Creative Drama and PuppetryRole, story and expression
Drama and puppetry provide a safe space for children to explore roles, emotions and ideas through story and play.
Introduction
Drama and puppetry are powerful mediums for facilitating creativity allowing children to explore their understanding of the world in a safe psychological space. Howard and Mayesky (2022) explain that dramatic play is not merely acting but a fundamental way for children to sort through their understanding of reality. By engaging in role-play children develop empathy by stepping into the shoes of others enhancing their social-emotional competence. Puppetry specifically offers a unique vehicle for communication allowing children to project their feelings onto an external object fostering verbal fluency without the pressure of direct interaction.
Theories and Perspectives
The use of drama is supported by the socio-cultural theories of Lev Vygotsky who argued that in play a child behaves as though he were a head taller than himself. This aligns with the development of symbolic play where objects represent other things. Furthermore creative dramatics activates Howard Gardner’s Interpersonal Intelligence and Linguistic Intelligence. By engaging in collaborative narrative building children are actively constructing knowledge through social mediation. Anderberg and Kratochvil (2005) emphasise that creative dramatics is solely about process and building skills rather than a final performance which aligns with the child-centred approach of the Early Years Learning Framework.
Resources and Materials
To facilitate dramatic play educators must provide environments that encourage open-ended exploration. A well-stocked prop box is essential containing items like hats scarves and fabric scraps rather than just commercial costumes as this encourages children to use objects symbolically. The environment should include a designated puppet centre with various types of puppets such as hand finger and stick puppets alongside a simple theatre structure. Digital technologies like audio recorders are also valuable tools allowing children to record their stories in advance so they can focus on manipulating the puppets during a performance.
Prop Box & Costumes
- Hats, scarves, fabric scraps, simple capes
- Real-world items: old telephones, bags, notebooks
- Open-ended objects to encourage symbolism
Puppet Centre
- Hand, finger and stick puppets
- Simple theatre frame or curtain
- Materials to make puppets (socks, felt, wool, glue)
Digital Story Tools
- Audio recorders and tablets for scripts
- Playback for self-evaluation
- Tripod or stand for stable recording
Age-Appropriate Learning Experiences
0 - 2 Years (Sensory Interaction & Mimicry)
Interactive Puppet Games
The educator uses a soft hand puppet to play peek-a-boo hiding behind a cloth and reappearing. This helps develop object permanence and visual tracking while gently introducing social interaction. Adapted from Howard and Mayesky (2022) this links to EYLF Outcome 5.1 where children interact verbally and non-verbally with others for a range of purposes.
Howard & Mayesky, 2022, EYLF Outcome 5.1
Mirror Play and Imitation
Place a large unbreakable mirror at floor level. Model simple facial expressions like happy or sad and encourage the infant to imitate them. This fosters self-awareness and mimetic behaviour, the foundation of dramatic role-play. Adapted from Howard and Mayesky (2022) this links to EYLF Outcome 1.1 where children learn to feel safe secure and supported.
Howard & Mayesky, 2022, EYLF Outcome 1.1
2 - 3 Years (Symbolic Roles & Language)
The Prop Box Exploration
Provide familiar real-world items like old telephones bags and hats. Children imitate roles of family members or community helpers and freely explore objects to represent ideas. Adapted from Howard and Mayesky (2022) this supports symbolic thinking and links to EYLF Outcome 4.3 as children transfer and adapt learning across contexts.
Howard & Mayesky, 2022, EYLF Outcome 4.3
Finger Play with Puppets
Use simple finger puppets with familiar rhymes like Two Little Dicky Birds or Open Shut Them. Children mimic actions connecting language with physical movement. Adapted from Howard and Mayesky (2022) regarding fingerplays this links to EYLF Outcome 5.2 where children engage with a range of texts and gain meaning from them.
Howard & Mayesky, 2022, EYLF Outcome 5.2
3 - 5 Years (Narrative & Making)
Story Drama
Use a book like We’re Going on a Bear Hunt as a script for guided pretend play. Move through the environment acting out the grass river and mud scenes to build narrative comprehension and sequencing. Wanerman (2010) notes this approach is highly effective. Links to EYLF Outcome 5.3.
Wanerman, 2010, EYLF Outcome 5.3
Sock Puppet Creation
Design characters using socks glue wool and felt pieces. Perform introductions in a small puppet theatre. Combines visual arts with dramatic expression, giving voice and personality. Adapted from Howard and Mayesky (2022) this links to EYLF Outcome 4.1 regarding creativity and imagination.
Howard & Mayesky, 2022, EYLF Outcome 4.1
6 - 8 Years (Improvisation & Digital)
Improvisation Games
In a small circle start a story with a simple sentence and ask students to act out what happens next without a script. This encourages spontaneous thinking and collaboration as students adapt their acting to fit new ideas introduced by peers. This activity links to the Australian Curriculum for The Arts.
ACARA The Arts, Wanerman, 2010
Digital Puppet Theatre
Students write a short script for two puppets and rehearse the scene. They record the performance with a tablet and then watch the playback to evaluate their voice projection and storytelling clarity. This experience integrates digital technologies with literacy and drama which links to the Australian Curriculum for Technologies.
ACARA Technologies, Howard & Mayesky, 2022
See full references on the References page.