USING DRAMA AS A TEACHING TOOL - Reeling & Writhing

The
Good Good
Things Things
A Teachers Resource Pack
by Katherine Morley & Gillian Lees of
Reeling & Writhing
for West Lothian Council
USING DRAMA AS
A TEACHING TOOL

The
Good Good
Things Things
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Contents
Reeling & Writhing – A short introduction
Who this pack is for and how it can be used
The play ‘The Good Things’ and why it was made
‘The Good Things’ acknowledgements
West Lothian Arts Education Service – Contact Information
West Lothian Drug and Alcohol Information Services
Facts about Drugs
Table of Drugs Information
Why use drama as a teaching tool?
Games, exercises and stimuli
Drama conventions for teaching across the curriculum
What to do now - a generic workshop plan
Control versus Expression – trouble shooting
Evaluation and where to get drama support
Further reading
Your own notes from CPD or classroom sessions
This pack can be downloaded from:
www.reelingwrithing.com and
West Lothian Council Education Services website:
http://edweb.westlothian.org.uk/artseducation
©Reeling & Writhing Ltd, 2005

Reeling & Writhing
‘brilliant, ground-breaking theatre’
‘makes you feel the earth move a little under your feet’ Joyce MacMillan,
The Scotsman (Standing Wave)
Reeling & Writhing is a Glasgow based company founded
by joint artistic directors Katherine Morley and Tim
Nunn.
Our performances start from, or are immersed in, fine
text and beautiful words, through which the company
aims to inspire and educate.
Reeling & Writhing creates a magnetism between the
textual and the physical worlds of performance, to
exercise text and ingenuity, to employ music as much
as a physical dynamic and to find and embrace human
complexity.
Productions are often accompanied by an education or
community project, to allow access, and to encourage
people of all ages, colours and sizes to benefit from all
that the arts can offer.
We engage with people from all sectors of the community
in which we live, as our audience and as collaborating
artists.
Reeling & Writhing was born from the need to make
beautiful things.
Reeling & Writhing was founded by Katherine
Morley and Tim Nunn, who are committed to creating
theatre for a broad and new audience in
Scotland.
We are arts professionals with strong combined
experience and a history of working in Scotland
and throughout the UK. Katherine has been working
as a Glasgow-based theatre director and workshop
leader for 6 years, since the completion of
her research based MA. She has most recently
directed shows for the Tron Theatre, TAG, Grey
Coast and Reeling & Writhing. Tim moved to
Glasgow in February 2003 and has been busy at
the Centre for Contemporary Arts establishing
the Creative Lab and in various professional and
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voluntary positions for Scottish theatre. He has
always had a professional connection to the arts
but also worked for ten years as a human rights
campaigner including a term as director of the
Free Tibet Campaign.
In January 2004 we produced ‘White Lament’ – the
performance production for National Holocaust
Memorial Day commissioned by the Scottish
Executive.We worked with a young cast from East
Renfrewshire to create the show in workshop, ultimately
written by Tim and directed by Katherine.
The performance was very successfully shown to
an audience of politicians and business and community
leaders from all over Scotland.
After the success of ‘White Lament’ we were commissioned
by the Scottish Executive to write a five
chapter, cross-curricular teacher’s pack about The
Arts and The Holocaust. Entitled ‘The Arts and The
Holocaust. Lessons from the past for citizens of
today’ the pack was launched by Peter Peacock,
the Education Minister on Holocaust Memorial
Day 2005 and has been distributed to every
Secondary school in Scotland.
In between these two big education projects we
also produced a new mainstream play called
‘Standing Wave’ as a co-production with the Tron
Theatre, Glasgow. It told the story of Delia
Derbyshire, a talented electro-acoustic composer
who worked at the BBC Radiophonic Workshop in
the 1960’s and was best known for arranging the
Dr.Who theme tune for its first broadcast series.
Our three week run of ‘Standing Wave’ in October
2004 received four star reviews from the Herald,
the Guardian, the Times, the Express, the Sunday
Herald and the Metro and a five star review from
the Scotsman.
A full company biography is detailed, with photographs,
on our website: www.reelingwrithing.com.

Who this pack is for and
how it can be used
This pack has been written to give practical help for Primary teachers
in West Lothian to tackle a range of subjects across the curriculum,
using drama as a teaching tool.
The activities within this pack have been designed for teachers to use
in a normal classroom or hall space and for any teacher to use, regardless
of their previous drama experience.
Although many of the exercises and activities are aimed at the P6 and
P7 age group, much of the work can easily be adjusted to suit your own
class and subject-specific needs.
In addition to this pack, Reeling & Writhing has been commissioned by
the Arts Education Service to make ‘The Good Things’ a play for P6
and P7 audiences, about drugs awareness and substance misuse. This
play is designed to dovetail into the multi-layered drugs programme
already active in West Lothian.
Teachers attending performances of ‘The Good Things’ and the accompanying
CPD sessions can use the supporting material within this pack
to assist in the running of their follow-up classroom sessions on drugs
awareness, as well as strengthening drama skills for exciting cross-curricular
integration.
The practical example exercises in this pack are generic and applicable
to any issue-based topic. For clarity and continuity, when citing example
exercises, we have often referred to our original issue-based commission
about drugs awareness.
This pack has been written by Katherine Morley and Gillian Lees of
Reeling & Writhing Theatre, Glasgow with research advice from West
Lothian Council’s Arts Education Service and West Lothian Drug and
Alcohol Service.
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What is the show
and why did we make it?
In May 2005 Reeling & Writhing were commissioned by West Lothian
Council’s Arts Education Service to make the performance ‘The Good
Things’. ‘The Good Things’ is an interactive theatre experience that
engages a P7 audience in drugs related issues.
Actors help the audience to share knowledge and air their opinions
about drugs related issues by, as young characters in the play, talking
directly to the audience, asking for their opinions and advice about the
drugs related scenarios those characters find themselves in (at a party,
at work, at school, in the park, at home, with friends, with strangers).
This style of performance theatre allows the audience to make decisions
on behalf of the characters and take an active role in determining
the outcome of their actions.As with many other issue-related topics,
this style of active learning revolves around understanding the concepts
of ‘choice and consequence’ or ‘cause and effect’.
We are pleased that this play is part of a network of drugs awareness
learning involving West Lothian Police education department, National
Choices for Life, the West Lothian network of School Nurses and West
Lothian Drug and Alcohol Service.

Produced by Reeling & Writhing, Glasgow
The Good Things
was devised by the company
Performer 1 – Gillian Lees
Performer 2 – Mary Wells
Performer 3 – Brian Ferguson
Director – Katherine Morley
Designer – Tim Nunn
Stage Manager – Catherine Milestone
Sound Design – Rhythm & Wriggle
Set Construction – Dana Payet
Project Researchers – Katherine Morley & Gillian Lees
Specialist Research Advisors – Joanne Sinclair, Schools Co-ordinator
and Brian Pringle, Education Training Manager from West Lothian Drug
and Alcohol Service.
With thanks to; Elly Reid,Viv Gee
West Lothian Council
‘The Good Things’ Project Management:
Laura Tyrrell – Arts Education Co-ordinator
Fiona Macfarlane – Cultural Co-ordinator
Nancy Douglas – Cultural Co-ordinator
Sandy Crawford – Theatre Technician
Craigsfarm Theatre
John Hoey – Community Development Officer
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Useful Contacts for Drugs Information
in West Lothian
(As of September 2005)
Education Officer
West Lothian Council Education & Cultural Services
Lindsay House
South Bridge Street
Bathgate
EH48 1TS
Tel: 01506 776136
Schools Drug Education Co-ordinator
West Lothian Drug & Alcohol Service
43 Adelaide Street
Craigshill
Livingston
EH54 5HQ
Tel: 01506 446658
Back on Track (support for young people affected by substance use)
West Lothian Drug & Alcohol Service
43 Adelaide Street
Craigshill
Livingston
EH54 5HQ
Tel: 01506 430 225
Police Drug Awareness Officer
Livingston Police Station
Almondvale South
Livingston
EH54 6PX
Tel: 01506 431200 or 445618 or 445671
Cloud Nine Project (smoking cessation)
West Lothian Drug & Alcohol Service
43 Adelaide Street
Craigshill
Livingston
EH54 5HQ
Tel: 01506 446655
Pack It In Project (smoking cessation & education)
West Lothian Drug & Alcohol Service
43 Adelaide Street
Craigshill
Livingston
EH54 5HQ
Tel: 01506 446659

