61
INDEX THE BIG TEACHER TRAINING MANUAL INDEX..................................................................................................1 CHAPTER 1: ICE BREAKERS, TRUST BUILDERS & WARM-UPS................................................6 Alien, Tiger, Cow...................................................................................6 All Change. “All those wearing…”...............................................................6 Autobiographies. Ice Breaker....................................................................6 Bend and stretch and reach for the sky, Warm up............................................6 Biographical Portraits.............................................................................7 Biographies. Ice breaker, listening and presenting ..........................................7 Blind Friends........................................................................................7 Blind Stalker (warm-up)..........................................................................8 Blind Walk/Run - moving on......................................................................8 Chinese Whispers..................................................................................8 Cross Circle ........................................................................................9 Duck! Jump! (Warm up game)...................................................................9 Fish in the Sea / Birds in the Air (Warm up & Game) .......................................9 Flock Dance (warm-up)..........................................................................10 Free Association (warm-up)....................................................................10 Group Stop (warm-up)...........................................................................10 Guided Trip........................................................................................10 Hello (warm-up).................................................................................10 Hunter and Hunted...............................................................................11 I went to the market and I bought …..........................................................11 Introduction ball..................................................................................11 Jeepers Peepers (warm-up)....................................................................11 Lap Sit..............................................................................................12 Malapropism (warm-up).........................................................................12 Mirrors.............................................................................................12 Name with a feeling.............................................................................12 Name with Action................................................................................12 Pass Catch (warm-up)...........................................................................13 People Knot (Ice Breaker / Trust Builder)....................................................13 Pie (Little kid math).............................................................................13 Revise ball.........................................................................................13 Self Portrait.......................................................................................13 Shapes .............................................................................................14 Simon Says… (Warm up & Game) ..............................................................14 Simulclap (warm-up).............................................................................14 Slow Motion Samurai (warm-up)...............................................................15 Socks, Warm up, remember to do your laundry first.......................................15 Steal the keys.....................................................................................15 Trust Fall/Circles - the place to start.........................................................15 www.interacting.info · [email protected] · tf: (+34) 915 400 783 · fx: (+34) 915 481 015

The Manual Activities Teaching Through Drama

  • Upload
    gina

  • View
    216

  • Download
    4

Embed Size (px)

DESCRIPTION

Manual de predare prin tehnici teatrale

Citation preview

Page 1: The Manual Activities Teaching Through Drama

INDEXTHE BIG TEACHER TRAINING MANUAL

INDEX..................................................................................................1CHAPTER 1: ICE BREAKERS, TRUST BUILDERS & WARM-UPS................................................6

Alien, Tiger, Cow...................................................................................6All Change. “All those wearing…”...............................................................6Autobiographies. Ice Breaker....................................................................6Bend and stretch and reach for the sky, Warm up............................................6Biographical Portraits.............................................................................7Biographies. Ice breaker, listening and presenting ..........................................7Blind Friends........................................................................................7Blind Stalker (warm-up)..........................................................................8Blind Walk/Run - moving on......................................................................8Chinese Whispers..................................................................................8Cross Circle ........................................................................................9Duck! Jump! (Warm up game)...................................................................9Fish in the Sea / Birds in the Air (Warm up & Game) .......................................9Flock Dance (warm-up)..........................................................................10Free Association (warm-up)....................................................................10Group Stop (warm-up)...........................................................................10Guided Trip........................................................................................10 Hello (warm-up).................................................................................10Hunter and Hunted...............................................................................11I went to the market and I bought …..........................................................11Introduction ball..................................................................................11Jeepers Peepers (warm-up)....................................................................11Lap Sit..............................................................................................12Malapropism (warm-up).........................................................................12Mirrors.............................................................................................12Name with a feeling.............................................................................12Name with Action................................................................................12Pass Catch (warm-up)...........................................................................13People Knot (Ice Breaker / Trust Builder)....................................................13Pie (Little kid math).............................................................................13Revise ball.........................................................................................13Self Portrait.......................................................................................13Shapes .............................................................................................14Simon Says… (Warm up & Game) ..............................................................14Simulclap (warm-up).............................................................................14Slow Motion Samurai (warm-up)...............................................................15Socks, Warm up, remember to do your laundry first.......................................15Steal the keys.....................................................................................15Trust Fall/Circles - the place to start.........................................................15

www.interact ing. in fo · hel lo@interact ing. info · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 2: The Manual Activities Teaching Through Drama

- 2 -

Tug of war..........................................................................................15Twins...............................................................................................16Two Truths and a Lie.............................................................................16Vocal Mirror.......................................................................................16Whisper Forest....................................................................................16Who’s The Leader. ..............................................................................16Wired up...........................................................................................17Word Ball (sometimes sock!)...................................................................17Yes Lets (warm-up)...............................................................................17Zip, Zap, Zoom (warm-up)......................................................................17

CHAPTER 2:FROM ACTION TO WORDS & BACK..............................................................19

Environment Building (exercise)...............................................................19Environment Shift (exercise)...................................................................19Family Portraits...................................................................................19Freeze Tag (exercise)............................................................................20Gift.................................................................................................20Incident............................................................................................21Leaving the Couch ...............................................................................21Look at it..........................................................................................21Open Your Eyes...................................................................................21Tray Full of Fun (Simple game).................................................................22What Do You Hear?...............................................................................22What’s in the Magic box? .......................................................................22What’s in the Closet?............................................................................22Where are you going? ...........................................................................23Where were you?.................................................................................23

CHAPTER 3:BUILDING BLOCKS FOR DIALOGUE..............................................................24

Alphabet scene...................................................................................24Corridors...........................................................................................24Emotional Boundaries...........................................................................24Emotional Symphony ............................................................................25Emotional Transfer ..............................................................................25Encounters........................................................................................25Foreign Film ......................................................................................25Gibberish Exercises ..............................................................................26Just a Minute......................................................................................26Last letter/Last line.............................................................................27Last Letter.........................................................................................27Monarch (exercise)...............................................................................27Name Six...........................................................................................27Oh Henry!..........................................................................................28One Sentence Story with Entrance/Exit Words..............................................28Party Game........................................................................................28Questions/No Questions.........................................................................28Rope................................................................................................28“What are you doing?”..........................................................................29Where are we, where have we been and where are we going?...........................29

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 3: The Manual Activities Teaching Through Drama

- 3 -

Where are we?....................................................................................29Who am I?..........................................................................................30Word Ball (sometimes Sock!)...................................................................30

CHAPTER 4:SETTING THE SCENE...............................................................................31

1-2-3-4.............................................................................................3160 Second Play - Adverbs.......................................................................31A Walk In The Park...............................................................................31Age Walk...........................................................................................32Beginning / Middle / End.......................................................................32Double Talk........................................................................................32Dubbing Games...................................................................................32Endowment Scenes (handle)....................................................................33Party Game........................................................................................33Entrance/Exit Words.............................................................................34Free Speech.......................................................................................34How dare you! Insults on the telephone......................................................34Hunting The Whatsit ............................................................................34Image Association................................................................................35Journalists.........................................................................................35Last Sentence Scene ............................................................................35Living Freeze......................................................................................35Moving People ....................................................................................35No Laughs Scene .................................................................................36One sentence story..............................................................................36One word story...................................................................................36Open Scene .......................................................................................36Options ............................................................................................37Paper Chase.......................................................................................37Past, Present, Future or “Time Warp”........................................................38Progressive Phrase...............................................................................38Push In.............................................................................................38Sit, Stand, Kneel, Lie Down.....................................................................38Soundscape .......................................................................................39Split Environments...............................................................................39Stage Directions .................................................................................39Subconscious Scene .............................................................................39Switch Characters................................................................................40Three Way Dubbing ..............................................................................40Touch To Talk .....................................................................................40Word Association.................................................................................40Word Association.................................................................................41

CHAPTER 5:STORY TELLING.....................................................................................42

5-4-3-2-1 (long-form)............................................................................42Balladeer (long-form)............................................................................42Die Game .........................................................................................42Do Run Run Song (handle).......................................................................43Fully Interactive Story...........................................................................43

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 4: The Manual Activities Teaching Through Drama

- 4 -

Gregorian Chant (handle).......................................................................43Modern Fairy Tale ...............................................................................44Narration with Sound Effects...................................................................44Self Narration – Feeling from Action..........................................................44Self Narration – Action from Feeling .........................................................44So I'll ...............................................................................................45Superhero Eulogy ................................................................................45The Casting........................................................................................45This Is Your Life...................................................................................45

CHAPTER 6:RECENTLY ADDED..................................................................................47

Adam and Eve.....................................................................................47Alphabet Shapes..................................................................................47Boom chica Boom................................................................................47Duck Duck Goose.................................................................................47Group Animal Mime..............................................................................48Group Focus.......................................................................................48Group Household Item Mime...................................................................48Group Vehicle Mime..............................................................................48Line Greetings....................................................................................48Musical Instruments!.............................................................................49Poor Poor Animal.................................................................................49Songs...............................................................................................49Touch Your Partner...............................................................................50What Occupation Am I?..........................................................................50Quick Fire Mime..................................................................................50Believable Entrances............................................................................51Emotion Mime.....................................................................................51The Selling Game.................................................................................51

Mime Activities. In Group........................................................................51Group Focus.......................................................................................51Group Vehicle Mime..............................................................................51Group Household Appliance Mime.............................................................52

SECTION A...........................................................................................54Getting to Know You.............................................................................54Move to the Spot.................................................................................54 Do you like your neighbour....................................................................54Human Noughts and Crosses....................................................................54You are you?.......................................................................................54Name Game.......................................................................................55Convince us!......................................................................................55Sherlock Holmes..................................................................................55Tangle..............................................................................................55Tick Tock...........................................................................................55Structures.........................................................................................55

SECTION B...........................................................................................56Adverstisement...................................................................................56The Continuing Story............................................................................56Control Tower.....................................................................................56

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 5: The Manual Activities Teaching Through Drama

- 5 -

You can’t laugh...................................................................................56Fists................................................................................................57Three Feelings....................................................................................57Merry-go-Round...................................................................................57News for you......................................................................................57Speakeasy.........................................................................................57Walk my walk.....................................................................................57

SECTION C...........................................................................................58Mime and Action Memory.......................................................................58Emotions: Play and Freeze frame.............................................................58Comic Strip........................................................................................58Chinese Mime Chain..............................................................................58Chain Statues.....................................................................................58Fit the Reader....................................................................................58Dialogue Environments..........................................................................59Paper Bag Scene..................................................................................59Prop Scene.........................................................................................59Opening & Closing Line..........................................................................59Situations..........................................................................................59

SECTION D...........................................................................................59It’s Obvious........................................................................................60Verbal Boxing.....................................................................................60Word Wizard......................................................................................60Pig, Wolf and Farmer............................................................................60

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 6: The Manual Activities Teaching Through Drama

- 6 -

CHAPTER 1:

ICE BREAKERS, TRUST BUILDERS & WARM-UPS

Alien, Tiger, CowAlso known as rock, paper, and scissors. There are three things that the players can be. The first is an alien. The alien is signified by making antennae with your fingers and leaning into the circle making the noise "zeep zeep zeep". The second thing you can be is a tiger. The tiger is signified by leaning into the circle exposing your ferocious claws and roaring. The last is the cow. The cow's udder is exposed by putting your hand on your stomach and mooing loudly. Someone in the circle briskly counts to three. On three everyone commits to one of the three character types alien, tiger, or cow. Keep repeating the cycle of 1-2-3 until everyone does the same creature. Generally dissolves into complete chaos before there is any synchronicity. Variations 1Increase the number of options i.e. cow, android, fridge. Variation 2Majority Rules-- if there are six tigers, four cows and two aliens the two players that chose aliens are out of the circle.

All Change. “All those wearing…”Simple game where everyone is seated in a circle and the leader stands in the middle. When the leader says "all those wearing blue change" everyone wearing the colour blue must change seats; the leader will also try to find a seat so that one person will be left without a seat standing in the middle. Start the game focused on clothing e.g. all those wearing jumpers change, then combine items of clothing with colours, all those with blue bras etc.Alternatives: all those with two sisters, all those with a dog, all those who like pizza, all those who have been to Benidorm.

Autobiographies. Ice BreakerIn a circle each player takes a turn to speak about themselves for about thirty seconds and then the rest of the players are invited to ask questions. There are various versions of this; one is to ask players to speak about themselves for as long as they can hold a lighted match. Another is to displace the focus from the speaker to an object, any object, could be a magic sock or a motivating pen. The leader of the group throws or passes the magic article when the action stops the person holding the object speaks. Other variations define the area of personal description for example get the person to speak for thirty seconds on their home or family or focus on likes and dislikes.

Bend and stretch and reach for the sky, Warm upHave all players stand in a circle full arms length from each other. Do the puppet on a string. Reaching upwards palms facing the ceiling and fingers splayed. Imagine a string attached to the top of your head, your fingertips and palms. Feel yourself being drawn towards the ceiling as the strings are pulled. Feel yourself being stretched further and

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 7: The Manual Activities Teaching Through Drama

- 7 -

further until you are almost lifted off the ground. Hold the position for about a minute and then imagine the strings have been cut and flop to a relaxed position with the hands and arms dangling free.Next step:Standing as before, make the movement in five thrusts holding for ten on the fifth and flopping with the whole body above the waist so that head trunk arms hands and head are hanging down relaxed. Hang limply for some moments and repeat.Next step:Touch the shoulders with the fingertips. Thrust out lower jaw, bending back the head and stretch the chin upwards. Stretch the muscles of the neck. Hold for a moment, then let head, hands and trunk flop loosely forwards with hands and head hanging limply. Bring back to relaxed erect posture, start a whole lot of shaking; first only shake the fingers, faster and looser than typing, as if you were trying to get rid of them. Then shake the hands, palms down. Then combine fingers and hands. Move over the body to joints, elbows, shoulders, neck, ankles and feet, knees hips and waist. Combine and try to get as many going on at once. Hold it shaking and then flop.

