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Fake It Till You Make It

The backstage is alive with a buzz of excitement. The cast is rushing back and forth:

checking props, touching up makeup, putting final touches on costumes. In a few moments, the

show will begin. I walk backstage and set myself behind the curtain. Suddenly everything fades

to dark. There is quiet murmuring from the audience, subtle giggles from the cast, shuffling feet

as the final people get in places, then nothing. I feel the stillness for just a moment, take a deep

breath, and then the silence is broken by the striking first note as the orchestra comes to life. As

the curtain rises. I feel the lights on my face and all the butterflies in my stomach fly away. A

smile creeps up on my lips, from knowing that I am about to have the biggest two-hour

adrenaline rush that always comes with performing.

I performed in my first musical when I was nine years old. Since then I have auditioned

and performed in over 30 productions in all sorts of different kinds of shows and in all sorts of

different roles. From the sweet, naive, ingénue, like Dorothy in The Wizard of Oz and Liesl in

The Sound of Music, to the tomboy, aggressive Anybodys in West Side Story I always learn

something from the characters I portray. I found a love for theatre and have never stopped

chasing the thrill of it since.

Theatre has been a huge part of my life and has unquestionably made me into the person I

am today. I have gained so many skills from theatre. For example, public speaking, even though,

I still get terrified to present in front of the class, which makes no sense to me either. I have

learned how to carry myself with confidence, to manage my time to learn lines, how to work

under pressure, and the VERY important skill of how to do a box step with jazz hands. In all

seriousness though, beyond what qualities people typically think of, doing theatre has taught me

so much about empathy, understanding others, and finding myself. Through analyzing

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characters, I learned how to better read people and more about myself in what would seem like

silly improv games. However, the most important thing I learned from doing theatre is

communication. Theatre taught me how to identify emotions and communicate my feelings, or

the character's feelings, to others. Thinking about all of this, I started to wonder if my skills and

knowledge of social interaction and connections to emotions are because of theatre. I began to

wonder if theatre could be a tool used for students to learn and strengthen social-emotional skills.

I never struggled with this type of development myself and wonder if my involvement in theatre

from a young age is the reason for this. So having to think of something I was abundantly

passionate about, I now wish to search for the answer to the question: How can students’

social-emotional needs be addressed through participation in theatre?

To find the answer to this question, one must first fully understand what social-emotional

learning is. The Center for Disease Control and Prevention defines social-emotional learning as

learning that, “can help children and adolescents develop the skills they need to recognize and

manage emotions, set and achieve positive goals, appreciate the perspectives of others, establish

and maintain positive relationships, and make responsible decisions,” (“Social and Emotional

Climate and Learning”). With the definition explicitly stated, the next step was to find how

theatre can address these ideas and what details would especially help me understand how theatre

can influence students. The first idea to investigate would be to see how theatre has been used in

classrooms and education already.

Following this topic, there have been many studies done using theatre as a mechanism of

approach. With all sorts of different research projects, there was a plethora of ideas and studies to

look at. In one case, researchers Randal W. Boldt and Catherine Brooks used theatre techniques

while teaching the curriculum of the U.S. History class. They included a control group that was

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taught the same way the students were previously taught. Through the study they found, “85% of

the at-risk youth exposed to theatre-arts integration in the classroom passed the [U.S. History]

compared to the 70% of at-risk youth that passed statewide,” (Boldt, R.W., & Brooks, C). Boldt

and Brooks found how using the theatre within the classroom can be beneficial. Another

researcher, L. Velkov analyzed the case studies of the use of theatre to help those who are

visually impaired. Velkov makes a point of explaining how schools and case studies for the

visually impaired have, “recognized theatre as one of the best tools to build confidence and

self-respect on the basis of improved sensory and motor skills, verbal and physical

expressiveness.” This use of theatre as a tool to teach has been shown in many places. Using

theatre as education has become a newer push toward Social-Emotional Learning and helping

students not only identify what they are feeling but share how they are feeling. There have

already been many works produced on this idea, including a guide on how best to incorporate

theatre into every education. Jocene Vallack, an educator in Australia, wrote one such guide,

explaining that, “Theatre as Education is an approach to teaching and research that sets out to

develop in children the confidence to creatively go forth into the unknown. This confidence

grows from within the learner,” (Vallack). Theatre is being used in education already and seems

to present many benefits.

