The University of Trinidad and Tobago

Centre for Education Programmes

Bachelors of Education
Drama 1001
PORTFOLIO

By :
Cindy Lakhram
58238
Lecturer : Ms. Saira Dhanoo

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Table of Contents

1. Introduction ..2
2. History of Drama in Education 3
3. Journal Entries x 554. Production Concept
5. Lesson Plan
6. Appendix
A: Index of Games x
B: Glossary of Terms

INTRODUCTION

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The following Drama portfolio is a reflection of my journey towards developing a deeper

understanding in the field of Drama. Drama plays at integral part in education as it appeals to
multiple intelligences. It also highly relevant to the modern classroom as it facilitates the use of
student centred teaching strategies through games, role play, team work all under the umbrella of
relating content knowledge to real world issues. We live in country that is plagued by crime and
very often children being victims of crime. As a prospective teacher I strongly believe that
Drama in Education is power tool which can be used in todays classroom because not only does
it fosters efficient and effective learning but it also provides a platform for students to express
their emotions and also analyse the consequences for certain actions. This is because Drama
encourages a sense of balance and control within the mental and physical body through the
exercises such as stretching, breathing, and physical body movements. For example the use of
time, space, focus and tension.
Drama is a very new field of study for me and does pose quite a challenge for me given my
limited exposure in the field of study and my personally trait which is an introvert. However this
is a challenge I have accepted for the sake of becoming a professional educator who can bring
out the best in my students. In this regard the following Drama 1001 Portfolio is intended to give
the reader a good idea of the following:
1. The Historical Development of Drama
2. My personal growth in understanding Drama in Education- journals
3. A theoretical look at Drama Education
This portfolio contain research materials, lesson plans and journal reflections
HISTORY OF DRAMA IN EDUCATION

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The term Drama comes from a Greek word meaning "action" (Classical Greek: , drama),
which is derived from the verb meaning "to do" or "to act" (Classical Greek: , dra). Drama
played an integral part in the development of culture and community. Since back in those days
Drama in Education (DiE) is a term use to define a set of practices which privilege make-believe
play as a significant learning medium in the human lifespan. DiE refers to artistic activity where
participants can role-play situations, act out imaginary scenarios, or demonstrate fictitious
images for the purposes of insight and growth. Drama in education reflects a shift from an overemphasis on informational content to a more balanced inclusion of attention to the processing of
ideas. As Postman (1990) noted in a keynote speech to drama educators, cultural literacy won't
suffice without a framework of meaning, "a life-enhancing story," in which facts may be
rationally coordinated. Let us now trace the development of drama in education.
It all began with John Dewey (1904), Deweys philosophy in teaching placed the student at the
centre of learning.. Dewey believed that human beings learn through a 'hands on' approach. This
places Dewey in the educational philosophy of pragmatism. Pragmatists believe that reality
must be experienced. From Dewey's educational point of view, this means that students must
interact with their environment in order to adapt and learn. Dewey felt that the same idea was
true for teachers and that teachers and students must learn together. His view of the classroom
was deeply rooted in democratic ideals, which promoted equal voice among all participants in
the learning experience. For example, the use of socio-drama which involves making plays about
social issues, so instead of giving students in History class notes and dates to recall. Students can
be asked to create a play about the Christopher Columbus and his discovery of Trinidad and
Tobago. This is a creative way the student can interact with content in a playful manner. The

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element of play is important for students. This view is brings us to another theorist Henry Cook
Caldwell.
Caldwell Cook served as the English master at the Perse School in Cambridge from 19111915
and 19191933, and served his country with the Artists Rifles division in France. During this
time, he wrote Littleman's Book of Courtesy (1914) and The Play Way, an Essay in Educational
Method (1917), his magnum opus. Caldwell Cook saw the current schooling system to impede
"true education".[1] He used drama to teach English, building a room, called 'the Mummery', in
his school based on an Elizabethan theatre, and students improvised plays based on dramatic
literature. This idea had been used and publicised by Harriet Finlay-Johnson. He called this
method the "play-way". The Play Way, the book, argued that learning came from experience
doing instead of from listening and reading: "The natural means of study in youth is play."
Closely relating to Cooks philosophy in education is Winnifred Wards learning through creative
drama. This involved one of the oldest form of dramatic expression the pantomime. Her view of
education incorporated holistic development which not only looked at academic content but the
development of the skills in the child. In such a classroom learning experience was built around
personal involvement in creative drama which assisted with the retention of new facts. And so
with Wards contribution we saw the progress of drama in education whereby the objective of
education was to give each child an avenue for self-expression and thus building of fine attitudes.
If play, is the actual manner of a Childs way of life, then play may be the correct approach to all
forms of Education (Slade. 1954. P.42)
It is widely acknowledged, that play is essential to every area of child development and to health,
well-being and happiness. Play is also universal; it is common to children of all countries and

