What is the impact of Alive and Kicking Theatre Company’s work on literacy in participating schools?
Alive And Kicking Theatre Company (AAKTC) commissioned this brief study seeking to ascertain whether the literacy-related aims set out for its work were being met. The study has addressed one programme only, “Granny’s Underground Garden”. The impacts of this programme were explored in two schools: St Chad’s Church of England Primary School and St Patrick’s Roman Catholic Primary School.
To explore the impacts and outcomes of the programme, this report looks at
- The aims for the programme
- The inputs by the company
- The immediate responses of pupils and teachers
- Learning outcomes from the programme for pupils and teachers.
This choice of headings is based on the assumption that targeted, quality inputs can create a positive response from participants that in turn can lead to greater engagement, concentration, confidence and motivation, which collectively prepare the ground for improved performance and learning outcomes.
The programme nature
St Patrick’s opted for the ‘standard package’ from AAKTC, two full days of engagement with a team of two actors (Luke and Kathryn), accompanied by a teachers resource pack and a preliminary meeting with the company director.
St Chad’s commissioned a larger programme, comprising the above package plus a more extensive planning relationship, preparatory and intermediate workshops with the director and writer, and a follow-up workshop with the writer.
The thoroughness and effectiveness of the preparatory liaison initiated by the company was complimented.
They have been very flexible. They listen to what we want to get out of the project. They are very well clued up before they come in – what the pupils are like, how they participate. They don’t just come for a day and disappear. (HT St Chad’s)
In both cases the school was making a significant investment of time and money. The extent to which this was deemed cost effective will be discussed later in this report.
The schools’ aims
For both schools the primary aim was to support the improvement of writing skills, with a particular focus on boys’ writing.
After our Ofsted inspection one action plan was about boys’ writing not being up to the standard of the girls’ – we thought it might be about having a context for writing… And speaking and listening, especially for those that don’t often participate – targeting children that might at first seem a little reserved and encouraging them to be a bit more vocal. (Head Teacher, St Chad’s)
For us, it’s been raising the quality of writing first, then speaking and listening of course next, enjoyment, developing confidence, developing the imagination. Creating different ways to stimulate quality writing. In our school, boys’ writing in comparison with the girls’ was weak. (Head teacher, St Patrick’s)
The company’s aims
The company’s aims for this particular programme are perhaps best summed up by an extract from the AAKTC website: (
Literacy is at the very heart of the project. Together we develop characters and invent and write stories of our own. Two full days of live action, role-play, persuasion and team work. The project is aimed at
• getting inside of a story to experience it from different viewpoints
• exciting and inspiring children to use language and put pen to paper
• encouraging problem-solving and developing team work
• placing drama at the centre of the curriculum
The experience – company inputs
Storyline
The two-day programme (involving two actors playing themselves and a multitude of parts) comprised an elaborate storyline, with many episodes, all delivered at a quick pace. Pupils appeared to follow the storyline well, and there was little opportunity for attention to flag. One element appeared to create confusion or distraction for a few: there was little distinction in delivery between reading from Charlotte and Rhys’ journal and reading from the actors’ script.
When they were reading loads of things but were not acting. When they were reading out of the book was kind of boring. We just sit there. The action was good because we could get involved.
When Luke and Kathryn read the story, they always leave the best bit to the end and you have to wait. You forget what’s happened. Two pupils, St Patrick’s.
Session observation indicated that when pupils were asked to recall what had happened in previous sessions, this elicited a great deal of detailed memories of events and atmospheres. But it was not uniform, as one interview expressed,“It’s so long you can’t remember it all. You can’t hold it from last week.” (Pupil, St Patrick’s). While for another, “The details make it. I could probably remember all of it.” (Pupil, St Chad’s)
It may be that more variation in pace, modulation in delivery, and some simplification of the storyline might result in a deeper and more fully absorbed experience for some pupils.
Character
The characters of Charlotte and Rhys, central to the plot, were clearly attractive and compelling for pupils. Their portrayal was very energetic, while being very responsive to the pupils. But perhaps the most notable element relating to the characters was that a very high proportion of pupils (well over 50% in both schools), took turns to play these characters themselves. This was regarded by both pupils and teachers and significant and valuable.
When they picked people, I think they should all be Charlie and Rhys. It was fair – otherwise people would be upset at not having a turn.
Having a turn makes me feel special. If everyone had a turn that would be quite nice.
If you get chosen a second time, I’d just give it to someone else!
(Pupils from St Chad’s)
A teacher noted the sensitivity needed to make this approach work.