Biographical PortraitsAnother variation on Autobiographies: Work in pairs of A and B. Player A is interviewed by player B for two to three minutes, roles reversed and then players A and B should attempt to draw a portrait of their partner. The portraits should be collected and then, at a later date, displayed around the room for the people to try and recognise themselves from the information they gave.The activity is good for bringing new groups together, getting names and one or two hobbies that you can later explore. You can prepare for this activity by asking the players to prepare written autobiographical profiles you specify the questions.

Biographies. Ice breaker, listening and presenting Players pair off into A's and B’s. First player A speaks for two minutes about aspects of themselves the Leader chooses the subject, professional life, educational experiences, ambitions short or long term etc, Basic details should be included such as name, place of Birth where you live etc. Player B just listens, no questions no notes. Then players reverse roles. Now the Leader explains that A will present us to B for one minute or thirty seconds. This presentation can be made to the group as a whole or to groups of four. Everyone should be introduced by the end of the activity. You can prepare for this activity by asking the players to prepare written autobiographical profiles you specify the questions.

Blind FriendsPlayers pair off. Studying their partner they try to think how they could identify each other if they met blind. They should be encouraged to touch each other’s hair, skin, and the fabric of the each other’s clothes. After a few minutes of exploration the players are told to close their eyes and walk in a random direction being careful how they bump into others. Partners should be well and truly mixed, give the order to try to meet up without talking. Once partners have been reunited they should move to the

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 8: The Manual Activities Teaching Through Drama

- 8 -

side of the room leaving space until the final two unite. A second step is the players follow the same procedure as above but must find their partners without using their hands.

Blind Stalker (warm-up)We need four people on each wall, and everyone else milling about in the centre of the room. The people on the outside are spotters. Ideally there will be more than four spotters. Remember safety first. The people that are milling about in the centre of the room close their eyes and are asked to keep their hands at their sides. They continue to move about slowly bumping into each other with their eyes closed and being safely redirected towards the centre of the room by the spotters. This activity continues for a while once the milling group manages to remain quiet. Then one of the people with their eyes closed is selected as a vampire. The vampire will blindly mill about the room. When the vampire encounters another player she will grab her by the wrist. The players are informed that if they are grabbed by the wrist they yell out a scream, open their eyes and move to being a spotter. This continues until there are no players left in the centre. The spotters can make spooky noises as the vampire gets close, don't pick a vampire and let them wander for hours.Variations:No vampire--some groups are so intense that just closing their eyes is enough of a trust builder, let alone being touched by someone; Healer--the players touched by a vampire become vampires, if two vampires touch they heal themselves to become non vampires

Blind Walk/Run - moving onPlayers should make one large circle with players standing at arms' distance from each other with their hands as in the exercise above. With a blind fold or with eyes wide shut, one player should be placed in the centre of the circle, spun around and told to walk normally until stopped at the edge of the circle where they will be redirected to walk across the circle again. Again it is important that the circle is not breached and that the guardians at the edge stop the walker gently and gently redirect them. Variation:Blind Run, in an open space, gymnasium, out doors as above but with the person in the centre running and the guardians moving quickly to make sure the circle is not breached.

Chinese WhispersAll players sit in a circle. Two messages or statements are written out and concealed from the group. One message is whispered from one player to the next in one direction and the other message is sent in the opposite direction. Compare final messages with original messages.Variation: Before revealing the final and original message, have all the players write down what they understood the message to be. Then read the original message followed by each consecutive message until at least the final message is reached.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 9: The Manual Activities Teaching Through Drama

- 9 -

cc

Cross Circle This exercise is complicated to learn. It is started by one person (called person Eh) who randomly picks another person out of the circle (called person Bee) and gets their attention by stating their name "hey Bee". Once person Bee acknowledges that their name has been called person Eh starts to walk towards them. You think that this is silly and that person Eh is going to crash into person Bee who is standing in the circle. Well person Bee calls out to another person in the circle (let's say person See). And when See acknowledges Bee then Bee can start walking. So Eh and Bee are moving across the circle (hence the name) at the same time. See does the same to Dee. By now Eh should be stationed in what used be Bee's spot. Eh will wait patiently, listening, but not moving until she is called on by someone else in the circle. Complicated, yes, Impossible, No. Walk through it slowly at first and it will start to make sense. Variation 1People cannot move until they say the name of the person that they have chosen. This forces people to learn names fast. If the group is big enough you can have more than one cycle going at once. More than one person can be moving at the same time. Therefore two separate cycles are crossing the circle. Variations 2It can be done with just pointing and no names. Even more attention would be required to do this warm-up with just eye contact. Once this warm-up is mastered more it can be combined with Word At A Time Story. Combining the story with two continuous cycles that creates two simultaneous stories. There are few people that I have met that can keep track of both stories at once.

Duck! Jump! (Warm up game)An attention grabber! Everyone lines up in a semicircle. The teacher has a few pair of socks. He/she yells “Duck!” at someone and throws the sock over or near the person’s head. Repeat the activity with everyone at random until everyone masters the word. Alternately use the word “Jump!” and throw the socks at people’s feet. Repeat this activity on other days to reinforce the words and keep people on their toes.

Fish in the Sea / Birds in the Air (Warm up & Game) This is a variant of musical chairs. Group is seated in a circle. Go around the circle giving each player the name of a fish. Example: SALMON, TROUT, COD, HADDOCK. Give the names out like 1-2-3-4, 1-2-3-4, etc. Tell each person to remember their fish-name and explain that when you call out “SALMON” all the SALMONS must get up from their seat and run around the circle in a clockwise direction to return to their seat. Practise with each type of fish and then send 2 or 3 types of fish running at the same time. Create confusion: SALMON! (pause) COD! (pause) HADDOCK! (pause)… Introduce “The sea is troubled.” (ALL FISH AT THE SAME TIME.) “Change at sea.” (CHANGE DIRECTION.) “The Sea is calm.” (FREEZE). “Here come the fishermen!” (CONTINUE RUNNING). When you train each command introduce the concept of removing chairs by turning

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 10: The Manual Activities Teaching Through Drama

- 10 -

them towards the centre of the circle – going towards a winner. This has many variants!

Flock Dance (warm-up)This is best done with music, but you can improvise around that. The first person starts to move or dance. The two immediately behind her mimic the movements. Each row follows the row ahead. It is fun to watch the movements decay as the line gets further back. The leader alternates as the music changes, or as others come forward from the back ranks. To finish the lead person turns around so the flock must turn around, but can no longer see what is happening. Doing the splits ends it quite effectively as well!

Free Association (warm-up)The group can be structured in circles, and one person starts off by saying any word. The person to her left lets fly with the absolute first thing that comes to mind when they heard the previous word. There should be no pause to find "something funny" or to edit their thoughts. This is not a psychoanalysis exercise, but one to get people pulling down those barriers to creative thoughts. Associations like "boss-napalm" are quite common, and not too much to worry about. Variation 1Try it in gibberish. Variations 2Firing line is where one person is required to do all the word associations. Six people line up and fire off words that they have pre planned the player on the firing line responds immediately with a free word association.

Group Stop (warm-up)Everyone quietly mills about the room. One person will elect to freeze in position unexpectedly. As soon as one notices that someone else has frozen in position they freeze as well. So the effect of one person freezing causes everyone to freeze. Once everyone is still the group starts milling around again. The goal is to see how quickly the group can freeze in position. Variation 1:The warm-up can be made more interesting by having the players make noises as they move around. Increasingly noisy characters make it harder and harder to notice the group stop, and therefore makes it more challenging.

Guided TripPlayers lay on the floor with their eyes closed. You walk them through a trip to a familiar place in their mind.

Hello (warm-up)The players mill about the room. At some point the workshop leader asks them all to greet each other by shaking hands. Greet one person and move on, greet another and so on. This continues for a while. Then endow each of the greetings with an element.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 11: The Manual Activities Teaching Through Drama

- 11 -

For example, "greet each other like you are long lost friends". You can continue to endow the greetings with elements like: ex-lovers, someone you have a crush on, someone you are afraid of, someone you love, a smelly person, etc. The greetings can be embellished with emotions like: greet everyone angrily, greet everyone happily, greet everyone like you have a secret, greet everyone like you are a Scottish Chieftain, etc. Have fun with it, and keep the greetings short and superficial. Variation 1Combine it with Cross Circle, form two lines and have the greeters meet on stage together.

Hunter and HuntedPlayers sit in a circle with their eyes shut. The weapon (e.g. rolled up newspaper) is placed in the circle. Two players are selected by tapping them on the shoulders. Keeping their eyes shut they try to find the weapon. Whoever finds the weapon becomes the hunter the other the hunted. The objective being that the hunter touches the other player with the weaponbefore the hunted person can find the hunter’s chair and sit down in it.

I went to the market and I bought …

a basic list and memory game, the students sit in a circle and say ‘I went to market and I bought’ which is followed by an object of some sort, for example, an apple. The next student then repeats this phrase and adds their own object. There are many variations to this game for objects to go through the alphabet using a different letter to begin each new word. Another idea would be to only allow objects larger than a television, or only animals, or illegal things. The choice is wide and the game can be used to teach specific vocabulary.

Introduction ball

Warm up activity. Students pass a ball around a circle introducing themselves. Once warmed up, every time that they pass the ball they should ask a question, trying to be as specific as possible e.g. what’s your name? , and increase speed.An alternative is to ask more open questions e.g., Tell me about your country/home or Tell me about your job/work. Etc.This can be used as a revision activity.

Jeepers Peepers (warm-up)This warm-up is designed to try and get us all in synch. Everyone get into a tight circle. Everyone looks down at the ground, not making eye contact with anyone else. The group all counts to three, and on a count of three everyone looks up at once. Each player in the circle is responsible for making a strong choice, and they must either look to their left, their right, or directly across the circle. If players make eye contact, both scream and step out of the circle. This activity is continued until all are out of the circle.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 12: The Manual Activities Teaching Through Drama

- 12 -

Lap SitThe leader asks everyone to stand in a tight circle with their shoulders touching and then asks everyone to turn 90º to the right. Tighten the circle even more by asking everyone to take a side-step toward the inside of the circle. Everyone should be touching or almost touching the person in front and behind them. Now everyone should grab the shoulders of the person in front of them and when the leader says “OK”, everyone must sit on the lap of the person behind them. If everyone does it right, no one falls! Lap sit builds teamwork and coordination.

Malapropism (warm-up)As the players are milling about they are to point at objects in the room and call out what the object is not. If they point at a light they may call out "fish", or "wallet". The goal is to call out loud and clear like that is what the object is. Watch for people that saying the same thing over and over again. It works better if people free associate with each new object that they point at. The exercise continues until boredom sets in. Variations 1If people are stuck on the exercise, start out identifying objects in gibberish. The objects can be named in various accents, or emotions.

MirrorsPlayers stand in pairs face to face and decide who will be player one and who will be player two. Player one is the leader and begins to move slowly, player two is the reflection and must try to mirror player ones movements. After a few minutes the roles are changed. Players should work towards the changes being impossible to see and therefore who is leading and who is following. This activity demands that the players see the "whole" of the other player, to concentrate and to work together. Another option is to state a place where the action takes place i.e. on the farm, in the changing rooms, at the hairdressers.

Name with a feeling.Work through on the board a number of standard adjectives to describe feelings and teach the formula, also use the words that the students know. Ask them individually how they feel.E.g. Happy, sad, cold, hot, hungry, angry, tired, bored, interested, optimistic, pleased, sporty, rich, poor, Hi, I’m … and I’m wild!Have each person in the circle introduce themselves with a walk appropriate to the feeling they use by walking into the circle. Then everyone should walk into the circle and use the third person, He’s … and he’s wild!

Name with ActionPlayers stand in a circle. One player says his/her name and at the same time invents a matching action or movement. The player to the left then repeats the name and action and adds his/her own name and action. Then the next player does exactly the same,

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 13: The Manual Activities Teaching Through Drama

- 13 -

including the names and actions of the people before and so on around the circle. If any player makes a mistake, the action returns to the first player.

Pass Catch (warm-up)In a circle make sure that the players have enough space to move freely without accidentally clouting each other in the head. One player in the circle throws themselves into a bizarre stance and makes a corresponding noise along with it. This gesture is made to the player to their right in the circle. That player immediately reflects back the gesture and noise, imitating the other player as best she can. Once she has done that she immediately turns around and creates a new gesture and noise to the player to her right. The process is repeated and goes around the circle for a few minutes. It is important that the players not stop to think in between the poses. The player should receive, reflect, turn and create a new pose without pause. Variations 1The player to the right can dispense with reflecting the gesture and quickly turn around and give the gesture to the player to their right. This will result in a continuous noise and shape flying around the circle at high speed. Eventually the gesture is altered. The result can be stunning. The gesture can also be thrown across the circle. This keeps players from being prepared and gets people more in the moment.

People Knot (Ice Breaker / Trust Builder)Players stand in a circle, shoulder to shoulder. Placing their hands into the centre each player takes hold of the hands of the other players. It is important that players understand that they should not join hands with the player immediately beside them or join both hands with only one player. Without letting go of the hands they hold, players attempt to untie the human knot. They should speak to each other to unravel with up and down and round and under and over.Have several attempts.

Pie (Little kid math)The players must say “pie” to anything that is a multiple of 3, contains the number 3 or the number 7. For example: 1. 2. Pie. 4. 5. Pie. Pie. 8. Pie. 10. 11. Pie. Pie. Pie. Pie. 16. Etc.

Revise ballA ball is thrown around a circle. Any question (or topic) that has been covered on the course may be asked (about).

