dramatic play
children's play雅思阅读
Children's Play in Early Childhood Education1. IntroductionChildren's play is an essential aspect of early childhood education. It not only provides opportunities for children to learn and develop various skills, but also contributes to their social, emotional and cognitive development. In this article, we will explore the importance of children's play in early childhood education and discuss its benefits for young children.2. The Importance of Play2.1 Development of Cognitive SkillsPlay provides children with opportunities to explore, experiment and problem solve. Through play, children can develop their cognitive skills such as critical thinking, creativity, and imagination. For example, when children engage in pretend play, they are able to use their imagination to create different scenarios and roles, which in turn enhances their cognitive abilities.2.2 Social and Emotional DevelopmentPlay also plays a crucial role in the social and emotionaldevelopment of young children. When children engage in play activities with their peers, they learn important social skills such as sharing, cooperation, andmunication. Additionally, play allows children to express their emotions and feelings in a safe and supportive environment, which helps them develop emotional resilience and empathy.2.3 Physical DevelopmentPhysical play, such as running, jumping, and climbing, is essential for the physical development of children. It helps them develop their gross and fine motor skills, coordination, and balance. Moreover, physical play promotes a healthy and active lifestyle, which is important for children's overall well-being.3. Types of Play in Early Childhood Education3.1 Sensorimotor PlaySensorimotor play involves activities that engage children's senses and motor skills. This type of play includes activities such as playing with sensory materials (e.g. sand, water, playdough), exploring different textures, and engaging in movement-based activities. Sensorimotor play is important for children's sensory development and helps them make sense of the world aroundthem.3.2 Constructive PlayConstructive play involves activities that allow children to build, create, and manipulate objects. This type of play includes playing with building blocks, puzzles, and other constructive toys. Constructive play promotes children's problem-solving skills, spatial awareness, and creativity.3.3 Dramatic PlayDramatic play, also known as pretend play, is when children engage in role-playing and imaginative activities. This type of play allows children to explore different roles, relationships, and scenarios, which enhances their language and social skills. Dramatic play also helps children make sense of the world and express their thoughts and feelings.3.4 Cooperative PlayCooperative play involves activities in which children work together towards amon goal. This type of play includes games, sports, and collaborative projects. Cooperative play promotes teamwork,munication, and conflict resolution skills, and helps children develop positive social relationships with their peers.4. The Role of Educators in Supporting Children's Play4.1 Creating a Playful EnvironmentEducators play a crucial role in creating a playful and supportive environment for children's play. They can design the physical space to include a variety of play materials and areas for different types of play. Moreover, educators can incorporate open-ended materials that encourage children's creativity and imagination.4.2 Facilitating Play ExperiencesEducators can also facilitate play experiences by observing and interacting with children during play. They can ask open-ended questions, provide scaffolding, and extend children's play through meaningful conversations and interactions. By actively participating in children's play, educators can support children's learning and development.4.3 Valuing Children's PlayIt is important for educators to recognize the value of children's play and its significance in early childhood education. They should advocate for the importance of play andmunicate itsbenefits to parents, policymakers, and other stakeholders. Educators can also create opportunities for family involvement in children's play and encourage parents to support play at home.5. ConclusionIn conclusion, children's play is an integral part of early childhood education and provides numerous benefits for young children. It fosters their cognitive, social, emotional, and physical development, and enables them to explore, learn, and grow. Educators play a vital role in supporting children's play by creating a conducive environment, facilitating play experiences, and advocating for the value of play. By recognizing the importance of children's play, we can ensure that all children have the opportunity to engage in rich and meaningful play experiences that promote their overall well-being and development.。
英文课本剧课程计划表
英文课本剧课程计划表Lesson Plan for English Literature Drama.Grade Level: High School.Subject: English Literature.Unit: Drama.Topic: Elements of Drama.Objectives:Students will be able to identify the key elements of drama, including plot, character, setting, theme, and conflict.Students will be able to analyze the ways in which these elements work together to create a cohesive dramatic work.Students will be able to apply their understanding of these elements to the analysis of specific plays.Materials:Textbook.Handouts.Video clips of plays.Play scripts.Procedure:1. Introduction (10 minutes)。
Begin by asking students what they know about drama.Define drama as a form of literature that tells a story through dialogue and action.Explain that drama is typically performed on stage.2. Elements of Drama (20 minutes)。
Discuss the key elements of drama:Plot: The sequence of events in a play.Character: The people who appear in a play.Setting: The time and place where the play takes place.Theme: The main idea or message of a play.Conflict: The struggle or problem that drives the plot.Provide examples of each element from well-known plays.3. Analysis Activity (20 minutes)。
配角也精彩作文范文例文
配角也精彩作文范文例文英文回答：In a movie or a play, the main characters often steal the spotlight with their dramatic performances and compelling storylines. However, the supporting characters,or "配角" in Chinese, also play a crucial role in makingthe production a success. They may not have as much screen time or as many lines, but they contribute to the overall story in meaningful ways.For example, in the movie "The Dark Knight," Heath Ledger's portrayal of the Joker received widespread acclaim. However, the supporting characters, such as Commissioner Gordon and Alfred Pennyworth, added depth and complexity to the narrative. Their interactions with the main character, Batman, helped to shape the overall tone of the film.Similarly, in a play like "Romeo and Juliet," the main characters may be the young lovers themselves, but thesupporting characters, such as Mercutio and Friar Laurence, provide crucial support and guidance. Their actions and decisions influence the trajectory of the story, making them essential to the overall impact of the play.In essence, supporting characters may not always be in the spotlight, but they are integral to the success of a production. Their contributions, no matter how small, help to create a rich and immersive world for the audience to experience.中文回答：在电影或戏剧中，主要角色往往以他们引人注目的表演和引人入胜的故事情节夺走了风头。
(Unit Planner)Let's Play一起玩 2014
PYP planner
Date日期
Proposed duration建议期限：over number of weeks: 10
Planning the inquiry备课阶段
1. What is our purpose?我们的目的是什么？
To inquire into the following
Transdisciplinary theme跨学科主题：（提示：既要写主题名称，也要写主题描述）
