Penguin Young ReodersTeocher's Guideto Dromotizing StoriesMargoret Lo

Qengu\n\oung\eqde\s

2)

4)

t l)

t3

t5

GontentslntroductionWhat is drama?Why use drama to teach English to young learners?Why dramatize stories?How do I choose the most appropriate drama activity?When should I use drama for stories?

Part One: Drama techniquesMimeUsing story dialogues and scriptsRole play and improvization

) Part Two: Exploring the storySoundsObjectsCharactersScenesExploring one story

Part Three: MakingPuppetsMasksProps and costumesScenery

the story real

Part Four: Drama productions

Part Five: Drama and your pupilsIntroducing drama to your classEstablishing positive attitudes towards dramaClassroom managementThe role of correction

Bibliography

P hotocopiable WorksheetsI Working with sounds2 Miming objects3 lnterview4 Role cards5 Mime and guess the scene6 Character actions7 Creating dialogue8 Choosing a character for a stick puppet9 Stick puppet

l0 Finger puppets| | Simple hand puppets12 Drink box puppetl3 Headbands and masks14 Scriptl5 Drama activity chart

5

)

)

)

)

l7

t8

lntroduction

& What is drama?Drama is essentially a creative activityinvolving movement, language,imagination, emotion, and socialinteraction to represent a story, a

situation. a moment or an act. Dramacan also involve clothing, objects,scenery and music. When the word'drama' is mentioned several wordscome to mind: roleplay, acting,pretending, miming, performance,

theatre, puppets, characters, scenes...the list is endless. In the classroom,drama activities range from simplegames involving movement, to anextended project culminating in publicperformance.

* Why use drama to teachEnglish to young learners?

Drama is an impoftant part of theschool curriculum in many countries.Through drama, children expand theirknowledge of the world; they learnsocial skills and develop theircommunication skills. When they takeon the role of another character, theyconsider the thoughts, feeling andperspectives of people different fromthemselves. At the same time drama isa natural part of child's play. Veryyoung children play 'let's pretend' forexample, they feed their toy animals,or drive their toy trains to the station.Children often act out events in theirlives which helps them understand the

world and gives them practice in adultsituations in a safe environment

Since drama involves using languagefor interaction and communication,drama activities have found their wayinto the language classroom. The

emphasis on real communication in

the language learning has also meant

that language teachers need to

consider context, intonation and bodylanguage as well as the actual words in

oral communication. Drama by itsvery nature involves all of these

elements.

When teaching English, teachers need

to concern themselves with more thanjust children's language learning.

Children are stil l developing andgrowing physically, emotionally andintellectually, and this wholedevelopment is not separate from

their English learning. This needs to be

considered when choosing activitiesfor the language classroom. Dramaactivities are ideal in this regard, asthey develop the whole child anddevelop the child's language skills atthe same time.

& Why dramatize stories?Stories are a major part of a child'sIife. Children hear stories told to themor read to them by parents, siblingsand teachers. Stories are brought tochildren through songs and rhymes,but also through television and thecinema. Many preschool childrennaturally want to act out stories they

enjoy and invite their parents, friends,siblings and even toys to play differentcharacters.

Events in stories often raisecomplicated life issues or theyintroduce children to aspects of theadult world they may not haveexperienced before. Dramatizingstories allows children to explorethese issues. For example, in thePenguin Young Reader Snow White ondthe Seyen Dworves, Level 3, jealousy,

romantic love, loyalty and revenge,and family relationships can all beexplored through drama. Drama alsogives meaning to the language of thestory. While familiarization of thestory is supported through readingand language activities, such as thosein the Penguin Young ReadersFactsheets, the story is furtherreinforced through dramatization.

* How do I choose the mostappropriate drama activity?Choosing the right activity for yourpupils and for the story depends onmany things:

OThe language ability of the pupils.Pupils with more language and greaterfluency can better handleimprovization activities, whereasbeginning pupi ls can mime and speakselected lines chorally.

lTheir general confidence level. Someclasses have a higher energy level thanothers and will enjoy more active,

vocal activities. Some pupils are moreconcerned with accuracy and are lesswill ing to try fluency activities, nomatter what their level.

iThe size of the class. Most of theactivities in this Guide can be adaptedfor different class sizes, but someactivities require particular numbers ineach group to match the number ofcharacters in the story.

lThe classroom environment. Youwill need to consider the use ofclassroom space in each activity andchoose those that can be adapted toyour classroom

iThe nature of the story and the text.Some stories have more action inthem and are therefore more suitablefor miming activities, and some havelittle action. Some story texts containdialogues to act out, some stories areprimarily narrative and do not havemuch direct speech. You need toconsider which activities naturally arisefrom the story and the text.

t When should I use drama?Pupils should be very familiar with thestory before using drama activities.Because drama requires confidence,spontaneity and imagination, pupilsshould know the story well and becomfortable with the language of thestory. Having pupils improvize ormime a story they do not know wellcan be demoralizing because itpresents challenges they cannot meet.

PART ONEDrama techniques

Broadly speaking there are three main

techniques to dramatizing stories:

Using movement without speaking,

which is called mime; using the printed

word either from a story or from a

script devised from a story; and freer

roleplay or improvization where pupils

use their own language resources and

creative movement to act out what

the characters of a story say or what

they might say and do. There are

infinite variations on these three broad

techniques. Pupils can be the

characters themselves or puppets can

be used. The whole story can bedramatized or just one or two scenes,

or a character can be explored. Real

objects can be used as props; simplecostumes such as a hat can be worn.Each of these techniques can beadapted to give more support or

create more challenge depending on

the level and needs of your pupils, andthey can all be used with the supportof a narrator, most often the teacher,to give structure to the story.

