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 PRIMARY UPPER PRIMARY SECONDARY
THE BODY Healthy development and growth. Exploring Dealing with the physiological The body's mature skills and forms of
physical skills and challenges: awareness. changes of puberty. expression: capabilities in a variety of
control. expression. trust. Issues of identity and gender. acting styles and genres. Detailed
The body as a site for transformation. Bodies in relationships. character studies and costume
metaphor and fantasy: for living through Bodies in conflict with authority designs.
imagined experience. and rules. in the search for self's Facing the truth about one's own body,
The class's bodies as a collective. an identity and meaning. and its potential social roles: initiations.
ensemble. a collaborative team. Vulnerability and insecurity in the expectations, boundaries. acceptance.
no-man's-land between childhood
and adulthood.
THE VOICE Healthy development and growth. Exploring The boys' breaking voices. Confident. clearly articulated.
the world of vocal sounds. sound effects. Voice registers. character. well-reasoned voices.
sounds of nature. Finding your voice/identity. The The study and appreciation of other
Gibberish explorations of character and individual voice and the crowd. alternate voices (playwrights.
emotion. the mob. critics. novelists. poets. essayists).
Language development: stress. rhythm. The inner voices of conscience. Voices with a command of
intonation. pronunciation. drilling of alter ego. language, imagery in various
grammatical structures. enlarging The voices of reason and registers.
vocabulary. desire. Language registers: The unique voice of the artist
Choral speaking. singing. Sound scapes. character, social status, expressive of his/her mission. quest,
stories. poems. Role play occupation, education. concerns.
THE An indulgent stress on sense perception: Sense perception and sensitivity The senses. sensitivity, and
SENSES looking, seeing, tasting, smelling, touching. further developed and reinforced, sensibility imbue the young artists'
As real and imagined experience. The leading to the fostering of explorations as performers.
senses as fertilizer for the imagination, sensibility, the ability to appreciate directors. writers. designers and
infused in all aspects of and respond to complex audience critics.
Drama. Sensitivity to the senses becomes emotional. aesthetical stimuli. A They pave the way towards the
second-nature, and breeder; the sensitivity deeper consciousness of Drama's possibility of the spiritual experience.
required in social interactions and creative purpose. meaning and means. transcendent. uplifting: the ultimate
pursuits. Learning to work with the right work of art.
reasons and 'sensibleness'
THE MIND Focus / concentration---------------------Belief - -- Developed with increasing Comparative studies of other minds
----------------------------------------Curiosity / - -- intensity. challenges and that serve as models for these
questioning-------------------Imagination-------- - -- intellectual rigour. skills and qualities - via their
----------------------- - -- And a growing writings. performances. designs.
Creativity ----------------- --------------- - -- consciousness of what they art. music and other
Spontaneity / intuition--------------------- - -- are as skills and abilities. accomplishments.
- -- Supplemented by

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 Intelligences: bodily-kinesthetic------ - -- increasing memory power The fullest flowering of each
logical-mathematical- - -- and repetition. which in student's mind and its products.
musical-------------------spatial-------------------- - -- turn generate perseverance The putting out of all that has been
linguistic-----------------interpersonal------------ - -- and patience. fed in. shaped by the student's own
intrapersonal----------- - -- An increasingly more real experience, vision and perception,
Reflection ---------------------------------- - -- emotional investment. The mind of the artist aware of its role
Feelings------------------------------------ and place in society. its responsibilities
and possibilities, its quest for
enlightenment.
THE DRAMA An empty space of infinite possibility. A more conscious exploration and The students begin to take on
SPACE charged with activity. emotion and usage of the space, allied to ownership of the space as it represents
imagination. experience of various theatrical the inside of their heads (and hearts)
A safe space that is allowing and enabling; forms of presentation and varied and is activated by their concerns,
in which one can take risks and experiment relationships with audience. transformed by their vision.
without the fear of failure or censure. The drama space may be It is a true workshop space wherein
At times a space of stillness and silence: for extended by using other available plays. ideas. exercises. techniques.
listening. thinking. imagining. spaces. indoors and outdoors. conventions. are
A space that is the whole world and all time. As a site for greater transparency taken apart. tested. repaired and
A sacred. magical. transformable space. and confessional work by reassembled. refashioned in
students. the space becomes accordance with the needs and
more private at times. More public creative impulses of the students.
at performance sharing times It is a space where the artist's dreams
become reality for fleeting moments.
DRAMA Drama for learning--------------------------------------- >Learning Drama---------- ----------------------------------------->
Feeding in --------------------------------------
------------------------------------------- ----------->Putting out----------->
The self ----------------------------------------
-------->The other--------------------- -------------->The artist---------------->
Qualities born within------------------------- --------->Giving birth to qualities ------------------------------------------>
Fantasy -----------------------------------------
---------> Reality ---------------------- ----------->Creative options------->
Improvisation ----------------------------------------------------------------------------- --------------------------------------------->
Texts: stories, poems ------------------------->
Varied sources: plays, novels. --------------->Key dramatic texts--->
newspapers.
Personal writing: stories. Poems ------------> Autobiographical material, original ->Research papers, reviews of plays
scripts, character studies, and playwrights, original scripts.
Art & craft: illustrations of improvised--> thoughts and opinions. critical
plays. mask-making. puppet-making. sand- responses to performances. Complete production design and
tray model-making. simple prop-making, More detailed. more challenging.- fabrication/execution. Projects on
costumes. make-up. musical instruments. > Designing. colour-scheming. theatre form, scenic and costume
choosing fabrics and materials. design of historical periods and other
Posters. Brochures. Scenery cultures.
design & fabrication. Lighting &
Sound design & execution.

