Class Plays
Drama, in its many forms, is an integral part of teaching and learning in a Waldorf setting and can be used throughout the curriculum to inspire and engage students to deepen and enliven their understanding of the curriculum at all class levels. The class play however, is a powerful opportunity for a teacher to facilitate social cohesion within the class group. Through this theatrical experience, the students learn that each part, whether small or large and each component, speech, music, movement or staging, is essential and contributes to the whole. This unites the group artistically and socially in the short term and builds healthy life-long social understanding. Taking part in ‘The Class Play’ is a true highlight of the Waldorf school journey for many students, and it can be a rich creative and social process for a class.
The purpose of the class play in classes 1-7, is the development and well-being of the unique class constellation. It is the experience of the journey that is most important, not the final performance. Through the experience of creating a unified, artistic performance, the ākonga can be guided to grow and understand themselves and others in a wider social setting. The class play provides individual students with a curative opportunity. The teacher can consider which role is best for each child’s temperamental or psycho-social needs instead of who is most skilled or who hasn’t had a leading role. For example, a shy child could be given a sensitive, compassionate part and a boisterous, choleric student could be given a loud, aggressive part so that each more fully experiences their behaviour tendencies or two students who are having difficulties in the social realm could engage in a similar dilemma in the play.
“Anyone who has led a class of children through the experiences of performing class plays knows without a shadow of doubt that, out of all the benefits that will result, the most wonderful of them will be the change that comes about in the children themselves. Through participating in a play, something new can emerge in their development. It is as if a new developmental step, which is waiting for the right moment to become really active, is suddenly engaged and blossoms forth, simply through the opportunity provided by the class play. This is because acting is a highly imaginative art that is anchored in the qualities of human growth and development. In its essentials, acting is an exploration of the many-sided human condition and empathy is the means for this personal transformation.” (Let’s do a play Volume 1, Colin Price)
From the very first day of the school year, a teacher can begin musing on the children’s individual needs in relation to the year’s curriculum content, consider what the class and individual children may need to work on temperamentally or as a group, and/or which stories have touched the class deeply. Often a teacher finds a play already written and adapts it to meet the needs of their akomanga. Some kaiako find that they are inspired to write an original play for his/her class. A class play, no matter the script, is never the same twice. The chosen play should hold real moral and aesthetic significance for the ākonga. Through the play we aim to educate the individual and collective feeling life of the children. As the students will spend a significant amount of time committing lines to memory and these will resonate in them for a long time the language of the play should be as melodious and as close to poetry as possible.
While it is encouraged and seen as an integral part of the lower school journey, there may be reasons why a teacher might not choose to do a play every year or choose something that offers many of the same experiences, but is not a Waldorf play in the traditional sense. For example: a teacher may decide to do a Morning Circle sharing, or a class recital, incorporating music, dance, poetry and sharing of other learning, a puppet show, or shadow puppet play.
A successful class play builds on the students’ innate sense of play and fantasy and deepens the students’ experience of the curriculum of the year, thus building on the children’s understanding of what they have already covered. It actively involves the ākonga in the learning by encompassing a number of learning styles and multiple intelligences.
Class
1
Statement of Intent
In Class 1, the overall aim of the class play experience is to unite the class constellation through story, drama, poetry, song, and dance. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 1 fairytale/Purākau curriculum.
The most appropriate format for the class 1 play is in in a circle, spoken in whole class chorus.
Aligning with the Class 1 impulse of coming together as a whole, the Class 1 play offers the opportunity to further enhance this pedagogical aim. It can lay the foundations of theatrical experience, as well as many layers of the broader curriculum such as speaking, listening, moving well, being conscious of self and others, and working together as a group towards a common goal.
While drama is experienced throughout the curriculum, the class play allows for the teacher to select an appropriate fairy tale or purākau which is naturally seized upon by the seven-year-old and acted out. This soul experience can be guided and built on by the teacher. The teacher may show how characters move in archetypal ways, with large, sweeping gestures and the children will have the opportunity to act out all the characters together.
