Literacy in Action SF AATE

8/9/2019 Literacy in Action SF AATE

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Literacy in Action:Integrating Theatre & Language Arts

Professional Development Workshop

StageWrite: Building Literacy through Theatrewww.stagewrite.org

Presenter: Elana Lagerquist, Executive Director

Workshop Objective:

This interactive workshop will present the rationale for using theatre arts to engage

student learning in the language arts curricula for the elementary years. This session

will demonstrate the use of dramatic tools to build early literacy skills. Throughpractical, hands-on activities, participants will learn to integrate dramatic games into

the literacy program with a focus on oral language development, word work, reading

comprehension, and writing. Throughout the session, research and resources will be

presented to advocate for the integration of the theatre arts into every language arts

classroom.

ActivitiesINTRODUCTIONS

StageWriteLiteracy & Theatre

WORD WORK & WARM-UPS

Emotional Statues

Cross The Room

Name & Letter Gesture

Physical Brainstorm

Abstract Impressions

READING COMPREHENSION

Setting Sound-Scape

Imagery Reading

Character Auto-ImagesPlot Point Tableaux

WRITING

Character Profiles

Monologues

CLOSURE


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StageWrite: Building Literacy through Theatre 2

WORD WORK & WARM-UPSObjective: To use visual imagery to enhance oral language and vocabulary skills through

dramatic activities which emphasize individual expression and group building

EMOTIONAL STATUES

CONFIGURATION: Players stand inReady Position in two lines facing each other on oppositesides of the space.

The leader asks players to physically represent how they are feeling right now bycreating a tableau (statue or frozen pose).

Players are asked to exaggerate the pose and facial expressions. The leader prompts players to take a moment to look around and see how other people

are feeling. The leader can also leave half of the group frozen while the other half

relaxes and observes, calling out words that the images evoke.SAMPLE CA STANDARDS ADDRESSED:Listening and Speaking 2.4 Provide descriptions with

sensory detail Theatre 2.1 Demonstrate the emotional traits of a character through gesture (4thgrade) Theatre 1.2 Observe and describe the traits of a character (1st grade)

CROSS THE ROOM

CONFIGURATION: Players stand inReady Position in two lines facing each other on oppositesides of the space.

The leader calls out, Cross the room if... (Examples: ...if you wearing earrings, ...ifyour favorite color is blue, if you speak another language than English at home,etc.)

Each player who meets the criteria moves to the other side of the room and turns back toface the line she came from.

The leader makes another statement and the game continues. If desired, the leader cancreate statements related to a certain theme. Eventually, players can come up and giveprompts for the group. Rules: Use body, not voice. Cannot crawl/lie on floor. Notalking, just notice similarities and differences.

VARIATION: As a second level, which involves some improvisation, this game is playedusing the phrase, Cross the room AS if and then everyone crosses the room, withouttouching and in silence, as the leader gives the following prompts: you just got allyour spelling words right on a test, you didnt sleep a wink last night, you are

walking through the desert, you are looking for a ghost, etc. Or references from astory can be used Wild Things: ...as if you just got in trouble,... as if you weremagic, ...as if you felt mad

PROCESS:Can you come up with one sentence about something new you learned inthis game about our group?

STANDARDS ADDRESSED:Listening and Speaking 1.0 Students listen and respond to oralcommunication, Theatre 2.1 Demonstrate skills in pantomime, tableau, and improvisatio (1stgrade)


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NAME & LETTERGESTURE

CONFIGURATION: Standing in a circle

Moving around the circle one at a time, each player says her name and creates a gestureto represent the first letter of her name.

With backs to circle, each player experiments with different ways to make the letter.

Going around the circle one at a time, each player says her name as she makes hergesture, My name is

The group repeats each name and gesture, Her name is Variations: Next, going out of order, each player says her own name and gesture and

then signals someone else by saying his name and gesture. Finally, the group ischallenged to remove the verbal name and only signal each other with gestures.

STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic VocabularyDevelopment (phonemic awareness), Theatre2.1 Perform in group improvisational theatricalgames that develop cooperative skills and concentration (2

ndgrade)

PHYSICAL BRAINSTORM

CONFIGURATION:Standing in a circle

One at a time around the circle each player finishes the sentence, Literacy is orTheatre is... and creates a gesture or movement to represent their idea.

Players can complete the sentence in any way they wish, with a word or phrase. Forexample, a player might say, Literacy is power. or Literacy is reading and writing.

Group repeats back in chorus after each player has a turn, power or, reading andwriting doing the gesture offered. If desired, go around the circle twice to brainstormmore ideas.

STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic VocabularyDevelopment, Listening and Speaking 1.0, Theatre 2.1 Participate in improvisationalactivities to explore complex ideas (5th grade)

ABSTRACT IMPRESSIONS

CONFIGURATION: Standing, spread out around the space

Leader calls out words: colors, seasons, emotions, times of day, etc. Players walk through the space improvising immediately then freezing into a tableau

when signaled by the leader.

Leader calls out a new word for them to act out as they unfreeze and continue to walkaround the space in response to the word. Guidelines: no touching each other, no

talking, fill in the whole space. Freeze in tableau.

Note: If using a text the leader can move into references from the story. (Where theWild Things Are: mischeif, boredom, hunger, anger, magic trick, growing forest, wildocean, terrible teeth, homesick)

STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic VocabularyDevelopment (Vocabulary and Concept Development), Reading 3.0 Literary Response andAnalysis (narrative analysis), Theatre 2.3 Use improvisation to portray such concepts asfriendship, hunger, or seasons (2

ndgrade)


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READING COMPREHENSIONObjective: To explore the narrative story elements of a text through dramatic activities

that address imaging processes for reading comprehension

Pre-Reading of Text

SETTING SOUND-SCAPE

CONFIGURATION: Sitting in a circle

The group is given a stimulus such as a picture or poem, or is asked to imagine thesetting from a piece of text. (Wild Things: a magical forest)

The group brainstorms what different sounds might be heard in that environment.Words and ideas are written down for all to see.

One player starts the sound-scape with a sound appropriate to that place which caneasily be repeated throughout the duration of the game (e.g. the wind, a bears growl, a

fairy bell, waterfall, rustling leaves). One by one, players add on other repeating sounds.The leader conducts the group

experimenting with pace and volume.

STANDARD ADDRESSED:Literary Response and Analysis 3.0 (setting)

Text IMAGERY READING

Leader reads the text without showing illustrations asking the players to relax with eyesclosed and create pictures in their minds as the story is read.

STANDARD ADDRESSED: Listening and Speaking 1.0 (Comprehension)

Post-Reading of Text

CHARACTERAUTO-IMAGES

CONFIGURATION: In a circle, players start in neutral with backs to center

The leader explains that a tableau is a frozen picture created with the body. Even thoughtableaux are perfectly still images, they show emotion and are moments where motionjust happened or is just about to happen.

Players are asked to create automatic images of characters from moments in a story. On, One, two, three: picture!players turn to face the center and freeze, as directed, in

images of different characters from various points from the story. After each picture,players return to neutral.

Ask students to create automatic images of:Max making mischeif, Maxs mom mad athim, sailing a boat on a wild ocean, a growing forest, The Wild Things growling, the

magic staring trick, frightened monsters, a wild rumpus, Max punishing monsters, Max

smelling his moms supper, lonely Max, monsters begging Max to stay, Max leaving on

the boat, Max back in his room seeing his dinner, Maxs mom downstairs.

STANDARDS: Reading 3.0 Literary Response and Analysis (narrative analysis-character),

Theatre 1.2 Identify a characters objectives and motivations to explain behavior (4th grade)


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PLOT POINT TABLEAUXCONFIGURATION: Sitting in a group

The group is asked to recall the sequence of events in the story as they happenedchronologically.

Each event is written as a title or caption on chart paper or a chalk board. After re-reading the list of events, a group of volunteer players take the stage and are

given a five count to freeze in a tableau of the first plot point title. The audienceprocesses the image with the leader asking guiding questions such as, What do yousee? What makes you say that? What clue do you see in the picture that makesyou think that?

