Reflection On Process Drama

Discuss the issues raised and reasoning behind decisions made when attempting to contemporize your own version of Sarah Kane’s play Cleansed for stage. Comment on the professional production and how and why your work may have differed from, or mirrored, Katie Mitchell’s production and any considerations/adjustments you may have made to your performance after viewing

Dramatic play permits children to fit the reality of the world into their own interests and knowledge. One of the purest forms of symbolic thought available to young children, dramatic play, contributes strongly to the intellectual development of children. Young children learn by imagining and doing and dramatic play allows them to do so. Dramatic play also promotes the use of speaking and listening skills. When children take part in this type of play, they practice words they have heard others say, and realize that they must listen to what other “players” say in order to be able to respond in an appropriate fashion. This style of play also promotes the development of social skills through interaction with others, peers or adults, which is a necessary factor in a child’s future.

As well as the quality of spoken language that children hear on a day to day basis will have a vast impact on the grammar and language they use. Therefore teachers and all teaching staff should ensure they continue to develop children’s confidence when it comes to communication by developing the skills needed to explain their understanding this is also vital when it comes to understanding and explaining of books or other recourses. All children should have access to and be encouraged to develop their role in drama. Pupils should be able to adopt, create and sustain a range of roles, responding appropriately to others in role. They should have opportunities to improvise, devise and script drama for one another and a range of audiences, as well as to rehearse, refine, share and respond thoughtfully to drama and theatre

Socio-dramatic play- children act out real or potential experiences based on situations they see in their lives. For example drama, role play, puppets.

The timeline of the drama program is it would start in October and end in May. The program will include teachers and community members as volunteers. Ideally, the people who volunteer would be interested in the arts such as: music, art, dance and acting. But, experience in those fields is not required. The students will have the opportunity to learn reading comprehension skills such as: sequence of events, vocabulary and summarization. The students will choose one book to read and study per month, and the activities will coordinate with those books. The books the children will choose from will vary in topic and difficulty, but will be on the 2nd grade reading level. The drama techniques that will be used are: hotseating, role-play and tableaux.

Chavez started a tradition of a play series produced once a year solely by the students. The playwriting class would write ten-minute pieces, and the directing class would take it on with the company. We attacked the chance to create independently with ferocity. I was in the playwriting class taught by Mr. Chavez. When my pages were read aloud I was so nervous I could taste iron on my tongue. I started to talk rapidly over the scene, attempting to apologize for how terrible it seemed. He told me to take a deep breath and not to respond, just listen. I did. For the first time, I allowed my ideas to exist in creative space without ego interfering. He spoke with me sincerely about the rise of my five-act structure, the character’s depth, and where the act turns could flow smoother. A month and a half later I saw my very first play on stage. I was not afraid to call myself a playwright. Because of Mr. Chavez, I was genuinely proud of myself for the first

Dramatic play is one of the most important and useful center for children in the classroom. By playing in dramatic play they can develop their physical, cognitive, linguistic, social and emotional domains. In the article “Supporting Language: Culturally Rich Dramatic Play” the author state” Mrs. Ramos invites them to talk about their weekend activities. Rodrigo says he and his grandmother went to the panaderia (bakery). Two children ask, “What is that?” Juanita explains, “That’s a bakery where you buy bread and cake.” Mrs. Ramos says she and her mother used to go to the panaderia when she was a child. The children smile.” This a further proof of how children can develop their cognitive, linguistic

Drama is a heavy genre to talk about. There are many puzzling situations that affect dramatic

Being a member of theatre has caused me to grow as an individual in ways I am still beginning to understand. I believe theatre has molded me into a much more personable and tolerant person, and it has most definitely given me a high confidence level. Theatre has helped me develop my sense of self, as I’ve become highly aware of how I am perceived by others.

In this essay , I’m going to introduce the sessions that helped me improve , clarify my comprehension of the craft of acting. I’m also gonna Include my understanding of what an actor needs from a script; how an actor uses backstory to inform the present and the techniques around the revelation of backstory and motivation,. What is my interaction with actors in preparing a script, and in on-set procedure? how i go about analysing an actor’s performance and how do I get the best out of it in terms of technique and impact both on set and in the edit; a reflection of my personal experience of being in front of the camera and how you grappled with the demands of the profession.

Drama…is all about drama really at first it is about a drama play then things get a little twisted. Callie is the main character in this book but Callie is the name of the main girl character in many of Raina’s books. Callie loves theater so much. When she finally tried out for her middle school's show called Moon Over Mississippi she realized can't really sing. So she decided to be the set designer for the drama stage crew, and this year she's determined to create a set worthy of Broadway on a middle school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen.

In ‘How to manage the transition from the rehearsal room to the theatre for the actors,’ Mitchell points out that the negotiation on the transition from the rehearsal room to the theatre must be deliberate and unhurried (200). Here, she warns that the actors would feel anxious and unconfident, so she suggests four ways to “reduce” the actors’ fear:

(Hayes & Casey, 2002) This is because when children are interacting, the learning process is more enjoyable. The fact that the children were engaging in a shared experience made it easier for them to create longer narratives because they were having fun. In addition, Wright, Diener, and Kemp (2013) studied the link between storytelling dramas and the sense of community in the early childhood classroom. Specifically, they found that storytelling dramas creates a sense of community which encourages social interaction for children who had existing social issues (Wright, Diener, & Kemp, 2013). Preschooler’s with existing social issues have a hard time entering play and engaging with others because they are still learning how to do so. For this reason, creating a sense of community in the classroom through storytelling establishes a feeling of belonging for children who have less social skills. Children are more likely to engage in these shared activities if they feel comfortable and valued in the environment they are doing so (Wright et al., 2013). Similarly, storytelling encourages children to have respect for each other by being an active member of the storytelling process. During storytelling, children take turns and collaborate with each other (Kim, 1999). This reciprocal back and forth interaction creates a sense of unity and allows children to identify that their ideas are valued by

Despite the claim that Drama in Education ( DIE) as a pedagogy dimmed its popularity in the Western world since 1990 until 2016 (Gallagher, et al. , 2017), in the year of 2011, Morrow, et al. included it as one of the best practices in literacy instruction. Some of the teachers who had the experience of trying process drama in their classrooms found that the pedagogy improved students’ participations, pushed students to use their imaginations, performed deeper understanding of the topics being learned and made the students learn to have empathy ( Long, 1998). Do the voices from the classroom resemble to what researchers and theories have to say on process drama?

Ever since I took drama classes in high school I felt that we always put on an act. A show almost, that we put out for the people we interact with daily. Erving Goffman, “Canadian-American Sociologist” (Encyclopedia In., 2017) also believed this, he compared social interactions to the theater, where individuals take a particular role. According to Goffman this “theatrical metaphor consists of a stage, actors, and an audience” (Crossman, 2014). It also consists of the onstage, backstage and offstage. These three stages show different behavior on a person.