RATIONALE
THE NECESSITY OF PLAY
All children play. Throughout the world, in all cultures, children play. Throughout recorded
history, children have played. In playing, children learn instinctively; they do not need a
teacher. Amongst the many forms of play, dramatic play is especially rich in learning
opportunities.
It is learning by doing and experiencing. It is holistic, engaging the bodies, minds, hearts and
souls of the children, often simultaneously. It is absorbing, compelling children to invest
boundless energy and concentration in its myriad activities. It creates a space in children's lives
that is magical, transcendental, edifying and deeply satisfying.
It has been argued that it is children's propensity for playing that has the laid the foundations
for the development of mankind's social institutions. (John Huizinga: HOMO LUDENS)
Certainly, playing does not stop at childhood, but is carried into adulthood and further
developed. Adults too, benefit from playing; not only in their involvements with the arts and
sports, as players and spectators, but also in the ways that they deal creatively with the
changes and the challenges in their lives, relationships and careers.
Children's natural capacities and capabilities in playing are what the Drama / Theatre teachers
in schools exploit and extend in their programmes of study. Just as prehistoric communal
rituals and celebrations are the roots of contemporary theatre, so early childhood play is the
root that the teacher nurtures and helps bring to flower in the teenagers' independent creative
work in theatre studies: as actor, director, writer, designer, technician and critic. It is a journey
that moves from illiteracy and oral traditions to the literacy and sophisticated communications of
modernity; to the understanding that theatre studies open up a wide choice of worthy career
options.
•
THE NECESSITY OF THEATRE
The fact that theatre is as old as mankind, and has manifested itself in countless forms all over
the world, would suggest that it is something important and necessary. The Natya Shastra says
theatre is a gift from the gods for mankind's education and entertainment.
People everywhere have an unrelenting fascination for the stories on the human condition that
are represented in theatre spaces, and more recently via cinema, television and the internet.
There is more involvement with fiction today than ever before in history; it has become a big
business.
Artists and audiences derive many important benefits from their participation in theatre
activities. Of course it is entertaining, but it is also so much more, and the reason that it has
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been applied in many other areas than mainstream amateur and professional theatre contexts.
Its service to education, both as a subject and methodology, has been well documented over
many decades. Its especial usefulness in the education and rehabilitation of disabled children
and adults has led to the discipline now called Drama Therapy. It has been pressed into
service in development work amongst groups as diverse as prison inmates, street children,
drug addicts, AIDS patients, adult literacy learners and earthquake victims. In other words,
theatre deals not only with fiction, but with reality.
Theatre's processes are humane and humanising. Theatre's central concerns are focused on
people; individuals, families, communities. It analyses people's characters, words and actions;
their relationships, lifestyles, histories; their joys, sorrows and foolishness. And it explores the
infinite ways that its findings can be expressed and communicated. Within that synergy of
observing, analyzing, debating, researching, expressing and performing, lies the possibility of
richly rewarding learning opportunities.
•
THEATRE IN EDUCATION
Theatre speaks in languages that children understand and relish: movement, mime, dance,
poetry, song, costumes, make-up, make-believe. It is vital and dynamic, transacted by doing
tasks and having experiences, felt experiences that engage children physically, cognitively
and emotionally. It deals a lot with what children already know, but is always keen to fill the
gaps in their understanding and extend it.
In a sense, theatre's syllabus can be put in one word: Life. There is no aspect of life, no topic
that theatre will not attempt to come to terms with and render creatively. In fact, it becomes the
site for many other 'subjects' to be brought together, enabling students to see the links and
connections between different areas of knowledge. Theatre has the potential to be a catalyst
in bringing various departments together to work collaboratively on certain projects, thus
enhancing the effectiveness of their teaching.
Theatre also plays an important role in reinforcing and furthering the learning of other
academic subjects that are taught in conventional ways. It concretizes issues that would
otherwise remain abstract and difficult for children to grasp. It puts life back into bookish
learning.
In this way, theatre encourages the traditional, didactic role of the teacher to be reformed.
