Margaret S.

Woods

Learning Through
Creative Dramatics

". . . spontaneous activity

full of adventure and discovery."

I have learned that the head does not intellectual, physical, social, emotional
1 hear anything until the heart has listened, and spiritual growth.
and that what the heart knows today the-
head will understand tomorrow. 1 In all types of creative drama there
are opportunities to experience a variety
REALIZATION of maximum individ
of situations and roles. Such opportunity
ual potential is possible through one of
provides constructive channeling ,of
the most natural but neglected avenues
emotions, promotes acquisition and re
of learning. Through individual, group
tention of knowledge, develops appre
and small group experiences in creative
ciation of the wonders and beauty of
dramatics, described by Dienesch - as
the world, and helps the child relate
improvised activity in which the child
himself to the world about him through
creates his own forms, full self-realiza
a form uniquely his. Dienesch 3 believes
tion develops as the child becomes in
that, whether the dramatic creation be
volved in thinking, feeling hnd experi
spontaneous or elaborate, elementary or
encing.
complex, it is by making a work of art,
Quality human experiences should be
in his own way and according to his own
carefully planned by a teacher proficient
capacity that the child or adolescent
in knowledge of growth and develop
develops most fully and harmoniously.
ment of the individual and skilled in
One aspect of creative drama included
techniques of dramatic art. Such experi
in make-believe of the child, is dramatic
ences help the child develop awareness
play which is spontaneous activity full
of purposeful living and promote self-
of adventure and discovery. 4 No sug
initiated activity. They also enable the
gestions are needed, for "trying on life"
child to manage the events which occur
and playing out thoughts and feelings,
within liis culture and result in his ever-
for dramatic play are the child's means
increasing movement toward balanced
of enjoying, exploring, testing, releas-
1 James Stephens. The Crock of Cold. N ew-
York: The Macmillan Company, 1960. 'Ibid. "-
2 Marie Dienesch. "Creative and Formal * Winifred Ward. Playmaking with Children.
Dramatics." World Theatre. Vol. II, No. 3, 1951. New York: Appleton-Century-Crofts, Inc., 1957.
p. 30. p. 10.

October 1960 19
Margaret S. Woods it Specialist in Creative of creative dramatics can be achieved
Dramatic*, School of Education, Seattle Pa while deeper understandings in other
cific College, Seattle, Washington. learnings are also being developed.

ing, remembering, working. The pilot Personal Involvement

flying the jet, the puppy playing with
the ball, or Mother washing dishes, exists Learning experiences built around
as the creation of the moment which personal involvement through creative
Slade :' indicates is the joy of dramatic- drama, can enhance acquisition and re
play. tention of new facts and stimulate desire
The oldest form of dramatic expres to do research. A display of china plates
sion is pantomine, a means of communi designed by the children decorated the
cation which knows no national barriers. chalk-lined shelves on the blackboard
Through large muscle actr ity, rhyth in one third grade classroom. As a re
mically expressed through tht elephant sult of experiencing sensitivity to the
swinging his trunk, the stealthy approach beauty of china during the dramatiza
of the men, swinging aboard the ship tion of "The Little Blue Dishes," chil
during the Boston Tea Party, the delicate dren displayed the sets with great pride
rhythmic movement involved in signing to teachers and children in the school.
the Declaration of Independence, the Price lists indicating, cost per piece, per
exacting stitches taken with care in mak place setting, settings of four, six, eight
ing the first flag, all communicate and even twelve enabled children to
thought and feeling through movement, practice the multiplication table as chil
which Siks n indicates is basic in the art dren placed orders.
of drama. Probably a longing to give one's best,
When a group of children make a and to succeed, effectively communi
story come alive by playing it spontan cated by one demonstrating teacher, in
eously, whether it is original or taken spired at least one child to do research
from literature, history or current hap and to learn to read. David knew he
pening, they are having an experience would have to repeat the fifth grade be
in story dramatization, which differs from cause he had not been interested in or
dramatic play because of plot. 7 Al able to read. However, he had a keen
though considered by some as "drama desire to be Tom Sawyer in the playing
for drama's sake," creative dramatics can of the whitewashing scene from the Ad
be integrated with subject matter with ventures of Tom Sawyer. Because he
out losing the art quality since, accord insisted, "I've always wanted to be Tom,"
ing to Lee and Lee," stories related to the teacher finally chose David rather
topics being dealt with in other subject than another highly capable boy in the
areas can be utilized. Here the values group. Throughout the play, Tom had
5 Peter Slade. Child Drama. London: Univer
difficulty making decisions, but he made
sity of London Press, Ltd., 1954. p. 45. them with all the courage he could sum
* Geraldine Brain Siks. Creative Dramatics: mon.
An Art for Children. N ew York: Harper and
Brothers, 1958. p. 105.
Following the play an evaluation was
7 Ward, op. cit., p . 10. made, "What did you like best about the
* J. Murray Lee and Dorris May Lee. The play?" Many positive comments resulted
Child and His Curriculum. New York: Appleton-
Century-Crofts, Inc., 1960. p. 522.
with suggestions for improvement. Hur-

