Drama in schools

8/19/2019 Drama in schools

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Drama in schools

Like theatre, drama in schools can unlock the use ofimagination, intellect, empathy and courage. Through it,ideas, responses and feelings can be expressed andcommunicated. It carries the potential to challenge, toquestion and to bring about change.

Jude Kelly (theatre director and founder of Metal)

Cover image !outh Dartmoor Community College"hotographer #ohn $radford



ContentsForeword 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, % <embers of the 5riting group for Drama in schools 1*

second edition

*c/nowled$ements 29

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Drama in schools

Drama in schools is for teachers of drama. It is also for all those 5ho are involved ineducation, including headteachers, governors, initial teacher trainers, Local7ducation >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 theatrepractitioners. The document has also been informed by advice from key governmentagencies and national organisations and its aim is to ensure that drama teaching issustained and enriched.

This second edition of Drama in schools 5ill be 5elcomed 5holeheartedly by those5ho kno5 the po5er of skilled drama teachingB the social, moral, spiritual,intellectual, physical, emotional and cultural development it engenders, and thesheer 4oy it brings.

0esley Kin$0ead *d isor ducation and 0earnin$ *rts Council n$land3eadteacher &tanton ury 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. > dramaeducation, 5hich begins naturally 5ith learning through dramatic play, 5ill eventuallyinclude many elements of theatre. Like the other arts, it involves imagination andfeelings 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 theyencounter.

Through engagement in drama, pupils apply their imaginations and dra5 upon theiro5n personal experiences. Their increasing kno5ledge and understanding of ho5the elements of drama 5ork enables them to effectively shape, express and sharetheir ideas, feelings and responses, making use of language, space, symbol,allegory and metaphor. =ood drama teaching 5ill result in pupils learning aboutdramatic 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 mediumof drama, they are able to communicate shared understanding and tell stories usingdramatic form. Drama is a creative and cultural activity. 1 The language of theatre isinternational, understood by everyone. It provides an opportunity for pupils toexplore the 5orld of people from other places, times and cultures, and to examinedifferences and similarities 5ith their o5n environment.

Drama has its o5n history and body of 5ork, much of 5hich has a unique andimportant place in our cultural life. In common 5ith all sub4ects, it requires specificskills, kno5ledge and understanding 5hich are progressively taught and assessedthrough and across the key stages. Three interrelated activities characterise thesub4ect of drama at all levels ma/in$ , +erformin$ and res+ondin$ .

1 The 6>CCC7 All Our Futures report, &***, defines culture as The shared values and patterns

of behaviour that characterise different social groups and communities.;

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Drama in schools

"upils 5orking in drama 5ill be constantly involved in these activities and mayparticipate in more than one at any time @for detailed definitions of these activitiessee section !tructuring drama in schoolsA. > pupil making drama could be one ofthe follo5ing an individual researching the historical or cultural background to aplayB someone 5ith profound and multiple learning difficulties experimenting 5ith asound instrument to transform a moodB a member of a group contributing to animprovisationB or a student devising an original piece of 5ork. "erforming takesplace in many different spaces from the infant, imaginative role0play area to thesecondary school drama studio, 5here it may involve pupils as technicians as 5ellas actors. "upils can be found responding to drama in many settings, includingclassrooms, 5hen 5atching film, video or television, as 5ell as in theatres andschool 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 5orkshould be differentiated to take account of pupils; differing abilities. They should alsotake account of examination requirements and, 5here appropriate, the dramaelements of 7nglish and literacy. They should incorporate the contribution made byactivities such as professional performances and 5orkshops. !ection of thisdocument is a frame5ork designed to support teachers in 5riting schemes of 5orkfor 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 allfeel the same emotions. The arts are our last hope. 'efind our identity and make it easier and more pleasurableto live and they also give us 5isdom. 'e see ourproblems 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 studyaspects of drama throughout their education as part of 7nglish and literacy and it isa key part of school provision for the arts. <any secondary schools have thrivingdrama departments, 5ith specialist accommodation and at least one specialistdrama teacher.

:ver the past &9 years, the number of candidates taking =C!7 Drama has morethan doubledB in +99%, nearly &99,999 young people 5ere entered for the sub4ect. Inthe same year, nearly &-,/99 candidates 5ere entered at >! 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 partof their experience of drama. > trip to the theatre or a visit to the school from atouring theatre company introduces pupils to a range of theatre arts, different genresand various cultural traditions. 7xperiencing professional performances helps tofoster understanding of ho5 different forms of theatre are made and ho5 theircreative potential can be used.

"upils; minimum statutory entitlement to drama is ackno5ledged in the 6ationalCurriculum for 7nglish, 5here drama activities are an explicit strand @see >ppendix+A. The ualifications and Curriculum >uthority @ C>A has produced guidance andresources 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

5ide range of occupations, such as arts administrator and stage manager, as 5ellas posts in film and television. 7mployers in other sectors recognise the contributiondrama makes to the development of creative thinking and effective team5ork, as5ell as to the key skills of the 6ational Curriculum.

The creative industries sector is gro5ing significantly faster than theeconomy as a 5hole. $et5een &**2 and +999, it gre5 by an average* per annum compared to an average +.- for the 5hole economyover this period. In December +99&, creative employment totalled&.*/ million 4obs significantly more than the financial sector. @(iguresfrom Department for Culture, <edia and !port, 555.culture.gov.ukA .

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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 Mc wan (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 storiesare 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 anddevelop their early drama skills and kno5ledge, and to learn about the 5orld.

Drama supports the development of (oundation !tage early learning goals in many5ays. Children can suggest their o5n ideas for planning and creating a role0playarea. The, as they play, the teacher or other adult can intervene sensitively as anactive participant. This validates and extends the narrative of the play, supportsappropriate 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 choseto participate in role0play had spoken to his teacher about his recentvisit to !cotland by train. The follo5ing day chairs and tables 5eremoved 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, holidaymakersor office 5orkers and the boy 5as encouraged to become the trainmanager. Fe engaged in the role0play 5ith other

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Drama in schools

children after the teacher asked him a key question 'ill I be able tobuy refreshments on this train); This prompted him to perform in role,using the intercom; to announce that the train shop 5as open. Fethen proceeded do5n the aisle;, asking passengers; their destinationand checking tickets; at the same time.

The C>;s *urriculum gui#ance for the foun#ation stage indicates that drama is anideal context for children to retell and understand traditional and contemporarystories, as 5ell as for sharing their o5n personal responses and ideas. They mayuse 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 giveschildren a living context in 5hich they can create narratives, dra5 on patterns oflanguage and speak confidently. The teacher @or other adultA can support thedrama;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 appropriatelanguage and gesture.

(or example, the teacher @or other adultA adopts the role of the old 5oman 5ho livesin a shoeB she needs help from the children, 5ho are expert carers and 5ho canadvise her on ho5 to keep her many offspring out of trouble. >t this age childrenalso en4oy sharing their make believe and play0making 5ith others.

Drama provides a meaningful context for all children @see >ppendix / InclusiveeducationA at the (oundation !tage to experiment in role 5ith language for differentpurposes, 5hether 7nglish is their heritage or additional tongue. Through drama, theteacher 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 greaterchance to understand 5hat they hear 5hen gesture, sign, facial expression andother symbols are used.

Case study twoChildren at a rural infant school had been told the story of +ol#ilocks

an# the three 'ears . In this version, <other $ear 5as much braverthan (ather $ear. The follo5ing day the teacher, 5earing a brightapron as a signifier, took on the lo50status role of a frightened=oldilocks and asked the children if they could advise her, as she hadheard that the three bears might be coming to her house thatafternoon.

" In different contexts it might be more appropriate for the teacher to adopt a relatively high or equal0

status role. 15



Drama in schools

The children had heard about her previous visit to the three bears;house and 5ere very 5illing to tell her ho5 naughty she had beenand ho5 very cross the three bears 5ere, especially <other $ear.=oldilocks explained that she hadn;t meant to do anything 5rong.!he asked 5hat she should do and say if the bears 5ere to arriveindeed, should she ans5er the door at all) > child suggested that sheshould 5rite a letter of apology and pin it to her door. =oldilocksasked if one of them 5ould be brave enough to take it to the threebears; house instead. T5o children volunteered. >ll of them helpedthe teacher to compose the note, 5ritten in role as =oldilocks, first onthe 5hiteboard and then on some specially designed 5riting paper.

The follo5ing day, after discussing the different characters of thethree 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 theirmovements and facial expression. The three bears mended furniture,tidied and cooked. :ne child, playing $aby $ear, looked especiallycross and 5hen the teacher questioned him in role, he confirmed thathe 5as still angry 5ith =oldilocks and 5ould be speaking to herhimself. The teacher used this as the moment to suggest that thenote be delivered and the children sat in a circle to allo5 the nextstage of the drama to take place.

Jery young children, and those 5orking significantly belo5 the expectation for theirage, can respond to drama by listening to and 5atching another group at 5ork in theclassroom, or as an audience to a visiting theatre company. Children can also recordtheir thoughts and feelings after5ards in a variety of 5ays, for instance by talkingabout the drama or painting their favourite character or scene.

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Drama in schools

"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 asa 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 artseducation. There is evidence that the arts are being given a higher profile asprimary schools become more confident and effective in their implementation ofthe "rimary !trategy @the umbrella under 5hich the 6ational Literacy and6umeracy !trategies for K? to K1 sitA. @!ee :fsted report ,he *urriculum inSuccessful -rimary Schools! and the number of primary schools gaining

>rtsmark @see >ppendix -A 5hich has tripled in the three years since it 5asintroducedA. "upils at this age unselfconsciously mix drama, dance, music, visualart 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 performanceinvolving puppets. $efore the visit, the school organised aresidency 5ith artists from the company. "rofessional puppeteers,drama 5orkers and teachers explored both the themes of the playand the art of puppetry.

The residency 5as staged over t5o 5eeks so that each of the t5oKear + classes had time to 5ork on the puppets and finalise theirstories 5ith their teacher and the artists. :ne class concentratedon glove and shado5 and the other class on rod puppetry. Thethemes of loss and grief 5ere addressed and one pupil talkedabout his father 5ho had passed a5ay t5o years before.

>fter5ards, the teacher explained that this pupil had notmentioned his father in school since the tragedy. In the dramacreated, the guardian angel told the child his father 5as fine and5as 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 ofglove and rod puppets, including a guardian angel in the form of atree.

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Drama in schools

7xploring a story imaginatively in drama can include 5hat may happen before thestory begins or at the end, as 5ell as beyond the events of the story. Theopportunity to act out a story to others can be a highlight of the schoolexperience for some pupils, particularly if they find other means of expressionmore difficult. "rimary school pupils benefit from visits to and from theatrecompanies. This may help them to understand the process of making, performingand responding to plays and provide insights into a range of cross0curricularthemes and issues, enhancing the teaching of other sub4ects, such as historyand citiGenship.

