Informal dramatic materials for the development of speech sounds in the primary grades

Transcription

1 Boston Unversty OpenBU Theses & Dssertatons Dssertatons and Theses (pre-1964) 1961 nformal dramatc materals for the development of speech sounds n the prmary grades Pearl, Evelyn L. Boston Unversty Boston Unversty

2 --', j. -,;,.,> BOSTON UNVERSTY SCHOOL OF EDUCATON THESS NFORMlL DRAMATC MATERALS FOR THE DEVELOPMENT OF SPEECH SOUNDS N THE PRMARY GRADES Submtted by Evelyn L. Pearl (B.L.. Emerson College, 1925) n partal fulfllment of the requrements for the degree of Master of Educaton

3 n-~ --.. Frst Reader: Wlbert Pronovost, Professor of Speech and Hearng Second Reader: Albert Murphy, Professor of Speech and Hearng

4 !!,, :!r! l j l CHAPTER,, ',, ;. NTRODUCTON H! Purpose '! Justfcaton! l Scope ' /. REVEW OF RELATED LTERATURE! PROCEDURE TABLE OF CONTENTS Crtera for Developng Materals Procedure for Developng Materals V. GENERAL SUGGESTONS FOR USE OF DRAMATZATONS ~, Approach v. DRAMATZATONS p B TR T D L R S-Z SH Spendng the Penny Saturday Baseball The Brthday Party A Toy Store Dream The Sck Doll Helpng Uncle Blle A Rany Day Makng Soup for Sally z Mster Bumble Bee At the Seashore PAGE ! BOSTON UNVERSTY LBRARES

5 h lj t, ~.. t CHAPTER ' CH y K G " V. SUMMARY,[ 11 ' Ltmch Tme Naughty Puppy The Lost Ktten Makng A Garden Lmtatons " ~~ Suggestons for BBLOGRAPHY 1: l l 11 l H ' tl! \ ' t,. ' t p Addtonal Uses Further Research PAGE \1 l l 46,, ' H,, v rr ; ' ',t 48! so ' q '! [, 52, ' 54!! 54 l!. 55,, 55! 57 : ' ' ',, J,.,: ll :., " :l ',, l!!; ' '![ ' d!j!!: d, : '!)! '! t! ', ll

6 ''~''''~'7CC''~""''""' ' ",,~,C, (', CHAPTER NTRODUCTON n progressng to the stage of speech therapy n whch chldren use connected speech, t s mportant that the therapst provde challengng and meanngful practce materal to stmulate the transton to normal speech. Chldren, havng progressed through the correct phonaton of solated sentences, are reaqy for the fnal step n ther conquest of ther defectve sound. They should be provded wth practce materal whch demands the consstent correct usage n fluent speech. Such materal should consst of both verbalzaton and motor actvty f t s to approxmate a normal lfelke speakng stuaton. The medu of nformal dramatc actvtes provdes the chld wth the speech opportuntes and the motor actvtes of a lfelke stuaton. Travs says, "A technque or carry over should be approprate to the stage of therapy whch has been reached. 11 l A search through the publshed lterature presentng materals to be utlzed for speech therapy practce, revealed a lack of adequate materal for the stage of therapy beyond the phonaton of solated sentences. l1ee Edward Travs, Handbook of Speech Pathology (New York: Appleton-Century-Orofts,-rnc., 1957) p. BOO.

7 2 PURPOSE The purpose of ths study s the creaton of nformal dramatc materals for the renforcement of correct artculaton n a natural stuaton. JUSTFCATON There s a challenge to the chld n dramatzng a lfe stuaton n whch he coordnates the motor and mult-sensory actvtes of normal speakng stuatons. Ths challenge s not found n the stlted and sometmes unrealstc gestures accompanyng acton songs, fnger play and acton poems. t s not found n the phonaton of solated sentences, the passve narraton of stores and ncdents, or readng wth the vsual ~ stmulaton of the prnted page. Therapy practce for normal communcaton must nvolve a normal stuaton n whch a chld verbalzes as he moves about the room, handlng objects both actual and magnary. n nformal dramatcs, the chld coordnates mental and motor actvty whle endeavorng to phonate a consstently correct sound. Pantomme and motor actvty provde a dstracton necesstatng that the chld be aware of both speech and acton smultaneously. Thus, as stated by Travs, "The chld s able to gve only margnal attenton to artculaton and must gve more to content and acton.n2 2 bd., P 796.

8 n hs course of treatment for artculaton dsorders, Van Rper. outlnes seven steps to be establshed, as follows: l The speech defectve must be convnced that he has errors whch he must eradcate. The causes of the dsorder, f stll exstent, must be elmnated. Through ntensve ear tranng, the old confguratons are broken down so that the correct sound and the error may be solated, recognzed, dentfed, and dscrmnated. Through varous methods, the speech defectve must be taught to produce the correct sound n solaton and at wll. The new and correct sound must be strengthened. The new sound must be ncorporated wthn famlar words, and the transton to normal speech must be accomplshed. The use of the correct sound must be made habtual, and the error must be elmnated.3 n strvng to establsh habtual use of a correctly artculated speech sound, the therapst's choce of materals for practce are of major mportance. Travs supports ths concept by statng, "Artculaton therapy 's probably most effectve when t utlzes materals whch have nterest and meanng to the ndvdual and when t ntegrates practce wth real lfe stuatons.n4 The pantommc element n nformal dramatcs nvolves acton for.whch chldren have a basc need. Backus and Beasley confrm ths fact wth: 3c. Van R~er, Sljech Correcton Prnc~les ~ Methods (New York: PrentJ.ce-Ha, nc., 194'7), PP Travs, ~ ll

9 The therapst should provde opportunty for chldren to engage n experences offerng motor actvty as an ntegral part of the work on speech. A chld has specal needs to be actve, ether through manpulatng toys or 110vng about the room n a number of purposeful acts assocated wth the speech he s usng.5 Dramatzatons provde a basc framework for both acton and speakng n a real lfe stuaton. Ths nformal dramatcs method does not requre exact memorzaton of the chld n that the smple story of the pantomllle s hs gude to spontaneous memorzaton of the dalogue. He remembers the story of the acton, and the speech s suted to the acton. When the chld dramatzes lfe stuatons, he s already famlar wth the actvtes nvolved n them. Naturally these must be selected to concde wth hs level of understandng. Actvtes nvolvng pets or anmals, toys or dolls; actvtes wthn the home or out-of-doors; dressng, washng, eatng, gong to the store, preparng for school and gong to bed are all everyday lfe experences for the chld. He m;q create from hs own magnaton, use hs own phrasng and sentence structure or, f lmted n magnaton, mtate the more magnatve chld as well as the therapst. Regardless of hs nterpretaton, he utlzes connected speech combned wth motor actvt,y and pantomme n a natural stuaton. 5olle Backus & Jane Beasley, Speech Therap[ wth Chldren (Boston: Houghton Mffln Co., 1951), p. 424.

