This document discusses different types of dramatized teaching experiences including plays, pageants, pantomimes, tableaus, puppets, and role playing. It provides details on what each type involves, such as plays depicting life/culture, pageants based on local history, pantomimes using only bodily movements, and role playing spontaneously acting out pretend situations. The document emphasizes that dramatization engages both students and spectators in a creative sharing of ideas that can be an effective way to attract, interest, and affect students to leave an impact on them.
"If our teaching is dramatic, our students get attracted, interested and affected. If they are affected and moved by what we taught, we will most likely leave an impact on them."
"If our teaching is dramatic, our students get attracted, interested and affected. If they are affected and moved by what we taught, we will most likely leave an impact on them."
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2. All dramatization is essentially a
process of communication, in which
both participant and spectators are
engaged. A creative interaction takes
place, a sharing of ideas.
- Edgar Dale
3. If our teaching is dramatic our students
get attracted, interested and affected. If
they are affected and moved by what we
thought, we will most likely leave an
impact on them.
5. Dramatized experiences can
range from the formal plays to
less formal plays.
What is a play?
A play is a depiction of life,
character, or culture or a
combination of all the three.
6. Pageants are about the
community dramas based on
local history, presented by local
actors.
7. A pantomime the “art
of conveying a story
through bodily
movements only”. Is
effect on the
audience depends
on the movement of
the actor.
8. A tableau ( a French word which
means picture) is picture – like scene
composed of people against a
background.
9. Puppets – Dale (1996)
Puppets can present
ideas with extreme
simplicity – without
elaborative scenery or
costume – yet
effectively.
11. Shadow Puppets
- Flat black silhouette
made from lightweight
cardboard and shown
behind a screen.
12. Rod Puppets
- Flat cut out figures
tacked to a stick, with
one or more movable
parts, and operated from
below the stage level by
wire rods or slender
sticks.
13. Hand Puppets
- The puppets head is
operated by the
forefinger of the
puppeteer, the little
finger and thumb being
used to animate the
puppet hands.
14. Glove – and – finger puppets
- Make use of old gloves to which small
costumed figure are attached.
16. Principles that must be observed in choosing
a puppet play for teaching.
Dale (1996)
• Do not use puppets or plays that can be
done just as well or better by other
dramatic means.
• Puppets plays must be based on action
rather than on words.
17. • Do not omit possibilities of music and
dancing as part of the puppet show.
• Adapt the puppet show to the age,
background, and tastes of the students.
18. Role – Playing
– is an unrehearsed, unprepared, and
spontaneous dramatization of a “let’s
pretend” situation were assigned
participants are absorbed by their own
roles in the situation described by the
teachers.
19. Role – playing can be done by describing
a situation which would create different
viewpoints on an issue and then asking the
students to play the roles of the individual
involved. Any kind of conflict situation, real
or potential, is useful for role playing or any
situation in which real feelings are
concealed.
20. Dramatic Experiences for Multiple
Intelligences
The kinesthetic intelligence of student
can be seen through plays, pageants,
pantomimes, tableau, puppets and role
– playing.
21. Musical Intelligence is at work when
pantomimes, tableaus and puppets are
accompanied by music.
The interpersonal intelligence is shown by
the students who find it easily to relate
and work with people as they plan,
prepare and implement any of the
dramatic experiences.