Self PortraitAll players are given a piece of paper and pen. They are then given 30 seconds to draw themselves and include in their drawing the answer to a series of questions that has been put on the board: i.e. What do they do for a living? What do they want to be? Where do they want to go? What do they dream of? Something they are very embarrassed about. Something they love very much.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 14: The Manual Activities Teaching Through Drama

- 14 -

The drawings are then passed on to the person next to them. The person who receives the drawing must introduce the artist BUT ONLY according to what they ACTUALLY SEE or can presuppose from the self-portrait.Variation 1 Ask people to create ridiculous stories about one another according to the drawing they are given. Encourage creativity by modelling and example first.

Shapes This exercise calls for instant reaction from the entire group to an order from the tutor telling them to form a shape. They must act as one unit, but nobody should speak, although members of the group may physically guide others to complete the required shape quickly. The tutor only gives the order once so that the group must listen and then move swiftly and silently into the shape. As soon as one shape is completed, the tutor gives the order for the next shape and so on. Speed, discipline and economy of movement are required.Some examples are:Square, equals sign, multiplication sign, question mark, exclamation mark, division sign, circle, the letter Z, the number 4, triangle, straight line.

Simon Says… (Warm up & Game) Simon Says is the traditional game of concentration, repetition and listening comprehension. Everyone imitates the leader who must direct the rest by giving them commands that either start with “Simon says…” or not. The participants must only do what the leader indicates with “Simon says.” Variation 1 Those who move or respond to anything else must sit down until there is a winner.

Simulclap (warm-up)One player starts off by clapping their hands (a singular clap), while facing another player. The goal is for both the players to clap their hands simultaneously. The player that received the applause then turns and claps simultaneously with the next player in the circle. This produces a cycle of simultaneous claps racing around the circle. It takes some time for a group to get this going. Once the simultaneous clapping is moving nicely the player that is receiving the applause may opt to give it back to the person that clapped at them. This will reverse the direction of the clapping. What the player does to reverse the direction of the clapping is to not turn to the next person in the circle, but stand her ground and clap directly back at the player that handed her the applause. There is an overwhelming urge to try and screw up the other players in the circle. This is to be discouraged as more can be learned from trying to make the circle flow quickly rather than fail frequently. Variations 1Once a group gets really good at the simulclap clap focus can be added to the warm-up letting people point at someone directly across the circle from them. The circle can also tell a word at a time story each time that they receive the applause.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 15: The Manual Activities Teaching Through Drama

- 15 -

Slow Motion Samurai (warm-up)Players mill about and are told to start moving in slow motion. Once a stable rate of speed is determined the players all become Samurai with poisonous blades built into their fore arms. The object is to kill all the other Samurai in the room. If anyone is touched by the fore arm of another player they must die a poisoned death in slow motion. It is important that players keep their speed continuous. The point is not to win the warm-up, but to have fun. If players are moving too fast and massacring everyone else simply tell them to slow down. It helps people work together. The warm-up usually ends when there is a large pile of bodies on the floor. Variation 1Players are allowed to block attacking Samurai poison fore arms with their own fore arm. The workshop can be divided into two groups, having a little feudal war.

Socks, Warm up, remember to do your laundry firstPlayers should form a circle arms’ length apart. Leader starts off by throwing one pair of socks to another player and asking them to catch the socks and then throw them on to another player who catches and throws on to the next. Players are given the instruction that they must remember who they received from and threw to. Keep it going until a rhythm has built up and the socks return to the leader. Speed up and introduce another pair of socks with the same procedure applying. Increase speed and more socks until you have six pairs juggling around the circle.An alternative is to play socks with names. i.e. Ed to Paz, Paz to Pilar etc

Steal the keysAll players sit in a circle. One player sits in the middle of the circle, blindfolded, and is given a water-gun or a few socks as a weapon. One of the players from the circle must try to steal the keys from under the chair without getting shot by the water-gun or getting hit with a sock before returning to his/her chair. The player in the middle must listen carefully. Emphasise the importance of no-one else making noise.

Trust Fall/Circles - the place to start.Form players into circles of between 6 to10. Players should begin shoulder to shoulder with their hands palms open in front at shoulder height. One player moves to the centre of the circle and is told to close their eyes or is blindfolded. The instructions are that the player in the centre is to allow himself or herself to fall, keeping the feet together and the arms by their side. The players forming the circle must not allow the falling body to breach the circle; they must gently allow the body to circulate among them. Repeat until everyone has had a go in the centre.

Tug of war.Pairs stand facing each other. Look each other over, eyeing up in a competitive way tell them to mime holding a heavy rope in both hands and to move back to a distance of about two metres from their opponent. Instructions are simple, imagine the weight and texture of the rope, take the strain is leaning back on your own weight and then pull. Allow partners to pull each other around the room then repeat with teams.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 16: The Manual Activities Teaching Through Drama

- 16 -

TwinsThree players create an interview scene. One player is the interviewer the other two the guest.The guest must answer the interviewer's questions at the same time saying the same thing, trying to develop a "twin connection".The group may suggest a well-known character to be interviewed and another option is to have three or four or the whole group as the guest.

Two Truths and a LiePlayers break into groups of 3 to 6. They must each state 2 true things about themselves and 1 lie. The others must guess which the lie is.

Vocal MirrorIn pairs the players perform the mirror exercise i.e. one player being the reflection of the other. The players then take the activity one step further by including vocal reflection by speaking at the same time and saying the same thing.Comment: This activity makes the players really work together. They should start slowly and gradually try to increase the pace.Option: Ask them to choreograph perfect simultaneous speech. Let them practice before leaving the room and coming back in to see if you can tell who the leader is and who is the mirror.

Whisper ForestPrepare in advance either a secret message containing a few words or a prize or object of interest. Announce that everyone is going to be a tree in a forest called the Whisper Forest. In this forest, you are blind but the trees whisper to you and tell you where to go to find the thing you are looking for. Tell everyone to spread out and take the shape of a tree (raising their arms.) Show everyone the object or message that will be searched for. Example. Part of a three part message that says “The train… will… come!” written on three different pieces of paper. If you have three parts to the message then you will need to send three searchers (one at a time.) Now choose someone to be the blind searcher. Put a blindfold on them and place them somewhere. Now place the object somewhere else. When you say “go.” Everyone (the trees) must start to whisper directions to the searcher in order to help them find the object. Once the message if found read it out loud.Great for prepositions and commands.

Who’s The Leader. Leader of the orchestra or The Sports master.In a circle or at the board compile a list of musical instruments or sports along with a mime of how to play them on the spot.Get the players to form a circle. Practise the mimes. Explain that one player will be asked to be the leader. They lead the orchestra by miming playing an instrument and all the others follow suit. Demonstrate how this works taking the group through simple

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 17: The Manual Activities Teaching Through Drama

- 17 -

changes of instrument or sport until everyone has the idea. Then explain that one person will be asked to leave the room while a leader is appointed. The player leaves, a leader is appointed and a rhythm is established with changes of the instrument/sport. The player outside is invited back in to stand in the centre of the circle. They have three attempts to identify the leader.Comment: This activity encourages quick responses and the players working together as a team.

Wired upThe group forms a large circle and begins to walk normally in a clockwise direction. They are asked to imagine that there are strings attached to various parts of their body as if they were puppets.Then as they walk ask them to imagine being pulled by one of the strings. The shoulders, the chin, the nose, the belly, the nipples, the buttocks, the small of the back etc, Ask players to discuss how it felt to have their walk led in different ways and the signals that walks give about personality.

Word Ball (sometimes sock!)

Have the group stand in a circle and explain that as the sock is passed from player to player each person must say a word beginning with the letter A. When the A's are exhausted or when a player pauses too long, move on to the B's and repeat the process through the alphabet.Once players are comfortable with the idea of words moving with the sock start to throw the sock around randomly from player to player if the sock is dropped you move on a letter.

Yes Lets (warm-up)Someone will loudly suggest an activity for the entire group to mime. Everyone simultaneously yells 'yes lets', and starts the do the activity. Once the activity has been mimed for a while another one is yelled out and the group responds with 'yes lets' and starts the activity. For example, if someone calls out let's all dig holes. The group responds with "yes let's all dig holes", and every manner of hole digging mime will begin (complete with sound effects). The someone will suggest a new activity and the cycle continues. Leader after time can shout 'let's finish this exercise', or 'let's all sit down'.

Zip, Zap, Zoom (warm-up)This is another motion around the circle warm-up. In this warm-up one of the players points to another player to one side of them and says 'zip'. That player turns to the next player in the circle, points to them and says 'zip'. Thus the 'zip' zips around the circle in one direction. At any time a receiving player can say 'zap' to the person pointing at them. When they do the player that said 'zip' and was pointing at them must change direction of the pointing. This means that they must quickly turn around, point and say 'zip to the person that just pointed at them. Now the 'zip' can zip around the circle, but changing direction every time there is a 'zap'. Lastly the person that receives the 'zip' may elect to yell 'zoom' and point at someone anywhere in the circle.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 18: The Manual Activities Teaching Through Drama

- 18 -

That player then restarts the 'zip' going in the direction of their choice. The group must really pay attention for this to work.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 19: The Manual Activities Teaching Through Drama

- 19 -

CHAPTER 2:

FROM ACTION TO WORDS & BACK

Environment Building (exercise)This is a silent exercise. An environment is called out at the beginning of the exercise. Each player comes on stage and mimes one object in the environment. Each following player also adds an object to the environment, but before they do so they must use each mime object previously created within the context of the environment. So the first player gets it each easy, but the fifth player would have to use all four of the previously mimed objects in the environment before adding hers. The exercise helps with mime, visual listening and attention to detail. Commitment is an important component of this exercise because players will often be faced with mime objects that do not make any sense to them at all. It is also informative to have the players tell what each of their objects was once the exercise is over. That way everyone can find out what each player really mimed. Variation 1Once all the players have mimed an object they start a scene using the environment that they created.

Environment Shift (exercise)In this exercise a group of players will create an environment within a few seconds. The players can be objects in the environment, sound effects, or characters typical to that environment. Once the environment is called out the players will create the environment. It is done without conversing or planning. Players will become trees, rocks, birds, or characters. No scene is started, just the creation of the environment. The 'shift' comes in when all the players are on stage and the environment has been established. Another environment is called out and the players must make a seamless transformation into the other environment. Variation 1:The players create an environment without getting one called out. Each player comes on stage in one second intervals and an environment is created.

Family PortraitsOptional preparation: have players write five descriptive adjectives about other people in the group. Encourage long legged, short-sighted, hungry, rich, etc. Collect descriptions and request more as you compile a list on the board. Then explain that you are going to use these descriptions in Family Portraits. Organise the players into groups of three or four. Ask one group to create a "family portrait" based on a type of family indicated by the leader. After three seconds the players freeze in their portrait. Take a picture or pretend to. Quickly move on to the next group and form another

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 20: The Manual Activities Teaching Through Drama

- 20 -

portrait. After repeating several times get the whole group to call out the family they’d like to see represented.The Stupid Family. The Enormous Buttocks Family. The Angry Family. The Elephant Family.

Freeze Tag (exercise)Everybody gets in a line. The first two players start some shared physical activity. At any time during the two person scene that is taking place someone calls out freeze. The two players immediately stop what they are doing and 'freeze' into whatever positions that they were in when the 'freeze' was called. The next player in the line immediately tags one of the players that is frozen on stage and assumes their exact position. For the exercise freeze, as opposed to the performance handle freeze, the player must assume the exact physical position of the player they chose to tag out. This ensures that the player was paying attention to the physical detail of the scene as opposed to just the words. They must be listening with their eyes. Once they assume the position they must start a whole new scene that justifies the position that they are in. This scene must be completely different from the preceding one. This means that they must be paying attention to the scene, so as to assure that their new scene is completely different. If the player breaks any of these rules stop the exercise and give a note. It is also a good idea to put a moratorium on those activities that can be called upon which justify any position: fighting, dancing, adhesive accidents, painting models, store mannequins etc. Variation 1See the handle freeze tag for all kinds of variations. It can also be good to randomly pick players from the workshop as opposed to the next person in line. This ensures that everyone is paying attention to the scene at hand.

GiftPreparation:Using the blackboard, get your group to make an exhaustive list of gifts received or given. To help, ask them to think of gift giving occasions. When do people give and receive? Valentine, birthday, anniversary, wedding, Christmas, etc. Get individuals to make their own lists, say of five things. Make it interesting the five best ever gifts you have been given. The five things you would give your worst enemy, the five biggest gifts they’ve been given and the five smallest gifts they have given etc what has given most/least happiness. When they have finished with their own lists compile a master list on the board.Organise the group in a circle or horseshoe with chairs. Explain that you want each person to imagine a gift and one by one to enter the centre of the circle or the open end of the horseshoe and collect their gift. They should pick it up and return with it to their seat and in doing so describe to the rest of the group the weight and size of what they have got. When they get to their seat they may interact with their gift. The object of the game is for the rest of the group to identify the gift through the mime. Stress that players should not immediately interact with their gift. I.e. if the gift is a fishing rod they should take it to their seat and assemble it before launching a cast.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 21: The Manual Activities Teaching Through Drama

- 21 -

Options: Allow the mime to take place in silence and at the end ask the question “what is it?” Another is asking controlled and repetitive questions during the mime such as, is it heavy? What shape is it? Is it big or small? Is it slippery? Is it alive? Etc. Another alternative is to allow people to volunteer answers during the mime but this can be chaotic and not give the performer the opportunity to finish what they have thought of.

IncidentThis is basically a "freeze frame" exercise. The player is to describe an event or incident through three freeze frame shots representing before it happens, as it is happening and after it has happened. Each posture is to be held for about three seconds. Stress that it is like a photo story, they are not to mime or act but through their posture and gesture describe the action. After the incident is shown ask the group if they knew what was happening. Ask the performer to repeat and at each posture ask the questions where is he now, what is he doing what do you think is going to happen, what has happened etc.Options: theme the incident ask the players to think of or write down five things which happened to them on holiday, or five things which happened the last time they went to the swimming pool, the bank, a restaurant, a football match, shopping, going to school etc.

