Drama, Role-Play and Mime

There have always been links between religions and the theatre. Drama began in Ancient Greece in the temple of Dionysus, where worship took the form of a festival in which Dionysus' story was acted out in dance and drama. In the Middle Ages, Christian plays were dramatised in churches, bringing to life the stories of Jesus at a time when few could read or write. In time, the whole Bible was put into the form of plays which became known as 'The Mysteries'. Ideas and concepts came to be represented in Morality plays, with actors playing such parts as Death, Beauty and Good Deeds.

Worship, with its rituals, sacraments and symbols, is very dramatic, providing the means for people to enter an understanding of their faith and belief. As Muslims run between Safa and Marwah during their pilgrimage to Mecca, they are acting out Hagar and Ishmael's search for water. Jews at Succoth act out the time the Israelites lived in tents in the wilderness.
In a way, we all act out things in our own minds in order to see events in our lives more clearly. Drama can therefore be a particularly valuable tool in R.E. It can help pupils to gain fresh insights and enter new experiences without entailing belief or commitment. It can also be really good fun!

METHOD

a) Detailed scripts are rarely necessary and can limit pupils' thought and involvement. Role- play can be very effective in R.E. The emphasis is on 'being' or doing' rather than on acting. The teacher may also like to adopt a role. If a discussion is preceded by one or more improvisations, then a 'world' is created (and experienced at first hand) in which it is possible to discuss safely and without prejudice.

b) It is often useful to begin by conducting an activity/discussion in pairs. This can then be developed into a dramatic dialogue.

c) 'Hot-seating' is a very useful way of exploring a situation/topic further. It involves someone sitting at the front of the class and being questioned and having to answer in role.

d) Mime can be an ideal format for the interpretation of ideas and it can be created quickly and effectively. It is a useful form of non-verbal communication and the symbolism it involves often has close links with the R.E. syllabus.

e) The colour, pageantry, mythical and mysterious figures in religious teachings can often be expressed more easily through the use of puppets and masks. Shy pupils can hide behind their creations and allow their imaginations free rein and allow themselves to become more involved.

f) The acting out of stories central to the faith is common to many religions and can be a very valuable learning experience as they can be understood on two levels; the events in the story and their meaning for the faith community. E.g. In Sikhism, the story of the founding of the Khalsa, in Buddhism the story of the Buddha and the Four Sights, in Christianity, Jesus' Passion, in Hinduism, the stories about the gods. In dramatising the stories, the pupils may come to understand their current relevance.

g) The teachings of different religions may also be portrayed dramatically. Jesus' parables obviously lend themselves to this, but the Buddha was also a good storyteller as were the Sikh Gurus. An excellent exercise would be for pupils to dramatise the teaching in a modern idiom. This would show their understanding and the teaching's lasting relevance.

POSSIBLE PITFALLS

a) The kind of drama and role- play suggested has little to do with theatre or performance skills and should not be approached or judged accordingly. It is important that students perceive what they do as a learning experience.

b) The classroom is not the ideal place for drama because of the confined space and the possible noise level. Solo mime or monologues/dialogues are feasible in confined spaces - and do warn neighbouring teachers!

c) Time management is important. Time for evaluation must be built into the lesson, but it is better to be less generous with time to avoid boredom and restlessness setting in.

d) Care needs to be taken over what artefacts are appropriate to be used in drama and role-play. There are no hard and fast rules - the final decision has to be with the teacher, guided by sensitivity and respect, e.g. Asian clothes are not religious but cultural and most Asian people would have no objections to children dressing up in them, but the Sikh turban and Buddhist monk's robes have religious significance and should be treated with respect. The test is: "Is the artefact going to be treated with respect in an educational way? Will it add to the pupils' understanding? Will using/wearing it give offence?"

e) Any dramatic representation of Muhammad or the Sikh Gurus would give offence. This fact is a valuable teaching opportunity and may be compared to the misgivings many Christians have about Jesus being portrayed in film.

f) Performing should be voluntary not compulsory ; students need to know that the importance lies in the process and not just in the performance. As good R.E. teachers, we want to raise awareness and sensitivity, so we must exhibit those qualities.

RESOURCES

Drama in Religious Education
Ann Lovelace pub. Folens ISBN No 1 85276307-8

You may be interested in looking at books of published plays e.g

Telling the Easter Story
Brigida Martius. Kevin Mayhew. ISBN 0862099226

Ten Minute Miracle Plays
Margaret Cooling. British and Foreign Bible Society. ISBN 0564087750

The Ring: Three Moral Plays (Muslim)
A.A. Bakathir. Ta-Ha Publishers Ltd. ISBN 1897940300

Contents

• Working with Religious Artefacts
• Drama, Role-Play and Mime
• We Enjoy Playing Games!
• Making Music
• Staging Simulations
• Visits and Visitors
• Engaging With Art
• www.
• Sharing and Celebrating - Food
• Let's Go on Pilgrimage!
• A School Multifaith Audit
• Shrines and Sukkots
• Stilling, Guided Imagery or Scripted Fantasy