Primary Years Programme Drama scope and sequence · Primary Years Programme Drama scope and...

k

Primary Years Programme

Drama scope and sequence

Primary Years Programme Drama scope and sequence

January 2004

© International Baccalaureate Organization 2004

Previously published as draft in 1999

Organisation du Baccalauréat International

Route des Morillons 15 Grand-Saconnex, Genève

CH-1218 SWITZERLAND

PYP curriculum documents: drama © IBO 2004 10.1

The arts in the Primary Years Programme

The arts provide:

• a means of communication

• opportunities for becoming skillful

• a means of expression of both emotional and intellectual perspectives

• exposure to other cultures and other times

• a means of accessing other disciplines

• a vehicle for wondering, reflecting and consolidating.

The arts are important areas of learning in the Primary Years Programme (PYP). Students will learn the disciplines of visual arts, music and drama, as well as learning about the arts (the skills and processes involved) and through the arts (artists, perspectives, themes and ideas using the arts). In all areas of learning, the PYP teacher values imagination, creativity and original thinking. This may be especially evident through the arts. The creative disciplines of visual arts, music and drama are closely connected to each other, as well as having strong links to other disciplines. The creative process is seen as a driving force in learning through inquiry.

The arts are built into the curriculum as essential areas of learning, not added on as optional extras. Students are required to be exposed to all three arts (visual arts, music, drama) in the PYP. Specialist teachers are not necessarily required, although some teachers may have specific responsibilities in the arts. School organization needs to take into account the value that the school places on the arts in the PYP. Visual arts, music and drama are significant disciplines in their own right and are also important sign systems for interpreting and understanding the world. Students are encouraged to consider the arts as a means of communication and as an expressive language.

Effective implementation of the arts in the PYP involves full participation of all teachers in the collaborative planning of units of inquiry. In practice, teachers will develop a programme of inquiry with authentic connections while maintaining the integrity and essential character of the disciplines. There is a natural connection between the arts and the organizing theme: How we express ourselves. However, students’ understanding of the central ideas of many units of inquiry within other organizing themes can be developed through investigation in the arts, and the arts should be integrated where possible into other areas of the curriculum.

Creativity is at the heart of the arts. It allows for innovation, interpretation, research, analysis and transfer. Learning through the arts has a positive influence on self-esteem and creative development, which needs to carry over to all aspects of learning. Valuing imagination and celebrating original thinking promotes initiative and a lifelong love of learning.

Learning through the arts provides strong links to the student profile. From an early age, students have the opportunity to develop genuine interest, to give careful consideration to their work, to become self-critical and reflective. They are provided with opportunities to communicate about their creative work and to share their understanding with teachers, peers and families. Students are encouraged to develop responsible attitudes and find appropriate ways to take action through the arts, in order to make a difference in and to the world. Appropriate action could involve presenting, exhibiting, celebrating, communicating and sharing in a variety of ways.

“The arts are not mere diversions from the important business of education; they are essential resources.”

Elliot W Eisner, “The Role of the Arts in Cognition and Curriculum”, in Arthur L Costa (ed). 2001. Developing Minds: A Resource Book for Teaching Thinking (3rd edn).

Association for Supervision and Curriculum Development (ASCD).


Drama inquiry

To plan drama inquiry, teachers must consider the following questions.

• What do we want students to learn?

• What do teachers need to learn about this topic?

• How best will students learn?

• How will we know what students have learned?

What do we want students to learn? The drama scope and sequence framework identifies the major expectations considered essential in the PYP. These expectations are arranged into six strands: creative exploration and expression, technical incorporation, performance, personal and social development, reflection, evaluation and appreciation and drama in society. Each of the strands is addressed separately, although in practice they are interactive and interrelated elements.

In creative exploration and expression, students have the opportunity to develop their imaginative skills and creativity and to apply them in a variety of drama situations. In technical incorporation, students develop their understanding of some of the technical aspects of the drama process such as script writing, stage directions and the management of props, costumes, special effects and set design. In performance, students develop and portray characters and remain in role in a given situation by using voice, body and gesture. In personal and social development, students develop negotiation skills and are able to work independently and cooperatively in small groups. In reflection, evaluation and appreciation students take time to reflect on their own work and the work of others in order to enhance performance. In drama in society students discuss experiences of performing arts, explaining the way a story was communicated, recognizing theatrical conventions from other cultures and periods while identifying those elements of the production that were effective and those that were not.

Drama as a discipline includes the development of creative skills, verbal and non-verbal expression, an awareness of the perspectives of others and aesthetic appreciation. Drama enables students, including EAL students, to communicate in powerful ways that go beyond their spoken language ability. Through drama, students can begin to construct an understanding of their community, their environment and their own feelings and emotions. They will also have opportunities to work cooperatively to put together a performance.

“The field that drama can explore is as wide as life itself …”

Drama Arts Education. 1999. Primary School Curriculum. Department of Education and Science, Ireland.

What do teachers need to learn about this topic? The drama scope and sequence document should be seen as a framework to demonstrate how a balanced drama programme could be put into practice in a school. We are aware that resources, staff numbers and expertise, facilities and scheduling issues vary from school to school and all have an impact on the implementation of a drama curriculum. For this reason, the specific expectations in the document are very general. This allows teachers, both generalist and single-subject, to develop, adapt or change the activities and assessments to suit their individual circumstances.

There are elements of role play in all children’s play and this entering of a make-believe world allows students to try out ideas and solve problems in a safe and secure way. The drama curriculum allows the student to explore and develop feelings and ideas in a way that may not be possible in other subject areas and because of this it contributes to personal, social and physical development.

Drama inquiry

10.4 PYP curriculum documents: drama © IBO 2004

Teachers should be aware that drama plays an important part in the language learning process. Through drama, storytelling and creative expression students are exposed to a language-rich environment that builds language skills. “Regular, frequent instruction in drama and sign language created higher scores in language development … than for a control group.” (Task Force on Children’s Learning and the Arts: Birth to Age Eight, 1998.)

Teachers can use the eight key concepts and related questions (Figs 5 and 6 Making the PYP happen) to guide their own inquiry. Sample questions have been provided to show how this can be done. The teacher may link each of the questions to one or more concepts. Some of the sample questions have been linked to an appropriate concept as examples. By engaging in inquiry themselves, teachers will not only achieve a deeper understanding of drama but will also be a model for their students by assuming the role of “teacher as learner”.

The sample questions provided here should not be seen as definitive—they are guidelines for teachers to use. When teaching young students, a lot of work has to be done on the “how to” aspects of drama. While it is acceptable to ask “closed” questions, they should contribute to the stages of understanding and help students to construct their own meaning.

Personal knowledge of the subject matter is of key importance. What teachers understand themselves will shape how well they select from activities, resources and texts available, and how effectively they teach. The teacher’s personal interest in, and development of, the discipline should be maintained through regular professional development, reading professional journals and regular contact with colleagues who share their commitment to teaching drama through inquiry.

How best will students learn? Drama is both an active and reflective process. Students should be given opportunities to reflect upon their work and the work of others as well as being actively involved in creating and performing. Collaborative activities with other students (older or younger) are encouraged. This method of working is a two-way learning process. The older student is offered an opportunity to explain and verbalize his or her own learning to a younger student, and the younger student has a new experience.

Students should draw on a wide range of stimuli in their drama education: contemporary and historical literature, music, paintings, dance, their own imagination, real-life experiences, feelings, values and beliefs. Role play develops naturally from stories. Introducing issues and stories through appropriate literature gives them meaning and allows the students to take ownership of them. Students should be exposed to live performances as well as recordings. They should participate in live performances—informal as well as formal. Awareness of the audience is a skill that can be developed only through practical application.

A PYP drama classroom provides an environment that stimulates and challenges students. Wherever possible and appropriate, links should be made with the school’s programme of inquiry. Examples of how the scope and sequence can link with the Sample programme of inquiry 2003 have been included. The direct teaching of drama in a unit of inquiry may not always be feasible, but prior learning or follow-up activities may be useful to help students make connections between the different aspects of the curriculum. This makes the learning experience a more authentic one for the students. Collaborative planning with the homeroom teacher is especially important when single-subject teachers have responsibility for teaching drama in a school.

How will we know what students have learned? Assessment is an integral part of effective teaching and learning of drama. Assessment provides insights into students’ understanding, knowledge, skills and attitudes. These insights are necessary to plan further activities that address areas of concern to the teacher and the students. There should be ongoing formative assessments as well as summative assessments. Assessment activities should be carefully planned, and opportunities for students to self-assess using different methods should be included. Examples of assessments appropriate to the specific expectations are included in this document along with sample activities and key questions.

Drama inquiry


Drama learning is easiest to assess when the students are participating in dramatic activities and so one of the main strategies of assessment will be teacher observation of student performance. Every time a student is performing, creating or reflecting on a drama performance, either their own or a performance by others, they are participating in an activity that may be assessed. Student self-assessment will also give teachers an indication of how students feel about drama and their own performances, strengths and weaknesses.

