Last week I discussed the advantages of including diverse learners in a Theatre program. Once I have students who are interested in Theatre, the real challenge is keeping them engaged. This is especially true for Students with Disabilities and English Language Learners. Most students enter with preconceived notions about what Theatre is, and what the experience is going to be. They may have been attracted to the bright lights and grand ovation of the final product, but they are usually completely unaware of the process. They just think it looks like fun, and it should be. What they don't realize is how much time and work is involved. Their idea of "Drama Club" from past experience might be different from my particular model. Most students are able to follow through to the end; some cannot. When dealing with diverse learning populations I have to keep in mind that everyone's time is valuable.
When dealing with students who have learning, physical, or behavioral challenges, or students who are acquiring English as a second language, I'm also working with other aspects of that student. They still have the same feelings, personalities, ambitions, and traits as their peers. Some want to be leads; some want hide in the ensemble. Some are bold, confident, and have no problem interacting with the group. Others are inhibited, uncomfortable, and feel alienated from the general population. As the teacher-director, every student expects me to recognize and satisfy his or her individual needs. It's my responsibility, and if their needs are not met, it's my fault. (Gotta love Middle School.)
It goes without saying that sitting around watching your peers work while you wait to be acknowledged isn't a meaningful experience. While it is beneficial for performers to also be audience members, it's essential that they also perform as much as possible, and to their fullest potential. However, there are times when we all become more directors than teachers. We may allow everyone to join, but we may not utilize every student to the greatest extent. You look around and you notice that certain students do a lot of sitting. English Language Learners and Students with Disabilities often fall into that trap. They sit on the bench for most of the game, only to be thrown in when and where it least matters. If they last the entire season, they never develop further than where they started. In an educational environment, a child's opportunities for expression and capacity to contribute should not be restricted based on factors that are totally beyond his or her control.
I begin the year, and each session, with everyone equal footing. We start in a circle so there is no back or front, no first and last. No one hides, but no one is the center of attention. Most of our warm-up activities are done in this formation. It alleviates any tension or anxiety that students may experience. I begin by tapping into the most fundamental need of all human beings: to communicate. We learn to communicate out of necessity to express what we need or how we feel. Non-verbal communication is the most innate of all human interactions. It is the method of communication we've used the longest. We use it constantly, even when we're not cognizant of the fact that we're doing so. Yet if we draw attention to it, for many people, it becomes challenging. Through a variety of physical activities that include tableau, pantomime, physical improvisation, and role play, all students are able to participate and contribute. Success in these activities is determined by their imaginations, not classifications, so it's attainable for everyone. Many of these activities also help English Language Learners develop
their English skills. By attaching language to an experience where they convey a mood, a feeling, an idea, or complete an action, they acquire vocabulary organically.
Many of my students struggle with literacy, not just the ones who are classified. I know that eventually we are going to have to work with a script in ways that are even more cognitively demanding than their English classes. I have to demystify the process learning and delivering lines for those who are new to the program. I use short basic scenes with no defined context or circumstances (often called A/B Scenes). They are short and completely open to interpretation, from characters, to setting, to conflict. The only thing that's predetermined is the dialogue. I introduce these scenes before scene improvisation because students have a tendency to focus on conversation. Those who have a hard time thinking of what to say tend to decide that they are not good at improvisation. Others who tend to be more verbose can forget that there are other aspects to the scene work that need to be fully developed. Because the dialogues are manageable and accessible, by simply rehearsing with their partners, most students have their lines memorized by the time they are ready to share (not perform). English Language Learners get a sense of pride and satisfaction from being able to learn and perform text written English, however basic. As we move forward, the dialogues become more challenging, the scenes become more defined, but they are never out of reach.
From there we move to scene improvisation. Now that they know how to develop the given circumstances of a scene, they are more aware of the importance they play in the development of a scene. The dialogue becomes free and less cerebral. They learn to communicate with each other onstage in a natural, easy manner. Whether I give them a scenario, parameters, or they develop their scenes completely on their own, they are able to unlock their creativity because they were prepared by the work we did earlier.
Ultimately, we have a show to produce. Once I've selected a show, and announce it to the students, we do a table reading of the script so that all students know the story. There are a few students who may read it on their own, but most won't, and some may not be able to. This way, everyone knows the story and has a sense of the characters. I don't encourage students to watch other productions or movies of the show because I want their approach to the characters to be fresh and organic. Another actor's or director's vision or interpretation might conflict with mine. Students sign up to audition for characters of their choice. They can select up to two characters for which to audition. I may also ask them to audition for one more character. The audition encompasses all the things I've trained them to do so far: non-verbal activities, short scenes, and improvisations. (If I'm working on a musical, I include singing and dance auditions.) I can see whether or not a student has a sense of the character and how their interpretation of the character works within my overall vision. I also utilize my knowledge of students to determine how hard I believe they are willing and able to work in order to get from where they are to where I want them to be. I don't utilize cold readings because they don't give me enough information to be beneficial. Some of my best performers initially struggled with reading fluency. I don't want the audition process to be a deterrence for those who may not be comfortable or confident readers, but want to play a particular role. I'm not accessing reading comprehension and fluency. I'm accessing the capacity to understand and interpret a character, the ability to be authentic in imaginary conditions, and the propensity to accept and apply direction.
English Language Learners and Students with Disabilities are not only cast, but often play principal roles in my productions. They are also in the ensemble and chorus. I provide whatever support is necessary to make them feel successful in the roles they play. I run lines with students during lunch periods. I help them pronounce or define unfamiliar words. I may help them unpack idioms and figurative language. I clarify any comprehension issues or misunderstandings they may have. I encourage my more experienced performers to work with less experienced performers when I'm working on a scene they are not it and outside of rehearsal. Many of my struggling readers are among the first memorize the lines because they want to get that part of the process out of the way as soon as possible. Those in the ensemble are held to an equal, though different standard. I emphasize that an ensemble member's role is as large or as small as the performer's commitment. Some spend more time onstage than leads, and some have even received greater applause. The ensemble has as great a responsibility in telling the story as the principals, and often get to be more creative. So I give just as much attention to the ensemble as I do to the leads in a scene. I often allow them to create the physical space and atmosphere, and then I insert the action of the script into the scene.
Nothing I do is necessarily novel. A lot of the tools I've developed came from other teachers, directors, and teaching artists in classes and workshops. This process has been effective in my program, but I'm certainly not trying to prescribe a method to address the needs of other departments. Theatre departments are as individual and unique as the students within them. The primary goal of my department is to give students the opportunity to be successful in an educational environment. When the barriers that exist in the academic environment are absent from the
creative environment all students are given the chance to achieve and
excel.