Literacy in Action:

Integrating Theatre & Language Arts

Professional Development Workshop
StageWrite: Building Literacy through Theatre
www.stagewrite.org

Presenter: Elana Lagerquist, Executive Director

Workshop Objective:
This interactive workshop will present the rationale for using theatre arts to engage
student learning in the language arts curricula for the elementary years. This session
will demonstrate the use of dramatic tools to build early literacy skills. Through
practical, hands-on activities, participants will learn to integrate dramatic games into
the literacy program with a focus on oral language development, word work, reading
comprehension, and writing. Throughout the session, research and resources will be
presented to advocate for the integration of the theatre arts into every language arts
classroom.

Activities
INTRODUCTIONS
StageWrite
Literacy & Theatre

WORD WORK & WARM-UPS

Emotional Statues
Cross The Room
Name & Letter Gesture
Physical Brainstorm
Abstract Impressions

READING COMPREHENSION
Setting Sound-Scape
Imagery Reading
Character Auto-Images
Plot Point Tableaux

WRITING
Character Profiles
Monologues

CLOSURE
 WORD WORK & WARM-UPS
Objective: To use visual imagery to enhance oral language and vocabulary skills through
dramatic activities which emphasize individual expression and group building

EMOTIONAL STATUES
CONFIGURATION: Players stand in Ready Position in two lines facing each other on opposite
sides of the space.
• The leader asks players to physically represent how they are feeling right now by
creating a tableau (statue or frozen pose).
• Players are asked to exaggerate the pose and facial expressions.
• The leader prompts players to take a moment to look around and see how other people
are feeling. The leader can also leave half of the group frozen while the other half
relaxes and observes, calling out words that the images evoke.
SAMPLE CA STANDARDS ADDRESSED: Listening and Speaking 2.4 Provide descriptions with
sensory detail Theatre 2.1 Demonstrate the emotional traits of a character through gesture (4th
grade) Theatre 1.2 Observe and describe the traits of a character (1st grade)

CROSS THE ROOM

CONFIGURATION: Players stand in Ready Position in two lines facing each other on opposite
sides of the space.
• The leader calls out, “Cross the room if...” (Examples: “...if you wearing earrings,” “...if
your favorite color is blue,” “…if you speak another language than English at home,”
etc.)
• Each player who meets the criteria moves to the other side of the room and turns back to
face the line she came from.
• The leader makes another statement and the game continues. If desired, the leader can
create statements related to a certain theme. Eventually, players can come up and give
prompts for the group. Rules: Use body, not voice. Cannot crawl/lie on floor. No
talking, just notice similarities and differences.
• VARIATION: As a second level, which involves some improvisation, this game is played
using the phrase, “Cross the room AS if…” and then everyone crosses the room, without
touching and in silence, as the leader gives the following prompts: “…you just got all
your spelling words right on a test,” “…you didn’t sleep a wink last night,” “…you are
walking through the desert,” “…you are looking for a ghost,” etc. Or references from a
story can be used – Wild Things: “...as if you just got in trouble,”... as if you were
magic”, “...as if you felt mad”
• PROCESS: “Can you come up with one sentence about something new you learned in
this game about our group?”
STANDARDS ADDRESSED: Listening and Speaking 1.0 Students listen and respond to oral
communication, Theatre 2.1 Demonstrate skills in pantomime, tableau, and improvisatio (1st
grade)

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NAME & LETTER GESTURE
CONFIGURATION: Standing in a circle
• Moving around the circle one at a time, each player says her name and creates a gesture
to represent the first letter of her name.
• With backs to circle, each player experiments with different ways to make the letter.
• Going around the circle one at a time, each player says her name as she makes her
gesture,“ My name is…”
• The group repeats each name and gesture, “Her name is…”
• Variations: Next, going out of order, each player says her own name and gesture and
then signals someone else by saying his name and gesture. Finally, the group is
challenged to remove the verbal name and only signal each other with gestures.
STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic Vocabulary
Development (phonemic awareness), Theatre 2.1 Perform in group improvisational theatrical
games that develop cooperative skills and concentration (2nd grade)