Theatre is participatory and democratic in its methodologies, requiring teachers too to
participate in its activities along with the children and to foster a more intimate relationship with
them than a regular classroom teacher usually has. The nature and content of much of the
syllabus depends on mutual trust and respect being developed amongst the students and their
teacher. There are no easy answers to many of the problems that are confronted in a Drama
class, and thinking is encouraged to be divergent rather than convergent. Students are
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expected to hold and express a variety of opinions on any given topic and to seek their own
solutions to problems. They make a contract, agreeing to disagree and respecting differences,
not allowing them to come in the way of functioning as a team and working creatively together.
•
THE SCOPE OF A THEATRE SYLLABUS FOR SCHOOLS
A 12-year programme of Drama theatre studies, in its most fully developed form, would
provide for the following possibilities:
1. Students would be exposed to, and have learning experiences of, a wide range of
theatrical forms and genres; especially those of their immediate cultural region, but
also of the larger national and international contexts.
2. Students would have an understanding of how theatre has evolved from earliest
times to the present day, and what social purposes it served, particularly in the
periods marked by significant developments in its form and/or content.
3. Students would have learning experiences in the complete range of theatre
skills: performing
directing
designing
writing
fabrication (masks, costumes, props, stage settings)
production work (planning, budgeting, printing, publicity)
and would have the option to ultimately specialize in one or more of them.
4. Students would have the possibility of progressing through a series of key
stages of development.
I
Primary! Classes I-V.
II
Middle !Classes VI-VIII.
III
Secondary! Classes IX and X.
IV Higher Secondary! Classes XI and XII.
Each key stage has a syllabus appropriate for the developmental needs and abilities of
the students.
5. The syllabus would incorporate Drama's function of interpreting and reinforcing the
learning done in other 'subjects' that employ more conventional classroom
methodologies.
6. The syllabus would be inclusive of the personal needs of students, facilitating their
dealing with behavioural and psychological problems; periodically in parent-teacher
workshops.
7. The syllabus would be inclusive of Theatre-in-Education (TlE) techniques which help
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the students in their analysis of real-life problems and issues, and which aim to find
solutions for them.
8. The syllabus would aim to encourage experimentation in different ways of responding
to and performing drama; whether scripted drama, drama devised by the students
themselves, or drama derived from other stimuli (photographs, paintings, music,
poetry, stories, newspapers, television, films, and real-life events.)
9. The syllabus would ensure that students are taught how to respond critically to
written texts and both live and recorded performances from a variety of cultures,
genres and styles.
10. The syllabus would enable students to work towards formal presentations of both
scripted drama and drama of their own devising, and in the process to confront all
aspects of production work and management.
11. The syllabus would outline how the planned progression of students through its key
stages would be monitored, recorded and assessed by Drama Theatre teachers.
12. The super-objective of the syllabus is to empower students; to inspire them to fulfill
their potential in terms of self-knowledge and self-esteem. It aims to extend them
physically, mentally and emotionally so that they become active, thinking, sensitive
adults who know the benefits of being positive, creative and expressive; who can
find their 'voice', listen to other voices, and work collaboratively as a member of a
team.
The progressive structure of tile syllabus aims to create students who are self-reliant,
independent and creative thinkers, who own their knowledge and skills, and are confident in
getting things done.
Underlying philosophy
•
Drama / Theatre is an area of acquisition and CONSTRUCTION OF KNOWLEDGE.
Through continuous drama activity, children build knowledge about themselves and the
world they live in.
•
For learning to be a fulfilling experience, the various FACULTIES of the child need to
be drawn together - primarily the physical, mental and emotional. Drama activities
provide that possibility.
•
An essential part of the learning process for the child is to EXPERIENCE moments of
life. The child needs situations where they can do, think, feel, speak and reflect as part
of an integrated activity to realise their OWN CREATIVE POTENTIAL and be given
opportunity to enhance it right through their school life. MAKE CONNECTIONS
between the subjects they study and themselves - its relevance and interconnections.
•
An appreciation of THEATRE AS AN ART FORM - all aspects of the craft, its particular
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practice in the region and the world beyond.
