International association of Theatre for Autism e-journal

Contents

Editorial: Entering the Circle

Drama as intervention for individuals with Asperger’s syndrome by Kara Mariziali

Tribute: Dr Stanley Greenspan by Elaine Hall

Book Reviews

Feature: Joe’s Giant Leap by Angelica Rose

Interview: Meet Special Needs therapist Rachel Plakstis by Liza Lentini

Poetry Corner

Drama Autism Workshop by Anna Hagardon

ENTERING THE CIRCLE

Autism Spectrum Disorder (ASD) (Greek autos‐self) is a neurobiological developmental condition

whose chief features include impairment in social interaction, communication skills, and

adaptive functioning. In most cases, the individuals have average intelligence. What makes ASD

particularly challenging to address is that most affected individuals look ‘normal,’ thus making

the condition invisible. ASD manifests itself in early childhood, often before the child is three

years and is four times more common in boys than girls. Isaac Newton, Mozart, and Albert

Einstein are suspected to have been in the spectrum. Early diagnosis and intervention are key to

better long term outcomes, although there are no biomedical approaches to treatment.

Autism in Popular Culture

Autism is portrayed in several prominent films, such as Rain Man, Forrest Gump, and Mozart

and The Whale. Notably Albert Einstein, Bill Gates, Beethoven, Isaac Newton, Henry Ford and

Van Gogh have all been speculated to have forms of autism.

Autism plays a central part in certain novels as well, such as the critically acclaimed The Curious

Incident of the Dog in the Night‐time, by Mark Haddon. The story centers on Christopher Boone,

a fifteen‐year‐old who has Asperger’s Syndrome After discovering a murdered dog in his garden

investigates the incident, leading to him having to overcome his Asperger’s to solve the mystery.

Autism also plays a role in Margaret Atwood’s Oryx and Crake. One of the main characters,

‘Crake’, studies at ‘Asperger’s U’ and his autism, makes him stand above others, and gains him

reward in a world where his specific intelligence is celebrated.

A Different Way of Being

Thanks to a rights based approach in the disability sector, autism is now being viewed simply as

a different way of being; another way of viewing the world; and not a disease or disorder to be

‘cured.’ Thus from disease to difference, the inclusive approach encourages people to accept

and embrace neurodiversity (tolerance of people regardless of neurological wiring) in contrast

to the earlier approach of a focus on neurotypicals (people not in the autism spectrum). In

recent years, a growing realization for educational programs and curricula that support children

and adults with autism spectrum conditions has resulted in several arts based modalities, special

education, and behavioral interventions to foster and nurture the skills and talents of people in

the spectrum.

A person with autism is as different from a neurotypical (a person who is not in the spectrum) as

a cow is from a sheep. Temple Grandin, author and well known veterinary shelter designer, and

a person in the spectrum, famously described being autistic as an “anthropologist on Mars.”

For people with autism, theatre based activities open a world of possibilities. While traditional

therapies have little to offer as therapeutic interventions for autism, arts based therapies with

their focus on what people in the spectrum can do as opposed to what they cannot, therefore

act as a tool of empowerment in rebuilding their lives with independence and dignity.

As a journalist I was privileged to witness a theater‐based workshop for children with autism

held in January 2010 at Madurai, South India. Participants went through several theatre based

activities such as body sculpting, body awareness, use of masks, sounds, storytelling, painting,

and experiential games such as trust walk (sensory integration of the seven senses), human

machine (to foster team building), and bamboozle (to match tone of voice with appropriate

emotions such as fear, anger, sadness, and joy). I watched as many participants make small

shifts that enabled them inch a little closer inside the circle. My own circle too widened to

encompass a more inclusive view of the possibilities and potential of the human spirit.

The current issue of the IATA e journal showcases some of the recent approaches to arts based

interventions for people with autism and a selection of poetry by people in the spectrum. Their

vigor of imagination and surge of creativity gently but powerfully reminds us that limitations are

all in the mind and therefore can be transcended. The endless possibilities of such a choice is a

source of wonder and joy.

Nandini Murali

Running head: A PILOT PROGRAM USING DRAMA AS AN INTERVENTION FOR

INDIVIDUALS WITH ASPERGER’S SYNDROME

A Pilot Program Using Drama as an Intervention for Individuals with Asperger’s Syndrome

Kara Marziali

A PILOT PROGRAM USING DRAMA AS AN INTERVENTION FOR INDIVIDUALS WITH

ASPERGER’S SYNDROME

Abstract

Asperger’s Syndrome, or high‐functioning autism, is a pervasive development disorder. Individuals with

Asperger’s have impaired social interactions and difficulty discerning nonverbal communication. One

solution is a drama‐based curriculum for this population of students. The research suggests that

individuals with Asperger’s Syndrome can benefit from a theatrical approach in order to learn social

skills. Role playing may help the Asperger’s child read body language and understand social cues.

Additionally, both interpersonal skills and self esteem seem to be a byproduct of the drama‐based

curriculum. The implications of this research can serve as an intervention for those on the autistic

spectrum, which affects one in every 91 children.

Keywords: Asperger’s Syndrome, high‐functioning autism, drama, theatre, role playing social

skills, nonverbal communication, interpersonal relationships

NOTE: Throughout this document the author uses Asperger’s Syndrome and High Functioning Autism

interchangeably. Although there is some controversy over the differences in these two conditions, both

exist on the Autistic Spectrum, which can be seen as a continuum of conditions. Therefore, for the

purposes of the drama curriculum that is being created as a result of the research in this paper, when the

words “high functioning autism” is used it refers to those on the autistic spectrum with Asperger’s

Syndrome.



Introduction

Individuals with a pervasive developmental disorder such as Asperger’s Syndrome have impaired social

interactions. Known also as high‐functioning autism, these students often have delays in their

socialization and lack effective communication.

Those with Asperger's Syndrome display varying difficulties when interacting with others. Some children

and adolescents have no desire to interact, while others simply do not know how. More specifically,

they do not comprehend the give‐and‐take nature of social interactions. They may want to lecture you

about the Titanic or they may leave the room in the midst of playing with another child. They do not

comprehend the verbal and nonverbal cues used to further our understanding in typical social

interactions. These include eye contact, facial expressions, body language, conversational turn‐taking,

perspective taking, and matching conversational and nonverbal responses to the interaction. (Sohn &

Grayson, 2005, p. 3)

Asperger's Syndrome is a neurobiological disorder that affects an individual's ability to participate in

reciprocal conversation, mutual exchange of pleasantries, and a basic understanding of non‐verbal cues.

The Asperger child is often marked as odd. He can lack self esteem or be exhibit depressive tendencies

“due to their painful awareness of the social differences that exist between them and their peers. They

have a desire to ‘fit in’ socially, yet have no idea how to do this” (Stokes, 2001, p.28).

In addition to medication, intervention strategies can include group therapy, cognitive behavioral

therapy, and/or occupational therapy. Social skills are a necessary part of functioning in society;

therefore role playing exercises, practicing the give and take of conversations, and learning to read body

language ought to serve the Asperger child well in a classroom setting. The research in this paper will

investigate ways drama can help this population acquire better socialization skills and interpersonal

proficiency. Furthermore, the findings will be a springboard for the creation of a drama curriculum with

a variety of exercises that can be used within a classroom setting. The goals are to have the Asperger’s

child become more comfortable in social settings and build his self‐esteem. This can be done by using

theatre arts to modify behavior and reduce anxiety around certain situations.

Problem Statement

Although Asperger’s Syndrome is difficult to diagnose, “experts in population studies conservatively

estimate that two out of every 10,000 children have the disorder” (National Institute of Neurological

Disorders and Stroke, 2005, para. 5). Many professionals, including psychologist and author Dr. Tony



Attwood, estimate that it is as high as one in every 250 people in the United States (Bissonnette, 2009,

para. 3; Asperger’s Association of New England, 2009, para. 3). However, a 2009 study suggests that it is

actually one in 91 (American Academy of Pediatrics, p. 1395). In any case, educators need to find

interventions that will help these children function in society. Since nonverbal communication accounts

for about 93% of human information exchange (Bissonnette, 2009, para. 4), it is imperative that children

with Asperger’s Syndrome learn to read non‐verbal cues, respond to social exchanges, and relate to

others.

Purpose Statement

Because children with Asperger’s Syndrome often lack the common sense most of us take for granted in

social settings, role playing or drama therapy may be beneficial. “Drama is a powerful tool for teaching

social skills, body language, and the mechanics of social interactions,” (The Drama‐Play Connection,

2009, para. 5). Liana Peña Morgens, Ph.D., Clinical Neuropsychologist and Director of Programs for The

Drama‐Play Connection, runs a summer program that helps student with disabilities. Located in

Waltham, Massachusetts, this unique program is a theatre arts workshop designed to teach pragmatic

language skills and foster the development of social skills through the art of drama. “In drama,

understanding concepts, making and interpreting inferences, taking another’s perspective, and

formulating language are all key components in working on a scene” (Schneider, 2007, p. 19‐20). The

purpose of a drama‐based curriculum for Asperger’s student is to create a safe, exploratory program for

children to interact. The methods used in a classroom setting, such as role playing, can aid in a child’s

social and interpersonal development. The research within this paper will demonstrate that a drama‐

based curriculum can have significant impact on the social and behavioral maturity of an Asperger’s

child. The exploration of this subject will establish the need for a theater arts curriculum, and it will lead

to a series of activities developed for a classroom setting.

Educational Goals

According to educator and author Susan C. Anthony, there are several justifications for utilizing a

theater arts curriculum in education. On her website page entitled “Creative Drama” under the section

“Reasons for Using Creative Drama in Education” she notes:

Social awareness is increased. By working with others and pretending to "be" others, a child can learn to

understand himself and others and gain awareness of interactions between people and the effects of his



actions upon others. Children often work in groups toward a common goal. This provides an opportunity

for children to learn cooperation as well as leadership, followership, and discussion skills. Problem

solving and resourcefulness are learned as children take what is available and use their imaginations to

use what they have for a variety of purposes. Communication skills are emphasized in creative drama as

children express themselves using voice, hands, face and body. (Anthony, 2008, skills 2‐5)

Ultimately, the educational goal of this research is to develop a drama curriculum that can be

incorporated into the classroom so that the aforementioned objectives can be met. Additionally, a two‐

week pilot program scheduled for the summer of 2011 is currently being developed. Not only would

these endeavors benefit the Asperger’s student, but it could potentially help the entire class develop

their social skills. The aim is to increase the confidence of the Asperger’s child and decrease their social

frustration through the drama curriculum. As previously stated, the research will lay the foundation for a

theatre‐infused curriculum. It is the author’s objective to create a variety of activities that will enhance

the social skills of Asperger’s students. To measure these goals, one needs to observe the progression of

social maturity and behavioral milestones of these children.

Path Analysis

The Path Analysis Model (Appendix A) represents the concentration and direction of the research, as

well as depicts the variables and influencing factors that affect the project.

Goal

The goal of the project is to implement drama‐based activities that can be incorporated into a

curriculum for children with Asperger’s Syndrome. There are two variables and several influencing

factors that will shape how the effectively the goal can be met.

Two main variables identified in the Path Analysis Model are the instructors’ abilities and/or aptitude

and the students’ abilities and/or aptitude. An instructor’s skill set is an important factor and is

connected to the stated goal because the execution of a drama‐based curriculum can only be carried out

by a competent educator. Additionally, the realization of the program cannot be achieved unless there

are special needs students to instruct. There is a correlation between the two variables, as an

instructor’s abilities and/or aptitude have a direct bearing on a students’ ability to make strides in class.