The whole group is then split into three teams, each team directed to create improvisedtableaux based on all of the titles from the story as the leader calls out each caption oneat a time. All groups perform at same time in silence.

Each group is then given one title from the beginning, middle, or end with which tocreate a rehearsed tableau. The players must negotiate roles and use of the space.

After a short rehearsal time, the groups are placed in the space so that when one groupshows their tableau they can be seen by the other two groups.

In sequential order, the groups perform their tableaux (beginning, middle, end). Thought Tracking: players are asked to come to life when touched on the shoulder to

say one line their character might say.

STANDARD ADDRESSED: Reading 3.0 Literary Response and Analysis (3.2 plot), Theatre 2.2Dramatize or improvise familiar simple stories from classroom literature or life experiences,incorporating plot (beginning, middle and end) using a tableau or pantomime (1

stgrade),

Theatre 5.1 Use problem-solving and cooperative skills in dramatizing a story, a currentevent, or a concept from another subject area (2

ndgrade)


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WRITINGObjective: To use improvisational techniques to develop characters in order to createoriginal writing

CHARACTERPROFILE

CONFIGURATION: Individuals sit with paper and pencil or for younger students this can be doneas a whole class activity with the teacher writing the ideas of the group onto chart paper

Players are told they are to think about the character they just played inPlot PointTableaux.

Leader models writing a sample character profile using one of the characters from thestory.

Individuals write a character profile for the character they played in their tableau. Profile includes: Name, Age, Family, Want, Fear, Habitat, Most Important Being, &

Secret.

Players walk through the space in character. Volunteers share profiles.

STANDARDS ADDRESSED: Literary Response and Analysis 3.3 Contrast the actions, motives(e.g., loyalty, selfishness, conscientiousness), and appearances of characters in a work offiction and discuss the importance of the contrasts to the plot or theme (5th grade), Theatre 2.1Demonstrate the emotional traits of a character through gesture and action (4th grade)

MONOLOGUES

CONFIGURATION: Back in three tableaux groupings (beginning, middle, end)

Players re-create their character position from the tableaux of beginning, middle, andend.

One at a time, players are touched on the shoulder to say one line their character mightsay. This can be the same line they said before or a new line based on their characterprofile.

After all players have performed, they write the line of dialogue on a piece of paper.Then they are to add a second sentence that the character might say.

Players review their characters secret. Players write without stopping for two full minutes, creating a monologue For younger students, this can be done as a whole class activity with the teacher taking

ideas from volunteers and writing the ideas from the group on chart paper.

Volunteers perform their monologue in character.STANDARDS ADDRESSED: Theatre 2.2 Perform character-based improvisations,

pantomimes, or monologues, using voice, blocking, and gesture to enhance meaning,

Writing 2.0 (Genres and their Characteristics)


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Mission Statement

StageWrite empowers youth to become actively engaged in their education and

passionate about learning through the theatre arts. We employ dramatic activities toinvolve young people in reading, writing, speaking, and listening as a holistic and

meaningful communication process. Through the communal art of theatre young people

build skills in creative expression, collaboration and critical thinking: all necessarycomponents of becoming literate and engaged members of an equitable society.

For more information go to www.stagewrite.org

Elana Lagerquist, Executive Director

[email protected]

Elana Lagerquist is a teacher and teaching artist in San Francisco. She holds a B.A. inTheatre Arts from the University of California at Santa Cruz and a masters degree in

Educational Theatre from New York University. She received her multiple subjects

teaching credential with Cross-cultural, Language and Academic Development (CLAD)

emphasis through San Francisco States Muir Alternative Teacher Education program in

1997. She has taught second and third grade at Alvarado, John Swett, and SunsetElementary Schools and has been a tenured teacher with the San Francisco Unified

School District. While in New York pursuing her masters degree, Elana worked withThe Creative Arts Team as a teaching artist in the New York City public schools as a part

of the Annenberg Challenge grant for school reform through the arts. Elana has presented

staff development workshops for artists and teachers at various seminars for arts and

education organizations including Performing Arts Workshop (PAW), Young Audiences,KQED-SPARK, Arts Education Funders Collaborative (AEFC) and SFUSD arts

professional development workshops, and the Tennessee Arts Academy. Elana serves as

Diversity and Outreach co-chair with the Arts Providers Alliance of San Francisco. As a

teacher, arts administrator, and teaching artist, Elana is dedicated to working with all

students and teachers to integrate the arts into the core curricula.