They seemed to be good at picking out the ones that could cope and avoiding the ones who would start crying – but keeping them part of it.Teacher, St Patrick’s.
Visuals
Although the programme toured with minimal set and costumes, everything that was brought in was used to great effect. When pupils were asked in interview what was most memorable, the visual elements were foremost – in particular the Worzlum’s costume, “the way Catherine dressed up as the Granny” and Luke dressing up as the dance teacher.
The maze, a section of the story for which no visual propwas provided, was identified by pupils as very memorable. This may have been because of the very clear mind picture created by the actors.
Modes of participation
Pupil participation comprised a very high proportion of the two days spent in each school by the two actors. Participation involved individual, pairs, small group or whole class activity. It took an impressive variety of forms such as -
- ‘occupational mime’ (miming the tasks to sail a ship, establishing a village in historical times, or hanging out Granny’s washing)
- movement (dancing to the instruction of a comical dance teacher – particularly effective as an ice-breaker to get all pupils into physical participation)
- enacting a story told by the actors (e.g. the story of the Baron extracting his taxes)
- telling their own stories, such as their own granny’s most embarrassing habit
- rehearsing and performing arguments between characters
- persuading a character to take a course of action
- making sound effects for a story and
- recollecting and describing previous events in the story.
In several of these examples, a number of pupils would be invited to demonstrate or tell to the whole class. What might have seemed somewhat repetitive to an outsider was fundamental to the effectiveness of the programme. It validated individual contributions and allowed pupils to learn from each other. Several of the modes of participation were very clearly aimed at literacy, and in particular talking and listening skills. The outcomes of this will be discuss later.
Writing did not feature prominently within the programme itself, although one drawing exercise did require that pupils label their picture with sentences rather than single words, an effective approach according to one of the teachers. The intention and expectation was that writing would follow the engagement with the actors, and clearly this has been the outcome from previous AAKTC programmes.
The extensive resource pack provided by the company may eventually prove valuable to the teachers, but at the time of data collection had not featured strongly in work done by the teacher around the programme. One headteacher referred to the value and obstacles to using the resource material.
‘It varies. Next time I would say to staff, download it before a certain date. It’s just the rate of work really. And in the past theatre companies just came and did it. Now they (teachers) know they can extend the work after they’ve gone.’Head teacher, St Patrick’s.
The company might like to consider the scale of the resource pack. While extremely comprehensive, it may be off-putting for its mere size!
Additional session (St Chad’s)
St Chad’s School commissioned additional sessions from the writer and director of the programme, to further support literacy development. These were not as comprehensively valued as the main programme by one teacher from Year 4.
I think they engage more with Catherine and Luke, because they are doing the hall, the characterisation of Rhys and Charlotte. But with Martin and John, they are not on the same level as these children. Catherine and Luke can drop it down more to this age range. And there’s more structure to their work. Unstructured work by Martin and John has been harder for them to cope with. John and Martin see children not engaged and home in on them – that’s not something I’ll do. Luke and Catherine are more sensitive and get quiet ones up with other people. The pupils do like a structure, to know where things are going. It wasn’t always very clear what was expected of them. Certain things Luke and Catherine do are more suited to these children…It wasn’t anything new to me in terms of how to structure a story.
However, the teacher from Year 3 commented:
The parents keep coming up to me and telling me that the children are talking non-stop about the project at home. There’s one boy who has trouble keeping focus and I have never seen him so engaged. There’s one child really stepped into the limelight. I didn’t realise she was such an actress. That first session when she took the role of Queen and started giving us all our orders – she was amazing. One of the girls had never spoken until now!
I will be teaching Year 6 next year and the drama work has inspired me. I will use some of the techniques to open up stories and help the children to get inside the characters. It was really helpful for literacy – especially for the boys. They came up with some really good ideas for new stories afterwards. The children are now writing their own stories and are very enthused and excited about it.
I will be using Martin’s idea of a “safe scribble book of ideas” in my literacy work with year six next year.
The Year 4 teacher felt that these additional sessions could have been ‘condensed’. However, some pupils had a different perspective on Martin and John’s work.
I liked all the five tasks, it was quite fun. In the five tasks everyone was involved. Luke and Catherine picked people to do the main parts. Martin and John had everyone doing the parts. Pupil, St Chad’s
The experience – pupil impacts and responses
Focus and engagement
From session observation, teacher interviews and pupil interviews it is clear that there is a very high level of focussed engagement during the actors programme sessions. In both schools teachers were particularly impressed by the level of concentration and attention from boys.
