This is to certify that the thesis entitled A DESCRIPTIVE STUDY OF A SECOND GRADE TEACHER AND HER INITIAL EXPERIENCE AS A CREATIVE DRAMA LEADER presented by Judy Pooler Ulrich has been accepted towards fulfillment of the requirements for MA Theatre degree in Date July 26, 1978 0-7639 Ufin. ILIIIIE/ififiif I 'itc f 07—..— -4' —.r.. _—..- —-—-.___ - © 1979 JUDY POOLER ULRICH ALL RIGHTS RESERVED A DESCRIPTIVE STUDY OF A SECOND GRADE TEACHER'S INITIAL EXPERIENCES AS A CREATIVE DRAMA LEADER By Judy Pooler Ulrich A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Theatre 1978 ABSTRACT A DESCRIPTIVE STUDY OF A SECOND GRADE TEACHER'S INITIAL EXPERIENCES As A CREATIVE DRAMA LEADER by Judy Pooler Ulrich This study was planned and executed to provide a des- criptive, analytical account of a second grade teacher and her initial experiences as a creative drama leader. The account details the teacher's training and, in par- ticular, it analyzes her use of drama in her second grade classroom during one school year. Insights for other teachers and teacher-trainers interested in the experience of an "average" classroom teacher, rather than a highly trained specialist, are provided. The researcher used the participant-observation method- ology for collection of the data. The following questions guided the research: 1. How and to what extent would the teacher use drama in her classroom during the research period? 2. What difficulties, if any, would she encounter? 3. What techniques would she find most useful? 4. What progress would she make in her development as a drama leader during the research period? It was found that the teacher made frequent use of short, pre-drama activities throughout the school year; Judy Pooler Ulrich larger multi-activity lessons were implemented ten times throughout the eight-month period. The teacher infrequently used drama as a vehicle for achieving educational objectives. The presence of the researcher was a major factor influencing the frequency of the drama activities. The teacher encountered difficulties in the following areas: use of a narrative approach, use of space, and in planning and leading critical discussions of the drama activities. Techniques found most useful were: "edging in" to drama by the use of pre-drama activities, the use of a lesson format when planning the drama lessons, and the establishment of a serious tone when teaching the drama activities. It was also found that the teacher's informal teaching style was an important factor in her learning to lead creative drama. The teacher in this study made varied progress in her development. She quickly accepted the idea of learning to lead drama, and began experimenting with pre-drama activities. She was reluctant to lead multi-activity lessons because of fear of loss of control. Once she started leading multi- activity lessons, she was unable to progress beyond one basic type of activity, the narrative-approach. After eight months, the teacher was considered by the researcher as still at a beginning or experimentation stage in learning to lead drama. For the regular classroom.teacher, the process of becoming a drama leader may be long and complex. Ample time for classroom application seems to be a necessary component of the training process. ACKNOWLEDGEMENTS I would like to thank my committee members for their assistance: Dr. John Baldwin Mr. Burton Merriam Dr. Donna Wanous Many others contributed to this study. The Department of Teacher Education at Michigan State University, Wainwright Elementary School in Lansing, Michigan, and the participants of the Wainwright Twelfth Cycle Teacher Corps Program generous- ly permitted me to conduct the research. Dr. Susan Florio gave valuable suggestions. A special note of thanks is extended to the teacher who was the subject of this study, as well as her class of second grade students. Because of the need to protect their privacy, they cannot be acknowledged by name. ‘Without their trust and cooperation this study would not have been possible. ii TABLE OF CONTENTS Acknowledgements . List of Figures and Tables . PART ONE: INTRODUCTION TO THE STUDY CHAPTER ONE: PURPOSE, BACKGROUND, AND NEED FOR THE STUDY . . . . . Introduction . Purpose of the Study . Background of the Study . Need for the Study Definition of Terms . Summary . CHAPTER TWO: REVIEW OF RELATED LITERATURE . Introduction . Related Research Study Related Articles Summary . CHAPTER THREE: COLLECTION OF THE DATA . Introduction . . The Methodology . Phase One: The Drama Training Sessions : Phase Two: The Teacher/Subject . . . Summary . . . . . . . . . . . . . PART TWO: THE STUDY CHAPTER FOUR: THE TEACHER/SUBJECT . Introduction The School The Teacher . Her Class . . . The Teacher as Subject of the Study . The Teacher' 3 Training in Drama . Summary . . . . . . . . iii 28 28 30 35 37 39 47 TABLE OF CONTENTS (Continued . . .) CHAPTER FIVE: THE SUBJECT'S USE OF DRAMA IN PART THREE: THE CLASSROOM . Introduction . Pre- Drama Activities Creative Transitions . "Natural" Dramatic Teaching Techniques. Multi- -Activity Drama Lessons Story Dramatization - "Three Billy Goats. Gruff" . . . Poetry Dramatization . . . Pantomime/Mbvement Exploration Occupation Pantomimes Environment Awareness Story Dramatization - SWhere the Wild . Things Are" . . . . . . "My Favorite Place" Pantomimes "When I Grow Up" Pantomimes Summary . . . . . . . . . . . . CONCLUSION TO THE STUDY CHAPTER SIX: INTERPRETATIONS, IMPLICATIONS, AND SUGGESTIONS FOR FURTHER RESEARCH . Introduction Interpretations and Implications Question 1 . . Purpose and Objectives . . Frequency of the Drama Activities . Presence of the researcher Question 2 . . . The Narrative Approach . The Use of Space . Critical Discussions . Question 3 . . Pre-drama Activities Drama Lesson Format . Tone of the Lesson . The Subject' 8 Teaching .Style . Question 4 . . . . . . . . Conclusion . . Suggestions for further research APPENDICES . BIBLIOGRAPHY . iv I 100 . 104 . 106 48 48 50 52 57 60 6O 72 8O 9O 95 . 107 107 I 108 . 108 . 110 . 112 . 114 . .115 .. 117 .. 118 . 120 . 120 . 122 . 123 . 125 . 126 129 . 132 . 134 . 151 FIGURE I: FIGURE II: TABLE I: LIST OF FIGURES AND TABLES Ground plan of the second grade class- room.. Ground plan of the wainwright School . Chronology of the Drama Activities . 34 41 51 PART ONE: INTRODUCTION TO THE STUDY CHAPTER ONE PURPOSE, BACKGROUND, AND NEED FOR THE STUDY Introduction The regular classroom teacher with preper training and ability, it is said, is in a position to make the best use of creative drama with his or her students.1 While a visiting specialist may have certain advantages because of extensive training and experience in drama, it is the regu- lar teacher who is more likely to know the needs and prefer- ences of the individuals in the class, is familiar with the programs within the curriculum, and is there when the atmos- phere is conducive for dramatic activity; the regular teacher can use drama when the time is right. But what sort of training and ability does an average classroom teacher need, short of becoming a specialist, in order to successfully lead classroom drama activities? What happens when the teacher first practices his or her newly-acquired drama skills and lWinifred'Ward, Playmaking With Children (New York: Appleton-Century-Crofts,1957), p. 266. 2 knowledge in the classroom? These were questions which prompted this study. Purpose of the Study The study was planned and executed to provide an in- depth analytical description of a second grade teacher, in- experienced in the use of drama, and her initial attempts to plan and lead drama activities in her classroom. The teacher ‘was a participant in an in-service program which provided training in the use of informal drama as a teaching method, principally in the area of language arts. In particular, the following questions initiated and guided the investigation: 1. How and to what extent would the teacher use drama in her classroom during the research period? « 2. What difficulties, if any, would she encounter as an inexperienced drama leader? 3. What techniques would she find most useful? 4. What progress would she make in her development as a drama leader during the research period? To answer these questions, the researcher adopted the partici- pant observation methodology, a sociological method of inquiry which includes observations, interviews, and interaction with the subjects of the study over an extended period of time. 3 Background of the Study The use of informal drama as a teaching method may be defined as the channeling of a child's natural inclina- tion to dramatize into achievable educational objectives.1 It is based on the notion of learning through direct experi- ence, an idea which has long been recognized as valid by professional educators and theorists. Rosseau, Pestolozzi, Foebel, and Dewey, each of whom.greatly influenced modern education, all emphasized that a child learns best by doing. Dewey wrote: . the primary root of all activity is in the instructive, impulsive attitudes and activities of the child, and not in the presentation and a plication of external materials, whether through e ideas of others or through the senses, and that, accordingly, numberless spontaneous activities of children, plays, games, mimic efforts. . . are capable of educational use, nay, are the foundation of educational method. Richard Courtney in his book Play, Drama, and Thought3 traces this concept of drama and play as educationally import- ant as far back as Plato. He attributes Caldwell Cook with the first use of informal drama activity in particular as a 1WilliamRoundey and Frederick Wheeler, Creative Drama (Elementary) (Lincoln, Nebraska: Dept. of EducatIEn,*l973), p. 24. 2John Dewe "Educational Principles," The Elementary School (June, 1900?, p. 143. 3(London: Cassell & Company, Ltd., 1968). 4 regular method of classroom teaching. Cook and others ex- perimented in England prior to WOrld War I with what they called "the play way" method. Previously, drama activity in the schools had been limited to the reading or formal produc- tion of plays. Cook led his students in improvised scenes and dialogues based on events from history and literature 'with the belief that enacting them was a sure way to under- stand the facts and their implications. From.that time on "the play way" method of teaching all subjects gradually gained in popularity in English schools. Improvised, informal drama began to appear in scattered schools across the United States shortly after. In 1930, Winifred ward published her 1 coining in America the general term for book Creative Drama, informal classroom drama. ward recognized creative drama as both an art form, valuable in itself, as well as a useful tool for achieving educational objectives extrinsic to the form. Since the 1930's other proponents of informal class- room drama have noticed its effectiveness as a teaching method, particularly in the area of language arts education. ‘Ward noted that creative drama can provide incentive for good speech habits in children2 as well as necessary practice in speaking 1(New York: Appleton-Century Co., 1930). The book was later retitled Creative Dramatics for the Upper Grades and Junior'High SchOOl. 2 PlaymakinggWith Children, p. 265. 5 and listening skills.1 Barbara Melntyre in her book Creative Drama in the Elementary School2 demonstrates how drama can provide learning in all of the communication skills, stressing that language arts is the core of the total school curriculum. A.F. Arlington in Drama in Education,3 Douglas Barnes in Drama in the English Classroom,4 Charles Duke in Creative Drama and 5 and James Hoetker in Dramatics and the 6 English Teaching, Teachingof Literature, all emphasize the unique relationship between drama and language arts: classroom drama provides students with the opportunity to use language in an active and concrete way, and provides practice in speaking and listening, two areas often neglected in language arts education. James befett, who has developed an entire communications curriculum based on active language experience stresses that drama and speech should be central to such a curriculum, not peripheral. 1"Creative Dramatics in Elementary and Junior High Schools" in Children's Theatre and Creative Dramatics, eds. Geraldine B. Siks and HazeI Bi Dunnington (Seattle: University of washington Press, 1961), p. 135. 2(Ithaca, Ill.: F.E. Peacock, 1974). 3(London: Oxford University Press, 1961). 4(Champaign, 111.: National Council of Teachers of English, 1968). 5(Urbana, 111.: National Council of Teachers of English, 1974). 6(Champaign, 111.: National COuncil of Teachers of English, 1969). 6 In his book A Student-Centered Language Arts Curriculum, Grades K-12 befett states: Movement to sound, pantomime, charades, enactments . . . are not just games for kiddies or "enrich- ments", but serious business. Teachers should not feel that the time spent on them is time diverted from the tasks of learning about language, litera- ture, and composition. Drama will definitely further such goals. Moffett emphasizes language use and production, and notes that this is precisely what drama entails. This special relationship that drama has to language arts was a main focus of the in-service program in which the teacher of this study received her training in creative drama. The program was developed by constituents of Michigan State University and the Lansing (Michigan) School District, spon- sored by the United States Department of Health, Education, and Welfare, and implemented at the Wainwright Elementary School in Lansing, Michigan, beginning in September, 1977. A primary goal of the project was "to develop and implement a relevant and integrated Communications Curriculum.which utilized the performing visual arts. . . to improve children's communi- "2 It was determined that in order to achieve cation skills. this goal the teachers of the Wainwright School would need new skills. The program was designed for implementation over 1Revised ed. (Boston: Houghton-Mifflin Co., 1973), p.283. 2Lansing School District and Michigan State University, "Twelfth Cycle Teacher Corps Pr0posal" (Proposal submitted to the U.Sé Dept. of Health, Education, and Welfare: December,1976), p. 8. 7 a two-year period. During the first six months the teachers attended two-hour in-service workshops twice weekly in which they were actively involved in drama and communication arts activities; it was felt that the training would best be done when the teachers themselves participated in activities very much like those they were being trained to develop and imple- ment. The curriculum.development began in the final months of the first year, as the teachers became more skilled in the fundamentals of drama. As one approach to assessing the impact of the in- service program, an in-depth study of one participating teacher and her use of drama in the classroom was proposed to and accepted by the program planners. The investigation was begun October, 1977. It included the observation of the teacher during her first six months of workshop training; in particu- lar, it investigated her use of drama in the classroom through- out the 1977—78 school year. Need for the Study Two needs prompted this study. A primary need was in- dicated by an apparent lack of information regarding the regular classroom teacher in the role of creative drama leader. While numerous studies focus on the student participants of classroom drama, few provide information on the experience and development of the teacher planning and leading the activity. It was felt that this in-depth investigation of a teacher's 8 initial attempts to use drama in her classroom would be use- ful to other teachers desiring to implement similar activi- ties. A personal account of an "average" colleague, rather than a highly trained teacher or visiting specialist, had the potential of providing a true picture of what might be expected under similar circumstances. A secondary need for this study was indicated by a survey of the literature regarding teacher-training in the use of drama. While the survey revealed no research studies relevant to this concern, numerous writers indicated a current interest in drama in-service training. It was felt that the information provided in this study would be of use to teacher trainers, especially those interested in in-service training programs in the use of drama. The study investi- gated techniques found effective and pitfalls encountered by a classroom teacher who was currently participating in such a program. In addition, it was felt that the descriptive informa- tion provided in this study would be of use in the overall assessment of the wainwright project. Definition of Terms The following definitions are determined by the con- text in which the terms are used in this study: Initially, a distinction must be made between theatre and drama. ’Theatre (a thing to gaze on) denotes the 9 pre-arranged art form in which there is a distinction between actors and audience. 25293 (a thing done) denotes the wide range of human activities in which man uses his natural in- clination to imitate and impersonate.1 Theatre is based in the elements of drama as are many of the activities described below: child drama - an all-inclusive term which includes the variety of activities involving children in drama and theatre; it includes children's theatre, creative drama, drama in education, and dramatic play. children's theatre - the pre-arranged art form as applied to children as audience members. creative drama - guided informal drama, improvisa- tionaIIand non-presentational in nature; a process- centered activity in which the participants (which may be adults or children) imagine, enact, and re- flect on human experience. Creative drama activities may be further categorized as follows: pre-drama activities - creative drama acti- vities whiCh include skill games, mirroring, random walks, pantomime walks, rhythm and movement activities, sense awareness exercises, basic characterization; often used in relativ- ely short periods of time as motivators, and/or with beginning players. fantaSZ drama activities - playing out of scenes, stories, poems, songs (either existing or original); often distinguished by longer playing periods and the creation of characters and en- vironments outside of the existing real situation. human drama activities - includes role-playing, societal games, socio-drama, and improvisations 1Jed Davis and Tom Behm, "Terminology of Drama/Theatre for Children: A Redefinition," Children's Theatre Review (Vol. XXVII, no. 1, 1978), pp. 10-11. 10 of human situations; provides a way to learn problemrsolving, experience unique yet alternative solutions to real life problems; usually used with experienced players and sometimes characterized by the projection of one's own self into the imagined situation.1 drama in education - the general use of drama in the educational setting, whether it be pursued for its own sake or for the teaching of other subject matter. dramaticplay - the child's natural inclination to dramatize in its natural, unguided state; the child's make-believe play. education throu h drama, or drama as a teaching method or approadh - tae channeling or guiding of a person's naturaI inclination and abi ity to dramatize into achievable educational objectives;2 may be seen to exist on a continuum from the use of a single activity as a teaching tool through the tapping of the dramatic impulse as an overall approach to education. leader - the trained adult guide of creative drama activities. la ers - the guided participants of creative drama; tHe primary purpose of creative drama is to foster the personal growth and/or facilitate the learning of the players rather than, for example, to train them as actors for the stage; although creative drama is traditionally thought of for children, the players may be any age. pantomime walk - a creative drama activity characterized by narration By the leader and each player working simultaneously and alone; the leader guides the actions of the pantomiming by telling the players what they are experiencing; players may be directed to either move through space or pantomime walking in place. 1John Sharpham, "Creative Drama as a Resource, K-12" {gnggblished paper, Illinois State University, Normal, 111., 7 . 2Roundey and Wheeler, Creative Drama (Elementary), p. 24. 11 selfgspace - a term used by the teacher in this study; denotes a place in the room.where a player can bend, twist, reach, and sway without touching anyone or any- thing. side-coaching — vocal guidance given by the leader, concurrent with the on-going action of the players, suggesting action or sensory, or emotional experiences. For the purposes of this study, "drama" is often used to refer to "creative drama." Summary The study was planned and executed to provide an in- depth description of a second grade teacher and her initial attempts to plan and lead creative drama activities in her classroom. The teacher received her training in drama through participation in an in-service program. It was felt that the information would be of use to other classroom teachers desiring to lead similar activities and to teacher-trainers desiring to plan effective programs in creative drama. In the following chapter, literature relating to the concerns of this study is reviewed. CHAPTER TWO REVIEW OF RELATED LITERATURE Introduction As was noted, a survey of the literature in the field of drama in education yields few research studies which focus on the classroom teacher in the role of creative drama leader. In all, one study was found which related directly to this investigation. This study is reviewed below; The survey did indicate, however, a current interest in drama in-service programs similar to the one in which the teacher of this study participated. This literature, which consists of book and journal articles, is reviewed in the second section of this chapter. Related Research Study A research study was conducted at Florida State Uni- versity in 1975 which, while primarily investigating the experiences of the student participants in a classroom drama pragram, closely resembles the present study in two ways, and reached conclusions significant enough to call for its review. Shelby Ridel investigated the effects of creative drama on a 12 13 group of ninth graders who participated in activities led by their English teacher one hour each week over a school semester.1 The primary methodology employed by Ridel parallels the methodology of this study, that of participant observation. Data collection consisted largely of written notes and tape recordings of the class during the drama activities, and ques- tionnaires and interviews of the participants. Ridel also implemented standardized pre- and post-tests of creative writing and thinking to determine such things as student change in communication skills, creativity, and attitude to- ward drama and English. She concluded, however, that the in- sights gained from these measures "could not match the scope and detail of continuous observation" of the class in action.2 In the introduction to the study, Ridel speaks of research in classroom drama, particularly numerous studies which employ exclusively as methodology written instruments similar to those she utilized: The most obvious problem is one of accurate measure- ment. Drama, being, according to Bugental (1967) 'the most behavioral of the art forms' , is extremely difficult to reduce to a paper and pencil measurement. . . If drama is by nature behavioral, why attempt to translate one type of activity into another simply for measurement' 8 sake? Why not record the behavior as it exists?3 1Shelby Ridel, "An Investigation of the Effects of Cre- ative Dramatics on Ninth Grade Students" (Ph. D. Dissertation, Florida State University, 1975). 21bid., p. 166. 31bid., pp. 118-119. 14 As in this study, Ridel determined that the type of research concerning an on-going classroom drama program which seemed likely to yield the most meaningful data was an extended case study of the individual participants; while Ridel decided to focus on the student participants, the present study focused on the teacher. In both investigations, reactions and changes that occurred were not compared to any control population, but were considered within the context of the individual group. A second parallel between the Florida study and the present one was that both were concerned with a teacher inex- perienced in leading drama activities. Ridel rationalized: While most accounts of the values of creative dramatics have come from people experienced in the methods of conducting drama sessions, such as Winifred Ward, Viola Spolin, and Dorothy Heathcote, Efiriiiitfiiicfiii bifind‘fiiEfindi‘éfin‘éfii‘éhificfifliaflfifiie 8 C q Both Ridel and the present investigator felt that the study of a classroom teacher, inexperienced in creative drama would prove insightful to other "average" teachers in similar circumr stances. Ridel concluded that although many mistakes were made by the novice leader, success in the drama activities was achieved: In short, a spirit of willingness on the part of the teacher to use the dramatic activity seems to be the major prerequisite. . . . The experience of the teacher in this study may serve as a 1Ibid., p. 22. 