Learning Goals

By the end of this lesson, students will be able to …

  • Participate in drama games to foster a sense of community and belonging.
  • Explore individual and group comfort zones, identifying initial levels of risk-taking.
  • Contribute to establishing a supportive and respectful classroom environment.
  • Engage in activities that require a higher degree of physical and emotional trust.
  • Collaboratively create short dramatic pieces, emphasizing shared responsibility and group risk-taking.
  • Practice giving and receiving constructive feedback in a supportive manner.
  • Participate in activities that encourage experimentation and normalize "failure" as a part of the creative process.
  • Reflect on their personal growth in risk-taking and contribution to a safe space over the past week.
  • Celebrate the collective achievements and strengthen the community of the drama ensemble.
Materials
  • Open, clear space (drama studio/classroom)
  • Whiteboard or chart paper for recording norms/agreements
  • Markers
  • Optional: Soft ball or beanbag for warm-up game
  • Optional: Music for background during creative time
  • Optional: Simple props or costume pieces for spontaneous use (e.g., hats, scarves, bags)
  • Appendix 1 Commonly Used Drama Terms
  • PDF #1 General Teacher Anecdotal Recording Tool
  • PDF #2 General Creative Process Anecdotal Recording Tool 
  • PDF #3 General Drama Peer and Self-Assessment Tool
  • PDF #4 Improv Rubric 
  • PDF #5 Creative Process Rubric
Terminology

This lesson is divided into five parts.  These divisions are suggested and do not need to be strictly adhered to. They are linked here for your convenience:

Assessment

Minds On

Day 1

Small Group > Human Knot 

Divide students into groups of 6-10 (minimum 6 people). Have each group stand in a circle, extend their right hand across the circle to grasp another person's right hand, then extend their left hand to grasp a different person's left hand. The challenge is to untangle the "knot" without letting go of anyone's hands, ending in a single circle. (Try it again, if you want, without talking). You may wish to refer to PDF #1 Commonly Used Drama Terms as you go.

Prompt: Notice how you're communicating non-verbally. What's working? What's not? How does it feel to rely on others in this physical puzzle? What kind of 'risk' does this activity ask you to take?

Whole Class > Discussion 

Bring the groups back together and reflect.

Key Questions for Discussion:

  • What did you notice about working together in that activity? 
  • What challenges did you face, and how did you overcome them? 
  • How did it feel to be physically close, and reliant on your classmates?

Action

Whole Class > Pass the Clap

Students stand in a circle. One student claps their hands together and then "passes" the clap to the person next to them by clapping again while looking at that person. The clap travels around the circle. Introduce variations: pass left, pass right, pass across the circle, pass with a sound.

Prompt: Focus on eye contact and clear intention. How does that make the 'pass' more effective? What happens to the energy of the group when everyone is fully engaged?

Whole Class > Zip Zap Zop

Students stand in a circle. One student starts by saying Zip and points to another student. As they point, they move across the circle to take that person’s spot in the circle. That student, whose spot is being taken, says Zap and points to someone else. They move across the circle to take the next person’s spot. The next student, whose spot is being taken, says, Zop, points to a student and takes their spot in the circle. The student giving up their spot then goes back to Zip, points to a student, and takes their spot in the circle. This continues, Zip, Zap, Zop. A variation could include elimination if players fail to say the right word in the “Zip, Zap, Zop” sequence, or if they aren’t clear about who they are walking to when replacing someone in the circle etc.

Teacher Prompt: 

  • How does your focus shift when the energy is high?
  • What's the 'risk' in being the one to make a mistake, and how do we support each other when that happens?
  • Notice the non-verbal cues – how do you know who's about to be 'zipped'?

Small Group > Group Mirror

Students pair up. One person is the leader, the other is the mirror. The mirror must copy the leader's movements exactly, as if looking in a mirror. Start slowly, then gradually increase the speed and/or complexity. After a few minutes, switch roles. Then, try a "group mirror" where 3-4 students mirror one leader, or even the whole class mirrors the teacher. Play slow paced movement music here. 

Teacher Prompt: 

  • Slow this right down. Even slower. Even slower. I should not know who the leader is. Even slower…
  • As the mirror, how deeply are you observing?
  • What details are you picking up?
  • As the leader, how does your awareness of being mirrored affect your movement choices? What does this activity teach us about active listening and responsiveness?

