", ' LIBRARY 7 O 3% Michigan State a University This is to certify that the thesis entitled CHILDREN’S THEATRE: AN EFFECTIVE METHOD FOR ENTERTAINING, EDUCATING AND ENGAGING presented by WILLIAM L. GORDON has been accepted towards fuifillment of the requirements for the MA. degree in THEATRE /\ i__ Majbr Professdr’s Signature Dec, 5’ : 2007 Date MSU is an affinnative-action, equal-opportunity employer _ -«4n.--Inn-t---0-0-0-D-I-I-I-u-I-»— PLACE IN RETURN BOX to remove this checkout from your record. To AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 6/07 p:/C|RC/DateDue.ind¢p.1 CHILDREN’S THEATRE: AN EFFECTIVE METHOD FOR ENTERTAINING, EDUCATING AND ENGAGING BY William L. Gordon A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Theatre 2007 ABSTRACT BY William L. Gordon The purpose of this thesis is to present a rationale and model for the inclusion of theatre as an effective teaching tool. As early as 1792, children’s theatre in America developed as a teaching tool. Later on groups such as the Theatre in Education companies produced theatrical performances that entertained, educated, and engaged students in schools. The production, HUbie Explores the WCrld m, based on educational standards and benchmarks was designed to have a positive impact on students, performers, the director/playwright and teachers and administrators as a result of providing an educational, entertaining and engaging performance. Future presentations in the genre of educational children's theatre should continue to focus on these three important aspects. The productions should allow for sufficient opportunities for audience participation. A balance between the three components should be strived for to allow the optimal theatre experience for the young audiences for which it is intended. ACKNOWLEDGEMENTS I would like to thank my committee members for their assistance and support: Dr. Lynnette Overby Professor Rob Roznowski Professor Frank Rutledge Dr. Georg Schuttler A special note of thanks is extended to Dr. Lynnette Overby for supervising a large number of theatre projects and experiences while I was in attendance at the university. Special thanks also go out to the vast number of students with whom I was fortunate to work during presentations and productions. Murphy Elementary School in Haslett under the leadership of Principal Diane Lindbert and fifth grade classroom teacher Linda Lillie were especially helpful in providing many learning opportunities. ifi TABLE OF CONTENTS CHAPTER Page INTRODUCTION .............................................. 5 I. STATING THE PROBLEM AND DEFINITIONS OF TERMS ..... 6 The problem ..................................... 6 Definitions ..................................... 6 Summary ......................................... 8 II. FOUNDATIONS OF EDUCATIONAL CHILDREN'S THEATRE...lO Theatre of ancient times ....................... 10 Theatre of early America ....................... 12 Twentieth century American drama ............... 14 Theatre in Education (TIE) programs ............ 18 Other recent educational programs .............. 27 Summary ........................................ 32 III.COMPLETE RECORD OF HUBIE EXPLORES THE WORLD ..... 33 The writing process ............................ 34 Collaboration with designers ................... 40 Casting and the rehearsal process .............. 42 Pictures ....................................... 47 Brochure for the production .................... 47 Outreach for university ........................ 47 Summary ........................................ 49 IV. SUMMARY, DISCUSSION AND FUTURE RESEARCH ......... 50 Impact on participants ......................... 50 Evaluation ..................................... 56 Suggestions based on lessons learned ........... 57 Moving the field forward ....................... 59 Summary ........................................ 61 V. APPENDIX ........................................ 63 Pictures from the presentations ........ V ........ 64 HUbie Explores the WOrld ...................... 66 VI. REFERENCES ...................................... 94 iv How Can Children’s Theatre Effectively Entertain, Educate and Engage? Introduction Throughout history we find examples of theatre being used as an effective teaching device. This instructional use of theatre was both intentional and unintentional. Since the development of theatre in ancient Greece to the Theatre in Education programs existing today, theatre has both entertained and educated youth. The purpose of this thesis is to present a rationale and model for the inclusion of theatre as an effective teaching tool. This thesis is organized in four chapters. The first chapter will present the problem and define terms discussed in the thesis. The second chapter will present the foundations of educational children's theatre. The third chapter will present the structure of a specific educational play, and the fourth chapter will offer ideas about the implications of this report. STATING THE PROBLEM AND DEFINITIONS OF TERMS The Presentation of the Problem and Definitions in Children's Theatre as They Relate to This Thesis As previously indicated, this chapter will be concern the presentation of the problem to be studied and the various definitions that apply to children's educational theatre. Discussion of the Importance of the Problem In the United States alone there are hundreds of theatre productions offering presentations for younger audiences. Some of these presentations are strictly for entertainment's sake while others are meant mainly to instruct. By looking at current practices, one can gain insight as to what makes a presentation both effectively entertaining and educational. Adding a third element, that of audience participation, provides the framework for a potentially successful children's theatre production. Definitions in Children’s Theatre When it comes to defining children’s theatre, several terms come to mind. While children’s drama, children's theatre, youth theatre, creative dramatics and educational dramatics sound similar, there is a distinct difference in these terms. These distinctions should be made, to clear up any confusion as to what will be discussed in this thesis. The most inclusive term is children's drama. It refers to all forms of theatre by and for children. It includes nearly every form of theatrical, artistic education for children with the exception of classes taught on a junior or high school level. Terms under this broad definition of children's drama include creative dramatics, children's theatre, Theatre for Young Audiences, recreational drama, participation theatre and the rare formal classes in elementary schools (Goldberg, 1974). Most educators agree that children’s theatre is live theatre presented to an audience of children of elementary school age. It is also called Theatre for Young People Performed by Adults or Theatre for Young Audiences (Rosenberg, 1983). To most people, youth theatre (also called Theatre by Children and Youth) suggests plays acted for children and a few interested adults usually performed by children or teenagers (Rosenberg, 1983). Creative dramatics is thought to be activities in which children participate. These activities are usually improvisational, non-exhibitional, process—oriented forms of drama guided by a leader to imagine, enact, and reflect upon experiences (Rosenberg, p. 11). Creative dramatics is sometimes called creative drama or creative play. The term "educational dramatics" was coined by Emma Sheridan Fry in the early 1900's. It meant to refer to the useful contribution to the solution of pressing social problems (Tukesbury, 1964). In the early years of the growing children’s theatre movement, no distinction was made between similarly worded categories of children's theatre and creative dramatics (McCaslin, p.ix). It is importance to note that in this study the particular type of children’s theater being discussed is one that serves to entertain, inform, and engage the audience. It is not to be confused with children’s theatre acted either by adults or kids simply for the sake of entertainment. Theatre in Education (TIE) relates to programs that use creative dramatics and children's theatre in an educational setting. The Creative Arts Team (CAT) is the American counterpart of the English TIE program. Summary The purpose of this chapter was to state the problem, to give necessary definitions to the terms used in the field, and to identify those terms that will be discussed in this thesis. FOUNDATIONS OF EDUCATIONAL CHILDREN'S THEATRE Past and Present Influences of Children’s Theatre While the first chapter identified the problem and gave definitions to terms to be used in this thesis, this chapter will present the past and present influences of children's theatre. Theatre of Ancient Times The history of children being involved in theatrical practices precedes Greek drama of the fifth century B.C., when children took part in religious processionals which were of a dramatic nature (Ward, 1950). In addition popular theatre has attracted young people as playgoers from the time of the Greeks onward, and actual theatre performances have been part of childhood since ancient Greece (Swortzell, 1990). In ancient Greece, theatre was family entertainment where children and their parents attended performances. Young Athenians also performed in the chorus of the tragedies, an opportunity that was considered educational and as well as a great privilege and a service to the republic (Swortzell, 1990). While Easton (1966) points out that in drama the primary task of the tragedian was to teach the people rather than entertain, Plato contended that an audience survey would show young children voting for puppet and magic shows, older boys and girls for comedy, and educated men and women tragedy (Swortzell, p.xix). In Medieval times the church began to use theatre as teaching method by introducing the dramatization of the liturgy. From a simple inclusion of dramatic presentation of the Easter story into the service, the introduction of liturgical drama soon expanded into more complex biblical plays. The use of miracle, mystery, and passion plays were used to expand the teachings of the Bible. Presented in the vernacular, drama again was used to instruct the masses on the proper way of living (Easton, 1966). An example of active participation is when child choristers walked around the church in a processional for The Slaughter of the Innocents in Bethlehem (Ward, 1950). In addition, speaking roles for children became available in plays such as The Brome Abraham and Isaac during the middle ages (Swortzell p. xx). Tudor England contributed importantly to the traditions of theatre in education particularly in the teaching of Roger Ascham and Nicholas Udall (Swortzell p.xxi). The schoolmaster Ascham, who had been a tutor to young Elizabeth I, advocated the use of dialogues as a teaching tool. He used scenes from the classics for performing and teaching (Swortzell p.xxii). Udall, teaching at Eaton and Westminster, (ca. 1540) recognized that theatre could be an enjoyable teaching method (Swortzell p. xxiii). Theatre of Early.America Furthermore making a jump in time to more recent times an American educator, Charles Stearns began creating plays for school children in 1792 (Bedard, 1989). His work would continue until 1798. Written as dialogues, these works were included in his curriculum to develop the language skills of his students. Stearns is perhaps the first and probably the most gifted and most prolific of the early American schoolmasters (Bedard, 1989). His thirty dramatic dialogues constitute the first substantial body of plays for young people written by an American (Bedard, 1989). There is good evidence that there was a great deal of theatrical activity in American schools by the end of the eighteenth century to the mid-nineteenth century (Bedard, 1989). The processes of informal dramatizations by young people as well as the practice of adults performing specialized dramatic fare for young people were explored in many