PRIMARY

Drama
Guidelines for Teachers of Students with
MODERATE
General Learning Disabilities
Contents

Introduction 3

School planning 9

Classroom planning 12

Approaches and methodologies 16

Exemplars 32

Appendix 54
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Introduction

It is well recognised that learning is a social activity:

One of the main aims in drama
we learn by sharing and refining descriptions of our
is to enable students to make experiences. In drama, the teacher is trying to set up
sense of their world and begin situations within which his/her students can discover
and explore how and why people behave as they do,
to exercise control over their and thus are enabled to attend to, and reflect on, their
environment. Drama helps own behaviour. Drama, in focusing on an aspect of
human experience, helps students to become aware
students to become aware of of the emotional states of others and helps them to
the emotional states of others develop their ability to create an impact on situations.
The appeal of drama to students of all abilities is
and helps them to develop their
that they are caught up in situations that are fun and
ability to create an impact on are intriguing. They are engaged in active learning,
situations. in contexts that are live, dynamic, and likely to be
remembered.

Educational drama emphasises the active process

of creating a story with an unfolding plot. This

understanding of narrative—how events are linked—
can help students with moderate general learning
disabilities to see patterns and sequences, as well as
the significance and implications of situations.

Communication is central to drama, and it is important

for teachers to be aware of the various modes of verbal
and non-verbal communication, of which language is
only one. In dramatic activities, a student may reveal
and express his/her thoughts and emotions through
physical gestures and facial expressions, which may
give a clearer impression of his/her thoughts and
intentions than words could convey. Drama has a
particular contribution to make to the development
of communication and language. New vocabulary
may be introduced in the naturalistic drama context.
Alternatively, the drama may be manipulated so that a
student is required to use a particular communication
skill to obtain something. Drama may also provide the
motivation to work on articulation skills and to organise
ideas logically and concisely.

One of the main aims in drama for students with

moderate general learning disabilities is to enable
them to make sense of their world and begin to
exercise control over their environment. The creative,
interactive approach advocated in drama will open
up a world of possibility and opportunity for students
through the provision of sensory, perceptual, social,
emotional and cognitive stimulation.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The range of situations experienced by students n achieve a sense of responsibility and confidence
is important; it increases their self-confidence in as decision-makers and problem-solvers in the real
the world. It is particularly helpful for students with world
moderate general learning disabilities who can get
n play alongside their peers and begin to learn to
used to a secure environment in the school and are
compromise in order to sustain and develop the
nervous of venturing out of it. Knowledge and skills
activity
have generally been acquired through experience
of, and interaction with, the immediate environment. n extend, enrich and prompt the use of language
Drama provides the opportunity to reinforce these in simulated real-life contexts, where the use of
skills in new settings. It can provide a reason and language arises out of a genuine need to speak
sense of urgency to use and apply practical skills, n develop their ability to work in groups, trusting and
concepts and factual knowledge such as counting relying on each other
and dressing skills. Targets from students’ individual
n appreciate and respond positively to the part
education plans, for example social interaction skills or
played by others in the drama
turn-taking, may also be worked on in the meaningful
context of drama, with drama helping to raise their n experience anticipation and excitement through
self-esteem through experiencing satisfaction, fun and the use of the contrasting aspects of drama, for
enjoyment. example, light and darkness, sound and silence,
movement and stillness
Finding ways to motivate and empower students in
n respond to dramatic stimuli through movement,
school is a central concern of all teachers. Part of
music and art
their role in teaching drama is to help students to
consider ideas from different aspects, to demonstrate n develop an imaginative response to various 
and explore the choices available to people in real- symbolic stimuli, such as toys, puppets, props, and
life situations. As a result of this informed experience dramatic characters and roles
and consideration, students are better able to resolve n affirm a positive sense of self-worth and self-
problems and issues. Drama functions as a way of esteem through engaging in drama.
‘playing at’ or practising living.
All students can participate in dramatic activities.
The drama curriculum enables students with There are no right or wrong answers. Drama places
moderate general learning disabilities to the students at the centre of the learning experience,
and allows them to build their own bridges of
n experience how people behave in particular understanding. In structuring activities, it will be
circumstances by exploring a variety of social important to ensure that all drama for these students
situations and interactions will have a strong sensory component, as some
n explore and express a range of human feelings and students may always need to engage with drama on
responses to situations through acting out a range a sensory level. There are endless opportunities for
of emotions in a structured experience developing sensory awareness through the use of
costumes, props and the creation of atmosphere.
n increase their perception of their environment
and develop an awareness of why and how things
happen
n enhance their memory skills and recollect past
experiences
n explore choices and moral dilemmas
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Overview of content and contribute to tension and excitement, interspersed

with moments of calm. They also need opportunities
Content strand and strand units
to imitate others, to initiate actions, and to learn to
The content of the Primary School Curriculum, Drama
adapt their behaviour in the light of the make-believe
is presented in one strand:
consequences.

Drama to explore feelings, knowledge and ideas,

Drama seeks to teach students why people think
leading to understanding
and behave as they do. Therefore, the teacher needs
to select appropriate content for the drama that will
This is sub-divided into three strand units that
challenge and extend students’ existing frames of
describe aspects of drama exploration, experience and
reference. The teacher working with students with
activity. The strand units are:
moderate general learning disabilities needs to find
a way to enable the group to become aware of, and
n exploring and making drama
empathise with, a basic emotional state (due to a
n reflecting on drama particular set of circumstances), and to discover
n co-operating and communicating in making the consequences. The teacher might also use the
drama. opportunities presented by drama to consolidate and
apply conceptual and factual knowledge and practical
These are further explored through eight specified skills in context, as well as individual learning targets,
elements of drama. While these are not taught for example, from communication and behaviour
formally, the student's attention can be drawn to programmes. Interest levels should be sensitively
these elements as they occur both naturally in the monitored: too much stimulation can cause confusion,
work and in structured drama sequences, where the while too little can cause interest to wane. Working in 
teacher aims to provide the students with a specific role can capture their interest and attention, especially
experience. Opportunities for developing dramatic when accompanied by the use of attractive, appealing
appreciation and awareness are built in to every props.
lesson, but learning about the elements of drama is
informal and in context. Reflecting on drama
For drama to be an effective learning medium,
Exploring and making drama participants need to be enabled to engage
Drama activities for students with moderate general meaningfully with the themes and issues contained in
learning disabilities should be clear-cut, with an the material. This can be challenging on a cognitive
explicit turn-taking structure and a predictable level for students with moderate general learning
narrative. Students are encouraged to relate to disabilities who have yet to consolidate understanding
the teacher-in-role (TIR): a character in need is a of representational thought and reasoning. For some
particularly useful strategy for encouraging students students, it will be a matter of enabling them to
to respond and show initiative, and it elevates their engage on a feeling level with the content of a drama,
status in a reversal of the usual relationship. Props in order to begin to perceive its meaning.
and objects within the drama also help students
to maintain focus; they should have a strong Situations in drama need to have a relevance to real
sensory appeal, and their use should be carefully life, so that students may begin to make connections
paced, working towards the more symbolic and and apply their experiences. While they may begin
representational. to relate to the content of the drama as it unfolds,
reflecting after the drama is more challenging.
These students develop the ability to make-believe It may be possible for some students to begin to
through being immersed within the group drama extract significance from the drama by relating to key
experience that requires commitment from everyone moments and concrete objects of reference, such as
to make it work—staff and students. Supporting staff props and multi-sensory resources.
members have a crucial responsibility in generating
an appropriate atmosphere and modelling appropriate
responses. Students need to experience, anticipate
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Reflecting on drama enables students to develop an The teacher plays an important role in building belief
awareness of their own potential influence through in drama. He/she should be receptive to the students’
situations in which they immediately discover their responses, and this fluid engagement builds up belief
impact on others. Teacher-in-role is a particularly in the drama and allows it to take on its own life and
powerful way of reinforcing this directly to students. significance.

Co-operating and communicating in making The student should be enabled to

drama
Students require sensitive intervention by the teacher n become aware of a sense of occasion and
and supporting staff, if they are to be enabled to difference when experiencing make-believe
make creative and imaginative contributions to drama activities
Challenges will need to be carefully paced to meet the
n experience and participate in the use of the
needs of all students within the group.
contrasting elements of light and darkness, sound
and silence, and movement and stillness, to help
At first, staff members may need to support, prompt
evoke an atmosphere of make-believe and fiction.
and model appropriate responses for students to
imitate and gain confidence, and then gradually
lessen the amount of support required. The important Role and character
point is that staff members should be sensitive not to In the early stages of playing the part of a character
dominate the activity. in a drama, the student will do no more than ‘assume
a role’, such as becoming a shepherd, a chef, a
Teachers need to be aware of the level of social teacher, or a garda, exploring and developing what
challenge in drama work for some students, and aim is still a strong instinct for make-believe play. He/she 
to extend their ability to engage in the group activity. may assume one or two of the principal attributes of
For students at the early stages of awareness, just that role, such as changing the tone of their voice
being enabled to participate in a dramatic group or standing in a particular manner. Gradually, he/
activity will be a valuable experience for them. Having she will use the ability to play at make-believe, in
their preferences interpreted, in order to influence order to enter fully into participation in drama and
the choice of costumes, props or the course of the begin to understand the relationship between role
dramatic action, will require a conscious effort and a and character. Characterisation is an extension of
watchful eye on the part of all staff involved. role-taking and involves an attempt to assume the
characteristics, desires, thought processes or physical
The elements of drama attributes of a particular person. The benefit of
Drama is characterised by certain features that give it characterisation is that the student learns to view the
its unique power. These may be called the elements of drama world from the point of view of someone other
drama. They are: than himself/herself. This promotes understanding
and empathy, which will enhance the student’s ability
Belief to understand people with a personality different
The element of belief in drama depends on the ability from his/her own. It can assist greatly in exploring
of the students to temporarily suspend their disbelief relationships, in developing an awareness of different
and accept the fantastic, the wondrous, and the often registers of language, and in using non-verbal means
seemingly impossible. In drama, a fictional world is to communicate.
created in which characters live out the consequences
of a particular situation. The degree to which a student
can enter into the imaginative world and believe in or
accept the fiction, will, to a great extent, determine
both the success of his/her drama experience and the
learning experiences that will result from it.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Action Place
Action springs from the interaction between character Just as drama takes place in the dimension of time,
and situation and does not necessarily contain it also has a location: it happens somewhere. The
physical movement. In drama, characters and location helps the students know how to respond and
situations are chosen so that certain unresolved behave in the drama.
conflicts, tensions, questions or choices are
highlighted. The nature of the engagement will vary The student should be enabled to
depending on the stage of development of individual
students. Once sufficient belief is established in the n become aware of the creation of a (make-believe)
situation (i.e. students are familiar with the fictional space through the use of props, objects or pictures
context and characters involved), the teacher can
n attend, respond to and participate in creating
develop and lead the story to a point where ‘something
the main features of the drama location (what is
happens’ and the students, in or out of role, are called
needed to make the café in our classroom)
upon to engage with the action and attempt to resolve
the problem or dilemma that has arisen. n experience tactile and sensory stimuli to evoke a
sense of place in the drama
Time n look at, handle and appreciate the props and
All dramatic action, like all human existence, takes signifiers that indicate the sense of place (rows of
place in the dimension of time. Time helps to frame goods placed on a shelf to create a shop)
the action and to constrain it. It can also contribute
n become aware of being part of a make-believe
to the element of tension. Students with moderate
space or location and begin to participate in the
general learning disabilities will need considerable
action, using appropriate language and gestures 
reinforcement of the concept of time. The teacher
for that role
will need to heighten the sense of the timescale
involved through providing the students with concrete n distinguish between the make-believe location and
experiences of events while the drama is unfolding, the classroom (involve the students in creating the
rather than just narrating the passage of time, by location and then tidying it away when the drama
including details such as eating a meal, and going to is over)
bed, before getting up, and then finding the beanstalk
n experience how the use of space and objects help
in the garden.
to create the ‘reality’ of the make-believe world
(sheets of paper as stepping-stones across a
The student should be enabled to:
stream).