Visiting the library to gather more resources
This column should be used in conjunction with “How best might we learn?”此栏目应与“我们如何学得最好”结合使用。What are the possible ways of assessing students’ prior knowledge and skills? What evidence will we look for?大概用什么方法来评价学生的已有知识与技能？我们希望用什么形式来评价？（提示：这是前期性评价
什么是游戏？
我们怎么玩游戏？
电子科技有趣并能帮助我们学习么？
在户外游戏中，怎样才能表达自我？
我们为什么要遵守规则，展现竞技精神？
DRAMATICPRESENTATIONS
Enhancements are special products with limitations including scheduling availability ,maintenance and weather limitations.Enhancements are for private events only and may not be available during special evening programs,includingHallowe’en in Greenfield Village and Holiday Nights.Admissions and/or confirmed private event booking required.Prices and policies are subject to change.Please see your sales representative for more details.515/08Curtain up!Dramatic presentations bring your event to life in a unique way.All programs are written,cast,costumed and performed by The Henry Ford ®staff with historic accuracy and lots of fun!1850s Tavern Role Playing Actor$250Make your Eagle Tavern event a memorable step-back-in-time experience.Our Eagle Tavern actor will immerse your guests in the historically accurate and lively world of tavern life in the 1850s.Calvin or Harriett W ood also can introduce your VIPs and offer a historic toast.Includes 2 hours,available in Eagle T avern only.Henry’s Model T$250Meet young Henry Ford and hear how he was inspired to build the world’s universal car,the Model T ,which celebrates its centennial in 2008.Includes up to two 15-minute shows and 30 minutes of mingling.Available with any venue at The Henry Ford from May 1-Nov .1,2008.Edison’s Light Fantastic$250Meet Thomas Edison in this short play and hear about one of his most “electrifying”inventions!This one-man show gives a glimpse into the inspir-ing life,work and mind of Edison,whose inventions include the first practical incandescent light bulb and the phonograph.Edison speaks to a group of reporters visiting his complex on the day after his first public demonstration of his light bulb on Dec.31,1879.Includes up to two 15-minute shows and 30minutes of mingling.Available with any venue at The Henry Ford from May 1-Nov .1,2008.Elijah: The Real McCoy$250Meet inventor Elijah McCoy in this historic drama-tization.His most important inventions were the automatic lubricating cup in 1872 that revolution-ized the industrial machine industry and thegraphite lubricator in 1915.Y our imagination will travel through eight decades as you discover why his life and work remain an inspiration to this day ,and how one of his 57 patents got trains into the station ahead of time! Includes up to two 15-minute shows and 30 minutes of mingling.Available with any venue at The Henry Ford from May 5-July 1,2008.Tally’s Tales$250Share the inspirational music and stories of slavery and endurance in this interactive dramatic presenta-tion.Tally was a cook on the 700-acre Susquehanna Plantation in St.Mary’s County,Maryland,and she certainly used many of the innovative survival tac-tics described in this play.The reenactment of a “Buh Rabbit”tale told in verse is always a hit with schoolchildren and families! Includes up to two 15-minute shows and 30 minutes of mingling.Available with any venue at The Henry Ford from May 5-July 1,2008.Enhancements are special products with limitations including scheduling availability ,maintenance and weather limitations.Enhancements are for private events only and may not be available during special evening programs,includingHallowe’en in Greenfield Village and Holiday Nights.Admissions and/or confirmed private event booking required.Prices and policies are subject to change.Please see your sales representative for more details.515/08How I Got Over$400Inspiring stories,songs and slave narratives are expe-rienced in this powerful show.Music played a major role in the struggle of enslaved Africans to survive the oppression they endured on plantations like Susquehanna Plantation.Children particularly enjoy the reenactment of a “Buh Rabbit”tale told in verse,and they are invited to participate in the “escape to freedom”portion of the play.This dra-matic presentation shares inspirational stories of endurance and empowerment through slave narra-tives left behind,and through the hopeful music and storytelling that sustained them as they hoped for freedom.Includes one 25-minute show and 30 minutes of mingling.Available with any venue at The Henry Ford from June 14-Aug.24,2008.Home from Kitty Hawk$500Experience the thrill of the Wright brothers’first flight as you are taken back to that amazing and inspiring day.Fly back in time with Orville,Wilbur and their sister,Katharine,as they take a dramatic journey through their experiments,struggles and joys.The Wright brothers recount their amazing and inspiring first flights that made history on Dec.17,1903,and forever changed the world.Includes 25-minute show and 35 minutes of mingling.Available with any venue at The Henry Ford from May 1-Nov .1,2008.Minds on Freedom$650This multimedia live show celebrates the ordinary people who during the civil rights movement had the extraordinary courage and commitment to ask for more from the nation.People like Rosa Parks,Fannie Lou Hamer,Gloria Rackley,the Freedom Riders and Martin Luther King Jr.,who struggled and fought for equality and civil rights.Their minds were always on freedom and they communicated their vision and hope from one mind to another all across the country .Minds on Freedom explores two ways in which that happened during the civil rights movement – through stirring music and the spoken word.Includes 35-minute show and 20 minutes of min-gling.Available with events in Henry Ford Museum and performed in the Douglas Auto Theater.Also available in Anderson Theater or T own Hall for additional venue charge.Simply Gershwin in Town Hall$850The beloved music of George Gershwin is celebrat-ed in this lively music and comedy revue performed by four talented singers/actors and a pianist.Packed with great music,this show features songs such as “Fascinating Rhythm,”“Someone to W atch Over Me,”“They Can’t Take That Away from Me,”“I Got Rhythm,”as well as more obscure Gershwin compositions such as “My Cousin in Milwaukee”and “Hang on to Me.”Includes 35-minute show and 25 minutes of mingling.Available only in T own Hall from June 14-Sept.7,2008.Maximum capacity:100 guests .Curtain up!Dramatic presentations bring your event to life in a unique way.All programs are written,cast,costumed and performed by The Henry Ford ®staff with historic accuracy and lots of fun!。
戏剧性讽刺是什么 Dramatic Irony 英语作文论文