& MimeMime involves pupils imaginingthemselves as a character in the storyand using movement without words todepict the story as the teacher readsit aloud or describes a scene. Thistechnique focuses on the listening skillas pupils demonstrate understanding

of what they hear through their

actions. lt is, therefore, particularly

appropriate for pupils with less English

or as a lead-in to using a script orimprovization. Certain stories lend

themselves ven/ well to mime because

they contain a lot of concrete action.

For example, in the short story'Arnold's Spofting Adventures' in

Story Shops Wrnners ond Loserg Level

3, pupils can mime each spot't Arnold

tries. In the stoD/ The Golden GoosgLevel 2, pupils will enjoy getting stuck

to each other and walking around the

room with Simpleton. Young pupils

can pretend to taste the porridge and

sit in the chairs in 6oldlocks ond theThree Beors, Level l. Acting without

words can also be done with puppets.

Worksheet t t suggests simple handpuppets forTomThumb, Level l .

& Using story dialogues andscriptsUsing written dialogues, either from a

story or from a script based on a

story, combines movement with

controlled speaking. lt is important to

choose dialogues that pupils can learn

easily such as those with repetition or

rhythm. Again, puppets can be used

and scenery, props or costumes can

also be brought in to aid pupils'

imaginations. Ihe Three Billy Goots

Gruff, Level l, contains both narrative

and simple repetitive spoken text.

Pairs of pupils can also act out the

scene in little Red Riding Hood, Level 2,

between the wolf and Little Red Riding

Hood on pages l0 and | | with its

I

simple question and answer patcern.Many children's stories can be turnedinto scripts for plays. lf the scriptincludes some choral speaking,narration and simple lines, then allpupils can participate. Worksheet l4is an example of a script based on thestory, The Musicions of Bremen, Level l.It is possible to turn this script into afull stage production (see Part Fourfor more details).

* Role play andimprovization

In this technique, pupils act out a storyor scene creating the dialoguethemselves as they go along, withoutmemorizing a script or reading from astory text. Pupils therefore need touse whatever language they have toexpress the character's meaning. lf theroleplay is based on the story, thepupils' dialogue may be very similar tothe dialogue in the story. This showsthe teacher what language the pupilhas acquired from the story already.Roleplays can also be based on anarrated scene from a story (without

dialogue), or on an entirely new sceneintroduced by the pupils or teacher.Simple, repetitive stories such asGoldilocks ond the Three Beors, Level l,

are suitable for improvizing at thislevel. For Level 4 pupils, The Pied Ptper

of Homelin has several suitable scenesfor improvizing, such as the meetingbetween the Mayor and his men onpage 9, or the meeting between theMayor and the Pied Piper on pages | |and | 2.

) PART TwoExploring thestory

A story contains several elements -

sounds, characters, objects and scenes- which can be explored through thedramatic techniques described in PartOne. Focusing on a pafticular elementof a story helps pupils increase theirimagination and creativity in astructured way.

* SoundsAdding sound effects to your story is asimple way to bring the story to life.The sounds can be actual sounds inthe story, or narrative expressions togive response and meaning to the linesof the story. All pupils can participatein making the sounds and it can bedone with classes of any size.

First, establish the various sounds inthe story and at what point theyoccur. Discuss with the class if thesound should be loud or soft, long orshort, and so on. Have the whole classmake the sounds in unison while you

call out the scenes. Then read thestory aloud in a dramatic voiceshowing pupils the il lustrations in thebook at the same time. Pause at theappropriate moment while the wholeclass makes the sounds. Alternatively,the class could be divided into smallergroups and each group is responsible

for a sound or, if they are confident,

pupils can make up their own sounds.Read the story and pause as eachgroup makes their sound at theappropriate moment.

Here is the text of The Little Mermoid,Level l, with suggestions for sounds inbrackets. Worksheet I also gives

sound effects for The Princess ond theFrog, Level 3.

The sea king l ives in a castle. His castle is under the sea. The king

has six sisters. They are girls with fish tails (swrsh swish swishy swish).

One mermaid looks at the ships. She l ikes to see the men and women

(Oooh!). Men and women have legs, not fish tails (stompfeet

rhythmically). She can see a handsome man (romantic Ahhhh!). lt is

very windy (whooo! whoooo! or other blowing sounds). The ship is going

down. The men and women jump in. (Help! Splash!) The little mermaid

does not like to see the men and women in the water. The little

mermaid helps the handsome young man. She l ikes him (romantic

Ahhh!). She swims to the sea monster, he wil l help her get legs. 'Drink

this, ' says the sea monster. 'Swim to the sand. Find the young man

again. 'Thank you,'says the l i t t le mermaid and drinks it quickly (glug,

glug glud.The little mermaid swims to the sand and has legs! (stomp

f"ut).She speaks to the young man. The l i t t le mermaid l ikes the young

man, but he l ikes another { ir l (aw!!). She goes to her sisters. She is a

mermaid again. (swish swish swishy swish) She is unhappy now. (crying

sounds) 'What's the matter?' ask her sisters. She does not answer,

she looks at the ships (big sigh).

& ObjectsMany stories have obfects which arecentral to the plot, for example themagic lamp and the magic ring inAloddin ond the Lomp, Level 3. Mimingobjects from a story or several storiesis a simple technique, and theconcrete nature of objects makesthem easier to mime. Worksheet 2 isa miming game which uses objectsfrom Sleeping Beouty, Snow White andthe Seyen Dworves and Honsel ondGretel, all Level 3 stories. Pupils workin groups of four to six. Check thatpupils know the meaning of the wordson the cards. Each group has a set ofcards face down on the table. Pupils in

turn take a card and mime the object.The other pupils must guess the

object and the story it comes from.The first person to guess correctlygets to keep the card. The pupil with

the most cards is the winner.

