BY ROSALIND FLYNN AND SARAH FORMAN
“LADIES! LORDS! Let us please start Process drama defi ned the meeting! I think you and I can all Process drama is a broad term for agree that we are sick of this blood- various strategies that teachers use shed that has been going on. I had to engage students in dramatic situ- threatened death if this should happen ations outside of theatre—to get Theme/learn- again.” The speaker is a theatre teach- them to participate in a process, ing area. Sarah er, but she’s not in a theatre class. She not to produce a performance. The teaches in a large sub- is addressing her ninth grade English teacher-in-role strategy requires the urban public high school. class in role, using process drama. teacher to play a part and interact Her Curriculum Guide Com- Maybe you’ve fretted that your Eng- with the students (who may also mon Task for the ninth grade unit lish classes (or classes in history or be in role or acting as themselves) on Romeo and Juliet reads, “Perform math or virtually any other subject) are in an imagined scenario. In role, a scene from the play, adapting the not as active or engaging as your the- the teacher questions, summarizes, setting or style to enhance a theme atre classes. You’ve heard of process challenges, and engages the stu- or idea.” Sarah felt that an imagined drama but you’re not sure how to plan dents in a dramatic context that improvised scene would satisfy this it. What if your non-theatre students promotes thinking, problem-solv- goal. don’t get it? Will they even know how ing, and language use. The teacher- “Seventy-four percent of our to participate in a drama activity? in-role keeps the drama moving, school’s students qualify for free or The intention of this article is to encourages student involvement, reduced lunch, and many come from walk you past some of those concerns and maintains order. tough home situations, so engage- by describing, minute by minute, what In their book Planning Process ment and motivation are crucial to goes on in an English class process Drama: Enriching Teaching and their success,” she wrote later. “My drama investigation of the confl ict in Learning, Pamela Bowell and Brian previous approach to this assign- Romeo and Juliet. There’s also a real- S. Heap offer five key principles. ment—facilitating a discussion and as- time video recording of the activity • Identify the targeted theme/ signing an essay—resulted in only the so you can sit in on the class (https:// learning area. same high-fl yers thinking critically. vimeo.com/98429623; password: • Create a dramatic context—the Whenever I incorporated process dra- EducDrama1). specific fictional circumstance to ma to engage students in prewriting The teacher leading the activity is explore the theme. activities, I noticed increased invest- Sarah Forman, who teaches English • Decide on roles for the teacher ment, especially among the ‘diffi cult at a public high school in the Mary- and the students. students,’ so I felt optimistic about a land suburbs of Washington. She un- • Determine the drama’s Romeo and Juliet process drama.” dertook the teacher-in-role strategy frame—a collective concern, an Context. To engage students in ad- with her ninth-grade English class to impetus for participating in the dra- dressing the issue of blame in Romeo meet a requirement in the Drama in matic circumstance. and Juliet, Sarah imagined a meeting Education course I teach at the Cath- • Choose strategies—ways of of the citizens of Verona that occurs olic University of America. I observed making process drama happen. after the play ends. the work and made a video recording Here’s how Sarah approached Roles. Sarah played Prince Esca- of it. her planning. lus, the ruler of Verona—an actual
34 TEACHING THEATRE g i
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character in the play. She cast her students as Verona’s lords and ladies. Her role as the prince conferred sta- tus, her right to be an arbiter, and ways to compel student involvement. Casting students as members of the educated, wealthy class would prompt them to elevate their language and critical thinking, assume roles quite different from themselves, and partici- pate safely. Frame. Any successful drama needs confl ict, so Sarah had to deter- mine how to create tension. Thus, the meeting called by Prince Escalus is not just a pleasant gathering. Its pur- CO pose is to voice and challenge ideas, O assign blame for the recent deaths, D S S S and explore how the feud began. i R dJ l t in a task aligned with Strategy. Teacher-in-role. t C C
