PUPPETRY AND

CREATIVE
DRAMATICS
in storytelling
By Connie Champlin
Illustrated by Nancy Renfro
Wheaton Public Library
WHEATON, ILLINOIS
 Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation

https://archive.0rg/details/puppetrycreativeOOOOcham
 WHEATON PUBLIC LIBRARY

sg s
J 372.64 CHA
Champlin, Connie. 1980
Puppetry and creative dramatics in story

3 5143 00133277 9

J 372.64 CHA

Champlin, Connie

Puppetry and creative

dramatics in storytelling

MAR 1987

Wheaton Public Library

225 N. Cross
Wheaton, Illinois 60187
PUPPETRY AN D
CREATIVE
DRAMATICS
in storytelling
By Connie Champlin
Illustrated by Nancy Renfro
 Puppetry in Education Series

A PUPPET CORNER IN EVERY LIBRARY

PUPPETRY AND THE ART OF STORY CREATION

PUPPETRY AND CREATIVE DRAMATICS IN STORYTELLING

Copyright © 1980 by Connie Champlin

all rights reserved
Published in the United States of America by
Nancy Renfro Studios 1117 W. 9th Street, Austin, Texas 78703
Library of Congress PN1979.E4C47 372.6’4 80-15477
ISBN #0-931044-03-0

All photographs by Connie Champlin, Lauren Stockblower and Nancy Renfro

COVER CREDITS

front: Photo by Lauren Stockblower

Matthew Teeter, Michael Yukica and Ander Longenderfer
Central Baptist Nursery School

back: Photo by Connie Champlin

Laura Price with plastic bottle puppet
Puppet idea by Frank Wickham, 6th grade teacher
Laura Dodge Elementary School, Omaha, NE
For Jack
who believed
THE CHILDREN:

Laura Price
Danny Potter
Gina Weberg
Jason Wynn
Angela Newnham
Nora Rashid
Kathleen Traurig
Brian Whittenbrook
Staci Davis
Bradley Kuhn
Kimberly Carlisle
Savannah Gorell
Eric Pumphret
Paul Briggs
Sarah Turman
Brett Goss

Kevin Ascherfield
Monica Arellani
Robin Foye
Daniel Cassles
Robert Torres
Paula Meyer
Matthew Teeter
Michael Yukica
Ander Longenderfer
Emily Powell
Rebecca Dohner
Kerry Francis
Timothy Schrodel
Maria Angelo
Terry Naraine
Garwell Harrison
Kylon Rolles
Carrie Wais
Brian Yauger

THE SCHOOLS:

Mason Elementary School—Omaha, NE

Laura Dodge Elementary School—Omaha, NE
Edison Elementary School—Omaha, NE
Mommouth Park Elementary School—Omaha, NE
Clifton Hill Elementary School—Omaha, NE
Rosehill Elementary School—Omaha, NE
Dundee Elementary School—Ohama, NE
Cunningham Elementary School—Austin, TX
Texas State School for the Deaf—Austin, TX
Cedar Creek Elementary School —Austin, TX
Belmont Street Community School — Worcester, MA
Mercer Crest Elementary School — Mercer Island, WA
Central Baptist Nursery School—Wayne, PA
ACKNOWLEDGEMENTS

The ideas for this book developed from my master’s thesis in drama.
Many people have contributed to its final shape. My sincere thanks to:

The children of Belmont Street Community School in Worcester,

Massachusetts, and Mercer Crest Elementary School in Mercer Island,
Washington who participated in my learning.

Nancy Renfro for her friendship and support of my work.

Agnes Haaga, my thesis advisor at the University of Washington, for

her suggestions.

Dr. Fred Anderson, Director of Media Services, Omaha Public

Schools for the opportunity to experiment and develop new projects.

Teachers, librarians, and children of the Omaha Public Schools for

sharing their creativity with me, especially Carol Anderson, Art Super¬
visor, Mary Heise and Barb Kennedy, Librarians.

Ann Weiss Schwalb, Children’s Librarian, Tredyffrin Public Library

of Strafford, Pennsylvania, who serves as chief editor and consultant for
this Pupperty in Education book series.

The children of: Cunningham Elementary School, Austin, Texas, and

instructor Carmen Di Nino; Central Baptist Nursery School, Wayne,
Pennsylvania, and director Carol Tatta; and Zachary Scott Theater,
Austin, Texas, and creative dramatics teacher, Alice Wilson, for allow¬
ing us to photograph storytelling in action.
I

Puppeteers of America and The Puppetry in Education organizations

for expanding my knowledge and broadening my perspective of pup¬
petry.
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TABLE OF CONTENTS

Introduction 11
How To Begin 13
The Elves and the Shoemaker (Imagination) 17
Using a prop to stimulate imagination.
PIERRE (Dialogue) 25
Expressing mood and feeling through dialogue.
MILLIONS OF CATS (Conflict) 29
Using voice to express conflict.
THE STORY OF THE THREE BEARS (Storytelling
with free standing puppets) 35
Creating dialogue with puppets.
THE HAIRY TOE (Sound effects) 45
Creating atmosphere with sounds to express the mood of a story.
TOO MUCH NOISE (Storytelling with rod puppets) 51
Correlating puppet actions and sounds to create a story.
THE TREE THAT TRIMMED ITSELF (Sound and action) 57
Using sounds and actions to tell a story.
BIOGRAPHY (Sequence game) 63
Utilizing pantomime and dialogue to convey a storyline.
INTERVIEW (Characterization) 71
Developing characterization through dialogue.
RAIN MAKES APPLESAUCE (Frozen pictures) 79
Using dramatic action to bring illustrations to life.
GONE IS GONE (Activity pantomime) 85
Pantomiming a character in action.
THE FUNNY WOMAN (Narrative pantomime) 89
Becoming a character involved in the action.
MIKE MULLIGAN AND HIS STEAM
SHOVEL (Group creations) 97
Creating a machine character.
THE BORROWERS (Create the where) 103
Using imagination to create the story environment.
COSTUME AND SOUND EFFECT RESOURCE CENTER 109
BIBLIOGRAPHY 117
INTRODUCTION

Children grow and learn through play. Dramatic play, in which a child
“becomes” a part of a story, stimulates the imagination, develops lan¬
guage, and gives children great delight.

Imagine a child’s excitement in creating voices for puppet characters

from folklore. Images painted in a poem are sharpened in the eye of
the mind, as a child interprets them through pantomime. Creating sounds
and actions for a story involves a child in three broad avenues of experi¬
ence: physical, emotional, and intellectual. Combining drama with chil¬
dren, good literature, and an enthusiastic leader results in an exciting
literature program.

Some of the ideas described in this book can be incorporated into the
story as you are telling it; others might be more appropriate to do after
the story is told. The concept is to involve you and the students into
drama slowly, with exercises that build on one another. The beginning
activities involve imagining and making sound effects within the security
of a group situation. Gradually those activities requiring more individual
participation are introduced.

If you have not been using drama you may wish to do the activities as
sequenced. However, if participation is not new to you and the children,
you may decide to select and do activities according to your own
interests.

As you begin, keep in mind these two keys to success—be well pre¬
pared and enjoy yourself.

11
HOW TO BEGIN

Rather than making it an entirely new activity, incorporate drama into

your existing program. Use of storytelling techniques and finger plays
are standard in most library programs; the next time you share a story,
ask the children to help by contributing the sound effects (from objects
and instruments found in your sound effects resource box.) Or you might
set up a “Costume Corner” with samples of hats, scarves, and other
finery which children can use to become characters from a story. You’ve
begun to use drama.

—BE CONFIDENT. The children are going to enjoy being involved. Use a
physical environment in which you feel most comfortable. Select stories, poems
and activities you completely enjoy; attitudes and feelings are readily discerned
by the audience and, in fact, are often mirrored by the children. Practice reading
or telling the story before actually doing it with your audience. You might wish
to begin with a small group the first time you do an activity.
—EXPLAIN THE ACTIVITY CLEARLY AND CONCISELY TO THE
CHILDREN. Help them focus their concentration by asking key questions. Be
sure all the children understand what they are going to do before you begin.
—BEGIN WITH STRUCTURE. This is particularly true when dramatic in¬
volvement is new to the children. They may not know how to respond to this new
type of freedom and responsibility. You and the children will feel more comfort¬
able working within a limited space at the beginning. It is easier to allow the
children more space and greater participation when they are ready for it, than it is
to restrict them once they have begun.
—BUILD IN A CONTROL FACTOR AT THE BEGINNING OF EACH
ACTIVITY. You might use a simple clap of your hands, a word signal, or drum
beat at which everyone freezes. If children become overexcited you can immediately
have them freeze. Then you may either give a new direction or discuss what is hap¬
pening, and then continue.
If one child begins to bother others, speak to him/her about unacceptable be¬
havior. If the disruptive behavior continues, ask the child to leave the group.
—USE YOUR VOICE OR MUSIC TO CREATE AN ATMOSPHERE. This
will help the children become involved.

13
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 —BEGIN WITH GROUP ACTIVITIES IN WHICH ALL THE CHILDREN
PARTICIPATE SIMULTANEOUSLY. Later, you may wish to have children
working in pairs and then in small groups. Children should not “act” in front of
others until they are ready and willing to do so.

—NEVER FORCE A CHILD TO PARTICIPATE: Some children may be

reluctant at first; let them be non-participating members of the group until they
are ready to join in the activity. On the other hand, do not allow a child who is
not involved to spoil the activity for others through disruptive behavior.
Before beginning an activity, tell the children if they do not wish to participate,
they may sit apart from the group and watch quietly.

—DO DRAMA IN YOUR OWN WAY. Adapt activities in accordance with

your own ideas and experiences.

15
 m
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A simple paper bag costume.

 IMAGINATION
DRAMATIC
ACTIVITY: Using a prop to stimulate imagination.

LITERATURE: Grimm, Jacob and Wilhelm. The Elves and the Shoemaker.

TO THE LEADER: An object related to a story can be used to stimulate a child’s imagina¬
tion. For example, a shoe has an apparent and well-known function in
“The Elves and the Shoemaker.” The shoe in this story is central to the
plot. Using this object as a focal point, develop experiences and key
questions which encourage children to stretch their imagination.

PREPARATION: Collect several types of shoes, for example, a heavy boot, high heel,
ballet slipper, Indian moccasin.

Display books about elves and versions of “The Elves and the Shoe¬
maker.”

INTRODUCTION: “How many different kinds of shoes can you name?”

Hold up a shoe. “How would you walk if you were wearing a pair of
shoes like this one?” If the space is too small for all to move at once,
show shoe to a small group and have them “walk” for the class. Ask
class to name type of shoe being worn. Repeat activity with several types
of shoes, allowing a different group to “walk” each time.

PRESENTATION: “Who makes shoes?” Discuss how shoes are made. With group sitting,
pantomime together the processes involved in making shoes; cutting
leather, sewing pieces together, hammering, etc.

17
 “What do you think an elf looks like?” Accept all ideas. “Listen as I
tell the story of ‘The Elves and the Shoemaker’ and imagine what the
characters look like.”

Tell the story. After the story, let the children discuss why the elves
helped the shoemaker.

Invite children to draw their interpretation of the elves or the shoe¬

maker. Share their illustrations and then examine illustrations of elves
from books. Stress that there is no one way of portraying a character.

FOLLOW-UP: 1. Versions of “The Elves and the Shoemaker:”

Grimm, Jacob and Wilhelm. The Shoemaker and the Elves. Ulus, by Ardienne
Adams. Charles Scribner’s Sons, I960.'
_ ^ . The Fairy Tale Treasury. Edited by Virginia Haviland. Coward,
McCann and Geoghegan, 1972, Pp. 118-21.
Littledale, Freya. The Elves and the Shoemaker. Four Winds, 1975.

2. Display other books about elves.

Adshead, Gladys F. Brownies—Hush! H. Z. Walck, 1938. A modern version
of “The Elves and the Shoemaker.”
Belting, Natalia. Elves and Ellefolk. Holt, Rinehart and Winston, 1961.
Findgren, Astrid. The Tomten. Adapted by Astrid Findgren from a poem by
Viktor Rydberg. Coward McCann, 1961.
Palmer, Robin and Doane, Pelagie. Fairy Elves. H. Z. Walck, 1964.

