FOTEL Handbook English

a r ly S c h o o l L e a v in g
Exe rc is e s A g a in s t E
Pe d ag o g ic a l
Handbook
Preface
The school as a space for aquiring

the means of social dialogue
Five organisations from five European countries – Our Handbook is designed to help schools to change
Hungary, France, Italy, Spain and Poland – allied to their perspective. It provides a tool for teachers,
think together about early school leaving and to try which allows them to focus on the learner rather
to reduce the phenomenon. The project took place than the curriculum, which enables the development
in the framework of the European Lifelong Learning of the students’ social skills, and which supports
Project, Comenius sub-program. In cooperation with collaboration among the students and in the student-
local schools between 2012 and 2014 we attempted teacher relation. These skills in the long run may affect
to uncover the causes of early school leaving. Using the individual, the group and the individual’s place in
the Forum Theatre method we investigated how society. Our method allows one to see the students
non-formal education can help to create changes in from a new perspective, it offers a new way to explore
attitudes in school education. problems, and raises questions and thus provides a
way to achieve a true peer dialogue.
The Forum Theatre offers a, non-formal learning
situation, not teacher-centered, which allows both Our goal is that schools would cease to be spaces
students and teachers to think more deeply and where social inequality is created or deepened.
effectively as they work together through everyday They would become an environment where students
situations, experiences and problems. Participants and teachers learn together, where no one is affected
are able to live through all the aspects, the relevant by any kind of abuse, exclusion, and where the issue
emotions and considerations around a given topic is how to contribute to the attitudes, abilities and
thanks to the creative, democratic work process. knowledge first of the school community, and then
Although the aim of the theatre is to create a of a wider - familial, social and local - commnity.
performance, in our case the emphasis is on the process.
In the course of creating a theatrical performance
the group travels a long route during which both the Our goal is change. Our goal is to raise
individual and the group is transformed: individuals’ awareness. Our goal is to foster dialogue.
personalities develop, their willingness to express
themselves, marginal members of the group find
their voice and are integrated; the quality of group
work strengthens, members enlarge their educational
experience and develop countless skills.
This project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission
cannot be held responsible for any use which may be made of the
information contained therein.
Index
Introduction
Page 4
Exercices
Page 13
Bibliography
Page 96
(3
Early School Leaving. Starting point
Who? Why? So then...

Teacher’s Guide
Instruction Kit
Who? Individual Factors

According to the EU definition, early school leavers ••Special educational needs (SEN)
are young people between the ages of 18 and 24 ••Being in state care
who have not completed their secondary education. ••Teen parenthood
In 2009, more than six million young people across
Europe – 14.4% of the 18-24 age group – left their ••Disruptive behavior or discipline problems
nation’s education system with only a lower secondary ••Depression and other mental problems
education or below. Even more worrying is the ••Low self-esteem
17.4% who have only completed primary Social Factors
education (Eurostat, Labor Force Survey ••Living in poverty
(LFS), 2010).
••Being a member of disadvantaged minority group
In most countries, migrants and ethnic
minorities are performing even worse. On ••Low level of education in the family background
average across the EU, twice as many young people ••Low achieving students
from the first generation of migrants abandon school Relational Factors
early compared to their native peers (26% versus ••parent-school/teacher relations
13%) In Italy, Spain and France there is a high rate of
◗◗ cultural or personality conflicts between parents
ESL among migrant (Spain and Italy more than 40%)
and school staff
and Roma pupils. Hungary has a large Roma minority
with worrying education indicators. 15% of the Roma ◗◗ no or limited communication between parents of
pupils do not attend school beyond primary level troubled students and school staff
••Student-teacher/school relations
◗◗ cultural or personality conflicts between students
Why? and school staff
Based on our research in each of the
◗◗ unfair treatment from teachers and school staff
partner countries, we have created a list
of early school leaving factors that focuses ••Student-parent/family relations
specifically on the experiences of young people of ◗◗ those who have to provide for other family
migrant, Roma or minority background and draws members, financially or otherwise
on our secondary research and the critical incidents ◗◗ family problems/difficult home life
collected during our interviews. The knowledge we ◗◗ little or no encouragement for academic success
have acquired in developing this list of factors has from family
given us insight into the early school leaving context in
••Student-peer relations
each partner country and has been used as a resource
during the forum theatre pilot phase of our project. ◗◗ frequent bullying, exclusion and/or conflicts with
peers
◗◗ negative influence/peer pressure
Institutional Factors
••unequal access to resources at school
••inadequate teaching and/or support from teachers
and staff
••education system that does not match up with the
reality of the professional world
(4

Teacher’s Guide
Instruction Kit
So then... What can be done?

Some of the disadvantages and consequences of early International researches also proves that students
school leaving that appear on an individual, social and who are participating in applied drama activities, such
economic level in the lives of early school leavers as Forum Theatre are: assessed more highly by their
are: On an individual level, early school teachers in all aspects, feel more confident in reading
leaving has been linked to social exclusion, and understanding tasks, and in communication, like
with early school leavers more likely going to school more, enjoy school activities more,
to be unemployed or earn low incomes are better at problem solving, and coping with stress,
(Reducing Early School leaving in the are more active citizens, and more empathic. They
EU). Even health status is affected by one’s level of have concern for others, they are able to change their
education. Those who have a low level of education perspective, they show more dedication towards
(young people who haven’t even finished high school) their future, they spend more time with playing, doing
fail to acquire a certain kind of theoretical and practical housework, talking, and spend more time with family
knowledge that would help them to get jobs; they also members and feel better at home. The results based
have fewer competencies (skills and abilities) and face on DICE (“Drama Improves Lisbon Key Competences
a greater risk of being excluded from the labor market. in Education”) which was an international EU-
Furthermore, their willingness to change, to take risks, supported project.
and their aptitude for business and entrepreneurship is In this hadbook we provide you with some
lower; therefore they start working at a below average pedagogicals tools to explore the types
income level. Low incomes and an unstable place in of classroom problems that teachers and
the labor market leads to a continually poor standard socially, culturally disadvantaged children
of living for early school leavers and they often fail have to deal with, as well as the possible
to properly provide for their families (Bognár, 2011). solutions to these problems.
These circumstances lead to further disadvantages Support teachers in their classroom work by
for their offspring (poverty, social exclusion) thus educational activites to help them to deal with
propagating the problem of early school leaving. diversity in classroom, to support pupils from socially
disadvantaged backgrounds and to solve difficult
Beyond the individual level, we can observe teaching situations combining the critical incident (CI)
additional social and economic consequences of methodology and the forum theatre (FT) method as a
early school leaving, including long-term effects on pedagogical strategy, can be an adequate response to
social development and economic growth. Early the challenges identified.
school leavers tend to participate less
in democratic processes, and as citizens
they are not as active as their peers with
higher education (Bognár, 2011). Elevated
early school leaving levels can also have detrimental
effects on social cohesion. At a societal level, early
school leaving can generate social and financial costs
in the form of reduced tax revenues, decreases in
economic growth, and increases in costs related to
criminal justice, healthcare and social benefits.
(5

Teacher’s Guide
Instruction Kit
Two main tools: Critical Incident The main methodological principles of the approach are:
and Forum-Theatre. ••Empowerment / development of the intercultural
One is addressing the characteristics and regularities skills of the participants: in order to prepare the
of intercultural situations; another one is providing work with the Critical Incident methodology,
methodological support to teachers. There are an introductory training session is set out
relatively few educational proposition of activities to participants, focused on ethnocentrism,
that combines these two features, which, are intercultural perceptions and intergroup
complementing each other. dynamics. The aim of the session is to help
participants become aware of the relevance
Critical Incident of cultural differences and the validity of their
lived experiences with critical incidents. Because
Culture shock is an interaction with a person participants may be afraid to recount experiences
or object from a different culture, set in a specific of critical incidents for fear of being labeled ‘racist’
space and time, which provokes negative or positive or ‘discriminatory,’ another aim of the training is to
cognitive and affective reactions, a sensation of loss help spark the recollection of critical incidents and
of reference points, a negative representation of to relieve the guilt / self-censorship often triggered
oneself and feeling of lack of approval that can give by the expectations of a politically correct
rise to uneasiness and anger. discourse. As a result, participants will gain new
tools in working with the critical incidents they
Based on Margalit Cohen-Emerique experience. A better capacity to become aware of
1999. Le choc culturel, méthode de formation et outil de the incidents is also a probable outcome.
recherche. In: Demorgon,J., Lipiansky,E.,M. (eds) Guide de
l’interculturel en formation. Paris, Retz. Pp 301-315. ••Reflection on the reciprocal nature of cultural
differences and their role in generating conflicts: the
approach is based on the recognition that if there
This approach was developed as a means to facilitate is a conflict it is not the mere consequence of the
intercultural communication and the resolution of ‘culturally different other’ but rather the interaction
conflicts in professional situations. The method was between two different cultural reference frames. The
developed in collaboration with professionals from approach thus explores the involvement of one’s
the social and educational fields working with a own cultural / professional models, practices, norms
multicultural group of clients / beneficiaries / students. and how they enter into interaction with the values
/ norms / expectations of the others.
(6

Teacher’s Guide
Instruction Kit
Forum-Theatre
DECENTRATION Forum-Theatre has two main theoretical approaches:
AIMS : ••Theatre of the Oppressed (T.O.), a method created
•• understanding how our own values, norms, expectations, by Augusto Boal, a Brazilian theatre director, who
practices, in short our own cultural reference frame has been innovating drama in the 60’s. Forum-
influences the interaction and plays a role in the culture shock Theatre is a technique that belongs to the method
experiences
called Theatre of the Oppressed.
•• use the culture shock experiences as a learning opportunity
••Pedagogy of “Conscientization”1, a method created
•• prevent the consequences of non treated culture shock
experiences
by Paulo Freire, a Brazilian philosopher and
educator, who worked in the same period on the
•• acquire – work towards – a certain cultural neutrality
subject of adult education, with a similar approach
to Boal’s.
TOOLS SKILLS The basic concept that both authors,
Analysis grid of critical Self-awareness, self- Freire and Boal, have in common is
incidents reflection
“oppression”: is a situation where people
are engaged in a relationship based on
monologue, that is, one part has the
UNDERSTANDING THE REFERENCE
power to speak, to shape life, to express
his vision and values and the other part
FRAME OF THE OTHER
has not.
AIMS :
Both have based their action on dialogue and
•• making the most elaborated hypothesis possible on the
conscientization; both prefer to pose questions and let
other’s cultural reference frame
people find their own vision and solution.
TOOLS SKILLS
Analysis grids on integration Observation
••Theatre: the role of theatre for Boal is to help
people to analyse and change reality, not only to
Field research repertoire of Exploration
cultural anthropology entertain spectators. He criticises the Aristotle’s
Daring to ask
Interviews, mediators
system of tragedy by opposing to catharsis the
idea of “metaxis”2 in fact he does not want to
make the audience be passive but on the contrary
to dynamize it. Theatre cannot provoke social
NEGOTIATION change directly, but it can be a rehearsal for
AIMS : change. Theatre is also an aesthetic space where
•• reaching a solution which best takes into account the identities all is possible and where to study and experiment
of both interaction partners changes. A space where to strengthen the capacity
to take a distance from reality, where to transform
TOOLS SKILLS ourselves in other possible identities.
Negotiation methods / Resistance to need for ••Learning: for Freire and Boal it comes from
techniques closure (Kruglanski) practice and evaluation. We learn, as human
Moving from position Awareness of own limits beings, by doing, by making attempt and error and
to interest Non violent communication reflecting on our experiences. Theory comes after
Seeing the big picture experience. But the usual way in the traditional
Flexibility educational system is just the opposite: knowledge
is already established and pupils have only to
(7

Teacher’s Guide
Instruction Kit
receive and remember it. The proceeding of our Why to use Forum-Theatre?
two authors is the opposite, because they trust Forum-Theatre is a debate that can
pupils as people who have already some knowledge involve the whole community: a Forum
about life; the teacher’s task is to deepen this session is a free space of debate, where spect-actors
knowledge. (in Boal’s terms) face a problem showed on stage,
••Levels of consciousness: particularly and are invited to analyse it and try to solve it. In this
developed by Freire. He distinguished 3 main levels space every opinion is accepted, it’s not judged but
of consciousness: questioned in order to deepen the debate. Therefore
◗◗ Naive consciousness: when participants it is possible to invite all the important stake-holders
think about reality in a fatalistic way, or they hope (family, teachers, head-masters…) and to facilitate
that changes in this reality can come magically. also mutual communication. The Forum session has
◗◗ Semi-transitive consciousness: when been really useful to try to have a common and
participants start to analyse and criticize the deeper vision of ESL. The second result is also to make
daily life, but in a simple way; for instance the problem come out and to take it seriously and
giving a simple answer to a complex question, collectively, questioning all the components about the
without understanding the complexity of power problem.
relationships and the structural dimension of the
situation. The level of consciousness about ESL is
◗◗ Critical consciousness: when participants crucial to solve it: to solve a problem we need to
start to understand the mechanism behind understand better the issue, analysing its mechanisms
oppression, they found complex answers to and main reasons and involving people to collaborate
complex situations. That implies also to realize that and to struggle against it. By using critical incident’s
real life can be changed by their action, but also, (C.I.) methodology and Forum-Theatre students
that it is not so easy. participating in the workshop have increased their
◗◗ Example related with ESL: A semi- perception of ESL and school, reflecting about how
transitive way, that is: families accuse the school of they can change some relationship.
inability, the school accuses the family and students T.O. workshop enables youngsters to focus
accuse the school. Critical consciousness is to see on the problem, to strengthen their self-esteem and to
the whole context: how society changed the role overcome the fear of being judged. Moreover they had
of school today, the new generations’ attitude, the the possibility to share their evaluation of the session,
family role, etc. sharing emotions and thoughts and being a peer group,
they could create a common vision of the problem,
putting common individual visions together.
••Extrapolation: in Boal’s terms is the core of T.O.
When we use T.O. we desire people to bring the T.O. helps to distance yourself from the
ideas/passions lived within the workshop/play in problem (daily life): this fact, called in psychology
their real life. Extrapolation is the key mechanism “emotional-cognitive distancing” enables/strengthens
of change and also it avoids the mechanism of the human skill of “seeing oneself in action” as Boal
catharsis that is a way to simply express our states. When you can see your situation from outside,
feelings of oppression without changing reality. you are more able to analyse (because you have no
That means for instance that we want the students urgency to answer), you can see details that are not
participating to the Fotel project to change their focused during the action, you can observe your own
attitude in real life, after having passed through the behaviour and evaluate it, you can discover that a lot
T.O. process: making proposals, with a constructive of alternatives are possible; finally, you can experiment
attitude, with more awareness of concrete some of them.
mechanism of exclusion, etc
(8

Teacher’s Guide
Instruction Kit
General requirements
CRUCIAL STEPS FOR A PROCESS TO For a good workshop process we also need to take
BUILD A FORUM THEATRE PLAY: care of some elements that can affect our work:
Size of the group
Group building
and de-mechanization. Usually we say that the group should vary from 12 to
20-25 people. This size allows the process to develop
Objective of the phase: to create a coherent effectively; everyone can have enough space, there
group, to facilitate communication, to cohesive the is enough people to have different opinions and it is
next phase stimulating trust, to train body to be possible to use all the set of tools in T.O. method.
open and more sensitive than usual.
Space
Knots research. You need a place that is large enough for the group
Objective of the phase: to find concrete situations size, taking into account that the group should move
from daily life, that make the oppression visible. and not remain sitting down. Around 4-6 meters for
each person is an adequate space.
Moreover we need a safe place, both in terms of
Creation of the theatre embryo.
minimising accident risk and of not to be disturbed
Objective of the phase: to find what is in from the outside and also where it is possible to make
common among the different participants’ stories/ noise without disturbing other people.
perceptions of the problem; to transform narrative
story in theatre scene; to improve the group
cohesion. Time
It is suggested a length between 1 and 3 hours.
Cleaning the embryo. Moreover, students could have difficulties to
Objective of the phase: to make the scene more concentrate for a long time even if this activity is
clear and deep since it becomes believable and usually welcome.
impacting.
Transforming.
Objective of the phase: to analyse more deeply
the oppression and find possible solutions; to debate
in a community the issue and push it to stand or
being involved.
Closing
Objective of the phase: to recover important
elements of the session, to evaluate the meeting, to
express feelings, to ritualize the end.
(9

