By Teresa Cremin
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6 An invitation to Percy such as creating Bob the Builder’s yard can be motivating and effective. In these contexts children can be prompted to become engaged as speakers, listeners, readers and writers. 7 for an example of a piece of writing that emerged spontaneously from a greenhouse role-play area based on the Percy the Park Keeper books by Nick Butterworth. Child initiated, this invitation to Percy from the fox drew on Callum’s knowledge of the stories and provoked an interesting dilemma for Percy.
How much of the text needs to be revisited/read aloud immediately prior to the drama to contextualise the action? For example, in planning a drama around the picture book Giant by Juliet and Charles Snape, in the context of a unit of work on the environment, teachers could select a number of moments within the tale to explore using different drama conventions. In this tale the Mountain Giant realises that the humans take her for granted and the combined effects of pollution and erosion wear away her desire to remain on the earth.
A wide range of picture fiction texts can be used to support drama in this way with teachers reading some of the texts and then stopping to open up the tale for the children to inhabit in role. Often the text will be left behind as a new narrative based around the children’s interests emerges, built upon the shoulders of the old. Quality examples of such texts include Quetta and The Watertower by Gary Crew, The Snow Dragon by Vivian French, Death in a Nut by Eric Maddern, Nobody Rides the Unicorn by Adrian Mitchell, The Wolves in the Walls by Neil Gaiman, and My Uncle is a Hunkle says Clarice Bean by Lauren Child.