Drama GamesBeat it!

kids created sounds and rhythms using hands, feet, voice

Alien orchestra!
it's a rhythmic sound and movement game in which children tried to
create a synergy of sounds using imaginary" alien instruments"
The games engendered an atmosphere of fun and creativity involving
more senses
Mirror game
- it's a rhythmic movement game in which students develop trust and
cooperation skills
- it promotes inventiveness, clowning and timing

Charades
- it's a word guessing game in which a child/player acts out ( using
pantomime) a word/ image from the flash cards

Mimie/ Pantomime
- this exercise helps children learn how to communicate using only their
body language

Script analysis
The critical interpretation of a script to achieve an understanding of
it.

Storytelling
A means of creating (or re-creating) and sharing stories. The stories
may be familiar or unfamiliar, the stories of others or the students'
own. In drama, storytelling is a means of sharing and reflecting on each
others' experiences and the experiences of the group.

Story theatre
Techniques used in drama as stories are told. Either the story is told
by a narrator while others perform it through mime or while speaking
the dialogue; or the narration is provided by those who are acting out
the characters, animals and inanimate objects.
Tableau
A still image, a frozen moment or "a photograph". It is created by
posing still bodies and communicates a living representation of an
event, an idea or a feeling.

Tapping in
A means by which those individuals represented in a tableau may be
prompted to express their response to that particular moment that is
captured in time and space by the tableau. The teacher places a hand
on the shoulder of one of the students in role in the tableau and poses
questions that are designed to reveal the actor's thinking about the
situation represented by the tableau.

Teacher in role
The most effective way for teachers to work in contextual dramas. By
taking on roles, the teacher is able to provide the students with a
model for working in role through the use of appropriate language and
apparent commitment to the work. Role enables the teacher to work
with the students close to what is happening and to facilitate the
shaping of the work from within. The role that the teachers chooses
will depend upon what she or he hopes to achieve within the work. See
Appendix A for information about the basic types of role available to
the teacher.

Imaging
A technique that allows the students to slow down and focus
individually on an issue. The students, sitting quietly with eyes closed,
allow pictures to form in their minds. These images may be motivated
by bits of narration, music, sounds, smells, etc.
Improvisation
Any unscripted work in drama.

Lighting plot
A tracing over the stage ground plan, including the location and colour
of each lighting instrument, the kind of instrument called for and the
area of the stage the instrument will light.

Mask work
The use of masks in dramatic presentations to alter and heighten
character.
Meetings
An effective strategy by which the whole group can establish focus
and begin to build belief in a fictional situation.
Mime
Can be a highly sophisticated silent art form in which the body is used
as the instrument of communication. In drama, mime enables the
students to explore and represent ideas and events through movement
and gesture.

Monologue
A piece of oral or written literature (e.g., a story, poem or part of a
play) spoken by one person who exposes inner thoughts and provides
insights into his or her character.

Motivation
What impels a character to behave in a particular way.
Negotiation
A purposeful discussion aimed at leading the group to clarify ideas,
summarize individual points of view, and agree upon a course of action.
Parallel play

A situation in which all of the students work simultaneously, but

separately, in their own space.
Play reviews
A written description and interpretation of a dramatic presentation
based on informed judgment.
Prepared improvisation
An improvisation which is shaped and rehearsed.

http://www.saskschools.ca/~drama30/mainpages/courseoutli
ne.htm

Theatre elements :
Focus
Knowing what the drama experience is about and centering the work so
that the students are able to explore and make new discoveries about
that particular concern.
Tension
The "pressure for response" which can take the form of a conflict, a
challenge, a surprise, a time restraint or the suspense of not knowing.
Tension strengthens belief by impelling the students to respond.
Contrasts
The dynamic use of movement/stillness, sound/silence and
light/darkness by structuring shifts in perspective, pace, groupings,
use of time and space, etc.
Symbol
Something which stands for or represents something else. Within any
work of dramatic art, links can be made between the concrete
experiences of those involved and abstract ideas. An idea or an object
(e.g., peace, moccasins, a black cat) can hold several levels of both
individual and collective meaning.
Voice projection
The ability to make the voice carry clearly and audibly.
Writing in role
Any written work done in role (e.g., monologues, family histories,
letters, newspaper headlines etc.).

http://www.saskschools.ca/~drama30/mainpages/courseoutline.htm
Unit 3 - Character
Ways Into the Work
Introduction:
The purpose of this lesson is to reinforce the understanding of
objectives and expand the students' application of the concept.

Objectives:
- to use improvisation to explore characters and situations
- to become confident at communicating character through movement
and gesture
- to become confident at blocking improvised or scripted scenes
- to demonstrate an ability to portray a character's motivation within a
scene
- to reinforce previously developed dramatic abilities and
understandings

Unit 3 - Character

Module 1: Ways Into The Work

Lesson 2 -

What is a Monologue?

Introduction:
Students will be introduced to the concept of monologues through
reading and research.

Objectives
- to use improvisation to explore characters and situations
- to listen to the ideas of others
- to initiate ideas for drama experiences
- to become confident at communicating a character through speech
- to understand the historical and cultural influences on a play

Resources
Sample monologues (pdf links are below), monologue on the internet,
resource books with monologues for both male and female, Historical
Background notes.