戏剧性讽刺是什么Dramatic IronyWhat it is and how it isbeneficialDramatic irony can be defined as a device of literacy which is quite stylistic and commonly observed in movies plays poetry and theatres. Storytellers of in use dramatic irony as one of the useful plots devices in developing situations in which the readers and the audiences have more information about any situation or event other than the characters of the work.The readers and the audiences are provided with the causes of conflicts along with their resolution before the characters of the actors of the work become aware of the same. The readers and the observers find that the actors or the characters are using some speeches which are of unusual meaning because they have the information which the leading actors and characters of the work do not have. For example, in a play, the audience can have the information that a particular character is going to be killed or going to commit suicide but the other characters do not know the same.Therefore, the actions and the words of the actors and characters would suggest something different to the observer, audiences, and the readers from which the characters and the storyline can be understood effectively. Dramaticirony is also commonly used in creating suspense. Even in creating humor, the authors for the movie makers often take the help of dramatic irony. The speeches of the actors and the characters also get device so that they can convey embellish emphasize something different from what is already known by the readers and the audiences.In Othello, by William Shakespeare, we all know that Lago has manipulated Othello and Othello has put all his faith in Lago considering him to be an honest person. However, Lago has been plotting against Othello beyond his knowledge. But the audience and the readers know the real fact that Lago has been deceiving Othello which he does not know. This is one of the good examples of dramatic irony. Several otherexamples found in literary works poetry movies theatres play.Dramatic irony is mainly used in developing a situation or an event that the audiences and the readers are provided with necessary information which or not provided to the characters of the actors point dramatic irony is observed commonly in different place theatres Dramas poetries movies and other literary works where the main aim of the author or the movie maker is to who written the interest and attraction of the Audi audiences are the readers. The main function of dramatic irony is to be used as an effective tool in sustainable and exciting the interest of the readers of the audiences. The irony gets created from a contrast situation.The situation is different on the part of the audiences and that of the leading actors or characters. It helps in generating curiosity in the readers for the audiences. The leaders are allowed to have every knowledge or information about the fact of the story which the leading characters do not have. This is one of the techniques which is used to keep the readers and audiences above the characters and the actors. It is also an effective tool in encouraging the audiences of the readers to anticipate, fear, and hope the moment when any character would come to know about the real fact of the situation of which the audiences of the readers are already aware. Assingment Help will now explain you the same with the help of an infographic.Dramatic IronyDifference between situational, verbal, and dramatic ironyDramatic irony can also be defined as a type of irony in which we can see the audience has all the information regarding the plot of a story or a movie or a play or even poetry than the actual characters or actors of the work. It takes place when the readers of the audiences know something about the actors of characters of any literary works on the movie. If we consider a suspense horror movie, we can see that the audience might know about the killer but the other characters and the actors of the movie do not know that killer.This is a situation where dramatic irony gets created by the movie maker. If the character already knows about the presence of the killer, the suspense will not be retained throughout the end of the story point. To create suspense, the author or the moviemaker uses dramatic irony as a literary device or an effective stylist tool. Suspense is created when the actors of the characters do not know about the presence of the killer in a particular room. The characters are seen to be entering the room without knowing the killer’s presence, this creates suspense and keeps the audiences or readers encouraged or interested at the end of the story.There is a difference between verbal and situation and irony dramatic irony. In the case of situation and irony, the contradiction is created between the actual and expected events. Oneexample can be used to make situation situational irony clearly understood. For example, an individual might expect something to happen which does not occur. This is situational irony. In the case of verbal irony, we can see the contradiction takes place between what is said and meant.The contrast between the figurative and literal meaning is created by using overstatement, sarcasm, and understatement. This irony is known as verbal irony because here the intention hidden in any a dialogue or speech is the opposite of what is meant. The speaker, in this case, is not thrilled by the actual event. But in the case of situational irony, the contradiction takes place between what happens and what is being expected. Coincidence and situation and irony are different aspects. Verbal irony does notneed and expectation or anticipation. The expectation which is contradicted forms situational irony. Dramatic irony is also used in creating turning points in the story or movies. The use of dramatic irony is used to create suspense for readers and audiences.Some popular examples of Dramatic IronyDramatic irony can also be observed in a different place. In a play, the audiences can watch the incidents or events directly and they can give their reactions to any particular insight where dramatic irony can be seen. In one of the famous plays, Hamlet one such popular dramatic irony can be observed. In Act 2 of the play, Hamlet devised a plan to see whether his uncle has killed his father or not. This is an exa mple of “play within a play” in which theplayers of the play would act out the plan of murder which Hamlet would believe to have occurred.The uncle of Hamlet, Kind Claudius does not have any knowledge of the plot but the audience had the idea of the plot planned by Hamlet. This makes the audience to wait till the end to watch whether Hamlet’s plan gets plotted or not. Here, we can see the use of dramatic irony. The audiences even after knowing the fact would wait for the entire play to get completed because they are only given some information above the actual characters or actors of the play but they are not provided with any other information.In this way, the author of the play has created intrigue by the use of dramatic irony. Therefore, from this example, it can be said that dramaticirony is a type of irony which takes place when the readers and the audiences have the idea or information of something which the other characters do not have. This creates interests and suspense in the audiences and the readers.In Romeo and Juliet, we all can see that Romeo commits suicide with the thought that Juliet is dead. But Juliet was not dead and this fact is known by the audiences and the readers. In Macbeth, King Duncan has been observed to have trusted Macbeth but the audiences have the actual information which says that Macbeth is planning a plot to kill King Duncan.Oedipus is another famous example of dramatic irony where Oedipus has been observed to have wished to expose the murderer of Laius who was the former King. The audience knows thatthe actual killer is Oedipus. But Oedipus himself does not have the knowledge that he murdered the king. In another famous story of Snow White and the Seven Dwarves, it has been shown that an old brought an apple to snow-white intending to kill her.The audiences know that the old woman is the wicked queen. But Snow White does not know the fact and unknowingly she buys the Apple, takes it, and falls. In a famous movie, Beauty and the Beast, another excellent example of dramatic irony can be seen. The audiences from the beginning of the film know that the beast is nothing but the prince. But the character Belle does not know the same.Why dramatic irony?Dramatic irony is used in creating unfolded episodes and situations of characters. It is used mainly because the authors or