PHYSICAL BRAINSTORM
CONFIGURATION: Standing in a circle
• One at a time around the circle each player finishes the sentence, “Literacy is…” or
“Theatre is...” and creates a gesture or movement to represent their idea.
• Players can complete the sentence in any way they wish, with a word or phrase. For
example, a player might say, “Literacy is power.” or “Literacy is reading and writing.”
• Group repeats back in chorus after each player has a turn, “power” or, “reading and
writing” doing the gesture offered. If desired, go around the circle twice to brainstorm
more ideas.
STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic Vocabulary
Development, Listening and Speaking 1.0, Theatre 2.1 Participate in improvisational
activities to explore complex ideas (5th grade)

ABSTRACT IMPRESSIONS
CONFIGURATION: Standing, spread out around the space
• Leader calls out words: colors, seasons, emotions, times of day, etc.
• Players walk through the space improvising immediately then freezing into a tableau
when signaled by the leader.
• Leader calls out a new word for them to act out as they unfreeze and continue to walk
around the space in response to the word. Guidelines: no touching each other, no
talking, fill in the whole space. Freeze in tableau.
• Note: If using a text the leader can move into references from the story. (Where the
Wild Things Are: mischeif, boredom, hunger, anger, magic trick, growing forest, wild
ocean, terrible teeth, homesick)
STANDARDS ADDRESSED: Reading 1.0 Word Analysis, Fluency, and Systematic Vocabulary
Development (Vocabulary and Concept Development), Reading 3.0 Literary Response and
Analysis (narrative analysis), Theatre 2.3 Use improvisation to portray such concepts as
friendship, hunger, or seasons (2nd grade)

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 READING COMPREHENSION
Objective: To explore the narrative story elements of a text through dramatic activities
that address imaging processes for reading comprehension

Pre-Reading of Text
SETTING SOUND-SCAPE
CONFIGURATION: Sitting in a circle
• The group is given a stimulus such as a picture or poem, or is asked to imagine the
setting from a piece of text. (Wild Things: a magical forest)
• The group brainstorms what different sounds might be heard in that environment.
Words and ideas are written down for all to see.
• One player starts the sound-scape with a sound appropriate to that place which can
easily be repeated throughout the duration of the game (e.g. the wind, a bear’s growl, a
fairy bell, waterfall, rustling leaves).
• One by one, players add on other repeating sounds. The leader conducts the group
experimenting with pace and volume.
STANDARD ADDRESSED: Literary Response and Analysis 3.0 (setting)

Text
IMAGERY READING
• Leader reads the text without showing illustrations asking the players to relax with eyes
closed and create pictures in their minds as the story is read.
STANDARD ADDRESSED: Listening and Speaking 1.0 (Comprehension)

Post-Reading of Text
CHARACTER AUTO-IMAGES
CONFIGURATION: In a circle, players start in neutral with backs to center
• The leader explains that a tableau is a frozen picture created with the body. Even though
tableaux are perfectly still images, they show emotion and are moments where motion
just happened or is just about to happen.
• Players are asked to create automatic images of characters from moments in a story.
• On, “One, two, three: picture!” players turn to face the center and freeze, as directed, in
images of different characters from various points from the story. After each picture,
players return to neutral.
• Ask students to create automatic images of: Max making mischeif, Max’s mom mad at
him, sailing a boat on a wild ocean, a growing forest, The Wild Things growling, the
magic staring trick, frightened monsters, a wild rumpus, Max punishing monsters, Max
smelling his mom’s supper, lonely Max, monsters begging Max to stay, Max leaving on
the boat, Max back in his room seeing his dinner, Max’s mom downstairs.
STANDARDS: Reading 3.0 Literary Response and Analysis (narrative analysis-character),
Theatre 1.2 Identify a character’s objectives and motivations to explain behavior (4th grade)