Record keeping should be simple and readily accessible to the teacher and the student. Teacher observations, rubrics and self-evaluations can be used as examples of significant development and could be included in the student’s portfolio. * See glossary for explanation of italicized terms.


Glossary of PYP drama terms

buddy system Two different year levels of students pair up and work together, for example, a year 6 student works with a year 1 student.

climax The highest point of tension in the piece created by previous events. commercial A television or radio advertisement. costume What an actor wears to enhance the authenticity of the character being

portrayed. dialogue The conversation in a play. diaphragm The muscular partition between the thorax and abdomen. EAL English as an additional language. facial expression Showing a feeling, emotion or characterization by using one’s face. freeze frame A still representation of a situation or point in time; actors holding a

pose without moving. gesture Movement of hands, head, body etc to evoke a response or convey an

intention. impersonation Pretending to be another person. improvise To act on the spur of the moment with no preparation time. mime Acting without words. mimic To imitate or copy a person’s voice, gestures and/or facial expressions. musical A film or play set to, or accompanied by, music. pantomime A comical play with music based on a fairy tale or nursery story. performing arts Any creative art form that can be performed including drama, music

and dance. personal space A person’s own space that should not be intruded upon by anyone else

without permission from the individual. This will vary on an individual basis but should be at least 30cm from the face.

plot The playwright’s arrangement of events. The sequential development

of the story or play. pose A certain position of the body. production A performance for a large audience that requires a variety of theatre

practitioners to produce.

Glossary of PYP drama terms

10.8 PYP curriculum documents: drama © IBO 2004

projection The process of enhancing the volume and clarity of a person’s voice. prop Short for the property of an actor while on stage. Able to be carried

and moved readily as opposed to items that are a part of the set. puppetry The art of making an inanimate object come alive for an audience. rap Rhythmic monologue or dialogue recited to music. re-enact To act out something already seen. resolution Discord or tension in a play brought back into control or concluded. role play Acting out of characters, usually in a given situation. set Large, usually fixed items that remain on stage to set the scene or

environment, for example, table and chairs and the backdrop of a kitchen.

skit An emotionally light, short play. slideshow A set of visual images often accompanied by verbal description. soundscape A series of sounds that convey and/or accompany a story or event. special effects Technical effects or illusions that enhance a performance such as

make-up, fake blood, smoke machines or dry ice. stage direction The actor’s direction of movement on stage as determined by the

writer and/or director, for example, cross downstage centre. storyboard A series of illustrations or sketches with minimal writing that depict

the main events in a story or play. teacher-in-role The teacher assumes a role or character and interacts with the

children. tension The result of effective use of suspense and/or conflict. It drives the

drama on and keeps the audience interested. theatre practitioners The people with expert roles required to carry out a complex

production such as make-up artist, stage director, actors, stage and set designers, lighting and sound directors.

vocal expression Using the voice to express different feelings, attitudes or characters. vocal support Using the diaphragm to add depth, control and volume to the voice.


Drama scope and sequence overview

In addition to the following strands, students will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.

Strand By the end of this age range, children aged 3–5 will: By the end of this age range, students aged 5–7 will: By the end of this age range, students aged 7–9 will: By the end of this age range, students aged 9–12 will:

Creative exploration and expression

• incorporate dramatic experiences to enhance units of inquiry

• engage in imaginative play using a range of sources as stimuli, for example, personal experiences, stories, objects and pictures

• value imaginary creations • participate in a dramatic play of a familiar story or

rhyme under the direction of an adult.


• engage in imaginative play using a range of sources as stimuli, for example, personal experiences, stories, objects and pictures

• value imaginary creations • participate in a dramatic play of an unfamiliar story or

rhyme under the direction of an adult • tell an original story.

• use drama to explore and engage in concepts taken from units of inquiry

• begin to use role play to explore feelings and emotions • be introduced to the way materials may be used

symbolically to convey location and character • value and develop imaginary creations • transform a story into a performance.

• use drama to explore and engage in concepts taken from the units of inquiry

• express and explore feelings and emotions, including those of others, through role play

• use a variety of materials to convey location and character symbolically

• recognize the value of individual creative thought and make suggestions to develop it further

• script an original story and follow through to production • find appropriate ways to take action through the performing

arts.

Technical incorporation

• participate in a performance with or without props, costumes or simple sets

• retell information about a person, event, story or rhyme.

• act out or mime a situation using props and/or costume • recognize the value of performance without technical

aids • follow simple stage directions • retell a familiar story • write poetry, songs, raps, plays, scripts, stories,

explanations and journals as part of their dramatic work • memorize a brief dialogue.

• act out or mime a situation using a range of props, costumes and simple sets

• safely manage props, sets and costumes • write a short script with a beginning, middle and end • actively play a role in a short play using memorized lines

from a script.

• perform using a series of props, sets, costumes and make-up • portray a character using special effects such as make-up, wigs

and costumes • understand the importance of appropriately incorporating

props, set, make-up, costume, sound and lighting into a production

• write a script using plot, tension, climax and resolution and follow through to production

• play a character within a production with confidence, memorizing lines and complex stage directions.

Performance • mimic a variety of sounds, for example, a high-pitched bird call or a low, growling roar

• explore movement and the use of space • share ideas in one format, for example, mime • act without preparation time.

• portray a character in a given situation • create their own endings to a performance • use performance as a problem-solving tool • develop an awareness of the relationship between voice

and body • convey a message using drama techniques • share ideas in more than one format, for example, mime

and puppetry • be able to improvise through dramatic action with a

partner.

• portray and sustain a character role in a given situation • predict possible outcomes of a performance • use performance as a problem-solving tool • create a performance for a particular audience or purpose • experiment and develop vocal control in the use of

character voices, impersonations and accents • share ideas in multiple formats, for example, mime,

puppetry or storytelling, distinguishing between formal and informal performance types

• create a scene in small groups using improvisation.

• maintain an appropriate stage presence • use performance as a problem-solving tool • choose and use numerous formats and performance types

appropriately, for example, polished musical versus improvised mime

• use persuasive techniques in body language and facial expression

• improvise sequentially, freely and immediately with confidence and imagination

• use performance within the PYP exhibition.

Personal and social development

• begin to understand appropriate behaviours in drama, for example, as an audience member or as a performer

• work independently with self-confidence • share ideas with a partner or small group.

• understand and maintain appropriate behaviours in drama, for example, as an audience member or as a performer, respecting the personal space of others

• develop negotiation skills to work in groups • work cooperatively towards a common goal, taking an

active part in a creative experience.

• understand and maintain appropriate behaviours in drama, for example, as a performer or working as part of a team, respecting the needs of others

• encourage their peers through applause, positive criticism, praise and encouragement.

• understand and maintain appropriate behaviours in drama • work to enhance the creative ideas and performances of others • exhibit increasing self-confidence in both formal and informal

performances.

Reflection, evaluation and appreciation

• talk about how they feel when creating and sharing their work

• tell the teacher or group about their favourite and least favourite part of a story, play or short film.

• reflect on dramatic work through self-/peer/teacher assessment such as rubrics, checklists, tests, conferences and portfolios

• discuss their work in groups.

• accept criticism and build upon it • appreciate and use the ideas of others in drama • complete assessment tasks or activities, for example,

rubrics and checklists, to evaluate performances.

• discuss performance and presentation experiences, to identify what has been effective and what needs to be developed, paying attention to what worked well, and why

• develop rubrics and checklists for self-, peer and group assessments.

Drama in society

• experience live performances • discuss performing arts experiences • be exposed to stories, scripts and plays from other

times and places.

• experience live performances • discuss experiences of performing arts and the way a

story was communicated • discuss and explain the way cultural values can be

communicated through stories and performance • make connections between their own drama and that of

others.

• experience a variety of live performances • display an awareness of stories and theatrical

conventions from other cultures and periods • recognize connections between the performances of a

number of cultures • explain and appreciate some of the varied careers within

the performing arts.

• experience a wide variety of live performances • recognize varying cultural perspectives and how they are

expressed through drama • identify and communicate with local community theatre groups • understand and appreciate some of the varied roles of theatre

practitioners and interview, research and write about careers within the performing arts.

PYP curriculum documents: drama © IBO 2004

10.13

Subject: drama Age range: 3–5 years Page 1 of 4

Overall expectations Children will work together, share ideas and begin to make group decisions. They will listen and respond positively to the suggestions of others. Children will welcome the variety of cultural backgrounds inherent within their group and the dramas they develop. They will develop an awareness and acceptance of differences in traditions, celebrations, beliefs and behaviour. Children will use drama to explore concepts in the units of inquiry taken from the programme of inquiry and they will be introduced to teacher-in-role. Children will use a variety of stimuli to initiate classroom play and make-believe activities. They will develop the confidence to create their own dramas through play, and to share these with others where appropriate. Children will be willing and eager to explore movement and space using music and other stimuli. Where possible, children will be exposed to a variety of performance and presentation experiences and will discuss what they have seen and experienced.

