Trinity College
The Title of the Project and Seminar Paper:
Part I: Can a Teaching Programme in Drama Be Structured on the Basis of Peter Slade`s Drama
Overview:
The overall objective of this paper is to determine whether an appropriate Teaching Programme in Drama can be structured on the basis of Peter Slade`s theory of Drama. Three major parts will be devoted to the discussion of this topic. The first part will shed light upon obstacles facing teachers in local schools, with reference to some salient points in an investigation conducted by a researching student at Trinity College in 2003. The second part will unveil Peter Slade`s conception about teacher-pupil relationship during a Drama lesson. The third part will shed light upon how Peter Slade proceeds during the production of plays. The fourth part will unveil Peter Slade`s conception about performance. The fifth part will be devoted to the disclosure of challenges with Peter Slade`s theory of Drama and how they stand in the way of establishing a Teaching Programme on their pattern. The sixth part will be devoted to the establishment of a teaching Programme based on different theories put forward by different Drama-practitioners.
Part One: The Description of the Situation of Drama in Local Schools Within the Framework of a Masters Programme in Drama
Within the framework of a Masters Programme at Trinity College, Carmarthen, an investigation was carried out in 2003 in South Wale Schools. The researching student had two objectives in mind: to describe the situation of Drama in primaries and to inquire into the possibility of establishing a teaching Programme in Drama.
The description of the situation prevailing in local Schools in the year 2003 would certainly help one seeking to depict points of weakness in local schools and through it in Peter Slade Theory to come with update ideas for their inclusion in a teaching Programme for Drama. However, reference to the investigation would be limited to some salient points, being of relevance to the discussion of the topic under the light
The Production Phase: The absence of a Teaching Programme in Local Schools for Producing Plays
The researching student (2003, 2) noted that Making stories and living through them is a major requirement in Drama. Making a play requires the mastery of Oracy skills (speaking and listening), the mastering of Literacy Skills (reading and writing), besides other requirements relating to forming actors for performance on stage. Do local schools dispose of a Drama Teaching Programme that would allow Drama teachers to get through the production phase without much challenge? The National Curriculum was established in 1990 (Bleasdale, 2003, 2) but it established no provision proper to Drama in terms of production, nor did the National Curriculum dating back to the year 2008.
The Absence of a Teaching Programme in Local School and the Blame Being Laid upon Teachers
The absence of a teaching Programme in Drama has been a constant feature of education in local schools. After the 1988 Education Act, Drama was used as part of the programme to learn English language (Bleasdale, 2003, 2). At that time, hope was pinned upon the 1988 Act to strengthen the status of Drama within the Curriculum, instead, reference to Oracy skills led to further marginalisation of the subject of Drama (Bleasdale, 2003, 2). With the introduction of the National Literacy Strategy, the status of Drama within the National Curriculum was even further marginalised (Bleasdale, 2003, 2). Consequently, the Drama components of reading, writing, speaking and listening were not covered (Bleasdale, 2003, 2), leading teachers in charge of the drama course in the lurch. However, the lack of insight into the situation led the general opinion to exert pressure upon teachers, blaming them for not undertaking their duties efficiently. Inspection reports, for instance, accused them of being inefficient in their dealings with the subject of drama (Bleasdale, 2003, 2). Meanwhile, other opinions sooner realized that teachers were not to blame. The HMI Report, for instance, acknowledged the fact that teachers were not given enough guidance about how to proceed during a Drama lesson (Bleasdale, 2003, 3). Investigation into the subject led to the conclusion that although the inclusion of Drama in the curriculum was inconsistent, making it difficult for one to trace the progression of skills proper to Drama (Bleasdale, 2003, 3), teachers in local schools proved to be capable of developing speaking and listening skills through it ((Bleasdale, 2003, 9), especially through scripts ( Bleasdale, 2003, 8)
Teachers Facing Problems Due to the Absence of a Teaching Programme in Drama
–According to Vygotsky, the role of the teacher is to frame the work as a playwright, to expand horizons and to
set the path for children to get into creative drama (David Hornbrook/Helen Nickolson,1998, 88). How can teachers respond to the so many requests when the basis for action is not furnished? Many reasons might hinder the crystallization of the investment of such a hope. The 2003 Act, for instance, was not inclined to acknowledge Drama as an independent unit of study ( Bleasdale, 2003, 3). Consequently, the former situation led to divergence of opinion about how to proceed, reflecting a sort of confusion facing teachers at the time. The investigation proved the validity of the observation since approximately half of the sample believed that Drama fit its inclusion in the primary curriculum ( Bleasdale, 2003, 10). The majority of the respondents believed that Drama could be used as a medium for teaching all the subjects in the primary Curriculum ( Bleasdale, 2003, 10).
Drama in Primaries Existing by Proxy to the Curriculum
By and large, findings revealed that Drama in primaries existed by proxy to the National Curriculum. They revealed that teachers used Drama to promote deeper understanding of many curricular areas ( Bleasdale, 2003, 3) like English, History, Music, Geography, Physical Education, Art, Religious Education, Personal and Social education (Bleasdale, 2003, 8). One respondent thought that the inclusion of Drama within the primary Curriculum limited the scope of the efficiency of Drama in primary education ( Bleasdale, 2003, 10). Some respondents believed that more information was needed about how to use Drama more profitably in primary education ( Bleasdale, 2003, 10). The challenge was to find a method for teaching children dramatic writing that is personal and interactive (Helen Nickolson,1998, 88).
Lack of Training Stands As an Obstacle for Teachers to Establish a Teaching Programme in Drama
Lack of training in Drama might also be an obstacle standing in the way of the ability of teachers to establish a consistent programme in Drama. It is a fact known to all that the establishment of a teaching programme in Drama is not an easy bargain. It requires both long experience in the profession and qualification. To generate data about whether teacher-training experience had any positive bearing on teacher-use of Drama, many teachers in local Schools were entertained (Bleasdale,2003, 1). Questionnaires were forwarded to them, consisting of eight responses. It was discovered that although Trinity College contributed to reducing the weight of challenge for responding-graduates, several other respondents complained about their situation (Bleasdale, 2003, 1). The findings showed that two responding-teachers trained during the seventies and the nineties but they did not explicitly use Drama during their training ( Bleasdale, 2003, 1). The results of the inquiry demonstrated that many Drama teachers were inclined to believe that to be able to teach Drama successfully, one had to be dramatic or even to be an actor ( Bleasdale, 2003, 2). The results of the inquiry demonstrated that many Drama teachers lacked self-confidence believing that they did not match the perceived criteria ( Bleasdale, 2003, 2). They acknowledged the bitter fact that they had never received any training at all.( Bleasdale, 2003, 1). ( Bleasdale, 2003, 1). It was discovered that although primary school teachers were well intentioned as they did their uttermost to be competent in the whole range of curricular subjects, as a matter of fact, their training did not entitle them to achieve their goals. The reason was that their training did not cover Drama at all ( Bleasdale, 2003, 2) Therefore, it was concluded that the lack of training was most and foremost a huge barrier to the effective teaching of Drama and it consequently might, I believe, inhibit their ability to establish a consistent programme in Drama. However, all the respondents were aware of the problems facing them in the profession and they all applied drama techniques. All the respondents used Drama techniques (Bleasdale, 2003, 8). All the respondents used role play (Bleasdale, 2003, 8). Role play was the only technique used by all (Bleasdale, 2003, 8). The majority of the respondents used improvisation and script writing (Bleasdale, 2003, 8). Just a minority used the following techniques: character on the wall, conscience Alley, Forum Theatre, Freeze-Frame, Mantle of the Expert, writing in role and teacher in role (Bleasdale, 2003, 8).It therefore goes without explicitly stating that the urge to contribute to the general situation in Drama is strong, taking it for granted that the part that Drama plays at all levels of development is today far acknowledged than it was before. However, obstacles, which partly arise from lack of training and of experience stand in the way of pure thoughts.
