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Drama in schoolssecond edition
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Drama in schools
Like theatre, drama in schools can unlock the use of
imagination, intellect, empathy and courage. Through it,
ideas, responses and feelings can be expressed andcommunicated. It carries the potential to challenge, to
question and to bring about change.
Jude Kelly (theatre director and founder of Metal)
Cover image !outh Dartmoor Community College"hotographer #ohn $radford
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Contents
Foreword 2
1 Introduction 4
2 Why drama in schools !
" #eco$nisin$ $ood drama %
%.& 'hat does good drama look like at the (oundation !tage) *
%.+ 'hat does good drama look like at ey !tages & and +) &+
%.% 'hat does good drama look like at ey !tage %) &-
%. 'hat does good drama look like at ey !tage ) ++
%./ 'hat does good drama look like at post0&1) +
%.1 'hat does good drama look like in special schools) +1%.2 'hat does a good drama enrichment programme look like) +2
4 &tructurin$ drama in schools "2
.& Level descriptions for drama %%
' olicy facilities resources 41
/.& 3seful points for schools managers and sub4ect leaders to consider &
/.+ 'hat does a good school policy for drama look like) +
/.% 'hat do good facilities and resources in drama look like)
! Conclusion 4!
*++endi, 1 Drama and the early learning goals 5ithin -
the (oundation !tage
*++endi, 2 The 6ational Curriculum for 7ngland 8 7nglish /9
*++endi, " Drama 5ithin the "rimary !trategy /
*++endi, 4 Drama and the ey !tage % 6ational !trategy /-
*++endi, ' Inclusive education 19
*++endi, ! :fsted;s guidance on inspecting drama &&8&1 1+
*++endi, - :fsted;s guidance on inspecting post0&1 drama 1/
and theatre studies
*++endi, . 6ational initiatives in the arts that impact on drama 12
in schools
*++endi, %
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Drama in schools
Foreword
This is an exhilarating time to be involved in teaching the arts in schools.
=overnment understands the importance of creativity in education and this is
demonstrated in a range of recent policies and initiatives.
>rts Council 7ngland is therefore delighted to publish the second edition of the
highly popular and influential document Drama in schools. This ne5 publication;s
central theme reflects the message of the earlier edition drama is an arts sub4ect
5ith its o5n distinct discipline and methodology. Direct engagement in drama is
essential as part of an arts0rich curriculum that every pupil has a right to experience.
Through it they become familiar 5ith the culture and conventions of theatre and
learn to exercise critical 4udgement 5hen making, performing and responding to
drama of all kinds.
Teachers and headteachers 5elcomed the &**+ edition of Drama in schoolsas it
provided clear guidance on effective provision of drama. It also suggested a
curriculum frame5ork that enabled teachers to plan for pupils; progress in the
sub4ect. :ver *1,999 copies 5ere distributed during the first five years of publication
and since then >rts Council 7ngland has received continual requests for further
editions, particularly from teachers.
7ducation has changed and developed considerably since the original publication.
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Drama in schools
Drama in schoolsis for teachers of drama. It is also for all those 5ho are involved in
education, including headteachers, governors, initial teacher trainers, Local
7ducation >uthority @L7>A advisers, professional theatre practitioners, and parents.
Consequently extensive consultation has taken place 5ith teachers of all phases,
headteachers, L7> advisers and inspectors, initial teacher trainers and theatre
practitioners. The document has also been informed by advice from key government
agencies and national organisations and its aim is to ensure that drama teaching is
sustained and enriched.
This second edition of Drama in schools5ill be 5elcomed 5holeheartedly by those
5ho kno5 the po5er of skilled drama teachingB the social, moral, spiritual,
intellectual, physical, emotional and cultural development it engenders, and the
sheer 4oy it brings.
0esley Kin$0ead *disor ducation and 0earnin$ *rts Council n$land
3eadteacher &tantonury Cam+us (retired 255")
"
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Drama in schools
1 Introduction
The most valuable asset a nation has is the creativity of
its children.*lan later (+laywri$ht)
Drama is an artform, a practical activity and an intellectual discipline. > drama
education, 5hich begins naturally 5ith learning through dramatic play, 5ill eventually
include many elements of theatre. Like the other arts, it involves imagination and
feelings and helps us to make sense of the 5orld. It does this through the creation of
imagined characters and situations, and the relationships and events that they
encounter.
Through engagement in drama, pupils apply their imaginations and dra5 upon their
o5n personal experiences. Their increasing kno5ledge and understanding of ho5
the elements of drama 5ork enables them to effectively shape, express and share
their ideas, feelings and responses, making use of language, space, symbol,
allegory and metaphor. =ood drama teaching 5ill result in pupils learning about
dramatic form and the content it explores.
Drama communicates through the language and conventions of theatre. This results
in all pupils @see >ppendix / Inclusive educationA gaining access to one of the greatforms of human expression. >s pupils develop confidence and control of the medium
of drama, they are able to communicate shared understanding and tell stories using
dramatic form. Drama is a creative and cultural activity.1The language of theatre is
international, understood by everyone. It provides an opportunity for pupils to
explore the 5orld of people from other places, times and cultures, and to examine
differences and similarities 5ith their o5n environment.
Drama has its o5n history and body of 5ork, much of 5hich has a unique and
important place in our cultural life. In common 5ith all sub4ects, it requires specific
skills, kno5ledge and understanding 5hich are progressively taught and assessed
through and across the key stages. Three interrelated activities characterise the
sub4ect of drama at all levels ma/in$, +erformin$and res+ondin$.
1The 6>CCC7All Our Futuresreport, &***, defines culture as The shared values and patterns
of behaviour that characterise different social groups and communities.;
4
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Drama in schools
"upils 5orking in drama 5ill be constantly involved in these activities and may
participate in more than one at any time @for detailed definitions of these activities
see section !tructuring drama in schoolsA. > pupil making drama could be one of
the follo5ing an individual researching the historical or cultural background to a
playB someone 5ith profound and multiple learning difficulties experimenting 5ith a
sound instrument to transform a moodB a member of a group contributing to an
improvisationB or a student devising an original piece of 5ork. "erforming takes
place in many different spaces from the infant, imaginative role0play area to the
secondary school drama studio, 5here it may involve pupils as technicians as 5ell
as actors. "upils can be found responding to drama in many settings, including
classrooms, 5hen 5atching film, video or television, as 5ell as in theatres and
school halls.
It is important that schemes of 5ork provide a clear frame5ork for pupils;
progression and that they integrate 5ith 5hole school assessment practices to helpstudents achieve the highest possible standards in drama. Drama schemes of 5ork
should be differentiated to take account of pupils; differing abilities. They should also
take account of examination requirements and, 5here appropriate, the drama
elements of 7nglish and literacy. They should incorporate the contribution made by
activities such as professional performances and 5orkshops. !ection of this
document is a frame5ork designed to support teachers in 5riting schemes of 5ork
for drama and to assist in the assessment of pupils; progress.
'
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Drama in schools
2 Why drama in schools
The arts make us feel connected to one another and less
isolated. Through the arts 5e share an emotion and thatsharing connects us 5ith each other and 5e realise 5e all
feel the same emotions. The arts are our last hope. 'e
find our identity and make it easier and more pleasurable
to live and they also give us 5isdom. 'e see our
problems acted out and it;s an important socialising force.
*rthur Miller (+laywri$ht and director)
Drama flourishes in classrooms across the country. >ll pupils are required to study
aspects of drama throughout their education as part of 7nglish and literacy and it is
a key part of school provision for the arts. ! level and &/,999 at >
level for Drama and Theatre !tudies. This makes it one of the t5o most popular artssub4ects in all three examinations.
"upils can have access to professional theatre throughout their time in education.
They should be given opportunities to respond to high quality performances as part
of their experience of drama. > trip to the theatre or a visit to the school from a
touring theatre company introduces pupils to a range of theatre arts, different genres
and various cultural traditions. 7xperiencing professional performances helps to
foster understanding of ho5 different forms of theatre are made and ho5 their
creative potential can be used.
"upils; minimum statutory entitlement to drama is ackno5ledged in the 6ational
Curriculum for 7nglish, 5here drama activities are an explicit strand @see >ppendix
+A. The ualifications and Curriculum >uthority @C>A has produced guidance and
resources that support this strand of 7nglish for ey !tages & to % @see the relevant
ey !tage sections of section % ?ecognising good dramaA.
!