* CharactersDrama activities can focus on more

than just a character's words. Pupils

can also explore the character's

actions, their voice, the way theywalk, their inner thoughts and feelings,and their past experiences.

Action symbol

With the class, decide on an action or

simple mime to represent thatcharacter. Practise these actions with

the whole class by calling out the

character. The whole class then does

the action. Next read the story to the

class. Each time a character is

mentioned the pupils do the action forthat character. For example, for LiuleRed Riding Hood, Level 2, here arepossible actions for each of the maincharacters:

I Little Red Riding HoodArm bent as if holding a basket,skipping

t The WolfHands up as paws and a snarling face

I GrandmotherHands over face in a gesture of fear

I WoodcutterSwinging an axe

Wolking characters

lf possible, clear a space in the

classroom for pupils to walk around. lfthe size of the classroom or furniturerestricts this, ask pupils to walkbetween the desks and up and downthe aisles. Call out the name of acharacter from the story. Pupils mustimagine that they are that character

and walk the way they imagine the

character to walk. After a few

seconds. call out another character.Encourage pupils not to follow eachother. For example, in the story Snow

White ond Rose Red, Level 2, the two

sisters would walk side by side or armin arm, the bear could walk with big

slow steps, the dwarf fast little steps

with a grumpy expression; and theprince could walk with relaxed

comfortable strides, hands behind his

back or on his hips with his head held

high.

Find your ponner/group

In this activity each pupil is given acard with a character's name on it.There should be at least two cards ofeach character, depending on your

class size and the number ofcharacters in the story. Shuffle thecards and hand out one to each pupil.Tell the pupils not to show their cardto each other. Pupils should walkaround the classroom saying a linespoken by their character in the story.The pupi ls should f ind the other pupi ls

who have the same character. Pupilsshould be encouraged to speak in thevoice of their character. To give pupilsmore support, the line could bewritten on the card. To make theactivity more challenging pupils canimprovize a line that the charactermight say or think.

Here is an example using Tom Thumb,Level 2I Don't eat me! (Tom)

I I was scared! (mother)O You can work for us. (2 bad men)I What a clever little boy!(policeman)

t Well done, Tom! (the King and

Queen)

Interuiew a chorocter

This activity allows pupils to explore acharacter in more depth, for instance,to find out a character's intentions. ortheir point of view. In this waycharacters are given real, humanqualities which leads to a deeperunderstanding of the story butperhaps more importantly, encourages

pupils to examine stereotypes ornegative portrayals of people andanimals sometimes found in traditionalstories.

One pupil plays the role of thecharacter and one or two other pupilsinterview the character. The activitydemands a degree of creativity andsPontaneity. For more suPPort,Worksheet 3 is a planning sheet forpupils' questions. At the same time,those in character roles can gettogether to discuss their character inpreparation for the interview. Aspupils interview a character they cantake notes on their responses forreporting back later. This activity issuitable for stories such as A Thief inthe Villoge, Level 4, where thecharacters' intentions and feelings arenot explicitly expressed in the story.Pupils could roleplay and interview BigWalk and Duke, for example. InHonsel ond Gretel, Level 3, pupils caninterview the stepmother to find outher point of view. Worksheet 4provides even more support forinterviews between the police and

Jake Lima, and the police and the twochildren in the first carcoon story inStory Shop: The Present, Level 2.

A variation on this activity is to haveone or two pupils give a characteradvice or discuss a particular problemthe character is having. Again, inHonsel ond Gretel, Level 3, pupils couldtry to persuade the father to stand upto his wife and not leave his childrenin the forest. In lhe Pied Piper of

Homelin, Level 4, pupils could persuadethe mayor to pay the Pied Piper, ortr,v to convince the Pied Piper not totake the children from the village.

* Scenes

Dramatizing scenes helps to breakdown a story into more manageableparts. In these activities, scenes areexplored through mime, dialogue orboth.

Snopshot scenes

Choose several scenes from the story.Put pupils into groups according to

the number of characters in the story.A scene is called out to the whole

class, or that part of the text is read

aloud. Pupils quickly decide who is

which character and pose as if theywere in that scene. For many scenes,pupils may arrange themselves like theillustration in the book. For example,in Sleeping Beouty, Level l, the scenesmight be:t The king and queen are on thebalcony speaking to the crowd.I The good fairies lined up to see thebaby.I The princess has fallen asleep.i The Prince walks through the castle.Everyone is sleeping.I The princess wakes up and seeseveryone.i The prince and princess getmarried.

Guess the scene

In this activity, the scenes are mimedby a group of pupils and the otherpupils try to guess or describe what ishappening. The scenes can be written

on slips of paper for the miming groupto read. An example of this isWorksheet 5 for Gnderello, Level 2.This activity could also be done as ateam activity, with one team mimingthe scene for another team.

Dialogues

Many stories have a combination ofnarration and direct speech. Pupils cancreate a dialogue between characterswhere the original story has narration.This allows pupils to bring parcicular

scenes to life through the spokenword, and to explore characters inmore depth.

Written diologues

ln Ropunzel, Level 4, pairs of pupils canwrite the dialogue between the man

and his wife after he has stolenvegetables from next door, the Princeand the Princess as they chat in thetower, and the Prince and Rapunzelwhen they see each other again. Afterthe dialogue has been written, pairs ofpupils can practise them and act themout. This activity is suitable for Levels3 and 4 but can also be adapted for

Levels I and 2. Worksheet 7

demonstrates one way to adapt this

activity for a Level I story, SleepingBeouty.

Improvized diologues

Prepare a list of several scenes from a

story the pupils know well, and thenumber of characters in each scene.To encourage spontaneity, ask pupils

to walk around the room in noparticular direction. Ask pupils to

form a group containing the numberof characters in the first scene. Whenpupi ls are in their groups, describe thescene from the story. Groups quicklydecide on characters and act outscene with whatever language theyhave.