settings throughout the country (Bedard, 1989). Even famous Yale drama educator, George Pierce Baker, on at least one occasion, taught a class where special attention was "giving to the staging of plays for school children" (Bedard p. 2). When asked to compare adult and children's theatre the famous Russian director/actor Stanislavski once commented there is "no difference between adult and children's theatre except that children's theatre must be better!" (Swortzell p.xiv). Theatre was claimed to have the greatest potential of all the arts for learning and as a means of bringing beauty into the lives of children. The famous American writer Mark Twain was reported commenting that children's theatre as being, “One of the very, very, great inventions of the twentieth century and its vast educational value - now but dimly perceived and but vaguely understood — will presently come to be recognized m.” “It is much the most effective teacher of morals and promoter of good conduct that the ingenuity of man has yet devised, for the reason that its lessons are not taught wearily by book and dreary homily, but by visible and enthusing action; and they go straight to the heart, which is the rightist or right places for them. Book-morals often get no further than the intellect, if they even get that far on the spectral and shadowy pilgrimage; but when they travel from a children’s theatre they do stop permanently at the halfway house, but go on home.” (Ward p.34—5). Twentieth Century American Theatre During the first decade of the twentieth century there was another movement in the area of children’s theatre. It was in the various communities of America rather than in the schools that the first steps toward children’s educational theatre seem to have been taken beginning in 1903 (McCaslin p.13). Settlement houses in Chicago, New York City and Boston were dramatizing popular fairy tales by and for young group members. These settlements also began using drama as a strategy for teaching English and social habits to new immigrants (McCaslin, 1971; Rosenberg, 1983). In New York, the use of theatre was especially effective in teaching Polish and Russian immigrants, who inhabited certain sections of the city, better communication in their new English language and in American ways too (McCaslin p.15). It was within a New York settlement house on the lower East side of New York, that the Educational Alliance established the first regular children’s theatre program. Alice Minnie Herts became the director in 1903. Miss Herts was a social worker who later became a theatrical producer. In the program, Herts worked as the producer, business manager, and publicist (Tukesbury, 1964). It was her goal, 10 "to help people create an idea from within rather than impose one on them from without" (McCaslin p.7). She invited Emma Sheridan Fry to serve as dramatic director (Tukesbury, 1964). Earlier Fry had taught at Franklin Sergents' American Academy of Dramatic Arts where she also toured in several productions and worked with Steele MacKaye and David Belasco (Tukesbury, 1964). Together Herts and Fry not only produced fine theatre for audiences but reached the players and raised their ethical, moral, and social standards (Tukesbury p.341). In addition, their program lifted the morale of the community with shopkeepers contributing to the cause, and mothers and sisters sewing costumes. Lines began to grow for their performances (Tukesbury p. 341). The group received rave reviews from authors such as Frances Hodgson Burnett, author of The Little Princess and The Secret Garden, and Mark Twain who had an adaptation of The Prince and the Pauper (Tukesbury p. 342). Mark Twain visited the organization in the early 1900's. He commented positively on the vast educational value (Swortzell, 1990). The plays were the projects of classes in acting for young people (Tukesbury p. 343). In the program, the children alternated between acting on stage and working backstage. The backstage work and the smallest parts were handled with respect. The shows exhibited fine costumes and good scenery provided by Herts (Tukesbury, 1964). The theatre program developed an educational policy that lasted for six years. The benefits gained included fine values, social graces, confidence, self-confidence, and a sense of fellowship (Tukesbury, 1964). The Educational Alliance closed in 1909, due in part to a ban called the New York Sunday Closing Law that prohibited performances on Sundays (McCaslin, 1971; Ward 1950). However, the organization was a showcase for educational dramatics whose ripple effect hasn't stopped (Tukesbury p.344) It was in this setting that the term "educational dramatics" was coined by Emma Sheridan Fry. It meant the useful contribution to the solution of pressing social problems (Tukesbury, 1964). Fry continued her work by presenting works in public that involved story playing with no costumes or scenery, and where the material was not memorized but performed to recitation (Tukesbury p. 344). An important event in children's theatre occurred in 1910. A teacher by the name of Margaret Love Pierce developed a new method of using the acting out of stories to teach literature. She based her work on the readings of Emma Sheridan Fry who developed the idea of dramatizing stories in her elementary reading classes (McCaslin p.12). In 1911 Education Players began to work with the public schools. In these productions, the adults were the players and the children were the audience members. This was to be the first organized children’s theatre in the United States. They adhered to a definite policy of educating its members and audience, through an insistence of the best in both dramatic literature and standards of public performance. This led to the introduction of plays written for public schools (McCaslin p.19). Northwestern University’s School of Speech established a children’s theatre in 1925. Two years later, the city of Evanston opened the Children’s Theatre of Evanston. That same year the Goodman theatre in Chicago offered children's theatre productions at its venue. It would be several years later when these productions became more numerous (Ward 1950; Davis 1960). During the 1930’s, drama was included in the elementary school curriculum. The focus was on informal and creative dramatics. It was also in this decade that there was an increase in the number of programs for audiences of children (McCaslin p.77). 13 Out of the Great Depression came the Federal Theatre Program. The program ran from 1935-1939. Initially, this new and creative theatre program was set up in nine cities across the United States. A 1936 production of The Emperor’s New Clothes presented by the Federal Children’s Theatre drew over 100,000 viewers. One of the policies of the Federal Theatre program was that no plays for entertainment purposes only were to be allowed. This unique program ended on June 30, 1939. The far-reaching experiment brought living drama to communities many of which otherwise might never had the experience (McCaslin 1971; Davis, 1960). Money for children’s theatre became available through direct support from government programs at the national level in the 1960’s. Government aid to the arts became available from programs such as National Endowment for the Arts and National Endowment for Humanities. (McCaslin pp. 207-210). The Theatre in Education (TIE) Movement In the latter part of the twentieth century, a new program using drama as an instructional method developed in England. This process was later to be known as Theatre in Education (TIE). This movement provides evidence of the 14 effectiveness of theatre as a teaching medium (Redington, 1983). Theatre in Education focuses on a group or team of actor/educators who create a program for specific age groups. The use of the term “program” allows the group to avoid having their work as being labeled either a play or a lesson. The program is in fact a combination of both (Redington p.1). It is a blend of theatrical forms and educational techniques. The TIE program emerged in 1965 as part of the Belgrade Repertory Theatre in Coventry, England. The TIE program includes actors, directors, and educators who join forces to focus on topics of importance in the country’s school curriculum. Redington (p.1) points outs that the “aim of TIE is that its presentations in schools should educate, widen pupils’ horizons, and lead them to ask questions about the world around them as well as entertain”. The first step of TIE is to select a topic and then a playwriting team develops a program that can be taken into the schools. From 1965 to 1978, there were other TIE programs that developed across England (Redington p.217). The movement eventually came to North American, first to Canada and then 15 later to the United States. The American counterpart to the TIE’s playwriting team is called the Creative Arts Team (CAT) (Jackson p.71). The CAT program is sometimes referred to as the Creative Arts Theatrical Company. Research has demonstrated that the TIE programs make a unique contribution to the educational program (Redington p.211). The teams were often able to tackle topics and themes that an individual teacher would find hard to do. A key belief in the TIE philosophy was that actually doing something was much more effective than being told it. A major aim of TIE is that a presentation should not only entertain, but also educate, lead students to ask questions about the world around them as well as widen their horizons. With its ability to motivate pupils to learn, concentrate, and produce stimulus on many different levels, the TIE program offers something that the educational system seems to destroy (Redington p.211). The basis for Theatre in Education ideas have been present since the 1870’s when Froebel suggested that the child should observe and think for himself rather than be the recipient of knowledge (Redington p.13). This striking of a balance between education and theatre for entertainment has kept TIE out of either being classified as an educational process or a theatre process. 16 The TIE program avoids the limitation that would come with a play or lesson. In fact it is a combination of both using a complex mixture of educational techniques and theatrical forms. Like other forms of children’s theatre, TIE can open doors to a new world of imagination, excitement, and thoughtfulness (Redington p.208). Due to its unique position straddling the areas of both theatre and education, TIE is open to judgments and criticisms based on widely differing criteria. It was observed that anyone watching a program would make some kind of personal assessment. These comments ranged from “that was well-acted" to “it was a very useful educational stimulus” (Redington p. 141). Ralph Tyler (1949) stated, "if the aim of educational objectives is to produce certain desirable changes in the behavioral patterns of the students, then evaluation is the process of determining the degree to which these changes in the behavior are actually taking place is the evaluation" (Jackson p.253). This stand is similar to the one taken by the TIE programs. Evaluation is a two-pronged process asking who is doing it and to whom? and what is being evaluated and why? The TIE program found that to gain an overall picture of the effect of their programs, the teams needed the opinions of their consumers — the schools in which they were working (Redington p. 141). 17 Some established methods of gathering this information included handouts and questionnaires sent to teachers after presenting a program. Another idea that the TIE program sought was in regards to objectives and methods. Redington (p. 151) points out the question asked of the objectives was, “Are these clear, practical, and useful?” Regarding methods, the questions were, “Are these systematic and effective in pursuit of the objectives? Are they not excessive in time and not prohibitively expensive?” To use this model, the goals or aims, must be clarified, and the evaluation process consists of trying to determine whether the goals have been actually achieved. In regards to the objectives of the TIE teams and teachers Kathy Joyce came up with six questions to be answered in her article, “TIE in Schools - A Consumer’s Viewpoint”: 1. Is the content worth presenting and how far does it arrest, inform, challenge, and extend the audience (including the adults present)? 