Accepting the fiction
An implicit or explicit agreement to go along with a pretence. Students accept that drama is about pretending and that they, their teachers or actors involved in the drama will be pretending to be someone other than themselves and perhaps in another time or place.
Accepting the role
Students agree to go along with the pretence and accept roles suggested by the leader of the drama or each other. The acceptance may be implicit (when they engage in structured activities while in role) or signalled by the student wearing something (e.g. a badge, a scarf) to show they are in role.
A role such as detectives, dream-makers, or factory workers shared by the whole group.
The details of a particular character that describe aspects of the role the student/s will
undertake. Details may include name, gender, age, attitude, job etc.
The imagined world in which participants enact the drama. This may include dramatic, real, cultural and historical contexts. Dramatic context — in role play, improvisation and play text, the dramatic context is created by the participants, agreeing to explore, to work in and/or around fictional roles, relationships, situations, plot, tension, time and place. Real context — this refers to the actual circumstances in which the drama is created and/or presented. The real context includes participants’ skills, attitudes and backgrounds, the performance space and the intended audience. Cultural and historical context — the cultural and historical features surrounding a dramatic work. These may refer both to the cultural and historical background in which the work was created and in which it is set — for example, Brecht’s Mother Courage was created in post–World War II Europe but set in the 14th century.
One of the elements of drama. Contrast is evident when two or more aspects that are notable for their differences are juxtaposed (sound and silence, light and dark,...