Children will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.

For the purpose of this scope and sequence, the strands have been grouped as follows (adapted from Fig 12 Making the PYP happen): creative exploration and expression, technical incorporation, performance, personal and social development, reflection, evaluation and appreciation and drama in society.

* See glossary for explanation of italicized terms.

Content What do we want children to learn? How best will children learn?

How will we know what children have learned?

Notes for teachers

Strand Specific expectations Sample questions Sample activities Sample assessments Resources and comments

The specific expectations may be addressed in any order or

combination.

Questions that address the key

concepts (Fig 5 Making the PYP happen) challenge learners and promote genuine understanding. Sample questions can be linked

to a key concept. Some examples are noted below in bold.

All activities encompass some, or many, of the specific expectations

and transdisciplinary skills (Fig 14 Making the PYP happen).

Assessments should be directly

related to the specific expectations. Children should be

given the opportunity to demonstrate their understanding

in a variety of ways.

Teachers should find ways to

ensure EAL learners understand tasks and expectations.


Children will:

Children have the opportunity to develop their imaginative skills and creativity and to apply them in a variety of drama situations.


How will we get to school? Who helps us to learn? What/who does our school need in order to work well? reflection

The teacher and children create an imaginary school. Children may vote on a suggested name for the school. The teacher generates an activity by saying, “Alright, everyone. Let’s go to school. It’s too far away to walk, so how could we get there?” Children might suggest a bus. Teacher appoints a child to take on the role of “Fred” the bus driver. Continue throughout the day, focusing on questions that prompt inquiry into specific roles within a school and what special qualities are needed to fulfill that role.

During a discussion following the role play, each child can state the role they played and explain why it was important. They make connections between their role play and the unit of inquiry.

The unit of inquiry “Our school” in the Sample programme of inquiry 2003 has many opportunities to include drama. It is vital that all roles within the school are valued as being equally important. Those who did not have a specific role can be students, who are equally important as the school could not function without them!

• engage in imaginative play

using a range of sources as stimuli, for example, personal experiences, stories, objects and pictures

What do animals need to stay healthy? Where can we go for help if our animal is sick?

The teacher provides a number of props and costumes, and the children create an imaginary veterinary surgery. This provides children with opportunities to use and extend what they know about caring for sick animals.

Children can take on the roles of vet, nurse, owner or pet using their imagination and personal experiences to create a play. The teacher photographs or videos the children working, as a reference for both child and teacher, highlighting specific areas such as working as a team or speaking aloud.

The unit of inquiry “Caring for living things” in the Sample programme of inquiry 2003 has many opportunities to include drama. The lessons are well prepared with a specific focus. The teacher provides a range of resources and stimuli that can be useful in the creation of imaginative play.

• value imaginary creations What did you like about that

performance? What was the difference between that performance and others you have seen? What will you change in your next performance? change

Children engage in free, improvisational play to create a one-minute performance on whatever subject they want.

Children perform for one minute individually, in pairs or in groups of no more than four.

Time should be allowed for the discussion of initial ideas, for the exploration of different ideas and for sharing comments after a performance.

The children take on a role in a familiar story or rhyme. They act out the main points of the story.

Children join in a group or work individually to act out a short story or rhyme. They move and speak appropriately to include the main points.

• participate in a dramatic play of a familiar story or rhyme under the direction of an adult.

What happens in this story? How might this character move? form, function How can you show what you’re feeling? form, function


10.14




Notes for teachers



combination.


concepts (Fig 5 Making the PYP happen) challenge learners and promote genuine understanding.

Sample questions can be linked to a key concept. Some examples are

noted below in bold.









Technical incorporation Children will:

Children develop their understanding of some of the technical aspects of the drama process such as script writing, stage directions and the management of props, costumes, special effects and set design.

• participate in a performance with or without props, costumes or simple sets

What can you use this for? function What else could this be? perspective

The teacher places objects such as scarves, pots, gloves or kitchen equipment around the room. The children each take an object and use it for an imaginary purpose unrelated to its real one. On a signal, they move on to another object.

Children can use their imagination to improvise imaginary uses for the objects (gloves become ears, pots become drums and so on). The children draw themselves using the object.

The unit of inquiry “What can I use this for?” in the Sample programme of inquiry 2003 and the PYP planners in The PYP in the Early Childhood Years (3–5 years) have many opportunities to include drama.

• retell information about a

person, event, story or rhyme.

What is your favourite story? perspective How do stories make you feel? causation What can we learn from stories?

Children pretend they are sitting around at a picnic. They take it in turns, under the teacher’s direction, to retell a story they have heard or seen before.

The teacher observes the child’s ability to speak audibly to an audience, remain focussed on the subject and maintain eye contact when appropriate.

The unit of inquiry “Everyone has a story to tell” in the Sample programme of inquiry 2003 has many opportunities to include drama. The setting could be changed to a slumber party or campfire. The teacher may record children’s stories (audio or video) for comparison at a later date.

Performance Children will:

Children develop and portray characters and remain in role in a given situation by using voice, body and gesture.

• mimic a variety of sounds, for example, a high-pitched bird call or a low, growling roar

How do we make noises? What sounds can you make with your voice? Why do you like or dislike that sound? How can you make a sound like a hungry baby?

Children move around the room following a rotation of at least ten stations. Children spend one minute in pairs or small groups at each station, mimicking the sound they hear. Stations may include: • a doll that cries or laughs • musical instruments • story books that have audio

effects • a person using their voice in

a variety of ways • shells to listen to the “sea” • a sound recording • toys that make noises when

shaken or squeezed.

Children tell a story using the sounds they made or heard in the lesson.

You may like to start the lesson with a roll call where the children must mimic the way you call out their name, for example, in a low voice or in a shaky voice.

• explore movement and the

use of space What can you do with your body? function How can you move like a wave? How can you move to this music?

Three children “sculpt” the teacher from a ball of imaginary clay into a statue such as a footballer. The class talks about what was difficult and what worked well. In pairs, they take turns sculpting each other into a designated or imaginative shape.

Children can shape their bodies into a statue on the teacher’s signal. The teacher takes photos of the children and asks them to talk about the statue they sculpted.

The teacher must stress the need for personal safety and should model effective concentration. Many activities can be carried out within the classroom and do not require a special space.

• share ideas in one format,

for example, mime How could you perform that? What is the best way you could perform your ideas?

In groups of four, children are given a picture of an action on a card, for example, hitting a tennis ball, or a situation such as a birthday party. Working together, they consider how best to perform it. The rest of the class guess what was on the card.

Children create a mime that resembles the image given to them. The teacher takes a digital photograph of the group during their performance and compares it to the image on their card.

If a digital camera is unavailable, the teacher might ask the children to freeze during their performance and hold the card up beside them for the class to compare.


10.15




Notes for teachers



combination.












Performance (cont.) Children will: • act without preparation time. How can you show me that

you are pretending to be a chicken/dog/monkey? What sounds will you make? Which parts of your body will you use? How does a shadow move? function

Children follow a partner acting as a shadow. They must carefully follow any changes in direction around the room. Children progress to reflecting each other’s movements as closely as possible, as if they were facing a mirror.

Children can improvise and explain what body movements and sounds they used to illustrate their performance. Children participate in an informal class discussion on what helped them lead or follow as a shadow or reflection.

The unit of inquiry “Shadows and reflections” in the Sample programme of inquiry 2003 has many opportunities to include drama.


Children will:

Children develop negotiation skills and are able to work independently and cooperatively in small groups.

• begin to understand appropriate behaviours in drama, for example, as an audience member or as a performer

What is an audience? form What does an audience do? function How does an audience behave? How can I be a good audience member? responsibility Where can the audience be placed to view the performance? How is watching a live show similar to/different from watching TV? connection How can your behaviour on stage help the others in your play? responsibility Where do you need to stand on stage? function

Children attend live performances (in school or at a local venue) and participate appropriately as an audience. Children discuss what they expect they are to do as part of an audience at their school assembly or ceremony.

Children can listen and watch attentively and participate actively when encouraged to do so. The teacher observes the children’s ability to maintain their focus on a performance for an appropriate period.

Performances from older students provide an opportunity for young children to gain experience of live shows. They begin to differentiate between these and the more familiar viewing experiences such as TV, videos and movies.

• work independently with

self-confidence What is something you can do really well? How did you feel working by yourself? Why is it important to work alone sometimes?

Children make hand puppets and use them to talk to the group about something of interest to them.

Children perform using their hand puppets to their classmates, who are seated in a circle (for no more than one minute each). At the end of each performance the teacher allows time for other children to ask questions with their hand puppets. The teacher questions informally and makes notes.

By using their hand puppets and avoiding direct eye contact with the group, some children feel less threatened by the prospect of performing individually.

• share ideas with a partner or

small group. How can listening to another person improve your performance? How did you use both people’s ideas to make your freeze frame?