Teacher’s Guide
Instruction Kit
The structure of a Forum Play: Theatre? What do you imagine it is? Do you know
••A scene with an unsolved problem is played once. this topic? Have you lived the same oppression or do
you know any? The length of this part depends on the
••Then the Joker asks the audience “What you have
Joker’s perception: if the audience interacts easily he/
seen can be real? “How to solve it?”
she can proceed, otherwise it could be better to use
••The scene starts again and each spect-actor can say more time to warm up verbally.
<stop> and replace the oppressed person, trying
his/her own solution.
2. Warming up
••The other characters react in a realistic way.
••Objective: to warm up the audience and prepare
••The joker accepts every intervention, sometimes
them to be more active, to slightly transform a
questioning the ones that seem magic or risky.
mass of people in a group/community.
••The debate goes on with no judgement.
••Contents: the joker proposes some activities to
••This format can be varied in different ways: more activate the audience.
than one scene, chain of oppressions, more topics
••Main tools: questions/answers, simple games,
in a session and only one chosen, etc..
music, dance...
••It seems to us useful to suggest following some
••Main tips: we can use verbal games like
simple stage during the session, by suiting this to
questions answered by raising the hand or standing
the real context:
up; games like circle and cross (see page 102);
Introduction depending on the audience and cultural habits you
can use more complex games, image-theatre, music,
Warming up dance, etc.
It is important to be sensitive and to choose the level
Presentation of the scenes and cultural element that is appropriate to the session
Interventions from the audience and the audience. Sometimes it is also useful to invite
spectators to come onto the stage, like a transgression
Closing. of the classical ritual of theatre and a symbolic way
to tell what you expect from them. The length of this
phase also depends upon the Joker’s perception. The
1. Introduction audience should be active enough and the atmosphere
••Objective: to get in touch with the audience, warm enough.
you have to become reliable for the audience, to
explain the context. 3. Presentation of the scenes
••Contents: the joker can explain who he/she ••Objective: to show clearly to the audience the
is, what is Forum-Theatre, why this session was oppression you want to discuss.
organised, something about the contents of the
play, some anecdote about other Forums, etc. He/ ••Contents: the scenes that were prepared are
She can also ask simple questions to the audience. shown to the audience from the beginning to the
end as in a normal theatre play.
••Main tools: verbal communication, humour,
information. ••Main tools: observation (the joker observes
the audience and tries to perceive its mood and in
••Main tips: be energetic and active, observe the which points of the play it reacts the most).
public’s reactions, and create suspense and curiosity.
••Main tips: the Joker tends to forget his/her task
Simple questions in a rough order of difficulty: how here and watches the performance; in this way he/
are you? Do you like drama? Do you know Forum- she looses important information.
( 10

Teacher’s Guide
Instruction Kit
4. Interventions from the audience ◗◗ When a spect-actor says something like a solution
••Objective: to debate the issue in an active way, <The protagonist should do...> the Joker invites this
facilitating the spect-actors’ interventions and person to come and practice his/her idea onto the
deepening research for solutions. stage. The Joker does not force but invite and help
to overcome shyness.
••Contents: interventions from the audience
and the strategies they are carrying on. Emotions ◗◗ The Joker asks the spect-actor onto the stage who
activated in the scene. The movements of the he/she wants to replace and from which moment
characters onto the stage. of the plot.
••Main tools: observation, questioning skill, ◗◗ The scene restarts from this moment and all
characters in the scene react to the new action,
strategic thinking.
realistically.
••Main tips: there are many ways to manage this
◗◗ When the situation is repetitive, if nothing new
crucial and complex phase, as many as there are
happens or if the Joker feels is too heavy for the
many Jokers. Here we propose a simple way that
spect-actor, he/she stops the scene.
can be enriched alongside the experience.
◗◗ The Joker asks the spect-actor something related to
his/her intervention (was it as you thought? Do you
feel it was successful? How was emotionally? Do
Simple structure to manage interventions: you think Oppressor changed, maybe a little inside?
Etc.), then thanks him/her and sends him/her back
◗◗ The Joker explains the rules of Forum-Theatre and to the audience.
the fact that we are free to intervene and have
different opinions. ◗◗ The Joker asks the audience whether this strategy
has changed anything or not. If the answer is
◗◗ Then he/she proposes to re-start from the negative asks for a second alternative. If it is
beginning and invite the audience to say <Stop!> positive he/she tries to investigate more (risks and
when something is oppressive, unfair, problematic, consequences, positive results, etc.), then ask for an
or when the protagonist suffers from an injustice, or alternative.
other similar expressions suitable to the context.
◗◗ The Joker proceeds in this way until the end, never
◗◗ If the audience doesn’t stop after the first crucial judging the intervention but questioning.
point in the scene, he/she stops and asks the
audience about what is happening, if the situation is In case of a block in the audience, one option is to
good or not, etc. re-start from a certain point of the plot and ask for a
stop or to do it him/herself.
The play revolves around the story of:

The Antagonist: The Protagonist:
The one who oppresses the The one who is opressed.
protagonist.
In a form like forum theatre, where there is

so much interaction between different sets
of people, don’t you surely see the need for
a facilitator? A person who breaks the ice
between the actors and the spectactors.
Once the forum begins, the joker encourages,
invites, regulates, appreciates, explains,
The Bystanders:
concludes and at times even translates the
Those who witness this interventions of a spectator.
oppression and are at a position
to prevent it from happening.
( 11

Teacher’s Guide
Instruction Kit
5. Closing Bibliography:
••Objective: to ritualize the end, to summarise the Artemisszió Foundation,
result; to stimulate extrapolation. Elan Interculturel,
••Contents: the strategies tried in theatre and the Giolli società cooperativa sociale,
ones not tried. La Xixa Teatre, STOP-KLATKA:
••Main tools: verbal communication, ritual games. ••Research Report. Examining early school leaving factors
••Main tips: we think that here the Joker could in five European contexts.
put evidence to the work done in the session by ••Early School Leaving And Forum-Theatre (summarising
the audience, summarizing the main strategies and the 5 pilot projects in 5 secondary schools).
underlining the missing points. Finally it is helpful ••Comparative Assessment Report.Examining Forum
to strengthen the community atmosphere and the Theatre impact as a tool against early school leaving in
extrapolation, if the Joker proposes a simple game five European contexts.
like “The rain”: the Joker proposes a sequence of
gesture that look like rain and the audience do
them together (clapping softly some fingers, then
the hands, beating by hands his/her chest, beating
his/her thighs, stepping loud on the place, popping
his/her own tongue...).
Footnotes:
1 Terminology is not neutral: “conscientization” is an invented word, created by Brazilian Educator and Philosopher Paulo Freire (1921-1997), putting together two
Portuguese words, one meaning “consciousness” and the latter “action”; his pedagogy aims at not only creating more awareness in pupils but also pushing them to act in
their life to change the world where they live. In his vision, pupils and educator walk together to deepen their knowledge about the world, learning one from the other.
2 Metaxis is a Greek word used by Boal to counter-act the concept of catharsis. Metaxis means that we, by doing drama, belong to two worlds, the one of theatre, fiction,
and the one of reality. If the scene is able to put ourself in a true image of reality, what we do on stage against the image of reality, thanks to metaxis, is a rehearsal for real
action in the world.
( 12
Looking for Building a forum Cleaning
Group building oppressions theatre embryo Performing
the embryo
Teacher’s Guide
Looking for Building a forum Cleaning

Group building oppressions theatre embryo Performing
the embryo
Instruction Kit
1
Starting point
Teacher’s Guide
Instruction Kit
Chair reser vation

Teacher’s guide
Group building or Looking for oppressions or Building a forum theatre embryo or Cleaning the embryo or Performing
Pedagogical objectives
••To get to know the group dynamics (who is dominant/submissive in the group).
••A suggestion: explore and develop cooperation.
••To give chance to everybody to get the attention.
••To experience the chaos.
••Check how they can follow a role they established.
Pedagogical skills Materials

••Highlight that the chairs are not fixed so they ••Chairs (every participant need one chair).
should be careful when they run and jump on ••A watch to measure time.
another chair.
••Pay attention that they can go fast or run but the
teacher has to keep an average speed.
••After 2 or 3 rounds teacher could say that they
can discuss about the strategy and the teacher
should go out from the room to not hear the result.
Evaluation
1 easure the time.
M
Less than one minute (around 30 seconds) is not a good time they should try it again.
More than 1 minute is a good result. And if they start to cooperate perfectly they
can do for more than 2 minutes.
2 Ask them (acoording to objectives - proposition).
What helped them to have a good result? What was the main challange?
How they arrived to deal with it?
( 14
1
Starting point
Teacher’s Guide
Instruction Kit
Chair reser vation

Instructions
Instructions:
••Everybody has to put his chair to somewhere in the room but
randomly and not in a circle.
Everybody will have a seat but there is one empty chair for the
facilitator who has to stand. Facilitator’s role is to sit down to his
chair but the other people has to block him.
The only way is to block him if somebody sit down to the empty
chair. But in that case there will be an empty chair again.
So the task is to keep the facilitator stand as long as possible.
••Not allowed to balk the facilitator physically. http://youtu.be/t13VxFCpgNw
No contact,
no touch
••Not allowed to sit back to your chair if you were

about to leave it. Once you start standing up, you
have to keep on moving and look for another chair.
••Allowed to speak and run but carefully.
••The game ends if somebody breaks a rule or the
facilitator sits down.
Hungary CH1 Korai iskolaelhagyás (with ENG sub) (Artemisszió)

http://youtu.be/t13VxFCpgNw
( 15
1
Starting point
Teacher’s Guide
Instruction Kit
Shepherd game
Teacher’s guide
••To develop leader skills.
••To experience the responsibility of a leader.
••To experience control and being controlled by someone.
••How to help and take care of people.

••The teacher should say that the sheeps have to ••None
move very slowly.
••The teacher should say that the shepherds
has to touch and shepherd the sheeps carefully
(without any agression).
Evaluation
1 sk the shepherds how they felt during the activity.
A
And why did they feel that?
What was the most critical moment?
Why?
( 16
1
Starting point
Teacher’s Guide
Instruction Kit
Shepherd game
Instructions
Instructions:
••Make small groups (4-5 people).
Every group has a leader (a shepherd).
The others are sheep (but you stand up during the game,
you don’t have to do it on hands and knees).
••When I say
“Start”
the sheep start to escape very slowly but in the

same time. So the shepherd has to capture all of
them and take them back to the start position.
Talking is not allowed.
( 17
1
Starting point
Teacher’s Guide
Instruction Kit
Home
Teacher’s guide
To change the atmosphere in order to create a good team work environment.
To start the team building and to relax the participants.

To be aware of the mood of participants. No needs for any material other than a big empty
To relax the group when tense. room where the participants can play.
If the group is tense we recommend for instance
this game, HOME.
Evaluation
1 o see if your participants laugh, if they have fun with the proposed activity.
T
2 To see if there’s a lot of movement and commitment with the game.
3 When the game ends, you should find a different, more relaxed atmosphere.
( 18
1
Starting point
Teacher’s Guide
Instruction Kit
Home
Instructions
Instructions
••Make a big circle
••Divide groups of three people, standing in the circle. One person, however, doesn’t form part of any group.
If it’s not possible to make groups of 3, there can be one or two people without a home.
••In each of the groups of three, two people will put their arms in the air joining their hands to form the shape
of a little “home They play the role of a “home”.
••The 3rd participant crouches under the “house” and his role is to be the “inhabitant”
••The one person without a team, takes place in the middle of the “village”
(circle), he is an inhabitant without a house, and plays the role of the
“outsider”. He/she will be the one that gives the following instructions
(If there are more than one “outsiders” without a home, the teacher
can take the role of instructor).
http://youtu.be/mJARlJorA3w
••He/she can choose between saying:
“Inhabitant”
••And in that case all the people who have the role of
“inhabitant” must leave their “homes” and run to find
another one. The person without a team takes advantage
of this movement and tries to quickly find a “home”
and somebody else will take his place on the circle.
••“Home”: and in that case all the people who have
the role of “homes” must split up and rebuild a “home”
with someone else above a different inhabitant.
The person without a team (outsider)
takes advantage of this movement and tries to quickly
build a “house” and somebody else will take his place on
the circle.
••“Storm”: in this case everyone has to change/switch positions,
the “inhabitants” and the “homes” must go to rebuild in
some new place, where again, the outsider takes the chance
of trying to become a participant (here he can chose whether
he takes the role of “home” or “inhabitant”
••This game can last as long as needed.
Fotel La Xixa Teatre CH1 Let's Play Together (La xixa)
http://youtu.be/mJARlJorA3w
( 19
1
Starting point
Teacher’s Guide
Instruction Kit
The blind 8
Teacher’s guide
••To unify the group.
••To create a climate of trust and goodwill.

Highlight the challenge of the exercise, ••A big room.
the important thing is to live the experience. Make sure that it’s empty and that there
To be very strict on the frame, so that nobody are no obstacles that might be dangerous
gets hurt. for the participants.
Not hesitate to stop the exercise if necessary and
take the time to explain the rules again, so every
participant feels confident.
The real goal to achieve in this exercise is not to
succeed and actually make an 8.
Evaluation
1 ll the participants could overcome the fear and dare to close their eyes the
A
proposed way.
2 Each participant must feel valued/valorised, even be congratulated, to discover what
he/she did well; e.g. The participant was able to keep his eyes closed although he was
very afraid; one participant went very quickly; the rest of the participants applaud after
each pass, etc.
( 20
1
Starting point
Teacher’s Guide
Instruction Kit
The blind 8
Instructions
Instructions
••Two of the participants to stand one behind the other in the centre of the room separated for 1.50 meters
from each other. They are the pillars where the slalom (to form an 8 around them) will take place.
••One person of the group has to step out and will play “the blind one” by closing his/her eyes.
••The rest of the participants will form a big circle around to ensure the safety of the participant who is going
to be “blind”. They must remain silent not to disturb the one who has his eyes closed.
••Facing the “pillars” the first person looks the road and then
closes his eyes; whenever he feels ready to go he can start.
He will also decide when he has finished.
••I ask the participant to stop when he feels that he has attempt
the starting point and only then he can open his eyes.
••This first part of the exercise ends when all the participants had
the experience.
Variants
Do again the exercise but this time to do it in pair
while holding hands
(or with the arms around each other).
They have to go together through the path without
talking, in complete silence. If they disagree, in
directions for example, they have to work it out
because they must arrive together to the end. This is
a good way for them to work on: trust, cooperation
and how to negotiate and work with others.
As a last step, if the room is big enough ask to all the

participants to try to do the way all together
(except for the participants standing as pillars) in
silence, to go through the path as a unite group, been
very close one to another, they must be in contact
touching each other’s shoulders with their hands of
the person they have in front or next to themselves.
They are all blinded and they try to do
an 8 around the “pillars”.
The facilitator is there to ensure the security of the

group. If the group is facing a wall the facilitator lets
them know by touching their shoulder.
( 21
1
Starting point
Teacher’s Guide
Instruction Kit
Inter view with role exchange

Teacher’s guide
••Increasing empathy
••Improving the ‘taking on’ role, that is the skill to embody a character and being able to play the Forum
in a correct way.