•
The theatre process should develop in the student the urge to QUESTION, to SEARCH
FOR ANSWERS, to make DECISIONS, to be CHALLENGED, to SOLVE PROBLEMS,
to be INDEPENDENT.
•
To help the child discover its place in a larger CULTURAL context - of history, tradition,
custom, way of life.
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Drama's progression through the school syllabus
THREADS
THE BODY
THE VOICE
THE
SENSES
THE MIND
PRIMARY
UPPER PRIMARY
Healthy development and growth. Exploring Dealing with the physiological
physical skills and challenges: awareness. changes of puberty.
control. expression. trust.
Issues of identity and gender.
The body as a site for transformation. Bodies in relationships.
metaphor and fantasy: for living through Bodies in conflict with authority
imagined experience.
and rules. in the search for self's
The class's bodies as a collective. an identity and meaning.
ensemble. a collaborative team.
Vulnerability and insecurity in the
no-man's-land between childhood
and adulthood.
Healthy development and growth. Exploring The boys' breaking voices.
the world of vocal sounds. sound effects. Voice registers.
sounds of nature.
Finding your voice/identity. The
Gibberish explorations of character and individual voice and the crowd.
emotion.
the mob.
Language development: stress. rhythm. The inner voices of conscience.
intonation.
pronunciation.
drilling of alter ego.
grammatical
structures.
enlarging The voices of reason and
vocabulary.
desire. Language registers:
Choral speaking. singing. Sound scapes. character,
social
status,
stories. poems. Role play
occupation, education.
An indulgent stress on sense perception: Sense perception and sensitivity
further developed and reinforced,
looking, seeing, tasting, smelling, touching.
As real and imagined experience. The leading to the fostering of
senses as fertilizer for the imagination, sensibility, the ability to appreciate
and
respond
to
complex
infused in all aspects of
Drama. Sensitivity to the senses becomes emotional. aesthetical stimuli. A
second-nature, and breeder; the sensitivity deeper consciousness of Drama's
required in social interactions and creative purpose. meaning and means.
Learning to work with the right
pursuits.
reasons and 'sensibleness'
Focus / concentration---------------------Belief - -- Developed with increasing
----------------------------------------Curiosity
/ - -- intensity. challenges and
- -- intellectual rigour.
questioning-------------------Imagination-------- -- And a growing
----------------------- -- consciousness of what they
Creativity ----------------- --------------Spontaneity
/
intuition--------------------- - -- are as skills and abilities.
- -- Supplemented by
SECONDARY
The body's mature skills and forms of
expression: capabilities in a variety of
acting styles and genres. Detailed
character studies and costume
designs.
Facing the truth about one's own body,
and its potential social roles: initiations.
expectations, boundaries. acceptance.
Confident.
clearly
articulated.
character. well-reasoned voices.
The study and appreciation of other
alternate
voices
(playwrights.
critics. novelists. poets. essayists).
Voices with a command of
language, imagery in various
registers.
The unique voice of the artist
expressive of his/her mission. quest,
concerns.
The senses. sensitivity, and
sensibility imbue the young artists'
explorations
as
performers.
directors. writers. designers and
audience critics.
They pave the way towards the
possibility of the spiritual experience.
transcendent. uplifting: the ultimate
work of art.
Comparative studies of other minds
that serve as models for these
skills and qualities - via their
writings. performances. designs.
art.
music
and
other
accomplishments.
6
THE DRAMA
SPACE
DRAMA
Intelligences: bodily-kinesthetic-----logical-mathematicalmusical-------------------spatial-------------------linguistic-----------------interpersonal-----------intrapersonal----------Reflection ---------------------------------Feelings------------------------------------
- -- increasing memory power
- -- and repetition. which in
- -- turn generate perseverance
- -- and patience.
- -- An increasingly more real
- -- emotional investment.
An empty space of infinite possibility.
charged with activity. emotion and
imagination.
A safe space that is allowing and enabling;
in which one can take risks and experiment
without the fear of failure or censure.
At times a space of stillness and silence: for
listening. thinking. imagining.
