in g in a l l d i r e c t io n s . Slowly th e men began p ick in g t h e i r way th ro u g h t h i s dangerous s e c t io n .

To add to th e d i f f i c u l t y , snow began to f a l l , blow ing and d r i f t i n g b e fo re g a le s o f b i t t e r w ind. Time and a g a in th e men stopped t h e i r dogs j u s t in tim e to escape f a l l i n g in to a c re v a s s e .

Once a s led g e sk idded in th e snow, and th e back end hung over th e edgo o f a c re v a s s e . I n s ta n t ly th e d r iv e r s e iz e d th e ropes

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le a d in g to th e h a rn e ss and attem pted t o hold th e s led g e on th e edge o f th e c re v a s s e . But th e slodge loaded w ith su p p lie s was to o heavy f o r him . G rad u a lly i t s l i d down th e ic y v /a ll o f th e c re v a s s e . The dogs were s low ly be in g dragged a f to r i t . In & few seconds bo th th e dogs and th e s led g e would be lo s t f o re v e r .

" I c a n 't ho ld o u t any lo n g e r ," th e d r iv e r c a l le d d e s p e ra te ly .At t h a t moment o th o r men a r r iv e d to h e lp . Two men t i e d long

ro p es to th e t r a c e s t h a t le d to th e d o g s ' h a rn e s s . They were ab le t o ho ld th e s led g e w h ile th e dogs were unh itched and an o th e r s ledge was p laced a c ro ss th e narrow c re v a sse . The ropes o f th e d an g lin g s led g e were th en t i e d t o t h i s second s le d g e .

"A man must bo low ered t o remove th e su p p lie s from th e s le d g e ," Amundsen q u ic k ly d ec id ed . "Then we can h au l i t back to s a f e ty ,"

Im m ediately ev e ry man in th e p a r ty v o lu n tee red to unload th es le d g e . But on ly one was chosen . A rope was t i e d around h is w a is t .S low ly he was l e t down over th e edge o f th e w a ll b e s id e th e hanging s le d g e . Then an o th e r rope was lowered t o th e v o lu n te e r . He t i e d a su p p ly case t o th e rope and s ig n a le d fo r i t to be draw n-up. One by one, o th e r ca ses wero r a i s e d in th e same way.

"How do th in g s look down th e re ? " Amundsen q u e s tio n ed th e dang ling v o lu n te e r .

"Hot Very in v i t in g ," th e man s a id , s t r a in in g to see th rough th e s w ir l in g s to rm . "There a re sp ea rs o f ic e everyw here• And th e edge o f th e c re v a sse y o u 're s ta n d in g on looks as i f i t m ight g ive w ay."

L u ck ily i t d id n o t . A t l a s t the s le d g e , as w e ll as i t s c o n te n ts , was saved *

Even though th e e x p e d itio n had n o t covered th e ho p ed -fo r d is ta n c e t h a t day , Amundsen s a id th e y should make camp. The ra g in g storm so g r e a t ly in te r f e r e d w ith a d r iv e r 's v is io n t h a t i t was d i f f i c u l t fo r him t o see even a few f e e t ahead o f h is team . Amundsen could n o t r i s k an o th e r a c c id e n t .

The men r e s te d fo r a few hours and th e n were read y t o go ahead . But Amundsen o rd ered them t o re v e rse t h e i r cou rse and p lo t a way around th e c re v a sse a r e a .

A f te r in v e s t ig a t io n a way was d isc o v e re d . Then th e jo u rn ey to th e South Pole co n tin u e d .

On November 17, th e men checked th e m eters on th e s led g es and d isc o v e re d t h a t th e y had t r a v e le d n e a r ly fo u r hundred f i f t y m iles s in c e lo av in g th e Bay o f vYhales. They had now come to a h ig h m ountain ra n g e . The men w o rrie d about t h e i r chances o f s a f e ly o ro ss in g peaks t h a t v a r io d in h e ig h t from two thousand t o t e n th o u san d f e e t . But Amundsen was g r e a t ly e x c ite d by th e s l i g h t o f th e m o u n ta in s. A coording t o h i s knowledge, once t h i s range was o ro ss e d , th e men would re a c h on in lan d p la te a u where th e South Pole i s lo o a te d .

Amundsen s ta re d a t th e g r e a t peaks b e fo re him . "We can f in d a way t o c r o s s ," he s a id c o n f id e n tly .

The passage over th e m ountain peaks was n o t as fo rb id d in g as th e men had th o u g h t. The f i r s t s lo p es were clim bed w ith o u t d i f f i c u l t y .

11$Then the p a r ty began t o s t r ik e sm a ll, s te e p g l a c i e r s . Here i t became necessary t o h i tc h tw en ty dogs to each s ledge in o rd e r to drag i t over th e to p . But i t took th e men on ly fo u r days t o make t h e i r vmy over th e m ountain range to th e in lan d p la te a u .

’’From here o n ," Amundsen s a id , "we won’t need so many dogs, and vre c a n 't spare th e la rg o q u a n t i ty o f food th e y w i l l e a t . I f we tu rn them lo o se , th e y w i l l s ta r v e . V/e must shoo t some o f them ."

K illin g th e dogs was one o f th e h a rd e s t ta s k s t h a t Amundsen's men had to fa c e . However, th e y agreed t h a t th e e x t r a dogs would be n o th in g b u t a b u rden .

For two days th e men r e s te d and made read y fo r th e f i n a l dash a c ro ss th e p la te a u to th e p o le . They were c u rio u s to see what t h i s p la te a u would be l i k e . They had expected a g re a t le v e l p la in re ach in g tow ard th e p o le , b u t t h a t was n o t e x a c t ly w hat la y b e fo re them . To tho sou thw est th e land was f l a t and l e v e l , b u t th e y wore n o t going th a t way. To re a c h th e p o le , th e y must go d i r e c t l y so u th . In t h a t d i r e c t io n th e ground ro se in long r id g e s .

E agerly th e men began th e f i n a l s t r e t c h o f t h e i r jo u rn e y . Going over th e rough r id g e s was more wearisome th a n d an g ero u s. A fte r a d a y 's t r e k o f abou t tw en ty m ile s , th e y were g lad t o make camp and r e s t .

Day by day th e d is ta n c e to th e pole was cu t down. Amundsen reckoned th a t i f th e y could keep up t h e i r p re se n t p a c e , th e y would be a t tho South Pole on Eeoember 14.

The men began wondering w hether S c o t t 's p on ies had proved to be f a s t e r than t h o i r dogs. The men fe a re d t h a t S c o tt m ight a lre a d y be a t th e p o le .

December 14 came. A t th re e o 'c lo c k in th e a f te rn o o n th e sledge m eters in d ic a te d t h a t th e men had t ra v e le d f a r enough t o be a t th e sp o t c a lle d th e South P o le , The p a r ty stopped and s e t up in stru m en ts t o check the p o s i t io n and movement o f th e sun . This would in d ic a te w hether or n o t th e y had r e a l l y a r r iv e d a t t h e i r g o a l .

While th e s u n 's p o s i t io n was be in g checked, th e r e s t o f th e p a r ty looked f o r t r a c k s o f o th e r men. There vre re n one . No human b e in g had been th e r e b e fo re . Amundsen's p a r ty was f i r s t !

According t o Amundsen's h a s ty o b s e rv a tio n s , th e y were a t th e v e ry bottom o f..th e e a r t h 's s u r fa c e . Im m ediately th e f la g o f Norway was u n fu rled and p la n te d in th e i c e . A ll f iv e o f th e s e brave Norwegians p laced a hand on th e f la g p o le and to o k p o s se s s io n o f th e lan d in tho name o f t h e i r k in g .

I t was a gay p a r ty t h a t crowded in to th e t e n t e re c te d nearby . P ip es and tobacco were b rough t o u t . There was l i v e l y t a l k , accompan ied by th e f la p p in g o f th e f la g o u ts id e in th e w ind . The men sp e n t th e evening l ik e schoo lboys, m arking "South P o le" on ev e ry th in g th e y had w ith them .

The nex t day more c a re fu l o b se rv a tio n s showed t h a t th e South Pole was about f iv e and o n e -Ja lf m iles ahead .

116

Tho men moved on t o t h i s s p o t, and h ere th e y e re c te d a fo u n d a tio n o f s o l id snow. A sm all t e n t was s e t up , fa c in g n o r th . There was no d i r e c t io n b u t n o rth from where th e p a r ty s to o d .

Then th o Norwegian f l a g was a g a in u n fu rled and rem ounted on a p o le t h a t w ent th rough th o c e n te r o f th o t e n t .

In s id e th e t e n t Amundsen l e f t a l e t t e r t h a t was ad d ressed t o th e King o f Norway, V/ith t h i s l e t t e r th e r e -was a b r i e f n o te f o r C ap ta in S c o t t .

A month l a t e r , when Amundsen v/as alm ost b ack to h is main camp, S c o t t 's e x p e d itio n a r r iv e d a t th e t e n t on th e snow fo u n d a tio n t h a t Amundsen's men had e r e c te d . S o o t t 's p a r ty a r r iv e d on f o o t . T heir p o n ie s and motor s led g es had proved to be n e a r ly u s e le s s .

Roald Amundson had been a good p ro p h e t. Only s tu rd y dogs could be depended upon to make th e t r e k t o th e South Pole in re c o rd tim e .^

iVhen th e s to r y is to ld have th e s tu d e n ts r e t e l l th e s to r y , scene by

scene or in c id e n t by in c id e n t . Be su re t h a t th e s tu d e n ts a re c le a r in

t h e i r u n d erstan d in g o f th e s to r y l in e and how th e in c id e n ts c o n tr ib u te

to th e t o t a l s to r y .

The s to ry l in e may be e a s i ly d ram atized by im p ro v isin g each in o id e n t

in th e s to r y . Randomly s e le c t s tu d e n ts to p lay th e v a r io u s c h a ra c te r s

to en ab le a l l s tu d e n ts an o p p o rtu n ity t o ex p ress t h e i r id eas about th e

c h a ra c te r s and th o developm ent o f d ia lo g u e .

S e v e ra l s c i e n t i f i c in stru m en ts a re in d ic a te d in th e s to r y and th e se

may be e i t h e r o b ta in ed by th e te a c h e r or c re a te d by th e s tu d e n ts them

s e lv e s . Challenge th e s tu d e n ts to in v e n t a d ev ice t h a t would m easure th e

d is ta n c e covered by th e s le d g e s or how m ight a s c i e n t i s t c h a r t th e move

ment o f th e sun? These a s p e c ts of th e s to ry w i l l add to th e

^ B e llam y .P a rtr id g e , "Conquering th e South P o le ," in liorc Days and Deeds, e d . by l / i l l ia m S. G ray, l a r i on Monroe, A S t c r l A rley , and Jiay H i l l A rbuthnot (Chicago: S c o tt , Forosman and Company, 19$$)*pp. 222- 230.

117

d ram a tiz a tio n s in t e r e s t and to i t s v a lu e as an in v e s t ig a t io n in to th e

world o f sc ie n c e .

Vihen th e s to ry has been f u l ly dram atized th rough im p ro v isa tio n , and

a f t e r s p e o if ic s c i e n t i f i c in stru m en ts have been made or o b ta in ed , have

th e s tu d e n ts d ram atize th e s to r y itsing a l l th e se e lem en ts . I f costume

and make up a re a v a ila b le th e y might be used to a id in th e c re a tio n o f

mo6d and c h a ra c te r . Encourage th e s tu d e n ts t o c o n c en tra te on what i t

must have been l ik e to be a member o f t h a t f i r s t p a r ty to reaoh th e

South P o le .

D. M a te ria ls and R esources:

S to r ie s such as the one included h e re a re a v a ila b le in most sc ience

te x t s and in many read in g t e x t s . These are always v a lu ab le s to ry sources

fo r th e c lassroom te a c h e r . School and community l i b r a r i e s a re a lso an

o th e r m ain source fo r s to r i e s on any theme or s u b je c t in c lu d in g sc ie n c e .

F a r r , M urie l. C hild ren in M edicine. Englewood C l i f f s , N .J . :P re n tic e - I la l l , I n c . , 1964

Fow ler, I/ary Jan e , and F ish o r , M argaret. G reat Am ericans. Grand R ap ids, M ichigan: The F id e le r Company, 1960T

Henry, Joanne L anders. Marie C urie D isooverer o f Radium. New York:The Macmillan Company, 1966.

E. B ehav io ra l O b jec tiv e :

Given p a r t ic ip a t io n in a s to ry d ra m a tiz a tio n and tw en ty m inutes th e

s tu d e n t w i l l be a b le to r e t e l l th e s to r y w ith 8f> p e r cen t e f f io io n c y

w ith in tw en ty -fo u r hours o f th e d ra m a tiz a tio n . The s tu d e n t w i l l be ab le

to d is c u s s , in w r i t in g , 7£ p e r c e n t o f th e s c i e n t i f i c in s tru m e n ts ,

p ro ced u res , and a c t i v i t i e s inc luded in th e s to ry .

118A. Academic Area t Science

B. Teaching Agreements Goal;

I I I 5*01 I d e n t i f y th e e f f e c t o f common p h y s ic a l f o r c e s , g r a v i ty , f r i c t i o n , and i n e r t i a .

C. Suggested Sample Lessons

P h y sic a l or n a tu r a l fo rces t h a t c o n tr ib u te to th e o o n tro l o f our

bodies in space can be exp lored w ith c r e a t iv e d ram atics te c h n iq u e s . Dance

and pantomime movement a re a r e s u l t of our a b i l i t y t o compensate f o r , as

w e ll as d e a l w ith , th e n a tu ra l fo rc e s l im i t in g movement.

P re -c lassro o m p lan n in g ; An open a rea in which th e s tu d e n ts can move

f r e e ly i s n e c e ssa ry fo r th e p lanned a c t i v i t y . The te a c h e r should develop

a l i s t o f a c t i v i t i e s t h a t are s p e c i f i c a l l y dependent upon one o f th e

common p h y s ic a l fo rc e s in d ic a te d in the Teaching Agreements g o a l. The

l i s t should c o n ta in a t l e a s t as many su g g estio n s as th e re a re s tu d e n ts

in th e c la s s ; however, i t is hoped the s tu d e n ts w i l l be ab le to c o n t r i

b u te to th e l i s t . A sample l i s t i n g fo llo w s :

A c t iv i t i e s s p e c i f i c a l ly or p r im a r ily dependent upon g ra v ity :

Sky d iv in g T ig h t rope w alk ing Ju g g lin g Moon Walking

A c t iv i t i e s s p e c i f i c a l ly or p r im a r ily dependent upon i n e r t i a :

Pole V au lting Broad Jumping Ice S kating S kiing

A c t iv i t i e s s p e c i f i c a l ly o r p r im a r ily depandent upon f r i c t i o n :

S ta r t in g a cam pfire w ith rubbing s t ic k s Climbing up a s teo p h i l l

Stopping a ca r a t a s to p s ig n Sanding a rough b o a rd .

C lassroom procedures and a c t i v i t i e s ; Open th e c la s s by ask ing th e

s tu d e n ts t o f in d as many ways as th ey can t o move from one s id e o f th e

room t o th e o th e r . Encourage th e s tu d e n ts to e x p lo re t h e i r b o d ies in

s e a rc h fo r new means o f locom otion . Some w i l l w a lk , ru n , c ra w l, s k ip ,

e i t h e r backwards o r forw ards o r bo th a l l in th e se a rc h f o r a new and

o r ig in a l way to g e t from one p lace to an o th e r p la c e . A f te r th e s tu d e n ts

have experim ented w ith two or th re e locom otion p o s s i b i l i t i e s have them

c o n s id e r w hat th e y were u s in g t o develop th o se p o s s i b i l i t i e s . That i s ,

th o y w ere u s in g t h e i r b o d ies and th e y w ere u s in g common p h y s io a l fo rc e s

known as g ra v i ty , f r i a t i o n , and i n e r t i a .

W hile th e c la s s was in i t s beg inn ing warm up e x e rc is e th e te a c h e r

may have n o tic e d s e v e ra l locom otions w hich were p a r t i c u l a r l y dependent

upon one o f th o se p h y s ic a l f o r c e s . I t would be i n t e r e s t i n g to have each

o f th e s e locom otions dem onstrated fo r th e c la s s t o s tim u la te d is c u s s io n

as w e l l a s more c l e a r ly i l l u s t r a t e th e co n c ep t.

S u g g est th a t th e re a re many human a c t i v i t i e s s p e c i f i c a l l y dependent

upon th e s e p h y s ic a l f o rc e s . In f a c t , m ost a l l human a c t i v i t y depends

upon th e s e fo rc e s to some e x te n t . Ask th e s tu d e n ts to g e n e ra te a l i s t

o f a c t i v i t i e s p r im a r ily dependent upon each o f th e s e p h y s ic a l f o r c e s .

The t e a c h e r 's l i s t may be v a lu a b le here t o s tim u la te c r e a t iv e th in k in g

p ro c e s s e s .

When a s a t i s f a c to r y l i s t i s com pleted have th e s tu d e n ts s e c r e t ly

s e le o t one o f the a c t i v i t i e s t o develop in a pantomime d ra m a tiz a tio n .

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A lloiv th e s tu d e n ts ample tim e t o d ev e lo p th e d ra m a tiz a t io n and c u lm in a te

th e a c t i v i t y "by hav in g each s tu d e n t d em o n stra te h i s pantomime d ra m a ti

z a t i o n f o r th e c la s s and d is c u s s hov; th e s p e c i f i c p h y s ic a l fo rc e was

u sed o r I l l u s t r a t e d in th e d e m o n s tra tio n .

D. I l a te r i a l a and R e so u rces ;

A lb e r t s , D av id . Pantomimei E lem ents and E x e rc is e s . Law rence,K ansas: The U n iv e r s i ty P re ss o f K ansas, 1972.

B a r n f ie ld , G a b r ie l . C re a tiv e Drama in S ch o o ls . New Y ork: H artP u b lish in g Company, I n c . , 1968.

Way, B r ia n . Development Through Drama. London: Longoman, 1?67»

E. B e h a v io ra l O b je c t iv e :

1 . G iven t e n m in u tes and a s p e c i f i c common p h y s ic a l fo rc e ( g r a v i ty ,

i n e r t i a , o r f r i c t i o n ) , th e s tu d e n t vrf.ll d ev e lo p and d em o n stra te a

pantomime d ra m a tiz a t io n u t i l i z i n g t h a t s p e c i f i c common p h y s ic a l fo rc e

a s a c e n t r a l l y l im i t in g o r c o n t r o l l in g e le m e n t.

2 . G iven th e common p h y s ic a l fo rc e s o f g r a v i ty , f r i c t i o n and i n e r t i a ,

th e s tu d e n t , in n o t more th a n t h i r t y m in u te s , w i l l i n w r i t i n g l i s t

s p e c i f i c a c t i v i t i e s p r im a r i ly dependen t upon e a c h o f th e s e th r e e

p h y s ic a l fo rc e s* Each o f th e th r e e l i s t s w i l l c o n ta in n o t lo s s th a n

s i x a c t i v i t i e s .

CHAPTER V

SOCIAL STUDIES

H iB tory , geography and th e s o o ia l sc ie n c e s a re a l l in c lu d ed i n th e

s o c ia l s tu d ie s s u b je c t a re a id e n t i f i e d in Teaching A greem ents# C rea tiv e

d ram atic s a c t i v i t i e s a re e a s i ly a p p lic a b le t o s o o ia l s tu d ie s# The e ig h t

su g g ested sample le sso n s in c lu d ed i n t h i s ch a p te r a re designed t o

in f lu e n c e th e achievem ent o f s o c ia l s tu d ie s g o a ls id e n t i f i e d in Teaching

Agreements#

121

122

A* Academics A rea; S o c ia l S tu d ies

Tenchinp; Agreomonts G oal;

I 1 .01 Learn to re s p e c t th e r i g h t s , o p in io n s and p ro p e r ty o f o th e rs .

C. Suggested Sample L esson;

D eveloping s tu d e n ts 1 a t t i tu d e s f o r p o s it iv e group co o p e ra tio n ,

a p p re c ia t io n fo r o th e rs th ough ts and b e l i e f s , and r e s p e c t f o r th e

p ro p e r ty o f o th e rs i s a m ajor g oal in c re a tiv e d ram a tic s a c t i v i t i e s .

The c h i ld -who has ex p erien ces in s to r y d ra m a tiz a tio n , open-ended s t o r i e s ,

p u p p e try , and im p ro v isa tio n w i l l develop p o s i t iv e s o c ia l s k i l l s th rough

p r a c t ic e and e x p e rie n ce . V ir tu a l ly a l l c r e a t iv e d ram atic s a c t i v i t i e s

r e q u ir e t h a t s tu d e n ts coopera te in th e planning as w e ll as p la y in g .

S tu d e n ts ' ideas must be shared in th e process o f develop ing a d ram ati

z a tio n r e p re s e n ta t iv e o f th e g ro u p 's e f f o r t s . C h ild ren a re encouraged

to a c t i v e ly p a r t ic ip a te in a l l p h ases o f developm ent in a l l c r e a t iv e

d ram a tic s a c t i v i t i e s . A fte r a l l , i t i s th e c h i l d 's p a r t ic ip a t io n in th e

c r e a t io n o f the a c t i v i t y and no t th e product o f th e a c t i v i t y t h a t i s o f

p rim ary im portance.

P re-o la3sroom p la n n in g ; P rep are a l i s t o f a c t i v i t i e s t h a t re q u ire s

group p a r t i c ip a t io n . Examples a re a tu g -o f-w ar game, a s o f t b a l l game,

a t e n n i s m atch, l i f t i n g and c a r ry in g a long row b o a t , s e t t in g up a la rg e

t e n t , o r b u ild in g a backyard c lu b h o u se .

The te a c h e r should a ls o p rep are some open-ended s to ry s i tu a t io n s

w hich c a l l fo r group p a r t i c ip a t io n f o r s o lu t io n . Examples may b e , a

group cau g h t in an e le v a to r o r tra p p e d in a cav e .

123

Classroom procedures and a c t i v i t i e s ; D ivide th e c la s s in to p a ir s

and i n s t r u c t each p a ir t o pantomime th e p ick in g up and c a rry in g o f a

la rg e and v ery heavy box. D iscuss th e problem s in t h i s a c t i v i t y , esp ec

i a l l y th e problem o f w orking w ith an o th e r in d iv id u a l . Keeping th e box

a un iform s iz e , shape and w e ig h t, r e q u ire s a g re a t d o a l o f co o p era tio n

between th e two s tu d e n ts perform ing th e pantomime. P ra c tic e t h i s

e x e rc is e s e v e ra l tim es o f fe r in g su g g estio n s to h e lp develop an a t t i t u d e

o f c o o p e ra tio n betw een th e s tu d e n ts .

In tro d u ce and d isc u s s th e need fo r c o n c e n tra tio n and aw areness in

group pantomime. S tuden ts must bo consc ious o f t h e i r r e s p o n s ib i l i ty t o

r e s p e c t th e c r e a t io n o f o th e r s , e s p e c ia l ly in a group pantomime a c t i v i t y .

The f i r s t s tu d e n t to e s ta b l i s h th e b o x 's s i z e , e s ta b l is h e d s iz e fo r a l l

o th e r p a r t ic ip a n ts and th e s iz e should n o t be a l t e r e d .

P re se n t p a i r s o f s tu d e n ts w ith th e pantomime s i t u a t i o n , p o lish in g a

c a r . Here th e s tu d e n ts a re a g a in working f o r th e same end w ith th e same

o b je c t , b u t t h e i r in d iv id u a l a c t i v i t i e s need n o t be d u p lic a te d . Both

th e box l i f t i n g and c a r p o lish in g pantomimes r e q u ire th e s tu d e n ts work

fo r a common g o a l, th e y work to g e th e r in th e same d i r e c t io n . Pantomimes

p la c in g s tu d e n ts in o p p o s itio n m ight w e ll be in tro d u ce d a t t h i s p o in t in

th e le s s o n . Those pantomimes f u r th e r develop th e co n cep t o f c o o p e ra tio n

and f u r th e r id e n t i f y th e need fo r c o n c e n tra tio n and aw areness in group

a c t i v i t i e s . S tu d en ts on o p p o s ite s id e s o f a sw inging door o r invo lved

in a tu g -o f-w a r game a re examples o f o p p o s itio n pantomimes.

Group th e c la s s in to groups o f f iv e o r s ix s tu d e n ts a f t e r su c ce ss

f u l ly dev elo p in g a t t i t u d e s o f c o o p e ra tio n and r e s p e c t in th e p a i r

124

e x e r c is o s . Give each group a d i f f e r e n t group a c t i v i t y t o p la y in p an to

mime. The s in g le goal s i tu a t io n s are b e s t f o r e a r ly e x p e r ie n c e s , suoh

a s b u ild in g a c lubhouse , l i f t i n g a oanoe and lo ad in g i t on to a c a r , o r

push ing and p u llin g a s t a l l e d c a r in to a s e rv ic e s t a t i o n . Perm it th e

groups to develop and p ra c t ic e t h e i r pantomimes b e fo re th e y perform

them . T his p e rio d o f developm ent and p r a c t ic e i s v e ry im portan t f o r th e

developm ent o f s tu d e n ts 1 s k i l l s in group a c t i v i t i e s . The te a c h e r should

a c t as co u n se lo r and ad v iso r b u t n o t a d e c is io n maker d u rin g th e

pantomime’ s developm ent. Encourage each group to reco g n ize th e id eas o f

a l l members and to develop th e group pantomime based on th e ideas gained

from th e w hole g ro u p 's work.