10 ~-. Dramatc play s a chld's natural way of playng, of dramatzng and pretendng. 'Dramatc play' s a term whch refers to creatve playng centerng around an dea, a stuaton, or a person, place or thng. t seldom has a plot. t s fragmentary and fun. 6 The nformal dramatzaton of a lfe stuaton challenges the chld to acheve consstent correct phonaton of the specfc sound whch he s able to use correctly n solated sentences. The materals presented n ths study are planned for bref ndvdual performance by the ndvdual chld. They are concerned wth the practce of connected speech utlzng the consonant sounds most commonly found defectve n prmary grade chldren. Each lttle dramatzaton s structured for, and loaded wth, the specfc sound whch the chld has learned to phonate n solated sentences. n a lfe stuaton, pantomme and motor and mult-sensory actvty are combned wth loaded dalogue for the followng speech sounds: G-z-k-g-p-b-t-d-1-r-S-t~-B-D 6oeraldne Bran Sks, Creatve Dramatcs: An Art for Chldren (New York: Harper and Brothers, Publshers, 1958) ;-p. 10o.--

11 :: CHAPTER REVEW OF RELATED LTERATURE Partcpaton n dramatc arts has a qualty of magc for chldren; j ther magnaton s stmulated and a creatve spark s gnted. t s l, l : ' q l q Ths study s concerned wth nformal dramatcs.!! (\,, natural for them to pretend and dramatze. Appled as a speech therapy technque, the dramatc arts provde a more meanngful stuaton for the chld. Sks dstngushes between formal and nformal dramatcs wth the defnton, "Chldren 1 s drama s made up of formal drama whch s 1 chldren's theatre' and nformal drama whch s called 'creatve dramatcs.,,1 n the lterature by many authortes n the feld of speech therapy s found a constant emphass on the multple benefts chldren derve from., the therapeutc applcaton of the dramatc arts.!j! l,, l : Creatve dramatcs,, defects, as a stmulaton to verbal output, language arts, personalty '!,,, development, and as a psychologcal ad to emotonally dsturbed chldren. ' h Wnfred Ward, founder of many chldren's dramatc actvtes n the ''! dramatzatons of plays and stores, nformal dramatcs and a creatve dramatc method have been utlzed as an adjunct to speech therapy, as a technque for audtory tranng, as a means of reducng artculaton Unted States, says, "As for the speech handcapped, many correctonsts use the dramatc method constantly chldren rarely stutter n a story ' [ l laeraldne Bran Sks, Creatve Dramatcs: An Art for Chldren (New York: Harper and Brothers, Publshers, 1958),p h 'l ' rl n l[,

12 1 dramatzaton and chldren wth speech substtutons fnd dramatcs a strong ncentve for speech mprovement."2 n support of artculatory benefts derved from creatve dramatcs, Mcntyre and McWllams descrbed ther fndngs n an expermental program. The value of creatve dramatcs as an adjunct to speech thera~ was demonstrated n a cooperatve program offered qy the dramatcs classes and Speech Clnc of the Unversty of Pttsburg. Early n 1952 certan chldren who were recevng thera~ n the Speech Clnc were n need of some group experence. Several chldren wth artculaton and stutterng dsorders enrolled n the creatve dramatcs classes. Althougn there s a lack of research evdence to substantate the clams for creatve dramatcs, there s some evdence that chldren wth artculaton dsorders have reduced the number of consonant errors through speech actvtes nvolvng the creatve dramatcs technques..3 At the Unverst,y of Pttsburgh, where clncans utlze creatve dramatcs as an adjunct to thera~, Mcntyre expermented wth a program set up to evaluate the effect of creatve experences upon the artculaton sklls of adolescent and pre-adolescent chldren. These chldren were dvded nto a control group and an expermental group as closely matched as possble. At the end of a sx week perod of creatve actvtes nvolvng creatve dramatcs, the expermental group had made a sgnfcant reducton n the number of consonant artculaton errors.4 2wnfred Ward, ~g7} Makng wth Chldren. (New York: Century-Crofts, nc., 1, p Appleton- 3Barbara H. Mcntyre and Betty Jane McWllams, "Creatve Dramatcs n Speech Correcton." (Journal of Speech and Hearng Dsorders, 1959, Vol. 24), PP Barbara M. Mcntyre, "The Effect of Creatve Actvtes on the Artculaton Sklls of Chldren." (Speech Monograph, 1958), pp j:

13 8 n her study wth kndergarten chldren, Ludwg, as cted by Mcntyre and McWllams, utlzed a creatve dramatcs technque as a method of provdng audtory tranng. She used a group of stores, each contanng a great deal of emphass upon one sound. Throughout the whole dramatc playng of the stores, the chldren were bathed n a partcular sound. Ths was utlzng the creatve dramatcs method for audtory tranng.5 Accordng to Pronovost, "Dramatc actvtes can be valuable n developng language concepts. The handcapped chld can acqure hs greatest sense of adequacy when he partcpates wth other chldren n dscusson, choral speakng, and dramatc actvtes.n6 A descrptve study by Hamln of the behavor of frst grade chldren n nformal dramatcs, revealed that the chldren developed gradually and steadly n the group stuatons of nformal dramatzatons. t was observed that the chldren ncreased n verbal output, n the sze of ther movements and n ther nteracton wth each other as related to the theme of the story. 7 ~cntyre and McWll8llls,.21? 2 6wlbert Pronovost, The Teachng of Speakng and Lstenng n the Elementary School (New York: Longmans, Green and Company, 55 Ffth Avenue, New York 3, 1959), p Harret Dora Hamln, 11 A Descrptve Study of Frst Grade Chldren 1 s Behavor n nformal Dramatzatons. (Unpublshed Master's Thess, Boston Unversty School of Educaton, 1959).