Would a thorough examination of Peter Slade`s theory be of help to us to crystallize the dream? Would its content guide us towards the path of constructing a convenient teaching Programme in Drama? The examination of methodology as it was put into practice by Peter Slade as well as the examination of the two phases of production and performance would hopefully lead us via our targeted destination.
Part Two:
Peter Slade`s Strategy in Drama
The Expansion of Horizons, Spontaneity and Creativity Showing the Influence of Vygotsky
The ability of Peter Slade to structure a framework for conducting Drama lessons has not failed him. It goes without saying that the process is established in accordance with Vygotsky`s aspiration for the Drama teacher to provide children with a framework upon which to build a lesson, to expand their horizon and their ability to be spontaneous and creative (Helen Nickolson,1998, 88).
The Democratisation of Teacher-Pupil Rlationship Showing the Influence of Hurriett Finlay Johnson
He has also axed the teaching programme on democratic principles whereby teacher-and pupil relationship is revolutionized. However, a close examination of Drama records proves that Peter Slade was not a pioneer in this. It might seem that the democratic method he introduced drew inspiration from the process established by Hurriet Finlay Johnson. She bestowed the children with the right to hold opinions as citizens (Gavin Bolton, 1998, 11) and her style of teaching was that of an enthusiastic team-manager, coaching the children while they are being engaged in their drama-work (Gavin Bolton, 1998, 15). Harriet Findlay Johnson said: “instead of letting the teacher originate or conduct the play, I demand that just as nature must be studied by the individual himself instead of getting it studied for him, the play must be the child own” (Gavin Bolton, 1998, 15). Therefore, instead of occupying the status of a monarch in the classroom, she made the choice to be on the same grounds as the children themselves (Gavin Bolton, 1998, 11). Her objective was to revolutionize the traditional teacher-pupil relationship (Gavin Bolton, 1998, 11). “One might, therefore, believe that Hurriet Finlay Johnson belonged to the second half of this century rather than to its beginning” ( Gavin Bolton, 1984, 11)
Therefore, Hurriett Finlay Johnson method was innovatory in the sense that she armed teachers with the necessary and democratised tools for conducting Drama lessons, and her ideas about what could children achieve through Drama might have served Peter Slade as it might serve us all as a model to follow.
Spontaneity Revealing the Influence of Psychodrama
Drama, according to Peter Slade, should have no writer, no script, no director, no stage manager, everyone does everything (David Hornbrook, 1998, 53). The teacher`s role in Drama is limited to providing guidance to pupils taking roles. Therefore, it will be of importance, depending on this freedom-lens, to reflect upon Peter Slade approach to methodology: How is it carried out? Can it give any sustainable and long-lasting direction to teachers in their everyday dealings with the process of teaching Drama? A detailed exploration of the subject-matter of Peter Slade`s Child Drama will certainly provide an answer to these questions.
It is to be of note that Peter Slade`s approach to methodology was inspired by methodology in psychodrama where to leader is supposed during a psychodrama session to establish a structure where all the clients/group members can be spontaneous in expressing their feelings during role-play (Eva Leveton, 1991, 2). The process of deciding which structure to put into practice during role play requires sensitivity to individual and group-behaviour ((Eva Leveton, 1991, 2).
Teacher out of Role observing different Age Groups in Play Reveals the Influence of Psychodrama and Drama-therapy
To cope up with learning behaviour within the framework of educational Drama, Peter Slade has established a strategy based on the recognition of age-categorization involving boys and girls from five of age up to fifteen.
The strategy, therefore, reinforces the idea of the need to establish a methodology peculiar to Drama for every child at a particular age (Richard Courtney, 1968, 47). It is also to be of note that the teacher according to Peter Slade is supposed to provide guidance but he is never in role as it the case with O`Neil Cecily and Dorothy Heathcote. The role of the teacher is accordingly limited to the observation of children at play for the sake of burnishing them with the necessary tools during performance (Mike Fleming, 2003, 96). In this respect, to give a chance to spontaneous play to flourish among children and personal growth to take roots, the role of the teacher during play is minimized (Michael Fleming, 2001, 49). The role of the teacher as an observer is also reminiscent of the role of the director in psychodrama and of that of the Drama-therapist in Drama-therapy.
It is, therefore left to the discretion of the reader to decide whether such a strategy being deeply grounded in psychodrama where many factors have prevented its widespread use could be fruitful in an educational setting and if a Teaching Programme could be established on its basis (Eva Leveton, 1991, 2).
Five Years of Age:
This chapter deals with Peter Slade`s strategy of conducting a Drama lesson. Would inspiration be drawn from it? Teacher and child are focal points in it.
(The Teacher As a Gentle Guide)
“Thanks to the teacher, the child can be creative, helping him to improvise movement, situation and language” (Peter Slade, 1958, 23) . For creativity to mature, “the teacher should not criticize anything” (Peter Slade, 1958, 24) Instead, the teacher will, according to Peter Slade be acting as a kindly and gentle guide (Peter Slade, 1958, 33). This is due to the fact that “Encouragement and stimulation at this stage are needed (Peter Slade, 1958, 33), and the teacher has to respond to them.” “If speech or play fails pupils, the teacher will learn to be sensitive about when to make a suggestion, what suggestion to make and when to make it” (Peter Slade, 1958, 33).
Stimulation through Sound
Peter Slade said that he gave no directions but that he just alter the speed of the bells, slowing down when he judged it fit (Peter Slade, 1958, 24). Children love and use various interesting noises that can be encouraged (Peter Slade, 1958, 23). Therefore, sound must be a basic instrument for the stimulation of child-improvisation (Peter Slade, 1958, 23). So, the teacher will blow a whistle. This results in shrieks of joy (Peter Slade, 1958, 23)
Sound generated through instruments is a stimulus for learning, leading children to enter the hall with curiosity and pleasure (Peter Slade, 1958, 23). Therefore, the teacher should start getting ready to work in the hall and prepare the scene for the children before they get in (Peter Slade, 1958, 23). The teacher should take account of the fact that children take joy in sound and that joy is necessary for the best creation (Peter Slade, 1958, 23).
Teachers will also have to use special techniques to stimulate the abilities of pupils and to get them into spontaneous play. The teacher will, for instance, ask the pupils what the sound reminds them of (Peter Slade, 1958, 24). The answer they may provide for the question would be that the sound reminds them of Sleigh bells (Peter Slade, 1958, 24). The teacher would say: “Yes, look at the snow! Your sleigh would pull nicely. Are you ready? Pull!” (Peter Slade, 1958, 24). Several children would begin to pull, all are creating, not just the little show offs picked out” (Peter Slade, 1958, 24) (Peter Slade, 1958, 24)
It is therefore a rule with children that sound provides joy and that they obey its dictates (Peter Slade, 1958, 24).