Children pair up. They are given a freeze frame to perform such as being ballet dancers. One child shares their ideas first and their partner must listen. Then they swap and the first child must listen. When the teacher calls time they must put their ideas together to make the best freeze frame they can.

Children show their freeze frame to the class and talk about whose ideas they used and why.

Openly praise and reward those children who manage to listen without talking while their partner is sharing. Focus on sharing ideas and compromising rather than on whose idea is best. Talk about how two ideas can be better than just one.


10.16




Notes for teachers



combination.














Children will:

Children take time to reflect on their own work and the work of others in order to enhance performance.

• talk about how they feel when creating and sharing their work

How did you feel about your work? reflection What did you feel about playing this character? perspective

The group collaborates to create a setting, for example, a giant’s house, a queen’s forest. The teacher selects a group who have created a particularly effective imaginary scene to share it briefly with the rest of the class.

An effective assessment strategy is for the teacher to take on a role and to pose questions and initiate discussion from within the drama (teacher-in-role). This assesses both the child’s involvement and understanding.

Teacher-in-role can be used to initiate and develop the drama, to give information, to build belief, to bring the group together, to slow or increase the pace, to promote reflection and to enhance contributions.

• tell the teacher or group

about their favourite and least favourite part of a story, play or short film.

How can we find out about our past through stories? connection What things will help us remember stories? causation

Children pretend they are a mother, father or caregiver telling a story about their child (the student) when he or she was young.

Children draw three frames of their story in a cartoon format. They may take it home for their mother, father or caregiver to comment.

The unit of inquiry “Our baby stories” in the Sample programme of inquiry 2003 has many opportunities to include drama.

Drama in society Children will:

Children discuss experiences of performing arts explaining the way a story was communicated, recognizing theatrical conventions from other cultures and periods while identifying those elements of the production that were effective and those that were not.

• experience live performances How did the performers entertain you? What was your role during the performance? How is this similar to/different from watching it on television? connection

Children should have the opportunity to view performances by groups (professional or amateur) that are not directly involved with the school.

Children can behave appropriately as an audience member. They are given time for questioning and comments immediately or soon after the performance finishes.

The performance may take place in the school or classroom but preferably in a theatre or other independent venue. Ensure the children are all seated so they can hear and see the performance clearly. A performance time of thirty minutes is adequate for this age group.

• discuss performing arts

experiences What was that play/poem/story about? Did any of the characters remind you of yourself or your family? Were there any parts that you didn’t understand? Who was your favourite character, and why? perspective, causation

Children watch a performance by an older class within the school. They then pair up with one of the performers and talk about the play, asking any questions they may have.

Children draw a picture about the play and explain it to the teacher or class.

The teacher accepts all sensible ideas. Children are encouraged to experiment, think aloud and postulate. It is most beneficial if the discussion can happen directly after, or on the same day as, the performance so that it is still clear in the children’s minds.

• be exposed to stories,

scripts and plays from other times and places.

How is this similar to/different from the stories you know?

Invite grandparents, parents, friends and relatives into the class to retell stories or plays from their culture and/or youth.

Children talk about the differences and similarities between their favourite stories and the ones they have just heard.

The teacher could tie this in with a special day or afternoon when relatives come into school to retell a story or play that was popular when they were young.


10.17


Overall expectations Students will work together, sharing ideas and making group decisions. They will listen and respond positively to the suggestions of others. Students will welcome the variety of cultural backgrounds inherent within their group and value the cross-cultural aspects of the dramas they develop. They will develop an awareness and acceptance of differences in traditions, celebrations, beliefs and behaviour. Students will use drama to explore concepts in the units of inquiry taken from the programme of inquiry and they will be introduced to teacher-in-role. Students will use a variety of stimuli to initiate classroom play and make-believe activities. They will develop the confidence to create their own dramas through play, and to share these with others where appropriate. Students will be willing and eager to explore movement and space using music and other stimuli. Where possible, students will be exposed to a variety of performance and presentation experiences and will discuss what they have seen and experienced.

Students will have the opportunity to identify and reflect upon “big ideas” by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.



Content What do we want students to learn? How best will students learn?

How will we know what students have learned?

Notes for teachers



combination.







related to the specific expectations. Students should be






Students will:

Students have the opportunity to develop their imaginative skills and creativity and to apply them in a variety of drama situations.


What do you need to know about this subject before you can create a drama? reflection

As part of a unit of inquiry, the teacher takes a role as a journalist or detective. Students are also given roles and provide information in response to questions from the teacher-in-role.

The teacher identifies specific objectives and assesses the students through observations and note taking.

An effective strategy is for the teacher-in-role to pose questions and initiate discussion from within the drama. This allows both the students’ involvement and their understanding to be assessed.

• engage in imaginative play

using a range of sources as stimuli, for example, personal experiences, stories, objects and pictures

Where would you go and explore if you could go anywhere you like? What else could that item be? perspective What can you see in the sky?

In pairs, students explore an imaginary place together, for example, the park or outer space. They develop the story using a technique that builds on the previous part of the story. For example, one student says, “Look at that slippery pathway,” and the second student follows it with, “Let’s slide on it!”

When students regroup, each pair takes one minute to explain where they went and what they did.

Teachers may choose to give each pair a designated space in the classroom. However, free movement around the room, with the correct safety precautions, is far more effective as students are able to enter their imaginary world without continually making reference to their position in the room.

What can you use to help your

plant grow? How will your plant stay healthy? function Did your plant need something to grow that was different from everybody else’s plant?

The teacher explains how last night the garden was trampled on by a herd of elephants and needs to be made beautiful again. The teacher asks for suggestions about what could be planted and then passes around a “magic” jar of seeds (use large peas such as chick peas). The students mime planting the seeds, digging the soil, watering and tending the shoots. (Students may also create their own magic wand, do a dance, sprinkle fairy dust if they wish to.)

Students can talk about their plants either in the past tense (what they did in the mime) or in the present tense (what their plant looks like now and what it needs to stay healthy).

The unit of inquiry “Growing things” in the Sample programme of inquiry 2003 has many opportunities to include drama. Teachers may wish to extend this activity to include the planting of a tree with the whole class or school. The teacher-in-role is very important, but take care not to direct the drama so that students just copy. Praise individual ideas or help students with their plant while in role.

• value imaginary creations Why do we play? causation

How does playing help you learn? How does playing with others differ from playing alone?

In pairs, students improvise for one minute on a given topic or location such as Candy Land. One begins the dialogue with a suggestion, “How about we slide down that toffee slide?” The other student must appreciate and recognize the idea and then build upon it using the words “yes and”. “Yes and we could slide right onto the ice-cream cloud.” The partners continue the dialogue. “Yes and we could fall through the cloud and land in a chocolate river…”

Students report verbally to the class about the “yes and” comment from their partner that they liked the most, and explain why.

The unit of inquiry “Let’s play” in the Sample programme of inquiry 2003 has many opportunities to include drama.


10.18




Notes for teachers



combination.












Creative exploration and expression (cont.)

Students will:

• participate in a dramatic play

of an unfamiliar story or rhyme under the direction of an adult

What is your story going to be about? Which characters are needed? How does the story begin, develop and end? change

Students mime under the direction of the teacher. The teacher says, “You are going to go to sleep and in the morning something strange is going to happen to you.” The students mime actions until the teacher calls, “Freeze!” They listen to the next part of the story before miming it. “When you wake up you will notice that your skin is turning green, and you have grown wings.”

An older class is invited to watch the mime, with each student paying particular attention to one of the students miming. They meet in pairs after the performance and talk about the performance.

Establish a buddy system with a class of older students. You may like to ring a bell or beat a drum between transitions rather than saying, “Freeze!”

• tell an original story.

What is a story? form Why do people tell stories? causation What are the different types of story? In what ways can stories be presented?

Create a class story encouraging a range of vocal and facial expressions and gestures. The teacher begins by setting the scene: “The class sets off in a spaceship to find a new planet. They come across a group of aliens…”

The teacher videos the class story and views it with the class. Students draw the object, place or character that they introduced to the story to be put together as a class storyboard.

The unit of inquiry “Just imagine” in the Sample programme of inquiry 2003 has many opportunities to include drama.

Technical incorporation Students will:

Students develop their understanding of some of the technical aspects of the drama process such as script writing, stage directions and the management of props, costumes, special effects and set design.

• act out or mime a situation using props and/or costume

What do you need in this scene? Where is the play set? What could you use that for? What sort of character might dress like that? connection

Students sit in a circle with one object in the centre per student. The students roll the dice and if they roll a six they choose an object and act or mime with it until the next student rolls a six. The previous student can take the object they used back to their place in the circle.

The teacher notes the student’s ability to use an object for something it is not, for example, a tennis ball used as an onion, or a scarf used as a stream of water.

Use an oversize dice so that everyone can see. The objects in the centre could include scarves, balls, hat, glue stick, paper plates, shoe, glove, wig, belt, broom and tennis racket. Upon completion of the game, allow time for imaginative play with the objects (the teacher must ensure each student has an object).

