“Opportunities are the bread and butter of teaching. The tasks we create set the stage for students’ performance, either by inspiring, engaging, and opening up possibilities and originality or by reducing and limiting their efforts to superficial reproductions” (Ritchhart, 2015, pg.165).

Two years ago three very brave geography teachers agreed to take a leap with me. We embarked on a cross-curricula project that gave students the opportunity to engage in deep critical thinking around human rights issues and human wellbeing across the globe. We saw an opportunity for learning and set the stage for student performance by ‘inspiring, engaging and opening up possibilities’ through ethnodrama and verbatim theatre methods.

This project-based learning unit engaged the entire year 10 cohort in active research around human rights. Students worked collaboratively to creatively express the core of each issue to their peers in a cumulative Human Rights Forum Day. As performers they each expressed their learning and as an audience they were exposed to a myriad of issues which provoked both emotion and thought. Each and everyone of the students in year 10 performed on stage with elective drama students leading and directing the artistic process. In this unit theatre becomes an impetus for change inspiring students to speak up about, and act on, issues of importance in our society. Local, national, and global initiatives to improve human wellbeing are also examined.

The project was highly successful and I am saddened that I am not longer in a position to deliver the program for a third time. Hence, I am sharing it here.
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Some things to note:

• This unit involved team-teaching across faculties. Before implementing you need to discuss with your colleagues how you are going to make it work considering timetabling, grouping of students etc.
• Elective drama students had additional intense lessons on verbatim and ethnodrama. They were then able to take their learning and apply it in their geography classes.
• Some of the geography students were reluctant at first. A safe environment needs to be established so inexperienced students can take the stage comfortably. We chose to allow scripts on stage due to the lengthy aspect of some of the verbatim dialogue. Headphone verbatim may also be used as an alternative.
• The students would research and script in geography. Drama students would bring this material to drama class where we would workshop scenes. They would then take back their drama knowledge and share it with their peers.
• We had a final day to pull the entire project together. This involved a workshop and rehearsal in the morning, followed by the performance of the pieces for the community and an evaluation / debriefing session in the afternoon.
• The Google Platform made the collaborative learning accessible and easy to manage both with staff and students. Google docs, classroom, maps, and forms were used in the delivery of this project.

In an evaluation of the project one student wrote:

“Obviously, I now know more about the personal experiences of people in Afghanistan, namely women in regards to education. However, I learned more of the need to connect emotionally to these topics, rather than the knowledge associated with it. As I've said before, we hear so much about the topic of women's rights in Afghanistan that I feel desensitised to it. It does not seem like a prevalent issue that is able to be fixed anymore. We hear so many bad issues that the problem seems so big that there is no way for a solution to be fixed. Now I know I can make a difference by speaking up. I really loved being part of this project”

If you have any questions about the program please let me know. I am grateful to Ms Kathryn Fairbanks, Ms Catriona McDonald, and Ms Rebecca Durrant-Whyatt for their assistance with this program and allowing me to share it here.  Please acknowledge the source of this program when using it elsewhere.

The Visible Thinking Routines have been created by Harvard’s Project Zero and can be found in full here. My hope is that my thinking around each routine sparks an idea for you that can in turn grow and develop into deep thinking for your students. I would love to hear how you are using these routines in your classroom so please feel free to comment below. This weeks routine in practice is The Explanation Game.

"Listening and questioning are the basis for positive classroom interactions that can in turn shape meaningful collaboration, which can then build a culture of thinking. At the heart of these two practices lies a respect for and interest in students' thinking."
― Ron Ritchhardt, Making Thinking Visible
 
Considering preexisting attitudes and accounting for diverse perspectives can be challenging for young students. This set of visible thinking routines focus on fairness and assist students in exploring complex dilemmas.  Detailed descriptions of each routine can be found here. These ideas are not my own, but a valuable resource which I believe should be shared and widely embraced. Please feel free to print them and display them in your classroom.

(All images have been sourced from Unsplash.)

"When we make the thinking that happens in our classroom visible, it becomes more concrete and real. It becomes something we can talk about and explore, push around, challenge, and learn from” 
― Ron Ritchhardt, Making Thinking Visible
 
Creativity is the perfect means by which we can explore, challenge and learn about a given topic. This set of visible thinking routines focus on creativity and assist students in dissecting creative perspectives and making creative decisions.  Detailed descriptions of each routine can be found here. These ideas are not my own, but a valuable resource which I believe should be shared and widely embraced. Please feel free to print them and display them in your classroom.