2. Is it well performed and presented, with good audience contact? 3. Is it performed to the right age—group and the most appropriate audience size? 4. How far does the company involve the teachers, or attempt to integrate its work into the curriculum? 5. How committed do the actors seem to the objectives of their work; and how open are they to discussion and criticism? 6. What unique contribution will this company make to the children’s education? (Redington p.206). 18 Joyce goes on to state a popular model used in the evaluation process is the goal—attainment or objectives model. This is defined as “evaluation as measurement of the degree of success or failure encountered by the programme in reaching predetermined objectives” Schulberg and Barnes (1971). TIE programs spread across the United Kingdom. When a TIE program was established in Edinburgh, specific aims were established. They included the following: 1) Expand the experience and learning of the child through imaginative involvement 2) Promote the use of drama as a teaching method 3) Run courses and workshop sessions for teachers and students, encouraging the use of drama and giving opportunities for discussion and exchange of ideas (Redington p.95). Included in TIE programs are both theatrical and educational elements. Theatrical elements might include some or all of the following: theatrical forms such as plot, empathy for the characters, the relationship between actor and audience, group process to develop the program, 'use of the theatrical elements such as props, scenery and costumes, and financial support from government grants and grants from other sources (Redington p.5). Educational aspects of the TIE production include many elements. They might include any of the following: the production is based on child's needs, ability, and I9 potential; involves the use of play; promotes learning by doing; includes content and follow—up work that is genuinely cross-curricular; uses drama in education techniques such as mime, role—play, etc. They also includes age group relationship with the form and content; incorporates problem solving to help stimulate the pupils curiosity, retain their attention during a program, and motivate them to learn more about the subjects afterward; structures; mental and physical involvement; and utilizes new teaching methods that incorporate imaginative use of games and stimulations not currently used in schools (Redington p.5). Creative Arts Team Theatre in Education’s American counterpart is called the Creative Arts Team (CAT) (Jackson, 1993). The Creative Arts Team in New York utilized the British TIE model. In 1975 a group of graduate students from New York University’s Educational Theatre participated in a study abroad program in England (Jackson, 1993). After observing the British model the CAT applied their new knowledge to opportunities in the New York inner city schools. Leading the CAT were Lynda Zimmerman and Jim Mirrione (McCaslin, 1987). The CAT selected issues deemed important that when later produced, would bring about a change in the audience. Included were topics such as racial discrimination, child abuse, energy, lack of communication, and strip mining (McCaslin, 1987). The CAT created four special programs. They included Drama Unlimited, Special Express, Project Communication and Conflict Resolution through Drama (Jackson, p.206-7). In 1984 CAT developed Drama Unlimited. This was a drama in education workshop for elementary students aged 6— 12 in grades 1-6 (Jackson, 1993). The purpose of this program was to enhance communication, critical thinking, and interpersonal skills while addressing a specific social issue through the process of drama (Jackson p. 207). In 1989 Special Express was created to meet the needs of the learning disabled, emotionally disturbed, hearing and visually impaired through appropriate drama curricula (Jackson p.208). Many of the activities stressed multiculturalism with emphasis on prejudice, racism, co- operation, peer and family pressure and self esteem (Jackson p. 208). Project Communication was designed to enhance oral and written communication skills of junior high students aged 13—16 (Jackson p.210). Project Communication combined original theatre performances with classroom participatory drama workshops (Jackson p. 211). Among the issues in the 21 project were programs on suicide prevention, use of weapons, racially motivated violence, drug abuse, child abuse, and denial of civil liberties. The program also included pre-performance and post-performance workshops (Jackson 1993). The oldest program of the four was Conflict Resolution through Drama. Created in 1979, these drama workshops were for high school students aged 16—19. A scene would be presented to the audience then resolutions were suggested by the audience. Issues included prejudice and racism, youth employment, an intensive program to meet immediate needs as well as HIV/AIDS workshops (Jackson, 1993). Mrs. A. T. Craig, principal of New York Ethical and Cultural School, proposed that drama was of value to all of the curriculum aspects (Redington p.16). Commenting further along this idea about the value of drama, Zemelman, Daniels, and Hyde (p.5) stated, “Infusing drama/theatre techniques into the curriculum allows for hands—on learning that is meaningful and lasting. Such lessons provide learning opportunities in two content areas - drama/theatre and the subject with which it is paired.” Features identified as desirable for promoting effective teaching and learning across the curriculum include: 0 experimental, inductive, hands—on learning 0 student-centered learning 0 active learning in the classroom 0 cooperative, collaborative activity 22 0 learning and practicing many forms of expression Other Recent Educational Children's Theatre Programs Team of Four Program at Michigan State University After visiting a TIE program in England, Professor John Baldwin set up a program at Michigan State University called "The Team of Four" during the 1970's. This version of the TIE program sent students into one local elementary school each week from October through May. Dr. Jeanne Klein, former Team of Four member and an Associate Professor and Director of Theatre for Young People at the University of Kansas provided information about the project. She was a member of the Team of Four for two years from 1979-81. Not knowing exactly when the Team of Four originated, Klein recalls that Dr. John Baldwin had visited a TIE team in England (perhaps Greenwich?) and adapted its method. Each year, Dr. Baldwin picked a theme, usually connected with the state curriculum, in consultation with superintendents from Lansing and other area school districts to satisfy the teachers and school administrators that the program would fit into the state curriculum. One of the benefits from working directly with the children was that team members learned how children thought, felt and expressed themselves dramatically. 23 The members' improvisational skills improved greatly during performances and workshops and this improvisation skill increased their abilities to think and act on their feet. It's the venue where Dr. Klein first learned how to do drama (techniques) with children. The four members became such a tight-knit ensemble, that they could just look at one another and know what the other was thinking immediately. They learned how to make the same script "new and fresh" for themselves after a number of performances, and how to conserve their physical and mental energy each day and week. The schools benefited by having the Team of Four scholars in their classrooms and MSU benefited from publicity or the outreach into local schools. The major drawback for team members was that they could only take classes on Tuesdays and Thursdays because they were on the road every MWF until 3:30 p.m. They really needed to manage their study time well; especially if/when they had nightly rehearsals for shows. They received a stipend (that paid their tuition) or had their tuition reduced. Production support was always minimal because everything (scenery, costumes, props, sound equipment) had to fit in one van. Their costumes were pulled from stock, rather than designed and built for 24 aesthetic purposes. The van itself was pretty old, but there weren't any days when it wouldn't run properly. Travel or school booking arrangements included going to a different elementary school per week from October to May. A couple of themes that were used in the schools included career education (they played flunky gypsies in need of new careers) and art education in which kids act out stories written for them. While an interesting children's educational program, unfortunately there are no existing records of the Team of Four program. (Personal communication) Kinetic Energy Touring Company In 1999, another educational theatre program became a regular program of the Theatre Department of Michigan State University. The productions were based on educational standards and benchmarks, and designed to both educate and entertain children in grades K-5. The productions focused on specific benchmarks in science (light and sound, the hydrosphere, motion of objects, living things, pollution and biomes; and social studies (core democratic values and personal communication) Each of the productions included pre and post tests to determine the impact of this form of learning on memory of 25 the concepts covered in the performance. Results supported the notion that information provided in this format did in fact impact learning (Overby, 2000). Educational materials were also developed for teachers to use with students after the productions. Several examples exist on the Program for Interdisciplinary Learning through the Arts website (www.teacharts.msu.edu lpila). The Kinetic Energy Program promotes learning through theatre, as the production is presented to more than 4000 school age students each year. Other Examples of Teaching through Theatre Programs Currently there are a number of other programs in existence that use theatre to teach specific subject matters. The-following discussion will identify some of these programs and identify their purpose. 