C G 35 Preparing students unison, saying, “Ahem, Your Maj- The warm-ups have done their job: Students need some frontloading esty!” accompanied by whatever the students participate. Some commit activities to provide them with back- gesture each chooses to incorporate. more strongly than others, of course, ground information and help them They rehearse calling one another and many forget and shake hands in- commit to their roles. Sarah created a “My Lord” or “My Lady” and using stead of bowing or curtseying. Sarah, form called “Citizens of Verona Meet- a genteel handclap to indicate that as Prince Escalus, joins in the mingling, ing—Who’s to Blame?” which explains they agree with points made. Sarah modeling how to respond in role. the dramatic context (p. 37). approves a request to use a British The meeting begins at about the Sarah begins the class session accent, even though the setting is eleven-minute mark on the video. by previewing the upcoming activ- Verona, Italy. Prince Escalus pounds the lectern. “La- ity: “So we will be in a meeting Sarah asks students individually dies! Lords! Let us please start the meet- that Prince Escalus has called of to say “The cow jumped over the ing!” They take their seats. “I think you the citizens of Verona,” she tells her moon,” first as a normal high school and I can all agree that we are sick of students. “Together in role, we will student would and then as a lord or this bloodshed that has been going on.” debate and decide who is to blame lady would. These warm-ups, rather Sarah/Prince Escalus explains the for this terrible tragedy.” Then she than being time-eaters, contribute to purpose of the meeting, incorporating gives the students time to prepare the students’ buy-in and participa- words like “indeed” and “kinsman” into by reading, discussing, and complet- tion. Some students engage more her elevated dialogue. She reminds them ing the form. In groups, the students enthusiastically than others, but no that the stakes are high. “I had threat- share ideas and refer back to the one is bored or detached. There’s a ened death if this should happen again.” text for information and evidence. growing sense that maybe today’s Her commitment to her role is ap- Sarah circulates among them. class will be fun. parent—not overdone, but it commu- To further build belief, the stu- Sarah explains that they will be- nicates that she is taking this drama dents create names and titles for the gin the drama by mingling and intro- seriously. “We need to have justice characters they will play and print ducing themselves. She asks, “How served and we need to have this feuding them on paper. do you think you would greet each stopped.” other?” A student suggests curtseying While waiting for a student to will- Warm-ups and bowing. Sarah agrees and adds, ingly enter the dramatic context, she Sarah leads a warm-up focused “Remember—the handshake was not continues speaking and rephrasing, giv- on helping students fully embody really a thing at this time.” ing students time to commit. “So, does their characters. “Show me how The students make their name- anyone want to offer up who they think you think lords and ladies of Ve- plates, creating character titles like should ultimately be to blame and pun- rona would stand if they were in a Lady Mimi and Lord Manchester, ished so that this feud is gone forever?” meeting with a prince.” She asks the and then Sarah makes it explicit that Lord Manchester stands to accuse students to freeze in their poses, this activity is considered a Com- Benvolio, quoting him, “How about complimenting the ones who are mon Task that relates directly to the we go and check out… ‘examine other committing to the warm-up. Her curriculum. “I do expect everyone beauties.’” (A direct reference to the positive and sometimes humorous to please speak at least once.” text!) Prince Escalus responds and af- affirmations encourage the hesitant firms Manchester’s contribution. students. This groundwork is crucial Conducting the drama The Prince does not have to ask a with teenagers who need to feel Sarah gets into role. Role in this case follow-up question because Lord Water- safe to take on a role. does not mean a perfectly prepared melon joins in the debate. “The illiterate Sarah explains that in the drama, characterization. Instead, think of it servant who came to Benvolio—would citizens will to stand up to speak as adopting the attitude of someone he not be to blame for this?” and adjust their voices to address who will be the dramatic catalyst for To get this lord to elaborate, the the prince. “What do you think engaging students in examining issues. Prince asks, “Can you tell us why— lords and ladies would do or say?” She turns her back to the students and why should this illiterate servant be to she asks. Students discuss using dons a hat. She turns around, clearly blame?” (Whenever possible, rather objects to tap their desks, clear- signaling the start of the drama in than provide missing information, the ing their throats, and addressing a slightly British accent. “Greetings, teacher-in-role solicits it from the stu- Sarah differently. “So ladies and greetings, ladies and lords of Verona. dents-in-role.) gentlemen, you will no longer ad- Please, please, please come and greet “Because Benvolio got the infor- dress me as Miss Forman. You will each other. We have some time now mation from the illiterate servant, did address me as either Your Grace, before we start the meeting.” (For clar- he not?” To keep the drama moving Your Highness, or Your Majesty.” ity, dialogue that Sarah delivers in role and give students time to think, Sarah Sarah has the students practice, in will be rendered in italic type.) summarizes the two accusations. 36 TEACHING THEATRE Citizens of Verona meeting—who’s to blame?
