2. DRAMATIC
EXPERIENCES come next to
contrived experiences in the
CONE. Can do these dramatic
experiences require us to be
dramatic in our entrance into a
classroom and in lesson
presentation.

3. A dramatic entrance is something
that catches an holds our attention
and has an emotional impact.
Something dramatic is something
that is stirring or affecting or
moving. If our teaching is
dramatic, students may get
attracted, interested and affected
and may leave an impact on them.

4. Dramatized experiences can
range from the formal plays,
pageants to less formal
tableau, pantomime,
puppets and role playing.

5. 1. PLAYS
Depict life, character, or
culture or a combination of all
three. They offer excellent
opportunities to poverty
vividly important ideas about
life.

6. 2. PAGEANTS
Usually community dramas
that are based on local history,
presented by local actors.
An example is a historical
pageant that traces the growth
of a school.

7. 3. PANTOMIME
Art of conveying a story
through bodily movements
only. Its effects on the
audience depends on the
movements of the actors.

8. 4. TABLEAU
(a French word which means
picture). A picture like scene
composed of people against a
background. Often used to
celebrate Independence Day,
Christmas, and United Nations
Day.

9. TYPES OF PUPPETS
 puppets come in
different kinds.
These are the most
common:

10. SHADOW PUPPETS
-flat black silhouette made from
lightweight cardboard and
shown behind a screen.
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.

11. 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.

12. GLOVE-and-FINGER PUPPET
-make use of old gloves to which small
costumed figures are attached
MARIONETTES
-flexible, jointed puppets operated
by strings or wires attached to a
cross bar and maneuvered from
directly above the stage.

13. Making Puppet Theaters
1. The first step is to nail stick
legs to each corner of a wooden
crate that has two sides
removed.
2. Drape cloth from the
bottom of the box and
tack it around sides and
front. Operators crouch
behind the theater.

14. 3. You may also use pieces of
plywood, heavy cardboard, or
masonite to produce a self-
standing puppet theater.

15. 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.

16. 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.

17. How did you, as actors, feel?
Would you act/think that way in
real life?
As observers, would you agree
with agree with what the actors
said or did.
Any lessons learned?

18. POSTCRIPT-Dramatic
Experiences for MI
Dramatic experiences cater to students’
multiple intelligences. Plays, pageants,
pantomimes, tableaus, puppets and role
playing are obviously most fir for
kinesthetically intelligent. When
pantomimes tableaus and puppets are
accompanied by music, musical
intelligence is work

19. We learn certain things quickly
through an intense dramatic
experience. These dramatic
experiences, most especially
role-playing, are most effective
with lessons in the affective
domain.

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