2 Smart 2 Start is an anti-smoking program developed by the National Children’s Theatre in Minneapolis sponsored by the Minnesota Medical Association. The aim of the program is to dissuade children from smoking. This aim was due to an increase of smoking by children of elementary age. The program emphasizes among many things, the idea the smoking is “not cool” and that one shouldn’t start. Study results show that over 90% of the kids watching the program came away with the idea that smoking is dumb and nonsmokers are cool. 2 Smart 2 Start has been identified as a new approach in anti—smoking efforts. There are two plays each for different age groups. One is aimed toward grades kindergarten through third, and the other is aimed toward grades four through sixth. In addition to the presentations to school audiences, there are also teacher and student guides along with take- home workbooks. The program was also used in the Washington D. C. area. 2 Smart 2 Start is said to making a positive impression in the area (www.mmaonline.net) Taking Charge in Meadowland is a program that came out of South Carolina using materials that were originally begun in Georgia. Part of the state's Food Stamps Nutrition Education, the presentation looks at both healthy and unhealthy lifestyles. The program also deals with eating healthy foods. It discusses healthy practices such as jumping rope. The program starts with a pre test then follows up with a post test. Along with the goal of encouraging South Carolinians to make healthy choices, the program also desires for participants to accept personal responsibility (www.scdhec.net/health/prservices/nutrition /meadowland.htm). CLIMB (Creative Learning Ideas for Mind and Body) is a program that offers theatre productions that center around respect for each other, themselves, and the environment. Based in Inver Grove Heights, Minnesota, CLIMB takes its plays to school audiences across the country. Plays are written specifically for the host audience. The company stresses artistic integrity in its work (www.climb.org/What _We_Do.asp). Routes for Youth is a program that deals with the problem of teenage delinquency. A non-profit organization in California, it was first organized in 1985. Part of their program uses a theatre program called Teens TeaChing through Theatre (T4). This theatre program uses alternative methods in finding solutions to handle difficult and confusing situations. Their over 90 shows have reached audiences estimated around 30,000 youth and adults (www.routesforyouth.org). UNESCO has a theatre program called Action against HIV/AIDS. It is interactive and calls for better decision making, better reception by the audience through involvement and empowerment. Due to the success of the program, it has been also been translated into Arabic and Spanish (portal.unesco.org/en/ev.php). Summary The purpose of chapter two was to present the foundations of theatre as they relate to children's 28 educational presentations. This chapter included the theatre of ancient times, the theatre of early America, twentieth century American drama, the Theatre in Education (TIE) movement, the Creative Arts Team (CAT) and recent educational children's theatre programs. The next chapter will look at a specific children's educational program written to educate, entertain and engage. 29 COMPLETE RECORD OF HUBIE EXPLORES THE WORLD The Process of Creating Hubie Explores the World (One Biome at a Time). While chapter two looked at programs that presented the foundations of theatre as they relate to children's educational theatre, this chapter will center on the structure of a specific educational play, Hubie Explores the World (One Biome at a Time). This chapter will be divided into the following sections: the writing process, collaboration with designers, casting and the rehearsal process, impact on participants, evaluation, outreach for University, moving the field forward and a summary. The writing Process Like previous productions of the Kinetic Energy Touring Company, and through incorporating many components of TIE and CAT programs, this production was designed to teach curricular content through theatre to young students. The first step was seek a topic that was appropriate and on grade level. The topic would be one that would align with the state curriculum standards and benchmarks. The next step was to get input from some elementary school teachers. From a conversation that I had with some fifth grade teachers who suggested looking at different living climates of the world, the topic of biomes was 30 selected. The subject is covered in the curriculum, but there isn't much resource information available to the classroom teacher. In addition, I went ahead and choose this topic for another reason. The topic would allow a follow up to the proceeding year’s production of Hubie Saves the Earth (One Problem at a Time) whose topic was recycling and protecting the environment. In Habie Explores the World (One Biome at a Time), my objectives were to identify man's interaction to five specific biomes, the desert, the grasslands, the rainforest, the tundra, and the Taiga. Appropriate standards and benchmarks from the state curriculum were identified. These standards were from the science benchmarks; Ecosystems (LEC) 111.5 All students will analyze how humans and the environment interact: 4. Describe positive and negative effects of humans on the environment. This linking of the topic to the state curriculum is an important necessary step when attempting to attract audiences across the state. The production's topic must fit into the curriculum of the school and state or you will find yourself lacking an audience. 3] Starting with a Simple Premise After reviewing some of the research material that I collected, I formed a simple premise on which to base my production. This premise gave me a common thread that would run through the play that talked about man's interaction with the environment. My premise was as follows: What impact does man have in his interactions with the world's environments? When searching for information, I would be on the look for information that covered this relationship. Starting with this simple premise, I then raised material to the level to the age group for which I was aiming. I made sure that there was a "through line" or spine that ran through the entire play to help with both the students' understanding of the material and the actors’ presentation of the same. Finding Resources After selecting the topic, the next step was to locate resources for creation of the script. There was an abundance of resources available for creating the script. The resources that I used came from a number of different places. I found out that there was plenty of material available from on—line sources of the web. These ranged from professional organizations such as National Geographic and the WOrld Wildlife Federation to organizations such as 32 Kids for Saving the Earth and Scholastic Magazine. Many times the on-line websites provided me with additional material to either be downloaded or that would be sent in the mail in a hard copy. When working on Hubie Saves the WOrld (One Problem at a Time) the EPA sent numerous brochures, pamphlets, and other types of printed material. The nice thing was that there were all free of charge. Another great source of free material was the library system. In the Lansing, Michigan area, there is a consortium of libraries called the Capital Area District Library, (CADL). The material I used ranged from books from the children’s and youth sections to books on biomes from the reference section. I accessed materials from the different areas in the Lansing area through their on-line catalogue and any material within the system was delivered to my home library in Haslett, Michigan. The CADL is also a member of a consortium called the Michigan electronic library catalogue (MELCAT). This provided access to libraries across the state including many of the universities and colleges. In addition to the libraries, bookstores were helpful in finding materials. Books were found in both the main reference section as well as in the children's book section. 33 Developing an Outline Based on prior work by the TIE, CAT, and the Kinetic Energy Touring Company, the script was based on three underlying ideas. The presentation was informative, entertaining, and included many opportunities for audience participation. Creating an outline helped shape the script. I selected a topic which would have appeal to a school—aged audience. It also tied into the science curriculum standards. Input from Advisors Throughout the writing process, I checked in with two advisors. One would give input as to the educational aspects of the play, and the other would comment on the theatrical structure of the play. In addition, keeping the key elements of educating, entertaining and engagement in mind, I tried to find a balance between these components. To be successful, the play needs to impart knowledge, be entertaining, and engage the audience. The Content of the Presentation When the initial script was completed, it was twenty- two pages long, about the same length of the production from the previous year. This length would keep the production within the prescribed time limit of around 34 forty-five minutes. The production started with a brief exposition explaining what was to take place and why. After visiting five different biomes, the major character summarized what had take place and asked several review questions to the audience. The biomes that were selected included the desert, the rainforest, the tundra, the Taiga, and the grasslands. In each biome a character representing someone who could live in the biome was introduced. The character would provide background information including man’s interaction to nature, description of various wildlife, and problems specific to the biome. The eight characters in the production included Hubie, a character to represent the students in the audience, and Zoe (or Joey if played by a male), who was a character to help lead Hubie to make some correct choices in dealing with his interaction with the environment. Another character was Gaia, who represented the idea of Mother Earth and the preservation of the earth. The characters representing the biomes were a farmer from the grasslands, a member of the Taiga community, a Bedouin from the desert, an Inuit from the Arctic region and an Indian from the rain forest. 35 Two actors played one role and four actors played multiple roles. A copy of the script of Hubie Explores the Earth (One Biome at a Time) is included in the appendix. Collaborating with Designers about Key Production Elements Once the script was underway, attention was paid to the different production elements. Having a good grasp of the character development, allowed me to go well-prepared into production meetings with the designers. I had to do research on the different biomes and the people that would be represented in the production. This research included written descriptions as well as illustrations. The information I used included materials from websites including Getty Images and the Costumers Manifesto. I also looked at reference books from various libraries. Going into the production meeting, I needed to have a good idea of how my characters would look. I could then discuss with the costumer the direction she would take in creating the look upon which we would both eventually agree. The costume design would be an important visual element in the production. Therefore it was important that the costumes help with both the characterization and the attractiveness of the production. In addition, the actors' movements needed to taken into consideration in creating the costumes. Hubie was costumed in relaxed, comfortable clothing. His shoes were a bright yellow to bring out a sense of flashiness in him. The other characters were outfitted in costumes to represent the biome from which they were to represent. The farmer had a flannel shirt and overalls, the rain forest person wore shorts and a Hawaiian type shirt, the Bedouin wore a flowing gown with appropriate headdress. The Inuit was costumed in a parka with waterproof slacks and mukluks. The Taiga community member was outfitted in a winter outfit based on an old, Russian clothing pattern which the designer had found while doing research. The production of Hubie Explores the World (One Biome at a Time) called for a “theatre in a suitcase” approach. Everything needed to be packed and then taken back and forth from home base to the performance space. This approach would also apply to props and portable set pieces. The backdrop consisted of two decorated folding screens with a hook to allow a curtain to be attached. The set pieces included a large round folding chair and a small nightstand. The backdrop pieces needed to be light in weight, durable, and flexible. Everything needed to be able to be transported in assigned vehicles. 