Have each group perform i t s pantomime f o r th e o th e r g roups. Follow

v r ith a d is c u s s io n o f th e pantomimes encourag ing s tu d e n ts t o ex p ress t h e i r

o p in io n s and fin d in g s r e le v a n t t o th e s k i l l s n ec e ssa ry f o r su c c e s s fu l

group w ork. D iscuss s e v e ra l s p e c i f i c a l l y e f f e c t iv e moments o f coopora-

t i o n in th e pantomimes and r e in fo rc e th e concep t t h a t a su c c e s s fu l group

a c t i v i t y stem s from each member's a b i l i t y t o r e s p e c t th e r i g h t s , o p in io n s ,

and p ro p e r ty o f o th e rs ,

D. M a te r ia ls and R esources;

M cC aslin , N e ll ie . C rea tiv e D ram atics In The C lassroom . New York: D avid McKay Company, I n c . , l?t>b

S p o lin , V io la , Im p ro v isa tio n fo r th e T h e a tre . Chicago; The Coach House PreBS I n c . , 1*63.

Ward, V iin ifred . Playmaking vrith C h ild re n . New York: A pploton-C en tu ry -C ro fb s , I n c . , 19f>7.

12*E . B eh av o ria l O b jec tives i

Given a group pantomime su g g e s tio n , a group o f th re e s tu d e n ts w i l l

in n o t more th a n f i f t e e n m inutes p rep are a pantomime d em o n stra tio n from

th e o r ig in a l su g g e s tio n . The pantomime d em onstra tion w i l l in c lu d e a l l

th re e s tu d e n ts and w i l l e x h ib i t t h e i r su c c e ss fu l a ttem p t t o p rep are a

s in g lo u n if ie d product th rough t h e i r in d iv id u a l c o n tr ib u t io n s .

126

A. Academic A rea: S o c ia l S tu d ies

B. Teaohlng Agreements G oal:

I 2 .01 Gain some knowledge o f th e work o f th e more f a m il ia r community h e lp e rs .

I 2 .02 Grow in th e u n d erstan d in g o f th e im portance o f work and how people a re dopendent upon each o th e r as consumers and p ro d u cers .

C* Suggested Sample L esson:

C re a tiv e d ram atics a ffo rd s s tu d e n ts an o p p o rtu n ity t o e x p e r ie n c e ,

th ro u g h play# th e w orld and s o c ie ty . In c r e a t iv e d ram atics a c t i v i t i e s

th e s tu d e n t can p re ten d to be a o h a ra c to r o f any age# race# n a t io n a l i ty #

o r p e rsu a s io n t h a t he can im agine. Those e x p e rien ces gained from "being

someone e l s e ” g ives th e s tu d e n t a b e t t e r u n d e rs tan d in g o f o th e r s . Often

s p e c i f ic c h a ra c te r s or r o le s may be d ram atized to i l l u s t r a t e th e c h a r

a c t e r or r o le and develop a f f e c t iv e as w e l l as c o g n itiv e re sp o n ses in

th e s tu d en t*

To g a in u n d e rs tan d in g o f community h e lp e rs and t h e i r r o le s in our

neighborhood and s o c ie ty wo can u se s to r y t e l l i n g , s to r y d ra m a tiz a tio n ,

pantomime, o r p u p p e try . These a c t i v i t i e s can a l l c o n tr ib u te to th e

c h i l d 's g r e a te r u n d erstan d in g and knowledge o f community h e lp e r s .

Ifre-c lassroom p la n n in g : Having chosen to use a v i s u a l medium fo r

s tim u lu s , p re p a re enough paper and drawing m a te r ia l f o r th e c l a s s . I f

th e concept o f community h e lp e rs i s new t o th e s tu d e n ts , p ic tu re s from

p r in te d so u rces may be h e lp fu l in th e i n i t i a l d is c u s s io n .

C lassroom procedures and a c t i v i t i e s : Begin a d is c u s s io n by ask in g

fo r examples o f community h e lp e rs t h a t th e s tu d e n ts know. As community

127

h e lp e rs a re id e n t i f i e d b eg in to le a rn more abou t them and th e r o le s

th e y perfo rin . For example a policem an perform s many fu n c tio n s in our

s o o ie ty and ho m ust bo ab lo to do many th in g s . Lead a d is c u s s io n th a t

v / i l l b r in g many o f th e se ro le s and fu n o tio n s t o th e c h i l d 's a t t e n t io n .

R ein fo rce th e concep t t h a t a community h e lp e r 's a c t i v i t y i s

n e c e s sa ry f o r a community’s e f f i c i e n t a s w e ll a s sa fe o p e ra tio n . Ex

p la in t h a t each community h e lp e r p ro v id e s a n e c e ssa ry s e rv ic e t h a t we

as in d iv id u a ls can n o t co m fo rtab ly p ro v id e fo r o u rse lv e s . B ring in to

th e d is c u s s io n as many community h e lp e rs as n ec e ssa ry or d e s ir e d .

A f te r th e d is c u s s io n i s com plete and a l l s tu d e n ts a re aware o f th e

many community h e lp e rs t h a t keep our neighborhoods and o i t i o s c le a n ,

s a f e , and h e a l th y , d i s t r i b u t e drawing paper to each s tu d e n t . Encourage

each s tu d e n t to ohoose one community h e lp e r t o i l l u s t r a t e in a p ic tu r e .

The s tu d e n ts o re to show a community h e lp e r in th e perform ance o f h is

r o l e . For example a firem an may be p u tt in g o u t a house f i r e o r he may

be re sc u in g a c a t from a t r e e to p . A postman m ight be d e l iv e r in g

C hristm as packages and th e policem an cou ld be i l l u s t r a t e d h e lp in g an old

lad y ac ro ss a busy s t r e e t . S tre s s th e id e a t h a t i t i s more im p o rtan t

t o show w hat th e community h e lp e r i s doing r a th e r th a n j u s t th e community

h e lp e r .

When a l l th e draw ings a re com pleted l e t th e s tu d e n ts sh are t h e i r

w ork. They n ig h t w ish t o d is p la y t h e i r draw ings and o x p la in th e

a c t i v i t y , or th e y m ight choose t o i l l u s t r a t e o r share t h e i r work th rough

a pantomime. However th e s tu d e n t chooses t o sh are h is work a llo w him

th a t freedom . I f s tu d e n ts have comments o r id eas to sh are encourage

128

t h e i r en thusiasm and d iscu ss io n *

During t h i s phase o f t h e le s s o n , s e v e ra l oommunity h e lp e r i l l u s t r a

t io n s may in c lu d e c o n f l ic t or problem so lv in g s i tu a t io n s * The p o lic e

man may be w r i t in g a t i c k e t f o r a man who d o e s n 't w ant one, o r th e

postman may have so many boxes to d e l iv e r t h a t he c a n 't c a r ry them a l l*

Choose one o f th e s e i l l u s t r a t i o n s t h a t su g g est a s to r y and l e t th e

c h i ld re n develop a s to r y l in e * Then fo llo w w ith an im p ro v isa tio n or

s to r y d ram atiza tio n * In some in s ta n c e s s e v e ra l o f th e i l l u s t r a t i o n s

may be combined t o develop a s to ry f o r d ra m a tiz a tio n *

These im p ro v isa tio n s and d ra m a tiz a tio n s g iv e th e s tu d e n t an oppor

t u n i t y to ex p erien ce som ething o f w hat i t means t o be a p o licem an ,

f irem an , o r o th e r community h e lp e r . These e x p e rie n c e s g ive th e s tu d en t

new b a s is from w hich to form a t t i tu d e s and o p in io n s ,

D, E a te r ia l s and R eso u rces:

S ik s , G erald ine B ra in . C rea tiv e D ram aticsi An A rt For C h ild ren .New York: Harper and Row, P u b lis h e r s , 195&o

S p o lin , V iola* Im p ro v isa tio n f o r th e Theatre* E vanston , 1 1 1 .: N orthw estern U n iv e rs ity ^ r e s s , 1 S>fc>3,

W ard, W inifred* Playmaking w ith C h ild ren * 2nd* ed* New York: A p p le to n -C en tu ry -C ro fts , I n c . , 1957®

E* B ehav io ra l O b je c tiv e :

Given p a r t i c ip a t io n i n a s to ry d ra m a tiz a tio n based on th e a c t i v i t i e s

o f a s e le c te d community h e lp e r , th e s tu d e n t , i n n o t more th a n f i f t e e n

m inu tes w i l l o r a l ly d e so rib e th e community h e lp e r 's r o le i n s o c ie ty

in c lu d in g a t l e a s t f iv e s p e o if ic exam ples o f s e rv ic e perform ed by th e

concaunity h e lp e r .

129

A* Academic A rea ; S o c ia l S tud ios


I 3 .0 1 E xplore th e s ig n if ic a n c e o f h o lid ay s and s e a so n s .

I 3»02 A cquire some u n d e rs tan d in g o f h o lid ay s and se a so n a l e v e n ts .


Seasonal e v e n ts and h o lid a y s have always been f e s t iv e o ccasio n s

and f o r most o f th e se o ccasio n s th e re a re many s to r i e s t o e x p la in th e

o r ig in and h i s to r y o f th e e v e n t. S to r y te l l in g i s on e f f e c t iv e as

Y/ell as en jo y ab le method o f ach iev in g u n d e rs tan d in g o f s e a so n a l ev en ts

and h o lid a y s . These s to r i e s a re a v a i la b le from many so u rces and v a r ie d

enough to meet th e needs and l im i ta t io n s o f p r a c t i c a l l y any g roup . As

in a l l c r e a t iv e d ram atics a c t i v i t i e s th e r e a re many cho ices p o s s ib le

f o r th e developm ent o f s t o r i e s , from sim ple i l l u s t r a t i o n o f th e s to ryr *

i n v is u a l a r t medium to a f u l l y developed p lay th ro u g h s to r y d ram ati

z a t io n te c h n iq u e s .

P re -c lassro o m p la n n in g ; From any o f th e many sources a v a ila b le

s e l e c t a s to ry o r poem a p p ro p ria te fo r th o sea so n a l or h o lid a y e v e n t.

Tho cho ice o f m a te r ia l w i l l o f course depend upon th e t e a o h e r 's o b jec

t i v e s and upon th e age, i n t e r e s t , and m a tu r i ty o f th e s tu d e n ts . The

s e le c t io n must be p rep ared by th e te a c h e r fo r t e l l i n g and any v is u a l

m a te r ia ls o r p ro p e r t ie s to be used in th e t e l l i n g should be c o l le c te d .

Classroom procedures and a c t i v i t i e s ; Warm up th e c la s s by d is

c u ss in g th e ev en t o r h o lid a y s u b je o t . Ask what th e s tu d e n ts know o f

th e ev en t and th e e v e n t 's o r ig in . The s k i l l e d te a c h e r Y /ill b r in g th e

d is c u s s io n to an in tro d u c tio n o f th e s e le c te d s to r y or peflm. Here a re

tvro poems t h a t n ig h t he used, to c r e a te v iv id Hallow een scenes*

’’Hallows ’on’1

T onigh t i s th e n ig h t TThen dead lo av es f l y L ike w itc h e s on sv /itches A cross th e slty ,When e l f and s p r i t e F l i t th ro u g h th e n ig h t On a moony sh een .

Tonight i s th e n ig h t “When le a v e s make a sound Like a gnome i n h i s home Under th e g round ,V/hen spooks and t r o l l s Creep o u t o f h o le s Mossy and g re e n .

T onigh t i s t h e n ig h t Yftien pumpkins s ta r e Through sh eaves and le a v e s Everyw here,Then ghoul and g h o s tAnd g o b lin h o s tDance round t h e i r queen .I t ’s H allow e’enJ

!,This I s H allow een’1

G oblins on th e d o o rs te p , Phantoms i n th o a i r ,

Owls on v / i tc h e s 1 g a te p o s ts G iving s t a r e f o r s t a r e ,

C ats on f ly in g b ro o m stic k s , B ats a g a in s t th e moon,

S t i r r in g s round o f f a te -c a k e s W ith a solem n spoon ,

W h irlin g a p p le p a r in g s . F ig u re s d raped i n sh e e ts

^H arry Bohn, ’’H ollow e’e n ," i n Time For P o e try , e d . by May H i l l A rb u th n o t (C hicago: S c o t t , Foresman and Company, l ? £ l ) , p . 360 .

131

D odging, d is a p p e a r in g ,Up and down th e s t r e e t s ,

J a c k - o '- l a n t e r n s g r in n in g ,Shadows on a s c re e n ,

S h rie k s and s t a r t s and l a u g h te r - - T h is i s H allow eenI

E i th e r o f t h e s e poom3 may be d ram a tiz e d i n th e te c h n iq u e o f d an o e-

drama w ith each c h i l d p la y in g a l l th e p a r t s as t h e poem i s n a r r a t e d .

For an e x c i t in g i n t e r p r e t a t i o n o f th e s e l e c t i o n , d e v e lo p sound e f f e c t s

t o s u p p o rt a re a d in g o f th o poem# F or exam ple th e poem "Hallowe 'e n 11

has many e lem en ts su g g e s tin g sound; d ead le a v e s , w i tc h e s , e l f s , s p r i t e s ,

gnomes i n t h e i r hom es, spooks and t r o l l s , ghou l and g h o s t and g o b l in

h o s t dancing# C re a te sound e f f e c t s f o r th e v a r io u s e le m e n ts i n th e

poem and d u rin g a re a d in g o f th e poem th e s e sound e f f e c t s can h e lp

c r e a te th e atm osphere#

F i n a l l y , have th e s tu d e n ts c r e a te c h a r a c te r iz a t io n s fo r th e v a r io u s

c h a r a c te r s i n th e poem# Thoy shou ld be s i g n i f i c a n t c h a r a c te r s developed

from s u g g e s tio n s im p lie d i n t h e poem and from th e c h i l d 's im ag in a tio n #

I t h e lp s t o have some b i t s and p ie c e s o f costum e t o h e lp c r e a te c h a ra c

t e r s , e s p e c i a l l y spooity and w e ird c h a r a c te r s such a s th e s e # I f th e

te a c h e r h a s a c c e s s t o make u p , even dime s to r e l i p s t i c k and eyebrow

p e n c i l , i t w i l l f u r t h e r enhance th e s tu d e n t 's c r e a t io n o f c h a ra c te r#

VJhen th e sound e f f e c t s have been c r e a te d and c h a r a c te r s a re f u l l y

d e v e lo p e d , p ro v id e c o p ie s o f th e poem f o r e ac h s tu d e n t , o r have th e

pD orothy Brown Thompson, "T h is I s H allo w een ," i n Time For P o e try , ed#

by Kay K i l l A rb u th n o t (C hicago! S c o t t , Foresm an and Company, lS^ljT , pp# 3 6 0 -3 6 1 .

poem w r i t t e n in a fo rm th a t a l l c an r e a d , such as hav ing i t cop ied in

la rg e p r i n t on th e ch a lk b o a rd . D ivide th e c la s s in to th re e eq u a l

groups* One group w i l l be th o n a r r a to r group and w i l l be re s p o n s ib le

fo r re a d in g th e poem# The second group w i l l be th e sound e f f e o ts

group and w i l l p ro v id e th e sound e f f e o t s t o su p p o rt th e re a d in g and

develop background atm osphoro* The t h i r d group w i l l be th e a c to r group

and w i l l pantomime o r perform in donce-dram a th e v a r io u s c h a ra c te r s a s

n a r r a te d in th e poem* I f th e poem i s r e p e a te d th re e t im e s , changing

th o groups r e s p o n s ib i l i ty each t im e , e v e ry c h i ld w i l l have th e oppor

tu n i t y t o perform i n a l l th r e e phases*

D* I & te r ia l s and R eso u rces :

A rb u th n o t, Hay H i l l , ed* Time For P o e try * New York: S c o t t ,Foresman and Company, 1"951*

S ik s , G eraldine B ra in , ed* C h ild re n 's L i te r a tu r e For D ram a tiza tio n * New York: Harper and Row, P u b l is h e r s , 1964•

E* B eh av io ra l O b je c tiv e ;

Given a s to ry o r poem b ased on a s e le c te d h o lid a y o r se a so n a l ev e n t

and p a r t i c ip a t io n i n a d ra m a tiz a tio n o f t h a t s to r y o r poem, th e s tu d e n t ,

w i th in 24 hours o f h i s p a r t ic ip a t io n w i l l be a b le t o o r a l ly d e sc r ib e

th e s t o r y 's even ts and d isc u ss th e r e le v a n t h o lid a y o r se a so n a l event*

The s tu d e n t 's d is c u s s io n w i l l in c lu d e a t l e a s t 80 p e r c e n t o f th e

s ig n i f i c a n t f a c ts o r d e t a i l s in c lu d e d i n th e o r ig in a l s to r y or poem

and d ram a tiz a tio n *

133

A. Academic A rea ; S o c ia l S tud ios

B. Teaching; Agreements G oal;

I I £ .01 Assume in c re a s in g ly g r e a te r r e s p o n s i b i l i t i e s in w orking w ith coram ittoes,

I I £ .0 2 Recognize th e p r iv i le g e s and r e s p o n s i b i l i t i e s o f people l iv in g in a f re e s o c ie ty .

C. Suggestod Sample L esson;

C re a tiv e p ro je c ts t h a t can be combined w i th , o r added t o , o th e r

c r e a t iv e p ro je c ts t o develop m ajor a c t i v i t i e s can be an e x c i t in g exper

ie n c e . Many c r e a t iv e d ram atics te c h n iq u e s can be u t i l i s e d as s e p a ra te ly

developed a c t i v i t i e s to be combined when com ple te , in to a m ajor demon

s t r a t i o n or perform ance.

P re -c lassro o m p la n n in g ; S e le c t a poem t h a t s t im u la te s th e im agi

n a t io n as v ;e ll a 3 a poem t h a t i s a p p ro p r ia te f o r th o ag e , i n t e r e s t s ,

and m a tu r i ty o f th e c l a s s . The poem w i l l se rv e as th e b a s is f o r th e

p r o je c t and w i l l be used to s tim u la te v a r io u s a c t i v i t i e s . A la rg e copy

o f th e poem should be d isp la y e d so t h a t a l l th e c la s s can re a d i t and

in d iv id u a l co p ies p rov ided as w e l l . The t e a c h e r 's p r e p a ra t io n o f th e

m a te r ia l should enab le him t o d ecide th e number o f com m ittees needed

t o p re p a re th e f i n a l p ro d u c t and should p ro v id e him w i th s tim u la tin g

id e a s t o m o tiv a te th e c l a s s .

C lassroom p rocedures and a c t i v i t i e s : Having s e le c te d th e poem

“P ra ir ie -B o g Town" by Mary A u stin and making co p ies f o r a l l th e s tu d e n ts

and a la rg e copy f o r a l l t o re a d w ith o u t hav ing t o h o ld t h e i r own c o p ie s ,

road th e s e le c t io n to g e th e r .

134

Old P o to r P ra irie -D o g B uilds him a house In P ra irie -D o g T own,Yfith a door t h a t goes down And dovm and down,And a h a l l t h a t goes under And under and u n d er,YJhere you c a n ' t see th e l ig h tn in g ,You c a n ' t h e a r th e th u n d e r ,For th e y d o n 't l ik e th u n d er In P ra ir ie -D o g Town.

Old P e te r P ra irie -D o g Digs him a c e l l a r In P ra irie -D o g Town,W ith a c e i l in g t h a t i s a rched And a -wall t h a t i s round ,And th e e a r th he ta k e s ou t he makes in to a mound*And t h e h a l l and th e c e l l a r Are d a rk as dork ,And you c a n ' t see a sp a rk ,Not a s in g le sp a rk ;And th e -way to them cannot he found*

Old P e te r P ra ir ie -D o g Knows a v e r y c le v e r t r i c k Of behaving l i k e 'a s t i c k When he h o ars a sudden sound,Like on o ld dead s t i c k ;And when you tu r n your heed H e 'l l jump q u ick , q u ic k .And he an o th e r s t i c k When you lo o k around*I t i s a c le v e r t r i c k ,A n d T t keeps him s a fe and sound In th e c e l l a r and th e h a l l s That a re under th e mound In P ra ir ie -D o g Town.3

D iscuss w ith t h e c la s s v a r io u s elem ents o f th e poem* What i s th e

poem abou t? Where does th e a c t io n ta k e p la c e ? What a re th e v a r io u s

th in g s t h a t happen in th e poem? D iscuss th e p o s s i b i l i t y f o r c re a t in g

Ûary A u s tin , "P ra ir ie -D o g Town," i n Time For P o e try , e d . by l&y H i l l A rbuthnot (C hicago: S c o tt , Foresman and Company, 1951)* PP« 100- 101.

132

p ic tu re s o f th e poem, Yihnt would he some o f th e o u ts tan d in g v is u a l

elem ents included in tho draw ings? sThat colorB do you th in k b e s t

r e p re s e n t th o moods in th e poem, ond w hat co lo rs would you choose fo r

your draw ings? The sound elem ents a re a ls o im p o rtan t, That s p e c i f ic

sounds a re used in the poem? How could th e se sounds be c re a te d and

added to th e poem's o ra l perform ance?

The main c h a ra c te r , Old P e te r , i s id e n t i f ie d by s e v e ra l c h a ra c te r

i s t i c s , How might you o ro a te the c h a ra c te r , Old P e te r? What does he

look l ik e ? How does he move? How does Old P e te r behave? These

q u e s tio n s and th e i r answers w i l l h e lp th e s tu d en t c r e a te a c h a r a c te r i

z a tio n o f Old P eter and h is p ra ir ie -d o g f r ie n d s , fo r th e r e i s no r e a l

reaso n t h a t a d ram atiza tio n o f th e poem 's s to ry should be lim ite d to a

s in g le p ra ir ie -d o g .

C reate fo u r committees in th e c l a s s . Each o f th e s e committees w i l l

be re sp o n s ib le fo r developing a s e p a ra te aspect o f th e poem and w i l l

develop i t s asp ec t a p a r t from th e o th e r com m ittees. One committee w i l l

develop th e poem in to a c h o ra l re ad in g . They w i l l be re sp o n s ib le fo r

o r a l ly c re a t in g th e poem. Another committee w i l l develop sound e f f e c t s

and music fo r a sound in te r p r e ta t io n o f th e poem. The committee should

have access to sound e f f e c t s and m u sica l instrum ents in c lu d in g O rff

in s tru m e n ts . The sound e f f e c t s and m usic committee w i l l a ttem p t to

c re a te in sound and music an in te r p r e ta t io n of th e poem,

A t h i r d oommitteo w i l l c re a te v is u a ls re p re se n tin g or i l l u s t r a t i n g

scenes in th e poem, dome v is u a ls may be d ir e c t i l l u s t r a t i o n s o f even ts

o r a c t i v i t i e s s ta te d in th e poem, w h ile o ther v is u a ls m ight a ttem p t to

136

e s ta b l i s h th e mood o r f e e l in g suggested by tho author# The fo u r th group

w i l l c r e a te c h a ra c te r s based on those id e n t i f i e d in th e poem. The

fo u r th com m ittee 's work w i l l r e s u l t in a pantomime drama, d ram a tis in g

th e evon ts and a c t i v i t i e s d e sc rib e d in th e s e le c t io n .

I t i s im p o rtan t th a t th e te a c h e r be a v a i la b le f o r guidance b u t

t h a t he n o t a ttem p t to d i r e c t th o o re a t iv e developm ent o f th e com m ittees.

Y/hen each committee has com pleted i t s assignm ent and i s p repared to

d em o n stra te th e p ro d u c t, assem ble th e c l a s s f o r d e m o n stra tio n s . Perm it

each group t o dem onstrate i t s work and encourage a b r i e f d is c u s s io n

p e r io d fo llo w in g each to g iv e th e s tu d e n ts an o p p o r tu n ity t o ex p ress

t h e i r own approach t o th e assignm ent.

The f i n a l s te p in t h i s le s s o n is t o combine th e fo u r com m ittees'

w ork in to a s in g le p ro d u c tio n . D iscuss w ith th e c la s s th e p o s s i b i l i t y

f o r t h i s and how i t m ight b e s t bo ach iev ed . Try, d is c u s s , and t r y

a g a in su g g estio n s and ideas g en era ted by th e s tu d e n ts . The p r o je c t i s

n o t im p o rtan t because of th e f i n a l p ro d u c t, i t i s im p o rtan t because i t

a llo w s th e s tu d e n t a chance t o experim ent w ith new id e a s w ith o u t t h r e a t

o r f e a r o f f a i l u r e . M aintain an a c ce p tin g a t t i t u d e th ro u g h o u t th e

le s s o n . Some s tu d e n ts w i l l have id eas o f b r i l l i a n c e and g en ius w hile

o th e r s id e a s are t o t a l l y unw orkable. R eg a rd less o f th e a p p a ren t va lue

o f a s u g g e s tio n , t r y i t or a t l e a s t g iv e i t h onest d is c u s s io n .

S tu d en ts v f i l l soon le a rn t h a t id eas develop from id e a s . That one

p e r s o n 's view or in te r p r e ta t io n can open th o way f o r o th e rs th in k in g * .