Case study four During a 5hole day of drama about =uy (a5kes, Kear + childrenat a rural school explored the story from both "rotestant andCatholic 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 asCatholic conspirators, led by t5o teachers in role @TI?A as =uy(a5kes and Catesby @the chief conspiratorA. The childrenexperienced disappointment and disbelief 5hen a TI? as the

ing;s guard announced that the ne5 ing #ames had changedhis mind about allo5ing Catholics to pray in peace. 'ith music tocreate atmosphere, they crept to Catesby;s house to discuss theirmoral dilemma. Through mime, they transported the gunpo5derdo5n the Thames, dug a tunnel and cleared the cellar under theFouses of "arliament. (inally, to a drumbeat, the ing;s guardapprehended =uy (a5kes and the other conspirators.

<ean5hile, another class met in role as parliamentarians at theopening of ing #ames; ne5 "arliament, 5here he pronounced tothe "rotestants that Catholics 5ould be allo5ed to follo5 theirreligion. ?obert Cecil, 7arl of !alisbury, raised suspicions thatCatholics may be planning to strike against the ing, and Lord

<onteagle, one of the parliamentarians, produced an anonymousletter that he had received 5hich 5arned him to stay a5ay fromthe state opening of "arliament. The children improvised beinginvolved in an explosion. They then searched the cellars beneathparliament, ending at the same point as the other class, 5here=uy (a5kes 5as arrested.

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Drama in schools

The t5o sides 5ere then brought together. During the forumtheatre @or trial sceneA, children questioned each other in role.<ixed groups 5ere formed and the children discussed theirdifferent experiences of the drama as 5ell as the skills they hadused to interpret character. They created still images to sho5 ho5a compromise could have been reached. (inally, the drama 5aslinked to contemporary religious conflict taking place at a globallevel.

During ey !tage &, pupils move from make0believe dramatic play forthemselves to a more consciously planned form of drama, 5hich may involvecommunicating 5ith an audience. =ood practice at ey !tage & involves pupils inactivities such as exploring their ideas through devising scenes. They can 5ork5ith a TI?, enacting their o5n stories for others through small group playmaking,

using symbolic costumes; and props to stimulate drama narratives. "upilsbecome increasingly a5are of their audience and act out stories using voice,movement, gesture and basic sound effects. 'hen they talk about dramas theyhave seen or in 5hich they have taken part, they can differentiate bet5een themand explain ho5 effects 5ere achieved.

During ey !tage +, pupils use a 5ider range of dramatic devices andtechniques. Increased control of voice and body means that they portray moreprecisely defined characters. "upils produce 5ork 5ith a clear story line andstructure. They become familiar 5ith forms such as shado5 puppets, mime andchorus 5ork, and those in other media, like animation. "upils may learn lines and5rite short scripts 5hich gro5 out of practical exploration of a story. They makeconnections bet5een broader dramatic traditions and their o5n 5ork, suggestingimprovements. They may also experiment 5ith simple technical effects andequipment, such as digital camera and video.

Case study fi e As YO. like it 5as the title of an innovative performance pro4ectfor pupils in Kears / and 1, focusing on the 6ational Literacy

!trategy @6L!A @no5 under the umbrella of the "rimary !trategyA.The pro4ect involved teachers selecting a !hakespeare play tostudy 5ithin the Literacy FourB this linked directly 5ith the 6L!frame5ork, 5ith history, and frequently 5ith art and music.'orking to5ards a short performance at an arts centre, teachersand their pupils explored the themes and ideas of the play. They5orked on the po5er of symbol, characterisation and costume,

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Drama in schools

5hile immersing themselves in !hakespearean language. !omere5rote scenes in a modern setting, others used live music andlighting to create atmosphere. Ideas and actions 5ere refined in a5orkshop visit directed by a freelance actor.

>t the arts centre, the event 5as brought to fruition. "upils5atched each other;s performances, and 5ere challenged by adrama consultant to evaluate and articulate their strengths,5eaknesses and experience of acting on a professional stage. >level "hotography students from a local secondary schoolcaptured the magic of each school;s performance, and in theintervals =6J "erforming >rts students introduced pupils to thebasic concepts of lighting, demonstrating 5ays in 5hich it couldenhance the drama.

The pro4ect brought huge gains in kno5ledge and understandingof !hakespeare for the teachers and their pupils the conventionsof drama scripts, the practicalities of theatre as 5ell as the self0kno5ledge acquired through the discipline of performance. Itreasserted the role of drama and oracy 5ithin the Literacy Fourand 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>;spublication, S/eaking! listening! learning: working with chil#ren at key stages 0an# 1 , published in 6ovember +99%, provides a frame5ork of ob4ectives forteaching 5hich traces progression in the speaking and listening curriculum andsuggests ho5 to plan 5ork on a termly basis from K& to K1.

$oth improvised and scripted drama provides a strong stimulus for 5riting. $y5riting 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 intoscripts. >s a result of teachers; skilful intervention, drama helps children;s 5ritingcome alive, resulting in 5ritten 5ork that features more effective vocabulary,striking imagery, pace and style.

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Drama in schools

Case study si, > class of Kear pupils at a multicultural urban primary schooltook 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 o5nspecial trees, some of 5hich 5ere located in other countries.Through an imaginative trust exercise in pairs, they led each otherto their trees, describing them in detail by focussing on the senses,using their o5n heritage languages other than 7nglish 5hereappropriate. !ome pupils personified the tree, improvising andsharing 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 ofkey symbolic ob4ects in the story and, 5orking to music, mimedactivities in the village. 'hen they had heard the next part of thestory, their still images of a key confrontation 5ere particularlyexpressive. >nalysis of these and questioning in role deepenedunderstanding of the use of gesture and space.

The teacher took on the role of >mrita 5ho needed the children asvillagers to help. They sustained their roles during a villagemeeting, in 5hich they empathised 5ith >mrita;s situation andsuggested creative solutions to her dilemma. They created a5hole class still image of the villagers protecting trees, follo5ed bya heightened confrontation 5ith the teacher in role as the axeman. They improvised his meeting 5ith the mahara4ah throughrole0play, demonstrating use of appropriate vocabulary and bodylanguage. "upils articulated the conflicting arguments and arrivedat a resolution using the technique of forum theatre, demonstratingtheir understanding of po5er and environmental issues. (inally,

village celebrations 5ere devised and performed, enhancingpupils; kno5ledge of Indian culture. >fter5ards the teacherencouraged them to reflect on their learning, using basic theatreterms, as 5ell as making connections 5ith geography, literacy, andpersonal, social and health education @"!F7A.

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Drama in schools

Drama teaching often explores issues, ideas and dilemmas relevant to pupil;slives and investigates the behaviour of individuals and the nature of relationships.It therefore makes a particular contribution to personal, social and moraleducation. Drama is a social activity requiring pupils to communicate, cooperateand collaborate. It fosters creativity and thinking skills @see section + 'hy dramain schools)A raising pupils; self0esteem and confidence through self0expression.These aspects of learning are important for all pupils @see >ppendix / InclusiveeducationA.

Case study se en > Kear 1 class had 4ust returned from a residential outdoor pursuits5eek in the Lake District. During the next fe5 5eeks, thisexperience 5as extended by a drama pro4ect 5here they devisedand 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, ICTand art5ork, 5ith the pupils creating displays, booklets and"o5er"oint presentations. The company developed their roles,using appropriate language and gesture, 5hile improvising andtaking decisions democratically. >n adult approached them in role,as a representative of an agricultural chemical group seeking helpto advertise its latest product, Tick >5ay; sheep dip.

Collaborating in and out of role, the pupils used and refined theirperformance and technical skills in drama, music, art and video toproduce commercials for TJ, radio or print. During the process, aletter arrived from the 5arden of the outdoor pursuits centre 5herethey had stayed. This dramatic device informed the company thatmany farmers in the area 5ere using chemicals marketed by thesame chemical group that produced Tick >5ay;, and that they5ere causing great harm to the environment.

There 5as great consternation at the ne5s. ?oles significantlydeepened through consideration of the issue, 5ith the companyhotly debating 5hether to carry on producing its commercials and5hat to say to the group representative on his return. (inally, itdecided to present its environmental arguments to him, pressuringhim to 5ithdra5 the product from sale. The climax of the pro4ect5as a dramatic confrontation bet5een the company and the

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Drama in schools

chemical group representative. "upils in role presented theirarguments and finally persuaded him to 5ithdra5 the product.

>fter the drama, pupils 5ere able to analyse their use of spaceand voice, facial expression and gesture, as 5ell as the depth oftheir involvement in the role0play and its ecological and moralimplications.

"6" What does $ood drama loo/ li/e at Key &ta$e "

Drama remains an important part of the balanced arts curriculum and is taughtextensively as a discrete arts sub4ect in Kears 2, - and *. <any secondaryschools have vigorous, 5ell0equipped drama departments. =ood teaching at ey!tage % builds on that in primary schools. "upils research, discuss and use

drama techniques to explore character and situations. They devise and presentscripted and improvised dramas in response to a range of stimuli, demonstratingtheir ability to investigate ideas, situations and events and an understanding ofho5 theatre can communicate in innovative, challenging 5ays. They experiment5ith sound, voice, silence, movement, stillness, light and darkness to enhancedramatic action and use theatre technology creatively. They take part in scenesfrom plays by a range of dramatists and recognise the particular contributionsthat directors, designers and actors make to a production.

Case study ei$ht >n && to &1 comprehensive has a 5ell established tradition ofschool productions. In recent years the drama department hastaught a unit of 5ork to all Kear 2 classes based on the productionfor that year. The last production 5as ,he *aucasian *halk *ircle ,open to all pupils in Kears *, &9 and &&. The Kear 2 unit of 5ork,lasting half a term @six lessons of one hourA involved the pupils5orking on the aspects of >ct :ne only. > feature of this unit 5asthat all Kear 2 classes also 5atched a dress rehearsal, in schooltime.

$efore the pupils sa5 the play, the teacher 5orked in role as astoryteller 5ith the pupils as young actors 5ho 5ould have to actout aspects of the tale and perform it to each other. The teacheralso explained to the pupils that they 5ould see a production ofthis story, performed in the round, as part of their studies. They5ould also perform in the round and had to consider 5hat effect

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Drama in schools

that might have on both actors and audience. !tarting from stillimages of key moments, each group prepared a short scenebased on a different section of the story, 5hich the teacher asstoryteller then linked together. !pecific theatre skills, such as ho5to represent a deep ravine crossed by a 5eak bridge, 5ere taughtduring some lessons. To5ards the end of the unit, short, scriptedsections of the play 5ere introduced for the groups to 5ork on.The pupils learnt some theatre criticism vocabulary during plenarysessions 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 5erecompletely absorbed in the production, as they already kne5aspects 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 contemporaryaudience, although the play told a +9990year old story and 5as5ritten 19 years ago by a =erman #e5 in the 3!. >ll agreed thatone strength of this unit 5as that it linked drama learning to theschool 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 complementDf7!; %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. Thesematerials support the drama ob4ectives in 7nglish 5ith extensive exemplificationand encourage links bet5een drama and 7nglish departments. The requirementfor pupils to study a play by !hakespeare provides one example of anopportunity for teachers of drama and 7nglish to collaborate, so that pupils;learning experiences are enriched.