15 heartening example for teachers who have con- templated drama but felt that they weri not suff1c1ently trained to be successful. There were, however, several differences in the Florida study as compared to the present one in regards to the inexperienced teacher as subject. The teacher in the present study received formal training in drama during the research period and received little aid from the researcher in regards to the drama activities. In the Florida study, the teacher had no formal training before or during the research period, but the investigator planned the lessons and coached the teacher who implemented them. While the data yielded from.the present study appears to support Ridel's conclusion that "neither intense training nor complete enthusiasm is mandatory for a teacher"2 desiring to lead drama activities, there are indica- tions from.the present study that a similar conclusion would have to be qualified: the present investigator found that al- though intense training and complete enthusiasm may not be necessarily vital to implement drama activities p§£_§g, formal training and eagerness on the part of the teacher appear to be necessary ingredients for the development of a satisfying and continuously stimulating classroom drama programs Related Articles The survey of the literature indicated an apparent in- terest in and perhaps growth of drama in-service programs 1 2 Ibid., p. 165. Ibid. 16 similar to the one in which the teacher of this study received her training. The most extensive of these programs was sponsored for nearly a decade in Philadelphia public schools, beginning in 1966.1 Sponsored by the Department of Early Childhood Programs and funded by a Title I grant, it focused on staff development 2 The available pub- and aimed "to give teachers a new tool." lished material resulting from the program, however, focuses on the children. Wendy Perks briefly reports on a similar program in 3 As coordinator of Geraldine Siks' book Drama With Children. the project, Perks determined, as did the program planners of the project referred to in this study, that teachers would learn the fundamentals of drama most effectively by partici- pating in workshop activities similar to those they would implement in their classrooms. While description of the over- all project is sketchy, Perks does note that the general results were impressive, and the project was continued beyond its first trial year. She concluded that an essential factor 1Harriet Ehrlich, Creative Drama HandbOok, revised ed. (Urbana, Ill.: National CounciI 6f Teachers of English, 1974). 2Ibid., p. 1. 3(New York: Harper-Row, 1977), pp. 170-176. 17 of the success of the teachers in planning and leading class- room.drama was the continuing support and guidance provided by the program.which lasted the entire school year. In a comparative description of two in-service pro- grams in Newfoundland, Grace Layman also found that the length of the program influenced the success of the teacher parti- cipants.1 She concluded that the teachers simply needed time in which to absorb the information offered in the in-service and to experiment with the new techniques learned. Layman also identified three major fears of most participating teachers during the first stages of learning to use drama in the classroom: fear that the "frill" might take time away from.more traditional pursuits, fear of loss of control in the classroom, and fear of criticism.by others because of apparent classroom disorder. These fears are very similar to concerns of the teacher investigated in this study. Layman found that with most of the participating teachers these fears soon subsided. Similar in-service teacher education programs in creative drama have been implemented in the Netherlands and 1"Educational Drama Projects in Newfoundland," The Speech Teacher 24, Vol. 1 (January, 1975), pp. 24-28. 18 1’2’3’4 In general, throughout Arkansas and New Hampshire. however, these writers also supply very little information on the experiences of the participating teachers. Summary The survey of related literature in the field yielded little information on the classroom teacher and the use of drama. There was indication, however, of an interest in training programs similar to the one in which the teacher of this study participated. Documentation of practices found effective,as well as pitfalls encountered by classroom teachers learning to use drama would be of use to teachers and teacher-trainers interested in creative drama in the classroom. This study provides such information. In the following chapter, the method used to collect this information is described. 1Jan Boland, "Dramatic Work Forms in the Netherland's In-Service Training Course," Lavende‘Talen, 298 (May, 1973), pp. 256-267. 2Bettye Caldwell and Robert Yowell, "Action Dramatics," InstrUCtor (January, 1978), pp. 118-124. 3Idem, "Fostering Language Development and Creativity in Young Children Through Improvisational Drama," Pro osal presented to granting agency, Little Rock, Arkansas, 976. 4 Judith Kase, "Theatre Resources for Youth in New Hampgggrg," Educational Theatre Journal, XXI (May, 1969), pp. - 13. CHAPTER THREE COLLECTION OF THE DATA Introduction While a survey of the related literature revealed few research studies which focus on the regular classroom teacher in the role of creative drama leader, a current interest in the topic is indicated by several authors who report on teacher-training programs in drama. It would seem that this study, which provides in-depth descriptive informs ation on one teacher's initial experiences would be of value to other classroom teachers and to those persons interested in the preparation of teachers in leading such activities. A.documentation of the experience of an "average" colleague, rather than a highly-trained specialist, would provide a truer picture of what the classroom teacher might expect. The Methodology To obtain the desired in-depth information for this study, the researcher employed the participant-observation methodology, sometimes known as field research or ethnography. A detailed analytical description, a holistic picture of a person or group of people in a social context is often the 19 20 result. Characteristically, the participant-observer collects data over an extended period of time, by participating "in the field" with the subjects of his inquiry, in the environment, situation, or process that he desires to understand. A.b1end of data-gathering techniques is employed, often including the following: Direct observation of the subjects and their activities Collection of observational notes while in the field Collection of audio and/or video tape- recordings Extensive interviews with the subjects Collection of relevant documents and artifacts from.the research site Genuine interaction by the researcher with the subjects.1 Analysis of the collected data is a continuous process through- out the entire research period; the investigator's field notes, written shortly after each visit to the research site, include what he saw and heard as well as his interpretations of these observations. By constantly scrutinizing his data, comparing them to earlier notes, and to findings and theories of other 1George J. McCall and J.L. Simmons, Issues in Partici- pant Observat on (Reading, Mass.: Addison4Wesley PubliShingiC6., 1969), pp. 1-5. 21 writers in his particular discipline, the researcher shapes the inquiry while in the midst of the data-collection process. A significant genre of classroom and school research studies utilizing this methodology is currently on the rise. Notable examples include Harry WOlcott's study entitled The Man in the Principal's Office,1 and Complexities of an Urban Classroom by Louis Smith and R. Geoffrey.2 Proponents of this methodology share the following conviction: . . some understanding of how one particular instance or event or case or individual, des- cribed in careful detail, is not only unique, but also shares some characteristics in common with other instances or events or cases or indi- viduals. The ethnographer looks for the generic in the specific, following a "natural history" approach that seeks to understand classes of events throughout the careful examination of specific ones.3 The investigator, as another human being experiencing the event or situation to be understood, is seen as the best research instrument for observing and recording the complex- 4 ities of human behavior. While the subjects of the study are undoubtedly influenced by the researcher who, in turn, relies 1(New York: Holt, Rinehart, and Winston, 1973). 2(New York: Holt, Rinehart, and Winston, 1969). 3Harry Wblcott, "Ethnographic Research in Education: A Proposed Tape Lecture for the AERA Series on Alternative Methodologies for Research in Education," 1977, p. 20. 4Ibid., p. 4. 22 on his own insight and understanding when assessing the data, the argument is made that no method of inquiry is without dis- turbances by the researcher and his instruments, and that ultimately every bit of data from any type of inquiry is faced with subjective interpretation by the human mind.1 The participant-observer attends to his own experience and the effects of his participation on the study as important, addi- tional sources of information. James Hoetker, a leading drama specialist in the United States, feels that classroom.drama would benefit by more research studies utilizing such methods as participant- observation. In a paper entitled, "Research in Drama: An American View", he writes: The process of discovering what drama means in the lives of students, the teachers, and their schools will involve the investigator in inter- acting with the students and teachers and being accepted by them, It will involve locating several informants who Will explain, answer ques- tions, and correct the investigator's tentative formulations. It will involve the recording, for later comparison and analysis, as much as possible, of everything that is seen and said and thought.2 In this study of drama in the classroom, the present researcher, as participant-observer, utilized a number of the techniques described above and in the preceding paragraphs; these are further detailed in the pages which follow. 1See, for example, the following articles in McCall & Simmons: John P. Dean, Robert L. Eichhorn, and Lois R. Dean, "Limitations and Advantages of Unstructured Methods" pp. 19-24; and, Arthur J. Vidich, "Participant Observation and the Collec- tion and Interpretation of Data," pp. 78-87. 2(Unpublished paper, Florida State University,1974), p.16. 23 Data for this study were collected over an eight- month period, from October, 1977 through May, 1978, in two separate but overlapping phases. These phases are described below. Phase One: The Drama Training Sessions During the initial six months of the investigation the researcher participated in the in-service drama sessions. While it was not the purpose of this study to analyze her training, it was felt that genuine co-experience in the sessions in which the teacher who was to be the subject of the investigation received this experience would be helpful. The experience would provide additional insight for the researcher when analyzing the teacher's use of drama in the classroom. Like the other participants, the researcher attended the two-hour sessions twice weekly. Teachers attended the sessions as part of their regu- lar teaching responsibilities. Release time was possible be- cause of an extensive student intern program, Approximately half of the twenty'Wainwright teachers attended on the same afternoons. Teachers released at the same time cut across all grade levels. In addition, several visiting teachers from other schools attended, as did a number of graduate students in education from the university. As a participant-observer in the in-service training sessions, the researcher utilized the following techniques in collecting data: 24 1. Extensive note-taking by the investigator 2. Collection of relevant documents 3. Informal interviews and conversations with the participants 4. Genuine participation by the researcher in the drama activities. Phase Two: The Teacher/Subject In the second month of the investigation the teacher who was to be the subject of the study was selected. While there was actually little concern over such things as current teaching style or grade level taught, three factors guided this selection. It was necessary that the teacher was: 1. A participant in the afternoon in-service sessions which the researcher attended 2. Inexperienced in creative drama but willing to use it in the classroom 3. Receptive to frequent interviews and observations. A program staff member who had worked with many of the parti- cipating teachers for a number of years suggested a second grade teacher, who Will be referred to in this study as Ms. Ann Lorenz.1 The staff member noted that Ann Lorenz was a person who was willing to share her thoughts Openly with others, 1The name of the teacher has been changed to protect her privacy. 25 liked to try new things, and, in addition, would be described as very representative of the Wainwright teachers as a whole. Ms. Lorenz had very little experience in creative drama, but was willing to try using drama in her classroom, She was a participant in the afternoon workshops, and agreed to be the subject of the study. After the selection of Ms. Lorenz, the second and most important phase of the data collection was begun. The researcher observed her in the classroom on an average of three times per month during the ensuing seven months of the investigation. During this phase the principle methods of data collection were: 1. Extensive note-taking by the investigator 2. Informal interviews and conversations with the teacher and her students 3. Formal interviews with the teacher 4. Audio tape recordings of classroom activities The observation sessions lasted from forty-five minutes to two hours; no particular time of the day or day of the week was chosen, although the teacher always knew when to expect the researcher. Both formal and informal interviews allowed the researcher to verify interpretations drawn from these observa- tion sessions. In all, the teacher was observed in the classroom approximately twenty times. A wide variety of lessons and activities were viewed. While later in the research period, 26 observations were limited primarily to lessons incorporating creative drama, during the first two months of the second phase of the investigation there was no request by the researcher to observe only drama activities. The reasons for this were threefold: 1. There was a desire to determine if the teacher might be using drama techniques in the classroom as part of her "natural" style developed prior to the in-service experience 2. There was a desire to determine how and to what extent the teacher might use drama activities in the classroom while still in the early part of her training 3. It was felt that numerous observations of a variety of activities would give a more com- plete picture of her class, and would minimize any effects the presence of the researcher might have on the group. Summary The participant-observation methodology was used for tflne study of the second grade teacher and her initial attempts to plan and lead drama activities in her second grade class- room. A profile of this teacher--the school in which she “murked, her background, and her training in creative drama--is Prcrvided in the following chapter to give the reader a holistic 27 picture of the settings and conditions in which the drama activities occurred. Then, the drama activities and lessons are described and analyzed. Additional notes on the analysis of these activities and lessons are also provided in Chapter Five. PART TWO: THE STUDY CHAPTER FOUR THE TEACHER/SUBJECT Introduction Part One provides introductory information for this study. Part Two provides the descriptive study of the second grade teacher and her initial experience as a creative drama leader. Observations and verbatim quotes recorded in field notes by the researcher, verbatim quotes from audiotapes of classroom.activities, and excerpts from interviews with the teacher are cited in Part Two. The source of each is identi- fied. This chapter describes the teacher--the school she worked in, her background, experiences as an educator, and the training she received in creative drama. The‘School The Wainwright Elementary School in Lansing, Michigan was the site of this study. It is located on a quiet street in a middle-class residential area on the southeastern edge of the city of 150,000. Many of the modest two-and three~bed- room homes were apparently built in the 1960's. Many of the 28 29 people work at the nearby OldsmObile Corporation plant, in positions from lineworkers to supervisors. Many others are civil service employees. Most of the Wainwright children ‘walk from home to school. Approximately 560 students attend wainwright School, which includes kindergarten through sixth grade. It is con- sidered racially balanced in its enrollment as compared to the general population of the area. Wainwright School has eighteen full-time teachers, each with their own class of twenty to thirty students. The teacher staff is, in general, quite experienced in their pro- fession. During the 1977-78 school year, there were three who had been teaching nearly twenty years; the least experi- enced had been teaching for five years. Fourteen had com- pleted their Masters degree. Nearly all of the staff had received all or part of their college education at Michigan State University. Of the eighteen teachers, only one had been at wainwright less than three years; most had taught there between five and ten years. The school building itself was built in the late 1950's. It is a one-story, beige brick building surrounded on two sides by large fields used as playgrounds. A visitor to the building will notice numerous indi- cations of a typical elementary school: sounds from the gym- nasium or busy classrooms fill the air, children's artwork decorates the hallways, hastily-stashed boots and coats pro- trude from lockers. One also notices that during any part 30 of the school day, it is impossible to walk down the hallways without meeting someone. Besides the regular staff of teachers, the students, the principal, custodians, and secretaries, numerous other people come and go: parents who volunteer as teacher-aides, student teachers from.the univer- sity, music and speech specialists from the school district, visitors, and university personnel involved in the in-service program. The Wainwright School, the facility itself, and its locale, appears to be not unlike many other elementary schools in the area, and, it would seem, not unlike numerous others throughout the country. One of the very few characteristics that should be taken into account when generalizing this in- formation is the relatively high education level of the teacher staff. This, however, is not unusual for a school located near a large university. Also, while wainwright did have a large number of visiting specials, aides, and student teachers, this is not uncommon for a nonrural school today. It was not unusual for the Lansing School District and the wainwright School. The researcher determined that Wainwright School was a fairly average urban-residential school. Findings at such a research site should be applicable to countless situations elsewhere. The Teacher Ms. Lorenz, the teacher who agreed to be the subject 31 of this study, happened to be the youngest teacher in her school, and of her colleagues at Wainwright, among the least experienced in the profession. She was twenty-seven years of age, and was in her sixth year of teaching. Ms. Lorenz had always taught at Wainwright, and except for one half- year as a first grade instructor, she had always taught second grade. Growing up in Lansing, Michigan, Ms. Lorenz attended parochial schools through grade twelve. She received a Bachelor of Science degree from Western Michigan University at Kalamazoo in 1972, majoring in English and minoring in elementary education, and she completed her student teaching at Wainwright School. Ms. Lorenz received a Master of Educa- tion degree from Michigan State University, concentrating in reading during her fourth and fifth years of teaching. During this time, Wainwright School was the site of another Teacher Corps program, and Ms. Lorenz earned several credit hours on- site by attending special training sessions in reading. Ms. Lorenz had very little exposure to creative drama prior to the Wainwright in-service program of 1977-78. She was familiar with some of the terms and techniques, having had participated in a one-day creative drama workshop during the previous school year. This workshop, held on a Saturday at another Lansing elementary school, focused primarily on pantomime and movement. ‘Ms. Lorenz had learned a few pantomime exercises, but did not consider herself trained in creative drama. She had never taken any other classes or workshops, 32 and identified herself as a person who did not use creative drama in the classroom.1 She was, however, willing to try it. Like the other Wainwright teachers, she volunteered to participate in the in-service program with the understanding that drama would be a principle focus of the language arts curriculum to be developed. She felt that creative drama might be "a good way to get to the kids",2 making language skill practice more enjoyable and meaningful, and believed that it was important for people "to learn to express themselves." Ms. Lorenz also professes to be a person who likes to have new experiences in life, and apparently desires to in- still a similar eagerness in her students. Every year she enjoys planning and implementing numerous special events and projects for her class. During the 1977-78 year, the follow- ing were among those special things: a Thanksgiving feast with costumes and a full-course turkey dinner prepared by the students; trips to an observatory, the zoo, and a play; plant- ing a flower garden, a cooking/cookbook project with numerous recipes tested by the children and written in individual books as Mother's Day presents; and an all-class book of creative 1Interview (10-19-77). 2Interview (3-5-78). 31b1d. 33 writing and drawing, based on the theme of the appreciation of individual differences in people. This eagerness to supply her students with a variety of experiences is also reflected in her classroom; it is full of books, games, equipment, plants, and clutter from on- going projects. Ms. Lorenz has made most of the colorful bulletin board arrangements which she changes often, as well as most of the educational games stacked around the room, A guitar and piano, centrally located, are frequently used (See Figure I). The room also reflects Ms. Lorenz's style as a teacher; she describes herself as being more informal than most teachers she's known.1 In one corner of the room.is a large carpet on which the children gather several times a day. Ms. Lorenz's desk is nearby, and faces a desk used by a student teacher who came several days a week throughout most of the school year. The childrens' desks, in rows during the first ‘weeks of school, were usually in clusters, facing one another. Observation also soon revealed that there was no "front" to Ms. Lorenz's room; she directs lessons from almost anywhere. Ms. Lorenz, it was also found, directs lessons in a variety of ways, depending on her mood, the mood of the child- ren and the specific subject matter at hand. Before a seat- work session in cursive writing or math for example, she may lIbid. 34 FIGURE I Ground plan of the second grade classroom bulk-fin 500": black bark /S.m I f I .4 / 5%? [—13 [—33 . 60"??? 8 -§ ‘\ HT” ‘F—"'—" .. luau, Q ’ gland-g L____? .1, “hall's, "Ruhr? desk lfl— Des? Wm ‘ desk 1.__i__.J , C7 "'__' 37—: 'r. “I .___.+ __ [’5‘1 -—1 (— "—3 {- carpet 35’ H . :' “MW 0 pi _ Q \ * Vim“ bulletin boards block boards 35 stand before the class giving precise directions as to how and when the worksheets are to be done, and demonstrating the fine points of making a letter or laying out a math prob- lem. She will then demand silence and concentration as the children begin their work. Most often, however, she will direct a lesson from her desk with the children seated on the carpet nearby. She usually gives them a variety of activi- ties to work on during the same time period. The children are then free to complete their assignments in any order. When the children get to work, Ms. Lorenz then travels about the room, giving individualized instruction or teaching in small groups. There is a certain atmosphere of freedom in the room, Very often the children are allowed to move about and talk to one another. Those who finish their work early may take outother projects or use equipment in the room. This "informal approach" allows Ms. Lorenz to spend time in individual and small-group teaching which she finds necessary in reading and math. In addition, she feels it promotes independence and self-motivation in her students at an early age. For the most part, she believes the approach 'works well, although at times during the 1977-78 school year there were some difficulties with her group of children which she found unusual. Her Class When Ms. Lorenz spoke of difficulties with her class, they were often matters concerned with discipline or management. 36 Among the examples she gave were the following: several students abusing "free time" by chasing one another through the classroom; children allowed by the teacher to speak out of turn, but doing so only to interrupt or criticize one an- other; others abusing the opportunity to play the games pro- vided in the room by fighting over rules and throwing pieces.1 Ms. Lorenz determined that these unusual difficulties were due to several factors. First, she noted, was the number of children moving during the school year; two had left during the first quarter, while five children were newly-enrolled during a four-month period. She felt this effected the cohesiveness of the group, and gave her, with thirty-one students during most of the year, too many to adequately handle. Second, Ms. Lorenz identifies "five or six children who shouldn't be together in one class" because of personal behavior problems.2 She determined that they set patterns of behavior formuch of the group. Third, she cited factors related to her student teacher. As in the other Wainwright classrooms, the student teacher had full responsibility of the children while the regular teacher attended the in-service sessions. In the case of Ms. Lorenz 1Interview (3-5-78) and Field Notes (10-28-77). 