Whole Class > “Yes, And..." Story Circle

Students sit in a circle. One student starts a story with a single sentence. The next student adds a sentence, starting with "Yes, and..." to build on the previous idea. The story continues around the circle. Emphasize accepting and building on all ideas.

Teacher Prompt: 

  • What does “Yes, And…” truly mean in a collaborative context?
  • How does accepting every idea, no matter how wild, open up new possibilities for the story?
  • Notice how the group's collective imagination is at play here. What kind of 'safe space' does this create for ideas?

Whole Class > One Word Check-In & Norms Brainstorm

Students stand in a circle. Each student shares one word that describes how they are feeling after the activities.

Whole Class > Discussion 

Lead a brief discussion about what makes a space feel "safe" for creative exploration and risk-taking.

Key Questions for Discussion:
  • What did we do today that helped build trust or make you feel more comfortable? 
  • What are some 'rules' or 'agreements' we should establish as a drama ensemble to ensure this is a safe and supportive space for everyone to take risks? 

Record student suggestions on chart paper/whiteboard to begin building class norms.

Day 2

Whole Class > Name and Gesture Circle

Students stand in a circle. Each student says their name and performs a simple gesture. The next student says the previous person's name and gesture, then adds their own name and gesture. Continue around the circle, building memory and focus.

Teacher Prompt: 

  • How does remembering someone's name and gesture help you connect with them?
  • What's the energy like in the circle when everyone is fully present?

Whole Class > Review

Briefly review the class norms that have been started. 

Teacher Prompt: 

  • How are we doing with these norms?
  • Is there anything we should add or change?
  • Any thoughts on how we can deepen our commitment?

Pairs > Trust Fall (Small Scale)

In pairs, one student stands with their back to their partner, arms crossed over their chest. The partner stands close behind them, hands ready to catch. The first student, on cue, falls backward, allowing their partner to catch them. Emphasize clear communication ("Ready?" "Ready." "Falling." "Got you!"), spotting technique, and starting with small, controlled falls. Rotate partners.

Teacher Prompt: 

  • What does it feel like to let go and trust your partner?
  • As the catcher, what is your responsibility here?
  • How do you communicate your reliability?
  • How does this activity relate to trusting your scene partner on stage?

Pairs > Trust Walk

In pairs, one student covers their eyes with a scarf (or closes their eyes), the other is the guide. The guide leads their partner around the space using only verbal cues (e.g., "step left," "two steps forward," "stop," "duck"). Emphasize clear communication from the guide and complete trust from the person with eyes covered or closed. Switch roles.

Variation: Another way to do this is to lead by placing one hand on top of the other with consent. The leader’s hand is at the bottom, and the follower’s hand is on top. The follower closes their eyes and the leader leads them with care through space.

Teacher Prompt: 

  • As the person with eyes closed or covered, what sensations feel heightened?
  • How do you rely on sound and touch?
  • As the guide, how precise do your instructions need to be?
  • What happens if you're unclear?
  • How does this activity build trust in a different way than the trust fall?

Extension: Explore experiences of vision-impaired and blind people and appropriate ways to offer support and guide, as well as misconceptions about blindness and the ways that vision impairment affects other people.

Whole Class > Emotional Check-In Circle

Students stand in a circle. One student steps into the center and expresses a simple, genuine emotion (e.g., happiness, sadness, frustration) through a sound and gesture, without words. The rest of the group mirrors the sound and gesture, offering empathetic resonance. The student then returns to the circle, and another steps in. Emphasize authenticity and non-judgmental mirroring.

Teacher Prompt: 

  • What does it feel like to be truly seen and mirrored in your emotion?
  • As the mirror, how do you approach this without judgment?
  • What's the difference between mirroring and mimicking?
  • How does this activity deepen our emotional trust and understanding of each other?

Day 3

Whole Class > Group Shape

Students close their eyes and mill around the space. The teacher calls out a shape (e.g., "form a triangle," "form a perfect square," "form a straight line"). Students must, without speaking, use their bodies to collectively form the shape. Repeat with different shapes. Introduce objects next (rocket ship, cell phone, internal components of an engine) and then introduce abstractions (purple, love, power, loss, there’s no place like home, etc.)

