National Institute of Education Visual and Performing Arts

Nanyang Technological University AAU08A

AAU08A: Theatre Games: Engagement through Play

Jan 2020

Lecturer: Claire Devine [email protected]

Matt Jasper [email protected]

S. Rethinavel (Rethi) [email protected]

Date/Time/Venue: Monday: 0930hrs-1230 hrs : Claire @ Rehearsal Room

Course Description:

This module examines a range of theatre games conventionally used in a participatory classroom to build
specific skills and capabilities. Students will be introduced to theatre practitioners such Augusto Boal,
Viola Spolin, Clive Barker and Chris Johnston, who have developed theatre games for actor training as
well as team-building. These theories, methods and practices will be used to engage participants in a
range of reflective processes, critical dialogue and physical activities that promote stronger social-
emotional learning opportunities, inter-personal and intrapersonal skills, as well as civic and social
awareness through activities that enhance team-building, trust, confidence, collaboration and the
extension of imagination. The principles of practice that underpin the use of theatre games will be
explored and explicated in relation to non-traditional theatre contexts. The course will equip students
with the necessary facilitation and planning skills crucial for the incorporation of theatre games in the
development of programmes to engage an intended audience. Students will learn how to design a short
programme using theatre games, in order to work creatively within a range of community settings and
expectations. They will also be required to facilitate theatre games for this purpose as part of their
assessment.

Course Structure

The course will adopt a seminar-workshop approach that requires the participation of students. Each
weekly 3-hour session will be divided between the seminar and the workshop. Students would be
required to complete the assigned readings and to come prepared for a discussion. This workshop will
involve:
1. Participatory workshops
2. Theoretical and reflective discussions
3. Reading and research
4. Written and practical assessments

Learning Outcomes:
Students will learn to:

 Understand theatre games as a methodology to build specific skills, interpersonal and

intrapersonal awareness
 Apply the theories and principles of theatre games to engage intended audiences through
meaningful play
 Critically reflect on the purpose and efficacy of theatre games to meet intended objectives

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

 Develop and facilitate a short programme using theatre games for an intended audience

Assessment:
There will two components to the assessment: I) Developing a group work plan (20% Detailed Lesson
Plan + 30% Individual facilitation= 50%) II) Reflective Journal (5 Reflections x 10%=50%). The details
are as follows:

Week 13 50%

PART I: Group Workplan with Exegesis

 Each group/pair is to collaboratively develop the Workplan
outline of a lesson plan incorporating dramatic 20%
processes and theatre games.
 Lesson plan is to be accompanied by a written Individual
exegesis explaining rationale of facilitation
conventions/dramatic processes/theatre games
used 30%
 Lesson is to be 80 minutes long in duration
 Basic structure of workplan should have:
o Anticipatory Set/Hook: How you will
encourage the audience to engage in the
lesson and activities.
o Development: How the body of the
workplan unfolds.
o Closing/Follow-up: How the workplan
wraps up.

500-800 Week 13 50%

words
PART II: REFLECTIVE JOURNAL

 Write a weekly reflection for about 500-800

words
 Topic/Question for reflection will be given
weekly during lesson
 Reflections are to be submitted in Week 13
 There will be a total of 5 reflections

Assessment Deadlines:
 Please observe all stipulated deadlines. If there is a non-submission and no exemption has been
sought or approved prior, the assignment will receive no mark. Note that reasons such as
‘assignment attachment trapped in “Sent” box”’ or other technical or technological explanations will
not be entertained.
 If you require an extension, please contact me at the given email address.
 The Term Essay must be uploaded via Turnitin (found in NTULearn) and all other Written
Assignments must be submitted to NTULearn.

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

 Note that there will be a 5 mark penalty for every day that an assignment is late (i.e. after it is logged
by Turnitin and/or NTULearn as a late submission).
 Note also that any assignment, even with given extension, will not be accepted after 5 days (including
weekends and public holidays).

Attendance:
Students should note that NIE takes a serious view to attendance. Attendance is a strict requirement for
VPA General Electives and Minor Study modules and more than two absences not covered by valid
documentary evidence will normally lead to the awarding of a fail grade. The lecturer reserves the
right to refuse acceptance of the final individual assignment should attendance requirements not be met. 
 
In modules which involve group work / collaboration, students are also expected to be present for group
rehearsals when necessary. Should there be issues arising such as, but not limited to, absence from
rehearsals, or lack of collaborative effort, the lecturer reserves the right to refuse acceptance of the
final individual assignment. As poor attendance affects the individual student’s learning as well as the
capacity for group work to be executed effectively, this is done to ensure that all students act responsibly
and do not negatively impact the learning and assessment process for their peers.
 