Leaving the Couch Three players are sitting on the couch; one of them begins a repetitive activity. In the beginning this could be a subtle hand tapping combined with a quiet noise. The other players on the couch are supposed to mimic the activity. Other players on the couch contribute actions such that the four are creating a fidgeting chorus line between themselves. Eventually the actions become stronger and stronger and the four simultaneously get up off the couch. Watch for people leading the exercise.

Look at itUsing a list like that in Gift or allowing more freedom ask the players to think of something animate or inanimate that they can look at in the acting area. They may not touch it or act with it but just look and react to. So no petting the little dog which runs up to you or tossing the cape as the raging bull charges. Give the players time to think of something and then you demonstrate, showing how the face and eyes can suggest a shape. Be prepared with one or two. Tell your group that this is a more technically demanding exercise and get them to volunteer answers on what the actor is looking at.

Open Your Eyes(Observation, looking at surrounding environment in a different light. Vocabulary learners, colours, numbers you mention it!) Ask the class to name five red items in the classroom, then five green items, five blue items etc. Alternatively for the wee ones ask the question another way, How many green items can you find? (teaching numbers).

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 22: The Manual Activities Teaching Through Drama

- 22 -

Teachers can list the items on the board. Examples: 5 green, red, blue items, 5 triangular, rectangular, square items, 5 different textures, etc.Objective: look at your everyday environment in a different light, discover and study more closely your daily surrounding, etc. A fun way to get numbers, colours, etc into the lesson with the kids working individually or in groups. Options: competition. Various groups create lists that are then passed to the teacher who shares the results with the rest of the class as he/she writes all the items on the board.

Tray Full of Fun (Simple game)Unload many things onto a tray (it can be useful to use the same items previously used in “What’s in the Magic Box?”). Gather everyone around the tray so that all may see the items. Identify each object with the help of the whole group. Once everything is identified the leader asks everyone to turn their backs to the tray so that no one may see it. The leader then removes an item and hides it in a box or bag. Everyone is allowed to look again at the tray of objects and must decide what has been removed.After a few times, the leader should remove more than one object.

What Do You Hear?Listening, memory and concentration activity. Everyone sits with eyes shut for a few minutes listening to all the sounds that they can hear and trying to identify them. They then make a list and then compare their lists. Lists might include birds, breathing, chairs moving, shoes squeaking, etc. Option for older groups: Can they distinguish between similar sounds? Truck or bus? Man’s or woman’s footsteps? Etc.Variation1 teacher selects ten everyday items, key-ring, coins etc. Class closes their eyes and the teacher creates noise using the different items and the class lists or shouts out what it is they hear.

What’s in the Magic box? Fill a box with lots of objects. Blind-fold someone and place that person in the middle of the room. He/she must reach into the box grab something. Before pulling it out for all to see he or she must either describe it using feel/touch (more advanced) or simply try to identify it (elementary). The teacher may offer options to help: Is it long or short? Is it heavy or light? Etc. Once identified the student pulls out the item for all to see. Variation1: The blindfolded person pulls the object out of the box for all to see but no one must say what it is. Instead the teacher chooses people to describe the object so the blindfolded person may guess what it is. When he/she guesses correctly, someone else may try. Make it harder by having the blind folded person pick up the object with thick gloves on!

What’s in the Closet?You think there’s something in the closet. You must open the door and make like a scream.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 23: The Manual Activities Teaching Through Drama

- 23 -

Where are you going? Through the players mime you have to establish where he/she is and where he/she is going when they leave. The mime finishes when the player opens the door to leave. Also you can ask for the mime to be repeated and question many things like is he/she tired? What are they wearing etc

Where were you?As above. Through the players mime you have to establish where he/she has just come from and where he/she is now. This time the mime ends when the door is opened to enter. Questions can be used to practise tenses.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 24: The Manual Activities Teaching Through Drama

- 24 -

CHAPTER 3:

BUILDING BLOCKS FOR DIALOGUE

Alphabet sceneTwo players establish a scene. Players alternate lines only saying one sentence at a time but each new line must follow the sequence of the alphabet. So player one begins with a sentence beginning with A, player two with a sentence beginning with B and so on until the end of the alphabet.

CorridorsThe two players down stage wait for the first player from the line to join them. The player from the line approaches the player on their left. In one sentence the player defines a relationship between the two of them. "Carol would you marry me?" would suffice. This clearly defines the relationship between a suitor and her spouse to be. The player then responds with a one sentence conflict, finds a reason to leave the room, and confer with another character. That character just happens to be down the corridor in the next room. The player might say, "I am happy to marry you I must first confer with my mother." She promptly leaves the room, travels down the corridor and to the player on the right of the line. Gives the news, and then the player there responds in the character that she was endowed as. For instance, "finally getting married you little schlaghunte. Good riddance." The player on the right goes to the back of the line, and the process is repeated with a whole new set of characters and a new situation. All the players should rotate through each of the parts in the exercise.

Emotional Boundaries

In this activity the stage will be divided into three zones. Each zone will be designated with a particular emotion, as the players move about on the stage they must adopt the emotion of the zone that they are in. The introduction pretty much explains the game. It is important that the players use the entire stage to explore each of the emotional areas. The transitions are best done crisply as the player crosses the boundary. The host setting the scene up should make sure that the emotions are contrasting and simple. Variation 1Rapidly crossing the stage and altering every word in the sentence with the emotion. Straddling the boundary and combining emotions. Variation 2Obviously there can be more than three zones, and emotions can be assigned to furniture and props. There are genre variations where each zone is assigned a type of entertainment. Again the common list of categories can apply to the zones: emotions, genres, animals, professions, political parties.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 25: The Manual Activities Teaching Through Drama

- 25 -

Emotional Symphony Five of the players are lined up in a performance fashion. One person is chosen to conduct the players in the symphony. Each player is endowed with some emotion. It is good to get a range of contrasting emotions for the players to use. Once each player is given their emotion the conductor points from one player to another. The players do not speak, but express their emotions through physicalization and noise. The intensity of the emotion is increased as the conductor raises her hand while pointing at the player. The conductor moves from player to player conducting an emotional symphony. Point at two players at once! Variation 1This exercise is fun, and does have some performance value. A way to make it closer to the audience is to ask for names from the audience, and get the players to speak only that name, tainted with the emotion that they were endowed with.

Emotional Transfer In this activity the two actors will be assigned contrasting emotions. At some point in the scene they must switch the emotions from one player to the other. The emotions must be contrasting (love, and hate), and the players must make strong choices in the beginning of the scene. The transition is best appreciated if it is done subtly and the transfer is somehow justified within the context of the scene. Variations 1 This can be done with status (high versus low), and the players must make a switch in status within the scene. Any of the endowments can be switched: political beliefs, animals, appliances, vehicle types, etc

EncountersPlayers are given occupations or character type: traffic cop, warden, spy, priest, nymphomaniac, lawyer, gossip, etc. In groups they must design and present sketches showing where you are and what’s happening with the help of dialogue. The objective is to reveal the identity of your character without saying directly who he/she is. Option: Players take a piece of paper. A number of them are sent into a scene. It must become obvious who they are by what they do and say. All characters should be recognisable characters. Therefore it may be a good idea to create a list of familiar/recognisable characters on the board.

Foreign Film The following activity is going to be done in a non-existent language called [get language name]. The players on stage will speak only in that language. Luckily there will be players offstage dubbing the scene into English. This is essentially a dubbing scene. The foreign film dub is done so often that it requires a note of its own. The players that are acting out the scene in the non-existent language must be very clear in defining their environment and making solid physical offers for the translators and audience to work off of. It helps the players that are talking in gibberish to think of what they are saying in English. The standard translation gag is making a really long gibberish sentence and translating it to one English word, or vice versa. Translators can also struggle for the correct

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 26: The Manual Activities Teaching Through Drama

- 26 -

English word, caught in gibberish idioms. Translators can also refuse to translate things that are too crude in English, gibberish censoring. These last two gags can really kill a scene (not that all gags don't), and really are just disguised lack of commitment (wimping). Another gag is where the translator rambles on and the gibberish players stop him and end the scene in chaos. Variation 1Blind dub the scene (translators cannot see the gibberish players. Use a real language. Translate an opera.

Gibberish Exercises Player one turns to their left and greets their neighbour in a gibberish tongue. That player responds with a gibberish 'hello' that mimics the other player. That player turns around and greets the next in the circle and so on. Once the gibberish greeting has gone around the whole circle the gibberish gets embellished. For instance, all the gibberish could be sad gibberish, or happy gibberish, Italian gibberish, Scottish gibberish, Cantonese gibberish, Computer gibberish. The gibberish can also be used to communicate intent like, 'used car sales' gibberish, 'pick up line' gibberish. The goal is get people communicating emotions and concepts without depending on words. If going around the circle gets boring the exercise can be combined with the exercise Cross Circle to get the players moving. Variations 1On/off gibberish is an exercise where the players switch from gibberish to their native tongue when called to do so from off stage. Translating gibberish has one person assigned to translating another's gibberish. There is a handle called Poet's Corner that uses this gimmick.

Just a MinuteTaken from the classic BBC radio game. Players are given one minute to speak on a subject chosen by the teacher or group. One player is chosen to begin and given the instruction that if they repeat themselves, hesitate or deviate they may be challenged by the other player(s). A player makes a challenge by interrupting the player who is speaking and saying “REPITITION,” “HESITATION,” or “DEVIATION.” The referee decides (with the group’s help) is the challenge is valid. If it is, then a point is awarded to the player who made the challenge and that player must then begin talking about the subject for the time that remains or until challenged. When a player is incorrectly challenged s/he is awarded a point and can continue talking about the subject. The player speaking at the end of the sixty seconds is awarded two points and a player who speaks without interruption for the full minute gets 5 points. Encourage competition.Alternatives to the rules can be made to include errors of grammar, syntax or vocabulary. Also, simple vocabulary, like colours can be combined with other vocabulary themes to create simple phrases like: “My house is white. My dog is brown. My car is blue…”

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 27: The Manual Activities Teaching Through Drama

- 27 -

Last letter/Last lineAs in the last activity the players establish a scene. This time the player’s sentence will begin with a word that starts with the last letter of the last line given by the other player.

Last LetterThe players sit in a circle and initiate a rhythm through slapping their thighs, clapping their hands and then snapping first the fingers on their right hand and then the fingers on their left hand. Player one starts by saying a word on the second snap, player two must then say a word beginning with the last letter of the first word on the next second snap. Alternatively the players must say a word beginning with the second last letter or change the direction if the last letter is a vowel!Comment: All of these word circle activities are designed at varying levels of difficulty to increase speed, mental agility and improve players creative spontaneity. The possibilities of adapting this series of activities to any classroom situation are endless.

Monarch (exercise)We need one player on stage to act as a royal monarch. Everyone else will try to win favour with the monarch. The monarch sits proudly on stage and is persistently approached by all of the other players in the workshop. The players approach the monarch making strong character choices and making offers to please the monarch. Offers such as "a box of chocolates for your royalness" or "a new necklace for my monarch" are common. The role of the monarch is to accept the offer and decide whether the offer was worthy of that player sitting beside the monarch in an exclusive place in her court. Other players are constantly coming forward in an attempt to gain that exclusive spot by offering better and better goodies for the monarch. An ideal monarch will not base her responses on the goodies themselves, but how well they are presented by the player. If a player offers the monarch a rock but does it with a strong and committed character the monarch will place them at her side. Only one player may be in the monarch's favour at any one time. Like all good royalty no commoner may touch the monarch (this keeps the monarch from getting a 10 minute massage instead of accepting new offers). See also Park Bench Variations 1If the monarch is bested with an offer she dies and the new player becomes the monarch. Saint Peters Gate, each player approaches Peter with a reason they should not get into heaven, and Peter finds a reason to get them into heaven. If Peter cannot find a reason to get the player into heaven he is replaced by that player. Beware of these competitive games, the improv rules of story and making everyone else on stage look good must still apply. If things get to competitive just stop the exercise.

Name SixPlayers stand in a circle passing around a rolled newspaper. One player is in the centre with his/her eyes closed. When the player in the centre shouts stop, the player holding the newspaper must name six items in the category selected by player one before the newspaper makes a complete circle. If the player is successful then he/she moves into

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 28: The Manual Activities Teaching Through Drama

- 28 -

the centre and selects the next category. Categories can be for example, six breeds of dogs, six types of flowers, vegetables, and films with one-word titles.Comment: Players have to think quickly and focus on the task of naming the items. It's interesting to notice that the players tend to take more interest in the moving of the newspaper and the countdown.

Oh Henry!The leader says the entire phrase, “Oh what are you doing now, Oh Henry?” the group repeats the phrase. The person next to the leader must then repeat the phrase cutting off the last word. The next person does the same, eliminating the last word each time consecutively until the last person simply says “Oh.” The full phrase then begins again with next person. The important thing is to have the sentence always make sense by adjusting your intonation.

One Sentence Story with Entrance/Exit WordsPlayers either memorize each other’s Entrance/Exit Word or each player writes it out on a piece of paper and holds it at chest level so that the rest may see. A story is told and the story’s narrator only changes when someone else’s special word is said. Note: no one actually enters or exits but simply changes turns being the narrator.

Party GameSimilar to Encounters players are given an identity which may be an occupation or a personality. One player is chosen to be the host of a party. Guests arrive and should show who they are without saying it directly. The host should try to guess the identity of his/her guests.