Prince Escalus has called a meeting of the city’s citizens. He is fed up with the Montague/Capulet feud and wants to put a final end to it all. He needs to find the root of the problem. However, punishing all involved will only cause more bloodshed, and punishing only one individual involved will not solve any problems. He wants to find who is to blame and punish them justly for their cause of Tybalt’s, Mercutio’s, and now Romeo’s and Juliet’s deaths. He is also trying to get to another root of this problem: how did this feud even begin in the first place? Together, in role as citizens of Verona, we will debate and decide who is to blame for this terrible tragedy. Directions: Before you begin, with your group, write down at least one detailed reason why each character could be blamed for the deaths of Tybalt and Mercutio. This needs to be supported with two to three quotes from the text.
Character Reasons for Blame?
Sampson, Gregory, and Abraham
Romeo
Mercutio
Benvolio
Lady Montague
Lady Capulet
Paris
Friar Laurence
Juliet
Tybalt
Nurse
Illiterate Servant
The Prince
TEACHING THEATRE 37 Lady Snow rises and speaks softly, She probes further and elicits greater rupts herself to allow Lord London “I believe that Lord Capulet was more language use and participation. to contribute. “The Nurse could have to blame because…” Lady Melanie stands next to dis- stopped all this confusion with the The Prince interrupts her. “I’m agree about Romeo because people forbidden love between Romeo and sorry. I don’t think Lord Noodles over don’t choose to fall in love. She Juliet. She could have stopped them here can hear you. He’s pretty hard of blames Tybalt, who was always look- from being married.” hearing, right?” ing for a fight. “He loves all violence, Lady Melanie disagrees because Lord Noodles promptly cooperates and he hates all Montagues.” the Nurse was just following the or- by yelling, “What? I can’t hear you!” Student participation now becomes ders of the girl she serves. She also Lady Snow begins again, projecting more rapid. Lady Mimi “half-agrees” refutes the idea that Benvolio intro- her voice more strongly and blaming with Lady Melanie, but she blames duced Romeo to Juliet, because he Lord Capulet for giving the invitation Lord Capulet. He allowed Romeo and disappeared and the couple met on to the servant in the first place. Then Benvolio to stay at the party, which their own. Lord Jeebus (who is female) places angered Tybalt and led to the deaths Lord Jeebus rises to challenge an the blame on Paris, who caused prob- of Mercutio and Tybalt. He is also accusation that Lady Melanie denies lems by wanting to marry Juliet. forcing a marriage upon Juliet, who making, giving the prince the oppor- One of the goals of the teacher-in- chooses death over marriage to Paris. tunity to intervene. “Ladies and lords, role is to look for ways to involve less Madame Dumbledore’s assertion let’s be civil here. We do need to come active students. Sarah notices a stu- that Benvolio is to blame elicits a gasp to a good conclusion.” dent nodding his head and asks him from the opposite side of the room. Lord Jeebus then places the blame if he agrees that Paris is to blame. “Despite his peaceful tendencies, I on Romeo and Juliet, and teacher-in- The student thinks that he will be believe that he is to blame because he role helps by summarizing. “Because able to get by with a simple “No,” but convinced Romeo to go to the party.” they are trying to escape these lives she presses him to justify his think- The teacher-in-role listens intently, that they’ve been put into and they’re ing. He stands and accuses Romeo. summarizes remarks, and then inter- unhappy about.”