Children are Artists by Nature. The teacher should Take this Fact into account
Children, according to peter Slade, are artists by nature, a fact to which teachers should pay heed and encourage. Usually, children enter the hall in circle-spirals, which are reminiscent of dancing rites, so commonly preponderant in primitive societies. In circle spirals, the children will at this age run with their hearts towards the centre (Peter Slade, 1958, 23). The teacher will have to operate using special tools during play. Bells are some of the items the teacher should dispose of and shake, should he mean to attract the attention of pupils (Peter Slade, 1958, 23).
Children Avoiding Theatre
The teacher will have to remember that children at the age of five will continue to avoid theatre, stages and scripts (Peter Slade, 1958, 23) .Therefore, the teacher will have to make the most of this phase where the propensity for showing off is not strong and where play is spontaneous. (Peter Slade, 1958, 23)
-From Seven to Nine Years of Age
-At this age, the teacher will have to continue with the same work as in the infant school. However, he should provide less guidance than before (Peter Slade, 1958, 35)
-The teacher at this phase should avoid telling or showing how to do things (Peter Slade, 1958, 35)
-Children would, for instance, share suggesting ideas and producing a play: (Peter Slade, 1958, 35)
-The following is an example of how a Drama lesson is conducted by Peter Slade: Self: Let us have some ideas
-A Child: A river
-Another: Little boy
-Another: Willow tree
-Another: Horrid mother
Self: Right, here is our story then! (Peter Slade, 1958, 35)
From Eleven to Thirteen Years Old
The teacher is supposed not to give many suggestions to experienced children at this age (Peter Slade, 1958, 54)
When children are experienced in Drama, they produce ideas profusely. The role of the teacher will be limited to watching them carefully (Peter Slade, 1958, 54). Meanwhile, he should encourage shy pupils to participate in the production-process (Peter Slade, 1958, 54)The same approach should be put into practice in secondary modern schools (Peter Slade, 1958, 54). The Drama teacher will also have to encourage play on the floor (Peter Slade, 1958, 54)
Should the children at this phase be inexperienced, the teacher will have to consider starting sharing building stories on the model adopted with younger ones (Peter Slade, 1958, 55), taking into account the fact that since children at this phase are older, they will be different in mind from juniors (Peter Slade, 1958, 55).
Girls and Boys from the Age of Twelve to Thirteen
(The Role of th Teacher During the Production of a Play)
As will be disclosed in detail in the section dealing with the production of plays phase, Peter Slade reminds the reader that there rises at this phase the need for the teacher to bridge the gap between improvisation and script plays (Peter Slade, 1958, 57). Thus, he should allow for collaboration during the production of a play: First, the children should be allowed to improvise, then, the teacher will have to write down certain sentences that should be selected and agreed upon by the group, then the improvised piece should be the subject of repetition followed by writing down the parts (Peter Slade, 1958, 57). More discussions should follow this part to identify the necessity of improving the dialogue (Peter Slade, 1958, 57). Peter Slade suggests also that at this phase, teacher criticism should not be destructive, for no one is supposed to feel he has done badly (Peter Slade, 1958, 57). Ultimately, the final stage should involve the discussion of the play or another subject relating to the school or to social life in general (Peter Slade, 1958, 58).
Finally, the complete script can be written down and children will be encouraged to write their own plays (Peter Slade, 1958, 58)
(What Should Be Taught and Do at This Phase)
Teachers should also remember that they are educating children and not forming professional actors (Peter Slade, 1958, 58). At this phase, the children will be familiar with dialogue, plot, form and length of scene (Peter Slade, 1958, 58) -The Drama teacher will have also to remember that children at this phase should be introduced to simple plays dealing with strong characterisation (Peter Slade, 1958, 58)
that he should give importance to sound (Peter Slade, 1958, 58), that he should not use the proscenium stage too early (Peter Slade, 1958, 59), that he should pay attention to movement on and off stage (Peter Slade, 1958, 59) and that he should remember that children take joy in forming undirected good groups (Peter Slade, 1958, 59)
From Thirteen to fourteen of Age
(Teacher Paying Attention to Change)
The Drama teacher should be vigilant to change settling on youngsters at this age. At this age, the movement of children becomes restricted (Peter Slade, 1958, 59), however, movement during play proves to be swift, warm and keeps with the excitement of the play (Peter Slade, 1958, 59)
(Teacher and Polishing the Casting-Habit)
The part that the Drama teacher plays in terms of the polishing process is important. Therefore, Peter Slade suggests the teacher should make Suggestions to the boys concerning the repetition of casting (Peter Slade, 1958, 59) and that the polishing process should consider the natural flow and the spontaneity of the children at this age (Peter Slade, 1958, 59)
From Thirteen to Fifteen (Boys and Girls)
Teacher and the Preparation for Adult Life
The Drama teacher must at this phase prepare the boys and the girls for adult life (Peter Slade, 1958, 63). So, discussions should evolve around personal and social problems (Peter Slade, 1958, 63).
The teacher should allot separate tasks that could be appropriate for boys and girls (Peter Slade, 1958, 63)
Part Three : The Production Phase Monitored by Peter Slade under the Light
One of the major lessons to be retained and stressed in a teaching Programme when reading Peter Slade`s approach to Drama bears relevance to categorisation in terms of age during the production phase. According to Peter Slade, the production of scenes at this phase should be encouraged (Peter Slade, 1958, 35)
The production process of scenes in junior school should be more intensive than it was the case in the infant phase (Peter Slade, 1958, 35)
The Production of Stories by pupils Aged Seven to Nine Years of Age:
Certainly, a brief comparison between Peter Slade, Hurriett Finley Johnson and Caldwell Cook would attract the attention of the reader to facts relating to the content of a play as one of the components to be established in a teaching Programme in Drama. Hurriet Finlay Johnson used the Dramatic method to illuminate facts about history and other subjects on the curriculum (Gavin Bolton, 1984, 12). Caldwell Cook (Gavin Bolton, 1984, 12) rather thought that the craftsman of the artist rather than a tangible body of knowledge should form the content of Drama (Gavin Bolton, 1984, 12). Drama, according to Peter Slade, must be about something: racism, drugs, homelessness (David Hornbrook, 1998, 53). Peter Slade suggests that the stories should be longer and more complicated than they were at the infant phase (Peter Slade, 1958, 35)
Pupils and teacher would produce the play collectively and democratically (Peter Slade, 1958, 35)
Peter Slade came with a tangible example relating to the process of production. According to him, pupils whose age varied between seven and nine should be allowed to suggest ideas for a story. Some pupils may suggest it be about a river, others may suggest it should be about a little boy, while the rest may suggest it be about a willow tree or a horrid mother (Peter Slade, 1958, 35). The scope of the intrusion of the teacher in the production process will be limited to the suggestion of a date when the play would be played (Peter Slade, 1958, 35). He/she should encourage the use of the projection technique like the “leafy humming of a willow tree (Peter Slade, 1958, 38)
The Production of Stories by pupils Aged Between Eleven and Thirteen Yearrs Old
Children with experience in Drama at an age that vacillates between eleven and thirteen should be allowed to contribute many ideas for the production of plays (Peter Slade, 1958, 54).
They can contribute sophisticated themes, though sometimes, under the effect of the change of school, the subject matter of the themes would be imbued with emotions (Peter Slade, 1958, 54).