Facts about drugs
Through talking to teachers and young people during our research, we
have discovered that many people are confused about the basic facts
concerning both legal and illegal drugs and the effects they can have on
the body, both physiologically and mentally.
The following table of drugs information has been taken from advice
published by ‘Know the Score’. Depending on the drugs ‘climate’ in
your teaching area, P6 and P7 pupils may well have some knowledge of
the drugs included in the table and want to ask you more about them.
This table should help provide direct and accurate information in situations
deemed appropriate by you, for your individual class.
N.B. After seeking advice from the West Lothian Drugs and Alcohol
Service, we have chosen to focus the play ‘The Good Things’ around
nicotine, alcohol and cannabis, as these are the drugs the P6 and P7 age
group are most aware of.
Opposite is a list of local contact information for different aspects of
drugs advice.
Regional colloquialisms mean that sometimes names of drugs are
swapped around and may have alternative meanings in different local
authority areas.Young people may have adopted the wrong name for a
particular drug, and so it is essential, during drug-awareness work in
the classroom, to ascertain that both teacher and pupil are discussing
the same substance so that accurate information can be given.
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Slang Names Effects Short-Term Risks Long-Term Risks Law
LEGAL -
however is illegal
to sell alcohol
to anyone under
18 years old.
Regular heavy drinking can cause
stomach disorders, cancer of
mouth, throat and gullet, liver
cirrhosis, brain damage, high
blood pressure, problems with
the nervous system, sexual and
mental health problems, and
family and work problems.
Hangover including
dehydration, headache, nausea
and depression. Intoxication
can lead to
aggressive/irrational behaviour
and accidents.
Depressant drug - enters the
bloodstream within 30
minutes and then travels
straight to the brain. Reduces
inhibitions and increases sense
of relaxation. Each unit takes
an hour for the body to
process.
Booze, Bevvy,
Drink
Drug
Name/Appearance
Alcohol – Liquid drunk
as ‘alcopops’, spirits,
beers and wines.
LEGAL –
however it is
illegal for
retailers to sell
tobacco to
anyone under
16.
ILLEGAL - Class
C
Other chemicals in tobacco
cause lung cancer and stomach
diseases, heart disease,
circulation problems, wrinkled
skin and premature ageing.
Nicotine addiction can
develop quite rapidly and
regular smokers often feel
anxious and irritable if unable
to smoke. Smoking can
restrict growth in young
Stimulant drug - Acts fast, first
increasing alertness then
producing a sense of
relaxation.
Cigarettes, Fags,
Ciggies
Nicotine - Cigarettes,
pipes, cigars, loose
tobacco, chewing
tobacco. Is smoked or
chewed.
people.
Regular heavy use can lead to
development or worsening of
mental health problems
including paranoia. Smoked with
tobacco, it increases health risks
associated with tobacco use and
can lead to nicotine addiction.
Very heavy use can lead to
withdrawal symptoms.
Impairs ability to concentrate
and conduct complex tasks.
Can lead to tiredness and lack
of motivation.
Hallucinogenic drug - users
feel relaxed and may have
sharper sense of colours and
sounds. Some feel urge to eat.
If taken in food, effects can be
stronger and harder to
control.
Hash, Dope,
Blow, Draw,
Grass
Cannabis - Comes as
solid lump ‘resin’;
leaves, stalks and seeds
called ‘grass’; or sticky
dark oil. Can be
smoked or cooked and
eaten with food.

Slang Names Effects Short-Term Risks Long-Term Risks Law
It is illegal for
retailers to sell
butane gas refills
to anyone under
18. Also illegal
for solvents to
be supplied to
people of any
age in the
knowledge that
they are to be
abused
Damage to brain, liver, kidneys,
nervous system, lungs and
reproductive organs.
Hangover for a day or two.
Nausea, vomiting, blackouts,
bad cough, spots/sores
around mouth, persistent cold
and heart problems. Inhaling
with a plastic bag can cause
suffocation. It is extremely
dangerous to squirt gas into
the mouth as this can cause
sudden death. Never chase
anyone sniffing solvents as
their heart may suddenly stop
beating.
Dangerous mixed with alcohol
or other drugs, particularly
other depressant type drugs
Gas, Glue, Buzzin Depressant drug - Similar to
being very drunk. Users feel
dizzy, giggly and light-headed.
Some hallucinate. Effects last
from a few minutes to 30
minutes.
Drug
Name/Appearance
Solvents - Butane gas
cigarette lighter refills,
disposable cigarette
lighters, aerosol sprays,
whipped cream cans
and glue tins or tubes.
Sniffed or breathed in
through a cloth or
sleeve. Gas may be
squirted straight into
the back of the throat.
If possessed
without a
prescription or
supplied illegally,
classified as
Regular use can damage short
term memory and reduce
energy. Almost all tranquillizers
are addictive. Withdrawal
symptoms include depression,
insomnia and panic attacks.
Ecstasy use has been linked to
mental health problems, and
liver, kidney and brain damage.
Depressant drug - relieves
anxiety and tension. Calms
users and slows them down.
High doses can make users
drowsy and forgetful.
Vallies, Jellies,
Tranx, Benzos.
Brand names
include: Valium,
Librium, Mogadon
Tranquillizers -
Tablets or capsules.
Can be swallowed or
injected
Class C.
ILLEGAL – Class
A
Use can lead to overheating
and dehydration if users dance
without taking breaks or
sipping non-alcoholic fluids.
This can be fatal. Drinking a
pint of liquid every hour and
eating a salty snack from time
to time are advised. Users can
feel tired and depressed for a
few days after use.
Stimulant/hallucinogenic drug -
within 20 minutes to one
hour, increases energy and
sense of well-being. Sounds,
colours and emotions more
intense. Lasts up to 6 hours.
‘E’, Eccies,
Mitsubishis,
Diamonds, Euros
(MDMA is the
chemical name)
Ecstasy - Tablets of
different shapes, sizes
and colours - often with
a designer logo. Taken
by swallowing the
tablet.

Slang Names Effects Short-Term Risks Long-Term Risks Law
ILLEGAL - Class
B or Class A if
prepared for
injection
Frequent high doses can cause
panic, hallucination and weight
loss. Heavy long-term use places
strain on the heart and can
cause mental illness.
Amphetamines are addictive.
Some users may feel tense
and anxious while using and
afterwards many feel very
tired and depressed. The drug
can cause sudden death from
heart attack or stroke.
Stimulant drug - for 3 or 4
hours users feel excited,
confident, alert and full of
energy. Reduces appetite and
ability to sleep
Speed, Whizz,
Base
ILLEGAL – Class
A
Heroin is highly addictive and
larger and more frequent doses
may be needed to feel ‘normal’.
Injecting can damage veins;
sharing needles can spread
hepatitis and HIV.
There is a real risk of drug
overdose, possibly leading to
coma or death, particularly
when mixed with other
depressant drugs
Depressant drug - Slows the
brain, heart rate and
breathing. Small doses bring a
sense of warmth and wellbeing;
larger doses make users
drowsy and relaxed, and free
from worry and pain.
Smack, Scag, H,
Junk, Gear
ILLEGAL – Class
A
Users may have ‘flashbacks’
where they relive a trip without
taking the drug again.
Trips cannot be controlled,
changed or stopped. A bad
trip can be terrifying, which
requires help and reassurance
from others. Mental health
problems can be triggered and
existing conditions made
worse.
Acid Hallucinogenic drug - the
hallucination or ‘trip’ starts
within an hour and can last 8
– 12 hours. Surroundings
seem different. Colours
brighter, sounds new,
movement and time may
seem to speed up or slow
down.
Drug
Name/Appearance
Amphetamine - Grey
or white powder that is
snorted, swallowed,
smoked, injected or
dissolved in drink.
Tablets are swallowed.
Also comes as ‘base’ a
wet putty like
substance.
Heroin - brownishwhite
powder. Some
heroin comes in a
brown/black form that
looks like hard toffee.
Smoked, dissolved or
injected.
LSD - Comes in small
squares of paper, often
printed with designs, or
as tiny tablets called
microdots and dots.
Tablets are swallowed.
It is a myth that LSD
can be absorbed
through the skin from
transfers.
The information above has been taken from www.knowthescore.info
Signs and symptoms of drug use can vary greatly among individuals depending on the drug being used and the environment the person is in. It is important that teachers
know their pupils well and can therefore gauge whether any significant changes occur. Never assume that it is drug use that is causing any unusual behaviour. The pupil’s
welfare should always be of paramount importance. However, if you do have any concerns regarding drug use among pupils in schools then please refer to;
West Lothian Council’s Schools Substance Policy or contact West Lothian Drug & Alcohol Service on 01506 430 225.