A space that is the whole world and all time.
A sacred. magical. transformable space.
A more conscious exploration and
usage of the space, allied to
experience of various theatrical
forms of presentation and varied
relationships with audience.
The drama space may be
extended by using other available
spaces. indoors and outdoors.
As a site for greater transparency
and
confessional
work
by
students. the space becomes
more private at times. More public
at performance sharing times
Drama for learning----------------------------Feeding in -------------------------------------The self ---------------------------------------Qualities born within------------------------Fantasy ----------------------------------------Improvisation --------------------------------Texts: stories, poems ------------------------->
---------- >Learning Drama----------------------------------------------------------->The other----------------------------->Giving birth to qualities
---------> Reality ----------------------------------------------------------------Varied sources: plays, novels.
newspapers.
Personal writing: stories. Poems ------------>
Autobiographical material, original
scripts,
character
studies,
Art & craft: illustrations of improvised--> thoughts and opinions. critical
plays. mask-making. puppet-making. sand- responses to performances.
tray model-making. simple prop-making, More detailed. more challenging.> Designing. colour-scheming.
costumes. make-up. musical instruments.
choosing fabrics and materials.
Posters.
Brochures.
Scenery
design & fabrication. Lighting &
Sound design & execution.
The fullest flowering of each
student's mind and its products.
The putting out of all that has been
fed in. shaped by the student's own
experience, vision and perception,
The mind of the artist aware of its role
and place in society. its responsibilities
and possibilities, its quest for
enlightenment.
The students begin to take on
ownership of the space as it represents
the inside of their heads (and hearts)
and is activated by their concerns,
transformed by their vision.
It is a true workshop space wherein
plays. ideas. exercises. techniques.
conventions. are
taken apart. tested. repaired and
reassembled.
refashioned
in
accordance with the needs and
creative impulses of the students.
It is a space where the artist's dreams
become reality for fleeting moments.
----------------------------------------->
----------->Putting out----------->
-------------->The artist---------------->
------------------------------------------>
----------->Creative options------->
--------------------------------------------->
--------------->Key dramatic texts--->
->Research papers, reviews of plays
and playwrights, original scripts.
Complete production design and
fabrication/execution. Projects on
theatre form, scenic and costume
design of historical periods and other
cultures.
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UPPER PRIMARY
Class VI
Activity and Time Taken
Sound and Movement
Nature of
Activity
Individual
Three weeks practice for class VI.
This is hints for the teachers and
students to start. Improvise
creatively find new methods to
multi-activity
80 min+8 classes
Group
Method by giving the
Children
The teacher can ask the
child to move with rhythm
and produce any pattern of
sound through that he
should enact some thing
and he can develop the
situation
in
beginning
teacher enact how to do as
a model.
Exercise, walking, jumping,
primitive movements or
animal movements Tell
them while moving produce
a sound.
Learning
Child learn rhythm and
different
sound
patterns. It will help
him to speak and
action with rhythm
develop the mind and
body rhythm tic sense.
Rhythm
movement
and sound with groupco-ordination
with
sound and movement
they will learn the
group co-ordination
Evaluation
•
•
•
•
•
•
Similarity with sound
and movement
rhythmic.
Body expression with
sound pattern.
Application body
movement with sound
systematically.
Moving with the
group.
Co-ordinating sound
and rhythm with
group.
Within the group
projection and
presentation should
be observed.
8
Time to start distinguishing the elements of drama and developing exercise in them. These
can then be brought together in improvisation or group work.
Movement-
understanding rhythm and patterns (from surrounding as well as imaginative)
Walking; farming; shaping; fetching water; going to fair etc. walking on surfaces, sports,
swimming, climbing a mountain, diving, flying, Primitive movement and rhythm, Animal
movements.
Speech – Awareness and creating sound patterns from around their environment – vendors,
railway station, bus stop. Different meters recitation, political speeches, slogan etc. interplay
of different rhythm etc. This could connect with rhythm of some songs. (Mood, content and
rhythm) creating a scene in sound.