••Teacher should create a safe atmosphere where A comfortable room to work, where do not being
shame is minimized, by reinforcing fun and disturbed or disturbing other rooms beside.
no-evaluation/judgment.
••The teacher will lead the exercise and should
focus on time and feel when it is time to stop the
phase and go the next one. The first phase is to
make the interview and the second to introduce
the interviewed person
(see exercise explanation).
Evaluation
After the exercise the teacher can ask the participants to comment the exercise and how
they were able to identify their partner.
Some questions could be:
1 How did you feel about taking on the other’s role?
2 Did the person playing you identify the main points of your story?
3 How was the experience of being reflected in the other’s narration?
4 Did the interviewer tell something unexpected or new or clearer to him/her than you?
If the exercise worked, participants would have been able to introduce the other person
carefully (or correctly).
( 22
1
Starting point
Teacher’s Guide
Instruction Kit
Inter view with role exchange

Instructions
Instructions:
The group will be divided in pairs:
one is person A and one is person B.
Every pair works at the same time, in different places in the room.
Person A has about 3 minutes to interview person B about
his/her life.
The objective is to get to know the other person. Person B
answers honestly or does not give
any answer by saying:
“I don’t want
to answer to this
question”
Then the teacher asks all people of group A to

come to the center
of the room and helps them to take on the others’
identity, based on partner B’s answers.
Person A goes back to his partner and starts to
introduce him/herself as if he/she was person B:
“Hello, my name is...”

“I studied...”
“I like...”
When person A does not have any other idea regarding his
presentation, person B: can ask some questions.
Person A has to improvise a consistent answer.
Finally, every pair shares the emotions and facts that happened
during the exercise.
After the first turn the roles are swapped and the cycle re-starts.
( 23
1
Starting point
Teacher’s Guide
Instruction Kit
Name and gesture

Teacher’s guide
Pedagogical objectives: Materials

••To introduce oneself to the group. ••None
••To learn the members’ name.
••Observation skill and memory.
••Creativity.
http://youtu.be/tDSKSeZMZeY
Pedagogical skills:
The teacher should create a relaxed atmosphere
where shame is minimized, by reinforcing fun and
no-evaluation/judgement.
Diversity creates a group (Poland) (Stop Klatka)

http://youtu.be/tDSKSeZMZeY
Evaluation:
1 he teacher can observe whether the participants remember the others’ names,
T
if they make spontaneous and original gestures, as opposed to simple gestures or
imitations of their peers’.
( 24
1
Starting point
Teacher’s Guide
Instruction Kit
Name and gesture

Instructions
Instructions:
Make a circle:
In the You will
1st just say

your own name,
round one by one,
and the rest will repeat
your name
Every participant
is going
to say his/her own In the
2nd
name again
and he/she will
add a gesture with round
the name
The rest
of the group
is going to repeat
the name
and copy the gesture
at the same time
( 25
1
Starting point
Teacher’s Guide
Instruction Kit
Make an “A”
Teacher’s guide
Pedagogical objectives: Materials

••To make the group work together for a common goal. ••None.
••To be aware of attitudes of students in
a group process.
••To set a creative ambiance in the group.
••To relax the atmosphere.
••To improve the capacity of the students for
reflection in their own and others behaviours. http://youtu.be/oRzjRwlj6PQ
Pedagogical skills:
••To encourage the students’ self-reflection.
••It’s important to remember the instructions:
◗◗ No talking and no imposing of actions.
That will help students to realize their own
limits in their proposals to the group and the
proposals of the others.
FOTEL ITALY CH1 Early School Leaving in Italy (Giolli)

http://youtu.be/oRzjRwlj6PQ
Evaluation:
1 Identify the different attitudes of the students in the group: active, proposing, following
the group, not caring, passive etc.
2 Question if all figures were complete.
3 S ome key questions can be posed after the reflection in group:
“What happened when you proposed some action to the group and the group didn’t
understand you or didn’t follow you?”
“What has changed the fact that it was not possible to talk?”
“Does this happens to us in our ordinary life?”
( 26
1
Starting point
Teacher’s Guide
Instruction Kit
Make an “A”
Instructions
Instructions:
••Make groups of 5.
••From now on it’s not possible to talk or to impose some action
physically to someone else.
••I will say different figures and you have to build it, with your bodies,
as a group. We will know that the figure is done when everybody
in the group keeps his/her position without moving.
Build
letter
A Build http://youtu.be/_bsurpQ8EyY
(capital letter)
letter
S
Build
number
5
Build
a star with
6 points
Build
Two vases
with three
flowers
Build
a car with
t wo lights
and a steering
wheel
Fotel Paris EP.1: Let's play Together ( Elan)

http://youtu.be/_bsurpQ8EyY
( 27
1
Starting point
Teacher’s Guide
Instruction Kit
Blind Hands
Teacher’s guide
Pedagogical objectives:
••To build confidence in the group.
••To reduce the physical barriers between students.
••To demechanize the sense of touch. (Our senses are mechanized by our everyday life, repeating the way we
use our senses. The exercise is an opportunity to use our senses, as touch, in new ways than from ordinary life).
••To create a relaxed atmosphere.
Pedagogical skills: Materials

••Be especially attentive to the speed of the ••Blindfolds (optional).
movements of the students. The slower, the safer
for the group.
••Encourage the students to self-reflection.
••Give enough time to the students to get used to
walking with their eyes closed.
••If necessary, one or two people can be outside the
game to take care of the others that are pretending
to be blind.
••Make remarks about the fact that they can only use
their hands, not others parts of the body.
This is important to create a safe space for those
who have limits in their physical approaches to others.
Evaluation:
1 ifferent attitudes of the students in the group: their speed of walking, time to
D
really get to know the others’ hands.
2 Capacity of the students to describe what they feel with their eyes closed and touching
other’s body.
3 Capacity of the students to describe the experience:
How did they feel with eyes closed?
How can they describe other’s hands? (Temperature, texture, size etc.)
4 Everybody has found their partner.
5 Capacity of the students of self-reflection and on reflecting others’ behaviours.
( 28
1
Starting point
Teacher’s Guide
Instruction Kit
Blind Hands
Instructions
Instructions:
••We will make an exercise with closed eyes. Does someone
have problems
How it makes to close
you hear sounds his/her eyes?
differently?
Close
your eyes
and don’t move,
Open
get used
to it
your eyes
again
••Now you will close your eyes and when I say so,
you will start to walk around, very slowly, so everybody
will be safe. If you need, you can use your arms to
protect your chest.
••Start walking, slowly trying not to step into or get
in contact with the others. (3 minutes).
••Now find yourselves a partner, and only notice his/her hands.
Try to learn how these hands are, find the small details in
the others hands and let your hands be touched. (2 minutes).
••Now leave these han ds and go to recognize others
people’s hands as much as possible. (5 minutes)
••Now that you have recognized a lot of hands go find the first ones
you touched, if you think you have found them stay
with the partner.
••When everybody has found their partner, you can open your eyes.
( 29
1
Starting point
Teacher’s Guide
Instruction Kit
Spider web
Teacher’s guide
Pedagogical objectives:
••To raise:
◗◗ Cooperation in group.
◗◗ Confidence in each other.
••To remark the differences in group and learn to appreciate them for raising creativity in the group.
Pedagogical skills: Materials

••Ask questions – let participants find the solution ••A rope which is put up as a “spider web”
by themselves (with bigger and smaller spaces) between two
••Appreciate their effort (especially when they trees or two poles in the gymnasium or two
lose), give them the courage to continue, to other objects that are vertical.
explore another possibility (ask them what ••A bell (attached to the rope) – see the photo
worked last time, help them to come to the in part of instructions.
conclusion – moderate discussion).
••Help the group to appreciate each person
and his/her capacities or role in the group.
Evaluation:
1 id everyone succeed to pass by the “spider web”?
D
If not – why?
2 Did everyone try to pass?
( 30
1
Starting point
Teacher’s Guide
Instruction Kit
Spider web
Instructions
Instructions
••This is a “spider web”.
Your objective as a group is to get to another side of the spider
web without touching the web.
If you touch it, the bell will ring and then you all have to start
again from the beginning.
••Each space in the spider web could be used only once.
Be creative to use your potential and to help each other to pass.
Variation
If the group is bigger,
each space in the
spider web could be used twice
( 31
1
Starting point
Teacher’s Guide
Instruction Kit
Improvisations in circle
Teacher’s guide
Pedagogical objectives: Pedagogical skills:

••To increase/encourage creativity. ••Be open to all ideas the participants come up
••To react on what another person proposes. with, accept them
••To see what a different association we can have ••It’s better to start with short improvisations
with the same word, to appreciate diversity. (less than 1 minute) – to let participants (just)
••To gain (first) experiences of playing a role. make an idea, without deeply exploring
••To build trust in the group. (if they have no idea how to continue the
improvisation, they could feel uncomfortable, start
to watch the other improvisations and give them
stress too)
••It’s a low focus exercise – each pair improvises
in the same time, without watching the others.
Materials It’s important to do this kind of exercise before
we start some high focus exercises
••None.
(when everyone will watch what a participant is doing).
••Take care that no one is judging someone
else – if someone is e.g. laughing with another
person, emphasize that each has another
experience, sees the word in different way, and
therefore has different ideas for each character.
Teach them to embrace this fact as a riches of
diversity.
Evaluation:
1 ere they all involved in the improvisation?
W
2 Are they using e.g. voice modulation, body movement, mimics?
3 Did some of them listen to or watch the others more than this/her partner?
( 32
1
Starting point
Teacher’s Guide
Instruction Kit
Improvisations in circle
Instructions
Instructions
••Make pairs.
••Stand in two circles – one in the middle of another.
Be careful to have your partner in front of you.
••The inner circle will receive a role, the circle on the outside
– another one. In each pair, the role and relationship will be the same.
••When I clap my hand, please show the relationship between these roles.
inside outside
Rock fan of
star Rock
star
••Show the relation without talking.

Now, when I clap my hand one more time, you start to talk.
••(clap) Stop. Say thank you to your partner.
Everyone in the outer circle turns left
and goes to the next person.
Say hello to your new partner.
Now everyone in the inner circle became...
(you continue with another idea).
••Other ideas for improvisation in pairs: driver and
policeman, old lady and young man, princess
and knight, student and professor,…
Variation
You can use some objects
(e.g. a pencil, a hat, a cup, a watch...)
– first, let them take one randomly
and then use it during the improvisation
(justify why this character has this object)
( 33
2
Starting point
Teacher’s Guide
Instruction Kit
Let’s play a fictional class

Teacher’s guide
Pedagogical objectives Pedagogical skills

••To map problems in the class. ••You have to build up the character before you
••To map stereotypes. start to act.
••To find the causes of discrimination. ••Act (very) naive and ask more questions
••To detect real problems, while playing than normally.
in a fictive way. ••Ask somebody (an observer) to make notes about
(what students play is always connected the discussion.
to their real feelings). ••Always summarize with your questions what the
students say (Example: “So you think that...”
or “If I understand perfectly what you said...”).
••Use a symbolic sign to show when he/she plays the
Materials fictional character (Example: “When I pick up
this tie and sit on that chair I become a fictional
••None.
teacher
in a fictional class...”).
Evaluation
Ask the students about their reflections:
1 Did you feel like the problem was clarified enough?
2 Do you think the problem will be solved thanks to the conversation?
(They can collect what the fictional students said).
( 34
2
Starting point
Teacher’s Guide
Instruction Kit
Let’s play a fictional class

Instructions
Instructions:
••Offer a situation for the students where they will play a fictional class
with a fictional problem
(it’s also possible to improvise a problem during the action).
It will be a group improvisation.
••An example of problem can be a new classmate who is discriminated.
Or a teacher who is unfair with the class.
••I will act as a fictional teacher or the headmaster and you will have to act as
a fictional class.
••You can start and stops the situation because you are the one who invites
the students into the game and you know when they completed http://youtu.be/7jMdB9dzvF4
the goal (when they have enough information about the problem,
when they clarify the problem and the students’ relations
to the problem).
••You can start with a sentence:
“Hello everybody,
I came to your class today
because I heard that you have
a problem with...
To finish can somebody tell me
the situation about this problem?”
you can say
“Okay, thank your very much

for your comments,
reflections and your opinions.
Now that I know the situation better,
I can try to solve this problem.
And I can see that you already have your
break now so I let you go.
See you later! Bye!”
Hungary CH2 Problémakeresés (with ENG sub) (Artemisszió)
http://youtu.be/7jMdB9dzvF4
( 35
2
Starting point
Teacher’s Guide
Instruction Kit
Image before and after

Teacher’s guide
Pedagogical objectives Materials

••To map problems in the class ••None.
••To show the complexity of a conflict
••To open your imagination
••To show what you feel without speak
Pedagogical skills
••To make the group reflect about their expressions and emotions.
••Ask the groups to find titles for the images.
••If you fell it’s not clear what the group wants to tell, she /he could put her /his hand to somebody’s shoulder and
ask that character: “Say what that person think inside in this moment!”
••Don’t show the second image as long as the others don’t know what the group wants to tell with the first image.
Evaluation
Ask the class group:
1 What are the images about?
2 Who are the characters?
3 What do they feel?
4 What is the conflict?
5 Where is the conflict? Between who?
( 36
2
Starting point
Teacher’s Guide
Instruction Kit
Image before and after

Instructions
Instructions:
••Make small groups (4-5 people). Every group has to find a
fictional (or a real) situation with a conflict.They have to make
two images (sculptures) with their bodies.
Has to show the

The moment before
1st
the conflict
(when the antagonist
image breathes in air before
shouting).
Has to show the The

2nd
moment after
the conflict in a
peaceful and ideal
atmosphere. image
••The groups has 8-10 minutes for this task.

••Afterwards, they have to show the two images one by one
to the others.The others have to decode the story that goes
with the images.
••You could say that, in the game, there are not that much
difficulties between the two images, but that, in reality, it’s very
hard to change from the first situation to the second one.
••The exercise ends when every group showed their images.
( 37
2
Starting point
Teacher’s Guide
Instruction Kit
The Best and the Worst Classroom

Teacher’s guide

••To help the youngsters to express themselves. ••None.
••To free their minds and say what they want
and what they don’t want.
••To diminish criticism and complaints and help
them to express a will.
Pedagogical skills
••Not to intervene in the process of their improvisation.
••Don’t give too much ideas or directions so the participants can freely imagine and interpret the proposal.
••To make a reflection about changes and the ideal scenario that they will present.
Evaluation
1 If they have made any kind of image or improvisation.
2 If they are able to realize and reflect on the changes needed from the real to the
ideal situation.
( 38
2
Starting point
Teacher’s Guide
Instruction Kit
The Best and the Worst Classroom

Instructions
Instructions:
••Make groups of 6 to 8 people.
••You will build 2 theatrical improvisation
••One will be the “ideal classroom” meaning the classroom
that you would love to have; the way you think would be
the best. But remember that it’s a group work, so you have to
create an ideal classroom in agreement with everyone.
••The second one is going to be the “worst possible
classroom” meaning the one you would certainly not want to
be in.You can represent it as you imagine it (cursing, fighting…),
there are no taboo subjects but the only rule is that you have http://youtu.be/cMDM7vToi2Q
to build the scene together as a group and you cannot hurt
anybody.
••The groups will have 30 minutes to prepare both
improvisations.
“What did you

understand from
this scene?”
“Which it the best

or the worst classroom
for you and
why?”
••Then the groups will show their creations to

the rest.
••Questions for the group to reflect on:
••Is possible to propose this exercise again during
your sessions to see if the ideal classroom changed.
FOTEL ITALY CH2 Critical Incident Method (Giolli)

http://youtu.be/cMDM7vToi2Q
( 39
2
Starting point
Teacher’s Guide
Instruction Kit
The word’s image

Teacher’s guide
••To introduce theatre exercises about emotions.
••To embody an emotion in a fixed pose (like statues), fear, happiness, anger…
••To know which are the definitions that your participants have about a particular word,
for example “father”, “mother”, “teacher”, “student”.
••To build an internal image related to his own personal story that will come out as a pose.
••To look for oppressions and then work with them.
http://youtu.be/gMasYEYd-5g
Pedagogical skills
••To let the youngsters question their life: what do
they feel, think etc…
••Not to reflect our opinion on the images and
not to express any judgment about them, either
positive or negative, just let the students talk and
answer the questions by themselves.
Materials
••None.
Fotel Paris Chap.2: Looking for oppressions (Elan)

http://youtu.be/gMasYEYd-5g
Evaluation
1 bserve if all the participants were able to produce a pose as a result of their
O
internal images.
2 Observe if the images reflect something of their life, even if they needed help during
the process.
( 40
2
Starting point
Teacher’s Guide
Instruction Kit
The word’s image

Instructions
Instructions:
••Make a circle.
••I’m going to say a word, from that word you are going to build an image. An image is built with
your bodies, faces, expressions and emotions, like a statue, something fixed.
To prepare this image you are all going to turn around, to face the outside of the circle, and whenever
you feel ready you can go back to your original and normal position.
When I will clap, you will all make your image at the same time.
••Ask them afterwards to look around and to form groups of images with the ones
that are similar to theirs.
••Each group is going to show their images to the rest of the class.
The facilitator will ask the observers:
“What do you
see?”
“What emotion
you get from
these group?”
“Do this group

make you think about
things that you can
find in your
own life?”
“Did something
similar happen
to you?”
“When?”
••Be aware of the answers to keep questioning according to the

subjects that the youngsters bring out.
( 41
2
Starting point
Teacher’s Guide
Instruction Kit
Sculptor and clay

Teacher’s guide
••To introduce the concept of oppression.
••To create body trust.