2Interview (3-5-78) . 37 and her student teacher, styles and standards of classroom management differed significantly. While she considered herself an "informal teacher", Ms. Lorenz noted that she had certain standards that the children.were expected to follow. For example, observation revealed that while talking and movement is often allowed in the classroom, it must be purpose- ful, related to the assignments at hand, and not just for "visiting". Ms. Lorenz felt that the student teacher, alone in the classroam.while she attended the in-service workshops, allowed similar freedom, but with much less control. She determined that it was difficult for her students to remember and understand two sets of rules.1 Lastly, Ms. Lorenz felt that "interruptions" were having an adverse effect on her class. While both she and numerous children benefitted by attending special programs during class time, she was bothered by the absence of some members of the class during parts of nearly every day of the school year. She herself felt alien to the group at times, and thought that group cohesiveness was being further eroded by this condition.2 The Teacher as Subject of the Study From the very first conversation with Ms. Lorenz lInterview (3-5-78). 2Ibid. 38 (then a candidate for the subject of this study),1 the researcher, as a participant-observer constantly shaping his inquiry by formulating new questions, began to wonder, "Does this teacher seem to have the basic requisites for becoming a successful drama leader?" Winifred Ward states that a teacher must be providing an environment conducive to creativity, that of freedom and stimulation.2 As was noted, Ms.Lorenz often tried to excite her students' minds by providing new experiences and activi— ties to pursue. She also allowed her students certain choices and freedom with control. While she professed to have unusual discipline problems with her present group, the researcher was not distressed about the possible effects this might have on the study. It was felt that the study could provide in— sight regarding a factor which greatly concerns classroom teachers inexperienced in the use of drama, that of discipline and control.3 ward also stresses that a teacher's attitude about creative drama is vitally important.4 With only minimal expo- sure to the form, Ms.Lorenz agreed to be the subject of the 1Interview (10-19-78). ZWard, Playmaking With Children p. 269. 3Layman, "Projects in Newfoundland." 4Ward, Playmaking With Children, p. 267. 39 study of drama in the classroom, which indicated that she al- ready recognized some value in it. She soon acknowledged it as a new experience and vehicle of expression for her students.1 Ms. Lorenz's educational background and professional experience, while in some ways limited, was seen by the researcher as advantageous in terms of her learning to incorp- orate drama into her classroom, Although five years had given her sufficient time to develop confidence and ease in her role as a teacher, her classroom techniques and philosophies would probably still be impressionable. In summary, it was felt that the subject was a fairly average elementary teacher. It appeared that Ms. Lorenz's classroom.was to be the setting of insightful and, hopefully, successful creative drama activities. The Teacher's Training in Drama As was noted, the teacher received her training in creative drama as a participant in an in-service program, In the following pages, her training is briefly described; particular attention is given to her level of participation in the training sessions and to those techniques she would later find most useful in her own classroom. The sessions were held in an unused classroom.at the Wainwright School, from October, 1977 to May, 1978 (See Figure llnterview (3-5-78). 40 II). Half of the participants attended two half-day sessions per week in the morning with the other half attending a repeat of the session in the same afternoon. The lessons planned by five university professors from.the following specialty areas: teacher education, drama, language arts, and multi-cultural education. Two of these specialists, one in drama and one in language arts, usually lead the sessions. Nearly every session involved active participation by the group in creative drama activities focusing on the development of language arts skills. Early sessions, for example, included pre-drama exercises focused on listening awareness. In one instance, after listening to and identify- ing real sounds in the environment, the players were asked to think of a specific sound, and pretend to listen and react to it as a partner looked on. Partners then repeated the exer- cise together, both imagining to listen to the same sound while others watched. Small groups then repeated the exercise, until finally the whole class selected one sound to imagine and react together. Afterwards, the numerous communication skills that were involved in the entire process were identi- fied and discussed, such as reading or "careful" listening, marginal or "careless" listening, and various speaking skills that were practiced when the players planned each repetition of the exercise.1 Some of the later, more advanced lessons lField Notes (10-10-77). 41 FIGURE II Ground plan of the Wainwrighrgi'School entranco r — ‘l # offices .1 h. ,” “br.rv P—— j , gymnasium T.— r-—— "'—" m. ”“nt courtyard clusnom ~ ---' Ell lllll— * 1| ,1 .. Site of in- service. sessions all- dP 42 included a dramatization of a situation or story, followed by creative writing by the players about the experience, and a discussion of the numerous speaking, listening, and writing skills involved in the entire process. The drama specialist would also explain the structure and techniques of the lesson, providing practical suggestions for imple- menting similar activities with children. Ms.Lorenz attended these sessions regularly. She was usually very active in group discussions, asking ques- tions and offering opinions. She didn't, however, show the same enthusiasm for participating in the active drama exer— cises, particularly those which involved others watching her pantomimes or improvisations. ‘Ms.Lorenz told the researcher that she felt "uncomfortable acting in front of a group."1 Signs of her discomfort were frequently seen by the researcher; she would "break character" and laugh with a friend during a story dramatization,2 stop in the midst of an improvisation to state that she couldn't think of anything to do next.3 This feeling of personal discomfort, not unusual in people who are inexperienced in drama, coupled with a number of the classroom factors described in the preceding section lInterview (1-13-78). 2Field notes (10-19-77). 3Field notes (10-22-77). 43 resulted in what the researcher saw as an unusual tentative- ness in Ms. Lorenz. She expressed that she wanted to try the techniques she was learning in the in-service program but began to doubt her own confidence in using the techniques and wondered if her children could handle the relative free- dom she assumed would be necessary for classroom drama activi- 1 She decided, therefore, to take the advice of the ties. in-service specialists to introduce drama in small amounts first by the use of "creative transitions." "Creative transitions" were described by the drama specialist as short, pre-drama activities used to provide smooth and relevant transitions from one classroom activity to the next.2 Examples included such things as: pretending to be characters from a story, either before the reading of the story to aid in focusing the listeners' attention, or after, to help the children in settling down for a period of desk work; pantomiming quiet bird or animal movements when moving together from one part of the building to another; concentra- tion games such as mirroring the movements of a partner before lessons involving small group work; and sensory awareness exercises before a session in creative writing or drawing. The drama specialist advised that the inexperienced leaders become used to drama gradually, before attempting longer, 1Field notes (12-7-77). 2Field notes (11-7-77). 44 multi-activity lessons, Dorothy Heathcote, a leading drama specialist in England, refers to this as "edging in" to drama.1 One particular pre-drama technique was found by Ms. Lorenz to be especially useful for creative transitions, as well as in later drama lessons. Demonstrated early in the fall, it was called "Oh-up Oh-down" and was particularly recommended for leading a group of young children in the Emi- tation of characters or animals, perhaps for their rehearsal before a dramatization.2 The leader has all of the players "try on" the various characters simultaneously while he or she sidecoaches their pantomimic actions. Players are told to scatter about the room, and as they say, "Oooooh up!", everyone stretches up, hands above head; on "Oooooh down!", they reach toward the ground and listen for the leader's come mand to, "Come up the old man in the story" or other appropri- ate character. Ms. Lorenz saw that the form of this activity would be particularly_appr0priate for her group for their first experiences in creative drama, as it involves each player working silently and alone, with the leader providing a large amount of control.3 1Betty Jane Wagner, Dorothy Heathcote: Drama as a Learnin‘ Medium (Washington, D.C.:—National Educafion Associ- ation, I976), pp. 34-47. 2Field notes (lO-l7-77). 3Field Notes (11-14-77). 45 Also demonstrated early in the fall, and reviewed numerous times throughout the year, was a format for design- ing multi-activity drama lessons.1 Briefly, the guidelines were as follows: 1. State the basic purpose of the lesson . State the basic objectives of the lesson 2 3. State the activities of the lesson 4 . State the follow-up of the lesson In designing the activities of the lesson, it was suggested that the lesson begins with something which would focus the players' attention and energies toward the overall theme and mood of the lesson. At this £3322 time players may also be given any necessary skills or instructions in preparation for the lesson. Second, the content is clearly presented; the story is read and reviewed or the tapic for the dramatization is thoroughly discussed. Third, is the organization of the play- ing; the sequence of events of the drama is reviewed, the playing space is defined, the characters are "tried on" and roles are chosen. Finally, the dramatization takes place; the story or sequence of events are enacted. There may be a number of steps within the dramatization depending on the leader's judgement and purpose in designing the lesson; for example, if a long series of events is to be dramatized the lField notes (11-26-77). 46 leader may choose to design the lesson so each event is enacted as separate scenes with a pause for discussion be- tween each and a new cast of characters selected. Lastly, it was suggested that the activities of the lesson end with another £2233 activity, during which the players discuss what they learned and/or critique their play- ing. This gives the leader a chance to assess the lesson in terms of the objectives, and aides in providing a smooth transition into a replaying of the dramatization if desired or into another lesson. It was also suggested that the teachers consider a follow-up to the lesson; that is, to plan activities for an- other time that were related to the purpose and content of the drama lesson. If a story was used for example, that same story may be the theme for the next day's creative drawing lesson. In this way, the drama lesson would be even more meaningful, and not just a one-time "special event." In summary, the following format was suggested for the design of the activities of the drama lesson: A. Focus the attention and mood of the players B. Present the content of the lesson C. Organize the dramatization D. Dramatization; play out the story or sequence of events E. Discuss and/or replay the dramatization F. Refocus the mood and attention of the players for the next activity of the day. 47 With many suggestions in mind, particularly those for "edging in" to drama and designing multi-activity drama lessons, Ms. Lorenz began to gradually introduce drama into her second grade classroom. While she herself felt uncomfort- able participating in some drama activities, the following chapter shows how she gradually overcame her hesitation to lead these type of activities in the classroom. Chapter Five first describes the "edging-in" activities Ms. Lorenz used; the lesson format outlined above is then used as a convenient framework for comparison of the several multi-activity lessons which she later designed and implemented. Summary In this chapter a profile of the teacher and her parti- cipation in the drama training program was provided. Recommenda- tions and techniques in creative drama found particularly useful to her were described. These included such things as "edging into" drama by implementing single pre-drama games and the use of a lesson format when designing multiple drama activities. How she used these techniques in the classroom is detailed in the following chapter. CHAPTER FIVE THE SUBJECT'S USE OF DRAMA IN THE CLASSROOM Introduction This chapter provides information on the teacher's use of creative drama in her second grade classroom. First, notes on the analysis of the drama activities and lessons are provided. Next, the use of short, pre-drama exercises is examined. Then, the multi-activity lessons are individu- ally described and analyzed. A chronological outline of all of these lessons and activities is provided as Table I. Notes on the analysis of the drama activities and lessons The researcher used the following questions as guide- lines when analyzing the drama activities and lessons: The lesson plan: What was the purpose of the lesson? Was it related to on-going curriculum concerns? If so, how? What was the basic content of the lesson? Was it appropriate for the particular group of players? What was the overall objective of the lesson? Was it realized? Were apprOpriate strategies planned for real- izing the objective? 48 49 What significant characteristics of the lesson plan ef ected its implementation? How does the plan of this lesson compare to pre- vious ones? Are improvements evident? The implementation What significant factors seemed to effect the lesson during its implementation? Were the players sufficiently prepared for the lesson? HOW’WaS the content presented? Did the players seem to understand it? Were they interested? If something was read, was the leader fluent? Was her voice animated? Interesting? Were directions stated clearly? Was the leader in command of the material? Did she appear nervous, or relaxed? Was the leader open to suggestions? How long were the drama activities? 'Was the time alloted adequate? How was the space organized? Was it adequate? HOW'WaS the playing organized? How were roles chosen? Did the children have input into these organizational activities? During the drama activities, did the leader walk around offering assistance? How was inappropriate behavior handled by the leader? Did the leader solicit feedback from the players? If given unsolicited, how was it handled by the leader? Did the leader deviate from her lesson plan? If so, how and for what apparent reason? Was an appropriate transition to the next lesson pro- vided? How does the implementation of this lesson compare to previous lessons? Is improvement evident? 50 How did the leader feel about the lesson? These questions, formulated by the researcher, are based on drama lesson analyses provided in the literature in the field of creative drama/drama in education.1 These accounts also served as models for the analytical descriptions which follow.2 In order to arrive at valid interpretations for the descrip- tions, many of the same guideline questions used by the researcher for observing the drama activities were also asked of the teacher in subsequent interviews. In this way, the researcher was able to cross-check her interpretative notes. Pre-drama Activities As was noted, Ms. Lorenz decided to "edge in" to drama by implementing short, pre-drama activities called creative transitions. Observation also revealed that the teacher led what could be classified as other pre-drama activities as often as two times per week. These particular activities, unlike the creative transitions, were apparently not consciously implemented in the attempt to introduce drama, and were not modeled on exercises demonstrated in the in-service sessions. They appeared to be part of Ms. Lorenz's teaching style. 1Sources found most useful were: Ruth Beall Heinig and Lyda Stillwell, Creative Dramatics for the Classroom Teacher (Englewood Cliffs, N.J.: Prentice-Hall, 1974); Lynn McCregor, Maggie Tate, and Ken Robinson, Learnin Throu h Drama (London: Heinemann Educational Books, 1977); SIEs, Ufama Witfi Children; and,‘Ward,‘Pl§ymaking‘With Children. 2See, in particular: ‘Ward, Playmaking With Children, pp. 20-28. 51 TABLE I CHRONOLOGY OF THE DRAMA ACTIVITIES 10-28-77 Dramatic Fingerplay Halloween theme (p. 58) 11-14-77 Creative Transition - "Walking on eggs" (p. 52) 11—21-77 Creative Transition - Mirror game (p. 53) ll-23-77 Dramatic Fingerplay - Thanksgiving theme (p. 58) 11-29-77 Movement Exercise - Recorded action-song (p. 59) 12-5-77 Dramatic Fingerplay - Christmas theme (p. 58) 1-20-78 Creative Transition - "underwater pantomime" (p.54) 1-23-78 Story Dramatization - Three Billy Goats Gruff (p.60) 1-26-78 Creative Transition - "Spider on a web" (p. 55) Recorded action-song (p. 59) Three Billy Goats Gruff1 2-2-78 Movement Exercise 2-6-78 Story Dramatization 2-10-78 Poetry Dramatization- (p. 72) 2-20-78 Pantomime/Movement Exploration (p. 80) 2-27-78 Tools Pantomimes2 2-27-78 Occupation Pantomimes (p. 87) 3-13-78 Environment Awareness (p. 90) 5-30-78 Story Dramatization - Where the Wild Things'Are (p.95) 5-31-78 My Favorite Place (p. 100) 6-1-78 When I Grow Up (p. 104) 1This lesson was not observed or analyzed by the researcher. Implementing the same plan used on 1-23-78 and using a different group of six children, the teacher was observed and critiqued by the in-service specialists. 2This lesson was not observed or analyzed by the researcher. It was similar in content and format to the "Occupation" lesson implemented the same day. 52 These techniques, identified by the researcher as the teacher's "natural" dramatic techniques, are described, following an examination of the creative transitions which were consciously implemented as introductions to drama. Creative Transitions The teacher was observed using creative transitions four times. She estimated using the techniques as often as two times per week throughout the research period. At first, the technique was used for the main purpose of introducing creative drama. Later, the device became valued in and of itself. On November 14, during the third observation session of the teacher and her class, the group read the story of Horton Hatches the Egg1 while seated at their usual story- reading place, the corner carpet. While the children were still quiet, involved in the story, Ms. Lorenz quietly told them to go down the hallway to the gymnasium "as if on eggs." As the children started to get up slowly, a slight amount of giggling erupted, so she said, "Don't crush them!‘ and "Remember how eggs break!" Caught in the mood of the story and given an interesting challenge, most of the children tiptoed or took tiny steps, attentively watching their own feet; three or four simply stood up and walked normally. The mood was broken 1Dr. Seuss (Theodore Geisel) (New York: Random.House, 1940). 53 momentarily as the group paused at the classroom door while two boys were asked to fetch the gym-balls in a cupboard. As she opened the door, Ms.Lorenz said again, "Remember--on eggs!" and about half of the group followed her challenge, continuing the short walk down the hall stepping slowly and carefully. This activity was, on the whole, successful. It was well-suited to the on-going lesson, the story being read, and was apparently amusing or challenging to most of the group. While the attention of many was lost in the short moment when the equipment was gathered, a large number were successfully refocused to the imaginary idea before proceeding down the hall.1 About one week later, the group participated in a mirroring exercise. They had just arrived from recess and were, as a group, lively and talkative. Ms. Lorenz told them to find a "self-space" in the room, a spot where they could move without touching anyone or anything. After a few moments of stretching and twisting she asked them to look at her, and stood quietly waiting for their attention. After a moment she said, "OK. Now I want you to pretend you are my mirror," and explained that if she moved, they all had to move just like she did. 0n, "OK, ready? Now this is panto- mime, and mirrors don't talk," she lifted her arms slowly and began to bend from.side to side. All but two children tried 1Field Notes (11-14-77). 54 to follow her, although some bent in the wrong direction. One boy near a window knelt on the floor and looked out, and another boy sat down in his seat and opened his desk. The room was quite quiet as Ms. Lorenz slowly led large motor movements for about two minutes. One child called out, "This is dumb!" but continued playing quietly as several others reacted with giggles. The children were simply told to find their seat after the short exercise. They waited quietly as Ms. Lorenz threaded a film into a movie projector. The teacher had accomplished a basic objective with this exercise, that of establishing a proper mood for an upcoming activity. She had also begun to establish, although perhaps unwittingly, a necessary standard for classroom drama, that of a free and accepting atmosphere.1 Children who did not feel like participating were allowed to sit out. An inappro- priate comment, not highly disruptive, was quietly ignored and soon forgotten.2 A transition similar to the "walking on eggs" trans- ition took place in January. As the group lined up to go to the library with the student teacher, Ms. Lorenz, standing at the classroom.door surveying the large amount of activity as the children collected books and put away papers, said loudly, "Ah. . . what would it be like to go to the library, underwater?" 1Ruth B. Heinig and Lyda Stillwell, Creative Dramatics, p. 251. 21bid., p. 260. 55 Receiving a few startled looks, she then said, "Let's pre- tend we're going to the library as if underwater." Although the noise and excitement didn't die down as she had apparent- ly anticipated, after the children were sufficiently hushed and organized in two lines, Ms. Lorenz said, "Remember, underwater you can't hear anything, you can't say anything. You move kinda slowemotion, don't you?" With the student teacher in the lead, also pantomiming a smooth breast stroke, the children moved out and down the hallway, still in two lines, but paddling their arms and pretending to blow bubbles. Two or three children did not seem to be participating, but simply walked and carried their books. One boy zig-zagged down the hall, making a "zoom zoom" noise with his hands out- stretched in front of him. One girl hopped. The children were obviously very intrigued by this activity. Unlike "walking on eggs", large motor movements and a variety of body motions could be involved; the boy who zig-zagged and the girl who hopped aptly illustrated that this group, not unlike other second-graders, enjoyed exploring the freedom of large movements.1 Ms. Lorenz would tap on this natural inclination in many later lessons.2 A fourth creative transition was implemented following a reading by the teacher from.the book Charlotte's Web.3 The 1Joan Russell, Creative Movement and Dance for Child- ren, revised ed. (Boston: Plays,*Inc., 1975), p. 24. 2Field notes (1-20-78). 3E.B. White (New York: Harper-Row, 1952). 56 children were told to stand up and scatter about the open areas of the room. Using the "Oh-up Oh-down" exercise demonstrated in the in-service sessions, the group tried on the characters of "a chicken", and then "the spider" from the story. They had apparently participated in the exercise before; all the leader had to do was say "Oooooooh up!" and everyone joined in the chant and reached their hands into the air. When told to come up a chicken, the room.immediat- ely filled with laughter and loud cackling. About half of the group followed the leader's imitation of scratching and pecking. After about eight seconds of this pantomime, "Oooooooh up!‘ was called again, but only a few hands shot into the air as giggling and talking persisted. Finally, ' and were everyone reached for their toes on, "Ooooooh down,‘ quietly told to come up "the Spider in the story, and find your seat as if walking on a string from.his web." The child- ren apparently took this as a cue to settle down, because while most of them.tiptoed through the room as if balancing on a tight-rope, there was little noise or comment. No one imitated a spider by crawling or moving at a lower level, which indicated to the researcher that the group, as a whole, was not highly sophisticated in creative movement skills.1 It was also apparent that their concentration in this sort of activity could easily be broken. Although the leader might 1Russell,‘Creative McVement, pp. 24 & 69-70. 