Teacher Prompt: 

  • What non-verbal cues were you relying on?
  • How did you 'feel' the group's intention?
  • What was the biggest challenge in achieving the shape without talking?
  • How does this activity highlight the importance of shared focus and collective awareness?

Whole Class > Check-In

Quick check-in on how students are feeling about the established class norms. Discuss if anything should be added or changed.

Whole Class > Machine

One student starts a simple, repetitive physical movement and sound. The next student adds their own movement and sound that connects to the first, creating a "machine." Continue adding students, building a complex, interconnected machine. Emphasize clear connection and contribution to the overall mechanism.

Teacher Prompt: 

  • How does your individual 'part' contribute to the whole machine's function?
  • What happens if one part isn't fully committed or connected? 
  • Notice the rhythm and energy of the collective creation. How does it evolve?

Small Group > Image Theatre

Divide students into small groups (4-5). Give each group a simple, open-ended prompt (e.g., "a moment of tension," "a celebration," "a difficult decision"). Each group must create a tableau that represents their interpretation of the prompt. Encourage creative use of bodies, levels, and facial expressions. Groups then share their images.

Teacher Prompt: 

  • What story does this frozen image tell?
  • What emotions are conveyed?
  • How did each individual's body contribute to the overall message of the image?
  • What 'risk' is involved in committing to a strong physical expression in front of others?

Whole Class > Two Stars and a Wish (Feedback Circle)

After each group shares their "Soundscape Story," the audience gives "Two Stars" (two specific things they liked or noticed that were effective) and "A Wish" (one specific, constructive suggestion for improvement or further exploration). Emphasize supportive and specific feedback.

Whole Class > Discussion 

After all groups have shared and received feedback, discuss the process of giving and receiving feedback.

Key Questions for Discussion:
  • What made the feedback feel constructive and helpful? 
  • What did you learn about your own work from receiving feedback? 
  • How does this process help us grow as an ensemble and as individual artists?

Whole Class > Soundscape Story

In a circle, one student starts a simple sound (e.g., a rustle, a hum). The next student adds another sound that builds on or contrasts with the first. Continue adding sounds, creating a collaborative soundscape that tells an abstract story or evokes a specific atmosphere. No words, only sounds.

Teacher Prompt: 

  • How do you 'listen' to the soundscape to decide where your sound fits?
  • What kind of story is emerging?
  • How do you collectively shape the narrative through sound?
  • How does this activity ask you to take a risk by contributing an abstract idea?

Whole Class > Two Stars and a Wish (Feedback Circle)

After each group shares their "Soundscape Story," the audience gives "Two Stars" (two specific things they liked or noticed that were effective) and "A Wish" (one specific, constructive suggestion for improvement or further exploration). Emphasize supportive and specific feedback.

Whole Class > Discussion 

After all groups have shared and received feedback, discuss the process of giving and receiving feedback.

Key Questions for Discussion:
  • What made the feedback feel constructive and helpful? 
  • What did you learn about your own work from receiving feedback? 
  • How does this process help us grow as an ensemble and as individual artists?

Day 4

Pairs > Gibberish Conversations

Students pair up. Have them engage in a conversation using only gibberish (made-up sounds/words), but with clear emotional intent and physical gestures. They should try to understand and respond to their partner's "meaning" through non-verbal cues.

Teacher Prompt: 

  • How much can you communicate without actual words?
  • What's the 'risk' in sounding silly, and how does your partner's acceptance make it easier?
  • Notice how much information is conveyed through tone, gesture, and facial expression.

Whole Class > Discussion 

Briefly discuss how language can sometimes be a barrier and how we communicate beyond words.

Whole Class > What Are You Doing?

Students stand in a circle. One student starts miming an action. The student next to them asks, "What are you doing?" The miming student must reply with a different action than what they are currently miming (e.g., miming brushing teeth, but saying "I'm riding a bike"). The asker then mimes the stated action. Continue around the circle. Emphasize quick thinking and acceptance of the new "offer."

Teacher Prompt: 

  • How quickly can you adapt to the unexpected?
  • What does this teach us about improvisation?
  • What's the fun in letting go of your original idea and embracing the new one?
  • Notice how the energy of the game builds when everyone is willing to 'fail' forward.

