Positive indicators
The majority of teachers and children showed
a good, and in some cases very good, understanding of the strengths
of using educational drama as a way of working. This has revealed
in most cases a sound theoretical understanding of drama as a
learning tool rather than just a way of developing self-expression
and social skills.
The more drama was done by a teacher, the more
it appeared to be enjoyed and confidence appeared to be growing.
The majority of teachers said they felt most
comfortable using their classrooms for drama work. The reasons
given for their preference often reflected a good understanding
of the importance of drama as a way of learning rather than a
performance technique, or something separate and different. Many
teachers stressed the need for a comfortable, familiar environment
with classroom resources on hand, so that the work can be taken
in different directions.
The ground-rules for drama described by teachers
were appropriate, in that they reflected the school ethos whilst
showing an understanding the conditions which are most favourable
to this particular learning method.
Just over half the teachers said they had on
occasion used teacher-in-role to work within the drama themselves.
The teachers described a variety of ways in
which the decide on the content and direction of the drama work
they do.
Drama was seen as being successfully used alongside
a number of curriculum areas, History was most often mentioned,
followed by Personal and Social Education and English work and
some mention of R.E.. Role-play is extensively used in the teaching
of French, where it is seen as an invaluable technique.
Teachers mentioned using both whole class work
and small groups and pair work. Almost all teachers most often
used pair and small group work, showing more confidence in setting
up such work.
The majority of teachers and children described
a session which had been taken or adapted from the drama structures
outlined in the forecasts. Particularly popular and complemented
were sessions from the Egyptians structure and the Native Americans
structure.
Three teachers mentioned making a particular
effort and engaging in drama activities at least once a week.
Those teachers who have in the past worked
along side others confident in drama, or who have recently engaged
in teaching-partnerships, declared themselves to have greater
confidence and used drama more often.
The level of honesty and thought shown by the
teachers in the filling in of the questionnaire seemed to be extremely
high.
Areas for development
A lack of confidence or a need to build greater
confidence was mentioned by almost all teachers as inhibiting
their use of drama. It was a lack in the teachers, rather than
the children's, confidence which was highlighted..
Time issues were mentioned by a number of teachers
as a threat, this seemed related to the large amount of content
in the N.C. and the size of forecasts. This may highlight the
lack of priority given to drama and the need for assistance in
showing how drama might be able, in some cases, to help in this
rather than hinder.
Almost all of the newly qualified teachers
and two other teachers mentioned fears about the possible unpredictable/silly
behaviour or the excitability of a few children within their class
in drama work. These fears had in some cases contributed to preventing
them doing any drama work so far this year or provided an excuse.
Concerns were expressed about not always feeling in control. Some
other more experienced staff mentioned children who find role-play
difficult and can disrupt the situation for others, as being a
threat to their use of drama.
The audit showed that drama is not widely or
regularly used learning tool in school, where it is most often
used, staff used it in bursts linked to particular topics but
this had rarely occurred with more than one or two topics within
the year. At present in some classrooms drama has not been used
at all at this stage in the year. (over half way)
The Drama and Music room is not a popular space
for drama activities. Those who talked about its use appreciated
the space and not needing to re-organise furniture, however many
teachers commented on how it 'felt cold' and felt the cold floor
did not contribute to comfort.
Teacher-in-role is not as often used as I feel
it could usefully be. Some teachers do not use it at all, or have
not used it as yet. Most teachers use was not regular, or the
same type of teacher roles were used.
Where teachers had given a percentage, all
of indicated that working with the whole class as a group is not
often used and where it is, this tends to be at the start and
finish of a session rather than as an integral part of the work.
Some of the drama structures in the forecasts
were criticised. Generally it appears more clarity is needed with
concise details. Teachers often mentioned a desire for more explanations
and detail about the drama techniques/strategies that can be used.
Some teachers requested more ideas and starting
points for dramas.
The children in many cases do not have as great
an input in deciding the direction of the drama as would be desirable.
Drama strategies were never or rarely mentioned
as being used for work in Geography, Science, Maths and the other
Arts.
Teachers seemed to have little, or no, knowledge
of colleagues who were having particular success in the use of
drama strategies in their class rooms.
Specific issues
Resources
The D & M room was criticised for being
too large, cold and empty a space, with a cold floor.
Staff who were keen to make more use of this
space criticised the lack of bookable time when they can use the
space for drama. The predominance of use of this space for music
was questioned.
Personnel
Yr. 5 had
as yet made minimal use of forecasted drama, although three of
the teachers mentioned that they would be using it in this topic.
Some drama was taking place within Circle-time work and the teachers
using their own ideas but, apart from one teacher, this happened
rarely. When drama work happened it was often selected on the
basis of the teachers particular understanding, skills and comfort/preference
level. The introduction of Circle-time and a greater focus on
P.S.E. work has begun to introduce more drama and some new techniques.