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cultures and it is recognised by the United Nations that all children should have the right to
engage in play and recreational activities, and to participate freely in cultural life and the arts.
Play acts as a central learning process for children, allowing them to explore life and expand
their skills, knowledge and understanding of the world, practising social behaviour and
organising their thoughts into language. This discovering of new roles, in the safe form of game
playing, is at the heart of educational drama.
The interest of educational drama began to rise in Britain in the early 1900s. Harriet FinlayJohnson (1871-1956), first experimented with using drama, by encouraging pupils to write and
perform their own plays, which would demonstrate the parts of the curriculum that they were
studying. Johnson felt that the value placed on the end result, should not be by adults standards,
but more valued in terms of the pupils experience and needs. Henry Caldwell Cook (1886-1937)
also adopted this approach, to help teach English and termed it The Play Way. The British
Government first recognised drama in the classroom in 1921, as something that was to be
written, read or acted. This was thought to be built upon the pioneering work of Elsie Forgerty,
who founded the Central School of Speech and Drama in 1906. It wasnt until after the
Education Act of 1944, where a tripartite school system was put in place, which gave all children
the opportunity to be educated at a secondary level, that drama and theatre within education, was
given a new focus. The 50s and 60s brought about a social change in society as children were
seen to be as people who needed to be nurtured, directed and guided and where parents wanted a
better life for their children.
In 1948, having spent a number of years learning and exploring his profession, Peter Slade spoke
on the BBC home broadcast service, and stated that Drama had become an important part of
Education. Journals about teaching drama were being published and circulated, there were

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teacher training events and an examining board was set up for leaders in youth drama. Peter
Slade had much influence in the setting up of these activities and he was asked to become a
member of the first Working Party in Drama education, which was set up by the Ministry of
Education. Together they created a policy whereby Drama was to be perceived as a natural
activity, not a subject. (Bolton. 1998. P.121) It was also stated that movement should come first
followed by language. This idea for Drama was a theory that was also presented in Slades book,
Child Drama. In Child Drama, Slade sees that the priority of education is to promote the whole
self. At the heart of which is his idea of personal and projected play. Personal play is active;
using the energy in them the children can express themselves outwardly in any way they choose
and becoming the thing or character that they wish to represent. Personal play comes with loud
noises, running around, ball playing, role play, acting and sports. Projected play is more personal
and indirect and may develop at a later stage to personal play and happens usually when the body
is still and the imaginative energy is transferred from the physical self, into things like reading
books, dolls, toy cars and drawing / painting pictures and requires organisation, concentration
and patience. According to Slade, a memory of the activity is sub-consciously recorded in the
child and they are left with a record of their ideas and feelings at that particular moment in time.
Slade believes that it is in this way that we learn to work with symbols in developing such basic
skills as reading, writing and mathematics. (Jackson. 1989. P.4) This emotional and expressive
childs play was central to the new progressive education, focusing on child centred learning.
This approach was characterized by a light handed approach to discipline and a broad
curriculum with a belief in creativity and emotional development. (Wooster. 2007. P.8) Slade
argued that if a child has little opportunity for play during childhood, then this could potentially
lead to difficulty adjusting to life situations as an adult. Before Slades philosophy on Drama was

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acknowledged, the emphasis on Drama in Education was mostly placed on Theatre performance,
with children being taught to act and perform to others. Slade argued that Drama was not just
about the performance, but about the personal growth and expression of each individual from
childhood to adulthood. Slades theories on play and drama continued to influence the education
of children throughout the 60s and 70s and reports from the time define Dramas potential
within the curriculum with creditable insight stating that it is, a subject which allows children to
experience in play, emotions and ideas that are otherwise not safely available to them. (Hogson,
J & Banham, M. 1972. P.26) Brian Way, a close friend and colleague of Slade, shared Slades
vision on the use of Drama in Education. He tried to educate teachers to understand that children
were capable of more, than being just taught how to perform and his theory focussed on the
individual child, drama exercises, expanding the horizons of what may be included in a drama
lesson and child intuition. Improvisation played a big part in Ways work and training of
teachers. The child-centred learning and interest of Drama in Education, continued to grow and
the first ever Theatre In Education Company was formed in 1965 at the Belgrade Theatre in
Coventry. It wasnt until the late 1980s that attitudes towards child-centred learning, started to
change.
Another pioneer of Drama in Education was Dorothy Heathcote. Heathcote agreed with Slade
that the key way a pupil should interact with drama was through a personal relationship with the
stimuli material, which presented issues that would challenge the pupils understanding of the
issue. The main variance with Heathcotes work was that she believed that the experience should
be a collective one and that an end performance was not necessary for the drama. Critics have
viewed her work as a methodology, but for Heathcote, Drama is the foundation of human
knowledge that is personal, cultural and universal and using it can open up the curriculum to be