Small Group > Story Spine

In small groups (3-4), give each group a "story spine" template:

  • Once upon a time there was ____.
  • Every day, ____.
  • But one day, ____.
  • Because of that, ____.
  • Because of that, ____.
  • Until finally, ____.
  • And ever since then, ____.

Groups collaboratively fill in the blanks, creating a simple story. Then, they perform their story using only movement and sound (no dialogue).

Teacher Prompt: 

  • How does the structure help you take creative risks within a framework?
  • What 'problems' or 'failures' did you encounter in your story, and how did you resolve them creatively?
  • How does this activity encourage both individual contribution and collective responsibility for the narrative?

Whole Class > Pass the Emotion

Students stand in a circle. One student starts with a clear emotion (e.g., anger, joy, fear) expressed physically and vocally (a sound, not words). They pass this emotion to the person next to them, who then transforms it into a different emotion before passing it on. Emphasize clear transformation and commitment to the new emotion.

Teacher Prompt: 

  • How do you physically and vocally embody the emotion fully?
  • What's the 'risk' in fully committing to an emotion, even if it feels uncomfortable?
  • How does this exercise build empathy and understanding of emotional range?

Whole Class > Group Storyteller

Students stand in a circle. One student starts a physical pose. The next student adds to the pose, creating a group tableau. The third student adds to the pose, and so on, until the entire group is connected in one large, evolving sculpture. Then, one by one, each student briefly describes what their body is doing and what they imagine the overall "story" or "meaning" of the group sculpture is.

Teacher Prompt: 

  • How does each individual choice contribute to the overall narrative of the group?
  • What new perspectives emerge when you hear others describe the same image?
  • How does this activity demonstrate the power of collective storytelling?

Whole Class > Discussion

Briefly discuss how individual contributions create a collective story.

Day 5

Small Group > Open Scene Improvisation

Divide students into groups of 3-4. Give each group a very simple, open-ended scenario (e.g., "Two people meet at a bus stop," "A group tries to solve a puzzle," "Friends discover something unexpected in a park"). They have 10-15 minutes to quickly brainstorm and then improvise a short scene (3-5 minutes). Emphasize using "Yes, And..." and embracing spontaneity. No memorized lines.

Teacher Prompt: (during brainstorming and improvisation) 

  • What's the immediate 'offer' in your partner's first line or action?
  • How can you build on it?
  • Don't censor your ideas; just put them out there and see what happens.
  • Focus on listening to your partners and responding authentically in the moment.
  • What 'risk' are you taking by not knowing exactly what will happen next?
  • If you feel stuck, what physical or vocal impulse can you follow?

Small Group > Showcase & Affirmation

Each group performs their improvised scene for the class. After each scene, the audience gives a round of applause. Instead of critical feedback, the audience offers "affirmations" – specific positive observations about the ensemble work, risk-taking, or moments of strong connection they witnessed (e.g., I loved how you fully committed to that silly character. Your group's energy was really supportive. I noticed strong eye contact between you two).

Teacher Prompt: 

  • Focus on what worked well and what you want to see more of.
  • How does positive affirmation build confidence and encourage more risk-taking?

Consolidation

Whole Class > Rose, Bud, Thorn

Each student shares:

  • Rose: One positive experience or learning from today.
  • Bud: One new idea or area they want to explore further.
  • Thorn: One challenge or discomfort they experienced.

Whole Class > Discussion

Briefly discuss common themes from the "Thorns" and how the class norms can support addressing these challenges. Revisit and finalize the class norms on chart paper, having students sign or initial them as a commitment.

Whole Class > Failure Bow

Ask students to identify a moment in this lesson where they felt they "messed up," made a "mistake," or something didn't go as planned. Invite volunteers to come to the center of the circle, briefly describe their "failure," and then take a celebratory "failure bow," met with applause and encouragement from the class.

Teacher Prompt: 

  • What did we learn today about making mistakes in drama?
  • How can embracing 'failure' actually lead to creative breakthroughs?
  • How does our ensemble support each other when things don't go perfectly?

Reiterate that the drama space is a place for experimentation, not perfection.

Whole Class > Circle of Appreciation & Reflection

Students sit in a circle. Go around the circle and each student shares:

  • One thing they appreciate about the ensemble or a specific classmate from the past week.
  • One personal learning or growth they experienced related to risk-taking or safe space.

Whole Class > Discussion

Lead students in a discussion on the lesson.