The play is generally written in rhyming verse and the class learns the whole play, through recitation, led by the teacher during morning circle time. Everyone learns all the parts, with each child acting out all of the parts as spoken by the chorus. The tamariki are generally too young to hold individual parts or to stand facing an audience alone. Either individual students or small groups step forward to enact various parts, then step back to join the class, while everyone speaks in chorus. This provides the Kaiako with the opportunity to work therapeutically with individual children, giving them the experience of something that is needed for their individual growth and development.
The teacher can deepen the artistic experience for the children by weaving songs, verses, waiata, dances, recorder pieces, and other movements that the class has learnt throughout the year into the performance.
If the class is ready, they can have the opportunity to present their play for their whānau and possibly the kindergarten classes. This can be done in the classroom, with simple costumes where the emphasis remains on the circle and choral speech, with all children taking part.
Possible lesson content:
-Themes: Fairy tales, Purākau, nature stories
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life.
-Group memorisation and recitation of the whole play
-Working collectively on timing, intonation and voice projection
-Working on movement and gesture
-Audience awareness
-Working as a united group
-Pentatonic singing and music
-Simple costuming.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
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-a living experience of the Class 1 story curriculum.
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-how to convey meaning and simple characterisation through voice, movement, simple costumes and gesture.
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-how to harmoniously recite verse, sing and move in unison with others.
-
-how to come together to create a unified, complete performance experience.
Within the expected range of Class 1, the children will be able to:
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Speak in unison
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Sing in unison
-
Play songs on the recorder if ready.
-
convey meaning through gesture.
-
Move in simple choreographed forms as part of a group.
-
Memorise and recite rhyming verses in whole class chorus.
-
Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Class
2
Statement of Intent
In Class 2, the overall aim of the class play experience is deepen the understanding for the students of what it means to be part of a united group through story, drama, poetry, song, and dance. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 2 fables, stories of saints or Celtic legends curriculum.
The most appropriate format for the Class 2 play is in a circle or semi-circle, spoken in whole class chorus, with the possibility of a few small group parts.
Subject overview:
The Class 2 play offers the opportunity for ākonga and Kaiako to further develop the unity of the class group. The play supports the intentions of the broader curriculum such as speaking, listening, moving well, being conscious of self and others, and working together as a group towards a common goal. Building on the aims of the class play in Class 1, the students continue to develop skills in self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture.
The Class 2 play is generally written in full rhyme and mostly spoken in chorus. Ideally all ākonga learn all the parts as a chorus, and later some small parts can be taken on by trios, duos, or individuals. The play can be practiced and performed in a circle or semi-circle. The teacher can choose to assign roles pedagogically and curatively to support individual and group social cohesion.
If the class is ready, they can have the opportunity to present their play for their whānau and some other classes. This can be done in the classroom, with simple costumes where the emphasis remains on the circle/semi-circle and choral speech, with all children taking part.
The teacher can deepen the artistic experience for the children by weaving songs, verses, waiata, dances, recorder pieces, and other movements that the class has learnt throughout the year into the play.
Possible lesson content:
-Themes: Fables, folktales, legends and stories of the saints.
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life.
-Group memorisation and recitation of the whole play, possibly with some individuation of parts.
-Working collectively on timing, intonation and voice projection
-Working on movement and gesture
-Audience awareness
-Working as part of a united group
-Singing and music
-Simple costuming.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
-
a living experience of the Class 2 story curriculum.
-
Strengthening their confidence in their artistic expression
-
experiencing themselves as an integral part of the group as a whole
-
how to convey meaning and characterisation through voice, movement, simple costumes and gesture.
-
how to harmoniously recite verse, sing and move in unison with others and as part of smaller groups.
-
how to come together to create a unified, complete performance experience.
Within the expected range of Class 2, the children will be able to:
-
-Speak in unison, and as small groups
-
-Sing in unison
-
-Play songs on the recorder.
-
-convey meaning and character through gesture.
-
-Move in simple choreographed forms as part of a group.
-
-Memorise and recite rhyming verses in whole class chorus.
-
-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Class
3
Statement of Intent
In Class 3, the overall aim of the class play experience is deepen the understanding for the students of what it means to be part of a united group through story, drama, poetry, song, and dance. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 3 Old Testament curriculum.
The most appropriate format for the Class 3 play is in a semi-circle, spoken in some whole class chorus, smaller group parts, and some individual parts.