Pinocchio, Level 4, has several distinctscenes for this activity: Geppettomakes Pinocchio, the police put him inprison, puppet show and the puppetmaster, the cat and the fox, the bluefairy, the donkey children, meetingGeppetto in the fish, and going home.

l$, Exploring one story

The ideas above can be used in aseries of lessons exploring one storythrough drama. After pupils are veryfamiliar with the story they can buildup their dramatization first throughsimple mimes or sounds, thenrecreating scenes, to extendingscenes through improvization orcharacter exploration. lt helps to'brainstorm' various activities aroundone story before planning a series oflessons or choosing particularactivities.

Read story, pupilsmake sounds

SoundsCreaking castle door, Giant's feet

stomping, Giant eating, Giantsnoring, bread oven door closing,

hen clucking, feet running, axechopping, beanstalk, Giant falling

Read story, pupilsmime objects

ObjectsBeans, cow, plate of Giant

food, bag of gold, hen,harp, axe

Jack and the BeanstalkLevel 3

ScenesMother tells son to sell cow, Jack andold man trade, Jack shows mother the

beans, Jack meets the Giant's wife,Giant looks for Jack, wife talks to

Giant, Jack tells his mum about theGiant and the castle

Characters

Jac( Jack's mother, oldman, Giant, Giant's wife

lnterview Jack'smother, Giant,

Giant's wife

PART 3 Makingthe story real

Concrete items, such as puppets,

ProPs and costumes, suPPort drama

activities based on stories. They helpto bring the story off the page of thebook and into real life. Pupils find thatthings they can touch, hold, see, andwear, help them with the meaning of

the story. Young pupils are able to

believe in puppets, and in some waysthey are more 'real'to the pupil thana classmate acting as a story character.

* PuppetsPupils enjoy talking to puppets andmaking puppets talk so they are idealfor dramatizing stories. Many of thestories and activities already described

are suitable for puppets. Pupils canmake their own simple puppets. As a

craft activity, making puppets givespupils exposure and practice in thelanguage of instructions and reinforces

language describing the characters of astory. When making puppets in class,

make sure you show pupils a model of

the puppet, demonstrate clearly how

to make the puppet, have enoughmaterial for everyone, and make 'clean

up' a structured part of the lesson.

There are several types of puppets

you can make. Some have movingmouths and some do not, some work

better for animals, some for people.

Choose the type of puppet suitable for

your story, your pupils and yourresources. Here are simple puppetsthat can be made with few materials.

Stick puppets

Worksheet 9 shows how to make astick puppet for The Ugly Duckling,Level 3. The worksheet itself givespupils reading practice. Worksheet 8is a planning sheet to help pupils

remember all the characters in thestory and think about which characterthey want to make. Of course, if youplan to dramatize the whole story, you

will need to make sure all of thecharacters are made.

Finger puppets

These simple puppets involve drawing,colouring, cutting and sticking.Worksheet I0 gives finger puppet

templates for the characters in lheTinderbox, Level 2.

Hand puppets

These puppets are made by drawing

on your hand with non-toxic,coloured markers. Worksheet t t

shows several ways of doing this using

the characters in lom Thumb, Level 2.

Drink box puppets

Many types of puppets can be made

with 'junk' or recyclable materials.

This puppet is made by cutting and

folding an empty drink cafton.

Worksheet l2 is a reading activity

where pupils label the pictures,

complete the words and finally, follow

the instructions to make the puppet.

I MasksMasks representing the characters inthe story are worn over the face.Pupils will enjoy making masks asmuch as they do puppets. Be sure tokeep glitter and other decorativematerial away from the eyeholes as itmight come off and get into a pupil 's

eye.

When making elastic masks, makesure they only cover the eyes andupper face, or make an adequate holefor the mouth and nose so the pupil

can breathe. Worksheet 13 showsthe robber's mask in lhe Musicions ofBremen, Level l. Stick masks are madejust like stick puppets. The pupil holds

the mask over his/her face as they areacting. Stick masks are easy to makeand allow the pupil to breathe, butmovement is restricted as one hand is

always used to hold the mask. Stickmasks would be suitable fordramatizing lhe Three Billy Goots GruffiLevel l .

* Props and costumesProps are objects used by thecharacters in the drama, and costumesare the clothing that the characterswear. Props help pupils play out ascene and costumes help them stay incharacter. Props can be items found athome or they can be made withpaper, scissors and glue. Costumesneed not be a whole suit of clothes,and they need not be exactly like theclothing in the il lustrations in the

story. Usually, a hat or a jacket is

enough to represent a character, and

they are easily removed so pupils can

switch roles. Some costumes like hatscan be made by the pupils as a craftactivity. Old adult clothing is oftenenough to put the pupil in an adultrole. Here are suggestions for props

and costumes for different PenguinYoung Readers.

) Goldilocl<s and the Three Beors, Level IProps: 3 bowls and 3 spoons, a smallchair, a pi l low.

Costumes: elastic masks from PenguinYoung Reoders Teocher's Guide to UsingStories in Closg photocopiable

worksheet; a headband with yellow

hair made from strips of paper.

t lhe Golden 6oose, Level 2Props: an axe, bread, a golden goosemade from cardboard and coloured

PaPer.Costumes: a green coat or green

button-up shirt brought from home.

I Snow White ond the Seyen Dworves,Level 3Props: make a mirror and a swordfrom cardboard and aluminum foil, anapple, and a hair comb.Costumes: make crowns and hatsfrom paper, bring in a headscarf.

) The Pied Piper of Homelin, Level 4Props: a recorder or a plastic whistle.Costumes: a hat with a feather madefrom paper.