Case study nineThis year * pro4ect successfully combined Drama and IT skills."upils had six 5eeks in 5hich to research and create their o5ndocumentary films on a variety of topics ranging from theholocaust to teenage pregnancy. 3sing the internet, pupilsgathered 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 5holecreative process.

The pro4ect began 5ith the class discussing the style elementsinherent in the TJ documentary genre. "upils 5atched examplesand made notes on the content. > list of suggested techniques5as then negotiated by the class, 5hich included studiointervie5s, voice0overs, re0enactments and outside broadcasts."upils 5ere then put into 5orking parties of six or seven andeveryone 5as assigned a role. The researchers used the internetand other sources to gather information about their chosen topic.The producer had to organise the information the group collected5hile the director chose the information to be used in the finalpresentation. (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 aproduction meeting back in the classroom after all the initialmaterial 5as collated. In role, they chose relevant material anddiscussed ho5 to create the desired impact. They then started toplan out their documentary, choosing characters to intervie5 andlocations. The rest of the pro4ect concentrated on the actualcreation of the documentary. The group, still in role, adopted morecharacters as intervie5ers and intervie5ees as the need arose.

The end product 5as eventually filmed, vie5ed and evaluated bythe 5hole class. The final lesson gave the teacher the opportunityto comment on good practice and praise individual pupils for effortand achievement. This feedback took the form of a media a5ardsceremony and the teacher, in role as the master of ceremonies,gave out a5ards such as best intervie5; and camera operator ofthe year;. The pupils learned about the documentary genre. Theydiscovered ho5 information and arguments are presented 5hileadopting 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 % providesopportunities for pupils to learn about theatre from other times, places andcultures and to have good access to professional theatre. 'orking 5ith expertshelps pupils to learn more about their o5n practice, including the technical

25



Drama in schools

aspects of theatre such as lighting and set design. 'hen evaluating drama, they areincreasingly accurate in their use of specialist terminology to suggest 5ays ofimproving performances or to explain 5hy they felt particular scenes or keymoments 5ere especially po5erful.

Drama lessons provide good opportunities for all pupils @see >ppendix / InclusiveeducationA to have choices and make decisions. The sensitive use of dramatechniques and strategies can also support teaching and learning across the ey!tage % curriculum, for example the use of character pot in 7nglish, and role0play inmodern foreign languages, science, history, citiGenship or "!F7 lessons. 4

7ffective drama teaching aids the development of pupils; thinking skills. Dramathrives on cognitive challenge, 5hen pupils are presented 5ith ne5 ideas orunexpected 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 strategies5hen surprising events occur and to be flexible in their approaches. "upils arefrequently required to speculate about the nature of a character, problem or mysterybefore them. They have to use deductive reasoning to 4ustify their opinions or choiceof 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 tenRe# Shoes 5as a po5erful co0production by a theatre and a dancecompany 5here dance 5as a central element in telling a disturbingand topical story set in a mythical osova. In this collaborationbet5een four schools and the education departments of bothorganisations, each of the Kear 2 classes included asylum seekersand 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 merelytelling the children the story of the play. Carefully selected fragmentsof 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.uk keystage% publications 21

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

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



Drama in schools

The final morning of the 5eek;s residency involved sharing theseissues 5ith other classes and parents. > particularly effectivemoment at the end of the sharing performance 5as 5hen (ranvera;sred shoes 5ere reverently passed among the children. It 5ere asthough (ranvera;s spirit briefly inhabited each child. :ne child felt

the po5er of dancing;, another that the spirit of the shoes dancedon;. 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 andin 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, theexamination of candidates; kno5ledge and understanding of different dramatictechniques and forms, follo5ed by the performance of their examination productionsin a public sho5case. Candidates may also have to reflect upon aspects of dramatictheory, such as interpretation and genre. <ost specifications include an option tostudy technical aspects of theatre lighting, sound and design.

Case study ele en > Kear &9 =C!7 drama group had been using a ne5spaper report onthe troubles in 6orthern Ireland, describing Catholic school children5alking through a "rotestant housing estate to go to school.

They had constructed a piece of polished improvisation over several5eeks. In this session the teacher modelled the technique of the splitscreen; 5ith a fe5 pupils 5hilst others 5atched and analysed. Thelesson continued 5ith another demonstration the use of slo5 motion5ithin a scene to add dramatic effect. This too had to be added to theimprovisations. "upils then rehearsed these t5o techniques, 5ith

subtle intervention and coaching from the teacher.

7ach piece 5as presented. The audience had to comment on theeffectiveness of each convention and ho5 this added to the overalleffect and content. "upils used their 4ournals to note do5n theessence of these t5o techniques before the lesson ended.

22



Drama in schools

:n a good =C!7 drama course, pupils have opportunities to enhance their interestin drama through additional performing activities, such as the school play, dramaresidencies, 5orkshops 5ith professional artists and theatre visits. :pportunitiesexist 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 oneof the most motivating factors for attending school for some pupils. Those 5hounderachieve in other areas can be those 5ho, because of the nature of the dramacurriculum, demonstrate their gifts and talents, 5orking sensitively and creatively5ith others and taking effective roles in school productions.

Insights, skills and confidence gained through effective learning in drama contributesignificantly to preparation for the 5orld of 5ork. >s pupils increasingly seekemployment in the creative sector of the economy @see section + 'hy drama inschools)A schools should take care to offer realistic, current advice about these

opportunities. <any pupils seek 5ork experience placements 5ithin cultural venues,alongside creative artists. Initiatives such as Creative "artnerships, deliveredthrough >rts Council 7ngland on behalf of the Department for Culture, <edia and!port @see >ppendix -A, also offer a bridge bet5een schools and culturalorganisations, enabling pupils to have a chance to experience 5orking 5ith creativeprofessionals and organisations.

Case study twel e=C!7 drama pupils 5ere given the opportunity to 5ork 5ith aprofessional athakali artist. athakali is an ancient form of dramafrom southern India, 5hich tells stories using dance, ancient signlanguage, and highly coded facial expressions and gestures. The

athakali actor conducted a 5orkshop in 5hich pupils learnt aboutthe religious context of this form of drama and the years of practiceand discipline required to become a athakali performer. Theydiscovered ho5 the athakali artist spends hours a day training toachieve incredibly detailed control of the facial muscles @including5arming up the eyeballsA and they experienced a condensed form ofthis 5arm0up routine. The pupils 5ere left exhausted, despite not

having moved from their places, and gained an informed admirationfor the skill and dedication of the artist, Ji4ay.

In the afternoon, =C7 >! > level students 4oined the =C!7 pupils to5atch a solo athakali performance in full costume. This experience5as follo5ed by a theatre trip to see a full athakali troupe perform.The pupils gained a valuable insight into drama from another culture,

2"



Drama in schools

a crucial learning experience, and gained a valuable experience todra5 from 5hen called on to explore relationships and comparisonsbet5een texts and dramatic styles of different periods and cultures; aspart of their =C!7 drama course. !ubsequently, the attention thepupils paid to their o5n use of facial expression in their 5ork 5asgreatly increased. Faving already studied the 5ay one createsmeaning in drama through signs and symbols, they approached thesemiotics of performance 5ith a rene5ed vigour. =estures gainedclarity and pupils effectively signalled characters; emotions throughsome 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 earlierkey stages. The theoretical and analytical study of drama is integrated 5ith practical5ork. !tudents study and create theatre through dra5ing on various historical,cultural and contemporary theatre practices. Theatregoing is essential to suchcourses. !chools predominantly offer =C7 > >! level Drama and Theatre !tudiesand or "erformance !tudies for students 5ishing to study drama beyond the age of&1. Jocational courses in drama and performing arts are also available and arebecoming an increasingly popular aspect of post0&1 provision.

Case study thirteen"ost0&1 students reflecting on their group pro4ect 5rote the follo5ingIn !eptember, seven of us decided to devise a comedy for our grouppro4ect. 'e brainstormed, improvised various plots and characters,5rote them do5n and, in #anuary, tested the first draft on anaudience.

>fter a professionally0led commedia dell;arte 5orkshop, 5erecognised 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 structureof our plot.

Then 5e attended a demonstration of commedia dell;arte techniquesby the Italian master, >ntonio (ava, and 5atched his production of

24



Drama in schools

Lo)e is a Drug . 'e sa5 ho5 &1th century commedia practice can stillinspire the art of comedy today.

'e revised our script. 'e no5 had the confidence to stretch ourideas to their limits our characters became more grotesqueB theaction more physicalB 5e moved a5ay from naturalism. Throughimprovisation and experimentation, 5e moved closer to thecommedia dell;arte tradition. :ur comedy 5as set in the present dayand our characters 5ere modern, but inside them 5ere the spirits of"antalone @the old miserAB several Gannis; @the crafty self0servingservantsAB the Lover @narcissistic, al5ays gaGing in the mirrorAB IlCapitano @boastful, co5ardly, sexually impotentAB and "ulcinello@brutal, self0centred, motivated by lust for po5er and moneyA. >fter anintense 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 marketsquares on simple raised platforms, at the back of 5hich 5ere boothsin 5hich to dress and store properties. 'e 5ould be a commediadell;arte troupe. 'e erected our platform and booth. The audiencegathered. 7nter the examinerN

:n a good post0&1 drama course, students may choose from many options, such asdirecting, acting, musical theatre, costume, make0up, set construction, stage design,stage management, theatre technology and arts management. :ften students 5hostudy drama beyond the age of &1 continue 5ith it into higher education. !ome 5ho5ish to enter professional theatre 5ill seek a place at an accredited drama school tofollo5 a degree in acting or a theatre design courseB others may read theatre studiesor a drama0related degree course at a university. >s at ey !tage , it is importantthat students have up0to0date and comprehensive advice on possible career routesand 5hat courses are available to them after leaving school.

Case study fourteen >s part of their >! level 5ork, pupils 5atched 23icar by <atthe5Jaughan, a play about race, hate and difference. "rior to the playthey engaged in a 5orkshop 5ith their teacher, exploring the text,subtext and use of metaphor in the theatre. They explored issuespractically and performed scenes from the play, making use ofresearch methodology, drama techniques, strategies and skills.