20 Educational Leadership
rying up to the teacher as the other boys It is not always necessary to drama
and girls were leaving, David, eyes tize a story. Through pantomimic activ
sparkling, asked, "How did I do?" ity, students in one Spanish class im
"How do you think you did, David?" provised situations involving specific
"Well, you know, if I had a chance to characters of the present and past
do it again, I could do it a lot better." through the game, "^Quien soy?" The
"You know, David, I too did something spontaneity with which students re
for the first time this morning and when sponded brought forth a need for new
I repeat it, I'll do it a lot better. But tell word combinations, knowledge of verb
me, what will you do to improve your tenses, ability to think on one's feet.
playing?" The teacher then discussed Questions such as 'V.Esta Vd. en los Esta-
with David the strong points and possi dos Unidos? . . . ,;.Esta Vd. en TV? . . .
bilities for improvement on a subsequent jVive Vd?" placed the entire responsi
occasion. bility of identifying the characterizatihn
The following day, David's mother re through questions asked in Spanish. As a
vealed the boy's sudden renewed inter result, discipline problems began to dis
est in reading. "Mom, could we stop and appear, for the need to know was ever
buy the book of Tom Sawyer? You know, present.
I never have read that book all the way
through. I want to see if Tom could Life Cycle
reach the top board as easy as I could."
Through continued effort in provid The joy of creating develops a capacity
ing opportunities for story dramatiza to approximate intellectual and emo
tion. David was able to assume roles tional heights. As the child creates, he
which helped him to build courage and lives fully and riclvly the character which
confidence, a desire to do research and seems so real to him.
to understand words. Like others, David An understanding of the life cycle be
felt the satisfaction that comes when one came most meaningful in one first grade
struggles with a new idea, taking out room in an experience with maple wings.
the truth, sticking to it, being responsible These wings snuggle under the "dirt
for his own actions and successfully blanket" to rest until Spring whispers,
solving a problem. Empathy with hu "It's time to grow." One day Susan com
man experiences of the ages, truths in mented, "We're going to have a new
herent in great works of literature, art, baby at our house, and I get to name
music, develop understanding, as Ander- it Judy or Jim." The teacher aroused the
son 9 indicates: curiosity of the group with the state
ment, "Isn't it nice that Susan is going
A child's first act of creativity is to get in
relation symbolically to something or some
to have a baby brother or sister at her
body outside himself. This will appear as house? But you know, I have something
language as soon as play, for in play the here in this box, something for each one
child begins the never-ending struggle to of you. It has a tiny baby inside. It isn't
understand both his world and the world exactly like Susan's baby brother or sis^
as conceived by others. ter will be, but it is a tiny baby." Ask
ing- the children to close eyes and hold
* Harold H. Anderson, editor. C reativity and out hands, the teacher deposited a maple
Its Cultivation. New York: Harper and
Brothers, 1959. p. 185. wing with each child. She then sug-

