Education

Afraid to Teach Devising Theater in Your Classroom?

If the words “Let’s devise a scene!” make your students stare back at you like deer in headlights—you’re not alone.  Many teachers are afraid to teach devising theater in the classroom.  I, for one, understand! It can feel abstract or a little chaotic at first. To be honest, I felt that way, too. But once you learn how to guide it, devising becomes one of the most rewarding tools in your drama classroom.

In my forty years of directing and teaching, I’ve found that devising builds confidence, collaboration, empathy, and creativity faster than almost anything else we do. Students suddenly realize that they are the playwright, the designer, and the performer. They have ownership—and that’s where the magic happens. Until you try devising theater with your students, you won’t believe how much engagement is derived from it.

Let’s break down a clear, classroom-ready way to use devising theater with your students.

Afraid to Teach Devising Theater in Your Classroom?

When I was in college, this might have be called a structured improv., although this is more comprehensive. Devising theater is the process of creating an original performance as an ensemble. Instead of beginning with a script, students generate material through improvisation, movement, images, personal stories, character exploration, or thematic prompts.

The script—and sometimes even the structure—emerges from the group’s discoveries. It’s part improv, part writing workshop, part ensemble building, and completely student-driven. That last part is a double edged sword.  Giving the students ownership of their theater piece is exciting.  However, on the other hand, it can be nerve wracking.

Why Should Drama Teachers Teach Devising Theater?

Devising naturally supports:

• Student ownership of ideas
• Ensemble building and trust
• Creative risk-taking
• Collaboration and communication skills
• Social–emotional learning
• Cross–curricular connections (social studies, ELA, history, even science)

And best of all—students who don’t see themselves as “actors” often thrive here. In many ways, it is non-threatening and that’s a big plus for reluctant students.

Step 1: Start with a Strong Stimulus

This is the most important phase, in my opinion.  A stimulus gives students something to respond to. This is the single best way to avoid chaos. Without it, the students have a tendency to float around from idea to idea never coming to a conclusion until it is usually too late. For example, one time I observed two boys play around with some fur pieces I’d put in a box.  Ever so often I’d remind them to focus on their scene. Their scene, they decided, was cavemen living in a cave. That’s as far as they progressed.  They were so distracted by the furs they never got it together.

You can use:

• A piece of music--You might want to give them boundaries such as only using classical or film music. Lyrics can impede the creative process.
• A short poem or quote–Suggest to them of ways they could work the poem into their piece.  Take it apart?  Chanting particular sentences?
• A photo of a place, person, or moment in history–Prior to the project as a warm-up I’ve shown students a photo of an old woman and asked them to tell me who she was, where did she live, etc.  Teaching them to use their imagination and that nothing is wrong so long as we focus together, we will have success.
• An object (keys, scarf, shoes, old letter)–Stress to them that an object can become something else in their piece.  Maybe it begins as a scarf and over time it becomes a slithering snake?
• A theme (identity, fear, courage, community)–You may need to give them examples, discussing themes of movies or plays of which they are familiar.

Ask students:
What does this make you think, feel, or imagine?  They could jot down notes in a journal they created for this experience.

Let their responses guide the first round of improvisation. This shows them that all ideas are good ones, some more than others.

Step 2: Use Simple Improvisation Structures

First, you need to keep improvisations short—under 60 seconds at first. Why?  Because it forces the mind to abbreviate one’s ideas and to focus on selecting the best parts of one’s ideas.

Try:

• Tableaux sequences–You know I love a good tableaux!
• Gesture chains-– Much like the game “When I go to California” without speaking
• “Pass the Action” improv.–This is a little like the improv. exercise, “Yes, and..”
• Character walks with internal monologue–So clever, the actor demonstrates what they are thinking through their walk
• Short improv scenes with a single rule (only questions, only movement, no words, etc.)

Read more about my thoughts on improvisation here:  Improvisation in Theater:  Myth Versus Reality

These tiny explorations give you loads of raw material.

Step 3: Collect the Best Ideas

This step is crucial. Have students pause, reflect, and gather:

• Interesting images they created–either digitally or three dimensional
• Lines of dialogue that emerged--jotting down the best ones
• Characters or relationships that appeared–are they useful to our improv.?
• Movements that felt meaningful–which ones and how so?
• Themes that keep repeating--what do these themes mean in your piece?

I usually assign a student as the “scribe” or I jot everything on the board.

Patterns always emerge. Usually, someone in each group notices them. Encourage the group when you see them light on an idea. It may be outlandish and farcical at first, but give them time to percolate.

Step 4: Shape the Material into a Structure

When I was in college, this might have been called a structured improv.  However, this is more comprehensive. Frankly, I like it much better!

Once you have enough ideas, help the ensemble choose a simple structure.

A word of advice here. It does not need to be complicated! I’d remind the students that they are just learning how to do this.  Perhaps awarding participation points instead of a grade might help to make this less stressful?

Examples:

• A series of vignettes
• A journey (physical or emotional)
• A day-in-the-life
• Flashbacks
• Nonlinear moments around a central theme

Most importantly, students decide the order. Encourage them to look objectively at their work and not be afraid to move their ideas around within the piece.  This is when ownership soars.

Step 5: Rehearse, Refine, and Repeat

This is where it becomes “real theater.”

Guide students to:

• Sharpen their movement and vocal choices
• Clarify transitions–these can be challenging for students
• Add sound, simple props, or rhythm
• Edit anything unclear or unfocused

Devising is drafting. Revisions are part of the process—and students learn resilience by improving their own material. I wouldn’t be opposed to seeing each group’s piece prior to showing the rest of the class.  Give them notes and see what they do with them.

Step 6: Share the Work

A novice teacher might make this more than it is designed to be.  A performance doesn’t have to be big. It can be:

• A showing for another class
• A share-out circle
• A taped performance
• A small showcase for families

The goal isn’t perfection—it’s expression.

Students often surprise themselves with what they can create together.

Tips for Successful Devising

As the teacher, your job is to say “yes, and” early and often.

• Keep group sizes small (4–6 students). That way, everyone has some say in the project.
• Celebrate the process, not the product.  It’s all about the process, NOT the product!
• Model risk-taking yourself. This is tantamount to success with this unit.  In fact, I think we teachers should always model everything for our students.
• Provide enough structure to feel safe but enough freedom to feel creative. Put up the day’s objective and discuss it before they begin each day.

Final Thoughts

To think that I was not familiar with devising theater when it was introduced to me.  Now it seems like it’s second nature.  Devising theater is one of the most powerful ways to help students develop artistic confidence, empathy, and collaboration.

At its heart, devising says: Your voice matters. Your ideas matter. The ensemble needs you.

And when students believe that, they grow—not just as performers, but as people.

How have you used devising theater in your classroom?  I’d love to hear about it.  Just comment here or email me at DhcBaldwin@gmail.com

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