37 Incorporating Audience Participation Audience participation in the shows included several different types of activities. In some cases a student would be selected randomly to hold up a picture and read a corresponding passage written on the back. Other students held up large posters that described the various aspects of the biomes that were discussed. One student was selected to dress as a Bedouin boy complete with robe and headdress. The whole student audience participated in a game—like situation asking what products were made in the state of Michigan. WOrking with Limitations Knowing that there is only so much time available with the presentation, I limited the tOpic to five distinct biomes allowing eight or nine minutes for each one. This would create a program of a preferred a length of around forty-five minutes with a possible optional ten minute question and answer session. Any additional material of interest or importance I found but didn't use in the production was included in the accompanying teacher's packet. Casting Considerations There were a number of things to consider when casting a show for educational purposes. The budget allowed for 38 limited amount of money to be paid to actors and director. This impacted the number of actors that could be cast. This in turn mandated the number of roles that could be created. Since I was the playwright who created the characters, I knew the direction in which I wanted the production to take. I set up a number of improvisational situations which would replicate ideas from the play. I could then try different actors in different roles before making final casting decisions.I also conducted an interview with each candidate to ascertain his or her experience in acting for children and to what his or her motivation was to become part of the ensemble. These actors needed to be flexible, outgoing, and excited about working with a children’s audience. Description of Cast The cast of Hubie Explores the World (One Biome at a Time) was made up of five actors. This was usually three females and two males. Most of the actors were drama majors although this wasn’t a requirement to be in the production. Ken played “Hubie”. He was a tall actor who could sing and dance. Catherine, a tall girl with beautiful red hair, played “Gaia”. Cedric, who joined the cast after being recruited by several of the cast members, played the person from the rainforest and a minor character, Joey, who was a 39 friend of Hubie. Yana, a senior theatre major, played the farmer and the.Inuit. Rebecca, a freshman theatre major, who could create great dialects, played the Taiga community member as well as the Bedouin. Due to conflicts with Cedric’s art schedule, Dana, another theatre major joined us for a number of performances on the tour. She took over Cedric's two roles. Taking a Working Copy of the Script to Rehearsal After finishing the rough draft of the script, I took a copy to rehearsal to begin our work. Beginning with a read through of the script followed by a discussion with the actors, minor changes in the script began to take place. Some of the ways the script was changed included the wording of phrases, suggested movements, and the way that informative material was presented. By the end of the touring production, the script had evolved into a slightly new form with minor changes here and there. Rehearsal Process The importance of the rehearsal process can not be stressed enough. We started with discussions about the characters and the subject matter. This discussion if done in a spirit of cooperation it will allow a give and take in the dialogue, movement, presentation forms, and other ideas, the script should prove to be workable to both the 40 director and the actors. We discussed the actors approach to the dialogue and allowed for some minor line changes when it suited the play. Characterization was discussed by all, and soon the characters began to develop by the actors. I encouraged the actors trying many approaches in developing their characters. I also discussed possible body language and stage business for their characters. The rehearsal progressed to a full run through, using props and then adding costumes toward the end of the rehearsal process. As we moved along in the rehearsal process, I invited various people to come into rehearsal, not only get their feedback, but also to have the cast to get a sense of performing before a live audience. The use of a live audience during rehearsals increased the further along we got in the rehearsal process. Bringing in observers at various times will help the actors to get a sense of how the show will be presented to a larger audience. Our final rehearsal before taking the show on tour was a dress rehearsal before a group of fifth graders at a nearby elementary school. The use of at least one dress rehearsal audience is necessary to make sure that the show is ready to go on the road. A second dress rehearsal, with 41 costume photos and other observation opportunities, would be of great benefit. Our dress rehearsal allowed for not only a full run of the program but it also gave the designers a chance to take a photo shoot of costumes and the set design as well as giving the costume designer an opportunity to talk to the actors about any needed costume modifications or concerns. In casting a show with an ensemble cast, it is important that everyone in the production team try to get along with each other. Due to the time that the group spends together, problems will arise is there is dissention in the group and it isn't resolved. Performance Schedule The rehearsal process began in the early fall and continued until early December ending with a dress rehearsal. The touring schedule then began in early January. With the exception of the two weeks around the university's spring break and Good Friday, the tour went out every Friday. We traveled to thirteen different schools performing twenty—nine shows. We traveled across the state of Michigan heading southeast from East Lansing to the Detroit area, northeast to Saginaw and Vassar, east to Durand and Grand Blanc. We also traveled west to Muskegon and southwest to Allegan. Other trips took us to various 42 other locations across the state. Some shows were early in the morning, while others were in the afternoon. The show in Muskegon had us performing twice before noon and once afterward. When we traveled to Durand, we performed twice in the morning and then twice after lunch. The tour ended the last week of April. 'Pictures from the Production The pictures in the appendix came from our last performance which was held at Murphy Elementary School in Haslett, Michigan. The performance space that we used was called a project room in which many science lessons are conducted and presentations are performed. A spacious room with some carpeting on the floor, the space made for a comfortable environment for participants and performers. Brochure for the Production A brochure was completed over the summer and then mailed to various schools across the state. It attempted to explain the presentation, give correlating state standards, and contact information along with the price of the tour. Outreach for the University At each location, we were able to tell hundreds of students that we were representing both the theatre department and Michigan State University. In the state of Michigan there is quite a wide range of favoritism when it 43 comes to colleges and universities. We felt that we put out good feelings when it came to representing the university. Each performer also had an opportunity to give his or her home town and major in college. When given the opportunity, the cast and director were able to answer questions from the audience. The Performance The production of Hubie Explores the World (One Biome at a Time) began in January and toured through May. For most of the tour, we performed twice at each school. However on two occasions this format was changed. We added a third show for a charter school in Muskegon. That show was added to include a middle school audience. The performance gave us a chance to make some modifications in our production and gave the actors a chance to play for an older audience. On another occasion we spent the whole day in the same school district. We spent the morning at one school and then traveled to another school in the afternoon. The all-day occasion turned out to be both financially rewarding but a little exhausting to the actors. Our weekly touring process was essentially the same with each trip. We picked up vehicles, loaded them with our set pieces, props, and costumes and then headed to our 44 destination. Upon arrival we would unload, do a quick warm up and then perform show one, take a short break and then perform show two. The audiences usually were made up of several grade levels close in age. Evaluation The final component of the production was the evaluation. An evaluation form was provided to each school. Most of the comments that we received were right on target. In a couple of cases, a follow up discussion cleared up some miscommunication. It has been found that it is really difficult to get evaluation forms returned. If one provides multiple copies to be given out at various times perhaps one form will be returned to the university. The evaluation form will be included in the appendix. Summary In sum, this chapter presented the development and implementation of an original children’s theatre production that was created to entertain, éducate and engage. The final chapter will provide information on the impact of this production, and provide suggestions for future productions. 45 SUMMARY, DISCUSSION AND FUTURE RESEARCH The previous chapter discussed the development and implementation of a specific children’s theatre production that was created to entertain, educate, and to engage. The purpose of this thesis was to present a rationale and model for the inclusion of theatre as an effective teaching tool. The final chapter will be organized as follows: impact on university student performers, impact on the student audience, impact on playwright/director, impact on teachers/ administrators, evaluation, suggestions based on lessons learned, moving the field forward, adding to a child’s education and the design of future productions. Impact on Participants There are four groups that benefited from the impact of the show. The groups include the university students performing, the students making up the audience, the playwright/director and the classroom teachers and school administrators. The performers benefited from the ensemble process. The tour provided a long-term project and an opportunity to perform before a variety of audiences. They were able to continue the ancient tradition begun with the Greeks of entertaining and educating the young people in the audience. And like the theatrical performances of medieval 46 times, they used the vernacular of the students to bring across their message. It also enabled the actors to be cast in some unusual roles. I found that the acting requirements for and experiences in an educational production are quite different from many other acting situations. By playing representations of people who live in various biomes of the world, the actors brought to life ideas to the audiences that couldn't be obtained simply from reading in a book or through lecture-type teaching. The actors’ comments included the following: “I'm an education major and it didn’t strike me until the Kinetic Energy tour that teaching and acting go hand and hand. There’s so much information that the only sensible teaching strategy is to have kids interact, have fun and most Of all bring all that information to life”. Another commented that, “as an actor, it boosted my flexibility I think. Kids are a tough sell, and I learned how to tailor my comments to their attention level”. A third member of the cast added, "As an actor this tour benefited me because it tested my flexibility to handle a specific audience. I don’t think there’s a wider audience range than that between elementary school and high school”. Commenting on the repetition of the show an actor said, “Repeating the show so often, and at different times in different places, made me comfortable with performing when tired, or grumpy, or lost, or late, or hungry, etc. We could still put the show on and help the kids have a good time". Another actor summed up her feeling by saying, "the tour has given me more experience working with very different people, overcoming different challenges and has really given me a taste of what touring with a company will be like. Any actor or actress who plans on touring should definitely experience it. Then they'll know what they're getting into! But if you asked if I would do it again? Of course!" Impact on Student Audience The student audience was impacted in several ways. The students were very observant. They were mentally and physically engaged in the performance from beginning to end. Like earlier theatrical situations for young people throughout history, this participation came from not only being entertained and educated as was the case of ancient Greek and Medieval drama and the programs of early twentieth century American drama, but also the student audience was engaged through opportunities for audience participation. 