n become aware of patterns and sequences in the

drama that indicate familiar activities and can help
them anticipate what happens next
n attend to and appreciate the significance of time
in relation to how characters in the drama behave
(when night falls all the hens go to sleep, but the
fox is wide awake, getting ready to visit the farm)
n develop an awareness of the significance of time
in adding tension and urgency to the drama (if we
don’t find her before it gets dark, we’ll have to go
home and try again tomorrow).
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Tension The student should be enabled to

Tension arises when characters in the drama are
faced with conflicting needs, or want to take different n become aware of how objects, people, sounds,
courses of action. It is from a combination of the movements and changes in lighting can be used
elements of action, role and character, time and place, to enhance the significance of an event (everyone
that tension derives, and this helps to drive the action bows when the king enters the room, a bell tolls
forward. when it is time for Cinderella to leave the ball)
n become aware of how objects, people, sounds,
The student should be enabled to
movements and changes in lighting can be used to
represent or signify something else (the lights are
n sense and experience the excitement and
dimmed to suggest nightfall, the character wears a
anticipation of a character faced with a choice, a
hat, scarf and gloves to indicate cold weather)
dilemma or a problem
n participate in the selection of appropriate objects to
n participate in collective or individual role as the
raise the status of an event or character (deciding
character facing the choice or difficulty
to place a chair on a box so that the king is seen to
n become sensitive to the change in body language, be in a position of authority)
tone and register when a character is facing a
n develop the ability to reflect on the significance
dilemma or problem
of events as they occur in the drama (she was
n experience the moment of tension in the drama carrying a big red bag: was that to … ?).
(a ‘friendly’ stranger offers sweets to members
of the group who have to decide whether to take Genre
them or not). Genre refers to the form of dramatic expression— 
naturalistic, comic, tragic, absurd, etc. Naturalistic
Significance drama is the genre that imitates most accurately the
In the case of students with moderate general details of life, and is the one that comes most easily
learning disabilities, the teacher’s choice of signs, as to students. However, genres may become interwoven
well as how they are used, is centrally important in as a drama unfolds. For example, in Jack and the
communicating meaning about the significance of the Beanstalk the kitchen scene is naturalistic, but Jack’s
drama. The signs chosen must be clear, uncluttered, encounter with the buyer of his cow borders on the
and absolutely focused on the learning area of the comic.
drama: for example, in Jack and the Beanstalk (see
exemplars pages 32-53) the drawings of a fireplace, The student should be enabled to
door and window signify the layout of Jack’s kitchen,
and the lighting of a candle signifies nightfall. n experience, enjoy and participate in as many forms
of dramatic expression and genres as possible
n begin to be sensitive to the differences in genre, for
example between comic and tragic.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

School planning

The efficient planning by Curriculum and organisational

planning
the school and teachers will
A whole-school approach
be crucial for the successful When planning for drama, teachers should be
implementation of the drama concerned to make learning a rewarding experience
for their students, and to ensure that communication
curriculum. Much of the planning
skills, the ability to use language, and the development
in the Primary School Curriculum: of problem-solving strategies are related to all aspects
Drama, Teacher Guidelines, will of the curriculum and to a range of social situations.
The ability to work both independently and as part of
be applicable when planning for a team should be constantly reinforced and developed
students with moderate general as the drama contexts are created. It is essential to
create a supportive climate throughout the whole
learning disabilities. school where students’ creative work is respected and
valued. Although the importance of engaging with new
The following section outlines material is central to students’ experience in drama,
students with moderate general learning disabilities
some additional aspects of 
may need to revisit knowledge and skills several times,
planning that may need to be applying them to familiar and new situations each
considered when planning for time. Drama provides the opportunity for consolidating
and extending the same material through engaging in
these students. new contexts, which are developmentally appropriate
and relevant to all students.

Some teachers may be more confident in engaging

with drama than others and may be willing to take
a leading role in sharing knowledge with other staff
members. Time and resources might be organised to
facilitate sessions where ideas are discussed. Shared
teaching might be desirable in some situations. A
good supply of high-quality, well-chosen resources
are required to support learning for students with
moderate general learning disabilities. Visual props
are effective in enabling students to achieve meaning.
They are particularly useful to the teacher and student
in changing from one role to another. Costumes and
props that have been made for previous activities
and productions should be kept in the school as a
common resource.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Make-believe play Establishing an appropriate physical space is the

To a great extent, drama relies on make-believe play. responsibility of the school. Although most drama
Students with moderate general learning disabilities activities can be conducted within the classroom (and
may be developmentally capable of engaging in indeed it is highly desirable to do so on occasion,
make-believe, but lack drive or initiative to sustain and especially if drama is to be integrated with other
generate the make-believe between themselves. The curricular subjects as and when they are timetabled)
use of many well-structured drama strategies, such as there are also occasions when a dedicated space can
teacher-in-role, clear signing techniques, and the use allow students the freedom to work without disturbing
of the collective role, can assist students in entering other groups close by. Students with additional
the fictional mode more effectively and easily. Some physical and sensory impairments will need particular
students may have difficulty generating imaginary attention in this regard.
goals and sustaining make-believe responses.
The following points will need to be considered when
Planning what to teach in drama is relatively planning space and time for drama:
straightforward. Issues will tend to be universal
and have application and relevance to all ages and n What is the usual student-teacher ratio? Are there
abilities. The challenge for the teacher in terms additional staff members or students available for
of planning is more to do with how material is to drama? Does the ratio always stay the same? Is
be accessed to meet a range of learning needs. extra help available (students on placement, older
Some may be more engaged than others, and the students, or students from mainstream schools)?
teacher is faced with the challenge of engaging all n Be aware of other timetabling commitments and
the students effectively. One possibility is to ‘stream’ the need to negotiate the use of the space with
drama according to the students’ level of symbolic 10
other staff.
development, in order to form more homogeneous
teaching groups. The alternative is to pitch activity n Are there particular individual needs to be aware
so that it meets the range of needs in an inclusive of— someone who dominates, someone who
group for some, if not all, of the time. It is possible uses signing? Are wheelchairs or extra assistance
to structure the drama to include activity that can required to negotiate the drama space? Are
be enjoyed at a range of ability levels, and which there students with sensory, visual or hearing
nevertheless promotes valuable learning for all impairment?
concerned. For example, physical tasks, drama n What is the effect of the size of the available space?
games, music or art activities may be contextualised
n Are there any noise restrictions?
within the drama.
n How are clothing and footwear changes to be
Organisational planning handled (if required)?

Space n Will all staff members need to be there for the

The use of space is important, so students should duration of the lesson?
have the opportunity to n What time is needed to move the students from
one space to another?
n look, handle, feel, manipulate, listen, and respond
n Consider the student's ability to sustain
with ease in different drama situations
concentration (length of drama experience).
n work effectively in groups
n Allow sufficient time to warm up, get into the
n use resources that specifically encourage active drama, and come out of role at the end.
participation and exploration.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Support staff Extra-curricular drama experiences

Special needs assistants are an invaluable resource Theatre-in-education groups can devise specific
in any classroom where they support the activities programmes for students with moderate general
of the teacher and learner. They can be a wonderful learning disabilities, and this can be done on occasion
resource when doing drama and it is important that in consultation with the school, considering the needs
they are taken into account when planning for drama. of a particular group of students. For example, a
It is important to bear in mind their personal comfort play could be presented about the challenges faced
levels with the activity. Putting a colleague in role may by senior students with moderate general learning
help develop the drama but, for some people, working disabilities entering the world of work.
in role is a huge psychological hurdle and best left
until they themselves feel ready to undertake the Theatre trips are always a good idea for students
activity. When planning for the use of support staff, it with moderate general learning disabilities. Teachers,
is important to take the following into account: however, should choose the play or production
carefully, in order to meet the needs of their students.
n whether they are comfortable playing a role
n whether they are likely to over-support students
n the use of a discreet, shared signalling system to
be used during the drama
n their other duties of care for students.

Subject specialists
While a teacher with special responsibility for drama
11
may usefully be able to support the rest of the staff
in their use of drama in the classroom, and direct
them towards resources, courses, conferences, and
available literature in the field, it is important that this
person does not become identified as the thespian
on the staff, and end up doing all the drama work
in the school. Drama should be a central part of the
student’s learning experience and, since the content
of drama encompasses every aspect of the student’s
experience including learning in other curriculum
areas, it is essential that it is fully integrated with all
facets of the student’s learning in school. Clearly, if the
school is preparing to mount a production, such as a
musical, then it’s ‘all hands on deck’. Such sharing of
skills and expertise among the staff will help ease the
pressure on any one person and create a productive
and enjoyable learning experience for the whole
school community. The students, their parents and
others in the community can also help out with stage
management, costume design, props and set design,
publicity for the event, sound and lighting, etc.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Classroom planning

Many of the issues raised in Curriculum and organisational

planning
the Primary School Curriculum:
Drama, Teacher Guidelines, Choosing content for drama
Teachers, by planning well, can provide settings within
are also relevant for teachers
which purposeful work can take place in drama, and
working with students with in which they can capitalise on the richest resource
moderate general learning available to them: their own and their students’
imaginations and initiative. Situations and stories that
disabilities. The following are have a choice or problem in them are the most useful
additional considerations that for engaging students’ attention and participative
responses. When working with students with moderate
may be useful when planning general learning disabilities, teachers can explore
drama for these students. everyday situations for drama activities, thereby
affording the student an opportunity to experience
(or re-experience) and explore familiar situations in
new ways.
12
In structuring a drama curriculum, content can be
drawn from the following areas:

n curriculum material or topics such as bullying,

friendship, language work, mathematics, SPHE,
etc.
n elements of drama, such as pace, tension, timing,
movement, rhythm, use of space, symbolisation,
contrast (sound and silence, movement and
stillness, light and darkness)
n dramatic skills, such as mime, masks, using light
and sound, improvisation, physical drama
n explorative drama strategies, such as storyboards,
role-playing, narrating, collective role.