VARIATIONS: 1. Create a puppet from a found object.

2. Introduce other stories using objects to stimulate imagination.

a. Box
Ask children, “What do you think is in this box?” Children may either
tell what they think, or open the box and show what they think is in it.
After the story give them an opportunity to react to the box as it was
represented in the story.
Benson, Sally. “Pandora, the First Woman.” In Sally Benson, Stories of the
Gods and Heroes. Dial Press, 1940. Pp. 29-34.
Rudolph, Marguarita. I Am Your Misfortune. Seabury Press, 1968.
Craig, Jean. A Dragon in the Clock Box. Norton, 1962.

b. Stone
Baylor, Byrd. Everybody Needs a Rock. Scribner, 1974.

18
 Brown, Marcia. Stone Soup. Scribner, 1947.
Crampton, Anne Eliot. The Lifting Stone. Holiday, 1978.
Seskin, Stephen. Stone in the Road. Van Nostrand, 1968.

c. Clock
Bellairs, John. House With a Clock in Its Walls. Dial Press, 1973.
Hutchins, Pat. Clocks and More Clocks. MacMillan, 1970.

d. Bag
Balian, Lorna. The Aminal. Abingdon, 1972.

3. Display a variety of unusual props, such as an ostrich feather, worn

top hat, rusty key. Individually or in small groups encourage children
to develop a story around the prop. Stories can then be dramatized,
written and/or illustrated.

19
Puppets From Found Objects
-Jo
 PLIERS

/
 A BROOM PUPPET

22
This presentation of The Shoemaker and The Elves by older students
is narrated completely from a newspaper, by a reporter.
 DIALOGUE
DRAMATIC
ACTIVITY: Expressing mood and feeling through dialogue.

LITERATURE: Sendak, Maurice. Pierre. Harper & Row, 1962.

TO THE LEADER ; Stories, such as Pierre, which contain a response repeated by one or
more characters, provide an opportunity for children to express meaning
and feeling through their voices. When students say “I don’t care” as
Pierre, they are using only their voice to communicate characterization.
Each child decides for him/herself what a character is like. The child
must then decide how to express with his/her voice the character’s
opinion of the remarks made by other characters in the story. Allow each
child to discover his/her own way to interpret and respond to the situa¬
tions presented in the story.

INTRODUCTION: Write a sentence such as “1 don’t want to play with you” on the board.
Ask a child to say the sentence.

“Can anyone say this sentence in a different way?” Encourage children

to find as many varied ways of saying this same sentence as possible.
Help the children to discover that by putting emphasis on different words
new meanings are created.

PRESENTATION: “I’d like you to help me tell a story about a boy named Pierre. Through¬
out this story, Pierre replies. “1 don’t care” to everything that anyone
says to him. He says “I don’t care” once too often and something dread¬
ful happens. When I point to you during the story, say T don’t care’ as
if you are Pierre.”

Tell the story pointing to individual children to supply the dialogue.

25
FOLLOW-UP: 1. Present stories about characters who do care and cooperate.
Delton, Judy. Two Good Friends. Crown, 1974.
Grimm, Jacob and Wilhelm. The Bremen Town Musicians. Ulus, by Paul
Galdone. McGraw Hill, 1968.
Holmes, Efner Tudor. Carrie’s Gift. Collins-World, 1978.
Marshall, James. What’s the Matter With Carruthers? Houghton, 1972.

2. Read some poems about other children who didn’t care. Compare
their fate to Pierre’s.
Hoffman, Heinrich. “The Story of Augustus Who Would Not Have Any
Soup.” In William Cole (Comp.), Beastly Boys and Ghastly Girls. World,
1964. Pp. 48-9.
Rands, William Brightly. “Godfrey Gordon Gustuvus Gore.” In William Cole
(Comp.), Oh, That’s Ridiculous. Viking, 1972. Pp. 42-3.
Silverstein, Shel. “Sarah Cynthia Sylvia Stout Would Not Take the Garbage
Out.” In Shel Silverstein, Where the Sidewalk Ends. Harper & Row, 1974.

VARIATIONS: 1. Other stories to use for creating dialogue include;

Carle, Eric. Have You Seen My Cat? Watts, 1973.
Galdone, Paul. The Little Red Hen. Seabury, 1973.
Leister, Mary. The Silent Concert. Bobbs Merrill, 1970.
Mendoza, George. “The Devil’s Pocket.” In George Mendoza, The Crack in
the Wall and Other Terribly Weird Tales. Dial Press, 1967. Pp. 5-15.
Poulshkin, Maria. Mother, Mother I Want Another. Crown, 1978.
Richter, Mischa. Quack? Harper, 1978.

Use paper envelope puppets to characterize dialogue.

2. Tuck flap of envelope inside. 3. Gently "bite” finger of other hand

1. Paper envelope. to form mouth. Straighten out
Place hand inside as shown.
mouth if wrinkled.

To the basic head add ears, jaws, a funny nose or a trunk for an elephant; bend
back the tips to make a snout for a pig.
For extra strength, use two envelopes, doubled up. Envelopes may be painted,
but allow to dry well before using. Also, use better quality envelopes because
cheap quality ones tend to fall apart when painted.
Paper-Envelope Puppets
VARIATION

PIERRE

/Z&ypL.

LION
 CONFLO
DRAMATIC
ACTIVITY: Using voice to express conflict.

LITERATURE: Gag, Wanda. Millions of Cats. Coward-McCann, 1928.

TO THE LEADER: Millions of Cats is a picture book written in folktale style. It is the story
of a lonely old man and woman who want a cat. The rhythmic refrain
repeated throughout the story heightens the old man’s problem. He can¬
not decide which cat to choose so he brings home “hundreds of cats,
thousands of cats, millions and billions and trillions of cats.”

The children participate in the story’s conflict and its resolution by

chanting the refrain and becoming the voices of the fighting cats.

PREPARATION: Print the refrain on a posterboard:

Hundreds of cats,
Thousands of cats,
Millions and billions and trillions of cats.

Arrange book display.

INTRODUCTION: “Have you ever seen a million of anything?”

Develop the idea that a million is an extremely large amount—blades

of grass, grains of sand. This will aid the children in enjoying the humor
of the story.

“Today I’m going to tell a story about millions of cats. I need your help.”

29
PRESENTATION: “There’s a section of the story that is repeated over and over, like a
chorus in a song. In a story the chorus is called a refrain. Listen while I
say the refrain for our story; ‘Hundreds of cats, thousands of cats, mil¬
lions and billions and trillions of cats.’ ”

Have the children practice saying the refrain several times. Display the
poster where it can be seen.

“There’s a part in the story where the cats have a terrible argument. What
sounds do angry cats make?” Allow children time to respond.

“When I hold up my hand closed in a fist like this (demonstrate) it will

be your signal to get ready to make fight sounds. When I begin to open
my fist, you start quietly to make cat sounds. The more I open my fist,
the louder your sounds should become. When my hand is open the fight
should be at its peak. As I begin to close my hand, make your sounds
become quieter and quieter. When my fist is closed again, there should
be no sound at all. Let’s try it. Remember to keep your eyes on my fist.”

Practice several times until the children can regulate volume according
to your hand signal.

Tell the story with or without the book. Encourage children’s participa¬
tion with voice and eye cues.

FOLLOW-UP: 1. Introduce other books by Wanda Gag:

—ABC Bunny. Coward, 1933.
—Funny Thing. Coward, 1929.
—Nothing at All. Coward, 1941.
—Jorinda and Joringel. Coward, McCann & Geoghegan, 1978.

2. Display books about real cats.

Burger, Carl. All About Cats. Random House, 1966.

Selsam, Millicent E. How Kittens Grow. Four Winds, 1975.
Ylla. I’ll Show You Cats. Harper & Row, 1964.

VARIATIONS:
1. Tell the story using paper strip puppets or paper plate masks.

2. Tell the story Millions of Cats again with the children using rhythm
instruments in addition to their voices to show the conflict.

3. Tell the story “The Fisherman and His Wife” in this manner. The

30
 conflict in this story is seen in the changing form of the sea. One group
can chant the refrain:

Flounder, flounder in the sea,

Prithee harken unto me,
Ilsebil, my willful wife.
Does not want my way of life.

Another group may use rhythm instruments to make the sounds of the
sea. A third group uses its voice to create the changing sounds of the
wind. The intensity and volume of the sounds will show the growing
story conflict.

Versions of “The Fisherman and His Wife” include:

Grimm, Jacob and Wilhelm. The Fisherman and His Wife. Ulus, by Madeleine
Gekieve. Pantheon, 1957.
_The Fisherman and His Wife. By Harve and Margot Zemach.
Norton, 1966.
_Grimm’s Fairy Tales. Foiled, 1968. Pp. 78-81.
_Tales From Grimm. Translated and illus. by Wanda Gag.
Coward, 1936. Pp. 149-68.

JijL

Paper-Plate Masks
Paper-Strip Puppets
1. Cut a strip of construction paper 4" x 12".
2. Fold in half.
3. Fold in quarters.
4. Open out ends and create a simple face on front flap section.
Operate puppet from back as shown.
These three boys are shown in a free playing situation
interpretating The Three Bears to their own style.
 STORYTELLING WITH
FREE STANDING PUPPETS
DRAMATIC
ACTIVITY: Creating dialogue with puppets.

LITERATURE: The Story of the Three Bears, a traditional story.

TO THE LEADER: The stories described in this section are similar. Each has a single theme,
uncomplicated plot, and is familiar to the children. The dialogue is
simple and moves the action of the story forward. The dialogue matches
the action of the characters; it is the action spoken.

By providing the voices of characters, children are able to live the story
more completely. Because the whole group responds together, the less
secure child will not feel threatened. The children remain in their seats
while participating in this dramatic experience.

PREPARATION: Make the puppets. The puppets are designed to stand independently
allowing you to use more than two puppets at a time. (Instructions fol¬
low.)

Practice telling the story using the puppets and supplying all the dialogue
yourself.

Since the children will be asked to supply the dialogue during the story¬
telling, be sure they are familiar with the story.

PHYSICAL
SETTING: Manipulate the puppets on a low bookcase or table as you tell the story.
Children sit on the floor in front of you.

INTRODUCTION: As children enter the library their interest will be aroused by seeing

35
 Mama, Papa, and Baby Bear puppet in place on top of a table or book¬
case. Make sure Goldilocks is out of sight but close at hand.

Ask the children if they know what story will be told. Ask if there are any
other characters in the story. Bring Goldilocks forward. “Why is she
called Goldilocks?”

PRESENTATION: Discuss the setting for the story.

“Where does the story take place?”
Describe the forest, pointing out a tall pine tree, a tiny mushroom, a babbling
brook, etc. Have children close their eyes and imagine what the forest
looks like and what sounds they would hear.

“Where do the Three Bears live? How many rooms are needed in this story?”
Show with your hands which section of the table will be the kitchen, living
room, bedroom. Ask the children to imagine what the house and its
furnishings look like.

Discuss the characters in the story.

Introduce each puppet and invite the children to say “Good Morning” as if
they were the character.
Review incidents in the story and ask how each character feels and responds,
such as:

“How does Baby Bear feel when he sees his broken chair? What does he say?”
“How does Papa Bear sound when he becomes angry?”
“How does Goldilocks sound when she tastes Mama Bear’s Porridge?”

Practice some of the dialogue in the story with the children providing the
character voices as you move individual puppets. Encourage children to
use appropriate emotions and vocal timbre for each character. If chil¬
dren use an extremely high, screechy voice for Baby Bear or over¬
exaggerate the voices of the other characters, discuss more appropriate
voice characterizations. Children should strive for a genuine image.

Discuss sound effects in the story.

“What sound effects are needed in this story?” (chair breaking, knocking on
door, forest sounds)
Ask children to make the sound effects. Encourage each child to respond in
his own way.

Narrate the story using the puppets. Leave Goldilocks out of sight until
needed. When the bears go for a walk they can stand in view in an area
that has been designated as the forest.