• recognize the value of

performance without technical aids

What did you notice about this performance? reflection If you had a favourite character, what was it about them that got your attention? Did the actors use anything special in the performance?

Students view a performance by their teacher, peers, a buddy class or a theatre group that uses no props or obvious costumes.

Students draw a scene from the play that they particularly enjoyed and write a sentence about it.

The more professional the production students view, the more they will appreciate and value the performance. A professional group is preferable to an amateur production. All black is a popular costume and does not detract from the performance. This can be reinforced in class with minimal use of technical aids at this age level.

• follow simple stage directions

Why do we call this “centre” stage? Where is “downstage right”? What does a director do? function Where is the most important place on the stage?

After vocal and physical directions by the teacher about positioning on stage, students play the “Stage director” game. The teacher calls out a place on stage and the last student/group of students to get there is out. When students are out, they sit in a row next to the teacher facing the stage. Each has a turn at giving a direction until everybody but one or two are out.

The teacher notes at which point individual students are out, and also observes their level of confidence at giving stage directions.

Safety measures should be set up beforehand. Students are out of the game if they: • touch another person • talk • move faster than a walk • turn their back to the

audience (optional).


10.19




Notes for teachers



combination.












Technical incorporation (cont.)

Students will:

• retell a familiar story What stories have you been

told? What are your favourite/ special memories of childhood?

Students tell a story of a special memory and then explain why they chose it.

The teacher observes the students’ ability to incorporate details unique and relevant to their memory, to use a beginning, middle and end, and to verbalize their memory fluently with appropriate pauses.

The unit of inquiry “What was it like when you were young?” in the Sample programme of inquiry 2003 has many opportunities to include drama.

• write poetry, songs, raps,

plays, scripts, stories, explanations and journals as part of their dramatic work

What ideas did you have? Is there anything that needs to be changed? change

Students experiment with a variety of different types of writing, for example, stories, scientific explanations, poetry and scripts. These different formats can be discussed and some may be developed to use in drama activities.

Students can identify the different styles of writing and whether or not they are suitable to turn into a performance.

See also Language scope and sequence.

• memorize a brief dialogue. What can help you remember

all the words you have to say? connection Do you have a method to remind you when to say your lines?

As part of a formal performance, students are given a brief dialogue to memorize. The class discusses techniques to help them recall their lines and the appropriate time to say them.

Students can remember a brief dialogue as part of a performance and say their words at the appropriate time.

Performance Students will:

Students develop and portray characters and remain in role in a given situation by using voice, body and gesture.

• portray a character in a given situation

What sort of person might that object belong to? How does your character move? How does this character behave? function How does your character’s skill help or hinder them?

Students pick out a card from each of three boxes. One is a physical attribute of the character, the second is an object the character uses and the last is a skill the character has. Students have some thinking time to get into character, decide on a name, a walk etc. They move around the room in character to meet other students.

Students draw their own character and explain him/her to the class. They introduce themselves in character to the class if able.

You may help the students read the cards, or read the cards out loud to them. However, it is important that the cards are not illustrated as this may restrict a student’s creativity in developing their new character. The character doesn’t have to be human.

• create their own endings to a

performance How do we know when a story or play is finished?

The class makes up a simple story with two main parts (beginning and middle). They discuss a possible ending. The teacher then divides the class into three groups, asking each group to come up with an alternative ending.

Students take it in turns to perform alternative endings to the class. They draw three pictures representing the beginning, middle and end to the story.

The type of performance can be designated by the teacher, for example, mime, or left up to the students to decide.

• use performance as a

problem-solving tool How would that person/ character feel right now? Whose responsibility is it to stop a fight? What can you say or do if you can’t solve the problem yourself? responsibility

The teacher asks for a suggestion from the students about a problem they had during playtime. The teacher then chooses a number of students to act it out. The class talks about responsible and appropriate behaviour, and about their reactions to the problem. In groups of three or more, students act out their positive responses to the problem.

Students explain how the drama helped them solve a problem. This may be verbal, written, illustrated or acted out.

Ensure that students realize this is role play in drama. However, drama is not the only method of solving problems. The teacher can also use this activity as a chance to put students into a role they do not usually have. For example, an outgoing student acts in a shy, timid, bullied role. This helps students see problems from someone else’s perspective.


10.20




Notes for teachers



combination.












Performance (cont.) Students will:

• develop an awareness of the

relationship between voice and body

Students work in pairs to control breathing and introduce the use of the diaphragm as a source of vocal support and projection. One student lies on their back. Their partner places a dictionary on the student’s lower abdomen and another book on their chest. The aim is to inhale and exhale while maintaining a constant humming noise, moving only the dictionary on their abdomen.

Students draw a picture or diagram of what they think happened to the air and the sound.

Does your voice change when you position your body differently? What parts of your body do you use to yell really loudly? How does your tummy feel when you make a noise for a very long time? How do our voices use air? function How can you regulate air to change your voice?

The teacher directs students to try different things with their body that will change their voice such as nodding their head, beating their chest, or jumping up and down.

Students choose one of the actions and can explain how that movement affects the sound they make.

The unit of inquiry “Where is air?” in the Sample programme of inquiry 2003 has many opportunities to include drama. This activity can be extended so that students are inhaling or exhaling air first from their chest and secondly from their diaphragm, or vice versa. The expected sound can also be modified as students explore the changes in sound that correlate with the changes in amount and time of expelled air. Students may prefer to experiment on their own first, or after receiving directions from the teacher.

• convey a message using drama techniques

What is the important message in your drama? How will you make sure that the audience understands the message?

• share ideas in more than one format, for example, mime and puppetry

How many different formats can you think of? Which would be the best format to show this performance, and why?

• be able to improvise through dramatic action with a partner.

Should there be a focus for the improvisation? What are the different roles the actors must take on to ensure a successful improvisation? What happens if everyone talks at once?

The teacher begins a peculiar action in the middle of the circle of students, for example, squishing snails between her toes. Students are encouraged to put their hands up. The teacher chooses one to ask, “Hey, Miss, what are you doing?” The teacher states what she is doing and asks, “Do you want to join me?” The student may reply, “Yes,” and join in the drama or say, “No thank you,” and ask another student, “Lucy, do you want to join her?” The improvisation continues until there are six members on stage.

After several examples, the teacher steps out of the improvisation and asks a student to initiate it. The teacher notes the students’ response time, originality and ability to work with others.

The teacher should direct the drama to a conclusion.


10.21




Notes for teachers



combination.













Students will:

• understand and maintain

appropriate behaviours in drama, for example, as an audience member or as a performer, respecting the personal space of others

Selected students are secretly given various roles to play in the audience whilst the rest of the students perform. After the role play, discuss with the performers which audience members were best to perform to and why.

Students draw a person and write words around the figure to describe appropriate audience behaviour.

What does the audience do that makes you feel good when you are on stage? How can one audience member’s behaviour affect the other people in the audience and the performers? Why is it important to recognize and respect the personal space of another student? responsibility How do you personalize an area and what can you do to maintain it as your own?

Students use skipping ropes to create a boundary around them on which they build an imaginary house. When it is built half the class visits the other, asking questions of the owners, “Why did you decorate it like this?” or, “What’s your favourite room?” The visitors must respect the owners’ requests to leave when the time comes. They then swap over roles. Students use facial expressions to indicate to a partner where they feel most comfortable having a chat with them. One student stays in the same place while the other gradually moves closer or further away, according to the stationary student’s facial expression.

The students can draw themselves in their own special or personal place, for example, in their tree house or in their bedroom.

Audience roles could include: • four troublemakers who

throw paper, talk constantly or write notes

• four good listeners with appropriate audience behaviour and responses.

It is possible to make reference to the student profile, for example, the attribute of being principled. The unit of inquiry “Home” in the Sample programme of inquiry 2003 has many opportunities to include drama. Have a signal such as a small hand bell to indicate when it is time to move from one activity to the next, and when it is time to leave or swap over. The teacher should emphasize the “keep your hands to yourself” rule (that in drama the touching we see is an illusion of well-timed actions).

Students develop negotiation skills and are able to work independently and cooperatively in small groups.

• develop negotiation skills to work in groups

How do you think that person is feeling now? perspective What could you do so that everyone has a turn/gets to use some of their own ideas? responsibility How shall we make a decision?

Students develop a rubric that is used consistently during sessions involving group work. The teacher models and suggests effective communication and compromise.

The teacher observes how students implement their rubric: • when I work in a group we

use my ideas (a bit, lots, never)

• I modify my ideas so that others can have a go (sometimes, all the time, not at all)

• we always hear everyone’s idea before we decide which one to use.

A rubric developed by the students is likely to be pictorial in nature. Avoid asking why a student did something. They often won’t know, or will make up a reason to provide you with an answer.

• work cooperatively towards a common goal, taking an active part in a creative experience.

