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This paper describes an improvisational dance model that analyzes verbs and adverbs in terms of their movement essence and yields a unique group dance using dancers of any age or experience. Essence dance uses word cards to build a dance. Each word (verb or adverb) suggests a movement or use of the body. The teacher begins by charting a piece of music, outlining the main sections and the number of beats in each section. Students then randomly select two cards, a verb and an adverb, to write into the chart for each session. For each verb and adverb chosen, students analyze the movement essence in terms of several basics--body, space, time and relationship--by applying the movement variables (related to space, body, time, and relationship). Students improvise together the selected movement variables within the given number of beats. Eventually, they put the sections together and dance the entire piece. They videotape their dance, view the tape, and critique the dance. The word lists include such verbs as pound, crawl, drag, tap, frown, ooze, strut, gallop, and stagger and such adverbs as powerfully , softly, up, tiny, fast, briskly, jerky, slowly, and evenly. (SM)

This paper presents creative drama activities based on Shakespeare's "Romeo and Juliet" for use in ninth-grade English classrooms. The activities are divided into sections on improvisation, pantomime, image-making and creative drama, reader's theater, drama scenes, interior monologue, and producing plays. Each section of the paper presents instructional objectives and instructional plans; most sections present dramatic scene descriptions designed to be duplicated and passed out to students. (RS)

This manual is designed to provide creative drama ideas and strategies to teachers of elementary school children with deafness. The purpose of creative drama is to provide opportunities for students to create, share, and explore their ideas. Students also learn to work together, in small and large groups, to portray scenes or stories. The manual begins by listing the benefits of creative drama and guidelines for the classroom teacher. Next, the emotional and physical environment needed to promote creative drama is addressed. Ideas for props, for engaging interest and curiosity, and for calming activities are provided. A section on pantomime explains the art form and includes pantomime activities. The next section focuses on improvisation. Activities for improvising settings and situations, expanding the use of improvisation, and improvising fables are provided. Each activity includes an objective, a list of the materials needed, and a description of the procedure. Recommendations on measuring students' progress are also provided. A list of publishing companies for ordering stories in sign, a list of recommended stories and books for creative drama, and addresses and/or websites for organizations or theater arts programs are included. (Contains 13 references.) (CR)

Creative dance improvisation involves both the movement of the body with awareness and the awakening of the creative spirit. The basic elements of creative dance improvisation--force, time, and space--are examined with a view toward how this approach to dance can be a means for growth in the general education of anyone throughout their lives. Creative dance improvisation is shown to address students' needs for self-expression as well as the need to learn to creatively work within a group. Examples of how each dance element can be applied to the school curriculum are provided as well as examples of how the elements of dance relate to multiple intelligences. This approach to dance speaks to and develops both the individual and communal sides of human nature; dancers can feel a bond that can last a lifetime. This paper also describes the demonstration dances presented at the China-U.S. Conference on Education and suggests movement explorations for the reader to try in order to understand the concepts more fully. (Author/EMK)

This publication is a compilation of information on "literacy theater," a process that involves the act of presenting a short, worst-case scenario that is followed by the actors staying in character for a dialogue with audience members. The guide defines literacy theater as being constructed to involve the interaction of two to five people, a facilitator, and the audience; it demands cooperation and teamwork. Following an introduction, chapter I offers a history of the full literacy theater process. Chapter II addresses the rationale. Chapter III offers thoughts on facilitation: asking questions to model interaction, listening, directing the audience to unexplored solutions, repeating audience's questions and comments, and complimenting the audience. Chapter IV focuses on the actors--who they are, what the actor needs to know about his/her character, costumes, training, basic acting techniques, and staying in character. Chapter V discusses how to create a good scenario. Chapter VI explains some techniques for performing. Chapter VII provides some training exercises with their purposes. Chapters VIII and IX focus on theater with two special groups---teenagers and in corrections. Chapters X and XI discuss evaluation and funding. Sample scenarios are presented throughout the manual. Appendixes include names and addresses of people who have been involved in literacy theater and 16 references. (YLB)

Developed by classroom teachers during the development phase of Minnesota's Graduation Standards, this performance package is made up of locally designed assignments that, taken together, show whether a student has learned and can apply the knowledge and skills related to "method" acting and improvising. It begins with reference to the particular content standard addressed in the package, the educational level of the package (honors/primary), and a summary statement of the content standard. It then describes the task associated with the student performances: dramatize a folktale with background, props, and masks. It then offers specific statements from the standard regarding what students should know and should do, the products, task description, special notes, and feedback checklists for each task enumerated in the package. (RS)

A discussion of drama as a method for second language instruction looks at rationale, requirements, techniques, and classroom procedures. The first chapter examines the connections between drama and language learning, and proposes that drama can be useful with any teaching style. Issues discussed here include encouragement of pupil talk, support of individual development, student ability level, and the role of drama in Britain's National Curriculum. In the second chapter, popular misconceptions about drama activities in the classroom are examined briefly. Chapter 3 describes specific basic classroom drama activities: memory games; circular conversations; circular stories; a task-relaying game; question-answering games; movement games; word games; circle or chain activities; rhythm exercises; mime; and guessing games. Two case studies in which simulation, improvisation, and role-playing were essential elements are reported in the fourth chapter, and in the final section, practical hints are offered for the teacher using drama activities for the first time. Contains 15 references. (MSE)