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viewed in a new way. In Heathcotes practice, Drama became a context in which the child not
only became able to express themselves, but also gained knowledge to help them find solutions.
Heathcote was very hands on with her approach and she would often play as, Teacher in Role.
Within this role, the pupils were able to ask her questions and she was able to provide facts that
would give a new direction or meaning to the pupils journeys. The children were to always be
seen as experts at something and no idea or suggestion that they came up with was to be rebuked.
This enabled the pupils to keep hold of the creativity. Heathcotes work still presides as a great
influence in the world of Drama in Education and her theory named Mantle of the Expert can
be found in a book that was co-written with Gavin Bolton called Drama for Learning.
Making drama is part of being human. It spans our histories and cultures. We recognise it as a
creative process and as a means of exploration, expression and meaning. Through it, we learn
what it is, to be a human being. (National Drama. 2012) Out of these discussions a new
understanding arose of what drama/theatre education might facilitate when not focussed on
production. It became known as Drama in Education of D.I.E. D.I.E., was concerned that the
experiences of the participants were being neglected. She maintained that the primary way a
student should interact with drama was through an intense personal relationship with the
material. Intimate involvement with the presented issues in a dramatic moment would challenge
participants to confront not only their understanding of the issue, but also, would be the best way
to communicate understanding. The essential difference between Heathcote,
Way and Johnson, however, was in their view of final product. Heathcote and Way argued that a
final product did not enhance the value of a drama as a learning experience it might in fact
hamper it. Gavin Bolton, a contemporary of Heathcotes and one of the leading theorists and
practitioners of Process Drama, argues that performance, in itself, has educational merit.

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However, he warns against an understanding of the material prompted by the instructors

imposed vision, rather than the students understanding of the material. Bolton proposes that
both participants and teachers may be misled to believe that the performance of a work
necessarily leads to understanding that work. He asserts that unless participants and teachers
consciously analyze the politics embedded within a text and in the performance of that text they
may simply reproduce the agenda of the playwright, rather than commenting upon it,
understanding

it

or

owning

the

interpretation

of

it.

Bolton emphasizes the need for intense personal exploration by the participants. He recommends
that participants and teachers reevaluate their goals within the dramatic experience and questions
the separation between exploration of a theme or issue within the drama and the goal of
mounting a production. In this way a Process Drama becomes a medium through which any life
experience may be explored, with a focus upon content as opposed to the form of a production.
A great deal of Boltons work rests upon the value of D.I.E. as a viable educational strategy. He
references Piaget and his distinction between types of play.
Piaget observed that children tend to engage in two types of play aiding them in cognitive
growth. One form is said to be a repetitive play where the child does the same action over and
over again like throwing a ball. It is believed this play helps to develop motor-physical skills.
The second form is a pretend play where the child imagines that a fictional world where what
happens is up to the child. This type of play, it is believed, helps develop the ability for a child to
engage with the world. It is the second type of play that Bolton observes takes place within
D.I.E.. Moreover, he feels that individuals who engage in this type of play through a Process
Drama are actually developing complex problem solving skills. These theories are in direct

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conflict with the theories and practices of a Drama Education system that primarily focuses upon
performance and the transmission of those technical skills necessary for a production (Product
Drama).