Subject overview:
The Class 3 play further develops the drama skills begun in classes 1 and 2, offering the opportunity to enhance the coming together of the class as a united group. The Class 3 play can continue to lay the foundations of theatrical experience, as well as many layers of the broader curriculum, such as speaking, listening, moving well, being conscious of self and others, and working together as a group towards a common goal.
In Class 3, as in the younger classes, the play can be an extension of the morning circle, where the class learns the whole play, in verse form, from the teacher, interweaving songs, poems, movement or dances that have learnt during the year. The teacher decides on the blocking, movements and gestures, supporting all class members to learn all the parts. Most of the tamariki are now ready to attempt solo speaking parts; however, the choral element of the play in class 3 is still dominant. The play can be staged in a semi-circle, with all students present on stage for the duration of the play. The kaiako can choose to assign roles pedagogically and curatively to support the social cohesiveness of individuals and the class as a whole. The kaiako may decide to give scripts to some or all of the children once the play has been partially learnt to support line memorisation and reading skills.
A well-chosen and well-orchestrated play can provide the opportunity for a class to work on a wide range of aims. Through an engaging and inspiring theatrical experience, the class can become more unified and find ways of working together harmoniously. Individuals can be support to develop the skills of self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture, and deepening understanding (at a subconscious level) of the Class 3 curriculum.
.
Possible lesson content:
-Themes: The Old testament, creation myths.
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life, and brought on stage
-Choral speaking
-group music and singing in rounds
-group dance, eurythmy and movement
-stage presence.
-Clear, expressive articulation, as a large group, smaller groups and individuals.
-line memorisation, and script reading.
-Simple costuming and staging.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
-
a deepening their understanding of how the arts are important, in their diversity, to all cultures.
-
a living experience of the Class 3 story curriculum.
-
Confidence in their artistic expression in performance
-
experiencing themselves as an integral part of the group as a whole, and their individual contribution to the completed play.
-
how to convey meaning and characterisation through voice, movement, simple costumes and gesture.
-
how to harmoniously recite verse, sing and move in unison with others and as part of smaller groups.
-
how to come together to create a unified, complete performance experience.
Within the expected range of Class 3, the children will be able to:
-
-learn lines by heart, individually and as part of a group.
-
-perform for an audience collaboratively with others with increasing independence.
-
-practice cooperating, collaborating, listening, taking turns
-
-Speak in unison, and as small groups
-
-Sing in unison and in a round.
-
-Play songs on the recorder, possibly in a round.
-
-convey meaning and character through gesture.
-
-Move in simple choreographed forms and dances as part of a large or small group.
-
-Memorise and recite rhyming verses in whole class chorus, small groups and as individuals
-
-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Class
4
Statement of Intent
In Class 4, the overall aim of the class play experience is support the students to begin to develop the understanding of how all the individual parts in a play, big and small, are essential to the whole play. This class play experience can now introduce the class 4 students to what it means to be an individual that is one part of a united group through story, drama, poetry, song, and dance. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 4 story curriculum, for example the Norse myths, Stories of Mauī, Local Myths or legends.
The most appropriate format for the Class 4 play is a simple script, with a strong narrative, and many smaller parts, with some small group and whole class chorus parts.
Subject overview:
In Class 4, the class play experience builds on that of previous years, but now the students are ready to take on more individualised parts. This will extend their skills of line memorisation, character development and motivation, working individually as part of a whole, and building class and self-responsibility. Every student is encouraged to work as part of a supportive group.
The Class 4 play script will provide opportunities for the students to learn more individual parts, although teachers should avoid having a few larger parts while preventing others from making a significant contribution. The social and artistic form of choral speech will likely still be one of the dramatic features. Songs, poems, movement, music or dances that have been learnt during the year can be interwoven with the script to deepen the artistic experience for the students. The purpose of the play remains an experience of working together towards a common goal rather than focussing on the final performance. Through this opportunity the ākonga can be encouraged to foster an increased sense of personal identity and responsibility and will develop their skills in self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture.
In Class 4 it is appropriate to provide the students with scripts to support line learning and reading skills. It is essential that the students are familiar with the story, and hear the play eloquently read to them before they receive the scripts. This ensures that their first experience of the play is a living one, not stilted by children trying to make meaning from a script.
