This document discusses using drama to teach thinking skills. It provides (1) a framework for different levels of cognitive processes from simple to complex, (2) contexts that support language development, and (3) parallels between high quality thinking and high quality drama, noting they both involve complexity, multiple solutions, interpretation, and uncertainty rather than routine processes.

1. Dramathink:
Teaching Thinking Skills
through Drama

2. Teaching Children to Think
Robert Fisher (1995)
METACOGNITION
(thinking/inner speech)
reading writing
KNOWLEDGE PERFORMANCE
(learning input) listening speaking (linguistic output)
Linguistic intelligence – the modes of language

3. H.O.T.S. from D Heathcote
A A problem must be seen in Must be interesting for the
action participants. Must seem to
employ their ‘interest’.
B The new element Old familiar matter in new form
to ‘shock’ into awareness.
C Decisions must be called for The active area of commitment
to action and the solving of
problems.
D Employing experience Relevant previous experience
productively not passively comes into action.
E Getting feedback – not to No escape from the immediate
be ducked! outcome and results of decisions
F Conscious examination of A standing back from the action
changes if any to review present
conceptualization.

4. Provide Contexts to Support
Language Development
Cummins (81/89)
Cognitively Demanding
Context B D Context
Embedded A C Reduced
Cognitively Undemanding

5. Cognitive Processes B D
A  A C
• reading to find specific information
identifies
names
matches
retells
• transfers information from one medium to another
• applies known procedures
• describes observations
• sequences
• narrates with sense of beginning, middle, end

6. B  B
A
D
C
• generalises
• compares and contrasts
• summarises
• plans
• classifies by known criteria
• transforms,
• personalises given information
• recalls and reviews
• seeks solutions to problems

7. B D
C  A C
parrots: repeats utterances of adult
or peer
copies: reproduces information
from board or texts

8. D  B
A
D
C
• argues a case / evidence persuasively
• identifies criteria
• develops and sustains ideas
• justifies opinion or judgment
• evaluates critically
• interprets evidence, makes deductions
• forms hypotheses, asks further questions for
investigation
• predicts results
• applies principles to new situations
• analyses, suggests solutions and tests

9. The Relationship between Thinking
and Drama
High quality thinking High quality drama
Is not routine – the path of Is not just re-enactment of what is known. The children
action is not fully known in make decisions that influence the direction of the
advance drama and they are given ownership, with their
ideas being used to develop the drama.
Tends to be complex – the total Drama explores through role, the same situation from
path is not visible from a the viewpoints of different characters. It is not a
single viewpoint linear process.
Yields multiple rather than Drama is “open”. Scenes can be reworked and replayed
unique solutions in many ways with a multiplicity of solutions and
outcomes.
Involves nuanced judgment Nuance is key to drama. Meanings are arrived at and
and interpretation communicated in a variety of ways, verbal, visual
and kinaesthetic. Each person in an audience and
each participant in the drama will interpret the
drama somewhat differently, depending on their
present understandings and experience.

10. Can involve the application of Drama involves problem solving and the resolution
multiple criteria which of dilemmas both within the drama and in the
may conflict with one process of making the drama.
another
Involves uncertainty – not Drama in education develops. It cannot be known
everything about the task what will emerge in the process as it is interactive
at hand is known and dynamic by nature. It is not about re-
enacting what is known and certain, but about
discovering and exploring what is uncertain.
Involves imposing meaning – Drama is all about finding, making and
finding structure in communicating meanings. It is structured, mainly
apparent disorder by the teacher initially, but as children become
more experienced and develop their drama skills
they are more able to take over responsibility for
structuring their own drama and communicating
meaning to others through performance.
Is effortful – considerable Good drama is an active and interactive experience,
mental work is needed for which is both intellectually and emotionally
the kinds of elaboration demanding for both participants and audience.
and judgements required
Adapted from Baldwin P. and McGuinness C.