Establishing a clear context for the

make-believe
To a great extent, drama relies on make-believe
play—on the ability to pretend to be someone or
something else. Some students may only sense this or
have an emerging awareness of make-believe
and find working in the abstract quite difficult.
Others may become easily confused between
make-believe and reality, and will require clear
signals to indicate when the drama has actually
started or stopped. It is imperative that the distinction
is crystal-clear at all times.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The use of many well-structured strategies for drama n The nature of the fiction should be concretely
in education, for example, teacher-in-role, clear demonstrated or physically explained ‘in process’
signing techniques, and the use of collective role and (with continuous checking and monitoring of
shadow role, can assist students in attending and students’ security and engagement during the
responding to the fictional mode more effectively and lesson).
easily. It is important that students are not left feeling
n Students should be helped into symbolism by
bewildered during or after the drama experience.
working from the concrete to the abstract.

Strategies to engage students meaningfully with the n The pace should be adjusted according to the
material: needs of students in order to gain as much as
possible from each situation, as opposed to
n Plan the work so that it is well within the range rushing onwards and failing to sense, experience
of students’ experience and they can perceive and enjoy the significance of events.
its relevance to their own lives. (Seek a balance n Roles should be signalled clearly (apron for cook,
between core competence, academic progression, crown for king, etc.) and concretely demonstrated
life skills, independence training, and active or physically explained before being entered into.
enjoyment.)
n Continuously monitor the drama and students’
n Use sensory and creative strategies to maintain engagement and responses to the process.
the focus (props, visual, aural, sensory and tactile
stimuli, repetition, manual signs and symbols, Provide plenty of opportunities for reflection and
discussion and questioning to convey meaning). evaluation during and after the drama experience
n Special needs assistants or staff members in (verbal and non-verbal). 13
shadow role can broadly retain control of the
drama without providing all the ideas. Focusing on the task
It is important to keep students with moderate general
n Emphasise the affective feeling and ‘doing’ aspects
learning disabilities focused and ‘on task’. This can be
of the drama experience.
achieved in the following ways:
n Provide opportunities for all students to contribute
something, if they so desire. n Divide the drama into relatively short episodes
of sequential activities, ensuring a structured
n Use simple props and visual, aural, sensory and
presentation of information.
tactile ‘hooks’ (cues) to support entry into the world
of make-believe. n Employ a variety of active and static strategies
to allow for the ebb and flow of energy (where
n Plan a clear focus and sense of purpose in the
students can listen, respond, physically participate,
activities.
etc).
n Ensure that there are very clear transitions between
n Allow those with a very short concentration span to
one activity and the next.
‘come and go’ and vary the stimulus regularly.
n Ensure that all signals are clear and
n Use everything students offer if possible, and
unambiguously communicated.
integrate it into the unfolding story or drama.
Seeing their ideas incorporated in the drama at
Roles should be sincere and not ‘hammed up’ (over-
some point empowers the students. They begin
acted). They must be sufficiently defined to serve an
to understand that they have the capacity to
identifiable purpose and to avoid confusion.
influence and affect events. (It is important to be
particularly sensitive to students’ non-verbal modes
Easing into make-believe
of communication. A shake of the head or a frown
The following points will help ease students gently into
could be an important comment on the action and
working in fictional environments:
should be acknowledged).
n Gently but concretely lead students in and out of
make-believe (the fictional scenario).
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

n Special needs assistants can support students n Decide which strategies will reach students of
during the work, helping to keep them ‘engaged’ different abilities at the same time: music, song,
While being careful not to dominate too much. ritual, physical activity, sensory stimuli, or drama
game.
n Use short sentences and functional language.
n Identify aspects of learning in other subjects that
n Limit the number of extended periods of listening,
can be integrated with drama, for example greeting
and then reinforce by doing.
friends and family, attending and listening to
n Use the elements of drama to create tension and others, or a favourite story or piece of music.
generate a sense of urgency and enquiry.
n Plan to include topical content and issues and
n Repeat drama episodes and stories until they concerns of particular interest to the students in
become familiar and begin to accrue meaning the content of the drama.
through repeated experience. This will allow
n Ensure that the content is age-appropriate, or if
students to build up a group of associations that
not, adapt it to make it relevant and accessible.
will make it easier for them to anticipate what is
happening and so to participate. n Are there particular friendship groups among the
students that could be exploited in improvised
n Adopt a ‘layering’ approach to experiencing drama,
work?
where each session begins with a repetition of
the last episode, and gradually add or layer new n Ensure that boys and girls work well together.
experiences to the unfolding drama. (Once the
n Take account of personality clashes among the
general framework is familiar, elements can be
students.
varied to maintain interest and attention.)
n Be generally vigilant about the social health of the 14
n Use sensory, tactile, visual and aural props to gain
group in all drama activities.
and retain students’ attention.
n In choosing content, beware of the susceptibilities
n It is important to have all props readily available to
of the different students and avoid, or be careful to
avoid losing the attention of the students.
accommodate particular fears or obsessions.
n A record of the drama ‘so far’ can be kept as a
visual or sensory stimulus and reminder for the Other issues to consider
students. The storyline and main characters could Do not offer too many options: opening up too many
be put on a wall display, or a specific area of the possibilities at the start may allow the activity to sink
room could be used to display the main ‘props’ into a formless exercise, and the session will lose its
concerned with this drama. Students’ work in art sense of direction. Some students may get confused
or emergent writing, or audio or video recordings, and suffer from information overload. (It is possible for
completed as part of their drama activity, could be students to experience sensory overload as well).
displayed and played as well. It is a case of finding the middle ground between over-
prescription and burdening students with too many
options.
Accommodating students with a diverse range
of ability
The teacher may feel that his/her intervention in
It is important to consider the individual needs, social
students’ play and drama activities (after the provision
health, and group dynamics of the students when
of the initial stimulus) will interfere with creativity or
planning, using the following means:
self-expression. The opposite is true. When working
with students with moderate general learning
n Establish how diverse the range of the group is,
disabilities, those largely left to their own devices are
particularly in terms of conceptual and symbolic
unlikely to create drama that extends or challenges
understanding and social development.
them, or provides them with the opportunity to gain
n Consider whether it would be more viable to new insights and understanding. The teacher should
combine students of similar abilities from other challenge, arouse, motivate, give confidence and
classes. encouragement, co-ordinate and support students in
n Plan to meet the needs of all the students in the their drama experiences.
group at some point during the activity.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

It is possible to have games and exercises in which Drama provides an additional opportunity to develop
only one voice is heard at a time. However, in many students’ emerging literacy skills (communicating,
cases it is desirable - and helps students to feel secure listening, reading and writing). For students who
experimenting with voice and speech (often connected require an augmentative approach to communication,
to movement) - if they are surrounded by sound signs, symbols and objects of reference are used to
with no one paying them any particular attention. Of make the subject matter more easily accessible. Most
course, high noise levels must be under complete drama activities provide the opportunity to actively
control at all times. Every student must learn to come gain students’ attention, and through the investigation
to an instant stop at an arranged signal. A game can and experience of a ‘human interest story’, they are
be used to practise responding to this signal (traffic motivated to want to communicate. This desire to
lights). It is vitally important to establish the two golden communicate can be harnessed in the context of
rules in drama: when the teacher or another student the unfolding drama and expressed in many ways,
talks, others listen; and when they hear or see the including emergent reading and writing.
agreed signal, they respond immediately. The fewer
the rules, the greater the likelihood of implementing For example, in a story about a young man who
them. An appropriate signal could be the teacher wanted to work in a restaurant, menus, recipes, order
saying the word ‘freeze’ or keeping an arm in the forms, bills, receipts etc. could all be used to create
air until the students respond. Students could raise the appropriate atmosphere and work environment.
their arms in the air as a response, signalling to the Through the real-life drama setting of a restaurant,
teacher that they are listening and ready. Percussion students can relate their emerging literacy skills to
instruments can also be used to establish their society. Once they are familiar with the routine of
attention. running the restaurant, taking orders, making meals,
writing the bills, etc., a crisis or problem could be 15
Much drama with students with moderate general introduced to add tension to the drama. The extent
learning disabilities is physical. Expressive use of of such a problem or dilemma would depend on the
face, hands and the whole body is within the domain needs and resources of the students, but would allow
of drama, as is a certain amount of physical contact them to test their skills and knowledge in a challenging
between the students. Teachers need to intervene and new context, for example, how to deal with a
when ‘push’ becomes ‘shove’ and to remind students rowdy customer, or a customer who has no money to
that we can let symbols, words and gestures do the pay the bill.
work for us (communicating our feelings) in drama.
The special needs assistant or teacher could play the
Planning cross-curricular drama role of a demanding customer who orders a meal that
Drama, as an active learning strategy, aims to provide the chef doesn’t know how to make. What do we do?
as many ‘hooks into learning’, or opportunities for Can we find it in the recipe book and work it out? (The
students to engage with content and skills, in as many teacher could have recipe cards prepared that feature
different ways as possible. In this way, drama aims to a core vocabulary and symbols to help students
reach those learners who prefer to be physically active decipher the ingredients and stages of preparation.)
or rhythmically engaged, in order to help them learn The possibilities are endless.
more effectively. Drama in education affirms the notion
that everything can be taught in several different ways.
This is a particularly important concept for students
with moderate general learning disabilities. It attempts
to provide students with several different entry points
to the learning area, in order to identify how best
individual students learn.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Approaches and Methodologies

Games and excercises can be Games and exercises

There are many varied games that one can play with
a valuable introduction to many
students of all ages.
aspects of drama.
Games and exercises are useful
n when beginning work with a new class
n when the teacher or students have limited
experience in drama
n as part of a warm-up routine
n as motivating introductions to a theme or topic work
n to allow students to take an active part in the work
n to help students understand the need for rules and
codes of behaviour
n to develop physical and mental dexterity
n to inject energy into a lethargic group, or to calm 16
down an over-excited one
n to help students learn how to manipulate space
and time
n to develop a sense of trust by being non-
threatening
n to develop and build trust and co-operation
between the members of a group or within the
whole class.

Warm-ups
Warm-ups can be done at the beginning of a
class. They help to relax everyone physically and
mentally, and reduce anxiety and inhibition. It is
often a good idea to start warm-ups with stretching,
curling, bending, relaxing and warming-up vocally to
encourage members of the group to feel relaxed with
each other.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Some practical guidelines n It will be important to choose the right time for
n Games and exercises can be done with the whole engaging in drama work, and in particular with
class at the same time or alternatively with smaller games and exercises. Where there is flexibility with
groups. However, care must be taken not to choose the timetable, these activities may be integrated
activities that will attract the attention of the others with the rest of the curriculum. It is far better to
who may not be involved, for example, when a lot introduce drama work in short sessions at first than
of noise or movement is involved. to attempt one long block each week.

n Plan these activities carefully. Games

Snake and snake charmer
n Let the students see that the teacher is also
This is done to Indian music with sitars or flutes, if
involved.
possible. Students sit in twos, opposite each other.
One is the snake, one the snake charmer. The snake
n All games and exercises take time to build up and
charmers sit cross-legged and mime playing flutes.
students may need to repeat them regularly until
The snakes make themselves very small: cupped
they have acquired the format of the activity.
hands in front, twisting and turning to the music. The
students then change roles.
n The atmosphere should be calm and uncritical.
This helps build trust between the teacher and
Note: Green tights could be used and decorated as a
student.
snake and put over the student’s arm.

n If a lesson isn’t going well, for one reason or

My name is Margaret 17
another, the decision may be taken not to continue
A student takes a step forward into the centre of the
with it. Teacher tells or elicits from the students
circle and claps four beats while saying ‘My name is
what is going wrong. It is important that belief and
…’. The others then repeat this, taking a step into the
value in the work is established in the early stages,
circle and clapping four times while saying ‘Her name
or it will prove increasingly difficult to contain
is …’.
problems later on when sincerity is needed.