Educators have an opportunity to give students the building blocks that they will use throughout life. For



the implementation of this research and the development of a pilot program scheduled for two weeks in

the summer of 2011, the author intends to work with Troubles Shores, Inc., a non‐profit theater

organization in Edgartown, MA to further develop the curriculum.

Influencing Factors

The author has identified four influencing factors for each variable. The aspects that affect instructors’

ability/aptitude are his or her knowledge of Asperger’s Syndrome, previous drama experience, individual

training provided, and time in class with the students. The factors that influence students’ ability and/or

aptitude are the child’s grade level, their social skill set, previous drama experience, and time in class

with their peers and the teacher. All of these factors are discussed below.

Instructor’s Ability/Aptitude

Connected to an instructor’s ability/aptitude is his or her knowledge of Asperger’s Syndrome, previous

drama experience, individual training provided, and time in class with the students.

One will notice that there are arrows linking “Knowledge of Asperger’s” and “Previous Drama

Experience” to “Training Provided.” This is because the amount of training needed may be simplified if

the instructor’s knowledge of Asperger’s Syndrome and their previous experience with drama are

substantial. Dr. Jeanie McAfee, an authority on teaching social skills to students with Asperger’s asks,

“So who can teach a drama class for students with autism? With a little guidance any interested,

committed person can” (Davies, 2004, p. x). All that is truly required is someone dedicated to having fun

and helping the population of students feel at ease with their drama journey.

Student’s Ability/Aptitude

Factors that influence a student’s ability and/or aptitude are the child’s grade level, their social skill set,

previous drama experience, and time in class with their peers and the teacher. These aspects influence

the implementation of a drama curriculum, since the capacity for effective intervention is based on each

student’s ability/aptitude.



Psychologist and author of several books on Asperger’s Syndrome, Tony Attwood wrote the foreword in

Acting Antics by Cindy Schneider. He believes that a program of this nature is helpful for teenagers with

Asperger’s Syndrome, especially those individuals who “can be reluctant to participate in programs that

imply the participants have a social disability, due to a fear of the contemptuous comments of peers”

(Schneider, 2007, p. 9). Dr. Attwood also feels that the best way to learn is by having fun and that drama

“will encourage people with Asperger Syndrome to act and enable them to react in everyday situations”

(Schneider, 2007, p. 9). The relaxed, safe atmosphere of an acting class can lend itself to making the

student comfortable in uncharted territory. It can also help motivate the child, increase their social

aptitude, and enhance their interactions with peers.

Explanation

The variables and influencing factors mentioned above are significant because they determine the

success of the goal. Below are a few examples to support the Path Analysis Model.

One key variable is a student’s aptitude for a drama curriculum. For the purposes of the author’s

research, the drama curriculum being implemented would be designed for high‐functioning students on

the autistic spectrum, such as those with Asperger’s Syndrome. These are children who have an

understanding of language arts, but often have difficulty implementing those skills in a social setting. In

her book, Acting Antics: A Theatrical Approach to Teaching Social Understanding to Kids and Teens with

Asperger Syndrome (2007), Cindy Schneider explains:

Students with Asperger Syndrome (AS) are those who developed significant language skills by the age of

five. They have substantial spoken vocabularies and age‐appropriate syntax. These youngsters, however,

have difficulty with the reciprocal nature of conversation. Their language can tend to be more like giving

a speech than having a conversation. (Schneider, 2007, p. 15)

This is significant because although Asperger’s students are highly functioning individuals, they have

social deficits that label them as developmentally disabled. It does not necessarily mean they are

cognitive disabled.

Another influencing factor for the student is his grade level. It is the author’s intent to craft a curriculum

for middle school children, as peer relationships often become challenging during the pre‐teen and teen

years of a child’s life.



The youngsters who are dealing with this diagnosis often have social deficits that significantly

impact their lives. Because they are often bright and quite verbal, their disability is a hidden one

and they are often mistreated by peers and sometimes adults. Low self esteem becomes a huge

issue for these youngsters, particularly as they approach middle school years. We must do a

better job of teaching these youngsters how to understand other people so they are better

equipped to function successfully in society. (Schneider, 2007, p. 18)

An influencing factor that must be addressed is the amount of time the drama curriculum would take in

order to be an effective intervention. Amelia Davies, author, actress and advocate for individuals with

autism, suggests a realistic schedule consisting of “an hour block of time, organized into 50 minutes of

drama training and 10 minutes of structured break time” and “ten weeks of that scheduled hour”

(Davies, 2004, p.6). She also recommends five to eight students with Asperger’s Syndrome. In the

interest of time, this number of students is ideal.

Needs Assessment

Two things to consider are the curriculum content and the teacher behavior associated with

implementing a drama‐based curriculum for Asperger’s children. For simplicity sake, the author has

chosen to use the pronouns she/her when referring to the teacher/instructor and he/him when

referring to the Asperger’s child/student.

As cited this paper, Asperger’s children have significant deficits in social interactions. By executing a

drama‐based curriculum during the child’s formidable preteen years, he can develop significant social

skills, enabling him to relate better to peers, build his self‐esteem and function more effectively in

society. For mainstreamed, high‐functioning children on the autism spectrum there are few classroom

opportunities to develop interpersonal skills. A drama‐based curriculum, specifically designed as an

intervention to improve social interactions, would be a benefit to this population. The content for this

curriculum would include improvisational exercises, role playing and problem solving exercises, mime

and movement.

Teacher actions concerning the classroom environment are a significant factor in achieving success. She

needs to provide a safe, non threatening atmosphere, where students feel comfortable taking theatre

risks. A theatre risk is any drama‐based activity, which usually requires a level of non‐inhibition and

trust. Students must feel safe and willing to participate. He must feel comfortable with the teacher and

the other students in class. It is up to the instructor to create this environment.



The teacher is also the role model for the students. She, like the students, will be performing, taking

risks and role playing.

Role is the basic ingredient of work in drama. When the children and teacher assume roles in a

drama, they are acting “as if” they are someone else. They are experimenting with what it feels

like to be in someone else's shoes and developing empathy with those other lives. They are not,

like the actor, portraying a fully‐developed character. Teacher in role is one of the most effective

ways for teachers to work in drama. By taking on roles, the teacher is able to provide the

students with a model through the use of appropriate language and apparent commitment to

the process and to the work. Role enables the teacher to work with the children and to facilitate

the shaping of the work from within. (Saskatchewan Learning, 2008, para. 3)

Moreover, the teacher facilitates learning within a classroom setting. Although she does not have to be

an acting teacher, she is accountable for the learning environment.

The teacher's task is to provide a variety of experiences in exploration, expression and reflection,

and to structure and guide activities in the class. The teacher must be able to adapt experiences

and structures to meet the needs of the students at any given time and be willing to turn over to

the students more and more responsibility for their own learning. The teacher is ultimately

responsible for ensuring that meaningful learning takes place. Some of the ways teachers guide

are by structuring units and lessons, suggesting, observing, questioning, challenging, participating,

working in role, consulting, anticipating, sharing responsibility and evaluating. (Saskatchewan

Education, 2008, para. 1‐2)

Application Context

In researching the implementation of drama as an intervention for Asperger’s children, four skill areas

need to be addressed—communication skills, resource management skills, information skills and

collaboration skills.

Communication Skills

Communication skills are an essential part of life. In order to function on the most basic level, humans

need to communicate. Whether we are exchanging pleasantries, engaging in casual conversation or

discussing complex ideas, it is made possible through verbal and nonverbal communication. Ideally, we



use both methods in concert to convey messages. As previously stated, 93 percent of human

information exchange is through nonverbal communication (Bissonnette 2009, para. 4), therefore, it is

imperative that children with Asperger’s Syndrome learn to read nonverbal cues, respond to social

exchanges and relate to others. Individuals with Asperger’s Syndrome are most likely high functioning

students with a basic understanding of language arts. They simply lack the skills to engage in the give

and take nature of conversations or pick up on social cues.

Resource Management Skills

Resource management, as it pertains to this project, relates to overseeing the curriculum and the

resources available, including materials and time. It is the author’s intent to create a drama‐based

curriculum and develop a program for implementation in the summer of 2011. This paper is the genesis

of that program, and some of the design is summarized throughout this report. Additionally, a few ideas

for the course are featured in Appendix B and C.

Information Skills

Although the curriculum and information in a theatre arts program is not difficult to comprehend, the

Asperger’s child does not have the inherent skills, executive function or common sense his peers have in

social situations. Therefore, he does not process the information without repeated lessons and

practicing real‐life situations.

So while it’s unrealistic for your students to be able to physically interact in an invasive and

complex way (as they would need to during a performance of a play) right off the bat, you can

expect them to work towards becoming more socially comfortable. (Davies, 2004, p. 4)

The students may not win an Academy Award, but they ought to be able to socialize with their peers.

The information taught should lead to better interpersonal skills for the Asperger’s child.

Collaboration Skills

Collaboration is at the very heart of drama. It is a shared experience, engaging people in many different

types of exchanges. The Asperger’s students will work together to learn new skills in social situations,

team building techniques that will enhance peer relations, and problem solving skills. All members of the

class should learn from each other and establish relationships within the group. Drama is a symbiotic



partnership for learning. It is through the alliance with his classmates, the Asperger’s child will learn to

develop social skills. He can then transfer those skills outside a classroom setting. Mastering key

interpersonal skills necessitate collaboration in the classroom and in real‐life situations. The type of

teamwork required in acting classes reinforces the partnership that takes place during communication.

Many of the theatre games in the proposed drama‐based curriculum are group activities. Additionally,

the Asperger’s student could easily be paired with a neurotypical child so that he can model appropriate

social behavior. After all, our goal is to have the Asperger’s child interact more effectively with his peers

and function well in society.

Projects Terms

Asperger’s Syndrome: a pervasive development disorder that was named after Austrian pediatrician,

Hans Asperger. The disorder is characterized by impairments in nonverbal communication and

rigid thought patterns.

Autism: a pervasive development disorder that, according to a recent study, affects 1 in 91 children

(American Academy of Pediatrics, 2009). It is characterized by deficiencies in communication

and impairments in nonverbal communication.

Communication: the act of exchanging thoughts and ideas; conversation.

Drama‐based or Theater Arts Curriculum: classes designed to include theatrics as a way to

communicate. This can include role playing, improvisational exercises, voice and articulation,

mime, movement and gesture.

Executive Function: the process by which humans operate cognitively. Those who lack executive

function often lack organizational skills, the ability to plan or process certain information.

High Functioning: refers to the level of intelligence in individuals with a Pervasive Developmental

Disorder. Although this terminology is often attributed to Asperger’s children on the Autistic

spectrum, it is a rather subjective term.

Improvisational exercises: unscripted and unrehearsed theatrics.

Interpersonal Skills or Social skills: the ability to interact and communicate with others.



Language Arts: classes that relate to language and words, such as reading, writing, grammar, spelling

and comprehension.

Mainstream: placing disabled children in a regular classroom setting.

Neuro‐typical: refers to individuals who are not on the autistic spectrum and do not lack the abilty to

process linguistic information and social cues.

Nonverbal Communication: conveying information without the spoken word, such as through hand

gestures, eye contact and body language.

Pervasive Development Disorder: this refers to a variety of developmental brain disorders, including

Asperger’s Syndrome and Autism.

Role playing: pretending to be someone else or acting “as if” in certain situations.