October 1960 2V
 gested that they touch, feel, think, won cause I heard thunder," exclaimed one
der, about it. "How does yours feel to startled child.
you?" she asked. The teacher encouraged real thoughts
"Mine is soft as fur." and feelings by asking, "What do you
"Mine isn't, it's like Daddy's face when feel like doing when you hear thunder?"
he doesn't shave." "It makes me feel like running and
"Mine feels scratchy like my rusty hiding in the closet."
handlebar." "It makes me all hunched up, and I
"Well, if there's a baby in there, he put my hands over my ears."
doesn't even wiggle." "You know, boys and girls, I used to
"Sure, it has to rest first so it can be be frightened by thunder until my daddy
strong enough to move." Silent thoughts told me that it was just Station SKY
indicated wonder about the baby closed broadcasting."
up tight inside. A chorus of "What's that?" from the
"Could it move if it wanted to?" children indicated no recognition of the
"Can I break it open and take it out?" word, SKY. "I'm going to let you find
"No, Johnny, it will come out when out. I hope you do before that station
the time is right. What will help?" broadcasts again."
Answers from the children included, The following day. Tommy, who
"Sun . . . wind . . . rain ... a good, warm, seemed to spend almost as much time
dirt house." in the principal's office as he did in his
The teacher then suggested, "Let's all classroom, arrived early and was down
snuggle down in our own warm dirt on the floor with five books spread out
house. When the music tells you it's in front of him when his teacher arrived.
growing time, let the sun help you push Since there was a rule in that room that
your way out of the little house." no child could enter ahead of the
Thirty-two children, closing in as teacher, he again made a visit to the prin
small as possible, responded slowly, cipal's office.
sensitively to "Morning" by Grieg, it) "But I was only trying to find S K Y,"
complete rhythmic unfolding, exploring, he tearfully explained. "I looked in all
pushing up and out, each with a rhythm my comic books at home but I couldn't
all his own, struggling to go beyond but find it, so I had to come early because
with an inner harmony that results from it takes me so long to figure out words."
giving one's all. The principal, with Tommy and five
Evaluation by the children included other first graders who had been unable
such comments as, "I felt the warm sun to locate the station that broadcast
on me, when I pushed up through the thunder, borrowed a picture dictionary
ground." and discovered for themselves, a word
"I got a drink from the sprinkler." which expressions on their faces indi
"I saw one plant that was growing cated they should have known all the
faster and faster into a tree so it could time.
grow more seeds."
A Climate for Creation
"My seed got warm just like when I
pop popcorn and away I went clear up Dramatization of worthwhile material
through the ground." provides the child with quality human
"I popped back quick into the dirt be experiences and promotes capacity for

22 Educational Leadership
coping witli problems. A desire for more "When you're older you'll understand."
of the quality feeling and a willingness "Why did you have to do that?"
to struggle for it are evident when op "How many forgot their money
portunity exists to feel the difference be again?"
tween order and chaos, love and hate. "It's time for the Bluebirds to read."
ridicule and praise, bravery and coward "Those of you who miss more than
ice. For example, empathy with General five will have to stay in during recess."
Washington and his men at Valley Forge "How did you happen to spill so
may bring renewed effort in coping with much?"
failure, facing a problem, finding a means "You'll have that next year if you
for successful solution. Such understand pass."
ing may set greater forces in motion in "Let's get back to our seats. We still
the process of striving and becoming, have to finish the next page before the,
ultimately equipping the child with wis bell rings." (As the children gaze with
dom and skill as he slowly but surely ac awe and wonder at the first snowflakes
quires responsibility for behavior. of the season.)
The child discovers what life appears Elimination of some of these "enemies
to be through participation in worth of creativity" marks a beginning, for
while experiences some of which exist some teachers, of a desire to help chil
only through participation in the art of dren realize maximum potentialities by,
creative dramatics. As Trevis "' indi making way for constructive creative ex
cated, "Imagination is the faculty of pression.
forming images whereby the Soul be- Participation in creative dramatics
holdeth the Likeness of Things that be rewards not only the learner but the
Absent." By tapping the individual's teacher as well: In reaching far below
feelings through identification with the surface for the child's best; in the
things and people, one has reached a struggle to provide situations which
source of energy which can provide a combat the stifling effects of mass cul
most effective means for learning. ture; in removal of pressures which dis
A climate conducive to constructive courage appreciation of awareness of
creative expression, whether it be in beauty, truth and goodness, so vital in
writing, painting, movement or dramat the cultivation of taste; in the presenta
ics, challenges the teacher. Although , tion of dramatic situations which build
there is no one set of techniques, results inner controls in discipline; in the joy of
can be achieved by acting upon sugges creating'as one seeks to understand, ap
tions of a number of educators." How preciate and respect self and all man
ever, it would seem that a climate which kind. Anderson '- believes creativity as
houses "enemies of creativity" is easier personality development is not only a
to identify, because remarks which place- product of openness in human relating;
courage and confidence in the deepL it is a further opening to higher levels of
freeze are clearly evident. Some such re harmony in the universe.
marks include: If one would but lend an ear to those
"It doesn't look like it to me." who learn through a dramatic approach
to teaching, through the art of creative
'" Florence Cane. Tlic Artirt in Each of
\ew York: Pantheon Books, Inc., 1951. p. 124.
(Contintied on page 32) ;
" References at the close of the article. '" Anderson, op. cit., p . 141.