Drama as a teaching tool
Possibly the biggest myth about ‘drama work’ is that it’s always highly
theatrical and necessitates costumes, makeup, lights and lots of
rehearsal. Of course there are some situations where this is true, but
all you really need to use drama as a teaching tool is:
a clear learning objective
a good workshop plan
a group of young people and
an empty space.
The knowledge that we instinctively acquire as children – to observe,
listen, repeat and trust through means of verbal and non-verbal communications
1 - helps determine the success of our development into
fully rounded, creative, expressive people. Engaging in games that test
nerves, observation, trust and listening is an everyday activity for the
young child. Drama is an extension of just such ‘constructive play’, using
different kinds of cerebral and physical activity to enhance communication
skills, encourage positive self-esteem, assist with informed decision-making
and increase self-confidence, all of which are prerequisites
for effective learning.
Enabling young people to better understand and express a message, a
story or important information no matter what their topic-area or
subject-specific focus, is key to the aims of this pack.
Using drama as a teaching aid offers an opportunity to take a theoretical
subject and enable young people to engage in that subject through
practical means, building up the context of the chosen topic, and using
practical examples to support reading and writing work.
When describing example activities we have made clear what the
social and citizenship focussed outcomes can be and we hope this will
form a good platform to then use the activities for any subject across
the curriculum, since each exercise can be easily modified to fit your
own needs and objectives.
1. Non-verbal communication: an amalgamation of facial expressions, body language, and
proximity to those we communicate with.Verbal communication: measured by the volume,
speed and intensity of our speech.
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Games, Exercises and Stimuli
Name Games
TITLE: I LIKE… TITLE: SHOUT IT OUT
LEARNING OUTCOME: This exercise allows participants
to get to know each other a little better and
relaxes them into working within the context of
drama.
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION: As a group, stand in a large circle.
Each member in turn says their name followed by
something that they like. The thing that they like
must begin with the same letter as their name, for
example:‘My name is Sarah, and I like snakes’.
When each participant has spoken, the game begins
again. Having said the same sentence for the second
time, the participant then introduces the person
to their right and the thing that that person
likes, for example: ‘My name is Sarah and I like
snakes. Your name is Peter and you like parties’.
Peter then continues by saying his own name and
what he likes followed by the name and preference
of the person to his right.
The game ends when everyone has spoken for the
second time.
HINTS AND TIPS: Once the group has become
familiar with the game, instead of moving around
the circle in sequence and introducing the person
to their right, participants can choose to introduce
any other participant from the circle. In this
instance, teachers should be aware of who has not
been included to ensure that they will be.
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LEARNING OUTCOME: This exercise allows participants
to get to know each other a little better and
relaxes them into working within the context of
drama. It begins to develop a group ethos, encouraging
good eye contact and non-verbal communication.
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION:
Part A -Stand in a large circle. One participant is
handed a ball.The person with the ball shouts out
his or her own name, then throws it to someone
else in the circle. The person catching the ball
receives it, shouts their own name, then throws the
ball to someone who has not yet received it; this
continues until all participants have shouted their
name out.
Part B - The game begins again. This time, when a
participant has received the ball and shouted their
own name, they must make eye contact with
another participant.When they definitely have eye
contact with someone, they shout the name of that
person and throw the ball to them.This continues
until everyone has participated.
HINTS AND TIPS: When the participants have
become confident with the game, extra balls can be
added to the circle. This develops the concentration,
focus and awareness of the group.

Warm-up Games
TITLE: RUBBER CHICKEN TITLE: PARTNER-TO-PARTNER
LEARNING OUTCOME: This exercise incorporates a
physical and vocal warm-up, as well as encouraging
participants to work as part of a team
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION: Stand in a circle. The group collectively
shake their right arms into the circle 16
times, then their left arms 16 times, then right legs,
then left legs. Participants are encouraged to count
in time with the shakes.
The process is then repeated counting only 8
shakes of each limb.
Continue in the same way, reducing the number of
shakes by half each time, from 8 shakes to 4, to 2
and then 1.
As the counts get shorter and invariably faster, the
conclusion to the exercise is an enthusiastic wobbly
‘rubber chicken’ dance.
Wobble the body from toe to head whilst shouting
‘Rubber Chicken’.
HINTS AND TIPS: The idea of this game is to get the
body and the brain active, so ensure that full energy
is being used and that it is clear to the participants
that the faster and louder they can be, the
better!
LEARNING OUTCOME: This exercise is useful as a
physical warm-up, but it also allows for safe physical
contact to be made between participants,
breaking down the barriers between male and
female pupils, which so frequently disrupt concentration.
WHAT YOU NEED TO PLAY: A large, clear, empty
space
DESCRIPTION: Participants move through the
space at a normal walking pace. One person shouts
‘Partner to Partner’. On hearing this, the participants
form pairs and await instruction.
An appointed leader shouts out the name of a
body part, for example ‘right hand to right hand’.
The participants bring their right hands together
and keep them there awaiting further instruction.
Another part of the body is shouted, and again
those body parts should be brought together and
remain together. The group leader continues to
rapidly call out body parts.
At the point where the partners are losing balance
because so many of their body parts are together,
the group leader shouts ‘Partner To Partner’ and
the participants move to find another partner.
When all participants are in pairs and ready, the
process begins again.
Hints and Tips: Keep this game moving along quickly
to ensure both brain and body are constantly
exercising.
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Warm-up Games cont.
TITLE: THREE ELBOWS, FOUR WALLS
LEARNING OUTCOME: This exercise is useful for
waking up both mind and body. It promotes accurate
listening skills and encourages participants to
work as a team.
WHAT YOU NEED TO PLAY: A large, clear space.
Description: Participants stand in a circle.They are
asked to observe their own place within the circle.
Set three physical tasks to be completed one after
another, for example, touch three walls, then do 10
star jumps, then shake hands with 12 different people.
Tell the class they must return to their original
places in the circle once they have completed the
set tasks.
Time the activity and keep the counter going until
every team - member is back in their original place.
Repeat the exercise, encouraging teamwork to
improve the time it takes to complete all tasks.
HINTS AND TIPS: The participants should be
encouraged to rise to the challenge of completing
the tasks within the time limits given, to heighten
the levels of excitement.
It is usual for each picture to contain 6 participants,
after which, the picture can be discussed.The first
group of participants return to the circle and the
group starts another picture. It is possible to
include more participants in each picture but keeping
it to around 6 ensures energy is kept up by the
high turnover of participants, ideas and pictures.
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Diagnostic Exercises
TITLE: LINE UP TITLE: 3 TRUE / 3 ASPIRATIONAL THINGS
LEARNING OUTCOME: This exercise allows the
teacher or group leader to gauge the group dynamic
and level of communication skills.
WHAT YOU NEED TO PLAY: A large, clear, empty
space.
DESCRIPTION: The participants are divided into
two equal groups, and are informed that this game
will be a race between the two teams. Each team
must line themselves up without talking (with no
adult help) from the tallest to smallest member in
the group.
The first group to stand in the correct order and
in a straight line is the winner.
HINTS AND TIPS:Variations of the line up could be,
alphabetically using first names or month of birth
from January to December with each of those
born in January then organising themselves in date
order before joining the class line.
LEARNING OUTCOME: This exercise allows the
group to learn more about each other and the
teacher to gauge the group dynamic. It also allows
less confident participants to deliver information
to the larger group, as part of a team.
WHAT YOU NEED TO PLAY: A classroom or hall
space
DESCRIPTION: Working in pairs, participants should
exchange 6 pieces of information about themselves,
with the aim of presenting what they have
learned about their partner to the rest of the
group. Firstly, partners should share 3 things that
are true about themselves, ie. facts about pets, siblings
or favourite hobbies. Secondly, they should
swap three aspirational pieces of information ie.
countries you would like to visit, jobs you would
like to do as a grown up or things you would like
to achieve.
Form a circle and sit down so that each pair can
present their findings to the rest of the group.
HINTS AND TIPS: Categories of information sought
and presented could relate specifically to the
termly classroom topics being explored.
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Diagnostic Exercises cont.
TITLE: I’M A…?
LEARNING OUTCOME: This exercise encourages
the development and stimulation of imagination
and encourages participants to think laterally.
WHAT YOU NEED TO PLAY: A space large enough
for the group to sit in a circle on the floor.
DESCRIPTION: One participant is selected to begin
the exercise by thinking of an object, animal or person
they would like to represent physically in the
middle of the circle. When they have thought of
something, they move into the empty space, strike
an appropriate pose, and exclaim ‘I’m a…’ followed
by the name of the object they have chosen to be.
The participant remains frozen in their pose. For
example participant one might say “I’m a shoe…”,
“I’m a litter bin… or I’m an endangered tiger…”
The remaining participants are asked (ordinarily up
to a maximum of 6 people per picture) to offer
suggestions of what else or who else could join the
frozen picture.Ask the group to consider the pose
and position of the first participant and then all the
different possibilities there are for a context. (The
shoe could be in a shop window, or abandoned in
the street, or in a bedroom.The litter bin could be
in a park or school, over flowing or empty.)
After ascertaining which object they think would
be best to accompany the existing object, the next
participant is asked to place himself or herself in
close physical proximity to the first object, stating
what or who they represent. (The shoe could be
joined by a shoe box, a pavement or a radiator.The
bin could be accompanied by a park keeper, an
empty drinks can or a dog.)
The picture is built up person by person – no one
person having overall say on how the picture is
completed – instead, each new participant
responds to what has gone immediately before.
It is usual for each picture to contain 6 participants,
after which, the picture can be discussed.The first
group of participants return to the circle and the
group starts another picture. It is possible to
include more participants in each picture but keeping
it to around 6 ensures energy is kept up by the
high turnover of participants, ideas and pictures.
page 16
HINTS AND TIPS: The initial object, animal or person
can be themed before the game commences,
so that participants work within the realms of topic
related material, gaining subsequent insight in to a
subject or topic, affirmed by a visual aid
The main aims of this game are to allow the group
to think laterally and to work together to physically
create an environmentally aware, three-dimensional
picture. If suggestions for the next part of
the picture are really not relevant to the first,
briefly discuss why and move on quickly to keep
the energy positive. When the inevitable ‘football
scene’ occurs, actively avoid having more than one
‘footballer’ and think instead about all the different
layers of things to see at a match, inside or outside
the grounds, or at home with the tv. There need
not be any physical boundaries or realities to this
game. Scenes set in space are always particularly
successful!