Although it does not revolve around students, one major place theatre research has been

used is in prison reform. In the paper, “Enhancing correctional education through community

theatre: the Benin Prison experience”, Marcel Okhakhu and Usiwoma Evawoma-Enuku compare

and contrast different correctional methods taught to inmates and then argue how theatre proves

to be one of the best options. The authors first dive into explaining community theatre and other

similar prison reform studies, they then explain the main study, The Benin Prison Project, and

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thoroughly explain the situations the inmates were given to act out. Okhakhu and

Evawoma-Enuku argue how community theatre benefits the inmates the most to persuade and

educate people on how community theatre can be used as a springboard for correction, reform,

and reintegration. The authors work to explain all the topics to the audience so readers can truly

follow all the details of the research and keep the audience engaged with the step-by-step

process. Although it is not students, theatre was used to help the inmates deeper understand the

importance of community and demonstrates how theatre can be used beyond the classroom.

Additionally, it is prominent and relevant to this research because the inmates were taught using

social-emotional learning.

Following the idea of community, an interview with Jarusha Ariel, the Co-Founder and

Artistic Director of I Can Do That, was conducted to further the research. I Can Do That

Performing Arts Center is a local non-profit theatre company based in Danville that works with

students ages as young as 4 to 18. She works with kids all day, practically every day in theatre.

During the interview, one point she made stood out. Ariel expressed how getting students

involved in anything is important, whether clubs or sports, but she went on to explain what

makes theatre stand out is the fact that it is, “the one team sport where everyone gets to win.”

She went on to explain how the team aspect of sports bonds the students, but the competition

always leaves someone a winner and someone a loser. Whereas within theatre, there is a slight

aspect of competition during auditions, but throughout the rehearsal process, everyone is

working towards the same goal and it bonds them similarly to sports. However, at the end of

rehearsing, everyone gets to share the same ‘triumph’ in hearing the applause, showing what they

have worked so hard on, and taking that bow. That subtle point of community building and team

spirit truly stood out during the interview. In another interview, conducted with Diane Kamrin,

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the Founder and Artistic Director of Stars 2000 Teen Theatre Company, a local teen theatre

company that has performed shows in the SF Bay Area for 30 years. In the interview, Diane

Kamrin discussed many different aspects of theatre, but she made the point of explaining how

she has seen the students bond together as a cast and how “the bond of a cast is unlike any

other.” She explains how because everyone is working towards the same goal of making the

show the best that it can be, everyone wants to see the other person succeed. One person does not

gain anything over a different person in their cast struggling. Kamrin explained the many times

she has seen students helping their other cast members with harmonies, dance steps, or blocking

because everyone wants the show to be a reflection of how hard the cast has worked. Kamrin

gushed about how that sense of togetherness is her favorite part of seeing a show come together.

In both interviews, Kamrin and Ariel alluded to very similar things, the sense of community and

bonding that a cast provides, alluding to the special power of theatre.

As the research continued, the idea of using theatre to help enhance students’ phonics,

vocabulary, and oral communication presented itself. One researcher L. Velkov analyzed the case

studies of the use of theatre to help those who are visually impaired. Velkov makes a point of

explaining how schools and case studies for the visually impaired have, “recognized theatre as

one of the best tools to build confidence and self-respect on the basis of improved sensory and

motor skills, verbal and physical expressiveness” (Velkov). This use of theatre as a tool to teach

has been shown in many places. In a research paper by Godfrey Oghuan Ebohon, Ebohon

explains that “by using theatre techniques to teach English language and literature, the monotony

of a conventional class can be broken down and the syllabus can be transformed into one which

prepares learners to face their immediate world better as competent users of the English language

because they get an opportunity to use the language in operation” (Ebohon). Ebohon explains

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this within the framework of teaching English as a second language to young children. This

ability to teach students to communicate and articulate provides better bases to understand how

to get their point across (Ebohon).

Narrowing in closer to the main research question, the idea of teaching students

emotional intelligence through theatre was the next section of the question to focus on. One

major pull of musicals and plays as entertainment for audiences is the ability to characters work

through a problem. This viewing of people working through a problem is set up to teach people a

lesson, similar to how many books have the major takeaway at the end. Megan M.

Meade-Higgins, a candidate for the Degree of Doctor of Psychology at Michigan School of

Professional Psychology, conducted a Heuristic Study all about personal growth through theatre.