Conclusion

Drama provides a context for real‐life experiences. As a result of a theatre arts intervention, Asperger’s

children can develop the interpersonal skills needed to function in society. A theatre arts curriculum can

help to alleviate anxiety in social settings, foster empathy for others, allow for creative expression and

develop self‐awareness and self‐confidence. Ultimately we want to intervene in such a way that the

child feels confident about himself and comfortable in the world around him. A drama‐based curriculum

can help him feel secure in his ability to handle social situations and remain self‐assured as a he matures

into adulthood. “As a result, they will have knowledge and confidence in their own strengths and

abilities to draw on their own resources. Creative activities affirm individual strengths, which, in turn,

lead to increase resilience” (Martinovich, 2006, p. 19‐20).

Cindy Schneider, Director of Acting Antics Theatre Company, special education teacher and autism

consultant sees a need for drama courses. “The lack of effective programming being implemented to

teach social understanding to the students quickly became apparent” (2007, p. 13). With autism on the

rise (American Academy of Pediatrics, 2009), social intervention for children on the spectrum is

imperative. As this report will demonstrate, a drama‐based curriculum can bring about solutions for the

Asperger’s student.



Chapter 2: Literature Review

This next section serves as the literature review on the topic of drama curriculum as an intervention for

individuals with Asperger’s Syndrome. The intent of this chapter is to further develop the ideas

conveyed in Chapter One and validate the importance of this endeavor.

Educational Aim

The educational aim of this project is to develop a drama‐based curriculum that can be used with

Asperger’s students. Social skills are often challenging for this population, as the Asperger’s child does

not always understand nonverbal cues.

Students diagnosed with Asperger Syndrome, or other social cognition defects, lack the

understanding of nonverbal communication that so many of us take for granted. A nod of the

head, a smirk, a change in voice tone, are so often misinterpreted or totally missed by those

with this deficit. (Schneider, 2007, p. 13)

One method to become socially savvy is with practice, and the most effective way to simulate social

settings is with a drama‐based curriculum.

Enter “Acting.” What is acting all about? It is about reading and portraying emotions by using

your voice as well as nonverbal communication. It is about acting and reacting. It is about

developing a relationship with other actors onstage. It is about interpreting the language of a

script. (Schneider, 2007, p. 13)

To practice interpersonal skills, a drama curriculum, intended to facilitate communication in

children with Asperger’s Syndrome, should be implemented. The ultimate goals, after implementation

of a drama‐based curriculum, is to have the Asperger’s child become more at ease in social situations

and bolster his self‐esteem.

Problem Statement

Asperger’s Syndrome is a high functioning form of autism. Named after the Viennese psychiatrist Hans

Asperger, the disorder describes individuals with “a neurocognitive disorder that effects many areas of

functioning” (Sohn & Grayson, 2005, p.1). Although it is often complicated and seemingly subjective to



diagnose, it is estimated that Asperger’s Syndrome affects some one in every 250 people. (Bissonnette,

2009, para. 3; Asperger’s Association of New England, 2009, para. 3). However, in the November 2009

issue of Pediatrics, the official journal of the American Academy of Pediatrics, it is reported that there is

a “prevalence in parent‐reported diagnoses of Autism Spectrum Disorder among children in the US”

(American Academy of Pediatrics, 2009, p. 1395). These findings estimate that the number of children

on the spectrum is as high as one in 91.

Marked by an absence in interpersonal skills, the Asperger’s child has trouble with nonverbal

communication and reading others. As research indicates, up to 93% of communication success is

influenced by nonverbal cues (Bissonnette, 2009). One with Asperger’s is impaired in his information

exchange. Based on these figures, it would appear that there are number of children who are struggling

socially, and this deficiency will truly undermine the child’s social function in society.

According to Southeast Journeys, a boarding school in North Carolina for students with Asperger’s

Syndrome, most schools are not addressing this need. “There are many special needs programs out

there but very few of them address the unique needs of Asperger's Syndrome Disorder,” explains their

website (Southeast Journeys, 2009). Often special needs classrooms focus on the academic component

of learning, not social skills. While academics are, of course, important, Asperger’s students typically do

well scholastically but need tremendous help sustaining social connections. “Special needs classrooms

may focus on academics rather than social skills when in reality, autistic children need the most help

developing socially” (Southeast Journeys, 2009). It stands to reason that if their communication skills are

impaired it will eventually affect their academic success and self esteem.

Karen Simmons is an author and the founder of AutismToday.com. Her mission is to help inform others

about autism and Asperger’s Syndrome.

Children with autism have a much harder time with their self‐esteem. They often perceive the

constant correction of their behaviors and their social interactions as criticism. The frequent

visits to doctors, or speech therapists, or OTs [occupational therapists], the testing and the

stream of interventions that we try with them can easily leave them feeling like they're under

the microscope, a specimen that warrants investigation, a person who needs fixing. Expressive

and comprehensive communication also have a direct impact on a child's self‐esteem. These are

areas that do not come easily to children or adults with autism/AS [Asperger’s Syndrome].

Understanding subtle jokes and participating in human interplay, actions natural to their neuro‐

typical peers, further increase their feelings of ‘not fitting in’ and erode their self‐esteem.

(Simmons, 2002, para. 4)



The obstacles Asperger’s students face on a daily basis can be challenging. If we consider the national

study that reports the prevalence of parent‐reported diagnosis of autism spectrum disorders, these

issues will affect approximately one in every 91 US children (American Academy of Pediatrics, 2009).

Purpose Statement

The purpose of this project is to investigate ways that a drama‐based curriculum can benefit the

Asperger’s child. Since individuals with Asperger’s Syndrome are inexperienced socially, communication

skills, reading nonverbal cues, and relating to others become a challenge. Drama therapy and role

playing can be an effective tool for teaching children how to interact with others. A drama‐based

curriculum can be used as an intervention for the child with social deficiencies.

The Hampshire Inspection & Advisory Service (HIAS), in Hampshire County, UK sees drama as a powerful

teaching strategy. Their courses link drama with the social and emotional aspects of learning. According

to Sarah Reid, HIAS Advisor for Drama, there are five outcomes of social and emotional aspects of

learning. They are self awareness, managing feelings, motivation, empathy, and social skills. She asserts

that drama is a teaching strategy that can help to achieve those five goals.

Drama teaches children to think, do and reflect. It encourages children to be more aware of

themselves and others, through the use of their voice, body and imaginations. It enables

children to express themselves in a variety of ways….Through role play, children can experience

what it will be like in environments and situations they have not yet encountered. It is a way of

exploring issues from a safe distance. Opening up stories with drama enables children to

develop empathy. Drama by its very nature is a social activity. (Reid, 2005, p. 2)

Therefore, the purpose of creating a curriculum for children who normally have difficulties with

interpersonal skills is to help them connect with others. By fabricating certain social settings, Asperger’s

children can practice real life scenarios, making it possible for them to carry out what they have learned

in the classroom.

When children engage in drama activities they step into an imagined world where they can

safely explore spoken language, feelings, thoughts and situations. In doing so, not only do they

engage in imaginative thinking, they also act out ideas in order to make sense of the world they

live in. (Reid, 2005, p. 3)



This is crucial to the development of an Asperger’s child because of their significant deficits in social

functioning. “It is necessary to understand that the Asperger’s child or teen is truly different from the

typical person. He sees, feels, understands, and acts unlike the rest of the world” (Sohn & Grayson,

2005, p. 1). A drama‐based curriculum, therefore, can help this population “negotiate social

environments and develop friendships” (Dunlap & Fox, 1999, para. 15) that are not inherent in their

nature.

Variables and Influencing Factors

As identified in the path analysis (Appendix A), this project will focus on two variables—teachers and

students—as well as the influencing factors for each.

Instructor’s Ability/Aptitude.

Teachers ought to have a basic understanding of the Asperger’s child and the symptoms of the

condition. Because the “features and characteristics associated with this developmental disability”

(Stokes, 2001, p. 27) are unique, training for the educational professional is imperative. “Staff should be

informed that children with Asperger’s Syndrome have a developmental disability, which causes them to

respond and behave in a way which is different from other students” (Stokes, 2001, p. 27).

The author speculates that the best person to teach the proposed curriculum would be a drama coach

and has sought out qualified individuals to assist with the implementation of this endeavor. Amelia

Davies says, “This is where being an acting teacher, not a social skills teacher can be very helpful” (2009,

p. 3). Knowledge of theatre arts and aptitude for the type of program that would be implemented allows

the teacher to focus more fully on the students. If the educator is comfortable and familiar with role

playing, improvisational games and other drama‐based activities, she can give her attention to helping

the students interact more fully. It seems that this would enhance the student’s experience

tremendously. However, even the unseasoned thespian can incorporate drama into her curriculum.

Teachers seem to be natural performers anyway, by nature of what they do.

Classroom teachers may not think they are actors, but performing is what they do all day long

until it has become second nature! They perform, they direct, they facilitate all day long. These

are the same skills that will be used when implementing…activities in the classroom. (Schneider,

2007, p. 24)



As previously mentioned, a pilot program is tentatively scheduled for the summer of 2011 with Troubles

Shores, Inc., a non profit theater organization in Massachusetts. Executive Director Donna Swift would

be an ideal candidate to implement the drama curriculum as outlined in this publication. Ms. Swift

believes that all children, including those with special needs deserve quality training, a chance to explore

theater using improvisational opportunities and a safe environment to do so. Swift’s philosophy about

acting and improvisation is "no mistakes, only gifts."

Improvisation is a great actor’s tool that gets the most results. There is no right or wrong when you’re

doing improv. It’s good for shy kids and, at the same time, helps to center the unfocused kids. And the

need for teamwork fostered by improvisation teaches the actors to trust each other and work together

as a team. Improv can be difficult for participants to understand initially, but once they do it opens new

worlds for them. (Swift, personal communication, July 2010)

Peer Mentors.

It should also be noted that although the curriculum discussed in this report is designed to aid

Asperger’s students, neuro‐typical students would also benefit from the class. Most importantly,

however, the dynamics between the Asperger’s child and his neuro‐typical peers would be extremely

advantageous. This is a unique opportunity for the Asperger’s child to learn to model appropriate social

behavior. According to Susan J. Moreno in her article Tips for Teaching High Functioning People with

Autism, she suggests pairing a mentor with the Asperger’s individual. “These students could benefit

most from having a partner” (Moreno, 2008, last para.).

Amelia Davies corroborates the value of mentors in her book Teaching Asperger’s Students Social Skills

Through Acting: All Their World’s a Stage! “Choosing these students as aids not only gives your

Asperger’s students great peer mentors, it gives the aides something to be good at, something to be

proud of” (2004, p. 7).

“Nondisabled peers have been effective in providing instructional support” (Dunlap & Fox, 1999, para.

9). For example, Bishop Hendricken High School, a Catholic college preparatory school in Warwick, RI,

offers a groundbreaking program which gives parents of children with special needs the option of

benefiting from a Catholic education. The Options Program, as it is known, supports the belief that

students with special needs, like all students, deserve the opportunity to maximize their academic,

social and spiritual potential in a Catholic Christian environment. Each Option student has a Bishop

Hendricken Student Peer Mentor. Student Peer Mentors are trained by the Options teaching staff and

provide service extensively throughout the school community. They act as teachers, coaches, tutors, and



friends. The Peer Mentor program is designed to enhance both the students’ and mentors’ self‐esteem

by allowing the development of interpersonal relationships. The author has use their program as a

model for peer implementation. During the summer pilot program, neuro‐typical students associated

with Troubled Shores, Inc. would be integrated with Aspeger’s students in order to enhance the theater

experience for all participants.

Asperger’s Students.

Both Tony Attwood and Amelia Davies believe that individuals with Asperger’s make remarkable actors

and that this population has many other gifts to offset their social impairments.