Questions/No QuestionsFollowing on from the previous two exercises and introducing a competitive element. Two players are chosen to start. The group establish the who and where of a scene and the two players must produce a dialogue consisting of questions only. The first player to hesitate for too long or to answer with a statement must sit down and be replaced by another with the same situation or a different one, depending on consensus.

RopeEveryone into two columns. The players at the front of the columns step forward. The player on the right turns away from the player on the left. The player on the left begins to do a repetitive activity that uses at least three limbs. The player on the right cannot see this activity. Before turning around to look, the player on the right endows the player making the repetitive motions with some role (profession, person, relationship). The job of the player on the left (the wiggly one) is to justify their activity in the context of what character they were endowed with. It goes something like this. The player on the right turns away so she cannot see the player on the left. The player on the left begins to pump her legs and ring circles around her head. The player on the right makes her offer and endows the player on the right, "Constable

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 29: The Manual Activities Teaching Through Drama

- 29 -

Flaherty the gnomes are on the grass again" The player on the left, who is pumping her legs and ringing circles around her head, must justify what she is doing within the context of her character. Her reply is, "I am tracking them with my radar officer Corkley." The exercise is good for getting players away from planning and driving scenes. It also helps work on strong commitment to something that is obvious completely wrong. Both players return to the back of the line that they were not in. Once everyone has tried both endowing and justifying the exercise is done. Variations 1Rope is a variation where the main goals are learning commitment, and being fearless on stage. The remainder of the workshoppers decide if they liked the justification or not. If not they all scream rope and are generally abusive. The player getting harassed must step forward and bow to the crowd, not being concerned at all with the abuse they are receiving. If the player flinches in any way she must immediately repeat the exercise. This version is not for the faint of heart.

“What are you doing?”Players stand in a circle with enough room to move their elbows. Player One steps forward and begins miming an activity, any activity such as shearing a sheep. Player Two, to the right asks player One, ‘What are you doing?’ Player One is to answer without hesitating with the first action which comes to mind OTHER than the one they are doing i.e. tying my shoelaces. Player Two then begins doing the thing announced by player One and is asked by player three ‘What are you doing?’Comment: Teacher can pre-teach simple actions with flashcards/drawings and use these to keep the game fluid. Alternatively compile the actions beforehand form the kids suggestions.Variation 1Get players to speed up and start to eliminate if they hesitate, repeat or make a mistake.

Where are we, where have we been and where are we going?Two players present a scene with dialogue where they demonstrate to the rest of the group 1) where they are, 2) where they’ve been and 3) where they are going without actually saying it directly. For example: two people ordering beers (they are in a bar) talk with excitement about the possible team selection available and what the weather will be like (they are going to a football match) and moan about the inflexibility of their boss regarding flexi-time (they’ve just come from work).

Where are we?One player, using only mimed actions and objects, shows to the rest of the group where he/she is. When the “where” is identified by the other players, they join in to reinforce the “where” by making it more specific. For example, if the first person pretends (mimes) to be at the checkout in a supermarket, the other players mime the checkout person, another pushing a trolley etc.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 30: The Manual Activities Teaching Through Drama

- 30 -

Who am I?Prepare ‘Post-its’ with the names of famous characters, fictional, historical or real. Place a ‘Post-it’ on the forehead of each player telling them that they have now acquired a new name and identity and that they have to find out who they are. When all players have been given their new identity they should walk around meeting other famous characters. To find out who they are players can ask each other questions that can only be answered ‘yes’ or ‘no’. When the answer is yes they may continue to ask questions of the same person, if the answer is no they must allow the other person to ask a question or search for another character to help them. Typical questions can be pre-taught: Am I alive? Am I a woman? Do I have children? Am I real? Can I speak French? Etc.Variation 1 Have your group prepare the famous characters by writing the living person they would most like to be, the person in history they most admire/dislike their favourite fictional character. Compile a list on the board or simply select your ‘Post-it’ characters from their lists.

Word Ball (sometimes Sock!)Have the group stand in a circle and explain that as the sock is passed from player to player each person must say a word beginning with the letter A. When the A's are exhausted or when a player pauses too long, move on to the B's and repeat the process through the alphabet. Once players are comfortable with the idea of words moving with the sock start to throw the sock around randomly from player to player if the sock is dropped you move on a letter.Variation 1 The sock is passed around the circle until the leader says stop. The person in possession of the sock must say a word related to the previously chosen theme.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 31: The Manual Activities Teaching Through Drama

- 31 -

CHAPTER 4:

SETTING THE SCENE

1-2-3-4Groups of three. One sentence only. Each step in the scene building represents one sentence. 0 – ENVIRONMENT: Player One creates an environment based on the set up of the scene. The environment is created through mime, similar to where are we from the day before. Once the environment has been defined player two enters. E.g. In a kitchen.1 – RELATIONSHIP: Player TWO accepts the environment that the first player has defined through mime. Player two contributes only one sentence to the scene and no more. That sentence defines the relationship between the two players i.e. Hi mum, I’m back.2 – CONFLICT: Player one speaks one sentence. This sentence creates a conflict based on the environment or relationship. i.e. ‘you’re late your dinner will be ruined’3 – IT GETS WORSE: Player two gets another chance to speak one sentence to make things worse i.e. mum it’ll probably taste better after an extra hour in the oven, your cooking is awful.FOUR – RESOLUTION: Players one and two remain silent. Enter player three accepting the environment and speaks one sentence to end the scene and resolve the conflict. The resolution must tie things together i.e. Hello dear. Hi son. How was school? Hey, there’s a great offer on at the Indian tonight. Let’s eat out!

60 Second Play - AdverbsPlayers create a scene. This can be created in any number of ways: 1) as in “Where Are We?” with one player starting and others joining in 2) as in Incident but with words added to the mime or 3) the scene can be created by one “Director” who sticks others in the scene as he or she sees fit. The scene should be performed and should last approximately 60 seconds. No adverbs are collected on the board and the scene is repeated with players adjusting their performances according to the adverb selected.

A Walk In The ParkCompile a list of all known greetings and put them into context. Ask the group to choose their preferred form of greeting and to walk around the park meeting and greeting. Next step is to ask the group to repeat the exercise, only this time in addition to the greeting the person who initiates the conversation must pay a compliment to the person he/she meets. The person being complimented should only reply ‘thank you’ and walk on.Variations 1Include handshakes or kisses or personalised physical greetings. Examples: “I like you eyes.” “I like your ears.” Divide the room into zones (morning, afternoon, evening – for example) and oblige them to use the appropriate greetings.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 32: The Manual Activities Teaching Through Drama

- 32 -

Age WalkFrom the same circle of Word Association begin walking in the same direction round the circle. Call out an age, starting with 3. The participants should become that age, adjusting the way they talk to each other, the way they walk and interact, the types of relationships they form. Once the idea is established increase the age from 5 to 7 to 10 to 12 to 15 to 16 to 18 to 20 to 25 and increasing in five year intervals. Before each change give time for the participants to work on the physical, vocal and emotional qualities appropriate for each age. At the age of eighty end the exercise by returning to 3 years old. During the walk arbitrarily 'remove' participants from the circle. Killing them off or having them emigrate (sit down!)This exercise is about making fast choices for establishing characters and varieties of dialogue as well as the obvious fun of physically representing different ages. Discuss in groups of three the choices made for different characters, When did they first fall in love, go to school, what jobs did they have, when did they have their first cigarette/drink/kiss/sex. Did they marry, have children, divorce, retire etc.Did their characters mirror their own experience or were they totally made up?

Beginning / Middle / EndThree groups of 2 or 3Have two participants establish the who, what and where of a scene and begin the action. When this has been established, call change and have two others come in assuming the previous participants' characters and physical positions, continue the scene, and add a middle to the scene. Then call change and have a third pair bring the scene to a conclusion.Repeat until everyone has been involved in starting continuing and finishing a scene

Double TalkIn groups of three. Player one sits facing players two and three. Player One’s objective is to listen and respond fully to each of the simultaneous conversations from players two and three. Player’s two and three’s objective is to command 100% of Player ones attention at all times. Each may say or do anything short of physical contact to hold P1s attention. Run for two minutes. Player 1 decides which of the two held his attention best. Rotate Player One.

Dubbing GamesIn this activity there are two actors offstage and two actors on-stage. Actor A's (on-stage) voice will be supplied by actor B (offstage) and actor C's (on-stage) voice will be supplied by actor D (offstage). However the actor's supplying the voices (B and D) will not be able to see what the other two actors (A and C) are doing. The actors supplying the voices must make distinctly different voices. It is also important that the actors that are being dubbed move their mouths like they are speaking when the dubbers are talking. It is important to have an activity and to justify what is being said through activity. The moving actors should make large obvious physical choices that they must

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 33: The Manual Activities Teaching Through Drama

- 33 -

justify when their dubber makes a contradicting statement. A chainsaw becomes an axe, a hug becomes a punch and so on. Variations 1 Straight dubbing: the dubbing players can watch the actors. Cross dubbing: the two actors on stage dub each other's words (very hard). Three-way dubbing: actor one dubs actor two and actor two dubs actor three and actor three dubs actor one.

Endowment Scenes (handle)In this activity a player is asked to leave the stage. The player offstage has committed a crime. She is willing to confess to the crime, however she cannot remember what the crime is. If her interrogators can let her know what the crime is she will confess. Ask for [unusual crime, unrelated device, location]. When the criminal is close to getting the crime you-all (audience), must ooh-aah to let her know. When she gets a part of the crime clap. If she confesses to the crime completely go wild. The chosen introduction is for a crime endowment. The first note is really to the host introducing the scene. It is essential that the game be explained properly to the audience. If the audience doesn't give ooh-aah getting close feedback then the confessor will most likely be lost. The detectives getting the confession must stick to the order of their clues (crime, item, location), and not advance until the actor properly confesses. The detectives will have a lot more fun if they keep to subtle clues in the beginning of the scene, saving the obvious ones for when things are getting slow. The confessor should try and maintain a story within the confession. Giving reasons for the actions. There are ample opportunities for crossovers to help out the detectives. (if the confessor gets the clues too early she may play stupid, and draw out the game).Variation 1The crime endowment was explained above. The home late scene is identical except that a youngster is explaining to her adults why she has come home so late. The host can get any items she wants, although the confessor (person being endowed) has to know the order of the items. The Santa scene is usually Santa Claus trying to tell a child what she wants for Christmas (usually one item). The repair shop is where some poor soul is returning a broken device, and they have no idea what it is. Who am I? gets an actor to deduce what famous person that she is. The possibilities are endless.

Party GameEach player in this scene will be assigned an emotion. The emotion is kept secret from the each player, but it will be taped to her back on a large piece of paper. It is up to the other players in the scene to get the player to express the emotion on her back. The game is over when all players have expressed their emotion. [send all players out and write down some emotions]. The players should subtlety nudge the player into expressing the emotion written on her back. This is one instance where it is good to occasionally turn your back to the audience, reminding them of the emotion that has been assigned to you. Variation 1There are the standard endowment variations that exist: emotions, animals, clichés, political parties, genres, famous people, long words. The situation need not be a party either, the scene could take place at work, school, in prison, with the same goals in

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 34: The Manual Activities Teaching Through Drama

- 34 -

mind. In word on the back the players must get each other to say a word that is taped onto their back.

Entrance/Exit WordsEach player is assigned an entrance/exit word. All players must know each others words. (Players can write their words in large letters on a piece of paper that they will hold in front of them at all times.) Two players establish a scene while the others wait. A player can enter/exit only when his/her "code" word is said by another player. For example an observer whose has the code word “ugly” can not enter until the word “ugly” is said by someone in the scene. When this word is said again he/she must find a reason to leave the scene.Although all players can participate only three or so should be on stage at one time. The players in the scene must decide how one of them will leave before another can be brought up. The players’ entrances/exits must be justified.

Free Speech30 seconds of non-stop talking on any theme chosen by the player or alternatively chosen for them by the rest of the group.

How dare you! Insults on the telephoneCompile a list of insults and nasty language.Two characters are seated in chairs faced away from each other, telephone in hand. Begin a conversation, perhaps with a theme or the characters suggested by the group and in three minutes try to use as many of the swear words and expressions without looking at the board. Appoint a counter.Variation 1 “How dare you! Insults on the telephone”. Two players stand behind the seated players. They are given a conflict and characters. The seated players are told to translate the lines spoken by the person standing behind them into foul language.Variation 2Conversation goes from foul to fair!

Hunting The Whatsit The player that is on stage becomes a hunter. She is kind of an Elmer Fudd of hunting, because she starts to talk out loud about what it is that she is hunting. "it is a lovely day for hunting deer". The next player in line hops up on stage as a deer, and kills the hunter. The player that was endowed and entered the stage becomes the hunter, and the hunter heads off stage. The hunters can look for anything that they want: winged rhinoceros, happy limping Scotsman, aggressive washing machines, etc. It is up to the player that is called on-stage as the prey to sneak up on the hunter and vanquish them in character

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 35: The Manual Activities Teaching Through Drama

- 35 -

Image AssociationIn the same circles or groups as with Word Association. But instead of exchanging only single words, players now use a short phrase or sentence to express a visual image. Encourage players use only visual images: a dark night, a man petting a cat, etc. It is like sharing pictures. Build speed.

JournalistsPlayers witness strange behaviour from teacher at the beginning of class and at the end of the routine are asked to write down all that they have observed. In groups of four players compare stories and compose a more complete story. Each group’s story should then be read to the whole group. An alternative ending is for the teacher to repeat the strange routine again after the various stories have been read. (i.e. Enter with shoes on backwards (or sweater, suspicious walk, secret to someone, suspicious look at someone, take off shoes, sweater, listen, clap 3 times, listen, clap 2 times stomp 1, listen clap once, stomp 2, listen, stomp 3 times listen. Look satisfied.)