Variation: A student performs a little action or gesture

n Aim to be constructive with criticism, using
(such as a wave of the hand, a wiggle of the hips, or a
statements such as, ‘It isn’t easy to concentrate
nod of the head) as they step forward and say ‘Hello,
if people are talking’. Encourage students to
my name is …’. The other students repeat. Encourage
be responsible for their behaviour in class. To
the use of vocal and facial expression.
punish or embarrass an individual while doing
the work will probably do nothing to help his/
Kim’s game or the memory game
her concentration and may also destroy the
Teacher sets out a number of objects from the prop
atmosphere of the class. If a student is being
box on a tray or cloth. The group is given a minute
extremely difficult, teacher should allow him/her
or two to concentrate and remember what is there.
to become a special assistant, or to sit outside
Objects are removed or covered and students attempt
the activity for a time. Hopefully, they may wish
to recall them.
to rejoin later on. It is also important not to
force a student to engage in an activity if he/she
Note: The number of objects on the tray can be
genuinely appears not to want to. There may be
limited according to the ability level of the students.
many reasons for this. After an initial period of
observation, he/she may choose to participate
Variation: Students whose language skills are not
quite willingly, when it is seen how much fun and
developed could point to the objects (have the same
enjoyment pertains to this way of working.
object or a picture of it elsewhere in the room as a
point of reference for the student). Spatial awareness
can also be developed if students are asked to
communicate about the position of the objects on
the tray.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The gloves that have a life of their own Variations

An old pair of gloves is used (they could be washing- n Students can be asked to make their movements

up gloves). They are magic. When someone puts them happy or sad, and the partner copies. If working
on, the magic begins. on a story, however, they could be asked to take
on some of the actions of a character (anger,
The teacher can decide what the magic properties are. disappointment).
For example, they make you big, small, happy, dance,
jump, write, draw, and students respond accordingly. n Students kneel down and face each other, with
music playing in the background. One leads,
Variation: A number of students can wear gloves at the the other following the same movements exactly.
same time (but taking it in turns to call out a magic Improvised patterns may provide another way
property). in to make-believe activities: brushing the teeth,
combing the hair, shaving for boys, doing their
Note: This can also be played by substituting a magic make-up for girls. The same exercise can be
hat, shoes, etc. for the gloves. repeated, exchanging roles of leader and mirror
image.
Background music to the movement creates a nice
effect. n The exercise described above could be developed
into a simple improvisation. Students face each
Musical bumps, freeze like this, statues, and other, and one begins a simple miming activity,
musical chairs such as eating an apple or making a cup of tea.
Musical bumps: Students dance to the music. When it The other responds by asking them questions
stops, everyone flops down on the ground. about what they are doing, and a short dialogue 18
ensues.
Freeze like this: This game can be used to encourage
the development of any particular skill: standing with Dance patterns
arms stretched out, standing on one leg, hands on Students stand in a circle, with the teacher in the
head, elbow on knee, etc. Students move around and centre. The teacher starts a strong, easily repeated
respond to the music. On a signal, the teacher says, movement or dance pattern and vocal rhythm.
‘Freeze like this …’ (and demonstrates a physical Everyone picks it up. When the group has had enough
position). Students immediately look at the teacher time to practise, the teacher calls ‘Freeze’. This is the
and copy the image he/she is making. signal for the next person to come into the centre,
which the teacher then leaves, and start another
Statues: This works in a similar way, only this time movement/dance pattern and vocal rhythm. The
when the music stops everyone stops absolutely still, teacher can discreetly and positively offer support in
like a statue; anyone who moves is ‘out’. helping to keep these short and simple.

Game: Mirroring or image work Drums mime

Students stand in pairs facing each other (A and B). The class mimes accompanying the music with
A performs a simple movement, which B copies as drums. They sit or stand behind an imaginary drum
exactly as he/she can. Then A performs another one, kit (they may need to be shown a picture or a real
B copies again. All movements should be slow, so that drum beforehand). They can do fancy flips etc., while
the partner is enabled to reproduce the movement. interpreting the music. After a while the teacher calls,
Each movement should follow naturally from the last. ‘Spotlight on Martin’. Martin continues playing as
The teacher urges students to be attentive, even to the a solo drummer. The others fall on one knee, hand
smallest detail of body movement or facial expression. extended in the direction of Martin to show him off.
Swap roles, with B leading and A mirroring. Everyone gets a solo turn.

Note: This is best done to a piece of music with a

good, strong rhythm. Different kinds of music will
extend the repertoire.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Developing games into drama n For a real challenge to students, and to inject a
sense of humour and fun, they can be encouraged
The name game
to greet each other in silly ways, such as shaking
fingers instead of hands, rubbing backs together
Aims
(gently—a demonstration may be necessary first),
n to encourage students to initiate and respond to a
touching knees, shoulders, hips, elbows, wrists,
greeting
feet, etc.
n to move confidently around the room or space
Note: Appropriate music can be played softly in the
n to practise attending to and responding to an background. It will help students to move or walk more
instruction easily around the room, and may lessen the feelings of
n to foster a sense of group co-operation self-consciousness on the part of some students.

n to develop students’ social interaction skills Follow my leader

n to provide students with opportunities to engage in
physical contact with other students. Aims
The student should be enabled to
Method
Students are invited to move around the room, n to move with freedom, expression and confidence
avoiding contact with each other. On a signal, (‘Turn n to attend to and imitate an action
to the person/people nearest to you and say hello!’),
students stop and look for the person or people n exercise responsibility for others
nearest to them and shake hands. They can say hello n ease gently into the world of make-believe play 19
and exchange names. Then the teacher calls ‘Walk’
n make simple choices and to solve problems.
and everyone begins to move around the room once
again until the signal is given to say ‘hello’.
Method
Students are invited to form a line behind the teacher
Variation
and when the music starts, the teacher leads them
n The students walk around the room, stopping to
around the room, wagging a finger, nodding or shaking
say ‘hello’, and introduce themselves to everyone
his/her head, wiggling his/her hips, jumping, hopping,
they meet.
turning, going around furniture (or under, over or
n They can be invited to give their name and through if desired), sliding along a bench, etc. Large,
perhaps add a line to say what their favourite exaggerated movements are used, but care is taken
food is. Pre-verbal and non-verbal students can not to encourage them to wave their arms about,
be encouraged to communicate using signs and or at least not too wildly, so that they avoid injuring
symbols to represent their favourite food. Leave someone else in the line.
plenty of props and pictures of food lying about
to prompt students to communicate using the Variations
representational object. n The child behind the teacher can become the

n Once familiar with this game, students can be leader, and so on, to allow others the opportunity
encouraged to greet each other with a sad, happy, to lead.
scared, brave, excited or angry face and tone of
voice. (Practise these first with the students and n The line can become a train, with students holding
explore occasions when people might experience on to the hand or waist of the person in front of
these emotions). them. If they do not wish to hold each other’s
hands, an object can be placed in between
and the teacher can suggest that these are the
mechanisms that connect the carriages of a train
together. The sound of a train can be added, or
appropriate music played. The teacher can develop
this game into ‘drama mode’ by beginning to point
out to students various objects on their ‘trip’.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

These can be real and concrete items that Moving from story to drama work
are visible in the room at first (the teacher can
Storytelling
place these deliberately, if desired, before the
Stories of all types can be brought to life by being
activity), and later extended to looking at fictional
told dramatically, using gestures, sound effects and
objects and people that one would expect to
the various appropriate character voices. Props
meet on a journey through the school, on the
and puppets can also be used to help establish,
students’ regular bus route home, on the way to
communicate or enhance meaning and maintain
the swimming pool or the seaside, through the
student's interest and attention.
countryside, through the park, etc. The ‘train’ can
be stopped at any point if the teacher wishes to
Storytelling can stimulate drama, and in turn, the
develop the drama further. He/she may pause and
drama can generate further stories. Stories provide
present the students with a dilemma, for example
the opportunity to experience and explore different
which direction to go in next.
environments and cultures, and equally to encounter
familiar situations in new contexts. Through
n This game can be developed into an activity similar
enactment, students can become increasingly familiar
to ‘We’re going on a bear hunt’. The language and
with the pattern and sequence of events. The teacher
concepts can be changed to accommodate the
can gradually find ways of approaching familiar
needs and resources of the group, for example,
material that will deepen the student's experience and
‘We’re going on a shopping trip’ or ‘We’re going
understanding of it.
to the swimming pool’ etc. The principle is the
same, with students following the teacher through
This is one of the most comfortable and easiest ways
a series of obstacles in order to get there. These
of moving into drama. Work can be confined to the
can be narrated, or sung if desired. Sensory and 20
classroom or a corner of the school hall, with the class
visual experiences can be built in along the way to
sitting informally around the teacher, or in a story
evoke the idea of crossing the river (a blue cloth
corner in the classroom.
on the ground gently shaken by the special needs
assistant to suggest motion, or students drink
Collective storytelling or story building
a sip of water), going through the forest (leaves
Students with moderate general learning disabilities
and smooth branches can be rubbed against
need plenty of stimulation in relation to creating
student's faces or hands), the wind is strong and
atmosphere and evoking mood and meaning. Props
howling (a fan blowing on the student's faces as
of all kinds can be used to stimulate their attention
they pass by), we’re getting near the house and
and responses. The elements of drama can also be
dinner is being prepared (the smell of cut lemons,
used to help create the appropriate atmosphere, like
strawberries or onions etc.) The possibilities are
darkening the room a little, to indicate the onset of
endless.
nightfall or a storm, or having to sit very still and quiet
while the lions drink water from the river before they
can get across to the other side.