Possible lesson content:
-Theme: Norse myths, stories of Mauī, local myths or legends.
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life, and brought on stage
-Kapa haka elements.
-Choral speaking, whole class and small group.
-group music and singing, in parts and rounds
-group dance, eurythmy and movement.
-individual/small groups practicing and refining how to act out specific animal/human characteristics.
-stage presence, acting gestures, expressive choral and individual speech, voice projection, comedic timing are extended and developed further.
-Costumes can become a little more detailed as students become more involved in creating them.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
-
-a deepening their understanding of how the arts are important, in their diversity, to all cultures.
-
-a living experience of the Class 4 story curriculum.
-
- an opportunity to experience increasing self-confidence, courage, and adaptability.
-
-confidence in their musicality
-
-experiencing themselves as an integral part of the group as a whole, and their individual contribution to the performance experience.
-
-how to convey meaning and characterisation through voice, movement, costumes and gesture.
-
-how to harmoniously recite verse, dialogue, sing and move in unison with others and as part of smaller groups.
-
-an experience of creating a unified, multifaceted performance.
Within the expected range of Class 4, the children will be able to:
-
-In a group, hold a part when singing a part song to support the performance.
-
-Play songs on the recorder. Possibly in parts.
-
-Speak and act a given role, individually and in chorus.
-
-Move accurately and harmoniously as part of a group.
-
-Convey character and meaning with vocal expression and gesture
-
-learn lines by heart, individually and as part of a group.
-
-perform for an audience collaboratively with others with increasing independence.
-
-practice cooperating, collaborating, listening, taking turns
-
-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Class
5
In Class 5, the overall aim of the class play experience is support the students to further to develop the understanding of how all the individual parts in a play, big and small, are essential to the whole play. This class play experience can now consolidate for the class 5 students what it means to be an individual that is one part of a united group through story, drama, poetry, song, and dance. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 5 story or history curriculum for example: ancient myths from India, Persia, Mesopotamia, Egypt, Greece, or the history of Aotearoa New Zealand.
The most appropriate format for the Class 5 play is a script, with a strong narrative, and many smaller parts, with some small group and whole class chorus parts.
Subject overview:
Through participating in the process of performing a play, students will build social cohesion, teamwork, and deepen their experience and understanding of the Class 5 curriculum. The Class 5 play can provide opportunities for the students to learn individual parts and to take personal responsibility for their own role. They can more confidently perform extended solo parts, although teachers should avoid having a few larger parts while preventing others making significant contributions. Through these roles the ākonga can be encouraged to foster an increased sense of personal identity and responsibility.
From this experience, the students will continue to develop skills in self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture.
Students will enjoy more clearly defined solo parts. The social and artistic form of choral speech can still be used as a dramatic feature. Songs, poems, music, movement or dances that have learnt during the year can be interwoven with the script to deepen the artistic experience for the students. The purpose of the play remains an experience of working together towards a common goal rather than focussing on the final performance.
In Class 5 it is appropriate to provide the students with scripts to support line memorisation and reading skills. It is essential that the students are familiar with the story, and hear the play eloquently read to them before they receive the scripts. This ensures that their first experience of the play is a living one, not stilted by children trying to make meaning from a script.
Possible lesson content:
-Themes: ancient myths from India, Persia, Mesopotamia, Egypt, Greece, or the history of Aotearoa New Zealand.
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life, and brought on stage
-Kapa haka elements.
-Choral speaking, whole class and small group.
-group music and singing, in parts.
-group dance, eurythmy and movement.
-individual/small groups practicing and refining how to act out specific animal/human characteristics.
-role play, skits, drama games to support development of acting skills.
-stage presence, acting gestures, expressive choral and individual speech, voice projection, comedic timing are extended and developed further.
-Costumes can become more detailed as students become more involved in creating them.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
- a deepening their appreciation of the diversity of artistic expression across the ages and civilizations.
-a living experience of the Class 5 history/story curriculum.
- an opportunity to experience increasing self-confidence, courage, and adaptability.
-confidence in their musicality, both individually and as part of a group.
-experiencing themselves as an integral part of the group as a whole, and their individual contribution to the performance experience.
-how to convey meaning and characterisation through voice, movement, costumes and gesture.