If children at this age lack experience in Drama, the teacher will have to start building a story in the way he did it with younger ones, that is, through collaboration (Peter Slade, 1958, 54).The teacher can help the children to build characterisation through lifelike characters and situations (Peter Slade, 1958, 55).After practising lifelike situations, a simple situation can be introduced whereby someone would, for instance, snatch a lady`s handbag, or where a dog would be barking at a lady (Peter Slade, 1958, 55). These are short scenes but would enliven the scene (Peter Slade, 1958, 55).
If boys at this age are left with the choice of a theme, they will be expected to opt for the part of gangsters (Peter Slade, 1958, 55). So, the choice of the subject of the play should be allotted them (Peter Slade, 1958, 55).
If girls are left with the choice of a theme, they would opt for working at hat shops (Peter Slade, 1958, 55).
So, focus should be laid upon teaching girls communication skills through play, leading them to learn how to deal with customers in a shop (Peter Slade, 1958, 56)
The teacher`s duty must also include showing girls how to maintain a business functioning through appropriate behaviour with customers, especially if the latter are old (Peter Slade, 1958, 56), therefore, play, according to Peter Slade is functional, giving girls the opportunity to learn how to respond to the needs of customers (Peter Slade, 1958, 56). For this matter, Peter Slade suggests that groups during play should be divided taking the role of buyers and sellers (Peter Slade, 1958, 56). Then, the right of setting a convenient schedule for the drama must be allotted to girls. In collaboration with the teacher, they would choose a date for the final play (Peter Slade, 1958, 56)
The Production of Stories by pupils Aged Thirteen to Fourteen of Age
-According to Peter Slade, pupils ability in terms of production improves with time. Such is the case of pupils whose age varies between thirteen and fourteen. Children at this age will have gained more experience in producing plays (Peter Slade, 1958, 59)
How to Bridge the Gap between Improvisation and Script Plays with Regard to Pupils Aged Between Eleven and Thirteen
Peter Slade sets objectives for the production of a play by pupils aged between eleven and thirteen. At least three main objectives are identified. First, pupils will get familiar with effective dialogue, plot, the form and the length of scenes (Peter Slade, 1958, 58). Second, pupils will be encouraged to write their own scripts (Peter Slade, 1958, 58). Third, children will gradually be able to deal with plays produced by people other than themselves (Peter Slade, 1958, 58). Would such objectives form a basis for the establishing similar objectives in a teaching programme?
With regard to the same age varying between eleven and thirteen, Peter Slade gives a detailed description about how a play can be produced. In this, he reminds teachers that they are educating children rather than forming professional actors (Peter Slade, 1958, 58). Therefore, teachers providing guidance to pupils at this age are advised to avoid complex plays (Peter Slade, 1958, 58). Instead, they will be expected to rely on the use of simple plays offering strong characterisation (Peter Slade, 1958, 58). Thus, The teacher will start the process of production by writing down some sentences chosen by the children themselves (Peter Slade, 1958, 57)
-Under the auspices of the Drama teachers, the latter will improvise the play twice following it by a discussion (Peter Slade, 1958, 57). Then, the teacher will be expected to advise the children on how best they could communicate effectively (Peter Slade, 1958, 57)
Peter Slade suggests that so far, there should be more reliance on script than on improvisation (Peter Slade, 1958, 57) and that the last Scene in the script should be wounded up by the discussion of a theme about school or about some striking event in the newspaper (Peter Slade, 1958, 58). When the complete script gets produced it should be written (Peter Slade, 1958, 58)
A detailed description of Peter Slade`s theory in Drama has been made, involving Peter Slade`s theory of Drama in general. It involves the teacher-pupil relationship and the production of plays. It is therefore left to the discretion of the reader to judge whether it would be convenient to use it in a Teaching Programme.
Part Four: Play/Performance by Pupils Aged between Seven and Nine:
Peter Slade makes it a rule for performance by pupils aged between seven and nine noting that it should not exceed twenty four minutes (Peter Slade, 1958, 38). He suggests that Repetitions during rehearsals must be allowed (Peter Slade, 1958, 38), followed by repetitions and discussions (Peter Slade, 1958, 38)
-Peter Slade suggests that roles be assigned to pupils once the play is produced and discussed (Peter Slade, 1958, 37). Special techniques during games played by clients seeking the achievement of catharsis during a Drama-therapy session are employed by Peter Slade. This is called projection. Thus, Peter Slade paves the way for Drama-therapy to be part of the dramatic play when pupils take the role of a river and lie down in a curly line (Peter Slade, 1958, 37). They get up in a swarm to overflow the banks (Peter Slade, 1958, 37). A record of the music of Job is used to accompany this projection (Peter Slade, 1958, 37)
After brief immersion into the process of performance as suggested by Peter Slade, giving the reader ideas about who, what and how to perform a play, it would be convenient to wonder if a teaching Programme in Drama would include similar processes.
Performance: Pupils Aged Nine
-According to Peter Slade, special attention should be given to how best pupils aged nine can be productive in Drama relying upon their own abilities. When children are nine years old, they develop the ability to invent and to act out the stories they might have produced themselves (Peter Slade, 1958, 39).
Play/Performance by Pupils Aged Eleven to Thirteen
-Peter Slade reminds the reader that play on the floor by pupils aged between eleven and thirteen should be a priority. Thus, pupils should play on the floor of the hall before they do it on the stage (Peter Slade, 1958, 58), However, he recommends pupils be authorised to perform on the stage should they ask for it (Peter Slade, 1958, 58). Meanwhile, he warns educators about the danger of permitting children to performance on the stage at an early age (Peter Slade, 1958, 58). Peter Slade stated that premature performance on the proscenium stage is negative (Peter Slade, 1958, 59). It stands in the way of the deep understanding of the history of theatre (Peter Slade, 1958, 59) and spoils spontaneity (Peter Slade, 1958, 59).
Play: Performance: by Pupils Aged Thirteen to Fourteen of Age
-Special attributes characterise pupils aged between thirteen and fourteen of age, to which careful attention must be paid when performance is underway, especially when a plan for a teaching Programme is considered. According to Peter Slade, movement at this age becomes somehow restricted (Peter Slade, 1958, 59)
-Their use of language as a fluent medium of communication is reduced (Peter Slade, 1958, 59)
-Henceforth, the teacher, according to Peter Slade will have to use a special strategy that is congruent with such personal characteristics. Pupils must be authorised to rehearse scripted plays before performance (Peter Slade, 1958, 62) – If the rehearsal is spoilt, then, all they will have to be off the stage to improvise the scene on the floor space and they would not be back onto it before life, confidence and spontaneity are restored (Peter Slade, 1958, 62). To enhance the creativity of the participant, the teacher will then contribute using his own words in the text (Peter Slade, 1958, 62). Thus, the pupils according to Peter Slade will learn not to be ensnared by the invisible chains of the script (Peter Slade, 1958, 62). Gradually, they will feel free, not feeling chained by their inability to read the script (Peter Slade, 1958, 62).
Play/Performance by Pupils Aged Thirteen to Fifteen of Age
According to Peter Slade, the subject matter of a play designed for performance by pupils aged between thirteen and fifteen must be derived from themes and discussions evolving around personal and social problems (Peter Slade, 1958, 63)
-However, special care must be allotted to the nature of the tasks undertaken by boys and girls during performance. According to Peter Slade, boys and girls should be assigned different appropriate tasks at this age (Peter Slade, 1958, 63)
-A performance session dealing, for instance, with virile athletic dance and manly situations should be set separately from ones reserved for ladies (Peter Slade, 1958, 65). Peter Slade justifies the importance of the separation of tasks by psychological factors relating to the protection of the sense of masculine virility among boys (Peter Slade, 1958, 65)
-According to Peter Slade, the choice of the role allotted to pupils must be based upon choice, targeting the search for the true self (Peter Slade, 1958, 65).