(All images have been sourced from Unsplash.)
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“A culture of thinking produces the feelings, energy, and even joy that can propel learning forward and motivate us to do what at times can be hard and challenging mental work.” 
― Ron Ritchhardt, Creating Cultures of Thinking: The 8 Forces We Must Master to Truly Transform Our Schools
 
It can be difficult mental work to clarify the truth of a given topic or issue particularly in our current climate. This set of visible thinking routines focus on truth and assist students in exploring the many dimensions of this difficult and somewhat complex concept.  Detailed descriptions of each routine can be found here. These ideas are not my own, but a valuable resource which I believe should be shared and widely embraced. Please feel free to print them and display them in your classroom.

(All images have been sourced from Unsplash.)
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Equipment:
Blank Paper – A4, A3 or butcher’s paper
Coloured Pencils / Markers
 
Pre-knowledge:
It is assumed students have read and workshopped a text in which to base their promotional work. I am currently using Caryl Churchill’s play Love and Information as the underlying text for our study of the ‘Elements of Production’. However, any text could be easily utilised in the same manner.
 
Process:
1. Interesting, Intriguing and Important – Students are given five minutes to write down five to ten things they find interesting, intriguing and important within or about the play set for study.  Each student shares one of their thoughts with the class without comment or judgement. Students can add any new thoughts to their list as they listen to the comments made by others.

2. Colour – Students are asked to choose a colour that they believe reflects or encapsulates the essence of the text. They are to write this colour down below the interesting, intriguing and important points outlining why they chose that colour. They must justify their decision. Students then share this thought with the person next to them, or with the whole class, in order to give students the opportunity to see the diverse opinions of their classmates.

3. Symbol - Students are asked to choose a symbol that they believe encapsulates the essence of the text. They may draw their symbol or provide a written description of their symbol. Students must also explain in writing why they chose this particular symbol.  Again they share this thought with the person next to them or the entire class.

​​4. Image – Students are now asked to draw an image that encapsulates the essence of this text. They are encouraged to use their colour and symbol as inspiration for this image. Tell them that an image does not include text. Remind them that they need to be able to justify their choices.

5. Gallery Viewing – Sit in a circle if possible with the students work in the centre of the circle. Give students time to really look at the images. Which images capture their imagination? Why? Which images do they want to find out more about? What makes them say that? Discuss.

6. Justification – Each student explains their images outlining the choices they made. This can be done in writing or verbally. Students can ask clarifying questions either via post-it notes during the gallery viewing or verbally.

7. Intro to Promotional Materials – Layout various theatrical promotion materials such as flyers, posters and programs. Students explore the various items by viewing and reading the text and images in silence. After they have had significant viewing time, students are asked about the images on the promotional material. Which images capture their imagination? Why? Which images do they want to find out more about? What makes them say that? Discuss. Link to their images they created for the earlier activity.
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8. The purpose of the flyer, program and poster – Break students into separate groups of three to four. Give each group a different item (Eg. One group has a poster, another a flyer and so on), markers and a sheet of A3 or butcher’s paper. Nominate a scribe for each group and get each to draw two circles as demonstrated below. In the inner circle students are to write – What is the main purpose here? In the outer circle students are to write – What are the parts and their purposes? As small group students begin to examine the source they have been given and answer these questions. Following the Creative Hunt routine students mark the parts of their particular source that they found especially clever or creative with a star. Final they answer the question – Who is the target audience?

9. Peer Teach – On completing the Creative Hunt students present orally their findings to the class. Once everyone has completed their presentation ask students to make comparisons between the various items – What was similar between the items? What was different?
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10. Logbook Reflection – Students recall, recount, and reflect on the lesson through their logbooks. What did they learn about the importance of promotional material in theatre? Ask them to Think, Pair, Share their responses with the remainder of the class.  
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This is an introductory lesson to promotion and program in theatre. Students are later given the opportunity to apply their learning and understanding to their own poster and flyer design for the given play as part of their formal assessment.

“When we recognise that true understanding of a discipline involves learning its processes and ways of thinking as well as its content knowledge, then we naturally create opportunities for developing those abilities.” 
― Ron Ritchhart, Creating Cultures of Thinking: The 8 Forces We Must Master to Truly Transform Our Schools

As teachers we constantly strive to ensure our students understand. Following on from my earlier post on Cultures of Thinking please see the below routines focussed on understanding. These routines assist in connecting, interpreting and organising students knowledge. Detailed descriptions of each routine can be found here. These ideas are not my own, but a valuable resource which I believe should be shared and widely embraced. Please feel free to print them and display them in your classroom.