the movie makers want to retain the curiosity in the audiences or the readers. In this case, the audiences or the readers are provided with the important and needful information so that they could have the knowledge of something above the actors and characters of the literary works which helps the audiences to think about the storyline or to anticipate the ending of the story.The audiences also wait for the situations and events of the story to take place which keeps them attached with the play or story or theatre or movie. Dramatic irony is also used in creating tragedy. The readers become ready tosympathize with the leading actors or the characters. The irony is mainly used in developing an understanding of innocent and honest people and emphasizes on demonstrating pitiful consequences of any kind of misunderstandings. It also focuses on the fatality of any kind of incomplete understanding or misunderstandings.Dramatic irony mainly takes place in literature where the audiences have some information more than the actors of the characters in the narratives have. The readers of any poem or the spectators of any play have the information which at least the leading characters or actors are unaware of. This impacts the interests of the audiences and readers. For example, the readers or the audiences might be aware of anytrap of which the other characters are not aware of.This creates tension or suspense and therefore, the audiences are encouraged to wait until the story or movie ends. This is mainly used in creating either suspense or humour. In creating tragedies, the authors or the movie makers also use dramatic irony. In the famous movie of Titanic by James Cameron, the audiences know that the ship is going to hit the iceberg but they cannot help the characters of the movie by intimating them about the fact. The audiences have to wait until the end of the movie to watch the sequences and the story.In Friends, Rachel just after giving birth to Emma, thinks that she has been proposed by Joey but the audiences know that Joey wasidentified the lost ring from the pocket of Ross and did not have any intention to propose Rachel. Various humorous instances have been observed with the use of dramatic irony where the audiences have all the information and they waited to watch the final ending of the movie.There are several examples like The Merchant of Venice or Animal Farm. These are the famous examples where we can see dramatic irony creating the magical moments and encouraging the audiences and the readers to wait till the end of the storyline.Use of Dramatic Irony and suspenseThe authors can use dramatic irony for different purposes. They can either want to increasetension or suspense within the audiences and readers or to make them feel the touch of tragedy which is about to take place. There are several dramatic ironies where humour is the main subject. The characters are found to believe something to be real or true which is not the case, it can create enormous humorous instances or scenes entertaining the audiences and the readers. In suspense, the role of dramatic irony is very essential.In Hitchcock movies, we can see that the use of dramatic irony is quite common. The readers of the audiences know the actual murder or the killer but the characters of the leading actors of the movie do not have such information. This creates tension, curiosity, and suspense in the audiences or readers. Suspense is achieved by dramatic irony where the audiences areprovided with information about any threats which the characters do not have.Classic examples can be given from Hitchcock’s works where suspenseful situations get created by the help of dramatic irony. In horror movies or suspense thrillers, the audiences are given a privileged position where they are provided with a perception about the threads. The wellbeing of any character can get threatened by any incident of which the audiences are aware of. But the audiences cannot intimate the characters and there they develop a sense of tension or fear or suspense.This helps the movie makers for the authors to attract to the storyline until the end. In suspense, comma information is provided to the audiences so that they can keep the audience was involvedand engaged in any action and this works effectively in situations that the story lacks any substantial dramatic issue.。
英文学前儿童游戏书learning_through_play_ey
LEARNING THROUGH PLAYin the early yearsLEARNING THROUGH PLAY–INTRODUCTIONCONTENTSIntroduction4Learning Through Dramatic Play11Learning Through Sand Play25Learning Through Water Play55Learning Through Dough and Clay Play81Learning Through Table Top Play93Learning Through Small World Play105Learning Through Construction Play123Learning Through Creative Play1533LEARNING THROUGH PLAY–INTRODUCTION4This booklet has been compiled by the Early Years Interboard panel in response to requests by practitioners in Early Years settings for guidelines on provision and progression in play.The methodology and suggested progression in this document is appropriate for the proposed Foundation Stage as recommended by CCEA.It is proposed that teachers will use this resource as a starting point for their own planning. We hope you find it useful.Early Years Interboard PanelDawn Crosby SEELB Nuala Heaney WELBUna Crossey NEELB Anne McDermott SEELBLiz Crowe BELB Marilyn Warren BELBClare Devlin SELBLEARNING THROUGH PLAY–INTRODUCTIONACKNOWLEDGEMENTSThis resource was designed and compiled by members of the Early Years Interboard Panel.We are particularly grateful to the following teachers for their contribution:Doreen O’Neill–St Joseph’s Nursery Unit SELB Patricia Dunne–St.Eithne’s Primary School WELBLornette McAlister–Abercorn Primary School SELB Hazel Harris–Gracehill Primary School NEELBWe would like to thank the Assistant Senior Education Officers of the five Education and Library Boards for their encouragement and for their financial support.The Interboard Panel is also grateful to officers at CCEA for their technical support in the design and production of the file. Thank you also to those schools who allowed us to include photographs of play sessions:Ballymoney N.S.,Black Mountain P.S.,Bligh’s Lane N.S.,Downpatrick N.S,Dunclug N.S.,Glenwood P.S.,Kylemore N.S., Magherafelt N.S.,Omagh County P.S.,St.John the Baptist N.S.and Trinity N.S.Bangor.Finally,a special word of thanks to Lorraine Noble(SEELB)for her endless patience and her faultless word-processing skills.5LEARNING THROUGH PLAY–INTRODUCTION6A RATIONALE FOR PLAYOur thinking about play has been influenced over the years by the work of many educationalists, psychologists,researchers and practitioners,and much has been written about how young children learn and how adults can support this learning.In the opening chapter of her book“Early Childhood Education”,Tina Bruce traces this history of research from Rousseau and Kant in the18th century,the19th century practitioners like Froebel, Montessori and Steiner,and on through to20th century thinkers like Piaget,Vygotsky and Bruner. At this point in time our knowledge base is being challenged further by the work of Howard Gardner,Ferre Laevers,Loris Malaguzzi,Chris Athey and others.What has emerged from all of this thinking is a set of common principles to which all early years practitioners can sign up.LEARNING THROUGH PLAY –INTRODUCTION710COMMON PRINCIPLES OF EARLY YEARS EDUCATIONThese principles underpin our Early Years curriculum and guide our planning.Well-planned and well-resourced play activities which allow for progression in a child’s thinking and understanding can provide the context in which these principles become the reality for all our children.1.The best way to prepare children for their adult life is to givethem what they need as children2.Children are whole people who have feelings,ideas andrelationships with others,and who need to be physically,mentally,morally and spiritually healthy.3.Subjects such as mathematics and art cannot be separated;young children learn in an integrated way and not in neat,tidy compartments.4.Children learn best when they are given appropriateresponsibility,allowed to make errors,decisions and choices,and respected as autonomous learners.5.Self-discipline is emphasised.Indeed,this is the only kind ofdiscipline worth having.Reward systems are very short-termand do not work in the long-term.Children need their effortsto be valued. 