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The government;s strategically important National Literacy Strategy Framework for
teaching: YR to Y6and the drama ob4ectives 5ithin the ey !tage % !trategy 8 the
Framework for teaching English in Years ! " an# $provide additional guidance. The
ey !tage % 7nglish strand has published the %ey Stage & Drama o'(ecti)es'ank
5hich ackno5ledges drama;s contribution to many areas of 7nglish. It also
ackno5ledges that many drama departments in secondary schools exist in their o5n
right or as part of a performing or expressive arts faculty.
Drama makes an important contribution to the development of thinking skills
identified in the 6ational Curriculum. These are
E information0processing skills, eg sequencing and comparing
E reasoning skills, eg dra5ing inferences and making deductions
E enquiry skills, eg asking relevant questions and testing conclusions
E creative thinking skills, eg generating and extending ideas, applying imagination
and looking for alternative endingsE evaluation skills, eg 4udging the value of their o5n and others; 5ork
In addition, in many drama lessons pupils are encouraged to reflect on their o5n
thinking. This is kno5n as metacognition;.
Drama promotes language development. Its collaborative nature provides
opportunities for pupils to develop key skills of communication, negotiation,
compromise and self0assertion. "upils develop confidence 5hen speaking and their
vocabulary is extended 5hen they adopt roles and characters. "upils also acquire a
critical and sub4ect0specific vocabulary through reflecting on and appraising their
o5n 5ork in drama and the 5ork of others.
!chools recognise that social 5ellbeing is founded on personal maturity and
emotional literacy.2Fuman concerns and relationships are the foundations of much
drama. Drama lessons provide a safe context to explore such issues. Drama usually
involves pupils 5orking creatively together and problem solving in groups of various
siGes. These skills, along 5ith flexibility, empathy and risk0taking, are intrinsic to
good drama practice. They are also recognised as vital in the 5orkplace and
throughout adult life.
(ollo5ing a course in drama may foster a life0long interest in theatre and the
performing arts. This may lead pupils to seek employment in the cultural and
creative industries sector, 5here there are increasing 4ob opportunities. There are a
2!ee Drama Sets You Free, published by the !econdary Feads >ssociation, &**-, -I!$6 9 *91* &1 2 H
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Drama in schools
5ide range of occupations, such as arts administrator and stage manager, as 5ell
as posts in film and television. 7mployers in other sectors recognise the contribution
drama makes to the development of creative thinking and effective team5ork, as
5ell as to the key skills of the 6ational Curriculum.
The creative industries sector is gro5ing significantly faster than the
economy as a 5hole. $et5een &**2 and +999, it gre5 by an average
* per annum compared to an average +.- for the 5hole economy
over this period. In December +99&, creative employment totalled
&.*/ million 4obs significantly more than the financial sector. @(igures
from Department for Culture,
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" #eco$nisin$ $ood drama
Imagining 5hat it is like to be someone other than yourself
is at the core of our humanity. It is the essence ofcompassion, and it is the beginning of morality.
Ian Mcwan (writer)
"61 What does $ood drama loo/ li/e at the Foundation &ta$e
"retending to be others in imagined situations and acting out situations or stories
are important activities in the dramatic curriculum for the (oundation !tage, as
identified by C> @see >ppendix &A. The imaginative role0play area and other playsituations provide many opportunities for very young children to experience and
develop their early drama skills and kno5ledge, and to learn about the 5orld.
Drama supports the development of (oundation !tage early learning goals in many
5ays. Children can suggest their o5n ideas for planning and creating a role0play
area. The, as they play, the teacher or other adult can intervene sensitively as an
active participant. This validates and extends the narrative of the play, supports
appropriate language and allo5s the children to explore the po5er of their roles.
Creative drama develops alongside imagination, confidence and language. >s
children engage in these drama activities they become increasingly a5are of the useof space and the 5ay body language communicates meaning.
Case study one
> child 5ho 5as particularly shy, spoke very little and seldom chose
to participate in role0play had spoken to his teacher about his recent
visit to !cotland by train. The follo5ing day chairs and tables 5ere
moved around to represent a train and all the seats 5ere numbered,
5ith some marked as ?eserved;. "assengers; 5ere allocated tickets.
Different children took on roles such as the train driver, holidaymakers
or office 5orkers and the boy 5as encouraged to become the train
manager. Fe engaged in the role0play 5ith other
%
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children after the teacher asked him a key question 'ill I be able to
buy refreshments on this train); This prompted him to perform in role,
using the intercom; to announce that the train shop 5as open. Fe
then proceeded do5n the aisle;, asking passengers; their destination
and checking tickets; at the same time.
The C>;s *urriculum gui#ance for the foun#ation stageindicates that drama is an
ideal context for children to retell and understand traditional and contemporary
stories, as 5ell as for sharing their o5n personal responses and ideas. They may
use a stage block to represent a bridge or pretend the classroom is a giant;s cave,
5hile taking on the roles of characters they have met in the story. =ood drama gives
children a living context in 5hich they can create narratives, dra5 on patterns of
language and speak confidently. The teacher @or other adultA can support the
drama;s development by taking the part of a relatively lo50status character in the
story. This strategy is popularly kno5n as teacher0in0role @TI?A."Children areencouraged to adopt a helping or other higher0status role and to explore appropriate
language and gesture.
(or example, the teacher @or other adultA adopts the role of the old 5oman 5ho lives
in a shoeB she needs help from the children, 5ho are expert carers and 5ho can
advise her on ho5 to keep her many offspring out of trouble. >t this age children
also en4oy sharing their make believe and play0making 5ith others.
Drama provides a meaningful context for all children @see >ppendix / Inclusive
educationA at the (oundation !tage to experiment in role 5ith language for different
purposes, 5hether 7nglish is their heritage or additional tongue. Through drama, the
teacher provides ne5 opportunities for children to begin to make sense of a range of
events, situations and feelings that go beyond the everyday. They have a greater
chance to understand 5hat they hear 5hen gesture, sign, facial expression and
other symbols are used.
Case study two
Children at a rural infant school had been told the story of +ol#ilocks
an# the three 'ears. In this version,
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The children had heard about her previous visit to the three bears;
house and 5ere very 5illing to tell her ho5 naughty she had been
and ho5 very cross the three bears 5ere, especially child suggested that she
should 5rite a letter of apology and pin it to her door. =oldilocks
asked if one of them 5ould be brave enough to take it to the three
bears; house instead. T5o children volunteered. >ll of them helped
the teacher to compose the note, 5ritten in role as =oldilocks, first on
the 5hiteboard and then on some specially designed 5riting paper.
The follo5ing day, after discussing the different characters of the
three bears, all the children 5ore costume signifiers; such as furry
gloves or fur0covered >lice bands 5ith round ears attached. Theyeach chose to be one of the bears, demonstrating this through their
movements and facial expression. The three bears mended furniture,
tidied and cooked. :ne child, playing $aby $ear, looked especially
cross and 5hen the teacher questioned him in role, he confirmed that
he 5as still angry 5ith =oldilocks and 5ould be speaking to her
himself. The teacher used this as the moment to suggest that the
note be delivered and the children sat in a circle to allo5 the next
stage of the drama to take place.
Jery young children, and those 5orking significantly belo5 the expectation for their
age, can respond to drama by listening to and 5atching another group at 5ork in the
classroom, or as an audience to a visiting theatre company. Children can also record
their thoughts and feelings after5ards in a variety of 5ays, for instance by talking
about the drama or painting their favourite character or scene.
11
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"62 What does $ood drama loo/ li/e at Key &ta$es 1 and 2
> flourishing arts curriculum in a primary school enables pupils to en4oy drama as
a sub4ect in its o5n right, and as a learning medium across the curriculum.
Drama is a vital element of primary pupils; entitlement to a balanced arts
education. There is evidence that the arts are being given a higher profile as
primary schools become more confident and effective in their implementation of
the "rimary !trategy @the umbrella under 5hich the 6ational Literacy and
6umeracy !trategies for K? to K1 sitA. @!ee :fsted report ,he *urriculum in
Successful -rimary Schools! and the number of primary schools gaining
>rtsmark @see >ppendix -A 5hich has tripled in the three years since it 5as
introducedA. "upils at this age unselfconsciously mix drama, dance, music, visual
art and aspects of media in assemblies, concerts and less formal events.
Case study three> primary school had limited experience of live theatre. Kear +
children visited the local repertory theatre to 5atch a performance
involving puppets. $efore the visit, the school organised a
residency 5ith artists from the company. "rofessional puppeteers,
drama 5orkers and teachers explored both the themes of the play
and the art of puppetry.