What and why do people celebrate? What do celebrations look, sound and feel like? What are the connections between celebrations observed in different times and places? connection

The teacher or class chooses a celebration. Put past, present, future into a hat and each group selects a time. In groups, students discuss and prepare to act out a celebration in the past, present or future.

The teacher notes that each student takes a participatory role in the creation and performance of the celebration. Each group performs to the class and students write down the connections to their own drama.

The unit of inquiry “Celebrate!” in the Sample programme of inquiry 2003 has many opportunities to include drama.


10.22




Notes for teachers



combination.













Students will

Students take time to reflect on their own work and the work of others in order to enhance performance.

• reflect on dramatic work through self-/peer/teacher assessment such as rubrics, checklists, tests, conferences and portfolios

How do you think …? What might happen if …? How can you use the student profile in drama? reflection

Students choose one of the student profile attributes and illustrate it in relation to drama, for example, a picture of a student on stage performing to a large audience might represent the attribute of being a risk-taker.

Students submit the illustration to the teacher and do an informal presentation about it to the class. These drawings could be shared during teacher–parent conferences.

Open-ended questions are useful to guide the students’ reflections. The teacher may use the students’ reflections in order to assess their understanding of the content of the drama.

• discuss their work in groups. Can you make any

suggestions to help your partner? Did the group say anything to help you change your idea? What did you think of the work?

Students work independently and collaboratively to “think, pair, share”: think (alone); pair (up with a partner and discuss each other’s ideas); share (them with the group/class).

Students make a “caterpillar of ideas”. In the first circle (head) they write or draw their first idea, in the second circle they document their idea, after thinking alone. In the third circle they document their idea, after discussing it with a partner, and in the final circle they document their idea upon presenting it to the group.

This can be done in regard to any unit of inquiry, especially prior to an improvisation or performance. The ideas in the circles should show some sort of progression after each level.

Drama in society Students will:

• experience live performances Why do people go to live

theatre? causation What was the performance about? form How did the actors show it?

Students view a live performance, preferably an interactive one for this age group.

Students talk with the actors after the performance, and/or take part in a behind-the-scenes tour.

It is important that the students see the reality of what happens before and/or after the show, and realize the skill of the actors in creating an illusion. Otherwise the performance can be viewed in the same way as turning a television set on or off.

Students discuss experiences of performing arts explaining the way a story was communicated, recognizing theatrical conventions from other cultures and periods while identifying those elements of the production that were effective and those that were not.

• discuss experiences of performing arts and the way a story was communicated

What makes your example a performance? What was the first thing you saw or heard in the performance and did it happen again, later in the show? Did the performance look like anything you have seen before? connection

Students have the opportunity to discuss in groups of four a performance that they have seen (street theatre, puppet play, a school play, an opera or a concert). They are encouraged to talk about how the performance was presented, for example, mime, pantomime, musical, puppet play.

The teacher has two pieces of card per class member, as well as ten pieces of coloured card on which to write the headings. The teacher asks the first group how each person’s performance was primarily performed. Upon their suggestions (and with appropriate questioning) the teacher makes headings and students are asked to write the name of the performance they talked about and put it under one of the headings.

In case students cannot think of a performance they have seen, it may be useful to have a number of short video recordings as examples that you can classify together.

• discuss and explain the way

cultural values can be communicated through stories and performance

What do you think is important to the performers from this drama? reflection

• make connections between

their own drama and that of others.

What is the same/different about their performance? connection Why do you think they chose the performance they did?

Students video their own student-generated performance and swap it with a video from a school in another country. Students may choose to create their own drama or re-enact a popular fairy tale.

Students send an e-mail or letter (collectively or individually) to another school detailing the connections between the two dramas.

The teacher will need to contact another PYP school prior to the session. The teacher may direct the subject of the performance to guide students, or give free choice. You may choose to video your performance and send it by mail. However, videoing it and placing it on the school web page, or getting students to e-mail it, may be faster, more immediately satisfying alternatives.


10.23


Overall expectations Students will work independently and with confidence in small groups and with partners. They will apply their knowledge of the content of the programme of inquiry to develop dramas. Students will apply their knowledge of cross-cultural differences when creating dramatic roles and locations. They will use personal experiences and other stimuli to create a drama. Students will reflect and comment on their own work and the work of others in a sensitive and positive way. They will be able to adopt a role and switch in and out of role to discuss their discoveries. They will be able to respond to contributions from the teacher-in-role. Students will develop an understanding of the way body and voice can be used to depict a character through specific voice and body exercises and activities. Where possible, students will be exposed to performance conventions from other cultures and to a variety of performance and/or presentation experiences; they will observe carefully and will be able to discuss what they have seen.






Notes for teachers



combination.













Students will:


• use drama to explore and engage in concepts taken from units of inquiry

Using the school’s programme of inquiry, the teacher may compile a list of materials that can be used to stimulate drama work in connection with the units of inquiry. This could include biographies, poetry, pictures, music, letters or videos. The material should contain an element of mystery or an aspect which is unresolved, where possible, in order to engage the students in some form of investigation into the unit of inquiry.

• begin to use role play to

explore feelings and emotions What did the people feel in the situation? Why did they behave in that way? causation

Students engage in a role play in order to view a situation from a different perspective. Suitable situations and role plays may be directly linked to the programme of inquiry.

• be introduced to the way

materials may be used symbolically to convey location and character

How would you create the setting? function What objects does this character hold or pick up? Where would you place these objects?

The teacher presents the class with a stimulus depicting a location. This may be a photograph, painting, video clip, piece of text or a piece of music. Using the materials available, students are asked to transform the space into this location and to place themselves within the setting.

The teacher takes a digital photo of the students’ location for them to look at and make connections with their original stimulus.

A number of materials have been found to be useful in the creation of locations and in the transformation of space, including tables, chairs, cones, fabric, rope, beanbags, sticks, paper, pens, parachute and hoops.

• value and develop imaginary

creations How can we express our uniqueness through drama and dance?

The teacher selects and plays six short, non-vocal excerpts of sound and/or music. Students begin in their own bubble and choose to move as the music prompts them. They are asked to express at least three things about themselves throughout the duration of the music.

Students choose one unique movement from their improvisation to perform to the class.

The unit of inquiry “Looking in the mirror” in the Sample programme of inquiry 2003 has many opportunities to include drama. Guide students to establish their own personal space bubbles. Focus on individual expression and individual movements.


10.24




Notes for teachers



combination.













Students will:

• transform a story into a

performance. What parts of the story do you need to include in the performance? Are there parts of the story that can be left out? What are the differences between the story and your performance? connection

The students are asked to turn a section from a story or a particular situation into a piece of improvised theatre. A good starting point for focusing attention on the key moments or issues of the story is to first present it as a series of tableaux, which are then brought to life and rehearsed.

The teacher photographs or videos the students working, as a reference for both student and teacher, and highlighting specific expectations.


• act out or mime a situation

using a range of props, costumes and simple sets

What props will help you to convey a character? How does the set help the audience?

From a range of suitable props and costumes, students can select items that enhance their performance. They can explain the significance of the items selected.


• safely manage props, sets and costumes

Where would you place these objects? How would you create the setting?

• write a short script with a

beginning, middle and end How will you tell the story or present your ideas? What dilemmas might a person face when choosing what to eat? reflection

Students work in groups and are given a dilemma: “Nick is shopping with his mum when she asks him what he would like for a snack.” They are then required to write a script with an emphasis on healthy choice as an outcome.

Students write, perform and submit scripts (one per person).

The unit of inquiry “Health and well-being” in the Sample programme of inquiry 2003 has many opportunities to include drama. Encourage students to give their script a title, for example, “Nick’s shopping nightmare”.

• actively play a role in a short

play using memorized lines from a script.



• portray and sustain a character role in a given situation

How would you describe your character? How will you portray your character? How can you focus attention on this character?

Students take on the role of particular characters appropriate to the unit of inquiry being studied. Students can be given particular constraints so that the portrayal is focused, for example, there are only three lines of dialogue, or it can only take place in one location. Alternatively, one student may be selected as the storyteller and the rest of the group mime to portray the characters in the narration.

• predict possible outcomes of

a performance How do you think the performance will end? Could it end in another way?


10.25




Notes for teachers



combination.












Performance (cont.) Students will: • use performance as a

problem-solving tool How can we solve a problem when we have different points of view? reflection

Students role play situations that are difficult or unpleasant. They identify the negative behaviours and discuss alternative ones that may produce more positive results. They discuss how to resolve a situation so that everyone is happy with the outcome. The teacher may provide an anonymous “worry box” for students to post difficult situations they have faced and wish to explore in class drama activities.

The teacher assesses how the students participate in role play, focusing particularly on accepting responsibility, cooperating and resolving a potential conflict.

The unit of inquiry “Give and take” in the Sample programme of inquiry 2003 has many opportunities to include drama. See also Personal and social education scope and sequence.

• create a performance for a

particular audience or purpose

What message or information do we want to give people through our interview?

