Drama is an art form that presents stories to audience through dialogue and action. Having drama education in early childhood settings is beneficial. People who hold a developmental point of view might doubt that very young children who have not yet developed language skills are able to learn drama. In fact, very young children are competent to learn the elements of drama, and they are benefit from learning it because It advances their language, social, emotional, and cognitive capacities (Wanerman, 2010). The YouTube video below, Ethan doing his facial warm ups for dramatic toddler acting (Becci Bentley, 2013), is about a toddler who can do a range of facial expressions. It shows the evidence that even very young children can have the potential to be capable of learning about drama and acting.
Creative and imaginative play is suitable for young children(Wright, 2012). They have the chance to recognise and learn about the elements of drama as they engaging the dramatic activities.
The elements of drama such as role, relationship, and tension are the foundation of all dramatic action (Wright, 2012). It is important for children to know and implement these elements into their creation of drama. Therefore, teachers need to have an explicit understanding of drama and its elements in order to support children's dramatic activity through purposeful involvement (Wright, 2012).
Wright (2012) proposed three principles of drama learning in the early years. The first principle was the involvement of the teacher. Teachers can provide help during children's learning of drama and enhance their understanding of the drama elements. However, it is important to note that involvement does not mean intervention or interruption, because intervention or interruption is considered as incidental teaching which devalues children's play (Vandenberg, 1998). The second principle was that dramatic play should build on children's interests. The third principle was children's active co-construction during dramatic play. It means that despite of teachers' scaffolding and supporting, children need to have the control over key aspects such as the play space (Wright, 2012).
In the drama workshops, we explored a few dramatic activities. We enacted some characters such as a queen and an old man. We also imagined and acted out the actions as if we were stepping on a hot stone. Beside the individual acting, we acted in groups as well. For example, we randomly get into small groups and acted like a castle together. This activity allows children to develop a sense of identity (Outcome 1) (DEEWR, 2009) that they understand the difference between real and fictional (Wright, 2012). It also has the positive influence on children's relationship with peers (Connectedness) (QSA, 2010).
"No, you can't take me" was an interesting activity that we did in the workshop. In my group, we were acting as one of the objects in the bathroom (different rooms were assigned to different groups). We had to tell people why we cannot be taken, and the rest of the class guessed what objects we were pretending. This activity is good for the development of logical thinking. It requires children to verbally communicate to others in order to achieve the goal (Outcome 5) (DEEWR, 2009).
Wright (2012) proposed three principles of drama learning in the early years. The first principle was the involvement of the teacher. Teachers can provide help during children's learning of drama and enhance their understanding of the drama elements. However, it is important to note that involvement does not mean intervention or interruption, because intervention or interruption is considered as incidental teaching which devalues children's play (Vandenberg, 1998). The second principle was that dramatic play should build on children's interests. The third principle was children's active co-construction during dramatic play. It means that despite of teachers' scaffolding and supporting, children need to have the control over key aspects such as the play space (Wright, 2012).
In the drama workshops, we explored a few dramatic activities. We enacted some characters such as a queen and an old man. We also imagined and acted out the actions as if we were stepping on a hot stone. Beside the individual acting, we acted in groups as well. For example, we randomly get into small groups and acted like a castle together. This activity allows children to develop a sense of identity (Outcome 1) (DEEWR, 2009) that they understand the difference between real and fictional (Wright, 2012). It also has the positive influence on children's relationship with peers (Connectedness) (QSA, 2010).
"No, you can't take me" was an interesting activity that we did in the workshop. In my group, we were acting as one of the objects in the bathroom (different rooms were assigned to different groups). We had to tell people why we cannot be taken, and the rest of the class guessed what objects we were pretending. This activity is good for the development of logical thinking. It requires children to verbally communicate to others in order to achieve the goal (Outcome 5) (DEEWR, 2009).
Telling stories to young children is not hard, but being a storytelling expert requires some strategies. Pitch, pace, and pause are the three important elements of storytelling. It engages children in the story and helps them create a visual image in their head. Thus, children are able to make meaning out of the text. The dramatic voice arouses children's curiosity, so that they become more involved in the learning (Outcome 4) (DEEWR, 2009).
Wanerman (2010) suggested to have imaginative play based on story books. It is recommended to select the story books that relates to children's interest, so that they are more likely to be willing to participate in the activity. Children tend to be more attracted by stories that have strong emotional content (Wanerman, 2010). An example of this kind of story could be The Three Little Pigs. Teachers need to guide children to interpret the feelings of the characters and encourage them to represent these feelings by using their bodies and facial expressions (Wee, 2009). This activity requires children to recreate the characters based on their understandings of the story (Outcome 4) (DEEWR, 2009).