2'



Drama in schools

The teacher had a CD0?om 5ith images of the design and thedesigner;s research for the play. The pupils 5atched an intervie5 5iththe designer and director and explored the CD0?om for frequentlyasked questions. They used the 5eb page to send specific questionsto 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 parallelexperiences to their mainstream peers @as are pupils in mainstream schools 5ho5ork at levels significantly belo5 age0related expectationsA. =ood teaching ensuresthat 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 andfeelings and communicate their responses to the drama. (or instance, a sound0beam may be used, so that 5hen pupils move through it they create a specific effector mood, or they may be given an opportunity to control a lighting s5itch to changethe atmosphere in a scene. "uppets may also be used as a 5ay of enabling pupilsto express their ideas for movement and gesture. The use of video technology alsoenables 5ider access to the drama curriculum for pupils 5ith severe physicaldisabilities, focusing on, for example, performance solely through facial expression.'hen responding to a performance by their peers, pupils may simply elect to see aspecific part again because they liked it or they may find a ne5 5ay of interpretingthe same scene.

Case study fifteenThe group comprised six pupils from ey !tages & and + 5ithprofound 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 Sea by #eannie $aker. ?ather than being engaged in a directedrole0play, these pupils 5ere developing a sense of themselvesthrough an ability to control their performance and to impact on theirenvironment. 3sing repeated sensory stimuli, they engaged togetherin the drama, anticipated events and made independent choices.

2!





Drama in schools

Case study si,teen!tudents studying theatre studies are encouraged to take advantageof extra0curricular activities. These encompass rehearsals and mockintervie5s to prepare them for auditions for drama school and theopportunity to 5ork alongside professional artists.

T5o students interested in pursuing careers in the technical anddesign side of theatre 5orked as part of the technical support teamfor a visiting professional company, using the school;s drama studioas a performance venue. :n another occasion students took part in avocal 5orkshop, led by a senior voice and dialect coach. There 5asa focus on accents that fed back into 5ork in lessons on the set text,,he Sha#ow of a +unman by !ean :;Casey. !tudents also 5orked5ith 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 maximisesteaching and learning opportunities for all pupils. There are various 5ays in 5hichschools also make additional provision for pupils 5ho are gifted or talented indrama. These include theatre visits, 5ork 5ith theatre artists in residence, theatrediscussion groups and special pro4ects such as !aturday morning classes 5ithprofessional practitioners. 7xamples could include a director 5ho could bringinnovative approaches to pupils; devised 5ork or a designer using computer0aideddesign @C>DA. >ccredited graded examination courses, such as L><D>;s5m/ro)isation and ,he s/eaking of )erse an# /rose , are offered in a gro5ingnumber of schools. !ome schools also offer opportunities for pupils to perform their5ork locally or at national or international festivals, or to take their 5ork abroad.

Case study se enteenThe experience of 5orking 5ith three professional actors andpremiering a play in 7dinburgh made a significant contribution to theeducation 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 5ithlearning difficulties, those 5ho 5ere disaffected, and those 5ho 5eregifted and talented in drama, 5orked alongside professional artistsfrom the company. The three actors and the directors 5ere supportiveof the diverse needs of the young people. Intensive !aturday

2.



Drama in schools

5orkshops provided the ground5ork, 5ith particular emphasis onfocus and discipline. They learned specific performance skills andho5 to 5ork as a theatre company.

Three 5eeks 5ere identified for interpreting the script and charactersbefore the debut 5as held in Full. :ne individual couldn;t actuallyread her lines but learned them 5ith special assistance. During a finalrehearsal, she suggested ho5 her character could be played moreeffectively after improvising several movements, 5hich received around of applause from the cast, directors and teachers. 7dinburgh5as a successN The production 5as almost sold out every night.Despite his commitments, =odber managed to travel up to see theplay. $ack in school, senior managers could see a real difference inthose 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 includeE by contact and collaboration 5ith specialist teachers of music, dance, visual and

media artsE 5hen teachers arrange for pupils; 5ork to be taken to other sites such as

community or local arts venues, or other schoolsE 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 aremutually beneficial, offering expertise that could not be other5ise provided. Theyalso offer potential young audiences to the theatre. "rofessional theatre artists canmake a key contribution to the professional and creative development of teachers.They can provide theatre events 5orkshops that reflect cultural diversity, promotestrong 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 theseand seek to reflect and exploit the cultural diversity of $ritain today. "upils in allschools and at all key stages benefit from seeing positive images of other cultures.

2%



Drama in schools

Case study ei$hteenThe Eli3a'ethan S/ectacle involved % ey !tage pupils 5ithsevere learning difficulties and or profound and multiple learningdifficulties @"<LDA 5orking 5ith eight second0year $> "erforming >rtsstudents and the drama development officer from the local theatre.The pro4ect 5as designed to last for &+ 5eeks, 5orking 5ith studentsfor around +./ hours per 5eek and culminating in a publicperformance. The pro4ect aimed to develop the discipline and skills oftheatrical performance, to 5ork collaboratively and develop cross0curricular learning through drama, specifically in history, art and7nglish.

The public performance, 5hich lasted +9 minutes, required mostpupils to learn and sustain moves, gestures, rhythms and steps.

"<LD pupils used s5itches to create and control theatrical effects, orto become the focus at times during the performance. The pupils5ere involved in the entire creative process using improvisation todevelop a narrative structure and highlighting, 5here appropriate, plotand characterisation. 7lementary lighting @mostly torchesA andcostume @5hich the students helped to buy, reshape or makeA 5ereused to create an atmosphere intended to represent the feel of an7liGabethan fair. >spects of !hakespeare;s ,he ,em/est 5ere 5oveninto the performance and provided a spoken text 5hen necessary,allo5ing some pupils to extend further their kno5ledge of 7nglishliterature.

'orking alongside the $> students enabled the group to not onlylearn appropriate performance techniques and skills, but also to havetheir o5n individual creativity nurtured, endorsed and used inperformance. This learning process 5as reinforced and developedthroughout the pro4ect by recording digital images of the 5ork inprogress, 5hich the pupils later discussed and edited and 5hichbecame a part of the final performance.

The unique experience of a structured and self0controlledperformance, 5here each participant;s contribution 5as valued as asignificant part of the 5hole, brought re5ards in terms of self0advocacy and social cognition. It has also led to further and moreself0assured collaboration 5ith outside performance agencies andartists.

"5



Drama in schools

"rofessional theatre in schools is most effective 5hen teachers have made informedchoices regarding 5hich company to book, the visit is carefully planned and pupilsare encouraged to appreciate it as a special event for 5hich they have beenprepared. >n uninterrupted performance space should be provided so that pupilsand their teachers can focus on the play. Theatre companies provide guidance onthe maximum number of pupils for 5hom the performance has been designed andon ho5 to arrange the performance space. It is essential that actors are givenpreparation time and that the 5hole school is a5are of the visit. Teachers can getadvice regarding 5hich theatre companies to book by contacting local and nationalarts organisations and L7>s.

Drama therapy may be appropriate for some pupils 5ith special needs, especiallythose 5ith emotional and behavioural difficulties. !ome of the drama 5ork donethrough 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/



Drama in schools

4 &tructurin$ drama in schoolsDrama should be taught progressively through and across each key stage, buildingupon previous learning. The three interrelated activities of making, performing andresponding provide a useful frame5ork for identifying and assessing progressionand achievement, and match similar categories in music composing, performingand appraising, and in dance creating, performing and evaluating. (or the purposesof planning and assessment, making, performing and responding are treatedseparately, although they are frequently integrated in practice. "upils improvising, for example, are simultaneously making, performing and responding. !imilarly, theemphasis placed on each can change across the key stages. Fo5ever, the principleof balance is important and teachers should aim to include aspects of each activityin 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, presentingand producing dramas, including the use of theatre technology.#es+ondin$ incorporates reflecting on both emotional and intellectual reactions tothe drama. This reflection is deepened as pupils gain a kno5ledge andunderstanding 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 dramathroughE a broad range of stimuli, including artefacts, literature, non0fiction and non0literary

texts such as photographs and video clipsE 5orking in groups of varying siGe and as a classE performing to a range of audiencesE a range of genres and styles and via different mediaE seeing a variety of live and recorded performances from different times and

culturesE using ICT to explore and record ideas, research themes and enhance their

production 5ork

"2



Drama in schools

461 0e el descri+tions for drama

The curriculum model belo5 sho5s ho5 pupils; kno5ledge, skills and understandingof drama should develop over their time in school. It is intended to inform theconstruction of progressive schemes of 5ork for drama, to assist teachers in making

4udgements about pupils; standards and progress, and to help pupils @and theircarersA 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 pupilsto improve their 5ork and to support teachers; planning and assessment. 'hendeciding on a pupil;s level of attainment, teachers should 4udge 5hich level bestdescribes the pupil;s performance. The descriptions can be a useful basis upon5hich to set individual or group targets for improvement. It is assumed that pupils5ill 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 leveldescriptions for drama and related to individual pupil ob4ectives in schools 5ithstudents 5ho are 5orking significantly belo5 age0related expectations, includingthose in special schools. It may mean that the level descriptions need to be brokendo5n further to ensure that all pupils are given opportunities to progress. Teachersmay 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 stage 5hich outlines the early learning goalsfor creative development @see >ppendix &A, in con4unction 5ith level descriptions, toinform 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 expectedattainment for the ma4ority of pupils at the end of ey !tages &, + and % issummarised on p 9A. >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

""



Drama in schools

good practice in schools and L7>s around the country, as 5ell as national guidancefor drama, 5hich includesE grade descriptors provided by examination boards for =C!7 drama and theatre

arts examinationsE The 6ational Curriculum level descriptions for music, art and physical educationE :fsted guidance for inspecting drama from &&8&1 and post0&1 @see >ppendices 1

and 2AE The 6ational Curriculum for 7nglish @see >ppendix +AE The National Literacy Strategy NLS7 Framework for teaching: YR to Y6 @see

>ppendix %AE The ey !tage % !trategy 8 the Framework for teaching English in Years ! " an#

$ @see >ppendix AE The C> guidance documents ,eaching s/eaking an# listening in %ey Stages 0

an# 1 and +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 toE explore and research ideas, issues, plays and other texts such as diary entries,

poems, photographs, films and paintings, using a variety of drama skills andtechniques

E devise, improvise, shape and structure dramas of different kindsE use drama skills and kno5ledge to interpret a range of texts, for example play0

scripts, pictures or storiesE prepare and perform both scripted and devised dramas for various audiences,

using a selection of mediaE use and develop their kno5ledge of drama from different times and cultures, as

5ell as classic and contemporary practiceE 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



Drama in sch

el descri+tionsel Ma/in$ erformin$ #es+ondin$

7xploring, devising, shaping and interpreting "resenting and producing 7valuating and applying kno5ledge andunderstanding

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, in

small groups, act out familiar stories,5hich they can communicate to friends

u+ils can8• Demonstrate their kno5ledge of the

key differences bet5een a play and astory

• ?eflect on the situation or characterboth in and out of role

• !ay 5hy they adopted a particularmovement or voice 5hen they talkabout their drama 5ork

• 7xplain in simple terms 5hy they likea performance they sa5 or heard, orpaint a picture of their favouritecharacter in the drama