57 have taken this opportunity to practice concentration skills necessary for creative drama, this apparently did not occur to her.1 Under the circumstances, the choice to quietly terminate the activity was not unwise.2 ms. Lorenz acknowledged that her confidence grew as she implemented these creative transitions.3 As was noted, she began to use them often. She particularly liked "Oh-up, Oh-down", and estimated using it six other times during the year for the purpose of stimulating drawing or creative writ- ing, or "just for fun."4 Other Pre-drama Activities The researcher noted numerous other pre-drama activi- ties utilized by Ms. Lorenz that were apparently part of her own teaching repertoire, but which still may be seen as addi- tional preparation of both her and her students for later multi-activity lessons. 1It should be noted that numerous "Point of Concentra-' tion" exercises from Viola Spolin's Improvisation for the Theatre (Evanston, Ill.: Northwestern University Press, 1963) were demonstrated in the in-service training sessions. 2Field notes (1-26-78). BInterview (2-10-78). 4Interview (5-30-78). 58 The teacher used a number of dramatic techniques When orally presenting material. Stories for examples, which were read aloud to the children at least once a day, were often preceeded by a few questions or comments which set the proper mood. The weather or upcoming holiday would be alluded to, for example, if the story was a seasonal one. Ms. Lorenz's reading voice is pleasing and clear. She uses it effectively to create character and excitement. Her face is very animated when she reads. She often pauses to have the listeners make apprOpriate sound effects, to repeat some- thing a character has said or done, or to clarify a point in the story. Frequent use of an "echo technique" for teaching lines of songs and verse was also observed. This involves a choral imitation by the students of the teacher's words and tone of voice. Dramatic fingerplays to songs or chants were also part of the subject's regular repertoire of classroom ideas. The researcher observed these on October 28, November 23, and December 5. Involving rhythms, counting, dynamics, and echo- ing, each was related to the season, and played while the children sat in their seats prior to dismissal. The teacher estimated teaching her children fifteen different fingerplays during the school year. Another type of activity may be identified as move- ment exercises. While these were observed only on two occasions 59 (November 29 and February 2), it was apparent to the researcher that they were familiar to the class. As was noted, each player knew how to find their "self-space". Before the move- ment exercises, everyone would find an area in the room, and there would be a few moments allowed of bending and stretch- ing, turning and twisting. Then one of three welleworn cassette tapes of sing-along songs was played. The songs directed the children to explore various movements, dynamics and rhythms, and to imitate various actions. Ms. Lorenz and the student teacher would often find a space and play along. The teacher estimated leading this sort of activity once a week throughout the year, often at the end of a long period of seatwork or prior to dismissal. In summary, numerous pre-drama activities--some con- sciously employed as introductions to drama and others part of the regular classroom activities--were implemented throughout the year by the teacher. Several of these were observed by the researcher during the early part of the classroom research period, during which there was no request on the part of the researcher to specifically view drama activities. This suggested to the researcher that although the subject had des- cribed herself as a teacher who "did not use creative drama in the classroom,' she used many activities that included techniques and concepts similar to those she was learning in the in-service. It appeared as if both teacher and students would be well-prepared for the longer drama lessons. 60 Multi-Activity Drama Lessons By January, Ms.Lorenz felt ready to implement drama lessons of more than one activity. These lessons are des- cribed and analyzed in the chronological order in which they were implemented. As was noted, the teacher followed a lesson format recommended by the in-service program special- ist (See outline on page 51 ). To facilitate the reader, this format is noted throughout each of the following descrip- tions. Each session was planned and implemented by the teacher except on one occasion when assistance in planning was given by the researcher. The type of activities and central content was also the sole choice of Ms.Lorenz. What resulted was a large variety in the type and duration of lessons. The researcher has identified each according to its central con- tent . Story Dramatization - "Three Billy Goats Gruff"1 On January 23, Ms.Lorenz implemented a lesson with the overall objective that the players be able to dramatize a story from their readers, "The Three Billy Goats Gruff." She planned to narrate the story while the children enacted it. The basic purpose of the lesson was creative drama. It was the first lesson of the day, immediately following the morning 1Field Notes and Interview (1-23-78). 61 "carpet-time" activities of roll-call and story-listening. Eight children, from.the reading group which had most recently completed the story, were selected. Besides the children and the teacher only the researcher was present. This was the twelfth observation of the class, so it was felt that the effects of the presence of the researcher would be minimal. As the whole class began seatwork activities under the direction of the student teacher, Ms.Lorenz called the eight children to stand by her at the door. When questioned about their destination, she quietly remarked that they would soon see, and that it was "something special". They were led to an empty classroom, and left momentarily alone with the researcher as Ms.Lorenz returned to the classroom to find a replacement for an absent child. In the two minutes that the teacher was away, the children began to laugh and talk excited— ly. Two began chasing each other around the sparsely-furnished space. When Ms.Lorenz returned and halted at the door, the children looked up at her, quieted down, and sat on the floor in scattered places around the room. She again told them that this was "something special" and "any one who can't show me they can't handle it will be sent back to the room." The teacher's introductions of the lesson as "something special", while promoting eagerness in the children, apparently caused many to think it was time to drop normal classroom standards of behavior. This difficulty was coupled with the fact that the children were not used to the relatively large 62 amount of space. It is often strongly suggested that begin- ning work in creative drama be confined to limited space.1 Ms.Lorenz, however, without suggestion by the researcher, managed the space extremely well by drawing the children close together for numerous fpgpg discussions. Ms.Lorenz walked over to a blackboard on one wall of the room, sat on the floor, and told the children to sit near her. When they complied, she asked them to think about the stories they had recently finished in their reader. Several titles were volunteered, as the children raised their hands and were called upon. When one child named "The Three Billy Goats Gruff", she said, "You know, I'm not really good at remembering the stories. So can you tell me the story? How it starts?" There was no response, so she then asked them, "Well, who is lp_the story?" and a discussion of the charac- ters was begun. As the children named the three Goats and the Troll, Ms.Lorenz rose and listed them on the board. She then said, L: OK. Ah. . . were these Billy Goats, were they friends, or. S: Yeah! Friends! L: They were just friends? Or were they brothers and sisters? Who were they? S: Yeah! Brothers and sisters! L: They were brothers. How, how do you khOW'they were brothers, Adam?. . . Adam? 1Heinig and Stillwell, Creative Dramatics, p. 11. 63 Ad: Cause they all, uh,. . . have a Billy . Ed: Their mother should have . Ta: They all have Billy . L: well, what's their last name? S: Gruff! Gruff! L: OK! (writes "Gruff" in big letters on board). Ta: Well, girls are . Be: Gruff girls?? L: But what did it say in the story? Didn't they say, "wait for my brother?" . . . OK, who else was in the story? Be: Troll! L: The troll. (writes "Troll" in big letters on board) OK. NOW'What happened to these people? Who can start telling me the story? Ben, do you want to start? Be: The, um, three Billy Goats. . . wanted to get over to the other side. And Big Billy Goat I crossed the troll's bridge to get the grass. The story was then retold by the children. Ms.Lorenz sat back down on the floor with them, and called on each of the eight children to relate an incident or two. As they told the story, she urged them to include details: "But what did the Troll say when he jumped out?" and "What did the little Goat sound like when he said that?" She had the children repeat much of the dialogue together, They apparently found this fun to do because everyone joined in loudly and with 1Students names have been changed and/or abbreviated to protect their privacy. In field note excerpts, "L" denotes Ms.Lorenz speaking, "S" denotes several students speaking simultaneously. 64 laughter. It appeared to be easy for them, as the dialogue was repetitious. The entire discussion served as a £2223 activity. An appropriate mood was established as all of the children were thinking together about the story. There was also some amount of rehearsal of dialogue and characteriza- tion integrated into the activity. There was a disagreement about the end of the story, however. The children's readers had contained two stories and several had heard still another version elsewhere. One child thought that the Goat kicked the Troll. Another thought that the Troll drowned. Still another thought he turned into a rock. Ms.Lorenz repeated each of these opinions, and then remarked that there was still another version of the story. This version was then read to them, thus presentingthe content. Devised by the researcher and the teacher during an earlier session, it excluded butting and kicking by the Goats, some- thing Ms.Lorenz did not feel confident to deal with. During this reading, the children were asked to make the sounds of the Goats' hooves by patting on the floor and trying to repeat the repetitious dialogue. This served as a further "trying-on of characters." Next, the organization of the dramatization was begun. Ms.Lorenz began to list the order of events on the blackboard by asking, "OK, now what happened in the story?" The children, apparently restless from the ten to fifteen minutes of sitting on the floor, now did not respond. Several were talking among 65 themselves one boy cried out, "Hey, let's play a game!" In story dramatization, the careful outlining of the tale is necessary, even for the enacting of a familiar one.1 This, however, had continued too long. Sensing this, the leader put down the chalk and said, "OK. Everybody find a space in the room." As two boys jumped up and began to run, she said, "Anybody who can't do this without all sorts of problems I'll just send back to the room. . . . Now just stand up in your space. One of our rules when we do this is that we never touch or run into anybody, right? Right." By limiting the player's personal space, she again successfully managed the larger one. The children are evenly distributed about the room Ms.Lorenz stood in an ample space near one corner. After a few moments of twisting and reaching, which served as a physical release of the children's high energies, Ms.Lorenz led the group in a trying on of characters. First she told them to walk like the Little Goat, making a sound like the animal. With Ms.Lorenz imitating the movement and side-coaching the action, they pretended to walk across the bridge, looking at the water. Two of the children were on hands and knees, the other six were upright, as was Ms.Lorenz. As they pretended to peer over the bridge, she said, L: OK. Now let's get down. we're the Troll now. He's under the bridge hiding fram the sun (The children squat and laugh). He hears the Little Billy Goat and he. JUMPS UP! 1Ward, Playmaking With Children, pp. 125-153. UJF'UJL'" I" An: L: 66 : Ha! Boo! : Good. What does he say? (Many with deep, loud voices) Who's that walking across my bridge? : OK. Now we're the Little Billy Goat again (The children stand upright). (Many with squeaky voices) It's me. Little Billy Goat. And what did the Troll say? (With deep voices) I‘m gonna eat you up! And who, what did the Little Goat say? (With squeaky voices) Oh no. I'm too little! wait for my big brother. : And what does the Troll say? : OK! : So now he's going to cross the bridge. Let's act like the Little Goat (Several begin moving with little steps again, saying 'Trip-trap-trip- trap! Now he's going to eat his grass. Now the Little Billy Goat sits down and watches. I'm a grass clipper! OK, and now he's watching. Now we're all going to be the Big Billy Goat. This was repeated with the characters of the other two goats, with no use of the "Oh-up Oh-down" transitional device which Ms.Lorenz had planned to use. The two who portrayed the goats on hands and knees stopped doing so, another sat down on the floor, and one became quite loud and exaggerated in his actions. Several began to simply stand casually, repeating the dialogue. Later, Ms.Lorenz acknowledged that she had simply forgotten to use "Oh-up Oh-down", and because of this, felt she had "lost 67 them there at that point. . . . They were pretty confused. And so was 1!" After about five minutes of trying on characters, Ms.Lorenz had the children sit close to her on the floor again. Apparently trying to refocus their attention again to the lesson, she waited a moment while they settled down and then quietly said, "OK. We have enough for two sets if we each want to be something in the story. Who wants to be the Troll?" As eight hands shot up in the air with shouts of "Me, Me!" she quickly selected the roles of the two casts. Leaders are advised to make such choices themselves, and as quickly as possible, if there are indications that the group may have trouble making the decisions themselves.1 Because of the current mood and inexperience of the group, Ms.Lorenz's action was appropriate. She did, however, cast the children somewhat stereotypically. Two of the bolder, more talkative boys were cast as the trolls, the small and shy children were the youngest goats, and a somewhat aggressive boy played a larger goat. The drawbacks of casting "to type" had been discussed numerous times in the in-service workshops. Because undesirable behaviors and the tendency to think of oneself in a stereotypic way could be reinforced by such a practice, it was not recommended.2 Ms.Lorenz then attempted to organize for the drama- tization by asking, "What do we need in order to play out the lHeinig and Stillwell, Creative Dramatics, p. 54. 2Field notes (1-18-78). 68 story?", apparently illiciting the children's help in defining the playing space. There was no response. A question more closely related to the story such as, "Where did the story take place?" might have successfully initiated the discussion. Rather than explaining what she meant, and apparently desiring to get on with the playing while interest was high, Ms.Lorenz quickly stood up, placed two groups of folding chairs together to designate two bridges, one on either side of the room.ex- plained where each of the two sets of goats should place them- selves in pretending to graze on the hillside. Then the dramatizations took place. As the story was narrated, both groups pantomimed simultaneously. Appropriate pauses in the narration allowed the children to recite the repetitious dialogue. In most instances, the children hesi- tated to speak and waited until the narrator spoke the dialogue first; then they repeated it. Character voices were generally used, however, except by one boy who was barely audible as the Big Billy Goat. While most of the children had portrayed the goats' movements by crawling or prancing in an upright position during some part of the trying on of the characters, there was little of this during these dramatizations. Only one girl, as the littlest Goat, held her hands limply at chest height, and tiptoed about. The two boys playing the Trolls, however, did so with exaggerated scowls and hunched backs, as well as loud and grating voices, although both "broke character" often to laugh out loud. When it was not their turn to confront 69 the Troll, those playing the Goats simply sat on the floor and watched. The dramatizations lasted about four minutes. They ended with the groups clapping and cheering. The teacher then focused the children (who were by now very excited, asking to "play it again") by having them sit close to her on the floor a third time for a discussion. First she stated: L: HOW'did you like acting out the story? S: Yeah! Fun! L: If we, suppose we were to act it out again, what could we do to make the playing better a second time? (There was no response). Ah, what could we do to make it better? Sa: We could do it again. Ad: I want to be the Troll this time. Several children began talking at once, declaring what role they should play next. The teacher suggested they keep the same roles, but would now try dramatizing one group at a time. She quickly made one large bridge by combining the two sets of chairs, and selected one groupqto get ready for the drama- tization. She reminded the other four to watch until it was their turn, "like an audience." At first the researcher anti- cipated an adverse effect from this comment. It is often recommended that leaders avoid such distinctly theatre-oriented terms and concepts in informal drama so players do not become inhibited "on stage." Her comment, however, succeeded in this instance in quieting the children. It did not seem to effect the concentration of the player which remained on a level simi- lar to the first dramatizations. 70 During each replayingof the story, once by each group, the teacher chose not to narrate, but instead started the stories by saying, "Once there were three Billy Goats, eating grass on a hill. The Little Goat looked up and saw nice green grass on the other side. . .". She also cued the children when it was their turn to speak or make an appearance on the bridge, saying for example, "So along came the Big Goat" and "Then the Troll said. . . ". There was very little coaching on the dialogue during these second dramatizations, whereas during the first playing almost every line had to be first supplied by the narrator. In addition, these replayings were distinguished by a greater amount of characterization by nearly all players. Several portrayed the Goats on their knees or with prancing steps. Voices were, on the whole, louder and with more determination-- both pairs of Trolls and Third Billy Goats had loud arguments in the final confrontation. In addition, both Trolls added dialogue of their own creation during these replaying. One, for example, agreed with the first two goats that waiting for the larger brothers would be worth it, saying, "Yeah, he's got a lot more meat on him!" The researcher attributed this greater depth of play- ing to the fact that the children simply did not yet under- stand what the activity was all about during the first drama- tization. While many at first appeared confused and uncomfort- able, showing little characterization during the first enactments, 71 most of the children retained the movements and voices they had explored during the early trying on of characters when given the opportunity to try the story drama a second time. Confusion broke out at the end of the last replaying, however, as the boy who played the Troll ran about the room as if chased by a big goat. Ms.Lorenz apparently thought it would be best to end the session quickly and asked the child- ren to line up at the door. She did not follow the replay- ings with a refocus discussion as she had planned. An import- ant part of the lesson was missed. Not only did the players loose the opportunity to reflect on their experiences, perhaps examining ways to improve things for an even more rewarding experience later, but the teacher lost the chance to smoothly terminate the whole lesson. While "line up at the door" sig- nalled the children to be quiet for the trip back to the classroom, a refocus discussion (or perhaps a creative trans- ition related to the story) would have served the same purpose in a satisfying way. Just as the group was starting out the door, however, one boy noticed the researcher putting away a tape recorder. At his request, Ms.Lorenz allowed the Children to listen to several minutes of their recorded dramatizations. This un- planned activity which served well as a refocus and termina- tion to the lesson. The entire lesson, from the first focus activity through the children's enthusiastic comments while listening 72 to the recording, lasted approximately 40 minutes. In implementing the lesson, Ms.Lorenz had surpassed her basic objective of having the children enact the story with narration. Only sidecoaching was necessary during the second dramatizations. She was, however, somewhat dis- appointed at what she thought were the childrens' inhibitions during the first dramatizations, but felt they enjoyed it, and remembered the details of the story well. The teacher had also planned.well. The story, with its economy of characters and incidents, repetitious dialogue and familiar plot was a good choice for a first dramatization.1 Details could be remembered by the players. Ms.Lorenz had also wisely decided to lead her first multiactivity lesson with a small, manageable group.2 She now felt confident to present a lesson to her entire class. Poetry Dramatization3 The lesson implemented on February 2 may be described as poetry dramatization. The overall objgctive was that the children be able to pantomime the actions of a simple, lWard, Playmaking;With cn11dten, pp. 86-115. 2The entire lesson was repeated approximately two weeks later with another group of eight children. It was held in the unused classroom, and two of the in-service specialists observed. The researcher was not present, but asked Ms.Lorenz to comment on it afterwards. The teacher was satisfied with the experience and felt she had done well. She remembered all of the steps of the lesson plan. 3Field notes (2-10-78) and Interview (2-10-78). 73 narrated poem. The basic purpose of the lesson was creative drama. It was led in the regular classroom as the first activity after morning roll-call. Ms.Lorenz often chose to lead the drama activities at this time of the day. It helped establish drama as important, and not just a "frill" for the end of the afternoon. The entire class participated, and the researcher and the student teacher observed. The children were seated on the carpet and Ms. Lorenz sat on a chair nearby. She began to fpgpg their attention and rouse their interest for the upcoming lesson by taking advantage of a recent, exciting experience. Asking what they had done the several days of a recent snowstorm, during which school was cancelled, she received many enthusiastic replies. When one boy mentioned having played in the snow, Mb.Lorenz apparently found what she was looking for, an appropriate opportunity to begin a discussion on snowmen. L: R, how do you make one? Can you start to tell us? R: You make a snowball. . L: How bi ? Can you show us how big? Does it matter . R: Yeah, you gotta make it round, about this big (Pantomiming). Then, then when it's this big (Pantomiming) you get another piece and makelp about this big. The entire group was encouraged to show the size and shape of the parts of the snowman, thus further preparing the group for the pantomimic activities to come. When asked what one might use for facial features and decorations, the reaponse 74 was even livelier: brooms, sticks, licorice, potatoes, old clothes, and rocks were suggested. The fpppp activity lasted about five minutes. Next, the content of the lesson was presented. Ms. Lorenz read a short, action-filled poem.about a frozen snowe man who calls the North Wind to blow him in the door of a house, so he'll be able to warm himself by the fire he sees. She paused often, giving the children opportunity to absorb the images and to respond. Using her voice effectively, she finished the poem in a near whisper: And now there is nothing left of him But a puddle on the floor! The group sat quietly for a moment and no one broke the silent mood. They then began to organize the dramatization. Ms. Lorenz quietly reviewed the word pantomime with them.