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Educational Theatre Bibliography

The following is a list of books that involve some of the concepts addressed in thisworkshop including; bringing stories to life dramatically, building oral fluency, and

other related topics involving the integration of theatre and literacy.

Beall Heinig, Ruth (1992).Improvisation with Favorite Tales, Integrating Drama into the

Reading/Writing Classroom. Portsmouth, NH: Heinemann.

Bell, Nanci. Visualizing and Verbalizing for Language Comprehension and Thinking.

San Luis Obispo: Nancibell Inc/Gander Publishing, 1991.

Blank Kelner, L. and Flynn, R. (2006).A Dramatic Approach to Reading Comprehesion,

Strategies and Activities for Classroom Teachers. Portsmouth, NH: Heinemann.

Flynn, Rosalind (2007).Dramatizing the Content with Curriculum-Based ReaderTheatre. Newark, DE: International Reading Association.

Goodwin, John (2006). Using Drama to Support Literacy. London, UK:

Paul ChapmanPublishing.

Kelin II, Daniel (2009).In Their Own Words: Drama with Young English Language

Learners. Charlottesville, VA: New Plays Incorporated.

Miller, Carole (2004). Into the Story, Language in Action Through Drama. Portsmouth,

NH: Heinemann.

Sklar, Daniel (1991). Playmaking:Children Writing and Performing Their Own Plays.

New York: Teachers & Writers Collaborative.

Wagner, Betty Jane (1998). Educational Drama and Language Arts. Portsmouth, NH:Heineman.

Worthy, Jo (2005). Readers Theatre for Building Fluency. New York, NY: Scholastic.


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Drama and Literacy Studies

STUDY NAME: Childrens Story Comprehension as a Result of Storytelling and Story Dramatization:

A Study of the Child as Spectator and as Participant

AUTHOR: Anita Page

PUBLISHED: Doctoral Dissertation, 1983, University of Massachusetts, University Microfilms

International

Research Question

Does story dramatization enhance story comprehension among first-graders?

STUDY NAME: Drama and Drawing for Narrative Writing in Primary Grades

AUTHORS: Blaine H. Moore and Helen Caldwell

PUBLISHED: Journal of Educational Research, November/December 1993, 87(2): 100-110

Research Questions

What are the effects of thought-organizing activities involving drama on narrative writing in comparison to

traditional pre-writing-planning activities?

What are the effects of thought-organizing activities involving drawing on narrative writing in comparison

to traditional pre-writing-planning activities?

STUDY NAME: The Effect of Dramatic Play on Childrens Generation of Cohesive Text

AUTHOR: Anthony D. Pellegrini

PUBLISHED: Discourse Processes, 1984, 7: 57-67

Research Questions

To what extent does the informational status of a listener (whether familiar or not familiar with a story)

affect a students use of oral language to retell the story? (Do students use effective and appropriate

language when told in advance the knowledge base of the listener?) With what relative effectiveness can

childrens use of oral language (retelling stories to non-familiar listeners) be facilitated through the use ofalternative interventions, namely discussion, drawing, and dramatic play?

STUDY NAME: The Effectiveness of Creative Drama as an Instructional Strategy to Enhance the Reading

Comprehension Skills of Fifth-Grade Remedial Readers

AUTHOR: Sherry DuPont

PUBLISHED: Reading Research and Instruction, 1992, 31(3): 41-52

Research Question

Does a program of creative drama integrated with childrens literature contribute to the growth of reading

comprehension skills of fifth-grade remedial reading students?