• (ind 5ays of expressing pleasure inmoments of performance that haveimpact

u+ils can8• Take part in a range of drama activities

and use simple theatredevices techniques, eg narration and stillimage

• 7xplore problems in an imagined 5orldand make up plays from stories or otherstimuli

• 3se the dialogue in existing texts as 5ellas 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 createcharacters 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 dramas,

eg a television soap; and their o5nfantasy; play

• 7xplain in simple terms ho5atmosphere is created in plays

• Talk about 5hy they made certaindecisions in their play and discussho5 their 5ork, and that of others,could be improved by more practice better staging

• <ake simple connections bet5een thedramas they experience and their o5nlives



Drama in sch

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 simplesymbolic 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 agroup, 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 of

others, sho5ing understanding ofdifferent forms and making use ofsome specialist terms, eg pantomimemelodrama and shado5 puppets

• 3nderstand ho5 meaning can besho5n through the simple use of

symbol, metaphor or imagery, egusing height and distance to indicatestatus and relationships

• $oth in and out of role, commentthoughtfully on the drama and sugge5ays of improving it

• ?eflect on the action taken bycharacters in the drama and consideralternative 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 overmovement 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 andmovement, to create or present differentcharacters in performance

u+ils can8• Demonstrate an a5areness of some

theatre traditions from different timeand places, eg athakali dancedrama, =reek or Tudor theatre

• Discuss the themes or issues in thedrama and the 5ay they 5erepresented

• ?eflect on and evaluate their o5n andother pupils; 5ork, suggestimprovements and use correct basictheatre terminology

• Comment on ho5 intended effectshave been achieved, eg the use ofsilence



Drama in sch


• 7xplore and interpret ideas, issues andrelationships 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 ofdrama to devise plays of different types

for different purposes• !ustain a defined character for areasonable amount of time

• !elect and use a range of availabletechnical resources for dramatic effects,eg a CD player, an overhead or datapro4ector and lights

• Interpret and rehearse extracts from arange of scripted plays

• 'rite scripts or short plays based ondevised 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, directingor technical contribution through the

rehearsal process

u+ils can8• ?elate, compare and contrast their

5ork 5ith drama from other timesand cultures

• Discuss the 5ay that ideas arepresented and represented, ho5plots are developed and charactersportrayed

•

Compare different interpretations othe same text, eg extracts from t5ovideos of the same play

• 3se technical terms 5hen talking or5riting about dramas they have seenor participated in

u+ils can8• Devise dramas in various forms, based

on a range of challenging issues andthemes

• =ive and accept suggestions and ideasduring the rehearsal process

• <ake plays 5hich employ symbolicrepresentations or effects tocommunicate meaning

• Create and represent clearly definedcharacters from the 5ritten 5ork, adddepth and consider motivation

u+ils can8• :rganise and present performances to

a range of audiences for differentpurposes and in a range of styles

• <ake good use of available technologyto enhance and support theirproductions

• !elect and control appropriate vocaland movement skills, 5ith some subtletyand develop them in rehearsal

u+ils can8• Discuss and give reasons for their

preferences in drama, based on theikno5ledge of theatre past andpresent, eg the use of stockcharacters dra5n from commediadell;arte

• 3se correct terminology to describetheir o5n 5ork and begin to analyseho5 actors, technicians and directorhave achieved specific effects orcommunicated ideas, emotions andfeelings



Drama in sch


• Create performances for differentaudiences and purposes using variousgenres, styles and traditions, such as achorus from =reek theatre or costumefrom abuki theatre

• Contribute creatively to the devising andcollective authorship of their o5n dramas

•

<ake considered use of appropriatetheatrical devices and technical effects toestablish atmosphere and enhance the5hole presentation, eg using simpleprops as symbols throughout the piece or creating specific colours in stage lightingand costume

• Interpret material from assorted sources,including both classic and contemporarytexts, creating pieces of drama 5hich canboth educate and entertain

u+ils can8• ?efine their 5ork in rehearsal, 5ork and

develop a piece of devised 5ork andtranscribe it into a scripted scene

• <ake full use of the availableperformance space and resources intheir productions

• Combine sound and silence, movement

and stillness, light and darkness tocreate a po5erful piece of theatre

u+ils can8• <ake connections bet5een their o5n

5ork and 5ider theatre traditions• !ho5 initiative in seeking informatio

about their drama 5ork from a rangeof sources, eg the internet

• ?ecognise and articulate strengthsand 5eaknesses in a piece of 5ork,

suggesting areas for improvement

u+ils can8• 7xperiment 5ith, explore and use 5ithout

prompting, a 5ide range of theatre

resources, techniques, genres andtraditions

• Collaborate sensitively 5ith others increating performance pieces that arechallenging, structured and appropriatefor their intended audience

• <ake use of appropriate soft5are todevelop and translate ideas forperformance

• Demonstrate imagination and considered 4ustification 5hen interpreting a range oftexts

u+ils can8• 'ork productively as part of an

ensemble, demonstrating control and

subtlety in their performances• Improvise, rehearse and perform

theatre pieces, demonstratingunderstanding of the skills of theperformer, technician or director

u+ils can8• Demonstrate a kno5ledge of theatre

from different times, places and

cultures• 'rite and talk about plays in

performance, sho5ing a goodkno5ledge of theatre conventionsand devices, eg the use of soliloquyin !hakespeare or the distancingeffects in the 5ork of $recht

• >nalyse drama in performance, usinappropriate language and theatrevocabulary to suggest improvement



Drama in sch

el Ma/in$ erformin$ #es+ondin$e+tionalformance

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 differentlevels 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 allaspects of crafting performancepieces

• Create or help others to createand sustain a range of complex

characters in performance

u+ils can8• Demonstrate a good kno5ledge and

understanding of the cultural,historical and social context of dramthey are in or see

• 3se theatre terminology accuratelyand effectively

• 7valuate their 5ork and that ofothers, supporting their comments

5ith reasoned arguments 5hich dra5on their kno5ledge of theatre formsand practitioners



Drama in schools

#an$e of le els and e,+ected attainment y the end of each Key &ta$e

?ange of levels 5ithin 5hich the greatma4ority of pupils are expected to 5orkin drama.

7xpected attainment for the ma4ority ofpupils 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



Drama in schools

' olicy facilities resources'61 &chool mana$ers and su 9ect 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 exampleE 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 forin0service training and professional development)

Fave schemes of 5ork been agreed that support pupils; progression in drama asthey 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 haveE 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 ofcultures, including those from 5ithin the school community)

Is the drama curriculum differentiated in 5ays that take account of pupils; specialneeds)

'hat provision is there for curriculum enhancement) Does the schoolE 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)



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 therequirement to teach it as part of the 6ational Curriculum means that theorganisation and development of drama in schools needs to be systematicallyplanned. 'here this is most effective, the sub4ect leader for drama collaboratesclosely 5ith the sub4ect leaders for the other arts and 5ith the sub4ect leader for7nglish, and the shared approaches to teaching and learning are reflected in anoverall arts policy.

The school improvement plan is the key to development planning and the guideto 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 artseducation and 5ithin the 6ational Curriculum for 7nglish. This 5ill be aminimum 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 ackno5ledgedE the contribution drama can make to learning in non0arts sub4ects is recognisedE schemes of 5ork are appropriately differentiated to ensure that all pupils have

equal breadth of experience, and equal opportunities to develop key skills andto progress in making, performing and responding

E the drama curriculum reflects the cultural diversity of both the school andsociety 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 placeE 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 additionalforms of communication, such as signing

E the role of film, television, and video is recognised in pupils accessing dramaE out of hours learning in drama is encouraged, such as school productions,

drama clubs, 5orkshops and theatre visits



Drama in schools

E pupils are provided 5ith up0to0date advice on drama0related careers,opportunities in the creative industries, and further and higher educationcourses

E health and safety issues are given due considerationE the quality of provision in drama is regularly monitoredE a systematic programme of staff development is provided to facilitate the

highest standards of teaching



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 practicalsub4ect needing appropriate space and resources.

In schools 5here resources are good, teachers at all key stages are suitablyqualified and experienced to teach drama. Fo5ever, some teachers of drama insecondary schools and many in special and primary schools have no formalqualification in the sub4ect. Therefore, appropriate provision for continuingprofessional development is available to both specialist and non0specialistteachers of drama and is provided byE local education authoritiesE higher education institutionsE >dvanced !kills Teachers of drama

E specialist performing arts collegesE professional theatre companiesE educational trainers and consultants

The space for drama includes an imaginative play or role play area, both indoorsand outside, in the (oundation !tage and at ey !tage &. "upils experience livetheatre and have access to many resources large cardboard boxes, fabric, itemsof symbolic costume, simple props, puppets, instruments, sound effects, stagingand basic lighting such as torches.

>t ey !tage & and ey !tage + there is access to a space that is large enoughfor pupils to move freely and flexible enough for them to be able to create andshare their 5ork. In some cases, the pupils; classroom is sufficientB in others it ismore 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 beused imaginatively. !imple forms of technology are available such as a CD tapeplayer, 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 thenumber of examination groups requiring specialist accommodation. The studiohas 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)[email protected] A

http://www.ofsted.gov.uk/

http://www.ofsted.gov.uk/



Drama in schools

non0reflective material. There is movable seating, a versatile performance area5ith staging to create different levels and environments, a dressing room oraccess to changing facilities, a drama office and adequate storage facilities.

>ccess is needed to a 5orkshop for set building. Fealth and safety standards aresatisfied throughout. -

=ood provision in secondary schools gives pupils access to performancetechnology, including a computerised lighting control system 5ith a fully equippedgrid and efficient blackout. !ound effects may be achieved live 5ith percussionand other musical instruments, and can be recorded using a sound systemincorporating suitable loudspeakers, amplification, sound mixing and playbackfacilities. "upils have access to computers 5ith soft5are relevant to set or lightingdesign and to the internet for research purposes, as 5ell as to video and ordigital cameras, monitors, JC?s and DJDs.

Drama resources in secondary schools include access to play scriptsrepresenting a 5ide range of styles and content from different times and places.

"rofessional theatre supports pupils; learning in drama 5ith schools arranging atleast one partnership at (oundation !tage, t5o at each key stage, 5ith aminimum of four for pupils opting for =C!7 drama in ey !tage and thosestudying drama at post0&1. (unding this provision requires strategic planning toensure a full entitlement for all pupils. These partnerships are 5ell planned andtake account of child protection issues 5here appropriate. . They have clearexpectations and thorough criteria for evaluation so that artists demonstrate thebest of their practice and the school gains from the opportunity.