I have often wondered if in addition to having common core deficits, Asperger’s students might not also

have been blessed with core assets, such as theatrical ability. I was struck by the similarities I found

between the descriptions of the behavior of people with Asperger’s Syndrome and the behavior of

several of the most talented actors I worked with…. (Davies, 2004, p. 4)

Because social integration and peer relations are often difficult for the Asperger’s child and the majority

of our communication is non‐verbal, it is crucial that these students have a program which helps them

express themselves. In order to fully engage in all social aspects of life, one must learn to work in a

group, emote feelings, and exchange pleasantries. Each Asperger’s student will have varying degrees of

social impairment; however, it is the author’s conviction that every child has something special to offer.

We should not underestimate the…ability to engage with every human being—as they are….

Acknowledging this reality can serve as a reminder that disabled people should be treated as full

and not lesser human beings. Each person, in their uniqueness, deserves the respect and love

that would be shown to anyone or anything…. (Morris, 2009, para. 3)

Dynamics within each class will vary greatly, depending on the student’s level of deficit, the number of

children in the class and the student’s experience with theatre. For the purpose of this report, the age

range of the Asperger’s students is 11‐15, so the curriculum would be designed for a middle/high school

population.



Amount of Time in Class.

It is impractical to see social improvements after only a few classes. The author believes that it is only

with practice and consistent classroom time that the interpersonal improvements will begin to emerge.

Amelia Davies recommends a schedule consisting of “an hour block of time, organized into 50 minutes

of drama training and 10 minutes of structured break time” and “ten weeks of that scheduled hour”

(Davies, 2004, p.6). She also suggests a minimum of five students and no more than eight students with

Asperger’s Syndrome. One peer mentors per Asperger’s child would round off the class.

The pilot program with Troubled Shores, Inc. would run Monday through Friday for two weeks during

the summer. (See Appendix D for scheduling sample.) This scheduling and time structure is a cautious

supposition based on the author’s research and experience with children on the Autistic spectrum. The

author’s expertise in this area is based on her familiarity with one particular Asperger’s child, his

attention span, and his own participation in a two‐week theater program for middle school students.

After implementation, some adjustments may need to be made. This is where analysis and assessments

can be helpful—not only to monitor the progress of the Asperger’s student, but also for the drama‐

based curriculum as well.

Analysis and Assessments

Assessments can help a teacher analyze the Asperger’s child’s development through the drama

experience. Andrew Nelson, M.Ed. sees using theatre with those on the autistic spectrum as an

“opportunity for evidence” (Nelson, 2009). In other words, a chance to explore the drama intervention

connection with Asperger’s Syndrome. In his research, Nelson states it was less than a decade ago that

recommendations for using theatre applications on autistic individuals was documented. He adds that

only a handful of programs currently exist. He claims that there is much anecdotal evidence from

parents, teachers, students, and specialists, however only a few “hard evidence” studies are emerging

(Nelson, 2009).

The opportunity for data collection and data sharing has never been greater now that the global

autism‐theatre community is growing and sharing information. Some issues and questions

concerning autism‐theatre data collection include: what do we measure, how do we measure,

where do we collect data, how do we balance science and art, where do we send our data, what

data is relevant, etc. (Nelson, 2009, p. 8).



Just as the diagnosis for Asperger’s is often subjective, so, too are the assessments used to evaluate

students. Since the benefits of drama and the processes by which the curriculum is experienced is based

on individual development, a limited number of assessment tools are appropriate to use. As stated

above, anecdotal data that substantiates the need for a drama‐based curriculum abounds (Nelson,

2009). It seems the most widely used and consistent form of assessment is teacher observation.

However, this should not stand alone. It ought to be accompanied by evaluations from peers, parents

and other significant individuals in the child’s life. Additionally a protocol or student score card that

measures the level of improvement should be put into practice. Finally, the assessment tools used for

this project are experimental. Like the time structure and schedule, adjustments may need to be made

after implementation.

Curious Legends, a theatre organization in Melborne, Australia recently ran a theatre arts program for

Asperger’s children. They collaborated with an occupational therapist that was on hand for observation

and collaboration. At the end of the workshop, the therapist facilitated a feedback session with the

parents of the participants. This aspect of their program was beneficial because it provided a benchmark

for similar programs. In an email exchange, Mitchell Reese, co‐founder of Curious Legends, provided the

author with reflections on the workshop. Through this correspondence, it was determined that more

assessment tools are needed and ought to be shared among drama‐based programs.

A recent study, designed to examine social skills intervention, was of particular interest. Although the

researchers were not using a drama‐based curriculum, the assessment tools used during their study is

noteworthy. Conducted by Renae Beaumont and Kate Sofronoff at the University of Queensland,

Australia, the researchers used weekly teacher handouts and a social skills questionnaire for both

parents and teachers. The author has chosen to include them in Appendix B of this report (Beaumont &

Sofronoff, 2008, pp. 752‐753). It is intended to measure the regularity of certain behaviors in Asperger’s

children.

For the purpose of this paper, the author will assess the success of the drama curriculum rooted in

observation, interviews, and rubric scores. Assessment strategies will include teacher observation,

checklists and evaluation sheets (teacher, student, parent and peer). It is the author’s intent to share the

findings with other educators and practitioners in the field including Mitchell Reese of Curious Legends.

Goal Statement for Drama‐based Curriculum

The goals of this curriculum proposal are to facilitate the child’s understanding of interpersonal

situations; allow the child to explore feelings and ideas; encourage problem solving through creative and



imaginative thinking; foster self‐esteem in the child; and ease anxiety in social settings. The author

expects the drama curriculum created for this project will engage the Asperger’s student and serve as

another intervention therapy. All this is done in the hopes that the child can communicate more

effectively with others, increase empathy, develop the ability to cooperate with others, become aware

of speech patterns, and discern and nonverbal signals such as body language.

We teach them acting so that they can develop and master key social skills that will allow them

to successfully interact with friends and co‐workers for the rest of their lives….The exercises

themselves teach the kids the nuts and bolts about things neurotypical folks intrinsically

understand. (Davies, 2004, p. 28)

There are three prerequisites for creating drama in a school setting: content, a safe environment and

willing participants. These are fundamental aspects that will shape the curriculum being proposed.

Content encompasses some aspect of life—real or imagined; past, present, or future. The teacher needs

to create the content or situation that is to be played. These should be situations that will pertain to the

Asperger’s child. It is important to “focus on developing skills that will be of use in the student’s current

and future life in school, home, and community” (Dunlap & Fox, 1999, para. 3). Sample activities for

content will include physical and vocal warm‐ups, pantomime, improvisations, theater games,

monologues, and scene work. These activities can aid the student by clarifying social situations. Some

examples are located in Appendix C (Schneider, 2007, pp. 118‐119, 125, 114‐145, 167). (Note: The

examples in Appendix C were chosen because they deal with real‐life problems, listening skills,

identifying feelings, taking turns talking, and interpreting speech—all significant learning opportunities

for student’s with Asperger’s Syndrome. The scenes also serve as a springboard for discussions among

the class.)

The second prerequisite is a safe environment. This is especially important because a safe drama

environment will foster a child’s interpersonal development. The degree of comfort in a drama class

depends on a number of things—the child’s temperament, severity of disorder, aptitude, background,

social skills, peer interactions, and relationship with the teacher.

The relationship between you and your students must develop in a very particular way. You

must be the silliest, craziest, most goofy, most outrageous person in that entire room….If you

show them you are willing to do something a little scary, like pretend to be an elephant with a

head cold or that your tushy is made of Jello, then maybe they will try something a little scary

like make eye contact, initiate a conversation, or smile. (Davies, 2004, p. 13)



Once those conditions are in place, we need the third component—willing participants. This goes hand‐

in‐hand with the safe environment. A student will only be willing if he feels safe. It is up to the teacher

to produce that atmosphere. How else will the child be able to feel at ease in a social setting? It must

begin within the classroom. In the end, the drama experience will be affected by a child’s social skills

and a child’s social skills will affect the drama experience.

The participants will be enthusiastic if the curriculum is presented as a fun activity, not a chore. Amelia

Davies believes that the course should be announced as a “dynamic and fast‐paced acting program that

focuses on the development of social skills through the use of wild and wacky theatre games” (2004,

p.33).

Within the drama‐based curriculum, key skills for interpersonal exchange will be addressed: vocal tone

and volume, body language, and facial expression. By focusing on these three elements, the Asperger’s

child will begin to develop self‐awareness and begin to recognize different emotional states.

In addition, the author would like to explore using the SODA technique as described by Marjorie A. Bock

in her report A Social‐Behavioral Learning Strategy Intervention for a Child With Asperger Syndrome

(2007, p. 259). The acronym SODA stands for Stop, Observe, Deliberate and Act. Bock believes that it will

help children and adolescents process social cues and be able to select skills they will use in a social

setting. The SODA strategy can help students monitor their interpersonal judgment and actions.

Lastly, after a lengthy conversation with Donna Swift of Troubles Shores, Inc., the author received

suggested improvisational games. These simple “ice breakers” in Swift’s experience has helped many

students “break out of their shell.”

I would start with a name game where each student says his or her name and a does a

movement—it can be as big or as little as they choose. After everyone has finished, we play a

variation of the game. Each participant starts with his or her name and movement and then

“performs” someone else’s name and movement. It continues until each student has given

someone else’s name and movement. I coach the kids to remember that we are doing

improvisation so we make things up. If they can't remember a name or the movement, I

encourage them to be creative. Since there are no mistakes only gifts, there is no need for

anyone to correct anyone. No one will tell them, they are wrong. Not being wrong is very

freeing. Then I would then dramatize some fairy tales. An adult narrator assigns the parts and

the students have to say yes to the narrator and act out the parts. As long as they say yes to the

story they can add any dialogue they want. For this exercise I usually split the group in two. One

group has the speaking roles, the other group become the materials to make scene, such as a



house or tree. Then we switch. I ask if they had fun both times. (They always say yes.) Then I

point out that it doesn't matter the size of your part or even if you speak, you can still have fun

and feel a part of something extraordinary. Any child—special needs or not—loves to belong.

This really builds the ensemble and self confidence in students. One girl, [a former student of

Troubles Shores, Inc.] who was diagnosed with Asperger's would always respond “no.” However,

with lots of encouragement and the prompts I give during improv exercises, she became more

open to positive choices on stage and in life. Eventually she said “yes!” (Swift, personal

communication, July 2010)

Conclusion

According to research in this paper, a number of individuals in the special education field rely on theatre

as a type of intervention for Asperger’s Syndrome (Davies, 2004; Nelson, 2009; Reid, 2005; Schneider,

2007). Although the current data is sparse and mostly anecdotal, drama as an intervention appears to

be a sound form of therapy. “Theatre applications with individuals on the autistic spectrum are gaining

increased acceptance as viable treatment options” (Nelson, 2009, p. 9). The ideas proposed in this

report only confirms the need for a drama‐based curriculum as an intervention for Asperger’s children.

A curriculum will eventually be created to help the Asperger’s student better understand his

environment, engage in successful give and take interpersonal relations, and establish greater self‐

esteem. “We use drama to speed up the natural learning process in individuals who have already begun

to study non‐verbal communication, and introduce this process to those who have not” (Davies, 2004, p.

viii). The activities learned in class are broken down into manageable steps. The Asperger’s child can

practice his interpersonal skills in a controlled, safe setting. This ultimately increases a student’s self

esteem and relationship with his peers.

“The society of artists is an accepting one, and people are embraced for who they are, not for who they

should be” (Davies, 2004, p. 5). In the world of actors and artists, quirky behavior is the norm and

unconventional conduct is readily accepted. So, the realm of acting remains a nurturing place for the

Asperger’s child. Karen Simmons gives a heartfelt analogy in her article on self esteem:

In genuine star sapphires there are tiny imperfections and inclusions that reflect light perfectly

to form a star in the stone. Each child with autism is like this precious gem, unique in every way.