Concentration games
TITLE: 1-10 TITLE: 123, 123
LEARNING OUTCOME: This exercise encourages
the development of concentration skills and teamwork.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: Participants stand or sit in a tight
circle, with all eyes focussed on the floor at a point
at the middle of the circle.A target number of 10,
15 or 20 is set. Participants count, as a group, from
1 to the target number, without any two people
speaking at once. It is never predetermined who
should speak at any point, participants are merely
encouraged to listen carefully to each other and be
patient. Only call out a number if it seems no one
else is about to speak.
HINTS AND TIPS: Beware of very keen participants
who often fall in to the trap of always being the one
to start the sequence off again, especially without
waiting for all of the group to be fully ready and
concentrating.
LEARNING OUTCOME: This exercise promotes concentration
whilst encouraging the development of
movement skills, body awareness and confidence
building.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: Participants stand in pairs, face to
face, ensuring that plenty of space exists between
each pair. Decide which of the pair will be ‘A’ and
which will be ‘B’. Firstly, each pair counts from 1 to
3, taking it in turn to say a number, for example:
A:1, B:2, A:3 B:1, A:2 B:3…
and so on. Participants should aim to keep the
dialogue at a steady pace.
After a few minutes of practice, choose one or two
pairs to quickly present their ‘dialogue’ to the
group. Some pairs may struggle to keep to a regular
rhythm; encourage them to keep constant eye
contact and a fairly steady pace.
At the next stage, each pair should substitute the
number 3 (in their 1, 2, 3 conversation), for an
action of their own choice, which they must decide
between them, for example- a jump, a clap or a
nod. The number three is no longer spoken. Now
the dialogue starts again…
A:1, B:2, A: Jump, B:1, A:2
B: jump…
and so on.
Just as before, this is practiced for a few minutes
prior to presenting examples of the work to the
rest of the class.
Stage three involves the substitution of the number
1 with yet another action, agreed by the pair. Now
both number 1 and number 3 are substituted with
an action i.e.
A: clap, B:2, A: jump, B: clap, A:2,
B: jump.
Examples of the work are presented to the group
in the same fashion.
page 17

Concentration games cont.
123, 123 CONT. TITLE: SQUEEZE
Stage four is a full movement dialogue with all of
the numbers substituted by simple actions.This dialogue
can go fast or slow, loud or soft. Encourage
each pair to come up with their own performance
style.
HINTS AND TIPS: It is essential that those pairs who
are asked to demonstrate their ‘dialogues’ are not
necessarily chosen because they are ‘the best in the
group’. It is encouraging for those struggling to see
‘dialogues’ from pairs who may not be coping, to
make them aware that they are not alone.This can
also encourage those who are more adept, to try
to help struggling pairs.
∂∂
page 18
LEARNING OUTCOME: This exercise helps to develop
a sense of focus and concentration amongst the
participants. It strengthens teamwork and helps to
build confidence.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: Participants stand in a circle holding
hands, with eyes closed. One person, referred to as
(A), walks round the outside of the circle and taps
a participant, referred to as (B), on the shoulder or
back. Participant (B – the detective) must leave the
room until they are asked to return.When (B) has
left the room, (A) once again walks round the outside
of the circle and taps a participant, referred to
as (C – group leader), on the shoulder or back.
When person (A) returns to their place in the circle,
they announce to the group ‘Beware of the
squeeze, it’s coming your way!’. On hearing this, all
participants open their eyes and the group leader
(C) squeezes the hand of the person either to their
left or to their right, depending on which direction
they would like the pulse to travel. Once you feel
your hand being squeezed, you pass the squeeze on
as secretively as possible.
When the pulse has started, participant (A) invites
participant (B – the detective) back into the space.
Participant (B) stands in the middle of the circle
and tries to locate the pulse.
If participant (B) guesses incorrectly, they remain in
the circle for two more attempts. If participant (B)
guesses correctly, a new detective is chosen. This
new person must close their eyes or leave the
room whilst participant (A) taps a new group
leader on the shoulder or back. Once again, when
(A) utters the words ‘Beware of the squeeze, it’s
coming your way’, the new group leader begins a
pulse to their left or right, all eyes open and the
exercise begins again.
HINTS AND TIPS: This game should promote teamwork
and the more secretive you can persuade the
class to be with the pulse, the better. It is also possible
to start two or more pulses going – as long as
the detective knows how many pulses there are to
find.

Concentration games cont.
TITLE: MOVEMENT DETECTIVE
LEARNING OUTCOME: This exercise encourages
and develops the participants’ ability to concentrate.
It also develops a sense of teamwork and
focus.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: This game is similar to wink murder,
but is based around movement. Participants sit
cross-legged in a circle and appoint a ‘detective’.
The detective is asked to leave the room.Another
participant is appointed as the ‘movement master’,
and it is this persons job to lead the group in basic
movements (using arms, hands, upper body and
legs) which all the group are capable of copying.
Once the movement master has started leading
the group in simple, quickly changing movements,
the ‘movement detective’ is invited back into the
room and asked to stand in the middle of the circle
to find out who is leading the movements.
When the ‘movement master’ feels there is an
opportunity, they swap and change the repeating
small movements. The ‘movement detective’ is
allowed three opportunities to guess who the
‘movement master’ is.
Hints and tips: It is useful to ensure that the group
remain seated to avoid movements becoming over
excited and erratic. It is necessary for the ‘movement
master’ to change the movements every few
seconds, allowing the detective a chance to
observe change. Encouraging the group to only
subtly look at the movement master will help keep
things exciting.
page 19

Physical Exercises
TITLE: ZOMBIES
LEARNING OUTCOME: This exercise encourages
and develops the participants’ ability to concentrate.
It allows the participants the opportunity to
work and perform as part of a team, and engages
them both mentally and physically.
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION: Participants stand in a circle with
plenty of space in between each group member.
One participant is elected to begin the exercise,
participant (A). Participant (A) begins by looking
across the circle and catching the eye of another
participant (B).When eye contact is secured, both
of the participants nod at each other, so they each
know the other participant is ready.
The nod allows participant (A) to move towards
participant (B), and as (A) walks across the circle
towards (B), (A) must stretch out his or her arms
as though a sleepwalking or threatening Zombie.
(B) must find a new participant to make eye contact
with, participant (C), and must have exchanged
a ‘nod’ with (C) before (A) has reached (B)’s place
in the circle.
If (A) reaches (B)’s place in the circle before (B) has
made eye contact and exchanged a ‘nod’ with participant
(C), then participant (B) is ‘out’ and must
sit down in their place in the circle. Participant (C)
then begins the exercise again by catching the eye
of participant (D).
If (A) does not reach (B) before (B) has made eye
contact, nodded at and begun to move towards
(C), then (A) moves in to (B)’s place in the circle.
The process is repeated until every member of the
group has had the chance to move into a new
place.
page 20
HINT AND TIPS: Participants can only move across
the circle once in the exercise. Eye contact is
essential to ‘release’ each participant, allowing them
to move across the circle (A moves to B’s place, B
moves to C’s place, C moves to D’s place etc.The
group should be encouraged to remember who
moved into their place and whose place they
moved into, so that the whole sequence can be
exactly repeated over and over, gathering speed as
the groups’ confidence builds.