Peter Wright in Australia noted in September, 2006: Process drama is a term used first by Brad
Haseman: (ref: Haseman, B. (1991). Improvisation, Process Drama and Dramatic Art. The
Drama Magazine - The Journal of National Drama(July), 19-21.) It grows out of the teacher-inrole tradition developed by Dorothy Heathcote (and Gavin Bolton). There are slight variations on
a theme. Creative Drama being more game- and sometimes literature-based, Process Drama
using strategies to elicit the 'story' from the students themselves. John OToole, in Melbourne,
( j.otoole@unimelb.edu.au) agreed, and emailed that actually Brad and I both started using the
term informally in the years after we wrote dramawise (1988-1990), and coincidentally but
obviously serendipitously so was Cecily O'Neill during the same period.
Brad used it first in print in that 1991 paper referred to by Peter Wright. My 1992
book The Process of Drama doesn't use the term but does define the genre and the nature of
dramatic process and processuality. By 1995 Cecily used it wholeheartedly in her book Drama
Worlds, and in the books of her American mentees like Chris Warner and Pam Scheurer. So from
then the phrase was established as common parlance. Each of the three of us has been credited
with the first use, but Cecily and I are both happy to give it to Brad who really made it a credible
term in that 1991 paper ( & who is still in the 'process' of writing the next 'definitive' text on
process drama). Essential to understanding how Process Dramas may function as a means to
explore a variety of intense personal, social and educational issues is an understanding of how it
differs from the theatrical strategy of improvisation. Dr. Cecily ONeill postulates that most non-

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theatre arts people understand the term improvisation to be synonymous with theatre games. This
definition carries with it images of games or warm-ups before a performance or rehearsal, as a
tool for relaxation or devised as a means to find implicit moments within a scene that may be
alluding the performers within a production. There are several essential points made in this
definition.

Foremost is the use of the word games. In contrast to how improvisation is thought if in
process drama, such improvisational exercises in many theatre arts practitioners thinking seems
to place this activity in the realm of extras, supplements to some other predetermined outcome.
For example, improvisations are viewed as a way to help actors discover the proper
motivations for the lives of the written characters in a play. The implication in this more
traditional approach is that all discoveries the actors make are a direct result of the reality painted
by the playwright and interpreted by the director. The amount of personal exploration and
realization involved in this type of improvisation is concurrent to the way in which the
exploration benefits the needs of the production. What seems important for theatre artists is not
the personal growth of the actor but the growth of the character Although improvisation may
definitely be utilized in this manner, the inference is that it is a supplement to some other more
formalized dramatic experience rather than central to learning.

These definitions of improvisation lie in direct opposition to how it is used within Process
Dramas. Improvisation is the heart of Process Drama. Through improvisation fictional worlds are
created and maintained where participants explore deep personal connections to themes and
issues. The improvisations provide the impetus of questions as participants take on fictional roles

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answering who, what, when, where and why that fictional character exists in the fictional world.
In this case, however, the characters traits, actions and justifications for actions are not
predetermined or defined by some outside source. Instead, the actions characters take in a
Process Drama are determined solely by the participants themselves. The characters lives in a
Process Drama can only develop in direct relationship to the lived experiences of the participants
themselves.

For example; in the creation of the fictional court room in a scripted play the actor playing the
prosecuting attorney may have to hate the defendant because that is what the playwright has
written and the director is going for in order to move the plot forward to the climax and
subsequent resolution. In a Process Drama, however, the participant who has taken the role of
prosecuting attorney may feel empathy for the defendants situation and choose to explore the
ethics of prosecuting someone whom he or she understands. The focus of the Process Drama has
changed due to the individual participants understanding of a moment and could lead the entire
group into a completely different exploration. It is hoped that the problem solving strategies
discovered in the Process Drama will aid the person in their daily lives should they come across
similar problems, whether that problem is ethical, moral, philosophical or mathematical.

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Journal
Entries

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Week One What is Drama All About ?

Personal Reflection: Todays class made me think of the old proverb Tell me, and I'll forget.
Show me, and I may not remember. Involve me, and I'll understand .Today I was surprised to
learn of the important role drama plays in the student centred classroom and so I promised
myself that I must do well at this course for the sake of my students. Earlier, I was of the
impression that drama was a new concept in education but this is not so drama in education
has been around since the year 1904. Major theorists included Vygotsky, Piaget, Slade and
Dorothy Heathcote. I can see that this course is going to be a challenge to me but I strongly
believe that Drama provides a fun means of learning. It brings the affective back into the
classroom, an institute where emotions and learning are categorically divided.
This being my first class in Drama 1001 I was very nervous and somewhat afraid because I am
usually very shy around strange people, while I am very good at academics I lack good motor
skills. However, I did participate in all activities which included warm up exercises and stretches
this helped a lot in easing my anxiety. The first being an ice breaker activity where we were
asked to utilize one line to construct a drawing and give it a theme. This exercise helped us to be
able to gain an understanding about each other as we shared our drawings and explanations.
Another key element is the use of games. We were engaged in two major games:
1. The Human Knot / Chinese Tangle this game was quite unique because at first I saw the
importance of working in a pair then I realised that the success of the game really
depended on the entire group working together. While we were unsuccessful at breaking