-how to harmoniously recite verse, perform monologues and dialogues with expression.
-How to sing and move in unison with others and as part of smaller groups.
-an experience of creating a unified, multifaceted performance.
Within the expected range of Class 5, the children will be able to:
-
-bring text to life, using movement, gesture and speech, with attention to detail.
-
-contribute to the blocking and dramatization of scenes.
-
-Move accurately and harmoniously as part of a group
-
-In a group, hold a part when singing a part song to support the performance.
-
-Play songs on the recorder, or other instruments. Possibly in parts.
-
-learn lines by heart, individually and as part of a group.
-
-perform for an audience collaboratively with others with increasing independence.
-
-practice cooperating, collaborating, listening, taking turns
-
-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Class
6
In Class 6, the overall aim of the class play experience is support the students to know how all the individual parts in a play, big and small, are essential to the whole play. This class play experience offers the opportunity for each student to grow their ability to covey a character on stage through voice, gesture, expression and movement and how their part contributes to the whole story, drama, poetry, song, and dance needed for a successful play. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 6 history curriculum such as, Ancient Rome, the Middle Ages, Japan or tales from Australia and the Pacific.
The most appropriate format for the Class 6 play is a more complex script, with a strong narrative, and many smaller parts, possibly with some small group and whole class chorus parts.
Subject overview:
The balance of academic learning and the arts are vital in the overall development of healthy, well-balanced teenagers. Music, movement and speech are still a daily part of Class 6 life, and these artistic elements can be woven into the play to enrich the final performance.
Through participating in the process of performing a play, students will build social cohesion, teamwork, and deepen their experience and understanding of the Class 6 curriculum. Building on the theatre skill foundations of previous years, students can be encouraged to collaboratively explore character, staging, plot and other performance aspects with increasing independence and ownership.
From this experience, the students will continue to develop skills in self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture.
Students will enjoy clearly defined solo parts, and the associated character development. The social and artistic form of choral speech can still be used as a dramatic feature. The purpose of the play remains an experience of working together towards a common goal rather than focussing on the final performance.
In Class 6 it is essential that the students are familiar with the story, and hear the play eloquently read to them before they receive the scripts. This ensures that their first experience of the play is a living one, not stilted by children trying to make meaning from a script.
Possible lesson content:
-Themes: Ancient Rome, Middle Ages, Australia and the Pacific.
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life, and brought on stage
-Kapa haka elements.
-Choral speaking, whole class and small group.
-group music and singing, in parts.
-group dance, eurythmy and movement.
-individual/small groups practicing and refining how to effectively convey specific animal/human characteristics.
-role play, skits, drama games to support development of acting skills.
-stage presence, acting gestures, expressive choral and individual speech, voice projection, comedic timing are extended and developed further.
-Costumes can become more detailed as students become more involved in creating them.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
-
-a deepening their appreciation of the diversity of artistic expression across the ages and civilizations.
-
-a living experience of the Class 6 history curriculum.
-
- an opportunity to experience increasing self-confidence, courage, and adaptability.
-
-confidence in their musicality, both individually and as part of a group.
-
-experiencing themselves as an integral part of the group as a whole, and their individual contribution to the overall performance experience.
-
-how to convincingly convey meaning and characterisation through voice, movement, costumes and gesture.
-
-how to eloquently recite verse, perform monologues and dialogues with expression and attention to detail.
-
-How to sing and move in unison with others and as part of smaller groups.
-
-an experience of creating a unified, multifaceted performance.
Within the expected range of Class 6 the children will be able to:
-
-bring text to life, using movement, gesture and speech, with attention to detail and audience awareness.
-
-contribute to the blocking and dramatization of scenes.
-
-In a group, hold a part when singing song to support the performance.
-
-Play songs on the recorder, or other instruments.
-
-learn lines by heart, individually and as part of a group.
-
-perform for an audience collaboratively with others with increasing independence and ownership.
-
-practice cooperating, collaborating, listening, taking turns, giving constructive feedback.
-
-Move accurately and harmoniously as part of a group
-
-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
In Class 6, the overall aim of the class play experience is support the students to know how all the individual parts in a play, big and small, are essential to the whole play. This class play experience offers the opportunity for each student to grow their ability to covey a character on stage through voice, gesture, expression and movement and how their part contributes to the whole story, drama, poetry, song, and dance needed for a successful play. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 6 history curriculum such as, Ancient Rome, the Middle Ages, Japan or tales from Australia and the Pacific.