48 Some specific examples of audience participation include responding to the group contest identifying products made in Michigan and individually volunteering to hold up posters or dressing up as an additional character in the production. The audience also identified pictures of animals that inhabit the different biomes. Finally at the end of the production they answered the following questions: 1. The desert receives about how many inches of annual rainfall? 2. Name a group of people who live in the tundra. 3. Rainforests are home to what percentage of the world’s plants and animals? 4. What are trees that keep their needles all year long called? 5. Which biome will be the first to reflect change due to global warming? In addition, they asked questions that built on knowledge they gained during the production. Audience participation ranged from total group, small group, or on an individual basis. An example of total group participation included the game-like activity that asked students to identify which of two similar products was made in Michigan. An example involved two cereal products, one made by Kellogg's of Battle Creek and the other was made by General Mills of Minneapolis. 49 The holding up posters of the different biomes and identifying of animals and wildlife were activities done in small groups. By the show of hands indicating potential volunteers, most students were eager to participate in some fashion. Having a student dress up as a character in the production provided a great participatory experience for a student as well as a great visual moment for the audience. Impact on Playwright/director The impact on me as the playwright/director occurred in several ways. First was the exciting experience of creating a new production. I was able to join in the playwrights of history to present information to young people through an informative, entertaining and engaging presentation. By adding the approaches taken by the TIE and CAT programs of working with a vital, current issue of man's interaction with nature, I was able to bring a twenty-first century approach to creating a script for a elementary school-aged audience. I found the production was a work in progress. It wasn't quite finished until well into the production as a few things changed with input from the actors and spectators as well as new ideas that popped up while I viewed the show in action. 50 The show offered something for everyone. As each audience was different, modifications were made for the different audiences. This included a very young audience at a Montessori school and a middle school audience at a charter school. The experience of writing an educational show is an experience in itself. I found myself writing for both the audience and the actors. I wanted to provide the audience with information that went along with the curriculum through a presentation in an entertaining fashion. I also wanted to provide the actors with a script that was challenging as well as endearing. Impact of Teachers/School Administrators Because the materials were based on the standards and benchmarks for science, the material provided a unique means of delivering the content. Although not written specifically for an individual school as was the case of the TIE programs, the play served the schools through the various ways the presentation touched on the statewide benchmarks. The production included both visual and audio aspects which enhanced the presentation. Comments from the teachers included the following statements: “the production was fun and engaging"; “it was appropriate and it had a lot of 5] participation”; they (the cast) sure tried to adapt to 3-6 year olds”; “they (the students) enjoyed being part of the show”; “it was great!” In regards to the interaction between actors and students, one teacher commented, "I was quite impressed with the format of the program. The actors randomly chose a variety of students to join in the program by reading a short statement. By the smiles on the chosen few, you see the excitement and thrill of being a part of the presentation". When asked how well the presentation informed the audience? "Very informative" was the response. Finally when asked how the presentation engaged the audience teachers made the following comments: "children were very attentive and the program was entertaining but educational". Evaluation By creating an evaluation form at the beginning of the writing process, the production was looked at in terms of how it achieved the prescribed goals. Teachers stated the program met the state benchmarks therefore meeting the stated objectives. HUbie Explores the WOrld (One Biome at a Time) was a successful production because of the considerations for content, the age of the audience, the performance skills of 52 the actors, the contribution to the student’s learning, and the effectiveness of supporting materials. Suggestions Based on Lessons Learned There are a number of suggestions to be considered based on lessons learned through reviewing the research and the production itself. These suggestions include the following: 1. Consider the consumer. 2. Have an evaluation process in place. 3. Document your evaluation process. 4. Survey possible subject matter. 5. Plan out various types of audience participation. 6. Use the rehearsal process wisely. Since you are selling a product to the schools, you need to consider the consumer, the schools. By talking to teachers, you will find what subjects are of interest to them. They will be the ones that will try to get your production booked. By having an evaluation process in place before beginning the writing process, you can refer to the evaluation to see if you will meet the stated goals of your production. Checking on the evaluation of the production will be an ongoing process. You should take every opportunity to get feedback on your production. This will come from your actors, the 53 student audience, and the teachers and administrators. This feedback can come from a variety of means. If you are traveling with your cast, you can have a post performance discussion on your trip back to your home base. You might decide that a brush up rehearsal may be necessary to incorporate new ideas that have come up. When dealing with the student audience, the best method of getting feedback is through direct observation. You can make notes of what went particularly well as well as areas of the presentation where things didn't run as smoothly. A prepared evaluation form presented to the school is an effective way of getting feedback from administrators and teachers. You might include an enclosed self addressed stamped envelope to raise the chance of getting the formed mailed in. A survey of available materials will quickly let you know whether there is enough information on your subject. If you can’t readily find necessary information, then you might consider changing subjects. Although audience participation might seem hard to include in a production by brainstorming and thorough planning, you will be including a part of the production that is very important to the student audience. Since this 54 is the group for whom the production is written, they should be strongly considered in all aspects of your writing. Wise use of the rehearsal process is a must. Due to the nature of an audience participation play, much of the early rehearsals will be done without the aforementioned audience. Lines and routines should therefore be learned as quickly as possible so an audience of any size can be brought in to respond to the actions of the cast. Moving to bigger and bigger audiences will allow the cast to grow in confidence and to be ready for the important dress rehearsals and touring shows. MOving the Field Forward Since drama has been used as a teaching method since the time of the ancient Greeks, in the teachings of the Medieval church, followed by further examples of teaching through drama such as in Tudor England and the beginning of the American educational system, it seems only fitting to continue the tradition in today's world of education. The idea, seemingly a simple one, engages the students by making them part of the learning process. By creating an educational play that has both an interesting storyline as well as presenting important curriculum content, the playwright can accomplish these two 55 ideas at the same time. Multiple aspects of topics that are found in the curriculum can be covered. In addition, the play can present the audience with its initial exposure to a theatrical production which can include acting, song, and dance. Humor through verbal and situational comedy can delight the audience. Unique experiences for children can be found in many different types of audience participation. The production can also give the student a break from the routine of the regular classroom. For the playwright three important aspects lie in wait. First, there are the large audiences that await the presentations. When the Kinetic Energy tour travels, they perform twice daily, usually for the whole school. The audience can be as large as three hundred students. The second aspect is the reward that comes from the effort of using the writing process to create a piece of literature. Finally one can find the writing of a touring show has its monetary gains. The writer of educational plays can find success on several levels coming from the creation of a work of art. Adding to a Child’s Education The educational play can be an effective alternative educational tool in the process of teaching our children. 56 Seeing a live performance is not only a contrast to the daily learning process of the classroom, but it can bring across information that might not ordinarily possible from a single classroom teacher. Opportunities through audience participation can bring across benefits to students such as self confidence and peer acceptance. Design of Future Productions Future presentations in the genre of educational children’s theatre should therefore continue to focus on three important aspects. The productions should be informational relating to the topics covered in state curriculum, be entertaining in a way that is light enough to evoke a humorous response on the part of the audience while still being able to focus on the content, and allow for engagement of the audience by allowing sufficient opportunities for audience participation. A balance between the three components should be strived for to allow the Optimal theatre experience for the young audiences for which it is intended. Summary Theatrical experiences have had a place in the lives of young people since before the age of Greek drama. Throughout history we find examples of theatre both teaching and entertaining the young people of the world. 