USING DRAMA AS A TEACHING TOOL - Reeling & Writhing

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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
Page 1: The Good Good Things Things A Teach
Page 4 and 5: Reeling & Writhing ‘brilliant, gr
Page 6 and 7: page 4 What is the show and why did
Page 8 and 9: page 6 Useful Contacts for Drugs In
Page 10 and 11: Slang Names Effects Short-Term Risk
Page 12 and 13: Slang Names Effects Short-Term Risk
Page 14 and 15: Games, Exercises and Stimuli Name G
Page 16 and 17: Warm-up Games cont. TITLE: THREE EL
Page 18 and 19: Diagnostic Exercises cont. TITLE: I
Page 20 and 21: Concentration games cont. 123, 123
Page 24 and 25: Vocal Exercises TITLE: DIDDLY DAH T
Page 26 and 27: Group Work cont. GLASS COBRA CONT.
Page 28 and 29: Music & Sound cont. SOUNDSCAPES CON
Page 30 and 31: Warm down games TITLE: BAKE THE CAK
Page 32 and 33: DRAMA CONVENTIONS CONT. graph where
Page 34 and 35: page 32 What to do now! If you feel
Page 36 and 37: page 34 Control versus Expression -
Page 38 and 39: page 36 Evaluating your process and
Page 40 and 41: Evaluation of this pack It is extre
Page 42: The Good Good Things Things USING D

USING DRAMA AS A TEACHING TOOL - Reeling & Writhing

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