-Also, it is a fact not to be ignored that Peter Slade noted that performance in the presence of an audience should be allowed when group members are aged between thirteen and fifteen (Peter Slade, 1958, 63)
Play/Performance by Girls Aged between Twelve and Thirteen of Age
-When girls are between twelve and thirteen of age, they should improvise scenes that correspond to their kind (Peter Slade, 1958, 55)
-Through improvisation, they for instance learn how to serve clients in a hat shop, how to be considerate of clients feelings and how to serve the public (Peter Slade, 1958, 56).
Play: Performance by Girls Aged between Thirteen and Fifteen
-Girls aged between thirteen and fifteen must be expected to participate in dance Drama (Peter Slade, 1958, 66) The teacher should encourage dance-Drama accompanied with or without words (Peter Slade, 1958, 66)
-In this respect, themes for dance drama may be derived from literature, Greek mythology, or stories in the Bible (Peter Slade, 1958, 66)
Play/Performance by Boys Aged between Fourteen and Fifteen
Peter Slade suggests boys should take roles fitting their status males. Hence, during Drama sessions designed for virile athletic dance, the teacher should ensure that the boys do not lack in culture which they may mistake for manliness (Peter Slade, 1958, 68). Here is a case in point that lends itself for consideration when a plan for a drama lesson is considered. Through the assignment of roles undertaken by boys using fancied weapons, the Drama-teacher will contribute to fighting off instincts which may presumably take grips of boys (Peter Slade, 1958, 68)
Other issues relating to boys at this age must be considered. As far as the subject matter of discussions during improvisation is concerned, it is left to the discretion of the teacher to lead them into entertainment about history or literature (Peter Slade, 1958, 68). To redress the behaviour of boys at this age and to sharpen their communication skills, the teacher will also have to lead the boys into discussions derived from social drama (Peter Slade, 1958, 70). This involves discussions and improvisations on the scene that would be of help to them in terms of behaviour (Peter Slade, 1958, 70) How to welcome a stranger, how to enter the head`s room, and how to chair a meeting, how people used to be dressed in the past as well as issues relating to hygiene are stated as cases in point illustrating how social drama could contribute to the improvement of communication skills (Peter Slade, 1958, 70). The teacher will contribute to getting the children realize how everyday life can affect us (Peter Slade, 1958, 71), and to consider life after school (Peter Slade, 1958, 71)Through improvisation, the teacher will help pupils aged between fourteen and fifteen face the challenge of communication in future life as they imagine sitting for an interview for their first job (Peter Slade, 1958, 71).
Pursuant to the study of Peter Slade`s approach to Drama, especially evolving around the methodology of, the production and the improvisation phases taking into account the age of pupils, there rises the need to answer the following question: would Peter Slade`s approach to Drama be of help to us to establish a Teaching Programme in Drama?
Part Five: Challenges with the Sladian Approach to Drama:
Peter Slade`s Theory of Projected Play Cannot Be Used in aTeaching Programme
Would Peter Slade`s theory of projected play furnish the basis for establishing a Teaching Programme in Drama? Projection has two meanings. While its first meaning is associated with Drama in education, its second meaning is associated with psychology and Drama-therapy. The definition of projection would make it easier for the reader to conclude if it can be valid for establishing a Teaching Programme on its basis.
Dramatically speaking, projection implies that performers themselves imaginary characters with great absorption (Gavin Bolton 1998,7). Likewise, the audience in general would project its motivations, feelings and experiences unto the mould the actors provide for it (Phil Jones 1996, 100).
Put in its psychological context, the word projection becomes cathartic and associated with Jung. For Jung, projection involves playing with things into which, onto which and around which the patient projects himself/herself. (Phil Jones,1996, 84). The Jungian concept is that you project something unsatisfactory or someone you hate, so that the hatred process is moved from one thing to another (Phil Jones 1996, 84).
The word “projection” recurs in association with Drama-therapy (Phil Jones 1996, 83). In Drama-therapy,
Individuals are clients. Thy can take on the role of a fictional character, can play with small objects, or enact myth. They thus project aspects of themselves into the dramatic material they are playing with, or into the fictional role they are taking (Phil Jones 1996, 100). In this context, Phil Jones notated: “ in drama-therapy- projection, the client becomes emotionally and intellectually involved in encountering the problems in dramatic forms making use of characters, play, materials and puppets ( Phil Jones 1996, 7).
During a Drama-therapy session, a young woman takes the role of the “tight dress” her parents had bought her when she had been young. In her attempt to achieve catharsis during a Drama-therapy session, the lady talked on behalf of the dress, letting the Drama-therapist know that the parents intentionally bought “it” as a tight dress with the intention to keep the daughter younger than she had been (Phil Jones, 1996, 83). The girl taking the role of “the dress” expressed anger against the parents. She projected herself unto “the dress” (Phil Jones, 1996, 83).
The examination of the content of Peter Slade`s theory proves that Peter Slade`s use of projection is rather associated to psychology and Drama-therapy than to educational Drama. There is, therefore, little scope for the theory of projection to be used in a Teaching Programme in Drama. To confirm his affiliation to Drama-thrapy, Peter Slade explained that when he was a school boy, he used to improvise plays about the masters he hated, projecting himself unto them for the sake of achieving catharsis (Phil Jones 1996, 83). Accordingly, Peter Slade portrayed pupils aged between seven and nine taking the role of a river and laying down in a curly line (Peter Slade, 1958, 37). They get up in a swarm to overflow the banks (Peter Slade, 1958, 37). A record of the music of Job is used to accompany the projection (Peter Slade, 1958, 37). In addition to this, his play portrays boys taking the role of a tree and projecting themselves onto it (Gavin Bolton 1998,7). Therefore, Peter Slade`s theory of projected play is asociatd with Drama-therapy rather than with educational Drama, hence, it cannot be adopted for the establishment of a teaching Programme in Drama.
Peter Slade`s Theory of Personal Play Cannot Be Used in a Teaching Programme
A slight examination of Peter Slade`s personal play discloses its asociatin to Drama-therapy too. It consequently would not provide the potential for weaving a teaching Programme on its basis. First, Peter Slade`s statements confirm the belief that his theory of personal play was indeed cathartic (Richard Courtney, 1968, 46). Second, he stated that children should be given the opportunity to play out evil, meaning catharsis, in a legal framework (Richard Courtney, 1968, 46). Third, he also stated that personal play provided emotional release, emotional control, and an inner self-discipline (Richard Courtney, 1968, 46). So, personal play is used within the context of Dramatherapy and it consequently cannot be usd to structure a Teaching Programme on its basis. Peter Slade`s association with Drama-therapy rather than with the world of education is clearly manifest in records dealing with him as a member of the Sesame. The following statement provs it. Once, Peter Slade said: “the breakdown of the memory is interesting. It is a mixture of personal and projected activity. In it, you are allowed to be like a child again and you spit out what you want (Phil Jones, 1996, 85)….A distressed man, facing psychological trauma sought Peter Slade`s assistance. He feared taking trains and needed to be cured from feeling paranoiac about taking them. In response to the request of getting the man spit out evil, Peter Slade started him off through a short play whereby they both pretended to be sitting in a train. During play, Slade got closer the man`s mind and he ultimately discovered why he feared taking trains. (Phil Jones,1996, 85).