D. M a te r ia ls and R osources:

A rb u th n o t, May H i l l , e d . Time fo r P o e try . New Yorks S c o t t ,

Foresman and Company, 1951

H ollo w o H , L i l l i a n , ed. A Book Of C h ild re n 'a L i t e r a t u r e . New York: H in e h a r t and Corapany7 In c . 1950*

S ik s , G e ra ld in e B ra in , e d . C h ild re n t s L i t e r a tu r e F o r D ram atiza t i o n . New York: Harpor and liow, P u b l is h e r s , 19&4.

E . B e h a v io ra l O b je c t iv e :

G iven a s to r y o r poem and t h i r t y m in u te s , a group o f f iv e s tu d e n ts

w i l l be a b le t o p re p a re and d em o n stra te a c r e a t iv e re sp o n se developed

b y th e g ro u p . The group w i l l f u r th e r be ab lo t o d ev e lo p th e c r e a t iv e

re sp o n se w i th in th e su g g e s te d l im i t a t i o n s o f a c h o ra l r e a d in g , sound

e f f e c t s and m u sic , v i s u a l r e p r e s e n ta t io n , o r a pantomime d r a m a tiz a t io n .

The d e m o n s tra tio n w i l l bo perform ed w ith in th e su g g e s ted l i m i t s and

w i l l be th e r e s u l t o f th e g ro u p 's a b i l i t y t o w ork c o m p a tib ly .

338

A. Academic A rea ; S o c ia l S tudies

te a c h in g Agreements G oal;

I 4 .01 Extend ex p erien ces in d ec is io n -m ak in g , m a in ta in h isid e n t i ty as an in d iv id u a l , and develop th e a b i l i t y to co o p era te in group, s c h o o l, and community a c t i v i t i e s .

C, Suggested Sample Lesson;

C rea tiv e d ram atic s te c h n iq u e s , s p e c i f i c a l l y open-ended s to r i e s and

im p ro v isa tio n , p rov ide th e s tu d en t w ith ex p erien ce in dec is ion -m ak ing

and c o n tr ib u t in g to group a c t i v i t i e s a s an in d iv id u a l . I f th e se e x p e r

ien ce s a re s u c c e s s fu l and rev/srding th e s tu d e n t w i l l develop s e l f -

co n fid en ce and w i l l f e e l more secure in group a c t i v i t i e s . In any

c r e a t iv e d ram atics a c t i v i t y th e s tu d e n t 's developm ent i s o f p rim ary

c o n s id e ra t io n . S tuden t grow th i s th e p u rp o se , n o t th e c re a t io n o f an

a r t i s t i c perform ance.

P re -c lassro o m p la n n in g ; The open-ended s to ry te ch n iq u e i s a p p l ic

a b le t o many c r e a t iv e d ram atic s a c t i v i t i e s . That i s , any s tim u lu s may

be used to g en e ra te a s to r y lin o and u sed fo r c r e a t iv e d ram atic s

a c t i v i t i e s . In a d d it io n t o s to ry in t ro d u c t io n s , p i c tu r e s , sounds,

o b je c t s , c o lo r s , w ords, and shapes may be used as th e s t o r y 's s tim u lu s .

The te a c h e r must d ec id e upon a s tim u lu s or group o f s t im u l i t o use

fo r th e c l a s s . These shou ld be c o l le c te d , assem bled , or o rea to d and

made a v a ila b le b e fo re th e c l a s s , and th e te a c h e r i s w ise to be f a m il ia r

w ith th e m a te r ia ls and have ideas t o use as examples i f n e c e s sa ry .

Classroom p rocedures and a c t i v i t i e s ; An e f f e c t iv e warm up

e x e r c is e fo r t h i s le s so n i s th e name-sound and movement e x e r c is e . The

c la s s s tan d s in a la rg e c i r c l e , th e r e shou ld be a com fortab le space

339betw een s tu d e n ts so t h a t when arms are swinging o r f e e t k ic k in g , no

one w i l l be in ju re d . Bogin the e x e rc ise by e x p la in in g t h a t n o t a l l

names a re th e same, which should be obvious. Not even a l l ways o f

say in g a name a re th e same. There are ways to say a name th a t a re very

i n t e r e s t in g , by using a v e ry high p i tc h , a v ery low p i tc h , by u s in g

extrem e voioe in f le c t io n th e sound o f th e name becomes v ery in t e r e s t in g .

A f te r th e sound idea i s developed add th e movement a sp ec t o f th e

e x e r c is e . Vfhen wo say th e sounds o f th e name we a re to add an e q u a lly

in te r e s t in g movement. The movement can use as much o f th e body as th e

c r e a to r f e e ls i s needed, from one f in g e r t o th e e n t i r e body.

The e x e ro ise i s perform ed by having each s tu d e n t dem onstrate h is

name in sound and movement and tho c la s s re p e a t a f t e r th e dem o n stra tio n .

The d e m o n s tra tio n -re p e ti t io n is co n tin u ed u n t i l ev e ry s tu d en t has

dem onstrated h is name and every one has re p e a te d a l l th e d em o n stra tio n s.

T his e x e ro ise i s e x c e l le n t fo r a now c la s s because i t h e lp s s tu d en ts

le a r n names and i t g e ts s tu d en ts o u t o f t h e i r s e a ts and in to a fun

e x p e r ie n c e . The e x e rc ise a lso ch a llen g es th e im ag ina tion to develop

o r ig in a l and in te r e s t in g sound p a t te rn s and movements.

When th e s tu d e n ts a re warmed up p h y s ic a lly and m en ta lly , in tro d u ce

th e s tim u lu s m a te r ia l . T his may be a box f i l l e d w ith h a ts and w igs.

The s tu d e n ts a re to choose e i th e r a h a t o r a wig and from th a t s tim u lus

d evelop a c h a ra c te r . The c h a ra c te r should have a s p e c i f ic age , sex ,

o ccu p a tio n , n a t io n a l i ty , o r p o l i t i c a l p e rsu a s io n . Suggest th e s tu d e n t

c r e a te th e person they would most never want to b e , o r th e fu n n ie s t

p e rso n th ey can th in k o f , or some o th e r extrem e c h a r a c te r iz a t io n .

140

D ivide th o o la s s in to groups o f fo u r o r f iv e s tu d e n ts t r y in g to

group v ery d i f f e r e n t c h a ra c te r s in each g roup . Give each group th e

same s to ry s i tu a t io n :

You f iv e people a re a l l t o t a l s tra n g e rs and have a l l re c e iv e d

id e n t ic a l l e t t e r s re q u e s tin g you come to t h i s rem ote i s la n d .

The b o a t t h a t b rough t you i s gone and no one w a itin g f o r you.

Bach o f you had your own reaso n fo r coming and your own idea

o f why you had been asked to come. Now t h a t you a re h e re and

th e re i s n o th in g o r no one w a i t in g , what a re you going t o do?

Ask each group t o develop an im provised d ra m a tiz a tio n based on t h i s

open ended s i t u a t i o n , . Y/hen d ra m a tiz a tio n s a re com plete have each group

dem onstra te fo r th e c la s s*

A fte r each d em o n stra tio n d is c u s s th e im p ro v isa tio n and th e s o lu t io n

a ttem p ted by each group, Bxplore th e g ro u p 's a tte m p t to coopera te and

de term ine th e ro le o f each in d iv id u a l in th e decis ion -m ak ing p ro c e ss .

Did one p erson emerge as le a d e r , and i f so why? Did th e group seem t o

exo lude one o f i t s members? Did th e group d iv id e because a group

d e c is io n could n o t be reach ed ? Vifhat e lem ents o r in d iv id u a l c h a ra c te r

i s t i c s were m ost im p o rtan t to th e developm ent o f an atm osphere o f

c o o p e ra tio n ? VYhat were th e r e l a t i v e q u a l i t i e s o f th e proposed

s o lu t io n s ?

T his le s s o n may be f u r th e r developed by c o n s o lid a tin g th e elem ents

developed in th o f i r s t im p ro v isa tio n and combined fo r a second impro

v i s a t i o n . T h is s to r y , as i t i s developed , may be r e f in e d , p o lish e d ,

and developed in to a d ra m a tiz a tio n o f a r t i s t i c m e r it based on th e

141

s tu d e n t’s a b i l i t y t o cooperate a s a group and make d e c is io n s suggested

by in d iv id u a l members o f t h a t g roup .

M a te ria ls and R esources;

P a s o l l i , R obert. A Book On The Open T h e a tre . Hew Yorks Avon Books, 1970.“ *

S p o lin , V io la . Im p ro v isa tio n For The T h ea tre . E vanston , 1 1 1 .: Horthvrestern U n iv e rs ity T re s s , 19&3•

Ward, W in ifred . Playmaking With C h ild ren . 2nd e d . Hew York: Appleton-Cent'ury-Cr offcs,' Tnc'.', 19i>V•

Way, B rian . Development Through Drama. London: Longman Group L im ited , 1967.

E . B ehav io ra l O b jec tiv e :

Given an open-ended s to ry s i t u a t io n , a group o f fo u r s tu d e n ts w i l l

in n o t more th an f o r ty - f iv e m inu tes develop a s o lu tio n w hich i s drama

t i c a l l y v a l id f o r th e g iven s i t u a t io n as w e ll as ag ree ab le to each o f

th e fo u r s tu d e n ts in v o lv ed . F u r th e r , eaoh o f th e fo u r s tu d e n ts w i l l be

ab le to o r a l ly d isc u ss the group’s a ttem p t t o conclude th e open-ended

s i tu a t io n and d e sc rib e h is in d iv id u a l r o le in th e p ro c e s s .

142

4* Academic A rea; S o c ia l S tud ies


I I 6 .0 1 Develop c r i t i c a l th in k in g by le a rn in g t o analyze in form at io n g a th e red from more th a n one so u rc e .

I 6 .0 2 Develop an i n t e r e s t in c u r re n t ev en ts th ro u g h nev/s b ro ad c a s ts and new spapers.

C, S uggested Sample L esson:

Kany c r e a t iv e d ram a tic s a c t i v i t i e s invo lve in fo rm atio n a n a ly s is

and c r i t i c a l th in k in g . S to ry d ra m a tiz a tio n , b a s io to c r e a t iv e d ra m a tic s ,

r e q u ire s th e s to ry be analyzed u s in g in fo rm a tio n p ro v id ed by th e s to r y

t e l l e r . In s to ry d ra m a tiz a tio n th e s tu d e n t s e le c t s e lem en ts from th e

s to r y t h a t , in h is c r i t i c a l o p in io n , communicate th e s to r y and b e s t

s t im u la te d ra m a tiz a tio n .

S tu d en ts g iven th e o p p o rtu n ity t o develop o r ig in a l s to r i e s from a

v a r i e ty o f sou rces w i l l g a in v a lu a b le ex p erien ce in g a th e r in g and

a n a ly z in g in fo rm a tio n fo r i t s re le v a n c e t o th e s to r y b e in g developed .

S tu d en ts w i l l develop c r i t i c a l th in k in g s k i l l s when faced w ith th e

n e c e s s i ty f o r making c r i t i c a l ch o ices in th e developm ent o f a s to r y .

These s k i l l s a re im p o rta n t, i f n o t c r i t i c a l , in c r e a t iv e as w e ll as

.d ram atic a c t i v i t i e s .

P re -c la ssro o m p la n n in g : S e le c t an im p o rtan t a c t i v i t y o r ev en t t h a t

i s be in g c u r r e n t ly d isc u sse d in th e mass m edia. Examples may be th e

Olympio Games, The V.'orld S e r ie s , an in te r n a t io n a l a i r l i n e h i ja c k in g ,

a w ar, o r o th e r w e ll re p o r te d e v e n t. S e le c t s e v e ra l t im e ly and i n t e r

e s t in g e v e n ts fo r t h i s lesson* C o lle c t as many c u r re n t ro p o r ts as

p o s s ib le ; new spapers, m agazines, books, t e x t s o f sp eech es , tap c rec o rd e d

143

b ro a d c a s ts , and o r ig in a l source in te rv ie w s . Have a l l th e s e m a te r ia ls

a v a i la b le f o r th e c l a s s 's u se .

C lassroom procedures and a c t i v i t i e s ; D iscuss rea so n s why some

o u r re n t ev en ts a re co n sid e red more im portan t th a n o th e rs as w e ll as

more in t e r e s t i n g . Suggest t h a t one ev en t be s e le c te d f o r d ram atiza

t i o n . H opefu lly tho su g g es tio n w i l l in c lu d e an even t p rep ared by th e

te a c h e r* i f n o t , su g g est one t h a t has been p rep ared t o in tro d u ce th e

c o n c e p t. The ev en t suggested by th e c la s s can be developed l a t e r .

P re se n t th e m a te r ia l fo r g a th e r in g in fo rm a tio n and allov ; th e

B tuden ts to ex p lo re th e in fo rm a tio n . P o in t ou t th e v a r ie ty o f so u rces

and su g g est th e s tu d e n ts determ ine th e foous o f each . One media w i l l

ohoose to em phasize one a sp ec t o f an ev en t w h ile an o th er media w i l l

ohoose a much d i f f e r e n t em phasis. A lso d i r e c t tho s tu d e n ts to f a c tu a l

in fo rm a tio n d if f e r e n c e s as re p o rte d by th e v a r io u s m edia. Here i 3 an

e x c e l le n t o p p o rtu n ity t o ex p lo re th e " p o in t o f View" phenomenon. That

good and b ad , r ig h t and wrong, harm ful o r b e n e f ic ia l se rv e t o i l l u s

t r a t e th e o b s e rv e r 's p o in t o f v iew . Case in p o in t , th e fo lk t a l e

"Three B il ly g o a ts G ru ff ." Three g o a ts want to c ro ss a b r id g e owned by

a t r o l l . The t r o l l says no t o th e g o a ts so th e y b u t t him in to o b liv io n .

V«ho i s r ig h t and who i s wrong? A man i s b e a te n in a p a rk in g l o t

becau se he 'w ou ldn 't hand over th e keys o f h is new c a r t o th re e hoods.

The hoods b e a t th e mean old man and ta k e h is c a r anyway. Who i s r ig h t

and who i s wrong?

Suggest th e s tu d e n ts d ram atize a s to r y developed from th e a v a i la b le

in fo rm a tio n . They m ust analyze th e in fo rm atio n a v a i la b le and determ ine

144

which i s u s e fu l and which is n o t u s e fu l . The s tu d e n ts th en beg in to

devolop a s to ry l in e e s ta b l is h in g s p e c i f ic c h a ra c te rs invo lved in th e

even t o r in c id e n t . Follow w ith a s to ry based upon th e in fo rm atio n

a v a i l a b le •

IVhen th e s to r y i s c o n p le to , a f t e r c r i t i c a l th in k in g and in fo rm atio n

a n a ly s is have produced a p lo t , d ram atize th e s to r y . S tuden ts nay w ish

t o employ s e t t i n g s , costum es, p ro p e r t ie s and sound e f f e c t s .

D. ? fo te r ia ls and R eso u rces:

H is to r ic a l ev en ts a re j u s t as e f f e c t iv e and u s e fu l as c u r re n t

e v e n ts . An e x c i t in g a s w e ll as e f f e c t iv e le sso n may be developed as

t h i s le s s o n w as, from any rep o rted h i s t o r i c a l so u rc e . B io g rap h ica l

d ra m a tiz a tio n s shou ld n o t bo overlooked f o r t h e i r e f f e c t iv e in tro d u c tio n

and in v e s t ig a t io n o f h i s t o r i c a l f ig u r e s .

E . B ehav io ra l O b je c tiv e ;

Given a v a r ie ty o f in fo rm atio n m a te r ia ls r e le v a n t to a s in g le e v e n t

o r a c t i v i t y , th e s tu d e n t , in n o t more th a n s ix ty m inutes w i l l analyze

th e a v a i la b le m a te r ia l and s e le c t c r i t i c a l elem ents arid in o id e n ts fo r

th e developm ent o f a d ra m a tiz a tio n o f th e even t o r a c t i v i t y . 2he

s e le o te d elem ents and in c id e n ts w i l l be s e le c te d and a rran g ed in a

manner t h a t s u c c e s s fu l ly communicates th e given ev en t o r a c t i v i t y .

14S

A, Academic A rea ; S o c ia l S tud ios

Tea°hing Agreements Ooal:

I I 7»01 Recognize th e c o n tr ib u tio n o f th e e a r ly p io n eers and founders o f Ohio and our community,

I I 7*02 A pprec ia te th e groups o f p r im itiv e peop les v;ho l iv e d in th e Ohio co u n try ,

I I I 7*03 Learn about th e c o lo n iz a tio n , s tru g g le f o r independence, and development o f our co u n try .

I l l 7 ,0 4 A pprec ia te c o n tr ib u tio n s o f p rev ious g e n e ra tio n s to our vmy o f l i f e ,

I I I 7*0# Develop g r e a te r awareness o f tim e and chronology o f e v e n ts ,

C• Suggested Sample Lesson:

A ffe c tiv e and co g n itiv e le a rn in g o b je c tiv e s o f h i s t o r i c a l s o c ie t ie s

and c u l tu re s can be n e t th rough s to ry d ra m a tiz a tio n . S tudents p a r t i c i

p a tin g in s to r y d ram a tiz a tio n have th e o p p o rtu n ity to v ic a r io u s ly

ex p erien ce l iv in g in th e h i s t o r i c a l perio d o r c u l tu r e . Solving probloras

t h a t were p re se n t during th e h i s t o r i c a l p e rio d being s tu d ie d g iv es th e

s tu d e n t in s ig h ts to th e p e rio d th a t in c re a se h is a p p re c ia tio n as w e ll as

c omprchen s io n .

S to ry d ra m a tiz a tio n can be e f fe o t iv e f o r in tro d u c in g , develop ing ,

o r rev iew ing an h i s t o r i c a l p e r io d , e v e n t, o r c u l tu r e . The source o f

th e d ra m a tiz a tio n i s a lso v e ry f l e x ib l e . In fo rm ation provided in t e x t

books p rov ides enough in fo rm atio n fo r th e d ra m a tiz a tio n o f many h i s t o r

i c a l s u b je c ts . The te a c h e r may seek o th e r h i s t o r i c a l l y a ccu ra te souroes

t o supplem ent th o t e x t fo r a d d it io n a l m a te r ia l to develop d ram atiza

t i o n s , Folk t a l e s , leg en d s, m yths, p o e try , and f a i r y t a l e s o f te n d ea l

146

w ith h i s t o r i c a l s u b jo c ts , and a lthough n o t always h i s t o r i c a l l y a c c u ra te ,

p rov ide in te r e s t in g and sound in s ig h ts to th e s u b je c t .

P ro-classroom p lan n in g : S e leo t a: h i s t o r i c a l p e rio d fo r d ram atiza

t i o n and a l i s t o f im portan t even ts in th e p e r io d . I t i s b e s t to

s e l e c t broad periods spanning s e v e ra l y e a rs , th e Amerioan R ev o lu tio n ,

th e American D epression , or th e r i s e o f H i t le r Germany prov ide many

s ig n i f i c a n t s p e c if ic even ts t o draw from . Most im portan t f o r th e

su ccess o f t h i s le sso n i s th e studen ts* background in th e p e rio d

s e le c te d . T h e re fo re , th e le s s o n i s b e s t used as a review techn ique

b r in g in g t o a c lo se a u n i t o f h i s t o r i c a l s tu d y .

Classroom procedures and a c t i v i t i e s ; In tro d u ce th e to p ic o f th e

American R evo lu tion and b eg in a d isc u s s io n o f th e m ajor h i s t o r i c a l

e v e n ts and f ig u ro s from th a t p e r io d . C reate a l i s t o f e v e n ts , i n c i

d e n ts , and im portan t people t h a t have s ig n if ic a n c e and re lev a n c e to th e

American R ev o lu tio n ary e r a . D iscuss each o f th o se e v e n ts , in c id e n ts ,

o r im p o rtan t people and determ ine how i t f i t s in to tho t o t a l scheme o f

th e p e r io d . The l i s t should include ev en ts such as th e Boston Tea

P a r ty , th e B a tt le o f Bunker H i l l , Paul Revere*s R ide, George W ashington

a t V alley Forge and c ro ss in g th e Delev/are R iv e r, B etsy Ross making th e

f l a g , th e s ig n in g o f th e D e c la ra tio n o f Independence and C o n s ti tu t io n ,

and such persons as John Adams, Thomas J e f f e r s o n , Benjamin F ra n k lin ,

W illiam P i t t , Thomas P ain e , and P a tr ic k Henry as w e ll as many o th e r s .

Rank tho l i s t from m ost im portan t even t fo r d ra m a tiz a tio n t o l e a s t

im p o rtan t ev en t and determ ine th e number o f c h a ra c te rs n eo o ssary fo r

each . Then encourage groups o f s tu d e n ts to develop scenes f o r

147

d ra m a tiz a tio n , choosing tho m ost im portan t oven ts f i r s t .

Allow tho s tu d e n ts ample tirao to develop t h o i r d ra m a tiz a tio n s . I f

th e r e a re costume elem en ts and make up a v a i la b le , s tu d e n ts m ight w ish

t o f u r th e r develop th e scones w ith costume and make u p , Vihon a l l

scenes a re p re p a re d , a rran g e th e scenes c h ro n o lo g ic a lly fo r dem onstra

t i o n , Have s tu d e n ts perform each d ra m a tiz a tio n c r e a t in g a "P agean t o f

Scenes from th e American R ev o lu tio n ,"

I t shou ld be understood t h a t th e se d ra m a tiz a tio n s a re bused on

f a c tu a l in fo rm atio n b u t a re n o t n e c e s s a r i ly h i s t o r i c a l l y a c c u ra te . An

e f f e c t iv e d ra m a tiz a tio n depends upon th e c r e a t io n o f c o n f l i c t , su sp en se ,

and in te r e s t in g c h a ra c te r s w ith in a problem so lv in g c o n te x t; t h i s

l im i ta t io n demands c r e a t i v i t y in a d d it io n to academ ic re s e a rc h ,

D, M a te ria ls and R eso u rces ;

Sources fo r t h i s le s s o n may be found in any h i s to r y te x t or s to r y

an th o lo g y . The r e a l m a te r ia l f o r t h i s le s so n i s th o ex p erien ce and

c r e a t i v i t y o f te a c h e rs and s tu d e n ts ,

E, B ehav io ra l O b je c tiv e ;

Given p a r t i c ip a t io n in a s to r y t e l l i n g and s to r y d ra m a tiz a tio n

e x p e rien ce based upon an h i s t o r i c a l p e rio d or e v e n t, th e s tu d e n t w i l l ,

in n o t more th an t h i r t y m in u te s , be ab le to id e n t i f y in w r itin g a t

l e a s t 7£ p e r cen t o f th e s ig n i f i c a n t d e t a i l s o f th e p e rio d or e v e n t as

id e n t i f i e d in th o g iv e n s to r y o r d ra m a tiz a tio n .

148

A. Academlo A rea : S ocia l S tu d ie s


I I I 8 ,01 R ea lize th a t s o lu t io n s to many human problem s have been found tlirough co o p e ra tiv e e f fo r t*

I I I 8 .02 S tudy and compare th e b e l i e f s , customs and governm ental system s of peop le in v a rio u s ages and p la c e s .

I l l 8.03 Gain knowledge ab o u t o th e r c o u n tr ie s , a n c ie n t and modern, and lo arn to a s s o c ia te them w ith t h e i r c o n t in e n ta l lo c a t io n , c l im a t ic c o n d it io n s , p h y s ic a l f e a tu r e s , econom ic, p o l i t i c a l and c u l t u r a l system s.

I 8.04 G ain some u n d e rs tan d in g o f th e purposes maps se rv e and o o n s tru c t sim ple school and community m aps.

I I 8 .05 Compare th e modern moans o f acq u irin g fo o d , c lo th in g and s h e l t e r w ith th o se o f In d ia n communities o f long ago .


The s ta te d o b je c tiv e s f o r w hich t h i s le s s o n i s d es ig n ed r e q u ire th e

s tu d e n t g a in some u n d erstan d in g and a p p re c ia t io n o f m an 's a ttem p ts to

su rv iv e and e s ta b l i s h c i v i l i z a t i o n s . H is to r i c a l ly , man has d isco v e red

many problem s o lu t io n s . These s o lu tio n s o f te n depend upon a v a ila b le

ro so u ro e s o r d eg ree o f t e c h n ic a l developm ent in th e s o c ie ty . However,

th e c r i t i c a l e lem ent in th e d isc o v e ry o f m ost problem s o lu t io n s i s

m an 's a b i l i t y t o cooperate and work f o r m utual grow th and developm ent.

C rea tiv e d ram atic s p ro v id e s th e s tu d e n t w ith th o o p p o r tu n ity to

e x p e rie n c e problem so lv ing p ro c e s s e s . S i tu a t io n s b ased upon h i s t o r i c a l

ev id en ce may be d ra m a tic a lly c re a te d . The s tu d e n t, c r e a t in g a c h a ra c te r6

w ith in th e l i m i t s o f on h i s t o r i c a l scen e , oan become p e r s o n a l ly in v o lv ed

in th e h i s t o r i c a l p e rio d . The s tu d e n t 's p e rso n a l committment in a

c r e a t iv e d ra m a tic s a c t i v i t y develops h is a f f e c t iv e a s '.veil as c o g n it iv e

14?

le a rn in g b e h a v io r . A s tu d e n t 's le a rn in g i s s u re ly more s ig n i f i c a n t

when he a c t iv e ly ex p erien ces th e a c t i v i t y or e v e n t and le s s s ig n i f i c a n t

when sim ply to ld about an even t or e x p e r ie n c e .