She explores both the actor’s growth and the audience’s growth. She explains how, “many who

experience theatre from either side of the curtain build an emotional intelligence, a type of social

intelligence that allows people to grow in their ability to monitor and discriminate between their

own and others’ feelings and emotions. This empathic understanding for self and others helps

them build healthier and more meaningful interpersonal relationships, which is critical to their

physical and mental health,” (Meade-Higgins). This ability to see characters work through

emotions and put themselves in their shoes allows for the huge deeper understanding that is often

sought after with social-emotional learning. Because as explained prior, actors are never going

on this emotional discovery journey alone, they do it within the community of their cast.

Scholars Jill Aguilar, Dani Bedau, and Chris Anthony produced a journal documenting the

benefits of community-based afterschool activities. They go on to explain how,

“Community-based arts programs that include high standards of theatre practice introduce this

kind of emotional vocabulary with the safe distance of scenes and characters in a play. This

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vocabulary is then transferable to the more personal dynamics that take place in the process of

expressing one's own emotions and developing deep and meaningful interpersonal relationships”

(Aguilar, J., Bedau, D., & Anthony, C). This reiterates the point above, and includes the research

evidence to support it. In another instance, Joelle Aden, a professor at the Université du Maine,

author of the paper, “Theatre Education for an Empathetic Society” (2014), argues in favor of

theatre education as a tool for helping students understand both their emotions and others’

emotions, she goes on to state that the teaching of theatre will allow for students to have a deeper

understanding of empathy to others. Aden first explains her idea and how empathy leads students

to better social behavior, she continues by describing how theatre leads to self-agency and

putting yourself in others' shoes. She illustrates how this will give students the experiences they

need to learn empathy to “uncover the stranger inside of us and the self in the stranger” as Aden

puts it. From the very beginning of the paper, Aden works to equalize herself with the readers

and encourages the educators and parents of students to give art and performing the chance it

deserves to make students more well-rounded people. Theatre allows the place for students to

work through emotions and dissect how they feel in a safe supportive environment.

Throughout the research, the idea of confidence instantly became a huge benefactor of

using theatre for social-emotional learning. In a report on practices and case studies of using

theatre for the development of self-awareness and confidence done by Claudio Ingoglia and

Zornista Staneva, they found that “the development of social skills and inter-personal

relationships is at the basis of building and raising our self-esteem and our confidence to ‘take

risks’” (INGOGLIA, CLAUDIO, and ZORNITSA STANEVA). With the above research, theatre

has provided the social skills and personal relationships needed to feel comfortable and safe to

take risks. In the article “Playing a part: the impact of youth theatre on young people's personal

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and social development” (2007), Jenny Hughes and Karen Wilson thoroughly reexamine the

findings of the study done by the National Association of Youth Theatres and illustrate the

benefits of youth theatre on students social development. Hughes and Wilson demonstrate the

before and after attitudes of students in theatre, interview those who have done theatre growing

up and how they navigated the struggles of transitioning to adulthood, and how theatre helped

the students gain confidence in finding their voice. They use all the data and information from

the studies in order to encourage the teaching of theatre to students and reveal the true benefits of

the arts. Hughes and Wilson plead with educators to teach even simple theatre techniques.

Noting they can be applied in small ways and in full-scale productions, to better prepare students

for public speaking and to have the freedom to discover different parts about themselves. This in

turn will allow the students to better understand themselves and go into the world confident in

who they are. In the personal interview with Jarusha Ariel, as previously mentioned, Ariel made

a point of saying how she grew up as a more shy, reserved child, but she can vividly remember

“how powerful [she] felt standing on stage.” Theatre allows students to know exactly what they

have to say and do, giving them the opportunity to freely stand there and declare what the scene

calls for, not worrying about what to say or what others will think. Characters allow for a veil of

self-discovering.

Throughout the research, many points were made about how students’ social-emotional

needs can be addressed through participation in theatre. Theatre has shown students how to

articulate words and speak clearly using diction, giving them a higher level of oral

communication. It has shown that students build a community, giving them a strong social

network where they can safely fool around and be ‘weird’. Theatre gives students a higher level

of emotional intelligence. By allowing them to explore the feelings of characters, they can

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decipher their own feelings. But above all else, theatre teaches students confidence that will be

able to transcend just theatre and carry them through all aspects of life. All the social and

emotional learning aspects of theatre, lead students into having a better sense of self. Allowing

them the confidence to find who they are and present that person to the world. I would not be

who I am without theatre. Theatre has taught me so much about the world around me and about

myself. With the many complications of the world such as that of a global pandemic, theatre has

taken a big hit. I do this research to remind everyone of the importance of this art form. Never let

the stage go dark.