Therefore, this is further proof that Peter Slade `s theory of personal play is noted for its value in terms of psychological personal development rather than in terms of educational Drama (see Phil Jones,1996, 85). Therefore, it cannot be valid for structuring a Teaching Programme on its basis.
Peter Slade`s Strategy of Teaching Cannot Be Included in a Teaching Programme
The metaphor “empty pitcher” that is associated with passive learners having passive open-mouthed vessels corresponds to the play where Peter Slade is pouring facts into those mouths during dramatisation (Gavin Bolton, 1984, 2). Being out of role, Peter Slade has continuously driven the dramatic action and speech forward to the full. He has unconsciously been a predominantly authoritative drama teacher exerting a negative influence upon the performers. This model of education was predominant in post-world-war Drama education (Hornbook, 1998, 10). Therefore, although Peter Slade seems to venerate a democratic process of learning Drama, he does not reinforce it. He seems to put himself at the heart of the process of learning and to suggest ideas, totally excluding himself from role, nor does he give the pupils the chance to learn how to rely upon themselves and to make discoveries during play ( see Sharon Grady, 2000, 156). This shows that Peter Slade could not escape the power of the dynamics so familiar to pupils in traditional settings. A quick reading of the play leads one to detect the lack of challenge and a sense of dependence upon peter Slade as a Drama teacher (see Dorothy Heathcote and Bolton, 1994, iv)
Would Peter Slade Set A pattern for a Theme to be Modelled in a Teaching Programme?
It is not to be denied that the aspired for “Work in a hat shop” in Peter Slade`s Drama is portrayed as having a social and an economic dimension. The social dimension of the service consists in elevating the ability of girls to communicate efficiently with customers. The economic dimension consists in raising awareness about how to protect an economic organisation from falling within the grips of bankruptcy due to misbehaviour. (see Dorothy Heathcote and Gavin Bolton, 1994, viii). However, the portrayal of girls as subservient workers in a hat shop is out of date and raises the need for challenge. Therefore, the content of Peter Slade`s dramatic play does not provide a model to be patterned in a Teaching Programme.
Likewise, instead of laying focus upon “ the role of an expert in his field and upon the propensity of learners to bring relevant information to bear on solving problems” (see Dorothy Heathcote and Gavin Bolton, 1994, viii), boys are portrayed playing with “fancied” swords during performance. The actors are expected to be portrayed as “men is a mess”, social workers, the police or nurses facing some dilemma (Dorothy Heathcote and Gavin Bolton, 1994, 4). The reason is that successful learning would occur if the actors were portrayed as professionals in a business where action occurs and where the need to solve problems beyond the boundaries of territorial zones is the chief goal ( see Dorothy Heathcote and Gavin Bolton, 1994, 17)
This leads Mike Fleming (2003, 96) to note that Performance as depicted in Peter Slade`s Dramatic play seems to be superficial and is marked by “showing off” and it lacks seriousness. A teaching programme is supposed to provide learners with the tools that would help them to face current issues, which do not, as a matter of fact, find an echo in Peter Slade`s Dramatic play.
Peter Slade`s Advocation of Spontaneity and His Advocation of Drama for the Development of Experience Is not Reliable for the Establishment of a Teaching Programme in Drama
There are two basic justifications for judging Peter Slade`s theory as being unfit for the development of a Teaching Programme in Drama, leading David Hornbrook ( 1998) to accuse him for causing confusion among teachers, especially in the 1960s. First, Peter Slade`s encouragement of the development of experience through play and, second his encouragement of spontaneity have been negatively perceived. Regarding the encouragement of the Development of experience through play, Peter Slade stressed the importance of experience acquired through play, leading pupils to discover the world and to develop (Pemberton, Billing and J D Clegg, 1965, 20). Thanks to Drama, the child adjusts himself to the world before he goes to school (Pemberton, Billing and J D Clegg, 1965, 21). Drama gives him the chance to understand his environment and to make it bearable (Pemberton, Billing and J D Clegg, 1965, 21). Meawhile, the teacher would also provide guidance. He might even , for instance, change an aimless story like “Mothers and Fathers” into a learning tool and rendering it as a positive educational force (Pemberton, Billing and J D Clegg, 1965, 21). Development through experience can also, according to Peter Slade, be achieved through projection, that is, through the identification with people other than the self (Pemberton, Billing and J D Clegg, 1965, 23). However, would it be possible for teachers to detect how would a pupil get better at exploring the world? There rose the need, in the 1960s, to determine what pupils were exactly expected to learn in Drama for which they might be assessed (David Hornbrook , 1998, 53). There seemed to be no systematic learning through the Sladian theory for which there might be any assessment in Drama (Philip Taylor, 2006, 51).
The objective of Drama in general, according to Peter Slade resides in helping pupils to identify themselves with well known men and women rather than to encourage day-dreaming (The Central Advisory Council for Education, 1963, 157). This constitutes an example of how pupils would achieve personal development through play. As to spontaneity, its importance for Peter Slade lies in its potential to improve pupils self confidence (Pemberton, Billing and J D Clegg, 1965, 25). The encouragement, of spontaneity, hence of freedom, involves movement and speech, as well as the use intonation and tone (Pemberton, Billing and J D Clegg, 1965, 19). Thus, Peter Slade noted that self-expression was natural and that it should be allowed to flourish independently from teacher intrusion (Philip Taylor, 2006, 51). Would it, in the end, be possible for teachers to assess free expression in it and to detect its improvement? ( David Hornbrook 1998, 53). Such inconsistencies in Peter Slade`s theory discourage the attempt to take them as a pattern for structuring a Teaching Programme.
The reason why Peter Slade`s theory of Drama cannot be taken as a pattern for establishing a teaching programme goes back to the second world war. Pioneers, including Peter Slade, caused confusion among Drama-teachers because instead of placing emphasis upon the technical aspect of Drama and theatre, they had placed it on the achievement of personal development (David Hornbrook, 1998, 52). “After the second World War, half a century of Drama in the Curriculum of English schools “was characterised not by what the great teachers of the past might recognize as real education in Drama but by the imposition of Dramatic processes like improvisation and role-play targeting “self-development””(Hornbook, 1998, 10). “There was no end product in the mind that could be taught to pupils” (Philip Taylor, 2006, 52). The quality of thinking and feeling as well as the integrity which the audience/ class members were expected to bring to Drama, the response they were expected to reveal were of little importance to the school environment surrounding a child (Philip Taylor, 2006, 52). The fact that some teachers set voting exercises for pupils to assess Drama lessons was significant (Sharon Grady, 2000, 45).
The inability to structure a programme on the basis of the model introduced by Peter Slade finds a justification in reports made about the situation of Drama. “Her majesty` inspectorate (HMI) reported in 1995 that Drama designed for pupils aged between five and eleven of age was “only marginally present and that most proceedings in it were weak and superficial” (David Hornbrook, 1998, 12). In the same year, Her majesty` inspectorate (HMI) reported that drama designed for pupils aged between eleven and thirteen “had little sense of purpose or progression” (David Hornbrook, 1998, 12). Fifty years ago, there rose the need to place English language as a foundation subject in schools. Today, the same arguments have been raised through reports stressing the need to support the teaching of Drama (J. Hodgson and M.Banham, 1972, 17). The 1919 report was relevant to the teaching of English and Drama (J. Hodgson and M.Banham, 1972, 18). Also, the 1930 Report was an aid to the development of confidence and the freedom of Self-expression J. Hodgson and M.Banham, 1972, 21). The 1937 t and the 1938 reports cast a look back over a decade of development in teaching Drama, stressing the need for taking the pace of quick change into account (J. Hodgson and M.Banham, 1972, 18). Therefore, the possibility of arming teachers with the potential of fulfilling their duties efficiently in Drama is purely a recent one (Philip Taylor, 2006, 51). However, the situation in Drama seems to be still critical and it lends itself to a conclusion stressing the fact that there has been no leeway yet, neither for the reports, nor for Peter Slade`s theory of Drama to provide an ideal solution to how best a teaching Programme could be established.