••To be able to create a safe atmosphere. It could be useful but it’s not mandatory to have
Touching the other’s body can be delicate some simple objects that can be added to the
and challenging for some. body image.
Evaluation
1 If someone rejects to play:
it’s important to not force or judge him/her.
( 42
2
Starting point
Teacher’s Guide
Instruction Kit
Sculptor and clay

Instructions
Instructions:
••I will explain with a demonstration:
••We will work in pairs: each person at their turn will become
a sculptor while the partner is the clay.
Sculptor
The sculptor’s task

is to shape the clay
by touching it and
creating any image sculpt
he/she wants.
“Speed”
Clay
The clay’s task

is to keep the shape
that was made
by sculptor.
••Then you will swap roles.

••Afterwards we will share observation/emotion in pairs
(or group).
( 43
2
Starting point
Teacher’s Guide
Instruction Kit
Co-pilotage in pairs
Teacher’s guide

••To create intimacy in the group. ••A comfortable and safe space.
••To share personal experiences.
••To find oppression for the following steps.
http://youtu.be/WyCNPH878JA
Pedagogical skills
••To create a safe atmosphere where participants
are open enough to share their own life
experiences.
••To separate one pair from another, in order to
create an atmosphere of more intimacy and to
avoid someone listening to others and comment
the other’s stories.
Fotel La Xixa Teatre CH2 Looking for oppression

http://youtu.be/WyCNPH878JA
Evaluation
1 If more people, at the end, tell stories or propose his/her story to be played,
this is a sign that the exercise was useful.
( 44
2
Starting point
Teacher’s Guide
Instruction Kit
Co-pilotage in pairs
Instructions
Instructions
••Work in pairs: there’s a person A and a person B.
••Every pair works at the same time in a personal space far away
from other pairs.
••At my signal,
Starts to tell a
person personal story to
person B, related
A to oppression.
person
B Must be silent
and neither
interrupt,
nor evaluate
the story of his
partner.
••After 5-10 minutes, following his/her feelings, a signal

is given by the teacher to exchange roles.
Then person B starts to tell his/her own story.
••Finally, every pair shares the emotions and facts that
happened during the exercise.
••Those who would like to are invited to share their own
personal story with the group, in order to choose which of
the stories will become a theatre scene.
••Alternatively, every pair chooses one story and then the group
selects among them 1-3 stories to be performed.
( 45
2
Starting point
Teacher’s Guide
Instruction Kit
Modelling the image of oppression

Teacher’s guide

••To know the stories of students around their ••To pose questions to the group to help them to
feeling of oppression. reflect the “Reality of the image” and not the
••To be able to create a metaphor from “Image of reality”. The group will work with the
a real life situation. image, build with the bodies, so the image that is
••To introduce theatrical language in the group. happening in that moment, and not with the idea
••To find stories that the group can work of the builder of the image.
on to develop the Forum Play. Possible questions to ask are:
◗◗ What do you see? Who are they?
◗◗ If they were a family who would they be?
If they were politicians? If they were friends?
If they were in an enterprise?
Materials ◗◗ Where are they?
••None. Who has more power in this image?
Evaluation
To see whether the exercise had the desired outcome, the students should:
1 Have been able to build images out of stories.
2 Have created a positive atmosphere while building images (cheerful, quiet, laughing).
3 Have built his/her own image as an individual/individually.
4 Have improved their capacity to “read” the images and find different possibilities from
the same image.
( 46
2
Starting point
Teacher’s Guide
Instruction Kit
Modelling the image of oppression

Instructions
Instructions:
••Take a moment for yourself, close your eyes if you need to.
••Try to remember a situation in your life that was related to school, where, for example, someone was
pushing you to do something you didn’t want to. It can be either a small situation you lived
or something more important.
••Remember what happened in that situation, who was there, or who knew the situation.
••Now each one of you can build an image out of this situation you remember with your partner’s body.
Take him as if he was made out of clay and place him where you want in order to build an
image, like a picture. When you have it, remember it and someone else in the group builds
his/her own image.
••When everybody has done his image in the group, the group has
to choose one.
••Now we will show the images to the rest of the groups.
••Let’s “read” (or analyse) the images:
What do you
see?
Who are
If they were a they?
family who
would they be?
If they were
politicians? If they were
friends? Where are
they?
If they
were in an Who has more
enterprise? power in this
image?
It’s not important what the story is about, but what you see.
••The big group sees the images of every group.
••After the analysis of the images, it’s possible to ask the protagonists
of the images to share their story with the group. If they don’t want to,
they don’t have to, it’s possible to search another story in the group.
(If nobody wants to share their story, it’s possible to start with the process again.)
( 47
2
Starting point
Teacher’s Guide
Instruction Kit
Improvising images
Teacher’s guide

••To know the stories of students regarding their ••Observation of the group, such as their attitudes
feeling of oppression. when searching for a partner.
••To be able to create a metaphor from a real life ••To listen to different improvisations to know
situation (or: real experience). if they are able to hold it and to find conflicts in it.
••To introduce the concept of improvisation ••Observation of the students’ capacities to start
to the group. improvisation without according (allocating?)
••To find stories that the group can work who is who in the couple.
on to develop the Forum Play. ••Promote self-reflection in the group after the
exercise, on the following matters/about:
◗◗ For how long are they able to continue with
Materials the improvisation.
••None ◗◗ If the couples are able to find conflict in the
improvisation.
◗◗ If students are able to create characters that
differs from their own reality.
◗◗ Does the physical position, the image,
influenced the characters?
◗◗ How you found who was who in the couple?
Evaluation
At the end of the exercise:
1 Every student is able to create images very different from another.
2 They are able to work in couples.
3 The couples are able to find conflict in the improvisation.
4 The students are able to create characters that differs from their own reality.
Also question:
For how long are they able to continue with the improvisation.
( 48
2
Starting point
Teacher’s Guide
Instruction Kit
Improvising images
Instructions
Instructions:
••Walk around in the room.
•• Stop pose, make a human statue, and keep still, from your position look at others’ poses. (10 seconds)
•• Go keep walking, using all the space available in the room.
•• Stop pose, now, without changing the pose, search a partner to work with.
••When I say
you will start
Go! an improvisation where it’s possible to talk, but it’s not possible to move,
so you need to keep this pose.
••In this improvisation, one person plays a parent (mother or father) and the
other one is his/her child, you cannot agree it in advance by talking!
http://youtu.be/Ul_-HFSYJMc
••Walk around in the room, and shake
your bodies to change characters.
Go!
(1,5 minutes)
•• Stop , pose, find a partner, and stay in the pose.
Someone is the doctor and someone is the patient.
(1,5 minutes)
••Again, walk around in the room, and shake your
bodies to change characters.
Someone is the wife and someone is the husband
(it’s not necessary to play a character of your own
gender!). (1,5 minutes)
••Walk around in the room, and shake bodies
to change characters.
Someone is rich and someone is poor.
••Walk around in the room, and shake bodies
to change characters.
•• Stop , make an image, find a partner, and stay in the
image someone is the teacher and someone
is the student. (1,5 minutes)
Creating a Forum Theatre performance (Poland) (Stop Klatka)
••Reflection all together.
http://youtu.be/Ul_-HFSYJMc
( 49
2
Starting point
Teacher’s Guide
Instruction Kit
Telling stories of oppression

Teacher’s guide

••To identify oppressions, connected to the topic, ••Before starting this exercise, it’s important
that are important for the safety atmosphere to build trust in group.
in the group. ••Listen attentively, ask open questions, listen
••To discover some mechanisms and causes without any comment, that will help to moderate
of oppression the group discussion. Be careful to not judge
••To develop the capacity to listen to each other. and to not let someone else judge or comment
on the story if someone does, stop him/her
immediately.
••You don’t need to go really deep in a story
Materials (especially when it is a personal story) - it’s not a
••Pieces of paper, pens. therapy, it’s a research (or: exploration).
••When someone tells a really difficult story, that is
even hard to listen to for the group and/or cause
a lot of emotions – accept them, but don’t focus
on this particular story - appreciate the diversity.
Evaluation
1 id each participant tell a story?
D
2 Did they find a common mechanism in the stories?
( 50
2
Starting point
Teacher’s Guide
Instruction Kit
Telling stories of oppression

Instructions
Instructions
••Make pairs. Find a space in the room where you feel comfortable.
••Decide who is person A and who is person B. Think about a story of a boy or a girl
who was an Early School Leaver.
It can be a story of someone that you know or a story that you read in a newspaper or you saw on TV.
It can be also your own story but you don’t have to say that it’s yours.
••Think about what happened before, why he or she decided to leave the school.
••Tell your partner this story.
Starts
person
A
Listens
without any person
comment B
When he or she finishes, person B tells to person A

his or her story.
(Let the participants tell the stories)
Make two groups: A on the left and B on the

right. Tell the story that you have listened to the
others from your group (Person A tells the story
that was told by person B and person B tells the
story that was told by person A).
••Reflection all together:
What are common
points of these
story?
What are common
mechanisms?
( 51
2
Starting point
Teacher’s Guide
Instruction Kit
Image of the statements

Teacher’s guide

••To identify oppressions, ••Before the start of this exercise, it’s important
••To discover some mechanisms and causes to build trust in group and to play some funny
of oppression games connected with movement and poses –
••To raise the ability to name emotions to make participants feel comfortable with this
••To raise the awareness of non-verbal type of exercise.
communication as proxemics (space) , haptic ••Listen attentively, ask open questions to go
(touch), kinesics (body movement), chronemics deeper into the story. Be open to all their ideas,
(structure of time). don’t judge them – it’s important to accept
everyone, even if it’s not as we imagined or
hoped it.
••Be open to group needs – for example, if they
Materials need more time, let them work longer, if it’s
••None. difficult to answer a question, ask easier ones,
appreciate each effort.
Evaluation
1 id they invent a serious story or made something to laugh (e.g. a parody)?
D
2 Are the theatres connected (do they have a common story, do they listen to each other)
or did each person invent a story on his own?
3 Did they express different ideas (did they use their creativity and diversity) to interpret
the scenes they’ve seen?
( 52
2
Starting point
Teacher’s Guide
Instruction Kit

Instructions
Instrukcje
••In each group, you have 4 minutes to make a sculpture with your bodies that represents a concrete situation
connected with a sentence that I will tell you. Imagine who will be (re)presented in this sculpture, what he
or she wants, how the relationship between him/her and the others, what has happened before.
••The teacher says a different sentence to each group. This sentence should come from previous work with
this group on this subject (e.g... “I’m fed up with it”, “I don’t’ feel like doing it”, “He’s strange”,
“You have to do it”, “You said that you wanted to change”) and be an inspiration to go deeper in the subject.
Ask the observers:

1st What do you What happens there?
The group think? What can Who is it?
makes their you see? What’s the problem?
How does he/she feel?
sculpture
Why do you think so?

••Now we can check our hypothesis. Does someone have
The teacher asks a first question to one of characters (for example “who are you?”) another idea?
and let the participants ask the next questions.
••The teachers helps the participants to summarize the images.
••The actors of the sculpture will then overthink their character, what it wants.
What would be an ideal solution for him?
What relationship does he want with the others?
Where does he want to be?
••When I clap my hands, you can change your position for the ideal one for you. Ready? Clap
••Now come back to your initial positions. I will count slowly from 1 to 4. When I say a number,
you change your position, step by step, in order to get to your ideal position the moment I will say 4.
Observers – observe carefully each change.
2 Make
questions
3... Continue
4...
that help the group
What changed? to go deeper in the in a similar way
How does with sculptures
1
understanding of
prepared by
he/she feel? a situation
each group
( 53
2
Starting point
Teacher’s Guide
Instruction Kit
Critical Incident
Teacher’s guide

••To be able to reflect on how their own cultural ••To pose questions to the group to help them to
values, norms, practices influence the culture reflect.
shock experience. ••Introduction to decentration: read the analysis
••To be able to analyse the complex experience of grid together, ask whether there are any
culture shock and to break it into its components, questions
so that the reaction to it can be more “mindful” ••Ask participants to read the case, give answers
and less based on emotional impulses, resisting to questions on description, own values, values of
the need for closure. the other.
••When everyone’s finished, go through the three
questions asking participants what answers they
found. Complete together if necessary.
Materials
••None.
Evaluation
1 If students have been able to reflect on how their own cultural values.
2 If students were able to analyse the complex experience of culture shock and to break
it into its component, so that the reaction to it can be more “mindful” and less based
on emotional impulses, resisting the need for closure.
( 54
2
Starting point
Teacher’s Guide
Instruction Kit

Instructions
Instrukcje
••Introduction to decentration: read the analysis grid together, ask whether there are any questions
••Give hand-outs of the case you brought for joint analysis. Ask participants to read the case, give answers to questions
on description, own values, values of the other.
••When everyone’s finished, go through the three questions asking participants what answers they found. Complete
together if necessary.
Description: what happened?

1. Where did it happen? Who were
DESCRIBING
the protagonsits? Was there any 2.
history bet ween them (personal EMOTIONAL
THE SITUATION or culturel?)? Try to be as
REACTION
objective as possible
How did you feel

6. in the situation?
DOES THE SITUATION
HIGHLIGHT ANY
PROBLEM CONCERNING
THE PROFESSIONAL 3.
(Hypothesis !) PRACTICE, OR IN GENERAL WHAT NORMS / VALUES
ABOUT THE RESPECT OF / REPRESENTATIONS DID
CULTURAL DIFFERENCES THE INCIDENT
IN INTERCULTURAL TOUCH / THREATEN /
SITUATIONS ? QUESTION ?
5.
WHAT COULD BE THE NORMS /
4.
VALUES / REPRESENTATIONS OF
BASED ON THE ANALYSIS
THE OTHER PERSON / CULTURE
OF QUESTION 3 WHAT
THAT LED TO THE SPECIFIC
IMAGE DO YOU HAVE OF
BEHAVIOUR THAT CAUSED
THE OTHER PERSON ?
THE SHOCK EXPERIENCE ?
POSITIVE, NEGATIVE,
NEUTRAL, BIZARRE ETC.
NEUTRAL, BIZARRE
ETC.
( 55
3
Starting point
Teacher’s Guide
Instruction Kit
A day in the protagonist’s life

Teacher’s guide

••To clarify the process and the structure ••You should make a draft about a normal day and
of the play. choose some typical life situation or place the
••To show the personal development of the student can build up (family, school, job, street,
main character. friends). Every group will receive one. It could
••To show the complexity of the problem. also be useful if two groups receive the same
••To learn how to reflect to your partner to see different variations.
(classmate) or how to give feedback. ••It will be useful to make small videos or pictures
about the improvised situations because those
will be basis of the forum theatre play.
••In this exercise students have to act so they can
practice how to perform and therefore develop
Materials their acting skills. You should give advises and
••Chairs. feedbacks to help them (examples: speak louder,
use less gestures, don’t stand with your back to
the audience).
••About feedback: “Start with the positive
things.”, “We don’t speak about you, we
speak about the character you’re playing or
the situation you’re showing.”, “Give feedback
as you would like to receive feedback, so be
nice and polite.”
Evaluation
1 alk about the situations with the rest of the group as observers:
T
What have you liked the most? What has you disliked? Why?
What could you change or play differently?
Was it real in your opinion? Have you seen a development of the main character, is it
more complex and deep now?
2 Analyse the situations:
What have we seen? What is it about? Who is oppressed (protagonist)?
Who is the oppressor (antagonist)? Why? What will happen after?
( 56
3
Starting point
Teacher’s Guide
Instruction Kit
A day in the protagonist’s life

Instructions
Instructions
••Make small groups (4-5 people).
••Every group has to build up a life situation from the protagonist’s
everyday life (every group has to use the same character as a
protagonist). The situation has to last maximum 2 minutes.
••You have to decide 5 things:
Who are
the
characters?
Where
and when
it takes place?
Which is the relation

bet ween the characters
and which is the problem
(so who, where, when,
relation, problem)?
The groups
have
10-15 minutes Let
for this task the students
have a brainstorm
and plan a situation,
to create the
space and the
characters
••Afterwards, they have to present the situations to the others.