Without the tiny inclusions, there would be no star. It is our job as parents, educators and

professionals to ‘bring out the stars’ in all of our special children by shining the light on their



natural beauty. In so doing, we see their different abilities rather than their disabilities. And,

then they will see them, too. (Simmons, 2009, para. 4)

It is the hope of the author to develop this drama program that will further knowledge, research, and

compassion for this developmental disorder—enabling the child with Asperger’s Syndrome to be a star

and shine.



References

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disorder among children in the US, 2007. Pediatrics, 124(5), 1395‐1403.

Anthony, S. C. (2008). Creative drama. Retrieved from

http://www.susancanthony.com/Resources/timsav/creativedrama.html

Asperger's Association of New England . (2009, October 22). What is Asperger syndrome? Retrieved

from http://www.aane.org/about_asperger_syndrome/what_is_asperger_syndrome.html

Beaumont, R., & Sofronoff, K. (2008). A multi‐component social skills intervention for children with

Asperger syndrome: The Junior Detective Training Program. Journal of Child Psychology &

Psychiatry, 49(7), 743‐753. doi:10.1111/j.1469‐7610.2008.01920.x.

Bock, M. A. (2007). A social‐behavioral learning strategy intervention for a child with Asperger

syndrome. Remedial and Special Education, 28(5), 258‐265.

Bissonnette, B. (2009). That employee's "attitude problem" might be Asperger's syndrome.

ezinearticles.com. Retrieved from http://ezinearticles.com/?That‐Employees‐Attitude‐Problem‐

Might‐Be‐Aspergers‐Syndrome&id=1042344

Davies, A. (2004). Teaching Asperger's students social skills through acting: All their world is a stage!.

Arlington, TX: Future Horizons, Inc.

Dunlap, G. & Fox, L. (1999, October). Teaching students with autism (ERIC EC Digest #E582). Retrieved

from http://www.hoagiesgifted.org/eric/e582.html

Moreno, S. J. (2008). Tips for teaching high‐functioning people with autism. Retrieved from

http://www.asperger.org/Tips_For_Teaching.asp

Morris, W. (2009). What the bible says: a Christian perspective of disability. Retrieved from

http://www.scriptureunion.org.uk/YourChurch/SpecialPeople/Inclusion/1734.id

Nelson, A. (2009). Applied Theater and Autism: an opportunity for evidence. ArTRAN, 1(1).

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drama and social and emotional aspects of learning (SEAL). Hampshire County, UK: Hampshire

Teaching & Leadership College.



The Drama‐Play Connection. (2009, February 27). About our program. Retrieved from

http://www.dramaplayconnection.com/about.htm

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http://www.k12academics.com/disorders‐disabilities/asperger‐syndrome

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Publishers.

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from http://www.ninds.nih.gov/disorders/asperger/detail_asperger.htm

Saskatchewan Education. (1993, September). Drama 10, 20, 30 curriculum requirements: Classroom

environment. Retrieved from

https://www.edonline.sk.ca/bbcswebdav/library/curriculum/english/index.htm

Saskatchewan Learning. (2008, January 9). Planning from the drama section of the curriculum guide.

Retrieved from

http://www.sasked.gov.sk.ca/docs/artsed/g2arts_ed/drama/planning.html#drama_strategies

Schneider, C. (2007). Acting antics: a theatrical approach to teaching social understanding to kids and

teens with Asperger syndrome. London, UK: Jessica Kingsley Publishers.

Simmons, K. (2002, November 12). Building self esteem in children with autism and asperger syndrome.

Retrieved from http://www.autismtoday.com/articles/buildingselfesteem.html

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Inc.

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and socially challenged students?. Retrieved from

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Bay, WI: Wisconsin Department of Public Instruction.

Swift, D. personal communication, July 2010.



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on Autistic Behavior, 10(2).



Appendix A

Path Analysis Model to Implement a Drama‐based Curriculum for Children with Asperger’s Syndrome

Implement drama-based activities that can be incorporated into a curriculum for children with Asperger’s Syndrome

Instructors’ Ability/Aptitude

Students’ Ability/Aptitude

Grade level Knowledge of Asperger’s

Time in class with students

Time in class with peers & teacher

Social skills Previous drama experience(s)

Training provided

Previous drama experience(s)



Appendix B

DRAMA CURRICULUM FOR INDIVIDUALS WITH ASPERGER’S SYNDROME

Appendix C

Actor’s Rules

1. Never hurt an actor

2. Listen to the director

“The Big 3”

1. Vocal tone

2. Body Language

3. Facial expression

Copyright © Cindy B. Schneider 2007



Open Scenes

Dan: How does this think work?

Casey: You don’t know?

Dan: You think you can help?

Mr. C: Good Morning, John.

John: Hi.

Mr. C: Do you have your homework?

Jude: What are you doing here?

Joan: What’s going on?

Jude: You need to get going.

Sandy: What is he doing over there?

Maria: I can’t believe it.

Sandy: Do you think we should…?

Maria: No way.




Wresting with a Problem

Sonny: Hey, Dave. What’s up?

Dave: [Reading magazine.] I was just reading this wrestling magazine…it is so cool! Do

you want to see?

Sonny: Actually I kind of wanted to talk to you. I’m having a tough time at home right

now.

Dave: I’m sure it’ll be fine. Hey! Look at this guy…yo!

Sonny: Yeah, pretty cool, but I really wish you’d talk to me a minute.

Dave: What is it?

Sonny: It’s my folks. My mom just told me they’re getting a divorce. I can’t believe it I

really thought they would get back together.

Dave: [Still reading magazine.] Well, it can’t be that much of a surprise. Oh, baby! Look

at the muscles on this dude!

Sonny: But I have to make some big decisions. They want ME to decide where I should

live.

Dave: That’s cool Hey, I’m going to a match on Saturday…Wanna go?

Sonny: Are you listening to anything I am saying?

Dave: Yo…what’s wrong with YOU?

Sonny: I am really freakin’ out here and need somebody to talk to. You’re my best

friend, and all you want to do is talk about your stupid magazine.

Dave: [Gets up closing magazine.] Now just a darn minute! Don’t call my magazine

stupid!

Sonny: Never mind, I can see you’re too busy. I’ll catch you later…[Starts to leave.]

Dave: [Calling after him.] Hey, Sonny, you still didn’t tell me if you can go Saturday!!



Sonny: Forget it, FRIEND!

Dave: [Sitting back down with magazine.] Wonder what’s bugging’ him?!




Order in the Court (7 Characters)

Scene: Courtroom. Judge is behind desk. Two policemen escort man into courtroom.

Judge pounds gavel twice.

Bailiff: Will the court please come to order? First case please!!

Judge: What is this man accused of?

Policeman 1: [Escorting prisoner.] He was throwing pebbles in the lake!

Policeman 2: And it isn’t the first time either!

Judge: That’s disgraceful! Give this man 30 days in jail! [Policemen exit with prisoner.]

Reporter 1: I can’t believe that! He gave him 30 day for throwing pebbles!?!

Reporter 2: He’s some tough judge!

Judge: Quiet in the courtroom!

Bailiff: Next case please!!!

Policeman 1: Got another one, your honor! [Escorting another man into the court.]

Policeman 2: Yep…throwing pebbles into the lake!

Judge: That’s disgraceful! Give that man 30 days in jail! [Pounds gavel one time.]

Reporter 1: I really can’t believe this.

Reporter 2: Me neither…30 day for throwing pebbles!!

Judge: Order! Quiet in the courtroom!

Girl: [Soaking wet.] Hi, I’ve just come from the lake. My name is Pebbles.




Appendix D

Tentatively scheduled: July 11‐22, 2011

TROUBLED SHORES, INC. – EDGARTOWN, MA

This unique summer theater program is open to girls and boys entering 6th,

7th, or 8th grade. Students work with a staff of dedicated theater artists and will focus on, acting,

improvisation, and movement. Each is designed to educate and engage students in a personal and active

way. During the first half of the day participants will develop an exciting and dynamic understanding of

the tools and techniques of acting. Attention is paid to communication skills such as voice and diction.

Improvisation helps young performers of all abilities gain greater self‐confidence, expand their own

creative knowledge, pick up on social cues, and use their bodies to physically express stories and ideas.

During the afternoon, participants will work to create and rehearse their own original theater

production. It will highlight the talents of each student and boldly showcased their collective creativity.

In this way each student is able to contribute his or her own special gifts to the production. The final

production will be performed for family, friends, and the community on the evening of the last day of

the workshop.

Daily schedule

8:30 AM to 9:00 AM participant drop off

9:00 AM to 10 AM warm‐ups and ensemble building

10 AM to 12:00 PM acting, improvisation, and movement

12:00 PM 12:30 PM lunch (participant brings own lunch)



12:30 PM to 1:00 PM energizers and recreation

1:00 PM to 3 PM performance rehearsal

3:00 PM participant pickup

Tribute

Dr Stanley Greenspan’s Incredible Legacy

Well‐known child psychiatrist Dr Stanley Greenspan, who passed away recently, was the

world’s leading authority on clinical work with infants and young children with developmental

and emotional problems. His work which has guided parents, professionals and researchers all

over the world, is unique because it honors the individuality of each child, writes Elaine Hall,

in an eloquent tribute to Dr Greenspan, whose work impacted on her personally and

professionally.

On April 27, 2010, the world lost a great teacher, advocate, leader with the passing of 68‐

year‐old, Dr. Stanley Greenspan, (http://stanleygreenspan.com) whose pioneering work

provided hope, inspiration, and a proven methodology to support families of children with

autism and other developmental differences. Although struggling with health challenges for

several years, only weeks prior to his death, Dr. Greenspan still saw clients, lectured extensively,

was writing articles, and training graduate students.

A Versatile Doctor

Dr. Greenspan was the founding president of Zero to Three: The National Center for Infants,

Toddlers and Families, and past director of the NIMH Mental Health Study Center and the

Clinical Infant Development Program. He was a Clinical Professor of Psychiatry and Pediatrics at

George Washington University Medical School and Chairman of the Interdisciplinary Council on

Developmental and Learning Disorders (www.icdl.com). Dr. Greenspan authored over 100

scholarly articles and chapters and author or editor of over forty books, translated into over a

dozen languages. His research has been featured in all the major media, including Newsweek,

Time Magazine, The Washington Post, New York Times, ABC, NBC, and CBS news broadcasts,

and the subject of a PBS NOVA documentary, Life’s First Feelings. His bestselling book, The Child

with Special Needs put in everyday language the concepts of relationship, sensory processing

and honoring each child’s individual differences.

Honoring Individuality

Dr. Greenspan’s work impacted me personally and professionally. Prior to meeting Dr.

Greenspan in June of 1997, my then three year‐old son, Neal, adopted from a Russian

orphanage, spun around in circles, banged his head, and lived 95 percent of his time in his "own

little world." The professionals in my area had diagnosed Neal as severely autistic, mentally

retarded, with the prognosis of a dismal, institutionalized future. Fortunately, we went to see

Dr. Greenspan.

I remember our first meeting with Dr. Greenspan as if it were yesterday. He was wearing an old,

worn sweater and moccasins. He was kind and sweet and reminded me of Mr. Rogers. His office

was a mishmash of broken toys, stacks of papers, and books piled high. It was the domain of a

warm, absent‐minded professor, a disarming, welcoming place that was the polar opposite of

the sterile testing facilities we’d been to in Beverly Hills. In the comfort of his office, I felt that

we could make no mistakes, that whatever we did would be okay.

