Roshenshine’s 10 Principles of Instruction: Integrating Effective Drama Teaching – Drama Pedagogy
Abstract
This article examines the application of Barak Rosenshine’s ten research-based principles of instruction within the context of drama education. Informed by cognitive science research, studies of exemplary educators, and cognitive support strategies, Rosenshine’s framework offers invaluable insights for drama educators seeking evidence-based teaching methodologies. This review systematically examines the adaptation and application of each principle in drama classrooms, taking into account the distinctive attributes of drama as both an academic discipline and a performing art. The analysis demonstrates considerable potential for enhancing drama instruction through the systematic application of these principles, while recognising the necessity for careful modifications to maintain the creative and collaborative essence of dramatic learning.
Introduction
Drama education occupies a unique position within the curriculum, integrating elements of literature, history, psychology, and physical expression, while simultaneously fostering students’ creativity, empathy, and communication skills. Notwithstanding its recognised educational value, drama instruction has frequently relied more on tradition and intuition than on empirical research about effective pedagogical practices. The principles of instruction articulated by Barak Rosenshine, which are derived from three substantial research sources—cognitive science, studies of master educators, and cognitive support research—provide a framework for examining and potentially enhancing drama pedagogy through evidence-based methodologies.
Rosenshine emphasises that effective instruction should recognise the constraints of working memory, prioritise the development of robust background knowledge, and provide structured support as students gain expertise. These factors are especially pertinent in drama education, where students navigate various cognitive challenges: grasping character motivations, memorising lines, coordinating movements, responding to fellow actors, and linking to overarching themes.
The Ten Principles Applied to Drama Education
1. Begin a Lesson with a Short Review of Previous Learning
Drama instruction benefits substantially from the implementation of regular review activities that reinforce connections to prior learning. In the context of drama classes, this principle can be effectively executed through warm-up exercises that revisit techniques, character work, or textual analysis previously acquired—for instance, commencing each session with a succinct physical warm-up that integrates movement techniques from earlier lessons functions both as a review and as preparation for new work.
The cyclical nature of drama production—where students repeatedly return to scenes with a deeper understanding—naturally supports this principle. Daily review in drama might include:
- Recap of character development discoveries from previous sessions
- Physical warm-ups incorporating previously learned movement techniques
- Quick recitation of memorised lines to maintain fluency
- Review of staging decisions and their rationale
This approach is particularly valuable in drama education because theatrical skills build cumulatively, and students must maintain access to previously developed character insights, physical techniques, and textual understanding throughout the rehearsal process.
2. Present New Material in Small Steps with Student Practice
Drama instruction often involves complex, multi-layered learning that can overwhelm students if presented in large chunks. Rosenshine’s emphasis on small steps with immediate practice aligns well with effective drama pedagogy. For instance, when teaching scene work, effective drama teachers might break the process down into manageable components:
- First, students explore the basic situation and relationships
- Then they examine specific character objectives
- Next, they experiment with one small section of dialogue
- Finally, they integrate movement and staging elements
This step-by-step approach prevents cognitive overload while ensuring students develop solid foundations before advancing to more complex work. The principle is particularly relevant when teaching technical skills such as stage movement, voice projection, or character analysis, where students need time to practice and internalise each element before combining them.
3. Ask a Large Number of Questions and Check All Students’ Responses
Drama education naturally lends itself to questioning strategies, as the interpretive nature of theatrical work generates numerous opportunities for inquiry and exploration. Effective drama teachers can implement this principle by:
- Asking process questions during character development work (“What is your character feeling in this moment?”)
- Using ensemble response techniques where all students demonstrate understanding simultaneously
- Employing “think-pair-share” strategies during textual analysis
- Conducting frequent check-ins during improvisation exercises
The collaborative nature of drama work provides unique opportunities for peer feedback and assessment, allowing teachers to gauge understanding across the entire class while maintaining the interactive atmosphere essential to effective drama instruction.
4. Provide Models
Modelling is fundamental to drama instruction, though it requires careful application to avoid stifling student creativity. Effective drama teachers can provide models through:
- Demonstrating specific techniques (voice, movement, character work)
- Sharing examples of professional performances for analysis
- Thinking aloud during text analysis to model critical thinking processes
- Providing structured examples of character development work
The challenge in drama education lies in providing sufficient modelling to support learning while maintaining space for individual interpretation and creative expression. Teachers must model the process of creative exploration rather than prescriptive outcomes.