Activities

Activity 1 - Warm Up:

Have students stand in a circle and stretch and breathe in through the
nose, out through the mouth. Use stretch to reach up and then bend at
the waist - as they fall exhale with a sound. Begin walking about the
room with various movement qualities and sounds: vibrate; slide;
bounce; shimmy; jab. (5 min.)
Activity 2 - Concentration Exercise:
Find partners, call each A and B, stand facing one another. A is to begin
a monologue about shoes - B starts a monologue about a movie at the
same time. Their job is to concentrate on their topic while trying to
make the partner lose their concentration. (3 min.)

Key Question : How do an actors keep their concentration and remain

in character? What is the best way to speak in character - what
happens to the body physically? (2 min.)

Activity 3 - Reading Monologues:

Select a variety of monologues to read aloud as a class. Try to pick a
variety of styles, age, gender, and topics. Look for monologue
collections, select a monologue from a specific play, or use the sample
PDF monologues below (just click on the title to go to a printable
version) (35 min.)

"The Break: 10 the Hard Way" - by Cliff Burns

These 6 monologues have been selected from a one-person show on the

theme of relationships breaking up. In the original collection there are
ten monologues written for ten separate characters, with a wide range
of emotions depicted. Though written from a male perspective, either
gender can play the role for the purpose of the classroom exercise.
Strong language has been used in some cases, feel free to adapt it as
needed. Perhaps, after reading the break up stories, students may be
inspired to create their own monologue on a similar theme.

The Break I - bragging to friends on the phone The Break VI girlfriend won't stop crying
The Break II - dumped by girlfriend The Break VII - stalker in an
imaginary relationship
The Break III - it's me, not you The Break X - a fake phone apology

Questions to consider as you prepare the monologue piece:

1) Who is speaking? List qualities of the persons character. What
might the person looks like?
2) To whom is the monologue addressed? What is the relationship to
this person?

Discuss how the type of monologue reflects upon the character

represented. How might the character be portrayed in different
settings?

Activity 4 - Background Information

Have your students read the information on the historical monologue.
Ask them five questions regarding the content and have them write
responses on a paper to check comprehension. These quizzes might be
peer-marked out of 5. (10-15 min.)

Historical Background on the Monologue as a Art Form:

began in the 18th century
Samuel Foote (1721 - 1777), British satirist, wrote burlesque which
mimicked well-known actors and political figures of the day
George Alexander Stevens, in 1764 he wrote Lecture upon Heads, in
which he lampooned many common stereotypes and social behaviors.
Was very successful, his shows ran a thousand performances each. He
was the inspiration for many others.

Ruth Draper performed her one-woman shows in the 1920's - 1940's in

England. Her "monos" were two hours long and involved various
characters created from her imagination. She spoke many languages
and performed all over the world. She portrayed a variety of
characters, from all walks of life and developed the monologue as a mini
play. She never used a script but relied improvisation - always looking
for new ways to express herself. She use only simple props to create
her magic. She felt if she truly committed herself to her imagination in
creating her characters, the audience would believe in them.
Historical Monologues - shows created on real people, such as Charles
Dickens, Mark Twain, van Gogh and Georgia O'Keefe.
Modern Soloists - many famous shows on Broadway, Rob Becker's
Defending the Caveman is the longest running on-man show. Shirley
Valentine, performed by Pauline Collins, Search for Intelligent Life in
the Universe, by Lily Tomlin, and Alec McGowan in The Gospel
According to St. Mark are a few examples.
Eric Bogosian, Laurie Anderson and Spalding Gray are a few artists
whose work has been in the modern theatre, often employing multi
media effects.
Rick Mercer, Mary Walsh and Cathy Jones, from This Hour Has 22
Minutes, are good examples of topical (Canadian) humor which involves
creative characters who rant in a short monologue.
There are spoken word artists, such as William Burroughs, Henry
Rollins and (Saskatchewan writer) Sean Virgo, who have produced their
work on CD.
Due to the simple (and low cost) nature of the monologue, it is often
seen at Fringe Festivals across the country, thereby securing the
reputation for cutting edge viewpoints.

(Source: Creating Your Own Monologues, Glenn Alterman, Allworth

Press, New York, 1999)

Brainstorm all the ways in which a monologue may be invented create a web of ideas to show sources for inspiration. For example:
character types, locations, political issues, parody, a memory, a dream,
etc. (5 - 10 min.)

Activity 5 - Improvised Monologues:

Ask students to write a stimuli for a character scenario on a slip of
paper and put it in a container. Ideas of inspiration may be a problem in
a specific location, a certain class of person, or a situation. Ask them
to try to offer conflict in unlikely settings - something with a problem
to resolve.

For example:

- a streetperson finds a suitcase of money with the local mob's

insignia on it

- the queen addressing the nation realizes she has forgotten her
speech
- a tough guy takes a woman to a sad movie
Take turns pulling scenario ideas out the container and play them out as
monologues. Time them to 1 minute limits. Don't tell the audience what
you are doing - show it, do it. (10 -15 min.)

Discuss the statement "the more the actor believes in the

situation, the more the audience will believe it". Tell your
students to commit to the idea, whatever it is. (3 min.)

--------------------------------------------------------------------------------

Instructional Strategies:
Peer practice, drill and practice, Structured Overview, Reading for
Meaning, Concept Formation, Role Playing

Evaluation:
Participation may be evaluated, and a brief quiz on the historical
monologue is appropriate.

On-line Activity Alternatives:

The above activities can be done in a remote location if students have a
partner to work with, while historical quizzes can be e-mailed or faxed

to the teacher. Brainstorming can be accomplished through a threaded

chat. Suggestions for improv can be posted on the class web site, and
students select their scenarios and play them out with their local
groups.