14 n the opnon of Sks, "Creatve dramatcs provde rch opportuntes for a varety of fun experences that contrbute drectly to growth n language arts."b She also states n regard to emotonally dsturbed chldren, "Teachers have found creatve dramatcs an deal experence to share wth chldren who have emotonal speech problems."9 other authortes n the feld of speech therapy vary n ther methods and suggestons concernng speech practce for the consstent use of a new sound n connected speech, but all apparently recommend the use of lfe stuatons as the basc settng for the transton to normal speech. Nemoy and Davs lst suggestons for speech practce at the end of each chapter devoted to one of the consonant sounds. These suggestons nvolve dramatzaton and retellng of stores, dscusson of the quotatons, proverbs and slogans presented n the chapter and conversaton about the stores. For the S consonant, they also suggest story buldng, conversaton b.r magnaton, magnary trps, newspaper artcles and orgnal stores from selected word lsts.lo Backus and Beasley consstently use lfe stuatons and motor actv~ as a bass for ther conversatonal method of speech therapy. Bsks, ~ ~., p bd., P ~. Nemoy and s. Davs, The Correcton of Defectve Consonant Sounds. (Magnola, Massachusetts: Expre;Bon Company,-y937).

15 They make "use of a socal experence whch utlzes conversatonal speech."ll Ths method s fully descrbed by Johnson. The Backus and Beasley procedure n speech correcton wth groups or ndvduals emphaszes the establshment of a good psychologcal clmate, the use of conversaton n socal stuatons, and the occurrence only once, and n context, of the sound to be taught. The remedal lesson, n order to provde for maxmum carry-over of the new skll, s bult around smple nterpersonal stuatons lke gettng acquanted, welcomng a frend, gvng a party, exchangng toys, askng permsson, playng a game, answerng and askng questons, choosng, guessng, makng nqures and respondng to them, borrowng and lendng, gvng and acceptng apologes, etc.l2 t s held by Answorth that: The chld must be told to use the correct sound for a short perod of tme - a mnute or two. Furthermore, the sound DUst be assocated wth routne actvtes so that practce wll not be forgotten. Then there should be a gradual ncrease of the length and frequency of these specfc perods. Some excellent routne actvtes wth whch to assocate correct usage are oral readng, specfc daly class sessons n school, meal tmes, et cetera.l3 He further suggests the use of conversatonal speech, formal class reports and rectatons.14 Van Rper favors the use of nucleus speech stuatons for gettng the chld to use the new sound consstently. He advses defnte speech perods at home and at school, durng whch the chld uses speech prmarly for correcton purposes. ncluded n hs program s the use of speech n outsde stuatons; the use of checkng devces and penaltes; the use of llolle Backus and Jane Beasley, fpeech Theraw ~ Chldren (Boston: Houghton Mffln Company, 1951, p wendall Johnson, et al, Speech Handcapped School Chldren (New York: Harper and Brothers: Publshers, 1956), p stanley Answorth, Speech Correcton Methods New Jersey: Prentce-Hall, nc., 1948), p. 66. (Englewood Clffs, n 14bd., p. 80.

16 11 negatve practce; and the use of persons, words, and stuatons as nucle of good speech. He suggests that words commonly used bw chldren be ncorporated nto games, errands, stores, or conversatons. He beleves that motvaton, maturaton, dscrmnaton, and applcaton to lfe stuatons are ndspensable adjuncts of any therapy.l5 The use of the nucleus stuaton s also suggested by Johnson. He. beleves that: n general school stuatons are probably better for the purpose than home stuatons are, but adds, that home stuatons whch provde opportuntes for conversaton can be used as good speech stuatons. These mght be helpng mother wth the dshes, gettng the famly meal or shoppng wth mother. He also suggests that the chld read or tell a prepared story durng a famly evenng story hour. For practce n the school stuaton, he suggests the plannng of topcs of conversaton by the teacher and pupl, and that nucleus words and phrases lkely to occur be used as practce materal. He also advocates contnued ear tranng, penalzng the error, and negatve practce n the nucleus stuaton.l6 A form of practce supported by Johnson s speakng for a purpose. n ths form of practce, connected correct speech s ntegrated wth oral readng, conversaton, rado speakng, group dscusson, story tellng, choral speakng and publc speakng.l7 15c. Van Rper, epjech Correcton Prncples~ Methods (New York: Prentce-Hall, nc., 19 7, pp Johnson, ~ ct., pp bd., PP ~

17 CHAPl'ER PROCEDURE CRTERA FOR DEVELOPNG MATERALS The ams of ths study are: 1, The creaton of nformal dramatc materals for the renforcement of correct artculaton n a natural stuaton. 2, The provson of a challenge to the chld n coordnatng fluent speech wth acton, by the delberate dstracton of motor actvty. 3. The stmulaton of consstent correct phonaton n connected speech by means of an enjoyable medum for practce, namely, nformal dramatcs. A need was felt by ths wrter for an nformal dramatc medum sutable to the development of practce materals for the ndvdual chld. t was felt that the created practce materals should ntegrate pantommc actvty wth correct connected speech for a bref perod of tme. The publshed formal plays for chldren, n whch the dalogue s shared by two or more actors, were not consdered satsfactory practce materal for the specfc need of ths wrter. t was decded that a type of lttle dramatzaton smlar to a monologue, but dfferent n techncal structure, was the soluton to the problem. Wth the ncluson of motor actvty as a delberate dstracton from the speech, the chld would be challenged to coordnate correct speech wth acton. "

18 Precedng the wrtng of the dramas, the followng crtera was set up as a standard for structurng each drama: 1. The wordng of the drama must be wthn the vocabulary of the frst grade chld. 2. The words selected must nvolve the selected speech sound n the three postons. 3. The dalogue!dlst be so loaded wth the speech sounds as to preclude avodance of the selected words. h. The njecton of blends must be kept to a mnnrum and for tral purposes only. 5. The dramatzaton must nvolve a lfe stuaton as closely as possble. 6. The stuaton must be wthn the chld's level of understandng. 7. The dramatzaton must be bref wth a tme lmt of from two to fve mnutes. 8. The dramatzaton must be developed from a pantommc actvty nvolvng mult-sensory and motor actvty. 9. Each dramatzaton must emphasze the correct phonaton of one consonant sound. 10. The objects or materals selected for manpulaton must be those that are part of the therapy room equpment or easly obtanable. 11. The acton of the dramatzaton must utlze varous areas of the room. 12. The dramatzatons must be suffcently appealng to elct requests for repetton from the chldren.