("You say it with your actions"), and told them she needed their help in pantomiming the poem. She then defined the playing space by telling the children to find a "self-space" in the room, Five or six children jumped up and dashed from the carpet, and the noise level increased as many began talking excitedly. Having lost the desired mood, Ms.Lorenz herself called out above the voices which quieted them somewhat, reminding the players that in their "self-space" they should not be able to touch anyone. Most of them stood around the edges of the room in the space in front of the walls and blackboards; furniture was not pushed back. The children were, however, fairly even 75 spaced throughout the open areas. Most remained in their approximate "self-spaces" for the entire lesson. Ms.Lorenz rose and directed the rest of the session standing near the student teacher's desk. In the first activity of the dramatization, the children simultaneously built their own snowmen, guided by the sidecoaching of Ms.Lorenz. She began: OK. The first thing we're gonna have to do is make a snowman. But remember, you're going to have to bring the snowman back to where you are and you're not going to run into anyEody else. If you can't do that then you'll have to sit down. Those are the rules. (She paused eight seconds, apparently waiting until the excitement died down) OK. First, we're gonna start that small one. You said we needed a bottom part so let's start it. The entire group began to pantomime forming small balls in their hands and rolling them along the ground, the teacher occasionally participating in the actions. For the most part, however, Ms.Lorenz stood and watched, cueing the actions. Each child worked alone as they were directed to make one large ball, then another, then the third, and challenged to find the exact location of their self-space and snowman each time. About half of the group followed the sidecoaching which reminded them.that the balls got bigger and heavier gradually. The other children finished their snowmen in a matter of seconds, appearing to quickly toss one small hand- ful of snow on top of another. For some of these players, it seemed to be a lack of skill. With others, it was a lack of interest: four children, standing together in the 76 carpeted area were laughing and jumping around during most of the activity. Ms.Lorenz responded to the situation by calling out, "Remember, were pantomiming here, so there should be no noise!" but was not acknowledged by the eight children who were now talking. She then called, "Freeze!" A few child— ren halted in mid-air and remained "frozen". She repeated the command, and several moments passed before the rest stood silently. She told them that they would continue, "only if we can do it like we talked about." The playing resumed quietly, but approximately six children (including the four on the carpeted area) showed an apparent disinterest by standing casually, with.no participation in the pantomime, and talking to friends. While Ms.Lorenz's freeze technique may be an interest- ing and creative way to handle a situation when control is lost, in this instance the group was not adequately prepared. It was a technique which was unfamiliar to the children. Using it as she did further compounded a situation which Ms. Lorenz was trying to avoid, that of noise and confusion. Perhaps a simple rehearsal of the technique in a challenging and enjoyable "warm—up" game would have been advisable. Or, Ms.Lorenz might have separated those few children who were distracting to one another, or asked them to sit and quietly observe. This would have established the idea that certain norms and rules exist for creative drama. These norms, like 77 the skills involved, may have to be established with a group gradually. The children were directed to face Ms.Lorenz as they finished their pantomimes. As they did, she called their names, beginning the next activity when she had everyone's attention. She asked them to look at their snowman, and then to "step inside and become the snowman." The entire poem was then read, with Ms.Lorenz pausing to cue additional action as follows: "Once there was a snowman, stood outside the door". . What might he be doing? You think he's peeking in a window? Let's look in the windOW'. (She leans to the left and the children imitate her). What do you see? . "Thought he' d like to go inside and run around the floor. ." The teacher pretended to be the North Wind in the poem. As she blew, most of the children twirled and swayed as if being whisked by the wind. About eight children began rolling about the floor, and the noise level again increased considerably as players began laughing and bumping into one another. Ms. Lorenz, apparently sensing that the children were not "mis- behaving," but simply interpreting the image of a round, stiff snowman being tossed by the wind, allowed a few moments for the commotion to subside. She then continued with the last line, "And now there's nothing left, but a puddle on the floor." Five or six children quickly dropped with laughter to the ground. In an apparent attempt to refOCus the child— ren and practice skill in movement control, she directed 78 everyone to stand up and "melt again, very slowly". Mbst did, taking several moments to collapse. The group on the carpet, however, resumed their horseplay. When the others were settled on the floor, Ms.Lorenz reprimanded them, and sent two out of the room.and down to the office. In a later interview, the teacher noted that she was not pleased with the decision she had made. Again, perhaps a wise choice would be to ask an uncooperating child to sit out while remaining in the classroom, so appropriate responses by other players could be observed. Hopefully, the child would see that fun could be had without distracting others, and would follow this simple rule when asked to join in again. Next, the replaying of the dramatization took place. Ms.Lorenz added to the fun and challenge of it by noting several things that the players should think about. She asked them to "go inside the door" without bumping into one another, to do so only when she as the North Wind blew in their direction, and to keep their bodies stiff like frozen snowmen until slowly melting to the floor. The poem was then recited straight through without additional cueing by the teacher. She simply paused between ideas to allow the child- ren to do their own pantomimes, occasionally joining in the actions herself. Most of the children controlled their actions so they were performed simultaneously with the spoken lines. At the conclusion, only one or two dropped quickly to the floor, apparently enjoying the swift movement more than 79 the challenge of control. Most took several seconds to melt. Ms.Lorenz refocused the children by allowing them to momentarily relax as if puddles. She then provided a smooth transition by asking them to be frozen snowmen once more. "How would you go back to the carpet as a frozen snowe man?" she asked. Most of the children waddled stifly or hopped. A few simply walked naturally. After a minute of quiet talking while the student teacher organized herself, the children began a language arts lesson. Although the lesson was not related to the content of the drama lesson, the child- ren were in an appropriate, relaxed mood to begin individual seatwork assignments. The entire lesson, from.heginning of the first focus activity through the transition into the next lesson, took approximately 27 minutes. Ms.Lorenz was somewhat displeased with her implementa- tion of the lesson. She correctly determined that the playing had not been as orderly as the session of January 23. As was noted, some of the disruptions might have been handled in a more accepting manner, or rules and control techniques might have been reviewed early on. In creative drama, which has no standard set of rules, norms must often be developed by the particular group and this, understandably, may take time. Me. Lorenz also made some choices which allowed for little creative 8O interpretation by the children. She frequently showed them hpy to do something rather than simply telling them.yhpp to do. She did, however, incorporate many of the suggestions the children had made in the discussion -- sticks for arms, potatoes for noses, licorice for mouths -- which helped to make the experience more satisfying. Ms.Lorenz's lesson plan had merit. The subject matter was appealing to her group, as was the poem, which suggested lively action. The careful discussion and snowman- building pantomime gradually prepared and stimulated the children for the interpretation of the poem. While there were exceptions (namely, the two boys who were sent from.the room), most of the children successfully interpreted the poem through pantomime, the basic objective of the lesson. Pantomime/Movement Exploration1 On February 2, the entire class again participated in a multi-activity lesson. The overall objeCtiVe was that the students be able to pantomime actions and perform.various movements as directed by the leader. It was held in the regular classroom, as were the rest of the drama lessons in the following months. The researcher and student teacher observed. 1Field Notes (2H20-78) and Interview (3-5-78). 81 The lesson was the first of the afternoon, following a trip to the school library. Before the group re-entered the classroom, Ms. Lorenz began to fpspg them for the upcoming session, directing them to put their books in their desks and to find a self-space as quietly as possible. As in the preceding session, the children scattered evenly throughout the room, the teacher standing in an open space near her desk. No furniture was moved. The group never cleared away or rearranged the furni- ture in the classroom for drama activities. The teacher avoided this because of a desire to disrupt normal classroom proceedings as little as possible. She said that for her second graders, the task of rearranging the furniture was a difficult one; it took."more time than it's worth" because the desks are rather heavy and cumbersome. The teacher also felt that the regular arrangement of the classroom (see Figure I) had adequate open space for the particular lessons she planned.1 The researcher felt, however, that the teacher was limiting herself; it was extremely difficult to lead lessons involving movement through space and interaction among players. In addition, the set-up made it difficult for her to travel through the classroom during the drama lessons. She usually stayed in one spot, and was not able to coach individual players located throughout the room. Perhaps for some lessons, llnterview (3-5-78). 82 the group could have made larger playing spaces by pushing the desks together in the center of the room, Children ‘might be asked to work in pairs, carrying or pushing the desks a short distance, as if they are pirates quietly steal- ing a large treasure chest or insects building a nest. In short, a dramatic, creative transition could be used, perhaps related to the content of the upcoming lesson. After the players defined their self-spaces in the classroom, the lesson was begun. In this particular lesson, a single presentation of the content to be dramatized was not applicable. The content was a multitude of movement and panto- 'mime tasks which the players were presented with and asked to do instantaneously. The playing was organized in the following fashion: after the children had found their self-spaces they were told to imagine they were each on a small island with an area only as far as their outstretched foot could reach. This vari- ation in Ms.Lorenz's technique for defining the plgying space was well-received. The notion of a private island caught the attention of the children, and resulted in a simultaneous warm-up of both body and imagination. As they outlined their areas with their toes, they were challenged to stay "on the island without falling off into the water." They were simi- larly re-challenged eight times during the session. Each time most everyone participated without notable hesitation. The first activity involved freezing motions to the beat of a small drum, The children were first told to move 83 one arm to a new position at every beat. The exercise was repeated, players using both arms, then just the torso, then each leg. Finally, the whole body was changed to a different frozen position at each drum beat. The teacher then added an additional challenge by asking them to move to the beat keeping as low on their island as possible. The next activity involved further isolation of the body parts and included pantomime. First the children were told to move only their fingers, very rapidly. As they did this the teacher told them "Now you're typing a letter", and later, "Now those fingers are snowflakes." She had them write their names in the air with their fingers and pretend they were trying to catch a fly. Similar explorations were isolating the feet, the elbows, and the knees. The entire group, up until this time, was very highly involved. Besides Ms.Lorenz's voice, the only sounds that could be heard were occasional giggles or exclamations as the players experienced an enjoyable movement. Midway through the last activity however, two boys began poking each other, ceased to follow the directions, and sat on the floor to- gether. Their laughing and talking soon began to distract those nearby, as well as Ms.Lorenz. Unheeding several signals to be quiet, the boys were quietly ushered to the hallway and told to wait outside. One of the two boys had also been dismissed from.the session of January 23. He was among those in the class identi- fied as possessing notable discipline problems. Ms.Lorenz 84 obviously found him, at times, difficult to deal with. Very often he ignored her admonishments when teasing a classmate or disrupting an activity. Drama work, which demands follow- ing directions and cooperating with others, would undoubtedly benefit such a child. Given the opportunity to observe this, rather than again being excluded, might have been a start in a positive direction. Ms.Lorenz returned to the group and, without further comment, resumed the lesson. In the third activity the children experimented with "body talk". They were directed to say "yes" with various isolated parts of the body: head, hands, knees, feet, and finally the whole body. The activity was repeated with the idea of saying "no" with the same body parts. The fourth activity involved each child in an indivi- dual pantomime of baking a cake. As they all pretended to stir their batters and pour them into pans, the teacher told them to imagine they were the spoon, rotating and twisting so their head would "scrape every last bit out of the bowl." The fifth activity was total body movement exploration based on images supplied by the teacher. The children were directed to move as if they were such things as a bouncing basketball, a spike being hammered into the ground, a teeter totter, a helicopter, a buzzsaw, a swimmer, a person rowing a boat. At times a beat on the drum was supplied. These activities progressed smoothly without notable interruption or disorder. All of the children participated 85 throughout. Although the concepts explored were numerous and varied, Ms.Lorenz kept a careful eye on the group, changing the tasks as the majority accomplished them, and alternating vigorous activities with subdued ones for vari- ation. In addition, her lesson notes with only a few ideas outlined for each activity, revealed that she, too, was re- acting spontaneously and creatively. watching the players gave her fresh ideas to try, undoubtedly making the experi- ence more vital to her as well as for the group. The use of the drum.and "island" technique also aided her. As control techniques, they were smoothly integrated into the lesson as part of it and not as additional interruptions. Ms.Lorenz began the final activity_ by having the children isolate their hips. They were directed to open an imaginary door with their hips, move like a bunny, do the hula, and play with an imaginary hulahoop. While the children continued to experiment with the movements, the teacher turned on a cassette tape with a steady rock beat, and told them.to move only their hips to the rhythm. This resulted in the first lapse in the playing, as the group broke out laughing, apparently at the thought of dancing. Ms.Lorenz simply allowed them to laugh for a few moments, then successfully refocused them.by remarking that they were not being asked to do any- thing different than they already had. They were told to find their islands, and the playing continued as the children vigorously rocked their hips, then arms, head, and shoulders 86 to the music. Toward the end of the recording, they were directed to dance back to their desks. Five children, poss- ibly still shy about "dancing," quickly walked to their seats. As a refocus, the group participated in a familiar sing-along action game recorded on another cassette tape. It involved many of the same concepts explored earlier in the lesson such as isolation of body parts, levels of movement, and image actions. Each child played along seated in his or her desk, or in the adjacent space. All of the children participated, jumping up from their seats or the floor, per- forming an action, and sitting back down as each of the choruses of the song directed. After an exhuberant last round of the song, Ms.Lorenz further refocused the children and provided a smooth transition to the next lesson by having them sit quietly in their seats to relax a moment. While she did not ask them.for their res- ponses to the session she quietly gave them hers. She told them that the lesson was fun, that they stayed on their islands very well, and that she was very pleased with their work. After these comments, the student teacher began a lesson involving seatwork in creative writing, for which the children, quiet and relaxed, seemed well-prepared. The entire drama lesson had lasted about 30 minutes. In implementing this lesson, Ms.Lorenz was showing signs of creative leadership. Rather than directing the players on hOW'tO perform each action as she had in previous lessons, she asked them to create their own ideas. Also, she 87 did not hesitate to spontaneously change her plans to fit the needs and desires of the children. The final activity, as well as many variations of the exercises within the lesson, was not pre-planned. Ms. Lorenz had not planned activities involving move- ment through space. She felt that such activities would be difficult for her and the children to handle. A larger space and additional skills (such as deeper concentration and listen- ing skills) would be needed. Yet, within their "islands", an interesting and creative way to keep the players stationary, the children explored a wide variety of movement ideas. In terms of players' interest, this lesson plan was one of the most successful. Occupational Pantomimes1 On February 27, Ms. Lorenz implemented two short lessons which involved solo pantomimes by the children. One followed morning role-call activities and focused on the use of tools in various occupations. This leeson was not observed by the researcher. However, the second lesson was. Similar in design and content to the first, it focused on occupational titles. The basic objective was that the children be able to recognize the name of an occupation and convey their under- standing of it by pantomiming the tasks involved. It, too, followed role-call. The entire lesson took place on the carpeted area. 1Field Notes (2-27-78). 88 The teacher focused the group by recalling the morn- ing session in which individuals pantomimed using different tools while the rest of the class guessed. They were told they were now going to do a similar activity. First the teacher reviewed the word "Occupation". As the children gave examples, she asked them such things as "What do firemen pp?" and "What does a cook pp?" The discussion, which lasted about four minutes, went smoothly, and revealed that the children generally understood what persons in various occupa- tions did. Next, the drama activities took place. Players took turns choosing a card on which was written the title of an occupation. Titles included teacher, rock singer, ballet dancer, drummer, painter, artist, mother, cook, and bowler. Many had been discussed in the £3223 activity. On choosing a card, each player had a few moments to pantomime the occupa- tion, and then called on the others to guess what had been portrayed. The child who guessed correctly received the next turn. Only nine children received turns, but Ms.Lorenz in- cluded the others in the action by having those seated imitate the movements of the solo players. The children had difficulty with the lesson. Most of the nine soloists stood lamely in front of the group, card in hand, until Ms.Lorenz whispered in their ear, apparently suggesting what to do. Their pantomimes, although enthusias- tic, were vague, particularly thOseinvolving small motor 89 movement. For example, one child portrayed a cook, another a mother, and another a teacher. Each of them chose appro- priate but very intricate tasks to pantomime. These were, respectively, frying food, changing a baby, and writing on a chalkboard. The players had difficulty maintaining the level, weight, and size of objects. They also worked very quickly. Apparently unable to identify the pantomimes, on- lookers called out numerous occupation titles, as if playing "charades", until the correct one was mentioned. A rising level of talking and movement among the on- lookers indicated that the group was restless. Ms.Lorenz provided a transition into the next activity of the day (a trip to the school library) by recalling the actions of the ballet dancer and the drummer, and directed the children to get their books and line up at the door while pantomiming one of those two roles. Only about one-third of the children did so, which was further indication that the group had difficul- ties becoming involved with the lesson. The entire lesson, from.£pgp§ activity through the transition, lasted approximately 17 minutes. Ms.Lorenz made two prudent choices when implementing the lesson. She attempted to include everyone in active parti- cipation whenever possible, keeping interests high. Also, she terminated the lesson when the players themselves indicated 90 they had "had enough". A pile of leftover game cards on her desk suggested that the teacher had been prepared to continue with more solo pantomimes if possible. It is felt that the difficulties of the lesson were mostly a matter of planning. First, the discussion Ms.Lorenz chose to lead, while appropriate, did not adequately prepare the inexperienced players for the solo pantomimes which followed. It would have been helpful for the entire group to practice movement and pantomime techniques, perhaps following the first discussion. Second, was the structure of this drama lesson, which required solo performances. Players indi- cated in the discussion that they understood, in general, what tasks are involved in various occupations. However, they were often unable to transfer this knowledge to identifiable panto- mimic movements, because of shyness and lack of skill. Again, pantomime skills needed to be previously practiced. Small groups or pairs of children might then have simultaneously pantomimed the occupations, thus eliminating undue focus on one person. The opportunity to share creative ideas with others, which can be an enjoyable experience, would be retained in a less threatening format. In addition, a larger number of players would then be more actively involved. Environment Awareness1 A lesson implemented on March 13 has been identified as an environment awareness lesson because the overall objeCtive 1Field notes (3-13-78). 