36
 Cue children to their participation with lead lines such as:

—“Goldilocks tasted Mama Bear’s porridge and said, (pause for children
to provide dialogue)
—“Papa Bear scowled when he saw his chair and said in an angry voice,
(pause).”
—“When Baby Bear looked at his broken chair he said in a small voice
filled with tears, (pause)

If children do not respond, you provide the dialogue and continue with
the story. The first time you do this type of activity, the children may
seem uncertain and timid. Give them time and encouragement, and they
will begin to respond eagerly.

FOLLOWUP: 1. Present books containing various versions of ''The Three Bears.''' Dis¬
cuss the reason for variations in folklore.
Brokke, L. Leslie. The Golden Goose Book. Frederick Warne, n.d., n.p.
Great Children’s Stories: The Classic Volland Edition. Hubbard Press, 1972.
Pp. 27-35.
Haviland, Virginia. The Fairy Tale Treasury. Coward, McCann and Geog-
hegan, 1972. Pp. 36-43.
The Tall Book of Nursery Tales. Ulus, by Feodor Rojankovsky. Harper, 1944.
Pp. 377-45.
Rockwell, Anne. The Three Bears & 15 Other Stories. Crowell, 1976.

2. Display other nursery tales.

Asbjornsen, P. C. The Three Billy Goats Gruff. Illus. by Marcia Brown. Har-
court. Brace and World, 1957.
De Regniers, Beatrice Schenk. Red Riding Hood. Atheneum, 1972.
Galdone, Paul. The Gingerbread Boy. Seabury, 1975.
The Three Little Pigs. Illus. by William Pene Du Bois. Viking, 1972.

3. Introduce a variety of books about bears, real and fictional.

FICTIONAL BEARS
Asch, Frank. Moon Bear. Scribner, 1978.
Minarik, Else. Little Bear. Harper, 1957.
Steiner, Jorg. Bear Who Wanted to Be a Bear. Atheneum, 1977.
Turkle, Brinton. Deep in the Forest. Dutton, 1976.

REAL BEARS
Eberle, Irmengarde. Bears Live Here. Doubleday, 1966.
Grosveno, Donna. Pandas. National Geographic Society, 1973.
Naden, Corinne. Let’s Find Out About Bears. Watts, 1971.

37
 4. Leave the puppets on a table so children can informally recreate the
story themselves or for others.

VARIATIONS: 1. Have the children pantomime the story as it is narrated. Use simple
costume suggestions and real props, if desired.

2. Divide the class into four groups. Each group does the voice for a
specific character.

3. Do the story several times using a different version each time.

ADDITIONAL
STORIES: The following stories can all be done using the same physical arrange¬
ment, puppet style, and presentation format as “The Three Bears.” If
you want to try other stories, be sure to select those in which the dialogue
is the action spoken.

1. “The Three Billy Goats Gruff”

Children can create voices of the goats and the troll as well as the hoof
sounds on the bridge. The goat puppets can be made in the same free
standing style as the bear puppets. A cereal or potato chip box can be
used as the base for the Troll. Paint the box green and use fake fur,
yarn, felt, and paint for features and hair.

2. “The Three Little Pigs”

Children can create voices for the pigs and the wolf as well as a variety
of sound effects. A chimney and soup pot made from tag board will
add to the fun of this story. Puppets can all be constructed in the free
standing style.

3. “Henny Penny”

Children can make all the animal sounds as well as asking Henny Penny
where she is going and if they may accompany her. The first time this
story is done, you should be Henny Penny and the Fox since their
dialogue is more involved. Children can take over these roles as well
after several playings.

Puppets can all be constructed in the free standing style.

38
Cui£, a.^ /ftuMc

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 STAND-UP SCENERY

THE THREE BEARS GOLDILO

 Goldilocks is characterized by a wig,
while the Three Bears wear varied hats
(baby bonnet, woman’s and man’s hat),
and fur collars.
They are following up the puppet ac¬
tivity with an improvisational pantomime
sketch, sequencing the entire story. Note
the simple use of props, such as: two rugs
and a doll’s bed, for the beds; three varied
size chairs; and assorted plastic bowls on
a table.
43
 SOUND EFFECTS
DRAMATIC
ACTIVITY: Creating atmosphere with sounds to express the mood of a story.

LITERATURE: Mendoza, George. The Hairy Toe. In George Mendoza, Gwot!. Harper
&Row, 1967. P. 19-27.

TO THE LEADER ■- ‘'The Hairy Toe'' is a ghost story about a creature searching for its
hairy toe, which has been swallowed by an old hag. A repetitious chant
adds to the suspense of this story

Invite the group to help you tell this story by creating an eerie, suspense¬
ful atmosphere. Individual children may be responsible for specific
sounds. The remainder of the group may create the voice crying for its
hairy toe.

Encourage children to join with you in the storytelling but do not force
them to participate. Sitting together in a familiar storytelling setting
creates a secure, sharing environment. This creativity is a beginning step
towards increased dramatic involvement.

PREPARATION: Collect and experiment with a variety of rhythm instruments including:

—sand blocks
—castanets
—rhythm sticks
—drums
—wooden blocks
—guiro

If rhythm instruments are not available, any collection of sound makers

can be used; coffee can drums, sticks, containers filled with rice, sand,
stones, etc.

45
 Practice telling the story.

Arrange book display.

PHYSICAL
SETTING: Children sit on floor in the storytelling area. Dim the lights. If told on
Halloween, a Jack-o-lantern with a burning candle will help create an
atmosphere.

INTRODUCTION: Have children close their eyes and imagine an old, crooked, deserted
house on a windy night. Discuss sounds which they are apt to hear.

“The Hairy Toe” is a ghost story which takes place in the house of an
old hag at midnight. I want you to help me make the sound effects.”

PRESENTATION: Bring out the instruments and demonstrate their use. Ask children which
instrument should be used to make the sound effects needed; running,
locking door and shutters, stirring, snoring, croaking, wind coiling and
wailing, boards creaking, shutters rapping, chimney rumbling, door
opening, house shaking. Children may decide to use their voices for some
of the sound effects.

Select children to play each instrument. Allow each a chance to make

the needed sound effect as the rest of the group listens. Encourage sug¬
gestions for alternate ways of producing a similar effect.

Those children not making a specific sound will repeat the creature’s
chant, “Who’s got my hairy toe?”

Tell the story pausing for the sound effects.

FOLLOW-UP: 1. What kind of creature has lost its hairy toe? What does it look like?
Ask children to draw or pantomime their version of the creature.

2. Introduce other ghost stories.

Chase, Richard. “Wicked John and the Devil." In Richard Chase. Grand¬
father Tales. Houghton Mifflin, 1948. Pp. 29-39.
Galdone, Paul. The Tailypo. Seabury Press, 1977.
Wickes, Frances. “Wait Till Martin Comes." In Wilhelmina Harper (Ed.),
Ghosts and Goblins. Dutton, 1965. Pp. 194-196.

46
 3. Display collections of ghost or supernatural stories.
Harter, Walter. Osceola’s Head & Other American Ghost Stories. Prentice-
Hall, 1974.
Ireson, Barbara. Haunting Tales. Dutton, 1974.
Leach, Marcia. Whistle in the Graveyard. Viking, 1974.
Prelutsky, Jack. Nightmares: Poems to Trouble Your Sleep. Greenwillow,
1976.,

VARIATIONS: 1. Use paper plate puppets to tell the story.

2. Tell the story of “The Hairy Toe” using voice and body sounds (clap¬
ping, slapping floor) in lieu of instruments to create sound effects.

Ask children to sit in a circle. Then ask everyone to think of a sound they
might hear on a dark, windy night as they approached a haunted house.
Point to a child who makes a sound. Everyone listens and then echoes
that sound. When a sound is needed in the story, everyone makes the
sound in their own way.

3. Create sound effects for stories involving other environments, such

as the sea, the jungle, or the city.

4. Using a cumulative story such as, “The Old Woman and Her Pig,”
create a musical sound for each character in the story. Whenever that
character is mentioned the corresponding sound is made.

Stories which can be done in this manner include;

Aardema, Verna. Why Mosquitoes Buzz in People’s Ears. Dial, 1975.
Burningham, John. Mr. Gumpy’s Outing. Holt, Rinehart & Winston, 1970.
Emberley, Barbana. Drummer Hoff. Prentice Hall, 1967.
Galdone, Paul. Little Tuppen. Seabury, 1967.
Jameson, Cynthia. The Clay Pot Boy. Coward, McCann & Geoghegan, 1973.
Wahl, Jan. Drakestail. Greenwillow, 1978.

47
 Paper-Plate Puppets

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CARDBOARD ROD PUPPETS
1. Cut out large shapes from poster board or other
stiff cardboard to represent characters.
2. Decorate shapes with paint, scrap fabric, yarn, cot¬
ton, buttons and other odds and ends.
3. Secure shapes to stick or rod handles.
 STORYTELLING WITH
ROD PUPPETS
DRAMATIC
ACTIVITY: Correlating puppet actions and sounds to create a story.

LITERATURE: McGovern, Ann. Too Much Noise. Houghton Mifflin, 1967.

TO THE
LEADER: Too Much Noise is a humorous story about a man so annoyed by ordi¬
nary household sounds that he seeks the advice of a wise man. The farm¬
er follows the wise man’s counsel and brings the farm animals into the
house. The farmer’s realization of how quiet his house actually was
comes only after the animals have been removed.

This picture book presents a new twist to the popular folktale about a
house which seems too crowded.

Too Much Noise presents many opportunities for children to create

sounds, rhythms, and movements for puppet characters. Children may
chose to participate by manipulating the puppets, creating animal
rhythms and other sound effects.

PREPARATION: Make puppets of a cow, donkey, sheep, hen, dog, cat, wise man, the
farmer Peter.

Practice telling the story.

Assemble a variety of materials which can be used for creating sounds:

—rhythm and toy instruments

—sand paper blocks
—rice in tin can
—tissue paper

Define an area for the house. This could be as simple as two desks, book-

51
 cases, chairs, or even tape on the floor.

PHYSICAL
SETTING: Designate an area for the wise man’s house and another for Peter’s
house. The area for the barnyard should be far enough away to give
the puppeteers a chance to move freely as the animal characters. All the
children making sound effects can sit on the floor in a fourth area.

Sample arrangement:

Sound Effects Section

INTRODUCTION: “Close your eyes and listen to all the sounds in this room. (Pause)
Now listen for all the sounds outside the room. As you listen imagine
who or what is making the sound.” (Pause)

List all the sounds heard. “Were any of the sounds unusual, sounds you
were surprised to hear?”

“There are sounds around us all the time which we are so used to hear¬
ing that we really don’t hear them at all. Too Much Noise is about a
man who was bothered by ordinary house sounds. Listen to how he
solved his problem of too much noise.” Read or tell the story.

PRESENTATION: Introduce the puppets. If time permits allow a variety of children to

manipulate each puppet.

Select the puppeteers. Ask them to experiment with ways of moving the
puppet in character. “How does your animal move as it walks from the
barn to the house? How does your puppet act in the house? How will
you show that Peter is annoyed?”

52
 As the puppeteers practice, the remainder of the group can experiment
with their voices, the instruments and other materials to create the need¬
ed sound effects. Sounds could be assigned to individuals, pairs, or the
whole group. Practice each sound before beginning the dramatization.

When everyone is in place, begin to narrate the story. If the children

operating Peter or the Wise man want to speak the dialogue, encourage
them to do so.

FOLLOW-UP: 1. Display other versions of the story.

Chroman, Eleanor. It Could Be Worse. Children’s Press, 1972.

Dobbs, Rose. No Room. McKay, 1966.
Hirsh, Marilyn. Could Anything Be Worse? Holiday House, 1974.
Zemach, Margot. It Could Always Be Worse. Farrar, Straus, Giroux, 1976.

2. Introduce other stories in which sound is important, that is, in which

the action of the story revolves around sound.
Baylor, Byrd. Plink plink plink. Houghton Mifflin, 1971.
Budney, Blossom. After Dark. Lothrop Lee & Shephard, 1975.
Elkin, Benjamin. The Loudest Noise in the World. Viking, 1955.
Wilson, Graham. Bang Bang Family. Scribner, 1974.