Part Six: A Suggested Teaching Programme in Drama
Setting Objectives for the lesson
There is no education without planning objectives. Objectives must be specified because they help guide the lesson (Sharon Grady, 2000, 157). A Teaching Programme must be purposeful, dialogic, emancipatory and metaphoric (Dorothy Heathcote and Bolton Gavin, 1994, vii). Drama is an educational force (Pemberton Billing, 1965, 25). Learning skills must be a goal (see Gavin Bolton, 1994, 51). Therefore, pupils during a Drama lesson should not be put under stress to work fast just for the sake of playing ( Gavin Bolton and Dorothy Heathcote, 1994, 16).
There are long-term and short-term objectives. Long-term objectives have social, political and economic dimensions. The teacher will have to situate them within this framework. Short-term objectives relate to the skills taught to pupils like reading, writing, speaking, listening, computing, designing, asking probing questions, evaluating responses both verbal and non-verbal, reading between the lines to find an answer to a hidden question, sharing findings within the group and sifting them in order of importance, asking questions in the light of new findings, picturing other situations where the problem might operate ( Gavin Bolton and Dorothy Heathcotes, 1994, 15)
Drama Is not Just making Stories for Play:
Drama is not just stories which are supposed to be retold in action (Cecily O`Neill, 2006, 36). Rather, Drama is an intricate subject, hence, it must be axed on careful planning. To cope up with the diversity of learning styles, for instance, the teacher will have to consider the theory of the readiness for learning established by Piaget and adopted by Peter Slade setting limits ability.
How children learn in primaries, for instance, must be carefully approached. Here, the fact that intellectual development stems from action and active exploration, through the senses as well as through movement must be considered (The Central Advisory Council, 1967, 383). For while adults use movement to go directly from place to place, children constantly change pace and avoid moving straight to their destination. They react to space by running, leaping, swinging. They develop through these activities (The Central Advisory Council, 1967, 348)
Children communicate inner experiences into the outer world through play. They shape their experiences in dialogue with the environment, guided by the nature of the material that could be a play paint or clay (349
Children learn through colour, shape and form (The Central Advisory Council, 1967, 348)
Should you be in charge of primary pupils, consider also their excessive use of imagination and make the most of it. Give them the chance to be to fully imaginative. Do not let them feel that they are restricted by technicalities. Technicalities make them feel hampered and as if ensnared in invisible chains (Pemberton Billing, 1965, 25). Give pupils the chance to use free movement. Self-consciousness about movement would be frustrating because throughout the growth period, a child would be striving for physical adjustment. Drama should, therefore, help him to feel free and to loosen up his movement (Pemberton Billing, 1965, 25)
Planning must also consider divergence in terms of learning styles. Some pupils learn through the image more than others. Here, the teacher has to set a plan for introducing the topic efficiently, relying on visual media. In this respect, the use of talk accompanied by an image, a picture, a diagram or a map would be fruitful (Dorothy Heathcote and Gavin Bolton, 1994, 24). Since communication in the twentieth century becomes increasingly visual, the selection of a movie for study becomes a major requirement in schools (The Central Advisory Council for Education, 1963, 156). Technology must, therefore, constitute the basis for dramatisation.
Visualisation is mostly preponderant among pupils in primaries. Many children learn how to read through listening to stories read to them at school and through the extensive use of picture books (The Central Advisory Council, 1967, 211). Pictures help children see meaning and to appreciate written records -(J Allen, 1979, 15)
The Production Phase
The production phase must be purposeful, leading pupils to master skills and to learn social values
Addressing the audience builds self-confidence (Pemberton Billing, 1965, 25), hence, focus must be laid upon improving skills, especially speech (Pemberton Billing, 1965, 25). In this respect, Radio and Television must be intensively used because they are powerful media teaching children how to talk (The Central Advisory Council, 1967, 211). To visualise the drama during the production phase, the teacher is also advised to use paper, paint or the blackboard (Belly Jane Wagner, 1999, 68). There are in general terms three methods for representing reality: the iconic relies on images, the symbolic relies on language and the enactive relies on acting (Belly Jane Wagner, 1999, 68).
Special importance should also be given to the choice of the theme of the play. Through the production of a play, pupils must learn how to socialize (Mike Fleming, 2003, 142), The objective should extend to fighting off anti-social behaviour (Pemberton, Billing and J D Clegg, 1965, 29). Objectives during this phase wick be reinforced during the performance phase (Pemberton, Billing and J D Clegg, 1965, 29).
The teacher is advised to get the children memorize the dialogue, search for meaning through asking questions, understand allusions and vocabulary (Gavin Bolton, 1998, 10).
The teacher is equally advised to divide the curriculum into discrete units and to introduce topics or projects that would cover the gap and overcome the problem (Dorothy Heathcote and Bolton, 1994, 31).
Use feedback techniques (Cecily O`Neil 2006, 4) to teach history, geography, literature, Shakespeare, grammar, spelling, arithmetic and nature study (Gavin Bolton, 1998, 10).
The teacher can use drama to activate every subject on the school curriculum (Cecily O`Neil, 1999, xi): To check their understanding, lay emphasis upon problem solving, character development and story (Cecily O`Neil, 1999, xi). This will lead pupils to learn through drama about the world where the story is set, to develop and to understand history andto learn language (Cecily O`Neil, 1999, x).
The teacher can lead pupils through questioning them (Belly Jane Wagner, 1999, 55) .To check their understanding of the drama text, the teacher can use direct questions. This will allow the teacher to change from being the usual “teacher who knows to the teacher who needs to know” (Cecily O`Neil, 1999, ix). Various questions can stimulate thoughts and ideas, like the ones that lead to the supply of information, the ones calling the group to choose a decision between alternatives and questions that deepen insight (Belly Jane Wagner, 1999, 55). To get the class involved in the process of production, the teacher can also use non verbal signals, whereby he/she ponders giving the impression that she/he reflects on the right answer to the question (Cecily O`Neil, 1999, ix).
Activities Like analysis, reflection, discussions, report-writing or journaling might also improve writing and oral skills (Sharon Grady, 2000, 162). Planned and structured questions relevant to recalling, clarifying, applying, analysing, synthesizing and judging issues? (Sharon Grady, 2000, 160) would be used with the objective of improving the intellectual abilities of pupils.