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PLOT POINT TABLEAUX
CONFIGURATION: Sitting in a group
• The group is asked to recall the sequence of events in the story as they happened
chronologically.
• Each event is written as a title or caption on chart paper or a chalk board.
• After re-reading the list of events, a group of volunteer players take the stage and are
given a five count to freeze in a tableau of the first plot point title. The audience
processes the image with the leader asking guiding questions such as, “What do you
see?” “What makes you say that?” “What clue do you see in the picture that makes
you think that?”
• The whole group is then split into three teams, each team directed to create improvised
tableaux based on all of the titles from the story as the leader calls out each caption one
at a time. All groups perform at same time in silence.
• Each group is then given one title from the beginning, middle, or end with which to
create a rehearsed tableau. The players must negotiate roles and use of the space.
• After a short rehearsal time, the groups are placed in the space so that when one group
shows their tableau they can be seen by the other two groups.
• In sequential order, the groups perform their tableaux (beginning, middle, end).
• Thought Tracking: players are asked to come to life when touched on the shoulder to
say one line their character might say.
STANDARD ADDRESSED: Reading 3.0 Literary Response and Analysis (3.2 plot), Theatre 2.2
Dramatize or improvise familiar simple stories from classroom literature or life experiences,
incorporating plot (beginning, middle and end) using a tableau or pantomime (1st grade),
Theatre 5.1 Use problem-solving and cooperative skills in dramatizing a story, a current
event, or a concept from another subject area (2nd grade)

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 WRITING
Objective: To use improvisational techniques to develop characters in order to create
original writing

CHARACTER PROFILE
CONFIGURATION: Individuals sit with paper and pencil or for younger students this can be done
as a whole class activity with the teacher writing the ideas of the group onto chart paper
• Players are told they are to think about the character they just played in Plot Point
Tableaux.
• Leader models writing a sample character profile using one of the characters from the
story.
• Individuals write a character profile for the character they played in their tableau.
• Profile includes: Name, Age, Family, Want, Fear, Habitat, Most Important Being, &
Secret.
• Players walk through the space in character.
• Volunteers share profiles.
STANDARDS ADDRESSED: Literary Response and Analysis 3.3 Contrast the actions, motives
(e.g., loyalty, selfishness, conscientiousness), and appearances of characters in a work of
fiction and discuss the importance of the contrasts to the plot or theme (5th grade), Theatre 2.1
Demonstrate the emotional traits of a character through gesture and action (4th grade)

MONOLOGUES
CONFIGURATION: Back in three tableaux groupings (beginning, middle, end)
• Players re-create their character position from the tableaux of beginning, middle, and
end.
• One at a time, players are touched on the shoulder to say one line their character might
say. This can be the same line they said before or a new line based on their character
profile.
• After all players have performed, they write the line of dialogue on a piece of paper.
Then they are to add a second sentence that the character might say.
• Players review their character’s secret.
• Players write without stopping for two full minutes, creating a monologue
• For younger students, this can be done as a whole class activity with the teacher taking
ideas from volunteers and writing the ideas from the group on chart paper.
• Volunteers perform their monologue in character.
STANDARDS ADDRESSED: Theatre 2.2 Perform character-based improvisations,
pantomimes, or monologues, using voice, blocking, and gesture to enhance meaning,
Writing 2.0 (Genres and their Characteristics)

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 Mission Statement
StageWrite empowers youth to become actively engaged in their education and
passionate about learning through the theatre arts. We employ dramatic activities to
involve young people in reading, writing, speaking, and listening as a holistic and
meaningful communication process. Through the communal art of theatre young people
build skills in creative expression, collaboration and critical thinking: all necessary
components of becoming literate and engaged members of an equitable society.

For more information go to www.stagewrite.org

Elana Lagerquist, Executive Director

elana@stagewrite.org

Elana Lagerquist is a teacher and teaching artist in San Francisco. She holds a B.A. in
Theatre Arts from the University of California at Santa Cruz and a master’s degree in
Educational Theatre from New York University. She received her multiple subjects
teaching credential with Cross-cultural, Language and Academic Development (CLAD)
emphasis through San Francisco State’s Muir Alternative Teacher Education program in
1997. She has taught second and third grade at Alvarado, John Swett, and Sunset
Elementary Schools and has been a tenured teacher with the San Francisco Unified
School District. While in New York pursuing her master’s degree, Elana worked with
The Creative Arts Team as a teaching artist in the New York City public schools as a part
of the Annenberg Challenge grant for school reform through the arts. Elana has presented
staff development workshops for artists and teachers at various seminars for arts and
education organizations including Performing Arts Workshop (PAW), Young Audiences,
KQED-SPARK, Arts Education Funders Collaborative (AEFC) and SFUSD arts
professional development workshops, and the Tennessee Arts Academy. Elana serves as
Diversity and Outreach co-chair with the Arts Providers Alliance of San Francisco. As a
teacher, arts administrator, and teaching artist, Elana is dedicated to working with all
students and teachers to integrate the arts into the core curricula.