P re -c lassro o m p lan n in g ! From a s o c ia l s tu d ie s u n i t s e l e c t a

problem s i t u a t io n o r c o n f l i c t . The s e le c te d problem s i t u a t io n o r con

f l i c t should be one which a f f e c t s a la rg e group and i s c r u c ia l to th e

s u rv iv a l o r i d e n t i ty o f th o a f f e c te d group. Examples a r e , th e s ig n in g

o f th e D e c la ra tio n o f Independence, th e d e c is io n t o use th e f i r s t atom

bomb, or a p r e h i s to r ic t r i b e in N orth America choosing on a re a to

in h a b it*

Classroom procedures and a c t i v i t i e s : Begin th e a c t i v i t y by d i s

c u ss in g th e s e le c te d problem s i t u a t io n o r c o n f l i o t . For example th e

te a c h e r m ight b eg in a d is c u s s io n o f th e h a rd sh ip s ex p erien ced by th o

American p io n o er woman in th e f i r s t h a l f o f th e 1 9 th c e n tu ry . The

d is c u s s io n m ight d e a l s p e c i f i c a l l y w ith th e p io n e e r woman w ith h e r

fa m ily c ro s s in g th e American p la in s and m ountains headed f o r th e

C a l i f o rn ia gold ru s h . The problem s o f food , c lo th in g , and s h e l t e r a re

much d i f f e r e n t now and th e c la s s should be enoouraged to develop a

d ram a tic scene based on th e 1 9 th ce n tu ry woman's e x p e r ie n c e . The scene

may be e s ta b l is h e d a t a cam psight halfw ay between S t . Louis and

C a l i f o r n ia . The c h a ra c te r s in th e soene m ight be th e woman, her hus

band , t h e i r fo u r c h i ld re n and v a r io u s o th e r p io n e e rs in th e wagon t r a i n .

Tho a c t i v i t y may b eg in w ith meal p re p a ra tio n a c t i v i t i e s and ino lude

d ra m a tiz a tio n s o f th e e v e n in g 's a c t i v i t i e s u n t i l bod t im e . A v a r i e ty

o f problem s i tu a t io n s and c o n f l ic t s may be in c lu d ed in to t h i s s e t t in g

ISO

p ro v id in g a b a s is fo r d ra m a tiz a tio n . S tuden ts th e n may develop th e

d ra m a tiz a tio n p ro p arin g i t fo r dem onstra tion so th e e n t i r e c la s s can

g a in from th e e x p e rie n c e .

A s im ila r s i t u a t io n , a woman and hor fam ily t r a v e l in g t o C a lifo rn ia

f o r a now jo b , may be dram atized b u t moved in to th e mid-2Gth c e n tu ry .

The modern d ra m a tiz a tio n can be compared w ith th e d ra m a tiz a tio n o f th e

l ^ t h c en tu ry s i tu a t io n to develop s tu d e n t 's u n d e rs tan d in g o f th e prob

lems en coun tered th e n , and th o se encoun tered now, and how th e y a re

d i f f e r e n t as w e ll as s im i la r . In each d ra m a tiz a tio n th e a s p e c t o f

group c o o p e ra tio n and e f f o r t should be em phasized. The a c t i v i t i e s o f a

s in g le in d iv id u a l a f f e c t s th e w e lfa re o f th e e n t i r e group and th e

g ro u p 's a b i l i t y t o moke d e c is io n s and r u le s a f f e c t in g th e g ro u p 's

a c t i v i t i e s i s c r u c ia l fo r su c c e ss .

I f costume and make-up re so u rc e s a re a v a i la b le th e y m ight be in

c lu d e d . These elem ents w i l l f u r th e r dem onstrate th e d if f e re n c e s

betw een c u l tu r e s , and s o c ia l system s by more d ra m a tic a l ly i l l u s t r a t i n g

v is u a l d i f f e r e n c e s . Costume and nake-up a ls o p ro v id e m o tiv a tio n f o r

th e s tu d e n t 's developm ent o f c h a ra c te r adding fu n and e x c ite m en t.

D. M a te r ia ls and R esources:

A problem so lv in g or c o n f l i c t s i tu a t io n may be ta k e n from any

s o c ia l s tu d ie s u n i t and developed u s in g c r e a t iv e d ram atic s te c h n iq u e s .

The d ra m a tiz a tio n con them be d isc u sse d and red rn m atized from v ario u s

p o in ts o f v iew . In essonoe, m an's b a s ic problem s have never a l te r e d ;

th e need f o r fo o d , c lo th in g , and s h e l to r and a com patib le s o c ie ty in

w hich to l i v e . Kov/evor, man has found a v a r ie ty o f moans to s a t i s f y

th o se needs and e x p lo ra tio n o f man's s o lu t io n s th ro u g h o re a t iv e dram a

t i c s a c t i v i t i e s p rov ides e x c i t in g , m eaningful and l a s t in g e x p e r ie n c e s

f o r th e s tu d e n t .

E , B eh av io ra l O b je c tiv e :

Given an h i s t o r i c a l e v en t or s i t u a t io n which in c lu d o s th e s p e c i f i c

problom s i t u a t io n or c o n f l i c t as w ell a s th e i d e n t i t y o f r e le v a n t

c h a r a c te r s , th o s tu d e n t, in n o t more th a n tw enty m inutes w i l l o r a l ly

d e sc r ib e a t l e a s t two a l t e r n a t iv e s o lu t io n s to th o g iven problom

s i t u a t io n or c o n f l i c t . Of th e two a l t e r n a t iv e s o lu t io n s a t l e a s t one

w i l l be a p p ro p r ia te fo r d ram a tiz a tio n u t i l i z i n g th e l im i ta t io n s o f th e

g iv en h i s t o r i c a l even t or s i tu a t io n .

CHAPTER VI

SAFETY, HEALTH, AND PHYSICAL EDUCATIOHi ART AND MUSIC

This c h a p te r fo cu ses on th e rem ain ing th r e e s u b je c t a re a s i d e n t i

f i e d in Teaching A greem ents; s a f e ty , h e a l th , and p h y s ic a l e d u o a tio n ,

a r t and m u sic . Inc luded a re f iv e suggested sample le s so n s s p e c i f i c a l l y

d esig n ed t o m eet s a f e ty , h e a l th , and p h y s ic a l e d u ca tio n g o a ls ; seven

su g g ested sample le sso n s designed to ach ieve a r t g o a ls ; and th re e

su g g ested sample le sso n s d esigned to ach ieve m usic g o a ls .

C rea tiv e d ram atics a c t i v i t i e s o re o a s i ly adap ted t o th e s e th r e e

s u b je c t a r e a s . H e a lth , s a f e ty , and p h y s ic a l ed u c a tio n ; a r t and m usic

a re e s s e n t i a l l y concerned w ith th e s tu d e n t 's p h y s ic a l as w e l l as

a f f e c t iv e developm ent. As an a r t , c r e a t iv e d ram atics i s a l s o c e n t r a l ly

ooncerned w ith th e s tu d e n t 's p h y s ic a l and a f f e c t iv e developm ent. Most

c r e a t iv e d ram a tic s a c t i v i t i e s designed f o r th e s u b je c t a re a s i d e n t i f i e d

fo r t h i s s tu d y use p h y s ic a l e d u c a tio n , v is u a l a r t o r m usic te c h n iq u e s .

1$2

1*3

A. Academic A rea ; S a fe ty , H e a lth , and P h y sica l E ducation

Teaching Agreements Goal:

I 1*01 Keep tim e t o music hy w a lk in g , ru n n in g , sk ip p in g , g a llo p in g , jum ping, and hopping.

I l l 1 .02 Have o p p o r tu n itie s to ex p lo re b a s ic movement p o s s ib i l i t i e s such as k ic k in g , th ro w in g , c a tc h in g , ru n n in g , jum ping, l i f t i n g , e t c . , a s he so lv es movement problem s.


Pantomime and danoe-drama a c t i v i t i e s are o f te n used w ith m usic as

background and s tim u lu s . S tuden ts may use th e musio f o r th e developm ent

o f c o n f l ic t s i tu a t io n s and th e development o f suggested c h a ra c te r s .

A v a r i e ty o f m usical themes may be used t o su g g est v a r io u s p o s s i b i l i t i e s

t h a t can be u t i l i z e d i n pantomime d ram a tiz a tio n s o r in dance-drama

a c t i v i t i e s .

P re"C lassroom p la n n in g : The m usica l s e le c t io n t o be used a s th e

b a s is fo r th e a c t i v i t y must be secu red . This m u sica l s e le c t io n should

be in s tru m e n ta l only w ith no words or s in g in g t o i n h i b i t s tu d en t* s

c r e a t iv e re sp o n se . The s e le c t io n should be i n t e r e s t i n g , c h a lle n g in g ,

and n o t f a m il ia r to th e s tu d e n ts .

An open a r e a , f re e o f desks and c h a i r s , should be u se d . The open

space w i l l a llo w th e s tu d e n t t o exp lo re movement p o s s i b i l i t i e s w ith o u t

f e a r o f f a l l i n g and w i l l encourage more o re a tiv e re sp o n ses t o th e

s e le c t io n .

C lassroom p rocedures and a c t i v i t i e s : A warm-up a c t i v i t y t o i n t r o

duce th e concep t o f rhythm and movement w i l l prove v a lu a b le fo r t h i s '

a c t i v i t y . The e ig h t-c o u n t s te p i s an e x c e l le n t warm-up as w e ll a s fun

method to develop rhythm and movement p o s s i b i l i t i e s . Begin th e e x e r -

o iee by c la p p in g an e ig h t count rhythm . R epeat th e rhythm u n t i l e v e ry

s tu d e n t i s a b le to p a r t ic ip a te in th e o o u n t-o lap rhythm , tihen a l l

s tu d e n ts have a c le a r id e a o f th e rhythm , have them move w ith th e

rhythm* That i s , on each c o u n t-c la p th e y shou ld s te p . The concept i s

much l ik e m arching b u t encourage th e s tu d e n ts t o avoid fo llo w in g

an o th e r p e rso n , weaving i n and ou t o f th e g roup .

The n e x t s te p in th e e ig h t-c o u n t s te p e x e rc is e i s t o have the s t u

d en ts s te p on every o th e r c la p -c o u n t, th a t i s , th ey s te p on c lap -co u n t

one, b u t r e s t on c lap -co u n t tw o, and s te p a g a in on c la p -c o u n t th r e e .

Again th ey should a ttem p t t o form in d iv id u a l movement p a t t e r n s , c r e a t in g

a v a r ie ty o f body shapes and s te p s by a l t e r in g th e s iz e o f th e s te p

a s w e ll as t h e d i r e c t io n o f movement.

The f i n a l s te p in th e e ig h t-c o u n t s te p a c t i v i t y i s t o have s tu d e n ts

s te p on o n ly th e f i r s t c la p -c o u n t and on th e f i f t h c la p -c o u n t. This

phase o f th e a c t i v i t y i s v e ry c o n tro lle d and o f te n i s th e b e s t phase f o r

developing extrem e body shapes and movement v a r ia t io n s .

When each o f th e s e th re e phases a re developed th e te a c h e r may u se

them in any arrangem ent conceivab le to c re a te in te r e s t in g movement

p a t te r n s . I t i s u s u a lly b e s t t o b eg in w ith an e x e rc ise w hich uses

th re e e ig h t-c o u n t s e t s . On th e f i r s t e ig h t-o o u n t s e t a l l s tu d e n ts w i l l

s te p on eaoh co u n t, on th e second e ig h t-c o u n t s e t th e s tu d e n ts w i l l

s te p on ev e ry o th e r count and on th e t h i r d e ig h t-c o u n t th e s tu d e n ts w i l l

s te p on coun t one and coun t f iv e .

Im m ediately fo llo w in g th e e ig h t-c o u n t s te p a c t i v i t y p la y th e

s e le c te d m usic f a r th e c l a s s . B r ie f ly d isc u s s t h e m u s ic 's q u a l i ty and

1#i d e n t i t y . Then beg in to exp lo re th e m u s ic s rhythm and movement and

rhythms suggested by th e m usic . Have th e s tu d e n ts c lap w ith th e m u s ic 's

rhythm and e s ta b l i s h a rhythm p a t t e r n .

The rhythm suggested by th e m usic may be u sed in much th e same way

as th e e ig h t-o o u n t s te p u ses an e ig h t oount rhythm p a t t e r n . V arious

s tu d e n ts may v/ish t o develop movement p a t te rn s based on a s tep f o r each

oount o f th e rhythm , o th e rs may w ish t o c o n cen tra te on e v e ry o th e r oount*

The o b je c tiv e i s t o develop as many d i f f e r e n t movement p o s s i b i l i t i e s as

p o s s ib le w ith in th e rhythm p a t te r n suggested b y th e m u sio a l s e le c t io n .

The a c t i v i t y m aybe developed f u r th e r by having p a i r s o f s tu d e n ts

who have worked w ith th e rhythm d i f f e r e n t ly , dem onstrate t h e i r movements

to g e th e r . This random p a ir in g o f s tu d e n ts w i l l c re a te some v ery i n t e r

e s t in g movement p a t te rn s and in some cases s tim u la te th e c re a t io n o f

o o n f l ic t s i tu a t io n s t h a t con b e developed in to a s to ry l i n e .

D. M a te ria ls and R eso u rces:

The b e s t re so u rc e f o r t h i s a c t i v i t y i s a c o l le c t io n o f music t h a t

can be e f f e c t iv e ly and e f f i c i e n t l y u se d . E a r ly a ttem p ts should b e made

u s in g m arching music o r 4 /4 tim e m usic beoause th e rhythm i s d e f in a te

and e a s i ly re c o g n iz a b le making i t e a s ie r t o w ork w ith th a n some o th e r

ty p e s o f m u sic .

E . B ehav io ra l O b je c tiv e :

Given a m usioal s e le c t io n w r i t t e n in 4 /4 t im e , th e s tu d e n t , i n n o t

more th a n f i f t e e n m in u te s , w i l l dem onstrate a t l e a s t th r e e d i f f e r e n t

movement re sp o n ses based on th e rhythm p a t te r n su g g ested by th e m usio .

1#A. Academic Area: S a fe ty , H ea lth , and P h y sica l K ducntion

B. Poaching; Agreements G o a l :

I 2 .01 Be ch a llen g ed by s e l f - t e s t i n g a c t i v i t i e s in v o lv in g use o f tum bling m a ts , ba lance b o a rd s , and w alking b o a rd s .

I I 2 .02 P a r t ic ip a te in s tu n ts and tu m b lin g .

C. Suggested Sanplo L osson:

Animal pantomimes and c irc u s olovm a c t i v i t i e s o f f e r many opportun

i t i e s to develop s k i l l s in tu m b lin g , b a la n c e , and p r a t - f a l l s . A

c r e a t iv e d ram atics a c t i v i t y basod on th e id e a o f a c i r c u s w ith many

clow ns, anim al and a c ro b a tic a c t s , removes th e th r o a t o f co m p e titio n

t h a t m ight o therw ise cause many s tu d e n ts to av o id p a r t i c ip a t io n .

C re a tiv e d ram atics i s n ev er co rap o titlv c and i s m ain ly concerned w ith

th e s tu d e n t 's developm ent. T h e re fo re , in any c r e a t iv e d ram a tic s group

a c t i v i t y th e r e i s room and space f o r an y o n e 's s e r io u s and le g i t im a te

c o n tr ib u t io n .

P re -c lassro o m p la n n in g : Tumbling m ats , b a lan ce b o a rd s , s t i l t s , and

\7alk ing boards should be o b ta in ed b e fo re th e c la s s and assem bled in an

open a re a where tho s tu d e n ts may move f r e e l y . Costume p ie c e s such as

o ld h a t s , j a c k e t s , s c a r f s , and s h i r t s as w e ll as b a s ic make-up d e m e n ts

w i l l h e lp th e s tu d e n ts develop c i r c u s c h a r a c te r s .

C lassroom procedures and a c t i v i t i e s : S tim u la te a d is c u s s io n o f

c i r c u s a c ts and c irc u s c h a ra c te r s v /ith th e c l a s s . Develop a l i s t o f

v a r io u s a c ts and c h a ra c te r s and d isc u s s some s p e c i f ic s k i l l s needed

f o r th e v a r io u s a c t s . F or exam ple, a clown m ust know how t o f a l l and

tum ble i f he i s going t o be vo ry funny . Animals must be ab lo t o do

19!su n m o rsu lts , r o l lo v e r s mid b a lan c in g a c ts t o bo s u c c e ss fu l c i r c u s p e r

fo rm ers, A crobats have t o walk t i g h t ro p e s , tum ble, and w alk w ith

s t i l t s t o make t h e i r a c ts e x c i t in g fo r th e o iro u s au d ien ce .

In tro d u ce th e v a r io u s a c t i v i t i e s ; tu m b lin g , ba lance b o a rd s , s t i l t s ,

and w alk ing b o ard s , and l o t th e s tu d e n ts experim ent v /ith each fo r a

b r i e f p e rio d o f tim e . Some s tu d e n ts w i l l be more ad ep t th a n o th e rs

and i t i s th e t e a c h e r 's r o le to c i r c u la te among th e s tu d e n ts o f fe r in g

h e lp fu l su g g es tio n s h e lp in g s tu d e n ts f in d s u c c e s s fu l a c t i v i t i e s . I t

i s im p o rtan t to s t r e s s a t t h i s p o in t t h a t s a fe ty i s a v e ry im portan t

c o n s id e ra t io n . I t i s v e ry easy to h u r t y o u r s e lf and even e a s ie r to

h u r t someone e ls e i f you a re n o t c a r e f u l . I n s i s t t h a t s tu d e n ts p a r t i

c ip a te in th e a c t i v i t i o s w ith care and c o n s id e ra tio n fo r t h e i r c l a s s

m ates. The a c t i v i t y i s a s e r io u s e x p lo ra t io n o f o n e 's own s k i l l s and

n o t a p la y tim e .

A fte r th e i n i t i a l p e rio d o f e x p lo ra to ry a o t iv i t y and experim enta

t i o n have th e s tu d e n ts id e n t i f y th e s p e c i f i c type or k in d o f o h a ra c te r

th e y w ish t o develop f o r th e c irc u s d ra m a tiz a tio n . Some n ay w ish to

be clow ns, some w ild a n im a ls , and o th e rs can be a c ro b a ts . Encourage

s tu d e n ts t o work to g e th e r in groups o f th r e e o r fo u r combining t h e i r

a c ts to form a la r g e r and more complex a c t . I t i s m ost im p o rtan t to

a llow th e s tu d e n ts th e freedom to develop t h e i r own a c ts u s in g t h e i r

own im ag in a tio n s and w hatever tum bling and b a lan c in g a c t i v i t i e s th e y

d e s ir e .

The te a c h e r may fu n c tio n as r in g m asto r com piling a l i s t o f a c ts

by name and ty p o . V arious a c ts nay w ish t o use costume su g g e s tio n and

l£8

make-up t o f u r th e r develop th e v is u a l impaot o f t h e i r a c t s . When a l l

th e a o ts a re read y have th e groups s i t in a la rg e c i r c l e leav in g th e

o e n te r open fo r th e a c ts t o perform . The te a c h e r as rin g m aste r can

th e n in tro d u c e o&ch a c t and h e lp s o t up any needed a c t i v i t i e s such as

th e m ats fo r tum bling or boards fo r b a lan c in g and w alk ing . Announce

each a c t in o rd er and le t - i t perform fo r th e o th e r groups who can r e a c t

as an e n th u s ia s t ic c irc u s aud ience .

The a c t i v i t y may be rep ea ted g iv in g th e s tu d en ts o p p o r tu n it ie s to

develop s k i l l s using a l l th e a c t i v i t i e s . A lso , th e te a c h e r can o f fe r

tech n iq u e suggestions to in d iv id u a l s tu d e n ts a 3 th e y are develop ing

t h e i r a c t s . For example, a group o f s tu d e n ts developing an a c ro b a tic

a c t u s in g th e tum bling m ats and th e s t i l t s m ight be g r e a t ly h e lp ed by

th e t e a c h e r 's c r i t ic is m and su g g e s tio n s . Then th e o la s s would b e n e f i t

from a dem onstra tion o f tho f in a l r e s u l t o f t h e i r work.

D. M a te ria ls and R esources;

Tumbling m ats , balance b o a rd s , w alk ing b o a rd s , and s t i l t s a re

v a lu a b le c re a t iv e d ram atics re so u rc e s . The tum bling mats ore u s e fu l

in many s to ry d ram a tiz a tio n s th a t r e q u ire f a l l i n g or tum bling . The

b a lan ce and w alking boards can serve as narrow b rid g es o r logs over

deep r a v in e s . The s t i l t s h e lp c re a te g ia n ts and t a l l peop le .

E* B eh av io ra l O b jec tiv e :

Given tum bling m ats, ba lan ce b o a rd s , w alking b o a rd s , and s t i l t s ,

th e s tu d e n t , in n o t more th a n t h i r t y m in u tes , w i l l develop a c irc u s

a c t u s in g a t lo a s t tv/o o f th e se a o t i v i t i e s as b asio elem ents in th e

a c t o r s tu n t .

1 $9

A, Academic A rea; S a fe ty , H ea lth , and P hysioa l Education

B, Teaching Agreements G oal:

I 3*01 Shew a c re a t iv e im ag ination in v a rio u s ro le s du ring d ram atic p la y a c t i v i t i e s ,

I I I 3*02 Develop a b i l i t y to o rgan ize games w ith or w ith o u t th e h e lp o f an a d u l t .

C, Suggested Sample Lesson;

C rea tiv e d ram atics a c t i v i t i e s t h a t re q u ire th e s tu d e n t t o develop

many a l t e r n a t iv e resp o n ses w i l l develop th o s tu d e n t 's c re a t iv e im agi

n a t io n . Most c r e a t iv e d ram atics a c t i v i t i e s ch a llen g e tho s tu d e n t 's

im ag in a tio n b u t some a re s p e c i f i c a l ly in tended to develop h i s a b i l i t y

to c r e a te o r ig in a l a l t e r n a t iv e re sp o n se s . Tho fo llo w in g a c t i v i t y i s

on example o f a tech n iq u e designed to develop s tu d e n t 's c r e a t iv e

im ag in a tio n .

P re-c lassroom p lan n in g ; C o lle c t a v a r ie ty o f o b je c ts , b o th ocmmoa

and unusual',., such as an egg c a r to n , d in n er p l a t e , p i to n , p l a s t io ja c k -

- o - lu n te r n , C hristm as t r e e ornam ent, b e l l , sp ark p lu g , t i n can , f e a th e r ,

musio box, and any th ing e ls e t h a t nay be a v a i la b le . P lace a l l th e se

o b je c ts so th e y a re v isa b lo t o th e c l a s s .

C lassroom procedures and a c t i v i t i e s ; Begin th e c la s s by su g g estin g

th a t th in g s are n o t always what th e y seem to be o r t h a t th e y need n o t

alw ays be what th e y seem, A b o t t l e f lo a t in g in th e bay may indeed be

th e p o in tin g rem ains o f a beach p a r ty b u t i t m ight a ls o bo th e c a r r i e r

o f a message se n t by a shipw recked seamen on a d e s e r t i s la n d . The

b o t t l e could a lso be an a l ie n space sh ip se n t to spy on human a c t i v i t i e s

and a s a b o t t l e w i l l rem ain u n n o ticed .

l6o

Open th o d is c u s s io n t o th e s tu d e n ts ask ing fo r t h e i r id e a s . What

e ls e m igh t t h a t b o t t le f lo a t in g in th e bay be? Where m ight i t bo from

and who may be r e s p o n s ib le fo r i t s being th o re ? Some resp o n ses w i l l

r e t a i n th e id ea t h a t tho b o t t l e i s a b o t t l e and o th e rs w i l l change th e

b o t t l e in to som ething e l s e , l ik o a space sh ip t h a t j u s t looks l ik e a

b o t t l e . The re sp o n se , and how i t r e l a t e s to th o o r ig in a l s tim u lu s , i s

e s s o n t i a l ly u n im p o rtan t. What i s im portan t i s th e Btudont develop

a l t e r n a t iv e p o s s i b i l i t i e s , and t h a t th o se p o s s i b i l i t i e s c re a te d by th e

s tu d e n t a re acco p ted .

I n i t i a t e th e c r e a t iv e d ram atics a c t i v i t y by s e le c t in g one s tu d e n t

t o chooso an o b je c t th a t i n t e r e s t s him and one t h a t he can conceive

many p o s s i b i l i t i e s f o r . Ask th e s tu d e n t to u se th e o b je c t in a p a n to -

mimo or d ra m a tiz a tio n . The purpose o f th e pantomime or d ra m a tiz a tio n

i s sim ply to e s ta b l i s h w hat i t i s t h a t the d em o n stra tin g s tu d e n t sees

in th e o b je c t . For exam ple, i f he chose a d in n e r p l a t e , ho may soe i t

as a s to n e in a s tream to be used a 3 a s tep p in g s tono fo r c ro s s in g

th e s troam . In t h i s oxomple he would dram atize th e o ro ss in g o f th e

stream u s in g th e p la te as a s te p p in g s to n e .

