CREATIVE DRAMA
What is Creative
drama?
CREATIVE
DRAMA
• The informal process of acting
• Is an improvisational form of
theater in which participants are
guided by a leader to imagine,
enact, and reflect on human
experiences.
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CREATIVE
DRAMA
• There is no script.
• The acting would be
improvisational.
• Improvisation is key to creative
drama.
• Creative drama does not require an
audience.
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CREATIVE
DRAMA
• Creative drama differs from formal
drama in that the process of acting
out is more important than the end
result.
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FORMAL
DRAMA
• Formal drama focuses on a
performance in front of an audience
as the important final product.
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CREATIVE
DRAMA
• The leader guides the discussion to
focus on what worked well during
the playing process.
• An important part of creative drama
is the evaluation that comes after
playing out a story or idea.
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REPLAYING
• Is acting out the story or activity
again using the changes discussed.
• It can occur immediately or it can
be saved for another time.
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SIDE-
COACHING
• The leader talks to you through an
activity by making suggestions or
giving you ideas.
• May also provide an internal
monologue –the thought of a
character.
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LEADER
PLAYING IN
ROLE
• When the leader or teacher in
creative drama actively takes part in
the drama by playing one of the
characters.
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EXPERIENCES IN
CREATIVE DRAMA
• Provide with the
opportunity to explore
theater in a
comfortable,
nonthreatening way.
• You will come to
understand and
appreciate the art of
drama – a story told
through action and
dialogue.
• Helps pave the way for
future theater
experiences.
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I hear. I forget
I see. I remember
I do. I understand
ROLE PLAYING
Is an educational
technique in which
people spontaneously
act-out problems of
human relations and
analyze the enactment
with the help of other
role players and
observers.
ROLE PLAYING
• It is the form of unrehearsed drama
in which members of group assume
the roles of principal characters in
the problem under the discussion.
• It makes possible the maximum
participation of a group through
acting out an example of some idea.
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ROLE PLAY VS.
DRAMA
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VALUE OF ROLE
PLAYING
1. The actor really tries to feel the
part of the character.
2. Enjoyed by the people who do it.
3. Doesn’t need equipment.
4. Involves a group through
participation.
5. Arouses interest in a problem.
6. Makes a problem seem real to a
group.
7. Helps understand the point of
view.
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VALUE OF ROLE
PLAYING
8. Trains leadership skills.
9. The student not only hears about a
problem or tells about it, but he lives
through it.
10. Helps to develop new skills for
dealing with problems in human
relations.
11. It is a way of presenting human
relations problems, because the student
can experiment with behavior, make
mistakes and try new skill without
chancing the hurts that experimentation
in real-life situation may involve.
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PRINCIPLES AS
GUIDES TO THE USE
OF ROLE PLAYING.
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A SUCCESSFUL ROLE
PLAY REQUIRES:
Careful definition of the goals and
objectives.
Selection of characters according to
enthusiasm, sincerity and
willingness of the players.
Should not be rehearsed.
Should be stimulant to thinking
Flexible
Brief (15 minutes)
Analysis and evaluation
immediately following role-playing.
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STEPS OF ROLE-
PLAYING
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STEPS OF ROLE-
PLAYING
1. Selection of a problem.
2. Construction of a role-play
situation.
3. Casting the players
4. Briefing
5. Role-playing action
6. Discussion and analysis of
action.
7. Evaluation
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ADVANTAGES OF
ROLE-PLAYING
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ADVANTAGES OF
ROLE-PLAYING
1. Allow students to develop an
understanding of others
perspectives.
2. Encourage students to work with
others in analyzing situations
and developing solutions.
3. Provide opportunity to apply
concepts they have learned.
4. Gives students to effectively
contrast problem-solving
methods by role playing a
situation several times.
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ADVANTAGES OF
ROLE-PLAYING
5. Offers a channel through
which feelings can be expressed
and feedback processed.
6. Helps to build self-esteem and
confidence.
7. Helps to develop real
communication skills in
leadership, interviewing and
social interaction.
8. Helps to develop ability to
observe and analyze situation.
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ADVANTAGES OF
ROLE-PLAYING
It provides the teacher
the opportunity -
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IT PROVIDES THE
TEACHER
OPPORTUNITY -
1. To note individual student
needs by observing and
analyzing her needs in a
simulated real life situation.
2. To assist the student in
meeting her own needs by
giving her on the spot
suggestions.
3. To encourage independent
thinking and action by giving
indirect guidance.
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DISADVANTAGES OF
ROLE-PLAYING
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DISADVANTAGES OF
ROLE-PLAYING
1. It requires expert’s guidance and
leadership.
2. Sometimes participants may feel
threatened.
3. Used as an educational technique,
not a therapeutic one.
4. Strongly dependent on students’
imagination.
5. Time consuming in developing group
readiness. It should not be used when
there is pressure of time.
