Drama is a valuable part of the preschool curriculum. Typically, children aged three to five first experience drama by participating in dramatic play at home and in early childhood environments. Dramatic play is the foundation for the development of drama. This play typically progresses from the time a child is 36 months old, when he or she engages almost exclusively in solitary play and in watching others play; to the equal time engaged in solitary, parallel, and group play at 48 months; and to primarily group play with some solitary and parallel play at 60 months.
Because of circumstances beyond their control, some children may arrive at school with limited exposure to these areas. Regardless of prior exposure, however, all children bring experiences that can enrich drama, and all children can enjoy and participate in drama. Preschool-age children enjoy participating in various types of dramatic play and drama, from pretending to cook a meal in the dramatic play area to acting out part or all of a favorite story with their teacher and peers.
Figure 11.18: What might these children have been acting out?[1]
During preschool, drama should be about the process of creating and exploring, rather than the end product, such as a rehearsed play or other formal performance.
Drama
1.0 Notice, Respond, and Engage
At around 48 months of age
At around 60 months of age
1.1 Demonstrate an understanding of simple drama vocabulary.
1.1 Demonstrate a broader understanding of drama vocabulary.
1.2 Identify preferences and interests related to participating in drama.
1.2 Explain preferences and interests related to participating in drama.
1.3 Demonstrate knowledge of a simple plot of a participatory drama.
1.3 Demonstrate knowledge of the extended plot and conflict of a participatory drama.
2.0 Develop Skills to Create, Invent, and Express Through Drama
At around 48 months of age
At around 60 months of age
2.1 Demonstrate basic role-play skills with imagination and creativity.
2.1 Demonstrate extended role-play skills with increased imagination and creativity.
2.2 Add props and costumes to enhance the dramatization of familiar stories and fantasy play with peers.
2.2 Create and use an increasing variety of props, costumes, and scenery to enhance the dramatization of familiar stories and fantasy play with peers.
Teachers can support children’s development of drama foundations with the following:
Observe dramatic play and role-playing.
Step in or model when needed.
Provide adaptations to support the participation of children with disabilities or other special needs. This may include pre-teaching, using pictures, sign language, and other multisensory enrichment techniques, as well as modified equipment and props.
Use drama-based vocabulary, such as blocking, actors, stage, scenery, voice, and props.
Encourage children to use drama-based vocabulary
Encourage and model the expression of interests and preferences.
Encourage and allow initiative.
Model and note appropriate ways of using drama materials.
Move in and out of the role as appropriate (decide when to participate and when to facilitate).
Use costumes, props, and scenery to inspire dramatic play and drama.
Facilitate children’s engagement in drama by first discussing expectations.
Scaffold and encourage children during and after participating in drama to build their understanding and use of plot.[2]
Figure 11.19: Props for drama can be handmade (by adults and/or children).[3]
Scarves, sashes, and fabric remnants varying in size, color, design, and texture for a costume area; include strips of furry fabric to be used as animal tails. Wooden spoons, paint sticks, cardboard tubes, yarn, and boxes can work as nonrepresentational props where children create meaning.
Basic
Large and small blocks; stuffed animals; dolls; wooden or plastic fruits and vegetables
Enhanced
Puppets; textual props such as menus and signs; large pieces of blue, green, yellow, brown, and floral fabric to depict rivers, grass, dirt (for “planting” vegetables), and flower gardens; headbands with various types of animal ears sewn on
Natural Environment
Wood, tree cookies, and other materials for building; pinecones, feathers, smooth stones, and pebbles
Adaptive Materials
Consider props that are easy to use and handle (e.g., oversized objects and items without many complicated pieces). Adapt clothing and fabric by removing buttons, enlarging openings, and so on for ease of wearing.
Research Highlight
It is important that children be given the opportunity to make decisions and determine the course of action during dramatic play and drama. It helps cultivate social–emotional skills such as taking initiative in one’s learning. However, teachers should often look for opportunities to participate in children’s play. The teacher’s participation adds an important dimension to children’s play. Research suggests that young children derive greater benefits from dramatic play when the teacher or other adult is involved—monitoring and assisting children in engaging and fruitful play, rather than just observing passively.