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 Educational Theatre Bibliography
The following is a list of books that involve some of the concepts addressed in this
workshop including; bringing stories to life dramatically, building oral fluency, and
other related topics involving the integration of theatre and literacy.

Beall Heinig, Ruth (1992). Improvisation with Favorite Tales, Integrating Drama into the
Reading/Writing Classroom. Portsmouth, NH: Heinemann.

Bell, Nanci. Visualizing and Verbalizing for Language Comprehension and Thinking.
San Luis Obispo: Nancibell Inc/Gander Publishing, 1991.

Blank Kelner, L. and Flynn, R. (2006). A Dramatic Approach to Reading Comprehesion,

Strategies and Activities for Classroom Teachers. Portsmouth, NH: Heinemann.

Flynn, Rosalind (2007). Dramatizing the Content with Curriculum-Based Reader

Theatre. Newark, DE: International Reading Association.

Goodwin, John (2006). Using Drama to Support Literacy. London, UK:

Paul Chapman Publishing.

Kelin II, Daniel (2009). In Their Own Words: Drama with Young English Language
Learners. Charlottesville, VA: New Plays Incorporated.

Miller, Carole (2004). Into the Story, Language in Action Through Drama. Portsmouth,
NH: Heinemann.

Sklar, Daniel (1991). Playmaking: Children Writing and Performing Their Own Plays.
New York: Teachers & Writers Collaborative.

Wagner, Betty Jane (1998). Educational Drama and Language Arts. Portsmouth, NH:
Heineman.

Worthy, Jo (2005). Readers Theatre for Building Fluency. New York, NY: Scholastic.

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 Drama and Literacy Studies
STUDY NAME: Children’s Story Comprehension as a Result of Storytelling and Story Dramatization:
A Study of the Child as Spectator and as Participant
AUTHOR: Anita Page
PUBLISHED: Doctoral Dissertation, 1983, University of Massachusetts, University Microfilms
International
Research Question
Does story dramatization enhance story comprehension among first-graders?

STUDY NAME: Drama and Drawing for Narrative Writing in Primary Grades
AUTHORS: Blaine H. Moore and Helen Caldwell
PUBLISHED: Journal of Educational Research, November/December 1993, 87(2): 100-110
Research Questions
What are the effects of thought-organizing activities involving drama on narrative writing in comparison to
traditional pre-writing-planning activities?
What are the effects of thought-organizing activities involving drawing on narrative writing in comparison
to traditional pre-writing-planning activities?

STUDY NAME: The Effect of Dramatic Play on Children’s Generation of Cohesive Text
AUTHOR: Anthony D. Pellegrini
PUBLISHED: Discourse Processes, 1984, 7: 57-67
Research Questions
To what extent does the informational status of a listener (whether familiar or not familiar with a story)
affect a student’s use of oral language to retell the story? (Do students use effective and appropriate
language when told in advance the knowledge base of the listener?) With what relative effectiveness can
children’s use of oral language (retelling stories to non-familiar listeners) be facilitated through the use of
alternative interventions, namely discussion, drawing, and dramatic play?

STUDY NAME: The Effectiveness of Creative Drama as an Instructional Strategy to Enhance the Reading
Comprehension Skills of Fifth-Grade Remedial Readers
AUTHOR: Sherry DuPont
PUBLISHED: Reading Research and Instruction, 1992, 31(3): 41-52
Research Question
Does a program of creative drama integrated with children’s literature contribute to the growth of reading
comprehension skills of fifth-grade remedial reading students?