Characterization – Observation of people around them. Drawing on observation to develop
character/characterization (characters, pace and rhythm) (Work situations)
Acting – Games developing small situations with precision, awareness of surrounding and
concentration on action. Motivation to accomplish a task. Understanding and developing a
situation as to make it more convincing visiting local fair and festival and recreating them.
Seeing a performances (folk form) and understanding its special features. They may do a
project on the form. (Pictures, information etc.)
Group work – Build little improvisation around location, characters or situations. As Andher
Nagri’ as a text is already there in their language Book, they could do a class exercises
using that text and incorporating the various exercise in movement, speech and acting. They
may at this stage need a few props and can devise or improvise (using coconuts leaves,
shells, day leaves, mud, gourd, as well as locally or easily available materials.
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Class VII
Activity and Time Taken
Nature of
Activity
Voice and Speech with Individual
dialogue
Two weeks
activity
as
practice.
work
well
Method by giving the
Children
Tell the exercise for
voice produce, voice
base – middle and high
and also maintain the
range, maintain the
tempo with energy.
Learning
Evaluation
Handle voice base to
high
pitch
and
develop the range.
It will help him to
sustain the speech
and dialogue.
It will help breath
properly develop the
stamina
for
expression.
•
Check the range pitch,
volume, tempo and energy
in voice.
Ask them to produce
voice in group and
improvise
different
patterns in a group.
Anybody
take
the
leadership to change
the pattern one of them
while
change
the
pattern he has to
dominate mass voice
and divert to his
pattern.
Through energetic voice and
creative pattern to develop
his leadership quality help to
follow the lead voice and
maintain chorus voice to
develop the group discipline.
•
How he will creative to
divert mass voice to his
voice.
Leading capacity through
voice.
Following the other voice
and
maintaining
the
chorus.
Behaviour with the group.
Individual
Story/narrate with
poetry/rhythm
Group
Reciting poetry with
rhythm
Develop the speech pattern
and language, intonation,
pronunciation and
presentation
Leading and reciting with the
group reaching the voice,
speech and dialogue to
audience.
for
as
•
•
•
80 min+8 classes
Group
•
•
•
Speech presentation, stress,
intonation, sound and rhythm.
Sound and rhythm, voice and
speech presentation.
10
Movement – Further work on flexibility, coordination with one another and concentration on
action. Developing mime with precision (detailing) and accuracy. Give and take with
copartners. (Movement, stillness freezes)
Speech - Various levels pitch variations, speed give and take Building a situation by varying
volume. Pitch. Tempo and energy. The students own normal speaking style and language
should not be attended and used in all exercises. Connecting speech and movement.
(Speed, gesture etc.
Characterization – To work on a play from the language texts or a short story.
Understanding character and situation and them playing it with conviction. May be repeating
a sequence more their once (unlike improvisation where it is done only once).
Project Work – understanding about theatre its origin and unique features – how it is
different from other art forms the importance of the living actor etc.
Performances – Students must see at least 2 performances to be avenged by the school.
This is to be followed by discussion.
Group work – classroom presentation by different groups, using a text from the course – but
of their choice, to be presented in a style devised by them. This can be a stony, a lesson
from history, geography or any other subject.
This must be accompanied by supplements like charts. Posters. Facts around the theme,
sketches, craftwork anything that is relevant. This may be displayed like an exhibition.
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Class VIII
Activity and
Time Taken
Acting
Nature of Activity
Group
Three week
exercise
80 mins
Method by giving the
Children
For teaching acting. Do
the small warm up
exercise like soundmovement,
voice
running, jumping and
introduce
concentration exercise
closing the eyes and
concentration
on
breathing make them
neutral.
Partners
Introduce the imitation
game or mirror game,
make two members of
group
–
one
expressing something
other one imitating as it
is. Te enactor should
improvise
some
situation like other one
also.
Small Group
Suggest content to
develop the situation
tell them to enact any
incident
as
they
experienced.
They
have to do small
presentation before the
other
group
and
discuss
Learning
•
Evaluation
Exercise for mind
and body
Becoming
neutral
and objective
Concentration
•
•
•
•
How he react to others.
