The document discusses the importance and benefits of journaling for drama students. It provides various models and formats for journal entries, including dividing thoughts into psycho-motor, affective and cognitive areas. The document also outlines what should and should not be included in journal entries, with a focus on self-reflection and evaluation of drama experiences.

1. The Importance of Journaling
Dr. Yvonne Weekes

2. Objectives
At the end of this power point
students will be able to:
Develop more strategies for
greater reflection through
journaling

3. WHY JOURNAL??
 “If you cannot increase reflective
power in people, you might as
well NOT teach, because
reflection is the only thing in the
long run that teaches anybody.
Reflection is what makes the
knowing so that something that
can be touched and assimilated
for future use.” Dorothy Heathcote

4. Journaling = reflection + SELF EVALUATION
 drama experiences = self reflection & self-
evaluation.
 clarify their understanding of dramatic art
form and topics they choose to explore.
 assess their own contributions to the
drama work
 Discuss their ability to work with others.”
 ~ Curriculum Requirements, Saskatchewan
Education.

5. Some Models for Journaling
 Psycho-Motor – What I can do??
 Affective – How do I feel?
 Cognitive - What have I learnt?
 DIVIDE YOUR THOUGHTS INTO THREE
DISTINCT AREAS.

6. Journal Models
 IMPROVING YOUR
WEAKNESSES
 IDENTIFYING STRENGTHS
What teacher says
What my peers says
What audience say.

7. JOURNALING
TRACKS
 Assess and Evaluate
 Respond and Reflect
 Create and Brainstorm
 Offer suggestions and Ask Questions
 Record Thoughts and Concerns
 Discuss the Positive and the Negative
Writing a letter imagining you’re the
Character

8. What Should Go Into a Drama Journal
INPUT
 Questions and Answers
 Reflection on a particular exercise in class
 Tracking of personal growth
 Addressing challenges and personal
solutions
 Ideas/Research for an upcoming piece
 Expectations
 Character work for a performance
 Reaction to a performance
OUTPUT

9. What Form Should It Take?
Forms
 Computer Written
 Handwritten
 Collages
 Art Work
 Pictures
 Video Clips
 Letters in Character
Photos of Rehearsal

10. DIFFERENT JOURNAL ENTRIES
Keeping a Log of Reading/Rehearsal
Dat
e
Scene Rehearsal
Notes
Things to do
for Next
Rehearsal
Pgs
Sketches, Swatches and Diagrams

11. What should not go into a journal
 It is not a diary
 It is not used for personal outburst or
attack
 Or to tear down another student
 I had a good breakfast this morning
 I hate Tony.
 The directing SUCKS!!
 What the F**** !!

12. Prompts for your Journal after a Rehearsal
When students are working in a group, make it the responsibility of one person (which will
change from rehearsal to rehearsal) to write an assessment of the group:
 How is the scene progressing?
 How is the group working together?
 Is there one leader, or does everyone participate?
 What has changed since the last rehearsal?
 A comment for each actor in the group.
 Then give an evaluation of the group based on their assessment (a mark out of 10)

13. Quality of Work
 Journal entries should use complete sentences unless otherwise specified (e.g. a collage).
Every journal entry should start with the date. A standard length should be between 200
and 300 words.
 In terms of content, the purpose of journal entries is to show the teacher that the student
understands and is able to comment thoughtfully on a specific experience. The aim of the
student is to demonstrate a skill – whether it be assessment, reflection, or creative
brainstorming. To use the journal as a personal outburst or diatribe is inappropriate. To say I
don't know, I don't understand, or I have no answer is inappropriate. There is always an
answer when it comes to personal reflection because there is always a personal point of
view.

14. Focusing on the psycho-motor
 I regard the theatre as the
greatest of all art forms, the
most immediate way in which
a human being can share with
another the sense of what it is
to be a human being. ~Oscar
Wilde
 What I really enjoyed about the
masquerade is the fact that I really
hated my body. After practicing the
steps this term, I began to feel more
comfortable with my body, not so
ashamed. I always felt so awkward
doing dance but this masquerade
with its heel and toe and partnering
was exciting. I finally understood left
from right. No kidding.

15. Focusing on the Affective
Acting is behaving
truthfully under
imaginary
circumstances. ~Sanfor
d Meisner
 I just know that I feel like a failure. I
am told every day that I won’t
amount to anything. So you can
image my joy when I found I could
act. And that this gave me a new
sense of confidence that I had never
had before. Imagine me not being
shy. Imagine me being able to speak
with confidence in front of a crow.
Thank you Drama!!

16. Focusing on the Cognitive
 The most exciting acting happens in roles
that you thought you could never play.
 I did not want to play the role particularly
as it deal with a death of a close family
member. Death for me is a difficult
subject matter since I lost my father at
aged 8. There were some rituals that my
grandmother made us do shortly after he
died. I saw how learning about Nine
Nights could be included as a central
image in the play. But I could not see how
the role would help me to appreciate
death as part of our journey.

17. SELF-REFLECTION
Encourage the use of
technology.
Do video/audio clips.

18. REFLECTING ON THE FINAL Performance
SAY HOW THE AUDIENCE RESPONDED?
DID THEY LAUGH HEARTILY?
DID THEY TALK DURING THE PERFORMANCE?
DID THEY STAND AT THE END?
WERE THEY SILENT AT THE END?