Drama 3: Reader's theatre

In the drama workshop this week we looked at reader’s theatre, using an excerpt of The Paper Bag Princess (Cusworth & Campsie, 1992). Although it is a restricted, more formulaic drama convention, I like how the teacher can control the type of drama, adding layers: For example, you could start with the effect of voice, asking the audience to close their eyes and listen to the script being read. This focuses attention on the voice: pitch, pace, tone, emphasis and volume; and also to the sound effects such as body percussion. You can then add the visual layer of simple gestures, positioning on the stage and facial expression. With script in hand, I felt supported and less wary of performing. I wrote cues for voice inflection, pause, emphasis, gesture and positioning on the script. I can see the value of reader’s theatre in enacting a scene within more controlled parameters, and I can see how it would teach students how to use their voice effectively when reading aloud.

Annotated notes from The Paperbag Princess

We read ‘Herb the vegetarian dragon’ (Written by Jules Bass, Illustrated by Debbie Harter), until the complication point, at which Herb needs to make a decision: a perfect time to use a conscience alley to explore the decision-making process – also useful for brainstorming for persuasive texts. It also makes you think critically and on both sides of the argument.

We did a short word association convention where we were asked to think of a word that describes a knight, and a dragon, and to say these words out loud in an appropriate way. This is a short and effective lead-in to an activity, which could be followed by a sculpting activity of a character.

John concluded by showing us a variety of useful texts as starting points for teaching the elements of drama, and also engaging with texts in a deeper way. I am keen to use these conventions to help my students develop empathy for characters, construct contexts, alternative endings, and so on.