Playful Reciprocity

Dr. Greenspan didn’t put Neal through a battery of tests. Instead, he observed how we played

together; he then coached me on how to relate more to Neal. Following his coaching, the room

was soon filled with a playful reciprocity between Neal and me. As we played, something

amazing happened. For the very first time, Neal looked into my eyes. It was funny, but before

this, I didn’t even notice that Neal wasn’t looking at me. Neal seemed to be aware of me in a

way that he never was before.

“See what He’s Interested in!”

Dr. Greenspan rejected the notion that a child needs to conform to our world by learning rote

behavioral tasks. Instead, he guided that I should first follow Neal’s lead and, with genuine

curiosity, “See what he’s interested in.” In other words, if my son wanted to throw pillows, we

should throw pillows with him, and turn the activity into a playful pillow fight. If he wanted to

run in circles we should do the same, and make a chase game of it. In this way, I would begin to

connect to Neal by entering into his world, by meeting him where he lives. Our interactive play

was guided by the fundamental idea that children like Neal do not progress by learning “rote

behaviors.” They progress by forming relationships.

If you meet one child with autism, you have met one child with autism!”

Through relationships, he espoused that children can develop everything that they need: they

can learn to engage with others, to communicate with gestures, to use ideas creatively, to think

and reflect. Dr. Greenspan’s methods shifted the focus from narrow, behavioral goals to broad

foundations which he called “milestones” for healthy development. Dr. Greenspan emphasized

how important it is to recognize and honor the individual differences in children. Children with

autism spectrum disorders or other special needs are by no means the same. Some are over‐

reactive to touch and sound; some are under‐reactive. Some have good visual perception while

others do better with auditory information. In other words, as he says, “If you meet one child

with autism, you have met one child with autism.” There is no set way to treat these children.

The only essential is to tailor the learning environment to the child’s individual profile.

A Source of Inspiration and Hope

I was privileged to have known Dr. Greenspan for over a decade. Not only did he help me

exponentially with my son (Neal is now sixteen years old, still nonverbal, but highly intelligent

and totally connected to this world), Dr. Greenspan encouraged me to start my theater

program, The Miracle Project, www.themiracleproject.com which was profiled in the HBO

documentary, AUTISM: The Musical. When traditional therapists could not grasp what he was

guiding me to do with my son, he told me to seek out creative individuals – actors, singers,

writers, dancers to help me out. The same methodology that helped my son so profoundly, we

use daily with children and teens who participate in my theater workshops. All of our staff and

volunteers are trained to honor each child as an individual, follow their lead, and create dynamic

relationships. We recently dedicated our spring performances in memory of, and to the

incredible legacy of Dr. Stanley Greenspan. Dr. Greenspan’s work brought so many children out

of the isolation of autism and provided so many families with hope. May his blessed memory

continue to enlighten and inspire.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

Making the Right Connections

The effective use of role play in improving the social and communicative competencies of

people with autism makes Andrew Nelson’s Foundation Role Plays for Autism inclusive in

scope and purpose, writes Dr Parasuram Ramamoorthi

Title: Foundation Role Plays for Autism

Author: Andrew Nelson

Publishers: Jessica Kingsley Publishers 2010

ISBN 978‐1‐84905‐063—0

Price: Not listed

Significant developments are taking place in the world of autism. People in the spectrum are writing

poetry; they are performing before an audience; and are at ease with stand‐up comedy in clubs and

pubs. Oh, what a wonderful world, we are witnessing!

A Note of Hope

Andrew Nelson’s book Foundation Role Plays for Autism heralds a bright sky, sunshine and dawn in this

world of autism. If you thought that people in the spectrum cannot role play, or empathize, you may

have to revise your opinion when you read Nelson’s book and the activities recorded in the book (born

out of his work with people in the spectrum). Stanislavski Magic is demonstrated beautifully in this

volume. I recommend this book for parents, teachers and researchers working with people in Autism

Spectrum Disorder (ASD).

Role Play: A Versatile Tool

The book begins with a theoretical explanation of role play and how it can be used effectively in training

people with autism. Role play is stepping into someone else’s shoes and playing that moment. Or

imagining oneself in another situation (need not be real) and playing that moment. Andrew Nelson

affirms that role play prepares people to face challenging situations and behaviors. It shapes

communication. Most important, role play is fun. Role play provides a safe environment to let go of

inhibitions and work in a spirit of trust. Role play is active. It ignites the imagination of persons in the

spectrum. It initiates physical movement and activity. Role play brings out the strengths of the persons

in the spectrum and helps parents and teachers to work on these strengths. Besides all these, role play

is cost effective. It requires only a writing surface, writing utensil and a space to work. Teachers and

parents have been told clearly why and how role play can strengthen and enrich the lives of people in

the spectrum.

The next section of the book illustrates research backing up the need for role play and an excellent

section for young researchers working in the field of theatre and autism. Nelson concludes with

Rowan’s statement that role play is effective “when scenarios and strategies are practiced at least (sic)

monthly”. A section that will convince parents that there is evidence based research for the use of role

play.

The book illustrates the when, where and how of role play and the generalization strategies for role

play. It explains how we can use role play for a variety of responses for a given situation, how we can

improve social skills, and how we can shape communication skills.

Inclusive in scope and purpose

What follows is a series of activities that are inclusive in scope and purpose. These include:

• Role play for individuals on the ASD

• Role play for teachers and care givers

• Role Play for parents

• Role play for peers

• Printable tools for facilitation.

• Audio CD to be used with some activities is a very useful addition to the book

Each section in one chapter deals with various activities and some activities are repeated for teachers,

parents, peers which underscores the importance of each activity. Foundation Role Plays for Autism is a

useful classification handbook for anyone concerned with autism. What is recommended as peer could

also be called role play for siblings.

I shall not go into details about the activities listed. I would, however, like to comment on the structure

of one activity, to illustrate the effectiveness of the strategy of using role play. For instance the activity

1.3: On this Island is a good example to showcase.

It tells you why we need to play this: Purpose: to Build problem‐solving skills, cooperation strategies,

and flexibility when working with others.

I have included copies of the page so that readers can understand the strategy and the outcome. In a

similar manner 14 activities for persons in the spectrum are detailed in the book. Imaginative readers

and parents can use many more activities based on their experience.

The strength of the book lies in its affirmation that people in the spectrum can do role play and through

role play improve their social skills, communication, manage their lives, solve problems and face crisis

with confidence and dignity. Dr. Pamela Wolfberg’s Introduction validates Nelson’s argument and the

references at the end of the book would be useful for further research.

A Welcome Addition

The book is recommended for any parent, teacher and peers working with autism anywhere in the globe

as the activities are not culture specific and even when they are, they could be adapted to any culture.

The book has the potential to be translated into many languages.

I would like to point out that some care could have been taken regarding the use of language in the

book. For instance, some sentences could have been written better and care could have been taken to

avoid some errors.

The opening sentence in Nelson’s introduction reads as “Before I became interested in working with

individuals with autism, my training and passion was in drama”. It would have been enough to say ‘my

passion was drama’. Again in the same page paragraph, four sentences use mixed structure when simple

sentences could have served the purpose. The sentence that begins “The smiles, laughter etc.” could

have been simple sentences for better understanding. Confusion regarding the voice is You and I are

better avoided in a book of this type. Again in page 85, “James and Cindy were parents to Karl.” It is

better to use present tense in such cases as it might read better.

These, however, are minor issues. The book is a welcome addition to the world of theatre for autism

and I recommend it to anyone interested in working with children and adults in the spectrum

Dr. Parasuram Ramamoorthi

From the Known to the Unknown

Arts therapeutic models have the potential to lead children with ASD from their familiar and more or

less comfortable world to functioning in the wider world which they could not understand before

therapy, writes Christopher Banner

Title: The Use of Creative Therapies with Autism Spectrum Disorders

Editor: Stephanie L. Brooke

Publisher: Springfield, Illinois: Charles C. Thomas, Publisher, Ltd., 2009

370 pages, incl. bibliographies, illustrations, plus subject and author indices

Autism : One Approach Does not fit All

No single therapy works for all cases of Autism Spectrum Disorders (ASD) because they are probably

several different disorders, each with its own neurological, biochemical, nutritional, developmental, or

genetic causes, that present themselves in a similar manner. While Applied Behavior Analysis (ABA)

shows much promise at this time, it is by no means the only way to go. Stephanie L. Brooke has edited

The Use of Creative Therapies with Autism Spectrum Disorders, a book of 19 chapters, each by a

different authority, which shows how the different arts can be used to help children with autism to

understand and function in the world in which the other 90 percent of us live in. Since about three‐

quarters of children with autism are boys, I will use the masculine pronoun in discussing them.

A Complex Disorder

The two most used general approaches to treatment of ASD are behavioral; l which uses what amounts

to classical Pavlovian conditioning, as exemplified by ABA, and developmental; which uses the various

self‐discovery arts therapies. Brooke’s book favors the latter.

The chapters examine video modeling, art therapy, play therapy, music therapy, dance therapy, and

drama therapy, and show, through discussion and case histories, the theoretical and practical uses of

these disciplines. Each chapter has its glossary of technical terms as well as bibliographies to help the

reader with further research. Because each chapter was written and stands by itself, the reader will find

repetition from one to the next on how the syndrome presents and what needs to be done. Each author

examines one or more therapeutic models—some open ended, and others with very definite structure

and time limitations‐‐ together with a discussion of how and why they work. Some model makers have

obtained copyright or trademark registration on their ways of doing things.

Arts Therapies: A Promising Tool

Common to all of them is the basic idea that the child has an arrested development for whatever

reason, and often is unable to speak well enough to state what is going on in his mind. By use of a

particular arts therapeutic model, the authors argue, the child is led from his familiar and more or less

comfortable world to functioning in the wider world which he could not understand before therapy.

Participating in an art places the child in a safe environment and permits him to release his natural

curiosity; to explore relationships and ideas; to express, through these media, things he could not

otherwise present; and to be understood by a perceptive therapist. Therapy may be done one‐on‐one

or in a group setting.

The chapters on drama therapy are probably of greatest interest to readers of this e‐journal. Sally

Bailey’s chapter, Theoretical Reasons and Practical Applications of Drama Therapy with Clients on the

Autism Spectrum, presents the theory of mirror neurons and the theory of low connectivity between

brain areas. In both cases, drama therapy may be adapted to help the child to make sense of his

external world and how to deal with it.

Linda M. Dunne’s chapter, Playing for Real: Drama Therapy, Autism, and a [sic] Eight‐year‐old Boy, is a

case history wherein she uses finger puppets and similar objects to help a boy to lose his fear of the

world, to loosen up, and become more interactive and communicative.

Jennifer Banta Breslin’s chapter, Playing Our Part: Using the DIR Model ® to Help Define the Drama

Therapist in Role, explains the developmental, Individual‐difference, and Relationship (DIR®), Floortime,

and Embodiment, Projection, and Role (EPR) models by following a child’s development from birth to 48

months as he goes through six of the nine Greenspan and Wieder stages. She then presents three

outlines and related case histories showing how the therapist can adapt her role behavior to use these

models to help an individual who is developmentally delayed or autistic.

Kimberly C. Galloway’s chapter, Drama Therapy in the Treatment of Autism Spectrum Disorders:

Enhancing Social and Relationship Skills through a Developmental Paradigm, gives free play and

seventeen structured dramatic activities, as to develop awareness, understanding, and functional ability

in different intra‐ and inter‐personal areas.

The other 15 chapters similarly show how particular arts therapies can be used to help a child to

increase his understanding of, and thereby to lose his fear of, the world, and to develop his ability to

function in it.

