Teaching English Through Drama

5/21/2018 Teaching English Through Drama

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EDB Language Arts ElectivesProfessional Development for Teachers

Learning English through Drama

EDB Professional Development for Teachers

British Council Hong Kong

Teaching English through Drama

1 EDB 2008 / 2009


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1 Teaching Drama

In part 2 of the workshops we experienced two demonstrations. In this sectionwe review the two teachin se!"ences and consider the staes# aims andrane of activities avai$a%$e for deve$opin En$ish ski$$s thro"h drama.

1.1 A Structure Approach to Teaching Drama

&eachin Drama to $are ro"ps p$aces a n"m%er of demands on the teacher.'hen teachin drama we can expect(

a fair$) hih $eve$ of conversationa$ noise different ro"pins# with st"dents standin# movin# sittin# and "sin

space to express themse$ves different ro"ps workin at different paces towards different oa$s

In the workshop we addressed the fact that $earners ma) not %e confidenta%o"t their En$ish# or ma) think that drama is *"st f"n and ames.+s teachers we are aware that the main aim of this mod"$e is to deve$opst"dents, $an"ae ski$$s - not prod"ce actors or actresses. or this reasonwe need to caref"$$) str"ct"re o"r $essons so that the) have c$ear $in"isticand ski$$sdeve$opment aims# and to comm"nicate these aims c$ear$) tost"dents so that are c$ear on what is expected of them.

In Demonstration 1 we saw that it was important to have c$ear $an"ae aimsfor $essons. 'e a$so saw that a eneric str"ct"re for a $esson sho"$d contain afoc"s on aims and expectations# warm "p activities which taret $an"ae aswe$$ as performance aims# a context - s"ch as a stor) - within which todeve$op the drama# a rane of drama conventions which foc"s on ski$$s s"chas character %"i$din# expressin emotion thro"h voice and movement and#of co"rse# creativit) and confidence with $an"ae. essons# or series of$essons# sho"$d provide opport"nities for st"dents to ref$ect on their proressand to identif) areas for f"rther deve$opment.

Demonstration 2 i$$"strated the process of movin from stor) to script and wesaw how a n"m%er of different performance%ased activities co"$d %eincorporated into $essons. &he EDB scheme of work offers man) options for

teachers in terms of the t)pe of performance%ased work the) do within thedrama mod"$e. choo$s co"$d# for examp$e# adapt their c$ass reader or "se aprepared script that st"dents can then persona$ise %) editin and addin. e)drama ski$$s deve$oped in this process invo$ve characterisation and stainconventions. In the workshop# we worked thro"h a series of tasks whichfoc"ssed on these ski$$s# whi$e sti$$ %ein foc"ssed on $an"ae ski$$sdeve$opment.

3art two of the scheme of work a$$ows st"dents to deve$op# amonst others#their writin ski$$s. cript writin has a n"m%er of conventions which st"dentsneed to %e aware of. B"t the fact that writin dia$o"e is often easier than# for

examp$e# writin a stor)# even $ower $eve$ st"dents wi$$ %e a%$e to achievesomethin the) can fee$ pro"d of# iven the riht s"pport from the teacher.

2 EDB 2008 / 2009


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1.! Demonstration 1 " Lesson Plan an #esources

Lesson plan: A Structured Drama Class

1 Esta$lishing the focus

Aims% To ensure stuents are clear on the learning o$&ectives an 'hatis e(pecte in terms of $ehaviour an participation.

& oranises startin circ$e and arees on the aims of the $esson. E$icit words%einnin with 4# e.. comm"nication# cooperation# creativit)# content#co$$a%oration.. 4heck spe$$in and write on the %oard.

2 )i(ing space

Aims% To encourage learner autonom* an responsi$ilit*. To ensurestuents have a efine 'or+ area.et "p ro"ps and assin performance space.

5 ,arm-p/aterials%1 set of word cards / 6 or 7 st"dents

Aims% To introuce an provie practice 'ith +e* voca$ular*. To eveloprange of e(pression through movement an encourage colla$oration 0 co-operation

Introd"ce the voca%"$ar) %) showin the word cards and checkin st"dents"nderstand the words.