Students view a number of excerpts from television interviews. They use questions from a unit of inquiry to identify the information they want to gather and to decide who they might need to interview. They research their area and one student takes on the role of the expert within an interview situation. Other students conduct the interview. The teacher may video the interview to allow the students to watch their own performance.

The teacher observes the interview (or recording) and completes a checklist to see that students can: • convey a message through

their drama • choose appropriate

interview questions • use their research to answer

questions • use open-ended questioning.

Work on interview techniques and open-ended questions.

• experiment and develop

vocal control in the use of character voices, impersonations and accents

How can you create the sounds of the beach using your voice? What happens when you change the shape of your mouth or the place of your tongue?

In groups of four, two students mime a story whilst the other two provide the voices and sound effects.

Students record a soundscape and play it to the class. The class provides verbal feedback on the effectiveness of the sounds in telling a story and depicting a location.

• share ideas in multiple

formats, for example, mime, puppetry or storytelling, distinguishing between formal and informal performance types

What format could you use for your performance? Are any others suitable? When is it important to use a formal style?

• create a scene in small

groups using improvisation. What would you like to show a visitor in your chosen community? What are the three unique characteristics of your chosen area? How can you portray these unique characteristics through freeze frames?

Students divide into groups of four to develop a slideshow or commercial about the special features of their chosen place. While one pair commentates, the other pair freezes in a position that represents their place, for example, seals on the beach of Kangaroo Island. The commentators then freeze and the actors who were frozen provide a thirty-second action clip that continues from their original pose, for example, the seals start making noises, go swimming, bask in the sun.

Students watch each group’s performance and provide oral feedback upon conclusion.

At this stage, students are not trying to create an actual slideshow or commercial.


10.26




Notes for teachers



combination.













Students will:

• understand and maintain

appropriate behaviours in drama, for example, as a performer or working as part of a team, respecting the needs of others

In what ways can you help the group to complete the task? responsibility

The class is split into small groups and given a situation to dramatize on their own.

During work in small groups or pairs the teacher can circulate, listening to the way the groups are working together.

Although students continue to work as a class group, they now also work in pairs and small groups, sharing and discussing their work with their peers.


• encourage their peers through applause, positive criticism, praise and encouragement.

Why do we communicate? causation How can you communicate a particular perspective through performance? function, perspective How does listening to another person’s perspective affect the outcome of a situation? Can you describe the group’s work? What was the group telling us about the situation they were presenting?

Two students and the teacher model a one-minute improvisation for the class. A chair is placed centre stage with actors either side and behind. They are given a situation where conflict may arise. For example, a brother and sister fighting over a toy. The dialogue begins, “I want that toy …” “ Well, you can’t have it …” When the actors want the audience to complete their sentence, they touch the chair and members of the audience randomly call out a variety of endings such as, “Cut it in half!” or, “Bury it!” or, “Share it!” The actor must then choose the best response and restate his or her line, “How about we share it?”

Students complete and submit a script with the line endings missing.

Appropriate preparation and immediate curbing of inappropriate outbursts are required.


Students will:


• accept criticism and build upon it

How can constructive criticism improve your performance? change Why do performances need to be critiqued?

Each student writes his or her name on an envelope. Upon completion of the performance the audience members write positive comments on one side of a slip of paper and areas for improvement on the other side. These are then put into the envelope.

Students make their own paper “chains of perspective” by linking together the slips they have received after reading them.

The envelopes may need to be checked by the teacher, depending on the class.

• appreciate and use the ideas

of others in drama

• complete assessment tasks

or activities, for example, rubrics and checklists, to evaluate performances.

How can we assess how well our drama went? What do you look for when assessing another group? How can you use the student profile in drama? reflection

Reflection and assessment can occur within the drama with the students in role, or the drama can stop and the group can discuss what happened. Alternatively, the students may be asked to produce pictures describing what happened or to produce a piece of writing such as letters, diary extracts, speeches.

Students can complete a range of assessment activities and tasks, individually and in groups.

The teacher could provide a journal for each student in which they can record their reflections using rubrics, checklists or questions. These journals may be used to assess the students’ understanding of the drama and other specific expectations.


10.27




Notes for teachers



combination.













• experience a variety of live

performances Students attend live performances. These may take place within the school or at outside venues.


What sorts of live performances have you seen before? Where have you seen these sorts of performances? form How and by whom are these places used? What are the purposes of public places in our community? How does the purpose of a public place influence its design and location? function

Students investigate a number of performance venues by accessing a range of interactive web sites to take a virtual tour or find out about their history.

Students can work with a buddy to find a tour of a web site, noting the particular purpose of the building or space and the role it plays within the local and/or global community.

Several web sites of performing arts venues include a history of the venue and a virtual tour. Teachers involved in the writing of this scope and sequence document have suggested the following: www.sydneyoperahouse.com www.royalalberthall.com www.carnegiehall.org www.bolshoi.ru www.teatroallascala.org

• display an awareness of

stories and theatrical conventions from other cultures and periods

What characters are portrayed in Indonesian shadow puppets? How are the puppets made? form

The students make a series of stick puppets and enact a story using shadow puppets.

The teacher observes how effectively students use shadow puppets to tell a story.

• recognize connections

between the performances of a number of cultures

How are the two styles of drama the same? connection How are they different?

The teacher should try to introduce a wide variety of performances from different cultures and countries in order to make comparisons.

• explain and appreciate some

of the varied careers within the performing arts.

What do you need to make your play a performance? What roles do you need to create a performance? Why are a number of roles necessary to make a production? causation

In groups of no more than four, students choose a simple two-minute script to perform. They come up with questions about sound, props and sets. The teacher can answer these in small groups while the others work independently or to the whole class.

Students keep a group journal detailing questions and answers as well as the responsibilities of at least four theatre practitioners.

The unit of inquiry “Work places” in the Sample programme of inquiry 2003 has many opportunities to investigate the role of drama in society.


10.29


Overall expectations Through creative exploration and expression, students will reach an emotional and conceptual understanding of the areas being studied. Students will make immediate connections between fantasy and real-life situations. They will practise self-discipline in the presentation of material to an audience as well as within the role of the audience. They will incorporate production elements effectively to enhance their work, using costume, make-up, set, lights, sound and props. Students will bring original text to life using a variety of conventions. They will continue to explore the way the body and voice can be manipulated to depict a character, an emotion or a concept through a variety of exercises. Students will work towards creating a healthy group dynamic, where students feel comfortable making suggestions and accepting criticism on how their work, and the work of others, can be developed. They will listen carefully to suggestions and will begin to be able to apply these to the development of their work. They will be able to work independently, in pairs, in small groups and as a class group. They will use a journal to reflect on and evaluate their work, to record their ideas, their discoveries and the subjects being addressed. Students will be introduced to performance conventions from other cultures and will be given the opportunity to practise these in their dramas. Where possible, they will be exposed to a variety of performance and/or presentation experiences; they will be encouraged to discuss and evaluate what they have seen, to identify what was effective and to begin to transfer these discoveries to the presentation of their own work.






Notes for teachers



combination.













Students will:


• use drama to explore and engage in concepts taken from the units of inquiry

What do the people feel in this situation? What responsibility does this character have? Why did that happen? causation

The class is divided into pairs and given roles appropriate to the particular unit of inquiry being studied, for example, the environmentalist and the manager of an energy plant. The teacher gives each role an objective that the partner role is unaware of and which will cause some disagreement. The objective involves a concrete action such as getting one partner to sign a paper giving the other partner permission to build an energy plant on a protected site. At a given sign from the teacher, the pairs begin the dialogue, each trying to achieve their hidden objective. This can be developed into a debate between two groups, with the teacher in the role of the official who has to make the decision.

The teacher identifies specific expectations and assesses the students through observation and note taking. An effective assessment strategy is for the teacher-in-role to pose questions and initiate discussion from within the drama. This strategy allows both the students’ involvement and their understanding to be assessed.

The unit of inquiry “Energy for work and play” in the Sample programme of inquiry 2003 has opportunities to include drama. The aim here is for students to view the material from different perspectives through the role. Students engage in the role play, using language and action appropriate to the situation. The teacher supports students in building belief in the role they are playing. This can be achieved through discussing the type of things the role does and the sort of language the role uses. Asking each student to draw up a brief biography for this role may encourage belief.

• express and explore feelings

and emotions, including those of others, through role play

Why did the character behave in that way? Which character did you identify with, and why? perspective Which character provoked the strongest feelings in you, and why? connection How could you tell that another character was feeling a particular way?

Students choose their own groups of three or four and create a short mime or play where one individual is being singled out (bullied, teased or tormented because of a difference in appearance, food choice or the way they speak). They perform this a number of times, each time changing roles (from tormentor to target) and reflecting on the feelings each character had.

Students complete a reflective journal entry.

• use a variety of materials

to convey location and character symbolically

What are the different ways that you can show, for example, a carefree atmosphere?

Students take an empty stage and are asked to work together to turn the stage into a predetermined location, for example, a moonscape, a desert island, a cave interior, a schoolroom or a sports stadium.