STUDY NAME: The Effects of Creative Drama on the Social and Oral Language Skills of Children with

Learning Disabilities

AUTHOR: Rey E. de la CruzPUBLISHED: Doctoral Dissertation, 1995, Department of Specialized Educational Development,

Illinois State University, Bloomington, IL

Research Question

Can a creative drama program with an emphasis on specific social and oral language skills lead to increases

in the social and oral language skills of children with learning disabilities?


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STUDY NAME: The Effects of Role Playing on Written Persuasion: An Age and Channel Comparison of

Fourth and Eighth Graders

AUTHOR: Betty Jane Wagner

PUBLISHED: Unpublished Doctoral Dissertation, October 1986, English Department, University of

Illinois at Chicago

Research Questions

What are the effects of role-playing on subsequent persuasive writing among fourth- and eighth-graders?

What specific elements of role-playing are reflected in subsequent persuasive writing?

How does role-play persuasive language compare to written persuasive language? (This is the channel

comparison referenced in the title).

STUDY NAME: The Effects of Thematic-Fantasy Play Training on the Development of Childrens Story

Comprehension

AUTHORS: Anthony D. Pellegrini and Lee Galda

PUBLISHED: American Educational Research Journal, Fall 1982, 19(3): 443-452

Research Question

What are the relative effects of three modes of story reconstruction trainingthematic fantasy play,

teacher-led discussion, and drawingon the development of childrens story comprehension?

STUDY NAME: The Flight of Reading: Shifts in Instruction, Orchestration, and Attitudes through

Classroom Theatre

AUTHOR: Shelby A. Wolf

PUBLISHED: Reading Research Quarterly, 1998, 33(4): 382-415

Research Questions

Are childrens reading comprehension, expressive fluency, and attitudes toward reading affected by a year

of periodic dramatic coaching based on texts?

What happens when an academically diverse classroom of 8- and 9-year-olds makes a transition from a

traditional round-robin reading program to one involving the creation of and performing in a classroom

theater where children are encouraged to consider and enlist multiple forms of expression?

STUDY NAME: Imagery-Based Learning: Improving Elementary Students Reading Comprehension With

Drama Techniques

AUTHORS: Dale S. Rose, Michaela Parks, Karl Androes, Susan D. McMahon

3-D Group, Berkeley, California; Whirlwind, Chicago, Illinois; DePaul UniversityPUBLISHED: The Journal of Educational Research, September-October 2000, 94 (1): 55 - 63

Abstract:

The causal relationship between drama-based reading instruction and reading comprehension among 4th-

grade students was examined. Cognitive theories related to the role of imagery in memory were used to

develop a drama-based reading comprehension program. A randomized pretest-posttest control-group

design was then employed to assess the impact of the drama-based instruction on students test scores on

the reading comprehension portion of the Iowa Tests of Basic Skills. Results suggest a direct causal link

between drama-based instruction and improved reading comprehension

STUDY NAME: The Impact of Whirlwinds Reading Comprehension through Drama Program on 4th

Grade Students Reading Skills and Standardized Test Scores

AUTHORS: Michaela Parks and Dale Rose

PUBLISHED: Unpublished Evaluation, 3D Group, 1997, Berkeley, CA, 25Research Questions

What is the impact of a collaboratively developed reading comprehension/drama program on reading skills,

standardized test scores, and drama skills?

How does collaboration among teachers, principals, artists, and researchers to develop the curriculum,

assessment tools, and the goals of a drama-skills and reading program play out?


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STUDY NAME: Nadie Papers No. 1, Drama, Language and Learning. Reports of the Drama and Language

Research Project, Speech and Drama Center, Education Department of Tasmania

AUTHORS: Megan Schaffner, Graham Little, and Heather Felton

PUBLISHED: National Association for Drama in Education, Education Department of Tasmania, August

1984

Research Questions

What are the effects of drama (defined in this study as being and doing within an imaginary situation) on

fifth- and sixth-graders language development?

What are the impacts of drama on the development of informational language, expressive language, and

interactional language?

What are the effects of drama on the development of moral values?