VARIATIONS: 1. Retell the story with different puppeteers. Provide only the narration
and have the children provide the dialogue.

2. Dramatize another version of the story.

3. Brainstorm all the other sounds of a house that could bother Peter.
Create a new version of the story using these sounds.

53
54
 Paper Costumes

Children can work in pairs to create “people puppets” from heavy oak-
tag for the human beings in the story—Farmer Peter, wise man, rela¬
tives. (One group of children decided to have a wise woman instead
of a wise man.) One child lays down on the oak tag while the other
traces a basic body shape. A hole will be cut for the child’s face and
hands. For primary children you will have to cut out the face and arm
holes. Fabric scraps, construction and tissue paper, yarn, and other
materials from your scrap box can be used to give the puppet individu¬
ality. The animals in the story can be done in this style or as large rod
puppets.

When the puppets are completed, give children an opportunity to experi¬

ment with ways of moving the puppets in character. You might ask,
“How does your animal move as it walks from the barn to the house?
How does your puppet act in the house? How will you show that Peter
is annoyed.”

As the puppeteers practice, ask some of the children to decide how to

make the sound effects needed—tea kettle whistling, leaves rustling, etc.
Give them time to experiment with rhythm instruments and other
materials, such as tissue paper, stones in a can. Sounds could be assigned
to individuals, pairs, or the whole group. Practice each sound before
beginning the dramatization.

Designate an area for the wise man’s house and another for Peter’s
house. The area for the barnyard should be far enough away to give
the puppeteers a chance to move freely as the animal characters. All the
children making sound effects can sit on the floor in a fourth area.
Dramatizing the story with simple costumes and props
 SOUND AND ACTION

DRAMATIC
ACTIVITY: Using sounds and actions to tell a story.

LITERATURE: An adaptation of Carolyn Bailey’s story, The Tree That Trimmed Itself,
the text of which follows.

TO THE LEADER : The addition of actions to a sound story is a natural development. Ask
children to pantomime the actions indicated by the story, as well as to
make the sounds. Do not show them how to do any specific action, but
rather, let them discover ways for themselves. There may be a great
variety of movements for any action in the story. If less secure children
copy what others are doing, don’t be concerned. In time, given encour¬
agement and an uncritical atmosphere, the children will develop confi¬
dence enough to move in their own way.

Actions may be small and tentative the first time children do this type
of activity. Continued opportunity to participate in dramatic activities
will bring forth concentration and involvement.

PREPARATION: Practice telling or reading the story. Arrange book display.

INTRODUCTION: “What do you use to decorate your Christmas tree?” Allow children to
respond.

PRESENTATION: “I know a story about a Christmas tree that trimmed itself—and the or¬
naments were very unusual. In order to tell this story I need your help.”

“Whenever I raise my hands like this (demonstrate upward movement

similar to that used by musical conductor), you make the sound or do
the action described in the story. When I lower my hands (demonstrate),
stop your activity. You’ll need to listen and watch carefully. Do all the
actions at your seat.” You may feel confident enough to ask children to
stand while doing the actions.

Tell the story giving hand signal to cue children’s participation.

57
FOLLOW-UP: 1. Display books of holiday stories.
Aleichem, Sholom. Hanukah Money. Morrow, 1978.

Association for Childhood Education International. Literature Committee.

Told Under the Christmas Tree. Macmillan, 1948.
“The Tree That Trimmed Itself” appears on pages 41-44.

Dasent, George W. The Cat on the Doverfell: A Christmas Tale. Putnam,

1978.

Mendoza, George. A Wart Snake in a Fig Tree. Dial, 1968.

2. Display books about holiday customs.

Barth, Edna. Holly, Reindeer, and Colored Lights. Seabury, 1971.

Ets, Marie H. Mine Days to Christmas. Viking, 1959.

Lindgren, Astrid. Christmas in Noisy Village. Viking, 1964.

3. Draw pictures of the tree that trimmed itself.

VARIATIONS: 1. Use hand puppets to portray the actions.

2. Tell the story doing the actions standing and moving in place.

3. Teach the children a traditional or nonsense verse, such as “Pease

Porridge Hot.’' Ask them to say the rhyme in different ways:
—fast
—slow
—witii body movements (hand clapping, tapping shoulders)
—with specific emotions (angry, sad, happy)
—as a character, eg., “How would you say this rhyme if you were a witch
rewing a spell? What would you do? How would you sound?”

4. Other stories suitable for sound and action participation include:

Aardema, Verna. Who’s in Rabbit’s Home? Dial, 1977.

Brown, Margaret Wise. The Golden Egg Book. Simon and Schuster, 1947.

Gerson, Mary-Joan. Why the Sky is Far Away. Harcourt, Brace, Jovanovich,

McPhail, David. The Bear's Toothache. Little, Brown, 1972.

Piper, Watty. The Little Engine That Could. Platt and Munk, 1961.

Stern, Simon. The Hobyahs. Prentice Hall, 1977.

58
 The Tree That Trimmed Itself
by Carolyn Bailey

(Suggested participation is marked with an

The forest was very still and cold. Suddenly the silence was broken
by chopping sounds as a woodsman cut down a large pine tree He
swung his ax swiftly and steadily The tree swayed ("0, cracked
() and crashed to the ground {-•-). “This will make a beautiful Christ¬
5

mas tree,” the woodsman thought as he tied the tree to his sled () and
started for home (‘‘0 •
A young pine tree nearby gave a sigh () as it watched the woodsman
leave. “I wish, oh, I wish that I might be a Christmas tree with decora¬
tions like my brother who was cut down!”
Although it was Christmas Eve, very few trees had been cut for the
children. The tall, strong trees were needed for building homes, kindling
fires, making furniture. But, oh, the happiness of a Christmas tree spar¬
kling in the light of a fireplace with children opening presents around
it ) • No wonder that the young pine tree sighed (*) again in the wind.
“I wish that I might be trimmed for Christmas!” it whispered. At that
moment white stars, shaped like shining crystals, came floating down
among the outspread branches of the pine tree ("=). More and still more
stars fell ("), until every twig of every branch of the tree held its white
star (). They were more beautiful than any ornament that the toyman
had for trimming a Christmas tree.
But still the young pine longed for all the honors his brother tree would
have. “I wish that I might hear the Christmas Chimes!” it sighed (*) in
the wind.
Then the night grew colder and colder. The frost came through the
forest and stopped beside the pine tree , hanging sharp, hard icicles
to the tips of the twigs () •
Whenever the wind touched the tree the icicles tinkled (===) and
rang () like a chime of tiny Christmas bells (=■=). They made soft, beau¬
tiful Christmas music (=’•).
But still the young pine tree was not satisfied. “I wish,” it sighed (*),
“that I might hold lights as my brother will on this Christmas Eve.”
Suddenly the stars shone out in the darkness and dropped their beams
of light down as far as the branches of the young pine tree (). One star
seemed to leave the sky and rest on the topmost twig of the Pine tree (*).
There it flamed (-) and flashed (=■=) like a beacon to call everyone to
see the wonders of Christmas Eve. The pine tree was lighted as brightly
as if it carried a hundred candles, but still it had a wish.
“I am still not a Christmas Tree!” it sighed C‘0- “I wish that I might

59
hold gifts among my branches.” And it seemed as if this wish could never
come true, for where could Christmas gifts be found in the wintry forest?
Christmas Eve changed to the very early dawning of Christmas Day.
Still the Pine Tree wore its snow stars. Its icicle chimes rang (*) in the
clear, cold air, and the light of the sky shone in its branches (*) like a
Christmas light.
And from the shelter of a nest among its roots, a tiny mouse stuck out
its head (). The mouse was cold and hungry. He looked around hoping
to find something to eat (-‘D- Just above his head, the mouse saw (*) a
bunch of berries hanging from a branch. He picked the berries and
began to eat them (•'■). What a nice Christmas gift, thought the mouse,
as he finished the berries (''•)•
From the trunk of the Pine tree a squirrel peeked out ('■=)• He, too,
was hungry. The squirrel’s claws made short, scraping sounds () as
he moved along the tree looking for something to eat (*). At the end of
a branch he spied a fat, brown pine cone (). Carefully the squirrel took
the cone from the branch (• He held the cone daintily in his paws (*),
cut out the seeds (-‘0, and munched them It was his holiday break¬
fast and how good it tasted! No better Christmas gift could have come to
the squirrel than that fat pine cone so full of seeds.
“Merry Christmas!” called the children running to the woods
(•'0 later on Christmas morning. “Merry Christmas, little pine tree.
We have brought a bundle of grain for the snow bird (=0- We saw his
nest in your branches yesterday.”
They reached up as far as they could () and hung the grain by a red
ribbon to one of the branches of the pine tree (*). Then the children
stood very quietly () and watched (*) as the snow bird came out of its
nest to eat the grain (.
“The pine tree has given the snow bird a warm winter home,” the
children said to each other (• Then they left the forest (*).
And the little pine tree stood straight and happy in the woods on
Christmas morning (-‘D, for all of its wishes had come true. It had
trimmed itself with stars (), heard the chimes (*) and had offered its
gifts to its friends.
PINE TREE

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 SEQUENCE GAME
DRAMATIC
ACTIVITY: Utilizing pantomime and dialogue to convey a story line.

LITERATURE: Display biographies of characters mentioned in the game: Benjamin

Franklin, John Paul Jones, Buffalo Bill, Annie Oakley, Marie Mitchell,
Harriet Tubman, Frederick Douglass, George Washington Carver,
Thomas Edison, Sitting Bull, Walter Reed, Houdini, Maria Tallchief,
Chris Evert, Leonard Bernstein, Gordon Parks.

TO THE LEADER : In sequence games children interpret book related activities through
dialogue and pantomime. Each child receives one or two cards with dia¬
logue and/or pantomime activities printed on them. During the game
children perform the activities in their proper sequence. The cards tell
them what to do; the children do the activity in their own way.

The game is structured and involves everyone—those not doing an ac¬

tivity are listening and watching intently for their cue. This game is a
good activity for use with upper elementary children who have not had
much exposure to creative dramatics.

PREPARATION: Make the game cards. (Sample text, at end). Print the activities in black
and the cues in red. The “cue” message was the “you” message on the
card given to the preceding person in the sequence.

CUE: Jump and say, “How did he do that?” Sit.

(Typed in red)
YOU; Stand and say, “That's why they call him the
great Houdini.” Sit. (Typed in black)
PHYSICAL
SETTING: Children sit in large circle on the floor.

INTRODUCTION: “Can anyone explain what is meant by biography?” Encourage children

to discuss biographies they have read.

PRESENTATION: “Today we’re going to play a game based on biography.”

Ask the children to sit in a circle on the floor. Pass out the sequence
cards in a random manner. Some children may get more than one card.

Explain that the cue section written in red tells what the person before
has done or said. You may say, “When you see that activity done, get
set to do your activity next.” Tell children to do what is written in the
you section and to say only what is written in quotation marks. Encour¬
age the children to do the activity and say the words “as if” they are the
famous person.

Have everybody read their cards silently. Ask children to raise their
hands if they do not know a word or do not understand a direction.
Quietly give the needed assistance. The child who has the card that says,
“You begin the game,” goes into the center of the circle and does the re¬
quired activity.

You will follow the game’s progress on the master sheet. If someone
misses a cue, describe what has just been done. If no one responds, state
the next action and ask if anyone has that card. At the end of the game,
collect all cards and briefly discuss the biography book display.

FOLLOW-UP: 1. Display biographies based on the characters in the game.

Aulaire, Ingri D. Buffalo Bill. Doubleday, 1955.
Cone, Molly. Leonard Bernstein. Crowell, 1970.
Edwards, Anne. Great Houdini. Putnam, 1977.
Gridley, Marion. Maria Tallchief. Dillon Press, 1973.
Smith, J. Chris Evert. Children’s Press, 1975.
Towne, Peter. George Washington Carver. Crowell, 1975.

2. Display biographies of other famous people in a particular area such

as sports.
Robinson, Nancy. Janet Guthrie: Race Car Driver. Children’s Press, 1979.
Smith, M. Dorothy Hamill. Children’s Press, 1977.