Last Sentence Scene This will be an open scene. The only constraints on this scene will be the first sentence and the last sentence of the scene are chosen by the audience. [get a first sentence and a last sentence from the audience] One of the actors must state the first sentence as the first words out of her mouth. Feel free to set up the environment without speaking. Don't be afraid to build into the first sentence. The last sentence of the scene is a bit harder to manage, and it is much better appreciated by the audience. The players must remember that they have only been asked to do two things in the scene, and you are expected to do them. Variations 1First and last word can be used instead. There can also be a middle sentence, or word, that must appear at any time between the first and last sentence/word.

Living FreezePlayer one uses other players to create a living picture. Player one places others in the playing area and chooses for them the necessary postures, gestures, expressions and also chooses a title for his/her "portrait". For example figure one is crouched down, pointing. Figure 2 is looking at where Figure 1 is pointing. Figure 3 is taking something out off Figure 2´s pocket. The title: "Criminal Cooperation".Adaptation for young ones will depend on teacher. It should be led/directed by the teacher. It can be in relation to something they’re working on or something at school, something in the playground etc.

Moving People The players in this scene will be unable to move. For some reason they must have helpers controlling there bodies to move around in the scene. The players can speak and will supply dialogue for the scene, but someone else will supply their motion. [select audience members to move the players-MAKE SURE THAT THEY ARE NOT

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 36: The Manual Activities Teaching Through Drama

- 36 -

INTOXICATED]. Move the players by pushing on the body part you want to move. Don't force their backs or necks, and be careful pulling on their clothing Description:It is important for the players to get themselves an activity to do. This will force the people doing the moving to move the players. This game is such a gimmick that players often forget to set up an environment and establish a relationship. Variation 1One player can be responsible for moving all the players on the stage. The more players the more work.

No Laughs Scene In this scene the players will not actively attempt to create any audience response. If at any time a player makes you all laugh then they are removed from the scene and replaced by another 'more serious' player. The players simply generate a scene as they would any other. Playing things a little bit dead pan. At some point the audience will find some element amusing and the player responsible will be switched out. If no one giggles at all hopefully you are involved in an enjoyable serious scene. Something that improv is very capable of. The built in gag of the game is that players replaced are usually the wrong sex, wrong height, or wrong race. Then things get even more amusing.

One sentence storyWith the passing of the sock players hold on the narration of the group story.Alternative is to use the Entrance/Exit words.

One word storyIn the same circles players construct the sentences to build a story each contributing one word at a time. Players may use punctuation marks in the place of words.

Open Scene This is what improv is all about. The creation of scenes from very little. The scenes can be comedic, or not. It is entirely the choice of the players, and they should let themselves be in the 'moment.' All of the handles and games are there to train the skills of the improviser to do open scenes. Games will make your audiences laugh. Good open scenes without gimmicks will bring them back. Open scenes work best when players are accepting and advancing the scene; when they have created a real environment that is respected by all the players on the stage; when the characters are real and consistent throughout the scene; when the characters are complimentary and related through reality; and when the scenes end when they are over, usually through some element of reincorporation, not when they hit 'the right gag.' Those are the elements of an open scene that we all strive for, and continue to strive for. The games pay our improv bills, and hone the skills of listening, focusing, characterization, and story telling. Handles give us a cocoon to get our chops on stage, to let us realize that we can perform and help people laugh. It is the open scene that makes improv worth doing.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 37: The Manual Activities Teaching Through Drama

- 37 -

An element of structure can help give direction to those that want to embark on open scene work. Every scene has a beginning. In the beginning of the scene the environment is usually defined. It is smart to define the environment with just one player on stage alone. In the beginning there should also be characters defined, and even the relationship between the characters. The next part is the middling of the scene. Here is where the story should start to unfold. The conflict needs to established, interpersonal conflicts work well. Any routines that develop should be broken and the scene advanced. It is easiest to advance by adding to the initial offer, and not by adding new things all the time. The ending should resolve the conflict. That will make everyone feel whole. The cleanest endings somehow reincorporate some earlier offer. Deus Ex Machina gets tiresome. The characters should be complimentary to each other, and remain consistent through the whole scene. Now go out and break every guideline. That is how we push back the envelope. Variation 1:Scene from nothing. In a scene from nothing a player hurtles onto stage, and starts a scene. It is good to explain what is happening to the audience (they may sense a that it is a scripted scene). Object based ask fors. Like, what fits in my hands. Scene based asked fors. Like, a restaurant scene.

Options At various points in this scene the actors will be asked to freeze. At that point we will ask you [audience] for some vital piece of information from the story. The players must immediately incorporate the suggestion into the scene. The players simply go about the scene as they normally would. Like all freeze games it is important to hold position when the freeze is called. Attempt to incorporate the suggestion immediately into the scene. The less one thinks about it the easier it is, and the more appreciated by the audience. The goal of the players is to keep the scene sane and on track while rationalizing the distracters. The ask fors can be words, emotions, secrets, props, physical ailments, genres, etc.. Variation 1If the audience is particularly destructive it might be worth while getting a list of suggestions that are called out by the host. This game is often called shopping list. A roller coaster is the same as a shopping list, except that all of the suggestions are along the same track: all genres, all restaurants types, all textiles, all occupations, etc. An Umm Err scene is just an option scene where the players ask for a suggestion, by pausing and saying um..err, and the audience suggests the player's dialogue. In What Happens Next? the players are frozen and the audience is asked what happens next in the scene.

Paper ChaseDuring this scene the players must occasionally stop and introduce sentences that written on these little pieces of paper that are scattered all around the stage. The sentences written on here are unknown to the players, and myself. They must immediately incorporate the sentence into the scene as it is written on the page. [set up involves getting someone to write out some sentences that will be incorporated in to the scene. Getting the audience to write them out is a nice touch]

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 38: The Manual Activities Teaching Through Drama

- 38 -

This is a scene just like any other. It is most similar to an Options scene, in that there are offers interjected throughout the scene. Don't worry about stooping to pick up the suggestions. Make sure that you don't spend any noticeable time looking over the sentence. It only appears that you are concocting an easy way out for yourself. Audience members really notice if their particular sentence is sidestepped around. Variation 1Activities can be substituted for sentences

Past, Present, Future or “Time Warp”(Variation of BEGINNING / MIDDLE / END ) Three groups of 2 or 3Related to “Beginning Middle and End”. Same groupings: three pairs. Establish a scene and have the first pair of participants establish a scene in the past. Once the scene develops, call change and have the second pair come in to play the same characters in the present. Repeat the process for the third pair who must play the same characters in the future. The difference now is that you will experiment with time differences: not all the scenes take place in the present. Instead you may call out “10 minutes later…”, “An hour later…”, “40 years later…”, etc. between each scene and the next group up must pick up from there.

Progressive PhrasePlayers get in a circle. A phrase is given by the first player and an adverb/adjective is also given. The phrase must then be repeated by those players in the circle with the phrase being stated more and more or less and less emphatically according to the adjective. The phrase stops and a new one is chosen when the players decide it can no longer be topped.

Push InAgain in groups of threes decide on players A, B and C. Players A and B are to establish a scene with dialogue from which they cannot be diverted. Player C must try by any means other than physical contact to attract their attention.

Sit, Stand, Kneel, Lie DownDivide into groups of four. At no time in the scene can the players occupy the same position on the stage simultaneously. One player must be lying down, another player must be standing etc. If any two players occupy the same position, let them know about it. Try to create a story, justify changing position, let the others know in advance when and why you are going to change position. All changes in position should have a reason within the story.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 39: The Manual Activities Teaching Through Drama

- 39 -

Soundscape In this scene you, the audience, are responsible for the sounds effects in this scene. When a player walks across the stage we will need foot steps, when a door is opened we will need a door sound. Do a normal scene. In the beginning move a bit more slowly than normal so that the audience can get the hang of what is happening. Like any other scene activity is a good thing. It is essential here. Accept the reality of the sounds, try not to comment on the nature of odd sounding doors, or sick sounding carpets. Variations:Sometimes a microphone is given to one player that is responsible for all the folly in a scene. This is a good idea with a really large, or destructive audience.

Split EnvironmentsIn this scene two players will be in the same scene, however each player will believe that she is a different environment. If one player believes that she is in an air traffic control tower, she will respond to everything that the other player does as if she were in an air traffic control tower. However the other player will believe that she is in a batter's cage. [get two contrasting and physical environments]In this scene the two players interact as described. Each must maintain her reality as strongly as possible, and react to what the other player does as if it were in her reality. Now that I have repeated that often enough... If the player that is in the batter's cage says, 'okay let them fly.' The player in the air traffic control tower might give clearance for take-off. If the player in the air traffic control tower types at her console, the other player might think that she is doing special pre-batting finger warm-ups. Etc. It is a very hard scene to do. There are enormous payoffs when the players listen, accept and advance within their own well defined environments. Does this sound familiar?

Stage Directions In this scene each player will be supplying the other players actions in the form of stage directions. Each time a player supplies a line the other player in the scene will supply that player's action in the form of a stage direction. This scene is good for ensuring that players that don't give themselves activities on stage are endowed with them. The usual form goes like this. Player one says, "hello there Jill." Player two immediately follows with, "she said running her fingers through her hair." Player one then runs her fingers through her hair in response to the stage direction. This continues through out the entire scene. There is obvious potential for massive pimping. "she said doing an interpretive dance." If that becomes necessary in a scene then try and leave it until the end. Variation 1:Stage direction are given by players offstage, who may or may not be able to see the players on-stage.

Subconscious Scene The players in this scene will reveal to you their innermost secrets by letting you in on their subconscious thoughts.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 40: The Manual Activities Teaching Through Drama

- 40 -

At certain points in the scene the players break from their regular dialogue, and turn to the audience and let them in on their subconscious thoughts. These may be conflicting to those that the player is portraying on stage, or they may reveal further information that helps advance the scene. This subconscious information should be employed by the other players in a subtle fashion. This is similar to a soliloquy scene. Variation 1The subconscious voices can be played out by players offstage that may or may not (blind subconscious scene) be able to see the scene. The players can play each others Switch Characters (handle)

Switch CharactersWhen the word switch is yelled all the players must change characters by replacing the character to their immediate right. The right most player will exit stage right. Not much to add here other than most of these scenes decay into some form of chaos. Be careful not crash into each other when moving from character to character. It is one scene where having a lot of players on stage makes the gimmick more fun. Brisk changes are better, and rapid choices about which character you are supposed to be (eventually you will be wrong) make the game more fun for everyone. Variation 1:Typewriter switch

Three Way Dubbing In this scene there will be three characters, and each of the character's voices will be supplied by one of the other players. [it is important to introduce all of the players and have each one test out the voice of the other] This is an extraordinarily challenging focus game. Accurate lip synching is so essential. You not only have to be paying attention to when the actor that has your voice is speaking (you have to lip synch), you also must offer voice for another actor in the scene.

Touch To Talk The only time that players are allowed to talk during this scene is when they are physically touching each other. This scene is meant to build non-verbal communication skills in the players. There certainly can be a fun scene in it as well. It is no fun to cheat and hold hands for the whole scene for no particular reason. There must be solid reasons for making physical contact within the context of the scene. Only speak during those brief moments of physical contact. Variation 1Touch to shut up. The players have to talk constantly until they make physical contact somehow (an exercise to show how irritating constant blabbering can be).

Word AssociationIn this scene one player will be typing out a story. As characters are introduced players will join in and act out the story. Occasionally they will add dialogue to the story.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 41: The Manual Activities Teaching Through Drama

- 41 -

The typist/author usually sits aside from the other players and starts to type out a story. Everyone appreciates it if the typist bothers to mime typing as she speaks. As the scene progresses the players acting out the scene share more and more with the typist that drives the scene. Ideally they will share the advancement of the story, switching from the typist to the players when she slows, and back again once the players slow. This game is wrought with internal gimmicks. Obviously the typist can pimp the players mercilessly. If this becomes the point of the game, i.e., the story has been lost, then it is recommended to start with little pimps and up the stakes later. The typist can also stop things and rewrite scenes. Variation 1:This can be played as a switch game where everyone has a chance to be a typist

Word AssociationGroups of six to eight, like Word Ball only this time as the socks are passed or thrown from hand to hand players exchange words which are directly associated with the previous ones. Build speed.Note: It may help for the instructor to step into the middle and act as a sort of pace-keeper or pendulum, in order to avoid large pauses and too much thinking. If one player can’t think of anything s/he is simply skipped.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 42: The Manual Activities Teaching Through Drama

- 42 -

CHAPTER 5:

STORY TELLING

5-4-3-2-1 (long-form)We will get five suggestions from the audience for five scenes. Five entirely unconnected scenes take place in succession based on the five offers from the audience. The next wave of scenes will consist of continuations of only four of the previous scenes. The four can be chosen by audience vote, host's choice, or by random. Those four scenes are done in succession. These scenes can start to generate loose connections between the each other. The next wave of three scenes will exclude one of the developing plot lines. This wave of scenes should be quite heavily interconnected. The process of elimination is repeated again, and then two heavily connected scenes are played out. The last scene will tie everything up. Good luck.