STUDY NAME: A Naturalistic Study of the Relationship Between Literacy Development an Dramatic

Play in Five-Year-Old Children

AUTHOR: Jennifer Ross Goodman

PUBLISHED: Unpublished Ed.D. Dissertation, 1990, George Peabody College for Teachers,

Vanderbilt University, Nashville, TN

Research Questions

How is literacy used within dramatic play and why?

What factors influencing how literacy is used within dramatic play are important?

STUDY NAME: A Poetic/Dramatic Approach to Facilitate Oral Communication

AUTHOR: Larry Kassab

PUBLISHED: Unpublished Doctoral Dissertation, August 1984, Department of Speech Communication,

Pennsylvania State University, State College, PA

Research Question

What is the effect of a six-week poetry/drama workshop on: the willingness of students to communicate

orally; their oral communication skills; their feelings at the time of oral presentation; and their self-

confidence and self-image?

STUDY NAME: Strengthening Verbal Skills Through the Use of Classroom Drama: A Clear Link

AUTHOR: Ann Podlozny

PUBLISHED: Journal of Aesthetic Education, Fall 2000, 34(3-4): 239-276

Research QuestionDoes classroom drama help students develop verbal ability? (The researcher created seven meta-analyses

that considered nine related hypotheses related to type of plot, role of leader, degree of transfer, amount of

drama instruction, age, type of population, study design, publication status, and publication date).

STUDY NAME: Symbolic Functioning and Childrens Early Writing: Relations Between Kindergarteners

Play and Isolated Word Writing Fluency

AUTHOR: Anthony D. Pellegrini

PUBLISHED: EDRS Number ED 201 407 (1980): 1-15. Early Childhood Education, University of

Georgia,

Athens, Georgia

Research Question

What is the relationship between kindergartners use of symbolic expression (mainly the use of spoken

words) in free play and their ability to generate isolated written words an inquiry with implications forsuccess in writing)?

STUDY NAME: You Cant Be Grandma; Youre a Boy: Events Within the Thematic Fantasy Play

Context that Contribute to Story Comprehension

AUTHORS: Peter A. Williamson and Steven B. Silvern

PUBLISHED: Early Childhood Research Quarterly, 1992, 7: 75-93

Research Question

What behaviors within fantasy play activities (playing out roles and scenes in a story) contribute to the

development of story comprehension skills among kindergarten children?


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Drama & Literacy Quotes

In their studies, Alber and Foil illustrate how to effectively introduce new vocabulary and

facilitate the learning activities with dramatic techniques. Creating a memorable event

is recommended when introducing new vocabulary.

Alber, S. R., & Foil, Carolyn R. Drama activities that promote and extend yourstudents vocabulary proficiency. Intervention in School & Clinic 39.1 (2003).

It allows exploration and problem solving in safe, supported and motivated situations

where children are more likely to take risks and have a go without the threat of real-life

consequences.

Cusworth, Robyn and Simons, Jennifer. Beyond the script: drama in the classroom.Primary English Teaching Association (1997).

It works from a premise of shared power between students and teacher, allowing students

to see their ideas respected and used to further the drama. This promotes students

engagement, ensuring that drama remains an enjoyable and desired activity.

Cusworth, Robyn and Simons, Jennifer. Beyond the script: drama in the classroom.

Primary English Teaching Association (1997).

For some children who struggle with understanding the written word, the provision of a

physical and visual context can help them make sense of language. In this way, practical

drama can help children whose preferred learning style is auditory or kinesthetic as

opposed to verbal/visual.

Kempe, Andy. Drama in and out of the literacy hour. Literacy Today 21 (1999).

Rationales for the use of educational or process drama highlight the unique power of

drama to tap into childrens intrinsic motivations and to involve the emotions for lasting

and memorable learning. It enables children to use and reflect upon what they know and

through this assists them to make their own knowledge conscious. Heathcote says

children are often barely conscious of what they know or understand and drama

promotes awareness and ownership of knowledge.

Martello, Julie. Drama: Ways into critical literacy in the early childhood years.Australian Journal of Language and Literature (2001).

Drama is an invaluable tool for educators because it is one of the few vehicles of

instruction that can support every aspect of literary development.