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the knot, this game highlighted the importance of group cooperation, trust, being
considerate of each other, and working together. I also observed the roles of classmates as
leaders, advisors emerging from the exercise. In the end we all did break quite sweat but
there was a group cohesiveness developing.
2. Human Atom- the class was divided into 2 teams, each team member was stuck together
by a piece of paper. The objective was to work together as a team to reach to the finish
line. The importance of this game was to build concentration and teamwork.
3. Getting to know games- useful for learning each others names as well as providing a safe
and comfortable setting.
I also observed the use of the black box as a rostra or platform in the closing session when we
were assume the role of someone in our lives introducing us. This concept of role I believe will
be probably later develop as we advance in our classes.

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Week Two Absent Due to Illness

Even though I missed this class here are some key concepts I researched
SpaceThis dramatic element refers to the effective use of available space in a performance.
Different levels of space are utilised by the performer, such as sitting, bending over, lying down
or crawling. Of course, using the space around you can mean downstage and upstage or walking
in or on a stage set. In order to use the space effectively, movement becomes an important factor.
Use of space also implies clearly communicating to the audience where the action is taking
place. This may include any changes in location that may occur in the performance (particularly
if little or no sets and/or props are being used and there is a heavy reliance on the audiences
imagination).
Tension-Tension can sometimes be used as an interchangeable term with conflict. But where it
differs, lies in the development of suspense in a performance. As the audience anticipates certain
outcomes in the plot, the tension builds. An obvious example of rising tension is in a mystery or
whodunit. The development of tension usually parallels the advancement of the plot, leading to a
crisis or climax. Tension is closely linked with timing.
Trust- in drama trust is important for members to be able to depend on each other and work
closely with each other.

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Week # 3 - The Role of Games and Exam Time

Class began with warms sessions in breathing exercises. During the breathing exercises we were
all enlightened to the proper way we should inhale and exhale. For example when we inhale the
diaphragm expands and exhale the diaphragm contracts. This was quite an eye opener for me.
Our practical sessions began with two games. The first game Count to Twenty-Five was
relatively easy to complete. We all stood in a circle at one person began counting from the
number one onwards, but if two persons counted at the same time we had to start all over again.
This game required concentration, accepting and consensus. We were not allowed to speak to
each other but we were able to devise a strategy to beat the game by counting from one to
twenty-five in an order. I add to the level of difficulty we were asked to turn our backs to each
other. Using the same strategy as before we all successful. The next game island to main island
was a bit difficult as I felt the instructions we not to clear for me. But I did give it my best shot.
Using guided instructions from the lecturer we explored various concepts in drama. For example
levels we were asked to assume the role of ice-cream melting on a hot day. To portray this
image I used different heights to indicate the stages of the ice-cream demise in the hot sun- the
first being high level standing, then medium- stooping and low spread on the floor. The next

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activity was bacon frying in which I used low and movements to showing the frying of the
bacon. Similarly with a squeeze orange and grinding seasonings. I also practised the use of the
mime and tableau whereby I was brushing my teeth, without the use of words I engaged in the
facial expressions and movement which would indicate a person brushing his/ her teeth. Upon
instruction from the Lecturer we told to freeze in our positions this is known as Tableau.
We were then engaged in our exercises we assumed the roles of other persons at the market, the
beach and a conflict or tension scenario situation we also practised the skill of thought tracking
whereby we were able to assume what was taking place with the character through his/ her
actions. (the wrong size of Carnival Costume). The main character seemed to complaining about
the costume size. I assumed the role of the Public Relations Officer for the band and tried to
resolve the issue. These exercises embodied the concepts of role. For the market scene I
assumed the role of a noisy customer with use of bodyscape, thought tracking, soundscape we
were able to portray a nosiy market without words.

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Week Four Absent

Glossary of terms
Accepting- Embracing the offers made by other performers in order to advance the scene.
Bodyscape- using their bodies alone actors create an image of the setting, object or place.
Soundscape- Participants use their voices to create sounds to imitate a particular atmosphere.

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Dramatic Space- This dramatic element refers to the effective use of available space in a
performance. Different levels of space are utilised by the performer, such as sitting, bending
over, lying down or crawling.