Stand in a circle
Someone goes into the middle and introduces a rhythmical sound and movement
Everyone does it and then moves around the room doing it.
On Command "Change!" start doing another different rhythm moving around the space.
On Command "Meet!" partner up with some else and do your rhythms to each other.
On Command "Return!" Come back into the big circle with all your different rhythms and movements.
Without trying make a conscious effort create a unified rhythm and sound.
Friday 29 February 2008
Monday 25 February 2008
Making an instant Forum play
The following is an overview of how to devise (as a group) a piece of forum theatre from scratch. The idea is then for an audience to explore in different ways how to change a particular oppression.
1. Decide
Oppression you want to change
Central Character - their wants
Oppressors - their wants
Potential Ally (If you want one)
Where is play set?
What is the conflict? (wants)
What is the crisis? (Danger/opportunity)
2. Make Images in groups
Beginning - Introduce characters and themes
Middle - Conflict
End - Crisis
3. Bring images alive through following stages:
Breath
Movement
Sound
Thought
Words
Full improvisation
(Allow several minutes for group to explore each phase. This can be teacher led to drive process along)
4. Rehearse (Practise scenes, Possible intervention points, Jockering/Facilitation)
5. Perform
6. Forum the play.
1. Decide
Oppression you want to change
Central Character - their wants
Oppressors - their wants
Potential Ally (If you want one)
Where is play set?
What is the conflict? (wants)
What is the crisis? (Danger/opportunity)
2. Make Images in groups
Beginning - Introduce characters and themes
Middle - Conflict
End - Crisis
3. Bring images alive through following stages:
Breath
Movement
Sound
Thought
Words
Full improvisation
(Allow several minutes for group to explore each phase. This can be teacher led to drive process along)
4. Rehearse (Practise scenes, Possible intervention points, Jockering/Facilitation)
5. Perform
6. Forum the play.
Friday 22 February 2008
The Overcoat
Description
Work in groups of about 5 or 6 to devise a scene where a person goes into a shop to buy a new coat. This is no ordinary coat and the person has never had this opportunity before. All the furniture and fittings of the shop must be made out of people. The group are asked to consider how the person changes physically when s/he buys the coat. The scene does not have any spoken language in it and it can be presented to music.
Rationale
This drama represents a universal theme: the desire to own something that gives a person status. It is an interesting starting point for discussion about aspiration and the significance of acquisitions.
The use of physicality rather than spoken language enables young people who do not share a common spoken language to develop drama skills without barriers.
Development·
As preparation for this task, the young people could explore how they feel about having new things: Each person enters the room demonstrating through mime and physicality that they have something new that they are proud of. The group can guess what the new possession is.
· The initial scene can be developed into a short drama by exploring various developments of the story e.g. “How do other people respond to the new coat?” “What happens to the coat?” “Does the coat cause any problems?” “How does the wearer of the coat change?”
· This is a good approach for group where attendance is inconsistent because the participants can operate as a dramatic-physical chorus and can easily substitute for each other. The chorus can grow and shrink from week to week.
· The story is easy to understand and remember. There are no lines to learn and it can change and develop from week to week building on physical experimentation.
Guidance
To maximise the potential for this style of work, it is necessary to build participant’s confidence in physical expression using approaches like: This is not a Bottle, Faces, Music and Images, and Everyday Actions.
It is sometimes quite effective to hold back on introducing music so that it can ‘lift’ the energy at a point where that is necessary.
The work is most successful when there is an atmosphere of playful experimentation and opportunities for young people to contribute ideas physically rather than through spoken language.
Work in groups of about 5 or 6 to devise a scene where a person goes into a shop to buy a new coat. This is no ordinary coat and the person has never had this opportunity before. All the furniture and fittings of the shop must be made out of people. The group are asked to consider how the person changes physically when s/he buys the coat. The scene does not have any spoken language in it and it can be presented to music.