38 TEACHING THEATRE 7HTQLTDO 6\VWHPV VN\SHWHTQLTDO Participation has been strong for ZZZWHTQLTDOFRP the fi rst eleven minutes, but Sarah wants to encourage more involve- ZZZ7KHDWUH6DIHW\%ORJEORJVSRWFRP ment, so she delays the response of a student who has already contributed )DFLOLW\6DIHW\$VVHVVPHQWV $FRXVWLFV and follows up on a comment about 6WDJH5LJJLQJ 0DFKLQHU\ 7KHDWUH3ODQQLQJ Romeo and Juliet’s attraction. “Does 6RXQG9LGHR 3URMHFWLRQ /LJKWLQJ 'LPPLQJ anybody else agree about this love be- tween Romeo and Juliet? How many of 1RLVH&RQWURO )LUH&XUWDLQV 'UDSHULHV you think and agree with Lord Jeebus Consultants Specializing in Performing Arts Technology and Safety that it seems to be only an illusion or a means of escape for both of them?” This prompts a brief discussion of whether the love was puppy love. “How many of you lords and ladies Make the impossible possible. loved your husbands or wives when you married? How many of you mar- Rehearse where you perform. ried by choice?” The Prince’s question prompts some laughter, but Sarah stays in role and rephrases the ques- tion. “How many of you lords and la- dies were in an arranged marriage?” Several students raise their hands. Madame Dumbledore interrupts with a grand pronouncement. “I have a new conclusion about who’s to blame. It’s not just one person.” This remark prompts gasps from the gathered citizens. “It’s two gruesome people.… Both families—Capulet and Montague—are to blame, because if it wasn’t for their history and their issues, none of this would have hap- pened—none of Tybalt’s bloodthirsti- Central High School ness for another family…. Romeo San Angelo, TX and Juliet would have been married normally. They wouldn’t have to keep it secret.” The drama is going well, but VAE Rehearsal provides the power of active acoustics to Sarah, in role, wants to involve more modify the acoustics of your space at the touch of a button. students. “Ladies and lords who have Now you can simulate nine different acoustic environments in your not been able to speak today, do you rehearsal room, including custom simulations of your auditorium, have something to add to what these gymnasium, or a competition venue. Plus, with record and instant two women contend?” playback, students can hear everything they do! Lady Barrow speaks up for the fi rst See a demonstration video at www.wengercorp.com/vae or contact time and declares that they need to your Wenger Sales Representative for more information. discover what initial strife caused the feud between the two families. “Once we can fi gure that out, then we can look at who’s to blame.” The Prince goes with Lady Bar- row’s recommendation (and with this smooth segue into a stated lesson goal) and follows her lead. “Lady 800-4WENGER (493-6437) | www.wengercorp.com Barrow has a great point. Let’s try to fi gure out what started this feud in
TEACHING THEATRE 39 the first place…. Do any of you re- teacher’s challenge is to improvise Ooh, scandalous! Interesting.” The member?” Her question is not one with the students-in-role even when teacher-in-role extends the inquiry. that is answered within the play. It the drama does not proceed as en- “Did you all hear any more rumors is contained in the larger drama the visioned. around Verona about why this feud students are engaged in, an invita- Lady Kaylonday stands and speaks has been happening?” tion to imagine and make infer- for the first time. “Back when I was a Lord Manchester offers an expla- ences. The improvisational nature of young girl in Verona, I used to hear nation that involves confusion over this dramatic encounter is apparent. that Lord Capulet may have seen the theft of a fishing rod six genera- The teacher has invited the students Lady Montague a few times.” Her tions ago. This is a bit far-fetched, to enter the fictional world, but once voice is dramatic, she accompanies but the teacher-in-role stays in char- the invitation has been accepted, her revelation by stroking her chin, acter, accepts the idea, and then as process drama expert Cecily and what she says evokes gasps and redirects attention to a new speaker. O’Neill says, they can respond, ask groans from those assembled. By this point—twenty minutes into or answer questions, and oppose or “Are you implying that Lady Mon- the drama—many students are eager transform the circumstances. The tague may have not been faithful? to offer their ideas.