@ Scenery

Scenery represents the arrangementof the environment, the buildings, theland, the furniture, and so on in astory. Scenery can be as simple asarranging classroom furniture torepresent roads, houses, caves andbridges, or as involved as a life s,izemural designed and created by a classover several weeks. Some scenery iskey to the story such as the greengrass and the bridge in lhe Three BillyGoots Gruff, Level l, or the bed thatGoldilocks sleeps in. In these twostories, classroom furniture can beused: 3 chairs together can be a bed,and they can also be a bridge.

Making backdrops or murals for apuppet theatre or a dramaperformance is another worthwhilecraft activity for pupils and can providemeaningful language practice if pupils

are encouraged to plan their sceneryand talk about it, or if they createscenery from a description, ratherthan copying from the illustrations inthe book. For The Ugly Duckling, Level3, pupils can create backdrops onlarge pieces of paper to be used withthe stick puppets in Worksheets 8ond 9. These backdrops can bepainted, drawn and coloured, or cutand pasted. Scenery for this storycould include the following: springtime with nest and €ggs, water withweeds, farmyard and barn, the river, ahouse, a cold rainy day, inside theman's house, and the lake by a castle.A simple puppet theatre can be made

by suspending a blanket between twopieces of furniture in the classroom.The backdrops can be stacked on topof each other in chronological orderand can be taken down one at a timeas the story progresses. Pupils kneelbehind the blanket and move theirstick puppets in front of the backdrop.

PART FOURDrama productions

Dramatizing a story can consist of ashort lO-minute classroom activity toa whole lesson or series of lessons.The result of classroom dramaticwork does not necessarily need toend in a public performance. As it hasbeen shown in this Guide. classroomdrama activities serve many learningpurposes, the most important being toraise pupils' confidence in expressingthemselves. However, pupils may alsoenjoy and learn from putting on a fulldrama production as a project for theterm or school year. Rehearsalsthemselves provide purposeful

repetition of language. Making props

and scenery develops social andorganizational skills. Putting on aproduction, however, involvesconsiderable planning. A puppet

theatre, like the one suggested abovefor The Ugly Duckling, Level 3, may bea more manageable production foryour class in your school.

PRODUCTION CHECKLIST

Script

ls the script suitable for your pupils in terms of level, inreresf familiarity and soonl Does it need to be adaptedr rs the rength suitabrer

Cost

Are there enough characters for mosq if not ail, of your pupirs to prayl rf not,do all pupils have meaningfur and significant work to contribure, such asarranging scenery or working with lighting or musicl Are the characters suitablefor the pupils' curture, maturity, gender, and personarities?

Director

Will you be the director? Or you and another pupil?

Costumes

What clothing shourd the pupirs wear? What items of crothing do you need?What can be made? what can be brought from home or borrowedl

Props

Which props are essentia[ can you or pupirs bring in props from home orgather them around your schoor? can you'make any of the props?

Moke up

what rhake up is necessary? Are you using make up or face paints which aresuitable for pupils' skin?

Scenery

What scenery do you need? what furniture do you need? who wirf make it?When' and with what materialsl lf some pupils are acting in the pfay and someare making the scenery' how will you manage different pupils doing differentthings at the same time?

Lighting

What lighting is needed? At what points in the prayt How will it be providedl

Music

fs music needed? What kind of music and for which parrs of the pray? Do youhave musical instruments, a cD ptayer or a hi-fi to use in the performancevenue? lf not, can you and the pupirs make musicar instrumentsl

PRODUCTION CHECKLTST conrinued

Performance locotion

Where will the performance take placel ls it large enough? ls there enoughroom for the expected audience? Do you need to book or reserve the venuel

Offstage

Do you need an 'offstage' area before, during or after the playl This could bethe same room as the performance if the audience is noi allowed to enterbefore a certain time.

Reheorsol schedule

Will you rehearse during class or after class? Do you need parental permission?Have you scheduled the date of the dress rehearsall

Dote(s) and time (s) of performance

When is the performance? Will you have repeated performancesl

I nvitdtions d nd on nouncements

Who is your audiencel Who will design the invitations? How will they bedistributed? How else will the play be advertised?

Photogrophs or videotoping

Do you want the performance recorded in any wayl Who will do it?

Worksheet l4 provides a scriptcreated from the story The Musicionsof Bremen Level l, suitable for a fullproduction. lt can be done with largeor small classes, because the numberof pupi ls in the chorus is unl imited andthere can be more than three robbers.Since the story is more suitable for 5-7 year olds, the teacher should be thedirector and the narrator. Forcostumes,Worl<sheet l3 shows howto make headbands and masks. Pupilsplaying robbers can wear black, andthe pupils playing animals can wearbrown and gray clothing. Face paintscan be used for whiskers on the

animals.. . and the robbers! Propsneeded are a stick for the master andplates and spoons for the robbers.Pupils can paint two large backdrops.One backdrop is the countryside forthe first half of the story, and theother is a house at night time for thesecond part of the story. A table andchairs are needed for the scene in thehouse. When night falls in the story,the lights in the classroom can beturned off and pupils can turn ontorches. When the one robberreturns to the house, the animals canhold their torches under their facespointing upwards for a scary effect.

PART FIVEDrama and yourpupils

:lir, Introducing drama toyour classI Introduce drama into yourclassroom in small amounts, so pupi lsbecome used to movement, mime,voice, sound and so on. Adapt thesimple act ivi t ies in this Guide to useas warmers or short activities inother topics you may be working onin your class. For example, pupi ls cando the Walking Characters activity(page 7) with the teacher givinginstructions such as 'you are late forschool' 'you are very tired', 'you arewalking on hot sand', and so on.