The residency 5as staged over t5o 5eeks so that each of the t5o
Kear + classes had time to 5ork on the puppets and finalise their
stories 5ith their teacher and the artists. :ne class concentrated
on glove and shado5 and the other class on rod puppetry. The
themes of loss and grief 5ere addressed and one pupil talked
about his father 5ho had passed a5ay t5o years before.
>fter5ards, the teacher explained that this pupil had not
mentioned his father in school since the tragedy. In the drama
created, the guardian angel told the child his father 5as fine and
5as thinking about him. $oth classes performed in assembly to
the 5hole school. 7ight pupils from each class later performed onthe stage of the repertory theatre, sharing a fantastic range of
glove and rod puppets, including a guardian angel in the form of a
tree.
12
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7xploring a story imaginatively in drama can include 5hat may happen before the
story begins or at the end, as 5ell as beyond the events of the story. The
opportunity to act out a story to others can be a highlight of the school
experience for some pupils, particularly if they find other means of expression
more difficult. "rimary school pupils benefit from visits to and from theatre
companies. This may help them to understand the process of making, performing
and responding to plays and provide insights into a range of cross0curricular
themes and issues, enhancing the teaching of other sub4ects, such as history
and citiGenship.
Case study four
During a 5hole day of drama about =uy (a5kes, Kear + children
at a rural school explored the story from both "rotestant and
Catholic perspectives in order to understand 5hy people acted as
they did and to suggest ho5 history could have been different.
3sing signifiers of the Catholic church, one class 5orked in role as
Catholic conspirators, led by t5o teachers in role @TI?A as =uy
(a5kes and Catesby @the chief conspiratorA. The children
experienced disappointment and disbelief 5hen a TI? as the
ing;s guard announced that the ne5 ing #ames had changed
his mind about allo5ing Catholics to pray in peace. 'ith music to
create atmosphere, they crept to Catesby;s house to discuss their
moral dilemma. Through mime, they transported the gunpo5der
do5n the Thames, dug a tunnel and cleared the cellar under the
Fouses of "arliament. (inally, to a drumbeat, the ing;s guard
apprehended =uy (a5kes and the other conspirators.
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Drama in schools
The t5o sides 5ere then brought together. During the forum
theatre @or trial sceneA, children questioned each other in role.
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Drama in schools
5hile immersing themselves in !hakespearean language. !ome
re5rote scenes in a modern setting, others used live music and
lighting to create atmosphere. Ideas and actions 5ere refined in a
5orkshop visit directed by a freelance actor.
>t the arts centre, the event 5as brought to fruition. "upils
5atched each other;s performances, and 5ere challenged by a
drama consultant to evaluate and articulate their strengths,
5eaknesses and experience of acting on a professional stage. >
level "hotography students from a local secondary school
captured the magic of each school;s performance, and in the
intervals =6J "erforming >rts students introduced pupils to the
basic concepts of lighting, demonstrating 5ays in 5hich it could
enhance the drama.
The pro4ect brought huge gains in kno5ledge and understanding
of !hakespeare for the teachers and their pupils the conventions
of drama scripts, the practicalities of theatre as 5ell as the self0
kno5ledge acquired through the discipline of performance. It
reasserted the role of drama and oracy 5ithin the Literacy Four
and provided an enriching and hugely en4oyable experience.
>t both ey !tages & and + drama plays a significant role in developing pupils;
insights into narrative and character as 5ell as their speaking and listening skills.
It thus supports the ob4ectives of the 7nglish strand in the "rimary !trategy @see
>ppendix %A and the 7nglish 6ational Curriculum @see >ppendix +A. C>;s
publication, S/eaking! listening! learning: working with chil#ren at key stages 0
an# 1, published in 6ovember +99%, provides a frame5ork of ob4ectives for
teaching 5hich traces progression in the speaking and listening curriculum and
suggests ho5 to plan 5ork on a termly basis from K& to K1.
$oth improvised and scripted drama provides a strong stimulus for 5riting. $y
5riting from the point of vie5 of a particular character @5riting in roleA children are
enabled to express their understanding of the roles, events or situations theyhave experienced.
They can also 5rite as young play5rights, developing their improvised drama into
scripts. >s a result of teachers; skilful intervention, drama helps children;s 5riting
come alive, resulting in 5ritten 5ork that features more effective vocabulary,
striking imagery, pace and style.
1'
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Drama in schools
Case study si,
> class of Kear pupils at a multicultural urban primary school
took part in a unit of drama on ,he /eo/le who hugge# the trees,
adapted by Deborah Lee ?ose from a classic ?a4asthan folk tale.
>fter hearing the first part of the story, pupils discussed their o5n
special trees, some of 5hich 5ere located in other countries.
Through an imaginative trust exercise in pairs, they led each other
to their trees, describing them in detail by focussing on the senses,
using their o5n heritage languages other than 7nglish 5here
appropriate. !ome pupils personified the tree, improvising and
sharing a monologue about its life.
'ithin the story context, pupils took on the role of >mrita, the
central character in the story, teaching her child ho5 to hug treesand appreciate their significance. The class created still images of
key symbolic ob4ects in the story and, 5orking to music, mimed
activities in the village. 'hen they had heard the next part of the
story, their still images of a key confrontation 5ere particularly
expressive. >nalysis of these and questioning in role deepened
understanding of the use of gesture and space.
The teacher took on the role of >mrita 5ho needed the children as
villagers to help. They sustained their roles during a village
meeting, in 5hich they empathised 5ith >mrita;s situation and
suggested creative solutions to her dilemma. They created a
5hole class still image of the villagers protecting trees, follo5ed by
a heightened confrontation 5ith the teacher in role as the axe
man. They improvised his meeting 5ith the mahara4ah through
role0play, demonstrating use of appropriate vocabulary and body
language. "upils articulated the conflicting arguments and arrived
at a resolution using the technique of forum theatre, demonstrating
their understanding of po5er and environmental issues. (inally,
village celebrations 5ere devised and performed, enhancingpupils; kno5ledge of Indian culture. >fter5ards the teacher
encouraged them to reflect on their learning, using basic theatre
terms, as 5ell as making connections 5ith geography, literacy, and
personal, social and health education @"!F7A.
1!
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Drama in schools
Drama teaching often explores issues, ideas and dilemmas relevant to pupil;s
lives and investigates the behaviour of individuals and the nature of relationships.
It therefore makes a particular contribution to personal, social and moral
education. Drama is a social activity requiring pupils to communicate, cooperate
and collaborate. It fosters creativity and thinking skills @see section + 'hy drama
in schools)A raising pupils; self0esteem and confidence through self0expression.
These aspects of learning are important for all pupils @see >ppendix / Inclusive
educationA.
Case study seen
> Kear 1 class had 4ust returned from a residential outdoor pursuits
5eek in the Lake District. During the next fe5 5eeks, this
experience 5as extended by a drama pro4ect 5here they devised
and sustained roles to explore an environmental issue. "upils took
on the high0status roles of Lake District experts, 5ho formed acompany; to publish a booklet for other schools to use 5hen they
visited the Lake District. This involved a great deal of literacy, ICT
and art5ork, 5ith the pupils creating displays, booklets and
"o5er"oint presentations. The company developed their roles,
using appropriate language and gesture, 5hile improvising and
taking decisions democratically. >n adult approached them in role,
as a representative of an agricultural chemical group seeking help
to advertise its latest product, Tick >5ay; sheep dip.
Collaborating in and out of role, the pupils used and refined their
performance and technical skills in drama, music, art and video to
produce commercials for TJ, radio or print. During the process, a
letter arrived from the 5arden of the outdoor pursuits centre 5here
they had stayed. This dramatic device informed the company that
many farmers in the area 5ere using chemicals marketed by the
same chemical group that produced Tick >5ay;, and that they
5ere causing great harm to the environment.
There 5as great consternation at the ne5s. ?oles significantlydeepened through consideration of the issue, 5ith the company
hotly debating 5hether to carry on producing its commercials and
5hat to say to the group representative on his return. (inally, it
decided to present its environmental arguments to him, pressuring
him to 5ithdra5 the product from sale. The climax of the pro4ect
5as a dramatic confrontation bet5een the company and the
1-
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chemical group representative. "upils in role presented their
arguments and finally persuaded him to 5ithdra5 the product.
>fter the drama, pupils 5ere able to analyse their use of space
and voice, facial expression and gesture, as 5ell as the depth of
their involvement in the role0play and its ecological and moral
implications.