64
 Talbert, Peter. Tracy Austin Tennis Wonder. Putnam, 1979.

VARIATIONS: 1. Interpret the game through pla^stic bottle puppets.

2. Use a whole book or poem as the basis of a sequence game.
BOOK: Sealing, Barbara. The Teeny Tiny Woman. Viking Press, 1976.
POEM: Bodecker, N. M. “Let’s Marry, Said the Cherry.” In N. M. Bo-
decker, Let’s Marry, Said the Cherry. Atheneum, 1974.

3. Introduce fables, tall tales, or folklore by way of a sequence game.

4. Write a sequence game based on one chapter or incident from a book.

SEQUENCE GAME—BIOGRAPHY—SAMPLE CARDS SUGGESTIONS

1. You begin the game. Stand and say, “May I have your attention please?
The Parade of Famous Americans is about to begin.” Bow and sit down.

2. Stand and say, “In the year 1706 an American of many talents was born
in Boston.” Sit.

3. Stand and say, “Ben Franklin made a success of nearly everything he

tried. And he tried nearly everything.” Sit.

4. Stand and say, “He published a magazine called POOR RICHARD’S

ALMANAC containing wise sayings.” Sit.

5. Stand, walk around the circle saying, “Early to bed and early to rise
makes a man healthy, wealthy, and wise.” Return to your seat.

6. Stand, scratch head and say, “Why didn’t I think of that.” Sit.

7. Stand, clear throat, and say, “Being an author, printer, inventor, scientist,
ambassador, and statesman did keep me rather busy.” Bow and sit down.

8. Stand and say in an impressed voice, “WOW!” Sit down.

9. Stand and say proudly, “I’m Captain John Paul Jones. During the Revo¬
lutionary War, I sailed under the motto CONQUER OR DIE.” Sit down.

10. Stand and say, “It’s no wonder he’s known as the Father of the United
States Navy.” Sit down.

11. Stand, load a rifle, shoot and then say, “Shooting was always easy for
me. That’s why Buffalo Bill made me a star in his Wild West Show.”
Smile and sit down.

12. Stand, shake hands with person who just sat down and say, “Annie Oak¬
ley, you sure deserved the title QUEEN OF THE RIFLE.” Return to
your seat.

13. Stand, look through a telescope as if searching for something. Turn head
away, look again, then shout, “I’ve never seen that comet before.” Sit
down.

65
14. Stand and say, “Marie Mitchell was only 28 when she discovered that
new comet in 1847.” Sit down.
16 . Stand, walk around circle as if you’re afraid of being followed.

17 J Say, “Going North, going North, going North on the

Underground Railroad.” Sit (Three of you will do this.)

18. Stand and say, “I’m Harriet Tubman and before 1865 I helped many
slaves travel to freedom on the Underground Railroad.” Sit down.

19. Stand and say, “Why am I a slave? Why are some people slaves and
others masters? Why, Why?” Sit down.

20. Stand and say, “Frederick Douglass kept asking those questions. He was
a friend of Abraham Lincoln’s and a leader of the Black people during
the Civil War.” Sit down.
21. Stand, open door to barn, look around and say, “Peanuts here, peanuts
there, peanuts, peanuts everywhere. What am 1 going to do with all these
peanuts?” Return to seat.
22. Stand and say, “I think I can help. My name is George Washington
Carver and I’ve got recipes for peanut milk, peanut flour, peanut card¬
board, peanut face cream, and 300 other things.” Bow and sit down.

23. Stand and say, “I’m an inventor too, but I can’t make anything from
peanuts.” Shake head sadly and sit down.

24. Stand, walk over to person who just sat down, pat person on back and
say, “Don’t worry Thomas Edison, your phonograph, electric light, and
motion picture inventions are very popular.” Return to your seat.

25. Stand and say, “The year is 1876 and I, Sitting Bull, Chief of the Sioux,
must lead my people to safety in Canada. After the battle against Custer
at the Little Big Horn, the white men will never leave the Indian in
Peace.” Sit down.

26. Stand, put hand to forehead, and say, “Oh, I’ve got an awful headache
and I’m so hot. I must be sick.” Lie down. (Return to your seat after
someone says, “I’ll do an experiment to find out.”)

27. Stand, rush to person lying down, feel person’s forehead and say, “It’s
yellow fever. What causes yellow fever? I wonder if all those mosquitoes
have anything to do with it. I’ll do an experiment to find out.” Return
to your seat.

28. Stand and say, “Walter Reed did his experiment and proved that yellow
fever is caused by mosquitoes.” Sit down.

29. Stand, pretend to be in a locked closet with your hands in handcuffs

behind your back and your legs chained together. Pretend to escape, then
smile, bow and return to your seat.

30. Jump up and say, “How did he do that?” Sit down.

31. Stand and say, “It’s no wonder they call him THE GREAT HOUDINI.”
Sit.
32. Stand and say, “My name is Maria Tallchief and I am an American In¬
dian. I always loved to dance but it was still hard work to become a
prima ballerina.” Sit down.

33. Stand and say, “All the members of Maria’s tribe were so proud of her,
they made her an Indian Princess.” Sit down.

34. Stand, pretend to be swinging a tennis racket and say, “The time is now.
Chris Evert’s the name and tennis is my game.” Sit.

35. Stand, pretend you are conducting an orchestra, and say, “I love music¬
writing it, playing it, and conducting it.” Bow and sit down.

36. Stand and applaud. Then sit down.

37. Stand, applaud, and then say, “That was Leonard Bernstein conducting.
Maybe you’ve seen him on T'V.” Sit down.

38. Stand, walk around taking photos. Say, “Taking pictures is only one part
of my life. I also write music, books, and poems. Maybe you saw the
movie about my life called, THE LEARNING TREE.” Sit down.

39. Stand and say, “Gordon Parks was the first Black man to produce and
direct a movie for a big company. He opened the way for other Blacks
to do the same thing.” Sit down.

40. Stand and say, “These are only a few of the people who make America
great. Your friendly librarian will be happy to tell you about others.”
Sit.

41. Stand and announce, “Books about all these famous people can be found
in the biography section of the_Great School Library.” Sit.

42. Stand and say, “Hurry and check one out while the supply lasts.” Sit.

67
Making
The Puppets

68
 Plastic-Bottle Puppets
1. Wash out thoroughly a plastic bottle (milk,
liquid soap, clorox, etc).
2. Create features on opposite surface from
handle.
3. Tape coat hanger wire into neck of bottle
(or insert into neck), for shoulders.

Puppet idea by Frank Wickham, 6th grade teacher

Laura Dodge Elementary School, Omaha, NE
 INTERVIEW
DRAMATIC
ACTIVITY: Developing characterization through dialogue.

TO THE LEADER,: Children will develop a clearer understanding of a character by respond¬

ing to questions “as if” they were that character. The interview situation
provides a framework within which the child can respond as a specific
character. It is important to give children this framework in which to
interpret their character. Providing guidance will help children to be at
ease and free to use their imagination. To ask children to become char¬
acters and then to allow them to talk about anything they choose will
produce very little creative action. Too much freedom can be as stifling
as too little.

INTRODUCTION: “If I said I was going to interview you, what would you expect me to
do? Yes, ask questions. A reporter interviewing a famous person or a
new student at school are good examples.”

Discuss reason for interviewing someone and the types of questions you
might ask. Set up an interview situation using, if possible, a suggestion
from the group. Let one child assume the role of the person to be inter¬
viewed. Everyone else will be an interviewer. A newspaper or TV re¬
porter interviewing a personality of the children’s choice provides a good
framework for the interview. Complete the interview.

PRESENTATION: Divide the group into partners, A and B. A becomes a favorite book
character. B interviews the character finding out as much as possible
about the character. Remind A to answer in the way the character
would. Encourage interviewers to ask characters how they felt about
story incidents or why they behaved as they did.

Switch. B now becomes character interviewed by A.

71
 Let children share with the group some of the things they learned about
each character.

FOLLOW-UP: 1. Ask each child to find the book in which their character appears.
Display these for others to examine.

2. Tape some of the interviews and let the children listen to themselves.
If the partners agree, share the interview with the group.

VARIATIONS: 1. Give each child a sock puppet, whose only feature is two dots for
eyes. Partners use these anonymous sock puppets to interview each
others’ puppet. After the interview, each child finishes the puppet as the
determined character.

2. A is a story character. B must discover who A is through questions.

This game can also be played with the whole group asking questions.

3. Pin character names on backs of children. Children ask each other

questions to discover their identity. All questions must have yes or no
answers, such as: Am I a girl?; Am I a fairy tale character?

Names which can be used include:

For Younger Children

Mother Goose
Little Miss Muffet
Old Mother Hubbard
Old King Cole
Spider
Humpty Dumpty
Jack Be Nimble
Peter Peter Pumpkin Eater

Wolf
Grandmother
Little Red Riding Hood
Jack in the Beanstalk
Giant
Cinderella

72
 Gingerbread Boy

Goldilocks

Baby Bear

Mama Bear

Papa Bear

Georgie the Ghost

Troll

Small Billy Goat Gruff

Middle Billy Goat Gruff

Big Billy Goat Gruff

Cat in the Hat

Curious George

For Older Children

Annabel in Freaky Friday

Aslan in The Lion, the Witch and the Wardrobe

Bilbo in The Hobbit

Caddie in Caddie Woodlawn

Charlotte in Charlotte’s Web

Chester in Cricket in Times Square

Fudge in Tales of a Fourth Grade Nothing

Harriet in Harriet the Spy

Henry in Henry Huggins

Homer in Homer Price

James in James and the Giant Peach

Laura in Little House Series

Long John Silver in Treasure Island

Mrs. Basil E. Frankweiler in From the Mixed-Up Files of Mrs. Basil E.

Frankweiler

Mary Poppins in Mary Poppins series

Meg in Wrinkle in Time

Milo in The Phantom Tollbooth

Paddington in A Bear Called Paddington

Pippi in Pippi Longstocking

Pod in The Borrowers series

73
Characters from mythology could also be used as the basis for this
activity.

As students discover who they are, they pin the character name on their
front and begin moving as the character.

When everyone knows who they are let children group themselves ac¬
cording to books or stories. If you feel comfortable with the idea, ask
groups to share one thing that happened in their book. To help children
understand, you might say, “In your group pick one event that hap¬
pened in the story that you’d like to share.”

4. Older children enjoy this activity. Divide children into groups of five.
Each group goes to a table in order to decide on a story. You may place
books on each table as suggestions but allow children to make their own
story choice. Within the group each child selects a character from the
chosen story.

Ask one group to sit or stand as its characters. The rest of the children
will try to discover what story the group represents. Only questions
which can be answered with a “yes” or “no” may be asked. Allow twenty
questions. Encourage children to answer questions “as if” they were the
character. If there is a long silence between questions, you ask a question
such as, “Is the story a folktale?”

Before beginning, discuss the types of questions which will provide help¬
ful information, such as questions about setting, characters, plot, and
literature genre. Let children experiment with asking questions in these
areas which require a yes or a no answer.

As a warm-up you might be a character and let children question you

to discover your identity. Answer the questions using a voice, gestures,
mannerisms, and body movements suitable for your character.

Popular titles include:

Baum, Frank. The Wizard of Oz. Macmillan, 1962.

Dahl, Roald. Charlie and the Chocolate Factory. Alfred A. Knopf, 1964.

Grimm, Jacob and Wilhelm. Snow-White and the Seven Dwarfs. Translated
By Randall Jarrell. Farrar, Straus and Giroux, 1972.

Milne, A. A. Winnie-the-Pooh. Dutton, 1926.

Tolkien, J. R. R. The Hobbit. Houghton Mifflin, 1938.

Wadsworth, Wallace. Paul Bunyan and His Great Blue Ox. Doubleday, 1964.

White, E. B. Charlotte’s Web. Harper and Row, 1952.

75
76
COMPLETED CHARACTERS

Sock Puppets
Monkeys Mumble in a Jelly Bean Jungle
 FROZEN PICTURES
DRAMATIC
ACTIVITY: Using dramatic action to bring illustrations to life.

LITERATURE: Scheer, Julian. Rain Makes Applesauce. Holiday House, 1964.