Rationale
This drama represents a universal theme: the desire to own something that gives a person status. It is an interesting starting point for discussion about aspiration and the significance of acquisitions.
The use of physicality rather than spoken language enables young people who do not share a common spoken language to develop drama skills without barriers.
Development·
As preparation for this task, the young people could explore how they feel about having new things: Each person enters the room demonstrating through mime and physicality that they have something new that they are proud of. The group can guess what the new possession is.
· The initial scene can be developed into a short drama by exploring various developments of the story e.g. “How do other people respond to the new coat?” “What happens to the coat?” “Does the coat cause any problems?” “How does the wearer of the coat change?”
· This is a good approach for group where attendance is inconsistent because the participants can operate as a dramatic-physical chorus and can easily substitute for each other. The chorus can grow and shrink from week to week.
· The story is easy to understand and remember. There are no lines to learn and it can change and develop from week to week building on physical experimentation.
Guidance
To maximise the potential for this style of work, it is necessary to build participant’s confidence in physical expression using approaches like: This is not a Bottle, Faces, Music and Images, and Everyday Actions.
It is sometimes quite effective to hold back on introducing music so that it can ‘lift’ the energy at a point where that is necessary.
The work is most successful when there is an atmosphere of playful experimentation and opportunities for young people to contribute ideas physically rather than through spoken language.
Making objects with your bodies
Description
In groups of 4 or 5, ask the group to quickly make – with their bodies – the shapes and pictures you will show them – without talking. Show pictures of: Circle, square, house, bike, horse, boat etc.
Rationale
It is fun, playful, good for group building – encouraging interaction, negotiation but without needing a common language.
Development·
Give each group a different picture – other groups have to “use” the object. · Objects can make sounds with movement.· Introduce idea of acting as objects.
In groups of 4 or 5, ask the group to quickly make – with their bodies – the shapes and pictures you will show them – without talking. Show pictures of: Circle, square, house, bike, horse, boat etc.
Rationale
It is fun, playful, good for group building – encouraging interaction, negotiation but without needing a common language.
Development·
Give each group a different picture – other groups have to “use” the object. · Objects can make sounds with movement.· Introduce idea of acting as objects.
Tutor in Role and Development of a Narrative
Description
Explain or indicate, by putting on a bit of costume (e.g. coat, veil) and picking up a prop, (some airmail letters with addresses on the back), that you are assuming a role. As the group sit round, move around them and ask for help pointing to an address. Explain with as few words as possible that you are looking for your child who left and came to this country some years ago. He used to write often, but stopped writing some months ago. Maybe they know your child? Individuals may offer help and you might engage some in an anxious discussion about why the child has not written - imparting some information about his age and what he was doing. Leave and lay down the costume and prop. There are many ways that the drama might be developed - allowing for different interpretations of the narrative. The child’s gender need not be fixed.For example, the tutor takes on the role of the parent again, poised on the doorstep of the child’s home. She addresses the group - asking for suggestions about what has happened to the child and worrying about how she might be received. Volunteers take it in turns to play the child, drawing on the suggestions. This scene need not have many words, actions work - e.g. a hug or door slam.
Rationale
Roles that are low status and appear vulnerable help to empower the group, and are engaging. This drama gives the students the opportunity to be the experts - to offer advice about a situation that they may recognise from their own experience. In role you can prompt everyone to get involved in a gentle way that is not exposing. There is no need for individuals to stand up and act, they need only respond to the role in the simplest of ways and they become part of the drama - their actions as well as words can inform the story. Through tutor in role even the most difficult groups can find a common language or understanding in their development of a story together. Emotional engagement is often the key to this. Watching the tutor assume a role and acting alongside her can also provide a useful model for a group that is learning to do drama.
In terms of the content of this drama, there is scope to explore what it feels like to be lost in a new city and concerned about loved ones - in a safe, fictional context.