6.There are times when children are especially able to learn particular things.7.What children can do (rather that what they cannot do)is the starting point of a child’s education.8.Imagination,creativity and all kinds of symbolic behaviour (reading,writing,drawing,dancing,music,mathematical numbers,algebra,role play and talking)develop and emerge when conditions are favourable.9.Relationships with other people (both adults and children)are of central importance in a child’s life.10.Quality education is about three things:the child,the context in which learning takes place,and the knowledge and understanding which the child develops and learns.Tina BruceLEARNING THROUGH PLAY–INTRODUCTION8WHAT IS PROGRESSION?Progression in play reflects the observation and assessment of children’s knowledge,skills and attitudes in order to provide developmentally appropriate experiences.Children come to pre-school already as skilled learners.Through our observations,assessment and professional judgement we gain valuable insights into how each one learns best.This information informs our planning to meet the needs of each individual child.Progression in play comes about as a result of a real understanding of the interests,needs and experiences of the child.As practitioners,we need to understand that there must be a progression in the provision of activities to meet the developmental needs of children.LEARNING THROUGH PLAY–INTRODUCTIONTHERE ARE2STRANDS OF PROGRESSION WHICH IMPACT ON EACH OTHER9LEARNING THROUGH PLAY–INTRODUCTION10LEARNING THROUGH DRAMATIC PLAYin the early yearsLEARNING THROUGH DRAMATIC PLAY13DRAMATIC PLAYDramatic Play gives children the opportunity to •Express themselves •Explore language freely•Explore feelings and find out about themselves and others •Develop co-operation,care,consideration and control •Exercise choice and make decisions•Use mathematical language and develop mathematical concepts •Develop a range of motor skills•Use their skills to make the things needed for their play and adapt as necessary •Explore a fantasy world of their own creationLEARNING THROUGH DRAMATIC PLAY14THE DEVELOPMENT OF DRAMATIC PLAYIt used to be thought that children’s dramatic play developed through similar stages to that of other forms of play:•Onlooker•Solitary•Parallel•Co-operativeIt has been shown that each of these types of play is evident at each stage of development and at some stages more of a particular style will dominate.Children imitate the people around them by recreating scenes from everyday life and acting out familiar roles.From this,imaginative play develops as they develop the ability to incorporate narrative into their play. As they grow,their ability to imagine exerts greater influence on the nature of their play.Their play becomes increasingly complex and the narratives which are created include more characters and episodes.The imaginary world children create enables them to realize in their imagination the things that cannot be realized in reality.Fantasy play contributes to children’s creativity and imagination and should be encouraged.Adapted from‘Supporting Creativity and Imagination in the Early Years’by Bernadette DuffyLEARNING THROUGH DRAMATIC PLAY15RELEVANT LANGUAGE DEVELOPMENTLanguage development runs through all dramatic play activities.Talking and listening skills developed through dramatic play form the narratives which are the basis of reading and writing.Opportunities to develop reading and writing occur within meaningful contexts in a role play area.In role play situations children can experiment with thelanguage they have acquired as well as new vocabulary they are introduced to in school.Specific vocabulary and use of language is dependent on the type of imaginative play offered to the children.LEARNING THROUGH DRAMATIC PLAY16LEARNING THROUGH DRAMATIC PLAY17LEARNING THROUGH DRAMATIC PLAY18LEARNING THROUGH DRAMATIC PLAY19Personal,Social &Emotional Development•co-operate,take turns and initiate role-play•develop confidence,self-esteem,self-control in re-enacting real life situations •learn how to work independently and access the resources they need•learn how to work as part of a group e.g.taking on different roles in a group such as shopkeeper and customer•express individuality and own personality through imaginative play •use language of social interaction•learn to have respect for others’ideas and accommodate these in role play •help to tidy up at the end of the session•show initiative when developing ideas in the role play area e.g.deciding to make signs for the shop•reflect on feelings as part of role play e.g.hospital •use role play to act out their own joys,concernsDRAMATIC PLAYCreative/Aesthetic Development•use imagination to develop ‘stories’in the role play area•introduce the language of colour and texture through the use of,and introduction of different types of material•encourage children to create and design their own menus,diaries,pictures,price lists,posters,leaflets,cards•make items for role-play e.g.playdough,buns,cakes,biscuits for shop,junk materials for sandwiches,burgers,meals for cafePhysical Development•develop fine motor skills and co-ordination through manipulating real tools such as whisks,telephones,key boards•develop co-ordination through fastenings on clothes,pouring tea from tea pots setting table,dressing dolls•develop awareness of space available in role-play area and how to share that space with othersKnowledge and Appreciation of the Environment•create role-play areas based on knowledge about their local environment,homes and cultures e.g.supermarket,library,chemist,farm house,seaside,hospital,clinic,doctors surgery,nursery school•talk about their families in relation to events in role-play•re-enact special occasions e.g.wedding,birthday party,Christmas•relate the work of people in the local community to role play e.g.visit to the fire station,farm,building site,postofficeLEARNING THROUGH DRAMATIC PLAY20Early Experiences in Science&Technology•explore and recognise features of living things e.g.through hospital,vets,garden centre role-play•explore and recognise feature of how things work through garage,toy shoprole-play•explore and select materials and equipment appropriate to the role-play•develop scientific skills,knowledge and concepts through role-play–topics mayinclude babies,holes,wheels•use technology e.g.a shopping till,calculator•select appropriate materials to make models e.g.wheeled vehicles,prams,furniture etc.,for use in role-play area•develop skills of cutting,folding,joiningDRAMATIC PLAYEarly Mathematical Experiences•explore various mathematical concepts related to money,capacity,size,weight,one-to-one correspondence•use language related to all of the above e.g.how much,full,empty,needmore/less,heavy,light•problem solve through imaginative play e.g.how much money will I need forthis item?How many cups will I need for the family?