This curriculum guide presents a model for instruction in drama and theater education that integrates dramatic art in the elementary curriculum and addresses the developmental needs of all students. Part I outlines curriculum goals related to skills, attitudes, and understanding. These goals are to: (1) create and evaluate drama and theater through artistic collaboration in activities involving sensory awareness, movement, pantomime, story dramatization, role-playing, and improvisation; (2) relate drama elements to key instructional and developmental themes, including critical thinking, problem solving, literacy, and socialization; and (3) relate drama and theater to global and cultural contexts through active and receptive participation. Part II describes teaching activities that are organized around objectives concerning the key elements of drama. These activities provide examples of ways in which teachers can create drama activities for student exploration or for integration into the curriculum. Part III offers lesson plans for early childhood and upper elementary and middle school. Included are lesson plans for drama, literacy, mathematics, science, and social studies. Drama is integrated into each of the lessons. Appended are a glossary of terms, a drama and theater resource guide, and a list of curricular resources. (GLR)

Getting students to react to literature and write more than a good "topic" sentence is a perennial dilemma for teachers. A course at the Bread Loaf School of English, Middlebury College, Vermont, that incorporated improvisation with the writing process used role playing to solve real life situations, physical and verbal warm-up exercises to prepare for writing topics and assignments, and, (in nonverbal improvised scenes) setting, character and storyline were shown to the class or audience through physical interaction and movement. Through improvisation, students were lured into the process of learning and assimilated knowledge of people and social situations through actual experiences. A teacher who participated in that course used improvisation in his English class of 34 ninth graders. After an orientation period, they used the strategy once or twice a week before writing or writing group sessions. An offshoot of this activity was a radio play. Each of five writing groups used the plot of Edgar Allan Poe's "Cask of Amontillado" and developed different scripts for radio complete with sound effects. Later, after workshops were conducted on improvisation and writing to enthusiastic response, the school administration accepted a course proposal for the next year called "Improvisation, Acting, and Writing," which grew to four sections serving over 90 students and which still continues. The use of improvisation in the classroom demands that students learn to communicate clearly. Improvisation contributes to the communication skills students desperately need and adds meaning to literature. (NKA)

Describes a method for teaching and rehearsing collaboration, which involves the application of improvisation skills to conversation. Concludes that the goal of this method is to motivate students to recognize and suspend commonplace assumptions that privilege intuition and impulse. (PM)

Describes a unit used with sixth-grade students focusing on jazz and blues that taught improvisation. Discusses the different levels of improvisation that were used, providing the beginning activities, and describes activities that focus on the third level of improvisation called product-oriented improvisation. (CMK)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Discusses how medieval music can be utilized in the choral and general music classroom to teach middle school students and to address the National Standards for Music Education. Provides background information on medieval music, ideas for lessons, and a glossary of key terms. (CMK)

Describes a strategy for teaching blues improvisation to beginning and intermediate level improvisation students. Focuses on three aspects of the method: (1) phrase structure; (2) dramatic shape; and (3) thematic development. Includes a bibliography of resources and a list of terminology. (CMK)

Discusses how to increase student skills in ear training. Offers suggestions used with fifth through eighth grade band students, such as sing with your bands or teach the band solfege syllables. Includes a list of songs, research resources, and tonal patterns. (CMK)

Discusses how to incorporate improvisation into a band program. Describes five-minute exercises used with seventh-grade band students. Offers ideas for providing performance opportunities that incorporate improvisation. Includes a list of the different levels of improvisation and a questionnaire for students about improvisation. (CMK)

Popular music is often characterized as a short work with a prominent melody and simple chordal accompaniment. Yet, teaching with pop music in the era of standards-based curriculum can present challenges. These standards offer teachers a blueprint for teaching music performance, composition, improvisation, and the relationship of music to other arts, disciplines, and culture. This collection of six lesson plans aims for students to be able to meet the nine National Standards for Music Education through studying popular music. Each lesson cites objectives, lists materials needed, and gives step-by-step procedures for classroom implementation. The lessons focus on the following popular music elements: (1) "Melody"; (2) "Harmony"; (3) "Arranging and Improvising"; (4) "Rhythm"; (5)"Interdisciplinary Connections"; and (6) "Musical Roots." Attached is a list of the nine standards. (BT)

Suggests that improvisation is an excellent catalyst for getting a scene jump-started or back on track. Presents two specific examples of how the author used improv in his own scene study classes. Notes the fundamental task teachers must master prior to improv work is how to isolate the essential dynamics of the scene. (RS)

Presents a collaborative composition project for use in junior high bands that incorporates three standards from the National Standards for Music Education: (1) Standard 3: improvising melodies, variations, and accompaniments; (2) Standard 4: composing and arranging music; and (3) Standard 9: understanding music in relation to history and culture. (CMK)

Describes two improvisation exercises that use organizational contexts to reinforce management theory and build management skills. Outlines rules for improv, including active listening and "yes, and" (never denying information). (SK)

Focuses on the use of technology to assist students in composing and improvising music. Discusses the benefits of composing using computer software; addresses types of tools that can be used; explores different teaching strategies for teachers to utilize; and describes the organization of the music classroom. (CMK)

Addresses how the National Standards can be incorporated into band rehearsals using the music piece, "Balladair" (Frank Erickson), as an example when teaching techniques and musical concepts. Provides ideas such as using material from "Balladair" to create warm-ups or relating the piece to other arts. (CMK)

Contends that teaching contemporary music pieces that are largely improvised provides an ideal learning opportunity for students. Focuses on the piece "Improvisations I," stating that the version presented is intended for college students. Describes the performance of each section of the piece and provides suggestions for rehearsal. (CMK)