(All images have been sourced from Unsplash.)

​​This lesson has been created using a core Visible Thinking Routine, primarily – See, Think, Wonder – as a platform for student-centred learning and deep thinking. As drama is essentially about how an audience responds to what they see, think and wonder, I often add a feel prompt.

I have taught this lesson twice now as part of the Preliminary Course and have been struck by the level of engagement and thoughtfulness of the students participating. I used to teach this lesson using slides of different sets, videos of interviews with set designers and class discussion, but this is substantially more effective and meaningful.
 
Equipment:
Various pieces of staging, costuming, props etc. (Note: You do not need much!)
Butcher’s paper
Textas
Music if you wish
A4 paper
 
Process:
1. Pre-set – Create a basic set for viewing. It doesn’t have to be complicated, but it must tell a story. For example, in this set I included a suitcase, clothing, burnt out tea lights, paintbrushes, an old chair, a photo of a beautiful lady, old frames etc.

You may also add other production elements such as lighting or music. Divide a large piece of butcher’s paper into four columns – See, Think, Wonder and Feel. Place the butcher’s paper and textas in front of the set.

2. Explanation – Prior to viewing the set ensure the students understand the routine. If it is the first time using the routine they may need more specific detail, otherwise just recap. Ask students to write their answers collaboratively on the butcher’s paper. As they are writing they can also read the response of others and if they agree or have a similar thought they are encouraged to place a tick beside the other response. Explain to them that it must be done in silence and they are not to engage in verbal discussion. I also find this works more effectively if you give them absolutely no indication of what they are looking at or why they are looking at it. I don’t even mention the word ‘set’ at this stage.

3. The Reveal – Reveal the set. Give them a defined time to just look, not write. I encourage them to move around the front of the set so they do not miss anything. Students begin to write in silence.

4. Processing – I generally gauge how long they write based on my popcorn cooking methodology. When the writing becomes sporadic and begins to die down it is time to stop. Sit with the students and read some of the responses out loud from each column. Do not discuss them, just read them and let them float in the air.

5. Responding – Give each student a blank piece of paper and a texta. Ask them to stay silent and move to their own personal space in the room. Reflecting on all they have written, read and observed students are asked to imagine they are the character that inhabits this space. Students write a creative response as that character. Emphasise that there is no right or wrong answer. You may give them a writing prompt to get them started if you feel it is needed. (Eg. My name is….. and this is my home.) Ask them to explain this characters story in their response. They write silently. Again, judge the timing by watching the rapidness of the writing.

6. Performing – Ask students to re-read their responses quietly thinking about how their character would talk, walk, sit, and gesture? Gather students to the front of the set again. Give students the opportunity to walk into the set as their character and read part or all of their response. This should be done in a focussed and committed manner. They should place themselves in the set as their character and perform for their classmates. You will find that you have very different characters as a result of the exercise.

7. Evaluating – Ask students to comment on the exercise. What do they think the purpose of this exercise was? What conclusions did they come to? What questions do they still have? Introduce them to the purpose of set design Eg. To set the mood/tone of the play; suggest the style of the play; create the world of the characters; indicate time, place and situation. Discuss these ideas in relation to the set they have been working with.

8. Application – Break the class into two teams. As a team they must design a new set. It can be abstract or realistic, but it must be purposeful. It should create the world of the play, set the mood and define the time, place and situation. They can use anything they can find in the space, however it must differ from the set they have already analysed. They are to construct their set and when complete reveal it to the other group.  During the reveal of the newly constructed sets, use See, Think, Wonder, Feel as verbal prompts to promote discussion of each other’s set. Ask the group that created the set if there was anything in the responses that surprised them. (You will find the audience will imply much more than the designers have thought about!).

9. Scene Work – Each group must create a short scene that can take place in the other groups set. (Eg. Group A creates a scene for Group B’s set and visa versa.) They have ten minutes to devise their scene. Each group performs for the remainder of the class. Students respond to each performance using the prompts I noticed… / I liked… / I wonder… .

10. Logbook Reflection – Students recall, recount, and reflect on the lesson through their logbooks. What did they learn about the importance of set design in theatre? Ask them to Think, Pair, Share their responses with the remainder of the class. 

This lesson is an introductory lesson leading into the practical skills required to design set such as stage plans, scale drawing, working with other production departments etc. It provides a sound basis for these practical skills and scaffolds effectively the purpose of set in the theatre.