Observation.
Imitation
Pursuing interest
Keen
observation.
Each movement of
body
and
facial
expression.
• Imitate other
expression.
• Respect
and
responsibility
to
receive and produce
• Take
and
give
process.
Discussion on content,
thinking, imaginatively about
situation re-calling
experiences, preparation for
presentation.
•
•
•
•
How he react to others
Observation
Imitation
Learning interest
•
•
Participation in discussion
Imagination distribution
the self-experience,
presentation
•
•
•
12
Movement and Rhythm - More freedom and undefined areas like creating abstract
sequences work on energies of color (red, blue). Elements (fire earth) feelings anger,
suffocation joy etc. Connecting with mime create 5-6 minute sequences in small groups.
Speech - saying lines in different ways – experimentation pause, emphasis, mood and
emotion to also change meaning. Intonations, speed, etc. Detailed work an poems rhyme
Blank verse – Delving into meaning) Recitation and beyond recitation.
Acting – Games for shedding inhibition and group work to continue.
For imagination – creating journeys, or imagined spaces.
Responding to one another – creating sequences in gibberish Developing spontaneity
personifying elements, emotions, moving towards stylization.
Character Building – Creating a character from photograph, paintings on objects. Building
its life history. Answering questions that may be asked. Imaging objects to have a life story,
moods etc. “myself as a shirt” or a table cat and sketch a story around it.
Self – Performing a small piece on some aspect of myself – my qualities, myself with
different people etc.
Improvisation – Journeys (real or imaginary) exploration of space around. Building a
situation around different locations staircase, well, old building etc. A costume is given and a
character has to be developed around it.
Project Work – Evolution of theatre and brief course of its Development – Major milestones
in history – Indian classical, Greek, non-Shakespearean proscenium etc. emphasis on the
versatility of theatre. (Not technical terminology etc.). There ay be slides - lectures. On the
basis of this students can make projects on different aspects.
Students may also do an individual essay on “what theatre means to me”
Group Presentation – Class to be divided into smaller groups. Each one can work on a
‘News report’ around this they collect, poems, essays, articles excerpts from stories/novels,
prevents sayings, folk songs and create a collage. They may also use different kinds of
matters to create a space appropriate to their subject. (Newspaper cuttings to be the floor
etc.)
Students must see 2 performances and if possible interact with the members of the
performing team.
Evaluation
Each of the following should be given equal weightage and graded;
1. Involvement
2. Innovativeness
3. Creativity and spontaneity
4. Interactive
5. Responsibility
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6. Team work
7. Overall Assimilation
8. Growth
Teachers to maintain dairy of each session and take note of students’ participation. The
evaluation should be made keeping in mind the work of the students throughout the year.
Note: It is very necessary for the students to see as many performances as possible – the
school must organize performances by various groups and students can then discuss the
various elements of theatre as perceived by them viz, acting, lighting, design, properties,
choreography, costume make up, tempo – pace. Along with the technical aspects, the
content and theme of the play should also be discussed. The teacher and the student must
also interact with the group. If the group can share their methodology of working by a small
workshop session, then the school could organize one.
The school can also keep track of summer camps or workshop for children being taken by
experts and see how linkages can be established. The school could also consider holding
workshops in holidays by inviting experts.
Addressing issues related to gender and peace:
These are areas of concern and attempt should be made to address them in the theatre
activities. Some of the salient ways in which these could be addressed would be to
incorporate their concerns in the very methodology.
Girls and boys should participate equally in all activities. There should not be any suggestion
and no divide of opportunity must be shown so that technical subjects like set design,
management and lights are not restricted to boys only, while costumes is not left only to the
girls.