40 TEACHING THEATRE Lord Jeebus encourages Madame Despite any defi cits in the stu- Located in Ashland, Oregon— Dumbledore to offer her perspec- dents’ commitments to their roles, home of the Oregon Shakespeare Festival tive: “The two families are related what cannot be denied is their en- to Macbeth and Hamlet.” This elicits gagement in the lesson. Everyone in KƌĞŐŽŶĞŶƚĞƌĨŽƌ appreciative laughter, but Sarah stays the classroom paid attention and at ƚŚĞƌƚƐ 201 in character. “Oh, I’ve heard of these least thirteen of the twenty-four stu- rumors before.” dents made strong contributions to THEATRE TEACHER “Macbeth—Montague,” Dumb- the discussion, often making direct TRAINING PROGRAM ledore says, emphasizing the M’s of references to the text to justify their A hands-on program for high school both surnames. “Hamlet—Capulet!” claims. Energy in the room was high she continues. Her observation earns throughout the forty-minute class. and community college theatre teachers a chorus of approval and applause. Two students interviewed after The Prince warns about putting stock the process drama session endorsed into conspiracy theories, but—re- this strategy in their high school maining in role—endorses her, too. English class: “That is some sound evidence there!” “I love the use of drama in class The teacher can address any nonsen- because it really engages us stu- sical or downright incorrect informa- dents and you get into character. It’s tion after the drama. really, really fun.” Other ideas are tossed around— “I would tell someone to use about affairs, wayward girls, and ar- drama with students because they ranged marriages at the root of the might fi nd it entertaining—maybe feud. Then Lady Mimi’s perspective travel to another world in their Master of Theatre Studies in casts the motives of the Prince into minds and use their imaginations Production and Design doubt. She wonders if the Prince ban- in different ways, and it’s pretty &BSOZPVS.BTUFShTEFHSFF ished Romeo to keep him safe while entertaining when you do differ- ŝŶUISFFTVNNFST everyone else endured punishment. ent things, pretend to be different Sarah picks up on the accusation. “Are people, and just escape from every- +VMZ you implying treason?” day life.” .BJOQSPHSBNDVSSJDVMVN The meeting has run close to twen- Sarah, too, was defi nitely pleased: ty-seven minutes. Aware that the bell “I was so happy with the kids—they 4DFOJD DPTUVNF MJHIUJOHBOETPVOEEFTJHO is about to ring, Sarah signals the end kept it going! The students also re- %JSFDUPSJBMBOETDSJQUBOBMZTJT of the drama. “Well, lords and ladies, ally got into the characters, which 5IFBUSFUFDIOPMPHJFTTUBHFNBOBHFNFOU "OBMZTJTPG04'QSPEVDUJPOT I will call you again so we can recon- was great.” "QQMJFEQSPKFDUTJOZPVSTDIPPMUISPVHIPVU vene once I have thought all your sug- UIFBDBEFNJDZFBS gestions through.” She bows. “I thank Post-drama writing you very much for your advice.” The writing that Sarah’s students Using her natural tone of voice, she produced convinced her to keep 1SPGFTTJPOBMEFWFMPQNFOUFMFDUJWFT says, “All right. The prince has just left process drama in her teaching rep- 3PUBUJOHDSFEJU XFFLMPOHJOUFOTJWFT"QQMZ the building,” and she turns her back ertoire, especially as a pre-reading UP.BTUFShTEFHSFF PSFOSPMMUPGVMGJMMDPOUJOVJOH FEVDBUJPOSFRVJSFNFOUT and removes the hat. strategy for challenging texts. As compared to essays from previ- Refl ecting on the process drama ous years—produced after only a .054 Faculty As is evident in the video and nar- discussion and the worksheet—the 406UIFBUSFBSUTQSPGFTTPST rative of this session, process drama essays from this group of students 1SPGFTTJPOBMTGSPN04' can head in unexpected directions. showed greater critical thinking /BUJPOBMMZLOPXOBSUJTUT Students can play their roles mini- and more relevant and interesting mally—responding more like the textual analysis. And they were Visiting Ashland with students to see plays at OSF? Consult sou.edu/shakespeare/ high school students they are than longer. Not only that, but most of groups.html for theatre based workshops the characters of lords and ladies, and the students actually submitted the the contributions can become trivial. written assignment. For Sarah, this With repeated participation in process was dramatic. “In a school where sou.edu/acts drama sessions, students get more homework submission is generally [email protected] comfortable with this unorthodox around fi fty percent, that’s a huge approach to learning, yielding higher- victory!” She’s already working on 541552-6346 quality results. some new roles. TEACHING THEATRE 41