19 PROCEDURE~ DEVELOPNG MATERAlS The frst consderaton n creatng the dramatzatons was the selecton of a lfe stuaton wth approprate motor actvty and pantomme for prmary grade chldren. Smple, gross pantomme easly coordnated wth speech and utlzng varous areas of the room was an mportant factor. As Backus and Beasley advse, The therapst should see that the, actvtes n whch the chld engages n the ndvdual as n the group lesson are suffcently smple and of such a nature as to make speech the chef core of nterest."l Subtle, ntrcate pantommng s for the artst, not the chld. n narrowng down the choces of normal stuatons, t became obvous that many were too fragmentary to lend themselves to dramatc development. For example, washng dshes s an actvty, but not a dramatc story. Ths wrter had access to no partcular source for pantommc deas other than personal magnaton and prevous dramatc experence wth chldren. The second consderaton was the dramatc value of the actvty. t was necessary that the pantomme have the logcal sequence of a complete story and at the same tme be appealng to the chld by ts novelty. Memorzaton s facltated when acton follows the precedng acton n sequence, so that the chld may remember the story of the acton and lolle Backus & Jane Beasley, Speech Therap[ wth Chldren Houghton Mffln Co., 1951), P 424. (Boston: "

20 consequently the speech related to t. Thus, the sequence of the acton would be a gude for memorzaton. Brevty was also an mportant factor. f the dramatzaton exceeded a fve mnute perod, there was the possblty that the chld mght be hampered blf lengthy memorzaton. n a class of four to sx chldren the lmt of fve mnutes allows tme for each chld to have hs turn n a half hour sesson. The next step was the selecton of specfc consonant sound words n the three postons. These were obtaned from Mahon 2 who compled words wthn the chld's vocabulary of usage on the frst grade level. Words wth a possble relatonshp to the acton of the story were selected and lsts were made of the sound n the three postons. From these lsts the words were nterwoven nto the dalogue of the completed dramatzaton. Durng the wrtng, careful attenton was gven to the loadng of the dalogue wth the sound words to allow for possble word substtutons of the chld and yet retan a suffcent number of words ntended for speech practce. Flexblty was also a consderaton n order to allow freedom for the re-phrasng, addtons or deletons provded by the chld's magnaton. For the therapst n the publc schools, the tme element s a basc factor n plannng for varous classes n the process of correctng varous 2Florence Lucy Mahon, "A Word Lst for Artculaton Testng and Referral Consstng of Frst Grade Vocabulary n Speech Problem Areas,, Arranged Accordng to Frequency of Use and Classfed by Speech Sounds." (Unpublshed Master's thess, Boston Unversty School of Educaton, 1958).![

21 16 1 sotmds at varous stages of therapy. Wth classes practcally overlappng each other at half hour perods, there s lttle tme for elaborate actv-.., tes. Of necessty, any materals for manpulaton or "settng the stage" l had to be suffcently smple to permt rapd transton from one class to rl! ' :! another, After the frst draft of the dramatzaton was completed, t was followed by expermental tral n the therapy room. The drama was demon- :1 strated wth verbalzaton and acton by the therapst as the chldren ' '! ' watched and lstened. Then the chldren were encouraged to act out the! :! drama and use ther own words and acton f they so desred. The majorty of the chldren mtated the therapst, but the magnatve chld added sentences and acton to sut hs nterpretaton of the stuaton. These ; ; ~ addtons were noted by the wrter and added to the materal to mprove t. q :/ After tral expermentaton many of the dramas were dscarded because of ' low nterest value, nsuffcent novelty of acton or llogcal sequence. ; n some the loadng of the dalogue was too contrved and ether had to be :J :!! re-wrtten or dscarded. t was observed n the dramatzatons n whch anmals were part of the story that the chldren njected the sounds of the anmals and smul :j ; taneously played two roles n the same manner that a chld playng wth her ' ' doll talks to her doll and answers for her. n The Lost Ktten, the cryng of the ktten was added by a chld and then to the dramatzaton tself. t became obvous that the logcal sequence of the actvty was the most mportant factor n provdng facltaton of memorzaton, Consequently the dalogue and acton were re-wrtten whenever abrupt cessaton "

22 4 lnt ~tvuy ow,.. "" ohld to bo t,.,. to,..,..,..r whnt - noxt.! Although the lttle dramatzatons are created for ndvdual actng,!! many nclude an anmal or a person to whom the chld relates n speakng. '!' The chldren were quck to seze an opportunty for two of them to act and asked to play the pantomme of Sally, the dog, mother, the bumble bee, etc., Partcpaton of a second chld can be satsfactorly added wthout detract- '! :,,!t ng from the practce plamed for the ndvdual chld. n fact, once the second chld had partcpated, he became a permanent part of the dramatzaton by the njecton of a few bref responses. Lest the prmary purpose of ' ' ndvdual practce be negated, the chldren were never encouraged to make the secondary character an mportant addton to the dramatzaton. n ther fnal wrtng, these lttle dramatzatons have been used! repeatedly w tb a few weeks or months ntervenng, often at the request of!j l,,,,! l! l :,, ',,,! "! the chldren. When planned repetton s announced the chldren mmedately request permsson to assemble the necessary materals or ask the age-old queston well known to every prmacy grade teacher, "May be frst?" Just why beng "frst" s of such great mportance to chldren s a mystery of chldhood that ths wrter has never solved.

23 ,,! " j ':,!j ' ' ' CHAPl'ER V GENERAL SUGGESTONS FOR USE OF DRAMATZATONS n ths study, creatve dramatcs n the true sense s not the :: objectve, n that the purposes of creatve dramatcs dffer from the pur- ' poses of ths study. Creatve dramatcs s concerned wth extemporaneous : verbal output, the reducton of artculatory errors, the development of :,,! language sklls, and the emotonal and psychologcal needs of the chld. ' t '!he dalogue of creatve dramatcs s unstructured to allow for freedom of '! ' ' ' :!. ' : : l ' l expresson. An dea or story s presented to the chldren and they create ther own characters, verbalzaton and acton. n ths study, the purpose s the creaton of nformal dramatcs practce materals for the specfc stage of speech therapy n whch chldren progress from the phonaton of solated sentences to the usage of connected speech. When the therapst speaks the two magc words, "Let's pretend," she s appealng to the magnaton of the chld. Under the stmulaton of "Let 1 s pretend, 11 the chld s challenged n the areas of spacal relatonshps, speech and coordnaton. Smultaneously, make beleve objects and magnary people to whom he relates become real. magnaton, therefore, assumes an mportant role n the therapy room when chldren act out the lttle dramatzatons. Wth magnaton, the chars become a bed; the teacher 1 s desk, a refrgerator; the table, a stove; and the entre room may.!! '' be subdvded nto rooms of a home, a back yard, playground or store. When the therapst suggests that chldren play, "Let's pretend," the possbl- tes for settng, peop~e ' j! and objects are lmtless. Usually the chld :