Physical Exercises cont.
TITLE: OPPOSITES TITLE: WALKING EXAMINATION
LEARNING OUTCOMES: This exercise develops the
participants, both physically and mentally. It involves
acting upon instruction and responding physically.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: Ask the group to move randomly
through the space at a leisurely pace, taking care to
avoid making physical contact with anyone else in
the group. Ask each person to listen carefully for
instructions whilst on the move. At well-spaced
intervals, call out a series of instructions ‘stop, go,
run, walk, fast, slow jump, crouch’. N.B. It is important
to allow enough time in between each instruction
for the participants to alter their movement.
When comfortable, inform the participants that
whatever the instruction given, they must perform
the opposite movement. For example, if the
instruction is to ‘run’, participants should ‘walk’
through the space, and if the instruction is to ‘stop’
then they should continue to move. Instructions
can be given slowly at first and then gather space
to test reaction rates and concentration.
HINTS AND TIPS: Altering the pace of this exercise
to suit the flow of the workshop is a good idea. If
you need to boost the participants’ energy, change
the instructions frequently to keep them on their
toes and quickly segue into your next exercise or
impro. On the other hand, evening out the pace of
the instructions can also help to focus and calm the
class in preparation for following work.
LEARNING OUTCOMES: This is a good exercise for
self-awareness, spatial awareness and self-confidence.
WHAT YOU NEED TO PLAY: A clear empty hall space
DESCRIPTION: First, ask the group to find their own
space within the hall, and with arms outstretched
ensure they can’t touch anyone else in the room.
With closed eyes or looking at his or her toes to
help concentration, each person must choose a
small part of their body to think about.This could
be an elbow, the back of the neck, an eyebrow, a
knee or a hip, for example.
When the group are given the signal, each chosen
body part will start to lead each person slowly
round the room. For instance, if the knee is the
chosen part, the rest of the body must always be
‘behind’ the knee as it makes its way round the
room. This invariably alters how the person walks
and also how they feel about the world
After the initial walk around (always encouraging
participants to walk in different directions, never
sticking to the same direction of travel for more
than a few paces) ask the group to find a way to say
hello as this new character.When meeting the eye
of another person, ask them to greet each other as
their new character.
Depending on your workshop objectives it might
be useful to organise an impromptu catwalk of
newly created characters, introducing themselves,
with ages, occupations and favourite hobbies.
HINTS AND TIPS: This exercise can be used to
examine how the body works, what kinds of habits
we develop using our bodies and to build interesting
new characters – starting with their physicality
and letting other character traits follow, for example
how they speak and how sociable they are.
Walking Exam can be used in isolation for a fun
warm up or help begin a longer process of developing
characters for an improvisation or particular
scenario.
page 21

Vocal Exercises
TITLE: DIDDLY DAH TITLE: 1 121 12321
LEARNING OUTCOMES: This is excellent for listening
skills, concentration and working together as a
team.
WHAT YOU NEED TO PLAY: Any space where a class
can sit down in a circle and are able to see one
another.
DESCRIPTION: Ask the group to repeat the following
rhyme one line at a time. Do bear in mind the
word diddly (did-a-lee) has three syllables not two,
as this will effect the rhythm of the game:
“Diddly Dah / Diddly Dah / Diddly, Diddly, Diddly
Dah”
Once everyone can say all the words as a complete
sentence repeated over and over, suggest saying
the sentence one word at a time, going round the
circle, for example,A begins by saying;
A: Diddly
B: Dah
C: Diddly
D: Dah
E: Diddly
F: Diddly
G: Diddly
H: Dah
Continue to repeat the sentence round and round
the circle. Encourage speed and volume once the
group have gained confidence.
HINTS AND TIPS:There’s no room for smarty pants
in this game, everyone needs to listen like a hawk
to ensure they say the right word at the right time.
Similarly, each person must speak up so that the
rest of the group can hear accurately.
page 22
LEARNING OUTCOMES: This is a fantastic game to
encourage understanding of mathematical patterns
and logical thought. It’s a brainteaser, demanding
good concentration to be enjoyed with a large
group of people. Once the exercise is known well,
it serves very nicely as a straight vocal warm-up.
WHAT YOU NEED TO PLAY: A piano or recorder to
play a clear starting note around about middle C or
perhaps a few notes higher.
DESCRIPTION: After listening carefully to the starting
note, for example Middle C (though this pitch
may need to be changed according to where your
class are comfortable singing) the first word of the
game is sung “one” to the note middle C.
The game works on the principle that the words
sung (one, two, three etc.) correspond with an
octave, ie. singing from middle C up to D, E, F, G,A,
B and C. 1 = C. 8 = C an octave higher.
The game begins by singing the word “one” to the
note of C and then starting again on the next line
(see below), singing “one two one”. The next line
continues “one two three two one”, following on
to “one two three four three two one” etc. etc.
until the final line “one two three four five six seven
eight seven six five four three two one”.
1
121
12321
1234321
123454321
12345654321
1234567654321
123456787654321
The fun really starts when the group rhythm and
confidence has been well established (this usually
takes a couple of sessions) and the number three is
then ‘rubbed out’ of the pattern leaving a blank
space there instead. For example, we would sing,
“one, one two one, one two _ two one, one two _
four _ two one etc…”
HINTS AND TIPS: Keep a regular pace to the pattern
and don’t think of the exercise as actual
singing so much as thinking out loud to a predetermined
pitch!

Group Work
TITLE: FURNITURE TITLE: GLASS COBRA
LEARNING OUTCOME: This exercise works well to
increase body awareness and helps to develop
effective group communication.
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION: Each participant moves around the
space by themselves, changing direction sharply by
turning on 90 degree angles every 7 or 8 paces.
The class are asked to ‘freeze’, which means that
they stop, look and listen to what is being instructed.
An item of furniture is called out, followed by a
number. The participants should arrange themselves
in groups of the number stated, to create
the item of furniture announced with only their
bodies. Examples could be a chair, a table, a toaster,
a washing machine, a lamp, a vase or a television.
Each persons body should be used to create part
of the furniture. No real furniture can be used to
help.
View each item and decide which to ‘buy’ from the
examples constructed by each sub-group.
HINTS AND TIPS: It can get quite noisy with 5 or 6
groups working quickly in the same space, so it’s
best to ensure the class is well briefed on the
‘freeze’ signal and that when you slowly count
aloud from 10 to 1, those are the remaining seconds
left to complete the task.
Encourage different groups to form for each new
furniture item, to allow a good mix of participants
to work with one another.
LEARNING OUTCOME: This exercise encourages an
acute sense of self awareness and spatial awareness.
It highlights the necessity of working as a
team, in order to succeed in the completion of the
exercise.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: The group should stand in a tight
circle. Participants are then asked to turn to their
right hand side so that they are facing the back of
the person in front of them, and should all therefore
be facing in the same direction. Each person
places their hands on the shoulders of the person
in front, and closes their eyes. Pupils are allowed a
few minutes to investigate the hair, shoulders, neck
and back of the person in front of them.
With their eyes remaining closed, pupils are asked
to move out of the circle formation and walk slowly
throughout the space, being careful to avoid contact
with other participants.
At a point when the participants seem well distributed
throughout the space, ask the group to
freeze. After a few seconds of stillness, ask the
group to try and move slowly back into the circle
they had previously been in, without opening their
eyes. The object of the exercise is to reconstruct
the circle, but also reconstruct the order of people
in the circle, so each person is again standing
behind the person they investigated so carefully.
When a participant makes contact with another
participant, they must undergo a physical investigation
of each others’ head, shoulders, neck and back
to try to ascertain whether or not this person was
standing in front of them in the circle. If they were,
then whoever was at the back of the person, places
their hands on the other participants’ shoulders
and as a unit, they continue looking for other
members of the circle.
page 23

Group Work cont.
GLASS COBRA CONT. TITLE: BABY SHOAL OF FISH
HINTS AND TIPS: It is essential that participants
keep their eyes closed during the exercise. If necessary,
scarves can be tied over the eyes to make
things easier. This is a complex exercise and to
make things easier split the class into two groups
and ask one group to be the audience and the
other group to perform the task.Then swap over.
What do we learn about ourselves and the task by
being in the audience?
page 24
LEARNING OUTCOME: This exercise focuses on
awareness of self and others and what it is to work
as part of a team.
WHAT YOU NEED TO PLAY: A clear empty space
DESCRIPTION: Participants are asked to form
groups of 3, and number themselves 1, 2 and 3.The
number ‘1’s are invited to move around the space
making a specific noise and creating an action or
movement of their choice. Numbers 2 and 3 must
copy their number 1’s.
Number 2’s are then invited to lead their group by
creating a different noise and action. 1’s and 3’s
must copy their number 1.This pattern is repeated
by the number 3’s leading the group.
When numbers 1, 2 and 3 have had the opportunity
to demonstrate their own individual noise and
action they are asked to perform their own instead
of copying or leading. Each participant should perform
their own action and sound.
When participants hear the word ‘unify’, members
of the sub-groups must decide ‘instinctively’, whose
action should be copied, and then it must be
demonstrated. If there is a discrepancy as to which
participant should be copied, the majority always
wins, so that all three participants make the same
noise and the same action or movement together.
HINTS AND TIPS: When the participants have fallen
into a rhythm with this game, larger groups can be
formed. Perhaps two groups of three join together,
shifting the group dynamic.

