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Imagination is the Beginning (Creative Dramatics)
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Imagination is the Beginning (Creative Dramatics)


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  • 1. Imagination Is The Beginning Buere, Michelle A. BSED-III World Citi Colleges Antipolo
  • 2. “Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the
  • 3. IMAGINATION The fact of imagination has long been recognized, but it is only recently that the value of imagination has been hailed.
  • 4. “The spark that makes the human the paragon of animals” -Shakespeare “Probably the oldest mental trait is typically human-older than discursive reason; it is probably the common source of dream, reason, religion, & all true general observation” -Susanne Langer
  • 5. CONCENTRATION The capacity to hold an idea long enough to do something about it. It is not enough to glimpse an idea; the image must be held enough for action to follow.
  • 6. ORGANIZATION When players are able to focus their attention on their material, they can get down to the business of organizing it.
  • 7. – Organization does not mean the imposing of conventional form but rather an arrangement of parts or material to achieve order.
  • 8. CREATIVITY It can be thought of in terms of product or process, depending on whether we are concerned with the solution to a problem is solved.
  • 9. • Creativity as process may be manifest in a new way of seeing, a different point of view, an original idea, or a new relationship between ideas. • Creativity refers both to the cognitive and the affective life & is the result of conscious & unconscious effort.
  • 10. BEGINNING EXERCISES FOR IMAGINATION Determinants before you start your exercise: Age Experience Number in the group Size of the playing space
  • 11. Music or even a drumbeat will enhance the mood & help to focus the attention. How? Have the group walk to the beat of the drum. As the group becomes comfortable & relaxed, the beat can be changed: rapid, double time, slow, etc.
  • 12. The participants, on listening for the change in beat, forget themselves & are usually able to use their entire bodies.
  • 13. From purely physical body movement, the teacher may move on the mood. How? If the group has been walking to a beat, he or she may suggest that there is green grass underfoot: “How does it feel you? Your feet are tired. Think what it is like to put them down on soft, cool grass.”
  • 14. As participants imagine they are running across the hot sand, stepping over puddles, crossing a creek, wading through snow, each suggestion stretches the imagination a little more.
  • 15. Favorite activities such as flying kites, jumping ropes, playing hopscotch & stick ball, & playing with jacks provide opportunities for using imagination.
  • 16. The following game was introduced by a drama teacher from Israel: • The class is seated in a circle on the floor. After introducing themselves, the student are asked to put some personal object in the center of the circle. The more unusual the object, the better. The teacher goes around the circle, asking the players to try to remember to whom object belongs & to return it to its owner.
  • 17. A blackboard & colored chalk. One student after another goes to the board & puts a mark or drawing on it. When everyone has had a turn, second turns are taken. The mural created by the class is then described & interpreted. The more abstract it is, the more imaginative the interpretation will probably be.
  • 18. Games are generally thought as warm- ups or enjoyable activities, but they also have other values: They provide a framework for communication They impose rules that develop discipline &; Self-control in the players
  • 19. SELF-EXPRESSION Creative drama implies self- expression, hence the necessity of the participants’ involvement beyond merely imitating action. We are concerned with their developing freedom & the ability to express themselves.
  • 20. COMMMUNICATION Although communication is the responsibility of the formal theatre, there comes a time when the participants want to share their work in creative drama, & this sharing involves communication skills.
  • 21. One procedure used successfully by many teachers is the playing-discussing- replaying method. Children’s criticism is honest & their observation are keen.
  • 22. As the group gains experience, its member ability to communicate will increase. • Young children, because of their limited vocabulary, communicate more easily through body movement & facial expression
  • 23. • Older Children are not only better able to express themselves verbally but also enjoy improvising dialogue. • Adult students, depending on background & previous experience, will fee; more comfortable in one medium on or other, but most comfortable with oral discussion.
  • 24. DISCIPLINE When discipline has been established, both teaching & learning become a far more pleasant & satisfying experience. Part of the problem some teachers have with discipline is a misunderstanding of John Dewey’s Philosophy, “believing that freedom consists of allowing students to do as they please”.
  • 25. The dream of most teachers today is a classroom which freedom reigns within a structure that supports, encourages, & protects the rights of each individual.
  • 26. To achieve this, teachers must establish order.  Insisting on ground rules to which all adhere  Self-discipline can be achieved  Permitting each member of the group to pursue his or her own interests & goals while respecting the rights of others.
  • 27. PROBLEMS IN CREATIVE PLAYING Self-consciousness Timidity Exhibitionism Isolation Insensitivity Distraction Violence Physical Disabilities
  • 28. Other problems Pressures Social Mobility Broken Homes Television Programs Violence Economic Problems
  • 29. EVALUATING CHILDREN’S RESPONSES Some questions to evaluate children’s responses: Have the students in class become a group? Is there sincerity in their work? Have verbal skills improved-speech, voice, & diction, vocabulary, & the ability to express ideas orally? Does the noise level reflect industry & enthusiasm?