91 of the lesson was that the players experience through sense memory and pantomime the feeling of being in a clean outdoor environment and realize the changes that occur in that experi- ence as a result of pollution. While the content of the lesson was related to science and/or social studies concerns, the basic purpose of the lesson was creative drama. As in the previous sessions, the teacher led the entire class in their regularly-arranged classroom, The lesson was the first of the morning, taking place directly after roll-call. The children were seated quietly on the carpet and the teacher was seated on a chair by her desk. She began a discussion about being outdoors, asking the children to remember what it feels like to breath fresh air and to imagine looking into a stream of clear water. This discussion served as a fpgpg for the ensuing presentation of the content. Ms. Lorenz introduced the word "pollution", by brief- ly defining it as "when air and water get dirty because people aren't careful." Causes of pollution were discussed: children mentioned cars and factories, and "people dumping garbage into lakes." Ms.Lorenz pointed out that littering and loud noise cluttered up the whole outdoors. This concept of pollution was the content topic for the dramatization activities. For the first drama activity, the group was shown a cardboard clock-like dial marked with pollution index numbers, 92 similar to those used by television weathermen. It was ex- plained that when the arrow pointed to a high number, the environment was more polluted and the air was dirtier and more difficult to breath. The children were told to imagine being outside breathing fresh air again, and as Ms.Lorenz moved the arrow, the children reacted with facial expressions and sounds. This activity was obviously enjoyed by all. The group asked to pgplgy it several times. Ms.Lorenz side- coached for further involvement by reminding them of the sensory experiences that would take place, such as itching eyes and sore throat. The use of the dial proved to be a convenient device for orderly playing. It was apparently an interesting challenge for this group to see if they could change their reactions as the dial indicated. Everyone participated, and the intensity of the reactions were, in general, appropriate to the changes of the dial. Prior to the next activity, the teacher organized the playing. Each child defined'a playing space by leaving the carpet to find a "self-space" in the room, Apparently eager to play, the children did so without notable disrup- tion, such as those which had occurred in similar transitions in earlier lessons. Again, they scattered evenly about the open areas of the room, Ms.Lorenz stood near her desk. For this next activity, the children were told to imagine being out of doors on a warm day. Reminded to stay in their self-space, they were then directed in a "pantomime 93 walk". They were to pretend they were on a bicycle, riding through their neighborhood. As they were directed on their imaginary trip the teacher had them "notice" many things in the environment - dirty river water, littered streets, air that was hazy and difficult to breathe. At one point she had them pretend to ride over a doll laying in their path, get off their bike, and toss the doll as well as a broken bicycle spoke into the street. They ended the journey by pretending to get a drink of water at an outdoor fountain. The final activity of the session involved a short discussion of "what was wrong" in the environment during the preceeding trip and a replaying of the activity. This time the pantomime walk took them on a similar imaginery journey but through an environment that was cleaner and much more pleasant. When the children came across the doll on the sidewalk, they were directed to stop and set it on the lawn in front of a house nearby.. The broken spoke was retrieved and taken home for disposal in the trash can. These activities were very welbrreceived by the group. While the researcher had trouble identifying many of the players' actions, a lack of pantomime skill did not hinder the childrens' involvement. Interest lagged, but only moment- arily, between the two pantomime walks when Ms.Lorenz attempted to lead a short discussion. The childrens' fidgeting and whispering, as they remained in their self-space, indicated that they were anxious to continue with the playing. Perhaps 94 the simple technique of gathering the children close to- gether for a seated, refocusing discussion would have been helpful. ‘Ms.Lorenz had successfully used this technique in the first lesson on January 23. A transition into the next lesson of the day was provided. After "bicycling" back to the carpeted area, ener- gies were refocused as Ms.Lorenz reminded them to be aware of the environment. The student teacher, who had just arrived, pointed out that the classroom.environment, too, could be polluted with noise and litter. She then related this to "consideration of others,‘ which was the topic for her lesson on socio-emotional awareness. The entire lesson, from.beginning focus activity through the refocus, was approximately 20 minutes long. Ms.Lorenz's success in the implementation of the lesson was, to a large extent, the result of another good plan. The topic content was handled in a way that was immediate and meaningful to the particular age group. The effects of pol- lution were related to a child's realm of experience. Unlike the previous lesson, the structure of the activities insured that everyone would be successful. No guessing was involved, as players simply followed the leader's narration. The ex- perience was for the players themselves, and it was apparent 95 that this was satisfying. Story Dramatization - "Where the Wild ThingsAre"1 On May 30, the teacher implemented a lesson which was very similar to the "Three Billy Goats Gruff" session. The overall objective of the lesson was that the players be able to dramatize Where the Wild Things Are, a story by Maurice Sendak.2 Ms.Lorenz had participated in a similar lesson in an in-service workshop which was designed and imple- mented by the program.drama specialist. The basic purpose of the lesson was creative drama. The whole class partici- pated in the regularly-arranged classroom, It was the second lesson of the afternoon, immediately following roll-call and the reading of a different story by the teacher. The child- ren were again seated on the carpet for the beginning of the lesson, with Ms.Lorenz seated on a chair nearby. This was to be the first story dramatization experi- ence for many of the children. Only sixteen of them had participated in the "Three Billy Goats Gruff" sessions in January. She began to fpgpg the group for the lesson by asking them about dreams they have had. The children were distracted, however, talking about a large cart which was just wheeled into the room, holding a number of xylophones which were to be used during the lesson. Receiving little response to her 1Field notes (5-30-78) and Interview (5-30-78). 2(NewYork: Harper-Row, 1963). 96 question, Ms.Lorenz asked the group to quiet down so they could hear a story about a boy who had an unusual dream, The content to be dramatized was presented. Ms. Lorenz read the story and showed the pictures. The children were now very attentive. She involved them by pausing several times to ask questions about the story. She also had them try on the characters by imitating the facial ex- pressions of the wild beasts and repeating the repetitious dialogue. Next, the teacher began to organize the playing. Asking for volunteers, she chose a boy to play the main character Max, a girl to play his mother, and seven children to make sound effects for the story on the xylophones. Ms. Lorenz made these selections very quickly. She appeared to use few criteria other than that a child express a desire for a specific role by raising a hand. The other children were asked to portray the Wild Things. After choosing the roles, Ms.Lorenz defined thelplaying space. Players who were to make the sound effects were told to carefully choose an in- strument and to gather together on one side of the room, Children playing the Wild Things were directed to the center of the room, and the two playing Max and his mother were to remain on the carpeted area which represented their home. Ms.Lorenz then allowed a few minutes for the children to rehearse the roles. This was, however, not clear to the children. Without giving general directions as to what they should now be doing in their playing spaces, Ms.Lorenz began 97 to travel from group to group, clarifying what each would be doing during the dramatization. First, she approached the sound effects group and explained that they were not to make any noise until a certain cue from.Max. Meanwhile, the children in the Wild Thing group became very excited and noisy as they pretended to be growling and snarling beasts. The two who were to play Max and his mother stood quietly; one finally sat down with a book from a nearby shelf. Apparently sensing a rising commotion, Ms.Lorenz left the sound effects group and approached the children playing the Wild Things. She asked a few to stop climbing on their desks and told them all to remain on the floor, perhaps under or around their desks, "until the Wild Things appear in the story." All of the children complied, and the noise subsided momentarily. Ms.Lorenz then spoke quietly to the two on the carpet, apparently reminding them of the story's few lines of dialogue by Max and his mother. Again, the talk and laughter of the other children, now amplified by the xylophones, grew louder. Ms.Lorenz moved out into the open space near her desk, and signaled the children by standing quietly. Only a few noticed, so she called out, "Ah, are we £22917" Still receiving little attention, she said, "Maybe I should put the instruments away." Soon the room became quiet. The children were reminded to listen, particularly for a cue in the story, "because that's when the Wild Things have their rumpus and the music begins." 98 Then the dramatization of the story was begun. Ms.Lorenz read from.the book, pausing for the characters to recite the few lines of dialogue and to pantomime the action dictated by the story. There was very little cueing of dialogue by the teacher although she repeated the lines of the wild things with them. There was no coaching of addi- tional action by the teacher during the dramatization. The story was read straight through except for pauses. At one point, however, Ms.Lorenz repeated a line of the story several times. She was attempting to continue, but could not be heard over the noise of the players. The child playing Max was trying to give a second important cue of the story, a cry of, "Be still!" which signals the Wild Things to halt their music and dancing. The children were highly involved in the party scene, and did not notice. An abrupt break in the dramatization resulted as Ms.Lorenz called out, "OK. . . 0K. . . Bill said, 'stop2'" For the most part, the rest of the dramatization went smoothly. A few children with the xylophones obviously found it difficult to play only on cue and continued making sounds throughout. The majority seemed content to watch other players in moments of which they were not directly involved. Immediately after the dramatization the children were asked to go to their desks. They did so with a large amount of talking and laughter. Ms. Lorenz refocused their energies by leading a critical discussion of the dramatization. First 99 she asked what they thought was good about the event. Several children mentioned the music. When asked specific- ally what it was about the music they liked one girl mentioned a sound effect she had created during the dramati- zation. Running her mallet up and down the xylophone, she demonstrated how she created the sound of water. When asked what else they thought was good, several mentioned the Wild Things "because they were scarey? and "because they were fun to play". Next the teacher asked, "What could we have done to make it better?" Responses were: "Mere music," "Make the water,‘ and "Play a tune next time instead of just boomrboom- boom by everyone.‘ Ms.Lorenz remarked that they would learn a tune on the instruments later in the day. The short criti- cal discussion had served as a transition into the next activ- ity of the day, an art project. Several minutes of directions were given, and the children listened attentively. The entire lesson had lasted about 22 minutes. Numerous difficulties occurred during the implementa- tion of the lesson. Ms.Lorenz had not identified and planned for potential trouble spots as she had for the story drama- tization of "Three Billy Goats Gruff" on January 23, which had excluded butting and kicking. It is understandable that a leader may not wish to rewrite stories to eliminate all simi- lar actions; boisterous scenes are an integral part of many favorite stories. Ms.Lorenz might have found it helpful in this lesson to have planned a rehearsal of the party scene, however. The children with the xylophones and those playing 100 Wild Things could have practiced starting and stopping on cue several times. This would have prepared them for that moment in the dramatization, hopefully eliminating any interruption in the playing by the leader. The teacher had also eliminated a simultaneous trying on of characters. Also, problems occurred when Ms.Lorenz allowed for several minutes of individual rehearsal. Without sufficient understanding of what they were to do, many became disruptive in their excitement to begin the dramatization. Others appeared bored with waiting. Ms.Lorenz might have eliminated much of this if she'd planned a simultaneous trying on of characters, as she had for the January 23rd lesson. This technique also allows everyone to experience many characters and gives the leader a chance to see which players may be particularly anxious or capable of handling specific roles. "My Favorite Place" Pantomimes1 On 5-31-78 the teacher implemented a lesson which was very similar in format to the occupation lesson of 2-27-78 in that it involved individual solo pantomimes by the children. The basic objeCtive of the lesson was that the players could portray through pantomime what they considered to be their "favorite place.‘ The basicpurpoSe of the lesson was lField Notes (5-3-78). lOl multi-cultural awareness; that is, the children were con- structing a book in which each child draws and writes about such topics as "Me", "My Very Special Person", and "When I Grow Up". On this occasion drama was used to motivate the creative writing and drawing. The lesson was the third one of the afternoon, following a short period of language arts seatwork, and the reading of a story. All of the children participated in the drama session. They were seated on the carpet area in the regular classroom. Besides the researcher, two of the specialists from the in-service program also observed. The teacher first began to focus the children by ask- ing them to show her that they were "ready to listen". After a moment of silence, she reviewed the progress of their book so far and asked one boy to read the opening poem of the book as she held it up for the class to see: Here we are, look at us! We hope you like the people you see. We're the same, but different, too. Learn from.us, we'll learn from.you! She then recalled that she had asked them to think overnight about the theme of their next chapter, "My favorite place", and asked seven of the children for their responses. They included such things as amusement parks, the zoo, home, my bedroom, and the circus. The children had difficulty remaining attentive dur- ing this discussion as well as through the rest of the lesson. In the half hour before the lesson, a story had been interrupted 102 by the arrival at the school of a local basketball star. Several boys had rushed to the window to watch, and were followed by the entire class. Anticipating "visitors" (the in-service specialists) and experiencing one of the first warm days of summer, the children were in a very excited mood all afternoon. Next Ms. Lorenz started the drama activities. In an apparent attempt to Eggug the children, she told them to close their eyes and to think of the circus and what they would see there. She then asked one boy, "Can you show us, can you act out what you like about the circus? Then we'll see if we can guess.‘ After a few moments of standing in front of the group by the teacher, the boy began to pantomime juggling. His eyes watched the others, not the flmaginary balls, and he giggled as he performed the action. As the children raised their hands, he stopped and called on a girl who identified the pantomime correctly. It was now her turn. Six children had an opportunity to do a solo pantomime. Ms.Lorenz attempted to directly involve the whole group by asking them to imitate two of these pantomimes -- pretending to be a circus weight lifter and imagining a ride on a rollercoaster. This, however, proved very difficult as a result of the mood of the group. Also, the carpeted area was relatively small for this type of participation. Giggling, talking, and push- ing among children occurred as they tried to stand and move. Ms.Lorenz soon terminated the lesson by providing a transition into the next activity of the day. She gave them 103 instructions for a writing and drawing assignment based on "My Favorite Place." The entire lesson, from.§ggu§ activity through the transition, lasted approximately 15 minutes. Implementing this lesson was very difficult. Part of this was due to the mood of the children. Sensing this in- appropriate mood Ms.Lorenz might have simply chosen not to implement it at that time. She was, however, scheduled to be observed and critiqued by the in-service specialists. The plan of the lesson was also part of the difficulty. Ms. Lorenz chose to prepare the children for the lesson by asking them on the preceding day to think of a favorite place and why they liked it. Put this way, the children's selections were not always easy for them to translate into pantomimic action. The focus discussion revealed that some children selected such things as, "My bedroom- . . because it makes me feel safe." "My grandmother's house. . . because she's so nice." While these suggest sensory and emotional reactions that can be conveyed, straightforward actions are easier for young or inexperienced players. Also, it was felt that Ms. Lorenz had not made adequate preparation for the solo perform- ances, just as she had not done for February 27. While the children were becoming more skilled in pantomime and possibly less shy about working before a group, a movement or pantomime "warm up" would have been beneficial. 104 "When I Grow Up" Pantomimesl The final lesson observed by the researcher was implemented on June 1. Its EEEROSe was multi-cultural aware- ness. As on the preceding day, drama was used to motivate creative writing and drawing for a large class book about human diversity. The theme for this lesson was, "When I Grow Up." Ms.Lorenz's objective was similar to the objective of the February 27 lesson. The players were to understand what tasks were involved in various occupations. The entire class participated in the regularly-arranged classroom. It was the first lesson following afternoon roll-call activities. The researcher was the only observer present. The children were seated on the carpet. Ms. Lorenz focused them.by talking for a few minutes about the progress of their book. She said they would start a new chapter today, "So first, will you very quietly find a self-space in the room?" They did so, quietly and quickly. Several moments passed as the children moved their arms and torsos, defining the playingspace. Without further organization of the playing, Ms. Lorenz began the M activity by moving to an open area and reaching her arms in the air, saying, "Ooooh up. . .". She paused momentarily, waiting for the children to follow suit. She then continued: Ooooh down. . . . Now listen to what my voice tells you to do. . . . You're going to come up a fireman and there's a lField notes (6—1-78). lOS terrible fire in your town. Stay in your self-space and come up as the firemen getting off the big truck. . . Now you're unwinding the hose. That's right -- you've got to turn it on! Now fight the fire with the water. You'll have to get a ladder to help those people up there. The children pretended to rescue a child as Ms.Lorenz side- coached, suggesting a large amount of broad action. This activity was similarly repeated with the following: a bank teller, a cowboy, dentist, basketball player, teacher, custodian, assembly-line worker, and doctor. The researcher had some difficulty identifying the pantomimic actions of the children. As in the lesson of March 13, it was apparent that this lack of skill did not deter the children from.becoming very highly involved. The lesson continued smoothly for about fifteen minutes. Ms. Lorenz then provided a transition into the next lesson by ask- ing the children to "sneak quietly" to their desks. She then gave directions for the writing and drawing assignment, referring to some of the occupations the children had just portrayed. The group was now, on the whole, very restless. There was a large amount of talking and squirming as the directions were being given. At least three children got up and moved about the room.before being given the directions to begin working; two were apparently borrowing crayons from friends, and one went to the pencil sharpener. The drama lesson seemed to have the opposite effect of the one desired. While the children might have now had plenty of ideas from which to work, they were not sufficiently focused to begin 106 the assignment. One explanation may be the length and diffi- culty of the drama lesson. The activities, similar to ones the children had participated in on numerous other occasions, were now not sufficiently challenging. It appeared as though they were "warmed up" for additional drama action, and then asked to quietly take their seats. Before implementing this lesson, Ms.Lorenz checked for an appropriate mood. She helped to build this mood by beginning with a quiet and serious £2533 discussion. The drama activities then began smoothly. The tone of the lesson was a considerable improvement over the tone of the "My Favorite Place" lesson, which took place the day before. The plan of this lesson was a notable improvement over the "Occupation Pantomimes" lesson of February 27, which was similar in content and objective. This lesson did not have a solo performance structure as did the February lesson. This type of structure had again proven difficult for the children during the "My Favorite Place" lesson of May 31. The plan, however, left little room for individual interpretation. As with most of the activities implemented by the teacher during the year, the children were sidecoached in most of their actions. PART THREE: CONCLUSION TO THE STUDY ' CHAPTER SIX INTERPRETATIONS, IMPLICATIONS, AND SUGGESTIONS FOR FURTHER RESEARCH Introduction This study was planned and executed to provide an in-depth, analytical description of a second grade teacher, inexperienced in creative drama, and her initial attempts to plan and lead drama activities in her classroom. It was felt that the information would be of use to classroom teachers interested in learning to lead drama activities, and to teacher educators desiring to provide effective training in creative drama. The descriptive account, which provides insights regarding one "regular" classroom teacher's first experiences, was provided in Part Two. Data for this study were collected by the participant- observation methodology. The following questions, which in- itiated the study, guided the data collection: 1. How and to what extent would the teacher use drama in her classroom during the research period? 107 108 2. What difficulties, if any, would she encounter as an inexperienced drama leader? 3. What techniques would she find most useful? 4. What progress would she make in her development as a drama leader during the research period? As a conclusion to the study, these questions are addressed in the following pages. The researcher's interpretations of the findings are summarized, and implications of the findings are drawn. Suggestions for further research are provided in the final section of the chapter. Interpretations and Implications Question 1: How and to what extent would the teacher use drama in her classroom.during the research period? In answer to this question, several topics are dis- cussed below. "Purpose and Objectives" addresses h g the teacher used drama in the classroom; "Frequency of the Drama Activities" and "Presence of the Researcher" discuss to what eXtent the teacher used drama. Purpose and Objectives As a participant in the in-service training program, it was requested of the teacher that she plan lessons which used drama as a vehicle for achieving educational objectives 109 in communication arts. She apparently had difficulty doing so. While the drama lessons planned and implemented by the teacher included a variety of content and interest areas, few of them.were for communication arts purposes. Exceptions were the lessons implemented on May 31 and June 1 which were designed to motivate creative writing and drawing on a multi- cultural theme. The majority of the lessons, however, had as the major objective the development of creative drama skills. Brian Way, in his book Development Through Drama, stresses that drama must exist in its own right before it can be used for teaching other subjects.1 Although way is speak— ing of the players, it would seem.that the same holds true for the drama leader. Until the leader has to some extent mastered the planning and leading of lessons involving basic drama skill and concepts, it is very difficult to effectively use drama to teach language skills and concepts. As Way puts it, "Ultimately, drama is a valuable tool, but first the tool itself must be fashioned."2 Therefore, the teacher's use of drama was understandable. Other classroom.teachers desiring to learn to use drama might do likewise. It would be useful to learn to lead drama first, before progressing to what is apparently a more complex task, that of learning to use it as a teaching tool. 1(London: Longman, 1967), p. 7. 21bid. 110 Frequency of the Drama Activities The teacher described in this study frequently used pro-drama activities in her classroom. While some were identified as part of her "natural" teaching style, developed prior to the in-service training others were based on exer- cises she had participated in during the in-service sessions. She estimated using such activities as "Oh-up Oh-down" as often as one or two times per week.1 The teacher acknow- ledged that she soon felt "very comfortable leading these activities."2 Many were led spontaneously, without pre- planning, and were, on the whole, implemented with little loss of control or concentration by the players.3 Larger drama lessons were led on an average of less than twice per month. These lessons were, of course, more complex than the short, pre-drama exercises. It is felt that because of their relative infrequency these multi-activity drama lessons maintained a "special event" status throughout the school year. One consequence of a "special event" status for creative drama is that the players may interpret it as a time to drop the norms of classroom.behavior. The teacher in this study alleviated this potential problem quite successfully by establishing a few simple guidelines and patterns: the lSee pp. 52-57. zlnterview (3-5-78). 3Ibid. 111 children gathered near her and sat on the floor for most discussions, were to be attentive when others shared ideas, and were not to violate anyone else's self-space when participating in movement activities. In addition, drama was not relegated to a specific time or day of the week, and included a variety of interests in terms of content, both of which aided in diminishing its "special event" status. The infrequency of the larger drama lessons also resulted in something that the teacher was not, however, able to rectify. It is felt that the players as well as the leader simply did not have enough opportunities to become familiar with the processes involved in the multi-activity lessons. Occasional discipline problems and restlessness of some children were probably due to this unfamiliarity. The teacher may not have forgotten steps of her plans had she simply had the experience of leading full lessons more often. A revealing example occurred during one of the last lessons, the "Where The Wild Things Are" lesson of May 30. After being assigned roles for the dramatization, the players were given several minutes to rehearse. The teacher forgot to clearly state what the children were to do, however, and many of them had never participated in a story dramatization before. Some soon appeared bored, and others became very noisy and disruptive. The teacher found it necessary to stand before the group, calling out directions, in order to refocus the children's energies before the dramatization could begin. 