TO THE LEADER •. Rain Makes Applesauce is a beautifully illustrated picture book of de¬
lightful absurdities. The images presented are vivid and very appealing
to children. Children simultaneously create their interpretation of each
image. Making a still picture aids concentration and eliminates concern
over how to begin and end. Bringing the picture to life for a few seconds
is sufficient for most children who have had little experience with crea¬
tive dramatics and movement.

This technique can also be used for a complete playing of a single action
of a character. From working alone, children can progress to working in
pairs. The picture can be brought to life when music is heard and re¬
frozen when the music ends.

PHYSICAL
SETTING: Clear, open space.

PREPARATION: Write the following sentences from Rain Makes Applesauce on cards.

Dolls Go Dancing On the Moon

My House Goes Walking Everyday

The Wind Blows Backwards All Night Long

Monkeys Mumble in a Jelly Bean Jungle

Candy Tastes Like Soap, Soap, Soap

Tigers Sleep on an Elephant Snoot

Monkeys Eat the Chimney Smoke

79
 Clouds Hide in a Hole in the Sky

My Teddy Bear Sings Out Loud at Night

Rain Makes Applesauce

INTRODUCTION: “Illustrators use paint, brushes, ink, and many other materials to create
pictures for books. But there’s another way of making pictures—using
your bodies. Stand up and try making some still pictures using your body,
ni tell you the name of a picture. Then I’ll close my eyes and count to
ten as you make the picture. When I open my eyes, freeze and don’t move
unless I push a magic button and bring your picture to life. Show me
someone:

throwing a ball

shoveling snow

flying a kite.”

“Now find a space in the room where you do not touch anyone else. I’m
going to give you the title of an illustration needed for the book Rain
Makes Applesauce. Try to make the most interesting picture using your
body as you can. The first one is, ‘Dolls Go Dancing on the Moon.’ ”
Close your eyes and count to ten. Walk around and look at the pictures
making positive comments. Stop at a few and turn them on. After the
picture has come to life for a few seconds switch it off. If some children
are not ready to bring their pictures to life just turn them off and move
on. Never force a child to participate; when ready, each child will be¬
come involved.

For active titles, such as the wind blowing backwards, ask children to
bring the picture to life in slow motion. This will strengthen their con¬
centration in addition to helping you keep control. For some titles you
may want to bring all the pictures to life simultaneously.

After creating pictures for titles you supply, give the children an oppor¬
tunity to create an original picture and give it a title. Have half the class
present their pictures while the other half watches, then switch.

FOLLOW-UP: 1. Show the book Rain Makes Applesauce. Encourage children to eom-
pare the illustration in the book to the one they imagined and created
with their body.

80
 2. Display other books of silly talk and absurdities:

Anno, Mitsumasa. Topsy-Turvies. Weatherhill, 1970.

Anno, Mitsumasa. Upside-Downers. Weatherhill, 1971.

Charlip, Remy. Arm in Arm. Parents’ Magazine Press, 1969.

Charlip, Remy and Jerry Joyner. Thirteen. Parents’ Magazine Press, 1975.

Kraus, Ruth. A Hole is to Dig. Harper, 1952.

VARIATIONS: 1. Individuals work alone to create a picture from a book. Show an illus¬
tration. Ask children, “What is happening? What do you think will hap¬
pen next?” Then ask children to create a frozen picture of the illustra¬
tion. Bring the pictures to life with a drum beat or other signal. Have
children freeze when they have completed the character’s action.

Books which can be used include:

Bond, Michael. A Bear Called Paddington. Houghton Mifflin, 1958.

De Paola, Tomi. Strega Nona. Prentice-Hall, 1975.

McCloskey, Robert. Burt Dow Deep-Water Man. Viking Press, 1963.

Seuss, Dr. The 500 Hats of Bartholomew Vanguard, 1938.

2. In groups of two or three, ask children to create frozen pictures based

on an illustration which they then bring to life. When the children have
completed the action they freeze.

Titles which have appropriate illustrations:

Baker, Betty. Partners. Greenwillow, 1978.

Coville, Bruce. The Foolish Giant. Lippincott, 1978.

Galdone, Paul. Androcles and the Lion. McGraw Hill, 1970.

Ginsburg, Mirra. Mushroom in the Rain. Macmillan, 1974.

Steig, William. Sylvester and the Magic Pebble. 1969.

3. Create titles for pictures depicting fantasy characters in action. Ask

children to create a frozen picture for each title. Possible titles include:

—Chester, the cricket. Gives a Concert

—The Last of the Great Whangdoodles
—Mary Poppins Floats Over Rooftops
—A Ride in Chitty-Chitty Bang-Bang

81
Dolls Go Dancing On the Moon
Candy Tastes Like Soap, Soap, Soap
 ACTIVITY PANTOMIME
DRAMATIC
ACTIVITY: Pantomiming a character in action.

LITERATURE: Gag, Wanda. Gone is Gone. Coward-McCann, 1935.

TO THE LEADER : Gone is Gone is a folktale in which a husband complains about how diffi¬
cult his work is and decides to change jobs with his wife. The switch
doesn’t prove to be to his liking.

To do activity pantomime, children select an action and do it “as if”

they have become the character. Stories in which one character has a
series of adventures are well suited for activity pantomime. This is a good
beginning step towards characterization. It is not necessary for children
to try activities in sequence. Before beginning, establish a control signal.
This can be a simple clap of the hands followed by the word “freeze.”
If pantomiming, a variety of character actions results in the children
showing an interest and desire to continue, you may narrate as the chil¬
dren join the activities together.
PHYSICAL
SETTING: Clear, open space.

PREPARATION: Practice telling or reading the story. Collect and arrange books for dis¬
play.

INTRODUCTION: “Being a farmer is very hard work because there are always chores to
do. What are the jobs a farmer must do?” List the chores as the children
name them. Ask children to pantomime some of the chores.
“1 know a farmer who thought it would be much easier to care for his
house and baby instead of working in the fields. So he switched jobs with
his wife and this is what happened.”

85
PRESENTATION: Tell or read Gone is Gone.

“What chores did Fritzl do in the fields?” (Plow, sow, hoe, etc.) After
each chore is named, ask the children to do that job as if they are Fritzl.

“What chores did Liesi have to do in the house?” (Clean, cook, churn
butter, etc.) Give children time to do the chore as if they are Liesi.

“Now try doing Liesi’s same chores as if you are Fritzl. Will you do the
chore in the same way? Flow will your actions differ?” Name the chore
and give children time to pantomime it. Signal children to freeze before
naming the next chore.

“Do you think Fritzl continued complaining about his work in the
fields?”

FOLLOW-UP: 1. Display other versions of the same story:

Haviland, Virginia. The Fairy Tale Treasury. Coward-McCann and Geog-

hegan, 1972. Pp. 48-55.

McKee, David. The Man Who Was Going to Mind the House. Abelard-
Schuman, 1973.

Wiesner, William. Turnabout. Seabury, 1972.

VARIATIONS: 1. Create body puppets to perform story.

2. Divide the children into two groups. Group A will be Liesi doing her
household chores. Group B will be Fritzl doing the same chore. Group A
will begin doing the chore you name. At a signal, such as a drum beat, or
clapped hands. Group A will freeze and Group B will do the chore as if
they are Fritzl. Alternate the action naming different chores.

If there is time, let Group A be Fritzl and Group B be Liesi.

3. Other books which can be used for activity pantomime experiences

include:

Burningham, John. Time To Get Out of the Bath, Shirley. T. Y. Crowell, 1978.

Keats, Ezra Jack. The Snowy Day. Viking, 1963.

Lasker, Joe. Mothers Can Do Anything. Whitman, 1972.

Pearson, Susan. Monday / Was an Alligator. Lippincott, 1979.

Ryan, Cheli. Hildilid’s Night. Macmillan, 1971.

Sperry, Armstrong. Call It Courage. Macmillan, 1940.

86
 i^uMr^ (Ti

FARMER

Pl/i

\_
(/iew ^

-f-Z)
’dZJdZki4^

FARMER’S WIFE

4ytAM^

Body Puppets
Assemble basic body puppet components as shown above Comolete
a face and costume.
dialoguesuccessful with sign language pantomime or
 NARRATIVE PANTOMIME
DRAMATIC
ACTIVITY: Becoming a character involved in the action of the story.

LITERATURE: Mosel, Arlene. The Funny Little Woman. Dutton, 1972.

TO THE LEADER: The Caldecott award book The Funny Little Woman is a humorous
folktale with a strong plot and vivid characters. The scene of the funny
little woman escaping from the Oni is suitable for narrative pantomime
because it is filled with interesting action. All the children may assume
the character of the Oni and interpret the action in their own ways, as
the story is read.

Texts which present strong visual images as well as continuous and un¬
complicated action are especially suitable for narrative pantomime. Be¬
fore using a selection, eliminate descriptive sections unnecessary to the
forward movement of the action. Also, edit out any reference to the past
or future since they would detract from the immediate impact of the
story. In some cases, you can add to the dramatic appeal of the material
by supplying details which will stimulate the children’s thinking.

Children should be free to create the characters and action in their own
way. They should feel relatively secure, since all are participating at the
same time. You have given them interesting action and characters, as
well as structure. The story outlines what to do; the child’s challenge is to
create the action in his or her own way.

PREPARATION: Assemble record player and record Adventures in Music, Grade 2, RCA
Victor. For the pantomime use “Bydlo” from “Pictures at an Exhibi¬
tion” by Modeste Moussorgsky, side 1, band 4.

Arrange book display.

89
PHYSICAL
SETTING: Clear, open space.

INTRODUCTION: “Do you know how to giggle? Let me hear you.”

“I know a funny little woman who giggles so much that she sometimes
gets herself into trouble. I’ll tell her story if you’ll help by supplying the
funny little woman‘s giggle. When I raise my hands, you giggle. When I
lower my hands, stop. Let’s practice.”

Tell the story using the book.

PRESENTATION: Allow children an opportunity to give their reactions to the Oni. Discuss
the story: Why didn’t the Oni want the funny little woman to run away?
How did they try to stop her? What made the Oni laugh?

“Let’s play that part of the story.” Indicate area for the river. “You will
be the Oni and we will imagine the funny little woman. Remember what
happened in the story when the funny little woman tried to escape. If
you were an Oni how would your feet feel as you walked in the mud?
Show me how you would walk as an Oni.”

“Good. Freeze. How would you swallow the river?” After the children
have completed the action ask them to sink into the mud,

“When the music starts, slowly grow into an Oni. I will tell the last part
of the story as you act it out. What will you do as Oni when the funny
little woman is safely back in her home?” Let each child decide on an
ending—they may want to return to their own home or become so angry
that they stomp themselves into the mud. Ask the children to bring the
scene to an end when the music finishes.

“In your own space make yourself as small as possible. When you hear
the music, begin to grow into an Oni.”

Children play the scene as you narrate the action. Watch the children as
you narrate and adjust your storytelling to their pace.

FOLLOW-UP: 1. Display Japanese folklore.

Hodges, Margaret. The Wave. Houghton Mifflin, 1964.

Say, Allen. Once Under a Cherry Blossom Tree. Harper, 1974.

90
 Stamm, Claus, reteller. The Dumplings and the Demons. Viking, 1964.

A tale similar to the Funny Little Woman concerning an old man, demons,
and Jizo in the underground.

2. Introduce other outstanding Caldecott books.

DeRegniers, Beatrice Schenk. May J Bring a Friend? Ulus, by Beni Montresori.

Atheneum, 1964.
Langstaff, John. Frog Went A-Courtin’. Ulus, by Feodor Rojankovsky. Har-
court. Brace and World, 1955.
Ness, Evaline. Sam, Bangs and Moonshine. Holt, Rinehart and Winston, 1966.

Zemach, Harve. Duffy and the Devil. Ulus, by Margot Zemach. Farrar, Strauss,
Giroux, 1973.

3. Other titles suitable for narrative pantomime include:

Boynton, Sandra. Hester in the Wild. Harper, 1979.

Children can pantomime each of Hester’s adventures as you narrate
them.

DiNoto, Andrea. The Star Thief. MacMillan, 1967.

Narrate the sections involving the thief stealing and hiding the stars,
villagers up to their noses in stars and the thief trying to make the stars
stick to the sky.