24 '! :,. plays hmself. Consequently, characterzaton s unmportant.!1 ntally, the therapst presents the dramatzaton to the chldren l by demonstratng wth verbalzaton and acton after she has explaned the ; magnary settng and the make beleve representaton of each object n ts "Let 1 s pretend" locaton. The prmary purpose of her demonstraton s!! smply to supply the chld wth the general dea of the thought sequence and ts related acton. Smultaneously, the therapst plants the loaded words n the mnd of the chld and the thought that demands the use of these words. The chld s provded wth a framework of language for verbalzaton, but the therapst should not expect the chld to repeat or memorze her exact words. t s mportant that the chld be free to rephrase the dalogue wthn the lmts of hs own language sklls, to create addtons or delete loaded words and sentences. Each dramatzaton s ' suffcent 1 ~ loaded wth words whch nclude the selected speech sound to ~ preclude complete omsson of the loaded words. l \J n hs frst attempt to act out the dramatzaton, the chld s vsually aded n hs memorzaton by the objects to be manpulated and l : ther subsequent relatonshp to the dalogue. Durng the chld's ntal actng, the therapst should not endeavor to elct correct phonaton of the sound. The frst playng of the dramatzaton should emphasze memorzaton of the acton and ts coordnaton wth the dalogue. The therapst helps by promptng only when some acton or lne s forgotten. As the chld remembers the acton, the memorzaton of the dalogue s spontaneous., Not untl the followng therapy sesson should the chld be challenged for correct phonaton. Although the frst ntroducton of the dramatzaton to "

25 ' ' 20 the chldren may be somewhat dscouragng, the therapst must make allowance ' for the nherent self-conscousness of chldren. Ther ntal, natural. reacton to the novelty of actng ndvdually s one of exctement and self-conscous gggles. Ths reacton dsappears n the followng therapy sesson when the chldren are challenged to phonate the loaded words cor- rectly. n the pantommng, only gross acton s requred lest the attempt 1 to elct subtle acton overshadow the speech effort. For example: : Mother s sewng n pantomme. The facts that the needle s ponted n the wrong drecton and that the thread assumes unrealstc lengths are not 1 mportant. Before demonstratng a dramatzaton, the therapst should explan the magnary use of the varous parts of the room and what the objects ' represent. For example: "We'll pretend that ths table s a stove on ths sde and here s the burner. Behnd my desk s the playground where Sally s tossng a ball n pantomme. Over here s the refrgerator and ths : char s n the lvng-room where mother s sewng. 11 Sometmes t s! advsable to tell the story of the dramatzaton before the demonstraton. :f t s also advsable for the therapst to precede her demonstraton wth, "When have fnshed, may choose one of you to act too. 11 After her demonstraton, the therapst may say, "Now whom shall choose to be frst?" Hands wll be rased for the "honor" of beng selected, whereas a request for volunteers mght stmulate a negatve response. good judgment n selectng the all mportant frst chld. The therapst must use Occasonally, and t s qute rare, an extremely wthdrawn chld

26 21,ll wll shake hs head n negaton when hs turn comes to act. He s eager to! partcpate but lacks the confdence to perform ndvdually. The thera- pst may say, "Come 'll help you f you'd lke to try." l J ' : '!. : l :j ' :! hand she can act out the dramatzaton wth hm. Takng hm by the As soon as the chld needs hs hands for an actvty, he wll break the handclasp. t has never been necessary to repeat "helpng" a chld after he has ganed some selfconfdence wth hs frst attempt. One shy frst grader sad, " don't want to do t," mmedately after the demonstraton. He was not coerced, but after each chld n a class of fve had partcpated and he saw that they enjoyed the actvty, he sad, 11 thnk 1 d lke to try t now. 11 n the followng sessons, he asked to be among the frst. Hs frst refusal was hs last. n another class of severe artculaton cases, a kndergarten chld hestated to play the part of the chld n "Naughty Puppy," but was wllng ;.1 to be the puppy. and used speech. After beng the puppy, he played the part of the chld Sometmes the actvty becomes ncredbly real to the chld. A second grade class of lngual lspers was enjoyng practce n a group actvty, (not ncluded n ths study) n whch they went to a restaurant, and ordered ther lunch from ndvdually pctured menus. One boy refused to order because hs lunch ncluded a peanut butter sandwch. He grumbled that he ddn't lke peanut butter and sulked and slouched down n hs char. Both the therapst and hs classmates gently explaned that ths was make beleve wth no necessty to eat the sandwch, but he nssted that he ddn't lke peanut butter and would have no part of t even n l 1!!

27 ,, :! play. l : ' qute content. Fnally, he was gven a menu whch ncluded a frut salad and was For the materals or propertes used to represent objects for manpulaton, the therapst may ask, '~at do you thnk we could use for the! ---?", so that the chldren may offer suggestons. Other propertes ' easly obtanable are empty plastc contaners, tn cans, large and small fol plates, plastc spoons and wax paper cups, all deal to represent objects when chldren play, "Let's pretend." Wth magnaton, therapy ' ' room equpment can be utlzed for a number of thngs such as the teddy, bear n the toy cabnet for a ktten, a large pece of crumpled paper held,, together wth two elastcs for a football, a twelve nch ruler for the.! handle of a lawn mower, and the pencl sharpener for a wall can opener. 22 n the followng therapy sessons when the chldren are thoroughly ' :l '' famlar wth the dramatzaton, the therapst may stmulate the attentve-! l : ness of the audence chldren by the njecton of one or two comments about the pantomme such as: '~ou must be very strong! You reached rght ' through the refrgerator door wthout openng t.", "That wll be cold j :1 soup. You forgot to turn on the burner!", or "Wat untl mother gves you :l your soup before you eat t!" These comments delght the chldren and they eagerly watch each partcpant to see f he forgets the acton referred to 1 by the therapst. t was observed that occasonally a chld wll use more pantomme : than dalogue. When ths occurs, the therapst should remnd the chld that he must descrbe what he s dong. At the second therapy sesson after each chld has had hs turn, the