McMaster, J. C. Doing literature: Using drama to build literacy. The Reading Teacher

574 (1998).


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Dramatic story reenactments can also increase childrens curiosity about literature

before independent reading begins.

McMaster, J. C. Doing literature: Using drama to build literacy. The Reading Teacher51.7 (1998).Dramatic activities are crucial to early literacy development because children can beinvolved in reading and writing as a holistic and meaningful communication process

McNamee, G. D., McLane, J. B., Cooper, P. M., Kerwin, S. M. Cognition and affect inearly literacy development. Early Childhood Development and Care 20 (1985).

In writing development, children who experience drama also appear to be more capable

of making appropriate linguistic choices as well as expressing opinions or suggesting

solutions.

McNaughton, M. J. Drama and childrens writing: A study of the influence of dramaon the imaginative writing of primary school children. Research in Drama Education

2.1 (1997).

If students engage in [the] process of creating mental images, reading becomes less

dependent on memory of text and more focused on the visual images described. Readers,

then, are more likely to store, retain, and recall more about what they read.

Rose, Dale et al. Imagery-Based Learning: Improving Elementary Students Reading

Comprehension With Drama Techniques (2000).

For children from preschool to second grade, researchers have demonstrated that

children who reenact stories are better at connecting and integrating events to

storytelling than children in a story reading group.

Saltz, E., & Johnson, J. Training for thematic-fantasy play in culturally disadvantagedchildren: Preliminary results. Journal of Educational Psychology 66 (1974).

In addition, researchers have discovered that the mental requirements for understanding

drama are similar to those for reading. For instance, the meaning of a reading is

generally grasped in a transaction between the reader and the text. Process drama

refers to a teaching method that involves children in imaginary, unscripted, and

spontaneous scenes, in which the meaning is made from the engagement and transactions

between the teacher and students.

Schneider, J. J., & Jackson, S. A. Process drama: A special space and place for

writing. The Reading Teacher 54.1 (2000).

The primary purpose of creative drama is to foster personality growth and to facilitate

learning of the participants Brian Way describes the goal of this type of drama as

leading the inquirer to moments of direct experience, transcending mere knowledge,

enriching the imagination, possibly touching the heart and soul as well as the mind.

Wagner, Betty Jane. Educational Drama and Language Arts. Roosevelt University(1998).


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Arts Education Research Reports

Arts Education Research Compendium

Published by the California Arts Council in 2001, this compendium is a collection of

research on the arts and academic achievement and arts learning and the brain, modelpartnerships, policy initiatives, and workforce development. The compendium focuses on

research published between 1995-2001, and that was published and/or publicly available

and educationally significant. Large- and small-scale studies, using both quantitative and

qualitative methods, are represented. In some cases, research is included which was notwritten about arts education, but which has implications for arts education policy and

practice.

http://www.cac.ca.gov/artsinfo/publications-artsed.php

Champions of Change: The Impact of the Arts on Learning

A report that compiles seven major studies providing new evidence of enhanced learning

and achievement when students are involved in a variety of arts experiences.

http://www.aep-arts.org/publications/info.htm?publication_id=8

Critical Links: Learning in the Arts and Student Academic and Social Development

The Compendium summarizes and discusses 62 research studies that examine the effectsof arts learning on students social and academic skills.

http://www.aeparts.org/publications/info.htm?publication_id=10&PHPSESSID=3c4486da8fa7a66a31ab01fd9948b596

Project Zero Studio Thinking Project

Many people believe that arts education is important, but few can say exactly why. Here

at last are the results of the first in-depth research on the habits of mind that are

instilled by studying visual art -- habits, the authors argue, that could have positiveimpacts on student learning across the curriculum. Studio Thinking provides art teachers

with a research-based language for describing what they intend to teach and what

students actually learn. This language will help advocates explain arts education topolicymakers, help art teachers develop and refine their teaching and assessment

practices, and help educators in other disciplines learn from existing practices in arts

education.

http://www.pz.harvard.edu/Research/StudioThink.htm

Documents

Literacy in Action SF AATE