Balladeer (long-form)The follow improvisation will be longer than usual. It will be directed by a balladeer, yet remains entirely improvised. :The structure of the balladeer is a very simple one. The accompanist and the singer start off with a simple song that may introduce a character, a location, or foreshadow some event. The musical bits are meant to be short. Thirty seconds to a minute is usually enough to pass on some information from the story. Simultaneous to the ballads the players are acting on-stage. They work silently while the balladeer sings, and start to vocalize as the ballad ends. The ballad is used as a chance to change scenes, rescue a scene that not working out, or to bring closure to a scene that has come to some kind of conclusion. There usually are no blackouts during a balladeer, all the changes are made by the balladeer. The players should also recognize that if the balladeer gets into trouble then the players need to step in with a scene. A smart group will put their best storyteller as their balladeer, not the best singer. Gimmicks:*A new musical genre can be used for each new ballad: rap, rock, opera

Die Game In this game all the players on stage will be telling a story. Each player is responsible for the story while the director is pointing at them. When the director switches from one player to another, the other player must pick up the story without stuttering, repeating words, or making grammatical errors. If any of the players makes such an error the audience should yell DIE!! There is not too much more to add beyond the introduction. The players should tell a story through action, and not waste time having the character thinking about things. The director should change from player to player slowly at first, allowing a sensical story to build. As the game goes on she can switch from one player to another faster and faster. Variation 1: Elimination Die: Each player that makes a mistake is eliminated until only one player is

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 43: The Manual Activities Teaching Through Drama

- 43 -

left. Theatrical Die: After making a mistake the player acts out a death on stage. Make a story: Same thing with no die or elimination. Genre Story: Each player is given a different genre and continues to tell the same story through that genre. Genre story can be emotional story, appliance story, occupation story, etc.

Do Run Run Song (handle)The players are going to tell a story in the format of a classic pop song.

Several players line up and start to sing in the following pattern. A, A, B, B, B. This is best explained by example:Player one, "I went to the store to buy some pop."All players, "a do run run run a do run run."Player two, "And on the way there I met a cop."All players, "a do run run run a do run run."Player three, "hey and that cop was lean."Player four, "hey she started to make a scene." Player one, "hey and she was really mean." All players, "a do run run run a do run run."Player two, "the cop pushed me up against her car."All players, "a do run run run a do run run."Player three, "that's how I got this terrible scar."And so on.. Until the story is told. There are all kinds of variations to this. It's format is particularly forgiving of those who cannot sing all that well. It is recommended that the player doing the solo line step forward from the line of players. Variation 1It can be turned into a die type game, where the players that slip up are dropped from the line. There are an infinite number of variations that can be made to the song itself.

Fully Interactive StoryThis should be introduced with a demonstration/example of how Interacting uses people as props and effects in all our shows. A good example is of course Shafter or Wayne. Once teachers grasp the concept that people can also help us visually create our story and provide our sound effects and dialogue put teachers into groups; they must think of a famous tale or if they are imaginative enough they should create their own short story. In their groups they discuss how they can create the story using the rest of the larger group as their props and aids. Spoken parts can be done by the other members of the working group. Keep it all short and to the point.Teachers then have to come up with useful and working variants or adaptations for their classrooms. Don’t forget that a box of simple props can be a continuous source of help.Be encouraged to play around but not to forget the discipline of beginning middle and end of scenes.

Gregorian Chant (handle)In the fashion of a religious chant the players will now sing you a story based on your suggestion.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 44: The Manual Activities Teaching Through Drama

- 44 -

This scene requires a moderate amount of practice and no singing expertise at all. Although all singing stuff sounds better if you can sing. I have chosen three players to demonstrate this scene. The first player sings a single sentence of about 8 to 10 syllables in length and repeats it twice. Player number two sings the next most logical sentence in the scene. Player one continues to repeat her line, but steps back on the volume throwing the focus to player two. The third player kicks in with her line, while players one and two continue to repeat their lines in the background. The cycle returns to player one, and she sings the next most logical line in the song while players two and three continue their lines as background. This continues until the story is told. Structurally it is easiest when the players line up and step forward to sing their part.

Modern Fairy Tale In this scene the players will combine a well known fairy tale with a genre of movie. [be sure to recap the fairy tale and recap the genre] This scene involves altering a known story with characters and genre clichés from commercial film. Remember to tell the story as it was recapped. If you are combining a fairy tale and a specific film it is important to get an idea of what the film was about. If you have no idea, offer some support, background or sit back and enjoy. What makes this a useful scene is that players can introduce topics from either genre, and it is likely that they will know one or the other. Variations:Combine any known story with a contrasting genre: science fiction, war movie, love story, Shakespeare, triple-X, political party, occupation, etc.

Narration with Sound EffectsFor developing earlier storytelling. Start, for example, with only one sentence stories and then get more complex. The story-teller must use the rest of the group to provide sound effects. E.g. “Outside the constant throb of city traffic was punctuated by the cry of the rag and bone man saying 'bring out your dead!'” or “Brian's daydreaming was brought to a halt by a knock-knock at the door. 'Who's there?' he called weakly. No reply. But the knocking got louder. And louder. Etc.” Variation: Narration with Sound Effects and Stage Directions. As above, only this time it’s done in twos or threes telling a story with an actor and a narrator. Give time for the preparation of the story. The actor is almost like a puppet doing as the story-line dictates.

Self Narration – Feeling from ActionStudents narrate what was/is happening and the surrounding circumstances. From the narration students must guess how the narrator was/is feeling.

Self Narration – Action from Feeling Students narrate how they were feeling and their interior dialogue during a situation without directly saying what was happening. From the narration students must guess the surrounding circumstances.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 45: The Manual Activities Teaching Through Drama

- 45 -

So I'll Everyone into a circle for a very structured one sentence at a time story. This exercise forces listening and gets players taking smaller, more logical steps with their story building. It also helps players when they draw a blank in a performance setting. The first player makes any kind of statement. For instance, "It is a lovely day out." The next player in the line says, "WHAT YOU ARE SAYING IS THAT--It is a lovely day out, SO I WILL--go for a walk." The goal is to say the next most logical thing in the story. The next player would say "WHAT YOU ARE SAYING IS THAT--I'll go for a walk, SO I WILL--get my shoes." The story that builds should be a logical one. It will not be a story that will win Pulitzer prizes, but it will make sense. This a great way of combating troupes that are suffering from 'offer suffocation' in their shows.

Superhero Eulogy We are all saddened by the recent demise of our local superhero [get the name of a superhero that doesn't exist]. Some of her friends are gathered here today to pay their last respects. Several players get up and tell what they know about the deceased superhero. There is a common pattern of someone knowing her before she developed her powers, a family member, her arch villain, and eventually her demise. The audience likes to hear how the superhero met her fate. It makes it easier for the players if this is left to the last speaker. The previous structure is just an example for those who have not seen the eulogy done before. It might be obvious to most, but doing a eulogy about a real person usually just brings the audience down.

The CastingPlayer One is the Director at a casting for a movie. Roles are written on the board (i.e. characters from a book that was just read as a class.) A scene is described or chosen. The Director calls in Player 2 (and any other players that may be needed in the scene.) The scene is run and the Director tells them s/he wants more/less emotion, anger, expression, love, etc.

This Is Your LifeBased on the well known TV series where a celebrity is confronted with faces from their past, not necessarily in chronological order and they reminisce over times gone by. Relate to earlier The Age Walk only this time the life history is a group effort. Discuss briefly the significant moments and relationships that can make up a life.One participant sits in a chair at the open top of your horseshoe of chairs. It is to be their life but at the moment they know nothing about it. Individually participants approach the central character and initiate scenes from the character's life. Each actor 'tags out' the previous actor and begins a completely different scene. Each scene must include both who and where the characters are and when in the life the scene takes place. A participant can interact with the actor more than one time as long as their character remains constant. I.e. the boyfriend of the first date becomes the lover who wrecked the marriage and then be the one who sold the second hand car that killed the only child, etc. The role can change but the character stays the same. When

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 46: The Manual Activities Teaching Through Drama

- 46 -

repeating the exercise with different central characters, urge the group to invent radically different lives.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 47: The Manual Activities Teaching Through Drama

- 47 -

CHAPTER 6:

RECENTLY ADDED

Adam and EveIn this game the group makes a circle. Two players are chosen, one is Adam one is Eve. Adam is then blindfolded and has to try and capture his Eve. He does this by shouting out ´Eve, where are you?´, Eve must respond by saying ´Here I am Adam´. Adam following her voice must try and catch her (see Robber, Robber, Where are You?).

Alphabet ShapesIn this team-building warm-up the leader shouts out a letter from the alphabet (saying if it is a capital or small case letter) – the group have to make the letter shape using everybody in the group. On the first few attempts no time limit is imposed but gradually the leader should introduce a time limit and keep reducing it until the group can effectively make alphabet shapes in ten seconds.

Boom chica Boom

Leader: Boom chica boomGroup: Boom chica boomLeader: I said – a boom chica boomGroup: I said – a boom chica boomLeader: I said a boom chica rocka chica rocka chica boomGroup: I said a boom chica rocka chica rocka chica boomLeader: Uh huhGroup: Uh huhLeader: AlrightGroup: AlrightLeader: One more timeGroup: One more timeLeader:

[chooses style, for example quiet, baby style, etc]

Duck Duck GoosePlayers stand in a circle. One player is outside the circle and walks round tapping everyone on the head and saying ´duck´ at the same time. If he taps your head and says 'goose' then you have to chase him round the circle, trying to catch him before he completes the full circle and takes your space! Alternatively, the player tapping heads can choose any animal to chase him and say ´elephant´ and the chasing player has to mime and make the noise of an elephant while chasing. When you’re picked, act like your animal the entire time making the movement and sounds of that animal.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 48: The Manual Activities Teaching Through Drama

- 48 -

Group Animal MimeIn groups of five to eight the players choose an animal which they’ll mime together as a team. The players should think about all the parts of the animal and how they work together to create the form and movement of their animal. The animal should not be static but should get up and walk around, make noises and then go to sleep!

Group FocusIn groups of five to seven the players have to decide on an event o action taking place in front of them and they have to devise a quick sketch so that the other wider group can guess what it is that they’re focusing on. For example, the group will decide they’re watching a horse race, or a tennis match, a rocket launch etc. After miming the group can repeat the sketch but this time with dialogue, they should not say or reveal directly where they are or what they’re watching but just try to hint towards what they’re doing.

Group Household Item MimeIn groups of five to eight the players have to decide on a common household item and as a team perform a group mime of how the item looks, how it functions and the noises that it makes. The group have to think about all the individual working parts of the item and how they all work and function together as a whole. They should try and demonstrate how the machine works, how it starts, does it get faster, slow down, how does it stop. Maybe the group choose one player to be the machine operator. Some suggestions are a vacuum cleaner, a blender, a washing machine, a toaster, a typewriter, a television, a kettle.

Group Vehicle MimeIn groups of five to eight the players decide on a common form of transport and as the team perform a group mime to show what form of transport they are, how it functions and the noises that it makes. The group may choose for example a propeller airplane, they could show the plane starting up, the propellers spinning, the wheels turning as it takes of, the wings moving as the plane changes direction and comes down to land. One player can be the transport operator.

Line GreetingsPlayers make two equal lines facing each other. One line is A the other B. Lines A and B walk towards each other and meet in the middle _ line A in unison say 'Hello, how are you?' Line B reply 'Fine thanks, and you?' They shake hands and walk on. Now line A stands where line B stood and vice versa. Repeat this several times until the lines get the rhythm. Then suggest that they walk towards each other but this time as two snobs, they have to walk like snobs, talk like snobs ands be a snob until they reach the other side. Then suggest : like beggars, babies, angry people, long lost friends, lovers, spies etc. Alternatively try replacing the dialogue with numbers so line a will say ´1, 2, 3 and 4´ and line B replies ´5, 6, 7 and 8´. They should attempt that the intonation and rhyme of the numbers convey mood and character!

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 49: The Manual Activities Teaching Through Drama

- 49 -

Musical Instruments!This is a warm-up game. Players mingle around the space until the leader shouts out a musical instrument, the players stop and play the instrument and make the noise. After going through as many instruments as you want the leader then instructs that when he shouts out a musical instrument the players have to as quickly as possible find a partner, decide who is musician and who is instrument and play the instrument, making the noise. After several attempts you can get the group to choose a melody that they’re all familiar with and when they play their instruments they all hum the same melody.

Poor Poor AnimalPlayers sit in a circle. One player goes into the centre of the circle and decides what animal he is and tells the other players e.g. a cow. He then approaches a player in the circle and makes the noise of a cow three times – they must always maintain eye contact. Then the player in the circle must while continuing to keep eye contact say ´Poor cow, poor cow, poor poor cow´. If the player in the circle smiles then he must go into the centre and repeat the process. The game is a fun warm-up ready made to get players laughing.

Songs

Vocal Warm-Ups

Whether the weather is cold,Whether the weather is hot,We’ll be together, whatever the weather,Whether we like it or not.

Remember the money,Remember the money,Remember the money,Remember.

A dragon will come when he hears the drumAt a minute or two 'til two today,At a minute or two 'til two.

London’s Burning

London’s burning! London’s burning!Fetch the engines! Fetch the engines!Fire! Fire!Fire! Fire!Throw on water! Throw on water!

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 50: The Manual Activities Teaching Through Drama

- 50 -

Yo Ho Ho

When I was one I ____________________________

[ Fill in the blank with something that rhymes with one, such as ´had some fun´]

The day we went to seaI climbed on board the pirate shipAnd the captain said to meGo this way, that way, back againOver the Irish sea.A bottle of rum to tickle my tumIt’s the pirate’s life for me.Yo Ho Ho.

[Repeat with ´When I was two´ and so on through to the number ten. Be sure to add movements, especially for the 'This way, that way, back again' part.]

Touch Your PartnerThis warm-up activity starts with players mingling with their eyes closed. On the leaders´ command they stop and find a partner with their eyes shut (it is advisable to have a few helpers making sure players don’t wander off in the wrong direction). Then the players attempt to identify their partner by feeling their height, their hair, identifying objects such as glasses etc. then the partners say hello to each other without mentioning their names – they continue to talk until the leader shouts for everyone to open their eyes and see who is standing in front of you. It should then be repeated as many times as necessary (see Blind Friends).