It is important not to neglect the opportunity of

deviating from the main storyline (even in published
texts) to provide students with opportunities to
respond to the story, and to take decisions and
make choices themselves as participants or as
the characters who are undertaking the journey or
adventure. This will serve to empower and enable
them to participate more fully in the unfolding drama,
and allow them to experience a sense of achievement,
self-esteem and confidence in relation to their role in
solving a problem or making a decision.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Teachers should not be afraid to try to create their Direct enactment: As the teacher tells (or retells)
own stories, which will be a much more productive the story, the students perform the actions (usually
activity, by including the learning areas that they a non-verbal activity, although sounds and dialogue
wish to concentrate on, for example, greeting people can be used). A reasonably large space is required
or providing opportunities to purchase items from a for this activity, although students can be asked to
shop. The teacher can start with an anecdote, or by push back the chairs and tables in the classroom. If
telling the students about a very big house that he/she there are limited numbers of characters in the story,
has to visit, as the woman living there needs help with several students may play each role, or the story
cooking and cleaning, etc. This way of telling stories can be repeated several times to allow each one to
allows the teacher to pause for responses from the perform. The addition of costumes and hand props
students, and to develop the story according to these can enhance the students’ experience of the story. If
responses. For example, ‘Do you think we should possible, they should be allowed to choose these for
bring her a present? What would she like? How do you themselves. The costumes and props can form the
feel when you get a present?’ The story could then be basis for a wider discussion on the characters in the
diverted a little to pause and allow the present to be story. ‘Why do you think Cinderella is wearing a pink
bought. This could involve simple mathematical skills dress?’ ‘Why not grey?’ ‘Why did you choose that prop
(dealing with money, adding the cost of getting a drink for your character?’
as well for yourself, the shape of the present and how
to wrap it for the woman, etc). Additional problems Creative storytelling: The teacher calls out
and tensions can be introduced as the students instructions to get everyone warmed up, for example,
become comfortable and secure with the characters the morning washing routine or working on a farm,
and the context of the story. For example, ‘No one and the students respond to the instructions and dig
answers the door when we knock but look, there is a the fields, sow the seeds, water the plants or feed the 21
note sticking out of the letterbox. Should we read it? animals, as appropriate. The students are divided into
Perhaps the woman needs our help’. groups, put in different places throughout the room
and assigned their collective roles, such as the hens,
Sound stories: Before the teacher begins, students the villagers, and the thieves. The teacher narrates
are told that he/she is going to try to bring the story to the story in a good, lively voice and the students
life and will need their help. First, practise one or two respond accordingly. For example, ‘Down in the valley,
of the sounds or movements that will arise in the story. the villagers worked on their farms all day (calls out
It is wise to have a simple means of control built in to various tasks the villagers perform). After a while
the lesson. Teacher can use his/her hand or a simple they sat down to rest. However, high up on the hill,
arrow. He/she explains that when the arrow is pointing the thieves (another group of students) were hiding,
downwards, like the volume on the television or radio, and from behind the trees they watched the farmers
there will be no sound at all; as the arrow begins to carefully. They began to form a plan, and sneaked
turn upwards, the sound increases. When it begins to back into their hideout to discuss it. Meanwhile the
turn down again, it fades away. Have a practice run hens (the third group of students) were scratching
first, and remind them to keep their eyes on teacher about in their yard, looking for worms. They stretched
and the arrow, so that they will know when their help their long necks in the sun and shook out their dusty
is required. Allow them to make the sounds and feathers, and chatted to one another’…. The story
appropriate gestures, then fade it down and continue can be built up for a while, ‘Until night falls and the
with the story. If possible, let the students discover for villagers go to sleep, and the thieves sneak down the
themselves how to make the sounds (and possible hill to steal the farmers’ corn. The hens hear them and
gestures), otherwise they will continue to copy teacher. screech out loud to alert the farmers, who catch the
If there are concerns about the noise of a particular thieves. If there are fears about the noise or confusion
sound, either keep the arrow low or cut it out of the when the farmers wake up to catch the thieves, simply
story altogether. The teacher may prefer to use his/her adapt the story so that, for example, all the other
own stories and incorporate desired sounds that he/ thieves get away and only one is left behind.’
she wishes the students to practise.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

This approach can be used with well-known stories or

with stories that the teacher or the students create.

Use the original story to prompt you in a new

direction: This is a very useful way to lead into drama.
Using a story that the students are familiar with,
teacher introduces the idea that the main character
took another route or made a different choice. For
example, when Goldilocks went to the Bears’ house,
there was no porridge, so she decided to go to the
house next door where the three little pigs lived,
or Little Red Riding Hood took the wrong path and
got totally lost. The teacher can continue the tale or
allow the students to interject and speculate on what
happened. It will be important to introduce choices
that the characters have to make. ‘Will Goldilocks go
home when there is no porridge in the Bears’ house?
Will she knock at the Three Little Pigs’ door? Will Little
Red Riding Hood speak to the stranger she sees in
the distance? ’ This increases students’ involvement in
the activity, and it can gradually move more easily into
becoming a drama (where the action is slowed down
and students get to explore the characters a little more 22
as they face decisions and challenges).
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Drama to explore feelings, knowledge and ideas, leading to

understanding

The student should be enabled to

respond to music and movement activities.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Respond to musical sounds/ Respond to music as a stimulus Express ideas imaginatively and
recorded music: participate in for dance: move freely and communicate feelings through
movement sessions/musical expressively, move and dance in dance and movement: show
games using movements that are front of a mirror. awareness of musical time,
spontaneous and unrehearsed. rhythm, mood.
Perform a controlled sequence of
movements: individual dance work/ Rehearse and perform more
dance work with a partner. complex, clearly expressive
movement.

The student should be enabled to 23

acquire the instinct for developing make-believe play into drama.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Can make-believe with regard to Express ideas from experience Create and sustain imaginary
objects: take part in small world imaginatively when dressing up contexts using objects, activities,
play with play mats, farm animals, and acting out stories: represent role-play to represent meaning
etc., play with and ‘talk’ to dolls, objects, animals and people beyond the concrete present:
teddies, etc. through movement, dance, mime, communicate with other
sound and gesture. participants in ways which sustain
Take part in action songs and the role-play.
rhymes: express emotions, and Take on a role and sustain role-play
interpret facial expressions and generated by the home corner, Move from dressing-up play into
gestures. dressing-up box: can maintain the making dramas about the dressed-
make-believe through movement up characters: maintain the make-
Begin to show signs of co-operative and actions—move from playing believe verbally, using appropriate
play. a chasing game to being tigers vocabulary in specific roles.
playing the same game.
Express a view in a collective role Show an awareness of a variety
(for example as villager, worker, Use puppets and props to of roles: convey mood and
friend of a character): sign to communicate feelings: use actions differentiate character types
teacher-in-role playing the wolf that and language to create and sustain through voice and gesture, mime
she is ‘bad’. imaginary play situations. appropriate actions.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

respond to sensory stimuli in drama activities.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Develop awareness of sensory Explore and communicate about Make choices between a variety
stimuli in drama activities: be sensory stimuli in drama activities: of materials and textures while
enabled to use all his/her senses experiment with props and choosing costumes and helping to
to become aware of costumes and costumes, seek to wear a favourite create props and masks.
props, become aware of a change costume.
in classroom environment when Show interest in wearing stage
props are set up. React appropriately when sensory make-up and assist fellow students
signals are used at the start/key in applying same.
Respond to sensory stimuli in moments/finish of drama.
drama activities: show interest in Explore how he/she can use own
particular props and costumes, body to tell a story in drama: use
show preference for one material/ speech and movement to create
texture/colour over another. effects (to illustrate the effect of the
wind through the trees).

24
The student should be enabled to
develop the ability to play in role as an integral part of the action.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Become aware that he/she is Carry out a short familiar routine: Use the ability to play at make-
caught up in a make-believe pretend to buy a cup of tea in the believe to enter fully into
situation and accept a notional or restaurant, hand over a coin and participation in drama: adopt the
general role: accept and participate hold out hand to receive the cup. role of the helper/waiter.
with assistance in playing a
notional or general role, such as a Develop the ability to play in role Use his/her emerging awareness of
brother or friend of a character. as an integral part of the action: the differences in people, in order
take on different roles in a puppet to develop an understanding of
Participate in a short routine with drama. the relationship between role and
decreasing assistance: imitate a character: increase audibility and
supporting adult pouring a drink change tone of voice when playing
for a teacher-in-role. the role of a king/judge/reporter.

Play the part of a parent or teacher

when playing house or school.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

experience how the use of space and objects can help to create the reality of the
make-believe world.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Be responsive to the teacher’s use Experience how the use of space Experience how context is built and
of an object: a hat, a cloak, a box and objects can help to create the a drama reality created through
of treasure. reality of the make-believe world: a the use of space and objects: set
table and chair represent a king’s out different objects to represent
Become aware of the creation of or queen’s throne, a ruler becomes aspects of a room/scene (what
a make-believe space through the a saw or a magic wand, imagine is needed to make a café in the
use of props, objects or pictures: what is happening in a certain classroom), explore the limitations
look at and handle goods placed space if chairs and objects are and possibilities of movement
on a shelf to create a ‘shop’. arranged in a certain way. inside this given space.

Experience tactile and sensory Become aware of being part of a Use a widening range of materials
stimuli to evoke a sense of place in make-believe space or location, and props, and explore how props
the drama: smell or feel seaweed/ and begin to participate in the can be used to create a make-
pampas grass/sand, listen to taped action, using appropriate language believe world: imagine PE mats as
sounds of the sea during a drama and gestures for that role: stepping magic carpets that fly to different
about a seaside holiday. gingerly onto sheets of paper, places.
25
representing stepping-stones
across a stream. Show sensitivity to the positioning
and grouping of others: work in
Distinguish between the make- groups in a given space, without
believe location and the classroom: intruding into the space of other
be involved in creating the location groups.
and then tidying it away when the
drama is over.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

develop awareness of how he/she, as part of a group, helps to maintain focus in the
dramatic action.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Encounter cause-effect situations Actively take part in short, whole- Use movement, voice and gesture
with immediate consequences: class performances: follow and be in a controlled manner in order to
give teacher-in-role a present, who reactive to the teacher-in-role. convey meaning.
is promptly delighted.
Respond to questioning about Sustain, in role, an intended
Use objects and props in a familiar his/her role in the drama: indicate emotion: fear, anger, sadness.
sequence within the drama: put a ‘yes’/‘no’ in response to the
doll in a cardboard box for a bed, question, ‘Was X happy when you Collaborate in actions with others.
and cover with a blanket while helped him?’.
helping teacher-in-role to look after
her new baby.