And after every presentation ask for feedback.
( 57
3
Starting point
Teacher’s Guide
Instruction Kit
“The” last piece (improvisation)

Teacher’s guide
Group building or Looking for oppressions or Building a forum theatre embryo or Clearing the embryo or Performing
••To develop communication skills.
••To develop concentration skills.
••To raise empathy in the class.

••If you use this exercise, the student needs ••None.
improvisation skills and they should know
how to build sculptures using their bodies.
••In this exercise, the students sometimes show
situations where they were oppressed in their
life. So the teacher should reflect with empathy
and analyse the situations carefully.
Evaluation
Talk about the situation with the rest of the group as observers. Analyse the situations:
1 What did we see?
2 What is it about?
3 Who is oppressed (protagonist)?
4 Who is the oppressor (antagonist)?
5 Why? What will happen after?
6 How can they imagine the future if everything stays the way it is now?
( 58
3
Starting point
Teacher’s Guide
Instruction Kit
“The” last piece (improvisation)

Instructions
Instructions
••Make small groups (4-5 students).
••Every group has to build up a situation where an oppressed
person (protagonist) receives the last straw that breaks the
Camel’s back. That’s the moment when she/he feels it’s too much
and she /he must stop it somehow.
••The groups have to make a sculpture with the title: .
The last piece

http://youtu.be/DpJsxzUkqu8
••The groups have 8-10 minutes for this task.

••Afterwards, you will have to show the sculptures to the others.
Now, when
I will clap my hands
your sculpture will come
to life, the situation
starts and the
characters start to move
and speak.
••The acting part has to be short just to introduce the situations

(3-5 seconds). It has to be short because the oppressed
character (protagonist) doesn’t know beforehand that
she/he has to act, so for her/him this could be a hard situation.
••After the scene the rest of the group has to decode the situation.
Fotel La Xixa Teatre CH3 First steps to the play (La Xixa)
http://youtu.be/DpJsxzUkqu8
( 59
3
Starting point
Teacher’s Guide
Improvisation: Instruction Kit
the teachers’ staff-room

Teacher’s guide
••To help the students express their feelings in
order to define the roles of the oppressed ones
and the oppressors.

••To remain aware, open to pay attention to what ••Any material that could help to build a stage area
the group might bring up and, if something and a different space for the audience.
comes up that has to do with oppression, It would be good to have some tables and chairs.
propose to play it.
Evaluation
1 he students were able to show and develop a way to see their teachers’ thoughts
T
and impressions about them.
2 The students managed to get and stay in their role.
3 The students could express themselves and could find some kind of relief.
( 60
3
Starting point
Teacher’s Guide
Improvisation: Instruction Kit
the teachers’ staff-room

Instructions
Instructions
••Make groups of 5, 6 or 7 people.
••In each group one of you is going to play the role of a teacher.
(Existing teachers can serve as an inspiration as long as the pupils
don’t use their real names.)
••For this improvisation, the scenario will be titled:
During the break teachers are in their staff room
••Each group has to create a situation where teachers

are leaded to talk about their pupils:
How do they Do they

talk about share the same
them? opinion about
them?
Do they
all agree?
How are they
moving?
What do
they think?
How are they

addressing the
students?
••Each group has 10 minutes to prepare.

••The following step is that each group plays in front of the others.
You could ask the audience which words used by the teachers could be
relevant for another improvisation.
( 61
3
Starting point
Teacher’s Guide
Instruction Kit
Dialogue for four people

Teacher’s guide
••To start looking for oppression.
••To act them and dramatize those situations.

••To be open to hear the situations that the ••None, but is possible to use everything that’s
participant might bring up even if these situations already in the room (chairs, table, boards etc…).
are tough.
••As this exercise involves intimacy it’s crucial for
the participants to choose their own group in this
activity. They will choose who to work and share
the experience with.
••They will have to tell a personal life situation;
therefore they should feel comfortable with the
members of their group.
••To remember that the facilitator doesn’t have an
active role during the exercise.
Evaluation
1 ave they shared a personal situation?
H
Maybe some of them are not yet ready to speak about a personal life event
in this context.
If this happens is possible to encourage them to talk about it later.
( 62
3
Starting point
Teacher’s Guide
Instruction Kit
Dialogue for four people

Instructions
Instructions
••Ask the participants to make groups of 4, 5 or 6 people.
Each group finds its place in the room to work.
••In each group everyone has to tell a situation where they felt oppressed. It should be a story related to
school life, no matter if it happened outside or inside the school.
••Pay attention to respect someone when he tells his story. Don’t interrupt or cut him or her off, neither make
any comments. When he/she finishes his story, another participant starts telling his and so on.
••Once you have listened to each other’s stories, you have to agree and select
only two of them to play.
The owner of the chosen story is going to have the role of director.
You will try to improvise as close as possible to the true story. http://youtu.be/kXs30yFpwSk
••When you feel you are ready you will have to present,
to play the stories for the audience (the other participants).
••When they are finished, start a discussion with the audience,
he will ask the following questions:
Was the
oppression clear
If not, for you?
what could we do
to get a clearer
picture? Did any of you
ever experience
a similar
situation?
Possible modifications
You can use this part of the exercise
to start a group discussion,
you can add as many questions
as you need.
••After this step, the group that presented the

play goes back to their working space and will
adjust the play, based on the comments of the The phenomenon of Early School Leaving in Poland (Stop Klatka)
spectators. http://youtu.be/kXs30yFpwSk
( 63
3
Starting point
Teacher’s Guide
Instruction Kit
Directing at turn
Teacher’s guide
••To create a play democratically, where everyone participates in the decisions.
••To learn both roles, actor and director, to see reality from two perspectives.

••To be able to prevent students that the ••A set of various simple objects to be used at any
proposed exercise is based on learning by doing, the moment in the scene.
and that too much talking, should be avoided.
••Subgroups should be carefully observed and
intervene in case the process is not flowing.
Evaluation
1 Realise if everyone has enough space and time to act as a director.
( 64
3
Starting point
Teacher’s Guide
Instruction Kit
Directing at turn
Instructions
Instructions
••Make subgroups of 4 to 6 people.
••From now you have 5 minutes to write down
a script concerning every idea for a scene you have connected
to the topic:
Going to school, Early School Leaving http://youtu.be/qohcvUsdC6k
••Each one will have a turn to direct the people in

his/her sub-group, attempting to follow the script.
The other people have to follow the instructions
of the temporary director as much as possible.
••At the end of the 4-6 turns, the group debates
about which elements should be kept and the
ones that are not relevant nor useful if we would
like to build a theatre scene with it.
Fotel Chap.3:Theatre is school and school is Theatre (Elan)

http://youtu.be/qohcvUsdC6k
( 65
3
Starting point
Teacher’s Guide
Sculpting a theme Instruction Kit
with the others’ body and dynamics

Teacher’s guide
••To visualize an oppression.
••To debate an oppression by using visual language.

••Prepare this technique by doing several exercises ••It is useful but not mandatory to have some
with body sculptures so that the group is objects that can be introduced in the sculptures,
comfortable with this non-verbal language. like: bottle, cloths, string, stick, box, hat, etc.
••Remind the group to keep the silence and to
observe the body sculptures, in order to improve
the non-verbal communication.
••Do more observational questions to the students
than interpretational questions. For example:
“What do you see?” rather than “What is it?”
••Make clear to the students that for each
sculpture there are several possible
interpretations, all of them valid.
Evaluation
Indicators that the exercise is useful because they can show how the group is engaged
in the process and how much the images are shared by the group:
1 The pleasure participants put in the creation.
2 The silence during the exercise.
3 The clearness of the images.
4 The comments made by the audience.
( 66
3
Starting point
Teacher’s Guide
Sculpting a theme Instruction Kit
with the others’ body and dynamics

Instructions
Instructions
••Stand in a line, in a way that in front of you there’s an empty space. What
••Everyone who wants, at turn, can create a sculpture concerning the chosen do you obser ve?
topic, by using the other bodies (as is the exercise “Sculptor and clay”).
••The theme you will choose can be an oppression told in the co-pilotage Which
exercise as well as a common topic chosen by the group. oppression
••When one person has created his/her own image using the others bodies, you do you see?
can ask the audience:
••From time to time you can ask the audience if they agree or not about a specific interpretation.
••The process is repeated with every sculpture, until all the group has done it.
••At the end you can summarize the results, the showed oppression and the different opinions in the group
with statements like:
••Now we will choose only one sculpture to work on it.
“We have heard different ••Once the main shared sculpture is selected, we continue
opinions about…” with the so-called “dynamization”, in order to create a
little scene.
“Someone said ….and ••To do that, you ask the actors to identify themselves (<I
someone said…..” am him/her>) or recognise (<I know such a character>)
“Do you recognise the character they are playing. If someone does not, we
the character that you replace him/her with someone else who could play it.
are playing?
You know who you are
and you can play it?” ••If not don’t worry, someone who can recognise the
character can play you role.
••Once they all accept their characters you ask to focus
and start a monologue which is expressing the internal
“Now at my signal
you will start telling the thoughts.
internal thoughts of your Finally you ask the actors to act,
character, each character “Now at my in slow motion, by transforming
at the same time, so everyone signal you in action the character’s will.
will hear your character’s can talk with the
thoughts, but there will be other characters
no dialogue” “Now at my
you are interested
signal you can act,
in talking to”
in slow motion, in the
In the second step, ask to start a direction of your
dialogue with the ones they are desire as
interested in talking to. character”
( 67
3
Starting point
Teacher’s Guide
Comic Stories (follows the Instruction Kit
“Modelling the image of oppression“)
Teacher’s guide

••To develop stories to find one that will be the ••Promote self-reflection in the group after the
one for developing the Forum Play. exercise.
••To introduce theatrical language. ••Assist the group in the process of self-reflection.
••To help the students to pay attention to their ••Help the group to make images more complex
body language. with questions like:
••To work with the metaphors from a real “Was everybody that was involved in the
life situation. situation represented in the image?”
••Help the group to collect the stories of the
images, with questions like:
Materials “This situations reminds me of…”
••None. “I also remember when I…”.
Evaluation
The exercise can be considered successful when there is:
1 An active participation of the students.
2 Discussion in the smalls groups, which normally means there’s an interest
from the group.

3 A variety of movements and sounds (creativity).
( 68
3
Starting point
Teacher’s Guide
Comic Stories (follows the Instruction Kit
“Modelling the image of oppression“)
Instructions
Instructions
••Take an image done from the exercise “Modelling the image of oppression”
••Recall the story about it.
••Now imagine that you are writing a comic about this story, so you will explain it with body sculptures.
••Build two images more about this story, which helps to explain it. Make one sculpture of what happened
before, and make one of what will happen after the central image you already had.
••You have 5 minutes to do it.
••Come back and every group will show us your three sculptures.
and
slowly move sculpture
Make number
sculpture to… sculpture
3
number number
1 2...
••Now come back to sculpture number 1 .

When I say Go , you will make the first movement you
feel will follow this image, in a very slow motion,
and you will come make to the original image.
When I say... Go you will make the first movement you
feel, following on this image in a very slow motion and
you also will add a sound. Then you will come back to
make to the original sculpture.
••Now come back to sculpture number 1 when I say
Go you will make the first movement you feel
will follow this image in a very slow motion and you also
will add a word, and then you will come back to make to
the original image.
When I will say Go you will make the movement with the sound
or word you have in mind, and you will not stop until I say Stop .
••Every group should do the movements of their 3 sculptures.
••Summarize the process.
( 69
3
Starting point
Teacher’s Guide
Instruction Kit
Improvisation
Teacher’s guide

••To be creative. ••Assist the group in their process of self-reflection.
••To change perspective of situations. ••Help the group to make complex scenes with
••To work with empathy (be in the other’s shoes). questions like:
••To learn theatrical languages. ◗◗ Is something missing in this scene?
◗◗ Is there any character missing?
◗◗ Even if the character was not there, as it could
happen in real life, it’s important that it’s in the
scene, because it has an important role
(for instance the director of the school or parents)?
Materials
••Help the group to collect stories with statements
••Some paper, scissors, brushes, glue, recycled like:
materials, etc., to build significant objects for ◗◗ This situations reminds me of….
the scene. ◗◗ I also remember when I….
Evaluation
The exercise can be considered successful, when there is:
1 An active participation of the students.
2 Lively discussion in the smalls groups, normally talking means there’s an interest
from the group.

3 The capacity to create an unrealistic scene real.
4 The capacity to make metaphors from a real situation.
5 The capacity to make a synthesis of the situation.
( 70
3
Starting point
Teacher’s Guide
Instruction Kit
Improvisation
Instructions
Instructions
••Make small groups (between 5-7 people)
••Choose one story about oppression related with school that we worked on before or some story
you are thinking about now.
••Everyone in the group explains one story, and you will choose one.
••The protagonist explains his story related to an oppression and to school. The others can ask questions in
order to clarify the story.
••The protagonist will be the director of the scene, creating the characters
and choosing some actors from the group. He or she will have to explain to the antagonist what he/she
wants from him and what creates a conflict. The will of each character is essential, not what they are.
It’s important that the actors “feed” the characters with their own experiences, so the story is no longer the
story of just the protagonist, but of all of us.
Collectivize the story
••The protagonist will explain the story from the beginning until reaching the crisis, it’s important to start before
the crisis so we will see what happens in the story that brings us to the final crisis.
••He or she will explain where the story is happening, for instance, if it’s at the school it’s not just the school,
but in what kind of school, in which part of the school, etc.
••The whole group has to agree which are the significant objects needed that will be made with the material
(scissors, colours and paper).
••Start with an image to begin the story, when I will say
Go!
you will start saying the thoughts of the characters out loud.
Even if you don’t know what to say, keep talking. (Inner Monologue)
Action
••When I say
you start to present the story with an improvisation, you can move and
talk, and you won’t stop until I say
Stop
The protagonist doesn’t have the right to stop the action, even if the
story doesn’t represent the reality. Remember that the story is no
longer the story of the protagonist but the story of all of the group.
( 71
3
Starting point
Teacher’s Guide
Instruction Kit
Flash improvisation
Teacher’s guide
Group building
Former le groupe or
ou Looking
Détecterfor
lesoppressions
situations d’oppression
or Building
ou Construire
a forum theatre
l’embryon
embryo
du théâtre
or Cleaning
forum outhe
Dégager
embryol’embryon
or Performing
ou Jouer

••React on what happens here and now. ••Before starting this exercise it’s important to decide
••Invent possible relationships between characters. all together who is the main character, what is the
••Create openness to propose own ideas even if oppression, who is the antagonist and what can be
they are not sure that it’s “good enough”. the other characters in this story. It’s important that
the group is warmed up already: start with some
games, also those with high focus on one participant
and some connected with improvisation (reaction
on what another person proposes).
••Be open to all their ideas, don’t judge them– it’s
important to accept all ideas, even if it’s not as we
Materials imagined it.
••Do it in a ‘flash’-fast way – stop after 30 seconds,
••Posters with the names of characters presented
just to let them express their idea without exploring
in the story - it can be the names of the
it further. Encourage participants to express all their
characters that were invented by the group
ideas. If there is a moment where no-one wants to
beforehand (e.g. Peter, Cathy, John) or just names
improvise, you can give the example by proposing
of their roles (e.g. a student with bad marks, his
something yourself (e.g. taking a role that no-one
mother, his father, his friend, a student with good
wanted to take, doing something in an exaggerated
marks, maths teacher, pedagogue, head master….)
or surprising way to let them know that all ideas
that they bring are worth to be presented).
Evaluation
1 re they cooperating during the improvisation?
A
2 Do they listen to each other?
3 Do they react on what others are saying/doing or do they only use their own ideas?
4 Did they express different ideas for each relationship?
5 Was everyone involved?
( 72
3
Starting point
Teacher’s Guide
Instruction Kit
Flash improvisation
Instructions
Instructions
Make a
semi-circle and
sit down on chairs.
Here we have the names
of all the characters from
our story.
http://youtu.be/12sJVXX4oa4
Present
posters
with
the names
••When you feel ready, take a poster.