28 j : 1 terms, "settng the stage" and "property man" are explaned by the thera- 1 pst. A responsble "prop man" s then apponted. Wth the responsblty ' and permssveness of re-placng objects and movng about the room after ' the turn of each chld, the "property man or lady" becomes a hghly desr- '1 1 able appontment. ' APPROACH.! r : Ths wrter does not elct speech from a newly enrolled class for the frst two therapy sessons. After rapport s establshed, a group ' " :l pantomme s ntroduced for the purposes of creatng a good nterpersonal relatonshp, ntegratng the class as a whole and brngng out the wthdrawn chld. Therefore, when the chldren have progressed to the stage of therapy n whch they use connected speech, they are already famlar wth the meanng of pantomme. The therapst ntroduces the dramatzaton n the followng manner for Grades, and whle the chldren st at ther table or n a q 1 sem-crcle:.! ' 1 Therapst--Chldren, to-day have somethng new for you, somethng know! you wll all enjoy. Do you remember when you frst came to ths : ' Class------Yes!.! ' :j l ' class and we all acted out a pantomme together? Therapst--Who remembers what pantomme s? Chld------Pantomme s tellng somethng wthout sayng anythng. Therapst--That's rght. We pretended that we couldn't talk! To-day, we

29 :! l.. are gong to act out a pantomme agan, but ths tme we are! gong to speak words wth t. When we put words and a panto mme together, t s called ACTNG. Of course, you all know.. what actng s because you have all seen people actng n your favorte televson programs. Now, am gong to act t for you frst whle you watch and lsten, Then when am through, maybe 'll choose one of you to act t too. The therapst "Sets the stage" wth explanatons and demonstrates the dramatzaton. ' 1 After the demonstraton, the therapst explans to the chldren that they are free to use ther own words and add any acton they choose. The q ' therapst should not nsst on the exact memorzaton of the language that! she has utlzed n the dalogue.,,!!,! d '.!

30 CHAPTER V DRAMATZATONS # ~ l :r

31 ' ' [, 26 : ' lj ~~WORDS:! :! :; ',,. ntal Papa put penny pocket pay pck Peters please popcorn peanuts pencls pretty pnk CHARACTERS: Chld Mr. Peters SPENDNG THE PENNY --- for p Medal spend popcorn lollpop,, SCENE: Exteror of home, street and store. Fnal skp lollpop PROPERTES: ' ACTON AND DALOGUE: Penny, pcture lollpop. cards of artcles n store, plastc spoon for (Chld s standng and puttng hands n pants pockets.) Papa gave,, 1 me a penny and put t n my pocket. can't fnd t. (Feels n shrt ~ (j ' pocket.) Oh, here t s, n my shrt pocket. Now can buy somethng and pay for t wth my penny. 'll skp to the store and pck out what want. Skp, skp, skp1 (Chld skps about the room to table wth pctured artcles.) Hello, Mr. Peters! have a penny to spend. Let me look for a mnute, please. (Chld ponts to ndcated artcles as he! :,,

32 speaks.) don't want any peanuts. don't want any popcorn. And don't need any pencls. There's what want--a lollpop! Here's the penny, Mr. Peters. (Passes the pengr to Mr. Peters and takes the lollpop 1 a plastc spoon.) Thank you. t's a pretty lollpop too. Pnk! (Skps back home lckng the lollpop.) (Note: Another chld playng Mr. Peters mght say, ''What would you l],ce to-day?" or make suggestons.)

33 "! 28 SATURDAY BASEBALL for B WORDS: ntal back bed but bell busy baseball Bob bathrobe blanket breakfast be better bat beautful books burnng bang Medal able baseball neghbor's remembered fnal bathrobe Bob CHARACTERS: Chld and mother. SCENE: Chld's bedroom. PROPERTES: Two chars for a bed, ruler for bat, book for a glove, and ball. ACTON AND DALOGUE: (Chld s asleep n bed, wakes up slowly, rubs eyes, stretches and yawns.) Oh, 'm so sleepy! wsh could go back to bed agan. But thnk heard the bell rng for school, so must get busy and get ready. 1 (Stll sttng on bed, chld slowly puts feet on floor.) Oh! just ~ ', remembered! Ths sn't Frday. t's Saturday, and 'll be able to play baseball wth Bob and the neghbor's chldren n back of the school.

34 l ' Yppel (Now wde awake, chld quckly jumps out of bed and looks about for hs bathrobe.) Where 1 s ~bathrobe? Here t s caught n the blanket. (Puts on bathrobe.) f eat ~breakfast n a hurry, 'll be the frst one out to play baseball. 'd better get ~thngs to-gether frst. (Walks to closet, opens door.) Here's~ ball and glove. (Hurres to corner of room.) Here 1 s ~ bat. (Puts ball and glove down, swngs bat twce and speaks after second swng.) Bang! A beautful ht! Breakfast must be ready. smell toast burnng. Comng mother. (Carres bat wth hm but leaves ball and glove behnd and races from room.) Yppel No books to-dayl ~~ (Note: 1,!,.! ~ l One chld may call, "Blle, come to your breakfast, 11 after, " smell toast burnng.")

35 30 :! THE BRTHDAY PARTY for TH WORDS: ntal Medal Fnal Thursday brthday teeth then!other mouth throat wth there's cloth the month thank thumb :! thrsty CHARACTERS: Chld and mother.!r SCENE: Lvng-room, bathroom, and ktchen. PROPERTES: Char for wash bowl, any game or object for the present, two. plastc contaners for the bottle of mlk and a glass. ACTON AND DALOGUE:.,! (Chld stands hoppng up and down and clappng hs hands wth joy.) ~~ To-day s Thursday and am gong to a brthday party! (11oves to wash bowl n the bathroom.) Frst, brush lly" teeth, (Brushes wth fnger.), and rnse my mouth. (Uses magnasr glass, throws head back to rnse and ejects water nto bowl.) Then wash my face and throat wth the wash cloth. (Washes.) Oops! got soap n my eyes! Somebody pass me a towel quck! (Wth eyes closed and hand outstretched, he staggers n the drecton of the class. A chld touches hs hand to gve hm a towel. Chld drys face and eyes and starts to walk to lvng-room, then suddenly looks at hs hands.) Oh! forgot to wash my hands and my thumb s all "

36 ,_ 31 :j drty! (Goes back to wash bowl, washes hands and agan walks away.) 1 m very thrsty. Guess 'll have a glass of mlk before go to the ' brthday party. (Goes to magna~ refrgerator, takes out bottle of mlk, pours glass of mlk, returns bottle to refrgerator, closes t and drnks mlk.) Now 'm all ready. (Goes to table and pcks up present. ) Yes, mother, have the brthday present. (Walks to door.) Don't forget, mother, next month s rrr:r brthday and 'm gong to have a party too. Good-by, mother! (Walks out the door.) (Note: Therapst or chld n class ~ call as though from another room, "Do you have the brthday present?")