Students take a variety of materials and improvise a set to convey location.

Materials that may be used include chairs and boxes, fabric pieces, cones, rope, beanbags, paper, parachute and hoops.


10.30




Notes for teachers



combination.













Students will:

• recognize the value of

individual creative thought and make suggestions to develop it further

What makes your idea unique?

• script an original story and

follow through to production How can you transform your ideas into a cohesive performance? change What techniques will you use so that others can understand the vision of your story?

Students use their prior knowledge of script conventions to create their own play for a particular purpose such as the PYP exhibition.

Students can create a story and produce a script. Students participate in at least two theatre practitioner roles in the performance of their own production.

• find appropriate ways to take

action through the performing arts.

How can you turn what you have learned in your drama into action? responsibility



• perform using a series of props, sets, costumes, and make-up

What props do you need to have for your performance? Who is responsible for collecting everything you need? responsibility How will you know if everything is ready for your performance?

Students take part in a performance to an audience that requires appropriate props and costumes to be organized in advance.

Students can take responsibility for their own props and costumes in order to perform to an audience.

• portray a character using

special effects such as make-up, wigs and costumes

Why does the character look like this? causation How can you change the appearance of a person to enhance characterization?

Students experiment with devices that are used to manipulate perceptions such as make-up and costuming.

Students provide make-up, costume and costume designs in the form of illustrations and short written explanations. Students present themselves as their character in full make-up and costume.

• understand the importance of

appropriately incorporating props, set, make-up, costume, sound and lighting into a production

How can we change this space into a haunted house? How can we show this is a busy street?

• write a script using plot,

tension, climax and resolution and follow through to production

What is the tension in your drama? How is it going to be resolved?

Students use their storywriting skills to develop scripts from stories they have heard or written. They adapt them to be used as a drama.

Students develop a plot that contains tension, climax and resolution into a short script for a performance to an audience.

See also Language scope and sequence.

• play a character within a

production with confidence, memorizing lines and complex stage directions.

How will you remember all your lines? reflection Where will you move if you are asked to enter upstage left, cross downstage right, exit stage left?


10.31




Notes for teachers



combination.














• maintain an appropriate

stage presence How can you make sure the audience is aware of who your character is? Where should you be standing when your character is speaking?


• use performance as a problem-solving tool

How do inventors get their ideas? What makes an invention a success? Who uses inventions? Why do we need inventions?

Students role play being an inventor, describing and possibly physically becoming an invention that makes their work or leisure easier, for example, a skateboard that runs on air, or an automatic, pop-out eraser.

The unit of inquiry “Off the drawing board” in the Sample programme of inquiry 2003 has many opportunities to include drama.

• choose and use numerous

formats and performance types appropriately, for example, polished musical versus improvised mime

• use persuasive techniques in

body language and facial expression

What can you do with your voice, body and face to convince or persuade? When is persuasion important? How can you be persuasive (eye contact, large gestures, vocal fluctuation)?

The teacher models the use of real and manipulated time in a short mime or skit, for example, an advertisement for cleaning powder: “This is what it looks like now but when I put it in this solution … it becomes bright white.” The students create their own three-minute advertisements using a combination of real and manipulated time as well as persuasive techniques.

Students record and submit their advertisements using audio-visual equipment.

The unit of inquiry “Persuasion” in the Sample programme of inquiry 2003 has many opportunities to include drama.

• improvise sequentially,

freely and immediately with confidence and imagination

What are the benefits of your object? How can your object be used? Who is your target audience?

Students are asked to persuade the class to buy ridiculous imaginary or actual objects such as a bubblegum shoe or a smelly sock with lots of holes.

In a peer-assessment exercise, students hold a private ballot to find out who the most persuasive students were and what techniques they used.

• use performance within the

PYP exhibition. Which forms of drama could you include in your exhibition? form What materials or space will you need for your drama? How can you show what you have learned? reflection

Students act out their findings in a short play focusing on one of three areas relating to the PYP exhibition topic: past, present or future.

Students present their performance during the PYP exhibition.


10.32




Notes for teachers



combination.













Students will:


• understand and maintain appropriate behaviours in drama

How can audience response affect the performance of the people on stage? Why is appropriate audience response important? How would you like the audience to behave when you are on stage? perspective

Students view or participate in a studio audience at a television station, responding to appropriate cues such as “clap”, “laugh” and “recording”. The teacher acts as an audience member when the majority of students are performing. The teacher instigates a range of positive and negative audience behaviours. Upon completion of the performance (or during, if appropriate) the teacher leads an informal discussion on the impact of audience behaviour.

The teacher observes and uses a checklist to record appropriate student responses: • claps upon conclusion • laughs when appropriate • silence when required. Students can design and create behavioural cue cards for a given audience and play.

• work to enhance the creative

ideas and performances of others

What do you think the group needs to work on? How can you use these suggestions to develop your work?

Students have opportunities to be members of the audience as well as performers. They are encouraged to offer suggestions, advice and praise.

Students can offer constructive advice to their classmates after a performance. They can incorporate the advice into their own performances at a later date.

• exhibit increasing self-

confidence in both formal and informal performances.

How did you feel when participating in your performance? What made you feel good? What could make you feel even better next time?

Students are given a variety of opportunities to participate in drama performances and to spend time afterwards reflecting on how they felt.

Students can identify the aspects of a performance that they felt went well and the aspects they need to work on in the future.


Students will:


Students view performances by students from other year levels and provide critical and reflective feedback.

Students discuss with performers the successful elements of their performance and the areas that may be improved.

• discuss performance and presentation experiences, to identify what has been effective and what needs to be developed, paying attention to what worked well, and why

How do we know if a performance is successful? What attributes are necessary for effective communication?

Students are issued with a journal in which they record their discoveries, note down their ideas and describe their experiences. It can be used as a workbook in class. The teacher sets specific assignments, for example, a collage of the project, a cartoon of the lesson, a journal entry of the student’s participation, a problem to be solved.

The teacher provides one journal for each student in which they record their ideas, their preparations and their reflections on their own work and the work of others. These journals may be used to assess the students’ understanding, their ideas, their organizational skills and their ability to record.

Every drama lesson requires time for reflection through a variety of written, oral, and/or visual responses. It is through reflection that areas of study and concepts are identified. Open-ended questions are useful both in the preparatory stages of the drama and as part of the reflection process. They guide the students and initiate imaginative exploration. The questioning can be in the form of statements or questions beginning with, “I wonder if?”, “How do you think?”, “What might?” and “How?” Teacher observations of, and comments on, the students’ work should be used to encourage the students to reflect, to question their choices and to enhance their ideas.


10.33




Notes for teachers



combination.








given the opportunity to demonstrate their understanding in

a variety of ways.



Reflection, evaluation and appreciation (cont.)

Students will:

• develop rubrics and checklists

for self-, peer and group assessments.

What are the five most important things you need to show you have learned? How can you show what you have learned? How will this information help you? function How can you use the student profile in drama? reflection

Individually, or as a class, students list the five learning outcomes. They create pictorial or numerical representations for the following: • a little bit • getting there • almost • got it.

Students complete self- and peer assessments using rubrics. They submit them for additional comments from their teacher and parents/caregivers.

Ensure all students have a clear understanding of the expectations.



• experience a wide variety of live performances

What are some of the drama performances that you know about? form Where would you be able to see them? Did you enjoy the live performance or the video/book more? Why? What were the similarities/ differences? connection

• recognize varying cultural

perspectives and how they are expressed through drama

How are the beliefs and values of other cultures conveyed through drama? function How do other cultures use drama to celebrate?

Students view at least one performance that conveys some of the beliefs and values of a particular culture through drama.

Students produce a drama, dance, illustration, written reflection, poem or story about a belief or value of a culture other than their own, for example, students re-enact a Hopi Indian Kachina dance.

The unit of inquiry “I believe” in the Sample programme of inquiry 2003 has many opportunities to include drama.

• identify and communicate

with local community theatre groups

What is the role of local community theatre? What impact can community theatre have locally and globally?

A guest speaker from a local community theatre group visits the class to answer questions on past experience, current work and future directions. The speaker outlines any possible involvement by the students.

Students write questions for an interview with a member of a local community theatre group. Students can perform particular roles within the local community theatre.

• understand and appreciate

some of the varied roles of theatre practitioners and interview, research and write about careers within the performing arts.

What expertise contributes to the creation of a production? Who works together to create a production? Which is the most important role, and why? causation, perspective

Students work individually or in pairs to research career prospects in a particular field of the performing arts. Job prospects can include advertising, acting, camera operating, editing, directing, scriptwriting, and stage management.

Students produce a PowerPoint presentation detailing the requirements, role and future opportunities of one career within the performing arts.

Primary Years Programme Drama scope and sequence · Primary Years Programme Drama scope and...

Documents

Transcript of Primary Years Programme Drama scope and sequence · Primary Years Programme Drama scope and...