UNIT 3

METHODS TO INCORPORTATE
DRAMA IN EFL CLASSROOM
 Conscience Alley

AGENDA Thought-tracking

Eavesdropping
 Match the pairs
Drama Strategies

TEACHER IN ROLE Students take on roles as experts in a particular field to explore issues and solutions. They become adults and/or specialists responsible for
decision-making during a fictional (dramatic) scenario. This method is an education approach that uses imaginary contexts to generate
purposeful and engaging activities for learning.
FREEZES / STILL IMAGES: The outline of a body is drawn onto a large sheet of paper, this can be done by carefully drawing around one of the students. This represents a
character from the drama. Words or phrases describing the character are then written directly onto the drawing. An effective way of focusing
this process is to write feelings and thoughts within the body outline, and facts and figures around the outside of it. Additional notes can be
added at points during the drama. The drawing can then be pinned to the wall to provide a central focus. Several characters from one drama
can be explored in this way.
MANTLE OF THE EXPERT A technique for students to answer questions from the group whilst in role. Characters can be placed ‘on the Hotseat’ away from the drama, or
respond from within it. It’s a great way of developing character, and gaining greater understanding of a character’s actions and motivations.
With younger children, teachers can place themselves on the Hotseat and respond in role to answer questions from the class.
ROLE ON THE WALL Individuals or groups devise an image using their own bodies to crystallize a moment, idea, theme or picture. Contrasting images can be
made to represent actual/ideal, dream/nightmare versions. This method highlights important moments and focuses thoughts and ideas in a
simplistic but very powerful way.
HOTSEATING The teacher stimulates and directs the drama from within by adopting a suitable role. This can instigate the drama, change its direction, move
it forward, or provide a conclusion and a means of reflection. The activity can be as simple as the Teacher ‘becoming’ Cinderella, or one of the
Three Bears in order to be questioned. Or using a prop or costume – such as a letter, a scarf, a hat – to generate drama about a specific
character or issue. Working in role can challenge ideas, drive the drama forward, and influence children’s thinking without having to pause
the drama by ‘stepping outside’ of it. Teacher must fully commit to the role and must interact purposefully with the students.
 • TEACHER IN ROLE: The teacher stimulates and directs the drama from within by adopting a suitable role.
This can instigate the drama, change its direction, move it forward, or provide a conclusion and a means
of reflection. The activity can be as simple as the Teacher ‘becoming’ Cinderella, or one of the Three
Bears in order to be questioned. Or using a prop or costume – such as a letter, a scarf, a hat – to generate
drama about a specific character or issue. Working in role can challenge ideas, drive the drama forward,
and influence children’s thinking without having to pause the drama by ‘stepping outside’ of it. Teacher
must fully commit to the role and must interact purposefully with the students.
• FREEZES / STILL IMAGES: Individuals or groups devise an image using their own bodies to crystallize a
moment, idea, theme or picture. Contrasting images can be made to represent actual/ideal,
dream/nightmare versions. This method highlights important moments and focuses thoughts and ideas
in a simplistic but very powerful way.
• MANTLE OF THE EXPERT: Students take on roles as experts in a particular field to explore issues and
solutions. They become adults and/or specialists responsible for decision-making during a fictional
(dramatic) scenario. Mantle of the Expert is an education approach that uses imaginary contexts to

ANSWERS •
generate purposeful and engaging activities for learning.
ROLE ON THE WALL: The outline of a body is drawn onto a large sheet of paper, this can be done by
carefully drawing around one of the students. This represents a character from the drama. Words or
phrases describing the character are then written directly onto the drawing. An effective way of focusing
this process is to write feelings and thoughts within the body outline, and facts and figures around the
outside of it. Additional notes can be added at points during the drama. The drawing can then be pinned
to the wall to provide a central focus. Several characters from one drama can be explored in this way.
• HOTSEATING: A technique for students to answer questions from the group whilst in role. Characters can
be placed ‘on the Hotseat’ away from the drama, or respond from within it. It’s a great way of
developing character, and gaining greater understanding of a character’s actions and motivations. With
younger children, teachers can place themselves on the Hotseat and respond in role to answer questions from
the class.
Conscience Alley
Conscience
Alley
• A useful technique for exploring any kind of dilemma faced by a
character, providing an opportunity to analyze a decisive moment
in greater detail. The class forms two lines facing each other. One-
person (the teacher or a participant) walks between the lines as
each member of the group speaks their advice. It can be organized
so that those on one side give opposing advice to those on the
other. When the character reaches the end of the alley, she makes
her decision. Sometimes known as Decision Alley or Thought
Tunnel.