•develop concept of time in house play–breakfast,dinner,bed-time,time indoctors surgery.Refer to clocks,watches•order,sort,match in role-play areaLanguage Development•talk about what different people do in role-play situations•talk in the language of different roles e.g.shopkeeper,mummy,Little Red RidingHood•role-play nursery rhymes,stories•use language to plan and create real-life or imaginary situations•develop the language of dialogue e.g.listen to and respond to what otherchildren/adults say•extend vocabulary associated with imaginary/role-play e.g.hospital,airport,artists studio,garden centre•have access to related books fact/fiction in role-play area•develop writing skills e.g.writing shopping lists,prescriptions,Get Well cards,record sheets,forms,bills,leaflets,menus,letters•develop ICT skills through office role-play–telephones,keyboards,photocopier,computerLEARNING THROUGH DRAMATIC PLAY21LEARNING THROUGH DRAMATIC PLAY22LEARNING THROUGH DRAMATIC PLAY23LEARNING THROUGH DRAMATIC PLAY24LEARNING THROUGH SAND PLAYin the early yearsLEARNING THROUGH SAND PLAY27Children learn about the world through their senses and their first response to sand and water is a sensuous one:they touch,pat,swirl,smell and stroke it,sometimes for very long periods,taking pleasure just in the tactileexperience.Pre-School Learning AllianceSmall children seem to be instinctively attracted to all the things the planet is made of,and above all to sand and water.These materials offer rich learning opportunities for children but the learning would not take place without the children’s own delight in the substances themselves –it is pleasure which provides the motivation for theirplay.LEARNING THROUGH SAND PLAY28SOME RELEVANT LANGUAGEacrosschangedifferentenoughexactlyinside outside besidebetweenleft over more mostless/least nextmiddle over underpartsame stays the sameroom to sparewholeas much/many/fewtoo much/many/fewhow many/fewnamesof containershow much?more/lessmore/lessbeakerfulbowlfulbucketfulcartonfulcupfulegg-cupfulladlefulspoonfulfall fallen downfill full half-fullfit fit back in fit overholdliftmoveoverflowpilepour in/outpullLEARNING THROUGH SAND PLAY29SOME RELEVANT LANGUAGEall the suggested materialschanges crumbles disappears falls in fills up flattens out leaves behind levels off moves about piles up circular crumbly curved damp dry flat gentle gritty hard high level low lumpypointed rough rounded sharp silky smooth soakedsoft solid squelchytickly wavyall the descriptive and fantasy language that children usesinks in smooths outstays out stays the sametricklesbottom colour cone gap hole mark oval pattern print rippleshape size spacetopblow break build cover drag draw drop fall feel fill grind make pick up pour press pull push rub scratch shake slide spoil squeezestick stir tilt tip trickleLEARNING THROUGH SAND PLAY30•large sand tray•smaller individual trays•creative sand tray•silver sand,beach sand,builders’sand(clean),Delta Sand(Hope Education)•coloured sands•aprons•brush•dustpan•buckets•spades/spoons•clear plastic containers of variousshapes and sizes•tubing•sieves•watering can•jugs•cups•plastic bottles•moulds•cutters•plastic cutlery•modelling tools•rakes•combs•plant pots•scoops•funnels•lollipop sticks•egg timer•creative sand tray•creative sand accessories(NES Arnold)•sand wheels•sand mills SANDPLAYEquipment and ResourcesLEARNING THROUGH SAND PLAY31•Duplo•lego construction kits •play people •zoo•playground •farm •cars •lorries •diggers •bulldozers •tractors•dumper trucks •dinosaurs •flags•plastic flowers •tea set •‘treasure’•natural materials•cones•junk materials for building and making•specific resources associated with a topic or story •pebbles •twigs •feathers •shells •conkers •bun trays•baking equipment •mirrors •boats•kitchen roll tubes •small world figures •palm treesSANDPLAYImaginativeLEARNING THROUGH SAND PLAY32•sticks•combs•rakes•potato mashers•cutters•coloured sand•paper•peas•lentils•rice•pasta•sawdust•modelling tools•keys•salt containers•creative sand tray and accessories SANDPLAY Mark making and pattern•buckets •cartons •ladles •funnels •spoons •egg cups •plastic cups •balance•sets of graded polythene bottles •take-away trays •blocks •shells•sugar bags •plastic bags •flour bags•custard powder tinsSAND PLAYCapacity andWeightSubstitutesIn a sense,there is no substitute for the joy of playing with this natural material because of the strong appeal to very young children.The potential for endlessly being destroyed and recreated makes sand play very therapeutic.There are occasions when an alternative provides the stimulus of change.PeatKept moist it can be pushed,transported and moulded into landscapes as much the same way as sand,and it extends the garden theme.Sawdust/ShavingsNeeds to be sieved to remove sharp splintersand should be kept damp so no dust is inhaled.N.B.Wood resin can make eczema flare up,soadults and children with allergies should takecare.Lentils/Grain/RiceThis cannot be used with childrenwho are sufficiently young orimmature to put them in theirmouths,ears or nose–Theirsmooth slippery surfaces makethem‘pour’almost like water.PastaDifferent shapes colours and sizes.Excellent for scooping and filling.SaltCareful of cuts!SANDPLAYAdditional accessories can be added to the sandto provide the stimulus of change–accessories made from the same materials eg.wood,plastic,card,stainless-steel,–accessories which are the same colour or transparent or shiny–accessories which are the same but different sizes,e.g.buckets,spades,spoons,dishes,rakes,yogurt pots,plant pots–specific number of items e.g.2of everythingOUTDOOR SAND PLAYThe outdoor sand area facilitates learning in each curricular area.The same provision and activities can be provided as for indoor sand play with the addition of larger items for digging,filling,emptying,moving,pattern making and imaginative play.Theprovision of a pulley system for movingsand adds another dimension.Youngchildren love the freedom to getinto the sand pit,to exploreand experiment.A suitablecover needs to beprovided forhealth andsafetypurposes.Personal,Social&Emotional Development •learn how to work independently and select equipment•co-operate,take turns and share equipment as part of a group•learn to respect others’ideas•extend imagination when developing ideas in the sand ing the play people to make up a story in the sand,adding natural materials•learn to use the sand safely and with consideration for others•talk about what they have done in the sand with confidence and a sense of achievement•develop self esteem by seeing displays of learning in the sand •experience the therapeutic value of working with wet/dry sand SAND(Wet/Dry)Physical Development•develop fine motor skills through manipulating tools,pouring,filling,stirring, pushing,pulling,digging,patting,moulding,drawing etc.