These authors present case histories of persons who have been helped by some form of arts therapy.

Successful case histories give us a warm, fuzzy feeling, and also present an example of something that

has worked. The trouble with them is that we do not hear of things that did not work and why, nor do

we see any statistical studies, so we cannot know whether these particular instances are generally

applicable or are exceptional. Perhaps the statistics behind them are in the cited articles and books.

No silver bullet exists for those with ASD because it has so many different causes. This book presents

several different approaches to dealing with ASD, but the present state of knowledge of the disorder is

such that nobody can say of a certainty which is best for a particular client. Therapists, teachers,

parents, relatives, and other adults —and persons with ASD, too, if possible—need to keep an open

mind, to be informed of new developments in specialties outside of their own. Stephanie L. Brooke’s

The Use of Creative Therapies with Autism Spectrum Disorders is a good place to start.

This book may be ordered from [email protected].

Christopher Banner

Joe’s Giant Leap

Angelica Rose, is a practising arts therapist with a background in developmental psychiatry. She

personally researched and developed the unique Drama for Everyday Life Program that assists

students with autism spectrum disorders. Here she writes about how one such intervention has made

all the difference in Joe, diagnosed with ASD.

When Joe*, 13 years, first began the Drama for Everyday Life Program he was a rather reluctant

student. He hadn’t done drama before and was very skeptical about trying out something new,

especially as he had attended so many “specialist” type sessions in the past. Having been diagnosed

with Asperger’s Syndrome several years earlier, his parents described his behavior as “erratic” and that

he easily become “angry and upset”. Joe would often explode by crying and shouting when he felt

overwhelmed. At school Joe would wander around at lunch time by himself.

Joe’s Small but Significant Steps

Joe began individual sessions with an instructor who understood not only the difficulties of adolescence,

but the challenges that having Asperger’s Syndrome can also bring. Gradually, the instructor was able to

engage Joe in the sessions by gently introducing structured drama games that teach recognition of non‐

verbal cues and role plays around friendship. Joe learnt how to recognize his own and others’ feelings

and use sentences to express how he felt. He was able to remain calmer, listen to Mum and Dad and

then tell his point of view. Dad described it as Joe being “switched on, rather than off”. Mum related

that in the previous week at bedtime, Joe noticed that he was feeling sick in the stomach and was able

to communicate to Mum, “I feel nervous about ….”

Joe’s Repertoire Expands

As Joe progressed through the Drama for Everyday Life Program, he learnt conversation skills and

friendship building skills. Initially, Joe had the ability to share things about himself in conversations, but

had difficulty in shifting the focus back to the other person. With some practice, Joe learnt how to

reciprocate questions, ask follow up questions and make comments. His school teacher noticed that he

began spending some time with peers at lunchtime. Joe wanted to be included in conversations

sometimes, whereas earlier he would avoid those situations entirely. Though his conversation was still a

bit “artificial”, his parents were really proud that Joe was trying so hard to use his new skills.

Joe in Center Stage

Joe then joined a small group of peers also participating in the Drama for Everyday Life Program. This

provided him the opportunity to apply his skills further with peers in a safe environment. In this group,

Joe continued to develop his conversation skills and learn improvisation games. By the end of the term,

Joe and his group were confident enough to perform the improvisation game, “Space jump”, in front of

an audience of 100 people. His instructor and parents were so proud!

The Drama for Everyday Life Program

Established in 2002 by Angelica Rose in Melbourne, Australia, the unique Drama for Everyday Life

Program has assisted many students on the autism spectrum in making friends, building self‐confidence

and learning how to express their feelings appropriately. Not only have the students learnt skills they

might not otherwise develop, but they also have had fun and met like‐minded peers. The Drama for

Everyday Life Program uses specially designed drama games and role plays to assist students in

developing social skills and self‐confidence. The program caters for students from the age of five

through to adult. For further information please refer to www.voiceandmovement.com.au.

Angelica Rose

* Joe is a composite case study of two students.

Interview

Meet Special Needs Therapist Rachel Plakstis

“Working with people with autism just isn’t a job. It is an opportunity to see these children

grow as people and develop relationships to the best of their ability,” says Rachel Plakstis,

Director, Medicaid Service Coordination and the Director of Children’s Recreation Programs

for The Association for Neurologically Impaired Brain Injured Children (ANIBIC), at Queens,

New York.

Rachel Plakstis has been with ANIBIC for over 17 years. ANIBIC has been providing services to

people with special needs for nearly 50 years. As part of its mission, ANIBIC is dedicated to

enabling individuals to reach their potential so that they may live as productively as possible.

As a director, she is responsible for ensuring that ANIBIC’s programs have the resources, staff,

and program members needed to run effectively, while keeping the program in compliance

under the regulations of their funding sources.

As the Director of Children’s Recreation Programs, Rachel Plakstis, who came to ANIBIC with an

undergraduate degree in psychology and a graduate degree in public administration, creates

programs and activities based on the needs of this special community, most of whom are people

with autism.

I was first introduced to Rachel Plakstis when my company, Elephant Ensemble Theater, was

being considered for a residency at ANIBIC and found myself in fantastic admiration for her

ability to run such a successful and productive program by integrating music, performance,

crafts and the all important social ingredient. Liza Lentini (LL) in conversation Rachel Plakstis

(RP).

LL: Can you tell me more about your training and background?

RP: My training in Social Services has been hands on from the day I walked into ANIBIC. I started

in Direct Care and moved up into Community Relations. I have worked in a few different

departments within ANIBIC throughout the years. I left ANIBIC for a few years, while I ran a for‐

profit business, gaining experience in every department (Warehouse, Accounting, HR, Sales).

When I returned to ANIBIC, as a Director, my background in Social Services and experience in

business was the right match for what I do today.

LL: Your recreational programs are divided into different groups. Can you please describe

the differentiation?

RP: Those participating in our programs all have an identified developmental disability, as

defined under OMRDD guidelines (Office of Mental Retardation and Developmental Disabilities)

The Saturday Children’s Program started as a play group over 50 years ago. At that time

individuals with developmental disabilities did not have any of the resources that we have

today. The children of our founding board members only had each other. That small play group

developed into a camp, then eventually the Friday Night group, the Sunday Adult Group, in

addition to our Residences and Vocational Programs. As the founding members’ children grew,

so did the services that ANIBIC provides. As the autism community continues to grow, so did the

enrollment at ANIBIC. 85 percent of the children attending Saturday fall within the spectrum of

autistic disorders.

The Saturday Group provides a safe place for the children (ages 4 – 18) to play, while families

have a free afternoon to do what they need to do. We have a great deal of working parents that

need the Saturday program so that they can do their errands, food shopping, etc which is

sometimes impossible to do with some of the children. Although our location is not ideal at this

time, we make it the best environment we can. We have a bright colored play gym, crawl

tunnels, ball pit. We have a teacher playing the guitar and dancing with the children, while the

art teacher is having the children paint the pots that the children will be planting in. We have a

cooking teacher who bases all the lessons on the children’s abilities (some can just do the

finishing work, while other can do the prep and actual cooking, baking, etc). We utilize the local

park, and use technology such as Guitar Hero and have an experienced computer teacher doing

on‐line game with the kids based on their individual levels.

As NYC Board of Education expanded to provide school for Special Education 12 months out of

the year, the need for our camp diminished. There is a two‐week lapse from the end of the

12‐month school year, to the first day of the new school year. I saw this need; again these

working parents needed a place for the kids to go or financially disadvantaged families, that

couldn’t provide recreationally for these children. I launched our two‐week Summer Program

two years ago. Those two years were a success, and I expect this year to be even better.

Twenty children from Queens were picked up and dropped off daily, provided lunch (we

partnered with the NYC Dept of Education summer lunch program), snacks, and amazing trips.

The Aquarium, White Post Farms, Bowling, Astoria Pool (Thru NYC Parks Dept), The Lynbrook

Fun Zone, is just a few of the trips we take over this two week period.

Many of our members have limited social interaction, but the Friday Night Social (for young

adults 18 and over) is a safe place for our members to hang out, dance, and have dinner with

their friends. On occasion, the group will go out bowling; during the holidays, we have big

parties. The Friday Night Group is one of the most successful programs at ANIBIC. The program

members look forward to coming each week, and some even celebrate their birthdays with the

group.

LL: I understand that you recently brought in someone to run a music program at ANIBIC.

What is the importance of music for this specific population?

RP: We have music therapy at the Saturday Program. Most of the children with autism need

repetition. The music therapist played the same song over and over, and eventually, some

children that were deemed “non‐verbal” started to sing. It is absolutely amazing what the

power of music can do. This year, we have the music teacher play the guitar or CD’s and the

kids dance and play along with her with drums, tambourines, chimes, etc.

LL: What are some important points for performers like those in my theater group to be aware

of when performing for people with autism?

RP: They need to be patient with noise and distractions. More intermissions may be needed.

Sounds may need to be adjusted. Improvisation may be used to refocus the audience.

LL: What in your opinion are the top five critical points to remember to run a program like yours

for people with autism?

RP: When hiring teachers, it is important for them to realize that this just isn’t a job. It is an

opportunity to see that these children grow as people and develop relationships to the best of

their ability. It requires a great deal of patience and compassion. If a teacher’s demeanor is not

a pleasant one, the kids will feel it and react in a negative way.

Make your environment as exciting and stimulating as possible. Although we do not have a

great deal of space, the space we do have is kid friendly; lots of bright colors, hands‐on

equipment, and a safe environment. I try to change things up year to year in order to keep the

program new and exciting.

Get to know the families and know what their needs are. These programs are not just for the

kids, but for the families as well. Although I want to accept every kid that walks through the

door, you have to have clear boundaries for what the criteria of the program will be (i.e.,

allergies, toilet trained, hitting, etc). It wouldn’t be fair to the other kids, and the staff couldn’t

be properly utilized if there were behaviors we are not trained to deal with.

Hire someone who knows ABA (Applied Behavior Analyst) to write behavior plans to maintain

and improve appropriate behaviors, and then identify and arrest inappropriate behaviors.

Poetry Corner

IATA e journal is proud to showcase a selection of poetry written by people in the spectrum whose

exuberant creativity is a celebration of the many ways they seek to express themselves.

Caribbean Paradise

Shangri‐la in the Caribbean Sea

The Bahamas, a tropical felicity

Sun and sand, ocean and trees

Heart wings in pure tranquility

Terns and gulls soar over the sea

Pigeons nestle in the Royal Tower eaves

Mighty Atlantis Hotel, soars tall and wide

A chronicle told from 18 hotel floors

Coconut trees swaying below

Leaves curved to the winds flow

Slender brown trunks bend like a bow

Reports the bird on the 18th floor

Paradise lagoon with kayaks and boats

Dazzling coral sands on Atlantic beach

Jet skis zoom on the Caribbean Sea

A crab proclaims on the sandy beach

Royal Baths Pool ringed with seats

Sipping cool drinks, warm relief

Colour dots of tourists down below

Tweets the bird on the 14th floor

Manta rays slide into the shallows

Lost Atlantis relics in the depths below

Sharks and jellyfish are archeologists

Narrates the shrimp on the aquarium floor

Mile long river with swirling rapids

Leisure and current, a joyous journey

Mayan tube through shark filled views

Chirps the bird on the 10th floor

Girls in bikinis all suntanned

Swimmers on slides, tumble on down

Grottos bubbling with gentle heat

Whistles the lifeguard at the poolside

Boys in trunks lounge in balconies

A game in hand, an eye on the sea

Fierce is the pull, call of the sea

Declares the bird on the 8th floor

Dolphins arc and show off tricks

Uplift noses, wait for a kiss

Sea Lions bark is distance haze

Observes the bug at Dolphin Cove

Rope bridge leads to pleasing Cove Beach

Waves kiss the beach, Oh, so tenderely

Turquoise ocean plays a melody

Hums the bird on the 4th floor

Man chisels away, wooden art in hand

A drummer stands by, a photo opportunity

Women hawk trinkets in Straw Market place

Details the spider on the banana tree

Nassau Harbor with huge ocean liners

Marinas filled with sumptuous yachts

Parasails are mere patches in open sea

Reports the bird on the ground floor

The Bahamians‐ an affable people

Fountains play their island’s symphony

Ocean and trees join the company

Time slows down in tropical glee.