When th e f i r s t pantomime o r d ra m a tiz a tio n i s com plete ask a n o th e r

s tu d e n t to use th e sano o b je c t b u t use i t d i f f e r e n t l y , as something

e l s e . Continue th o oxorciG e u n t i l no more U3es can be th o u g h t o f by

th e c l a s s .

Ask f o r a new v o lu n te e r , p ro fe ra b ly a s tu d e n t who h e s i t a t e s to

p a r t i c ip a te , t o s e l e c t a new o b je c t to e x p lo re . I f a shy o r in t ro v e r te d

s tu d e n t i s allovrad to s e l e c t th e o b je c t and c re a te th e f i r s t a l t e r n a t iv e

u s e , t h e assig n m en t i s much e a s i e r and much le s s th r e a te n in g , VJhen

s u c c e ss i s e x p e r ie n c e d by th e s tu d e n t he w i l l be much more l i k e l y t o

v e n tu re h i s own id e a s and p a r t i c ip a t e i n th e a c t iv i ty # I t i s e x tre m e ly

im p o rta n t t h a t each s tu d e n t 's re sp o n se be aocep ted a s a v a lu a b le c o n t r i

b u t io n t o th e a c t iv i ty # However, i t i s j u s t as c r u c i a l t h a t th e

a c t i v i t y be p e rc e iv e d a s a s e r io u s and im p o rta n t a c t i v i t y and n o t a s

o h i ld s - p la y f o r shov/offs# Under no c o n d it io n s shou ld a te a c h e r a llo w

a c r e a t iv e d ra m a tic s a c t i v i t y t o become s i l l y or c h i ld is h # And under

no c o n d it io n s sh o u ld th e t e a c h e r p erm it co m p e titio n i n c r e a t iv e drama

t i c s a c t i v i t i e s , each s tu d e n t 's c o n t r ib u t io n i s im p o rta n t and v a lu a b le ,

some a r e more a p p ro p r ia te fo r t h e g iv en a c t i v i t y , b u t t h a t does n o t

e s t a b l i s h a v a lu e judgment c r i t e r i a #

D# M a te r ia ls a n d R esources;

The c la ssro o m te a c h e r w ould do w e ll t o m a in ta in a ju n k box f o r use

i n c r e a t iv e d ra m a tic s a c t i v i t i e s # The box should c o n ta in a l l maimer

o f i n t e r e s t i n g o b je c ts and many o b je c ts may be c o n tr ib u te d by th e

s tu d e n ts # Ite m s found in ju n k boxes can b e used f o r co stu m es, f o r

v i s u a l a r t w o rk , f o r scen ery and p ro p e r ty item s f o r d ra m a tiz a tio n s #

E# B e h a v io ra l O b je c tiv e :

G iven a c o l l e c t io n of t e n o b je c t s , t h e s tu d e n t , w i l l i n t h i r t y

m in u te s , s e l e c t th re e o b je c ts and in w r i t i n g l i s t n o t l e s s th a n f iv e

a l t e r n a t i v e p o s s i b i l i t i e s fo r e a c h o f th e th r e e o b je c ts #

162

A. Academic A rea ; S a fe ty , H e a lth , and P h y sica l E ducation

B. Teaching Agroomonts G oal;

I I 4 ,0 1 U nderstand th o im portance o f tho f iv e senses in h is l i f e .

C. Suggested Sample L esson ;

Using c r e a t iv e d ram atic s a c t i v i t i e s t o in v e s t ig a te and ex p lo re

human fu n c tio n s , b e h av io rs and problem s i s on e f f e c t iv e means o f

d ev e lo p in g th e s tu d e n t 's u n d e rs ta n d in g . The d if f e r e n c e betw een b e in g

and p re te n d in g to be i s in th e s tu d e n t 's im ag in a tio n . Through c r e a t iv e

d ram a tic s th e s tu d e n t can p re te n d to b e , t r y in g on a c h a ra c te r or

e x p lo r in g problem s w ith o u t hav ing to a c tu a l ly be th e c h a ra c te r o r have

problem s.

P re -c lassro o m p la n n in g : The te a c h e r should c o n s tru c t a Sense Box.

A Sense Box i s any sm a ll ca rd b o ard box w ith s ix ap p ro x im a te ly equal

s id e s . The ty p i c a l Sense Box has s id e s t h a t a re ab o u t 12" b y 12", To

each s id e a t ta c h a draw ing t h a t su g g ests one o f t h e f iv e s e n s e s . For

example a skunk i s known f o r i t s sm ell so t h a t p ic tu r e may re p re s e n t

th e sense o f sm e ll, A p ic tu re o f a hand m ight r e p re s e n t th e sense o f

to u c h , a p iece o f p ie oan r e p ro s e n t th e sense o f t a s t e , a b e l l r e p re s e n t

h e a r in g , and a p ic tu r e o f th e sun can r e p re s e n t th e sense o f s ig h t .

The s ix th s id e rem ains b la n k .

Classroom p ro ced u res and a c t i v i t i e s : Begin th e c la s s w ith a d i s

c u s s io n o f th e f iv e sen ses and how each h e lp s us p e rc e iv e and u n d e rs tan d

th o w orld around u s . The d is c u s s io n shou ld serve t o id e n t i f y th e sen ses

and g ive each s tu d e n t a b a s ic u n d e rs tan d in g o f them . Because th e

a c t i v i t y assumes t h a t th e s tu d e n ts have a b a s ic knowledge o f th e f iv e

164

and looks a t each person as th e y p ass u n t i l f in a l ly she sees

h e r husband.

L e t each s tu d e n t ta k e h is tu r n w ith th o Sense Box and encourage th e

s tu d e n ts to t r y perfo rm ing pantomimes u s in g th e senses in d i f f e r e n t and

o r ig in a l w ays. A 'k in d o f charades can be p layed by n o t a llo w in g th e

c la s s t o know th e sen se used b e fo re th e pantomime i s perform ed and

having th e o la ss guess th e sense u sed .

D, ? ,!a te r ia ls and R eso u rces;

A Sense Box i s e a s i ly c o n s tru c te d and i f m a te r ia ls a re a v a i la b le

s tu d e n ts may d e s ire t o c o n s tru c t t h e i r own. In c o n s tru c tin g t h e i r own

th e y may be encouraged to d isc o v e r o r ig in a l symbols to r e p re s e n t th e

f iv e s e n s e s .

E. B eh a v io ra l O b je c tiv e ;

G iven t h i r t y m inu tes and a l i s t o f th e f iv e sen ses , th e s tu d e n t

w i l l v / r i te a t l e a s t one pantomime fo r each o f th e f iv e s e n s e s . Each

pantomime w i l l use th e sense as a b a s ic o r in te g r a l p a r t o f th e pan to

mime's problem or c o n f l i c t .

163

se n se s and how e ach works th e a c t i v i t y sh o u ld be u sed in th e f i n a l

s ta g e s o f a sen se u n i t r a t h e r th a n as a n in t ro d u c to r y e x e r c i s e .

In tro d u c e th o Sense Box t o th o c l a s s making c e r t a i n t h a t s tu d e n ts

u n d e rs ta n d t h a t e a c h o f th o draw ings r e p r e s e n t a s in g le s e n s e . E x p la in

t h a t th e a c t i v i t y i s perform ed by h av in g ono s tu d e n t a t a tim e ta k e th e

Senso Box and t o s s i t l i k e a la rg e d ie . W hatever se n se i s in d ic a te d

by th e to p s id e o f th e Sense Box i s to be u sed as t h e b a s is f o r a

pantom im e. The pantomime sh o u ld s p e c i f i o a l l y use th e in d ic a te d sense

and u s e i t in su ch a way t h a t i t becomes obvious t o th e e n t i r e c l a s s .

Some exam ples a r e :

Sound: A man w a lk in g down a s t r e e t i s su d d e n ly s t a r t l e d by

a s tra n g e so und , he in v e s t ig a te s th e sound and d is c o v e rs t h a t i t

i s n o th in g more th a n a s t r a y c a t .

S m ell: A boy on th o way homo from sch o o l b e g in s t o sm e ll

som eth ing q u i te good. He e x p lo re s a few back y a rd s u n t i l he

d is c o v e rs an unguarded p ic b e in g c o o le d on th e b a ck p o rch .

Touch: A man wakes up in a s tr a n g e p la c e . Cannot f in d th e

l i g h t s w itc h and has t o f in d h is c lo th e s in th e d a rk .

T a s te : An e x p lo r e r i s c a p tu re d by a group o f ’’f r i e n d l y ”

n a t i v e s . He i s encouraged t o e a t a f e a s t o f n a t iv e food w hioh

c o n s i s t s o f su ch fo o d s as b o i le d sn a k e , rav; f ro g l e g s , p ic k le d

ox e y e s , and f r i e d c o rn c o b s . Ho m ust soem t o r e l i s h th e t a s t e

o f th e s e fo o d s , i f i t k i l l s him .

S ig h t : A woman i s w a i t in g f o r h e r husband t o r e tu r n from a

t r i p . She s ta n d s a t th e b ase o f th o ramp coming o f f th e p la n e

16*>

A . Academic A reas S a fe ty , H e a lth , and P h y sio a l E ducation

B. Teaching Agreements G oals

I I 5*01 Work tow ard developing m uscle c o o rd in a tio n ,

C. Suggested Sample L essons

Many c re a t iv e d ram atic s a c t i v i t i e s invo lve movement and th e re fo re

r e q u ire muscle c o o rd in a tio n . However, th e le v e l o f muscle c o o rd in a tio n

r e q u ire d may d i f f e r s ig n i f i c a n t ly from one a c t i v i t y t o an o th er and

i t i s th e purpose o f t h i s le sso n to in v e s t ig a te some a c t i v i t i e s t h a t

r e q u ire a g re a te r s o p h is t ic a t io n in muscle c o n t r o l . Danoe-drama, pan

tomime, and puppetry a re th e th r e e most demanding c re a t iv e d ram atios

a c t i v i t i e s f o r m uscle c o o rd in a tio n .

R *e-classroom p la n n in g ; The a c t i v i t y w i l l r e q u ire a la rg e open

space in which s tu d e n ts can f r e e ly move w ith o u t f e a r o f f a l l i n g or

b rea k in g an y th in g .

Classroom procedures and a c t i v i t i e s ; The c la s s should b e g in w ith

a warm-up e x e r c is e . Have th e s tu d e n ts s ta n d in p a i r s fa c in g each o th e r .

I d e n t i f y one o f each p a i r as th e lead e r and th e o th e r , o f c o u rse , th e

fo llo w e r . The o b je c t o f th e warm w? e x e rc ise i s t o have th e le a d e r

im agine t h a t he i s s ta n d in g b e fo re a m irro r w atching h is own im age. He

i s t o ex p lo re th e space around him w ith h i s arms, l e g s , f in g e r s , and

o th e r p a r t s o f h is body w h ile h i s image, th e fo llo w e r , a tte m p ts to

r e f l e c t h is movements as p r e c is e ly as p o ss ib le *

Encourage th e le a d e rs t o b eg in th e e x e rc ise w ith slow , uncom plicated

movements making i t a s easy as p o ss ib le f o r th e fo llo w e r . The fo llo w e r

i s t o c o n c en tra te o n ly on h is le a d e r and a ttem p t t o fo llo w th e l e a d e r 's

166

movements w ith e x a c tn e s s o f r a t e , i n t e n s i t y , and d is ta n c e .

A f te r a p e r io d o f f iv e t o seven m inutes have th e p a r tn e rs sw itoh

r o l e s . The le a d e r s become fo llo w e rs and th e fo llo w e rs become le a d e rs

re p e n t in g th e p ro c e s s . The o b je c t i s to develop th e s tu d e n t 's a b i l i t y

to c o n c e n tra te on movement and d evelop a sense o f c o o rd in a t io n a t th e

same t i n o . O bviously some s tu d e n ts w i l l have d i f f i c u l t y fo llo w in g

b e t t e r c o o rd in a te d s tu d e n ts . Encourage th e fo llo w e rs w h ile a sk in g th e

l e a d e r s t o e x p lo re t h e i r f u l l range o f movement p o s s i b i l i t y .

Expand th e e x e rc is e t o groups o f fo u r s tu d e n ts . Have each group

o f fo u r s tu d e n ts s ta n d as i f form ing a sq u a re , i n t h i s p o s i t io n oaoh

member o f th e group can see th e movements o f th e o th e r t h r o e . Each

s tu d e n t w i l l have a num ber, one th ro u g h f o u r . The le a d e r o f eaoh group

i s changed by s im p ly c a l l in g ou t th e number o f th e lo a d e r . I f th e

ones a re c u r r e n t ly lo a d in g th e group movement th e te a c h e r can c a l l o u t

number th re e t o have th e s tu d e n ts a s s ig n e d number th re e become th e

l e a d e r ,

The f i n a l s te p in t h i s e x o rc is e i s t o have each number, one th ro u g h

f o u r , r e p re s o n t a ty p e o f movomcnt; number one may bo f a s t movement,

number two bo heavy movement, number th ro e be je r k y movement, and

numbor fo u r can bo l i g h t movement. As th e s tu d e n t le a d e r s a re i d e n t i

f i e d by numbor th e y become movement le a d e r s f o r th e group and must

d em o n stra te movement as in d ic a ta d by t h e i r num ber. The r e s u l t a n t move

m ent p a t te r n s aro v o ry i n t e r e s t i n g and e x c i t in g t o w atch and i t would

be v a lu a b le t o l o t each group d em onstra te f o r th e e n t i r e c l a s s .

167

D* M ate ria ls and R osourcos;

For t h i s typo o f a c t i v i t y th e ro aro no m a te r ia ls or re so u rc e s

neodod beyond th o im ag ination «-md c r e a t iv i ty o f tho te a c h e r and s tu d e n ts .

A la rg o room or open spaco i s very h e lp fu l fo r t h i s a c t i v i t y as Troll

as most o th er c re a t iv e d ram atics a c t i v i t i e s .

E, B ehavioral O b jec tiv e i

Given a movement lo ad er p rov id ing a s e r ie s o f movement b e h a v io rs ,

th e s tu d e n t, v / i l l m irro r image in movement w ith 75 per cen t accuracy

fo r a period o f n o t le s s th a n th re e m inu tes.

168A. Academic A rea : A rt

B. T each ing A greononta G o a l : t

I 1*01 L earn e a r ly in th e y e a r t o i d e n t i f y c o lo r s .

C. Suggested Sample Lesson;

S lc i l l in id e n t i f y in g c o lo r s u s u a l ly fo llo w s w ith e x p e rie n c e w ith

c o lo r s . S tu d en ts can use c o lo r s as s tim u lu s f o r c r e a t iv e d ra m a tic s

a c t i v i t i e s g a in in g v a lu a b le e x p e r ie n c e .

P re -c la s s ro o m p la n n in g : P rep are sq u a re s o f c o lo re d c o n s tru c t io n

p a p e r . The sq u a re s need on ly be n a to h o o v er s iz e a s th e y w i l l be g iven

t o th e s tu d e n ts t o d iv id e th e n in to g roup3 . D eterm ine th e s p e c i f i c

c o lo r s t o be u se d , th e s e a re th e c o lo rs t h a t th e s tu d e n ts w i l l le a rn

to i d e n t i f y . I t seems most a p p ro p r ia te t o b eg in w ith th e p rim ary

pigm ent c o lo r s ; r e d , ye llo w and b lu e ; and th e seco n d ary c o lo r s ; o ran g e ,

g reen and p u rp le .

C lassroom p ro ced u res and a c t i v i t i e s : Randomly d i s t r i b u t e th e

c o lo re d sq u a res t o th e s tu d e n ts , making c e r t a i n t o d i s t r i b u t e an eq u a l

number o f each c o lo r . In tro d u c e th e a c t i v i t y w hich w i l l in v o lv e th e

s tu d e n ts th in k in g o f e v e n ts o r a c t i v i t i e s su g g ested by th e c o lo r . The

e n t i r e c l a s s shou ld p a r t i c ip a t e in th e in t ro d u c to ry phaso o f th e

e x e rc is e so t h a t ev e ry s tu d e n t u n d e rs ta n d s th e a ssig n m en t as w e l l as

be in tro d u c e d t o each o f th e c o lo r s .

Some exam ples w hich may bo su g g ested by c o lo rs o ro :

rod - a f i r e t r u c k , an a p p le , a v a le n t in e

y e llo w - a duck, an egg , th e sun

b lu e - w a te r , th e sk y , an unhappy mood

16?

orange - a pumpkin, an orange, a l e a f in th e f a l l

green - g ra s s , a stomach ache a f t e r e a t in g green a p p le s , t r e e s

p u rp le - plum s, e a s te r eggs, g rapes

I n s t r u c t s tu d en ts to th in k o f som ething, some a c t i v i t y , o r p lace

t h a t i s rem inded th e n by th e co lo r th ey were given* A fte r a few moments

f o r th o u g h t and p lann ing have each c o lo r group dem o n stra te , i n pantomime,

w hat th e y a re rem inded o f . Using s ix c o lo rs w ith a c la s s o f t h i r t y

w i l l c re a te groups o f f iv e s tu d e n ts each* Hot a l l f iv e i n any group

w i l l be rem inded o f th e same th in g and v a r ie ty i s encouraged* Group

dem o n stra tio n g iv es s e c u r i ty t o those who may be r e lu c ta n t t o work

alone and th e group im pact w i l l make th e d em onstra tion more in te r e s t in g

f o r th o se w atching*

Follow each group1 s d em onstra tion w ith a b r i e f d iso u ss io n o f what

was se e n . Allow th e observ ing s tu d en ts t o express t h e i r o b se rv a tio n s

as w e ll a s t h e i r id e a s about what the c o lo r rem inds them*

D. T h te r ia ls and R esources:

Colors i n a v a r ie ty o f fo rm s, co lo red p ap er, p a in ts and c ray o n s,

co lo red l i g h t s , and s ta in e d g la s s may be used to s tim u la te s im ila r

a c t i v i t i e s *

The fo llow ing s e le c te d t e x t s c o n ta in good d isc u ss io n s o f co lo r in

l i g h t and pigm ent w hich m ight h e lp th e te a c h e r w ith a u n i t on color*

G assner, John, and B arb er, P h i l ip , Producing th e P lay w ith th e Hew Scene T ech n ic ian ’s Handbook* Hew Tories H o lt, R in eh a rt and V/instdn,' 1953* ^Tpp«' 113-1^4, 406 , 786, 793)

H effn e r, Hubert C*; Seldon, Samuelj and Sellm an, Eunton D* Kodern T heatre P ra c t ic e , 4 th ed* Hew Y ork: A ppleton-C entury-C rofts",""19&>7TppV 4UM94)

170

Qmmanney, K atharine Anne and Schanker, H arry H. The Stage and th e School. 4 th e d . Ifevr York: HoGraw-Hill Book Company, 19757 T ppT ?20-422)

E0 B ehav io ra l O b je c tiv e :

Given examples o f r e d , y e llo w , b lu e , o ran g e , g re e n , and p u rp le , th e

s tu d e n t , vri.ll o r a l ly id e n t i f y each o f th e s ix c o lo rs and give a t l e a s t

one example o f each c o lo r from l i f e e x p e r ie n c e , i n n o t more th a n f i f t e e n

m in u te s .

171

A, Academio A rea: A r t

B, T each ing Agreements G oal:

I 2 .01 A lso use id e a 3 gained from s to r i e s , poems, and songs fo r v is u a l e x p re ss io n .

Suggested Sample Lesson:

Many o ro a tiv e d ram atic s a c t i v i t i e s aro drawn from l i t e r a r y so u rc e s .

This b a s is may a ls o be used fo r v is u a l in t e r p r e ta t io n by th e s tu d e n t

and used ' w ith d ra m a tiz a tio n ,

P ro -o lassro o m p la n n in g s S e le c t a s to r y fo r t e l l i n g t h a t i s appro

p r ia te f o r th e s tu d e n t 's age, i n t e r e s t s , and m a tu r i ty . P repare th e

s to ry b y re ad in g and develop ing an u n d e rs tan d in g o f th e s to ry l in e as

w ell a s p l o t developm ent.

P re p a re drawing p ap er so th a t each s tu d o n t w i l l have one s h e e t to

u se . Have draw ing m a te r ia l a v a i la b le ; o rayons, p e n c i ls and w a te r c o lo r s .

C lassroom p ro ced u res and a c t i v i t i e s : Begin th e a c t i v i t y by i n t r o

ducing th e s to r y . F ollow w ith a t e l l i n g o f th e s to r y and have th e

s tu d e n ts r e t e l l th e s to r y when com pleted . The r e t e l l i n g phase i s v e ry

im p o rtan t t o e s ta b l i s h th e s tu d e n t 's u n d e rs tan d in g o f th e s to r y .

D is t r ib u te dravring paper and draw ing m a te r ia ls t o th e c la s s encour

aging s tu d e n ts to v i s u a l ly reproduce a f a v o r i te ev o n t o r scene from th e

s to ry . When th e draw ings ore complote a llow eaoh s tu d e n t to e x p la in

h is draw ing and how he developed h is c o n c e p t. U su a lly th e draw ings can

be a rran g ed in on o rd e r corresponding w ith th e p lo t o u tl in e o f th o s to ry

c re a tin g a m u ra l.

I f a cam era and ta p e re c o rd e r aro a v a i la b le th e te a c h e r may

172

p h o tog raph th o s tu d e n t 's draw ings w ith oo lo r s l i d e f ilm and have th e

s tu d e n ts t o l l th e s to r y v M lo re c o rd in g w ith a ta p e rec o rd e r* The

f in is h e d s l id e s and taped s to r y may bo shown to g e th e r in th e manner o f

a f i lm s t r ip * This f ilm s t r i p p ro d u c tio n g ives t h e a c t i v i t y an im por

ta n c e and s ig n if ic a n c e v a lu ab le f o r m o tiv a tin g s tu d e n t p a r t i c ip a t io n

and in te r e s t*

D* l& to r ia ls and R eso u rces:

S e lec te d b ib lio g ra p h y o f s to r y sources*

Chase, R ich a rd , ed* G ran d fa th er T a le s * B oston: Houghton M if f lin Company, 1948*

Dobbs, Rose, ed* Once Upon A Time* Hew Y ork: Random House, In c * , 1950*

F i tz g e r a ld , B u rd e tte S . , ed* TJorld Tales For C rea tiv e D ram atics and S to ry T e llin g * Englewood CTx&s^HffTJ*: P re 'n tic o -H a ll,Tnc.TTW ; *

H o llo w e ll, L i l l i a n , ed* A Book Of C h ild re n 's L ite ra tu re * Hew York: R in e h a rt and Company^ In c* ,“T 9£l* "

M artig n o n i, M argaret E . , e d . Tho I l l u s t r a t e d T reasu ry o f C h ild re n 's L i te r a tu r e * Hew York: G ro sse t and D unlap,' V u b lish e rs ,

S ik s , G era ld in e B ra in , ed* C h ild re n 's L i te r a tu r e f o r D ram a tiza tio n * Now York: H arper and Row," PnhYisTTors, 1964V

E* B eh av io ra l O b je c tiv e :

Given draw ing p a p e r , a r t draw ing m a te r ia ls and a s to r y l i n e , th e

s tu d e n t , w i l l in n o t more th a n tw en ty m inutes c r e a te a v is u a l i l l u s t r a

t i o n o f an im p o rtan t in c id e n t o r e v en t from th e s to ry * The s tu d e n t w i l l

th e n fo llo w w ith an o ra l e x p la n a tio n o f h i s drawing*

173A* Academic A rea ; A rt

T each ing Agreem ents G oal;

I 3 .0 1 R e la te p i c t o r i c a l e x p re s s io n t o p e rso n a l e x p e r ie n c e s , id e a s , f e e l i n g s , and f a n ta s y .

S uggested Sample L eoson;

S to ry d r a m a t is a t io n s , puppet p la y s , and pantomimos a s w e ll as m ost

o th e r c r e a t iv e d ra m a tic s a c t i v i t i e s con b e g in w ith a v i s u a l s t im u lu s .

A c t i v i t i e s u s in g a p ic tu r e as th e s tim u lu s d ev e lo p th e s tu d e n t 's a b i l i t y

t o lo o k c r i t i c a l l y a t v i s u a l a r t and a p p r e c ia t io n f o r d e t a i l in a

v i s u a l medium.

P re -c la s s ro o m p la n n in g ; Choose a v i s u a l s t im u lu s , t h a t i s , v i s u a l l y

i n t e r e s t i n g and c h a l le n g in g . I t i s b e s t i f th e s e le o t io n i s a b s t r a c t

o r n o n - r e a l i s t i o b ecause th e more a b s t r a c t v i s u a l s t im u l i a llow s a more

c r e a t iv e s tu d e n t r e s p o n s e . The v i s u a l s tim u lu s may be a p a in t in g , a

p r o je c te d s l i d e , a s c u lp tu r e , o r any v i s u a l a r t p ro d u c t . Have th e

s tim u lu s a v a i la b le f o r th e s tu d e n ts t o o b se rv e .