Ann Podlozny looked at numerous studies that examined the role of children’s participation in drama in their ability to understand stories. In the 17 studies she examined, children listened to a story and either acted it out or listened to it a second time. Podlozny found that children not only displayed greater story understanding and recall when acting out the story rather than just hearing it, but that story understanding was greatest when the teacher or other adult was in-role, working with the children during the drama.
In another study, Robert Fink looked at how teacher involvement in role play affects children’s abilities to understand that people and objects retain original qualities when others are added (conservation), that the physical world stays the same even if one’s view changes, and that people take on multiple roles within a group (perspectivism). In Fink’s study, children were assigned to one of three groups. The first group participated in dramatic play with teacher support, the second group participated without teacher support, and the third group did not participate in dramatic play. After four weeks, it was found that the group that participated in dramatic play with teacher support outperformed both groups on measures of conservation and perspectivism and showed higher levels of imagination when observed during dramatic play.
There are numerous social and educational benefits for children when they engage in dramatic play and drama, and evidence suggests that teacher involvement may enhance these benefits. Although it is important and valuable to allow children autonomy (independence) and the ability to make decisions and choices while engaging in play, frequent observation and guidance are important. See “Interactions and Strategies,”“Teachable Moments,” and the vignettes in this section for suggestions and descriptions of how adults can enhance children’s engagement in dramatic play and drama.[5]
Sources:
54. A. Podlozny, “Strengthening Verbal Skills Through the Use of Classroom Drama: A Clear Link,” Journal of Aesthetic Education 34, nos. 3-4 (2000): 239–76. 55.
R. S. Fink, “Role of Imaginative Play in Cognitive Development,” Psychological Reports 39 (1976): 895–906. As summarized in Critical Links: Learning in the Arts and Student Academic and Social Development. Edited by R. Deasy. Washington, DC: Arts Education Partnership, 2002.
Vignettes
A day after reading and discussing “The Three Billy Goats Gruff” during story time, Mr. Longfeather watches as a group of four-year-old children in his class pretend to be goats. The three children portraying the goats are trying to get into the “castle” as Juan, who is acting as a troll, stands guard. Mr. Longfeather is pleased to see that the children are using several objects he placed at the dramatic play area as props and scenery. Juan is clearly having a great time and laughs as he uses a deep voice and makes funny “troll” faces.
After dramatic play time is over and the class has gathered on the rug, Mr. Longfeather listens as the children excitedly recount and describe what they did during dramatic play. “Juan was a funny troll,” says Kim. Juan adds, “And I used a walking stick.” The teacher responds, “That’s right, Juan. When you were the troll, you were using the paint stick as a ‘prop.’ A ‘prop’ is a thing actors use while pretending. I heard your deep troll voice and saw your scrunched troll face. I noticed that you were laughing as you made the faces. Did you enjoy making the faces?” The children ask if they can keep their “castle,” made from large blocks and fabric, in the dramatic play area. Mr. Longfeather agrees.
Several children in their preschool program begin arranging the dramatic play area to resemble a preschool. They excitedly call out their plans to play the teacher, the assistant teacher, the parents, and even themselves. As their teacher, Ms. Jackson, observes the activity, she notes that three children are evident leaders of this enterprise: Peter, Emma, and Jamila, all about four years old. The other children take an interest in this development and look at the preparations without participating much—they occasionally toss in ideas or suggest odd props. Emma interrupts the proceedings by pronouncing, “Come sit down on the rug, class. I’m the teacher, and you are my children!” Peter and Jamila say nearly in unison, “No, I’m the teacher!” Some of the remaining children express a preference for who should be the teacher, including themselves.
As the project begins to fall to some grumbling and squabbling, Ms. Jackson steps in and says, “This looks really great—you’re building the whole classroom in just one corner of the room. I’ll bet you’d all like a chance to be the teacher. So let’s figure out how that can work.” Jamila says, “How do we tell who is the teacher?” Seizing a large plastic capital T from the alphabet box, Emma says, “With this!” The teacher nods and says, “That will be helpful because the word 'teacher' starts with the 't' sound. Peter adds, “The person with this yellow T will be the teacher for a minute and show the class something a teacher does. And we’ll take turns.” As the children finish organizing the dramatic play area, Ms. Jackson sits down next to Lulu and Alejandro, who are just beginning to learn English, to help them understand the plan and participate.[6]