Students are also expected to be punctual for classes. The lecturer reserves the right to consider
extreme lateness as absence from class (i.e. more than 30 minutes) and / or has the option to
accumulate late-minutes as absence from class. The lecturer is also to be informed prior to the class
should you not be able to attend. 

S/U (Satisfactory / Unsatisfactory) Procedure

Please note that should you be considering a ‘S/U’ process for the module, lecturers / tutors are not
required or permitted to reveal assessment marks regardless of the juncture you desire to perform the
‘S/U’. All assessments are given either critical comments, assessed rubric and/or letter grade only.

Academic Dishonesty and Plagiarism Warning:

NIE takes a serious view of any form of infringement of copyright and academic dishonesty by students.
We advise all students to respect all copyrighted works and expect the purchase of original textbooks
and/or other copyrighted materials that are required for a programme of study. A contravention of the
provisions of the Copyright Act is to be a breach of the Institute’s rules and regulations which will result
in disciplinary action. Plagiarism and other forms of academic dishonesty such as cheating during
examinations, collusion and complicity are considered serious offences for which disciplinary penalties
will be imposed.

The Nanyang Technological University (NTU) Plagiarism Framework (201) states the following:
‘Plagiarism is to use or pass off as one’s own, writings or ideas of another, without acknowledging or
crediting the source from which the ideas are taken’. This includes:
 The use of words, images, diagrams, graphs or ideas derived from books, journals, magazines,
visual media, and the internet without proper acknowledgement;
 Copying the work of another student, having another person write one’s assignments, or allowing
another student to borrow one’s work;
 Copying of work from the internet or any other sources and presenting as one’s own; and
 Submitting the same piece of work for different courses or to different journals and publications.
Plagiarism undermines academic integrity as it is a form of intellectual dishonesty. It affects the
University’s reputation and devalues the degrees offered. Plagiarism is regarded as a very serious offence
by the University. It is considered as an instance of violation of the NTU Honour Code which could warrant
disciplinary actions ranging from failing the assignment, failing the course, suspension and ultimately to
expulsion from the University.
Regarding Student Wellbeing

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

During the semester, if you find that life stressors are interfering with your academic or personal
success and you find it difficult to cope, please consider contacting the NIE
Wellness Centre that provides confidential services free of charge (to make an
appointment call 6790 3318 or email [email protected]). Alternatively you
can call the NTU Wellbeing Services at 6790 4462 or email
[email protected]. There are some FAQ about services at the NIE
centre that were put together by our students. See
http://www.ps.nie.edu.sg/WELLNESS_faqs.htm.

Course Schedule
Weeks 1 – 7 Teaching 13 Jan-28 Feb 2020
AY 2020 Jan
Chinese New Year:
Semester
27th Jan

Week 8 Recess 29 Feb-08 Mar 2020

Weeks 9 – 13 Teaching 9 Mar 2020- 10 April/17 April
2020 (week 14)
Good Friday: 10
April Following week to be makeup if
needed

Week 1 Play and Theatre

Seminar  An Overview of Play
 Theatre and Drama as Play
 Theatre Games: Playful Purpose
 Forms of Applied Theatre /Drama

Reading Boal, Augusto ‘Theatre: Human Beings, in Physical Theatres:

A Critical Reader. Keefe, John & Murray, Simon. (New York:
Routledge, 2007), p. 32-38.

Prendergast, M., & Saxton, J. (2013). Applied drama: A

facilitator's handbook for working in community. Intellect
Books. Preface, p.xi-xiii.

Schechner, Richard. (2013). Performance Studies: An

Introduction. Routledge. p. 89-103.

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

Video https://www.ted.com/talks/patsy_rodenburg_why_i_do_the
ater

Week 2 Play: Being Mind-Body and Movement

Seminar  Play: A Recap
 Play and the Embodied Being
 The Actor’s Body: Posture and Movement
 Thought and Action

Reading Boal, A. (2002). Games for actors and non-actors. Psychology

Press. p.50,92, 138-139, 144.

Dennis, Anne, ‘The Articulate Body’ in Physical Theatres: A

Critical Reader. Keefe, John & Murray, Simon. (New York:
Routledge, 2007), p. 184-186.

