1. Imagination
Is The
Beginning
Buere, Michelle A.
BSED-III
World Citi Colleges
Antipolo

2. “Imagination is more
important than knowledge.
Knowledge is limited.
Imagination encircles the

3. IMAGINATION
The fact of imagination has long been
recognized, but it is only recently that the
value of imagination has been hailed.

4. “The spark that makes the human the
paragon of animals”
-Shakespeare
“Probably the oldest mental trait is
typically human-older than discursive
reason; it is probably the common source
of dream, reason, religion, & all true
general observation”
-Susanne Langer

5. CONCENTRATION
The capacity to hold an idea long
enough to do something about it. It is
not enough to glimpse an idea; the image
must be held enough for action to follow.

6. ORGANIZATION
When players are able to focus their
attention on their material, they can get
down to the business of organizing it.

7. – Organization does not mean the imposing of
conventional form but rather an
arrangement of parts or material to
achieve order.

8. CREATIVITY
It can be thought of in terms of product
or process, depending on whether we are
concerned with the solution to a problem
is solved.

9. • Creativity as process may be manifest in a
new way of seeing, a different point of
view, an original idea, or a new relationship
between ideas.
• Creativity refers both to the cognitive and
the affective life & is the result of conscious
& unconscious effort.

10. BEGINNING EXERCISES FOR
IMAGINATION
Determinants before you start your
exercise:
Age
Experience
Number in the group
Size of the playing space

11. Music or even a drumbeat will enhance
the mood & help to focus the attention.
How?
Have the group walk to the beat of the
drum. As the group becomes comfortable
& relaxed, the beat can be changed:
rapid, double time, slow, etc.

12. The participants, on listening for the change in
beat, forget themselves & are usually able to
use their entire bodies.

13. From purely physical body movement, the
teacher may move on the mood.
How?
If the group has been walking to a
beat, he or she may suggest that there is
green grass underfoot: “How does it feel
you? Your feet are tired. Think what it is
like to put them down on soft, cool grass.”

14. As participants imagine they are running
across the hot sand, stepping over
puddles, crossing a creek, wading through
snow, each suggestion stretches the
imagination a little more.

15. Favorite activities such as flying
kites, jumping ropes, playing hopscotch &
stick ball, & playing with jacks provide
opportunities for using imagination.

16. The following game was introduced by a drama
teacher from Israel:
• The class is seated in a circle on the floor. After
introducing themselves, the student are asked to
put some personal object in the center of the
circle. The more unusual the object, the better.
The teacher goes around the circle, asking the
players to try to remember to whom object
belongs & to return it to its owner.

17. A blackboard & colored chalk. One student
after another goes to the board & puts a mark
or drawing on it. When everyone has had a
turn, second turns are taken. The mural
created by the class is then described &
interpreted. The more abstract it is, the more
imaginative the interpretation will probably be.

18. Games are generally thought as warm-
ups or enjoyable activities, but they also
have other values:
They provide a framework for communication
They impose rules that develop discipline &;
Self-control in the players

19. SELF-EXPRESSION
Creative drama implies self-
expression, hence the necessity of the
participants’ involvement beyond merely
imitating action.
We are concerned with their
developing freedom & the ability to
express themselves.

20. COMMMUNICATION
Although communication is the
responsibility of the formal theatre, there
comes a time when the participants want
to share their work in creative drama, &
this sharing involves communication
skills.

21. One procedure used successfully by many
teachers is the playing-discussing-
replaying method.
Children’s criticism is honest & their
observation are keen.

22. As the group gains experience, its
member ability to communicate will
increase.
• Young children, because of their limited
vocabulary, communicate more easily
through body movement & facial
expression

23. • Older Children are not only better able to
express themselves verbally but also enjoy
improvising dialogue.
• Adult students, depending on background
& previous experience, will fee; more
comfortable in one medium on or other, but
most comfortable with oral discussion.

24. DISCIPLINE
When discipline has been established, both
teaching & learning become a far more pleasant
& satisfying experience.
Part of the problem some teachers have
with discipline is a misunderstanding of John
Dewey’s Philosophy, “believing that freedom
consists of allowing students to do as they
please”.

25. The dream of most teachers today is
a classroom which freedom reigns
within a structure that
supports, encourages, & protects the
rights of each individual.

26. To achieve this, teachers must establish
order.
 Insisting on ground rules to which all adhere
 Self-discipline can be achieved
 Permitting each member of the group to
pursue his or her own interests & goals while
respecting the rights of others.

27. PROBLEMS IN CREATIVE PLAYING
Self-consciousness
Timidity
Exhibitionism
Isolation
Insensitivity
Distraction
Violence
Physical Disabilities

28. Other problems
Pressures
Social Mobility
Broken Homes
Television Programs
Violence
Economic Problems

29. EVALUATING CHILDREN’S RESPONSES
Some questions to evaluate children’s
responses:
Have the students in class become a group?
Is there sincerity in their work?
Have verbal skills improved-speech, voice, &
diction, vocabulary, & the ability to express
ideas orally?
Does the noise level reflect industry &
enthusiasm?