C lassroom p ro ced u res and a c t i v i t i e s : P re s e n t th e v i s u a l s tim u lu s

t o th e s tu d e n ts and a llo w them t o e x p lo re i t . Be c a r e f u l n o t t o s u g g e s t

m eanings o r im p lic a t io n s w hich i n h i b i t th e s tu d e n t 's r e a c t io n s t o th o

a r t p ie o e .

When e v e ry s tu d e n t h as had o p p o r tu n ity t o in s p e c t th e s tim u lu s

b e g in a d is c u s s io n o f th o a r t w ork. Ask f o r th e s tu d e n t 's r e a c t io n t o

th e s tim u lu s in c l e a r o r a l d e s c r ip t io n . As s tu d e n ts r e a c t v e r b a l ly t o

th e a r t s tim u lu s th e te a c h e r should r e c o rd , in w r i t in g , t h e i r r e a c t io n s .

Those re c o rd e d id e a s can th e n be p u t i n to a p o e t ic form and a rra n g e d in

174

such a manner t h a t a s to ry l in o i s developed*

The fo llo w in g poem was developed by a second g ra d e c la s s u s in g a

p ro je c te d s l i d e showing many c o lo rs and b u b b le s o f v a r io u s s iz e s *

The M onster*s P a r ty

D ra c u la 's c a s t l e -S pooky-D irty-and Creepy*

A ll th e m onsters a re h av in g a p a r t y ,E a tin g S p ider Cake and P e o p le 's B lood ic e cream*The VTerewolf, $6,000 I k n , F ra n k e n s te in ,King Kong, and Smog M onster,

Along came S pider Man who m s l a t e - ( fo rg o t t o comb h is s p id e r h e a d ) - But th e y d i d n 't w a it f a r S p id e r lixn-

A te a l l t h e cake*S p id er was l e f t out-***He m s sad and C ried h is s p id e r eyes o u t - - -

Then S p ider made h i s cwn cake - W ith s p id e r b lood p o is o n t i

Ho sh a red h is cake)And t h a t m s th e m o n s te r 's o n ly m istake*

The poem m s th e n u se d f o r a dance-dram a a c t iv i ty *

D* M a te r ia ls and R eso u rc e s :

V i r tu a l ly any v i s u a l a r t v/ork can be u sed i n t h i s a c t i v i t y . However,

a b s t r a c t exam ples seem t o v/ork b e s t b ecause th e s tu d e n ts a re fo rc e d t o

develop o r ig in a l id e a s s in c e th e a r t w ork la c k s c o n c re te d e f i n i t i o n ,

E* B eh a v io ra l O b je c tiv e :

Given a cho ice o f th re o v i s u a l s t im u l i , th e s tu d e n t w i l l w r i te a

s to ry -poem r e a o t io n or d e s c r ip t io n f o r one o f th e s t im u l i i n a t l e a s t

f o r ty m in u te s .

175?A. Academic A rea; A rt


IX 4 .0 1 Have o p p o r tu n it ie s to look th o u g h tfu l ly a t th e w orld in o rder to porco ive i t and in to r p r e t i t in a p e rso n a l way.

Suggested damplo Lesson;

Our immediate environm ent p ro v id es many o p p o r tu n it ie s and id e a s fo r

c r e a t iv e d ram atics a c t i v i t i e s . Problems faced everyday can be exp lo red

w ith c r e a t iv e d ra m a tic s . Tforld problovns as w e ll as immodiato s o c ia l

problem s can be in v e s t ig a te d and s o lu tio n s t r i e d in c re a t iv e d ram atics

a c t i v i t i e s based on problems or c o n f l i c t s i t u a t io n s .

P ro -classroom p la n n in g : S e le c t s e v e ra l newspaper a r t i c l e s from a

c u r re n t new spaper. These a r t i c l e s Bhould bo r e l a t i v e l y s h o r t and

c l e a r ly id e n t i f y a c o n f l ic t o r problem . A r t ic le s d e a lin g w ith in d iv i

d u a ls t r y in g t o su rv iv e an o p p ress iv e s o c ia l c o n d it io n o r n a tu r a l

d i s a s t e r a re a p p lic a b le as w e l l as a r t i c l e s d e s c r ib in g p e rso n a l con

f r o n ta t io n s such as a man a r re s te d f o r a ro b b e ry . These a r t i c l e s , a long

w ith s e v e ra l new spapers, should be a v a i la b le b e fo re th e c l a s s .

C lassroom procedures and a c t i v i t i e s ; Begin th e a c t i v i t y by re a d in g

a s e le c te d newspaper a r t i c l e to th e c l a s s . D iscuss w ith th e c la s s th e

c o n f l i c t o r problem id e n t i f i e d in th e a r t i c l e and s o l i c i t s tu d e n t 's

r e a c t io n s to th e a r t i c l e . In tro d u ce th e concept o f p o in t o f view and

t h a t th e a r t i c l e ' s b ia s r e f lo o ts a s in g le p o in t o f v iew . How may th e

s i t u a t io n bo d e sc rib e d by o th o rs w ith a d i f f c r o n t o r o p p o s ite p o in t o f

view?

D iscuss th e a r t i c l o ' s p o te n t ia l f o r v is u a l r e p re s e n ta t io n .

176

Encourage th o s tu d e n ts c o n s id e ra tio n o f th o c o n f l ic t o r problem s i t u a

t i o n as a b a s is fo r v is u a l r e a c t io n . I f th o a r t i c l e d e sc rib e s a bank

robbory a tte m p t and subsequent a r r e s t , how may i t have looked? When

s e v e ra l su g g estio n s have beon made suggest t h a t ono s tu d e n t a c t as

d i r e c to r and allow him to id e n t i f y th e c h a ra c te rs he f e e l s n ecessa ry

f o r th e scene and how he w ishes th e n t o behave*

The a c t i v i t y i s v o ry much l ik e an im p ro v isa tio n w ith th e s i g n i f i

c a n t d if f e r e n c e be ing th e d i r e c to r who f u l f i l l s th e r o le o f v is u a l

a r t i s t . The d i r e c to r u ses th e s tu d e n ts as a r t o b je c ts in h is develop

ment o f th e scene suggested by th e a r t i c l e .

A f te r th o d i r e c to r haB had an o p p o r tu n ity to b u ild h is scene fo llo w

w ith a o la s s d is c u s s io n o f th e r e s u l t . C onsider how th o d i r e c to r

in te r p r e te d th e a r t i c l e to c re a te h is scene and whnt were h is a l t e r n a

t i v e s .

D. M a te r ia ls and R eso u rces ;

Newspapers a re a v a lu a b le source fo r t h i s type o f a c t i v i t y . The

a c t i v i t y in v o lv e s re a d in g and making c r i t i c a l a r t i s t i c d e c is io n s and

th e v a r i e t y and a v a i l a b i l i t y o f newspapers i s alm ost unending .

E . B eh a v io ra l O b je c tiv e :

Given a s h o r t , £00-600 7/o rd , newspaper a r t i c l e , th e s tu d en t w i l l ,

in Y jr it in g , d e sc rib e a scene suggested by th e a r t i c l e . The s tu d e n t 's

scone w i l l u se a t l e a s t 75 per c e n t o f th e in fo rm a tio n provided in th e

a r t i c l e and can be d ram atizo d .

177

A. Academic A rea : A rt


I I 5 .01 V/ork harmoniously I21 some group v e n tu re such as th o p ro d u c tio n o f a dioram a an d /o r a puppet show.

I 0,02 Develop th re e -d im e n s io n a l forms from b a s ic shapes such as s tu f fe d paper b ag s , boxes, and cardboard c y l in d e r s .

C* Suggested Sample L esson;

Many c r e a t iv e d ram atics a c t i v i t i e s o f fe r th e s tu d e n t an o p p o r tu n ity

t o work in a group s i t u a t io n . In group a c t i v i t i e s th e stu d o n t le a r n s

to work w ith o th e r s , re s p e c t in g t h e i r c o n tr ib u t io n s and id e a s . A c t i

v i t i e s such as s to ry d ra m a tiz a tio n and p u p p e try p rov ide obvious

o p p o rtu n ity t o b u ild th re e -d im e n s io n a l o b je c ts t o be used as p ro p e r ty

p ie c e s o r as th e c h a ra c te r s in a puppet d ra m a tiz a tio n . An in te r e s t in g

and e x c i t in g experience can r e s u l t from th e s tu d e n ts c re a tio n o f a

t o t a l l y new environm ent u s in g a v a r i e ty o f m a te r ia ls and th ree-d im en

s io n a l form s.

P re -c lassro o m p la n n in g ; In a la rg e open space or empty room c o l l e c t

a v a r i e ty o f c o n s tru c t io n m a te r ia ls , M a te ria l such a s ; cardboard boxes,

cardboard c y l in d e r s , pap er bags o f a l l s iz e s , ro p e , c lo th m a te r ia l o f

a l l c o lo rs and s iz e s , lum ber, r o l l s o f n e w sp rin t, c o n s tru c tio n p a p e r ,

and any o th e r a v a i la b le m a te r ia l can bo used in th e a c t i v i t y . Tape,

g lu e , w ire , and n a i l s a re a lso n e c e s sa ry .

C lassroom procedures and a c t i v i t i e s ; E x p la in t h a t th e o b je c tiv e i s

th e c r e a t io n o f a new environm ent. An environm ent t h a t i s v e ry d i f f e r

e n t , vo ry unique from any environm ent t h a t may have e x is te d u n t i l now.

Encourage th o s tu d e n ts t o d isc u ss qnd c o n s id e r t h e i r p o s s i b i l i t i e s and

170

a l t e r n a t iv e s . Provide th e m a te r ia ls fo r c o n s tru c tio n t h a t ore a v a i la b le ,

When th e s tu d e n ts have a r r iv e d a t a t e n ta t iv e p lan t h a t i s ag reeab le

havo them begin c o n s tru c tio n . I t i s im portan t t h a t th e te a c h e r rem ain

sep a ra te and fu n c tio n as a c o n su lta n t and gu ide , w ith o u t fo rc in g p re

conceived ideas o r p la n s . The s tu d e n ts w i l l encounter problems and

should be encouraged to d isco v e r s o lu tio n s them selves. I t may be v a lu

ab le to s to p th e c o n s tru c tio n prooess fVora tim e to tim e as i t p ro g resses

and have th e s tu d e n ts co n s id e r t h e i r p ro g re ss . New ideas might be

developed and a more agreeab le c o n s tru c tio n r e s u l t , Whatever th e

r e s u l t , i t should be r e p re s e n ta t iv e o f th e e n t i r e c l a s s 's e f f o r t . Each

Btudent c o n tr ib u te s to th e c o n s tru c tio n and in doing so has an im portan t

ro le in i t s c o n s tru c tio n . I t i s a lso im portan t to remember th a t th e

c o n s tru c tio n is on environm ent and n o t an o b je c t o r th in g ,

Y/hen th e t o t a l c o n s tru c tio n i s completed have th e s tu d e n ts ex p lo re

i t . Follow w ith a d isc u ss io n o f i t s p o ss ib le u s e s , lo c a t io n s , or

fu n c tio n s beginn ing to c r e a t iv e ly probe th e env ironm en t's r e a l i t y .

E s ta b lis h th e env ironm ent's lo c a t io n , what i s s p e c i f i c a l ly d i f f e r e n t or

s im ila r about th e environm ent, what in h a b its th e environm ent, and how

was th e environm ent c re a te d . The obvious r e s u l t w i l l bo a s to ry l in e

th a t can bo used in a v a r ie ty o f c r e a t iv e d ram atics a c t i v i t i e s .

Develop a d ram a tiz a tio n based on th e s to ry l in e and p la y i t u s in g

th e environm ent as s e t t in g . The environm ent may be o e n t r a l t o th e p lo t

o r sim ply th e background, w hatever and howovor i t i s used should be a

r e s u l t o f th e s tu d e n ts c re a t iv e developm ent.

179

D. I .!a te r ia l3 and R eso u rces:

Cardboard boxos o f a l l s i z e s , sc rap lum ber, and c lo th suoh as o ld

s h e e ts and b la n k e ts a re always u seab le m a te r ia ls in c r e a t iv e d ram atics

a c t i v i t i e s , Tho te a c h e r should c o l l e c t and m a in ta in as many o f th e se

m a te r ia ls as conven ien t and p o s s ib le ,

E , B ehav io ra l O bjective i

Given a v a r i e ty o f c o n s tru c t io n m a te r ia ls ; cardboard boxes, news

p r i n t , sc rap lum ber, c lo th , ta p e , g lu e , and n a i l s , and two h o u rs , th e

s tu d e n t w i l l c o n s tru c t on environm ent and develop a s to ry l i n e , s u i ta b le

f o r d ra m a tiz a tio n , based on th e c o n s tru c te d env ironm ent. The s to r y l in e

w i l l in c lu d e a t l e a s t th r e e s p e c i f ic s r e l a t i v e t o th e environm ent' s

lo c a t io n , in h a b i ta n ts , c o n d it io n , purpose and s p e c i f ic i d e n t i ty .

180

A, Acadomio A rea; A rt

B, Teaching Agreements O o a l;

I I I 6,01 U nderstand th a t in s p i te o f adherence to some b a s io p r in c ip le s such as c o n s is te n c y , u n i ty , b a la n c e , e t o . ,th e a r t i s t has g re a t freedom and r e s p o n s ib i l i ty toex p ress h im se lf u n iq u e ly .

Suggested Sample Losson;

An o u ts ta n d in g g oal in c re a t iv e d ram a tic s a c t i v i t i e s i s th e develop

ment o f s tu d e n t 's se lf -o o n fid e n c e and sense o f v a lu e . Because c r e a t iv e

d ra m a tic s i s nonoom petitive and does n o t o p e ra te from a preconceived

n o tio n o f r ig h t and w rong, th e s tu d e n t can experim ent w ith nev; and

c r e a t iv e id eas w ith o u t fe a r o f f a i lu r e o r cen su re .

P ro -c lassro o m p la n n in g ; S e le c t a l i t e r a r y or v i s u a l stim u lus t h a t

c o n ta in s an obvious c o n f l ic t o r problem . S e le c tio n should be made on

th e b a s is o f th e c la s s w ith w hich i t w i l l be used . I t should be

in t e r e s t i n g , c h a lle n g in g , and s tim u la tin g fo r th e s tu d e n t 's im ag in a tio n .

P o e try i s an e x c e l le n t medium fo r t h i s a c t i v i t y because th e f ig u r a t iv e

language s tim u la te s s tu d e n t 's c re a t iv e re sp o n se s , and th e re a re many

a v a i la b le sou rces and m a te r ia ls .

C lassroom procedures ar.d a c t i v i t i e s ; D iscuss w ith th e o la s s th e

co n cep t t h a t n o t a l l a r t i s t s in tc r p r o t an ev en t in th e same way. In

f a c t , ev e ry person w itn e ss in g an even t w i l l have s l i g h t l y d i f f e r in g

im p re ss io n s . The im portance o f t h i s co n cep t is no t whose view i s r ig h t

and whose i s wrong, b u t in how d i f f e r e n t in d iv id u a ls p e rce iv e and

communicate t h e i r p e rc e p tio n .

H is to r ic a l p e rio d s and ev en ts are in te rp r e te d d i f f e r e n t l y by

181

v a r io u s a r t i s t s and in te rp r e te d d i f f e r e n t ly in v a r io u s mediums* The

p a in te r* s p e rc e p tio n w i l l d i f f e r s ig n i f i c a n t ly from th e d r a m a t is t 's

i f f o r no o th e r re a so n th a n th e d if f e r e n c e i n a r t mediums*

In tro d u c e th e c l a s s t o th e poem "R ichard Cory" by d i s t r ib u t in g

co p ies* A la rg e copy t h a t a l l s tu d e n ts can re a d a t th e same tim e

shou ld a l s o be a v a ila b le *

"Whenever R ichard Cory went down tcrsm,We people on th e pavement looked a t him:He was a gentlem an from s o le t o crown,C lean fa v o re d , and im p e r ia l ly slim*

And he was alw ays q u ie t ly a r ra y e d .And he was alw ays human when th e t a lk e d ;But s t i l l he f lu t t e r e d p u ls e s when he s a id , "Good-morning," and he g l i t t e r e d when he walked*

And he was r i c h —y o s , r i c h e r th a n a k in g —And adm irab ly schoo led in every g rao e ;In f i n e , we th o u g h t t h a t he was e v e ry th in g To make u s w ish t h a t we w ere in h is p lace*

So on we w orked, and w a ited fo r th e l i g h t ,And w ent w ith o u t th e m eat, and cu rsed th e b re a d ;And R ichard Cory, one calm summer n ig h t ,Went home and p u t a b u l l e t th ro u g h h i s head*

A f te r re a d in g th e poem, b r i e f l y d is c u s s some o f t h e s tu d e n t 's immediate

re a o tio n s* How d id t h e y l ik e th e poem, and why? What i s th o poem

abou t?

D ivide th e c l a s 3 in to groups o f seven or e ig h t s tu d e n ts and c h a l

lenge each group to e x p lo re th ro u g h d is c u s s io n th e poem 's purpose and

i t s im p l ic a t io n s • Encourage each group t o develop a d ra m a tiz a tio n

*Edwin A rlin g to n R obinson, "R ichard C ory ," i n A T rea su ry o f th e F a m il ia r , ed* by Ralph L* 7/oods (New York: The Jhcm all'an Company, 1$>42) ,pp . 222- 223,

182

based on th e poem u sing t h e i r own p e rcep tio n s o f th e poem as th e basis*

3ach group should bo allow ed to ex p ress i t s e l f as f u l l y as p o ss ib le

u s in g as many a r t mediums as p o s s ib le . A mural m ight be c re a te d and

used as a backdrop, th ree -d im en sio n a l u n i ts may be c o n s tru c ted t o r e

p re se n t o b je c ts o r elem ents suggested by th e poem, and th e s tu d e n ts

may w ish to develop c h a ra c te rs w ith make-up and costume su g g es tio n .

The r o s u l t may talco many form s. One p o s s ib i l i t y i s an obvious

s to ry d ra m a tiz a tio n o f th e p lo t , or a group o f s tu d en ts may w ish to

d iv id e having some provide a c h o ra l read in g w hile th e o th e rs pantomime

th o a c t io n . I f m usical in stru m en ts o r recorded music i s a v a i la b le ,

music m ight be used in p lace o f a o h o ra l read in g fo r a pantomime or

dance-drama in te r p r e ta t io n .

When each group has f u l l y developed t h e i r in te r p r e ta t io n and can

dem onstra te , have th e dem onstrations perform ed. I t i s b e s t to c u r t a i l

d iso u ss io n u n t i l each group has performed because th e purpose o f th e

e x e rc is e i s to ex p lo re v a r io u s methods of in te rp r e t in g th e poem s e le c

t i o n . F o lio 1/; th e dem onstra tions w ith an open d isc u s s io n o f th e v a rio u s

methods u t i l i z e d fo r in te rp r e t in g and dem onstrating th e v a r ie ty o f

p e rc e p tio n s , Remember t h a t each dem onstra tion i s v a l id end r e f l e c t s

th e in d iv id u a l and p e rso n a l p e rc ep tio n s o f t h a t group. T h e re fo re , i t

i s c r u c ia l t h a t v a lu e judgm ents n o t be made. R a th e r, d isc u s s th e

p o in ts o f view as p resen ted and be accep tin g o f th o v a r ie ty o f percep

t i o n s .


M a te ria l fo r s tim u la tin g t h i s typo o f a c t i v i t y a re w id e ly a v a i la b le

183and can be found in many c lassroom te x t s as w e l l as school l i b r a r i e s .

Howevor, m a te r ia ls f o r develop ing d ra m a tiz a tio n s from v is u a l in te r p r e

t a t i o n s o f s tim u lu s a re n o t as commonly a v a i la b le . The te a o h e r should

m a in ta in a c o l le c t io n and supp ly o f c o n s tru c t io n m a te r ia ls such as

cardboard boxes, r o l l s o f news p r i n t , s c ra p lum ber, and c lo th o f

v a r io u s s iz e s and c o lo r s .

E . B eh av io ra l O b je c tiv e s

Given a poem w ith an obvious c o n f l i c t or problem s i t u a t i o n , th e

s tu d e n t , in n o t more th an f o r ty - f iv e m inutes w i l l develop in w r i t in g an

o u t l in e f o r a d ra m a tiz a tio n based on th e poem. The d ra m a tiz a tio n w i l l

in c lu d e v is u a l as w e ll as v o c a l recom m endations.

G iven two d i f f e r e n t d ra m a tiz a tio n s based on a s in g le p o e tic s tim u lu s ,

th e s tu d e n t , in n o t more th a n tw enty m inutes w i l l , in w r i t in g , d isc u ss

th e d if f e r e n c e s in p e rc e p tio n as dem onstrated by th e d ra m a tiz a tio n s .

The v f r i t te n d is c u s s io n w i l l id e n t i f y a t l e a s t fo u r p o in ts o f s i g n i f i

can t d i f f e r e n c e .

184

A. Academic A rea; A rt

Teaching Agreements G oal;

X II 7 .0 1 Learn soao th ing o f tho v a r io u s means fo r ach iev in g th e i l l u s i o n o f dep th on a tw o-d im ensional s u r f a c e ,

G, Suggested Sample Los3on;

Soenery and p ro p e r t ie s a re n o t u s u a l ly co n s id e red m ajor e lem en ts

in any c re a t iv o d ram atic s a c t i v i t y . However, s c e n ic as w e l l 0,3 p ro p e rty

u n i ts a re o f te n u sed t o su g g est lo o a t io n and en v iro n m en ts , Tho co n

s t r u c t io n o f th e s e u n i t s o ffer, s tu d e n ts an o p p o r tu n ity t o develop s k i l l s

in c r e a t in g dep th i l lu s io n s on tw o-d im ensional s u r f a c e s ,

P re-o lassroom p lan n in g ; O btain s e v e ra l sh e e ts o f news p r in t o r

draw ing paper app rox im ate ly 20* x 3 1. Thoso sh e e ts Y /ill be used t o

o re a te background scenes fo r d ram a tiz a tio n s* There should bo draw ing

s u p p lie s such as c ray o n s, w a te r c o lo r s , and p e n c ils a v a i la b le .

C lassroom procedures and a c t i v i t i e s ; D iscuss w ith th o o la s s th o

concept o f p e rsp e c tiv e dra'.ving and some v a rio u s te c h n iq u e s a v a i la b le

fo r a c h ie v in g on i l l u s i o n o f dep th on a tw o-d im ensional s u r f a c e .

I l l u s t r a t e th e use o f a s in g le p o in t f o r p e rsp e c tiv e draw ing and demon

s t r a t e t h a t sm a lle r o b je c ts ore u s u a lly p e rce iv ed as b e in g f a r th e r

away. A nother p o in t to d isc u s s i s th e tec h n iq u e o f v e r t i c a l p lacem ent

on th e p ap er to ach ieve an i l l u s i o n o f d e p th . An o b je c t p laced h ig h

on th o page w i l l appear to bo f a r th e r away th an o b je o ts lo c a te d n o a r

tho p a p e r ’ s bottom edge.

D iv ide th e c la s s in to sm all groups and ask each t o choose an o u t

door sc e n e ; a c i t y p a rk , a f o r e s t , a fa rm , o r a m ountain ran g e t o b e

18*>

tho s u b je c t f o r t h o i r sceno. E x p la in t h a t th o landscape drawing should

i l l u s t r a t e th o s e le c te d environm ent w ith a l l eleiaonts a rran g ed to

c r e a te an i l l u s i o n o f dopth . Tho te a c h e r should be a v a i la b le to a l l

groups a c t in g as counselor and a d v iso r o f fe r in g su g g o stio n s to achieve

an i l l u s i o n o f depth in th e sc e n e s .

When th o scenes are com plete , have each viewed by th o c la s s arid

d iso u ss how an i l l u s i o n o f dep th was a ttem p ted and ach io v ed . Randomly

choose one scone t o use as th e b a s is f o r a s to r y . Bogin th o s to ry u sin g

th e open-ended s to r y techn ique d ev e lo p in g a Btory l in o from th e s tu

d e n t s im a g in a tio n . The r e s u l t a n t s to r y may be used in a s to ry d ram ati

s a t io n u s in g th e scene drawing f o r background scenery*

D. l l a t e r i a l s and R esources;

A ll t h a t i s re q u ire d f o r t h i s a c t i v i t y i s drawing p a p e r , news p r in t

o r o th e r la rg e r o l l p ap er, and draw ing m a te r ia ls such as c ray o n s, w ater

c o lo r s , and p e n c i l s .

E , B ohav io ra l O b je c tiv e ;

G iven a s h e e t o f drawing p ap er and draw ing su p p lie d such as crayons,

w a te r c o lo r s , and p e n c i ls , th e s tu d e n t w i l l c re a te on ou tdoor landscape

scene u s in g p e rsp e c tiv e te c h n iq u e s a ch iev in g an i l l u s i o n o f d ep th . The

draw ing oom pleted in no t more th a n t h i r t y m inutes w i l l be s u ita b le fo r

use as a s to ry l in o stim u lus and subsequen t d ra m a tiz a tio n .

