Teaching through Drama - Erasmus+ KA1 London Course 2017

1. ERASMUS + KA1 “LIFELONG LEARNING” “TEACHING THROUGH DRAMA” LONDON 3-7 July 2017

2. Within the Erasmus + KA1 "Lifelong Learning" project, a group of teachers from the "Biagio Siciliano" Comprehensive Institute in Capaci (Italy) carried out a mobility in London (UK) from 3 to 7 July 2017 with the aim of participate at the "Teaching through drama" training course.

3. The course 20-hour took place at the headquarters of the "Kairos Europe" training institute, which has been operating for some time under the Erasmus + program. The trainer was Dr. Laura Marziale, Director of "Creating Ground CIC" of London.

4. The teachers from our school involved in that training action were: Loredana Citarrella, Antonina Crivello, Francesca Mazzola, Giovanni Rao, Benedetto Savona, Patrizia Sgroi. The main objective of the training was to acquire some drama techniques to be applied during their respective didactic activities in the classroom.

5. The teachers have take part in drama games and warm up activities, alongside watching videos, to allow them to gain hands on experience of the techniques and benefits of teaching through drama. By doing this teachers will be able to foster an atmosphere where their students learn creativity within limits, confidence, flexibility, discipline, higher order thinking skills and showing appreciation.

6. Drama Techniques to use in the classroom are: Freeze Frame Though tap/thought tracking Tableaux Open and close Role on the wall Story telling Improvisation Spotlight Cross-cutting Flashback and flashforward Forum Theatre Conscience alley

7. At the end of the course teachers had get the opportunity to complete a lesson plan, teach their class and put what they have learned into practise. ​

8. The next step will be to share learned skills with teachers from our school and from schools in our territory. This goal will be reached through the organization of training activities open to teachers.

10. In the next slides there are some activities carried out by teachers Loredana Citarrella and Savona Benedetto in their classrooms using specific drama techniques. "Biagio Siciliano" school.

11. ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” FLASHBACK AND FLASHFORWARD ERASMUS + KA1: Teaching through drama

12. ECO and NARCISO

13. The nymph Eco loses her voice and desperately takes refuge into the darkest and most desolate woods. FIRST STILL IMAGE: DRAMATIC MOMENT A character or group is invited to represent or improvise, through a still image, a dramatic moment.

14. FLASHBACK The teacher claps her hands and the character or the group, silently and in slow motion, moves to represent, with a new still image, the background that determined the dramatic moment represented in the first still image.

15. The goddess Hera, furious at the constant chatter of the nymph Eco, makes the young woman destined to repeat forever only the last words of the speeches addressed to her. Her anger manifests itself in all its power. SECOND STILL IMAGE: THE BACKGROUND

16. THOUGHT TAP When the students are frozen still in the new image, the teacher can use a versatile drama strategy: “THOUGHT TAP”. She approaches the protagonist and, touching her on the shoulder, she invites her to bring the frozen character back to life. Then she explores the background, the motivations of her action. This drama strategy encourages the participants to really think about the character or situation they are portraying and to use the thought tap to enforce their body language in their frozen position.

17. ORIGINAL STILL IMAGE: DRAMATIC MOMENT After exploring the background, the teacher claps her hands again and asks students to move back to original image, which is the present moment.

18. During the long and solitary walks through the woods, the nymph Eco meets Narciso and she tries desperately to show him her love, following him step by step. The young man, however, proud of his beauty, ignores the girl and her desperate love. FLASHFORWARD The teacher claps her hands again and she asks the group to move, silently and in slow motion, to represent, through a new still image, a subsequent episode that is decisive for the development of the story.

19. The nymph Eco takes refuge into the end of the wood, tears herself to death and she lets herself die. THE EXPLORATION OF THE CONSEQUENCE OF AN ACTION The teacher finally asks the group to represent, through the last still image, the consequence of the previous action.

20. AIMS: To explore of the characters’ backgrounds, the motivations and the consequences of their actions; To use language and actions to convey situations, characters and emotions; To create and to sustain roles individually and when working with others; To involve the students in an active and creative way.

21. CLASS: I A Teacher: Loredana Citarrella Tell me, and I’ll forget. Show me, and I may not remember. Involve me, and I’ll understand

22. ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” ERASMUS + KA1: INSEGNARE ATTRAVERSO IL “DRAMA” CROSS CUTTING ERASMUS + KA1: TEACHING THROUGH DRAMA

23. Cross-cutting (also called split-screen) is a drama technique borrowed from the world of film editing, where two scenes are intercut to establish continuity. In drama and theatre the term is used to describe two or more scenes which are performed on stage at the same time. This makes it possible to juxtapose scenes or snippets of scenes that happen at different times or in different places, using separate areas of the performance space. The technique is used to highlight or contrast a particular theme or aspect of the story. Using different groupings, both scenes could happen at the same time, or one could be frozen while the other comes alive. This can have a similar effect to spotlighting particular areas of the stage or using a split-screen in a film. Cross-cutting is invaluable for analyzing themes in the performance of a drama by directly comparing or contrasting elements of the story.

24. THE EARTH’S AND MOON’S MOVEMENTS

25. FIRST SCENE: THE ROTATION MOVEMENT OF THE EARTH The rotation movement of the earth A character represents the Sun, the other two, in pairs, the "faces" that the Earth shows in the sun.

26. FIRST SCENE: THE ROTATION MOVEMENT OF THE EARTH The rotation movement of the earth In relation to the rotation motion around its axis, the Earth after 12 h shows the opposite face to the Sun.

27. SECOND SCENE: THE MOON‘S ROTATION AND REVOLUTION MOVEMENTS The moon’s movements Two characters represent the Earth; the others two the 2 faces of the Moon.

28. SECOND SCENE: THE MOON‘S ROTATION AND REVOLUTION MOVEMENTS The moon’s movements The Moon, making the two movements at the same time, shows the same face to the Earth.

29. SECOND SCENE: THE MOON‘S ROTATION AND REVOLUTION MOVEMENTS The moon’s movements The scene continues with the Moon that continues to show the same face to the Earth.

30. The earth's revolution movement THIRD SCENE: THE EARTH'S REVOLUTION MOVEMENT A character represents the Sun, the other two the position of the Earth at perihelion.

31. The earth's revolution movement THIRD SCENE: THE EARTH'S REVOLUTION MOVEMENT The scene continues with the representation of the Earth on aphelion.

32. AIMS To Stimulate the interest of the pupils; To Stage multiple topics of study (mathematics, science, environmental education, etc.);    To Develop creativity and inventiveness; To Improve mnemonic capabilities by storing the parts to be represented. To gain confidence and confidence in the expression in the presence of classmates.

33. CLASS: 3 F TEACHER: Benedetto Savona