•develop hand/eye co-ordination e.g.pouring sand into containers,making sand shapes using moulds•use a range of equipment with increasing skill e.g.balance,sand wheel,sieves •be aware of the space in the sand tray and be able to share it with others Knowledge and Appreciation of the Environment•talk about their local environment eg.beach,building site•relate feature of their play environment to features of their own environment with the addition of suitable resources•make physical features such as hills,tunnels,roads•change the sensory nature of sand e.g.add pasta,change dry to wet/very wet sandCreative/Aesthetic Development•explore3D forms using a range of moulds•explore shapes and textures associated with wet/dry sand•experience different colours and textures of wet/dry sand•use sand for line drawing and pattern making•create and explore sound using shakers of sand,gravel,pastaEarly Experiences in Science&Technology •explore the properties of dry/wet sand–compare•look at similarities,differences,patterns in dry/wet sand•use their senses to observe changes in sand e.g.adding water to dry sand•select appropriate equipment for different types of sand play•use building skillsSAND(Wet/Dry)Early Mathematical Experiences•explore various mathematical concepts e.g.capacity,size,weight •understand and use mathematical language e.g.full,empty,need more/less,heavy,light,straight/curved lines,names of common shapes •make shapes and patterns in the sand•solve problems associated with sand e.g.how much will a specific container hold?Pouring dry sand into a variety of different sizes of containers Language Development•describe the properties of sand e.g.rough,smooth,sticky,wet •extend vocabulary associated with sand play e.g.pour,fill,empty,full, soft,bucket,sand wheel,sieve,mould dig,tunnel,rake,smooth,names of sand toys•describe their actions and the actions of others e.g.pushing,pulling, scooping•ask and answer questions•recall and report back at group times•develop pre-writing skills e.g.making patterns,marks•make up stories using additional props such as play people,farm animals,vehicles•talk about their experiences in the sand from displays of photographs or books about sand play•have access to a variety of stories e.g.The Beach,Lucy and Tom at theSeaside。
常用戏剧术语
常用戏剧术语1.Drama –The form of composition designed for performance in the theater, in which act0rs takethe roles of the characters, perform the indicated action, and utter the written dialogue. The common alternative name for a dramatic composition is a play. A person who writes a play is adramatist/playwright 剧作家The first dramas to be written for the express purpose of being performed were created by the Greeks. Many modern drama terms derive from Greek origins.(1)Forms of drama:Poetic drama - written in verse 诗剧Closet drama - plays initially meant to be performed or recited at small gatherings or read in private. Example: Shelley’s Prometheus Unbound ( 1820 ) 文房剧Screenplay 电影剧本, for movies, have more complex and strict rules for formatting.(2)Types of drama:Comedy – In the Greek sense, a play that doesn’t end in death. In modern usage, refers to aplay that is humorous. 喜剧Tragedy – In the Greek sense, a play that ends with the death of at least one of the main characters. In modern usage, refers to a play that doesn’t have a happy ending. 悲剧Tragicomedy - the term used to describe a drama that incorporates both tragic and comedic elements. This hybrid form was popularized in the sixteenth and seventeenth centuries. Plays writtenin this mode often featured tragic conflicts that resolve happily through unexpected--sometimes improbable-- plot twists. Example: Shakespeare’s The Merchant of悲喜剧Venice2.Script – the written text of a play. Usually includes a list of characters that appear in the playwith a brief description of what the character is like (Dramatis Personae 剧中人物表), brief descriptions of the sets or setting 背景/布景, and the lines 台词the characters will speak. 剧本Act – A major section of a play, similar to a chapter in a book; an act is usually made up ofseveral scenes. The five-act structure was originally introduced in Roman times and became the convention in Shakespeare’s period. In the 19th century this was reduced to four acts and 20thcentury drama tends to favor three acts. 幕Scene – a subdivision of an act; usua l y, a scene indicates a specific location or time, and changes if another location or time is supposed to be presented. 场Stage direction – a description (as of a character or setting) or direction (as to indicate stage business) provided in the text of a play, usually indicated with italics and/or parentheses. It may indicate where the scene takes place, what a character is supposed to do, or how a character shoulddeliver certain lines. 舞台指示Enter – A stage direction – tells the character(s) to come onto the stage. Often includes adirection (left or right) or additional information about how characters are to enter the scene. 登场Exit/Exeunt (pl.) – A stage direction – tells the character(s) to leave the stage and the scene. Often includes a direction (left or right) or additional information about how characters are to leavethe scene. Example: Exeunt soldiers and townspeople. 退场3.Character - An imaginary person that inhabits a literary work. Dramatic characters may bemajor 主要or minor 次要, static (unchanging 静态) or dynamic (capable of change 动态), round (with p sychological d epth 丰满的) or fla t(a stock c haracter 模式化人物orsimplifiedstereotype平面的). Example: In Shakespeare's Othello , Desdemona is a major character, but one who is static.Othello is a major character who is dynamic, exhibiting an ability to change. 人物Protagonist 主人公--Antagonist 对立角色Hero/Heroine 男女主角--Villain 反面角色Foil - A character in a work who, by sharp contrast, serves to stress and highlight the distinctive temperament of the protagonist.Examp P l r e i:de i n and Prejudi,c t e he gentle and compliant JaneBennet serves as a foil to/for her strong-willed sister Elizabeth. 陪衬Chorus –① in Greek drama, a group of singers and dancers who often provide expositionand commentary on the action in the play. 歌队②in Shakespeare’s plays, a character whospeaks the prologue and epilogue and comments on the action. 致辞者Extra – a minor character who doesn’t ha ve many or any lines; usually, extras don’t havenames,butareidentifiedbywhattheydo(“servant,”“boy,”“policeman”)andsome times a numberif there are more than one of that type of extra. 临时演员Characterization – the means by which an author reveals the personality of a character 人物塑造4.Lines – words spoken by a character. 台词Dialogue – the lines spoken by the actors; in the script, preceded by the name of the characterthat is to speak the words. 对白Monologue – A speech given by a single character while that character is alone on stage; also calledasoliloquy. 独白Soliloquy –In drama (especially Elizabethan [Shakespearean]), an extended speech by a solitary character expressing inner thoughts aloud to him-or herself and to the audience; a monologue.独白Aside – A monologue performed by a character while other characters are on stage; theinformation in an aside is not heard by the other characters on stage, even though they may be standing very close by; it is intended to convey the character’s private thought s to the audience.Other characters on stage at that time may freeze, to show that the words being said are not being overheard; other times, the other characters will go about their business but ignore the charactergiving the aside. 旁白（比较：画外音voice-over ，叙事人narrator ）Subtext – unspoken but implied text; for an actor, the internal motivations or responses neverexplicitly stated in the dialogue, but understood either by the audience or the characters themselves.潜台词5.Plot – The sequence of events that make up a story. 情节(1)Types of plot:Double plots 双重情节(main plot and subplot)Subplot- A subsidiary or subordinate or parallel plot that coexists with the main plot. Example:the Gloucester story in King Lear.次要情节(2)Plot devices:Conflict - There is no drama without conflict. The conflict between opposing forces in a playcan be external (between characters) 外部or internal (within a character) 内心and is usually resolved by the end of the play. 冲突Suspense - A lack of certainty, onthe part of a concerned reader, about what is going to happen,especially to characters with whom the reader has established a bond of sympa悬th念y.