Make sure everyone can see it.
••When another person is ready, he/she takes a poster
with a name of another character.
••Start improvising about the relationship and the
situation between the two characters.
••You have 30 seconds to explore your ideas.
Then another person can come and take a
different character.
••It’s about improvising, exploring, reacting about what
happened – all ideas are worth to explore.
••The exercise ends when the group has no more ideas.
Hungary CH3 Próbafolyamat (with ENG sub) (Artemisszió)

http://youtu.be/12sJVXX4oa4
( 73
3
Starting point
Teacher’s Guide
Instruction Kit
Sculpture and clay

Teacher’s guide

••Build possible relationships between characters ••Before starting this exercise it’s important to
••Find key-moments and key-sentences propose some funny games, warm-ups about clay
of oppression and sculptors – to make them understand the
••Raise awareness of non-verbal communication type of exercise.
••Find the crisis posture of protagonist ••Be open to all their ideas, don’t judge them–
he arrives at the moment of crisis in the scene. it’s important to accept all ideas, even if it’s
not as we imagined or hoped it. If they are not
genuinely concerned by the stories, maybe the
group needs to do some more group
building exercises.
Materials ••Ask open questions, moderate the discussion
••None. in order to help participants to come to a
common understanding.
Evaluation
1 re they cooperating when they form the sculpture?
A
2 Do they let others model themselves?
3 Are they talking while modelling?
4 Are they open to other’s ideas?
5 Does someone try to impose his/her own ideas?
6 Is everyone involved (saying or doing something)?
( 74
3
Starting point
Teacher’s Guide
Instruction Kit
Sculpture and clay

Instructions
Instructions
••Now we will make a sculpture together of the main character at
the last scene (from the previous exercises from chapter 2
or chapter 3). We need a volunteer to take the role of the “clay”.
Clay
Is he/she standing?
••Let the group form the sculpture Sitting?
and discuss about it.
Help moderating the discussion. At the end, make a summary http://youtu.be/sj1zVUzawdk
of the situation.
••Let the person who performs the role of the clay take a rest
if the position is not comfortable.
••Now we will make sculptures of antagonists.
Who is ready
to be...? (Names
Make an
image of your
the roles of character in
antagonists)? relation with
protagonist.
Where is he?
In front of him? Near?
Far away? Behind?
Which is his posture?
••Now I invite the protagonist to take his position once again.

Observe this image. What do you see? Does anyone of you
have an idea how we could change the posture of one of the
antagonist to make the oppression stronger?
••If so, you can come and model your idea.
••Is this the strongest oppression?
••What could be a sentence said by each antagonist in this position?
••If you have an idea, stand behind the antagonist you choose and FOTEL ITALY CH3 Forum Theatre (Giolli)
say your sentence. http://youtu.be/sj1zVUzawdk
( 75
4
Starting point
Teacher’s Guide
Instruction Kit
Multiple replacements
Teacher’s guide
••To achieve well-built performances.
••To help the group to do a collective creation, a group product.
••To unite the group on stage and to make the group grow.

••To remind to the group that it is important to ••Materials to create a stage area different from
remain involved in the exercise, even in they are the audience area. You may use any materials
not playing. already available in the room you are working in.
••To remind to the group that every individual
must be supportive of the scenes that the group
is going to play.
Evaluation
Indicators to evaluate the exercise:
1 If many spectators came up with new elements to add to the performances.
2 If many contributions emerge, whether they are related to the characters’
arguments or to the participants’ acting.

3 If the students that are in the audience are able to enact their proposals.
4 To offer constructive criticism that allows the exercise to continue, rather than a
judgment.
( 76
4
Starting point
Teacher’s Guide
Instruction Kit
Directing at turn
Instructions
Instructions
••Make groups of 5 or 6 people.
••Find a space to work in the room. You have to prepare a sketch about an oppression. You have 20 minutes
to prepare and to rehears.
••When time is up I will ask the first group to perform even if the play is not yet completely finished, you will
improvise the rest of it.
••The first group performs the entire sketch from the beginning to the end. Ask the audience to watch it and
to come up with questions when the play has ended like:
Is every character Was the

clearly defined? oppression visible
Is it possible to understand enough?
Is each
character‘s will
who is who ?
(who is the oppressor and
clear enough? who is the oppressed)
Were the components

of the play (emotions, tones
and gestures) of every
character appropriate to make
the oppression more visible?
“no, for me it
wasn’t clear
••If one spectator answers enough”
you will ask what could be modified to make the
situation clearer. The spectator is then invited to come
on stage and act any character he wants, in any moment
of the play, but remembering to improve the scene.
Once he has finished, you will ask the audience what
elements should be kept of that proposal.
Sometimes, a tiny element can be kept while the rest isn’t.
••Many of the spectators will make their own proposal and
you can keep this discussion until they don’t have more ideas
or proposals. When many contributions have nourished the
performance, it is crucial to make a synthesis of the elements brought
up by the spectators.
••After this process ask the groups to go back and rehearse, adding
the new contributions.
( 77
4
Starting point
Teacher’s Guide
Instruction Kit
My name is…
Teacher’s guide
••Participants start to feel secure and comfortable on stage and in front of the audience.
••To increase their confidence in their ability to act.
••To enhance all the different emotions which can be used in their performance.

••To be able to encourage the participants. ••Material to create a stage area distinct from the
••To highlight what they managed to overcome in public area. To do this you can use whatever you
relation with their discomfort and shyness, and to can find in the room. It’s also important to define
ensure them that they can succeed. a “behind the scene area” on both wings of the
••To be able to encourage the participant to feel stage. You can, for example, use chairs for the
free to replay but also to feel free to sit down. spectators to distinguish the audience area, and
for the stage you can use tables, bags and any
other material you can think of.
Evaluation
1 If the participants manage to overcome their shyness.
2 If some of the signs of discomfort, such as giggles, looking down to the floor or speaking
with a faint voice, start to disappear.

3 If the participants’ way of playing and personifying their characters has changed.
( 78
4
Starting point
Teacher’s Guide
Instruction Kit
My name is…
Instructions
Instructions
behind
••An actor starts standing in the
the scenes
he/she will step onto the stage,
stop in the middle, face the audience
area
and say
“My
name is…”
and say his/her name. He has to stay there for 5 seconds in front of
the audience without saying anything else, then he leaves the stage
by the other wing, returning to the behind the scenes area again.
••In the first part of this exercise, all participants will experience
the passage on stage using a neutral tone, without emotion.
To be clear this means: no smiling, arms alongside the body
and feet firmly on the ground.
••For the second part, every participant will make several
more appearances, using the same instruction but
this time with an emotion such as: anger, joy, fright or
sadness. You should focus on your style of walking,
speaking and looking at the audience with a given emotion.
••The exercise ends when everyone has made
an appearance.
( 79
4
Starting point
Teacher’s Guide
Rehearsal techniques Instruction Kit
Hannover Variation
Teacher’s guide
••To go further in the construction of the characters avoiding stereotypes and clichés.

••To be able to concentrate the group in order to ••Some objects or clothing suitable for the
avoid superficial laughing and detachment from character.
the character;
••To be able to encourage the actors to take the
characters honestly.
Evaluation
Items to evaluate the exercise:
1 The concentration of the actors.
2 The genuine interest of the actors being in the character.
( 80
4
Starting point
Teacher’s Guide
Hannover Variation
Instructions
Instructions
••We will play the scene (already prepared by a sub-group) that will be cleaned.
••It will start normally, but the audience will have the right to say
when something is not clear, for instance:
A
Stop
It can moment
be a moment were the
where a character character’s
says something the movement or
audience does not A moment action is not clear
understand or when the or motivated.
expect. audience expected
a sentence and the http://youtu.be/wUqcJznIdS8
character
was silent;
••Immediately after having stopped the action, the

spectator addresses one of the characters and asks a
short question like:
Why have
you said so? or Why did you
Why have not leave the room? or
said so? Why didn’t you?
••Very quickly, with no time to think, the actor will answer as the
character and immediately the scene continues form the point
where it was stopped.
••Then another stop/question can arrive from the audience, and the
process continues until the end of the scene.
••Share the comments about the important elements that
eventually came out and which should be taken in account to
make this scene more clear.
Hungary CH4 Fórum színház (with ENG sub) (Artemisszió)

http://youtu.be/wUqcJznIdS8
( 81
4
Starting point
Teacher’s Guide
Rehearsal techniques. Instruction Kit
Inter viewing the character

Teacher’s guide
••To go deeper into the characters avoiding stereotypes and clichés
to enhance the skill to identify oneself in the character.

••Avoiding superficial laughing and detachment ••Some objects or clothing suitable for the
from the character. characters roles.
••Be able to guide the actors to stay in the
character role.
Evaluation
1 If the actors are focused while playing the characters.
2 If the actors are genuine honest when playing.
( 82
4
Starting point
Teacher’s Guide
Rehearsal techniques. Instruction Kit

Inter viewing the character
Instructions
Instructions
••Make groups of 4-5 people.
••In every sub-group a person starts to take on his/her own
character and all the other people from his/her group, have the
right to start to question him/her
http://youtu.be/NZClaLzo1oA
Every question
should be
answered quickly
and consistent
with the
character role
••After 3-5 minutes, I will give you a signal to switch roles.

••At the end you can ask about the process and what
the actors have found out about the characters.
FOTEL ITALY CH4 Theatre in the school (Giolli)

http://youtu.be/NZClaLzo1oA
( 83
4
Starting point
Teacher’s Guide
(Emotion Analysis)
Teacher’s guide

••To work with emotions. ••To help the group to make scenes more complex
••To change perspective of situations. with the different emotions for the same scene.
••To learn theatrical languages. ••To “push” the students to go for the scene, not
••To enrich the scenes. trying to answer to all questions (how I do this, what
••To repeat the scene with love allows the scene does that mean…) but to try it and reflect about it
to slow down and to make characters more afterwards.
complex, if it’s very high in emotions and conflict. ••To observe the process and the reaction to the
Even if they are in conflict some love can different proposals from the teacher.
be present. ••To assist the group further in their stage awareness.
••To repeat the scene with mystery allows the
scene to grow, if it’s very flat in emotions
and conflict.
••To repeat the scene with Soap Opera also allows
the scene to grow, if actions are very small. Materials
••To discover that characters are not univocal, ••None.
they have an internal contradiction, and this
internal contradiction is what makes
characters real.
Evaluation
1 ctive participation of the students.
A
2 The capacity to create a real, but unrealistic scene.
3 The capacity of students to repeat the scene focusing on the proposed emotion.
4 The capacity to make a synthesis out of the situation.
( 84
4
Starting point
Teacher’s Guide
(Emotion Analysis)
Instructions
Instructions
••Choose one story about oppression related with school that we worked on before and that we want to
work on to build a Forum Play or some story you are thinking about it now.
••Start with an image to begin the story, when I will say
you will start talking loud the thoughts of the characters, even
if you don’t know what to say you keep talking. (Inner Monologue)
Go!
••When I say
Action you start to act the story with an
improvisation, you can move and talk,
and it will never stop until I say
Stop
••Now you will repeat the same scene from the beginning
(same text, action) but now you will make it with
All characters love everything around
them and each other, even if they have
a conflict.
Love
••Now you will repeat the same scene
from the beginning (same text, action)
but now you will make it with
All characters suspect from everything Mystery
around them and each other.
••Now you will repeat the same scene

from the beginning (same text, action)
but now you will make it with Soap
All characters act as if they were Opera
in a Soap Opera.
( 85
4
Starting point
Teacher’s Guide
Rehearsal technique Instruction Kit
(Deaf variation)
Teacher’s guide

••To take the scene out of “Radio Theatre”, ••To help the group to make scenes more complex
scenes were the actors are only able to play their with the different actions they can find
character with words and there are no actions. ••To find actions meaningful to the story or for the
In this kind of scene, the attention of the public characters.
falls down and the scene is not attractive. ••To see the action’ meanings, help the group to
••To learn theatrical languages. see them, and keep them for the play.
••To enrich the scenes. ••To “push” the students to go for the scene, not
trying to answer to all questions (how I do this,
what does that mean…) but to try it and reflect
about it afterwards.
••To observe the process and the reaction to the
Materials different proposals from the teacher.
••None. ••To hold the group further in their stage
awareness.
Evaluation
1 he active participation of the students.
T
2 The capacity to create actions out of the first proposal of the scene.
3 The capacity of students to repeat the scene with no words, and to find different actions
each time.
( 86
4
Starting point
Teacher’s Guide
Rehearsal technique Instruction Kit
(Deaf variation)
Instructions
Instructions
••Choose one story about oppression and school that we worked
and want to use to build a Forum Play or some story you are
thinking about now.
••Start with an image to begin the story, when I say
start speaking the thoughts of the characters,
continue talking even if you don’t know what
to say. (Inner Monologue)
••When I say
Go!
Action
http://youtu.be/cA7dpV4WjqQ
start to improvise the story, you can move and talk,

and it will not stop until I say
Stop
••Now you will repeat the same scene from the

beginning (same text, and action) but now you will
do it with no words.
••You can say the text to yourself but not in a loud voice.
••It is necessary for the public to understand the scene,
but you have to find a way to do so without words.
••Think about what kind of actions you can do to continue
the scene.
••You can repeat as times as you want to until we
completely understand the scene with all details
and conflicts.
Fotel La Xixa Teatre CH4 Understanding Early School Leaving (La xixa)
http://youtu.be/cA7dpV4WjqQ
( 87
4
Starting point
Teacher’s Guide
Instruction Kit
Hot chair game

Teacher’s guide
••To build up or deepen the characters.
••To improve improvisation skills.
••To open imagination.
••To improve presentation skills.

