When we go back to the early days, children\u2019s learning through drama \u2013 as it is in most areas of life \u2013 is all about play. Expressing emotions, feelings, and actions through a series of games and fun exercises, thereby allowing them to explore things in a natural, unforced way in a classroom environment is always the key element to success. That is, not to say that they shouldn\u2019t be stretched and focused within those exercises to enhance development, but play maximises on the child\u2019s enthusiasm for this familiar method of discovery and is vital in opening up a gateway to individual expression in a gently-guided, but fully imaginative manner.<\/p>\n
Key skills that develop in the early years of learning through drama include teamwork, socialisation and listening skills. It is not consistent \u2013 most children of a young age have the odd wobble \u2013 but by the age of 6 or 7, there are clear signs that these disciplines start to take effect. Students begin to lose the fear of just \u2018giving it a go\u2019 as they experience confidence that they have a supportive team<\/em> behind them and, in return, they begin to support their fellow classmates by listening and appreciating each other\u2019s ideas and work. With the use of the imagination constantly at the fore in class, their development can be pushed to discover new and unknown areas by encouraging children to question, pose problems, listen, understand and support \u2013 all within the safe confines of a guided, focussed environment.<\/p>\n This release of physical inhibitions through play is one that is fascinating to witness in the teaching of drama but is often overlooked or described as unimportant. Very often we hear that \u201cdoing drama\u201d is great for the building of confidence or self-esteem in a child but in actual fact this release of energy through play is perhaps more<\/em> vital to their development and the freedom of their thinking. Indeed, as we go through life, we discover far more if we allow ourselves to free up our imagination and our possibilities. It is through this open-mindedness that we acknowledge much can be achieved or overcome, and, if we put ourselves in other people\u2019s shoes, we often have a much more rounded view of life and the choices we make. For a child therefore, the idea of putting on a different role or character or pretending that they are in an unknown or extraordinary situation \u2013 all through the safe basis of \u2018play\u2019 \u2013 allows them to overcome difficulties and inhibitions and therefore un<\/strong>self-consciously they take emotional and physical risks.<\/p>\n We know that invented situations or scenarios are clearly important to create any sort of drama \u2013 whether in plays, tv series, ballet, opera, film and so on. Allowing children to put themselves into these scenarios and to create roles that give them a level of expertise in these situations was the basis on which Dorothy Heathcote \u2013 the renowned teacher and academic \u2013 devised her strategy regarding the \u201cmantle of the expert\u201d<\/em>. This approach explores a child\u2019s teaching and development with regard to discovering how they deal with a situation from a position of authority, thereby giving them a feeling of self-worth and bringing a serious attitude to the subject. By exploring these \u2018unreal\u2019 scenarios, a child will often use and extend methodical, scientific, geographical, historical and linguistical skills into play without really thinking about them in the academic sense \u2013 all crucial development points in any learning environment, let alone the drama studio. In addition to this they may experience the dilemma posed by their \u2018knowledge\u2019 or expertise which brings into focus a level of responsibility, differing attitudes and fundamental morals faced by them and society in general.<\/p>\n In terms of specific areas of development, learning through or studying drama can have a huge impact on many areas. For example:<\/p>\n Language <\/strong>\u2013 this brings into focus the key skills of questioning, instructing, persuading, advising and debating. As members of society we all need to acquire these skills but learning through drama can be a key method of developing these in a creative, mind-freeing environment and bring about a much more sympathetic approach.<\/p>\n Understanding Different Points of View<\/strong> \u2013 drama, through the use of role play and simulations allows a crucial exploration of subjects in a controlled, yet \u2018real\u2019 environment. Subjects such as bullying, discrimination, mental health and other key issues in young lives are often discussed and tackled through dramatisation. This experimentation in a \u2018safe\u2019 and guided place brings into focus how others may feel and the struggles they may have, bringing clear development in understanding and modifying future behaviour within children.<\/p>\n Problem Solving<\/strong> \u2013 allowing the child to solve problems and evaluate outcomes across a wide range of subjects and contexts. How do our actions and speech inform or influence others? How does our thinking change? What bearing can this have on our moral choices?<\/p>\n Knowledge<\/strong> \u2013 often, working in drama spurs on the need to look further into a situation and character. This can be historical or scientific or even delve into the real lives of someone they are \u2018playing\u2019 at being, but drama as a subject opens the mind and incites a hunger to learn and research by exploring simple, scenario-based tasks.<\/p>\n Teamwork<\/strong> \u2013 crucial in the development of children, few academic subjects bring to the forefront the need to work and function together as a group. We must learn to listen, advise, sculpt and devise work which balances the needs of all involved. If there is no compromise in drama, there is little room for creativity and productivity.<\/p>\n So, with all of this in mind, we have to go back to our original dilemma and \u2013 with just this handful of examples \u2013 we can see that any form of studying drama clearly isn\u2019t just about acting and performing. It also isn\u2019t just about a child \u201cfinding their voice\u201d or \u201cbuilding their confidence\u201d. It\u2019s an immersive, engaging activity that provides a rounded look at society and differing points of view. It develops communication and negotiation skills. It invokes a sense of responsibility for the individual and a sense of trust in others. Crucially, it builds an inner strength by allowing the imagination and freedom of thought to overcome anything. In terms of the development of a child and for future life skills, there could probably be nothing more \u201cuseful\u201d.<\/p>\n Rachel Lewin trained at the Birmingham School of Speech & Drama after reading English & Drama at University. She worked as an actress for 12 years, before starting her career in youth theatre in 2001. Rachel works as a Director, Choreographer, Vocal Coach and Acting Tutor. When not working in youth theatre, she runs her own film and video production company, working in schools and with young people to inspire the next generation of film makers.<\/p>\n","protected":false},"excerpt":{"rendered":" Often, when choosing GCSE options at school, students open up about their dilemmas \u2013 \u201cI want to do Drama, but it clashes with something that my […]<\/p>\n","protected":false},"author":1002852,"featured_media":29459,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"footnotes":""},"categories":[196,40,799],"tags":[205,197,561,201,202,203,207,346],"class_list":["post-29447","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-focus","category-high-learning-potential","category-skillsbuilder","tag-aiming-high","tag-creativity","tag-drama","tag-listening","tag-presenting","tag-problem-solving","tag-teamwork","tag-theatre"],"yoast_head":"\n
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