STUDY NAME: The Effects of Creative Drama on the Social and Oral Language Skills of Children with
Learning Disabilities
AUTHOR: Rey E. de la Cruz
PUBLISHED: Doctoral Dissertation, 1995, Department of Specialized Educational Development,
Illinois State University, Bloomington, IL
Research Question
Can a creative drama program with an emphasis on specific social and oral language skills lead to increases
in the social and oral language skills of children with learning disabilities?

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STUDY NAME: The Effects of Role Playing on Written Persuasion: An Age and Channel Comparison of
Fourth and Eighth Graders
AUTHOR: Betty Jane Wagner
PUBLISHED: Unpublished Doctoral Dissertation, October 1986, English Department, University of
Illinois at Chicago
Research Questions
What are the effects of role-playing on subsequent persuasive writing among fourth- and eighth-graders?
What specific elements of role-playing are reflected in subsequent persuasive writing?
How does role-play persuasive language compare to written persuasive language? (This is the “channel”
comparison referenced in the title).

STUDY NAME: The Effects of Thematic-Fantasy Play Training on the Development of Children’s Story
Comprehension
AUTHORS: Anthony D. Pellegrini and Lee Galda
PUBLISHED: American Educational Research Journal, Fall 1982, 19(3): 443-452
Research Question
What are the relative effects of three modes of story reconstruction training—thematic fantasy play,
teacher-led discussion, and drawing—on the development of children’s story comprehension?

STUDY NAME: The Flight of Reading: Shifts in Instruction, Orchestration, and Attitudes through
Classroom Theatre
AUTHOR: Shelby A. Wolf
PUBLISHED: Reading Research Quarterly, 1998, 33(4): 382-415
Research Questions
Are children’s reading comprehension, expressive fluency, and attitudes toward reading affected by a year
of periodic dramatic coaching based on texts?
What happens when an academically diverse classroom of 8- and 9-year-olds makes a transition from a
traditional “round-robin” reading program to one involving the creation of and performing in a classroom
theater where children are encouraged to consider and enlist multiple forms of expression?

STUDY NAME: Imagery-Based Learning: Improving Elementary Students’ Reading Comprehension With
Drama Techniques
AUTHORS: Dale S. Rose, Michaela Parks, Karl Androes, Susan D. McMahon
3-D Group, Berkeley, California; Whirlwind, Chicago, Illinois; DePaul University
PUBLISHED: The Journal of Educational Research, September-October 2000, 94 (1): 55 - 63
Abstract:
The causal relationship between drama-based reading instruction and reading comprehension among 4th-
grade students was examined. Cognitive theories related to the role of imagery in memory were used to
develop a drama-based reading comprehension program. A randomized pretest-posttest control-group
design was then employed to assess the impact of the drama-based instruction on students’ test scores on
the reading comprehension portion of the Iowa Tests of Basic Skills. Results suggest a direct causal link
between drama-based instruction and improved reading comprehension

STUDY NAME: The Impact of Whirlwind’s Reading Comprehension through Drama Program on 4th
Grade Students’ Reading Skills and Standardized Test Scores
AUTHORS: Michaela Parks and Dale Rose
PUBLISHED: Unpublished Evaluation, 3D Group, 1997, Berkeley, CA, 25
Research Questions
What is the impact of a collaboratively developed reading comprehension/drama program on reading skills,
standardized test scores, and drama skills?
How does collaboration among teachers, principals, artists, and researchers to develop the curriculum,
assessment tools, and the goals of a drama-skills and reading program play out?

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STUDY NAME: Nadie Papers No. 1, Drama, Language and Learning. Reports of the Drama and Language
Research Project, Speech and Drama Center, Education Department of Tasmania
AUTHORS: Megan Schaffner, Graham Little, and Heather Felton
PUBLISHED: National Association for Drama in Education, Education Department of Tasmania, August
1984
Research Questions
What are the effects of drama (defined in this study as “being and doing within an imaginary situation”) on
fifth- and sixth-graders’ language development?
What are the impacts of drama on the development of informational language, expressive language, and
interactional language?
What are the effects of drama on the development of moral values?

