Rolling Role Drama Project


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This introduces 'The Water Reckoning' drama project - an international collaboration to explore the application of strategies drawn from the work of legendary drama teacher Dorothy Heathcote. This project will occur from April - June in the lead up to the Heathcote Reconsidered conference in London in July.

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Rolling Role Drama Project

  1. 1. + R R H RRolling Role – Heathcote ReconsideredProject Introductionwww.water-reckoning.netSue Davis
  2. 2. + The Water Reckoning Rolling Role Project for Heathcote Reconsidered Conference  The Rolling Role project will take place online and live – in several schools across the world leading up to and during the ‘Heathcote Reconsidered’ conference  The conference will be held in London July 5-7 2013. Many leading drama education scholars and practitioners will be there discussing her work and her legacy  Young people, teachers, artists and academics will be able to contribute to a creative project which will draw on Dorothy Heathcote’s philosophy and strategies  Together we will co-construct a story that responds to a common pre-text
  3. 3. + Dorothy Heathcote 1926-2011 She was an innovative teacher whose groundbreaking work challenged notions of teaching, of drama and how to work with children. She entered into the creative space with those she worked with and pioneered strategies such as ‘teacher-in-role’ and ‘mantle of the expert’.
  4. 4. Heathcote Reconsidered +Many of her ideas and strategies are stillrelevant today though contexts have changedenormously. It is timely to consider herlegacy, how it lives on and may berepurposed, reworked and extended uponinto the future.In particular… how do her strategiestranslate to drama, education, applied theatrein the digital age?
  5. 5. + Who is involved? Young people who study drama –  Drama teachers and facilitators with each group creating drama and from each site digital content that will build and ‘roll’.  Australia – sites in Qld and NSW  Greece  Drama researchers who will work  Singapore with the teacher/facilitator to document the learning journey and  USA outcomes
  6. 6. + Rolling Roll – what is it? (See ‘Contexts for active learning: four models’ By Dorothy Heathcote ’)  The concept of Rolling Role is to involve different groups or classes in building a community that then faces some kind of change. The initiators create a common context and agree to the key features, affairs and concerns of the community. The students/children are then involved in building the community, the lives, events and artefacts of it and add to developments.  Work is often left incomplete so another group can take it forward and continue the drama.  Heathcote suggested this work lends it self to sharing through something like a website.
  7. 7. +The ideaDiscovery of a lost culture of frozen peopleunderwater who experienced times of crisisResponding to a message in a bottle about the historyof ‘Ardus Unda’Who were these people and what happened?What did their emissaries learn about stories fromelsewhere around the world? JasonIs it possible to help the frozen people or restore deCairesthem to life? Taylor imagery
  8. 8. + Questions to ponder  Why is water so important to our  How do people cope in times of lives and cultures? water crisis?  What actions, activities and rituals  Can we do anything to ensure involve water? water security – so that all may share healthy, clean water?  What types of experiences can we  How do we know who to help and draw on to inform our drama? how?  What different roles, dramatic conventions, movement, music, imag  Why do we help others? ery can we use to tell our stories?
  9. 9. +How will it work?o Groups create drama work using different conventions. Key content and outcomes and digitally recorded and documented - audio, text, images, videoso Selected material is posted to PlaceStories, on the blogs, on YouTube etco Each group begins each session by reviewing what has already been posted and considering ways to ‘roll’ the action forwardo There are some session where participants (or nominees) interact online togethero The drama as it has developed is shared at the conference and somehow resolved!
  10. 10. + Opportunities and risks Web-based spaces Creative opportunities  Today’s young creatives use a realm of cyberspaces and digital tools to create and share their work  We want to position young people as creators and global citizens, not just consumers of culture  We want to capitalise on using different social media, online spaces and tools  We need to do so in ways that are manageable and responsible, especially where young from school contexts are involved  Drama teachers/facilitators will therefore be involved in uploading and moderating content.
  11. 11. + Suppose that… I wonder what …. Ideas we can draw on from If we could only … Heathcote’s work I bet if we tried hard we could …  Drama is about making significant  Finding the universal in the particular, the meaning through commitment to an emotional connection enterprise and fiction  Segmenting and selecting focus from culture:  Importance of finding and creating work, war, education, health, food, family, significant shelter, travel, communication, clothing, objects, artefacts, images, texts worship, law, leisure  Teacher often works in-role with the  Find a simple starting point and build group, manages, questions and belief in stages facilitates from within  Participants should have the power to take action and operate, drawing on what they  Consider and use dramatic elements know and can do movement/stillness, sound/silence darkness/light  Different frame choices can offer closeness or protection from the main event or action
  12. 12. + p. 166- Different conventions 167  Enacted Role  Second hand account  Effigies  A written account or report  Portraits  A story told about another  Identikit creation of role  A letter in the voice of the writer  Life sized model  Action as if from a film  A conversation overheard  Creation or re-creation of painting or photograph  A reported conversation  Finding or drawing up plans  Finding a cryptic message  Drawing or map  Rituals & ceremonies  Rules or instructions  Formal  Clothes or artefacts of a character, time or demonstrations, meetings, briefings place
  13. 13. + How does drama work? SOME KEY IDEAS FROM HEATHCOTE’S WRITINGS AND WORK  Drama demands co-operation  Drama puts life experience to use  Drama makes factual experience (information) come into active employment  Drama uses fiction and fantasy but makes people more aware of reality  Drama stresses agreeing to all trying to sustain mutual support for each other while allowing people a chance to work differently  Drama makes people find precision in communication  Drama stresses the use of reflection  Symbols become ordinary but the ordinary also can be symbolic  Drama introduces you to living out crises in a testing kind of way. It tests your attitudes and your present capacities. Collected Writings on Education & Drama pp 203-4