- >dvice available from >ssociation of $ritish Theatre Technicians @555.abtt.org.uk A 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/



Drama in schools

! ConclusionThe huge increase in demand for specialist drama teachers and the continuingneed for in0service training at all phases reflects the importance that schools no5place on drama. Sa)ing a /lace for the arts 8 a sur)ey of the arts in /rimaryschools in Englan# 5as published by the 6ational (oundation for 7ducational?esearch @6(7?A in +99%. This document identifies the importanceheadteachers in primary schools place on the arts, but it also demonstrates thatthere is real concern that initial teacher training of primary teachers and in0service provision in the teaching of drama at the primary level is frequently verylimited. This is an issue that must be addressed so that all primary aged childrenare given access to the excellent learning opportunities that can be providedthrough drama.

The situation is different in secondary schools 5here the quality of specialisttrained drama teachers has never been higher. These specialist teachers oftenhave high levels of personal involvement, real passion and commitment to theartform 8 some of the qualities 5hich 5ere identified as being linked to effectivepractice in teaching in the important research study Arts in e#ucation insecon#ary schools: effects an# effecti)eness published by the 6ational(oundation for 7ducational ?esearch in +999. The importance of these samequalities has been echoed more recently by the !ecretary of !tate for 7ducationand !kills, 5ho sees finding ne5 5ays to encourage and support teachers;

enthusiasm for their sub4ects as one of the keys to improving standards ofteaching and learning.

>rts Council 7ngland;s belief that pupils should be given access to a 5ide rangeof dramatic experiences during their school years is shared by key nationalbodies the Department for 7ducation and !kills, the Department for Culture,<edia and !port, :fsted, the ualifications and Curriculum >uthority, and theTeacher Training >gency. The guidelines in this document are intended to reflectthe eclectic approaches to providing good experiences of drama in education.

>ll artforms are constantly adapting to the needs of the culture they reflect andrepresent. The nature of drama in both content and form 5ill undergo manychanges in the years to come. (or example, the influence and use of film and



Drama in schools

television, the gro5th of digital technology and the greater accessibility of highquality equipment mean that the moving image 5ill take on an even greaterimportance in our schools. It is essential that teachers continue to seek 5ays ofcombining their existing skills and kno5ledge 5ith the ne5 technologies, so thatthey can enable our young people to go on creating and producing innovativedrama and theatre for the +&st century.



Drama in schools

*++endi, 18 Drama and the early learnin$ $oals withinthe Foundation &ta$e

=uidance on the early learning goals can be found in the C> Df7! document*urriculum gui#ance for the foun#ation stage 5hich is available on C>;s5ebsite 555.qca.org.uk

Drama can provide the context for the development of many of the areas oflearning defined in the guidance, but especially for personal, social andemotional development, language and literacy, and creative development.

&ummarised e,tracts from :C*;Df & $uidance on early learnin$ $oalsComments in Osquare bracketsP are from >rts Council 7ngland.

ersonal social and emotional de elo+ment$y the end of the (oundation !tage most children 5ill O4ust some examples arelisted belo5PE be confident to try ne5 activities, initiate ideas and speak in a familiar groupE have a developing a5areness of their o5n needs, vie5s and feelings and be

sensitive to those of othersE select and use activities and resources independently

0an$ua$e and literacy$y the end of the (oundation !tage most children 5ill O4ust some examples arelisted belo5PE en4oy listening to and using spoken and 5ritten language, and readily turn to it

in their play and learningE use language to imagine and recreate roles and experiencesE sho5 an understanding of the elements of stories, such as main character,

sequence of events, and openings, and ho5 information can be found in non0fiction texts to ans5er questions about 5hen, 5hat, 5here, 5ho, 5hy and ho5

Creati e de elo+ment

$y the end of the (oundation !tage most children 5ill O4ust some examples arelisted belo5PE respond in a variety of 5ays to 5hat they see, hear, smell, touch and feelE use their imaginations in art and design, music, dance, imaginative and role

play, and stories



Drama in schools

E express and communicate their ideas, thoughts and feelings by using a5idening range of materials, suitable tools, imaginative play, movement,designing and making, and a variety of songs and musical instruments

OThe guidance on the early learning goals highlights the 5ay that 5ell plannedplay is a key to the 5ay young children learn 5ith en4oyment and challenge.P

The role of the practitioner is crucial in, for instanceE extending and supporting children;s spontaneous playE extending and developing children;s language and communication in their play

Through play, in a secure environment 5ith effective adult support, children canE explore, develop and represent learning experiences 5hich help them make

sense of the 5orld

E think creatively and imaginativelyE express fears or relive anxious experiences in controlled and safe situations



Drama in schools

*++endi, 28 <he =ational Curriculum for n$land >n$lish

Drama is a statutory requirement included 5ithin the 7nglish curriculum. Thefollo5ing extracts explicitly refer to drama and are offered as a minimumreference for Drama in schools . There are other opportunities for drama 5ithin7nglish that many drama and 7nglish teachers 5ill 5ish to use.

&ummarised e,tracts from the n$lish curriculumComments in Osquare bracketsP are from >rts Council 7ngland.

Key &ta$e 1&+ea/in$ and listenin$To participate in a range of drama activities pupils should be taught Othe

kno5ledge, skills and understandingP toE use language and actions to convey situations, characters and emotionsE create and sustain roles individually and 5hen 5orking 5ith othersE comment constructively on drama they have 5atched or in 5hich they have

participated

The range of drama activities should includeE 5orking in roleE presenting drama and stories to others, for example telling a story through

tableaux or using a narrator E responding to performances

#eadin$LiteratureTo develop their understanding of fiction, poetry and drama, pupils should betaught toE identify and describe characters, events and settings in fictionE use their kno5ledge of sequence and story language 5hen they are retelling

stories and predicting events

E learn, recite and act out stories and poemsE respond imaginatively in different 5ays to 5hat they read, for example using

the characters from a story in drama, 5riting poems based on ones they read,sho5ing their understanding through art or music



Drama in schools

The range should includeE stories, plays and poems by significant children;s authorsE stories, plays and poems 5ith patterned and predictable language

Key &ta$e 2&+ea/in$ and listenin$To participate in a 5ide range of drama activities and to evaluate their o5n andothers; contributions, pupils should be taught Othe kno5ledge, skills andunderstandingP toE create, adapt and sustain roles, individually and in groupsE use character, action and narrative to convey story themes, emotions, ideas in

plays they devise and scriptE use dramatic techniques to explore characters and issues @for example, hot

seating, flashbackA

E evaluate ho5 5ell they and others have contributed to the overall effectivenessof performances

The range of drama activities should includeE improvisation and 5orking in roleE scripting and performing in playsE responding to performances

#eadin$LiteratureTo develop their understanding and appreciation of literary texts, pupils should betaught Oamongst other experiencesP toE read stories, poems and plays aloudE identify ho5 character and setting are created, and ho5 plot, narrative

structure and themes are developed

The range should include Oamongst other textsPE play scripts

Writin$The range of forms of 5riting should include Oamongst other formsPE play scripts



Drama in schools

Key &ta$e " and 4&+ea/in$ and listenin$To participate in a 5ide range of drama activities and to evaluate their o5n andothers; contributions, pupils should be taught Othe kno5ledge, skills andunderstandingP toE use gesture, tone, pace and rhetorical devices for emphasisE use a variety of dramatic techniques to explore ideas, issues, texts and

meaningsE use different 5ays to convey action, character, atmosphere and tension 5hen

they are scripting and performing in plays @for example, through dialogue,movement, paceA

E appreciate ho5 the structure and organisation of scenes and plays contributeto dramatic effect

E evaluate critically the intentions and performance of dramas 5hich they have

5atched or in 5hich they have taken part

The range of drama activities should includeE improvising and 5orking in roleE devising, scripting and performing in playsE discussing and revie5ing their o5n and others; performances

#eadin$LiteratureTo develop understanding and appreciation of texts, pupils should be taught toE extract meaning beyond the literal, explaining ho5 the choice of language and

style affects implied and explicit meaningsE read and appreciate the scope and richness of complete novels, plays and

poemsE understand the author;s craft 8 ho5 techniques, structure, forms and styles

vary

The range should includeE t5o plays by !hakespeare, one of 5hich should be studied at ey !tage %

E drama by ma4or play5rightsE recent and contemporary drama 5ritten for young people and adultsE drama by ma4or 5riters from different cultures and traditions

O"lease note, the 6ational Curriculum for 7nglish suggests some specific ma4orplay5rights. It is expected that drama teachers may 5ell use some of these, but5ill ensure that they also prioritise excellent 5riting by ne5 5riters and by those



Drama in schools

5ho are commonly underrepresented, eg 5omen play5rights, non07uropeanplay5rights and play5rights from a 5ide variety of cultural backgrounds.P

Writin$O>s part of the development of their kno5ledge, skills and understanding, pupilsshould be taughtP'riting to imagine, explore, and entertain through Oonly the drama specificexample is cited belo5PE dra5ing on their experience of good fiction, of different poetic forms, and of

reading, 5atching and performing in plays

The breadth of study should include Oonly the drama specific example iscited belo5PE forms for 5riting from different kinds of stories, poems, play scripts,

autobiographies, screenplays, diaries



Drama in schools

*++endi, "8 Drama within the rimary &trate$y

The 6ational Literacy !trategy @6L!A falls under the umbrella of the "rimary!trategy. The follo5ing extracts from the NLS Framework for teaching: YR to Y6 are the most appropriate references to drama. They are mostly found 5ithin thetext level 5ork strand. They are offered as a minimum reference for Drama inschools. There are many other opportunities in the Literacy !trategy that 5illbenefit from a drama approach.