"6" What does $ood drama loo/ li/e at Key &ta$e "
Drama remains an important part of the balanced arts curriculum and is taught
extensively as a discrete arts sub4ect in Kears 2, - and *.
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that might have on both actors and audience. !tarting from still
images of key moments, each group prepared a short scene
based on a different section of the story, 5hich the teacher as
storyteller then linked together. !pecific theatre skills, such as ho5
to represent a deep ravine crossed by a 5eak bridge, 5ere taught
during some lessons. To5ards the end of the unit, short, scripted
sections of the play 5ere introduced for the groups to 5ork on.
The pupils learnt some theatre criticism vocabulary during plenary
sessions to express their vie5s on the success of different scenes.
The production used some Chinese elements, such as music,
costume and Tai Chi movement. The Kear 2 pupils 5ere
completely absorbed in the production, as they already kne5
aspects of the story and had to struggle 5ith ho5 to perform
difficult scenes. Consequently, the quality of their comments afterthe play 5as highB they could articulate ho5 the central themes
@right and 5rong, tugs of loveA 5ere relevant to a contemporary
audience, although the play told a +9990year old story and 5as
5ritten 19 years ago by a =erman #e5 in the 3!. >ll agreed that
one strength of this unit 5as that it linked drama learning to the
school production.
The !peaking and Listening strand of the 7nglish 6ational Curriculum @statutory,
see >ppendix +A identifies activities for drama 5ithin 7nglish. C>;s publication
+i)ing a )oice: #rama an# s/eaking an# listening resources for %ey Stage & ,
provides helpful sample units of 5ork for 7nglish teachers and these complement
Df7!; %ey o'(ecti)es 'ank@non0statutory for years 2, - and *A and the %ey Stage
& Drama o'(ecti)es 'ank @see >ppendix A 5hich is also non0statutory. These
materials support the drama ob4ectives in 7nglish 5ith extensive exemplification
and encourage links bet5een drama and 7nglish departments. The requirement
for pupils to study a play by !hakespeare provides one example of an
opportunity for teachers of drama and 7nglish to collaborate, so that pupils;
learning experiences are enriched.
Case study nine
This year * pro4ect successfully combined Drama and IT skills.
"upils had six 5eeks in 5hich to research and create their o5n
documentary films on a variety of topics ranging from the
holocaust to teenage pregnancy. 3sing the internet, pupils
gathered information and presented it in a documentary format.
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The pupils 5ere in role as various specialists during the 5hole
creative process.
The pro4ect began 5ith the class discussing the style elements
inherent in the TJ documentary genre. "upils 5atched examples
and made notes on the content. > list of suggested techniques
5as then negotiated by the class, 5hich included studio
intervie5s, voice0overs, re0enactments and outside broadcasts.
"upils 5ere then put into 5orking parties of six or seven and
everyone 5as assigned a role. The researchers used the internet
and other sources to gather information about their chosen topic.
The producer had to organise the information the group collected
5hile the director chose the information to be used in the final
presentation. (inally, the camera operator got used to the filming
equipment, 5hile the locations manager scouted around theschool looking for suitable places for the shoot. The groups had a
production meeting back in the classroom after all the initial
material 5as collated. In role, they chose relevant material and
discussed ho5 to create the desired impact. They then started to
plan out their documentary, choosing characters to intervie5 and
locations. The rest of the pro4ect concentrated on the actual
creation of the documentary. The group, still in role, adopted more
characters as intervie5ers and intervie5ees as the need arose.
The end product 5as eventually filmed, vie5ed and evaluated by
the 5hole class. The final lesson gave the teacher the opportunity
to comment on good practice and praise individual pupils for effort
and achievement. This feedback took the form of a media a5ards
ceremony and the teacher, in role as the master of ceremonies,
gave out a5ards such as best intervie5; and camera operator of
the year;. The pupils learned about the documentary genre. They
discovered ho5 information and arguments are presented 5hile
adopting and sustaining challenging roles. IT 5as used as a vital
and creative tool, adding to the finished performances andallo5ing pupils to see ho5 it could be used in future pro4ects.
$uilding on their experiences from primary school, ey !tage % provides
opportunities for pupils to learn about theatre from other times, places and
cultures and to have good access to professional theatre. 'orking 5ith experts
helps pupils to learn more about their o5n practice, including the technical
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aspects of theatre such as lighting and set design. 'hen evaluating drama, they are
increasingly accurate in their use of specialist terminology to suggest 5ays of
improving performances or to explain 5hy they felt particular scenes or key
moments 5ere especially po5erful.
Drama lessons provide good opportunities for all pupils @see >ppendix / Inclusive
educationA to have choices and make decisions. The sensitive use of drama
techniques and strategies can also support teaching and learning across the ey
!tage % curriculum, for example the use of character pot in 7nglish, and role0play in
modern foreign languages, science, history, citiGenship or "!F7 lessons.4
7ffective drama teaching aids the development of pupils; thinking skills. Drama
thrives on cognitive challenge, 5hen pupils are presented 5ith ne5 ideas or
unexpected pieces of information. "upils are asked to use a range of thinking
strategies in drama lessons, such as hypothesising to solve a problem both 5ithin anarrative or the drama form itself. They are encouraged to rethink their strategies
5hen surprising events occur and to be flexible in their approaches. "upils are
frequently required to speculate about the nature of a character, problem or mystery
before them. They have to use deductive reasoning to 4ustify their opinions or choice
of dramatic technique both in and out of role. They deal 5ith dramatic metaphors,
the symbolic and the abstract. The drama teacher uses reflection and questioning,
constantly seeking to challenge pupils to consider their responses in greater depth,
thus promoting higher order thinking and deepening the drama.
Case study ten
Re# Shoes5as a po5erful co0production by a theatre and a dance
company 5here dance 5as a central element in telling a disturbing
and topical story set in a mythical osova. In this collaboration
bet5een four schools and the education departments of both
organisations, each of the Kear 2 classes included asylum seekers
and refugees.
The challenge for the pro4ect team @actor, dancer, musician, drama
practitioner and dance animateurA and the teachers 5as to exploresome of the key issues raised by (ranvera;s story, 5ithout merely
telling the children the story of the play. Carefully selected fragments
of the text functioned as pre0texts; for the children;s o5n creative
4ourney.
4!ee Df7!; %ey Stage & Drama o'(ecti)es 'ank, #uly +99%, 5hich outlines a number of drama
teaching techniques, and is available to do5nload from
555.standards.dfes.gov.ukkeystage%publications 21
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The final morning of the 5eek;s residency involved sharing these
issues 5ith other classes and parents. > particularly effective
moment at the end of the sharingperformance 5as 5hen (ranvera;s
red shoes 5ere reverently passed among the children. It 5ere as
though (ranvera;s spirit briefly inhabited each child. :ne child felt
the po5er of dancing;, another that the spirit of the shoes danced
on;. Later they remarked on the contrast 5ith the production. >fter
(ranvera;s death, one child said her soul danced out of her body;.
"64 What does $ood drama loo/ li/e at Key &ta$e 4
Drama is an increasingly popular =C!7 sub4ect for pupils in secondary schools and
in some special schools. 7ach of the four examination boards in 7ngland and 'ales
offers a =C!7 drama course that extends learning in drama at ey !tage %.!pecifications typically require the presentation of devised and scripted 5ork, the
examination of candidates; kno5ledge and understanding of different dramatic
techniques and forms, follo5ed by the performance of their examination productions
in a public sho5case. Candidates may also have to reflect upon aspects of dramatic
theory, such as interpretation and genre. Kear &9 =C!7 drama group had been using a ne5spaper report on
the troubles in 6orthern Ireland, describing Catholic school children
5alking through a "rotestant housing estate to go to school.
They had constructed a piece of polished improvisation over several
5eeks. In this session the teacher modelled the technique of the split
screen; 5ith a fe5 pupils 5hilst others 5atched and analysed. The
lesson continued 5ith another demonstration the use of slo5 motion
5ithin a scene to add dramatic effect. This too had to be added to the
improvisations. "upils then rehearsed these t5o techniques, 5ith
subtle intervention and coaching from the teacher.
7ach piece 5as presented. The audience had to comment on the
effectiveness of each convention and ho5 this added to the overall
effect and content. "upils used their 4ournals to note do5n the
essence of these t5o techniques before the lesson ended.