STUDY NAME: A Naturalistic Study of the Relationship Between Literacy Development an Dramatic
Play in Five-Year-Old Children
AUTHOR: Jennifer Ross Goodman
PUBLISHED: Unpublished Ed.D. Dissertation, 1990, George Peabody College for Teachers,
Vanderbilt University, Nashville, TN
Research Questions
How is literacy used within dramatic play and why?
What factors influencing how literacy is used within dramatic play are important?

STUDY NAME: A Poetic/Dramatic Approach to Facilitate Oral Communication

AUTHOR: Larry Kassab
PUBLISHED: Unpublished Doctoral Dissertation, August 1984, Department of Speech Communication,
Pennsylvania State University, State College, PA
Research Question
What is the effect of a six-week poetry/drama workshop on: the willingness of students to communicate
orally; their oral communication skills; their feelings at the time of oral presentation; and their self-
confidence and self-image?

STUDY NAME: Strengthening Verbal Skills Through the Use of Classroom Drama: A Clear Link
AUTHOR: Ann Podlozny
PUBLISHED: Journal of Aesthetic Education, Fall 2000, 34(3-4): 239-276
Research Question
Does classroom drama help students develop verbal ability? (The researcher created seven meta-analyses
that considered nine related hypotheses related to type of plot, role of leader, degree of transfer, amount of
drama instruction, age, type of population, study design, publication status, and publication date).

STUDY NAME: Symbolic Functioning and Children’s Early Writing: Relations Between Kindergarteners’
Play and Isolated Word Writing Fluency
AUTHOR: Anthony D. Pellegrini
PUBLISHED: EDRS Number ED 201 407 (1980): 1-15. Early Childhood Education, University of
Georgia,
Athens, Georgia
Research Question
What is the relationship between kindergartners’ use of symbolic expression (mainly the use of spoken
words) in free play and their ability to generate isolated written words an inquiry with implications for
success in writing)?

STUDY NAME: “You Can’t Be Grandma; You’re a Boy”: Events Within the Thematic Fantasy Play
Context that Contribute to Story Comprehension
AUTHORS: Peter A. Williamson and Steven B. Silvern
PUBLISHED: Early Childhood Research Quarterly, 1992, 7: 75-93
Research Question
What behaviors within fantasy play activities (playing out roles and scenes in a story) contribute to the
development of story comprehension skills among kindergarten children?

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 Drama & Literacy Quotes

In their studies, Alber and Foil illustrate how to effectively introduce new vocabulary and
facilitate the learning activities with dramatic techniques. “Creating a memorable event”
is recommended when introducing new vocabulary.
Alber, S. R., & Foil, Carolyn R. “Drama activities that promote and extend your
students’ vocabulary proficiency.”  Intervention in School & Clinic 39.1 (2003).

It allows exploration and problem solving in safe, supported and motivated situations
where children are more likely to take risks and ‘have a go’ without the threat of real-life
consequences.
Cusworth, Robyn and Simons, Jennifer. “Beyond the script: drama in the classroom.”
Primary English Teaching Association (1997).

It works from a premise of shared power between students and teacher, allowing students
to see their ideas respected and used to further the drama. This promotes students’
engagement, ensuring that drama remains an enjoyable and desired activity.
Cusworth, Robyn and Simons, Jennifer. “Beyond the script: drama in the classroom.”
Primary English Teaching Association (1997).

For some children who struggle with understanding the written word, the provision of a
physical and visual context can help them make sense of language. In this way, practical
drama can help children whose preferred learning style is auditory or kinesthetic as
opposed to verbal/visual.
Kempe, Andy. “Drama in and out of the literacy hour.” Literacy Today 21 (1999).

Rationales for the use of educational or process drama highlight the unique power of
drama to tap into children’s intrinsic motivations and to involve the emotions for lasting
and memorable learning. It enables children to use and reflect upon what they know and
through this assists them to make their own knowledge conscious. Heathcote says
children are often barely conscious of what they know or understand and drama
promotes awareness and ownership of knowledge.
Martello, Julie. “Drama: Ways into critical literacy in the early childhood years.”
Australian Journal of Language and Literature (2001).