Music & Sound
TITLE: WEST SIDE STORY TITLE: SOUNDSCAPES
LEARNING OUTCOME: This exercise concentrates
on the development of rhythm and movement, as
well as encouraging teamwork.
WHAT YOU NEED TO PLAY: A clear empty space.
Description: Participants are split in to two teams,
team A and team B. Each team stands at opposite
ends of the room in a line (although they should be
a few feet away from the wall behind them so they
have space to move backwards and forwards). Each
team selects a leader who stands in the middle of
the line.
The leader of team A must present a repeatable,
stylised movement and sound that the rest of the
team can copy. This movement and sound are
repeated six times.The rest of team A should join
in with their leader when they have picked up the
rhythm and sound.The team move forward confidently
in their line towards team B as they repeat
the sound and movement together 6 times.
Team B must move backwards, the equivalent number
of steps that team A has taken forwards.
When the team leader has finished their round of
the rhythm and sound, having advanced into the
middle of the room, they allow someone else in
their team to take over as the leader. The new
leader then waits, and retreats, as team B display
their rhythm and sound advancing forward,
towards the middle of the room.
The exercise continues with both teams advancing
and retreating, until every member of both teams
has had the opportunity to be a team leader.
Hints and tips: Participants should be encouraged
to create loud, percussive rhythms, which are different
from any that have already been demonstrated.
It is easy to understand why the game is
called West Side Story – think about gang behaviour
and how music and rhythm was used in the
film to create tension and excitement.
LEARNING OUTCOME:This exercise envelopes each
participant in a wall of sound that they contribute
to creating. Soundscapes encourage an interest in
environmental sound without intimidation or
exposure.This exercise can be used to help participants
understand how sounds are layered to make
music or atmosphere. With some simple constituent
parts, it is possible to create a soundscape
for the weather, the jungle or even a journey of
adventure.
WHAT YOU NEED TO PLAY: A clear empty space,
preferably with good acoustics.
DESCRIPTION: Participants sit cross legged in a circle,
with their hands free, ready for work. Split the
class into sub-groups whilst still remaining in the
large circle and allocate different starter sounds to
each group. If the group were going to create a
rainstorm from the first drips, to a light pitter patter,
developing to a rain storm with thunder, you
could use the following sounds to help you; snapping
fingers, light clapping, rubbing the palms
together, low shoe tapping or shuffling, fast tapping
of hands on thighs.
It’s useful to set up an interesting base sound (as
described above), made up of many different
sounds and then progress to allowing each group,
one group at a time, to create individual elements
of sound, increasing the intensity and volume of the
sounds produced and eventually letting them slowly
die away again to signify the end of the storm and
the last few drips of rain.
Vocal sounds and the stamping of feet can also help
the soundscape develop. Random classroom items
could also be chosen to help the soundscape in
complexity and intensity.
page 25

Music & Sound cont.
SOUNDSCAPES CONT.
HINTS AND TIPS: The creation and development of
a ‘fire’ soundscape is also effective, but it needn’t be
a natural phenomenon that is depicted. Football
matches, arguments, the noises heard walking
through a shopping mall, are all excellent possibilities
for a soundscape and can be recreated with
the collective imagination of the group. Indeed
most topic areas could be recreated through
soundscape to better understand a time and place
through a controlled experience and free imagination.
page 26

Warm down games
TITLE: PASS THE OBJECT TITLE: MIRRORING
LEARNING OUTCOMES: A feast for the imagination
and brilliant for stimulating follow-up creative writing
sessions. Fun to conclude a session with
because each participant can add information from
his or her own imagination.
WHAT YOU NEED: A clear empty space
DESCRIPTION: Sit or stand in a circle with some
space in between each person.The group leader or
teacher should secretively take a small (imaginary)
object out of his/her jacket or trouser pocket, concealing
it from the group and cupping it in the
hands. Tell the group that you have brought this
special thing for them to see. Tell them not to be
frightened (reverse psychology!) and that the
object won’t bite them. (These instructions are
very important as they encourage the participants’
imaginations to run wild). Next, gently hand the
imaginary animal or object to the person next to
you. Make a fuss about handing the thing over,
ensuring it is ok and that the next person has it
securely in their hands. By concealing it from the
group as you hand ‘the object’ over, curiosity is
heightened and imaginations crank up another gear.
Hints and Tips:The ‘objects’ can be as big or small,
as heavy or light, as dangerous or cute as the individuals’
imagination will allow. Encourage participants
to change the size and weight of the object
and to show that change in their bodies.
LEARNING OUTCOME: This is a fantastic exercise
for getting the group to focus and concentrate but
it’s also useful to slow down the pace of the group
towards the end of a practical session.
WHAT YOU NEED TO PLAY: A clear empty space.
DESCRIPTION: The participants pair up, and face
one another in their pairs. They stand with the
palm of one hand at shoulder level, facing their
partner. It is essential that if one participant is holding
up their right hand, then the other is holding up
their left, as the idea of the exercise is to mirror
one another.
Neither participant should instigate or lead the
exercise. Once the pair is confident about copying
one another’s movements, more of the body can
be used in the exchange. There should be a constant,
imperceptible exchange of leadership and
control as they move and follow each other’s
movements as if facing a mirror.
When the partners are confident enough in doing
this, they can explore different physical levels, for
example, moving close to the floor or moving with
their back to the ‘mirror’. Speed of movement can
also be tested.
HINTS AND TIPS: Participants should be made
aware that in order to be accurate, it is best to mirror
slowly.The aim of the exercise is not to catch
people out by making them copy difficult movements.
page 27

Warm down games
TITLE: BAKE THE CAKE
LEARNING OUTCOME: This exercise allows the participants to enjoy a physical
warm down, whilst breaking down barriers between participants who might
not normally work together.
WHAT YOU NEED TO PLAY:A clear empty space.
DESCRIPTION: Participants sit in a circle, facing the same direction, and place
their hands on the shoulders of whoever is in front of them.
Lead the participants carefully through the basic stages of baking a cake and
give physical instructions to accompany each stage.The back of the person in
front is the ‘mixing bowl’, into which ingredients will be added.
INSTRUCTION PHYSICALITY
Pour the flour into the bowl Participants should tap their fingers down
the back in a sprinkling motion from neck
to the base of the spine.
Crack the eggs Holding the side of their hands vertically,
participants should make a light ‘chopping’
gesture onto the back.
Pour in the sugar Again, tap their hands down the back in a
sprinkling motion from neck to the base of
the spine, and also from side to side.
Whisk the mixture Participants should place the palms of their
hands on the back, and move them in a
slow circular motion across the whole area
of the back.
Add the raisins Using the tips of the fingers, participants
should gently tap on the head of the per
son in front.
Pour the mixture Using the heels of their hands, participants
should drag their hands down the back as
though pouring the mixture from the bowl.
Baking the cake In small circles, the participants should rub
up and down the arms, across the neck and
up and down the back.
HINTS AND TIPS: Inform the participants to be extremely gentle when ‘Baking
the cake’ taking care not to hurt his or her working partner.This exercise can
also be performed in pairs.
page 28