I’ve seen some that would not engage as much in lesson time as they do in the drama. Some can’t physically write stuff down, but are verbal.Teacher, St Chad’s.
They are normally a lively fidgety class, needing lots of short activities. They were able to sit for much longer before they got fidgety. Especially with it being warm. They kept them engaged and motivated for 5 hours, and kept them included in everything. Teacher, St Patrick’s
Concentration? For some of them, yes. The one who didn’t want to save Granny – he has a very short span, and for him to not lose his concentration was very good. Teacher, St Patrick’s
It was proper good.It was exciting and fantastic. It got excitinger each week. Pupil St Chad’s.
Confidence
Pupils and teachers alike referred to the impact of the programme on pupils’ confidence as apparent during the programme itself.
A lot more joining in that I would have expected. The chance to rehearse gave a push to doing it in the centre on their own. Some that had a go I thought would be shy, but they went for it...Yes, they’ve all definitely enjoyed it, hands up, wanting to have a turn. They all felt safe and comfortable enough to join it. Teacher, St Patrick’s.
A carefully thought through process, supporting pupils with varying levels of confidence resulted in a sense of achievement for a very substantial number of pupils.
Boys have engaged particularly well… In terms of verbal confidence, knowing that they’re not going to be wrong…Especially for those who are a little quieter, we see the effect back in the classroom, because they have had this vehicle for being able to articulate themselves without fear of being wrong, It’s building self-esteem and confidence in some of our less social children, and it’s often been those who are most affected. Teacher St Chad’s
I think it made people that were scared of things, it made them stronger. Don’t be afraid, because like in the story - pretend you’re OK. Pupil, St Patrick’s
But the confidence and willingness to express did not impact solely on the pupil who was being confident. It also altered their image in the eyes of other pupils and teachers.
I’ve been through(the hall) several times and seen pupils who others wouldn’t necessarily have said, ‘they’ve got good ideas’. And it builds their confidence, so as soon as you’ve got a bit of confidence you’ll have a go at other things.’Head Teacher St Patrick’s
I thought the first (boy who played) Rhys was very good – I didn’t think he’d do anything. I’d never have expected him to do that. It’s been useful being able to see what he can do. He’s usually on the edge, middle ability. I wouldn’t have expected him to do that. I’ve seen another side of him. Teacher, St Patrick’s.
The experience –teacher response and impacts
Observing their class
The programme provided a rare opportunity for teachers to observe their pupils working with another adult, often with surprising outcomes. This was particularly valued.
Useful that I could sit back, take pictures and write notes. If I’d been actively involved more there would have been lots I’d forget. It’s important to watch what’s going on. It’s important for the children to see that the teacher is valuing what they are doing as well. Teacher, St Patrick’s.
During session observation the teachers were seen to be enjoying themselves as well.
I like trying new things and if something is not working, if I’m not excited by it, the kids won’t be. AAKTC has excited me. It suits my teaching style. Teacher, St Chads
Outcomes
Writing
Both head teachers interviewed were very clear about the impacts of AAKTC programmes on pupils’ writing development, and that they had evidence to back up the claim. That said, they did not ascribe any improvements in writing attainment to AAKTC alone. Rather, they saw the work of the company as a support for improved attainment.
‘Look at the wall (outside the office), and teachers’ feedback. And pupils’ feedback. Pupils have absolutely been enthralled – loved it. Teachers haven’t had to spend time getting them involved. I’ve seen some (writing) used as assessment pieces. If we look at the level of writing before, the quality of writing, for some boys in particular, it’s been a good leap, which is what we wanted… If a child realises that writing can be an enjoyable activity, that writing is fun - particularly for boys, they see a pencil and want to turn off - if they can see this is fun, I think boys can be really creative.’Head Teacher, St Patrick’s
We certainly have seen improvements in writing over the year, an improvement in writing skills that we attribute in part to AAKTC’s work, though we have had other initiatives in, but we attribute some of the improvement to AAKTC’s work – it has inspired children to write outside the box. We feel we have evidence of the link between AAKTC inputs and improved writing. I’m getting that feedback from the staff who have worked with them…We are evidencing this by monitoring the pupil written work that is resulting from this. It is improving. And we are getting tracking data that shows that writing attainment levels have improved this year. We have also remodelled the curriculum slightly more on basic skills, which is also helping - so I can’t claim that what AAKTC is doing is bringing about all that change, but I am certain that the work of AAKTC is supporting this. Head Teacher, St Chad’s