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:n a good =C!7 drama course, pupils have opportunities to enhance their interest
in drama through additional performing activities, such as the school play, drama
residencies, 5orkshops 5ith professional artists and theatre visits. :pportunities
exist for the innovative integration of specific pro4ects in drama 5ith other =C!7s,
like media studies. Drama lessons or the =C!7 examination rehearsals may be one
of the most motivating factors for attending school for some pupils. Those 5ho
underachieve in other areas can be those 5ho, because of the nature of the drama
curriculum, demonstrate their gifts and talents, 5orking sensitively and creatively
5ith others and taking effective roles in school productions.
Insights, skills and confidence gained through effective learning in drama contribute
significantly to preparation for the 5orld of 5ork. >s pupils increasingly seek
employment in the creative sector of the economy @see section + 'hy drama in
schools)A schools should take care to offer realistic, current advice about these
opportunities.
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a crucial learning experience, and gained a valuable experience to
dra5 from 5hen called on to explore relationships and comparisons
bet5een texts and dramatic styles of different periods and cultures; as
part of their =C!7 drama course. !ubsequently, the attention the
pupils paid to their o5n use of facial expression in their 5ork 5as
greatly increased. Faving already studied the 5ay one creates
meaning in drama through signs and symbols, they approached the
semiotics of performance 5ith a rene5ed vigour. =estures gained
clarity and pupils effectively signalled characters; emotions through
some very expressive faces.
"6' What does $ood drama loo/ li/e at +ost71!
Through the increasingly popular post0&1 drama courses, students continue todevelop the making, performing and responding activities that characterise earlier
key stages. The theoretical and analytical study of drama is integrated 5ith practical
5ork. !tudents study and create theatre through dra5ing on various historical,
cultural and contemporary theatre practices. Theatregoing is essential to such
courses. !chools predominantly offer =C7 >>! level Drama and Theatre !tudies
andor "erformance !tudies for students 5ishing to study drama beyond the age of
&1. Jocational courses in drama and performing arts are also available and are
becoming an increasingly popular aspect of post0&1 provision.
Case study thirteen
"ost0&1 students reflecting on their group pro4ect 5rote the follo5ing
In !eptember, seven of us decided to devise a comedy for our group
pro4ect. 'e brainstormed, improvised various plots and characters,
5rote them do5n and, in #anuary, tested the first draft on an
audience.
>fter a professionally0led commedia dell;arte 5orkshop, 5e
recognised the connection bet5een our piece and this genre, 5hich
lies at the roots of all comedy. :ur characters 5ere permutations ofstock characters from commedia. This realisation boosted our energy.
'e studied commedia dellMarte scenarios and improved the structure
of our plot.
Then 5e attended a demonstration of commedia dell;arte techniques
by the Italian master, >ntonio (ava, and 5atched his production of
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Lo)e is a Drug. 'e sa5 ho5 &1th century commedia practice can still
inspire the art of comedy today.
'e revised our script. 'e no5 had the confidence to stretch our
ideas to their limits our characters became more grotesqueB the
action more physicalB 5e moved a5ay from naturalism. Through
improvisation and experimentation, 5e moved closer to the
commedia dell;arte tradition. :ur comedy 5as set in the present day
and our characters 5ere modern, but inside them 5ere the spirits of
"antalone @the old miserAB several Gannis; @the crafty self0serving
servantsAB the Lover @narcissistic, al5ays gaGing in the mirrorAB Il
Capitano @boastful, co5ardly, sexually impotentAB and "ulcinello
@brutal, self0centred, motivated by lust for po5er and moneyA. >fter an
intense residential 5eek 5orking on our play, 5e performed it in a
village hall to a ne5 audience. It 5orkedN
$ack in the school;s theatre, 5e developed our design concept.
Commedia dellMarte performances happened outdoors in market
squares on simple raised platforms, at the back of 5hich 5ere booths
in 5hich to dress and store properties. 'e 5ould be a commedia
dell;arte troupe. 'e erected our platform and booth. The audience
gathered. 7nter the examinerN
:n a good post0&1 drama course, students may choose from many options, such as
directing, acting, musical theatre, costume, make0up, set construction, stage design,
stage management, theatre technology and arts management. :ften students 5ho
study drama beyond the age of &1 continue 5ith it into higher education. !ome 5ho
5ish to enter professional theatre 5ill seek a place at an accredited drama school to
follo5 a degree in acting or a theatre design courseB others may read theatre studies
or a drama0related degree course at a university. >s at ey !tage , it is important
that students have up0to0date and comprehensive advice on possible career routes
and 5hat courses are available to them after leaving school.
Case study fourteen>s part of their >! level 5ork, pupils 5atched 23icarby
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The teacher had a CD0?om 5ith images of the design and the
designer;s research for the play. The pupils 5atched an intervie5 5ith
the designer and director and explored the CD0?om for frequently
asked questions. They used the 5eb page to send specific questions
to the theatre company.
"6! What does $ood drama loo/ li/e in s+ecial schools
"upils in special schools 5here good drama is provided are given parallel
experiences to their mainstream peers @as are pupils in mainstream schools 5ho
5ork at levels significantly belo5 age0related expectationsA. =ood teaching ensures
that pupils have choices 5ithin the drama and can influence its development. The
5ork focuses on maximising pupils; creative abilities, unrestricted by their disabilitiesor difficulties. ?esources provide access for all pupils to express their ideas and
feelings and communicate their responses to the drama. (or instance, a sound0
beam may be used, so that 5hen pupils move through it they create a specific effect
or mood, or they may be given an opportunity to control a lighting s5itch to change
the atmosphere in a scene. "uppets may also be used as a 5ay of enabling pupils
to express their ideas for movement and gesture. The use of video technology also
enables 5ider access to the drama curriculum for pupils 5ith severe physical
disabilities, focusing on, for example, performance solely through facial expression.
'hen responding to a performance by their peers, pupils may simply elect to see a
specific part again because they liked it or they may find a ne5 5ay of interpreting
the same scene.
Case study fifteen
The group comprised six pupils from ey !tages & and + 5ith
profound and multiple learning difficulties, autistic spectrum disorders,
challenging behaviours and no speech.
The half term block 5as based on the book 4here the Forest 2eets
the Seaby #eannie $aker. ?ather than being engaged in a directedrole0play, these pupils 5ere developing a sense of themselves
through an ability to control their performance and to impact on their
environment. 3sing repeated sensory stimuli, they engaged together
in the drama, anticipated events and made independent choices.
2!
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The sessions began 5ith a consistently used lively and familiar song
to gain eye contact and engagement. The pupils came to sit
unprompted in a make believe boat. 'ater sprays, 5ind, light storms
and handfuls of sand 5ere activated by controls. Then they stepped
from the boat to hunt for a s5itch to control fish0filled bubble tubes
and footspas.
The rainforest sequence 5as performed in front of a giant backlit
screen, sho5ing moving parrots and fish that they could touch and
engage 5ith.
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Case study si,teen
!tudents studying theatre studies are encouraged to take advantage
of extra0curricular activities. These encompass rehearsals and mock
intervie5s to prepare them for auditions for drama school and the
opportunity to 5ork alongside professional artists.
T5o students interested in pursuing careers in the technical and
design side of theatre 5orked as part of the technical support team
for a visiting professional company, using the school;s drama studio
as a performance venue. :n another occasion students took part in a
vocal 5orkshop, led by a senior voice and dialect coach. There 5as
a focus on accents that fed back into 5ork in lessons on the set text,
,he Sha#ow of a +unmanby !ean :;Casey. !tudents also 5orked
5ith a local actor. This directly enhanced aspects of their theatre
studies course in this case a comparison bet5een $recht and!ophocles;Antigone.
7ffective differentiation in the drama classroom provides access and maximises
teaching and learning opportunities for all pupils. There are various 5ays in 5hich
schools also make additional provision for pupils 5ho are gifted or talented in
drama. These include theatre visits, 5ork 5ith theatre artists in residence, theatre
discussion groups and special pro4ects such as !aturday morning classes 5ith
professional practitioners. 7xamples could include a director 5ho could bring
innovative approaches to pupils; devised 5ork or a designer using computer0aided
design @C>DA. >ccredited graded examination courses, such as L>;s
5m/ro)isationand ,he s/eaking of )erse an# /rose, are offered in a gro5ing
number of schools. !ome schools also offer opportunities for pupils to perform their
5ork locally or at national or international festivals, or to take their 5ork abroad.
Case study seenteen
The experience of 5orking 5ith three professional actors and
premiering a play in 7dinburgh made a significant contribution to the
education of +9 young people from a high school in the 6orth 7ast of
7ngland. #ohn =odber 5rote the play and Full Truck TheatreCompany directed it. "upils from the school, including those 5ith
learning difficulties, those 5ho 5ere disaffected, and those 5ho 5ere
gifted and talented in drama, 5orked alongside professional artists
from the company. The three actors and the directors 5ere supportive
of the diverse needs of the young people. Intensive !aturday
2.