Yr. 6 (apart
from one teacher) had made use of some of the forecasted drama,
particularly the work on Egyptians. Apart from a problem with
obtaining the necessary resources, these teachers and the children
were very positive about this work, and it appeared to be at quite
a high level. The children in one of the classes were not having
the same experience as the other three classes and there was a
noticeable difference in this teachers approach to drama. Debbie
and Drawn were two of the very few teachers mentioned by others
as someone who is having particular success using drama strategies
in their class room.
Yr. 7 (apart
from one teacher) had made use of some of the forecasted work,
some of the work appeared to be at quite a high level. All teachers
(3) appear to have a good understanding of educational drama and
there are higher levels of confidence than in most year groups.
One of the teachers does not appear to have made particular use
of their skills, this effects consistency of experience.
Yr. 8 contains
two experienced teachers who have good skills in this area, however
not much drama work has taken place in this year group. The is
a lack of drama structures and ideas for activities in the yr.
8 forecasts, this needs to be addressed. However, The Royal Theatre
work and booklet used in Yr. 8 has provided ideas and a good stimulus
for some follow-up work. A conscious commitment to increasing
the uses of drama and supporting each other would help the consistency
and quality of experience in this year group.
French
Drama is most regularly and confidently used
in the teaching of French, although initially Claire did not perceive
herself as a user of drama. The extensive use of pair work role-play
situations is pleasing although the range of techniques used is
limited, useful work could be done to enrich this work.
Special Needs
The use of drama as a technique to assist children
with Special Needs was mentioned in a general way be some class
teachers. However the SNC and classroom assistants did not feel
they themselves were making use of drama as a learning technique
with Special Needs learning and behaviour, although they felt
this way of working could be very useful. This appeared to be
due to a lack of opportunity, in some cases expertise and time
to plan for the use of drama in this area of work.
The Forecasts
There was considerably varied use of forecasted
drama and opinions offered about how useful the drama structures
in the forecasts were, some teachers said they found them valuable
and easy to follow while others said they were confusing and even
off-putting - in some cases they were talking about the same structures!
Some teachers had responded to concerns by adapting the structures,
a few had done other forms of drama type activity (planned by
themselves or spontaneous), others had not done any of the forecasted
drama at this stage in the year and had used little or no drama
with their class.
How drama is used
Generally where drama was used its use was
appropriate. Two of the children's descriptions showed that they
were perhaps over concerned with 'acting' a character rather than
thinking and feeling as that person may have done. This may illustrated
a over emphasis on performance by the teachers concerned (Peter,
Richard). Two of the questionnaires stressed standards of performance
and finished drama's and audience, these teachers would probably
benefit from developing a greater understanding of how role-play
can most importantly be used as a live process to aid learning.
(Tim, Richard).
Some more experienced teaching colleagues requested
help with planning and sustaining drama over a number of sessions
- trying to stop it being a one off experience.
Children's attitudes
Children's attitude to drama work is in many
cases reflected in the their response to the task given in the
audit. The children appear to be enthusiastic and really enjoy
drama. They show a reasonable level of understanding of this learning
method.
Equal Opportunities
Attendance at the drama club reflects a gender
imbalance in terms of children taking up this opportunity. The
overwhelming majority of children in attendance are girls. This
attitude does not appear to reflect the situation in classroom
drama, but this may need further monitoring. More work needs to
been done on equal opportunities in out of school drama.
Possible Training Needs
Awareness raising needed - greater focus on
drama, raising its profile in peoples consciousness.
An INSET session and follow up work with the
NQT's on control strategies, harnessing the children enthusiasm
and ways of encouraging a serious approach to drama from all children.
(session focused on NQT's but open to all staff).
INSET work for classroom assistants - through
a session or teaching partnership.
INSET sessions and/or teaching partnerships
with teachers who have shown concern for their lack of understanding
and confidence, priority given to teachers who are teaching little
or no drama . Work on teacher-in-role at two levels. 1. - what
it is and how it can be used to develop drama work, 2. - ideas
and work on the different possibilities of different roles and
how to maximise use of this technique.
Further Improvements
Advice to teams on activities for the topic.
A sheet, or contributions to team meetings,
suggesting drama ideas and activities. Accompanying notes could
be provided for each forecast, similar to the way this is sometimes
done for literature.
Work with teachers and children on the range
of drama techniques possible, highlight written information on
this which is available through the school Drama Guidelines and
literature from the library.
Drama club could be more fully utilised for
building children's and teacher's skills.
Greater use of high quality drama performance
work in assemblies or production opportunities. These should demonstrate
powerful use of role-play rather than children 'acting' and dangerous
stereo-types appearing. Assembly work should be a natural progression
from classroom drama work where it is used.
Concluding Comment
Returning to the characteristics of good practice
which were mentioned as possible quality assurance measures:-
I feel the first bullet point is being achieved.
The second bullet point has been achieved for a large number of
staff. The third bullet point needs to be worked on, both in terms
of increasing the amount of forecasted drama and most importantly
ensuring that what is forecasted happens in each classroom, with
adaptations if necessary. The fourth bullet point has generally
been achieved but needs further work to imbed good practice within
every classroom.