Drama conventions for teaching across the curriculum
The conventions we have detailed are easy to get
to know, simple to set up and can be used universally
across the curriculum. Some of these conventions
can provide a structure for a whole series of
workshops; others will be more useful for a one off
lesson.
See the ‘Control verses Expression’ and ‘What to
do now’ sections of this pack for suggestions on
how to contextualise the following conventions.
1. NEWS REPORTS AND ADVERTS
TV public information adverts or news reports are
useful for exploring a whole gamut of issues
because every child will quickly understand what
the persuasive or informative function of any
advert or news bulletin is.
The medium of TV is exciting to most young people
and enacting an advert can accommodate a
range of personalities in your class, in that presenters,
camera-persons, reporters and technical personnel
are all needed to show the audience the
form and content of the advert or news flash.
Ask the class to consider some the different
aspects of a news report ie.
the facts of a news story, a jingle, a studio presenter,
the tone or seriousness of the presenter, an
outside reporter, two different sides to the story,
effects of [the story] on the surrounding community,
how the situation can be resolved, a concluding
jingle.
Or, ask the class to consider all the different
aspects of an advert ie. a jingle, a catchphrase, a
presenter, the tone or jovial manner of the presenter,
product or concept information, supremacy
over rival products, a target audience, a time limit,
where to buy the product or idea.
Divide the young people into groups of 4 or 5.
Explain the learning points or objectives of the
scene you would like them to make and that they
must perform ‘to camera’. Set a time limit for the
exercise and make clear that each group will perform
their work to the rest of the class at the end
of the timed rehearsal period. To help focus the
adverts or news reports, encourage each group to
start and end the scene with a frozen picture.
Take time to visit each sub-group once or twice
during the improvisation and rehearsal period to
make sure participants are working well, listening
to one another and meeting the learning objectives.
2. ROLE ON THE WALL.
This is excellent for issue-based work.The description
here offers a template around which any topic
could be framed.
Divide the class into groups of 4 or 5 and give each
group one thick pen and a large A1 sheet of paper
with a very basic body outline pre-drawn onto it.
Tell the class that two characters must be created,
one healthy and one unhealthy, both adults. Each
sub-group is asked to create one of these characters
and must then decide on the characters level
of engagement with sport, hygiene, diet, smoking,
drinking, modes of transport, appearance and
leisure activities. They should also write the characters
name, age and occupation onto the paper.
After 10 minutes or so, bring the sub-groups back
together to present their ‘characters’.
It is possible to use these characters as a means of
exploring issues of general health, stereotypes of
drug takers, or exploring the consequences of the
characters lifestyles on themselves and those
around them. Discuss the kind of advice the class
could give to each character for a healthier
lifestyle.
3.STILL IMAGES
Still Images can be used to establish how much a
group has understood about a topic, how people
are affected in different ways by the related issues
and for investigating the differing viewpoints particular
scenarios might provoke.
Divide the class into small groups of 4 or 5, in a
large, clear, hall space.
Still Images work well when set as timed tasks.
A still image could be likened to a family photo-
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DRAMA CONVENTIONS CONT.
graph where all the participants have the same
focus and context, but each person’s individual
thoughts and opinions show through a ‘still’ facial
expression.
A still image could also be like a busy scene
‘frozen’ in time to show special or significant
moments in a story.We could ask a group to show
the story of Cinderella in five freeze frames, for
instance. Another example might be to use freeze
frames to show a story of bullying, the harm done
and the resolve of the bullied to deal with the situation
in an adult way.The benefits of freeze framing
include the ability to tackle sensitive issues
without the need for acting out actual violence or
‘real time’ intimidation.
The third possibility for still image work is to create
‘tableaux’ showing different sides of a story,
through gesture, body language and spatial proximity
between characters. Abstract tableaux can be
used to let young people demonstrate their understanding
of large concepts such as conflict, citizenship,
friendship, love, family, peace, freedom and religion.
Tableaux can also be useful when asking a
group to abstractly show the meaning of a story, a
piece of music or a painting and how their understanding
fits with other peoples opinions.
It is also possible, with ‘Family Photographs’ or ‘
Frozen pictures’ to ask each participant to prepare
one word or sentence to describe how they (the
character they are representing) are feeling in this
‘moment in time’. Still Images do work best in subgroups
of 4 or 5 participants and after the remainder
of the class has had a chance to observe a
image and comment on it, you can tap each participant
in turn to hear what they have to say. If the
image concerns passive smoking, perhaps a mother
is smoking near a window, a father is reading a
book and two young people sit on the floor playing
a game. The Mother’s sentence might be ”I was
dying for a cigarette”.The Father’s sentence could
be “I’m glad I gave up smoking for the kids sake”
and the young people might be thinking “I wish
Mum wouldn’t smoke inside. We know the effects
of passive smoking can be really dangerous”.
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4. STOP, THINK, GO.
This is a technique useful during small improvisation
scenes or Still Image work.
By calling ‘Stop’ any moving action in a scene
freezes.
Whilst saying ‘Think’, gesture towards which person
you are speaking to. That person then speaks
aloud the thoughts or feelings of his or her character
at that moment in the scene or tableau.
When calling ‘Go’ any moving action in the scene
continues as before.
By freezing the action to ascertain any one characters
thoughts and feelings we can reveal the difference
between the text (that which is spoken) and
the subtext (the underlying meaning or feelings
beneath that which is spoken). For example, what
a character says out loud may not be what the
character really thinks or believes. Similarly, how a
character behaves outwardly may be contrary to
how he or she feels inside.
This technique can be great for tackling peer pressure
/ peer selection issues, bullying, citizenship, or
looking at social situations where young people
might want to communicate a more mature image
than they are properly capable of.
5. TEACHER-IN-ROLE.
This exercise is always exciting for the class
because from the beginning of the teaching session
(for perhaps 5–10 minutes or so) the class teacher
takes on the persona of another person. By donning
a simple costume, perhaps a hat and scarf or
an overcoat and newspaper, the class can reassess
how they perceive the teacher and what is said.
This allows a particular emphasis to be put on the
information that is given whilst the teacher is in
role.
For example, if the teacher is in role as a journalist
investigating local opinions about recycling provision
or a policeman investigating information on
local drug-crimes, the teacher can ‘pretend’ to be
that journalist or policeman and move the session
along by presenting the information as a mono-

DRAMA CONVENTIONS CONT.
logue or a question and answer session with the
class. Once the information is presented, the
teacher can step outside the room to remove the
basic costume and immediately step back in again
apologising that they had to leave for a few minutes
and asking if they had seen the journalist who was
looking for the class. The teacher then ascertains
what it was the journalist wanted and what he
asked the class to do.
It is easy to see how this method could be applied
to any interesting figure or teacher-in-role who
enters the classroom to present new information
for the class to consider or explore further. It
might be that the figure chosen returns at the
beginning of every session to find out how the
class are getting on or to present them with fresh
evidence for the next stage of their investigation.
The pretence and distancing effect of teacher-inrole
allows a third party character to help deliver
new topic information to the class in a creative,
controlled and intriguing way.
6. HOTSEATING
This is a brilliant device to ascertain the level of
understanding an individual has concerning a topic
area or contextualised character, whilst simultaneously
encouraging peer education.
When pupils are representing particular characters
in a practical session, it can be useful to interview
a character, (as represented by the pupil).
Hotseating normally takes the form of a question
and answer session, where the pupil must stay ‘in
character’ throughout the exercise, and is put in
the hot-seat to answer personal questions about
themselves (name, age, family etc.), their environment
(where they live, what country they live in,
where they are being interviewed etc.) and their
status (their occupation, financial status etc.).
These question and answer sessions are brilliant
for establishing and developing character traits and
could last three minutes or thirty minutes, depending
on the needs of the group and the confidence
of the pupil. Both the class and the class teacher
can pose questions.
Hotseating can be developed further by interviewing
two pupils in character at one time thereby
hotseating two characters together, to create a
wider context for the scenario.This also allows the
pupils in character to take confidence from each
other.
7. CREATIVE WRITING EXERCISES.
After studying the lives of special people through
history, literature or citizenship lessons, a positive
way to consolidate knowledge or further creative
thought, is through controlled creative writing.
At the beginning of the practical session ask each
person to take a pen and paper to a particular
place in the hall where they, individually, feel comfortable.
This might be under a table or chair, or
behind a curtain. It’s important everyone feels they
have a private, quiet place to work (that’s not too
far out of sight). Once each person has found a
spot, request they put their name at the top of the
A4 page.
Once they have claimed a space, it’s best then to
bring the group back together and continue with a
few other activities surrounding the topic in question
before focusing in on the lives of particular
people they have learnt about and preparing them
for the creative writing task.
When you feel the class are full of stimuli and
bursting with energy and knowledge, tell them they
have three minutes to complete the following task.
They are going to write a diary entry or a letter to
a loved one, detailing their situation (perhaps they
are an evacuee in wartime or an historical hero or
heroine). Suggest phrases like I feel… I remember…
I dream of… I fear… I wish… I regret… I
hope… They will only have three minutes to complete
the task, in silence. As you walk round
observing the work, if you feel the class need
longer, covertly extend the time, by announcing
they only have two more minutes left, when perhaps
three minutes of the task has already passed.
Urgency will undoubtedly produce fantastic results,
as will pushing the class to consider to whom they
are writing and why.
This type of creative writing work can be applied
to ANY subject within the curriculum
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page 32
What to do now!
If you feel confident about using drama as a teaching tool, we trust
this pack has been a good starting point and stimulus, and hope it will
help facilitate some exciting sessions. If you want to ask advice about
further resources, please do email us at Reeling & Writhing and we’ll
try to point you in the right direction.All the books on our suggested
reading list are available for short-term loan from West Lothian
Council library service.
If you feel nervous about using drama as a teaching tool, the best
thing to do now is to have a go. First decide what your topic focus is,
then determine what the learning outcomes of that one session should
be. If the topic is Egyptians, the focus for one practical session may well
be to follow-up on the class work already done on ‘farming’, ‘societal
hierarchy’ or ‘burial rituals’. If the topic is drugs awareness, the focus
might be ‘what drugs do to me and my body’ or ‘how taking drugs
effects those around me’ or ‘the influence of advertising’.
Next, look through this pack to choose some of the games and exercises
that fit your objective and formulate them into a workshop plan
following a similar pattern to the template below. Some sections of this
plan might be omitted if they are not relevant to your needs, for example
if your class comes to a practical session straight after break time
or P.E. you may not need to spend time playing a warm up game.The
workshop model below is flexible and can be modified depending on
your own time constraints.
1. a loud and exciting warm up game (this helps to burn off
excess energy within the constructive context of a game
and encourage an active, engaged brain to be switched on
ready for learning through drama).
2. a circle-based concentration game (after the loud warm
up it’s good to bring the group back together, in a circle,
ensuring they know the boundaries of drama work and
the discipline required for practical work, (concentration
is required and can be fun). It’s important for the group to
be able to communicate clearly with one another during
group discussions and concentration games. A well-constructed
circle ensures this is possible, whilst also promoting
equal status between all participants.).
3. an improvisation task splitting the class into working
groups of 4 or 5 pupils (After carefully considering the
focus for your session, set the class an improvisation task
for example,“take 10 minutes to devise a public information
advert encouraging the T.V. viewer to look after their
surroundings more carefully (recycle, refill, reuse, repair).”
OR “Using a frozen picture to begin and end your scene,
take 15 minutes to devise two scenes showing the negative
and then positive outcomes of a pupil being bullied to
try a cigarette.” This will allow pupils to revise work from
the classroom by working through ideas together, decision
making in small groups, expressing their opinions