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5orkshops provided the ground5ork, 5ith particular emphasis on
focus and discipline. They learned specific performance skills and
ho5 to 5ork as a theatre company.
Three 5eeks 5ere identified for interpreting the script and characters
before the debut 5as held in Full. :ne individual couldn;t actually
read her lines but learned them 5ith special assistance. During a final
rehearsal, she suggested ho5 her character could be played more
effectively after improvising several movements, 5hich received a
round of applause from the cast, directors and teachers. 7dinburgh
5as a successN The production 5as almost sold out every night.
Despite his commitments, =odber managed to travel up to see the
play. $ack in school, senior managers could see a real difference in
those 5ho participated in the pro4ect they 5ere more confident and
more focused, and the behaviour of the disaffected pupils hadradically improved.
"rovision may be enriched in other 5ays. 7xamples include
E by contact and collaboration 5ith specialist teachers of music, dance, visual and
media arts
E 5hen teachers arrange for pupils; 5ork to be taken to other sites such as
community or local arts venues, or other schools
E through pupils creating a performance exploring particular issues suitable for a
younger age group. The schools 5ill 5elcome it if its conception has depth,
insight and appropriate language, and the performance has discipline, 5armth,
energy and colour
'ell0planned partnerships bet5een schools and local theatre companies are
mutually beneficial, offering expertise that could not be other5ise provided. They
also offer potential young audiences to the theatre. "rofessional theatre artists can
make a key contribution to the professional and creative development of teachers.
They can provide theatre events5orkshops that reflect cultural diversity, promote
strong role models, introducing theatre forms and present practice that may be
unavailable in individual schools. 7very country and culture has a rich and varieddrama tradition. =ood drama courses introduce pupils to drama from many of these
and seek to reflect and exploit the cultural diversity of $ritain today. "upils in all
schools and at all key stages benefit from seeing positive images of other cultures.
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Case study ei$hteen
The Eli3a'ethan S/ectacleinvolved % ey !tage pupils 5ith
severe learning difficulties andor profound and multiple learning
difficulties @" "erforming >rts
students and the drama development officer from the local theatre.
The pro4ect 5as designed to last for &+ 5eeks, 5orking 5ith students
for around +./ hours per 5eek and culminating in a public
performance. The pro4ect aimed to develop the discipline and skills of
theatrical performance, to 5ork collaboratively and develop cross0
curricular learning through drama, specifically in history, art and
7nglish.
The public performance, 5hich lasted +9 minutes, required most
pupils to learn and sustain moves, gestures, rhythms and steps.
"spects of !hakespeare;s ,he ,em/est5ere 5oven
into the performance and provided a spoken text 5hen necessary,
allo5ing some pupils to extend further their kno5ledge of 7nglish
literature.
'orking alongside the $> students enabled the group to not only
learn appropriate performance techniques and skills, but also to have
their o5n individual creativity nurtured, endorsed and used in
performance. This learning process 5as reinforced and developed
throughout the pro4ect by recording digital images of the 5ork in
progress, 5hich the pupils later discussed and edited and 5hich
became a part of the final performance.
The unique experience of a structured and self0controlled
performance, 5here each participant;s contribution 5as valued as a
significant part of the 5hole, brought re5ards in terms of self0
advocacy and social cognition. It has also led to further and more
self0assured collaboration 5ith outside performance agencies and
artists.
"5
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"rofessional theatre in schools is most effective 5hen teachers have made informed
choices regarding 5hich company to book, the visit is carefully planned and pupils
are encouraged to appreciate it as a special event for 5hich they have been
prepared. >n uninterrupted performance space should be provided so that pupils
and their teachers can focus on the play. Theatre companies provide guidance on
the maximum number of pupils for 5hom the performance has been designed and
on ho5 to arrange the performance space. It is essential that actors are given
preparation time and that the 5hole school is a5are of the visit. Teachers can get
advice regarding 5hich theatre companies to book by contacting local and national
arts organisations and L7>s.
Drama therapy may be appropriate for some pupils 5ith special needs, especially
those 5ith emotional and behavioural difficulties. !ome of the drama 5ork done
through the Connexions'programme provides good examples of this. Fo5ever, this
requires the expertise of a trained therapist. Drama therapy should not be confused5ith drama as a curriculum sub4ect.
'Connexions home page, 555.connexions.gov.uk "1
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4 &tructurin$ drama in schools
Drama should be taught progressively through and across each key stage, building
upon previous learning. The three interrelated activities of making, performing and
responding provide a useful frame5ork for identifying and assessing progression
and achievement, and match similar categories in music composing, performing
and appraising, and in dance creating, performing and evaluating. (or the purposes
of planning and assessment, making, performing and responding are treated
separately, although they are frequently integrated in practice. "upils improvising, for
example, are simultaneously making, performing and responding. !imilarly, the
emphasis placed on each can change across the key stages. Fo5ever, the principle
of balance is important and teachers should aim to include aspects of each activity
in their schemes of 5ork.
Ma/in$encompasses the many processes and activities employed 5hen exploring,
devising, shaping and interpreting drama.
erformin$covers the skills and kno5ledge displayed 5hen enacting, presenting
and producing dramas, including the use of theatre technology.
#es+ondin$incorporates reflecting on both emotional and intellectual reactions to
the drama. This reflection is deepened as pupils gain a kno5ledge and
understanding of ho5 drama is created.
To ensure breadth of study during each key stage, pupils should be taught the skills,
kno5ledge and understanding required to make, perform and respond to dramathrough
E a broad range of stimuli, including artefacts, literature, non0fiction and non0literary
texts such as photographs and video clips
E 5orking in groups of varying siGe and as a class
E performing to a range of audiences
E a range of genres and styles and via different media
E seeing a variety of live and recorded performances from different times and
cultures
E using ICT to explore and record ideas, research themes and enhance their
production 5ork
"2
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461 0eel descri+tions for drama
The curriculum model belo5 sho5s ho5 pupils; kno5ledge, skills and understanding
of drama should develop over their time in school. It is intended to inform the
construction of progressive schemes of 5ork for drama, to assist teachers in making
4udgements about pupils; standards and progress, and to help pupils @and their
carersA understand ho5 they are getting on and 5hat they need to do to improve.
The levels of attainment indicated are intended to provide a means of helping pupils
to improve their 5ork and to support teachers; planning and assessment. 'hen
deciding on a pupil;s level of attainment, teachers should 4udge 5hich level best
describes the pupil;s performance. The descriptions can be a useful basis upon
5hich to set individual or group targets for improvement. It is assumed that pupils
5ill cover all the requirements of one level before being assessed for the next and
that, as learning does not proceed in a simple linear fashion, targets 5ill need to berevisited to reaffirm the learning that has taken place.
Learning outcomes and assessment ob4ectives can be dra5n from appropriate level
descriptions for drama and related to individual pupil ob4ectives in schools 5ith
students 5ho are 5orking significantly belo5 age0related expectations, including
those in special schools. It may mean that the level descriptions need to be broken
do5n further to ensure that all pupils are given opportunities to progress. Teachers
may also use the performance levels described in the C> guidance materials
-lanning! teaching an# assessing the curriculum for /u/ils with learning #ifficulties
@see the 7nglish sub4ect sectionA and other useful documents, such as the
*urriculum gui#ance for the foun#ation stage5hich outlines the early learning goals
for creative development @see >ppendix &A, in con4unction 5ith level descriptions, to
inform the scheme of 5ork.