Human SculpturesIntrod"ce %) demonstratin with a st"dent. o" are a sc"$ptor the st"dent is thesc"$ptin materia$s. :ove the st"dent to make the o%*ect ;chair< written on thecard. 4heck st"dents "nderstand what to do( if necessar)# et a pair of st"dentsto demonstrate for the ro"p.

t"dents work in ro"ps of 7 or =# the word cards are face down. >ne st"dentse$ects a card and sc"$pts their partner to form the o%*ect. &he) co"$d "se so"ndeffects and movement as we$$. &he rest of the ro"p watch and tr) to "ess thecorrect word on the card.

Teacher Lift Door

Bottle of 'ater Chair /o$ile phone

Scissors Train )irefighter

E(ample A% ,or Cars for Human Sculptures

5 EDB 2008 / 2009


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6 sing Stimuli/aterials%1 set of pict"re cards / 6 or 7 st"dents

Aims% To further evelop language s+ills in the conte(t of a narrative. Toencourage creativit* an confience 'ith English through eveloping a

group narrative.

Exp$ain that a$$ the words in the $ast activit) re$ate to a tr"e stor) a%o"t a teacher.how %i pict"res on the %oard.

t"dents work in ro"ps to match words to pict"res. & checks answers# stickinthe word cards next to the correct pict"re

In ro"ps# st"dents ora$$) create a %asic stor) in ro"ps# "sin the pict"res. &he)te$$ the c$ass. 4heck ideas %) reorderin the pict"res and words on the %oard.+sk other ro"ps to sa) if their stor) is the same or different - if time a$$ows# askanother ro"p to te$$ their stor).

7 oice 'or+/aterials%entence word cards ;*"m%$ed order on the %oard @rchestra Kse an orchestra $a)o"t on the3ower3oint# or on the %oard#and have st"dents stand incertain sections. Kse theme$od) )o" have devised ear$ierand orchestrate the ro"p in thefo$$owin wa)(;1< 3erc"ssion ;c$aps# stampska)# then. I,$$ do m) %est tonot et st"ck in the traffic. B)e.

$ood$iht/norma$ $iht res"mes.

)igure 1=% Sample lighting cue sheet

&here wo"$d %e a simi$ar sheet for ?o"nd effects, and c"es.

Sound eectsCere,s a $ist of common$)"sed so"nd effects. ometimes the so"nd effect is"sed to show the res"$t of an action# sometimes it is "sed to show the innerstate and fee$ins of a person. Examp$es are iven.

Soun effect E(ternal action 4nternal state

o"nd of app$a"se &o show a crowd c$appin &o show that a characterfee$s that s/he has donewe$$ and the wor$dapproves.

+ $ass %reakin &o show a minor accident &o show that someone hasmade a mistake

ootsteps on rave$;cr"nch) noise% Common soun effects an 'hat the* can represent

26 EDB 2008 / 2009


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1.=.! Activit* Ban+% Theatre Conventions

O"st as in En$ish c$asses we "se activit) t)pes s"ch as apfi$$s or sentencecomp$etion# in Drama there are man) esta%$ished activities# which are known

as conventions.

In this section we $ist some of the most wide$) "sed drama conventions# in theorder that )o" ma) do them in c$ass. &hese sho"$d %e interated into a $essonstr"ct"re simi$ar to demonstration $esson 1.

27 EDB 2008 / 2009


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ti$$ Imae a$so a component of ?freeeframin,'orkin definition;a< + st"dent# or st"dents in ro"ps form the static imae of a scene

;%< 4an %e "sed as a means of foc"sin the a"dience on a moment in thedrama when the performers ?freee, in position whi$e action either contin"es ona different part of the stae ;ca$$ed ?sp$it stain,


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&ho"httrackin

'orkin definition

Ksin freeeframin or sti$$ imae# the teacher taps a character on a sho"$der andasks her/him to ive =0 seconds of tho"ht from that character,s perspective. &hiscan %e repeated with other characters.

tim"$"s &he stim"$"s comes from the importance of the moment in thedrama to each character.

Aro"pin Done whi$e in sma$$ ro"ps

3roced"re &he freeeframin or sti$$ imae sho"$d %e we$$ esta%$ished %eforeoin into tho"httrackin %) tappin someone on the sho"$der.&here sho"$d a$so %e an a"dience to hear what the character sa)sso that s/he fee$s that s/he,s speakin a$o"d for a reason# and notsimp$) for the teacher.

Ksed for 1 +ccessin a character,s interior tho"hts# emotions# responses#motivations

2 Ksef"$ when different characters ma) %e experiencindifferent reactions to the co"rse of events# e..# if someonewins a prie# character + ma) %e de$ihted# character B ma)%e disappointed# 4 ma) %e pro"d# and D ma) %e *ea$o"s.&his wi$$ %e in response to the dramatic moment of the priewinnin.