The most appropriate format for the Class 6 play is a more complex script, with a strong narrative, and many smaller parts, possibly with some small group and whole class chorus parts.
Suggestions for a class 6 play preparation timeline.
Performances: 2-4 performances depending on the needs of the class and whānau. 1-2 could be evening performances.
-Share a synopsis or story of the play with the class orally.
-The teacher speaks the whole play for the class. If the students hear it read eloquently for the first time, rather than read it, their first impression is of a living story. It also helps them avoid strange inflections, mispronunciation etc. This could be done over multiple sessions, even one scene at a time, followed by discussion and/or games.
-The whole class reads the play one scene at a time with students all reading the next speech. No parts are assigned at this stage. It is imperative that the teacher navigates a ‘challenge by choice’ option so that all readers feel supported. Emphasis is put into speaking loudly, clearly and slowly but with no acting out yet.
-Casting is the next step. This can occur in many different ways. For example, children can contribute suggestions of roles for their classmates. Children can write a list of their preferred characters (3-5 roles) that can inform what roles the teacher assigns. The teacher should consider each student’s temperaments and how each might benefit from a role. Also consider social dynamics and any other needs in the class when casting. Large parts can be split between several students in order to create a more even experience.
-Students can learn lines both at school and at home. This can also be done using a buddy system. The teacher should consider the learning strengths of their akonga to best help them learn their lines.
-Stage blocking - set positions and movements around the stage, stage entry and exit. Set a schedule of which scenes will be practiced each week so that students will know to focus on learning those lines. Throughout rehearsals work on enunciation, inflection, intent of language, gestures, etc.
-Create or source sets, props and costumes. Work on these can be done alongside rehearsals during school hours.
-Lighting can be an opportunity for those who wish to build those skills. This can be brought in once blocking and lines have been learnt.
-The last 1-2 days are dress rehearsals. Ensure you have practised entering/exiting the stage, bowing etc. This is part of the performance.
Enjoy the show!
Class
7
In Class 7, the overall aim of the class play experience is give the students the opportunity to take personal responsibility for how all the individual parts in a play, big and small, are essential to the whole play, and to work together to craft a united performance. This class play experience offers the opportunity for each student to refine their ability to convincingly covey a character on stage through voice, gesture, expression and movement and how their part contributes to the whole story, drama, poetry, music, and movement needed for a successful, multi-faceted play. A well-chosen and orchestrated play will inspire and deeply engaged the class in a lived experience of the Class 7 history curriculum, such as Age of the Explorers, Renaissance, or Shakespeare. Other narrative options can come from novels popular and familiar to the class.
The most appropriate format for the Class 7 play is a more complex script, with a strong narrative, and many smaller parts, possibly with some small group and whole class chorus parts.
Subject overview:
Throughout the Lower School years the children will have built up a body of dramatic skills over the years and these will be enhanced by their musical and dance abilities. These can be extended in class 7 with a significant drama experience possibly as the culmination of their lower school journey.
The teacher will choose, prepare or adapt the play carefully so that it becomes a suitable vehicle for the children. Emphasis is placed on the children's abilities to work together, support each other in performing their parts and practice the art of telling a good story rather than technical enhancements, stage make-up and high profile 'stars'.
The Class 7 play, provides the group with the opportunity to truly come together as one to put into practice the social cohesion, teamwork, and theatre skill foundations of the previous 6 years. Students can be encouraged to collaboratively explore character, staging, plot and all other performance aspects with increasing independence and ownership, supporting them to explore personal identity and nurturing their self esteem.
From this experience, the students will continue to develop skills in self-management, cooperation, self-confidence, listening, taking turns, articulating clearly, exploring character, movement in space, expression and gesture.
The class as a whole will learn how to care for and be responsible for their costumes, how to set up the stage and how to change scenes. They will know how to enter and exit the stage appropriately and how to stay in character throughout the presentation. The actors will know how to prompt each other and will have had practice at recovering from miscued or forgotten lines.