Show recognition of a key moment

in which he/she was involved:
during a video replay of the drama.
26

The student should be enabled to:

respond to change in atmosphere in drama activities

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Become aware of a sense of Experience, and participate in the Contribute to a change in
occasion and difference when use of contrasting elements of light atmosphere by responding
experiencing make-believe and darkness, sound and silence, appropriately to a cue or signal: tip-
activities. and movement and stillness, to toe quietly past the sleeping giant
help evoke an atmosphere of played by a student-in-role, dim
Notice a change in atmosphere: make-believe and fiction. the lights at a particular place in a
tense at a sudden crescendo of familiar drama sequence, create a
voices and percussion instruments Anticipate a change in drum-roll to announce the arrival
at a key moment of a drama game. atmosphere: show signs of anxiety of the king.
at the sight of a teacher-in-role
playing the wolf creeping up on
Little Red Riding Hood.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

develop awareness of tension in the drama.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Become aware of patterns and Develop an awareness of the Become sensitive to the change in
sequences in the drama that significance of time in adding body language, tone and register
indicate familiar activities and can tension and urgency to the drama: when a character is facing a
help him/her to anticipate what if we don’t find her before it gets dilemma or situation.
happens next. dark, we’ll have to go home and try
again tomorrow/when night falls, Experience the moment of tension
Attend to and appreciate the all the hens go to sleep but the fox in the drama: a friendly stranger
significance of time in relation is wide awake getting ready to visit offers sweets to him/her and to
to how characters in the drama the farm. other members of the group, who
behave: when Jack’s mother calls decide whether or not to take
him in for his dinner, the student- Sense and experience the them.
in-role moves to the dining-area of excitement and anticipation of a
Jack’s house. character faced with a choice, a Consider what might happen next,
dilemma or problem: participate discuss possible outcomes.
in collective or individual role as
the character facing the choice or
difficulty . 27

The student should be enabled to

develop an awareness of significance in drama.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Become aware of how objects, Become aware of how objects, Participate in the selection of
people, sounds, movements and people, sounds, movements and appropriate objects to raise the
changes in lighting can be used changes in lighting can be used to status of an event/character and
to enhance the significance of an represent or signify something else: add significance to the drama:
event: everyone bows when the the lights are dimmed to suggest deciding to place a chair on a box
king enters the room, a bell tolls nightfall, the character wears a hat, so that the king is seen to be in a
when it is time for Cinderella to scarf and gloves to indicate cold position of authority.
leave the ball. weather.
Develop the ability to reflect on
the significance of events as they
occur in the drama: she was
carrying a big red bag: was that
to ...?
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

sustain interest for the duration of the drama.

Phase 1 Phase 2 Phase 3

Exploring and making drama Exploring and making drama Exploring and making drama
Sustain interest in a task for the Independently seek to help Watch others, take turn
duration of moments of active teacher-in-role in the drama. independently and then resume
participation: show excitement on watching the action.
hearing his/her name mentioned, Anticipate own action or rehearsed
take his/her turn with assistance, response. Make observations on specific
listen and clap hands when the role-play situations and recall the
tune of a favourite song is adapted ‘story’ in the right sequence, using
in the drama, look when a favourite appropriate vocabulary.
staff member enters the drama.

The student should be enabled to

develop the ability to reflect on the action as it progresses.

Phase 1 Phase 2 Phase 3

28
Reflecting on drama Reflecting on drama Reflecting on drama
Experience the immediate Make guided choices during the In preparing for a drama that
consequence of an action within course of the drama: consider involves a hospital scene, reflect
the drama: become aware of what what bears should put in their on appropriate behaviour when
happens when he/she makes picnic baskets or what Jack should visiting people in the hospital—how
a loud noise and wakes up the do next. do we show we care?
sleeping boy/girl played by teacher-
in-role. Show sensitivity to the needs and
feelings of others: explore ways
of helping the sick old man in the
restaurant/café.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

experience the relationship between story, theme and life experience.

Phase 1 Phase 2 Phase 3

Reflecting on drama Reflecting on drama Reflecting on drama
Experience the consequences of Relate with some assistance to a Share insights gained while
an action that replicates a real- character in need: with prompting, experiencing the drama:
life situation: comfort teacher-in- show the lion/giant who can’t make communicate about how he/she
role pretending to cry (who then friends some of the strategies that felt when …, would mother or
instantly cheers up), shake the the student uses in making friends. father do things differently from
hand of teacher-in-role playing a one of the characters in the
special visitor. drama?

Explore issues with a practical,

social or moral dimension: is given
the role of an active moral agent,
such as helper, rescuer, and
encouraged to articulate, either
in or out of role, the differences
between right and wrong.

29
The student should be enabled to
develop awareness of being part of an audience.

Phase 1 Phase 2 Phase 3

Reflecting on drama Reflecting on drama Reflecting on drama
Have opportunities to attend a Experience, enjoy and participate Be able to recall the characters
dramatic performance (short play, in as many forms of dramatic in the drama and explain their
puppet show, pantomime, etc.): in expression or genre as possible. function in the unfolding plot.
school, in locality, a special trip to a
big performance. Show curiosity when he/she Recollect a situation in the drama:
is brought to see a dramatic the consequences of an action.
Respond to the unfolding storyline: performance: show anticipation
visually and/or aurally follow what and curiosity, ask about what is Communicate about the order of
is happening, show pleasure/ happening. events in the story.
boredom/fright/excitement at the
action. Relate to character in role: shout to Begin to be sensitive to the
warn of impending danger— ‘Look differences in genre: for example,
out, he’s behind you!’ between comic and tragic.

Behave appropriately with some

prompting when he/she is part of
an audience.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

develop the ability, out of role, to co-operate and communicate with others in helping to
shape the drama.

Phase 1 Phase 2 Phase 3

Co-operating and Co-operating and Co-operating and
communicating in communicating in communicating in
making drama making drama making drama
Co-operate in making and Co-operate independently with Make a clear decision to influence
organising props and costumes an adult or another student in the context for the drama: indicate
for the drama: participate with making and organising props and where there will be a door on the
an adult in painting backdrop, costumes: communicate about façade of a house, help teacher
participate in placing props in their what materials to use for costumes create it using masking tape to
correct places. or where to place props. outline details, stick cardboard
door on façade.
Show interest in making and Help teacher/other student prepare
organising props and costumes to go into role by assisting him/her Contribute ideas on the choice of
for the drama and co-operate with in putting on a garment. props, costumes and music.
others with decreasing assistance:
look with interest at the attractive Help teacher to choose the location Work, individually and in groups,
costume materials, hold material for the drama. to paint the backdrop and various
as an adult cuts it, help to cut props and set out chairs for the 30
material with scissors, help another audience.
student or adult to paint and place
props. Exchange roles so that each
member of the group has a chance
Have reaction interpreted that to contribute to the drama.
will influence the drama: choose
costume items from dressing up
box to be worn by the teacher-in-
role.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

The student should be enabled to

develop, in role, the ability to co-operate and communicate with others in helping to shape
the drama.

Phase 1 Phase 2 Phase 3

Co-operating and Co-operating and Co-operating and
communicating in making communicating in making communicating in making
drama drama drama
Engage in tasks within the drama In a drama about Noah and the Help others to decide how to
that require co-operation: take part Ark, take turns making the sounds deal with the bully: contribute
in follow-my-leader drama game. of his/her animals. suggestions.

Participate in a drama Contribute ideas about what Jack Participate in a drama

performance: play a collective role, can do to get away from the giant. performance: play a character role,
participate as a member of the recall rehearsed actions, show
crowd. Participate in a drama ability to improvise.
performance: play an individual
role: carry out actions on cue from
a narrator…

Co-operate with others, in small

31
groups, in making a scene
between puppets.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplars
Drama
The following pages outline some ideas for developing a theme in drama for students with moderate general
learning disabilities. The exemplars of lessons outlined are intended to provide some ideas from which teachers
can develop their own activities and experiences to meet the needs of their particular students.

Exemplar scheme: story based on Jack and the Beanstalk

No. Exemplar title Page

1. Introduction: Jack and the beanstalk 33
2. Jack and the beanstalk 36
3. Jack milks the cow 38

4. Jack having breakfast 40

5. Jack on his way to the market 42
6. Jack sells the cow for magic beans 44 32
7. The beanstalk 46
8. Jack climbs the beanstalk 48
9. Mrs Giant 49
10. The Giant's sore hand 51
11. A bag of gold 52
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 1: Drama
Title: Introduction: Jack and the Beanstalk

Story to be dealt with episodically

Method Strategies
n simple narration of section of story by teacher, followed by drama work based on it
n teacher-in-role – Mother/old man/Giant’s wife/Giant
n class in role – collectively, individual roles, in pairs
n guided imagery
n mime.

Material/ Resources Learning outcomes Language development

• working space containing table • working co-operatively • listening skills
and chairs • communicating • negotiating skills
• apron, man’s hat, shawl, • negotiating • responses in role through
candle, cloth/bandage • developing imagination speech/gesture/sign.
• seeds, pots, compost • role-taking 33
• pictures of cow, cottage, • awareness of passage of time
window, door, old-fashioned throughout day.
hearth, giant beanstalk, crock
of gold.

Linkage
n SESE
n PE - movement
n SPHE
n English - poems
n Maths
n Arts education - music.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 1: Drama
Title: Introduction: Jack and the Beanstalk

Material/ Resources Learning outcomes Language development,

Listening skills
• apron, candle, man’s hat, • role-taking e.g. Jack, buyer (old • listening to narrative
shawl, bandage/cloth man), Jack’s Mother, Mrs Giant, • Jack listening to Mother’s
• pictures of – cow, kitchen, door, Mr Giant instructions
window, cottage, fireplace (old • developing imagination • Jack listening for Giant’s
fashioned hearth) – all above • working co-operatively footsteps.
with appropriate titles • communicating/negotiating
• seeds for sowing, pots and • use of mime
compost. • planting of seeds: observing
their growth
• awareness of different times of
day: morning/breakfast, night
time/bedtime
• awareness of seasons: spring.

Negotiation skills
n role-playing in pairs – Jack and the old man 34
n Jack and Mrs Giant
n eliciting appropriate responses in role
n gestures/activities
e.g. Jack driving cow to market
Jack standing holding rope on cow
Mother throwing out beans in disgust
Jack closing window
Mother lighting candle
Jack climbing the beanstalk
Jack gathering herbs for poultice and making of poultice.

Methodology
Story telling/narration

Teacher-in-role as Jack’s Mother/old man/Mrs Giant/Mr Giant

Role-taking . . . . . . collectively
. . . . . . . . . . . . . . . in pairs
. . . . . . . . . . . . . . . individually

Guided imagery . . Jack’s journey to market

Mime . . . . . . . . . . milking cow, climbing beanstalk.

 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 1: Drama

Linkages
Nature study – planting of seeds

Maths – counting of beans, counting of coins

Time – showing breakfast time, afternoon and bedtime on clock, thereby leading to learning to read a clock
(long-term aim)

Language (reading) – door, window, table, chairs, apron, hat, fireplace, beans, poultice, etc.
(written on pictures).

Physical activities
Curling, stretching, yawning on awakening, driving cow to market, ‘climbing up’ beanstalk

Nature study . . . . planting of seeds

Artwork . . . . . . . . for example drawing of chairs, table, door, scenes from story

Music/Jingle . . . . . To market, to market… 35

. . . . . . . . . . . . . . . Henny, Jenny, jingle…
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 2: Drama
Title: Jack and the Beanstalk Lesson: 1

Resources Pre-context Preparation

• apron The teacher tells the class he/she is going to begin
• picture of a cow a story called Jack and the Beanstalk. He/she
• picture of a bucket shows pictures of an old cottage and of a cow with
• yoghurt carton/cheese carton/milk carton words cottage and cow printed underneath. A short
• pictures of different types of houses including a discussion based on the pictures takes place.
cottage.

TEACHER TALK
Let’s begin the story now
Narration
There once was a boy called Jack, who lived with his mother in a little house called a cottage. They had one
cow that gave them lovely, fresh milk, and Jack milked her every morning and evening.

Suspend narration

TEACHER TALK
36
Let me pretend to be Jack’s mother and all of you can be Jack.