• This drama technique can easily be applied to a range of subjects

across the curriculum, whenever a character is faced with a
decision. It may be that you reach a certain point in your drama
lesson, or while reading a story aloud, or describing an historical
event, when such a moment occurs. Turn the situation round on the
children/students so that they have to consider the issues
involved. Then in role as Abraham Lincoln, or Oliver Twist, or Red
Riding Hood, you walk down the Conscience Alley as members of
the group whisper their advice to you.
Conscience Alley
Thought-tracking

• Thought tracking (also called thought tapping) is a quick fire strategy enabling children to
verbally express their understanding of characters and situations without the need for
rehearsal. Students gain confidence to speak in front of others, preparing the ground for
them to move into extended improvisation. It is surprisingly easy for pupils to identify with
a role and express their thoughts after holding a still image for a few moments. The
teacher can efficiently gather feedback from all the students.

• Thought tracking is a natural follow-up to still images and freeze frames. Once children
have made an image, explain that when you tap them on the shoulder you would like them
to speak the thoughts or feelings of their character aloud. At the beginning this may just
be one or two words but children will soon gain confidence to express themselves in
longer sentences. It doesn’t take long to thought-track each child in a group so that you
reveal a wide range of attitudes and feelings from different characters.

• Students may want to be inanimate objects or animals in a still image. This is fine, as
animal characters can have thoughts – such as “grrrr” or “I’m hungry” and you may find
that even a lamppost can express its opinion, especially if you have used speaking objects
with pupils. You can ask characters specific questions such as what they feel about
another character, what they are dreaming or what they want to do next. Thought tracking
can easily be employed in the classroom with children at their desks.
Thought-tracking
Eavesdropping

• This is an activity for students to practise

reporting speech. It provides a situation for
reporting what others have said that can
be more realistic than some of the
exercises that are found in textbooks, and
great fun!
• You may have to explain the concept of
eavesdropping (listening to someone
else's conversation). With lower levels it
may be easier to explain spying.
• Eavesdropping is a great exercise to get students in
the habit of observing, writing, and trying out.
 1. Sit somewhere inconspicuous. A food court in a mall or a cafeteria. Make sure you’re eavesdropping on
strangers – don’t listen to a friends conversation as you’re going to be creating characters for this
conversation later on.
2. Listen to a conversation behind you, off to the side. Don’t look at the conversation, just listen. It could be a
fragment of conversation, it could be one side of a phone call, it could be something intense or funny. Write
it down as much of what you hear, as close to word for word as you can. Write in all the mistakes you hear in
the conversation, write in the pauses, the sounds you hear, the unfinished sentences. Don’t worry if you don’t
get it all. You’re not making a documentary. You can use your imagination to fill in the blanks.

Here’s what 3. Be subtle. Don’t make it obvious you’re eavesdropping and worse still writing down what you observe. Don’t
make noises or comment on what you hear.

you do
4. Once you’ve written down a page you can stop. Look at what you’ve written down. Brainstorm on the
characters who could be involved in this conversation. Remember you didn’t watch the conversation so you
don’t know what they look like.
5. Come up with two character names, a relationship between the two characters and a location. Make it a
different location than the one you’re currently in.
6. Turn this conversation into a scene. Write out the conversation in proper play form. Write what happens next.
Including the conversation you’ve overheard, write a two page scene.
• Bonus
• Repeat this exercise, only focus on a conversation you can see but can’t hear. As you observe the
conversation, decide what they are talking about based on their body language. Turn the conversation into a
scene.
Eavesdropping