Teaching with

Dramatized
Experience
“All dramatization is essentially a
process of communication, in which both
participant and spectators are engaged .
A creative interactions take place , a
sharing of ideas.”
- Edgar Dale
 What do you understand by the phrase
“DRAMATIC ENTRANCE”
 For all the years you have been in school,
what forms of dramatized experiences did
you have in class?

 As a child, did you ever watch puppet

shows? Share your experience.
DRAMATIC is something that is stirring or
affecting or moving. A dramatic entrance is
something that catches and holds our attention,
and has emotional impact.
If our teaching is dramatic, our students get
attracted, interested and affected. If they are
affected and moved by what we teach, we will
most likely leave an impact on them.
DRAMATIZED EXPERIENCE
can range from the following :
• Formal plays
• Pageant to less formal tableau
• Pantomime
• Puppets
• Role playing
 PLAYS
 Depict life, character, or culture or a
combination of all three.
 They offer excellent opportunities to
portray a vividly important ideas of
life.
 PAGEANTS
 Usually community dramas that are
based on local history, presented by
local actors.
 PANTOMIME
 Is the “art of conveying a story through
bodily movements only”.
 Its effect on the audience depends on
the movements of the actor.
 TABLEAU
 A French word which means “picture”
 A picture-like scene composed of
people against a background.
 COMPARISON
PANTOMIME and TABLEAU when
compared to a PLAY and a PAGEANT are
less demanding in terms of labor, time and
preparation. These are purely visual
experiences.
 Dale claims that puppets unlike the regular stage play,
can present ideas with extreme simplicity - without
elaborate scenery or costume - yet effectively.

As an instructional device, the puppet show can

involve the entire group of students as :
• Speakers of parts
• Manipulators of the figure
• Makers of the puppet
 Types of Puppet
 SHADOW PUPPETS – flat black silhouette made from light-
weight cardboard and shown behind a screen.
 Types of Puppet
 ROD PUPPETS – flat cut out figures tacked to a stick, with one
or more movable parts, and operated from below the stage level
by wire rods or slender sticks.
 Types of Puppet
 HAND PUPPETS- the puppet’s head is operated by the
forefinger of the puppeteer, the little finger and thumb being
used to animate the puppet hands.
 Types of Puppet
 GLOVE-AND-FINGER PUPPETS – make use of old gloves to which
small costumed figure are attached.
 Types of Puppet
 MARIONETTES - flexible, jointed puppets operated by
string or wires attached to across bar and maneuvered from
directly above the stage.
What principles must be observed in choosing a puppet play for
teaching?
 Do not use puppets for plays that can be done just as well or
better by other dramatic means.
 Puppet plays must be based on action rather than on words.
 Keep the plays short.
 Do not omit the possibilities of music and dancing as part of the
puppet show.
 Adapt the puppet show to the age, background, and tastes of the
student.
 ROLE PLAYING
Is an unrehearsed, unprepared and spontaneous dramatization of a
“let’s pretend” situation where assigned participants are absorbed
by their own roles in the situation described by the teachers.
How is ROLE PLAYING done?
 It can be done by describing a situation which would
create different viewpoints on an issue and then asking
the students to play the roles of the individuals involved.
 Any kind of conflict situation, real or potential, is useful
for role playing or any situation in which real feelings
are concealed.
 How is ROLE PLAYING done?
 The role-playing has to be followed by a discussion.

Among the questions that may be asked are:

 How did you, as actors, feel? Would you act/think that
way in real life?
 As observers, would you agree with what the actors said
or did?
 Any lessons learned?
 Dramatic Experiences for Multiple Intelligence

Dramatic Experiences cater to students’

multiple intelligences.
 Plays, pageants, pantomimes, tableaus, puppets and
role-playing are obviously most fit for the
kinesthetically intelligent.
 When pantomimes, tableaus and puppets are
accompanied by music, musical intelligence is at work.
 These dramatic experiences cannot be implemented by
individuals alone. You’ve got to have a team to come up
with a play, a pageant, a tableau, a pantomime, a puppet
show and role-playing.
The interpersonally intelligent students will have no
difficulty relating and working with people as they plan,
prepare and implement any of these dramatic
experiences.
 These dramatic experiences, most especially role-
playing, are most effective with lessons in the affective
domain.
A play is all right but with all the ground we have to
cover, we haven’t time to use it. We use instead the other
forms of dramatic experiences that do not need very
elaborate preparations.
THANK YOU!!!