186

A. Academic /tre a t Music

B* Teaching Agreements Goal t

I 1,01 L is te n t o music and le a rn t h a t i t ex p resses mood, rhythm , m otion , dynam ics, d i r e o t io n , and may t e l l a s to r y , respond th ro u g h d ra m a tiz a tio n , rhythm ic movement, and v a r io u s a r t e x p e r ie n c e s , con tinue q u ie t l i s t e n in g and re la x in g to m usic ,

I 1 ,02 L is te n to music and respond th ro u g h d ra m a tiz a tio n , rhythm io movement and v a rio u s a r t e x p e r ie n c e s , le a rn t o l i s t e n q u ie t ly and ro la x to good m usic,

C, Suggosted Sample L esson;

The moods, rhythm s and dynamics o f m ost m u sica l them es can be

u t i l i z e d in c r e a t iv e d ram atic s a c t i v i t i e s . Many m u sica l s e le c t io n s

su g g est s to ry l in e s w ith c o n f l ic t and problem s i tu a t io n s t h a t may be

developed in to s to r y d ra m a tiz a tio n s . E xp lo ring a m usica l theme fo r i t s

p o te n t ia l d ra m a tiz a tio n w i l l cause th e s tu d e n t to c o n s id e r th e s e lc o tio n

w ith in c reased i n t e r e s t and c o n c e n tra tio n . H o p efu lly , v/hon s tu d e n ts

a re ch a llen g ed to d isc o v e r id eas and s i tu a t io n s fo r d ra m a tiz a tio n th ey

w i l l develop nr* a p p re c ia t io n fo r th e music i t s e l f .

P re -c lassro o m p la n n in g : S e le c t an in te r e s t in g and ex p re ss iv e

m u sica l theme from c l a s s i c a l o r contem porary s o u rc e s . The s e le c t io n

should be reco rd ed ; however, a ta p e re c o rd in g may be more e f f i c i e n t

and sim ple to u s e . The te a c h e r should p rep are s e v e ra l p o te n t ia l

re sp o n ses to use as examples and id e a s fo r th e s t im u la t io n o f s tu d e n t 's

th in k in g .

Classroom procedures and a c t i v i t i e s : In tro d u ce th e m usica l

s e le c t io n p lay in g i t fo r th e s tu d e n ts . Ask t h a t th e y l i s t e n fo r sp e c i

f i c m usic tech n iq u es o r q u a l i t i e s ; mood, rhythm , volum e, and in te n s i ty .

187

A fto r h e a r in g th e reco rd in g d isc u ss th e s e q u a l i t i e s and how th e y were

used in th o s e le c t io n . Follow w ith a n o th e r p lay in g of th e s e le c t io n

and encourago tho s tu d e n ts to l i s t e n fo r s to r y su g g e s tio n s . L is to n

f o r in d ic a t io n s o f c o n f l ic t and c h a ra c te r d e f in i t i o n . D iscuss th e

p o te n t ia l s f o r s to r y developm ent.

S e le c t one 3to r y l in e id ea and develop i t in th e tech n iq u e o f an

open-ended s to ry u s in g th e m usical s e le c t io n as g u id e . T/hen th e s to r y

lin o i s developed w ith c h a ra c te rs and c o n f l i c t c l e a r ly id e n t i f i e d con

t in u e Y/ith a s to ry d ra m a tiz a tio n . The d ra m a tiz a tio n vri.ll u s u a l ly be

most s u c c e s s fu l in th e s ty le o f dance-dram n, t h a t i s having th e s tu

d en ts c r e a te th e c h a ra c te rs and s i tu a t io n in pantomime v /h ile th e

m usical s e le c t io n i s p lay ed .

D. I J n te r ia ls and R esources:

A re c o rd p lay e r and tap e re c o rd e r a re v a lu a b le m a te r ia ls f o r t h i s

ty p e o f a c t i v i t y . I iu 3 ica l s e le c t io n s a re a v a i la b le from many so u rces

in c lu d in g p u b lic l i b r a r i e s . I.fost c l a s s i c a l them es can be used and th e

m ajor f a o to r s to co n s id e r a re th e s tu d e n t ’s age , i n t o r e s t s , and

m a tu r i ty .

E . B eh av io ra l O b je c tiv e :

Given a m usioal s e le c t io n t h a t i s i n t e r e s t i n g to th e s tu d e n t and

c o n ta in s obvious rhythm , mood, and s to r y id e a s , th e s tu d o n t, in n o t

more th a n t h i r t y m inu tes a f t e r l i s t e n in g to th o s e le c t io n w i l l demon

s t r a t e a c h a ra c te r in a d ram atized c o n f l i c t s i t u a t io n suggested by th e

m usical s e le c t io n .

188

A, Academic A rea; Musio

B, Teaching Agreements G oal;

I 2*01 Move to music co n tin u in g t o dovolop and r e f in e th erhythm ic sense th rough p a r t ic ip a t io n in s in g in g games, fo lk dances, f re e and fundam ental rhythm s, such as c la p p in g , w alk ing , ru n n in g , sw aying, hopping . Show d ir e c t io n o f th e m elodic l in o o f th e m usic th ro u g h body movement.

I 2 .02 Move to music th ro u g h p a r t i c ip a t io n in s in g in g games, fo lk dances, f re e and fundam ental rhythraio re sp o n se s , such r s c la p p in g , m arch ing , w a lk in g , ru n n in g , sk ip p in g , hopping , sw aying.

I I 2 .03 Move t o musio th ro u g h p a r t i c ip a t io n in s in g in g games,fo lk dances, square d an ces , f r e e and fundam ental rhythm s, c lap p in g and s tep p in g th o rhythm o f th e w ords, c lap p in g and s to p p in g th e p u lse o f th e m usic.

I l l 2 .04 Uovo to musio p a r t i c ip a t io n in s in g in g games, f o lk dances, square d an ces , f ro e and fundam ental rhythm s, c lap p in g and s tep p in g th e rhythm o f th e w ords, c lap p in g and s tep p in g th e p u lse o f th o m usio.

C. Suggested Sample L esson;

Moods, rhythm s, and m elod ies in m u sica l them es o f to n su g g est ch a r

a c te r s t h a t s tu d e n ts can c r e a te and u se in c r e a t iv e d ram atics a c t i v i

t i e s . J u s t as s to ry l in e s a re su g g ested in m usic, c h a ra c te r s a re a ls o

su g g e s ted , d e f in e d , l im ite d , and g iven d i r e c t io n . C h ild ren who have

an o p p o r tu n ity to develop c h a r a c to r iz a t io n s based on m usioal themes

w i l l grow t o a p p re c ia te m usic more f u l l y w ith a g r e a te r u n d erstan d in g

and c r e a t iv e re sp o n se .

P re -c lassro o m p la n n in g ; S e le c t s e v e ra l m usioal themes t h a t a re

a p p ro p ria te f o r th e s tu d e n t 's age , i n t e r e s t , and m a tu r i ty . The s e le c

t io n s should be e x c i t in g and c o n ta in obvious su g g es tio n s fo r c h a ra c te r

i d e n t i f i c a t i o n and developm ent.

18?

An open a re a i s eucGestod f o r th e s tu d e n ts to f r e e ly move and

e x p lo re t h e i r c h a r a c te r ’s movement w ith o u t f e a r o f f a l l i n g . S tudents

a ls o need space to move w ith o u t in te r f e r in g w ith th e movement o f o th e r s .

C lassroom p rocedures and a c t i v i t i e s ; E xp la in t o th e s tu d e n ts t h a t

t h i s a c t i v i t y 's aim i s th e c r e a t io n o f c h a ra c te rs t h a t may be suggested

o r im plied by th e m usio . Enoourage them t o l i s t e n c a r e f u l ly to th e

s e le c t io n and when i t i s rep lay ed th e y can beg in ex p erim en tin g w ith

c h a ra c te r and develop s p e c i f ic movements and m o tiv a tio n s .

P lay th e s e le c t io n w h ile th e s tu d e n ts l i s t e n c a r e f u l ly . The i n i t i a l

p lay in g may be fo llow ed by b r i e f and s u p e r f ic ia l d is c u s s io n o f th e music

b u t c a re must be made n o t t o i n h i b i t th e s tu d e n t 's c r e a t i v i t y by

o f fe r in g s p e c i f ic s u g g e s tio n s . The musio should th e n bo rep lay ed

encourag ing th e s tu d e n ts to experim ent w ith th e developm ent o f a c h a r-t

a c t e r •

The t e a c h e r 's r o le in t h i s phase o f th e a c t i v i t y should be to

su g g est a l t e r n a t iv e ways o f moving and a l te r n a t iv e c h a r a c te r iz a t io n s .

Suggest w alk ing v a r i a t io n s , d a p p in g , ru n n in g , sk ip p in g , hopping ,

swaying to s tim u la te th e s tu d e n t 's c r e a t io n o f c h a r a c te r . I t nay be

n e c e s sa ry t o re p la y th e s e le c t io n s e v e ra l tim es and each tim e oneourage

th e s tu d e n ts to f u r th e r r e f in e t h e i r c h a ra c te r s ,

When m ost s tu d e n ts havo developed a s p e c i f ic o h a ra c te r w ith d e f in i t e

movement c h a r a c t e r i s t i c s and m o tiv a tio n s , have th e c la s s d iv id e in to

h a lv e s . Follow by having h a l f tho c la s s dem onstra te t h e i r work fo r th o

o th e r h a l f . D iscuss th e p rocess a f t e r th e d em o n stra tio n s and l e t th e

s tu d e n ts ex p ress t h e i r f e e l in g s . What p ro cesses d id th e y fo llo w and

190

w hat m u sica l s p e c if ic s s tim u la te d t h e i r v a r io u s im ag in atio n s? What were

somo o f th o reaso n s fo r making c h a ra c te r ch o ices?

The le s s o n may he con tinued by hav ing sm all groups o f s tu d e n ts

develop a d ra m a tiz a tio n based on t h e i r c h a r a c te r s . The f in a l dem onstra

t io n may be dem onstrated as a danco-draraa w ith th e music or as a s to r y

d ra m a tiz a tio n w ith im provised d ia lo g u e ,

D, M a te ria ls and R eso u rces;

A re c o rd p la y e r or ta p e re c o rd e r i s e s s e n t i a l in t h i s a c t i v i t y , as

i s a c o l le c t io n o f m u sica l them es. V ir tu a l ly any c la s s i c a l theme and

m ost contem porary themes a re a p p lic a b le and u s u a l ly a v a ila b le in school

o r p u b lic l i b r a r i e s ,

E . B ehav io ra l O b je c tiv e ;

Given a m u sica l s e le c t io n th a t i s i n t e r e s t i n g t o th e s tu d e n t and

c o n ta in s obvious c h a ra c te r su g g e s tio n s , th e s tu d e n t , in n o t more th a n

tw en ty m inutos a f t e r l i s t e n in g to th o s e le c t io n w i l l dem onstrate a

c h a r a c te r , su g g ested by th o m usic, -with B p eo ific movement c h a r a c te r i s

t i c s and m o tiv a tio n s .

191

A. Academic A rea : Icusic


I I 3«01 C reate o r ig in a l m elo d ies , w ords, a d d i t io n a l v e r s e s ,rhy thm ic movement, rhythm in stru m en t accompaniments and homemade in s tru m en ts fo r poems, m e lo d ie s , s t o r i e s , dances *

I 3*02 C reate o r ig in a l m e lo d ie s , w ords, a d d i t io n a l v e rs e s ,rhythm ic movement, and rhythm in s tru m en t accompaniment fo r poems, m e lo d ie s , s t o r i e s , d an ces .

Suggested Sample L esson:

l&ny c r e a t iv e d ram atics a c t i v i t i e s } s to r y d ra m a tiz a tio n , im provi

s a t io n , pantomimes, and p u p p e try , o f f e r p o te n t i a l f o r m u sica l develop

m ent. S to r ie s f o r d ra m a tiz a tio n o fte r. su g g est m usical accompaniment

f o r games or d an ces, f a i r i e s a re u s u a l ly dan c in g , th e wind o f te n howls

and sq u e e ls , and hundreds o f o th e r m u sica l su g g es tio n s and o p p o r tu n it ie s

e x is t* S tuden ts can use genuine in s tru m en ts or homemade v a r ie ty

in s tru m en ts in t h e i r c r e a t io n o f sound sco re s t o accompany c r e a t iv e

d ram atics a c t i v i t i e s .

P ro -c lassroom p la n n in g : S e le c t a s to ry or poem w hich co n ta in s

obvious p o te n t ia l fo r m usioal sco re development* P repare th e s to r y or

poem fo r t e l l i n g and in th e case o f a p o e try s e le c t io n make cop ies

a v a i la b le fo r th e s tu d e n ts or have a s in g le copy la rg e enough fo r a l l

t o re a d .

C o lle c t a v a r i e ty o f m usioal in s tru m en ts to in c lu d e O rff i n s t r u

m en ts, drumbs, b e l l s , a u to h a rp s , and m isce llan eo u s m a te r ia ls t o con

s t r u c t homemade in s tru m en ts such as m ilk c a r to n s , p l a s t i c b o t t l e s , t i n

p an s , ceram ic jo g s , and combs.

192

Classroom procedures and a c t i v i t i e s : In tro d u ce th o s e le c te d s to r y

o r poem t o th e c la s s# I f th e s e le c t io n i s a s to r y , t e l l i t i n th e

teo h n iq u e o f th e s t o r y t e l l e r having th e s tu d e n ts r e t e l l th e s to r y t o

c l a r i f y p lo t developm ent and c h a ra c te r r e s p o n s ib i l i t i e s * A poem may be

d i s t r i b u t e d t o th e s tu d e n ts or i l l u s t r a t e d on a la rg e copy so t h a t i t

may be read by a l l s tu d e n ts# For exam ple, th e E#E# Cummings poem " In

J u s t" i s a p p ro p ria te f o r t h i s a o t iv i ty #

i n J u s t -sp rin g when th e w orld i s mud- lu so io u s th e l i t t l e lams balloonm an

w h is t le s f a r and wee

and e d d ie a n d b il l come run n in g from m arb les and p i r a c ie s and i t ' s sp r in g

when th e w orld i s puddle -wonder f u l

th e queero ld balloonm an w h is t le s f a r and weeand b e tty an d i s b e l come danoing

from h o p -sco to h and jum p-rope and

i t ' ssp r in gand

th e

g o a t-fo o te d

balloon lfcn w h is t le sf a randwee

oe#e# cummings, " In J u s t , " in Sound And Sense, ed# by Laurence

P e r r in e (2nd ed# Kew Yorlcs H arco u rt, Brace and Vfo'rld, I n o . , I 963) , P* 117*

193D iscuss th e poem 's meaning and p u rp o se . I d e n t i f y th e s to ry l in e

and th e c h a ra c te r s e s ta b lis h e d in th e s to r y as w e ll as th e a c t i v i t i e s .

Read th e s e le c t io n and id e n t i f y th e t r a n s i t i o n s in th o u g h t, when th e

s u b je c t move3 from one c h a ra c te r to a n o th e r or from one a c t i v i t y t o

a n o th e r .

Determ ine th e sounds t h a t are s p e c i f i c a l l y in d ic a te d in t h e s e le c

t i o n . For exam ple, w h is t l in g is s p e c i f i c a l l y i d e n t i f i e d . F u r th e r ,

id e n t i f y th o se words or a c t i v i t i e s t h a t su g g est sounds or m usio. Tfords

l ik e m u d -lu sc io u s, ru n n in g , pudd lo -w onderfu l, dan c in g , and sp rin g may

su g g est m usioal sounds to th e im ag in a tio n s o f some s tu d e n ts . D iscuss

s tu d e n t 's id eas and encourage them t o experim en t w ith a v a i la b le i n s t r u

ments d isc o v e rin g sounds which w i l l e f f e c t i v e ly communicate th e

s e le c t io n 's mood and rhythm .

D ivide th e c la s s in to groups o f ap p ro x im a te ly fo u r o r f iv e s tu d e n ts .

I n s t r u c t each group t o work in d ep en d en tly on a m u sica l score f o r th e

poem. E x p la in t h a t t h e i r sco re w i l l be dem onstra ted as th e poem i s read

by th e c l a s s , '.'hen each group has had an o p p o r tu n ity t o work w ith th e

in s tru m en ts and dovolop a m usical sco re have each group dem onstrate i t s

v/ork w h ile th e o la s s read s th e s e le c t io n . Follow by d isc u s s in g v a rio u s

g ro u p 's u se o f in s tru m en ts t o achieve d i f f e r e n t sounds and d isc u s s th e

range o f a l t e r n a t iv e s dem onstra ted .


M usical in s tru m en ts a re n ecessa ry f o r t h i s a c t i v i t y . The g r e a te r

th e v a r ie ty th e more v a r ie d th e r e s u l t s ; however, homemade in s tru m en ts

can be e x c lu s iv e ly used and o f fo r s ig n i f i c a n t c re a t iv e ch a llen g es f o r

194

th e s tu d e n t .

S to r ie s and p o e try s e le c t io n s a re a v a i la b le from a v a r i e ty o f

so u rc e s , among them a r e :

A rb u th n o t, May H i l l , ed . Time For P o e try . Chicago: S c o tt ,Foresman and Company,~*19£>1.

Dobbs, Rose, e d . Once Upon A Time. New York: Random House, I n c . ,1950.

F i tz g e ra ld , B u rd e tte S ., e d . u'orld T a les For C rea tiv e D ram aticsand S to r y te l l in g . Englewood C l i f f s , N .J . : F ro n tic e -H a ll , In o .TSSz.

P e r r in e , L aurence. Sound and Sense An In tro d u c tio n t o P o e try . New York: H a rc o u rt, Brace and tvorld I n c . , 1963*

S ik s , G erald ine B ra in , e d . C h ild re n ’ s L i te r a tu r e fo r D ram a tiza tio n . Now York: lla rp e r and Row, P u b lis h e rs , 19-64.

E . B eh ay o ria l O b je c tiv e ;

Given a s to ry o r poem th a t c o n ta in s obvious p o te n t ia l f o r m usica l

developm ent, th e s tu d e n t , u s in g a v a i la b le m u sica l in s tru m en ts in c lu d in g

homemade in s tru m e n ts , w i l l in n o t more th a n tw en ty m inutes develop a

m u sica l sco re to accompany th e s e le c t io n .

CHAPTER VII

SUMMARYs RECOMMENDATIONS AND IMPLICATIONS

The p u rpose o f t h i s s tu d y has b een to . e s t a b l i s h a s w e l l as l e g i

t im is e th e use o f c r e a t iv e d ra m a tic s and dram a i n t h e te a c h in g o f

t r a d i t i o n a l e le m e n ta ry c u r r ic u lu m . T h is s tu d y fu n d a m e n ta lly assum es

t h a t t h e use o f c r e a t iv e d ra m a tic s and drama a c t i v i t i e s to make th e

t r a d i t i o n a l c u rr ic u lu m more e x c i t i n g , r e l e v a n t , and m ean in g fu l i n no

way d e c re a se s t h e a r t i s t i c v a lu e o r i d e n t i t y o f c r e a t iv e d ram a tic s o r

dram a. In so f a r a s t h i s s tu d y i s a c r e a t i v e c o n t r ib u t io n t o th e f i e l d

o f know ledge, i t i s f i r m ly su p p o rted b y a com prehensive u n d e rs ta n d in g

o f e le m e n ta ry c u rr ic u lu m g o a ls and o b je c t iv e s , a th o ro u g h re v iew o f

r e l e v a n t l i t e r a t u r e and th e w r i t o r 1 s s e v e ra l y e a rs o f w ork ing d i r e c t l y

w ith c h i ld r e n i n c r e a t iv e d ra m a tic s and drama a c t i v i t i e s .

Summary o f P rocedure

A com prehensive r e v ie w o f t h e l i t e r a t u r e id e n t i f y in g th e m ost

Im p o rta n t and s i g n i f i c a n t dram a and c r e a t iv e d ra m a tic s m a te r ia l s p ro

v id e d in s ig h t s and g u id e l in e s f o r th e s tu d y . R e le v a n t l i t e r a t u r e w as

s e le c te d and c a te g o r iz e d f c r t h e rev iew aco o rd in g t o i t s s p e c i f i c p o in t

o f v iew and a p p l i c a b i l i t y f o r th e s tu d y . The re v ie w o f th e l i t e r a t u r e

i l l u s t r a t e d t h e m ost s i g n i f i c a n t m eth o d o lo g ies and p h ilo s o p h ie s o f

o r e a t iv e d ram a tic s u se in e d u c a tio n a s w e l l a s e s ta b l i s h e d a j u s t i f i c a -

19$

196

t i o n f o r t h i s s tudy*s p o in t o f view and p u rp o se .

Assuming t h a t th e goals and o b je c tiv e s o f th e Columbus, Ohio

e lem en tary cu rricu lu m a re n o t s ig n i f i c a n t ly d i f f e r e n t from th e g o a ls

and o b je c t iv e s o f e lem en ta ry cu rricu lu m th ro u g h o u t th e n a t io n .

Teaching Agreements fo r Prim ary and In te rm ed ia te G rades^ was e v a lu a te d

and th o s e g o a ls and o b je c tiv e s w hich , in th e o p in io n o f t h i s w r i t e r ,

cou ld be met or ach ieved th ro u g h a r t s a c t i v i t i e s , s p e c i f i c a l ly c r e a t iv e

d ram atic s a c t i v i t i e s , were id e n t i f i e d . In t h i s w r i t e r 's o p in io n ,

ap p ro x im a te ly o n e - th ird o f th e e lem entary s c h o o l 's cu rricu lu m g o a ls and

o b je c t iv e s can be s ig n i f i c a n t ly ach ieved th ro u g h c re a t iv e d ram atics

a c t i v i t i e s . A s e le c t io n o f suggested sample le sso n s w ere p repared t o

i l l u s t r a t e p r a o t ie a l a s w e l l as e f f e c t iv e m ethodolog ies fo r th e a p p l i

c a t io n as w e l l as in te g ra t io n o f o re a tiv e d ram a tic s a c t i v i t i e s in th e

t r a d i t i o n a l e lem en tary c u rr ic u lu m .

Each suggested sample le s s o n i s c o n s tru c te d u s in g a f iv e s e c t io n

form at t o c l e a r ly id e n t i f y th e a p p lic a t io n o f c r e a t iv e d ram atics a c t i

v i t y t o cu rricu lu m g o a ls and o b je c t iv e s . A p p licab le o b je c tiv e s as

s ta te d in Teaching Agreements a re l i s t e d f o r each o f th e fo r ty -o n e

su g g ested sample le s s o n s . A su g g ested sample le s so n co n ta in s p r e

c lassro o m p lan n in g su g g e s tio n s an d a c t i v i t i e s , a d e ta i le d e x p la n a tio n

o f o lassroom p rocedures and a c t i v i t i e s , a d d i t io n a l m a te r ia ls and

r e s o u rc e s , and a sample b e h a v io ra l o b je c t iv e .

^■Columbus P ub lic S choo ls, Teaching Agreements f o r Prim ary and In te rm e d ia te Grades (Columbus, Ohio:' 'Columbus P u b lic S ch o o ls) .

197

T his w r i te r in te n d s th a t th e suggested sample le sso n s in c lu d ed

i n t h i s s tu d y be used as models f c r th e in te g r a t io n o f c r e a t iv e dram a-

t i c s a c t i v i t i e s in e lem en tary c u rricu lu m . I t i s hoped t h a t enough

su g g ested sample le s so n s have been developed t o f u l l y d e sc r ib e th e

a p p l i c a b i l i t y o f c r e a t iv e d ram atios a c t i v i t i e s t o th e e lem en ta ry c u r r i

culum , b u t few enough t o s tim u la te p r a c t ic in g te a c h e rs and le a d e r s to .

develop le s so n s f o r t h e i r own s p e c i f ic c lassroom n eed s .

The assum ption t h a t a r t i s t i c a s w e l l as e d u c a tio n a l g o a ls can be

met s im u lta n e o u s ly has been dem o n stra ted . The re a d e r i s ad v ised t o

rev iew th e l i t e r a t u r e , e s p e c ia l ly th o se m a te r ia ls i d e n t i f i e d as

p ro c e ss o r ie n te d , and re c o n s id e r t h e p o te n t ia l f o r c r e a t iv e d ram atics

a c t i v i t y i n sc h o o ls . Through p a r t i c ip a t io n in c r e a t iv e d ram atio s

a c t i v i t i e s th e s tu d e n t can grow and develop s o c ia l s k i l l s a s w e l l as

ach iev e c o g n i t iv e , a f f e c t iv e , and psychomotor s k i l l s i d e n t i f i e d in th e

e lem en ta ry c u rric u lu m .

Reoommendations and Im p lic a tio n s

R e lev a n t problem s o f im plem entation and p r a c t ic e have n o t been o f

c e n t r a l i s s u e in t h i s s tu d y . However, th e p re p a ra t io n and t r a in in g o f

c lassro o m te a c h e rs as w e l l as fu n c t io n a l use o f th e e x ta n t sohool

f a o i l i t y p r e s e n t r e a l problem s. The Columbus, Ohio A rts IMPACT p r o je c t

a ttem p ted t o overcome m ajor o b s t ic a ls by p ro v id in g c lassroom te a o h e rs

w ith w orkshop and in s e rv ic e t r a in in g e x p e r ie n c e s . An a r t s re so u rc e

team was a l s o p ro v id ed t o f a c i l i t a t e t h e in te g r a t io n o f t h e re p re s e n te d

a r t s i n t o th e c u rric u lu m . The p re s e n t s tu d y i s a p i l o t s tu d y and i n no

way a t te m p ts to m easure p re re q u s ite needs or subsequen t r e s u l t s .