37 .l TOY STORE DREAM! WORDS: for T ntal Medal ~ toys trcycle tree top try too to table store ts skates stop football skatng better watch pretty at out must t went rght fast can't not get what that CHARACTERS: Chld. SCENE: Bedroom. PROPERTES: Crumpled paper held to-gether wth elastcs for a football, one small char for the trcycle, two chars for a bed, one char to try on skates. ACTON AND DALOGUE: (Chld walks few steps, stops, rubs eyes, shakes head n dsbelef, ponts.) Oh! Look at all the toys! Where dd they all come from? (Turns n crcle, lookng around the room.) Ths must be a toy store. (Ponts.) There's a trcycle. 'll get on and rde t. (Runs to char, sts facng back and peddles.) t's gong down a hll and around a corner! Dng, dng! Dng, dng! Watch out for me! (Leaves trcycle, runs to another sde of rooa.) kck t as hgh as the wndow. There's a football on that table. can (Kcks football twce, shades eyes and,,

38 looks up.)!' Whee! t went rght up to the top of the tree! (Looks around to another sde of room, runs.) What pretty, shny skates! 'll 33,;- ' try them on. (Sts n char, pantommes puttng on skates, stands and skates n a crcle.) 'm skatng! 'm skatng! Oh! Oh! Oh! They are gong too fast! can't stop theml Dadqy! Dadqyl {Falls to floor, then slowly awakens, stretches, rubs eyes sleep1y, lfts one foot and looks at t.) Where are my!kates? Where are all the toys? Why, 'm n my pajamas! (Looks around room.) Ths s not a toy store. must have been dreamng. Ths s my bedroom and 1 d better get back to bed fast. (Slow1y walks to bed, les down, curls up and gves a bg sgh.) t was such a nce dream!

39 , l J : :1 WORDS:,, ntal 'l'!e SCK DOLL ---- for D Medal Fnal.) dolly dear daytme doesn't doctor dress death do dshes wonder to-day candy" medcne good-by lady" yesterday should bed head 'd seemed could told scold scared good and CHARACTERS: Chld and doctor. SCENE: Playroom. ; ' PROPERTES: Doll and char for doll's bed, a tny pece of paper rolled up nto a pll, and telephone. ACTON AND DALOGUE: (Chld goes to bed where doll s sleepng and shakes doll gent1y.) Wake up, dolly, dear. t's daytme and you should get out of bed. (Hand to chn, thnkng.) wonder what the matter s. MY dolly doesn't want to get out of bed to-day! (Puts hand on doll's head.) Her head s 1 hot. 'd better call the doctor. (Goes to toy or magnary telephone.) Hello, doctor, please come quckly. MY dolly s very sck. Yes, she 1 seemed all rght when she went to bed, but ths mornng she doesn't want to. :t ' get up and dress and her head s hot. Thank you, doctor. (Hangs up recever, goes back to doll and strokes her head.) The doctor wll be

40 :,, here n a mnute, dolly. Oh! Here he s now. (Goes to door, opens t for doctor and closes t.) Come rght n, doctor. Dolly s over here n! bed. (Leads doctor to bed.) What's the matter wth her, doctor? Oh1! Too much candy yesterday! Yes, 'll gve her the medcne rght now. (Goes to door wth doctor, opens and closes door for hm.) Thank you for comng, doctor. (Walks back to bed, takes pll from place n~~r bed.) ' Oh, dolly, how could you do that after mother told you not to eat more than ;j l " n! :: one pece of can~! almost scared mother to death. Well, won't scold you because you are sck, but you Now, open your mouth lke a good lttle lady and take your medcne. (Gves doll the pll.) n a lttle whle you'll be all better. Now she's asleep so 'll go do the dshes. (Tptoes softly out of room.) 'l (Note: A chld may play the doctor and pantomme takng a temperature wth l. a pencl and lstenng to the heartbeat. Chld may say, "Show me your :1 tongue," and then, "Here's some medcne for her.") ;1,j,,! :J.

41 ' HELPNG UNCLE BLLE for. WORDS: ntal Medal Fnal ---- long Uncle wll lke Blle ball lawn dollar 'll looks clean tall lucky flashlght wall lost colored sckle last marbles call later almost flowers tulps overalls muscles 1 CHARACTERS: Chld Uncle Blle SCENE: Back yard, PROPERTES: Two rulers, soft ball, char, paper dollar, plastc contaner, door handle for faucet, pencl sharpener for sound effect of mower. ACTON AND DALOGUE: {Chld stands leanng on fence wth chn on hands. Back of char s ~.) Uncle Blle sad he'd gve me a dollar f 'd clean up the back yard. wonder how long t wll take mej 'd lke to have that dollar, then could buy a flashlght and a new ball. lost my ball last week, (Walks away,) Better put my overalls on frst. (Acton of dressng,) 'll get the lawn-mower and cut the lawn frst. (Walks to corner of room ' :! t :l rl or cabnet, gets ruler for handle of lawn-mower, pushes mower up and down

42 1,,! twce over one sde of room.) There, that looks good! (Puts mower ' back n magnary tool shed.) Now 'll get the sckle and cut the tall grass by the stone wall. (Gets other ruler and moves to area n front of wndows, makes wde sweepng movements of arm for cuttng acton.) Ths s good for my muscles. (Stops and pcks up ball.) Am lucky! Ths s the ball lost last week. Now can buy some colored marbles nstead! of a ball. (Whstles or hums as he tosses ball and catches t, puts sckle asde. Stops abrupt1y.) Oh! almost forgot to water the flowers! (Gets waterng pot, flls t at faucet and waters flowers.) : J Those tulps look very dry. There! Everythng s done. Oh, forgot the sckle. (Gets sckle and puts t and waterng pot away.) Now 'll call Uncle Blle. Uncle Blle! Uncle Blle! (Louder) Uncle ' ; Blle! Come look. (Beckons wth hand.) Do get the dollar now? \ l (Accepts dollar, puts t n hs pocket.) GeeJ Thanks, Uncle Blle. lke to work for you. 1 m gong to the store and buy some marbles and a flashlght rght now. See you later, Uncle Blle! (Waves and walks away.) (Note: Uncle Blle may say, "You have done a good job and here 1 s your dollar." Another chld may run the pencl sharpener for the sound effect.)

