The advantage being that we set out with a goal and met it: we focused on “saying yes” (as the title of the workshop promised) along with guiding/coaching and trusting oneself.  These all came up on their own as part of the creative process.

The disadvantage being that we discovered what we forgot to include…the purpose of doing PictureBook Plays.  We were so focused on sharing the practical portions that we neglected the theory.  All it needed was a few sentences and we could have at least covered the basic theory to really drive the importance of process-oriented theatre home.

So, for those of you who have been following this blog, or, better yet, were at our presentation, here’s a late-night primer for you.

Process-Oriented Theatre is an essential art form in the early childhood classroom because:

• Given the chance to make their own choices and decisions about all aspects of a story (character, blocking, words, sounds, physical engagement,props,etc.) children are given power over their own worlds and begin to understand that they also have power over the real world.
• With the self-confidence of empowerment comes the ability to make new and challenging choices in life.
• Students learn to communicate with their peers and teachers as collaborators and creators.
• As an audience member (and scene partner) we develop the ability to generously appreciate the artistry of others.
• Students develop empathy.
• Making sense of a story translates very easily into making sense of the world.
• Children deserve to have their artistic decisions and creations treated with respect as essential works of art.  As children who are respected by others, they grow into people who respect others.

Trust me, this is all written somewhat haphazardly late at night after playing hooky so we could take our very patient three-year old assistant to the white house, monuments and museums.  We’ve said it much better in our book.  But it’s enough, for now, because we share this pedagogy not simply to give you pro-active ways to include theatre in your curriculum but because we believe theatrical opportunities are essential for the development of whole children.

• SerahRose left the cord to her laptop at home.  Don’t worry, she has the mouse.
• Sharon forgot paper. Just to write on. Plain old paper.
• We have a handful of prospecti (we’re going to pretend that’s the plural for prospectus) for the book “Preschool Players” but we neglected to print out one very important inclusion…our CVs.
• SerahRose only has about 20 biz cards in her purse.
• Sharon forgot her vitamins.
• Neither one of us remembered to go to AAA for a tour guide book, or even a map, so we are at the hands of the concierge.

But we’re still smiling, and letting go, which is the essence of saying “yes.”

Ah, and the wee-one is fast asleep in bed already so we’ll all wake up bright-eyed and bushy-tailed after all is said and done.

Recently, I had the opportunity to watch a drama teacher work with five year olds in an after school drama class.  They took a picture book, Caps for Sale, and assigned each student a part.  I double checked: the teacher had chosen the children based on how well she judged their ability to remember lines, speak loudly, and follow her (the adult’s) directions.  The “extra” children, who now knew they weren’t capable of these skills, were assigned activities such as making hats, painting the tree and caring for other props.

Now, before you say, “What’s wrong with this scenario?” consider what PictureBook Plays presents as process:

• After you read and become familiar with a particular story, children are asked what parts would they like to try out, what props will they use?
• When they “act out” the story, they take charge of the story.  Perhaps there are three peddlers – perhaps a child is even a tree or a hat – the difference is in the choice.
• Children take charge of the process and in that process gain content.

And the content?  Self-assuredness, learning how to make a choice, and maybe even discovering how to take the “risk” of speaking loudly enough to be proud of being a peddler.  All this packaged up nicely becomes a child saying, “I am capable.”

Now go back and look at the process I observed in the after school program and decide for yourself what sort of content is the result of that particular teacher-led dramatic programming.

*Dodge, Colker, & Heroman, 2000. Creative curriculum for early childhood:  connecting content, teaching and learning. (3^rd ed). Washington, DC: Teaching Strategies.

The concept that is difficult for adults to understand, and remember since we did it once, is that when that block becomes a phone, it is no longer a block!  It is a phone.   When children see others dressed as something else for Halloween, when we ask them to dress up, or they volunteer to “be” a superhero, a ladybug, a bus; what adults need to understand is that the child “IS” that thing.   The line between real and pretend is blurred during these years; and can cause children inner confusion and stress (sometimes what we think is sugar overload may just be “I’m tired of being a bus – a real bus”!)

Dramatic play work in the classroom can give young children the opportunity to try out “BE-ing” other things.  Depending upon the picture book chosen, a child can try being an animal, an adult, or even a tree or a hat.  But, they know it’s contained, with the likelihood of being joyful, because PictureBook Plays is temporary, it’s voluntary, and it’s safe.

The Boston Children’s Museum (where I initially workshopped many of my ideas) has a gorgeous children’s theatre and some of the best plays for children I have ever seen.  They’re kid length(15-30 minutes), interactive, developmentally appropriate, and in a real theatre with real actors.

However, the space is under-utilized in between plays so the Program Director asked me to work with some of the Exhibit Interpreters to give them an introduction to children’s creative theatre play: what to expect, what they can learn, and what to play with.  They were a really enthusiastic bunch that participated fully, and asked wonderful, insightful questions.

Of course, I was too busy to remember to take a picture.  But the Arts Program Manager did send a really nice thank you:

THANK YOU so much! I had a great time, learned lots, and the staff were really energized by your workshop. You accomplished so much in an hour – I really appreciate your Skills!

Hopefully I’ll get to go back in a few months and see what they came up with!

PictureBook Plays: Saying ‘YES’ to physical and vocal theatrical expression with your preschoolers

 If you’ve been aching for an in-person taste of what we do, now’s your chance! Plus, you’ll get to participate in many other workshops, lectures and round-table sessions.  Go check it out.  As far as we know, it’s the largest gathering of early childhood educators in the US.

A Harris Poll taken in 2005 measured American’s attitudes toward arts education and found that an astounding 93% agreed that the arts are a vital part of a well-rounded education, while 86% believed that children’s attitudes toward school are improved by a good arts education. More than half – 54% – rated the importance of arts education a “10” on a one-to-ten scale. Head Start, state school boards, No Child Left Behind requirements, teachers, and researchers all recommend (my italics) quality arts education. Arts education funding is oftentimes tight, with programming sacrificed for those subjects considered more “academic.”

The author, Kathreen Francis, goes on to explore in brief several other studies which cite the academic benefits of (for the most part) dance and music education. She continues with:

Perhaps more importantly than test scores and grades are the less tangible, but powerful effects that critical study of the arts can give us. These include cognitive skills such as reasoning ability, problem solving skills, creativity and inventiveness, all of which are improved when children discuss, create and participate in the arts. They learn to draw inferences and strengthen their abstract thinking. Research in “Critical Evidence” found increases in fluency, originality and improvisation among children with a good integrated arts education.

Unfortunately, Ms. Francis stops several steps short of saying anything truly useful. Sure, we care about statistics because we can understand them, and we care about “the less tangible, but powerful effects.” But what is most significant is the fact that our leaders in education merely “recommend (my italics) quality arts education.” Even with all of Ms. Francis’ cited research, our leaders still neglect to make it a requirement that children are exposed to integrated arts programs. They continue to be more concerned with test scores than the creation of a whole child. We need people like Ms. Francis to go beyond cutesy lines like “Make Time for Art’s Sake!” and start advocating for the required inclusion of arts curriculum.

Learning about the laws of physics, addition, verbs, and government are useless if our children are incapable of “reasoning, problem solving, creating and inventing.”

• To gather & share theatre resources for the educators and parents of preschool children ages 2-5 years.
• To convince parents and educators that just as we include visual art and music in the early childhood curriculum, so should theatre be included in the curriculum.
• To promote the forthcoming book PictureBook Plays, a resource for parents and educators, based on the practices of SerahRose Roth (that’s me) and co-written by myself and Prof. Sharon A. Roth, Ed.D.