,tracts from the NLS Framework for teaching: YR to Y6 OThe text level 5ork numbers refer to the paragraphs given for the phaseP

?ear <erm <e,t le el wor/

#ece+tion &+ to experiment 5ith 5riting in a variety of play,exploratory and role0play situations

&/ to use 5riting to communicate in a variety of 5ays,incorporating it into play and everyday classroom life

1 1 / to describe story settings and incidents and relatethem to o5n experience and that of others

2 to re0enact stories in a variety of 5ays, eg throughrole0play, using dolls or puppets

2 - to identify and discuss characters, eg appearance,behaviour or qualitiesB to speculate about ho5 theymay behaveB to discuss ho5 they are described in thetextB and to compare characters from different storiesor plays

* To become a5are of character and dialogue, eg byrole0playing parts 5hen reading aloud stories or plays5ith others

" / to retell stories, to give the main points in sequenceand to pick out significant incidents

1 to prepare and retell stories orally, identifying and

using some of the more formal features of storylanguage



Drama in schools

?ear <erm <e,t le el wor/

2 1 % to be a5are of the difference bet5een spoken and5ritten language through comparing oral recounts5ith textB make use of formal elements in retelling

2 1 to identify and describe characters, expressing o5nvie5s and using 5ords and phrases from texts

2 to prepare and retell stories individually and throughrole0play in groups, using dialogue and narrative fromtext

& to 5rite character profiles, eg simple descriptions,posters, passports, using key 5ords and phrases thatdescribe or are spoken by characters in the text

"1 % to be a5are of the different voices in stories using

dramatised readings, sho5ing differences bet5eenthe narrator and different characters used, egpuppets to present storiesto read, prepare and present play scripts

/ to recognise the key differences bet5een prose andplay script, eg by looking at dialogue, stagedirections, lay out of text in prose and play scripts

&/ to 5rite simple play scripts based on o5n reading andoral 5ork

2 to choose and prepare poems for performance,identifying appropriate expression, tone, volume anduse of voices and other sounds

/ rehearse and improve performance, taking note ofpunctuation

4 1 & to investigate ho5 settings and characters are builtup from small details and ho5 the reader responds tothem

+ to identify the main characteristics of key characters,dra5ing on the text to 4ustify vie5s, and using theinformation to predict actions

/ to prepare, read and perform play scriptsB compareorganisation of scripts 5ith stories 8 ho5 are settingsindicated, story lines made clear)



Drama in schools

?ear <erm <e,t le el wor/1 to chart the build up of a play scene, eg ho5 scenes

start, ho5 dialogue is expressed, and ho5 scenes areconcluded

&% to 5rite play scripts, eg using kno5n stories as abasis

2 + to understand ho5 settings influence events andincidents in stories and ho5 they affect characters;behaviour

" & to identify social, moral or cultural issues in stories,eg the dilemmas faced by characters or the moral ofa story, and to discuss ho5 the characters deal 5iththemB to locate evidence in text

' 1 % to investigate ho5 characters are presented, referringto the textE through dialogue, action and descriptionE ho5 the reader responds to them @as victims,

heroes etc.AE through examining their relationships 5ith other

characters/ to understand dramatic conventions including

E the conventions of scripting @eg stage directions,asidesA

E character can be communicated in 5ords andgesture

E ho5 tension can be built up through pace, silencesand delivery

&/ to 5rite ne5 scenes or characters into a story, in themanner of the 5riter, maintaining consistency ofcharacter and style

&- 5rite o5n playscript, applying conventions learnedfrom readingB include production notes

&* to annotate a section of playscript as a preparationfor performance, taking into account pace,movement, gesture and delivery of lines and theneeds of an audience

+9 to evaluate the script and the performance for theirdramatic interest and impact



Drama in schools

?ear <erm <e,t le el wor/" to read, rehearse and modify performance of poetry

&& to use performance poems as models to 5rite and toproduce poetry in polished forms through revising,redrafting and presentation

! 1 & to compare and evaluate a novel or play in print andthe film TJ version, eg treatment of the plot andcharacters, the differences in the t5o forms, eg inseeing the setting, in losing the narrator

* to prepare a short section of story as a script, egusing stage directions, location setting

& to develop the skills of biographical and

autobiographical 5riting in role, adopting distinctivevoices, eg of historical characters

2 &% parody a literary text, describing stock characters andplot structure, language etc.



Drama in schools

*++endi, 48 Drama and the Key &ta$e " =ational&trate$y

The follo5ing extracts are specifically given 5ithin the drama strand of theFramework for teaching English in years ! " an# $ . They are offered as aminimum reference for Drama in schools . >s 5ith ey !tage & and +, there aremany other opportunities in the strategy that 5ill benefit from a drama approach.,he %ey Stage & Drama o'(ecti)es 'ank , published in +99%, provides extensiveguidance on the use of drama in supporting the 7nglish strand of the ey !tage% 6ational !trategy.

&ummarised e,tracts from the Framework for teaching English:Years 7, 8 and 9

In ?ear -"upils should be taught toE develop drama techniques to explore in role a variety of situations and texts or

respond to stimuliE 5ork collaboratively to devise and present scripted and unscripted pieces

5hich maintain the attention of an audienceE extend their spoken repertoire by experimenting 5ith language in different role

and dramatic contextsE develop drama techniques and strategies for anticipating and visualising and

problem0solving in different learning contextsE reflect on and evaluate their o5n presentations and those of others

In ?ear ."upils should be taught toE reflect on their participation in drama and identify areas for the development of

dramatic techniques, eg keep a reflective record of their contribution todramatic improvisations and presentation

E develop the dramatic techniques that enable them to create and maintain avariety of roles

E explore and develop ideas, issues and relationships through 5ork in roleE collaborate in and evaluate the presentation of dramatic performances,

scripted and unscripted, 5hich explore character, relationships and issues.



Drama in schools

In ?ear %"upils should be taught toE recognise, evaluate and extend the skills and techniques they have developed

through dramaE use a range of drama techniques including 5ork in role, to explore issues,

ideas and meanings, eg by playing out hypotheses, by changing perspectivesE develop and compare different interpretations of scenes or plays by

!hakespeare or other dramatistsE convey action, character, atmosphere and tension 5hen scripting and

performing playsE 5rite critical evaluations of performances they have seen or in 5hich they have

participated, identifying the contributions of the 5riter, director and actors

O"lease note, a list of drama terminology that should be taught is also included in

the 7nglish strand of the ey !tage % 6ational !trategy. Fo5ever, many teachers5ill ensure that a much greater range is taught and used.P



Drama in schools

*++endi, '8 Inclusi e education

In the document 5e often refer to all children;. 'hen 5e use this term 5e areexpecting teachers to recognise that the key principles of educational inclusionare being implemented.

ducational inclusion >n inclusive education is broader than a concern about any one group of pupilssuch as those 5ho have been or are likely to be excluded. It is concerned 5ithproviding equal opportunities for all pupils, be theyE boys and girlsE minority ethnic and faith groups, travellers, asylum seekers and refugeesE pupils 5ho need support to learn 7nglish as an additional language @7>LAE pupils 5ith special needs such as those 5ith disabilities, including pupils 5ith

hearing, visual or multi0sensory impairments and other physical disabilitiesE pupils 5ith special needs such as those 5ith learning difficulties emotional,

behavioural, specific, profound, severe or moderate and children on theautistic spectrum

E gifted and talented pupilsE children 5ho are looked after by the local authorityE young carersE those from families under stressE pregnant school girls and teenage mothersE those 5ho are at risk of offending

:C* $uidelines relatin$ to +u+ils with learnin$ difficultiesC> has produced guidelines for -lanning! teaching an# assessing the

curriculum for /u/ils with learning #ifficulties . They are available for all sub4ectsand include information about performance levels. The 7nglish guidelines containa useful range of ideas and opportunities for drama. The information belo5 isextracted from these guidelines and identifies the pupils 5ho the guidelines areintended to support. The full document can be found on the C> 5ebsite555.qca.org.uk



Drama in schools

,tract from the n$lish strand of lanning, teaching and assessing thec!rric!l!m for "!"ils with learning diffic!lties

'ho are the pupils)The guidelines relate to all pupils aged bet5een / and &1 5ho have learningdifficulties, regardless of factors such as their ethnicity, culture, religion, homelanguage, family background, gender or the extent of their other difficulties. Thisincludes pupils 5ho are unlikely to achieve above a Level + at ey !tage .@These pupils are usually described as having severe or profound and multiplelearning difficulties.A This also includes pupils 5ith learning difficulties 5ho maybe 5orking at age0related expectations in some sub4ects, but are 5ell belo5 inothers. @These pupils, alongside those 5ith other significant difficulties, are oftendescribed as having moderate or specific learning difficulties.A



Drama in schools

*++endi, !8 @fstedAs $uidance on ins+ectin$drama 11>1!

5ns/ecting #rama 00806 with gui#ance on self9e)aluation , +99+, aims to helpschool inspectors and staff in schools and colleges to evaluate standards andquality in drama &&8&1. The follo5ing extracts present key points from theguidance only. Kou can find the full :fsted guidance on drama &&8&1 on the:fsted 5ebsite 555.ofsted.gov.uk

&ummarised e,tracts from #ns"ecting drama $$%$6 with g!idance on self& e'al!ation

&tandards of wor/Inspectors 5ill look for the follo5ing 5hen they visit schools, as 5ell as analysing

and dra5ing evidence from performance data related to drama.

*nalysis of +u+ilsA wor/It is recognised 5ithin the guidance that volume of 5ritten 5ork may belegitimately limited as drama is a practical sub4ect. It suggests that other availableevidence needs to be found, for example focused video extracts. It suggests that5hen evaluating standards of 5ork in drama important questions are consideredincluding 5hether the pupilsE demonstrate a secure understanding of key dramatic terms, @such as script;,

improvise;, monologue; freeGe0frame;, corpsing;, and upstaging;AE sho5 kno5ledge and understanding of a range of different dramatic forms and

genresE have good performance skills, and sho5 sensitivity and an a5areness of

place, occasion and audienceE have a feel for theatre and a kno5ledge of its conventions and gro5th

historicallyE kno5 about the form and structure of dramatic performance and apply their

kno5ledge to the dramatic texts they study and the improvisations theyundertake

E choose language, gesture and movements 5hich interpret the given stimuluseffectively

E recognise, explore and sho5 understanding of the human relationships 5hichform the basis of much of the drama they study 8 for example, 5hether theyuse drama to amplify 5ork in personal and social education



Drama in schools

E kno5 and understand cultural and historical aspects of drama and itsrelationship 5ith other artforms

E kno5 and visit drama 5eb sites and see live performances or videos toimprove their kno5ledge and understanding and increase their experience

When tal/in$ to +u+ilsThe guidance advises that inspectors; questions need to take account of theground the pupils have covered by the time the discussion takes place, but usefullines of enquiry include questions aboutE the difference bet5een scripted and improvised dramaE the kinds of stage techniques that can be used and to 5hat effectE the considerations that can change the 5ay drama is stagedE the difference bet5een different genres 8 for example, pantomime, farce and

tragedy

>s 5ell asE pupils; sense of improvement in drama skillsE 5hat they have learnt about performing as individuals and as part of a groupE 5hat helps pupils learn and 5hat prevents them learningE ho5 they improve their 5ork and recognise their o5n improvement

<eachin$ and learnin$Inspectors 5ill evaluate ho5 effectively pupils acquire kno5ledge, skills andunderstanding in drama and 5ill consider 5hether pupilsE sho5 understanding of 5hat they are learning 8 for instance, by successfully

applying the kno5ledge and skills they have been taught to improvise dramaticscenes 5hich explore themes and issues and convey feelings and emotions

E plan and perform their drama 5ith an a5areness of audience and purposeE use appropriate dramatic techniques and sho5 an appreciation of style and

conventionE understand the benefits of collaborative 5ork and use this opportunity to learn

more 8 for example, 5hen 5orking on dialogue or chorus

E employ music, light and costume kno5ledgeably, to enhance their drama forexample, to set the scene, create atmosphere or suggest emotions

E are interested and motivated so that, for instance, they produce pieces ofsustained research, find their o5n stimulus material 8 including reading texts 85ork imaginatively, and make use of theatre visits and information andcommunication technology @ICTA



Drama in schools

They 5ill also evaluate other factors affecting quality such asE the management and leadership of drama, the profile it is given in the school

and, if it is taught by more than one teacher, ho5 5ork is planned, co0ordinated and monitored