Contract
Let’s try it shall we?

Signing
Shows apron.

TEACHER TALK
I’ll wear this apron when I’m pretending to be Jack’s mother but when I take if off I’m Teacher again.
Practice
Puts apron on and asks: Who am I?
Takes apron off and asks: Who am I?

Puts apron on.

Teacher-in-role (TIR)
Jack! Get up out of bed and go out and milk the cow. I’m in the kitchen putting on the porridge for breakfast. Do you
hear me Jack?

Collective role as Jack

Encourages responses from all as Jack.

Teacher out of role

Teacher takes off apron.
Helps class to mime getting up.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 2: Drama

Mimed activities in collective role as Jack

Stretching/yawning/dressing/washing faces and hands/fetching bucket/going to cow/patting cow/fetching stool/
milking cow/talking to her/carrying heavy bucket into kitchen.

Reflection
Did Jack get up when his mother called him? Was he kind to the cow? What do you think? etc.

Topics for discussion

Various types of houses.
What kind of house do they live in?
Where does milk come from?
What products are made from milk?
Jack and the Beanstalk.

37
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 3: Drama
Title: Jack Milks the Cow Lesson: 2

Resources Reviewing
• apron Teacher reviews work of previous lesson through well-
• table posed questions and reminders. Shows apron and
• chairs reminds them of its significance.
• cereal boxes
• pictures of door/window/fireplace – open hearth
• marmalade jar
• tea carton
• sugar packet
• coffee jar.

TEACHER TALK
Let’s set out Jack’s kitchen. Where will we put the table? Here?

Setting out the drama place

Does so with their help.
And the chairs?
38
(using space available)
Ditto.
Look at these pictures.

Shows pictures of fireplace, window, door.

Where will we place the fire? the window? the door?

Places them
We’ll pretend we have spoons and bowls for porridge.
Now I’ll be Jack’s mother again and you’re coming in with the heavy bucket of milk.

TIR
Dons apron.
Good lad Jack. Dip the jug into the bucket and put it on the table.

Mimed activity
Encourage all to fill the imaginary jug from the imaginary bucket and put it on the table.

Mime
Teacher mimes stirring porridge in a pot.

TIR
The porridge is just ready. Hold up your bowl Jack and I’ll fill it for you.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 3: Drama

Interaction responses
Teacher mimes filling bowls with porridge as students hold imaginary bowls. Encourages Jack to say,
‘Thank you mother’.
Help yourself to the milk out of the jug. Eat up now!

Students and teacher mime eating porridge.

Building belief
Was it cold outside when you were milking the cow? Was the sun shining? Was it raining?

Conversation
Encourage responses as Jack.

Teacher out of role

Teacher removes apron.

Discussion
Various types of breakfasts nowadays vis-à-vis Jack’s.

39
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 4: Drama
Title: Jack Having Breakfast Lesson: 3

Resources Reviewing
• apron Teacher reviews work of previous lessons.
• table Sets up kitchen again.
• chairs Shows apron and reminds the students of its
• pictures of door/window/fireplace – open hearth. significance.
All seated at breakfast table.
Teacher dons apron.

TIR
Jack – I’ve some bad news for you.

Tension
This is the last food we have and we’ve no money to buy any more. The cow is all we have and I’m afraid we’ll
have to sell her to get money for food. So, go straight outside and take the cow to the market and sell her.
Make sure you get a good price for her and buy some food for the dinner. Hurry back before it gets dark.

Interaction/Responses
Jack, how much do you think she’s worth? 40

Encourage responses as Jack.

Teacher out of role

Removes apron.

Mime activity
Teacher helps class to mime the following:
n untying cow

n finding a suitable (imaginary) stick to drive her to market, emphasising to Jack not to hit the cow but just tip
her gently, to guide her safely along.

Guided imagery
Class responds to the following by moving around the room ‘driving’ the cow, responding appropriately to the
images created (i.e. may sit/stand/or work as appropriate).

Jack! Guide the cow carefully here – look out for that big pothole! Don’t let her wander into that gap – she
might fall into the little stream and you’d never get her out. Look – she has started to eat the grass along the
side of the road.

Let her do that – and you can have a look around.

See – there’s your cottage away behind you – it’s impossible to see your mother from here, and the cottage
looks quite small from this distance.

There’s another cottage over there – Oh! Look at the mother cat and her kittens playing in front of the door.

Let’s all stand and have a good look around. There’s a farmer working in the field just beside that cottage – that
must be where he lives.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 4: Drama

Students stop to smell flowers, look at the stream, listen to birds etc.

See the lovely green hills far away, with the sun shining and the little stream gurgling beside the road here.
Listen to the birds singing in the trees.

Building belief
Oh! Look at the twig in that bird’s beak – they must be building their nests. Oh isn’t this a lovely day in spring!

Reflection
Why is Jack going to the market? Why does he have to sell the cow? What did Jack’s mother tell him to buy?

To do
Sow seeds in pots in classroom

Topic for discussion

Money: buying/selling/shopping etc.
Food for dinner: discuss favourite dinner etc. What might Jack buy?
Caring for animals – cow/cat/kittens/dogs
Farmer and his work in spring/four seasons
Birds: building nests in spring etc.
41
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 5: Drama
Title: Jack on his Way to The Market Lesson: 4

Resources Reviewing
• hat for old man Teacher reviews work of previous lessons.
• picture of stile Reminds the students that Jack has stopped for a
• picture of beans little rest on his way to market to sell the cow.
• pictures of a market.

TEACHER TALK
Let’s go on with the story.

Narrative
Oh! Isn’t this a lovely day in spring! Look! There’s someone in the distance coming towards you Jack. It looks like a
man – yes! It’s an old man with a funny looking hat on his head. Look, he’s sitting down on a stile now. Let’s go and
meet him.

Signing
Teacher tells the class he/she will pretend to be the old man when he/she puts on a hat.

Practice
42
Puts on hat and asks: Who am I?
Takes off hat and asks: Who am I?
Teacher puts on hat.

TIR
Good morning young man.
Elicit responses as Jack.
Good morning Sir.
What’s your name?
Jack
Jack – that’s a fine name.
You can call me ‘Old Man’. Everybody does.

Conversation ensues perhaps as follows:

Conversation in role
Where are you going Jack?
To the market.

Why?
To sell this cow.

Why must you sell the cow?

We need money for food.

Look what I have here. These are magic beans. Look at the size of them, the shape of them and their strange colour.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 5: Drama

Mimes
Hold out your hand Jack and I’ll put some on your palm. Feel them – wouldn’t you like to keep them Jack? Taste
one – not so nice! That’s because they’re not supposed to be eaten – they’re meant to be sown in the ground. It’s
springtime now and it’s just the right time for sowing seeds.

You could have them for yourself Jack – but what would you offer me in return? That’s a fine cow you have there.
Tell me why I should give you these magic beans for that cow.

Teacher removes hat.

Teacher out of role

Everybody, turn to the person near you. That person will be your partner. One of you will be Jack and the other
will be the Old Man with the magic beans. Old Man, put on your pretend hat.

Classroom Assistant to help

Teacher makes sure everybody in class knows which role they are taking before proceeding.

Teacher talk
Now, Old Man, you must try to get Jack to agree to give his cow to you in return for the magic beans.

Jack, how lovely it would be not to have to go on the long journey to the market and maybe nobody there would be
43
willing to buy your cow? Remember those beans are 'Magic'!

Now Old Man and Jack, start your bargaining.

Working in pairs In role

Teacher goes to each pair encouraging discussion: examining cow, Jack praising cow’s milk-yield, resisting sale
at first, finally agreeing. They shake hands to seal bargain. They part – Jack carrying beans and Old Man drives
cow away.

Reflection
Who did Jack meet? What was his name? What did he show Jack? What did he want Jack to give him?

Topics for discussion

Market.
Bargaining.
Stile.

Rhyme
To market, to market
To buy a fat pig.
Home again, home again
Jiggety-jig.

Verse 2 … hog
… jiggety-jog.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 6: Drama
Title: Jack Sells the Cow for Magic Beans Lesson:5

Resources Reviewing
• apron Teacher reviews work of previous lessons, reminding
• table the students of Jack selling the cow for magic beans.
• chairs Sets up kitchen again.
• pictures: fireplace/window/door. Shows apron and reminds the students of its
significance.
Teacher dons apron and looks out the window.

TIR
What’s keeping Jack? He should have been home hours ago. I hope he remembered to buy the food for the dinner.
Oh, I see him coming without the cow. I hope he got a good price for her. I'll put some turf on the fire and fill the
kettle.

Teacher out of role

Removes apron.

Mimed activity
Teacher gets class to fetch sods of turf and bank up the fire, to go to the pump and fill the kettle, and to place it 44
on the fire, having carried it carefully inside.

TIR
Puts on apron.

Ah! Here he is.

Collective role of Jack

Jack, where’s the food?

Teacher gets response from students as Jack.

Do you mean to say you sold our good cow for a handful of beans?
We can't even eat them, you silly boy.
What’s so special about them?

Elicits response re: ‘Magic’ beans.

What do you mean, ‘magic’? I never heard such rubbish.

Here! Give them to me.

Teacher goes to window, mimes pushing up window, throws ‘beans’ out, and closes the window.

I’m tired and hungry and very disappointed in you, Jack.

 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 6: Drama

Mimed activities
Lock the window now please. Wait for activity.
Close the curtains. Wait for activity.
Put the bolt on the door. Wait for activity.
Put the guard in front of the fire. Wait for activity.

I’m going to bed. Goodnight.

Time of day (bedtime)

Fetches candle and lights it. Walks slowly towards the ‘bedroom’. Blows out candle.

Teacher out of role

Takes off apron.

Reflection
Was Jack’s mother pleased with the magic beans? What did she do with them?
Did they have anything to eat?

Topics for discussion

Home-heating nowadays/long ago.
Boiling of kettle then and now.
45
Candle vis-à-vis electricity for light.
Safety-factors (candle-flame).
Times of day.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 7: Drama
Title: The Beanstalk Lesson: 6

Resources Reviewing
• apron Teacher reviews work of previous lessons through
• table well-posed questions.
• chairs Sets up kitchen again.
• pictures: fireplace/window/door. Shows apron and reminds the students of its
significance.

Narration
During the night the magic beans grew and grew. They grew so tall that they covered the window and reached
way up into the sky. It made the kitchen very, very dark.

Suspend narration

Guided imagery
Let’s pretend we’re the beans in the ground where Jack’s mother threw us.

Mimed activity 46
Let us curl up under the ground; we're beginning to stir and move bit by bit. We are now ready to BURST! through
the earth. We’re growing bigger and bigger, stretching up towards the sun and waving in the breeze of the spring
morning.

Teacher-in-role
Dons apron.

Yawns and stretches as if waking up in the morning and walks into the kitchen.

Time
Why is it so dark here in the kitchen? This is morning-time. I’d better open the curtains and let in the light.

Teacher mime
Opens the curtains and looks startled.