198

R a th e r , t h i s s tu d y i s c re a te d to i l l u s t r a t e a n e o te r ic p o in t o f v iew , on

a l t e r n a t iv e approach t o t h e e lem en tary sch o o l cu rric u lu m .

I t m ust be assumed t h a t c lassroom te a c h e rs a tte m p tin g to implement

an A rts IMPACT p h ilo so p h y , t o in o lu d e m a te r ia ls su g g ested by t h i s s tu d y ,

have a m easurable degree o f competence in th e cu rricu lu m s u b je c t a re a s

as w e l l a s th e a r t s . T e a c h e r 's aoademio and a r t i s t i c p ro fio ie n o y i s , o f

c o u rse , r e l a t i v e and a b so lu te com petence, e i t h e r academic or a r t i s t i c , i s

n o t in ten d e d o r su g g es ted . However, f o r th e c lassroom te a c h e r t o

s u c c e s s fu l ly in te g r a te th e a r t s in to th e c u r r e n t s u b je c t c u rricu lu m , a

fundam ental a s w e ll a s f u n c t io n a l degree o f academ ic and a r t i s t i c

competence i s o b v io u sly necessary*

A b a s ic u n d e rs tan d in g o f human c r e a t iv e b eh av io r and th e im p lic a tio n s

o f c r e a t iv e b e h av io r and c r e a t i v i t y fo r ed u c a tio n i s o f p rim ary im portance

f o r t h e c la ssro o m te a c h e r . An aw areness o f th e t r a i t s o r q u a l i t i e s t h a t

seem t o produce h ig h le v e ls o f c re a t iv e b eh av io r w i l l h e lp guide th e

c lassro o m t e a c h e r 's a c t i v i t i e s and m ethods, "Such t r a i t s as i n t e l l i g e n c e ,

aw aren ess , f lu e n c y , f l e x i b i l i t y , and o r i g i n a l i t y , • • , sk e p tic ism ,2

p la y f u ln e s s , s e lf -o o n f id e n c e , and nonconform ity , • should be

re c o g n iz e d , enoouraged and u n d ersto o d by th e c la ssro o m te a c h e r in te n d in g

t o im plem ent an A rts IMPACT p h ilo so p h y ,

“Whenever p o s s ib le th e classroom te a c h e r i s recommended t o ta k e

advantage o f c o lle g e o r u n iv e r s i ty c o u rse s , workshops and in s e rv ic e

t r a in in g program s desig n ed t o f u r th e r develop te a c h e r com petencies

^George P, K n e lle r , The A rt and Science o f C r e a t iv i ty (New Yorks H o lt , R in e h a r t and Yfinston, I n c , , 196*0, p","62.

199

i n c r e a t iv e and a r t i s t i c m ethodologies r e le v a n t to th e sc h o o l cu rricu lu m

and an A rts IMPACT p h ilo so p h y . Texts and re so u rc e s in d ic a te d in th e

b ib lio g ra p h y a re s p e c i f i c a l l y in ten d ed t o a c q u a in t th e c lassroom

te a c h e r w ith r e a d i ly a v a ila b le m a te r ia ls r e le v a n t to th e im plem entation

o f an A rts IMPACT p h ilo so p h y as w e ll as th e t e a c h e r 's own u n d e rs ta n d in g ,

growth and developm ent,

TCith g r e a te r em phasis p laced upon th e s tu d e n t 's c r e a t iv e and

a r t i s t i c developm ent, m a te r ia l needs change. An e n t i r e sch o o l f a c i l i t y

soon b eg in s to o b serv ab ly change w i th the im plem entation o f an A rts

IMPACT pholosophy. In d iv id u a l c lassroom s become more in d iv id u a l ly

c h a r a c t e r i s t i c and space i s used i n new, more e x c i t in g and in n o v a tiv e

w ays. Using a v a r i e ty o f m a te r ia ls and a c t i v i t i e s t o em phasize and

ch a lle n g e th e s tu d e n t 's a r t i s t i o and c re a t iv e growth a s w e l l a s h is

academio developm ent w i l l cause a r e o rg a n iz a t io n o f th e t o t a l school

env ironm en t.

F in a l ly , th e w r i te r f e e l s a need t o d is c u s s s e v e ra l im p lic a tio n s

su g g ested by an A rts IMPACT p h ilo so p h y . These im p lied o r in d ic a te d

e f f e c t s o f an A rts IMPACT program observed b y t h i s w r i te r a re u n te s te d

and f u r th e r study and re se a ro h i s enoouraged . Im p lic a tio n s o f b eh av io r

ohange can be c a te g o r iz e d g e n e ra lly in to th r e e g roups; s tu d e n t behav io r

change, te a c h e r b eh av io r change, and a d m in is tra to r b eh av io r ohange, A

v a r i e ty o f a t t i t u d e and b eh av io r changes a re observed i n each o f th e se

o a te g o r ie s , however, r e s e a rc h m easuring th e d e g ree , q u a l i t y , and v a lu e

o f in d ic a te d change i s n e c e s sa ry . F u r th e r , s tu d y and r e s e a rc h to

d iso o v e r unobservab le e f f e c t s i s o b v io u sly c a l le d f o r .

200

School a tten d an ce and a more p o s i t iv e a t t i t u d e tow ard sch o o l seem

t o be tw o o f th e more im portan t b e h a v io r changes observed i n s tu d e n ts*

S tu d en ts openly e x p re ss t h e i r s a t i s f a c t i o n w ith schoo l p a r t i c ip a t io n

and seem t o f e e l t h a t t h e i r r o l e i n th e schoo l i s im p o rtan t and

rew arding# O bservation in d ic a te s t h a t g e n e ra l c lassroom b e h a v io r i s

improved and p eer c o o p e ra tio n seems t o be th e r u le r a th e r th a n th e

ex o ep tio n # F in a l ly , s tu d en ts have a g r e a te r u n d ers tan d in g o f , and

a p p re c ia t io n f o r , th e a r t s in g e n e ra l and have developed s p e c i f i c

a r t i s t i c s k i l l s le a d in g to in c re a se d s e lf -c o n f id e n o e and s e lf -v a lu e #

T e ach e rs , i n a A rts IMPACT env ironm ent, seem t o a l t e r t h e i r

p e rc e p tio n s o f ro le needs and req u irem en ts# The te a c h e r i s l e s s th e

a u th o r i ty and more th e guide o r lo a d e r f o r c r e a t iv e d isc o v e ry and

problem so lv ing# In many in s ta n c e s te a c h e rs e x i b i t im proved, p o s i t iv e

a t t i t u d e s toward te a c h in g and im proved te a c h e r c o o p e ra tio n i s openly

observed# Teachers i n th e Columbus, Ohio A rts IMPACT p r o je c t became

more aware o f t h e i r s tu d e n ts ' in d iv id u a l n eed s , e s p e c ia l ly i n term s o f

dev e lo p in g c re a t iv e b ehav io r and th e y in c re a se d t h e i r co n fid en ce as

w e ll a s competence w i th th e a r ts #

A d m in is tra to rs , lilce te a c h e r s , found t h a t t h e i r p e rc e p tio n s were

a l t e r e d w ith th e im plem entation o f an A rts IMPACT philosophy# The

s o h o o l 's r o le changed t o tak e on new and c h a lle n g in g r e s p o n s ib i l i t i e s #

Teachers and s tu d e n ts were expeoted t o b eg in t a k in g an a c t iv e r o le i n

dev e lo p in g th e cu rric u lu m s t r u c tu r e and a s a r e s u l t th e s c h o o l 's

c u rr ic u lu m s tr u c tu r e was o b serv ab ly changed#

As in d ic a te d e a r l i e r ( p , 37)# t h i s s tu d y 's p o in t o f v iew i s j t h a t

w h ile c r e a t iv e d ram a tio s a c t i v i t i e s a re e f f e c t iv e i n th e c h i l d 's

s o c ia l developm ent, th e y a r e a ls o e f f e c t iv e f o r th e c h i l d 's c o g n i t iv e ,

a f f e c t i v e and psychom otor e d u c a tio n a l developm ent. C ontinued s tu d y

o f A r ts IMPACT p h ilo so p h y and im p lem en ta tion w i l l more c l e a r l y i d e n t i f y

a s w e l l as d e f in e th e e f f e c t s and a f f e c t s o f A rts IMPACT*

1

APPENDIX

H oisy S to r ie s

The th re e s e le c te d n o isy s to r i e s in c lu d ed a re p rov ided f o r

i l l u s t r a t i o n * P ra c t ic in g te a c h e rs and s tu d e n ts a re encouraged to

c r e a te t h e i r own, o r ig in a l n o isy s to r ie s # I.bthods f o r u s in g n o isy

s to r ie s a re l im ite d o n ly b y th e te a c h e r* s and s tu d e n t 's im agination#

However, two more t r a d i t i o n a l approaches a re a s fo llo w s :

1# Have ev e ry s tu d e n t prov ide a l l th e sounds suggested in

th e s to r y as i t i s re a d b y th e te a c h e r o r s tu d e n t read e r#

2# D ivide th e c la s s in to an a p p ro p ria te number o f groups

so t h a t each group w i l l be re sp o n s ib le fo r a s in g le c h a r a c te r 's

sound w h ile th e s to r y i s read#

202

203

TOMMY TUBA

C h a r a c te r s :Tommy T u b a * •• to o t t o o t C o n d u c to r• • • * th ia way, t h a t way V i o l i n s . , . , . * z i n g , z in gDrums * * r a t - a - t a t - t a tTubas................. up pa p a , um pa pa

One sunny a f te rn o o n th e o r c h e s t r a iras p r a c t i c in g . They sounded j u s t m arv e lo u sJ One v e ry sm all tu b a named Tommy Tuba s a t n e a rb y and j u s t w atched* He was to o young t o p la y y e t* Vihen Tommy Tuba b lew , o n ly a sm a ll t o o t came o u t 0

The co n d u c to r tap p ed h is b a to n and th e o ro h e s tr a fo llow ed* The c o n d u c to r s a id , 111 w ant each o f you to p la y f o r mej V io l in s , Drums, Tubas, T rum pets, C la r i n e t s , and T rian g le s* Now th e w hole o r c h e s t r a l 11

Tommy Tuba f e l t so sad* & w anted t o p la y in th e o r c h e s t r a to o * Each day he w ould p r a c t i c e , b u t s t i l l o n ly a sm a ll to o t* One d a y he n o t ic e d t h a t h i s t o o t was becom ing a l i t t l e lo u d o r l i k e th e drum s, and a l i t t l e s tr o n g e r l ik e th o t ru m p e ts * Each day Tommy Tuba p r a c t ic e d a l i t t l e h a rd e r* P r e t ty so o n he co u ld be h e a rd o v er th e ’ ta p p in g o f th e c o n d u c to r and th e p la y in g o f th e v i o l i n s , c l a r i n e t s , and t r i a n g l e s * Each day ho grew b e t t e r , u n t i l one" 'day he sounded j u s t lilac "aT l" th e o th e r grown up tu b a s . Everyone was so p roud o f him , th e y asked him t o p la y i n th o o r c h e s t r a *

w r i t t e n b y - Miss Ja n G iovanni

FIRST TRAIN TRIP

C h a r a c te r s :i k r y • * . . . „ * • . Oh, my g osh P a r e n ts **Boo-HooTrain* * • • • • • * T oo t-T oo t C h o c o la te • • • • • *Yun-Yum-Yummy

I& ry was j u s t a b o u t t o ta k e h e r f i r s t t r a i n t r i p a lo n e* Her p a r e n ts w ere a f r a id t h a t she w ould be sca red * Mary, how ever, was v e ry e x c i te d and ta lk e d hor p a r e n ts i n t o l e t t i n g h e r go* She was go ing t o b e g iv en a m eal on th e t r a i n and sh e cou ld p ic k vrhatever she w anted* I.h ry d o c id ed t o have c h o c o la te c o o k ie s , c h o c o la te c a k e , a l l w i th chocol a t e m ilk* A f te r Mary a t e a l l t h i s fo o d , and w ith th e ro c k in g o:^ th e t r a i n , Mary began t o f e e l i l l *

Luoky f o r Tfory th e co n d u c to r on th e t r a i n had some P sp to B ism ol t o g iv e h e r* By th e tim e Mary r e tu rn e d home from h e r t r i p on th e t r a i n she was f o o l in g f in e and h e r p a re n ts w ere g la d t o se e h e r home a g a in and t o h e a r o f h e r e x p e r ie n c e s on th e t r a i n and w i th a l l th e c h o c o la te food*

T rum pets* .**da, d a , da C la r in e tB * * * te , t e , t e T r ia n g le s **. t i n g - a - l i n g O rc h e s tra * • * a l l in s tru m e n ts

w r i t t e n b y - Miss Joyce Sumners

204

HOST TO PUNISH A GIANT

C h a ra c te r s : Grimwald th e G ian t 2& I v in House. . . . . .C a lv in Crow*. . . . . .Brenda B eaver• • . • .Susy S q u i r r e l ..........Ruth Ann R a b b it* ••

Thump Thump ( f e e t s t r i k i n g f l o o r in rhythm ) Squook Squeek (h igh p i tc h e d )Caw Caw Caw (smack l i p s lo u d ly ) - Chomp Chomp N ibble N ibb le N ibble

Once th e r e l iv e d in th e f o r e s t , a l i v e l y g roup o f an im a ls ,I& lv in House, C a lv in Crow, Brenda B eaver, and R uth Ann R a b b it, and o f c o u r s e , Suzy S q u i r r e l* They p lay ed to g e th e r h a p p ily a l l th e t im e , w e l l , m ost o f th e tim e* Sometimes t h e i r fun was s p o ile d by Grimwald th e G ia n t, who j u s t loved t o t e r r o r i z e th e l i t t l e group* Yihy, he d id j u s t t e r r i b l e th in g s .

U su a lly C a lv in Crow would f l y t o a t a l l t r e e and keep a w atch f o r Grimwald th e G ia n t, b u t i f p e r chance th e G ian t snuok up on C alv in Crow, he w ou ld 'lsrab th e poor b i r d up and f l i n g him in to th e a i r c le a r over on th o o th e r s id e o f th e f o r e s t , where th e crow w ould hun t f o r h o u rs t r y in g t o g e t back t o th e r e s t o f th e an im als*

And poor MbIvin House I Sometimes 'when he waB o u t h u n tin g f o r l i t t l e b i t s t o e a t , Grimwald would sneak up and g rab him by th e t a i l and sw ing d e a r M elvin L'ouse around i n c i r c l e s u n t i l h i s f u r s to o d o u t l i k e b r i s t l e s because he was so s c a re d !

Then th e r e were th e days t h a t l i t t l e Brenda Beaver would j u s t have t i d i e d up h e r tw ig house i n th e la k e and G rim w ald 'th e~'G iant would come tra m p in g a lo n g and smash e v e ry th in g she owned t o b i t s * And w ith a m igh ty r o a r , he would pound away t i l l an o th e r id e a f o r t e r r o r i z i n g h i t h im .

Or when R uth Ann R a b b it would be ta k in g h e r n a p , Grimwald w ould go up t o th e h o le where she l iv e d and push d i r t in to th e open ing , b u ry in g h e r i n th e re w ith no way o u t u n t i l t h e o th e r an im als found her*

And a f t e r a l l tho vrork Suzy S q u ir r e l w ent th ro u g h g a th e r in g n u ts f o r th e w in te r , Griimmld th e G ian t would come up and s t e a l e v e ry one o f th em , and th e n h e 'd shake th e t r e e u n t i l Suzy S q u i r r e l had t o h o ld on f o r d ea r l i f e ,

Ife lv in House was a n g ry , C a lv in Crow was fu r io u s* Brenda Beaver was enraged* R u tii 'Ann R ab b it was v i r u l e n t , end Suzy S q u ir r e l wa3 mad* So. th e y a l l p u t t h e i r heads to g e th e r t o f ig u re o u t what t o do to te a c h Grimwald th e G ian t a le s s o n he w o u ld n 't f o r g e t .

200

Stop th e s to r y a t t h i s p o in t and ex p lo re w ith t h e c la s s v a r io u s

a l t e r n a t iv e s o lu t io n s t o t h e problem* Using th e n o is y s to ry in t h i s

way, in c o rp o ra tin g open ended s to r y te c h n iq u e s , a llow s th e s tu d e n ts

freedom t o e x e rc is e t h e i r c re a t iv e th in k in g and problem so lv in g

p o te n t ia l s * The r e s u l t in g a l t e r n a t iv e s o lu t io n s can th e n be used in

a v a r i e ty o f c r e a t iv e d ram atic s a c t i v i t i e s , j u s t a s any s to ry may be*

The o r ig in a l au th o r ended th e s to r y as fo llo w s ;

They g a th e red l i t t l e b i t s o f m a te r ia l and worked v e ry hard* Susy S q u ir r e l and C alv in Crow worked h ig h in th e t r e e s , w h ile Ruth Ann R abb it'," ’b Iv in Ivjouse, and Brenda Beaver, worked below d ig g in g fu rio u s ly * They p i l e d , s ta c k e d , dug , weaved, and came up w ith a s e t-u p so amazing t h a t th e y c o u ld n 't h e lp b u t be proudl T/hen Grimwald would w alk ac ro ss a p a r t i c u la r a r e a , h e 'd t r i p in to a ho le (which o f cou rse was h id d e n ) , and a t th e some t im e , a huge n e t would f a l l over hiral And t h a t i s e x a c t ly w hat happened1

Grimwald scream ed, c r i e d , tu g g ed , and t o r e , b u t he was s tu c k f a s t in s id e th e n e t t in g * And a l l th e an im als stood around say ing n o th in g and sm ilin g s l ig h t ly *

Grimwald p le a d e d , begged, and prom ised an y th in g t o be s e t free*So Ruth A n n lta b b it chewed and dug , Suzy S q u ir re l n ib b le d , Brenda Beaver chomped, C alv in Crow p ick ed , and In Iv in Mouse knavred, and soon Grimwald was f r e e •

And from t h a t tim e on , in s te a d o f ’working a g a in s t th e an im a ls , Grimwald was h e lp in g them as a team ! Suzy S q u ir re l sm iled a lo t* d a lv in 'Crow sang m e r r i ly , M elvin House squalod w ith d e l ig h t , Brenda Beaver bubbled w ith h a p p in e ss , and R uth Ann R abbit was r a d ia n t *

w r i t t e n by - Miss Joyce Roby

Selected BibliographyBooks

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A lb e r ts , D avid. Pantomime: Elements and E x e rc is e s* Laurence,Kansas: Tho U n iv e rs ity P ress o f Kansas /

A rb u th n o t, Hay H i l l , ed* Time For P o e try * New Y ork: S c o tt , Foresman and Company, 1951#

A r n e t t , K ath leen , ed* A fric a n I.yfchs and Legends * New Yorks Henry Z* Walck, I n c . , 1963*

B a rn f ie ld , G a b r ie l . C rea tiv e Drama in Sohools* New York: H art P u b lish in g Company, I n c . , 1965.

B e tk in , B*A., ed* A T reasu ry o f Southern F o lk lo re * New York: Crovm P u b lis h e rs , 19^9*

B e tk in , B.A*, ed* A T reasu ry o f Yfestern F o lk lo re * New York: Crown P u b lis h e rs , 193Tl*

B la c k ie , Pam ela, B ullough, B ess, and N ash, Doris* Drama, New York: C i ta t io n P re s s , 1972*

B u rg er, I s a b e l B* C rea tiv e P lay A o tin g : L earning Through Drama* 2nd ed . New York: The Ronald P ress Company,1 1966*

C hase, R ich a rd , e d . G randfa ther T a le s . Boston: Houghton M if f l in Company, 1948,

C hu te , M arch e tte . S to r ie s From Shakespeare. New York: The TTorld P u b lish in g Company, 1'9£6V

C rosscup , R ichard* C h ild ren and D ram atics■ Hew Y ork: C harles S c r ib n e r1 s Sons',' 'l^G'*" '

Dobbs, R ose, ed* Once Upon A Time, New York: Random House, In o * , 19?0*

Edw ards, C h a r lo t te , C rea tiv e D ram atics. D a n s v ille , N*Y*: The I n s t r u c to r P u b lic a t io n s '/ I n c . , 1972*

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F a r r , M u rie l. C h ild ren In M edicine. Englewood C l i f f s , N .J . :P re n tic e - H a l l , I n c . ,

F is h e r , C aro lin e B. and R o b ertso n , Hazel G la i s t e r . C h ild ren And The T h e a tre . S ta n fo rd , C a l i f o rn ia : S tan fo rd U n iv e rs i ty P re s s , l^To".

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F ow ler, Mary Jane and F is h e r , M argaret, G reat A m ericans* Grand R ap id s , M ichigan: The F id e le r Company, I960.

F r o s t , R o b e rt, S e le c ted Poem3 o f R obert F r o s t . Hew York: H o lt , R in e h a r t and V /inston, I n c , , 19(3$ • '

G a lla g e r , James J , The Giffced C hild i n th e E lem entary School,W ashington D ,C ,: N a tio n a l E ducation A sso c ia tio n o f th e U nited S t a t e s , 1959*

G assn er, John and B arb e r, P h i l ip , Producing th e P lay vrith th e Hew Scene T e c h n ic ia n s Handbook, Hew York: H o lt, R in e h a r t and W inston , 1953•

H e ffn e r , H ubert C ., S e ld en , Sam uel, and Sellm an, Hunton D. Modern T h ea tre P ra c t ic e , New York: A p p le to n -C en tu ry -C ro fts , 19i?9«

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Kerman, G ertrude L erner • P lay s and C rea tiv e Ways 7 /ith C h ild re n .Irv in g to n -o n -H u d so n , Hew York: Harvey House, 'p u b lis h e rs , 1961.

Kerman, G ertrude L e rn e r . Shakespeare f o r Young P la y e rs From Tens To T een s. Irv in g to n -o n -H u d so n , itew York: H arvey House, Publ'i'shbrs,1 9 S C

K h e lle r , George F . The A rt and Soience o f C r e a t iv i ty . New York: H o lt, R in e h a r t and W inston, I n c . ,

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Lew is, George L . , e t a l . Teaching Speeoh. Columbus, Ohio: C h arles F . M e r r i l l P u b lish in g Company, 1969*

J& rtig n o n i, M argaret E . ed . The I l l u s t r a t e d T reasu ry o f C h ild re n 's L i t e r a tu r e . New York: G ro sse t and D unlap, P u b lis h e r s , 19$$ •'

208

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Ctoanney, K atharine Anne and Schanker, H arry H, The S tage And The S choo l, 4 th e d . New York: McGraw-Hill Book Company, 1972,

F a s o l l i , R o b e r t, A Book On The Open T h ea tre , New York: Avon Books,1970.

F e r r in e , L aurence, Sound And Sense: An In tro d u c tio n To F o e try . 2nd ed . New York: H a rc o u rt, Brace and World I n c , , 1963•

Rasmussen, Inger M arg are te . E a s t 0* The Sun and West 0 1 The Moon, C hicago: A lb e r t Whitman and tfompony FuKL'icKer,' 19^4,

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S c h a ttn e r , R egina. C re a tiv e D ram atics f a r Handicapped C h ild ren . New Y ork: The John Day Company, 1967V

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Sm iley, I& r jo r ie B ., C orb in , R ich ard , and l a r c a t a n te , John J , , e d .S to r ie s In Song and V erse . Hew York: The MacMillan Company, 19&6,

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Wagner, Joseph A. C h ild re n 1s L i te r a tu re Through S to r y te l l in g .Dubuque, Icrwa: Wm. C. Brown Company P u b lish e rs ',' 1970.

W alker, Pamela P r in c e . Seven S teps to C rea tiv e C h ild re n 's D ram atics,New York: H i l l and v7ang, 19577

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Ward, W in ifre d , e d . S to r ie s t o D ram atize. A nchorage, Kentuoky: The C h ild re n 's Theatre' P r e s s , 1952.

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a

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A r t ic le s and P e r io d ic a ls

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U npublished T hesis

M a rsh a ll, C la ire Jo n e s , "Development and E x p erim en ta l E v a lu a tio n o f a Rrogram o f L is te n in g I n s t r u c t io n f o r Grade Two." b la s te r 's T h e s is , The Ohio S ta te U n iv e rs i ty , 1963.

J&Quigg, R uth Buchanan, "An E xperim en tal Study o f th e E f f e c t o f C e r ta in D ire c te d A c t iv i t i e s on th e O ral Communication Behavior o f F i r s t G ra d e rs ." M a s te r 's T h e s is , The Ohio S ta te U n iv e rs ity , 1963.

H th lb ach , B arbara Inm el, "An E xperim en tal C rea tiv e D ram atics Program on th e Ju n io r High School L e v e l." M a s te r 's T h e s is , The Ohio S ta te U n iv e r s i ty , 1970.

P a is le y , Koy E i le e n , "A Survey o f the R e la tio n sh ip o f Commercial T eleview ing t o C r e a t iv i ty o f T hird Grade C h ild re n ." M aster*s T h e s is , The Ohio S ta te U n iv e rs i ty , 19^4.

W eis, L o is DeVoe, "C rea tiv o D ram atics: A C om paritive S tu d y ." M aster * T h e s is , The Ohio S ta te U n iv e rs ity , 1966.

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