October 1960 23
is effective in most working situations its clearest expression in art baffles all
and is definitely not restricted solely to attempts at rational formulation. Any re
the art area. action to stimulus may be causally ex
Some peripheral conditions and ele plained; but the creative act, which is
ments of creativity are known. We know the absolute antithesis of mere reaction,
that self-discipline and concentrated ef will forever elude the human under
fort as well as imagination and experi standing. It can only be described in its
ence are particulars which are constitu manifestations; it can be obscurely
ents of creativity. Yet creativity as such, sensed, but never wholly grasped."4
in spite of many attempts at investigat
ing its basic components, is still as much 4 Carl Gustav Jung. "Psychology and Litera
a mystery as life itself. Carl Jung wrote: ture." The Creative Process. Brewester Ghiselin,
Editor. Berkeley: The University of California
"The creative aspect of life which finds Press, 1952. p. 209.

Creative Dramatics that the giant does not gain the respect
(Continued from page 23) of the players.)
dramatics, one might hear in response to "I've learned enough to last me for
the question, "Why was it fun?" such three days." (An eighteen year old stu
comments as these: dent about to receive a certificate of at
"Because I got to be President." (A tendance from a special school for slow
fourth grade boy who, as General Wash learners.)
ington, inspected the flag.) Through the art of creative dramatics,
"Because you can do the best you dreams and ambitions, attitudes and
know how to do and nobody grumbles." values, inner controls, aesthetic appre
(An eighth grade boy who had just ap ciation, sensitivity of spirit and a song
peared in the front of the room for the in one's heart daily fill the learner's store
first time in six months.) house. Through identification with qual
"Because I have a whole bucketful of ity human experiences which help build
new words." (A fifth grade girl who en rather than destroy, courage and confi
joyed contributing "picture words" for dence to go beyond that which is ex
descriptions of characters in Rachel pected, wisdom and ability to respond
Field's poem, "Roads.") effectively to change, develop on a high
"Because when you use your imagina level through a dramatic process of think
tion, everything comes out all right." ing, feeling, experiencing, a process
(A fifth grade boy who had become a which affords the learner opportunity to
pilot making a daring rescue on Mt. achieve full self-realization in the world
McKinley.). of tomorrow.
"Because you seem to understand our References
needs." (A shy fifth grade girl who felt LILLIAN LOGAN. Teaching the Young Child.
awe in sighting the tower in "Why the Boston: Houghton Mifflin Company, 1960.
Chimes Rang.") HUGHES MEARNS. Creative Power. New York:
Dover Publications, 1958.
"Because you can be mean and not MARGARET S. WOODS. Creative Dramatics.
hurt anybody." (A fourth grade boy Washington, D. C.: NEA Elementary Instruc
who enjoyed playing the role of the giant tional Service. March 1959.
.LAURA ZIRBES. Spurs to Creative Teaching.
in "Jack and the Beanstalk," but realized New York: George Putnam's Sons, 1958.

32 Educational Leadership
Copyright © 1960 by the Association for Supervision and Curriculum
Development. All rights reserved.