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UPPER PRIMARY
Class VI
Activity and Time Taken Nature of Method by giving the Learning Evaluation
Activity Children
Sound and Movement Individual The teacher can ask the Child learn rhythm and • Similarity with sound
child to move with rhythm different sound and movement
Three weeks practice for class VI. and produce any pattern of patterns. It will help rhythmic.
This is hints for the teachers and sound through that he him to speak and • Body expression with
students to start. Improvise should enact some thing action with rhythm sound pattern.
creatively find new methods to and he can develop the develop the mind and • Application body
multi-activity situation in beginning body rhythm tic sense. movement with sound
80 min+8 classes teacher enact how to do as systematically.
a model.

Group Exercise, walking, jumping, Rhythm movement • Moving with the

primitive movements or and sound with group- group.
animal movements Tell co-ordination with • Co-ordinating sound
them while moving produce sound and movement and rhythm with
a sound. they will learn the group.
group co-ordination • Within the group
projection and
presentation should
be observed.

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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 Method by giving the Learning Evaluation
Activity Children
Voice and Speech with Individual Tell the exercise for • Handle voice base to • Check the range pitch,
dialogue voice produce, voice high pitch and volume, tempo and energy
base – middle and high develop the range. in voice.
Two weeks work for and also maintain the • It will help him to
activity as well as range, maintain the sustain the speech
practice. tempo with energy. and dialogue.
• It will help breath
80 min+8 classes properly develop the
stamina for
expression.

Group Ask them to produce Through energetic voice and • How he will creative to
voice in group and creative pattern to develop divert mass voice to his
improvise different his leadership quality help to voice.
patterns in a group. follow the lead voice and • Leading capacity through
Anybody take the maintain chorus voice to voice.
leadership to change develop the group discipline. • Following the other voice
the pattern one of them and maintaining the
while change the chorus.
pattern he has to • Behaviour with the group.
dominate mass voice
and divert to his
pattern.

Individual Story/narrate with Develop the speech pattern Speech presentation, stress,
poetry/rhythm and language, intonation, intonation, sound and rhythm.
pronunciation and
presentation
Group Reciting poetry with Leading and reciting with the Sound and rhythm, voice and
rhythm group reaching the voice, speech presentation.
speech and dialogue to
audience.

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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 Nature of Activity Method by giving the Learning Evaluation
Time Taken Children
Acting Group For teaching acting. Do • Exercise for mind • How he react to others.
the small warm up and body • Observation.
Three week
exercise like sound- • Becoming neutral • Imitation
exercise
movement, voice and objective • Pursuing interest
running, jumping and • Concentration
introduce
80 mins
concentration exercise
closing the eyes and
concentration on
breathing make them
neutral.

Partners Introduce the imitation • Keen observation. • How he react to others

game or mirror game, Each movement of • Observation
make two members of body and facial • Imitation
group – one expression. • Learning interest
expressing something • Imitate other
other one imitating as it expression.
is. Te enactor should • Respect and
improvise some responsibility to
situation like other one receive and produce
also. • Take and give
process.
Small Group Suggest content to Discussion on content, • Participation in discussion
develop the situation thinking, imaginatively about • Imagination distribution
tell them to enact any situation re-calling the self-experience,
incident as they experiences, preparation for presentation
experienced. They presentation.
have to do small
presentation before the
other group and
discuss

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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.

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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).

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Activity and Time Nature of Method by giving the Learning Evaluation
Taken Activity Children

Characterization Individual Teacher can give assessment Observation, concentration • Capacity of observation
to observe character other expression, gestures, • Concentration and
surrounding and imitate as it is. person’s movement, presentation
One month work
characterization.
with children.

80 mins+3
Group Make the group to imitate him. • Learning other • Participation in group
observation to imitate concentration
and learning. • Capacity of observation
• Participation with taking interest in group
interest. activity.

Individual Tell to enact any historical or • Selection of character • Which character and
epic situation or character or and situation situation selected and
national leaders, freedom • Make simple properties why?
fighters. Instruct to use simple of his own and identify • He studied about
properties symbolically as per with character and character and situation
the character. preparation for • Imagination to prepare
presentation. and presentation.

Group Test them to dramatized • Group discussion about • Attitude in group

situation in any historical or situation, activity.
epic or folk story. Make small characterization, • His/her participation to
group, tell them to improvise. properties, participation. 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 Nature of Method by giving the Learning Evaluation
Taken Activity Children
Group Work Group Suggest the children to Learning skills expose to so • What type of
participate in the theatre many. Theatre activity. See the performance he
summer/winter camps, attend other performance. Expose to attended?
Two month process
fair, festivals. See the children different style of sound, • Which summer camp he
play around. See the folk movement, speech, dialogue,
performances and they have characterization, acting participated?
share the experience and develop interest in different art • Which fair, exhibition
perform in the classroom and education. play, festival he
discuss. attended
• What is the outcome
and development within
the child?
Small Group Build little improvisation Within the small group – • Involvement
situations or play as “Andher reading the text, understand • Practical participation
Nagri” as a text in the language the text situation, characters, • Skill work
book or any play or story in the stage, props, practical • Involvement in
text they could be a class experience and production producing exercise
exercise they may at this stage process, props making, mask
need a few props and mask making with available
making. materials.
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).

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19