about different aspects of the topic and presenting a practical
example of the topic in action)
4. a show and tell of the improvisation work, with each
group given time to show back the scene they created and
answer questions posed by their peers afterwards. (By
performing the work they have created, each group are
testing their ideas of performance and discovering if their
understanding of the topic holds water when presented
to others. By allowing the audience of peers to ask questions
and tell the group what they thought was good
about their presentation, both performers and audience
have the opportunity to revise their knowledge and verbalise
their understanding.)
5. a sit down, circle-based discussion of the topic covered,
the work produced and revision of the learning outcomes
(Here, you the teacher, has the opportunity to pull all of
the learning outcomes together, asking questions about
the topic areas and each performance. If the topic is heavily
factual, this is the place to perhaps use a quiz of several
questions, asking the class to vote by moving into a designated
corner of the room according to their answer ie.
If your answer is yes, stand by the windows, if your answer
is no stand by the piano, if you don’t know or aren’t sure
stand by the door).
concluding with:
6. one or two warm down games as a reward for the classes
hard work (it’s lovely to finish with a game all the class
can enjoy together as one large group and that you, the
teacher enjoy playing with them. Coming back together as
a group shifts the attention, the group dynamic will have
changed from the beginning of the session, it’s good to
recognise that the learning tool was drama, concluding
the session with a game that focuses less on a specific
topic but rather on calming the group down. Rather like a
full stop at the end of a sentence.
This loose structure can fit into a 1 hour session but keep all available
games to hand – sometimes sessions go faster or slower than expected.
If your session only lasts 45 minutes and you’ve achieved your goals
and covered all the required material, that’s fine!
If you would like to write a workshop plan and then run it past
someone by emailing it to:
Reeling & Writhing (info@reelingwrithing.com) or
Fiona Macfarlane, the Cultural Co-ordinator for Drama at West
Lothian (fiona.macfarlane@wled.org.uk),
we’d be very pleased to help you.
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page 34
Control versus Expression -
Trouble Shooting
One of the most common challenges for the Primary teacher when
using drama as a teaching tool is to ensure that you provide a productive,
expressive practical lesson whilst staying in control of the class.
Different techniques work for different people, but the following suggestions
offer a range of ideas to help maintain a balance between control
and expressive learning.
1. Before leaving the classroom for the hall space, expand and
explore the topic and the learning objectives you are going to cover in
the practical session. Also talk to the class about the specific drama
convention you have chosen to work with in that one session ie.
Frozen Pictures, News Reports or Role on Wall. Discuss what is
required to succeed, both in relation to form (drama convention) and
content (the topic area). Sharing the success criteria should help pupils
to visualise the structure of work and what is required.
2. Clear Instructions. Before leaving the classroom, give clear instructions
about what will happen as soon as the group enter the hall space.
It is helpful if this is also a timed task ie. Before you have counted aloud
to 10, the group must be silently sitting in a circle (or have each found
a partner and be standing face to face, or individually each person must
be lying down well away from anyone else with their eyes fixed on the
ceiling) ready to work.
3. Set volume level controls. Take a few minutes to make sure the
class knows which levels of noise are acceptable during each type of
activity.This works well using a scale of 1 to 10.Ask the group to define
the scale of acceptable noise, taking into consideration the type of
activity and how many people are involved.
1 = whispering in pairs
4 = class discussion akin to circle time when one person speaks at
once
6 = normal conversation level akin to that expected in classroom
group work
9 = unacceptable level of noise, unless the class are preparing a
crowd protest scene

4. Timed Tasks. As previously discussed, timed tasks offer a brilliant
way of ensuring expressionistic freedom and choice within neat, clear
boundaries.Timing a task or activity makes it much more like a game,
because pupils are racing against the clock and each other.The element
of competition means that you can ask the group to do lively activities
for a controlled amount of time but always return to stillness and
order.Timed activities work especially well if you also define where the
pupils go at the end of the task – to a seated circle for example. (See
the game ‘Three Elbows, Four Walls’ in the Warm-Up Games section
of this pack).
5. Routines. Try to follow a similar routine each time you use drama
in a practical teaching session. Discuss learning objectives and techniques
in the classroom, move through to the hall, start with a timed
task and then use the chosen convention (different each week perhaps)
to continue the work. Try to end the session in a similar way
each time – this way the class quickly learn what is expected of them.
6. Instructions and Understanding. Each section of the workshop will
have a different set of objectives. Ensure that your instructions to the
group are clear and that the class have a chance to clarify what you
mean by asking questions.When working on improvised scenes or in
small groups, double check the learning objectives are being fulfilled by
continually visiting and interacting with every sub-group.
7. Groupings. Take an active role in determining which pupils work
together. Creating a controlled and safe environment to use drama as
a teaching tool is only achievable if sub-groups function with the minimum
of disruption!
8. Know your conventions and how they can work for you. Make
sure you know exactly why you are using a particular convention and
what the benefits are. It will be useful to reread the ‘conventions for
creativity’ section of this pack and cross-reference that information
with other publications. It will also help to discuss the chosen convention
with your class and hear their thoughts on how to make ‘Role on
the Wall’ or ‘Hotseating’ work for your topic area.
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page 36
Evaluating your process
and practice
Before evaluating your process and practice using drama as a teaching
tool, first consider revising the eight points for action as detailed within
‘Control versus Expression - Trouble Shooting’ as well as our suggested
workshop structure detailed in ‘What to do now!’.
We find the following handful of questions useful when evaluating our
own teaching sessions. Use the following questions to evaluate your
workshop. Before attempting to answer, first consider and compare
your written workshop plan with the actual workshop you conducted.
Were the pupils engaged in the set tasks?
If the pupils were disengaged, when in the workshop was that and was
it avoidable?
Were my instructions clear?
Was my time management of each section effective? Was there time
to cover all the set objectives?
Were the class able to tell me what they had learned at the end of the
session – both in terms of topic area and drama techniques used?
At the conclusion of the workshop, how did I evaluate the session with
the children? Did I use a successful mixture of open and closed questions?
Did I have confidence and control of the class, whilst still allowing the
young people freedom to experiment with ideas?
WHERE TO GET DRAMA SUPPORT
IF YOU GET INTO A PICKLE
Katherine Morley, Artistic Director at Reeling & Writhing
(katherine@reelingwrithing.com)
Fiona Macfarlane, Cultural Co-ordinator for Drama and Film at West
Lothian Council (fiona.macfarlane@wled.org.uk)

Further Reading
100+ Ideas for Drama by Anna Scher & Charles Verrall.
Pub. Heinemann 1975. ISBN 0 435 18799 6
Drama 7-11 Developing Primary Teaching Skills by Neil Kitson and
Ian Spiby.
Pub. Routledge 1997. ISBN 0 415 14184 2
Games for Actors and Non-Actors by Augusto Boal.
Pub. Methuen 1992. ISBN 0 415 06155 5
House of Games by Chris Johnston.
Pub. Routledge 1998. ISBN 1 85459 309 9
Look Listen Trust by George Rawlins & Jillian Rich.
Pub.Thomas Nelson & Sons Ltd. 1992. ISBN 0 17 432396 4
Structuring Drama Work by Jonathan Needlands.
Pub. Cambridge University Press. ISBN 0 521 37635 1
Student Handbook for Drama by Brian McGuire.
Pub. Pearson Publishing 1998. ISBN 1 85749 843 7 1
The Arts and The Holocaust - Lessons from the past for citizens
of today by Katherine Morley and Tim Nunn. Pub. East Renfrewshire
Council and The Scottish Executive 2005.Available from www.reelingwrithing.com
160 pages of games, exercises, discussion points, creative writing
exercises all focused towards cross-curricular Citizenship work.
All the books recommended here are available for short-term loan
from West Lothian Council library service. Contact: Lesley Reid or
Carol Lennon at Information Services, Library HQ, Connolly House,
Hopefield Road, Blackburn, EH47 7HZ, 01506 776328,
isd.library@westlothian.gov.uk
page 37

Evaluation of this pack
It is extremely useful for us as a company to receive feedback on the resources we produce and the practical
projects we deliver, be they workshops for young people, CPD training for teachers or live performances.
We would be grateful if you could send us some feedback on this pack. Just photocopy this page
and return your responses to;
Reeling & Writhing Theatre, 117 Saltmarket, Glasgow. G1 5LE
We know you’re busy; brief answers are fine!
Name of your school and which class you teach
How often do you intend to use / have you used this pack?
Which sections / information have you used, broadly speaking? Have some sections been more useful than
others?
Have any other teachers in your school used this resource? Which age groups were involved?
Which subjects, topics or lessons have you taught using this pack?
How useful was it for those lessons?
What was the most useful thing about this pack?
Was there anything you found disappointing about the pack?
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This page has been left blank for your own notes, questions
and comments from CPD and classroom sessions…
page 39

The
Good Good
Things Things
USING DRAMA AS A TEACHING TOOL
West Lothian Council
Arts Education Service
Craigsfarm
Craigshill
Livingston
EH54 5BP
01506 777588
laura.tyrrell@wled.org.uk