I Use dramatic elements when youtell or read stories. For example usegestures, use different voices for thecharacters, and bring in props to holdup and use as you tell or read thestory.

I Start with simple activities thatpupils can do all together, and slowlybui ld up to act ivi t ies which demandmore spontaneity, confidence andcreativity.

Establishins positiveattitudes towirds drama

I Establish a safe environment bygiving pupils plenty of chances to usedrama with trusted classmates, or todo mime or say lines together withthe whole class. Not all dramaactivities need to end withperformances in front of the wholeclass.

I Be sensitive about casting - someboys may be uncomfortable playingfemale roles and vice versa, or somepupils may not like to tal<e on the'bad'characters. However, it may beappropriate to encourage pupils totake on different roles in order toexplore them and expand personalboundaries.

I Praise pupils for their efforts.

I Offer constructive feedbacl< and donot to be over critical.

I Never force pupils to perform oruse performance as punishment.

O As pupils increase in imaginationand confidence, let them contributetheir ideas to the activity.

I Make dramatic activities a regularpart of the teaching programme.

i

I

@' Classroom management

I Plan the number of characters andnumber of pupils for your activities inadvance so each pupil has a role to

Play.

I Plan the use of space in yourclassroom.

I lf groups are performing for thewhole class, be sure to give the othergroups a purposeful task while theywatch.

I Enlist pupils in helping to arrangethe classroom. Do this on a regularbasis so it becomes a paft of theclassroom routine.

I lf pupils are deliberately misbehavingthen ask them politely and non-judgementally to sit down and watch.Invite them to join in again after theyhave calmed down.

& The role of correction

I Refrain from correcting pupils'grammatical mistakes duringimprovization tasks which areintended to focus on language fluency

and expression.

I After an improvization activity focus

on particular phrases or vocabularyitems that pupils needed to expressthemselves better, but avoid focusing

on small grammatical errors.

I For activities with more controlledlanguage use, some self- correctionmay be useful for the pupil.

I Correction of mistakes shouldnever take over the main aim of adrama activity.

I Rehearsals for performancesprovide opportunities to work onlanguage accuracy. In this case, pupilssee the purpose of the correction andare motivated to be accurate.

) BiblioElraphy

Chaplin, Al ison ( 1999). Dromo 7 to 9.

Scholastic Ltd: UK

McCaslin, Nellie (2000) Creotive Drama

in the Clossroom ond Beyon4 seventh

edition. Addison Wesley Longman Inc.

Phill ips, Sarah ( 1999) Dromo with

Children. Oxford University Press.

Working with sounds

The Princess and the Frog

Knock, Knock "R'ibbit' ribbif' Hurray!

Hop, hop, hoppity hop Creaaakl

Ah h hhhl Srrrrl u( b! Slam! CloP, cloP, cloP, cloP

Pitter patter Pitter Patter.

Sptash, splash, splash! R,ibbir, ribbil.

Match the sounds to the part of the story

.N

The golden Qu) Uotl bgunced into the pond

she sow q smal , @frog.ffiThe ffi princess ron foster ond foster'

She sow

He guickly hoPPed uP the hil l .

He knocked on the door.

The princes s oPened the door.

She shut the doo r ve?Y quicklY.

He stuck out his long pink jfu tongue ond

took some lettuce.

She wolked uP tha stoirs quicklY.

"6ood night my pretty f riend," she soid'

The prince ond princess got morrted.

They we?e next to the Pond looking

for six frogs.

Miming objects

Srxspw W&ru$*m mxred &fum ffi*wmsx ffiwmx-wms

Mmmmqsx$ aaxxd ffi*.m*m$

ffiwmux*y mms* *$xm ffimmm*

the queen'smagic mirror

a swordpoisoned apple

a poisonedcomb

sticksmall white

stones

bread cookies, cakeand chocolate

a bone

a hot oven woodthe Beastts

magic mirror

a flng

A.=t ,zr\zS(KrSFz/ l//

a new blue suitand grey shoes

4q

lnterview

Title of story:

Charactert

My guestions Choroct er's reply

L

2

3.

4

5

Role cards

You are the policemon.

Ask loke Lima some guestions.

QUESTTONSWere you at home todayl

Where were youl

Why did you go there?

When did you leave your house?

Do you know these two childrenl

ANSWERS

fiirlc,Tn,5-r V$--

Qjr\

You ore the policemon.

Ask Morio these guestions.

QUEST'ONSWhat is your full name?

How did you get to Jal<e Lima's

Who were you with?

Why were you in Jake Lima's treel

ls this your first t ime at Jake Lima's house?

What did you see?

ANSWERS

housel

( 9 ) s

You are the policemon.

Ask Som these questions.

QUESTTONSWhat is your full namel

How did you get to Jake Lima's

Who were you with?

Why were you in Jake Lima's tree?

ls this your first t ime at Jake Lima's house?

What did you see?

/r^-'"\\g/

ANSWERS ,_6Ly'1

@,ffi=house?

Mime and guess the scene

ffi$mdmne&$m

The two ugly sisters make Cinderella work.

A letter arrives. The ugly sisters decide to go to the ball.

Cinderella is sad. Then the Fairy Godmother arrives.

The Fairy Godmother gives Cinderella abeautiful dress and shoes.

The Prince dances with Cinderella.The ugly sisters watch them.

It 's l2 o'clock. Cinderella runs away from the Prince.

The Prince findsher shoe.

The Prince tries the shoe on the ugly sisters.

The Prince sees Cinderella. The shoe is hers!

The Prince and Cinderella get married.

Character actions

$mm$w msx# tr$.sm ffiwmwrem*m$$q

The old man showing the fiTf Mother throwing away themagic beans. \,6\ beans angrily.

Jack climbing the beanstalkand seeing the castle.

The Giant stomping aroundlooking for Jack.