Development
One of the benefits of developing a story with a group is that it can be sustained over a series of sessions. The group will maintain their engagement if they feel that their ideas have helped inform the narrative. A mystery helps to maintain engagement, so it works to delay the appearance of the child. Before that, the group could develop the parent’s nightmare at his arrival in a new city - using music to create atmosphere, and different or made up languages to generate a sense of confusion. They could improvise situations that the parent might find bewildering in a new city, e.g. crossing at a zebra or encountering authority figures. There is scope to create scenes from the past - flashbacks or memories.
Guidance
The group may not be able to work alone in small groups, because it is hard to negotiate ideas without a common language. It is easier to create scenes spontaneously and if you model or demonstrate then others can follow your example - without it being prescriptive. Once the group recognises the outline of a scene or encounter, individuals can have a go at doing it their way.
Explain or indicate, by putting on a bit of costume (e.g. coat, veil) and picking up a prop, (some airmail letters with addresses on the back), that you are assuming a role. As the group sit round, move around them and ask for help pointing to an address. Explain with as few words as possible that you are looking for your child who left and came to this country some years ago. He used to write often, but stopped writing some months ago. Maybe they know your child? Individuals may offer help and you might engage some in an anxious discussion about why the child has not written - imparting some information about his age and what he was doing. Leave and lay down the costume and prop. There are many ways that the drama might be developed - allowing for different interpretations of the narrative. The child’s gender need not be fixed.For example, the tutor takes on the role of the parent again, poised on the doorstep of the child’s home. She addresses the group - asking for suggestions about what has happened to the child and worrying about how she might be received. Volunteers take it in turns to play the child, drawing on the suggestions. This scene need not have many words, actions work - e.g. a hug or door slam.
Rationale
Roles that are low status and appear vulnerable help to empower the group, and are engaging. This drama gives the students the opportunity to be the experts - to offer advice about a situation that they may recognise from their own experience. In role you can prompt everyone to get involved in a gentle way that is not exposing. There is no need for individuals to stand up and act, they need only respond to the role in the simplest of ways and they become part of the drama - their actions as well as words can inform the story. Through tutor in role even the most difficult groups can find a common language or understanding in their development of a story together. Emotional engagement is often the key to this. Watching the tutor assume a role and acting alongside her can also provide a useful model for a group that is learning to do drama.
In terms of the content of this drama, there is scope to explore what it feels like to be lost in a new city and concerned about loved ones - in a safe, fictional context.
Development
One of the benefits of developing a story with a group is that it can be sustained over a series of sessions. The group will maintain their engagement if they feel that their ideas have helped inform the narrative. A mystery helps to maintain engagement, so it works to delay the appearance of the child. Before that, the group could develop the parent’s nightmare at his arrival in a new city - using music to create atmosphere, and different or made up languages to generate a sense of confusion. They could improvise situations that the parent might find bewildering in a new city, e.g. crossing at a zebra or encountering authority figures. There is scope to create scenes from the past - flashbacks or memories.
Guidance
The group may not be able to work alone in small groups, because it is hard to negotiate ideas without a common language. It is easier to create scenes spontaneously and if you model or demonstrate then others can follow your example - without it being prescriptive. Once the group recognises the outline of a scene or encounter, individuals can have a go at doing it their way.
Everyday Action/Movements
Description
1. In a circle, ask each individual to choose an everyday movement or action e.g. brushing teeth, combing hair, sweeping, lifting something heavy, climbing stairs. With music, each person shows their movement and everyone else copies it and repeats it twice so that it acquires a rhythm with the music.
2. Split the group into pairs and ask them to select four of the movements they have seen in the circle. Then ask them to use the four actions to create a movement phrase to the music, in unison, that they can remember and repeat. Depending on the length of the session, ask each group to show their movement phrase at this point – if there is not a lot of time, just ask them to make sure they can remember it.