5 ;&E< Ksef"$ to enco"rae spontaneo"s speakin# f$"enc) andconfidence%"i$din

6 4o"$d %e "sed in a $ive performance accompanied %)specific co$o"red spot$ihts for effect# e..# 4haracter 4speaks pro"d$) and is $it %) a %riht white $iht# 4haracter Dhas *ea$o"s words and is $it %) a movin reen $iht.

+daptations +n adaptation for inc$ass improvisation is to freee the character%ein foc"sed on# and have the peop$e aro"nd him/her sa) thecharacter,s tho"hts for him/her. or examp$e# 4haracter + winsthe prie# and characters aro"nd him revea$ different aspects of histho"hts and fee$ins thro"h speakin whi$e 4haracter + sta)sfroen and !"iet. Ce$ps others to %"i$d "p an "nderstandin of theinterior of a character. &his techni!"e is ca$$ed# ?his tho"hts# hertho"hts, %) Brian :cA"ire.

2G EDB 2008 / 2009


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'ritin in o$e

'orkin definition

t"dents are iven the opport"nit) to write somethin whi$st in character and thereforeexpress themse$ves in writin from this perspective.

tim"$"s &his can take p$ace after some improvisation work has taken p$acewith sti$$ imae# freeeframin# or ro$ep$a).

Aro"pin &his is an individ"a$ activit).

3roced"re +fter havin had some time to %e in ro$e# and perhaps afterexperiencin an event or an exchane with another character#st"dents are iven a choice of written tasks# e..# to write apostcard# a diar) entr)# a $etter# an emai$# a text messae# to"pdate a %$o# to write on ?parchment,# to raffiti on aprepared wa$$. If takin part in a thri$$er or histor)# st"dents

ma) wish to reco"nt what the) witnessed in a po$ice report orfor a historian,s doc"ment.

Ksed for 1 &o deve$op the fee$ins and tho"hts of a character

2 &o he$p a st"dent ;a< "nderstand and ;%< create the perspective acharacter has towards a set of events or towards another character

5 ;&E< &o create a %a$ance %etween the ora$ ski$$s "sin in ro$ep$a) and written ski$$s. Ens"re that st"dents have a c$ear mode$ ofthe format the) miht %e "sin.

6 +dd the writin to the portfo$io %"i$d"p for that character#e..# it co"$d accompan) ro$eonthewa$$ diarams.

3ro%$ems 1 t"dents ma) draw a %$ank so it is important that the writin is inresponse to somethin that has %een experienced or witnessed.

2 ;&E< ome s"pport with ke) words and spe$$in wi$$ %eneeded. eep the writin short at first and enco"rae st"dents toadd to it.

28 EDB 2008 / 2009


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29 EDB 2008 / 2009

o$eonthe'a$$

'orkin definition

+ wa) to exp$ore a character creative$)

tim"$"s + character from a p$a) or sti$$ imae s"ch as a paintin

Aro"pin ma$$ ro"ps enco"rae co$$a%orative thinkin individ"a$ workcan promote concentration and depth.

3roced"re+n o"t$ine of a character is created on a piece of paper. &hiscan either %e $ifesie# or sma$$ so that it can fit into a fo$der. If itis $are# it a$$ows access to man)# and can %e a foca$ point for thero"p faci$itatin co$$a%orative ro"p work and opport"nities to

deve$op each other,s ideas.t"dents think a%o"t the character and start to write thins the)know a%o"t him/her o"tside the o"t$ine of the %od) s"ch ashis/her mannerisms# appearance# est"res. &he) ma) a$soconsider the forces that other characters exert on him ph)sica$$)#emotiona$$) or menta$$). t"dents then think a%o"t thecharacter,s inner states possi%$) in response to others#motivations# emotions# needs and wants. >ften# the inner statescan on$) %e worked on as the improvisation proresses so it is"sef"$ to start a session with the ro$e on the wa$$# keep it "p onthe wa$$# and add to it over a n"m%er of sessions as st"dents,appreciation and "nderstandin of the character deve$ops and

deepens.>ne adaptation is to have three +6 sie ro$eonthewa$$temp$ates for st"dents and ive them a few min"tes in an ear$)session# a midwa) session and a $ater session to show theadditions the) made to the ro$e and wh)# ref$ectin theexperience that triered it.