112 Another case in point was the very first drama lesson, implemented by the teacher on January 23. During the first enactments of "The Three Billy Goats Gruff" the children seemed shy and unsure of themselves. As a result, the drama- tizations lacked concentration and involvement by the players. When the story was replayed the uncertainty was not as preva- lent. The players were able to devote their attention to the characters and the story. Concentration was deeper and more details were included. It would seem, therefore, that time is not only needed for the development of basic drama skills; it is also needed for the players and leader to become comfortable and familiar with the processes involved in the drama lessons. It is recommended that leaders clearly state directions for each step of the drama lesson, particularly with inexperienced players. It also appears that ample time is needed for a group to establish and remember its own particular standards of procedure and behavior for creative drama activities. Fre- quent use of drama is also necessary if one desires to use it as part of the normal classroom activities, and not as a novel or special event. Presence of the researcher. As was noted in Chapter Three, the researcher visited the classroom on numerous occa- sions other than the days when drama lessons were to be imple- mented. It was felt that this minimized the effect that the researcher's presence might have had on the events being observed. However, as Table I illustrates, drama lessons 113 were rarely implemented if the researcher was not present. This indicated that the researcher's presence was an import- ant factor in determining the frequency in which the teacher used drama in her classroom. It has been noted that the teacher often shared her feelings about the lessons in the form of interviews and in- formal conversations with the researcher. As a participant- observer, the researcher listened, asked questions, and come mended the teacher's efforts. While there was little coach- ing or critiquing by the researcher, it can be interpreted that the presence of this interested observer represented support and encouragement to the teacher. There was someone there with whom to discuss successes and difficulties. The teacher had expressed an interest in learning to lead drama activities. She was a volunteer participant in an extensive in-service program, and she had agreed to be the subject of this study. She then appeared to need an observer's support in order to utilize the concepts and ideas she was learning in her training. In several interviews, she noted that she did not think she would have used drama to the extent she did, had such an observer not been present.1 As she put it, "You need someone there to talk to . . . to push you along when you've just finished a lesson and you don't know what 'went wrong. Otherwise you feel like giving up."2 llnterviews (3-5-78), (5-31-78), and (7-29-78). 2Interview (7-29-78). 114 It is likely that even further progress would have been made by the teacher in this study had the researcher also been providing training. Teacher-trainers are advised to work with teachers on an individual basis as often as possible, as it may be that this sort of one-to-one contact is vital for some teachers, when learning to lead classroom drama activities. Good rapport between the teacher and the observer/trainers is also very important. The teacher in this study was interviewed by the researcher following the two occasions in which she was observed by the in-service specialists.1 She acknowledged that she was somewhat nervous, but didn't think that this feeling notably effected her leadership of the lesson. She noted, however, that she would have felt even more at ease and less "on stage" had observa- tions by the teacher-trainers taken place more often. Question 2: What difficulties, if any, would the teacher en- counter as aninexperienced drama leader? In the following pages, three areas in.which the teacher appeared to have the most difficulty are discussed. First, her use of the narrative approach in leading drama les- sons is ex amined. Next, the teacher's use of space is addressed. Third, are the difficulties she encountered in leading critical discussions of the drama activities with her group of players. llnterviews (2-10-78) and (5-31-78). 115 The Narrative Approach As the descriptive account indicated, the teacher often planned activities which involved silent and lone playing while she narrated the players' actions. This was due, in part, to her fear of losing control of the group, a fear not uncommon in inexperienced drama leaders. She was reluctant to plan activities involving speech and interaction among players because she felt her class, with numerous stu- dents possessing unusual discipline problems, would respond inappropriately to the drama lessons. She also felt that the narrative approach gives her children the ideas and guid- ance for their dramatic reations which she thought they needed as young and inexperienced players. The silent, narrative activities, while resulting in orderly playing, eventually left little room for growth and development of the players. The children seemed to enjoy the experiences, but the lessons became repetitive and less chal- lenging. Few new exercises were incorporated with each ensu- ing lesson. When the teacher did attempt to incorporate new chal- lenges, the lessons were, in general, unsuccessful. This only seemed to reinforce her idea that the players needed the help of narration in order to have satisfying drama.experiences. The lessons which incorporated non-narrative activities were led on February 27 and May 31. Both of these lessons, however, involved solo pantomimes by the players. The researcher felt 116 that the children lacked the appropriate pantomime skills and level of concentration necessary when working in front of a group. It is especially important that pantomime skills and concentration are well-developed if the onlookers are to identify the actions, as they were in these instances. During both lessons, the players soon became restless and uncooperative, which indicated that they were not involved in the activities. The narrative approach was used, therefore, by the teacher for every other drama lesson. It was apparent that the approach was very useful for the early creative drama lessons, and is recommended for other teachers with inexperi- enced players. Variety can be found within this structure by allowing moments when the children are allowed to respond vocally to the situations suggested in the narration. Gradually, pairs of players might be asked to show one another a segment of the narrative that they felt they had interpreted particularly well, or a segment that they would simply like to share with a friend. If the children are able to do so in a manner acceptable to the leader, those same pairs of players might then pantomime something together, perhaps with the’ leader again narrating the actions of the entire group, now in pairs. In this way, the players would be "edging in" to an important aspect of drama, that of communication and inter- action among players. If desired, solo pantomimes might then be successfully introduced, after confidence in working with others has been allowed to grow. 117 The Use of Space As the account indicated, the teacher of this study led most of her drama activities in the regularly-arranged classroom. Desks were never moved back, and the children were usually asked to work in a small, defined area called their "self-space". This was interpreted as a desire on the part of the teacher to change the regular functions and con- ditions of the classroom as little as possible, for fear that such disruptions would be difficult for the group to handle, and order in the classroom would be lost. It was found, however, that when given a large space, the teacher handled it very well. The first lesson of January 23 was held in an empty classroom. Between activities of the story dramatization of "The Three Billy Goats Gruff", the teacher effectively manipulated space to focus the child- ren. She called them together to one side of the room, and they sat closely together on the floor. In the regularly-arranged classroom, however, there was inadequate space for activities involving movement through space and interaction among players. It is felt that the teacher was further restricting herself from lessons other than those with a narrative approach and the use of the "self- space". The set-up also confined the teacher. She usually stayed in one place throughout the lessons. It is felt that she would have helped more individual players and more easily ‘maintained orderly playing, had she walked through the room when leading the drama activities. 118 As with the narrative approach, the teacher's choice to limit space appeared to be very useful for early creative drama work. The limited space helped to maintain orderly playing. It is suggested, however, that teachers not con- fine themselves or their players to small areas of the room for all drama activities, for this limits the types of activ- ities that can be done. Inexperienced players might begin drama work by playing in the small space by their desks. Space can be expanded gradually, lesson by lesson. Teachers may find it useful to make a dramatic exercise of the task of moving the furniture. For example, pairs of children might be asked to move the desks as if they're made of priceless crystal. Imaginations can be "warmed up" at the same time the space is organized for the lesson. Teachers might then find it useful to follow the example of the teacher in this study. .When leading "The Three Billy Goats Gruff" lesson in the relatively large space of an empty classroom, she managed the space by gathering the children close together for discussions. This helped to refocus the players between exer- cises involving large amounts of movement and activity. Critical DisCussions The teacher in this study was unable to plan and lead effective critical discussions of the creative drama activi- ties. Very often she eliminated them from her lesson plans. As was noted in the preceding chapter, the in-service special- ist recommended that a group be led in a critique of the drama 119 experience prior to the replaying of the dramatization, or as a culmination to the lesson. On one occasion, the teacher asked an appropriate question, "What could we do to make the playing better?", but she received no response. On another occasion, she received enthusiastic comments, but was unable to elicit critical suggestions.2 This general inability of the group to assess their dramatizations was interpreted as the result of little under- standing of the processes and concepts of drama. As was noted, this lack of understanding was partially the result of not having experienced the process frequently enough. It was also the result of never having discussed such things as plot, character, dialogue, and setting. A basic knowledge of these concepts may have given the players points of reference from which to analyze their playing. Conscious critical assessment is important if skills are to be developed in creative drama.3 The teacher did not appear to lack understanding of the basic drama concepts.4 She apparently did not know how to 1Field notes (1-23-78). 2Field notes (5-30-78). 3McGregor, Tate, and Rebinson, Learning Through Drama, 1977, pp. 128-146. 4Interviews (1-23-78) and (3-5-78). 120 communicate this knowledge to her students. The teacher also felt that her students were too young to understand the concepts, a thought which seems not uncommon among inexperi- enced drama leaders.1 It is felt, however, that further growth of both the teacher and her players would have been achieved had critical discussions been effectively led. l Question 3: What techniques would the teacher find most useful? As was noted, the teacher in this study found the one- P to-one contact with an interested observer very useful when first learning to lead drama activities in the classroom. The teacher also found the following techniques most useful: "edging in" to drama by the use of pre-drama activities; using a lesson format when planning her drama lessons; and, estab- lishing an appropriate tone for the drama lesson. These tech- niques are discussed below. In addition, the particular teach- ing style of the teacher of this study was a factor which apparently aided the teacher as a beginning creative drama leader. This factor is also discussed below. Pre-drama Activities The technique of "edging in" to drama by making use of pre-drama activities was very useful for both the teacher in 1It is a basic contention of Geraldine Siks in her book Drama With Children (New York: Harper-Row, 1977) that children, even in the lower elementary rades, can and should be taught the basic concepts of drama i satisfying drama experiences are desired. She stresses,for example, a thorough understanding of 121 this study and her particular group of students. The teacher was at first very reluctant to implement a multi-activity lesson because of her lack of experience in drama as well as the children's. As was noted, she was afraid they would not be able to handle the relative freedom.and activity she ex- pected in creative dramatics. Some pre-drama activities were modeled on demonstra- tions in the in-service program and were specifically imple- ‘mented as introductions to drama. Examples include creative transitions, mirror games, and "Oh-up Oh-down". Others appeared to be part of the teacher's teaching repertoire developed prior to the in-service training. These activities included dramatic fingerplays, the use of dramatic techniques in story-reading, and movement exercises in the "self-space." These findings regarding the use of pre-drama activi- ties by a teacher inexperienced in the use of drama have implications for other classroom teacher and teacher-trainers. First, the account of Ms.Lorenz and her class of "unusual dis- cipline problems" should be a heartening example to other teachers eager to lead drama but afraid of losing control. The simple technique of narrating pantomimes while the players stayed in place did have its drawbacks, as discussed earlier in the chapter, when the technique was used over and over again. The technique proved, however, to be an effective way of the traditional western drama elements of plot, character, dialogue, theme or thought, melody-sound, and spectacle. 122 achieving smooth and orderly playing, even with an inexperi- enced and very excitable group. Second, it would seem that many classroom.teachers use dramatic techniques within their own teaching repertoire, but simply do not identify them as such. A teacher lacking confidence in leading drama might be encouraged to "edge in" from a point even earlier than that of Ms.Lorenz, by expanding on those familiar activities first. New pre-drama exercises could then be gradually introduced, thus eliminating the feeling of an abrupt change in teaching style and classroom procedures, both of which may be discon- certing to the teacher as well as the students. Drama Lesson Format Contrary to what might be expected with an inexperi- enced leader and group of players, those lessons which were most successful were larger lessons consisting of a multi- plicity of activities. These lessons were: "Three Billy Goats Gruff (January 23), "Poetry Dramatization" (February 10), "Pantomime/Mbvement Exploration" (February 27), and "Environ- ment Awareness" (March 13). In these lessons, major objec- tives were met, the players appeared to be sufficiently in- terested and challenged throughout, and the teacher appeared relaxed and was able to remember the steps of her lesson plan. The teacher also expressed the most satisfaction with these lessons. It also appeared that these lessons had a complete- ness that seemed to be missing from lessons involving only one or two different activities. It seemed that the players 123 benefitted from the ample time and the challenge of a variety of exercises; they became more deeply involved in the lesson. The success of the lesson plans listed above was not solely a matter of length. It was also the result of careful planning. The teacher was aided in this task by following a lesson format supplied by the drama specialist of the in- service program. This format was outlined on p 45 . This is not to say that this particular lesson plan was the reason cer- tain lessons were successful. However, when it was utilized by the teacher in planning the lessons, a satisfying beginning- middle-end structure was achieved, overall objectives and pur- poses were clarified, and activities led smoothly from.one to the next. One cannot predict what will happen during the imple- mentation of a lesson plan, since much of creative drama in- volves spontaneous improvisation by the participants. There- fore, flexibility and spontaneity seem to be important quali- ties for a creative drama leader. It is important, however, for the drama leader to have a carefully thought-out plan from which to work, especially those leaders who are inexperienced in the process. The lesson format described in this study is recommended to teacher desiring to plan cohesive drama lessons. Tone of the LessOn Observation revealed that the teacher in this study adopted a tone of seriousness when leading the drama sessions, even when they included very cmmical or absurd ideas. This 124 technique proved very useful. For example, during the "Environment Awareness" lesson of March 13, many of the child- ren began to giggle at the absurdity of littering the street and riding their bicycles over dolls. The silliness passed as Ms.Lorenz simply continued on with her sidecoaching, emphasizing that they listen to her voice so they would know what happened next. The serious tone was often established during the first focus activity; a quiet discussion by the group, seated together on the corner carpet, invariably pre- ceded each lesson. The teacher also brought a tone of seriousness or importance to the lesson by choosing topics that were meaning- ful to her particular students. The lessons determined to be most successful were the multi-activity lessons. The topics of each of these focused on the children's recent and immedi- ate concerns. The story dramatizations included familiar and well-liked stories, the poetry drama lesson included aspects of a recent and exciting event, and the "Environment Awareness" and "Pantomime/Movement Exploration" lessons involved lots of large movements and straightforward action. The tone of the drama lesson appears to be one of its most important aspects. Classroom teachers, particularly those with groups of students who seem to view the drama lesson as "silly" or "fun and games" are advised to examine this aspect of the lessons they are implementing. 125 The Subject's TeachingStyle While the subject's teaching style is not considered to be a technique she found useful for leading creative drama activities, it must be pointed out that this factor aided the teacher in her initial attempt to lead classroom drama activ- ities. As was noted in Chapter Four, the teacher of this study was a relatively informal teacher. At certain times of the school day, the children were allowed the freedom of talk- ing and moving about, if the activity was purposeful and re- lated to the assignments at hand. A large number of different activities, simultaneously proceeding in the classroom, was not uncommon. It was not unusual for the room.to be filled with noise and action. The teacher had already developed the useful skill of sensing when such activities were purposeful, or when they were not and needed to be terminated. It would seem that some of the same skills necessary for successful small-group and individual teaching methods should be developed in those teachers who use a more teacher-centered, large-group approach. Such abilities include: the ability to sense when classroom.noise is purposeful, the ability to tolerate a higher level of this purposeful noise and activity, and the ability to supervise a number of groups of students all working simultaneously but on varying activities. The teacher in this study had these skills, and it is felt that this helped to pre- pare her for leading creative drama activities. 126 Question 4: What progress would the teacher make in her development as a Creative drama leader during the research period? The teacher of this study made varied progress. As was noted in the descriptive account, she quickly developed what seems to be an important prerequisite for successful classroom drama leaders, an attitude of willingness and eager- 1 She had little ness to lead creative drama activities. difficulty planning and implementing pre-drama activities in the classroom. First, she closely modeled these activities on exercises which she had participated in during the in- service sessions. Then, she began experimenting, by implement- ing ideas of her own designs and implementing many exercises spontaneously, without preplanning. She began using pre-drama activities frequently and continued to do so throughout the year. The teacher then progressed to planning and leading multi-activity drama lessons. At first, she was very reluct- ant, fearing loss of control in leading the children in such lessons. After implementing one or two of the multi-activity lessons, however, her confidence grew. She began to express satisfaction with the lessons during the subsequent interviews. She also began to experiment with the lessons she planned, by lward, Playmaking With Children, p. 267. 127 including activities of her own design; the "Pantomime/ Movement Exploration" lesson of February 20 and the "Environ- ment Awareness" lesson of March 13 are two examples of lessons which incorporated few activities modeled on her experiences in the in-service sessions. It seems inevitable that problems were encountered by the inexperienced teacher in nearly every lesson. Such things as ineffective critical discussions and loss of in- terest by the players understandably led to frustrations. It is felt that the presence of the researcher was an important factor in the continuing experiments with drama activities by the teacher in this study. The drama lessons soon became repetitive, however. The teacher did not progress beyond planning and leading activities involving narration by the leader while the players silently pantomimed. She was not able to devise effective lessons that were more challenging for her players, taking them one step further in the acquisition of movement and in- teraction skills. In summary, the following model illustrates the pro- gress made by the teacher in this study. It can be of use to other classroom teachers and teacher-trainers who are inter- ested in what might be expected by a classroom teacher in the initial experiences of leading creative drama activities. 1. Accepting the idea - First, there was an eagerness and willingness to use drama in the classroom. A desire to learn the 128 techniques was apparent. . USe of pre-drama aetivities - Activities were first closely modeled on the in-service demonstrations. Then, there was an experimentation by the teacher of her own ideas for pre- E drama activities. Finally, the pre- drama activities were spontaneously and frequently used throughout the year. I . Use of multi-activity lessons - At first there was reluctance as a result of fear of loss of control. Then, a growth in confidence occurred as the teacher success- fully planned and implemented several lessons. . Difficulties encountered - Frustrations resulted as the teacher encountered diffi- culties, but the presence of the interested observer apparently supplied encouragement, and the lessons continued. . "Brick wall" - The teacher could not progress beyond the use of a narrative approach for each of her lessons, and they became repetitive and less challenging. 129 The process of learning to lead classroom drama activities appears to be a complex and lengthy one. In general, it is the researcher's interpretation that at the conclusion of the eight-month research period the teacher of this study was still in an experimentation or beginning stage of learn- ing to lead drama activities. She had become adept and con- fident at planning and leading one basic type of activity, that of narrative pantomime, but was unable to progress be- yond. Further training in leading activities involving group interaction would be helpful. Trial and experimentation by the teacher would then be necessary, and reluctance and fear may again result. It would seem, however, that exploration of different techniques and possibilities in creative drama would be vital if the teacher's own interest in the process is to be sustained. Conclusion This study was planned and executed to provide a des- criptive account of a second grade teacher her initial ex- periences in planning and implementing creative drama activ- ities. This account was provided in Part Two. It was felt that this study would be of use to other classroom teachers and teacher-trainers interested in an "average" teacher's first use of drama in an elementary classroom. The findings of the study and recommendations for teachers and teacher-trainers, provided in the final chapter, are summarized below: 130 l. The teacher in this study infrequently used drama as a vehicle for achieving educational objectives in communication arts, a major objective of the training program.in which she participated. It is recommended, however, that inexperienced teachers learn to lead drama lessons first before progress- ing on to what seems to be a more difficult task, that of using drama as a teaching tool. 2. Frequent use of pre—drama activities resulted in confidence and ease by the teacher in leading these 7 activities; infrequent use of multi-activity les- sons resulted in a "special event" status for drama and inadequate time for development of skills and understanding. If drama is to be successfully in- corporated into the classroom, it needs to occur frequently so the participants can become familiar- ized with the process. 