Making Sense of Drama Summary

The book starts out by explaining that children are not passive learners. Making reference to how children learn by doing and using their past experiences they are able to process new information and learn best. Children can further their learning in all subject areas when viewing information not as themselves (in-role) and by using their imagination when they don’t have past experiences to draw on. Neelands, then ties in how drama fosters this type of learning style by writing “The view of learning I have described has in turn shaped the view of drama that seeks to develop and extend children’s existing cultural resources in ways that are both familiar and also stretching.” (Neelands, Making Sense of Drama Guide to Classroom Practice, 1984)

The author then uses the rest of the book to describe specific tools teachers can use as a “guide” to incorporate drama across all curriculums. Each chapter describes a different tool that is meant to be read in sequence, allowing for the reader to get a deeper understanding of drama as they read on. 

The first tool is the “Teacher-Learner Partnership,” where Neelands expresses that when drama is present, the learners and teachers have a different type of partnership. It is within this tool that Neelands introduces the reader with the very important “Drama Contract.” He describes the contract as follows:

The contract itself is implicit –it’s already there and understood in the way you and your class relate to each other; or explicit – its been discussed and negotiated openly with your class. But it MUST be there. It’s no use going on to discuss the technique and strategies of drama unless we are clear about the nature of the contract.  It is a prerequisite of drama work. (Neelands, Making Sense of Drama Guide to Classroom Practice, 1984)

The second tool is the form and phases of negotiation the teacher must carry out to have a good drama structure. In this section, Neelands explains that the teacher must be careful with their actions to support students. He also explains how a teacher should use skillful questioning to have a productive drama structure. There are three phases to a drama structure: planning, drama-time and evaluation.  Within these phases the teacher must always consider his or her own role in facilitating the drama while adhering to the drama contract.

The third tool explained is the type of drama modes that can be used, each having their own pros and cons. Teachers should select a mode that suits the class and learning outcomes.

Another tool discussed is the components of theatre that are part of classroom drama. Components such as: focus, tension, ritual, symbolic objects, time, space and roles.  These are considered drama controls that teachers can use to extend his or her existing strategies. Lastly, Neelands provides a chapter on how to plan a drama structure, followed by some sample lessons.