Ksed for(1 Deve$opin a character - especia$$) if "sed over a fewsessions2 4an show c$ear the press"re one character exerts on another5 Ce$ps st"dents $ink inner states to o"ter est"res and actions6 ;&E< 3repare to demonstrate and expose st"dents to $exica$items to descri%e dress# post"re# e)e/hair co$o"r# andcharacteristics. emem%er to show $an"ae that co$$ocates#;keepshis eyes lowered


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Cotseatin

'orkin definition

+ character is interviewed in depth %) a ro"ptim"$"s

Aro"pin >ne character sits in the hotseat whi$e other sit aro"nd him/herread) to interview. &his is enera$$) not done in character %) therest of the ro"p# who are themse$ves.

3roced"re 4hoose a character which needs deve$opin. 3$ace her/him in thehotseat and ive some preparation to the others to deve$op!"estions a%o"t the character,s ro$e and his/her re$ations to othercharacters inc$"din(

'h) did )o" do

'ho,s c$osest to )o" 'ho do )o" dis$ike and wh)Cow did )o" fee$ when Cow does it fee$ when s/he does

'h) are )o" tired/happ)/nois) a$$ the time

If I ave )o" P1#000# what wo"$d )o" do with it

Cave )o" ever done ;somethin %ad/advent"ro"s/kind


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&ho"ht &"nne$

'orkin definition

+ means of he$pin st"dents to artic"$ate the tho"hts of a character especia$$) whens/he faces a di$emma in the ro$ep$a) or improvisation

tim"$"s + character,s di$emma or pro%$em

Aro"pin 'ho$e c$ass ro"p of 20

3roced"re t"dents are divided into two e!"a$ $ines facin each other and *oinhands to form a %ride. &he character foc"sed on s$ow$) andde$i%erate$) wa$ks down the h"man t"nne$. +s s/he passes# eachst"dent makes a statement a%o"t ;a< what s/he is thinkin ;%< whats/he needs to consider ;c< action and decisions that need to %emade in response to a di$emma or pro%$em that the character has.

Ksed for &o deve$op a character and hih$iht considerations that need to %etaken into acco"nt.

3ro%$ems Dependin on the c$ass profi$e# this activit) ma) need to %e r"n withfewer participants to ens"re st"dents sta) ontask.

51 EDB 2008 / 2009


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52 EDB 2008 / 2009

Aood +ne$ / Bad +ne$'orkin definition

+ means of he$pin st"dents consider two sides of a pro%$em the character isdea$in withtim"$"s + character,s di$emma or pro%$em enco"ntered in

improvisationAro"pin Aro"ps of 5 with one main character %ein foc"sed on3roced"re t"dents enco"nter or decide on a pro%$em one character

has# for examp$e# whether to $ie or not. >n one side standsthe ?ood ane$, - the voice of reason# mora$it) andoodness and on the other side stands the ?%ad ane$, - theone who has no mora$ code# tries to take advantae of an)sit"ation for shortterm materia$ or stat"s ains# and wi$$ "sean) means to advance him/herse$f.

&he centra$ character asks a !"estion# e# ?ho"$d I $ie to m)father ;a%o"t somethin that has taken p$ace


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ixin pace

'orkin definition

&he wa) in which actors mark o"t the area the) are to work within either forimprovisation or ro$ep$a).

:ateria$s t"dent ma) do this with avai$a%$e materia$s s"ch as ta%$esand chairs# shoes# or even cha$k on the f$oor.

Aro"pin In improvisation or ro$ep$a) ro"ps.

3roced"re t"dents divide the space the) have avai$a%$e for ro$ep$a)#and proceed to choose their wa) of markin o"t theirperformance space. It ma) inc$"de decidin where rooms orparts of a street/vi$$ae are.

Ksed for &he most practica$ "se of this is to he$p esta%$ish re$ativemovement of one character to another# $ines of siht anddirection of siht to different parts of the $andscape of the p$a)#

and c$ear siht $ines for the a"dience.

3ro%$ems t"dents ma) find it diffic"$t to concept"a$ise what thea"dience sees# therefore# it is important to ive c$ass time toworkin in the area to %e performed so that st"dents can workthro"h the wa) the) $ook# the wa) the) move their arms inpartic"$ar ;so as not to %$ock their face# or to %$ock others< andhow to "se the space to %est effect.

55 EDB 2008 / 2009


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56 EDB 2008 / 2009

acin >"t

'orkin definition+ means of maximisin the p$a) space.