E extra0curricular opportunities and ho5 they add to pupils; kno5ledge, skills andunderstanding, both in drama and more 5idely @for example, in oral confidenceand in spiritual, moral, social and cultural learningA



Drama in schools

*++endi, -8 @fstedAs $uidance on ins+ectin$ +ost71!drama and theatre studies

5ns/ecting /ost906 #rama an# theatre stu#ies , +99&, aims to help schoolinspectors and staff in schools and colleges to evaluate standards and quality indrama and theatre studies for students of post0&1. The follo5ing extractspresents key points from the guidance only. The guidance also includes a sectionon other factors that affect quality such as facilities and resources. Kou can findthe full :fsted guidance on post0&1 drama on the :fsted 5ebsite555.ofsted.gov.uk

&ummarised e,tracts from #ns"ecting "ost&$6 drama and theatre st!dieswith g!idance on self&e'al!ation

&tandards and achie ementInspectors 5ill dra5 on an analysis of students; 5ork, the discussions they have5ith them and lesson observations, as 5ell as using information that has abearing on standards and achievement such as trends in resultsB comparisons5ith other sub4ects and coursesB distributions of grades, particularly theoccurrence of high gradesB value0added informationB the relative performance ofmale and female studentsB the performance of minorities and different ethnicgroupsB trends in the popularity of coursesB drop0out or retention ratesB students;destinations. Inspectors 5ill focus on the extent to 5hich studentsE use a specialist vocabulary confidently and sustain discussion on a textE assess and account for their responses to plays they have studiedE give a 5ell0focused analysis of the impact of a piece of theatre they have seenE demonstrate a sound understanding of technical and design elements of

theatre and performance technology @such as lighting, costume and soundAE understand the role of director in theatrical productionsE sho5 some understanding of drama and the performing arts in their current

and historical context

E move effectively from text to performanceE 5ork 5ith devised and documentary material as 5ell as established textsE 5ork effectively and responsibly as members of a groupE plan and deliver a production, or elements of a productionE perform convincingly and 5ith confidenceE demonstrate an appropriate standard of acting skills in voice and movementE evaluate their o5n performances and achievement



Drama in schools

<eachin$ and learnin$'hen evaluating teaching and learning, inspectors 5ill be looking for thefollo5ingE the teacher;s sub4ect kno5ledge in drama and theatre studies and ho5 far

he she demonstrates a fluent and confident kno5ledge of plays, play5rightsand history of theatre, from =reek origins to !hakespeare, 7uropean theatreand &*th Century developments, and on to $recht and contemporary theatreBthis should include the social and cultural content of the plays concerned@sub4ect kno5ledgeA

E the extent of the teacher;s practical skills in acting, directing and design andpractical stagecraft, and a general understanding of the place of drama insociety @sub4ect kno5ledgeA

E the extent to 5hich the teacher can teach and demonstrate the styles andconventions of drama in practical, performance terms, including the specialist

terminology @sub4ect kno5ledge, methodologyAE the 5ays in 5hich the teacher develops students; skills and critical

understanding of dramatic tradition and genres, and teaches the necessary5ritten language skills of evaluation and analysis required for textualinterpretations @methodology, expectationsA

E the extent to 5hich the teacher teaches students ho5 to research, devise,construct and present documentary and or improvised pieces for a range ofaudiences, and to develop ideas for dramatic exploration @planning,methodology, expectationsA



Drama in schools

*++endi, .8 =ational initiati es in the arts that im+act ondrama in schools

*rtsmar/ is a national a5ard available for all schools in 7ngland. It is abenchmark for provision in the arts and a symbol of recognition a5arded by >rtsCouncil 7ngland and supported by the DC<!, Df7!, C>, :fsted and !port7ngland. >rtsmark follo5s a school0led application process, beginning 5ith anaudit of arts provision and a 5ritten application validated by assessment. It is aprogressive scheme 5ith three levels >rtsmark, >rtsmark !ilver and >rtsmark=old. $oth the >rtsmark application form appropriate to the school;s phase ofeducation @primary, special or secondaryA and the specific guidance materialsrelated to it are available on the >rtsmark 5ebsite @555.artsmark.org.ukA.

*d anced &/ills <eachers @>!TsA are recognised through external assessment

as having excellent classroom practice. They are given additional payment andincreased non0contact time in order to share their skills and experience 5ith other teachers, 5ithin their o5n and other schools. This can include providing model;lessons to a 5hole class or to a target group 5ith staff observing, eg pupils 5ith7nglish as an >dditional Language @7>LA, or supporting professionaldevelopment by monitoring lessons and advising teachers on classroomorganisation, planning and methodology @555.teachernet.gov.uk astA.

Creati e artnershi+s is a government0funded programme that aims to giveschool children in deprived areas throughout 7ngland the opportunity to developcreativity in learning and participate in cultural activities. Its vision is based ondeveloping long0term partnerships bet5een schools and cultural and creativeorganisations. These include architects, theatre companies, museums, cinemas,historic buildings, dance studios, recording studios, orchestras, and 5eb sitedesigners. It therefore provides excellent opportunities for drama in schools fromthe foundation years to post0&1 @555.creative0partnerships.comA.

:C*As *rts *li e and Creati ity +ro9ects . The C> has launched the >rts >live5ebsite, 555.qca.org.uk artsalive, to identify 5ays in 5hich the contribution of

the arts to pupils; education can be maximised. The site invites teachers to sharetheir 5ork in the arts in order to make good practice available to all schools. C>has also established a pro4ect to investigate ho5 creativity can be developedacross the curriculum, focusing on key stages &, + and %. The related 5ebsite,555.ncaction.org.uk creativity index.htm, enables teachers to share theirpractice in relation to creativity and find out more about the development ofcreativity.



Drama in schools

&+ecialist &chools are central to the government;s goal of increasing diversityand improving standards in secondary education. The !pecialist !chools"rogramme helps schools to build on their particular strengths, establish adistinctive ethos and achieve their targets to raise standards in partnerships 5ithprivate sector sponsors, supported by additional =overnment funding. !choolscan apply for different specialisms, including arts. !chools seeking !pecialist >rtsCollege status may either focus exclusively on one of the three broad arts areas,ie the performing @including dramaA, visual and media arts or, if they prefer, focusmainly on one of the broad areas but include an element from one of the othert5o. (or example, 5here the main focus is on performing arts, say music anddrama, the other focus sub4ect could be art and design. !chools may alsocombine an arts specialism 5ith another specialism. !chools interested inapplying for !pecialist >rts College status should, as part of the applicationprocess, contact their regional office of >rts Council 7ngland at an early stage, to

help determine their place 5ithin the local arts [email protected] specialistschoolsA.



Drama in schools

*++endi, %8 Mem ers of the writin$ $rou+ for(rama in schools: second edition

> 5riting group led by <arigold >sh5ell and en =ouge produced this edition ofDrama in schools. <embers 5ere

Mari$old *shwell , Director of Fands :n C"D> Ltd, professional developmentconsultancy in the arts

=orinne Bet9emann , Director of 7ducation and Learning, >rts Council 7ngland

*listair Blac/ , freelance drama trainer and consultant

0i Cado$an , 7ducation and Learning, >rts Council 7ngland

Ken ou$e , freelance arts education consultant

hili+ 3edley , >rtistic Director, Theatre ?oyal, !tratford 7ast

&tuart 3errin$ton , Feadteacher, <edlock "rimary !chool, <anchester

#osamunde 3utt , Director, Theatre Centre

#oy =e itt , Chair, <ilton eynes Theatre and =allery Company

0orna out , >dvisory Teacher for Drama, 'igan L7> >rts >dvisory and !upport!ervice

Eeena #asheed , Fead of Drama, Deacons !chool, "eterborough

>n advisory group also played an important part in the updating and re5riting ofDrama in schools . The follo5ing organisations 5ere representedE >rts Council 7ngland

E Department for 7ducation and !killsE 6ational DramaE :fstedE ualifications and Curriculum >uthorityE Teacher Training >gency



Drama in schools

*c/nowled$ements

>rts Council 7ngland and the authors of Drama in schools 5ould like to thank thefollo5ing schools, theatre companies and individuals, 5ho provided examples ofpractice in drama

$ispham Figh !chool and >rts College, $rune "ark Community !chool,Coombes Infant !chool, Cranbourne !chool, The 7mmbrook !chool, #ames?ennie !chool, ennel Lane !chool, ings5ood Figh !chool, Lo5 FallCommunity "rimary !chool, <aiden 7rlegh !chool and Jisual >rts College,!tantonbury Campus, !teyning =rammar !chool, The "lace, 3nicorn Theatre.

!tephen >lty, #an $eats, "aul $unyan, <aureen $ukht, aren $utler, CorinnaCart5right, #acqui Crooks, =aynor Davies, >nne (enton, #im Folian, ?on "rice,

!helley 3pton, Chris Jaudin, Cathy 'ardale, and !arah 'ind0Co5ie.

'e 5ould also like to thank all those other teachers, artists and professionals5ho contributed their time, energy and ideas to the document during theconsultation process including

"atrice $ald5in, !tuart $ennett, !arah $ergson, Danny $raverman, #ane $ryant,!tephan $urky, aren $utler, "hilip Christopher, <arie Costigan, erry Cliffe,"atty Cohen, #ohn Coventon, "eter Da5 F<I, Dr <ike (leming, >nton (ranks,!ue =ood, Tony =raham, Clive =oodhead F<I, #im Folland, <ark Fo5ell0<eri,Carol #ay, <ichael #udge, Lucy ay, >ndy empe, Tony night, >llan Lindsay,

ath <acdonald, "auline <arson, David <ontgomerie, David <orris, #onathon<ottram, Chloe 6e5man, 6ottingham "layhouse TI7, >llan :5ens, Caroline:;(laherty, :n: Theatre, :xford !tage Company, "op03p Theatre, ?ebecca"eacock, #ohn ?ainer, <ark ?eid, Theatre Centre, >llie !pencer, #ackie Taylor,#ohn Taylor, en Taylor, !imon Taylor, #on Taverner, 7laine 'ilcock, David'ood, >strid 'atts, Tim 'ebb, >lastair 'est, "aul 'right, Carolyn Kates, and<atthe5 Koung.



>rts Council 7ngland& =reat "eter !treetLondon !'&" %6"hone 9- / %99 1+99(ax 9+9 2*2% 1/*9Textphone 9+9 2*2% 1/1enquiriesQartscouncil.org.uk555.artscouncil.org.ukCharity registration no &9%12%%

Do5nload this publication and vie5 the full list of >rts Council 7nglandpublications at 555.artscouncil.org.uk

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7mail direct.ordersQmarston.co.uk

Drama in schools: secon# e#ition I!$6 902+-209*2*0&R&+ for individual copies or R- per copy for orders of +9 copies or more.

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S>rts Council 7ngland, :ctober +99%

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Drama in schools