Hari Srinivasan

Hari Srinivasan, 15, lives in California. He was diagnosed with Autism at three years and it was only when

he learnt to type at age 12, could he truly start to communicate. He was thus able to exhibit his talent

for writing. He has since won awards at state and national level for his writing. Last year he was

published in the Anthology by Scholastic Publications ‐ The Best of Teen Writing 2009 (with a foreword

by Elie Wiesel, Nobel Peace Laureate). This essay also won Hari a National Gold Medal. Hari enjoys

writing about a variety of subjects and explores different styles of writing. His favorite topic is

undoubtedly Nature. ‐ "Nature is Poetry and Poetry is Nature. Nature is like a vast sea of intriguing

delights just waiting for you to dive in, explore and experience," says Hari.

The poem Caribbean Paradise was written after a vacation to the Bahamas. It is truly a delight to visit a

tropical island paradise.

A Group Poem

By The Theatre Workshop Ensemble (TwTe)

If I Were in Charge of the World

(Our Apologies to Judith Viorst)

I hear a lot of thinking going on: many thoughts about whatever. What

would happen if you were in charge of the world she asked?

They answered with their hearts I could hear

lots of thinking going on

This is what they said:

If I were in charge of the world

I’d have all the diamonds and pearls

And be loved by all the hot girls


There would be no boundaries,

There would be no countries


No war, more peace

There would be less hostility and more hospitality


I would travel around the world

To convince people to treat others equally


There would be more democracy


We would all be comfortable with our differences

And the differences of others


I would put forth rules and regulations

And do away with corporate greed

If I were in charge of the world I would not

gain weight no matter how much I ate,

Puppies would be

mandatory family members I would have more money

I would always act crazy

I would have

heirs Super stars would want to be

just like me,

I would

convince people to treat each other equally

and end prejudice

I would end

hunger.

So many things we want to return are now gone, oh, so long Oh so

many things that are now lost and forever gone

if only we could turn back time and make a change

For what once was there can never return again

Chorus What is done is

done it is too late to make a change What was

once in the past will never return ‘cos what is done

is done

No matter how hard we try we cannot get over the past

Oh but what effects us the most is nothing will ever last

For what was in the past can never be changed But will

forever be with us in our memories

(Repeat Chorus)

I wish I could turn back time and make a change

I’d change back the past even if I just had one chance But

we have to live in a world where we have to let go

For what is done is done is forever gone

(Repeat Chorus)

When we look back at the past and how it used to be

Oh how we wish we could bring back those lost memories

For what is now lost will be with us for the rest of our lives

It will effect us forever even though we can’t turn back time

Chorus 2

For what once happened is now long gone never to return

If only we could turn back time and make a change but it is all gone

We will never re‐experience what is now in the past ever again

‘cos what is done is done

When we look back on all the bad things we done in our lives

Oh if only we could now make a change if only we could turn back time

But we have to learn to live in a world full of mistakes and regret

Even when the past is so hard to let go and so hard to forget

(Repeat Chorus)

Poem sent in by Kirsty Garstang, whose student wrote this poem.

Ben’s Rite of Passage

At a Drama for Autism Workshop, Anna Hagardon narrates how she helped 19‐year‐old Ben

muster enough self‐confidence to be comfortable in a role play that centered on dating. She

helped Ben push boundaries, and hopefully she says Ben’s new found confidence would

transfer to real life.

I was blessed to be able to travel up to Chico to be able see Dr. Parasuram Ramamoorthi (Dr

Ram) finish his workshop up at Chico State with a session with teenagers. I was able to observe

about half of the session, and then at one point Dr. Ram had me come out and participate with

the group. After a little while it was "date time" and we were ushered into the next room.

The only boy in the group of teenagers with autism that came, I'll call him "Ben," was my 19‐

year‐old date. We were directed, by our ‘waiter’ Ram, to two chairs set up closely facing each

other. I lead the "pretend" by picking up my invisible menu and trying to decide what to order.

He followed suit, although he was a bit less committed than I was to the pretense.

We conversed about food, things we like to do, things he was doing, things he wanted to do,

with me mostly asking the questions. A few times I didn't initiate the conversation, to see if Ben

would pick things up, and some of the times, after a longer pause, he would ask a halting

question. These questions mostly had to do with what I did and wanted to do professionally,

often repeating the same question. He talked a lot about how he wanted to make a lot of money

and wanted a girl that made a lot of money and did what he wanted her to do.

At one point Ram came up to me and whispered on the sly to "make an advance" to Ben, and

"see how he responds." I accepted, which was harder than I expected it to be, and slowly

started leaning forward more, acting more flirtatious in our conversation, touching his knee

more. After about a minute or so I could see him start to get more nervous and recognition in

his eyes grew as he realized what I was doing, but for a few minutes he didn't quite know how to

respond. Ben’s body became tenser.

When the conversation headed toward what we would do after dinner, “Go back to my house

and watch a movie. And maybe cuddle,"—Ben began to get really tense, yet nervously excited.

At one point he said, "I'm really getting shaky."

Ben also said, at the end of the post‐dinner plans discussion, "I'd really like that. I've never had

the chance. I've always wanted to do that. And more."

I could also tell that the flirtatious touch was something he wasn't used to and he became tense

as I became more flirtatious, but he didn't shy away. I honestly wasn't sure how far to go, and

was trying to make sure an appropriate balance was maintained of helping him experience a

situation that he hadn't before, giving him practice, and yet not going too far.

At one point Ben worked up the courage to throw a wink in my direction and as I threw one

back at him, his confidence grew stronger and throughout the evening his body would tense up

for a second and I would see another wink directed toward me. We talked about more about

what kind of girl he wanted, and he often asked what I "would do for him" and I could "give him

what he wanted."

I made sure I was honest and told him whenever he said something that made me

uncomfortable, like when we moved from the "restaurant" into the other room and played the

sculpting game, where we took turns playing the sculptor and the clay in our pairs, and he softly

said a number of times, "Oh, you're my toy now."

We established that he was joking and I told him that even then, it made me uncomfortable.

Through his comments about not having experienced intimate forms of relationships before

(along with what my instincts were telling me), I felt that he needed and wanted more practice

with physical touch, so on the journey into the other room and during the sculpting game, I

offered appropriate and deliberate physical contact‐‐hug, holding arm, prolonged touch during

sculpting, etc.

His reaction was a tense, yet curious and excited energy. He seemed to be in that middle‐land of

not sure what to do, but not wanting to pull away from the flirtatious energy I was sending out.

He would send some back my way every now and again, like the wink, and the comments during

sculpting.

When the session was over, his body relaxed a bit more and as we were leaving he pulled me

aside and asked how he did. "Other than the toy comment, how did I do in there? On a scale of

one to ten? "

I told Ben he did well, that he seemed nervous, but everyone gets nervous in those kinds of

situations, and that he can remember to have confidence in himself. I gave him a few more tips

on how to treat a woman, and he shared with me that tomorrow he was going to see this girl

that he was interested in and that he was going to try to put himself out there more with her.

Hopefully what we did helped, and Ben can have more confidence now in being comfortable in a

dating situation.

Anna Hagardon

About the Contributors

Anna Hagardon is a senior studying Theatre Education at Brigham Young University. She started

theatre as a 15-year-old, when she and her friend begged their mothers to put on a

Shakespeare production. They became “TNT,” a non-profit theatre troupe committed to

becoming better individuals and serving the community. This ignited Anna’s passion for using

theatre as a tool for good. She is currently doing all she can to learn about and experience

using theatre with individuals on the spectrum, as well as running a theatre group called “Play

Theory,” which holds workshops teaching Improvisation and its application to life.

Angelica Rose is the Founder and Principal of Voice & Movement incorporating the Drama for

Everyday Life Program.Angelica has always had a passion for the performing arts and it was

this interest that encouraged her to commence a degree in Arts (Drama) at the Queensland

University of Technology.In 1994 Angelica graduated with a Bachelor of Arts (Drama).Armed

with her degree, Angelica formed a theatre company, producing, directing and marketing plays

for charitable organisations. After 2 years a change was needed and Angelica decided to move

to Melbourne.

In 2001 Angelica decided to establish a school to enrich and empower lives through the arts,

and Voice & Movement was established. The focus was on assisting people in developing

greater self confidence and self expression. Angelica personally researched and developed the

unique Drama for Everyday Life Program that assists students with autism spectrum disorders.

In addition; Angelica completed the Developmental Psychiatry Course in 2005 through

University of Melbourne.

Elaine Hall (CoachE) Founder of The Miracle Project (www.themiracleproject.com), a theater

program for children with autism and the subject of the HBO two time Emmy Award winning

documentary, AUTISM: The Musical. Her CD, Fly: Into Autism co-produced with Diane Isaacs,

pairs celebrity artists with kids who have autism. Elaine’s memoir, Now I See the Moon,

www.nowiseethemoon.com HarperCollins chronicles her work with Dr. Greenspan and the

development of The Miracle Project.

Hari Srinivasan, 15, lives in California. He was diagnosed with Autism at three years and it was

only when he learnt to type at age 12, could he truly start to communicate. He was thus able to

exhibit his talent for writing. He has since won awards at state and national level for his writing.

Last year he was published in the Anthology by Scholastic Publications - The Best of Teen

Writing 2009 (with a foreword by Elie Wiesel, Nobel Peace Laureate). This essay also won Hari a

National Gold Medal. Hari enjoys writing about a variety of subjects and explores different

styles of writing. His favorite topic is undoubtedly Nature. - "Nature is Poetry and Poetry is

Nature. Nature is like a vast sea of intriguing delights just waiting for you to dive in, explore and

experience,” says Hari.

The poem Caribbean Paradise was written after a vacation to the Bahamas. It is truly a delight

to visit a tropical island paradise.

Kara Marziali has a myriad of professional skills, including graphic design, marketing, and

events planning. She received her BFA in Theatre Arts from Emerson College and is working on

her Masters of Arts in Curriculum and Instructional Design from Colorado Christian University.

She remains a dedicated patron of the arts and continues to stay active in community theatre.

Kara has been married to her husband Adrien Mercure for 15 years. They are the proud parents

of a special needs child, an active 12-year-old who has inherited his mother's love of theatre.

Liza Lentini is the founder and executive director of Elephant Ensemble Theater

(www.elephanttheater.com), a charitable organization that brings professional performances to

children in hospitals and clinics. As a playwright, her works have been performed at The Cherry

Lane Theatre, PS122, The Women's Project, and The McGinn/Cazale Theatre, among others,

garnering a multitude of honors and awards. Liza is currently writing a book called How to

Write a Play in 8 Weeks or Less, which details her unique no nonsense method, the same she

teaches in her New York City workshop. For more information, please visit

www.lizalentini.com.

Front cover painting by Tanja Philips

Back cover painting by Clint Lennox

Thanks to Artists and Autism FB

Documents

International association of Theatre for Autism e-journal