3roced"re If a stae is not avai$a%$e# st"dents ma) make "se of thistechni!"e to show that characters are not c"rrent$) actin in ascene. Cere# certain characters take the active part of thescene actin in front of the a"dience# and the rest of thecharacters stand with their %acks to the a"dience f"rthestawa) from the a"dience and not performin.

Ksed for or practica$ p"rposes# this minimises the on and offstaetraffic.

or the p"rposes of drama# it shows that even tho"h certaincharacters are not foc"sed on in terms of the action# the) aresti$$ present in the %ackro"nd# and perhaps exertin force onthe action.

t"dents can ho$d a freeeframe to s)m%o$ise an aspect oftheir character whi$e facino"t and creative "se of $eve$s;$ow# mid and hih< can a$so %e "sed.


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57 EDB 2008 / 2009

4oncentric 4irc$es

'orkin definition

+ means %) which characters can express and work o"t their c$oseness ordistance from other characters in a ro$ep$a).

tim"$"s t"dents wi$$ a$read) have read or desined a ro$ep$a) to workwith which invo$ves re$ationships %etween characters.

Aro"pin &he n"m%er invo$ved in the ro$ep$a)# %"t this can %e red"ced tofoc"s on the centra$ characters.

3roced"re >nce some warmer activities and a $itt$e work on the ro$ep$a)has %een done# show st"dents a diaram of the re$ationshipdistances %etween someone ;co"$d %e )o"rse$f< and otherpeop$e drawn ro"h$) a$on the $ines of concentric circ$es witheach circ$e o"t representin a person who is $ess c$ose to thecentra$ character. eep the n"m%er to six or $ess in tota$. &a$k

thro"h the re$ationship map with reference to wh) someone iswhere the) are p$aced. &his ma) invo$ve reference to anincident that took p$ace %etween the characters which meantthe) are now c$oser or more distant. >nce this mode$ has %eendone# ask st"dents to form a standin h"man map with thecharacter %ein foc"sed on in the midd$e# and other charactersstandin c$oser or more distant dependin on their re$ationship.If this works# take it one step f"rther# and have st"dents do twomaps( one BE>E a dramatic event in the ro$ep$a)# and one+&E in order for st"dents to think thro"h and show theimpact the decisions# events and emotions have on h"manre$ationships. >ne techni!"e that can %e "sed is to have acharacter that has %een distanced face the opposite directionfrom the centra$ character to show $ack of connection.

Ksed for Knderstandin and showin re$ationships %etween characters atdifferent points in the p$a).

3ro%$ems 'itho"t a ood mode$ and reasons %ein iven# it ma) %ediffic"$t for some st"dents to concept"a$ise this. o" co"$d startoff with a map of the characters in a we$$known fair) ta$e# or astar that st"dents know a $ot a%o"t and e$icit c$oseness anddistance in re$ationships.

&he difference %etween ph)sica$ c$oseness ;ie# +da $ives with

her mother< and emotiona$ c$oseness ;ie# +da dis$ikes hermother< needs to %e made c$ear for the p"rposes of dramaticconf$ict.


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5= EDB 2008 / 2009

:arkin the :oment

'orkin definition

+ wa) to make a moment in a p$a) sinificant %) actin# mime# "se of est"re#words# $ihts or so"nds.

tim"$"s t"dents wi$$ a$read) %e fami$iar with a ro$ep$a) and havechosen a sinificant moment when# for examp$e# a choice has%een made that $eads to a se!"ence of events.

Aro"pin +s the ro$ep$a) ro"p.

3roced"re Decide on a sma$$ n"m%er of sinificant moments in the ro$ep$a) and ive st"dents options for ?markin, them. &his co"$d%e thro"h the "se of(

reeeframin$ow motion

4o$o"red spot$iht

o"nd effects m"sic

+ vis"a$ s)m%o$ or prop

+ ke) phrase

+ $ook at the a"dience

Cave st"dents tr) o"t 25 different techni!"es and decide onone or a com%ination of# e# s$ow motion Q red $iht.

Ksed for Cih$ihtin to the a"dience that a moment is sinificant andwi$$ have an impact on the co"rse of the rest of the drama andthe characters invo$ved.

3ro%$ems t"dents ma) over$oad their moment with effects.+$ternative$)# the) ma) create the wron effect# makin atraic moment $ook f"nn) "nintentiona$$). :ake s"re thatfeed%ack from other ro"ps is an areed part of the proced"reto et some perspective.