57 Whether teaching about the great heroes of ancient Greece, the teachings of the Bible and the church, or learning about literature for the sake of developing language and social skills, theatre has proven to be an effective teaching method. By relating to pertinent issues of the time, this method of using theatre to teach has moved into the twenty- first century. By adding engaging audience participation into the mix of instruction and entertainment, theatrical experiences created for young people can continue to educate, entertain and engage the elementary school audience through positive interaction between actors and audience. (It 00 APPENDIX Pictures from the Presentation Hubie Explores the World (One Biome at a Time) 59 Pictures from the Presentation 60 Hubie Explores the World (One Biome at a Time) Written by William L. Gordon Michigan State University Fall 2006 The show is introduced by the stage manager. The scene opens to find Hubie straightening up his living room. Making a few minor adjustments by picking up a few items, Hubie puts them in their appropriate recycling boxes. He then begins to settle in his favorite chair and switches on his TV to view Sponge Bob Square Pants. HUBIE (To audience) This is my favorite time of the day. Sponge Bob Square Pants is coming on. I just love that show, don’t you? Join me in singing the theme song. (He sings the introductory song. He is interrupted by a knock on the door). HUBIE Oh, drat! What a time for company, just when Sponge Bob is just getting started. (Beat) Come in. JOEY (Upon entering) Hi, Hubie, Are you ready to go? The Earth Day meeting begins in a half hour. I want to get a good seat. It should be really neat. HUBIE (Looking back and forth from Joey and the TV). 62 Um, sorry, Joey, but something important came up, and I don’t think that I can make the meeting. JOEY It isn’t anything serious is it? (Beat) Maybe I can help? HUBIE (Sheepishly) No, this is something that I have to handle by myself. JOEY Okay. I hope that everything comes out well. (Starts to leave) I’ll save you a seat in case that you change your mind. (Exits) HUBIE (Hubie turns his attention back to the TV. Oops, I forgot the snacks. (He exits) GAIA Hello, everyone! I am Gaia, the goddess of the earth. I got my name back in the time of ancient Greece. I’m here today to pay a visit to my old friend, Hubie to increase his awareness of what is going on in some of the different parts of the earth. I'm counting on you to help Hubie get a better understanding of the world’s biomes. (Enthusiastically)How about it gang, can I count on your help? (Waits for response) Yeah! I thought so. 63 HUBIE (As he enters) Gaia! It’s great to see you. What do you think of my place? Pretty neat, huh? GAIA I’ll say. These recycling boxes show good organization. HUBIE Not only do I recycle here at home, but also I am chairman of the recycling club at school. We collect as many recyclables as possible and earn some good money at the same time. What brings you here? GAIA I’m very proud of your recycling work, but unfortunately there is still more to be done to keep my world beautiful. By the way, weren’t you supposed to be at the Earth Day meeting? HUBIE Ah, yeah, but Gaia, what about my work with recycling and m Sponge Bob? Isn’t I that enough? GAIA Sorry, Hubie, I’m afraid not. If people put forth only the minimum effort, my world will be in ruins before we knew it. Let’s visit a number of biomes, and I’m sure that you’ll catch on to what I’m trying to tell you. 64 HUBIE Biomes? That’s a term we learned in both science and social studies. It means regions of the world with similar climates such as weather, temperature, and vegetation. GAIA That’s right! Did you know that there are over 150 ecoregions in North America alone? HUBIE Ecoregions? That’s another name for biomes, right? (Gaia nods her head “yes”) There must be thousands worldwide. GAIA You’ve got it! Since we are on a tight schedule, we’re going to combine them into five major categories. Where’d you like to go first? HUBIE Since I’ve been doing my best to conserve energy by lowering the thermostat during the winter and by wearing this scarf my mother knitted me, how about some place warm? GAIA Warm it is! First stop... the desert. (They move items out of the center of the acting space) I'm going to need a couple of student helpers to show what is in these different biomes. Can I get some volunteers by raising your hands? Thanks. 65 Look! Here comes one of my friends that lives on the desert, a Bedouin. HUBIE v How cool! Or should I say, how hot! m Wait a minute m the desert? And what’s a Bedouin? GAIA The desert is defined as an arid land with unusually sparse vegetation and having a very warm climate. You can get an idea by looking at this poster. A Bedouin is a generic term for a desert dweller. BEDOUIN Hello, Gaia and Hubie. Welcome to the desert! Did you know that deserts get less than ten inches of annual rainfall? In some years, some areas might get none at all. HUBIE That’s not very much rain. How does anything survive? BEDOUIN Plants such as cacti, sagebrush, and mesquite have a number of adaptations that conserve water over long periods. Also, fast growing annuals can germinate; develop to maturity; flower; and produce a new crop of seeds all within a few weeks following a rare soaking rain. 66 GAIA I noticed a couple of cactus plants in Hubie’s sunroom. What else lives in the desert? BEDOUIN Desert life includes reptiles such as lizards and snakes and even some birds which are adapted for burrowing to escape the scorching heat of the desert sun. They forage for their food at night. Also there are animals like the camel which can provide transportation. HUBIE Whoa! Desert animals like camels are so cool. They have one at the zoo in our town. I also have a couple of lizards that probably came from the desert too. Gaia said that the biomes were facing problems. What are the biggest problems facing the desert biome? BEDOUIN Sadly there are many problems which the desert faces. Often the desert is scarred, burrowing animals are killed, and plant life is destroyed by people who drive off-road vehicles. Collection of plants and animals by humans is also a problem. GAIA (Looking at Hubie) Collection of plants and animals, huh? (To audience) 67 What do you think kids, should Hubie be collecting cacti and lizards whose natural habitat is the desert? (Responds to their correct answer) We have some students with pictures of some things best left in the desert. Let’s see what they have. (Asks the students what is in their pictures. Thanks them and sends them to their seats) Are there any other problems? BEDOUIN Yes. Because people like the warm sunny weather, development has taken land and valuable water sources from the desert. HUBIE Wow! Sounds like my Uncle Sunny and Aunt Violet. (To audience) I know, I know. I'll talk to them about relocating elsewhere. What can people do to help protect the desert? BEDOUIN Many laws have been passed to preserve plant and animal species. Laws have also been passed to prevent collecting plants and animals. Enforcing and obeying these laws is important. GAIA Before we go, could you tell us a little bit about your outfit? 68 BEDOUIN Gladly. My outfit consists of a long garment which is usually white with a red headdress called a kaffia. The women often wear a black garment decorated beautifully on the chest while the head and face are protected with a special cover called a bourque. I see that Joey has brought forth a young man wearing a tradition man’s outfit. You can see that there is a head circlet called an igall, a hood covering the head called ghoutra, a robe called a kaftan or thobe and pants called sirwalls. We call our sandals hidhas. GAIA Thank you for sharing information about the desert biome and desert clothing. (Bedouin leaves) Well, Hubie. Did you learn anything here in the desert? HUBIE Yes! The desert is a really beautiful place. The plants and animals should stay in their natural settings. I guess I won’t be buying anymore desert plants or animals. And (fanning himself) I’m getting awfully hot! GAIA Good, because we are off to the tundra. HUBIE Oh, cool! Get it? Cool? 69 GAIA Yes, (beat) I get it. Have you ever been to the tundra before? HUBIE No, but I saw Happy Feet, does that count? GAIA No, I’m afraid not. I’m going to need a couple of more students to help out. (Selects audience members.) The tundra is a level or rolling treeless plain consisting of black mucky soil with permanently frozen subsoil and a dominant vegetation of mosses, lichens, herbs, and dwarf shrubs. It also refers to regions confined to mountainous areas above timberline. HUBIE Look! Here comes someone to help us find out some things more things about the tundra. An Eskimo, just like on the ice cream freezer treat. GAIA Not an Eskimo, Hubie. The correct term is Inuit. HUBIE An Inuit? But I thought INUIT HelIb, Gaia. Hi, Hubie. 70 I guess you don’t know that Eskimo means one who eats raw fish. It's not a very accurate or becoming definition for a community of people. HUBIE Forgive me, I stand corrected. I believe in being respectful to all people. GAIA How is life in the tundra? INUIT Life is generally good, but things could be better. GAIA Could you explain? INUIT We are concerned with a number of issues. There is the problem with mining for minerals, drilling for oil, and the over-hunting of animals, and not only that, but there is also a problem with global warming. HUBIE Just what is global warming, and how does it affect the tundra? INUIT Global warming is when there is an observed increase in the average temperature of the earth's atmosphere and oceans. It leads to shortened winters caused by ozone depletion. 7] As a result, animal migration patterns change. Also the tundra will be the first biome to reflect change due to global warming. GAIA Understand, Hubie? HUBIE I sure do. This beautiful place has its share of problems, and I need to carpool, ride the bus, walk or ride my bike to school to help cut down on harmful emissions into the ozone. ‘ INUIT (To audience) How about you out there? How many of you ride the bus, walk or ride bikes, or carpool to school? That’s great. Not only can you talk to family and friends on the way to school but you can help cut down on harmful emissions. GAIA What a unique outfit. Could you describe it to us? INUIT Thank you. I’d be glad to. The key to life in the cold is to wear layers. The first layer consists of a parka or anorak made with fur that is worn against the skin. An outer parka protects one against the cold and wind. 72 There are two pairs of trousers for the same purpose. Most of the time two pairs of stockings are worn under our boots. Our boots are called mukluks. HUBIE How does one exist around here? INUIT There are a number of things that one can do. We are great hunters and fishermen. We also work in the oil fields or mine for minerals. GAIA I understand that you have some unique entertainment here in the tundra. INUIT We sure do. We have a form of entertainment called “Throat singing”. Do you want to hear an example? GAIA We sure do just as long as Hubie doesn't join in. HUBIE What do you mean? I have a great voice. (He sings something from The Lion King.) INUIT (Reacting to Hubie) Wow! That could scare a polar bear. Okay, here goes. Throat singing is a form of musical performance among the Inuit. The Inuit performers are usually women who sing only duets in a kind of entertaining contest to see who can outlast the other. You can see a couple of performers in this poster. HUBIE That was great! Before we leave, could you tell us a little about the plant and animal life in the tundra? INUIT I’d be glad to. Some animal life includes musk oxen, polar bears, reindeer, hares, lemmings, wolves, foxes, and owls. Due to the frozen permafrost under the ground cover, there is little plant life with the exception of lichen, sedges, mosses and some flowering plants. HUBIE My Uncle Waldo once went hunting for polar bears, (Gets an angry look from Gaia) but all he came back with was some beautiful pictures instead. GAIA I think that we have some students who are going to identify some of the things our Inuit friend has just mentioned. Here’s how it works. We will show you a picture and you’re going to try to identify it for us. Then we’ll see if the audience agrees with you. 74 (Refer to card and further instructions) Well, friend, I hope that things improve in the tundra. INUIT So do I Gaia. Remember any change in the earth’s climate will affect the tundra first. It would be horrible to lose any of this beautiful place. HUBIE Just like Ice Age II. Didn’t you just love that little m? GAIA Focus, Hubie, focus! HUBIE It really is a beautiful place. Where to next, Gaia? GAIA Well, Hubie, things are going to get warmer. HUBIE That must mean the tropical rainforest, right? GAIA That’s right. Let’s get some more students to help us understand the rainforest a little more. (She gets volunteers). Here comes someone to give us some information about the rainforest. INDIAN Hello! Welcome to the rainforest. 