••To be able to clarify what they have to answer ••One chair.
as the character. It is important to keep
detachment between the character and the
student for his/her protection.
••To be able to decide if the answer was useful
for building character or ask again:
“Your character thinks that or you do?”
Evaluation
1 sk the group to summarize what they know about a character after the questions
A
and answers.
( 88
4
Starting point
Teacher’s Guide
Instruction Kit
Hot chair game

Instructions
Instructions
••Put one chair in the middle of the room front of the group.
••Ask students one by one to sit on that chair as their characters
would sit.
••Each one of you will sit there one by one, staying there for 2 minutes
and answering the others’ questions as his/ her character would answer.
••Examples for questions:
What’s your
name? How old
are you? What are your
hobbies?
What do you
like most?
What do you
What is hate?
your problem
with... ?
••Start the questions with the name of the character

– it will help the person sitting on the chair to
answer as the character.
( 89
4
Starting point
Teacher’s Guide
Instruction Kit
Reflect or do it better
Teacher’s guide

••To build up or deepen the scenes. ••Use the students who are more brave or open
••To learn how to give feedbacks. and students who are shyer or more closed.
••How to build in new ideas. For the braver student it can be a good challenge
••To try and experience other characters and learn to act as a shy character and for the closer
their difficulties. student is also a good challenge to try a strong,
dominant character.
••It’s important to repeat the good attempt.
So the original actor should try to repeat the
Materials same what another student showed.
••Sometimes you will have to go in to show his/her
••None. idea how to do it better (teacher has to pre-act).
Evaluation
1 sk the original character how and why was it useful for his/her.
A
2 How she/he wants to change? What she/he wants to build in?
( 90
4
Starting point
Teacher’s Guide
Instruction Kit
Reflect or do it better
Instructions
Instructions
••In this exercise if somebody (maybe you) feels that she/he can do
better a situation, she/he can change with the original character
to show her/his idea.
••After that, the others (the original character as well) can reflect
to her /him. They can reflect that it was more interesting than the
last one or not.
••Who played originally the character has the right to say that
she/he agree with the change or not.
Important
The attempts
are not better or worse but maybe one is
closer to reality or more interesting,
relevant in that case.
( 91
4
Starting point
Teacher’s Guide
Instruction Kit
Values
Teacher’s guide
••To discover the influence of one’s values on his/her behaviour.
••To clarify the values of characters.
••To come to a common understanding of the values of each character.

••To be open to all ideas, don’t judge students ••Small sheets of paper with different values
– it’s important to be accepting and supportive, (for example: friendship, freedom, fun, money,
even if they are not what we imagined or hoped. health, quality of work, discipline, security…)
••To ask open questions and moderate discussions
in order to help participants come to understand
a role’s values.
••To be ready to improvise and model an example.
Evaluation
1
Are they changing their behaviour according to the values
(e.g. in words, gestures, position, decisions…)?
2 Are those changes visible for those who observe the improvisation?
( 92
4
Starting point
Teacher’s Guide
Instruction Kit
Values
Instructions
Instructions
••Make pairs.
••You will have 4 minutes to prepare a short scene between the
protagonist and another person from the story. Each of you will take
a random value that will be important for your character in this scene.
What choices What issues

will they make will be important for
according to this them?
value? Which will not?
How will
they behave
toward the other
person?
••You can propose a particular relationship or let

participants choose by themselves. You can prepare
a short description of a particular situation between
two characters with their characteristics - then it
will be easier for the students to enter into it.
••One couple improvises. Others watch them and try to
figure out what the character’s value is.
••The exercise finishes when everybody presents their
scenes.
••To continue the exercise, you can propose to work in
pairs: finish sentences about each character or write on
posters.
The What
character’s they really
What
most important do not want
they wants
value is.... is...
the most
is....
( 93
4
Starting point
Teacher’s Guide
Instruction Kit
Peer reading
Teacher’s guide
••To raise openness to receive a feedback.
••To raise the awareness of antagonist role in Forum Theatre Play
••To clear the motivations of each character.
••To acquire first experiences in Forum Theatre in a safe atmosphere.

••Start by some warm-up games. ••Stage props (depends on group needs).
••To be clear to present objectives of exercise
and the moment in the process
(it’s not the final product).
••To ask questions – let participants find by
themselves solution.
••To be open to group needs.
••To appreciate all efforts.
Evaluation
1 ave they given some feedback?
H
2 Were there any positive (supportive) and any critical information?
3 Does the group have any ideas – what to do to improve spectacle?
4 Does the group have any motivation and courage to continue?
( 94
4
Starting point
Teacher’s Guide
Instruction Kit
Peer reading
Instructions
Instructions
••Invite a class another school to come to your workshop
(the class that your participants don’t know).
••Explain them what are the objectives for this meeting.
••Make a Forum Theatre presentation with your group.
••At the end, ask spect-actors for feedback – propose
them to work in small group about:
http://youtu.be/nHXzrOWD4tM
Was the
story real for them?
What wasn’t Have they arrive
(if there were to change
something)? something?
What?
Was the reaction

of antagonists in interventions
possible according to their
experience?
Why?
Variation
You can ask
participants to invite their friends.
Fotel 4 Chap.4: Doubts and Improvements (Elan)

http://youtu.be/nHXzrOWD4tM
( 95
5
Starting point
Teacher’s Guide
Instruction Kit
Forum theatre game

Teacher’s guide
Group building or Looking for oppressions or Building a forum theatre embryo or Cleaning the embryo or Performing Jokering
••To try and practice the joker’s role.
••To experience what forum theatre is.
••To understand better the motivation of the characters.
••To look for different possible strategies to face antagonists.

••To choose in this activity, for the braver student it ••2 chairs
can be a good challenge to act as a shy character
and for the more closed student it’s also a good
challenge to try a strong, dominant character.
••To be able of not showing your idea in this game
because you are responsible to lead the game.
Evaluation
1 o make a video about the exercise and analyse the joker’s role.
T
2 To analyse strategies of antagonists.
( 96
5
Starting point
Teacher’s Guide
Instruction Kit
Forum theatre game

Instructions
Instructions
••Put 2 chairs in the middle of the room.
Choose a conflict situation with 2 people
(You can use this exercise to work on the Forum Play scenes).
••You can choose a situation where there is a protagonist and
an antagonist but it’s not compulsory for the exercise.
••Make two groups, one group will support one character and the other one.
In this
game I will This is an opportunity
perform the role for you to practice
of the this role.
JOKER
••The two actors start playing the situation

and everybody who has an idea on what to say,
or how to change the situation,
can
clap
and the situation
stop
That person can give advice to the actor of her/his team

or replace the actor.
••The actor can also clap and stop the situation to ask for
help from their support team, as well as I (Joker)
can
clap
and the situation to ask questions or reflect
stop
( 97
5
Starting point
Teacher’s Guide
Instruction Kit
The only one in the room

Teacher’s guide
••To get to know each other.
••To test your own limits.

••To be able to find common points with the ••None.
other spectactors; to analyse the audience.
••To start first with a simple thing.
(For example: I’m the only one in the room
who born in 1st of June.)
Evaluation
1 If the audience answers to the proposals.
( 98
5
Starting point
Teacher’s Guide
Instruction Kit
The only one in the room

Instructions
Instructions
••You should wait for the audience in front of the room where the
forum theatre will take place. You enter to the room together
with the audience and before they sit down you play this game
with them.
••One person has to say one thing which is only true in his/her case
before he/she sits down. If somebody else think that this is true in
his/her case that person also has to sit down.
••Afterwards, a second person who is still standing has to say
something and again, if somebody else thinks that this is true in
his/her case, also this person will sit down.
••And so on...Until the last person sits down.
Examples
The
1st
person say: I like the rap
music
Afterwards 2 people think that they
he/she sits also like rap music
down. so they also sit down.
The
next I like thick
person say: and scary
books
Afterwards Another person also likes
he/she sits thick and scary books so
down. he/she can sit down.
( 99
5
Starting point
Teacher’s Guide
The joker’s role for Instruction Kit
the audience in a forum theatre play
Teacher’s guide

••To create a relationship between the scene and ••To be able to pay attention to what’s happening
the audience. both on stage and in the audience.
••To explain the forum theatre principles and how ••To know which questions to ask the audience
the play is going to be performed. –To question about the ongoing play.
the audience about the ongoing play to help ••To listen closely to the audience.
them find solutions to resolve the oppression. ••To establish a trustworthy nice relationship with
••To give voice to all public in the room. the audience, supporting what the audience is to
••To accompany the spectator who has an idea or saying.
a proposition towards the people on stage and ••To be able to gather the whole room, spectators
encourage them to play it and actors, around the idea of playing together
••To summarize the spectator’s proposal and and thinking together.
enhance it. ••To be able to synthesize once a spectator has
made his proposal on stage, you must be able to
Materials summarize the crucial elements expressed by the
spectator to the audience.
••None.
Evaluation
1 If there’s a trustworthy talkative appeased atmosphere throughout the exercise.
2 If the debate seems to go forward, nourished by new questions asked to the audience.
3 If the audience finds out many strategies.
4 If many people come onto the stage to try.
5 If the atmosphere expresses the will to overcome the oppression.
6 If there is in the room the feeling of working as a community.
( 100
5
Starting point
Teacher’s Guide
The joker’s role for Instruction Kit
the audience in a forum theatre play
Instructions
Instructions
••When the Forum Play starts, each actor goes on stage as you speak for them to the audience:
••“Hello everyone. With this group, we worked to create the plays you’ll watch today. We took our
inspiration from stories told by some of the participants which are based on real events. Unfortunately,
these stories don’t end well. You will witness that one or several characters will undergo an injustice which
provokes our disapproval. This character, will attempt to struggle against this situation without managing to
overcome it.
••To do so, we will first need you to watch the plays as regular spectators while already wondering: what are
the moments you feel you would have acted differently from the struggling character.
Secondly, we will go back to any moment of the play and you’ll be able to try to replace on stage the actor
and express a new idea facing the situation. Do you agree to do that with us?”
••You will stand aside while the play is being performed. During the performance, you will pay attention
to the reactions among the audience as they could be useful later on. Once the play is over, you go
back on stage and say:
Do you think
this is real, it What
That’s it,
can happen? you would have
we all saw done in this case?
the play. Have you seen
First of all: something that
you disapprove? “You take
the place of the
character and you
••Let’s imagine that the first spectator goes on stage.
chose this moment
You accompany him/her and explains again.
of the play
to do so.”
••You ask the actors to take back the play at the moment chosen by the spectator.
••You listen carefully what the spectator is saying or doing. Once the spectator is done with his/her proposal,
you demand how he/she are feeling, and you thanks him/her.
••You summarize what was has been played, and ask the audience again
••if someone else has a different proposal, always reminding that it is possible to find different solutions
and if they don’t find any today it is however important to have more awareness on the problem, to
encourage all possible ideas to come on stage.
••At the end of the performance, you end up by summarizing all the proposals made by the spectators.
You can say that these proposals can be applied in real life situation.
••Thank the audience for their participation.
( 101
5
Starting point
Teacher’s Guide
Instruction Kit
Introductory game: good morning

Teacher’s guide
••To facilitate public interventions by creating a relaxed atmosphere in the room.

••The joker should present the game as a challenge ••None.
or a surprise, by showing a concrete example
with someone in the audience.
••An alternative is to choose an easier step to
warm up the audience
Evaluation
1 If the audience participates easily.
( 102
5
Starting point
Teacher’s Guide
Instruction Kit
Introductory game: good morning

Instructions
Instructions
••I will explains the game with an example with a spectator.
••I will say
“hello” to you
and
I will shake your
right hand
••Now, without leaving the first person and keeping the http://youtu.be/x4G0ZQrpJrA
hands together, both the Joker and the spectator go
toward two close persons to shake their hand with
their left ones.
••Now, when both hands are in touch, the first can leave
the first person and look for a new hand. And so on, hand
after hand.
••I invite you (the audience) to do the same with your
neighbours (actors can join to help the Joker).
The atmosphere in the room

gets easily funny and warm
and people stand up and go to say
“hello”
to
strangers
Fotel Chap.5: Forum Theatre (Elan)

http://youtu.be/x4G0ZQrpJrA
( 103
5
Starting point
Teacher’s Guide
What to do when Instruction Kit
the search for solutions is blocked?
Teacher’s guide
••To facilitate the research of solutions in a Forum play overcoming a block of imagination.

••To be able to be sensitive and feel when ••None.
the audience is getting frustrated by antagonists
on stage.
Evaluation
1 If the audience is able to propose new solutions
2 If the audience is able to propose innovative solutions.
( 104
5
Starting point
Teacher’s Guide
What to do when Instruction Kit
the search for solutions is blocked?
Instructions
Instructions
••When you feel solutions are blocked and spectators are risking
to get frustrated and pessimistic, you can propose a break.
I propose
(to the audience)
to make pairs and discuss
what is blocking the situation
onto the stage and whether
you have a new proposal,
different from what
it’s already been tried.
After 5-10 minutes, you propose to re-

start the Forum play asking for
new interventions.
( 105
5
Starting point
Teacher’s Guide
What happens if someone Instruction Kit
wants to replace the oppressor?
Teacher’s guide
Group building or Looking for oppressions or Building a forum theatre embryo or Clearing the embryo or Tips for jokering

••To help the public to reflect about a situation ••To have a maieutic attitude with the audience.
and to find themselves answers or solutions to ••The idea is reminiscent of the philosopher Plato.
a situation of oppression. Plato discusses the Socratic Method, a form of
••To help the public to find what kind of actions inquiry and debate between individuals with
are needed to change an oppressive situation. opposing viewpoints based on asking and answering
questions to stimulate critical thinking and to
illuminate ideas. It is a dialectical method, often
involving an oppositional discussion in which the
defence of one point of view is pitted against
the defence of another; one interlocutor may
lead another to contradict himself in some way,
Materials strengthening the inquirer’s own point.
••None. As to maieutics, it is based on Plato’s theory
of recollection (anamnesis), so that it holds that
knowledge is latent in the conscious mind, awaiting
discovery. This discovery is sought through dialectic
and in contrast to Plato’s theory, through inductive
reasoning rather than deductive.
Evaluation
1 ew reflections appeared in the public?
N
2 Has the public proposed new interventions?
( 106
5
Starting point
Teacher’s Guide
What happens if someone Instruction Kit
wants to replace the oppressor?
Instructions
Instructions
••If someone in the audience wants to replace the oppressor there are different possibilities depending on
the proposal.
••If someone in the audience has the opinion the actor is not behaving correctly ask the spectactor to come
on stage to replace the oppressor to show what ‘correctly’ means for her or him.
••After seeing the proposal it is possible that:
◗◗ The spectactor has shown new strategies of oppression that were not presented in the play, so it’s
important to redo them for the audience and for the actor acting as the oppressor. Then it’s time to ask
the audience what can be done to change the situation of oppression.
The spectactor
proposes an oppressor
that changes Then the joker can ask the
the situation, public if this situation is
in a way that makes
the oppression
disappear. “magic”?
◗◗ “Magic” in theatre of the oppressed is called so
when a situation changes without anyone pushing it
to change, without a reason. The second question
to the audience is:
Will this character

For instance change with
no reason?
“Would a director of
a school act like this?” “What changes
So what needs to happen in the student will
with the other characters
For instance make the director
that will make them change?”
change? And then follow the questions to
other proposals from the audience to
change the situation of oppression.
( 107
5
Starting point
Teacher’s Guide
Instruction Kit
Guardian angel
Teacher’s guide
Group building or Looking for oppressions or Building a forum theatre embryo or
or Cleaning
Clearingthe
theembryo
embryo ororPerforming
Tips for jokering
Jokering
••To involve the shy part of the public.
••To empower the audience and help them to enter on stage.

••Be attentive – give different possibilities to ••None.
different people.
••Work with this possibility before with your group
during the workshop.
Evaluation
1 oes the spectactor enter on stage?
D
2 Does he arrive to change something?
3 Has he/she exerted influence on a situation?
( 108
5
Starting point
Teacher’s Guide
Instruction Kit
Guardian angel
Instructions
Instructions
••During Forum session, when someone has an idea but doesn’t
want to act as protagonist, you can propose him or her to be
the guardian angel of a protagonist.
The
guardian is
angel’s to help the
protagonist to
role reach his goal.
You can tell him what
he should say, how he
should behave,
“Just stand where he should
behind him and stand.
if you see
that something
is going wrong –
intervene.”
Variation
You can invite 2 or 3 spectactors
to be guardian angels
(to support each other) if they need it.
( 109
5
Starting point
Teacher’s Guide
Instruction Kit
I agree, I don’t agree

Teacher’s guide
••To involve the public.
••To introduce the main topic.
••To introduce each character to the audience.