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5G EDB 2008 / 2009

&heme Bank

&his %ank contains a $ist of themes )o" miht consider and work with d"rinimprovisation# and examp$es of stim"$i to start the st"dents workin.

riendship &wo schoo$mates invite a third p"pi$ to participate in a

pro*ect or ame. &he third person is sh) and awkward#and event"a$$) re$axes.

o)a$t) + teacher acc"ses a e$vin of p$aiariin. "n defendse$vin in an "nexpected wa).

3eer press"re + ro"p of st"dents tr) to pers"ade two others to smoke.>ne does# the other doesn,t - wh)

t"%%ornness :in is sick %"t won,t o to the doctor. choo$ friends tr)to work o"t wh)# and fina$$) convince her to o.

Dishonest) +ne$ is $)in a%o"t where she oes after schoo$. he,settin thin and has dark circ$es "nder her e)es. choo$

friends fo$$ow her one evenin# find o"t wh) and confronther.

eso$vin %"$$)in +$ex has %een %"$$ied after schoo$ for months. Cis work isstartin to deteriorate and his rades are ettin $ower.+$ex tries to reso$ve the sit"ation. 'ho does he ta$k to'hat does he do

eso$vin racism 3ip is a non4hinese ir$ in a Con on 4hinese schoo$.&he st"dents have not %een we$comin %eca"se the)%e$ieve she is different from them. 'ork o"t one momentshowin acceptance of the character %) the ro"p.

indness Aood +ne$/Bad +ne$ techni!"e. o",ve earnedG00CD from doin some work for a $oca$ shop. o"r%rother needs the mone) to %") somethin for hiscomp"ter. o" want to %") a pair of shoes. 'hat sho"$d)o" do and wh)

4are$essness o" spi$$ a can of 4oke over a handwritten piece ofhomework on )o"r desk. o" don,t know who it %e$onsto %"t )o" need to make amends %efore the personarrives.

4heatin 4e$ia cheated d"rin her $ast En$ish exam. he is nowstartin to wake "p in the midd$e of the niht with

nihtmares. he ta$ks to her friend a%o"t it.

'ea$th L povert) &wo st"dents from )o"r schoo$ have the same date of%irth# %"t ver) different %irthda) experiences( one is rich#one poor. 'hat happens to each one# and how are thecharacters shaped and formed as a res"$t

Cea$th L disease &wo schoo$mates. >ne has a co"h and co$d and ta$ks tothe hea$th) one. B) the end of the conversation# the firstcharacter has recovered and the second character hasca"ht the co$d. 'hat is the conversation a%o"t and doesit mirror the transfer of the co$d


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! "valuation and assessment

t"dents need to ;a< ref$ect on their own $earnin and experience ;%< ref$ecton other,s work and $earn from it and ;c< et feed%ack from the teacher whichwi$$ he$p shape and deve$op foc"s and awareness. &his can %e achieved

thro"h ;a< ?hotsheets, - immediate tho"hts# ref$ections and ideas that thest"dents have after havin experienced a techni!"e ;%< recordin devices forref$ection ;a diita$ voice recorder# or video recorder can %e "sed to watchhow the ro"p has achieved a oa$< and itemised ref$ection sheets can %e"sed to "ide noticin ;c< a teacher can $ist competences and %ehavio"r thats/he is oin to comment on d"rin the session whi$st workin with thero"ps# s"ch as co$$a%oration "se of voice# pitch workin in En$ish "se of$eve$s "se of est"re "se of $iht/so"nd "se of si$ence and pa"sin.t"dents can record their tho"hts# work# research and feed%ack in an onoin $o%ook and portfo$io.

Log$oo+s an Portfolios&he $o%ook can %e a simp$e note%ook# %"t sho"$d contain ;a< p$ans for workand experimentation# ;%< techni!"es# ;c< stae directions# ;d< ref$ections onthe "se of techni!"es and stae directions on a re"$ar %asis. &ime can %eset aside in c$ass# or it can %e set for homework. &his is an onoin record ofthe st"dent,s experiences and "ses of different techni!"es.

&he portfo$io can %e a $everarch fo$der with dividers. 'e recommend thefo$$owin sections for notes.

;a< Improvisation and ro$ep$a) techni!"es

;%< 3ractica$ $ihtin and so"nd ideas;c< tae directions and props;d< 4ost"me ideas# ;fa%rics# co$o"rs

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Teaching English Through Drama