Drama is an invaluable tool for educators because it is one of the few vehicles of
instruction that can support every aspect of literary development.
McMaster, J. C. “Doing” literature: Using drama to build literacy. The Reading Teacher
574 (1998).

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Dramatic story reenactments can also increase children’s curiosity about literature
before independent reading begins.
McMaster, J. C. “Doing” literature: Using drama to build literacy. The Reading Teacher
 51.7 (1998).

Dramatic activities are crucial to early literacy development because children can be
involved in reading and writing as a holistic and meaningful communication process
McNamee, G. D., McLane, J. B., Cooper, P. M., Kerwin, S. M. “Cognition and affect in
early literacy development.” Early Childhood Development and Care 20 (1985).

In writing development, children who experience drama also appear to be more capable
of making appropriate linguistic choices as well as expressing opinions or suggesting
solutions.
McNaughton, M. J. “ Drama and children’s writing: A study of the influence of drama
on the imaginative writing of primary school children.” Research in Drama Education
2.1 (1997).

If students engage in [the] process of creating mental images, reading becomes less
dependent on memory of text and more focused on the visual images described. Readers,
then, are more likely to store, retain, and recall more about what they read.
Rose, Dale et al. Imagery-Based Learning: Improving Elementary Students’ Reading
Comprehension With Drama Techniques (2000).

For children from preschool to second grade, researchers have demonstrated that
children who reenact stories are better at connecting and integrating events to
storytelling than children in a story reading group.
Saltz, E., & Johnson, J. “Training for thematic-fantasy play in culturally disadvantaged
children: Preliminary results.”  Journal of Educational Psychology 66 (1974).

In addition, researchers have discovered that the mental requirements for understanding
drama are similar to those for reading. For instance, the meaning of a reading is
generally grasped in a transaction between the reader and the text. “Process drama”
refers to a teaching method that involves children in imaginary, unscripted, and
spontaneous scenes, in which the meaning is made from the engagement and transactions
between the teacher and students.
Schneider, J. J., & Jackson, S. A. “Process drama: A special space and place for
writing.”  The Reading Teacher 54.1 (2000).

The primary purpose of creative drama is to foster personality growth and to facilitate
learning of the participants… Brian Way describes the goal of this type of drama as
leading “the inquirer to moments of direct experience, transcending mere knowledge,
enriching the imagination, possibly touching the heart and soul as well as the mind.
Wagner, Betty Jane. “Educational Drama and Language Arts.” Roosevelt University
(1998).

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 Arts Education Research Reports

Arts Education Research Compendium

Published by the California Arts Council in 2001, this compendium is a collection of
research on the arts and academic achievement and arts learning and the brain, model
partnerships, policy initiatives, and workforce development. The compendium focuses on
research published between 1995-2001, and that was published and/or publicly available
and educationally significant. Large- and small-scale studies, using both quantitative and
qualitative methods, are represented. In some cases, research is included which was not
written about arts education, but which has implications for arts education policy and
practice.
http://www.cac.ca.gov/artsinfo/publications-artsed.php

Champions of Change: The Impact of the Arts on Learning

A report that compiles seven major studies providing new evidence of enhanced learning
and achievement when students are involved in a variety of arts experiences.
http://www.aep-arts.org/publications/info.htm?publication_id=8

Critical Links: Learning in the Arts and Student Academic and Social Development
The Compendium summarizes and discusses 62 research studies that examine the effects
of arts learning on students’ social and academic skills.
http://www.aeparts.org/publications/info.htm?publication_id=10&PHPSESSID=3c4486d
a8fa7a66a31ab01fd9948b596

Project Zero Studio Thinking Project

Many people believe that arts education is important, but few can say exactly why. Here
at last are the results of the first in-depth research on the “habits of mind” that are
instilled by studying visual art -- habits, the authors argue, that could have positive
impacts on student learning across the curriculum. Studio Thinking provides art teachers
with a research-based language for describing what they intend to teach and what
students actually learn. This language will help advocates explain arts education to
policymakers, help art teachers develop and refine their teaching and assessment
practices, and help educators in other disciplines learn from existing practices in arts
education.
http://www.pz.harvard.edu/Research/StudioThink.htm

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