3. Now ask the pairs to create a second sequence by making the following changes to their first movement phrase:
i) Make one movement very fastii) Make one movement very slowiii) Use a change of directioniv) Use a change of level
(The groups can combine changes if they wish e.g. they might make one movement both very fast and in a different direction. They may also naturally start to experiment with timings and facings which can be encouraged e.g. one person moving after another instead of in unison, one person moving behind another instead of at their side. In the process of doing these changes the groups may also notice that a story or an emotional content starts to be generated and they might wish to make further changes/adaptations to develop it.)
4. Ask the groups to show both their pieces and encourage the other pairs to observe and comment on how the changes made in the second phrase affected the performance. Some useful questions to ask might be:
i) What difference(s) did it make to the phrase when you made the changes? ii) What kind of ‘story’ or emotion/ ‘feel’ did the movement phrase start to express (if at all)?
Rationale· Accessible because based on movements chosen by participants rather than using ‘given’ movements· Movement with music is often enjoyable and fun in itself and has the additional benefit of not requiring language to achieve successful outcome· Encourages cooperative and collaborative working which enables young people who speak different languages to get to know each other through ‘doing’ rather than ‘talking’· Participants can develop the tasks with more or less complexity, which allows for different levels of experience/skill within the group
Development
· Experimentation with a range of ‘manipulations’ of movement can lead to a range of interesting and potentially more complex outcomes e.g.
Speed – fast, slow, varying pace Dynamics – smooth, hesitant, jerky, tense, erratic. Repeating, reversing, adding, subtracting movementsAdding more people, removing peopleUnison, canon, solo, different phrases at the same time. Staging - perform in different spaces, different facings
· Putting phrases to different kinds of music (different moods, feels, instrumental, non-instrumental) to see how it affects what is conveyed by the movement and how the movement might need to change to work with the new music.
· This task can be a good starting point from which to develop both dance work and physical theatre with young people. Experimenting with familiar/everyday movement can lead into both abstract and more narrative work depending on the interests/needs of the group. You may decide to work with very specific everyday movements as a particular theme/issue is being explored e.g. movements from work situations (typing, lifting etc).
i) For example, using the ‘manipulations’ suggested above can take the movement further and further away from the original ‘source’ material into more abstract movement work e.g. the action of typing may no longer be recognisable as it has become part of a choreographed sequence of movements which are engaging to watch because they effectively complement the chosen music.
ii) Alternatively, it might be that a group wants to create a physical section within a more narrative drama – by creating a ‘choreographed’ sequence of everyday movements associated with the theme/idea of the drama, the movements can acquire a powerful symbolic impact which heightens the dramatic moment.
1. In a circle, ask each individual to choose an everyday movement or action e.g. brushing teeth, combing hair, sweeping, lifting something heavy, climbing stairs. With music, each person shows their movement and everyone else copies it and repeats it twice so that it acquires a rhythm with the music.
2. Split the group into pairs and ask them to select four of the movements they have seen in the circle. Then ask them to use the four actions to create a movement phrase to the music, in unison, that they can remember and repeat. Depending on the length of the session, ask each group to show their movement phrase at this point – if there is not a lot of time, just ask them to make sure they can remember it.
3. Now ask the pairs to create a second sequence by making the following changes to their first movement phrase:
i) Make one movement very fastii) Make one movement very slowiii) Use a change of directioniv) Use a change of level
(The groups can combine changes if they wish e.g. they might make one movement both very fast and in a different direction. They may also naturally start to experiment with timings and facings which can be encouraged e.g. one person moving after another instead of in unison, one person moving behind another instead of at their side. In the process of doing these changes the groups may also notice that a story or an emotional content starts to be generated and they might wish to make further changes/adaptations to develop it.)
4. Ask the groups to show both their pieces and encourage the other pairs to observe and comment on how the changes made in the second phrase affected the performance. Some useful questions to ask might be:
i) What difference(s) did it make to the phrase when you made the changes? ii) What kind of ‘story’ or emotion/ ‘feel’ did the movement phrase start to express (if at all)?