Edmonds, Walter D. The Story of Richard Storm. Little, Brown, 1974.

A step by step account of the growth of a storm provides the opportunity
for a unique pantomime experience.

Haley, Gail E. A Story, a Story. Atheneum, 1970.

All children can play simultaneously as you narrate Anansi climbing to
the sky, binding leopard, creeping towards hornet’s nest; carving wooden
doll and covering it with sticky latex gum, watching fairy dance around
doll, and pulling captive to the sky.

Other stories about Anansi can be found in Anansi the Spider by Gerald
McDermott (Holt Rinehart & Winston, 1972) and The Hat-Shaking
Dance and Other Ashanti Tales From Ghana by Harold Courlander
(Harcourt Brace Jovanovich, 1957).

Hoban, Russell. Dinner at Alberta’s. Crowell, 1975.

Children will enjoy playing the scene of Albert eating with terrible table
manners. Then they can play the section describing his new manners.

Hutchins, Pat. Happy Birthday, Sam. Greenwillow, 1978.

As you tell the story, children can pantomime Sam’s unsuccessful at¬
tempts to reach ordinary places, such as a light switch and sink. A special

91
 birthday present enables Sam to solve his reaching problems.

Krasilovsky, Phyllis. The Man Who Didn't Wash His Dishes.

The problems a man faces when he doesn’t wash the dishes are described
in this humorous story. Children can portray the man as he struggles to
get rid of the dirty dishes.

Walsh, Jill Paton. Too/maAer. Seabury, 1973.

Older children can become involved in the sections describing how the
tools are crafted.

VARIATIONS: 1. Create body costumes to dramatize the story.

2. Replay the scene with you or a child taking the part of the funny little
woman.

3. Compare a subject as described in several poems. For example, cats

as described in “Cat,” “The Looking Glass Kitty,” and “A Kitten Cor¬
nered.” -Each cat has unique qualities which will become clarified
through pantomime.

Ask children to close their eyes and imagine each cat as you read the
poems. Then reread each poem slowly and with expression as the chil¬
dren pantomime the cat’s movements. Read and pantomime one poem
before going on to another poem. “The Looking Glass Kitty” can be
done in pairs.

Merriam, Eve. “Kitten Cornered.” In Eve Merriam, Outloud. Atheneum,

1973. P. 18.

Miller, Mary Britton. “Cat.” In John Brewton (Ed.), Under the Tent of the
Sky. Macmillan, 1937. P.76.

Widdemer, Margaret. “The Looking Glass Kitty.” In John Brewton (Ed.),

Under the Tent of the Sky. Macmillan, 1937. P. 75.

92
Growing Into An Oni
METHOD 2
95
 GROUP CREATIONS
DRAMATIC
ACTIVITY: Creating a machine character with life and pulse.

LITERATURE: Burton, Virginia. Mike Mulligan and his Steam Shovel. Houghton, 1939.

TO THE LEADER ; Creating machine creatures from a story offers children the opportunity
to work creatively and cooperatively with others, in addition to provid¬
ing opportunities for developing a variety of body movements and
rhythms. For this activity, select a story in which a machine plays an in¬
tegral part in the plot and conflict, such as Mary Ann in Mike Mulligan
and His Steam Shovel.

Before asking children to work together to create a machine, discuss how

the machine works. Let children contribute their ideas regarding parts of
the machine. While still sitting, encourage children to make a variety of
mechanical movements using only their hands.
After the machine character has been developed children may act out
sections of the story.

PHYSICAL
SETTING: Clear, open space.

INTRODUCTION: Read the book Mike Mulligan and His Steam Shovel to the group.

“How is Mary Ann different from most characters in books?” Examine

the diagram in the book which labels the parts of a machine shovel.

“If we were going to build a steam shovel like Mary Ann what parts
would we need?” As each part is named, ask children to move their arms
corresponding to the part.

97
 “In this story Mary Ann must be able to move dirt very quickly. Which
of her parts is most important for digging?”

“Stand up. In your own space, become Mary Ann’s digging arm. When I
give the signal, start digging the basement. Begin slowly, as Mary Ann
did, and gradually increase your speed until the basement is finished.
Then relax and look over your work.”

PRESENTATION: Give a signal, such as a clap of your hands, and narrate Mary Ann’s
digging as the children do the digging.

In small group of two or three, ask the children to use their bodies to
create Mary Ann. Without climbing onto one another, have them work
together to create Mary Ann.

“Be sure Mary Ann can move her digging arm. When you’re ready, we’ll
play the part of the story in which Mary Ann digs the basement of the
town hall.”

FOLLOWUP: Give children a few minutes to make their group version of Mary Ann.
When they are ready narrate the building section, omitting extraneous
description and dialogue.

1. Display other books with machine characters:

Gramatky, Hardie. Little Toot. Putnam, 1939.

Gramatky, Hardie. Loopy. Putnam, 1939.
Lenski, Lois. The Little Auto. Walck, 1934.

VARIATIONS: 1. Create a machine puppet.

2. Other stories which have machine characters that could be made as

group creations include:
Brown, Margaret Wise. The Steamroller. Walker, 1974.
Burton, Virginia Lee. Katy and the Big Snow. Houghton Mifflin, 1943.
Gramatky, Hardie. Hercules. Putnam, 1940.
McCloskey, Robert. Homer Price. Viking, 1943.

3. Working in pairs, ask the children to create fantasy characters, such

as the monsters in One Monster After Another by Mercer Mayer, Golden
Press, 1974.

98
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THE WELCOME MACHINE

Create an animated machine that has a special function and that is unlike other machines, such as:
A machine that walks on ceilings and walls.
A machine that loves to do homework.
A machine that serves as an ambassador to other countries or planets.
Develop a voice and movements appropriate to the machine’s function.

99
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 CREATE THE WHERE
DRAMATIC
ACTIVITY: Using imagination to create the story environment.

LITERATURE: Norton, Mary. The Borrowers. Harcourt, Brace, Jovanovich, Inc.

1953.

TO THE LEADER: The Borrowers is a fantasy about little creatures who live in old houses—
under clocks, over mantles, and in other hidden places. Borrowers use
things that humans have misplaced to help make their homes comfort¬
able. Borrowers were once human size but their fear caused them to be¬
come smaller and smaller until they finally became a race of tiny, secre¬
tive people. Children may become a part of this fantasy world by
creating, in pantomime, a Borrower’s home.
As they create the environment in which the Borrowers live, children
will gain a deeper understanding of the characters and the story.

PREPARATION: Review books in the Borrowers’ series. Arrange book display.

PHYSICAL
SETTING: Group sits at one end of the storytelling area. Remainder of the area is
left clear for playing.

INTRODUCTION: “Have you ever wondered what happens to things you drop or misplace?
It may be possible that the Borrowers have picked them up to use.”

Describe Borrowers, their tiny homes and their utter dread of being seen
by a human. You might want to read sections of pages 4 and 9 aloud.

PRESENTATION: Show illustrations of Borrowers’ honie under the floor, pp. 16-7. Discuss
how Borrowers used the objects they found. “What other things might

103
 the Borrowers find useful?”

“Imagine that this empty space is the home of the Borrowers. Right now
there is nothing in it. As Borrowers, you may bring something into the
house. Since the object is imaginary, you will have to show what the ob¬
ject is by the way you handle it. Place the object in the house, use it in
some way, and then return to your seat. The next person must bring in
something different. Watch carefully so you’ll remember where and what
everything is. If the object is very large or heavy, two Borrowers may
place it in the house.”

Afterwards discuss what was added to the house and how the Borrowers
found it. “Did you have any difficulties moving the objects? Is there any¬
thing else you think should be in the Borrowers’ home?”

FOLLOW-UP: 1. Introduce the Mary Norton’s Borrowers series by Harcout, Brace,

Jovanovich.
Norton, Mary. The Borrowers. Harcourt, 1953.

-The Borrowers Afield. Harcourt, 1955.

-The Borrowers Afloat. Harcourt, 1959.

-The Borrowers Aloft. Harcourt, 1961.

2. Present other fantasies about small creatures.

Clarke, Pauline. Return of the Twelves. Coward, McCann & Geoghegan, 1962.

Kastner, Erich. The Little Man. Alfred Knopf, 1966.

Kendall, Carol. The Gammage Cup. Harcourt, Brace and World, 1959.

Swift, Jonathan. Gulliver’s Travels. E. P. Dutton, 1952.

Tolkien, J.R.R. The Hobbit. Houghton Mifflin, 1938.

Winterfield, Henry. Castaways in Lilliput. Hutchinson, Harcourt, Brace and

World, 1960.

VARIATIONS: 1. Use a shoe box and create the Borrower’s home with items they
might have “borrowed,” such as: a thimble, stamp, pencil, etc.
2. Make the Borrowers as spool puppets and use in shoebox-theatre.
3. Create other fantasy creatures as string puppets.

3. Invite children to become Borrowers and use the environment they

have just created. “What is one thing you might do before venturing up¬
stairs to borrow something?”

104
 4. Other books to use for creating “the where.”
Du Bois, Wm. Pere. Lion. Viking, 1956.

Grahame, Kenneth. Wind in the Willows. Scribner, 1933.

Lewis, C. S. The Lion, the Witch, and the Wardrobe. Macmillan, 1950.

MacDonald, Bettye. Mrs. Piggle Wiggle. J. B. Lippincott, 1947.

Tolkien, J. R. R. The Hobbit. Houghton Mifflin, 1938.

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107
COSTUME AND SOUND EFFECTS
RESOURCE CENTER

109
 Costume and Sound Effect Resource Center
There is nothing children enjoy more than rummaging through a box of old and colorful cos¬
tumes, musical instruments and random props. With just a bit of imagination a resource center can
easily be set up to help inspire children into role playing with creative dramatics. This could include:
—a hat rack of assorted hats (police, old lady, fire, beach, bride’s veil, top hat, etc.)
—a large cardboard box (an appliance box covered with wallpaper) filled with vintage or theatrical
costumes (ask about at your local theater groups for left-over costumes.)
—a large cardboard box filled with objects that could be utilized for homemade-improvisational sound
effects (such as: blocks of styrofoam found in packaging; kitchen utensils and pots and pans with
lids; various size blocks of wood; a metal washing board; etc.)
—a box filled with rhythm instruments (such as castanets, rhythm sticks, drums, wooden blocks, etc.)
—a shelf filled with paper costumes and props.

MOON HOUND BILLY GOAT

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SHEEP FOX FLOWER

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Paper piggy noses and baseball caps comprise the costumes for these three little pigs.
Each pig’s house is represented by a table, arranged in order of appearance, around
the room. Straw, wood blocks and cardboard play-bricks are placed under each
table-house. Piggies run from one table-house to another to secure safety under¬
neath, while hiding from the Big Bad Wolf.