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Works Cited

Aden, Joelle. “Theatre Education for an Empathetic Society.” International Conference on

Performing Arts in Language Learning, October 2014,

https://www.researchgate.net/profile/Joelle-Aden/publication/280303919_Theatre_Educa

tion_for_an_Empathic_Society/links/55b0ae4808ae32092e0718a8/Theatre-Education-for

-an-Empathic-Society.pdf. Accessed 17 Feb 2022.

Aguilar, J., Bedau, D., & Anthony, C. (2009). Growing emotional intelligence through

community-based arts. Reclaiming Children and Youth, 18(1), 3-7. Retrieved from

https://www.proquest.com/scholarly-journals/growing-emotional-intelligence-through-co

mmunity/docview/214192791/se-2?accountid=193803. Accessed 11 March 2022.

Ariel, Jarusha. Co-Founder and Artistic Director, I Can Do That Performing Arts Center.

Danville, CA. Personal Interview, 17 March 2022.

Boldt, R.W., & Brooks, C. (2006). Creative arts: Strengthening academics and building

community with students at-risk. Reclaiming Children and Youth, 14(4), 223-227.

Accessed 11 March 2022.

EBOHON, GODFREY OGHUAN. “Transformation in Teaching and Learning: The Place of ...”

Global Academic Group,

https://globalacademicgroup.com/journals/resourcefulness/Transformation%20in%20Tea

ching%20and%20Learning-%20The%20Place%20of%20Theatre%20Arts%20Education.

pdf. Accessed 11 March 2022.

Hughes, Jenny & Karen Wilson (2004) Playing a part: the impact of youth theatre on young

people's personal and social development, Research in Drama Education: The Journal of

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Applied Theatre and Performance, 9:1, 57-72, 10 December 2007, DOI:

10.1080/1356978042000185911 Accessed 7 Feb 2022.

INGOGLIA, CLAUDIO, and ZORNITSA STANEVA. “Transnational Report on Inter ... -

Vision-Erasmusplus.eu.” Vision,

https://vision-erasmusplus.eu/telecharger/TRANSNATIONALREPORT02.05.2015.pdf.

Accessed 11 March 2022.

Kamrin, Diane. Founder and Artistic Director, Stars2000 Teen Theatre Company. Pleasant Hill,

CA. Personal Interview. 20 March 2022.

Meade-Higgins, M. (2016). Personal growth through acting: What is the lived experience of an

actor's personal growth through the process of role immersion in live theatre? an

heuristic study (Order No. 10134141). Available from ProQuest Central Student.

(1810435020). Retrieved from

https://www.proquest.com/dissertations-theses/personal-growth-through-acting-what-is-li

ved/docview/1810435020/se-2?accountid=193803. Accessed 11 March 2022.

Okhakhu, Marcel, and Usiwoma Evawoma-Enuku. "Enhancing correctional education through

community theatre: the Benin Prison experience." Education, vol. 131, no. 3, spring

2011, pp. 525+. Gale In Context: High School,

link.gale.com/apps/doc/A253740211/SUIC?u=wal55317&sid=bookmark-SUIC&xid=2d

599eb2. Accessed 17 Feb. 2022.

“Social and Emotional Climate and Learning.” CDC, 13 September 2021,

https://www.cdc.gov/healthyschools/sec.htm. Accessed 21 March 2022.

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Vallack, Jocene. “Theatre as Education.” Australian Association for Research in Education,

Australian Association for Research in Education. AARE Secretariat, One Geils Court,

Deakin ACT 2600, Australia. Tel: +61-2-6285-8388; e-Mail: Aare@Aare.edu.au; Web

Site: Http://Www.aare.edu.au, 30 Nov. 2014, https://eric.ed.gov/?id=ED593808.

Accessed 11 March 2022.

VELKOV, L., “National report on intra-organizational practices and collection of practices and

case studies (empirical evidence) on the importance of theatre for the development of

self-awareness and confidence of visually impaired people”, Sofia: 2015.

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