I used to think creative dramatics was a good way to differentiate instruction for those who learned better through movement and play. After researching and taking the course, I have recognized creative drama and child’s play as much more prominent in today’s curriculum. Creative dramatics can enhance the educational skills a child learns, such as literacy and language arts. It uses many multiple intelligences, it teaches many important skills, and it is also very easy to implement in the classroom and into common core.
According to an article regarding the use of drama and movement to enhance literacy development for English Language Learners, the authors state that kinesthetic activities help young learners to develop decoding skills, fluency, vocabulary, syntactic knowledge, and metacognitive thinking, as well as reading and writing skills, through these explorative activities such as those we find in drama (Rieg & Paquette, pp. 148-154). Language and literacy are one of the first things to develop in a child and are very important to learning and education. If a child can not read, write, or communicate, it makes learning very difficult for a child to learn. Teaching these skills not only through reading, writing, and talking, but also in child’s play and drama, will provide students who may have difficulties (such as ELL’s) to grasp concepts and relationships better. Creative can also enhance creative thinking and writing skills in the classroom (Rieg & Paquette, pp. 148-154). Creative thinking is vital in education and also in life after graduation. Therefore, creative dramatics is a great way to easily enhance the skills needed inside and outside of the classroom.
Creative play supports learning because it is able to i...
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...ch student’s interests and abilities. There are so many different skills and standards teachers need to not only teach, but ensure is learned in today’s schools, and creative drama is a great way to ensure children are being educated and are prepared to live in today’s world. Creative drama allows with ease that children acquire many different skills and I now have a much better outlook and understanding of creative dramatics as a future educator.
Works Cited
“The Advantages of Using Drama as a Method of Education in Elementary Schools”. 1997. Web. 16 June 2014.
Hulse, Erin K. “Creative Drama and Differentiated Instruction”. Web. 16 April 2014.
Rieg, Sue A. & Paquette, Kelli R. “Using Drama and Movement to Enhance English Language Learners’ Literacy Development”. Journal of Instructional Psychology. June 2009. 36:2. P148-154. Web. 16 April 2014.
All of the above elements are strengthened through dramatic skills such as drama, dance and physical education. These dramatic skills lead students to utilize physical movement in an artistic manner to increase their ability to be quick thinkers, problem solvers, memorization skills, self-discipline, task sequencing, and persistence. (Jensen, pg. 81). The kinesthetic arts teach students to be more at ease with who they are
“During the summer everyone got to see creativity as something tangible,” Scarelli said. “We wanted to bring what we were doing into school drama programs.”
This paper will target ELL students of a secondary age level. It will be assumed they are between levels 3 and 4 of the Ministry of Education ELL/D Performance Standards. This level of student will often need help to elaborate on certain ideas. Sequencing is generally good at this stage, as is accessing prior knowledge, however, a graphic organizer can always benefit a student no matter what level. Grammar is improving greatly through these stages, but things such as homonyms and figures of speech will still be difficult (BC Performance Standards, 2001). Having the students learn how to write a narrative will complete a Prescribed Learning Outcomes for English 10: writing in a variety...
” Drama for Students. Ed. Anne Marie Hacht. Vol. 21.
This activity suits the child’s current stage of oral development will interest them and aid in them progressing in their oral development. Children at this stage of development enjoy listening to stories which is good not only for their receptive skills, but also for their expressive language (Fellows and Oakley, 2014), in all four key components of spoken language. It helps with phonemes by getting the child to focus on the phonological patterns throughout the text (Fellows and Oakley, 214). Syntax knowledge allows them to observe the sentence structure and grammar in the book which allows them to develop a stronger awareness of the syntax. Visual aids in storybooks can aid in the child in the understanding of semantics (Fellows and Oakley’s), as the story is read aloud their receptive skills hear those more difficult words, when paired with a visual cue such as a picture in the book the child understands better and thus they are able to gain a better understanding of how to speak these difficult words. A better understanding of pragmatics can also be gained from storybooks as they understand how people communicate in society such as greetings and asking for things (Fellows and Oakley,
―Fences.‖ Drama for Students. Ed. David M. Galens. Vol. 3. Detroit: Gale, 1998. 180-197. Gale
Galens, David, and Lynn M. Spampinato, eds. Drama for Students. Vol. 2. Detroit: Gale, 1998. Print.