Rationale· Accessible because based on movements chosen by participants rather than using ‘given’ movements· Movement with music is often enjoyable and fun in itself and has the additional benefit of not requiring language to achieve successful outcome· Encourages cooperative and collaborative working which enables young people who speak different languages to get to know each other through ‘doing’ rather than ‘talking’· Participants can develop the tasks with more or less complexity, which allows for different levels of experience/skill within the group
Development
· Experimentation with a range of ‘manipulations’ of movement can lead to a range of interesting and potentially more complex outcomes e.g.
Speed – fast, slow, varying pace Dynamics – smooth, hesitant, jerky, tense, erratic. Repeating, reversing, adding, subtracting movementsAdding more people, removing peopleUnison, canon, solo, different phrases at the same time. Staging - perform in different spaces, different facings
· Putting phrases to different kinds of music (different moods, feels, instrumental, non-instrumental) to see how it affects what is conveyed by the movement and how the movement might need to change to work with the new music.
· This task can be a good starting point from which to develop both dance work and physical theatre with young people. Experimenting with familiar/everyday movement can lead into both abstract and more narrative work depending on the interests/needs of the group. You may decide to work with very specific everyday movements as a particular theme/issue is being explored e.g. movements from work situations (typing, lifting etc).
i) For example, using the ‘manipulations’ suggested above can take the movement further and further away from the original ‘source’ material into more abstract movement work e.g. the action of typing may no longer be recognisable as it has become part of a choreographed sequence of movements which are engaging to watch because they effectively complement the chosen music.
ii) Alternatively, it might be that a group wants to create a physical section within a more narrative drama – by creating a ‘choreographed’ sequence of everyday movements associated with the theme/idea of the drama, the movements can acquire a powerful symbolic impact which heightens the dramatic moment.
Music and Image as a stimulus
Description
In a circle, the leader starts to mime he/she is holding an object and passes it to the next person. Then when we pass the object it changes shape and when you pass it to the next person to you add a sound.
The group are asked to spread around the room and listen to four different tracks (songs) they move to the rhythm of the music in different ways and think about doing something of their daily routine.
Leader: “Ok now all of you are ready to come with me to my specials trips, the only think you need is to know that in this table you can find thousands of items you will need for each trip; you can take a maximum of 3 items for each trip” The leader has a selection of pictures of different places s/he picks one and shows the picture to the group and asks them to prepare the bag for the first trip; when they are ready to go s/he put one of the tracks and explains to them when they hear the music they should imagine themselves in the place and when they hear the music turning down very slowly they should freeze and make a picture. They can talk to each other, they can play any games, or if they want they can be by themselves. After the picture ask each of them to tell you about they journey and the experience.
Rationale
1. Objects: To find different ways to pass and pick up the object also we can see how the people of the group start working as a team, the object can be big and heavy or fragile and long or is a baby. The objective is to stimulate the creativity and trust of the group through changing the shape and adding a sound.
2. Music: Through the music is very easy to engage the attention of the young people, is a good way to stimulate the creativity because they feel the freedom of expression and they want to follow their own internal rhythm.
3. Music and image: This particular exercise helps us to explore creativity and concentration also gives us the chance to share different experiences going back in time and space looking for traditional events or typical activities from the countries where the young people come from.
Guidance
Objects: Nobody is allowed to change the object till it arrives to the leader to start again.
Music: Participants should be encouraged not to dance, only walk, run, talk, jump, or do any movement of their daily routine. If you identify the nationality of the group you may want to try to find music from their country, it will help to create a good atmosphere. The tracks need to be poles apart for example: Tango, Reggae, Classical, and Jazz.
You could give the chance to each member to organise a trip, in that way every time it is more difficult to guess what kind of items they need.
In a circle, the leader starts to mime he/she is holding an object and passes it to the next person. Then when we pass the object it changes shape and when you pass it to the next person to you add a sound.
The group are asked to spread around the room and listen to four different tracks (songs) they move to the rhythm of the music in different ways and think about doing something of their daily routine.