Keep in mind, in many creative dramatic activities, to suggest the character in the
simpliest and most abstract terms. This allows the imagination to take over to a fuller
extent, while minimizing the preparation time in preparing for an activity. Also cos¬
tumes that are too fussy or cumbersome do not lend themselves well to freedom of
movement in expressing dramatic activities.
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BIBLIOGRAPHY
 PUPPETRY ORGANIZATIONS

PUPPETEERS OF AMERICA—A national organization for the betterment of

puppetry, with membership from many parts of the world. An excellent source
of inspiration and cohesiveness, it offers: an annual Puppet Festival, held in
various parts of the country; the Puppetry Store for purchasing books and pup¬
pet items, a bi-monthly magazine; consultant services in all areas of puppetry;
and affiliated guilds located in various regions of the country. A small mem¬
bership fee is required. For information, write to: Puppeteers of America,
Gayle G. Schluter, Treasurer, 4^5 Cricklewood Path, Pasadena, CA 91107.
PUPPETRY IN EDUCATION—A new organization that formed in 1977 because
of the growing interest of puppetry in education. Its purpose is to serve as a
resource center and puppet store and help unite and share ideas among edu¬
cators in all areas of puppetry through a monthly newsletter. A small member¬
ship fee is required. Write to: Puppetry In Education Project, 164 27th Street,
San Francisco CA 94110.
NATIONAL STORYTELLING RESOURCE CENTER—An organization spe¬
cializing in exploring and upgrading the quality of storytelling techniques. It
holds an annual storytelling convention as well as serves as a comprehensive
resource center. A special grant is making it possible for this group to compile
a unique collection of folk tales. Write to National Storytelling Resource Cen¬
ter, P.O. Box 112, Jonesborough TN 37659.
ONTARIO PUPPETRY ASSOCIATION—A Canadian puppetry organization of¬
fering various activities and services. Write to: Kenneth McKay, Executive
Secretary, 10 Skyview Crescent, Willowdale, Ontario M2J IBS, Canada.
BRITISH PUPPET CENTRE—A British group offering various services. Write to: ^
British Puppet Centre, Battersea Town Hall, Lavender Hill, London S.W.ll,
England.
BRITISH PUPPET AND MODEL THEATRE GUILD—A British group offering
various services. Write to: British Puppet and Model Theatre Guild, Mr. G.
Shapley, Hon. Secretary, 7 Lupus Street, London SW, England.
THE EDUCATIONAL PUPPETRY ASSOCIATION—A British group involved
in using puppetry in education. Write to: Mr. A. R. Philpott, Director, 23A
Southampton Place, London WCl A, 2BP, England.
UNIMA ORGANIZATIONS—An international organization with a broad range
of activities, including an international annual festival, held at various parts
of the world. Write to: in USA UNIMA, Mrs. Mollie Falkenstein, General
Section of UNIMA, 132 Chiquita Street, Laguna Beach CA 92651; or Mr. Jan
Bussell, 16 Riverside, Egham, Surrey, England.

PUPPET MANUFACTURERS

NANCY RENFRO STUDIOS—Offers a most unusual and ambitious selection,

including: show personalities (people and animals with magnetic appeal!);
educational types (puppets that teach concepts); story time characters (to use
with story books); and loan bag puppets (over 250 characters to select from.

119
for circulation purposes!) Write to: Nancy Renfro Studios, 1117 W. 9th
Street, Austin, TX 78703.
PUPPET MASTERS—A well thought out line of educational media specializing
in group puppet-making kits. Write to: Puppet Masters, P.O. Box 11162, Palo
Alto, CA 94306.
CLOTH CREATURES—A fun line of fuzzy characters, including a croc-o-gator,
Fuzzy Gnome, Small Furry, etc. Write to: Cloth Creatures—Lynne Jennings
281 E. Milan Street, Chula Vista, CA 92010.
POSSUM TROT—Markets an extensive line of cuddly, furry animal characters.
Includes woodland creatures such as bunnies and opossums as well as a variety
of other animals. Very appealing. Write to: Possum Trot, P.O. Box 249, Mc¬
Kee KY 40447.
MARY MEYERS—Puts out a line of appealing hand puppets in various people
characters, with funny noses and personalities. Write to: Mary Meyer Mfg.,
Townshend VT 05353.
POPPETS—Has available a line of animal characters in a Muppet-like style. Write
to: Poppetts, 1800 E. Olive Way, Seattle WA 98102.
ANNIE DEMPSEY—Creates a line of imaginatively crocheted puppets of a more
expensive nature, bordering on fantasy. Write to: Annie Dempsey, 4829
Viewmon Street, Holladay UT 94117.
PUpPET FRIENDS—Constructs nicely made, soft and appealing animal and
people puppets. Write to: Puppet Friends, 24022 A. Vista Montana, Torrance
CA 90505.
PUPPETRY IN EDUCATION—Serves as a resource center for puppetry items
and has available puppets, books, and kits. Write to: PIE, 164 27th Street,
San Francisco CA 94110.
PUPPET FACTORY—Markets a line of inexpensive, lovable puppet characters,
including a knobby-kneed bird, hippy, turtle and other imaginative creatures.
Write to Puppet Factory, 160 S. Whisman Road, Mountain View CA 94041.
REEVES INTERNATIONAL, INC.—Distributes high-quality, more expensive
line of German made “Steiff” and “Kersa” brand puppets. Write to: Reeves
International, Inc., 1107 Broadway, New York NY 10010.
HAPPY HOLLOW PUPPETS, INC.—Creates custom made puppets and scenery
to order. Write to: Happy Hollow Puppets, Inc., 324 Zorn Avenue, Louisville
KY 40206.
L. K. HECHT CO., INC,—Carries a line of nicely detailed finger puppets. Write
to: L. K. Hecht Company, Inc., 1 140 Broadway, New York NY 10001.
LESWING PRESS—Sells fairy tale sets in both hand and finger puppets, which
include scripts and instructions for play production. Larger puppets are in a
Muppet style. Write to: Leswing Press, 750 Adrian Way, San Rafael CA
94903.
PUPPET PRODUCTIONS—Carries an extensive line of colorful, muppet-like
people of varied flesh tones. Also a line of funloving animal puppets. This com¬
pany markets an extensive selection of scripts and cassette tapes geared to
Bible and Sunday school themes. Write to: Puppet Productions, P.O. Box
82008, San Diego CA 92138.
DOUGLASS COMPANY, INC.—Markets puppets with “Cat in the Hat” and
“Sam I Am” highlights. Write to: Douglass Company, Inc., Keene NH.
PACK-A-LUCK—Markets a line of cute animal and people hand puppets which
feature a flexible “sock” talking mouth. Write to: Pack-a-Luck, P.O. Box
18610, Tucson AZ.
 GENERAL RESOURCES
Bauer, Caroline. HANDBOOK FOR STORYTELLERS. American Library As-
sociation, 1977.
All facets of storytelling are covered: planning; promotion; story sources;
multimedia storytelling; and programs. A must for all storytellers.

Cullinan, Bernice E. and Carolyn W. Carmichael, eds. LITERATURE AND

YOUNG CHILDREN. National Council of Teachers of English, 1977.
A wealth of ideas for sharing literature with young children, especially the
preschool child. Includes an annotated list of the “100 Best Books and Au¬
thors for Young Children” prepared by the Committee on Literary Experi¬
ences for Preschool Children of the National Council of Teachers of English.
Polette, Nancy. E IS FOR EVERYBODY. Scarecrow Press, 1976.
Aptly described by the author as a manual for bringing fine picture books
into the hands and hearts of children. An annotation and an activity is in-
included for each of the 147 books listed.
Ross, Ramon R. STORYTELLER. Charles E. Merrill, 1975.
A superb book on developing skills in storytelling. Imaginatively and simply
presented, this book includes ideas on utilizing songs, puppetry, flannelboard
and game exercises to enrich storytelling.
Somers, Albert B. and Janet Evans Worthington. RESPONSE GUIDES FOR
TEACHING CHILDREN’S BOOKS. National Council of Teachers of Eng¬
lish, 1979.
Guides to the twenty-seven books included are designed to spark an en¬
thusiasm for reading as well as reinforcing the teaching of reading skills and
interrelating the language arts with other areas of the curriculum. Various
activities in art and media, creative dramatics, and composing are included
for each book.
Schimmel, Nancy. JUST ENOUGH TO MAKE A STORY. Sisters' Choice Press,
1978.
A small book filled with good advice for storytellers written in a refreshing,
personal style. Samples include a fingerplay, cante fable (story with a song
in it), and a story accompanied by paperfolding.

PUPPETRY BOOKS
Adair, Margaret Weeks. DO-TT-IN-A DAY PUPPETS FOR BEGINNERS. John
Day, 1964.
Instructions and patterns given for a variety of simple puppets. A chapter
is devoted to developing the characters of puppets. An easy method for putting
puppet stories together using a narrator is described.
Baird, Bill. THE ART OF THE PUPPET. Macmillan, 1965.
Beautiful color photographs highlight this general survey of puppetry. Sure
to generate interest and enthusiasm among children of all ages. (PIE)
 Cochrane, Louise. SHADOW PUPPETS IN COLOR. Plays, Inc., 1972.
Complete production notes and puppet patterns for three multicultural
shadow shows. Upper elementary children will be fascinated as either the
puppeteers or the audience.

Puppetry in Education Project. PUPPETRY IN EDUCATION NEWS. (PIE).

The only magazine dedicated entirely to educational puppetry. Articles from
educators and puppetry consultants throughout the country include ideas,
projects, and experiences. Special interest columns appear in each issue on
creativity, libraries, preschool, and curriculum. 6 issues a year for $10. Write
to: 164-27th Street, San Francisco, CA 94110.

Renfro, Nancy. PUPPETRY AND THE ART OF STORY CREATION. Nancy

Renfro Studios, 1979.
The best description of simple techniques for creating stories and scripts for
puppet productions available. The development of creativity is stressed
throughout. Many ideas for using puppetry with the hearing impaired child.
The second half of this book is filled with unique ideas for creating simple
puppets. By the same author A Puppet Corner in Every Library.

Renfro, Nancy and Beverly Armstrong. MAKE AMAZING PUPPETS. Learn-

Works, 1980.
A jammed pack idea-booklet on how to create simple puppets from throw¬
aways and paper products. Imaginative ideas and beautifully illustrated.

Ross, Laura. PUPPET SHOWS USING POEMS AND STORIES. Lothrop, 1970.
A collection of forty-six poems, fables, nursery rhymes, and selections from
stories—all equipped with detailed production notes. All are easy to do and
require little planning or preparation. By the same author Hand Puppets: How
to Make and Use Them.

Sims, Judy. PUPPETS FOR DREAMING AND SCHEMING. Early Stages, 1978.
A good introduction for anyone interested in educational puppetry. Ideas
for using puppets informally to support curriculum as well as suggestions for
producing simple puppet shows. (PIE)

CREATIVE DRAMATICS BOOKS

Carlson, Bernice Wells. PICTURE THAT! Abingdon Press, 1977.
A collection of folktales from around the world. Each story is introduced
with a related dramatic activity and followed by an art project. The author also
describes how to present these types of activities to children. Also by the same
author LET’S PRETEND IT HAPPENED TO YOU.

Cottrell, June. TEACHING WITH CREATIVE DRAMATICS. National Text¬

book Co., 1975.
An excellent introduction to creative dramatics for anyone working with
children. Bibliographies of stories to dramatize with various age groups are in¬
cluded. Storytellers will find the ideas for involving children in stories through
sensory and pantomime experiences very useful.

122
Culliim, Albert. PUSH BACK THE DESKS. Citation Press, 1967.
How Mr. Cullum integrated creative drama principles into his classroom
teaching is the subject of this title. Of particular interest to librarians are the
chapters dealing with, “Book Blabs,” “Poetry Pot,” and “Hallway Hoofbeats.”
Also by the asme author, AESOP IN THE AFTERNOON and SHAKE
HANDS WITH SHAKESPEARE.

Heinig, Ruth and Lydia Stillwell. CREATIVE DRAMATICS AND THE CLASS¬
ROOM TEACHER. Prentice Hall, 1974.
A very detailed explanation of creative dramatics techniques. Especially
valuable because of the extensive annotated bibliographies of materials suit¬
able for pantomime, dialogue scenes, and story dramatization.

Hennings, Dorothy Grant. SMILES, NODS, AND PAUSES. Citation Press, 1974.
Extensive collection of activities to enrich children’s communication skills.

Kraus, Joanna H. SEVEN SOUND AND MOTION STORIES. New Plays for
Children, 1971.
Seven sound and action stories that can be used as independent dramatic
activities or form the basis of a creative dramatics session. Contains both tra¬
ditional and modern stories.

Ravosa, Carmino. STORY SONGS. (Record) Omnisound, 1975. $5.95.

Sixteen songs based on favorite stories. Can be used as a basis for panto¬
mime, to introduce characters or a story, and beginning dialogue. A charming
record. Available from New Plays for Children, P.O. Box 273, Rowayton, CT,
06853.

Way, Brian. DEVELOPMENT THROUGH DRAMA. Humanities Press, 1967.

A thorough discussion of drama in education. Way stresses the use of
drama in the development of the whole child. Of special interest to story¬
tellers are: Chapter 3, “Begin from where you are” which describes how to
involve children in sound stories using an arrow for control; and Chapter 4,
“Imagination” which discusses how to use stories and sounds to stimulate
children’s use of their imagination. A must for anyone interested in the edu¬
cational use of drama.

123
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