Key Questions for Discussion:
  • How has our ensemble grown this week?
  • What have you learned about yourself as a drama artist in this safe space?
  • How will we continue to nurture this safe space as we move into more complex drama work?

Conclude by thanking students for their participation and commitment to building a strong ensemble.

Assessment

Assessment for Learning (AfL)
  • Ongoing Teacher Observation: See PDF #2 General Teacher Anecdotal Recording Tool. Throughout all five periods, the teacher actively observes student engagement, willingness to take physical and emotional risks, collaborative skills (e.g., "Yes, And..." in action), and contribution to the safe space. Side-coaching prompts are used to provide immediate, formative feedback, deepen understanding, and guide students towards desired behaviours (e.g., What are you noticing about your own risk-taking right now? How does accepting every idea open up new possibilities?). Purpose: To continuously monitor student progress, identify areas where individuals or the ensemble need more support or challenge, and adjust teaching strategies in real-time.
  • Quick Check-ins & Formative Questions: At various points (e.g., Minds-On discussions, transitions between activities), the teacher poses questions or uses quick non-verbal checks (e.g., "thumbs up/down/sideways" for comfort level, "one word check-in") to gauge immediate understanding, emotional state, and engagement with the concepts of trust, risk, and safety. Purpose: To quickly assess the "pulse" of the class, identify misconceptions or discomforts, and inform immediate instructional adjustments or deeper discussions.
  • Informal Performance Observation: During activities like "Image Theatre," "Machine," or "Mime Scene with Effort Focus" (from Lesson 2, but similar collaborative creation activities in Lesson 1), the teacher observes the clarity of the group's idea, the level of individual commitment, and the cohesion of the ensemble. Purpose: To assess students' developing ability to apply collaborative and expressive skills in low-stakes performance contexts, providing a basis for targeted feedback and future instruction.
Assessment as Learning (AaL)
  • Daily Reflection Prompts (e.g., "Rose, Bud, Thorn" or "One Word Check-In"): At the end of each period's Consolidation, students are prompted to reflect on their learning, challenges, and insights (e.g., sharing a "Rose" for a positive experience, a "Bud" for a new idea, and a "Thorn" for a challenge; or simply a single word to describe their feeling/learning). Purpose: To encourage metacognition, allowing students to process their own learning, identify personal growth, and articulate their experiences within the safe space.
  • Collaborative Norm-Setting & Commitment: Students collaboratively brainstorm and establish class norms for a safe and supportive drama environment. Purpose: To empower students to take ownership of their learning environment, fostering self-regulation and a shared understanding of what constitutes a safe space for risk-taking, based on their collective input.
  • Peer Feedback (e.g., "Two Stars and a Wish" / Affirmations): See PDF #4 General Drama Peer and Self-Assessment Tool. After collaborative performances (e.g., "Image Theatre" in Period 3, "Open Scene Improvisation" in Period 5), students provide specific, constructive feedback to their peers ("Two Stars" for strengths, "A Wish" for improvement) or offer positive affirmations. Purpose: To develop students' critical observation and analytical skills, enabling them to assess their peers' work against established criteria (implicitly or explicitly), and to reflect on their own work through the lens of others' observations.
Assessment of Learning (AoL)
  • Final Ensemble Improvisation Performance: See PDF #5 Improv Rubric. The "Open Scene Improvisation" in Period 5 serves as a culminating performance. Students, in groups, present a short, improvised scene demonstrating their ability to collaborate, take risks, and communicate effectively within the safe ensemble space built over the week. Purpose: to formally assess students' ability to apply the core concepts of ensemble building, trust, and risk-taking in a collaborative, spontaneous performance context. This could be assessed with a rubric focusing on criteria like: collaborative risk-taking, clear non-verbal communication, ensemble cohesion, and commitment to the scene's given circumstances.
  • Creative Process Assessment: See PDF #3 General Creative Process Anecdotal Recording Tool and/or #6 Creative Process Rubric. A summative assessment of each student's consistent engagement in all activities, their willingness to participate in trust-building and risk-taking exercises, and their positive contribution to maintaining a safe and supportive learning environment throughout the entire five periods of Lesson 1. Purpose: to evaluate the student's overall commitment to the foundational goals of the lesson, acknowledging that building community and trust is an ongoing process that requires consistent effort and participation.