Students will enjoy clearly defined solo parts, and the associated character development. The social and artistic form of choral speech can still be used as a dramatic feature. The purpose of the play remains an experience of working together towards a common goal rather than focussing on the final performance.
In Class 7 it is essential that the students are familiar with the story, and hear the play eloquently read to them before they receive the scripts. This ensures that their first experience of the play is a living one, not stilted by children trying to make meaning from a script.
Possible lesson content:
-Themes: Age of Discovery, Renaissance, Shakespeare
-Children to gain a deeper understanding of the lessons covered in class, when they are brought to life, and brought on stage
-Kapa haka elements.
-Choral speaking, whole class and small group.
-group music and singing, in parts.
-group dance, eurythmy and movement.
-individual/small groups practicing and refining how to effectively convey specific animal/human characteristics.
-role play, skits, drama games to support development of acting skills.
-stage presence, acting gestures, expressive choral and individual speech, voice projection, comedic timing are extended and developed further.
-Costumes can become more detailed as students become more involved in creating them.
Waldorf Achievement Objectives
Soul and Emotional Development: The children will be led to an experience of
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-a deepening understanding of the importance of art to humanity through the ages and across cultures
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-a living experience of the Class 7 history curriculum.
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-an authentic sense of artistic competence and achievement
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- an opportunity to experience increasing self-confidence, courage, and adaptability.
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-confidence in their musicality, both individually and as part of a group.
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-experiencing themselves as an integral part of the group as a whole, and their individual contribution to the overall performance experience.
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-how to convincingly convey meaning and characterisation through voice, movement, costumes and gesture.
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-how to eloquently recite verse, perform monologues and dialogues with expression and attention to detail.
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-How to move rhythmically in unison with others and as part of smaller groups.
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-an experience of creating a unified, authentic, multifaceted performance.
Within the expected range of Class 7, the children will be able to:
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-bring text to life, using movement, gesture and speech, with attention to detail and audience awareness.
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-collaborate to plan the blocking and dramatization of scenes.
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-In a group, hold a part when singing song to support the performance.
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-Play songs on the recorder, or other instruments.
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-learn lines by heart, individually and as part of a group.
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-perform for an audience collaboratively with others with independence and ownership.
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-practice cooperating, collaborating, listening, taking turns, giving constructive feedback.
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-Move accurately and harmoniously as part of a group.
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-Help plan and design costumes, set, posters and lighting.
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-Progress within the SEANZ Learning Steps and Signposts Framework (Literacy).
Suggestions for a class 7 play preparation timeline.
Performances: 2-4 performances depending on the needs of the class and whānau. 1-2 could be evening performances.
-Share a synopsis or story of the play with the class orally.
-The teacher must speak the whole play for the class. The children must not see or read the play, they must hear it for the first time. This helps them avoid strange inflections, mispronunciation etc. This could be done over multiple sessions, even one scene at a time, followed by discussion and/or games.
-The whole class reads the play one scene at a time with students all reading the next speech. Don’t assign parts at this stage. It is imperative that the teacher navigates a ‘challenge by choice’ option so that all readers feel supported. Emphasis is put into speaking loudly, clearly and slowly but with no drama yet.
-Casting is the next step. This can occur in many different ways. For example, children can contribute suggestions of roles for their classmates. Children can write a list of their preferred characters (3-5 roles) that can inform what roles the teacher assigns. The teacher should consider each student’s temperaments and how each might benefit from a role. Also consider social dynamics and any other needs in the class when casting. Large parts can be split between several students in order to create a more even experience.
-Students can learn lines both at school and at home. This can also be done using a buddy system. The teacher should consider the learning strengths of their ākonga to best help them learn their lines.
-Stage blocking - set positions and movements around the stage, stage entry and exit. Set a schedule of which scenes will be practiced each week so that students will know to focus on learning those lines. Throughout rehearsals work on enunciation, inflection, intent of language, gestures, etc.
-Create or source sets, props and costumes. Work on these can be done alongside rehearsals during school hours.
-Lighting can be an opportunity for those who wish to build those skills. This can be brought in once blocking and lines have been learnt.
-The last 1-2 days are dress rehearsals. Ensure you have practised entering/exiting the stage, bowing etc. This is part of the performance.
-Enjoy the show!