5. Guide Student Practice
Guided practice is essential in drama education, where students often work with complex material that requires ongoing support and guidance. This principle manifests in drama instruction through:
- Side-coaching during scene work, where teachers provide real-time feedback without stopping the action
- Structured improvisation exercises with clear parameters
- Collaborative scene analysis where teachers facilitate but don’t dictate interpretation
- Gradual release of responsibility during rehearsal processes
The interactive nature of drama work makes guided practice particularly valuable, as teachers can provide immediate feedback and adjustment while students are actively engaged in the learning process.
6. Check for Student Understanding
Drama instruction offers numerous opportunities for formative assessment, although traditional assessment methods may need to be adapted. Effective approaches include:
- Observing students’ physical and vocal choices during exercises
- Conducting brief individual conferences during independent practice time
- Using reflection activities where students articulate their character choices
- Employing peer feedback systems during scene sharing
The embodied nature of drama learning means that understanding often manifests through physical expression and creative choices rather than verbal responses alone.
7. Obtain a High Success Rate
Maintaining high success rates in drama education requires careful scaffolding and appropriate challenge levels. This can be achieved through:
- Providing roles and responsibilities appropriate to individual student abilities
- Creating supportive ensemble environments where risk-taking is encouraged
- Breaking complex scenes into achievable segments
- Offering multiple pathways to success within creative parameters
The collaborative nature of drama work means that individual success rates contribute to collective success, making this principle particularly important for maintaining productive ensemble dynamics.
8. Provide Scaffolds for Difficult Tasks
Drama instruction frequently involves complex tasks that benefit from scaffolding approaches:
- Character analysis worksheets that guide students through systematic exploration
- Movement exercises that gradually build complexity
- Structured approaches to script analysis
- Peer support systems during memorisation and rehearsal
Scaffolds in drama education must strike a balance between structure and creative freedom, providing sufficient support to enable success while maintaining opportunities for personal expression and interpretation.
9. Require and Monitor Independent Practice
Independent practice in drama education takes various forms:
- Individual character work and line memorisation
- Personal reflection on character development
- Independent script analysis and research
- Solo skill development exercises
Monitoring independent practice requires creative approaches, including regular check-ins, peer accountability systems, and structured opportunities for students to share their independent work with the class.
10. Engage Students in Weekly and Monthly Review
Drama instruction naturally incorporates extensive review through the rehearsal process, where students repeatedly engage with material, increasing in depth and sophistication. Systematic review can be enhanced through:
- Regular reflection activities that help students connect new learning to previous work
- Periodic skill assessments that review fundamental techniques
- Portfolio activities that document learning progression
- Performance opportunities that demonstrate accumulated learning
Challenges and Adaptations
Implementing Rosenshine’s principles in drama education presents unique challenges that require thoughtful adaptation:
Creative Expression vs. Systematic Instruction: Drama education values creativity and individual expression, which can seem to conflict with systematic instructional approaches. However, the principles can be adapted to provide structure that supports rather than constrains creativity.
Assessment Complexity: Dramatic learning involves subjective elements that resist traditional assessment methods. Teachers must develop authentic assessment strategies that honour both technical skill development and creative growth.
Collaborative Learning Environment: Drama education is inherently collaborative, requiring adaptations to individual-focused instructional strategies. The principles must be implemented in a way that supports ensemble building and collective creation.
Embodied Learning: Drama involves physical and emotional engagement that extends beyond cognitive processing alone. Instructional strategies must account for the multi-dimensional nature of dramatic learning.
Implications for Practice
The application of Rosenshine’s principles to drama education suggests several important considerations for practitioners:
- Systematic Skill Development: Drama teachers can benefit from more systematic approaches to building fundamental skills while maintaining creative flexibility in application.
- Formative Assessment: Regular checking for understanding through observation, reflection, and peer feedback can enhance learning without compromising the creative process.
- Scaffolded Creativity: Providing structured support for creative exploration can help students achieve higher levels of success while developing independence.
- Integration of Research and Practice: Drama educators can strengthen their practice by integrating research-based instructional strategies with traditional approaches to dramatic learning.
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Last update on 2025-08-22 / Affiliate links / Images from Amazon Product Advertising API
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