The wife with a bigplate of food.

Jack jumping into thebread oven.

Jack stealing the goldand climbing down the

beanstalk.

The Giant eating andfall ing asleep.

7\

)(1t , , /

( ()-\ )

The Giant fall ing down.Mother chopping downthe beanstalk.

Creating dialogue

da * ! qi""

) . i ; " { ' 1 fe ; } : " f . . } , i : ; " : , '

to the p.ri of the story.There is one missing.e words next

,/fi "Here isa present for the princess. Ha! Ha! Ha!"

"Ouch! My finger!""Who are you?" "I am a prince."

"My people! This is our new baby!""Oh, she's lovely!"

"Oh dear! She's sleeping!""Will vou malTv me?" "Yes!"

"What's the matter? Everyone is sleeping!"

Page I

Look at the baby princess.

Page 2 and 3

She is a beautiful baby. The goodfairies give presents.Page 4 and 5

Oh no! The bad fairy. She gives abad present.Page 5

She hurts the young princess.Page 7

It puts her to sleep.Page 8

The princess sleeps and sleeps.Page 9ooWho lives in that castle?"

Page l 0

Everyone is standing andsleeping.Page | |

He touches her . . . .Page I IooShe's beautiful!"

Page 12

and she wakes up.Page 13

Everyone wakes up.ooHello! Hello!"

Page 14

Everyone smiles. They arehappy.

Choosing a character lor a stick puppet

3 characters from the story are missing?

Now, circle the character you wil l make into a stick puppet.

the mother duck the ofd womon

the boby ducks

the ugly duckling

the hen

the cot

two white ducks flying swons

two girls

the mother

hens

geese

a frog

wifd geese

the ugly duckling os o swon

three swons swimming

the hunter ch i I dren

Stick puppet

You need:

somecard e

Ewhite gfue tr

crayons or penci ,r #

scissors 3k

Drow the character.

Colour it.

Cut it out.

Glue on the woodenstick.

Let it dry.

Put on some fupe.

Finger puppets

Whw W$xredmrbmw

Simple hand puppets

Wmmre X-$ruasmfu

Drink box puppet

Write the words under the picture.

scrssors

glue

an empty drink box

colored pens or crayons

Fi l l in the blanks

2.

3.

t .

Clean it and dry

c your drink box.

Dr and c r ears, eyes, hair etc.

PaPer

tape

it.

4.

5. Cut them out.

St6.

7.

aow

them on glue or tape.

Make your puppet talk!

41.r\ -GP

-t<---'Y\--l' I,/^ffitl n

'z::'t''-"''-;ut- |

/ / \z \J f rg\/ \<.. ,/ \ > Snll- v r.q lltrlv/

;i*!rli;di 29 i1lt4i1tll{itstiiiiiiittli]tciri:{.lit*t;$$lsi$s$ltisltiglsil]iltillllt]le{!$ir$ii6lt4ingcBs$iid*i$ls*ssiag&&wsffis

Headbands and mask

Ykn Maxs&mXmxxs *# ffirmrw*rx

The donkey

gffiThe cat

dog

trru

The robbers

Punch holes in eoch side.Iie some elostic string in the holes

Drow ond cut out eorsTope or glue onto strip of poper.

Glue the ends together

iq 3,1:

Script

Scene INarrator:

Master:

Narrator:Chorus:

Scene 2Narrator:Donkey:

Narrator:Donkey:Dog:Donkey:Dog:

Donkey /Dog:

Chorus:

Narrator:

Donkey/ Dog:Cat:Donkey:Cat:

Donkey/DogCat:

Chorus:

Narrator:

Donkey/DogCatlCock:Donkey:Cock:

Animals:

Chorus:

Scene 4Narrator:Animals:Cock:Cat:Animals:Narrator:Animals:Robber:Chorus:

Animals:

Narrator:

Chorus:

Ail:

Yh* Mus*clarxs #f mre*?"xes*

Once upon a time there was adonkey. He l ived in Bremen. Hismaster was veD/ mean.Come here, donkey! Come here,you!So the donkey ran away.Run awoy donkey, run oway fast.Run owoy donkey, don't go back!Run owoy donkey, don't be slow!Run owoy donkey, go go go!

What now? the donkey thought.I like to sing! | can sing withfr iends! Hee haw! Hee haw! HeeHaw!Then the donkey met a dog.Hello, dog!Hello, donkey!Can you sing, doglYes I can! Woof, woof! Woolwoof!Hee haw! hee haw! / Woof woof!Woof woof!Heor them sing, what a beoutifulsonglHeor them sing oll doy long!Then the donkey and dog met acat.Hello cat!Hello donkey, hello dog!Can you sing, catlYes I can! Miaow! Miaow! Miaow!Miaow!

Hee haw!/Woof woof!/ Miaow!Miaow!Hear them sing, whot a beautifulsongHeor them sing, all day long!Then the donkey, the dog and thecat met a cock.

Hello cock!Hello donkey, hello dog, hello cat!Can you sing, cock?Yes I can! Cock-a-doodle do!Cock a doodle do!Let's sing in Bremen! Hee haw!/Woof woof! / MiaowMiaow! /Cock-a-doodle do!Hear them sing whot a beoutifulsong: Heor them sing all doy long!

Scene 3Narrator:Animals:Donkey:Dog:Cat:Cock:Donkey:Dog:Cat:Animals:Narrator:

Chorus:Animals:

Chorus:

Robbers:Robber l :Robber 2:Robber 3:Narrator:Chorus:

Soon it was night time.We're hungry!Look!What?A house!WherelThere!A house!Beds!FOOD!!The donkey, the dog, the cat andthe cock went to the house. Theylooked inside and they saw...ROBBERS!Let's sing! Hee haw! /Woof woof!/ Miaow Miaow! /Cock-a-doodledo!Hear them sing, whot a terrible song.Heor them sing, all night long!What's that?!Help!Help!Let's go!And the robbers ran awayGo awoy robbers, go away fost!Go owoy robbers, don't come back!Go awoy robbers, don't be slow!Go away robbers, go go go!