3. When the researcher was not present, drama lessons were rarely implemented. Frequent one-to-one con- tact with an interested observer or coach may be necessary for some novice creative drama leaders. 4. The teacher in this study encountered difficulties in using the narrative approach and a limited use of space. While both techniques can be useful for beginning creative drama work (as they provide the leader with easy control of the activities), overuse 131 can be limiting. The continued use of the tech- niques was found to be repetitious, and eventually unchallenging. . The teacher also found it difficult to lead effec- tive critical discussions of the drama lessons by her group of players. It is suggested that such discussions are necessary if growth is to be fostered. Techniques in leading these discussions are a critical element of a leader's training. . The teacher found the following techniques most useful: "edging in" to drama by the frequent use of pre-drama activities, use of a drama lesson format when planning drama lessons, and establish- ing a tone of seriousness or importance when lead- ing the drama activities. The techniques are suggested for other classroom drama leaders. . The teacher of this study was an informal teacher, and often used a small-group teaching approach in her classroom. Her particular teaching style was identified as an important factor in her learning to lead drama activities. Teachers using a more teacher-centered approach, or possessing a more formal style, may have to acquire different skills for leading classroom.drama. . The teacher in this study made varied progress in her development as a creative drama leader. She 132 quickly accepted the idea of learning to lead drama, and began experimenting with pre-drama activities. Once she started leading multi- activity lessons, however, she was unable to progress beyond one basic type of drama activity. After eight months, the teacher was seen by the researcher as still at a beginning or experimenta- tion stage in learning to lead drama. Teachers and teacher-trainers are advised that for the regular classroom teacher the process of becoming a drama leader may be long and complex. Ample time for practical classroom application and trial seems to be a necessary component of the training process. Suggestions for further research Based on the findings of the study of the second grade teacher and her initial experiences as a creative drama leader, the following suggestions for further research are made: 1. A similar study of a number of teachers who participate in the same training program. This may determine what successes and difficulties in the teachers' use of drama are related to the training or are results of particular conditions in the individual classrooms. The information would aid teacher-trainers in developing effective programs. 133 2. A follow-up study of the teacher or teachers who participated in the in-service program des- cribed in this study. This would provide in- formation on the long-term.effects of such a program. Such information would also be of use to program developers. 3. A survey or comparative study of in-service training programs in creative drama. This would provide information on techniques found effective, and would be useful to teachers and teacher- trainers interested in establishing their own training program in creative drama. 4. A study to determine if certain "types" of class- room.teachers are better suited to lead creative drama activities. This would identify leadership qualities that need to be fostered in prospective classroom drama leaders. APPENDIX I 134 Field'Notes'Sample‘l Field Notes: ClaSSroom Visit; NOVember 11, 1977 I arrived early, so L and I talked for several minutes. When I asked her if it bothered her when I moved about the room during these observations, she said, "No, I don't care. Nothing like that bothers me. Or the kids. They're used to it." At 8:40 when the bell rang, she jumped up, cutting off our conversation about Thanksgiving vacation, and stood at the classroom.door as the children arrived. gifléf-L moved to her desk. About 3/4 of the children were seated on the carpet. L said aloud, apparently to the others who were wandering about the room or seated at their desks, "You know where you're supposed to be." The rest of the children followed her to the carpet. §ifllf'1t was Ma's turn to call roll. The others sat quietly, for the most part. Then L announced that there would be another new girl coming on the following Monday. "So think how you'd feel, being new. Let's all make her feel welcome." 8:50--The following activities took place during "carpet-time"; l. L counted those who were going to purchase hot lunches and those who brought lunches from.home. 2. Ma "did the calender". He answered L's questions about the date, month, year, and appropriately ad- justed the numbers of the calender on the bulletin board. 135 3. Ma identified the "sounds" of the day -- "sh" and "ch" -- and correctly chose those pictures on the board which represented words beginning with those sounds. The whole class was asked to repeat the sounds and the words. During these activities, the children became fidgety. Four got up to use the lavatory or water fountain. Two or three went to their desks to retrieve things. Several talked while Ma answered L's questions. Three girls began "fixing" each other's hair. L reached out and tapped a few on the shoulders or looked sternly at others. No verbal admonishments. I wonder if all of the children feel free to get up when they feel like it? Is this usual for 'carpet time', too? I doubt it because L looked displeased. 8:58--"Sharing time". It took longer than usual today. Nine children were allowed to "share". Each rose and stood by L. She put her arm around many of them. L ques- tioned them as they spoke about the article they brought in or told their "news". Examples: Ke talked about a movie she SEW‘With her baby- sitter. L asked her and the others who had seen it for details, and opinions of the film. Ro told about a birthday party her family was planning for her mother. L asked her what her duties were and what sort of a gift she was making. The children were much more attentive during this rather long activity (about 12 minutes). Perhaps they all wanted a chance to share (nearly all raised their hands as L called on 136 another when one child finished). 9:lO--Story-reading. L announced the title of the book. She said, "This is the only Dr.Seuss I could find in the library for you. Everybody else must want to read Dr.Seuss, too!" The title was, Oh the Things You Can Think Of! L asked the group, "What do you suppose it I means?" She warmed them up for the story this way. Several children inched forward on the carpet to be nearer to her. The group was very attentive. Two or ' three times she halted her reading, but only to look at two boys on the far edge of the group who occasionally began whispering. She often paused, however, to ask them questions about the pictures: "What's that?" "Who has ever seen one of those before?" "Could something like that ever be possible?" Or about the story: "Have you ever thought about doing something like that?‘ "What do you suppose his face looked like then?" (Does she do this often? It is apparently her way of involving them.in the story). giiflf-L finished the story by quietly saying, "So when you're laying in bed or daydreaming, think about all of the crazy things you can think of." Ma began to talk about a dream he had once had. She interrupted (inaud.). L told Sha to stand by her, and she asked Ma to finish. 137 She then reprimanded Sha (inaud.) and had him remain standing by her desk while she explained four langu- age arts worksheets. 9:16-9:50--Children worked on the worksheets. Throughout the hour, five or six at a time were called by L to small corner table for reading groups. Took children about five minutes to settle down -- to get to desks, take out pencils, begin working. The room.became relatively quiet again, and remained that way throughout the "work-time" period. Children talked to one another and the reading groups could be heard as they worked with L, but the noise was not distracting. Everyone appeared to be working on the assignments. Children moved about, but they appeared to be borrowing pencils, asking each other for help, or talking about which games they would play if they finished on time; this movement and talking was usually momentary. Two girls sat together in the same desk; I think L would have separated them if she had seen them. The children apparently felt free to interrupt L for help on their assignments, while she conducted the read- ing groups. About one child asked for help each 2-3 minutes. Several asked me for help in sounding out a word or identifying a picture. 9:30--The first children begin finishing their assignments. Several continue work on art projects (paper mouse 138 cutouts). Ca and An get checkers out and play on carpeted area. Several others take out books and games, and scatter about the room. Tra and Ed sit at record player, and listen with the headphones. giégf-Five children are at their own desks, and three of them are still working on language arts assignments. Every- one else works on art project or have books or games. Ed cleans the chalkboard. Four are still with L in reading group. The noise level in the room has grown considerably. L looks up and calls out, "Ca, An, Ma-- I know you're playing checkers again because I heard you start fighting. Either play right or put it away." Ma leaves the game. g;§§--L rises and walks about the room. Talks to three boys who are standing around a desk laughing, apparently just talking and joking. She says, "Mr, De, Ro--is that an option in our room? Is that something you should be doing?" They each go back to their desks and take out books or the art project. l9i9§"L says, "I'd like you to pick up the place, and show me you'd like to go to gymn now. The noise and activity again increases considerably. Ca jumps and yells, "Yahoo!" and An ducks. L holds Ca by the arm and tells him to help An pick up the checkers. A few minutes later, Ca chases Ro around a group of desks. Again, 139 L takes Ca by the arm and tells him to sit down. lQ;QZ—-L stands by door and turns off the lights. The room quiets down immediately. About half of the children were seated in their desks. The other half now hurry to their seats, as L says, "I've got two people ready. . . three. . . four. . .". The girls are told to line up at the door quietly, then the boys. They do so rather slowly; again, there is quite amount of talking and laughing. Ca is pushing Ma now, and Ma starts to push back. Ca and Ma apparently see L look- ing at them and stop their horseplay. The other child- ren see her standing quietly. She does so for several moments, even after they have become silent and still. L then tells them they will meet another class in the gym to play a new game, but they won't stay if they continue to "behave like you have the past few minutes.’ They then go down the hall to the gym. 140 FIELD NOTES SAMPLE 2 Field Notes: Classroom Visit; May 31, 1978 ‘lgiggf-I arrived a little late. The class was already seated on the carpet, finishing afternoon roll-call when I entered the classroom. L was seated at her desk, and nodded at me as I found a chair and sat down near the carpet. Tr, Cs, and Te began whispering to me. Ir was reading the roll and could barely be heard. 12i32--Ir finishes roll, but the group is very restless. L stOps Ir, and says to the rest of the group, "Ah, can you check and see if you're being polite to Ir?" Several moments pass before the group quiets down. L says, "Now Ir's voice should be the only one I hear." Ir names the absent children, and takes the list to the pocket on the classroom.door. 12i§§--L has spent a moment or two putting away roll cards, telling De to put a small doll away, and fetching a story book from the student teacher's desk. When she turns her attention back to the group, she pauses and looks at them for several moments, apparently waiting for silence. Ma and An are on their knees, looking out the window at other children on the playground. It is warm.and sunny out, and the windows are open. She tells them to sit down, and quietly tells the group, "This afternoon we're going to have visitors. And I 141 hope you aren't going to act like this when they're here. You've been talking to each other all day. And Ma and An, I'm.not going to tell you to sit down again." She begins reading the story book, Curious George, simply by holding the book up for all to see the front cover, and announces the title. Several of the children scoot closer to her. igi§§--L stops the reading of the story and asks Ca what he has in his hand; several children have begun whispering with him. Ma calls out that Ca has a caterpillar in a box. L asks to see it, and Ca shows her a tiny, plastic box. At first L looks very annoyed, but then sighs and tells him.it will die without air. Ca is sent to the back cupboards to find a plastic jar and a lid with airholes. The group is very restless again. Three or four are standing and looking out the window. Tr and Te are braiding each other's hair. Ma and Jo are lying down. Many are talking. L rises and helps Ca at the back cupboard. She has him put the jar on his desk and sit down with the rest of the group. L calls, "OK, OK!" and resumes reading the story. lgiééf-Someone (Ma?) sees a crowd gathering on the playground and yells out, "It's I'____ J_! It's I__ J__!" A "famous" university basketball player has evidently arrived for a visit to the school. Several of the children jump up to see, and L stops reading the book. 142 "All right, all right", she says, and by then every- one is at the windows. After a moment or two she tries to calm them down and calls them back to the carpet by saying, "You can't see him with all those ' After another minute or people around him anyway.‘ so, most of the children are back on the carpeted area, discussing the basketball player. L tells them that she thinks she knows whose classroom he is visiting, and if they will sit quietly, she'll find out if he has time to visit theirs. When she leaves, the room becomes even.more noisy. When she returns, she tells them that he was asked to leave the building, because the visit was not prearranged with the principal. She tells them she is sorry, but no one is going to get to meet the star. L starts to pick up the story book, but the children are talking and whispering;they are obviously not prepared to listen quietly. L looks at me and shrugs, lightly tosses the book on the desk, and says to the children, "OK, I think we should try to get some work done. Now settle down. Ca, Mr, Ir, Jo. He's gone. Now sit down." She passes out two spelling worksheets to the children as they take their seats. 12:50--The children work fairly steadily for several minutes. L remains at desk, answering questions for children who come up to her. Talking continues in the room, but it 143 is at a lower level than before; most of the child- ren seem to be working on the spelling. Movement about the room is for sharpening pencils, borrowing erasers, asking L or myself for help, etc. 12:53--L tells Ca to bring her the caterpillar, and tells Ro, Ma, and Mr, who have gathered around his desk, to sit down and get to work. 12:55--Two specialists from.the in-service program (Dn and Jn) enter the classroom, to watch L lead a creative drama lesson. L gets up and talks to them, evidently tell- ing them about the commotion in the room during the last half-hour; I see L laughing and shaking her head. lgi§§--I told the children to put their things away and to "Come to the carpet, quietly." Dn and I took chairs to the right of the children, as they sat facing L at her desk. Jn brought a chair to the left of L, but several feet behind, and sat facing the children. L told the children, "Show me when you're ready to listen." After a moment, the group was quiet, and L began talking about the all-class book they had been working on. She reminded them that yesterday they had completed small pieces of creative writing and pictures about theme selves. She asked Ma to read the poem from.the front page of the book as she held it up. 144 l:00--Several minutes were spent as L questioned the child- ren about their favorite place; they had been asked to think about it since yesterday. Responses were: Te Ba Jo Tm Ca Tr Ir McDonald's restaurant the beach grandmother's house my bedroom Cedar Point amusement park the circus the zoo When she asked the children why, most could not answer, other than that "It's fun." Tm said she liked her bed- room because it makes her feel safe. The children, in general, were not very attentive, and the discussion was difficult. Ca and Ma had to be quieted three times. Several others whispered or spoke out of turn. l:05--L cut the discussion abruptly and told everyone to close their eyes- it was apparently an attempt to focus the children. She told them to think of a circus and what they would see there. After a moment, she asked Mr, "Can you show us, can you act out what you like about the circus?" Mr had not suggested the circus, and he was, in fact, one of the children who had been most in- attentive during the afternoon. I think she asked him because he's comparatively adept at pantomime; she ‘wanted to get the group "warmed up". Mr stood by L's desk, looked at the group, and grinned and giggled. After a few moments, he pretended to juggle, but 145 continued to watch the others and laugh. This seemed unusual for Mr, who works very seriously during lone pantomime exercises. As soon as the onlookers began shouting out their answers, Mr stopped pantomiming, and pointed at two or three children who he thought were correct. L told him to choose one. Mr sat down, and Tr stood by L's desk. She began swinging her arms in the air, and L said, "Oh, we have another circus." The children began calling out their guesses again, and several stood up and raised their hand. L told them to calm down, and rather than guessing, had them all stand up to pretend they were at the circus. While L sidecoached, the children pretended to be weight- lifters. I think this was an attempt to focus the attention of the group, but the children were crowded, and many began pushing and shoving. As they sat down, the group was just as talkative as ever. ‘lilQ--The playing continued, Ro pretended to be at a dance. Ir appeared to be pretending to cook something, but the group could not recognize what he was doing. Ma apparently wanted to show that he was at an amusement park, but didn't know what to do; after standing silent- ly by her desk for a moment, she asked him to whisper in her ear. She whispered something back and he said, "OK", and began his pantomime. He held out his hands in front of him, as if he was gripping a bar tightly, 146 and made a very frightened-looking face. The on- lookers again began calling out their answers and waving their arms. L asked them to sit down, and pre— tend they were on a rollercoaster, too. Again, I think L was trying to refocus the children, but they were be- coming increasingly restless and silly. She tried to sidecoach them on a short rollercoaster ride, telling them to sway their bodies and pretend to be very frightened. The exercise was halted after a few moments; several of the children were bumping each other with their elbows, and the noise increased instead of decrease. lil§"L gave the children their instructions for the next chapter of their book. She told them to write their names on the back of the large sheets of paper, and to draw their pictures on the front. They were to finish the sentence, "My favorite place is ______'because ." The children were fairly quiet during the direction, perhaps because Ms.Lorenz spoke so quietly. The children took their seats and began working on their drawings. As I moved about the room to watch them, I noticed that many had chosen topics that would have been difficult to put into action. Examples included: My grandmother's house - because she's so nice My bedroom - because it makes me feel safe McDonald's - because the food's good 147 L didn't look very pleased with the lesson. I think there were several problems: the children were not in an appropriate mood; the solo structure of the lesson was difficult, especially when visitors were in the room; in her directions yesterday, L apparently didn't ask the children to think of actions which would identify their favorite place. I stayed in the room for about ten more minutes, and watched the children work. The drawing assignment seem- ed to go fairly smoothly; they seemed to be in an appro- priate mood for this assignment. L continued to talk to Dn, and when I left I said I'd see her the following day. She had planned another drama lesson to motivate the drawing and writing of the next chapter of the class book. APPENDIX II 148 SUBJECT INTERVIEW SAMPLE From: Interview with Ms. Lorenz (5-3-78) R (Researcher): L (Ms. Lorenz): When do you attend the in-service sessions? Er, this quarter? You know, I don't know if we're having them anymore. . . maybe a few more. well, anyway, Monday and wednesday afternoons, like before. I thought Mm (the student teacher) was finished. Didn't you have a goodbye party for her awhile ago? No, she had to come back two half-days a week to release me. What's been happening in the in-service lately, in terms of activities, content. . .? well, we're to develop a lesson plan, an in- tegrated lesson in multi-cultural, language arts, and drama. That's what we'll be doing the last two weeks. Just your time to do what you want to and need to. What are you planning? I'm going to go with making a book, a class book. Creative writing. It's going to be like one I did for multi-cultural last year, only with changes. And hOW'Will you incorporate drama? Some of the parts are going to be, "My favor- ite place to be", "When I am alone", and stuff like that. I'll use pantomime to enrich their ideas, to get them excited about it. And for thinking about other things. . . details. we'll start with "Here we Are, Look At Us." It's a poem. Then, let me see. "My very important person". And they'll have to do a self-portrait, too. And things like, "When I feel glad." I'm going to stick to the positive rather than things like, "When I feel sad." You can get into all sorts of hassles with that. And last year we did "My favorite food." That was a waste of time." F3???” 149 In what way? In terms of multi-cultural. Do you think the drama helped? I probably would have never integrated drama into the lesson if it hadn't been for the in-service. I meant, do you think drama will help in the lessons? Oh, yeah. It will give them more ideas, ex- cite them.more about what they're doing. By the way, are you being observed by La and Jn? Jk and Jn, I think. They'll come and observe me on the 20th or something. On the 30th. This whole thin , though, will take a matter of days. I don t know. . About what? well, the observation, and with camp coming up, and everything else. I hope I find time to pull it off! There's only six weeks left of school, you know. . Can you think of anything, any drama activi- ties you've done in the past few weeks. Ones that I haven't been there to see? Not really. . . not any real big. . . well, little "pick-up" kinds of things. Like, "How 'would that feel?" or "How would that look?" And in other subjects besides language arts. I've always done that sort of thing in reading, but not really a whole lot more now. Not a whole lot more than I've ever done before. Some, though. At least I'm.more conscious to do the things, and a little more at ease with it now. Like we tried some things in science which I hadn't. . . we were doing a unit on insects. Did you see the pictures? Uh-huh! And we did things like, "Show me the grass- hopper" and "HOW’WOUId you move if you were a grasshopper?" I probably would have never done that before. 150 The interview was interrupted. Another teacher entered the lounge where Ms.Lorenz was seated with the researcher. The two teachers discussed an upcoming confer- ence for which they were to make a presentation. When the conversation with the researcher resumed, many minutes were devoted to discussing the following: the conference, other "end of the year" duties and activities of Ms.Lorenz, parent/teacher conferences, and an overnight camping trip which the class was going to take. The discussion then returned to creative drama. R: Can you compare your feelings about leading drama activities to your feelings at the beginning of the year? L: I feel more confident now as a leader. I feel better with control. And planning is much easier. I have more of an idea about what follows what, follow-ups, warm-up techniques. R: You mean what follows what in terms of planning? L: Yes, I mean sequencing activities. 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