6. Limited by the teachers’ ingenuity
and realistic use.
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IMPROVISATION AND
PANTOMIME
IMPROVISATION
Means to create
without preparing.
2 Ty p e s o f I m p r o v i s a t i o n :
SPONTANEOUS REHEARSED
-no planning - some planning
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AN ACTOR’S
TOOLKIT
To improvise:
SCENE
CHARACTER
DIALOGUE
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SKILL =
PRACTICE + EXPERIENCE
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BENEFITS OF
IMPROV
• Helps to create fresh ideas
• Explores or creates character
• Develops stories
• Develops versatility
• Assist with timing
• Enhances reactions
• Develops active listening
• Emotional understanding and
responses
• Develops backstories
• Develops observational skills
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TO IMPROVISE WELL
Fundamental key elements:
Character – who they are
Location – where they are
Conflict – problems within the
scene
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PANTOMIME
The performers act out
a story using body and
facial expressions and
they also use
imaginary object to
perform.
PANTOMIME
Is a form of theater
that uses no speech
and no sound.
It is considered a
traditional form of
street theater which
originally existed from
Europe.
PANTOMIME
In most cases,
performers wear plain
black and white
clothing. White gloves
and an accented white
face.
This is to bring tension
to the movements of
the hands and the
facial expression but it
is not required.
MIMES
Actors who perform
pantomime.
QUALITIES OF A
GOOD PANTOMIME:
• Consistency
• Exaggerated resistance
• Exaggerated expressions and
gestures
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SCRIPT
A piece of writing
written for the stage, it
includes a list of
characters with the
description of a setting
and a set of dialogues
to be performed by the
actors, directors and
stage designers.
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SCRIPTED AND NON-
SCRIPTED PERFORMANCES
SCRIPTED
PERFORMANCE
Needs a script as guidelines
for a particular play
Samples of Scripted plays:
• Dramatization
• Storytelling
• Theatrical Play
• Newscasting
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NON-SCRIPTED
PERFORMANCE
A play which does not need a
script for rehearsal.
Any speech and movement done in
this performance is without a
preconceived plan therefore there is
no need for reading or memorizing
lines.
Samples of Non-scripted plays:
• Impromptu Speeches
• Improvisation
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PUPPETRY AND MASK
MAKING
PUPPETRY
HOW DID PUPPETRY
DEVELOP?
Puppetry is a form of theater or
performance that involves the
manipulation of puppets. It is very
ancient, and is believed to have
originated 3000 years BC.
Puppetry takes many forms but
they all share the process of
animating inanimate performing
objects.
Puppetry is used in almost all
human societies both as
entertainment – in performance –
and ceremonially in rituals and
celebrations such as carnivals.
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Most puppetry involves PRESENTATION TITLE 46
storytelling.
HOW DID PUPPETRY
DEVELOP?
• While the earliest recorded
use of puppetry was in Ancient
Greece, the discovery of ivory
and clay puppets in Ancient
Egyptian tombs suggests that
they may have originated here
before being adopted by the
developing Greek civilization.
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MASK MAKING
THE MASK MAKING
• Mask, Theatrical. A special
covering (representing a
human face or the head of an
animal or a fantastic
mythological being) with
perforations for the eyes and
placed on actor’s face. Masks
are made of paper, paper
mâché, and other materials.
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PUPPETRY AND
MASK MAKING
• Within the Mask Work and
Puppetry the individual can be
involved in the highly organic
creative process of imagining,
designing, developing,
creating and finally breathing
life into their personal
physical creation.
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MASK VS PUPPET
• It can sometimes be hard to
tell the difference between
masks and puppets, make-up,
costume, even props. I would
define a mask, as opposed to a
puppet, as tool where an actor
uses his own head arms and
legs (even if extended) instead
of having them operated from
outside.
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MULTICULTURALISM AND
DRAMA
CONCEPT OF
MULTICULTURALISM
Multiculturalism ideology holds
that cultural diversity is good for
ones’ society and its members,
which implies that all cultural
groups should be allowed to
maintain their culture.
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DRAMA
Drama is the specific mode of
fiction represented in
performance: a play, opera, mime,
ballet, etc., performed in theater,
radio or television.
Drama is mode of fictional
representation through dialogue
and performance. It is one of the
literary genres, which is an
imitation of some action. Drama is
also a type of play written for
theater, television, radio and film.
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CONCLUSION
The use of creative drama in a
multicultural classroom can allow
a teacher to establish a student-
focused base for experiential
learning and can allow students
from various cultures to use
drama as a way of expressing
their individual cultural
differences. Using literature
about various ethnic groups in
creative drama can contribute to
the multicultural classroom. The
practice of creative drama can
help cultivate creativity and
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inventiveness.
“ There’s Theater in Life, Obviously,
and there’s Life in Theater.
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Richard Branson
” 56
THANK YOU
Maricar Samson