The level descriptions belo5 provide a basis for making 4udgements about pupils;
progress and attainment at the end of ey !tages &, + and % @the expected
attainment for the ma4ority of pupils at the end of ey !tages &, + and % is
summarised on p9A. >t the end of ey !tage and post0&1 national qualifications
are the main means of assessing attainment in drama. There is no nationalprogramme of study for drama, so the level descriptions are based on evidence of
""
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good practice in schools and L7>s around the country, as 5ell as national guidance
for drama, 5hich includes
E grade descriptors provided by examination boards for =C!7 drama and theatre
arts examinations
E The 6ational Curriculum level descriptions for music, art and physical education
E :fsted guidance for inspecting drama from &&8&1 and post0&1 @see >ppendices 1
and 2A
E The 6ational Curriculum for 7nglish @see >ppendix +A
E The National Literacy Strategy NLS7 Framework for teaching: YR to Y6@see
>ppendix %A
E The ey !tage % !trategy 8 the Framework for teaching English in Years ! " an#
$ @see >ppendix A
E The C> guidance documents ,eaching s/eaking an# listening in %ey Stages 0
an# 1and +i)ing a )oice: #rama an# s/eaking an# listening resources for %ey
Stage &@see the relevant ey !tage sections of section % ?ecognising gooddramaA
To ensure progression in each key stage, pupils should be able to
E explore and research ideas, issues, plays and other texts such as diary entries,
poems, photographs, films and paintings, using a variety of drama skills and
techniques
E devise, improvise, shape and structure dramas of different kinds
E use drama skills and kno5ledge to interpret a range of texts, for example play0
scripts, pictures or stories
E prepare and perform both scripted and devised dramas for various audiences,
using a selection of media
E use and develop their kno5ledge of drama from different times and cultures, as
5ell as classic and contemporary practice
E reflect on, evaluate and analyse the structure, meaning and impact of their o5n
5ork and the 5ork of others as both participant and audience
"lease note, the follo5ing level descriptions, unlike those in the national curriculum,
are not statutory and are intended to illustrate progression in drama. The examples
given are included as guidance only.
"4
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Drama in
el descri+tionsel Ma/in$ erformin$ #es+ondin$
7xploring, devising, shaping and interpreting "resenting and producing 7valuating and applying kno5ledgeunderstanding
u+ils can8
Take part in a 5ide range of pretend;
activities 5hen they explore situations andstories through imaginative play
?espond to other characters in role
"retend to be a character, demonstrating
emotion through actions and language
u+ils can8
'ork 5ith other pupils in presentations,
eg a puppet play
"articipate in 5hole class dramas
$egin to recognise the need to practice
their plays to make them better
Take turns speaking their parts and, insmall groups, act out familiar stories,5hich they can communicate to friends
u+ils can8
Demonstrate their kno5ledge o
key differences bet5een a play story
?eflect on the situation or chara
both in and out of role
!ay 5hy they adopted a particumovement or voice 5hen they tabout their drama 5ork
7xplain in simple terms 5hy the
a performance they sa5 or heapaint a picture of their favouritecharacter in the drama
(ind 5ays of expressing pleasu
moments of performance that himpact
u+ils can8
Take part in a range of drama activities
and use simple theatredevicestechniques, eg narration and stillimage
7xplore problems in an imagined 5orld
and make up plays from stories or otherstimuli
3se the dialogue in existing texts as 5ell
as create their o5n
u+ils can8
"repare and learn a fe5 lines in their
plays
>dd simple theatrical effects such as a
sound effect or significant prop toenhance the 5ork they perform to others
3se their voices and bodies to create
characters and atmospheres, employinglanguage appropriate to the role orcharacter, eg adopting a more formal;tone 5hen the situation requires it
u+ils can8
?ecognise different kinds of dra
eg a television soap; and their ofantasy; play
7xplain in simple terms ho5
atmosphere is created in plays
Talk about 5hy they made certa
decisions in their play and discuho5 their 5ork, and that of othecould be improved by more pracbetter staging
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Drama in
el Ma/in$ erformin$ #es+ondin$u+ils can8
Devise plays from a range of stimuli
?espond to the use of drama techniques
to deepen the role or understanding of thesituation, eg hot seating
!elect appropriate lighting or simple
symbolic props, sets or costumes, andunderstand their effect
Choose vocabulary and movement tomatch the person, place and time requiredby their story or situation
u+ils can8
>ct out improvised dramas and existing
scripts, creating characters that areclearly different from themselves, andexperiment 5ith voice, gesture,costumes and staging
Communicate their 5ork as part of a
group, learning lines and sharing the
different functions needed to present theplay, eg making and using propseffectively, creating sound effects oroperating simple lighting effects, forinstance, 5ith torch light
u+ils can8
Discuss their 5ork and the 5ork
others, sho5ing understanding different forms and making use some specialist terms, eg pantomelodrama and shado5 puppet
3nderstand ho5 meaning can b
sho5n through the simple use o
symbol, metaphor or imagery, eusing height and distance to indstatus and relationships
$oth in and out of role, commen
thoughtfully on the drama and s5ays of improving it
?eflect on the action taken by
characters in the drama and coalternative responses
u+ils can8
'ork confidently in groups using a range
of drama techniques to explore situationsand devise dramas for different purposes
"lan and structure plays that make use of
a range of techniques and forms toexpress their ideas, eg narration in storytheatre, mask 5ork, and mime in physicaltheatre
>ctively interpret the 5ork of play5rights
'rite and perform their o5n simple
scripts, demonstrating an understandingof some correct theatre conventions
7stablish a character, 5ith control over
movement and voice
u+ils can8
!elect and operate a range of simple
theatre technologies to create the rightspace for their drama and to enhancetheir 5ork
Learn lines, collaborate 5ith others andorganise simple presentations
7xperiment 5ith their voices and
movement, to create or present differentcharacters in performance
u+ils can8
Demonstrate an a5areness of s
theatre traditions from different and places, eg athakali dancedrama, =reek or Tudor theatre
Discuss the themes or issues indrama and the 5ay they 5erepresented
?eflect on and evaluate their o5
other pupils; 5ork, suggestimprovements and use correct btheatre terminology
Comment on ho5 intended effe
have been achieved, eg the usesilence
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Drama in
el Ma/in$ erformin$ #es+ondin$u+ils can8
7xplore and interpret ideas, issues and
relationships in their drama 5ork, andstructure it using appropriate dramaticforms, eg documentary drama, andconventions such as the use of the aside
Combine their skills and kno5ledge of
drama to devise plays of different types
for different purposes !ustain a defined character for a
reasonable amount of time
!elect and use a range of available
technical resources for dramatic effects,eg a CD player, an overhead or datapro4ector and lights
Interpret and rehearse extracts from a
range of scripted plays
'rite scripts or short plays based on
devised 5ork, using appropriate theatreconventions
u+ils can8
:rganise a short, clear and coherent
performance for an audience
3se an increasing range of different
drama techniques, effects and theatreconventions in the plays they present
Improve and refine their acting, directing
or technical contribution through the
rehearsal process
u+ils can8
?elate, compare and contrast
5ork 5ith drama from other timand cultures
Discuss the 5ay that ideas are
presented and represented, hoplots are developed and charaportrayed
Compare different interpretatiothe same text, eg extracts fromvideos of the same play
3se technical terms 5hen talki
5riting about dramas they haveor participated in
u+ils can8
Devise dramas in various forms, based
on a range of challenging issues andthemes
=ive and accept suggestions and ideas
during the rehearsal process
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Drama in
el Ma/in$ erformin$ #es+ondin$u+ils can8
Create performances for different
audiences and purposes using variousgenres, styles and traditions, such as achorus from =reek theatre or costumefrom abuki theatre
Contribute creatively to the devising and
collective authorship of their o5n dramas
nalyse drama in performance
appropriate language and theavocabulary to suggest improve
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Drama in
el Ma/in$ erformin$ #es+ondin$ce+tionalrformance
u+ils can8
:rganise their o5n 5ork confidently,
either as part of an ensemble or a solopiece
:ften lead and direct others in rehearsal
3se a very 5ide range of different
conventions, devices and techniques tocreate a desired effect on an audience
!ho5 subtlety as 5ell as panache in
their dramatic interpretation of texts,either as performers, directors ordesigners
Demonstrate an a5areness of different
levels of meaning through their use ofmetaphor and symbol
u+ils can8
Direct, design or stage0manage
different styles of playsimaginatively and thoughtfully
Demonstrate high standards in all
aspects of crafting performancepieces
Create or help others to create
and sustain a range of complex
characters in performance
u+ils can8
Demonstrate a good kno5ledg
understanding of the cultural,historical and social context of they are in or see
3se theatre terminology accur
and effectively
7valuate their 5ork and that of
others, supporting their comme
5ith reasoned arguments 5hicon their kno5ledge of theatre fand practitioners
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Drama in schools
#an$e of leels and e,+ected attainment y the end of each Key &ta$e
?ange of levels 5ithin 5hich the great
ma4ority of pupils are expected to 5ork
in drama.