••To make a first introduction ••None.
••Don’t judge opinions or experiences –
appreciate diversity.
Evaluation
1 Did each person express his/her opinions?
2 Did the number of people who were involved increase during the exercise?
3 Did the audience remark what the opinion/ experience of a character was?
( 110
5
Starting point
Teacher’s Guide
Instruction Kit
I agree, I don’t agree

Instructions
Instructions
••I will say a sentence. If you agree with it, nod your head
(or make a gesture), if you don’t agree: make a sign with your hands
(show example). If you don’t know or you don’t have any opinion
about it – shake your hands.
••Also notice our characters’ opinions
(they are standing on the stage).
Examples of sentences
“I’ve decided
to not go to “I know someone
school at least who is an Early
once in my life.” School Leaver.”
“It’s mainly the

teacher’s fault
that some pupils decided
to give up school.”
••You can also quote the life motto of some important

characters from the play. e.g.
“If you want

“Your life to have a good job,
depends you have to finish
only school with good
on you” results”
••At the end you can ask what they know now about characters.
( 111
Bibliography
IN ENGLISH:
••Boal, Augusto, Theatre of the Oppressed, Routledge, London or Pluto Press,1979-1993
••Boal, Augusto, Games for actors and non actors, Routledge, London, 1992
••Boal Augusto, Games for Actors and Non-Actors, New York 1992
••Boal, Augusto, Rainbow of desire, Routledge, London, 1995
••Boal Augusto, The Rainbow of Desire. The Boal Method of Theatre and Therapy, London/New York 1995
••Boal, Augusto, Legislative Theatre, Routledge (11, New Fetter Lane, London EC4P 4EE, England), 1998
••Boal Augusto, Legislative Theatre. Using Performance to make Politics, London/New York 1998
••Boal Augusto and Jackson Adrian, Aesthetics of the Oppressed, Paperback, London 2006
••Schutzman, Mady e Cohen Cruz, Jan (edited by), Playing Boal: theatre, therapy, activism, London, Routledge, 1994
••Smith, Annie, Naming the structures: joking from the in-between-spaces; resisting seduction and taking power
from mediacy, (manoscript not published)
( 112
Bibliography
IN ITALIAN:
••Boal, Augusto, Il teatro degli oppressi. Teoria e pratica del teatro latinoamericano, Milano, Feltrinelli,
1977 (esaurito)
••Boal, Augusto, Il poliziotto e la maschera. Giochi esercizi e tecniche del teatro dell’oppresso, Molfetta-Bari,
La Meridiana, 1993 2° ed. 1996, 3° ed. 2001 (translation by: Jeux pour acteurs et non-acteurs. Pratique du
théatre de l’opprimé, Paris, La Découverte, 1991 and Stop! C’est magique..., Paris, Hachette, 1980.
••Boal, Augusto, L’arcobaleno del desiderio, Molfetta, La Meridiana, 1994
••Boal, Augusto, Dal desiderio alla legge. Manuale del teatro di cittadinanza, Molfetta, La Meridiana ed., 2002
••Mazzini, Roberto,Teatro dell’oppresso e educazione alla pace, in “Azione nonviolenta” Nov.1989, n.11, pp.17-19
••Mazzini, Roberto, Il teatro dell’oppresso a scuola, in “Mosaico di pace”, n.1, Sett. 1990, pp. 26-28
••Mazzini, Roberto, Tanto gli adulti hanno sempre ragione. L’uso del Teatro dell’Oppresso per l’Educazione alla
Pace e alla Mondialità, in “Il Crogiolo-Apprendere secondo natura”, n.38, Nov. 1992, pp.22-27
••Mazzini, Roberto, Mettere in scena la realtà: il TdO e i gruppi di base, in “AAM-Terra Nuova”, Sett.’93, pp. 21-22
••Mazzini, Roberto, L’invisibile linguaggio della coscientizzazione: come usare il TdO in campo politico-sociale,
in “Azione nonviolenta”, Luglio 1994, pp. 25-26
••Mazzini, Roberto et al., Teatro dell’oppresso in un centro psichiatrico a Modena, in “P.U.M. Progetto uomo
musica”, n.7, Genn. 95, pp. 51-62
••Mazzini, Roberto, Teatro dell’oppresso costruttore di pace: teoria ed esperienze in “Appunti”, n.1/96,
Gen-Feb 96, pp. 11-14
And contributes in several texts among which:
••Di Monica Valeria, Di Rienzo Adriana, Mazzini Roberto, Le forme del gioco: tecniche espressive per
i laboratori interculturali, Carocci, 2005.
••Theatre Work In Social Fields A Praxis-Compendium (text created for the European project Twisfer about
social theatre), 2005
••Helmut Wiegand (edited by), Europäische Rezeptionsweisen (Arbeitstitel) des Theaters der Unterdrückten
nach Augusto Boal,Verlag, 2005
••Mazzini, Roberto, Il ponte delle metodologie e delle tecniche, nella guida: “Educazione informale. Esperienze dal
sud del mondo
e settori di intervento”, edited by Aristide Donadio, Edizioni Amnesty International, febbraio 2007, pagg. 34-41.
Other titles:
••Melli, Claudia, Augusto Boal o l’Arcobaleno del desiderio, in “Teatro e Storia”, annali 2, pp. 231-240
••Vittoria, Paolo, Teatro dell’oppresso a Santo Andrè: adulti educati alla cittadinanza, Adultità, 2005.
••Tolomelli, A., Dalla pedagogia degli oppressi al teatro degli oppressi: da Freire a Boal. Educazione Democratica, 2011.
••Schininà, Guglielmo, Storia critica del Teatro dell’Oppresso, Molfetta BA, ed. La Meridiana, 1998
••Senor Paolo, La ribalta degli invisibili, Terre di Mezzo
••A. Gigli, A. Tolomelli, A. Zanchettin, Teatro dell’Oppresso e processi educativi , Le Bussole Carocci, 2008
••TESI
••Schininà, Guglielmo, Il teatro dell’oppresso di Augusto Boal: per una drammaturgia del sociale, Università
Cattolica di Milano, Prof. Sisto dalla Palma, 1997.
( 113
Bibliography
IN FRENCH:
••Boal Augusto, Théâtre de l’opprimé, pratique du théâtre de l’opprimé. Paris, La découverte 2003
••Boal Augusto, Stop! C’est magique..., Hachette, Paris 1980
••Boal Augusto, Jeux pour acteurs et non-acteurs. Pratique du Theatre de l’opprimé, La Decouverte, Paris
(1991)
••Boal Augusto, L’arc-en-ciel du désir Méthode Boal de théâtre et thérapie, La Découverte, Paris 2002
••Dwyer, Paul, Le théatre de l’Opprimé: pratiquer et transmettre (manuscrite pas publié)
IN SPANISH:
••Boal, Augusto, Juegos para actores y no actores. Alba editorial. Colección: Artes Escénicas. ISBN: 97884-
84281344
••Boal, Augusto, Teatro del Oprimido. Alba editorial. Colección: Artes Escénicas. ISBN: 97884-84284710.
••Boal, Augusto, El arco iris del deseo. Alba editorial. Colección: Artes Escénicas. ISBN: 84-84282317
••Boal, Augusto, La Estética del oprimido. Alba editorial. Colección: Artes Escénicas. ISBN: 97884-84287414
••Motos Teruel, Tomás / Baraúna Teixeira, Tania Márcia, De Freire a Boal. Editorial Ñaque Editora. Cristina María
Ruiz Pérez. Colección. 10-01-2009. ISBN 978-84-96765-32-0.
IN PORTUGUESE:
••Boal, Augusto, Teatro Legislativo.Versao Beta, Civilizaçao Brasileria, Rio de Janeiro (Brasile), 1996
( 114
Bibliography
IN CROATIAN:
••The title of the book in Croatian is “Igre za glumce i ne-glumce” (Games for actors and non-actors).
It is published by the Croatian centre for drama education (Hrvatski Centar za Dramski Odgoj HCDO)
and it is possible to buy it from the publisher. For purchasing it someone has to call this number in Zagreb:
+385/1/6061084 or the mobile phone: +385/91/5701043.
IN SWEDISH:
••Boal, Augusto, Spil ovelser og lege for skuespillere og medspillere, Gråsten : Drama, 1995 ISBN: 87-7419-832-7
••Boal, Augusto, Förtrycktas teater, Gidlund, 1979 ISBN: 91-7021-275-9
••Boal, Augusto, Förtrollad, förvandlad, förstenad: teater för alla, Stockholm: Gidlund, 1980 ISBN: 91-7021-328-3
••Boal, Augusto, För en frigörande teater 200 övningar och lekar för skådespelare och icke-skådespelare som vill
uttrycka sig med teater, Stockholm Gidlund, 1978 ; ISBN: 91-7021-228-7
••Boal, Augusto, Latinamerikansk teater, Sveriges radio, 1977 ISBN: 91-522-1516-4
IN DEUTSCH:
••Augusto Boal: Theater der Unterdrückten, Übungen und Spiele für Schauspieler und Nicht-Schauspieler,
SUHRKAMP-TB NF 361, Frankfurt 1979 +1989
••Augusto Boal: Der Regenbogen der Wünsche, Kallmeyersche,Verlagsbuchhandlung 1999 Übersetzung Jürgen Weintz
••Augusto Boal: Nuestra America, Satiren, buntbuch 1986
••Augusto Boal: Mit der Faust ins offene Messer Verlag der Autoren 1984
••Boal Augusto, Der Regenbogen der W’,Verlagsbuchhandlung, Kallmeyersche 1999
••Boal Augusto, Der Regenbogen der W’, Methoden aus Theater und Therapie, Seelze Velber 1999
••Bernd, Ruping, (edited by), Gebraucht das Theater. Die Vorschlage Augusto Boals: Erfahrungen,Varianten,
Kritik, Lingen, Remscheid (Germania), 1991
••Arbeitsstelle Weltbilder, Agentur für interkulturelle Pädagogik, Münster und Schulstelle der AG Bern: Spiel-
Räume, ein Werkbuch zum Boal’schen “Theater der Unterdrückten” Münster/Bern 1993 (Südstr. 71b, 48153
Münster, 0251-72009 oder Schulstelle, Monbijoustr. 31, CH-3001 Bern)
••Feldhendler, Daniel, Psychodrama und Theater der Unterdruckten, Wilfried Nold, Frankfurt (Germania), 1992
••Das Leben in Szene setzen! Ansätze für eine fremdsprachliche Dramaturgie, in:
••Die Neueren Sprachen, Bd. 90 Heft 2,April 1991 Diesterweg ffm
••Einsatz von Dramaturgischen und Psychodramatischen Lehrund Lernformen in der
••Fremdsprachenausbildung, in:
••Praktische Handreichungen für den Fremdsprachenlehrer, Hg: Jung, Udo O.H.
••Fritz Letsch (HG) Zeitschrift für befreiende Pädagogik der Paulo-Freire-Gesellschaft, München 1996 Heft 10:
Es braucht Mut, glücklich zu sein: Anwendungen des Theater der Unterdrückten in versch. Ländern, vergriffen
••Fritz Letsch: Das Legislative Theater verbreitet sich ... Rundbrief des Entwicklungsdienst Theater Methoden in
der Paulo-Freire-Gesellschaft e.V.
( 115
Bibliography
••Fritz Letsch: Engpass, Forum-Theater in Deutschland, ein Abriss, in: Korrespondenzen Zeitschrift für
Theaterpädagogik über Prof. Gerd Koch an der Alice-Salomon-FHS, Karl-Schrader-Str. 6, 10781 Berlin, Heft
34/1999: Reflexionen Perspektiven: 20 Jahre Theater der Unterdrückten
in Deutschland
••Fritz Letsch und Wolfgang Fänderl:Videofilm: “Theater, wie im richtigen Leben!” interkulturelles schule
Theaterprojekt “miteinander reden lernen”, Verleih und Bezug über das Inkomm, INKOMM Projektzentrum
interkulturelle Kommunikation, Rupprechtstr. 25-27, 80636 München,tel. 089-121643-06,fax 089-121643-07
DM 40.für Einrichtungen (mit Aufführungsrecht) und DM 25.für Privat.
••Fritz Letsch: Theater macht Politik, Die Methoden des Teatro Oprimido in der Jugendbildungsarbeit
Werkstattbuch in der Reihe “Gautinger Protokolle”, www.institutgauting.de erhältlich im Institut für
Jugendarbeit des Bayrischen Jugendrings, Germeringerstr. 30, 82131 Gauting für 15 Mark + Porto &
Verpackung (Materialien aus der Arbeit mit dem Institut für Jugendarbeit des bayrischen Jugendring in
Gauting)
••Henry Thorau: Augusto Boals “Theater der Unterdrückten in Theorie und Praxis”, Dissertation Rheinfelden 1982
••Simone Neuroth: Augusto Boals “Theater der Unterdrückten in der pädagogischen Praxis, Deutscher Studien
Verlag, Weinheim 1994
••Sybille Herzog: Augusto Boals Zentrum des Theaters der Unterdrückten in Paris: Theaterarbeit in der
Erwachsenenbildung, Lit-Verlag Münster 1997
••Helmut Wiegand: (Dissertation) Die Entwicklung des Theaters der Unterdrückten seit Beginn der achtziger
Jahre, ibidem-Verlag Stuttgart
••Helmut Wiegand (Editor), Europäische Rezeptionsweisen (Arbeitstitel) des Theaters der Unterdrückten nach
Augusto Boal,Verlag, 2005
••Magisterarbeiten von Barbara Frey,Vivi Balby, demnächst Till Baumann, Barbara Kastner und Doris Kempchen
IN HUNGARIAN:
••Bognár Mária: Egy sikeres kezdeményezés a korai Iskolaelhagyók integrálására: az FSZK Dobbantó programja,
Esély 2011/6.sz, http://www.esely.org/kiadvanyok/2011_6/04bognar.pdf
( 116

FOTEL Handbook English

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

FOTEL Handbook English

Uploaded by

Copyright:

Available Formats

a r ly S c h o o l L e a v in g

The school as a space for aquiring

Who? Why? So then...

Who? Individual Factors

Who? Why? So then...

So then... What can be done?

Who? Why? So then...

Who? Why? So then...

Who? Why? So then...

Who? Why? So then...

Who? Why? So then...

Who? Why? So then...

The play revolves around the story of:

In a form like forum theatre, where there is

Who? Why? So then...

Looking for Building a forum Cleaning

Chair reser vation

Pedagogical skills Materials

Chair reser vation

••Not allowed to balk the facilitator physically. http://youtu.be/t13VxFCpgNw

••Not allowed to sit back to your chair if you were

Hungary CH1 Korai iskolaelhagyás (with ENG sub) (Artemisszió)

Pedagogical skills Materials

the sheep start to escape very slowly but in the

Pedagogical skills Materials

Pedagogical skills Materials

As a last step, if the room is big enough ask to all the

The facilitator is there to ensure the security of the

Inter view with role exchange

Pedagogical skills Materials

3 How was the experience of being reflected in the other’s narration?

Inter view with role exchange

Then the teacher asks all people of group A to

“Hello, my name is...”

Name and gesture

Pedagogical objectives: Materials

Diversity creates a group (Poland) (Stop Klatka)

Name and gesture

1st just say

Pedagogical objectives: Materials

FOTEL ITALY CH1 Early School Leaving in Italy (Giolli)

Fotel Paris EP.1: Let's play Together ( Elan)

Pedagogical skills: Materials

Pedagogical skills: Materials

Pedagogical objectives: Pedagogical skills:

••Show the relation without talking.

Let’s play a fictional class

Pedagogical objectives Pedagogical skills

(They can collect what the fictional students said).

Let’s play a fictional class

“Okay, thank your very much

Image before and after

Pedagogical objectives Materials

2 Who are the characters?

3 What do they feel?

4 What is the conflict?

5 Where is the conflict? Between who?

Image before and after

Has to show the

Has to show the The

••The groups has 8-10 minutes for this task.

The Best and the Worst Classroom

Pedagogical objectives Materials

The Best and the Worst Classroom

2 Who are the characters?

3 What do they feel?

4 What is the conflict?

5 Where is the conflict? Between who?

3 Have built his/her own image as an individual/individually.

2 They are able to work in couples.

3 The couples are able to find conflict in the improvisation.

3 Who is oppressed (protagonist)?

4 Who is the oppressor (antagonist)?

5 Why? What will happen after?