Leader: “Ok now all of you are ready to come with me to my specials trips, the only think you need is to know that in this table you can find thousands of items you will need for each trip; you can take a maximum of 3 items for each trip” The leader has a selection of pictures of different places s/he picks one and shows the picture to the group and asks them to prepare the bag for the first trip; when they are ready to go s/he put one of the tracks and explains to them when they hear the music they should imagine themselves in the place and when they hear the music turning down very slowly they should freeze and make a picture. They can talk to each other, they can play any games, or if they want they can be by themselves. After the picture ask each of them to tell you about they journey and the experience.
Rationale
1. Objects: To find different ways to pass and pick up the object also we can see how the people of the group start working as a team, the object can be big and heavy or fragile and long or is a baby. The objective is to stimulate the creativity and trust of the group through changing the shape and adding a sound.
2. Music: Through the music is very easy to engage the attention of the young people, is a good way to stimulate the creativity because they feel the freedom of expression and they want to follow their own internal rhythm.
3. Music and image: This particular exercise helps us to explore creativity and concentration also gives us the chance to share different experiences going back in time and space looking for traditional events or typical activities from the countries where the young people come from.
Guidance
Objects: Nobody is allowed to change the object till it arrives to the leader to start again.
Music: Participants should be encouraged not to dance, only walk, run, talk, jump, or do any movement of their daily routine. If you identify the nationality of the group you may want to try to find music from their country, it will help to create a good atmosphere. The tracks need to be poles apart for example: Tango, Reggae, Classical, and Jazz.
You could give the chance to each member to organise a trip, in that way every time it is more difficult to guess what kind of items they need.
Faces
Description
Show participants a series of 5 simple pictures of faces on A4 card with clear emotional expressions (happy, sad, angry, surprised and confused). Encourage them to copy the expressions changing the shape of their own mouth and eyebrows. Once the group has tried all the expressions, place a chair on one side of the room and ask for a volunteer to stand on the other side of the room and hand them a letter. With the facilitator sitting in the chair beckon to the volunteer to walk to the chair as themselves with no particular emotion, hand over the letter then go back again. Ask them to repeat the action this time choose an emotion/expression for them to ‘play’. Next ask the volunteer to sit in the chair then choose someone else to be the giver of the letter and select emotions for them both. Repeat the scene with all or as many participants as possible.
Rationale
By starting the session with a simple copying task all participants will have engaged in the session immediately. Non-verbal interaction in a scene with a very clear activity is easily achievable, fun to watch and fun to do. It engages participants on a variety of levels from simply taking part, to actively exploring the use of movement and physical expression. The pictures are a strong visual stimulus indicating universal emotions and instantly communicating with, and involving, everyone simultaneously. Repetition of the same scene creates a sense of familiarity and predictability in the structure allowing room to improvise and play. Starting with non-verbal interaction demonstrates a form of participation which can remain an option throughout.
Development
Each of the expressions can be given simple words, and later phrases, appropriate to the emotion e.g. Happy “yes”, sad “no”, confused “what?” Different languages can be used or English at different levels of ability.More people can be added to the scenes e.g. two people bring in the letter with different emotions. Story development can come from the content of the letter and characters could be based on the emotions.This simple exercise can be the starting point to devising scenes, discussion around themes or introducing the idea of play in a structured way.
Guidance·
Drawings of expressions should depict clear emotions using simple lines with eyebrows, eyes and mouth only, noses tend to indicate character.· A letter is instantly recognisable and has a huge range of dramatic possibilities to inform action and content of the scene - a lottery win, an eviction notice, a school report, a love letter.· Count down 3, 2, 1 to signal a clear beginning to the scenes and encourage applause after each one.· Sensitivity: Participants may feel safer and less inhibited pulling the expressions for the first time, in a seated semi-circle or line facing the facilitator so they are not being directly looked at by others in the group. At first participants may feel safer choosing which emotion to use themselves. At all levels of development non-verbal options to participation should be maintained.