Workshop Knowing and Moving the Body

Week 3 Socio-Emotional Awareness Reflection 1

Seminar  Importance of Play for Being and Learning
 Psychological Gesture and Thinking Heart
 Sound
 Mood

Reading Ruhmor, Floyd, ‘Michael Chekhov: Psychological Gesture

and the Thinking Heart’ in Movement for Actors. Potter,
Nicole (Allworth Press, 2002), P.16-27.

Spolin, V. (1986). Theater games for the classroom: A

teacher's handbook. Northwestern University Press. p.123-
131.

Workshop Exploring Sound, Mood, Archetype and Prototype

Week 4 Trust: Self and Others Reflection 2

Seminar
 Teamwork and Trust
 Purpose in Solidarity

Reading Barker, C. (2010). Theatre games: a new approach to drama

training. A&C Black. p.91-107.

Boal, A. (2002). Games for actors and non-actors. Psychology

Press. p.118, 121.

Johnston, Chris. (2010). House of Games: Making Theatre

from Everyday Life. Nick Hern Books. p.3-11.

Trust Building in Self and Other

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

Workshop

Week 5 Confidence: Self and Others Reflection 3

Seminar  Release of Inhibitions
 Using the body for confidence

Reading Barker, C. (2010). Theatre games: a new approach to drama

training. A&C Black. p.91-107.

Boal, A. (2002). Games for actors and non-actors. Psychology

Press. p.119.

Spolin, V. (1986). Theater games for the classroom: A

teacher's handbook. Northwestern University Press. p.77-
108.

Confidence Building in Self and Other

Workshop

Week 6 Collaboration Reflection 4

Seminar  Working text and performance
 Devising

Reading Boal, A. (2002). Games for actors and non-actors. Psychology

Press. p.56, 94, 120.

Callery, Dymphna. (2011). Through the Body: A Practical

Guide to Physical Theatre. Nick Hern Books. p.157-184.

Workshop Working For and Together

Week 7 Imagination and Improvisation Reflection 5

Seminar  Use of Imagination
 Imagination and Emotional Safety

Reading Barker, C. (2010). Theatre games: a new approach to drama

training. A&C Black. p.115-128.

Boal, A. (2002). Games for actors and non-actors. Psychology

Press. p.217-220.

Workshop Using the Imagination for Improvisation

Week 8 Term Break

Community / Topic Research

Week 9 Drama Facilitation

 Improvised Group Work
 Planning and Theme selection (Community and

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Nanyang Technological University AAU08A

Topic Research)

Reading Neelands, J., & Goode, T. (2015). Structuring drama work.

Cambridge University Press.p.3-8.

Workshop Using dramatic processes and theatre games

Week 10 Drama Facilitation Planning

 Group Peer Facilitation ideation and running
through of workplans

Reading Prendergast, M., & Saxton, J. (2013). Applied drama: A

facilitator's handbook for working in community. Intellect
Books.p.107-119.

Week 11 Drama Facilitation Assessment

 Group Peer Facilitation

Week 12 Drama Facilitation Assessment Submission Of

 Group Peer Facilitation all Written
Lesson Plans

Week 13 Drama Facilitation Assessment Submission Of

 Group Peer Facilitation all Written
Lesson Plans
And Reflections

Week 14 Drama and Education

(If Needed) A Reflective Post Discussion

Readings:

Boal, A. (2002). Games for actors and non-actors. Psychology Press.

Barker, C. (2010). Theatre games: a new approach to drama training. A&C Black.

Callery, Dymphna. (2011). Through the Body: A Practical Guide to Physical Theatre. Nick Hern
Books.

Johnston, Chris. (2010). House of Games: Making Theatre from Everyday Life. Nick Hern Books

Keefe, John & Murray, Simon. (2007) Physical Theatres: A Critical Reader. Keefe, John & Murray,
Simon. New York: Routledge.

Neelands, J., & Goode, T. (2015). Structuring drama work. Cambridge University Press.

Prendergast, M., & Saxton, J. (2013). Applied drama: A facilitator's handbook for working in
community. Intellect Books.

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National Institute of Education Visual and Performing Arts
Nanyang Technological University AAU08A

Potter, Nicole. (2002).Movement for Actors. Allworth Press.

Johnston, Chris. (2010). House of Games: Making Theatre from Everyday Life. Nick Hern Books.

Schechner, Richard.(2013). Performance Studies: An Introduction. Routledge.

Spolin, V. (1986). Theater games for the classroom: A teacher's handbook. Northwestern

University Press.

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