Because story books with rhythm, rhyme, and repetition are highly effective for helping infants and toddlers engaging in the imaginative theme (Wanerman, 2010), I plan to use the book Brown Bear, Brown Bear, What Do You See for my field experience. I could ask questions such as "what does the duck look like" and "what is the sound of the duck" to encourage them to act. As the result of doing this activity, it will deepen children's understanding of the story (Outcome 4) (DEEWR, 2009) and they will gain knowledge about these animals.
References
Becci Bentley (2013, June 11). Ethan doing his facial warm ups for dramatic toddler acting [video file]. Retrieved from: https://www.youtube.com/watch?v=hcZYO8JVDIQ
Brown, V. (1990). Symposium on early childhood arts education: Drama as an integral part of the early childhood curriculum. Design for Arts in Education, 91(6), 26-33.
Department of Education, Employment and Workplace Relations (DEEWR) (2009). Belonging, being & becoming – the early years learning framework for Australia. Canberra, ACT: Dept. of Education, Employment and Workplace Relations of the Council of Australian Governments.
Hartigan, P. (2012). Using theatre to teach social skills: Researchers document improvements for children with autism. Education Digest: Essential Readings Condensed For Quick Review, 77(9), 30-34.
QSA (2010). Queensland Kindergarten Learning Guideline. Retrieved from: http://www.qsa.qld.edu.au/downloads/early_middle/qklg.pdf
Vandenberg, B. (1998). Real and not real” A vital developmental dichotomy. In O. Saracho & B. Spodek (Eds.), Multiple perspectives on play in early childhood education (pp. 295-305). Albany, NY: State University of New York Press.
Wanerman, T. (2010). Using story drama with young pre-schoolers. Young Children, 65(2), 20-28.
Wee, S. J. (2009). A case study of drama education curriculum for young children in early childhood programs. Journal of Research in Childhood Education, 23(4), 489-501. doi: 10.1080/02568540909594676.
Wright, S. (2012). Children, meaning-making and the arts (2nd ed.). Frenchs Forest, NSW: Pearson Education.
Wanerman (2010) suggested to have imaginative play based on story books. It is recommended to select the story books that relates to children's interest, so that they are more likely to be willing to participate in the activity. Children tend to be more attracted by stories that have strong emotional content (Wanerman, 2010). An example of this kind of story could be The Three Little Pigs. Teachers need to guide children to interpret the feelings of the characters and encourage them to represent these feelings by using their bodies and facial expressions (Wee, 2009). This activity requires children to recreate the characters based on their understandings of the story (Outcome 4) (DEEWR, 2009).
Because story books with rhythm, rhyme, and repetition are highly effective for helping infants and toddlers engaging in the imaginative theme (Wanerman, 2010), I plan to use the book Brown Bear, Brown Bear, What Do You See for my field experience. I could ask questions such as "what does the duck look like" and "what is the sound of the duck" to encourage them to act. As the result of doing this activity, it will deepen children's understanding of the story (Outcome 4) (DEEWR, 2009) and they will gain knowledge about these animals.
References
Becci Bentley (2013, June 11). Ethan doing his facial warm ups for dramatic toddler acting [video file]. Retrieved from: https://www.youtube.com/watch?v=hcZYO8JVDIQ
Brown, V. (1990). Symposium on early childhood arts education: Drama as an integral part of the early childhood curriculum. Design for Arts in Education, 91(6), 26-33.
Department of Education, Employment and Workplace Relations (DEEWR) (2009). Belonging, being & becoming – the early years learning framework for Australia. Canberra, ACT: Dept. of Education, Employment and Workplace Relations of the Council of Australian Governments.
Hartigan, P. (2012). Using theatre to teach social skills: Researchers document improvements for children with autism. Education Digest: Essential Readings Condensed For Quick Review, 77(9), 30-34.
QSA (2010). Queensland Kindergarten Learning Guideline. Retrieved from: http://www.qsa.qld.edu.au/downloads/early_middle/qklg.pdf
Vandenberg, B. (1998). Real and not real” A vital developmental dichotomy. In O. Saracho & B. Spodek (Eds.), Multiple perspectives on play in early childhood education (pp. 295-305). Albany, NY: State University of New York Press.
Wanerman, T. (2010). Using story drama with young pre-schoolers. Young Children, 65(2), 20-28.
Wee, S. J. (2009). A case study of drama education curriculum for young children in early childhood programs. Journal of Research in Childhood Education, 23(4), 489-501. doi: 10.1080/02568540909594676.
Wright, S. (2012). Children, meaning-making and the arts (2nd ed.). Frenchs Forest, NSW: Pearson Education.