Show participants a series of 5 simple pictures of faces on A4 card with clear emotional expressions (happy, sad, angry, surprised and confused). Encourage them to copy the expressions changing the shape of their own mouth and eyebrows. Once the group has tried all the expressions, place a chair on one side of the room and ask for a volunteer to stand on the other side of the room and hand them a letter. With the facilitator sitting in the chair beckon to the volunteer to walk to the chair as themselves with no particular emotion, hand over the letter then go back again. Ask them to repeat the action this time choose an emotion/expression for them to ‘play’. Next ask the volunteer to sit in the chair then choose someone else to be the giver of the letter and select emotions for them both. Repeat the scene with all or as many participants as possible.
Rationale
By starting the session with a simple copying task all participants will have engaged in the session immediately. Non-verbal interaction in a scene with a very clear activity is easily achievable, fun to watch and fun to do. It engages participants on a variety of levels from simply taking part, to actively exploring the use of movement and physical expression. The pictures are a strong visual stimulus indicating universal emotions and instantly communicating with, and involving, everyone simultaneously. Repetition of the same scene creates a sense of familiarity and predictability in the structure allowing room to improvise and play. Starting with non-verbal interaction demonstrates a form of participation which can remain an option throughout.
Development
Each of the expressions can be given simple words, and later phrases, appropriate to the emotion e.g. Happy “yes”, sad “no”, confused “what?” Different languages can be used or English at different levels of ability.More people can be added to the scenes e.g. two people bring in the letter with different emotions. Story development can come from the content of the letter and characters could be based on the emotions.This simple exercise can be the starting point to devising scenes, discussion around themes or introducing the idea of play in a structured way.
Guidance·
Drawings of expressions should depict clear emotions using simple lines with eyebrows, eyes and mouth only, noses tend to indicate character.· A letter is instantly recognisable and has a huge range of dramatic possibilities to inform action and content of the scene - a lottery win, an eviction notice, a school report, a love letter.· Count down 3, 2, 1 to signal a clear beginning to the scenes and encourage applause after each one.· Sensitivity: Participants may feel safer and less inhibited pulling the expressions for the first time, in a seated semi-circle or line facing the facilitator so they are not being directly looked at by others in the group. At first participants may feel safer choosing which emotion to use themselves. At all levels of development non-verbal options to participation should be maintained.
Barrier Wall
Description
The facilitator distributes lots of brick-shaped pieces of paper to the group. On their own, each participant is asked to write down statements in response to the following question:
“What do you perceive to be the barriers to social and educational inclusion for young people who arrive in Britain as exiles?”
When the participants have had time to write about 6-10 statements, the group ‘build a wall’ on the floor with their bricks. This can be done in themes – the first part of the wall could be education, the second social, the third making a new life and so on.
Participants then view the wall and comment on what they notice about it. Then they are asked to choose one statement that they are particularly drawn to (not one they have written themselves). With this statement in mind they think of a question a young person would ask about the issue.
In groups of 6 or 7 the participants form a line and ask the questions in role as young people.
Rationale
This exercise enables to:· have a collective understanding of the background and context of the work;· clarify our reasons for doing the work;· have the tools to justify the work to funders etc.;· set aims and objectives for the work;· have a point to reflect back on when developing project ideas.
Development
This exercise is a good start to planning a programme of work and an excellent way of facilitating a collaborative learning process with adults wanting to do this kind of work.
Guidance·
It is important to acknowledge that this exercise is about our perceptions and not necessarily an accurate picture of how young people feel.· It may be necessary to set some boundaries about how the group respond to statements they do not agree with.· Repetition of statements is an interesting point of discussion: “Why did that thought come up so many times.” Also, ideas that stand out as very different from others are worth noting as they may help us to look at issues from different angles. It may be necessary to seek clarification of some statements and this is another opportunity for people to learn from each other.
The facilitator distributes lots of brick-shaped pieces of paper to the group. On their own, each participant is asked to write down statements in response to the following question:
“What do you perceive to be the barriers to social and educational inclusion for young people who arrive in Britain as exiles?”