75 The rainforest is tropical woodland with an annual rainfall of at least 100 inches and marked by lofty broad-leaved evergreen trees forming a continuous canopy. HUBIE Whoa! This is so coolm I mean hotm I meanm well you know what I mean. GAIA Yes, Hubie, we do. How are things going in my rainforest? INDIAN I’d like to say that things are fine, but I really can’t. Like your other biomes, the tropical rainforest is also facing many challenges. HUBIE What are some of the biggest problems right now? INDIAN The biggest problem remains the destruction of the rainforest. It’s estimated that more than 50 million acres of rainforest are destroyed each year. Rainforests are home to half the world’s plants and animals. In addition, scientists discover new species of plants every year. HUBIE What will happen as a result of losing that much rainforest? 76 INDIAN If the rainforest gets out down, it will never be able to grow back. As a result rainfall will be affected as well as weather cycles and weather patterns. Native people such as me will be homeless and lose their culture, and history. GAIA Fortunately there are some organizations that are trying to help by purchasing and saving the rainforest. (Looks at saddened Hubie.) What’s wrong, Hubie? HUBIE I had a chance to contribute to a fund that was set up right here at school. I used that money that I had saved up to buy a parrot instead. GAIA Oh, Hubiem(Speaking to the audience) what do you think Hubie should have done? Should he contributed to saving the rainforest or bought a parrot. (Acknowledging the right answer) Yes, I agree. Contributing to environmental programs is just one way of helping save the beautiful places here on earth. Speaking of beauty I know there are some beautiful sounds that go along with the beautiful sights of the rainforest. INDIAN That's true. Would you like to hear some of them? 77 GAIA Absolutely! INDIAN Okay, if you listen carefully you’ll be able to hear many song birds and animals such as monkeys, squirrels and other animals that inhabit the rainforest. One type of bird that sings in the rainforest is a scarlet macaw. (Listens to sounds of the rainforest). I think that we can create our own sounds of the rainforest with the help of our audience. (He divides the audience into different groups and lets the give the sound of a particular bird or animal). Thanks, that was great! HUBIE What beautiful songs! What are some of the animals and plants live in the rainforest? INDIAN You can see some of them by looking at these pictures. There are too many to name but here are a few animals. Some plants include jaguars, ocelots, frogs, birds, bats, squirrels, and monkeys. Some plants include giant trees called emergents, and then comes a canopy layer which is followed by another layer called the understorey. Then you get to the floor level which had fauna and vines. Well, it's back to the beauty of the rainforest. Good bye. 78 GAIA Good bye, and thanks for the information. Hubie, are you ready to cool down again? HUBIE That sounds good, Gaia. Sorry about buying the parrot instead of buying rainforest. GAIA Life is to learn from Hubie. Remember that and you’ll go far. Anyway, we’re off to a biome named after a part of Russia, the Taiga. Let’s get some more helpers. (She does so). HUBIE Look, this must be a member of the Taiga community now. TCM (Entering with a student) Greetings! Welcome to our great biome. The taiga is a moist sub arctic forest dominated by conifers as spruce and fir that begins where the tundra ends. You can get a good idea by looking at the poster. GAIA What beautiful trees you have here! HUBIE It looks like a scene from a Christmas card. TCM Thanks. These trees are called conifers. 79 They keep their needles all year long. This makes the land very colorful. Many of these trees are spruces and firs. The Taiga is dotted with lakes, bogs, and marshes. There is a limited variety of plants due to long snowy winters. Many of our mammals hibernate in the winter and many birds migrate. Our friends have some posters with animals of the Taiga. Let’s look at them. HUBI E Doesn’t the Taiga in North America have an unusual name? TCM Yes, it’s often referred to as the spruce-moose biome. HUBIE Spruce-moose biome, I like that! GAIA (Aside to Hubie) I’m not surprised. We’ve been finding out some of the problems that my biomes are facing. Is the Taiga facing problems too? TCM Unfortunately, yes. One big problem deals with endangered species of animals. Before European hunters went to North America, millions of beavers lived harmoniously with the other creatures of the Taiga. The beaver was almost hunted to extinction due to a fashion craze. 80 HUBIE (Looking at Gaia) Don’t look at mew What is the world coming to? TCM The same thing happened to the wood bison. Other endangered creatures include the bald eagle, the peregrine falcon, and the whooping crane. In Russia, two endangered species are the Siberian tiger and the Siberian crane. GAIA Is anything being done about these endangered animals? TCM By enacting and enforcing laws that deal with hunting, endangered species may be saved from extinction. There are a number of environmental groups that raise money for this cause. HUBIE (Looking at Gaia.) I know, I know. We had a campaign to raise money for an environmental group, but I bought a moped instead. But I want you to know that I was planning on selling it, and I’ll donate the proceeds to the preservation of endangered animals. GAIA That is very good of you, Hubie. What other problems does the Taiga face besides endangered animals? 8] TCM We lost a great many white pines to the sailing industry when they were cut to make sailing masts. Many trees are also chopped down to make paper products. Finally, like the other biomes, we are impacted by pollution. We need to enact and enforce laws to reduce harmful emissions which lead to acid rain. By restricting the cutting of timber and encouraging the replanting of trees, our forests can be preserved. HUBIE I’ll have to look over the paper products that I buy to see if they come from recycled paper. GAIA Could you tell us what life is like in the Taiga? TCM Certainly. In addition to logging, hunting, and fishing, tourism plays an important role. Trees are used for paper products, and there is plenty of room for camping and other outdoor activities. GAIA Aren’t there some unusual sounds in the Taiga? TCM Yes, there are. 82 Often late at night when it is cold and the wind blows you can hear the sounds of the wolves howling in the distance. Would you like to hear them? One of our friends has pictures of wolves. HUBIE Sure as long as they aren’t too scary. GAIA If you want, Hubie, you can always hold my hand. HUBIE I don’t think that will be necessary. (When he hears the sounds, he immediately grabs a hold of Gala's hand). GAIA Thanks for letting us see and hear some of the beauty of the Taiga. Good bye, friend. HUBIE This place is really beautiful. But Gaia, don't we have one more biome to visit? GAIA You’re right! The last major biome to visit is the grasslands. And, we are going to need some more helpers. (She goes to get them). HUBIE Aren’t prairie and plains other names for the grasslands? 83 GAIA My, you’re awfully smart aren’t you? HUBIE Aw, geem Anyways, I also know that the average precipitation in the grasslands averages twenty inches per year, with most of it coming early in the growing season. Its definition for is an ecological community in which the characteristic plants are grasses. GAIA Yes, the rainfall promotes a growth of perennial grasses and herbs, but with the exception of land along the river valleys, it is barely adequate for the growth of forests. Let’s look at some of the animals that are found in the world's grasslands. HUBIE Those were neat. Look, Gaia, here comes a member of the grasslands, an American farmer. FARMER Hello, Gaia. Hello, Gaia. Welcome to the heartland of America. Did you know we provide most of the grain we consume along with much of the meat and dairy products? HUBIE Yummy! You’re making me hungry. 84 GAIA How are things with the grasslands? FARMER Some things are good, some not so good. GAIA Could you explain? FARMER Sure. When the weather is good with plenty of rain at the right times, the crops are good and animals are healthy. But when there is little rain and extreme heat, crop production is limited and animals are in harm’s way. HUB I E What are some other problems facing the grasslands? FARMER One problem that we often face is fire. Another problem is preserving grasslands for animals. Over history, fires have been started by lighting or intentionally set by humans. These fires swept over the plains and destroyed most shrubs and trees, but due to underground stems and buds, perennial grasses and herbs have not been harmed. Conservation of grasslands has already begun in countries such as the United States, Canada, Tanzania, and Kenya, providing a preserve for plants and animals. 85 However in developing countries, it is hard to persuade a starving farmer to give up his own source of survival. Fortunately, park services have come up with a plan to share in profits made by preserving lands. GAIA Hubie, doesn’t your family have some farm land up for sale? HUB I E Yes, we’re thinking of selling it to a developer to build a new subdivision. (Quickly trying to retract his last statement) But we’re having second thoughts about it. There are plenty of homes that are on the market so new ones really aren't needed. GAIA That’s good, Hubie. (To farmer) What impact have you as farmers had on the grasslands? FARMER Poor agricultural practices can ruin good soil and turn grassland into a lifeless barren soil. However, with proper rotation of crops, nutrients are kept in the soil producing bountiful crops. Cattle and livestock ranchers have also ruined grasslands through overgrazing. North America was once covered with 250 million acres of prairie grasslands. 86 Only five percent of original prairie remains. In grasslands in Australia and South America overgrazing has caused native animals to compete for food. HUBIE Besides prairie and plains, isn't there another common name for grasslands? FARMER Sometimes grasslands are referred to as the Savanna, but in reality the weather is much warmer in the Savanna. They are located in South America, Africa, and Australia. GAIA We certainly appreciate your explaining the grasslands to us. We have a game to test the audience's knowledge of what products are made in the great state of Michigan. (Refer to the made in Michigan card for directions) Well, Hubie, it's time we returned home. So . . . did you learn anything by visiting these different biomes? HUBIE I sure did. Could I get the audience’s help in summarizing some facts that I heard today? GAIA Sure, fire away. HUBIE Okay gang, here goes. 87 By raising your hands and letting us call upon you, we’ll see what we've learned together. 1.What are some of the things that grow in the desert? 2.What is the name of one group of people that live in the tundra? 3.How many acres of the rainforest are destroyed each year? 4.What is the name of the type of tree that keeps its needles all year long? 5.What is another name for the grassland biome? GAIA Well, Hubie, do you understand why I wanted you to see the various biomes first hand? HUBIE I sure do. I can affect the world’s biome either directly or indirectly. I have a choice to whether to buy things like cacti or reptiles that should be left alone in the desert. I can use paper products that have been recycled to some extent and can contribute to causes to support the environment. My responsibility is much greater than I originally thought. 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