Warm Up
Usually, teachers start performance with a warm up, followed by improvisation or some random activity culminating with small groups sharing their presentations with the whole class (Cecily O`Neil 2006, 3). Instead, performance must be tightly linked to an objective culminating into meaning (Cecily O`Neil 2006, 3). Warm up exercises can be used as mental and physical preparations for a rehearsal (Gavin Bolton, 1998, 152), provided they should be linked to the content of the dramatic play (Brian, 1980, 21). The study of an advertisement, for instance, could be linked to the content of the dramatic text, inviting pupils to use the sensory organs of looking, listening and touching. The basic aim is to enable pupils to be aware of their own bodies (Phil Jones, 1996, 155), to develop the positive expression of their inner-selves and to get them aware about the deformities that society imposes on the individual (Phil Jones, 1996, 155). Besides, thanks to the exercises, pupils can improve their expressive abilities (Phil Jones, 1996, 155)
Exercises in Looking: (Brian, 1980, 22)
The teacher would show the class the same advertisement and allot thirty seconds for them to examine it (Brian, 1980, 22). In pairs or in small groups or with the whole class discuss the details in the advertisement (Brian, 1980, 22). The more dramatic the picture, the more stimulus it will arouse (Brian, 1980, 22)
Exercises in Listening (Brian, 1980, 17).
breathing, to sounds inside the building and in adjacent places should not last between fifteen and thirty seconds (Brian, 1980, 17). Listening exercises lead to the development of the imagination (Brian, 1980, 19). Listening to one`s own breathing or to sounds inside or in adjacent buildings improve the ability to concentrate and to imagine (Brian Way, 1980, 22) Teachers are therefore recommended to use the listening exercise during the warm up phase, provided it be linked to dramatisation. The teacher will for instance show the class an advertisement and allot thirty seconds for them to examine it (Brian Way, 1980, 22)
Exercises in Touching
Many exercises relating to touching should be carried out with eyes closed, using the advertisement as a focal point. (Brian, 1980, 23).
(Brian, 1980, 20):
In pairs, pupils may exchange roles as one the pair would close his eyes, walk and try to touch items, pictures or colours evoked to him and finding an echo in the advertisement. (Brian, 1980, 20):
However, all the exercises should be linked to the content of the play.
Performance:
Performance must be conducted according to a rule set in advance. First, it must be short, taking no more than twenty minutes or less (David Hornbrook, 1998, 53). Second, Public performance should not be the goal (Cecily O`Neil 2006, 5). As indicated earlier, performance should be tightly linked to an objective. Third, the Drama-teacher is supposed to provide guidance relevant to techniques and to the tasks to be done (Dorothy Heathcote and Gavin Bolton, 1994, 51).
Class or group works should be set for performing tasks on the stage (Cecily O`Neill, 2006, 11)
Performance must be a vehicle for helping children to articulate their relationship to the world (Cecily O`Neil 2006, 5). During performance, group-members will construct a “tableau-strategy” which is an economic method for expressing ideas and feelings (Cecily O`Neill, 2006, 11). The tableau will challenge them to watch and to respond (Cecily O`Neill, 2006, 11). It will have to be economical to enable the expression of divergent thinking on the stage (Cecily O`Neill, 2006, 11). Understanding is also expected to bind group-members while they are in role. The actors in a play must operate within supportive teams, which might anticipate the challenges facing them in the real world (Gavin Bolton, 1994, viii). Group-members are supposed to question each other and to consciously take up responsibility (Gavin Bolton, 1994, viii). The functions assigned to them are supposed to be more important than the titles (Dorothy Heathcote and Gavin Bolton, 1994, 27). So, the group will operate within the framework of the power given it (Dorothy Heathcote and Gavin Bolton, 1994, 27).
Improvisation
Spontaneous improvisation should be considered (Peter Chilver, 1967, 10). Children should be given the opportunity to produce various interesting noises and sounds that would be of help to them to improvise in their own way (Peter Slade, 1958, 23). Through teacher-assistance, children can be creative (Peter Slade, 1958, 23).
This is in accordance with the advocates of improvisation in education who are of one shared opinion: the only valid form of improvisation is where the performers are deeply involved spiritually and emotionally in the drama they are producing (Peter Chilver, 1967, 11). To achieve this objective, one has to follow the rules of improvisation.The Rules of an Improvisation can be summed up in seven. First, the participants/pupils must choose the partners they prefer to work with (Peter Chilver, 1967, 12). Second, the participants must be divided into groups (Peter Chilver, 1967, 12).Third, they must be given the material to work with (Peter Chilver, 1967, 12). Fourth, they must be authorised to work simultaneously (Peter Chilver, 1967, 12). Fifth, they can choose to interrupt improvisation at any time (Peter Chilver, 1967, 12). Sixth, actors can stop to ask for assistance (Peter Chilver, 1967, 12) whenever they see it fit. Seven, improvisation does not have an ending (Peter Chilver, 1967, 12)
A leader must be democratically chosen by classmates to express his views about the lesson (Sharon Grady, 2000, 158).
Response/Evaluation: The Assessment of the Ability of Pupils to Produce Plays
If the Curriculum does not provide an answer to how best should pupils be assessed in Drama, the teacher will be advised to use his own Baseline Assessment Sheet (Kempe, 2000, 54). Key Completions, ranging from number one being the lowest achievement to number three being the highest completion figure in the Baseline Assessment Sheet (Kempe, 2000, 54). Various aspects of Drama should be assessed with regard to the production of plays and to their performance.
The Assessment of producing a play involves the extent to which pupils can cooperate sharing imaginative ideas for the production of a script and sharing suggestions relating to stage direction like props, space, sound and gestures (Kempe, 2000, 54). Pupils must also be assessed on their ability to experiment with various aspects of language (Kempe, 2000, 54). Assessment should also involve the ability of pupils to partake in purposeful learning resulting in moral and social development (Kempe, 2000, 23). In general terms assessment during the performance phase must involve contribution to content and to group work (Kempte and Marigold, 2003, 31).
The Assessment of performing must cover issues relating to the presentation of a play on stage. First, the audience must be made up of school mates, parents and pupils and staff belonging to other schools (Arts Council, 1992, 10). Second, the measurement of Achievement during performance should cover the ability of pupils to be spontaneous in movement and in language, to use facial expression, to be creative and to be able to sustain a role, to enhance the meaning of a play through the use of colour, shape and the communication of mood and of ideas (Arts Council, 1992, 10). Thanks to the presence of an audience, the pupils will develop self-confidence and will learn how to communicate efficiently. The teacher will have to sustain pupils showing them how to overcome feeling awkward (Sanders, 2005, 23)
To maintain the progress of pupils through a long period of time, pupils must periodically be given a colour chart completed by the teacher and revealing improvements in all areas of learning in Drama such as pair or class work, freeze frame, hot seating (Arts Council, 1992, 6) as well as improvement relating to the Mantle of the Expert Technique (Gavin Bolton, 1994, 3)
Conclusion
A thorough study of Peter Slade`s Dramatic play involving methodology, projection, personal play, the production and the performance phases has been made. With deep respect for Peter Slade as a great theoretician in the field of theatre and Drama-therapy, the study has proved how his approach to Drama cannot constitute the basis for establishing a Teaching Programme.
Given the fact that Peter Slade`s approach to Drama cannot at all be valid for answering this need, a Teaching Programme has been suggested. As the reader may have noticed, it is based on an amalgamation of different theories dealing with different Drama-theories forwarded by Hurriet Finlay Johnson, Dorothy Heathcote and Cecily O`Neill.
However, Taking the content of the suggested programme as a taken for granted source for the achievement of success in the Drama- teaching profession is not guaranteed. Should the occasion permit it, sharing views materialising in it with drama teacher would generate greater results. However, a tribute is expected to be paid to whoever shares the worry of contributing ideas to the field of Drama in education
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