When the participants have had time to write about 6-10 statements, the group ‘build a wall’ on the floor with their bricks. This can be done in themes – the first part of the wall could be education, the second social, the third making a new life and so on.
Participants then view the wall and comment on what they notice about it. Then they are asked to choose one statement that they are particularly drawn to (not one they have written themselves). With this statement in mind they think of a question a young person would ask about the issue.
In groups of 6 or 7 the participants form a line and ask the questions in role as young people.
Rationale
This exercise enables to:· have a collective understanding of the background and context of the work;· clarify our reasons for doing the work;· have the tools to justify the work to funders etc.;· set aims and objectives for the work;· have a point to reflect back on when developing project ideas.
Development
This exercise is a good start to planning a programme of work and an excellent way of facilitating a collaborative learning process with adults wanting to do this kind of work.
Guidance·
It is important to acknowledge that this exercise is about our perceptions and not necessarily an accurate picture of how young people feel.· It may be necessary to set some boundaries about how the group respond to statements they do not agree with.· Repetition of statements is an interesting point of discussion: “Why did that thought come up so many times.” Also, ideas that stand out as very different from others are worth noting as they may help us to look at issues from different angles. It may be necessary to seek clarification of some statements and this is another opportunity for people to learn from each other.
This is not a bottle
Description
Group stand in circle. One object is placed in middle (e.g. bottle, coat hanger, piece of material) People take turns to use the object as something else (e.g. bat, phone, baby, toothpick) then return it to centre. When everyone’s had a go introduce a new object.
Rationale
It is a simple, fun, dramatic exercise. It does not need any language. People enjoy observing/guessing what the object is “made into”. Therefore there are opportunities for recognition of shared experience across the whole group and within the group amongst smaller numbers – therefore helping to build and develop group dynamics. Having a prop stimulates and focuses people’s creativity and extends it.
Development
Uses of sound, bits of language, gromolot (nonsense language), can be added to extend it.
Small scenes can develop where the person with the object makes an offer that calls for someone else to participate (e.g. holding the object as a bat so someone can “throw a ball”. This can be modelled by the workshop leader and others will follow.
Introducing two objects would encourage extending exercise towards small scenes.
Give 3 objects to group of 3-5 people and give them 5 minutes to create a scene.
Guidance
People can take random goes or if you want to encourage everyone/ensure equal access then make it taking turns around the circle.
You can model non-naturalistic, absurd uses of object to extend range.
Group stand in circle. One object is placed in middle (e.g. bottle, coat hanger, piece of material) People take turns to use the object as something else (e.g. bat, phone, baby, toothpick) then return it to centre. When everyone’s had a go introduce a new object.
Rationale
It is a simple, fun, dramatic exercise. It does not need any language. People enjoy observing/guessing what the object is “made into”. Therefore there are opportunities for recognition of shared experience across the whole group and within the group amongst smaller numbers – therefore helping to build and develop group dynamics. Having a prop stimulates and focuses people’s creativity and extends it.
Development
Uses of sound, bits of language, gromolot (nonsense language), can be added to extend it.
Small scenes can develop where the person with the object makes an offer that calls for someone else to participate (e.g. holding the object as a bat so someone can “throw a ball”. This can be modelled by the workshop leader and others will follow.
Introducing two objects would encourage extending exercise towards small scenes.
Give 3 objects to group of 3-5 people and give them 5 minutes to create a scene.
Guidance
People can take random goes or if you want to encourage everyone/ensure equal access then make it taking turns around the circle.
You can model non-naturalistic, absurd uses of object to extend range.
Wednesday 20 February 2008
About Creative Toolbox
This blog will be a space to record creative warm ups, games, icebreakers, drama exercises and the like, which have been tried and tested by MA Applied Drama practitioners from Goldsmiths College, University of London. Everything will be categorised in helpful topics to aid easy access to material.
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