Drama in School

8/21/2019 Drama in School

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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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Drama in schools

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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Drama in schools

" #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.

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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.

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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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The t5o sides 5ere then brought together. During the forum

theatre @or trial sceneA, children questioned each other in role.


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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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Drama in schools

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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Drama in schools

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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Drama in schools

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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Drama in schools

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
http://www.standards.dfes.gov.uk/keystage3/publicationshttp://www.standards.dfes.gov.uk/keystage3/publications


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Drama in schools

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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Drama in schools

: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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Drama in schools

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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Drama in schools

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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Drama in schools

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.

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Drama in schools

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

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Drama in schools

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

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Drama in schools

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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Drama in schools

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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Drama in schools

"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
http://www.connexions.gov.uk/http://www.connexions.gov.uk/


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Drama in schools

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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Drama in schools

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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Drama in schools

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


38/74

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


39/74

Drama in


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


40/74

Drama in


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


41/74

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


42/74

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


43/74

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)


44/74

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


45/74

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


46/74

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/


47/74

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/


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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;

Documents

Drama in School