Tension
Jack! Wake up! Come quickly! There’s something strange growing in front of the window! Oh do wake up! Come
along, Jack. Have a good stretch and yawn and hurry into the kitchen.

Collective role of Jack

Mimed activities
Encourages Jack to wake up – stretching/yawning/rubbing eyes coming into the kitchen and responding to
Mother as Jack.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 7: Drama

TIR continues
Look at the window! There’s something strange there –
what do you think it is? Let’s go outside and have a look.

Activity
TIR and class as Jack go towards picture of kitchen door and go ‘outside’
Oh my goodness!
Jack looks upwards.
It seems to go up and up – right up into the clouds!

Teacher out of role and class out of role

Teacher takes off apron.
Teacher questions the students about Jack’s reaction to the magic beanstalk.

Prediction
What might happen next?

TIR
Dons apron.

Reinforcing story
47
So the beans were really magic - the old man told you the truth after all!

Time
Comparison between fast growth of magic beans and the actual growth of seeds sown by class following
Lesson 3.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 8: Drama
Title: Jack Climbs the Beanstalk Lesson: 7

Resources Reviewing
• apron. Teacher reviews work of previous lessons.
Shows apron and reminds the class of its significance.
Teacher dons apron.

Teacher in role
So the beans were really magic! The old man told you the truth after all, Jack! What will we do with this giant
beanstalk?

Collective role of Jack

Maybe there is something to eat up in its branches. Would you try climbing up, Jack? I'll guide you from here.

Guided Imagery
Pull yourself up by your right hand and your right foot – now your left hand – catch that strong branch there.

Class mimes activities

Test it first to make sure it takes your weight – bring up your left foot.
Have a little rest and tell me what you can see? 48

Elicit responses in role as Jack.

Questioning in role
Can you see the stream sparkling in the sun, Jack?
Can you see the farmer in the field? Is the cat still sitting at the door? and the kittens – are they still playing? All
right, Jack! Continue climbing, but be very careful.
Continue guiding Jack for a short while.

Teacher out of role

Takes off apron and invites the class to sit and listen to the story.

Narration (to be read slowly and with meaning)

As his mother watched from below, Jack continued climbing upwards. Soon his mother could no longer see
him, as he disappeared into the clouds.

Jack looked around him fearfully. He was tired from the long, long climb up. Turning around, he saw a lovely
little nook. He lay down to have a little rest and fell fast asleep.

Reflection
How do we know the beans were magic?
Was Jack frightened climbing up the beanstalk?
Did his mother go up with him?
What did she do?

Topics for discussion

Weather in spring.
Danger of climbing high.
Danger of exploring unknown places on ones own.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 9: Drama
Title: Mrs Giant Lesson: 8

Resources Reviewing
• shawl Teacher reviews work of previous lessons, ending with
• picture of giant. Jack asleep in nook high up in the beanstalk.

Teacher out of role

Today we will meet new people in our story who live high up in the beanstalk. First of all we will meet a lady who
wears this shawl.

Signing
Shows shawl.

Do you remember each time I pretended to be Jack’s mother I put on the apron? Well, now, each time I put this
shawl around my shoulders I will pretend to be the lady who lives in the beanstalk.

Practice
Puts on the shawl and asks – Who am I?
Takes the shawl off and asks – Who am I?
49
Teacher ensures class understands significance of the shawl before proceeding.

Now, let’s find out what happens next in the story.

Narration
When Jack woke up, he found a very strange lady standing staring at him.

Teacher dons shawl.

Teacher in role
Who are you? Where did you come from? How did you get here? Why did you come?

Elicits responses from class as Jack.

Collective role
So, your name is Jack. I’m very glad to meet you – you seem to be a kind boy, looking after your mother. I wish
I had a nice, kind son like you to help me. My name is Mrs Giant. I hope you are not frightened at how big I am.
Have you ever met a giant before?

Elicits responses.

Building belief
My husband is Mr Giant – he’s even bigger than I am. Here is a picture of him. Isn’t he HUGE!

Shows picture of Giant and elicits comments.

 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 9: Drama

He used to be a lovely, kind, and gentle person, but now he has changed completely. He hurt his hand
chopping wood for the fire a few weeks ago. A splinter of wood stuck in his hand but I took it out and bathed it.
However, his hand has swollen up and is all red and sore. He seems angry all the time. He shouts at me and
frightens me – nothing pleases him, no matter what I do or say. He storms out of the house, bangs the door and
tramps so heavily that the ground shakes, and his voice is like thunder.

Teacher out of role

Teacher takes off shawl.

Reflection
Who did Jack see staring at him when he woke up?
Was he frightened?
Had he ever seen a giant before?
What did Mrs Giant tell Jack about her husband?
What happened to Mr Giant’s hand?
What effect did that have on him?

Topics for discussion

Teacher explains to class that in the olden days there were no chemist shops or doctors. Some people in the
country had cures made from herbs and roots of plants. Sometimes they made a *poultice by boiling up certain
herbs and plants in a cloth and applying it while hot to a wound.
50
*N.B. necessary for further lesson.

Linkages
n Nature Study
n History
n Folklore
n Language.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 10: Drama

Title: The Giant's Sore Hand Lesson: 9

Resources Reviewing
• shawl. Teacher reviews the story as far as the Giant’s wife,
telling Jack about the recent change in Mr Giant.
Reminds the students that Mrs Giant wears a shawl.

Narration
Jack remembered that some time ago his mother had cured the cow’s sore foot by putting on a hot poultice
made from certain herbs, which Jack had picked in the fields. The cow had got a big nasty-looking thorn stuck
in her foot, which was very painful. After having the poultice on overnight, the cow’s foot got better. He wondered
if a poultice would cure the Giant’s sore hand.

Teacher in role
Teacher puts on shawl.

Collective role
Thank you for telling me about the poultice, Jack. Will you show me which herbs to collect? The herbs you
described are growing over here – will you help me to pick them? Here’s a big basket to put them in.

Mimed activity 51
Teacher places pretend basket in centre of space. Guides class in selecting/picking/placing herbs in basket.

Let’s go inside to put on the big pot of water to boil. Will you carry in the basket of herbs for me please, Jack? Good
lad. Help me put the herbs into the pot and stir it for me. Would it be ready yet? It has been boiling for a few minutes
now, so perhaps it’s ready.

Elicits responses.

Suitable mimed activities

Help me smooth out this cloth so that we can fill it with the boiled herbs. Fetch that big spoon; dip it into the pot
and lift it out carefully onto the cloth. Now we’ll roll it up tightly and it’s all ready. Good!

Tension
Oh! Do you hear that sound like thunder? That’s Mr Giant coming. Quick! Hide in this cupboard. He mustn’t see you,
or he will be very angry.

Mimed activity
Class as Jack finds hiding place.

Teacher and class out of role

Teacher removes shawl.

Reflection
I wonder how Jack is feeling now? Is he feeling frightened? Who is coming? Is Mrs Giant afraid too?

Distancing
Elicit their views on Jack’s situation in order to protect them from Jack’s fear of the giant.

Linkages
Modern-day medicines.
Ancient cures – folklore.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 11: Drama

Title: A Bag of Gold Lesson: 10

Resources Reviewing
• cloth/bandage. Teacher reviews work of previous lessons, ending with
Jack hiding from the Giant in the cupboard.
Shows cloth/bandage.

Signing
Do you remember when I put on the shawl, I pretended to be Mrs Giant? Well, now each time I wrap this cloth/
bandage around my hand I shall pretend to be Mr Giant.

Practice
I put the bandage on – who am I?
I take the bandage off – who am I?

Teacher ensures class understands the significance of the bandage before proceeding.

Now let’s find out what happens next in the story.

52
Teacher in role
Teacher puts on bandage.

Fee-Fi-Fo–Fum,
Watch out everyone -
Here I come!

Teacher tramps heavily to table and sits.

Teacher removes bandage and leaves it on chair.

Teacher out of role

Oh! The giant seems so angry. What should Jack do now, do you think?

Prediction
Teacher encourages suggestions.

TEACHER TALK
Well, let’s see what did happen in the story.

Narration
Jack couldn’t keep awake in the cupboard, and so he fell fast asleep. While he slept, Mrs Giant put the poultice
on Mr Giant’s hand, so that when Jack woke up the giant’s hand was better! Then Mrs Giant told Mr Giant
about Jack, and she went over to the cupboard and brought Jack out, telling him that the giant was not angry
or a bully any more.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Exemplar 11: Drama

Signing
Teacher drapes bandage across arm.

Teacher in role/ Class: Collective role as Jack

Jack – I want to say thank you for telling Mrs Giant about the poultice. Look! It has cured me. I am sorry I was such
a horrible angry person – but the pain was very bad and it wouldn’t stop. Now, as a thank you gift I am giving you
this bag of nice, shiny gold coins. You will be able to look after your mother forever and ever.

Teacher out of role

Teacher guides class as Jack climbs down beanstalk carrying the bag.

Mimed activities
Teacher removes bandage.

Narration
Jack climbed back down the beanstalk and gave his mother the bag of gold coins. They built themselves a
lovely house and lived happily ever after.

Reflection
Why did Mr Giant become a bully?
When did he change?
53
Is Mrs Giant happy now?
What did Mr Giant give Jack as a reward?
Was Jack’s mother happy to see Jack back with a bag of gold?

Linkages
n Bullying
n Social Skills – politeness/gratitude
n Maths – counting coins.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Appendix

Basic props and equipment

Simple props can help a student attend to, respond to, or assume a role.

Basic equipment
cassette player or CD-player and tapes or CDs
stage blocks
table and chairs
mirror
notice-board
good-quality make-up for special occasions.

Costumes: including masks, bags, coats, cloaks, animal costumes, domestic costumes (fireman’s helmet,
nurse’s outfit, doctor’s outfit, etc.)

Props
54
hats
scarves and shawls
good masks
coats and cloaks
unusual long skirts, trousers, exotic coloured tops
bags
pieces of flimsy, flowing fabrics
old sheets
pairs of reading glasses and sunglasses
a variety of wearable pairs of shoes
telephones
clip-board
old computers
bells
newspapers
vase of (plastic) flowers
hairbrushes and combs
football rattle
rubber gloves
knitting
books
pack of cards
doll/teddy in shawl
tea things – plastic teapot, mugs, etc.
sweeping brush
clock
mirrors and masks
old TV with inside taken out or a home-made frame
walking sticks.
 Guidelines Moderate General Learning Disabilities / Drama / PRIMARY

Character bags and sensory boxes

Familiar roles and characters can be introduced to the students through the use of ‘a character bag’ (for example,
a garda, a teacher, a fire fighter, a doctor, a dentist, a nurse, a farmer, a cook, a cleaner, a refuse-collector). This
character bag can contain sets of clothes and tools characteristic of that role. If a specific character from a well-
known story or television programme is being explored, personal effects can be added that might be associated
with that particular character, and that indicate their job, hobby, or personal habits; for example, Little Red Riding
Hood with her basket of goodies on her way to Grandma’s house, or the sunglasses and jewellery worn by a pop
singer like Puff Daddy or Ronan Keating of Boyzone.

55