14
SECONDARY
Class IX and X
The classes are to be geared for a long for a long production to be staged towards the
classing. Now, students are also going to in corporate different elements of theater like sets,
costumes, properties, makeup, lighting (whenever facilities are available) Music (live or
recorded) Brochure, poster, publicity, script (as a structured meaning of event). The
production including the text shall be evolved and designed collectively by the class. Work
on the project will begin from the initial session and culminate in a production at the end. The
subject and theme will also be decided by the asking out and improvising on the ideas of the
children. Once the theme is decided, then through improvisation, probable situations will be
tried out and a rough listing can be done by the Scripting committee constituting of the
students. Mid way once the structure and play starts bearing visible. The class would be
divided into various groups/committees that would do management, design and execute and
take responsibility of the various activities like sets, costumes, makeup, lights, Props, Music,
Brochure poster etc. This way they will also have specific areas of detailing while being part
of the whole. Other skills like painting, crafts man ship can also be incorporated. All students
will also be acting. The teacher is the coordinator who oversees and provides necessary
inputs (speech etc.). Other Department may also be asked to help. Utmost care should be
taken to see that the children’s creativity is not hampered.
Class IX will take up a subject that unleashes the Imagination (Life on Moon,
Textbooks growing blank etc.) Class X will work on an area that is related to themselves and
their environment (growing up questions, School life, Friendships, responsibilities values
honesty etc).
15
Activity and Time
Taken
Characterization
Nature of
Activity
Method by giving the
Children
Individual
Teacher can give assessment
to observe character
surrounding and imitate as it is.
Group
Make the group to imitate him.
One month work
with children.
Learning
Evaluation
•
•
Capacity of observation
Concentration and
presentation
Learning other
observation to imitate
and learning.
Participation with
interest.
•
Participation in group
concentration
Capacity of observation
taking interest in group
activity.
Selection of character
and situation
Make simple properties
of his own and identify
with character and
preparation for
presentation.
•
Observation, concentration
other expression, gestures,
person’s movement,
characterization.
80 mins+3
•
•
Individual
Group
Tell to enact any historical or
epic situation or character or
national
leaders,
freedom
fighters. Instruct to use simple
properties symbolically as per
the character.
Test them to dramatized
situation in any historical or
epic or folk story. Make small
group, tell them to improvise.
•
•
•
Group discussion about
situation,
characterization,
properties, participation.
•
•
•
•
•
Which character and
situation selected and
why?
He
studied
about
character and situation
Imagination to prepare
and presentation.
Attitude
in
group
activity.
His/her participation to
accept the responsibility
–
justifying
presentation.
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Class - X should also do a street play in addition to the big production.
1.
It is suggested that the performance area can be different in both
years. If one is on stage, the other can be in arena or in the round.
2.
Students should opt for a different areas specific responsibility.
These who see worked on sets in class IX now take on costumes
or music.
Provision should be made see that whatever special skills are needed (like dance,
masks) are made available to the students. (Use of local material and crafts to be
encouraged in sets costumes etc.
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Activity and Time
Taken
Group Work
Nature of
Activity
Group
Two month process
Method by giving the
Children
Suggest
the
children
to
participate in the theatre
summer/winter camps, attend
fair, festivals. See the children
play around. See the folk
performances and they have
share the experience and
perform in the classroom and
discuss.
Learning
Learning skills expose to so
many. Theatre activity. See the
other performance. Expose to
different
style
of
sound,
movement, speech, dialogue,
characterization,
acting
develop interest in different art
education.
Evaluation
•
•
participated?
•
•
Small Group
Build
little
improvisation
situations or play as “Andher
Nagri” as a text in the language
book or any play or story in the
text they could be a class
exercise they may at this stage
need a few props and mask
making.
Paper mask prepare a clay
model of the character and cut
small pieces of newspaper and
paste on the face of the clay
model 4 to 6 layers, leave
sometime and remove, and
use for improvisation for stage
design. For the play can advice
(using coconut leaves, mud,
wood structure colour clothes
and locally or easily available
material).
Within the small group –
reading the text, understand
the text situation, characters,
stage,
props,
practical
experience and production
process, props making, mask
making
with
available
materials.
What
type
of
performance
he
attended?
Which summer camp he
•
•
•
•
Which fair, exhibition
play,
festival
he
attended
What is the outcome
and development within
the child?
Involvement
Practical participation
Skill work
Involvement
in
producing exercise
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