Galens, David, ed. Drama for Students "resenting Analysis, Cntext and Critism on Commonly Studied Drama" . Vol. Volume 1. Detroit : Gale Research , 1998 .
Finally, it is fun to study drama. It is fun to dramatise and dress up and fall over dead behind improvised curtains and fence with blackboard pointers and cook up a witches brew and come to school with a spade over your shoulder for the Graveyard Scene. It is fun, and while all the fun is being enjoyed an incredible amount of language is pouring into these students' heads, through listening, reading, watching videos and learning lines off by heart.
“Theatre is like a gym for the empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.” (Bill English of the SF Playhouse). This quote accurately summarises the purpose of Children’s Theatre, to help the growth and understanding of children whilst also keeping them entertained through theatrical techniques. The National Theatre’s Cat in the Hat, along with our performance pieces of Cranky Bear and Possum Magic all showcased these techniques in a number of ways, whilst also subconsciously coinciding with the child development theories
There are several advantages to using narrative text in the middle school classroom environment. The first advantage is that the reader is entertained when reading narrative text. Second advantage involves narrative text attains and contains the interest of the reader. Third advantage consists of narrative text teaching or instructing the reader. Fourth advantage focuses on narrative text inconstant demeanor or social opinions of the reader. For example soap operas. The Bold and the Beautiful displayed in one of the episodes concerning homeless people and how their circumstances caused these individ...
Socio-dramatic play benefits children by developing social and oral interaction with peers, and extending their vocabulary with topic related language. Educators can set up socio-dramatic play areas so that they contribute to developing the children’s emergent literacy skills. Fellowes and Oakley state that educators can facilitate emergent literacy learning in a socio-dramatic play area by including writing materials that can be easily included in play, for example, note pads and clipboards. Another way to facilitate emergent literacy is to include real texts such as signs in the play area, but these texts must be relevant to the experiences of the children (2011). An example of a socio-dramatic play area that helps develop emergent literacy skills is a restaurant or café. To allow the children to have opportunities to develop their emergent literacy knowledge while playing in this socio-dramatic play centre, the educator could add these literacy related
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Towards the end of the 1960’s the TIE movement was given a dynamic push in the right direction. This was largely due to the new style of teaching and curriculum delivery that was being implemented across Britain. The ‘Plowden Report’ gave numerous advice on the delivery of the school curriculum and a new style of “problem-solving” to teach the syllabus was adopted throughout many primary schools. This new “problem-solving” style of teaching allowed TIE to flourish, as theatre could be used within schools to give examples of how to successfully problem solve.
For an effective education creativity needs to be present within all aspects of a primary classroom. So what does it mean to be ‘creative’? According to Sir Ken Robinson “creativity is the process of having original ideas which have value”. Creativity can be demonstrated through the use of technology, problem solving experiments and allowing children the freedom to explore and express new ideas. It is very important to ensure a child can get the best creative education; this is because creativity will give the necessary skills needed for our future. Children must become creative problem solvers if they are in leadership positions as this will help them within society, even though all children may not be in a leadership position it is beneficial for them to have a creative mind-set. Because the world we live in is constantly developing new ideas, concepts and technology, creativity is definitely the most important quality a child can have. Sir Ken Robinson’s, (an international advisor on education) views on creativity in education will be discussed along with New Labour views which includes the National Advisory Committee on Creative and Cultural Education (NACCCE). The 1977 white paper, the open plan for schools, and the 2003 excellence and enjoyment strategy concepts will also be drawn on.