The animals were happy!FOOD!I 'm hungry!Me too!(slurp, slurp)But one robber came again.(snarl)Big monsters! Big teeth! HELP!Go owoy robber, go awoy fost!Go away robber, don't come bock!Go away robber, don't be slow!Go owoy robber, go go go!Let's live here forever! Hee haw!/Woof woof! / Miaow Miaow!/Cock-a-doodle do!And the musicians of Bremen l ivedhappily ever after!Heor them sing, whot a beautifulsong! Hear them sing, oll day long!

THE END!

Drama activity chart

LI 5-7 Goldilocks and the Three Bears Mime, improvization, props, costumes,masks

5-7 Sleeping Beauty Mime scenes, written dialogue

5-7 The Music ians of Bremen Controlled dialogue, masks andheadbands, full production, script

7-9 The Three Bil ly Goats Gruff Controlled dialogue and narrator,stick masks, scenery

7-9 The Litt le Mermaid Sounds

L2 5-7 Tom Thumb Hand puppets, mime, character voiceand l ines

5-7 Story Shop: The Present Roleplay interviews

7-9 Litt le Red Riding Hood Controlled dialogue, character mimes

7-9 The Tinderbox Finger puppets

7-9 Cinderel la Mime and guess the scene

9- t l Snow White and Rose Red Walking characters

9- t l The Golden Goose Mime, props, costumes

9- t l Aladdin and the Lamp Objects

L3 5-7 The Ugly Duckling Stick puppets, scenery, puppet theatre

5-7 Jack and the Beanstalk Sounds, mime objects, mime scenes,dialogues, walking characters,interviews

5-7 The Princess and the Frog Sounds

7-9 Hansel and Gretel Mime objects, interviews, advice to

character. mime scenes

7-9 Snow White and the Seven Dwarves Mime objects, props, costumes

7-9 Story Shop: Winners and Losers Mime

9- t l Beauty and the Beast Mime objects

L4 5-7 Pinocchio lmprovization

7-9 Rapunzel Written dialogues

7-9 The Pied Piper of Hamel in lmprovization, giving advice, props andcostumes

9- t l A Thief in the Vil lageand other stories

lnterviews

, .. ' ' 'r 'rl :ll.l -t1 lili *:l:lir '{l'lil l:rr:;"11! lllr,,, ,lll t' ;,,:lt, q'*t ;l{r i,ll lll" ',' i'rir ll {l !l i:rl: :r: l l i rh i r l t - ' . ,I

32

Other resource materials available free for teachers

Penguin Young Readers FactsheetsEach factsheet is based on one Reader and consists of:. a summary of the book. information about the story and its author/background. lively, photocopiable activities

PenguinYoung Readers Factsheets are free to download from our websitewwwpenguinreaders.com

Penguin Young Readers Teacher's GuidesPenguinYoung ReadersTeacher's Guides to Using Stories in ClasslsBN 0 582 344t9 0Penguin Young Readers Teacher's Guides to Dramatizing StorieslsBN 0582 471095Penguin Young Readers Teacher's Guides to Using Topicsl s B N 0 5 8 2 4 7 | | 0 9

Penguin Young Readers Teacher's Guides are free to download from ourwebsite wwwpenguinreaders.com

For a full list of Readers in the Penguin Young Readers series, andcopies of the Penguin Readers catalogue, please contact your localPearson Education office:Penguin Longman Publishing,5 Bentinck Street, London W I M 5RN.tel:020 7487 6027,fax:020 7487 6047.e-mail: catherine.timothy@pearsoned-ema.com

Pearson EducationEdinburgh Gate, HarlowEssex CM20 2JE, Englandand Associated Companies throughout the world.

@ Pearson Education Ltd 2001

Designed by John Hawkins. Artwork by B. Dowty/G-C I

All rights reserved; no port of this publicotion moy be reproduced, stored in oretrievol systern, or tronsmitted in ony form or by ony meons, electronic, mechoni-col, photocopying, recording, or otherwise, without the prior wrinen permission ofthe Publishers.

Published by Pearson Education Limited in association with Penguin BooksLtd., both companies being subsidiaries of Pearson plc.

lsBN 0 582 47t095

Penguin Young ReodersTeocher's Guidefo Dromofizing StoriesPenguinYoung Reoders leocher's Guide to Dromatizing Stories offers teacherspractical advice on the use of drama in the classroom, from simple tamesinvolving movement to public performances.

PenguinYoung Reoders Teacher's Guide to Dromatizing Stories includes:. an introduction to dramao how to dramatize stories, using mime, from scripts, or roleplay. how to explore various parts of a story. how to bring the story alive, with puppets, props and sceneryo how to plan a drama production. using drama in the classroom

PenguinYoung Reoders Teacher\ Guide to Dromotizing Stories also includes thefollowing photocopiable activities:

I Working with sounds2 Miming objects3 lnterview4 Role cards5 Mime and guess the scene6 Character actions7 Creating dialogue8 Choosing a character for a stick puppet9 Stick puppets

l0 Finger puppets| | Simple hand puppets12 Drink box puppetl3 Headbands and masks14 Scr ip tl5 Drama activity chart

I S B N 0 - 5 8 2 - 4 7 1 0 9 - 5

ThisTeacher's Guide and all PenguinYoung ReadersFactsheets can be downloaded from www.penguinreaders.com

Published and distr ibuted by Pearson Education Limited,ilil|ruilt|ilililil