7xpected attainment for the ma4ority of
pupils at the end of the key stage.
ey !tage & &8%
ey !tage + +8/
ey !tage % %82
ey !tage /8exceptionalperformance
>t age 2 +
>t age &&
>t age & /81
=C!7 grade C is approximatelyequivalent to a level 2
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Drama in schools
' olicy facilities resources
'61 &chool mana$ers and su9ect leaders may find it hel+ful to
consider the followin$8
Does the leadership of the school fully ackno5ledge the potential of drama by, for
example
E ensuring that it features in the school improvement plan, as part of the
provision for the arts)
E designing a policy for drama linking drama 5ith music, dance, literature, visual
and media arts)
E designing a policy to make effective use of drama in teaching non0arts
sub4ects
Is there a sub4ect link governor for the arts, 5hich includes drama)
Is there a specialist drama teacher on the staff and are there opportunities for
in0service training and professional development)
Fave schemes of 5ork been agreed that support pupils; progression in drama as
they move through the school)
Is drama allocated sufficient time and resources to enable all pupils to makegood progress in the three key activities of making, performing and responding)
Does the school have
E adequate spaces for drama, 5hich are accessible to all pupils)
E a sufficient range of materials and equipment)
Does the drama curriculum embrace forms of expression from a 5ide range of
cultures, including those from 5ithin the school community)
Is the drama curriculum differentiated in 5ays that take account of pupils; special
needs)
'hat provision is there for curriculum enhancement) Does the school
E run a drama club or a youth theatre)
E seek out the benefits of creative partnerships 5ith other schools, cultural
venues, theatre companies and individual professional practitioners)
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Drama in schools
'62 What does a $ood school +olicy for drama loo/ li/e
Drama;s contribution to a broad and balanced arts provision for all pupils and the
requirement to teach it as part of the 6ational Curriculum means that the
organisation and development of drama in schools needs to be systematically
planned. 'here this is most effective, the sub4ect leader for drama collaborates
closely 5ith the sub4ect leaders for the other arts and 5ith the sub4ect leader for
7nglish, and the shared approaches to teaching and learning are reflected in an
overall arts policy.
The school improvement plan is the key to development planning and the guide
to the allocation of resources. Drama should be suitably ackno5ledged in this.
> good policy for drama ensures that
E all pupils have an entitlement to be taught drama throughout their time inschool
E drama has recognition and sufficient time allocation, both as part of arts
education and 5ithin the 6ational Curriculum for 7nglish. This 5ill be a
minimum of +./ of curriculum time in ey !tages & and + and approximately
in ey !tage %
E the contribution drama makes to pupils; spiritual, moral, social and cultural
development, and their emerging citiGenship is ackno5ledged
E the contribution drama can make to learning in non0arts sub4ects is recognised
E schemes of 5ork are appropriately differentiated to ensure that all pupils have
equal breadth of experience, and equal opportunities to develop key skills and
to progress in making, performing and responding
E the drama curriculum reflects the cultural diversity of both the school and
society as a 5hole
E there is guidance on supporting pupils 5ith special educational needs,
including talented and able pupils
E clear assessment and reporting procedures are in place
E there are regular opportunities to experience the 5ork of professionals at
theatres, other arts venues and through visits to school by theatre companies
and individual theatre practitioners. $ilingual and multi0lingual performancesare especially valuable, as are those using integrated casting and additional
forms of communication, such as signing
E the role of film, television, and video is recognised in pupils accessing drama
E out of hours learning in drama is encouraged, such as school productions,
drama clubs, 5orkshops and theatre visits
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Drama in schools
E pupils are provided 5ith up0to0date advice on drama0related careers,
opportunities in the creative industries, and further and higher education
courses
E health and safety issues are given due consideration
E the quality of provision in drama is regularly monitored
E a systematic programme of staff development is provided to facilitate the
highest standards of teaching
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Drama in schools
'6" What do $ood facilities and resources in drama loo/ li/e
In schools 5here facilities are good, it is recognised that drama is a practical
sub4ect needing appropriate space and resources.
In schools 5here resources are good, teachers at all key stages are suitably
qualified and experienced to teach drama. Fo5ever, some teachers of drama in
secondary schools and many in special and primary schools have no formal
qualification in the sub4ect. Therefore, appropriate provision for continuing
professional development is available to both specialist and non0specialist
teachers of drama and is provided by
E local education authorities
E higher education institutions
E >dvanced !kills Teachers of drama
E specialist performing arts collegesE professional theatre companies
E educational trainers and consultants
The space for drama includes an imaginative play or role play area, both indoors
and outside, in the (oundation !tage and at ey !tage &. "upils experience live
theatre and have access to many resources large cardboard boxes, fabric, items
of symbolic costume, simple props, puppets, instruments, sound effects, staging
and basic lighting such as torches.
>t ey !tage & and ey !tage + there is access to a space that is large enough
for pupils to move freely and flexible enough for them to be able to create and
share their 5ork. In some cases, the pupils; classroom is sufficientB in others it is
more appropriate to use the hall or other large safe and uncluttered area.
?esources 5ill include those available in the (oundation !tage, but in addition,
may include access to relevant artefacts, ob4ects and other materials that can be
used imaginatively. !imple forms of technology are available such as a CDtape
player, overhead pro4ector and some theatre lighting, particularly at ey !tage +.
In secondary schools there is a dedicated, suitably equipped drama studio andother flexible drama spaces.!These 5ill depend on the siGe of the school and the
number of examination groups requiring specialist accommodation. The studio
has a 5orking floor area of about &+9 square metres, covered 5ith a
!!ee also :fsted guidance documents 5ns/ecting Drama 00806 with gui#ance on self9e)aluationand 5ns/ecting /ost906 #rama an# theatre stu#ies with gui#ance on self9e)aluation
@555.ofsted.gov.ukA
http://www.ofsted.gov.uk/http://www.ofsted.gov.uk/8/21/2019 Drama in School
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Drama in schools
non0reflective material. There is movable seating, a versatile performance area
5ith staging to create different levels and environments, a dressing room or
access to changing facilities, a drama office and adequate storage facilities.
>ccess is needed to a 5orkshop for set building. Fealth and safety standards are
satisfied throughout.-
=ood provision in secondary schools gives pupils access to performance
technology, including a computerised lighting control system 5ith a fully equipped
grid and efficient blackout. !ound effects may be achieved live 5ith percussion
and other musical instruments, and can be recorded using a sound system
incorporating suitable loudspeakers, amplification, sound mixing and playback
facilities. "upils have access to computers 5ith soft5are relevant to set or lighting
design and to the internet for research purposes, as 5ell as to video andor
digital cameras, monitors, JC?s and DJDs.
Drama resources in secondary schools include access to play scripts
representing a 5ide range of styles and content from different times and places.
"rofessional theatre supports pupils; learning in drama 5ith schools arranging at
least one partnership at (oundation !tage, t5o at each key stage, 5ith a
minimum of four for pupils opting for =C!7 drama in ey !tage and those
studying drama at post0&1. (unding this provision requires strategic planning to
ensure a full entitlement for all pupils. These partnerships are 5ell planned and
take account of child protection issues 5here appropriate..They have clear
expectations and thorough criteria for evaluation so that artists demonstrate the
best of their practice and the school gains from the opportunity.
->dvice available from >ssociation of $ritish Theatre Technicians @555.abtt.org.ukA and L7>s
.!ee %ee/ing Arts Safe, >rts Council 7ngland, >pril +99%, 5hich is available to do5nload from
555.artscouncil.org.uk
http://www.artscouncil.org.uk/http://www.artscouncil.org.uk/8/21/2019 Drama in School
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Drama in schools
! Conclusion
The huge increase in demand for specialist drama teachers and the continuing
need for in0service training at all phases reflects the importance that schools no5
place on drama. Sa)ing a /lace for the arts 8 a sur)ey of the arts in /rimary
schools in Englan# 5as published by the 6ational (oundation for 7ducational
?esearch @6(7?A in +99%. This document identifies the importance
headteachers in primary schools place on the arts, but it also demonstrates that
there is real concern that initial teacher training of primary teachers and in0
service provision in the teaching of drama at the primary level is frequently very
limited. This is an issue that must be addressed so that all primary aged children
are given access to the excellent learning opportunities that can be provided
through drama.
The situation is different in secondary schools 5here the quality of specialist
trained drama teachers has never been higher. These specialist teachers often
have high levels of personal involvement, real passion and commitment to the
artform 8 some of the qualities 5hich 5ere identified as being linked to effective
practice in teaching in the important research studyArts in e#ucation in
secon#ary schools: effects an# effecti)enesspublished by the 6ational
(oundation for 7ducational ?esearch in +999. The importance of these same
qualities has been echoed more recently by the !ecretary of !tate for 7ducation
and !kills, 5ho sees finding ne5 5ays to encourage and support teachers;
Recommended