43 . :t,, 1 A RANY DAY --- for R WORDS: ntal Medal Fnal j 1 :! Rcke or Rta ranng Ralph or Ruth ran read Rabbt wrong remember rght rany red real early mornng promsed crcus wal'j streets frend everythng yard drppng story green brown curl father's frut orange purple grapes mther our Peter remember leather char pear CHARACTERS: Chld. SCENE: Lvng-room. PROPERTES: Three books colored red, brown and green, and flashcards or pctures of frut, oranges, apples, pears and grapes on table besde char. ACTON AND DALOGUE: j (Chld stands lookng sadly out of wndow n room.) My name s ' Rcke (or Rta) and got up early ths DOrnng because mother promsed to, l take me to the crcus f t was a wal'lll, sunny day. Now t's ranng out and the streets are full of puddles, so we can't go to the crcus. Shucks! q j " l

44 1 d lke to play wth 11lY frend Ralph (or Ruth), but everythng n our yard s drppng wth ran, so have to stay n the house. (Turns and walks away from wndow.) know what 'll do. 'll read the Peter Rabbt story n my red book. (Crosses to table where books lay, pcks up red book and thumbs through pages, puts book down.) No, was wrong. t must be n my green book. (Repeats eame acton wth green book.) Wrong agan! Now remember. t was n my brown book. (Repeats same acton but does not replace book.) Ths s rght! (Crosses to father's char and sts.) thnk 'll curl up n father's red leather char and eat some frut whle read. (Ponts to magnary dsh of frut.) can have an orange, a pear, a red apple or some purple grapes. thnk 1 ll have the grapes. (Reads, turns pages, eats grapes and spts out seeds.) Ths s a real nce way to spend a rany day.

45 MART{} _SO_U_P!Q!! ;:;;SA:::LL=:Y: (or Sannny) for Sand Z WORDS: ntal Sally S8.ml!JY sttng sewng sawng supper see some celery soup spoon sauce salt str sleep save st Medal frst taste pleasant Fnal sauce Sally's Sammy's needs t's here's glass s dreams nce CHARACTERS: Sally Mother (or Sannny) (or father) SCENE: Lvng-room and ktchen. (or basement) PROPERTES: Can of soup, salt shaker, glass, mlk bottle, saucepan, soup dsh, 2 plastc spoons. ACTON AND DALOGUE: (Mother s seated n a char sewng, or father s standng sawng wth one foot on the char.) sewng and sewng and sewng. am Sally 1 s mother and am sttng and (She stops abruptly--looks alarmed--puts sewng besde her on magnary table--rses and paces floor wth her hand to her head.) Oh, dear, forgot to get Sally's supperl Let me see.

46 Let me see! What shall make her for supper! (She stops short--her face brghtens.) know! 'll make her some celery soup. (She walks to magnary cabnet--gets can of soup.) Frst, get the soup and open t. (Pencl sharpener s the can opener.---opens can--walks to stove sde of table, center of room.) Then turn on the burner and get a saucepan and spoon. soup nto saucepan.) (Reaches to magnary shelf for pan and spoon--pours And str and str and str. Now 1 ll taste t. (Tastes.) t needs more salt. (Reaches for salt shaker--shakes some n soup--mxes t n soup and puts spoon down.) Now 'll call Sally. (Walks to far sde of room to ndcate gong out of doors--cups mouth wth hand and calls.) Sally, Sally, Sally! (ncrease volume, Sally s far away.) Come to your supper. (ndcates char n front of soup plate and spoon at another sde of table.) St down here, Sally, and have some nce hot celery soup. (f another chld pl~ys Sally, she takes one spoonful--drops spoon and fans her mouth vgorously.) s t too hot? (Sally nods and contnues fannng. Mother rushes to magnary refrgerator--opens t--takes out bottle of mlk--pours a glassful--puts bottle back n refrgerator, closes t and returns to Sally.} Here's a glass of cold mlk. Save some to cool your soup. (SalLy drnks--pours some mlk n soup and fnshes eatng soup.) All through? Well, come to bed, Sally. (Mother takes Sally's hand and leads her to chars representng a bed.) Goodnght, Sally. Pleasant dreams! Have a gpod sleep! (Waves to Sally.) (Note: Sally's one response can be, nyes, Mother, 11 for practce on fnal s.)

47 MSTER BUMBLE BEE WORDS: for z ntal Zp Medal panses dases Fnal buzz colors those there's please s anybody's flowers panses dases people's yards CHARACTERS: Chld, SCENE: Street, PROPERTES: None. ACTON AND DALOGUE: (Chld walks or skps happly about the room, stops and looks down admrngly at garden,) Ohl What pretty panses! Hother -would love some of those. And so many lovely colors; red, yellow, blue and purple! thnk 1 11 pck some. (Kneels down, pcks one pan?y at a tme.) Zp! There's one. Zp! There's two. Zp! There's three. (Smells them wth bg breath.) My! They snell nce too! (Chld makes "Buzz" of bumble bee, then looks up.) Hello, Mr. Bumble Bee. How are you to-day? ("Buzz, buzz.") Don 1 t stng me 1 Mr. Bumble Bee. (Ch~ld backs away. "Buzz, buzz,") Please, don't stng me, Mr. Bumble Bee. (Chld keeps

48 backng, frglltened. Chld stops backng and looks curous.) Are you tryng to tell me somethng? ("Buzz, buzz.") What s t? 1 m lstenn g. (Hand to ear, buzzes agan.) Oh! You don't want me to pck the flowers n other people's gardens. 'm sorr,y, Mr. Bumble Bee. 'll never do t agan go out n the felds and pck some dases for mother. s that all rght? (Buzzes.) Good-by, Mr. Bumble Bee. by and skps away.) 'm glad he ddn't stng me! --- (Waves ~rood- (Note: One chld may play the bumble bee by movng n crcles and wavng hs arms as he buzzes, or the class may partcpate by makng the sound of buzzng.)