(twist情节上的转折，Surprise ending 意外结局)play within a pl,a o y r story within a story,usually used to relate to the main plot.Example: Shakespeare’s Hamlet 戏中戏deus ex machine - in for "a god from a machine." It describes the practice of so me Greekplaywrights (especially Euripides) to end a drama with a god, lowered to the stage by a mechanicalapparatus, who by his judgment and commands resolved the dilemmas of the human characters. Thephrase is now used for a ny forced and improbable device - - a telltale birthmark , an unexpectedinheritance, the discovery of a lost will or letter-- by which a hard-pressed author resolves a plot. Conspicuous examples occur even in major novels like Charles Dickens, Oliver Twist. “天外救星”Flashback- An interruption of a play's chronology (timeline) to describe or present an incidentthat occurred prior to the main time- frame of the play's action. Example: In Shakespeare’s Othello ,Othello recalls how he c ourted Desdemona. 插叙Foreshadowing - a literary technique that introduces an apparently irrelevant element early inthe story, but its significance becomes clear later in the play. 伏笔Irony – general name for moments in literature that involve surprising, interesting, or amusing contradictions. 反讽Dramatic irony – a contradiction between what the character thinks and whatthe audience or reader knows to b e true. 戏剧性反讽(Satire : a form of comedy that relies on witand irony to offer social commentary through imitation and ridicule of its subject. 讽刺作品)(3)Plot s tructure: Freytag’s Pyramid , a pattern mainly designed to analyze ancient Greek drama and Shakespeare’ s plays; often not applicable to modern drama, but the terms are frequently used.Term Definition ExampleHamlet )(Shakespeare’s1 Exposition 背景交代2 Rising Action 剧情升温The first stage of a plot, inwhich necessary backgroundinformation is providedAn event, conflict or crisis orDenmark is haunted by theghost of the late king.The ghost tells Hamlet that he set of conflicts and crises th h a a t s been murdered by his constitute the part of a play's brother/the new king, Claudius. plot leading up to the climax. The conflict between Hamletand Claudius develops, butHamlet succeeds in controllingthe course of events.6. Theme - the abstract message or concept that a playwright wishes to convey by uniting the dramaturgical construction of the play with specific actions and images.主题7. Staging/production 上演:Props - short for "properties," the articles or objects that appear on stage during a play. 道具 Stage/sound/visual effect 舞台/声音/视觉效果Stage layout 舞台布局: upstage 舞台后部, downstage 舞台前部 , stage left （面向观众）舞台左侧, stage right 舞台右侧 3 Climax 高潮 4 Falling Action 剧情降温 The point of greatest tension Hamlet finds proof of in the plot of a play and the Claudius’ guilt but misses the turning point of the action in chance to kill him while he is the work. at prayer. This is when the events and Claudius begins to take control complications begin to resolve and plans to kill H amlet. themselves released. and tension is 5 Dénouement/Resolution 结局 The final outcome of the main complication in a play. Both, and others, die during a fencing Claudius. duel arranged by。
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Group 1
what is dramatic play ?
children show us that they have an amazing ability to use their imaginations in "let’s pretend" play. Children often use objects as symbols from past experiences.
FOOD
SUPERMARKET
BANK
Social Skills
Developing social skills is an early, fundamental process for children that teaches them how to behave and interact with people in a socially acceptable way for their age. Whether it's pretending to be pirates or playing school, decisions are made as to what role each child will negotiation---who assume. It requires a bit of negotiation--who will play the crew---and pirate and who will be the crew--and sharing. They may decide to take turns playing the teacher, and that requires patience to wait their turn and cooperation. Dramatic play also helps children learn how to cope with fears and worries that may arise in certain situations, such as going to a new school or visiting the dentist for the first time.
Language
A child's language development can benefit from dramatic play. By pretending to be a fireman or policeman or acting out the role of a teacher or parent, he gains important language skills through this type of storytelling. Children who play with their peers in this way will also pick up language skills from one another. Having a conversation with an adult or a peer will allow a child to learn new phrases and practice simple sentence structure. Dramatic play encourages children to use expressive language, acting happy or sad, angry or funny. It is even helpful for those children who might be have difficulty showing emotion or act shy around others.
Why its important ?
Imagination Social Skills Physical Language Cognitive
Imagination
A child's life is fairly structured and regulated for the most decisionpart. There isn't much decision-making, because adults and caregivers tell them when to sleep, when to eat and where to go. A child's imagination is the one aspect of their lives over which they have completely control. Dramatic play allows a child to draw upon their freeimagination in a free-spirited and unrestricted way. A study conducted by the American Academy of Pediatrics and-- fact---in states "free and unstructured play is healthy and--in fact-essential for helping children reach important social, emotional and cognitive developmental milestones, as well as helping them manage stress and become resilient."
Should line the last one to buy food when the people so many
Types of dramatic play?
Housekeeping Market Fire station Restaurant Doctor`s office Farm animals Works
Let`s appreciate a radio .
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A final word about dramatic play!
Dramatic Play often reflects the behavior or conversations children have observed in adults. Be careful not to do or say anything you do not want to have reflected back to you. The privilege of observing dramatic play gives us glimpses of children's impressions, questions, misconceptions, dreams and fears. We must treat what we are permitted to observe as highly confidential information, to be shared only with the children’s families Although what we see may often seem cute or funny it is extremely serious to children and should be treated accordingly. By responding respectfully to dramatic play we show ourselves to be sensitive and knowledgeable professional.
The table manners
Don`t fear about cutting hair.
What will use when wash hair
Will know what date is the Christmas what they should do
Will learn what is more and what is few
Different professions Different duty
Physical
You might not think of dramatic play being a physical activity, such as running or jumping, but forms of dramatic play can be very physical and great for developing coordination and motor skills. Setting a table for a tea party, climbing the castle ladder or walking the pretend plank on the pirate ship requires concentration, coordination and balance.
“I have a toothache , can you help me ?”
“Hello ~”
“Canyours .”
“So delicious !”
Cognitive
Cognitive development focuses on how children learn and process information. It is the development of the thinking and organizing systems of the mind. It involves language, mental imagery, thinking, reasoning, problem solving and memory development. When children engage in dramatic play, their minds are called upon to do a number of these actions. Having to think about how a pig acts, for instance, or what a princess might say are examples of mental imagery. Relying on memory to act out a scene from a favorite bedtime story is another example of how dramatic play can strengthen a child's cognitive development.