What Occupation Am I?Players sit in a semi-circle. Leader stands up and demonstrates miming an occupation – after the short mime the rest of the group shout out the occupation. The remaining players have time to think of their occupation before jumping and performing their mime after each other. There is no competitive element at this point, the players should act spontaneously and without hesitation. After the first round then players can continue with ´What animal am I?´ ´What sports am I?´

Quick Fire MimePlayers have a few minutes to think of a simple activity too mime. They then act out their activity in front of the rest of the group. When the activity is finished the group shout out what it was. The audience can also give a detailed account of what they saw and evaluate how skilfully the mime was executed.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 51: The Manual Activities Teaching Through Drama

- 51 -

Believable EntrancesPlayers are given entrance situations or invent their own. Given five minutes the players rehearse their entrance as a solo performance. They must try through their mime to convey as much information as possible to the audience.

Emotion MimePlayers have to convey through mime an emotional state. To help the players it’s a good idea that they mime a situation in which their emotion would occur. For example, sad could be mimed by saying good-bye to an old friend. Before doing the activity the players can talk about as many situations that they can imagine experiencing the different emotions.

The Selling GameA player stands in front of the rest of the group imagining he’s entered a shop where the shop keeper can’t speak his language. Through his mime he has to convey what it is he wants to buy! The person who guesses first becomes the client. Players can either be told what it is they have to mime or chose their own item, in the second case they should write it down on a slip of paper and give it to the leader before starting their mime.

Mime Activities. In Group

Group FocusIn groups the players mime a scene in which they focus all their attention on an imaginary object, event or person. Each player should try to react individually to what they are looking at, with fear, horror, fascination, repulsion etc. The players can announce the title of their scene beforehand or it can be acted out and then the rest of the group guess what it is. Players should be given enough time to prepare.

Alternatively the group can perform a second time but with dialogue.

Group Vehicle MimeIn groups players must mime a large moving vehicle. One player may be the driver or passenger but the other must form the vehicle. Players should add sound effects. Players should try to represent not only the part but how it functions. If we see train doors, how do they open? To help the players they can look at different types of

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 52: The Manual Activities Teaching Through Drama

- 52 -

vehicles and examine their major component parts. Players should be given enough time to prepare.

As a warm up the entire group can look at ways of representing one or two vehicles.

Group Household Appliance MimeIn groups players must mime a household appliance. One player can be the operator. Ask for sound effects. As in the previous mime it helps if the players can discuss what the individual components of their item are and how they function. During their mime they should try to show all the possibilities and functions of their appliance. If they mime a washing machine, they can demonstrate the machine filling with water, rinsing and they can demonstrate the different speeds. They can also demonstrate off/on.

As a warm up get the group to produce sound effects for different appliances. How does the sound change when speed increases? How does a breakdown sound?

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 53: The Manual Activities Teaching Through Drama

- 53 -

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 54: The Manual Activities Teaching Through Drama

- 54 -

SECTION A

Getting to Know YouThe group is spread over the classroom. At a given signal they must move around and shake hands, introducing themselves to as many people as possible. They should try to remember the names of other group members.

Try introducing different forms of greetings, different walks and different emotions.

Move to the SpotPlayers find a space in the area. The leader tells them to concentrate on a fixed spot somewhere across the room from where they are standing and then to move to that spot but pacing themselves so as not to stop or bump into other players. Leader should let players have time to (a) find and concentrate on new spot, (b) move at their own pace and (c) settle into the new spot.

Instructions for (b) can include moving backwards, in as few steps as possible, as many steps as possible, in circles, in squares, with hands on knees etc, reflecting emotions

Do you like your neighbourPlayers are seated in circle. Players are numbered 1,2,3,4 etc Leader points to one player and asks “Do you like your neighbour?”. If player answers “I like her/him” everyone gets up and moves to another chair. The last one standing then is leader. If the player answers “I don’t like him” – the leader replies “Who do you like?” – the player then responds by calling out any two numbers, these two players plus the players sitting to the right and left of the player and the leader must and try to move to a new chair. Last one standing is the new leader.

Human Noughts and CrossesThree rows of chairs. Three chairs in each row. Players in two teams standing at opposite end of area to chairs. Leaders shouts out noughts, player from noughts team runs and positions himself with arms across chest, leader allows five seconds then shouts crosses, player from crosses team does the same etc until one team wins.

You are you?Group stands together. Player one stands apart with back to group. Player two describes one person to player two who then has to guess who the person is. Description should be positive. Put a time limit for player two to guess. Player two then chooses the next person.

Player two asks questions instead of just listening.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 55: The Manual Activities Teaching Through Drama

- 55 -

Name GameGroup stands in a circle. A ball is passed round, each player saying his name when holding ball. Then player one throws ball to player two, player two must shout out the name of player one before then throwing to the next player, who in turn shouts out the name of player two etc etc. Continue until everyone knows each others name.

Increase speed and penalize mistakes or hesitation.

Convince us!(Variation on Monarch)Three players selected to be judges and given a few minutes to devise a points system.Players come forward when told to by judges and must try and convince the panel that they are worthy and deserve a prize (some chocolate bars or similar can be handed out by judges). Points awarded for originality and persuasiveness.

Players write their reasons to be awarded the prize.

Sherlock HolmesPlayer one takes six items from his pocket and places them in front of player two. Player two then writes down what he can deduce about player one from the items he sees. Deductions then shared with group with player one adding and commenting on deductions.

Three items from each person placed on a table. Everyone decides what belongs to whom and why..

TanglePlayers link hands. Leader leads chain through itself, under, over arms, between legs. Chain moves slowly, gently and carefully. Tangle ends when chain is too tightly packed to move. Last player in chain then stands and gives group instructions to untangle itself.

People knot

Tick TockPlayers in circle. Object passed to right,Player one: This is a tickPlayer two: A what?Player one: A tickContinues around circle but “A what” and “A tick” always going to and fro from player one.Another object starts to left and follows same pattern. Confusion and laughter should be the results!

StructuresIn sequence with Alphabet Shapes move to group constructing structures.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 56: The Manual Activities Teaching Through Drama

- 56 -

A bridge, a tree, a crane, an aeroplane, a car etc, a church etc

Also see group mimes

SECTION B

AdverstisementPlayers write in 25 words an advert selling yourslef as a friend. Always keeping in mind why other players would want to by you and not another player. You can only write about yourself. Ads placed in hat, passed around and read out loud. Players try to guess who wrote what.

Advertisements selling yourself as parent, teacher, pupil, son, lover etc

Put large ads on wall.

Make cartoons for the ads

SEE OTHER ADVERTISEMENT GAMES AND ACTIVITIES SUCH AS GIBBERISH COMMERCIAL OR THE SELLING GAME.

The Continuing StoryFour players chose a theme and characters. They begin to develop the story and characters. At given point leader substitutes the four players by another four players who continue following rules set by first group of four. Possible themes: The Haunted House. The Great Escape. The Funfair. A day at the Beach etc.

Leader can introduce mystery characters to spice up the story!

Control Tower(See blind obstacle course)Player A (aeroplane, arms stretched out and humming like a plane) eyes shut is led through obstacle course (runway) by Player B (control tower).

Penalty point each time player A touches obstacles. Five points and plane crashes!

You can’t laughPlayer A must make a very serious Player B laugh! Leader has to decide on rules e.g. is tickling allowed?

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 57: The Manual Activities Teaching Through Drama

- 57 -

FistsA game of persuasion. Player A stands facing Player B with fists clenched tightly shut. Player B must persuade partner to unclench fists. No violence allowed but you can threaten!

With partner lying curled into a ball

With partner clenching teeth etc

Three FeelingsGroup does a quick brainstorm on feeling words. Leader writes words on individual pieces of card. The leader then holds up a card with a feeling word and players have to complete the sentence “ I feel embarrassed when……..” In groups of three players are given three feeling cards and quickly mime or act out with dialogue the three feelings to rest of the group who have to establish what the feelings are.

Players can relate tru experiences “The last time I really felt angry was……”

Merry-go-RoundPlayer A and B begin improvising a scene. Situation and characters being provided by group. The scene being established enter Player C who has to completely change the scene. Player A must find a reason to leave the scene in the context of the new scene. Enter Player D to change the scene yet again. Player B finds reason to exit and so on.Game continues as long as players can maintain a lively and creative flow.

News for youPlayers in a circle. Player A starts “The nicest thing that happened to me today/this week/yesterday etc was…………” continue round the circle. Leader explains that it can be something big and exciting or simple and pleasant.

Start with the worst thing…………then quickly follow that with the best thing!

SpeakeasyA possible ending to each session. Chair placed in front of the group. Player A sits and talks to the group, developing any subject of his choice (advisable to start with something simple such a description of oneself). One way to air problems and attempt to resolve them.

Walk my walkPlayers in large circle. Player A walks across the circle several times. Players observe and comment on Player A’s walk – positive comments. All Players try Player A’s walk.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 58: The Manual Activities Teaching Through Drama

- 58 -

Ask different players to take on roles and attempt to walk in character such as a spy, a hooligan, a jellyfish.

SECTION C

Mime and Action MemoryIn a circle the leader begins by making a movement with his finger e.g. a spiral movement. Player A beside the leader then must repeat this movement plus add one of his own e.g. stamping his foot. Player B then must repeat the two movements and add one of his own. The action moves around the circle. If any Player misses, does a movement out of order or TALKS they are out.

Emotions: Play and Freeze frameIn groups Players choose or are given a theme for a short improvisation. Then they are given or choose three emotions to include in the improvisation so that the story progresses from the first emotion, to the second and finishes on the third.As the group works through their story they should be aware of how the three emotions are physically demonstrated.The group plays out their improvisation from beginning to end. Then demonstrate the emotions in a quick fire three freeze frame sequence.

Comic Strip(Sequence with above)In groups Players devise an improvisation around any theme. When the improvisation is played out though it must be as though we are reading a comic strip! The action is shown as a series of frames. Dialogue of course can be added but no movement in each frame is allowed.

Use a well known story or fairy tale.

Chinese Mime ChainFive Players leave room. The rest of group decides on a complicated mime e.g. changing a baby’s nappy. Player A is called in and told what to do, Player B is called in and watches Player A, Player C is called in to watch Player B and so on. As in Chinese Whispers the result is usually completely different than the original mime. Ask each player what they thought they were doing.

Chain StatuesPlayer A takes a statue position. Player B is asked to adjust or move Player A’s position. Leader shouts freeze at any point and A & B remain frozen. Player C then moves or adjusts A & B until leader shouts freeze. Continue until you have entire group up.

Fit the ReaderShort piece of written material is chosen by leader. Players are assigned the role of a particular kind of reader. Players without preparation read article in the manner or

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 59: The Manual Activities Teaching Through Drama

- 59 -

style chosen by the leader. A horse racing commentator, children’s story reader, a lord mayor making a formal speech, priest or church minister, a suspicious policeman, full of insinuation and innuendo etc.

Dialogue Environments(see environments)In pairs players write down or memorize six lines of dialogue. They repeat the dialogue but each time in a different environment: crossing the Sahara with no water, newlyweds at breakfast, aliens coming out of a spaceship.

Do the same but with emotions.

Paper Bag Scene(Can be done in sequence with Prop scene)Characters are written on pieces of paper and placed in a bag. Players in groups of six each take a piece of paper from the bag. Leader then gives them 60 seconds to improvise a simple sketch playing the characters.

Prop ScenePlayers in groups are given one prop around which to build a scene e.g. an alarm clock, a telephone, a key etc.

Groups are given several props

In addition they use the character bag from last activity

Opening & Closing LineEach group is given a sentence with which to open or close (or both open and close) an improvised scene. The sentence when said must have context. Examples: “Pass the salt please”, “Nobody ever listens to me” I’ve something important to tell you” Can we do this at home” etc

Combine with Prop scene and Paper Bag scene

SituationsEach group is allocated a situation e.g. trapped in an elevator, waiting in a maternity ward etc. Each improvisation is shown one by one. Then using the character bag the scene is re-run but with different characters.

Each group does same situation but with different characters

SECTION Dc

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 60: The Manual Activities Teaching Through Drama

- 60 -

It’s ObviousGroups of 4 or 5. Player A in each group is the focus and others start sentence with “It’s obvious that you……”, to start there are no inferences allowed, start with what is obvious e.g. you like a comfortable shoe. Players take turn to be focus. Then start again but with statement, “ I see that………….” Maybe something that is not seen on first looking e.g. an eye for detail with a lovely brooch. Lastly, “ I imagine that you……” Here you are allowed guesses and wild imaginings! After check imaginings with focal person.

Share discoveries with the larger group

Verbal BoxingPlayer A and B take to the centre for a 30 second bout. Winner is decided by group and then can be challenged by the next contender!Three types of bouts:

1. Insults. The leader should encourage colourful and inventive untruths, Should be in the form of a conversation.

2. Long windedness. Challengers keep up continuous flow of talk both at the same time.

3. Gibberish. Contestants given emotion both must keep up continuous flow of gibberish remaining true the emotion.

Invent other categories!

Word WizardLeader tells players they can only have four words in the world. Players have to choose their favourite or most important words and write them down. Then finding a partner they share their words explaining why they chose them and their importance – they add their partners words to their original list of four, now each player has eight. The process is repeated four or five times. Now using the list players have to try to write a poem using just those words. Give enough time for players to think and write. Share with the larger group.

Pig, Wolf and FarmerGroup forms two teams. This game is based on the classic game, paper, scissors and stone. In teams they decide if they are going to be pig, wolf or farmer. The two teams face each other and on the count of three reveal who they are by miming the appropriate character.Explanation: the pig is represented by pig nose (hand on nose) and oinking. The Wolf by arms in air and howling. The farmer by digging. The wolf beats the pig, the farmer beats the wolf and the pig beats the farmer.

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015

Page 61: The Manual Activities Teaching Through Drama

- 61 -

www.interact ing. in fo · he l lo@in terac t ing . in fo · t f : (+34) 915 400 783 · f x : (+34) 915 481 015