Deck 9: Dramatic Play

Question 1

Which theorist maintained that through play, children integrate acceptable social and cultural norms into their own personalities?

A) Piaget
B) Vygotsky
C) Gardner
D) Erikson

Answer 1

Erikson

Question 2

According to Vygotsky's social cultural theory, it is through dramatic play that children are able to control their:

A) Impulses
B) Fine motor muscles
C) Voices
D) Peers

Answer 2

Impulses

Question 3

According to Howard Gardner, which three kinds of intelligences can children use during dramatic play?

A) Naturalistic, musical, logical mathematical
B) Musical, spatial, naturalistic
C) Bodily-kinesthetic, interpersonal, intrapersonal
D) Linguistic, existential, spatial

Answer 3

Bodily-kinesthetic, interpersonal, intrapersonal

Question 4

According to Gardner's theory, intrapersonal intelligence is considered the ability to:

A) Detect one's own moods, needs, desires, and to look both inwards and outwards
B) Distinguish the intentions and moods of others
C) Use the body to express thoughts and feelings
D) Work with abstractions and numbers

Question 5

Theory of Mind (ToM) describes the ability to attribute mental states to oneself and to others and is dependent on the following three factors:

A) Kinesthetic function, gross motor function, and creative function
B) Adult involvement, imagination, and social function
C) Executive function, language function, and adult involvement
D) Creative function, kinaesthetic function, and language function

Question 6

Dramatic play supports the cognitive development in children by helping them to:

A) Use their small muscles to manipulate objects
B) Use their language skills to express themselves
C) Socialize with others
D) Create a mental picture or schema of events and problem solve

Question 7

During the early stages of dramatic play children will take on roles that are:

A) Meaningful and familiar
B) Complex and unusual
C) Fantasy driven
D) Media influenced

Question 8

Dramatic play becomes social play when it involves:

A) Others
B) Acting on objects
C) Personal enactment of a story
D) Pretending to be someone else

Question 9

Master players is a term to refer to children who are skilled in:

A) The memorization of scripts
B) Representing experiences symbolically in self-initiated improvisational dramatic play
C) Performance before an audience
D) Taking on familiar everyday roles like mommies, daddies, doctors, and storekeepers

Question 10

To play symbolically according to the stages of dramatic play means the child is able to:

A) Use written symbols in their play
B) Enact symbolic themes
C) Represent symbolism from movies and television
D) Represent objects symbolically

Question 11

Smilansky identified _____criteria of dramatic play:

A) five
B) four
C) six
D) seven

Question 12

Smilansky's fourth criterion entitled persistence involves the child:

A) Playing with others
B) Make-believing with objects
C) Imitating with objects
D) Playing alone

Question 13

When a young toddler is playing with a spoon and pretending to eat without interacting with other people or objects, they are being:

A) Toy-oriented in their play
B) Not oriented to anything
C) People-oriented in their play
D) Engaging in an automatic action

Question 14

A preschool child who is starting to become more mature in their pretend play should be able to:

A) Memorize a script
B) Direct an enactment
C) Perform for an audience
D) Take on multiple roles

Question 15

Children who adopt actions, feelings, thoughts, and behaviours of people in particular situations are involved in:

A) Enactment
B) A play
C) A script
D) A production

Question 16

With story or interpretive drama:

A) No rehearsal is necessary
B) Rehearsal is necessary
C) Memorization of a script is required
D) Children spontaneously enact roles

Question 17

When a child becomes advanced in the use of props in dramatic play, they can:

A) Use pretend food to stand in for real food
B) Use real plates and cutlery in their dramatic play
C) Direct the prop only to themselves
D) Use any object as a prop

Question 18

An attitudinal barrier in dramatic play could take place when early learning teachers:

A) Contain the play so that the children are not disturbed
B) Do not value dramatic play
C) Expand the area in the room devoted to dramatic play
D) Express enthusiasm for dramatic play

Question 19

Variations in sociodramatic play are affected by:

A) Caregivers' and early learning teachers' philosophies and attitudes
B) Child care quality
C) Socioeconomic factors, such as access to space and equipment
D) All of the above

Question 20

According to Parten (1932), if a child is standing watching other children involved in a dramatic play scenario enacting an airplane theme where they are pretending to fly to Mexico, he would be considered:

A) A future passenger
B) Immature player
C) An onlooker
D) A potential director

Question 21

If a child is acting out a favourite nursery rhyme but not speaking, she is performing:

A) Auto-symbolic action
B) Pantomime
C) Story drama
D) Story play

Question 22

A child with limited language skills who is watching a puppet play will:

A) Not gain anything from the experience
B) Infer meaning in the performance
C) Require redirection to another experience
D) Need an adult involvement to translate the meaning of the play

Question 23

To help children learn the art of puppetry, Isenberg and Jalongo (2015) suggest early learning teachers can:

A) Create a specialized stage for the children to perform puppet shows
B) Limit the amount of time playing with puppets to avoid overwhelming children
C) Create finger and sock puppets for tactile and kinesthetic engagement
D) Introduce a mirror so that children can see the puppet's movements and gestures

Question 24

In facilitating dramatic play, early learning teachers add provocations to:

A) Include more children in the play
B) Spark interest and provoke further exploratory opportunities
C) Role model better ways of engaging in dramatic play
D) Advance the play of school-age children

Question 25

Frost, Wortham, and Reifel (2001) suggest that children need a certain amount of time in the daily schedule for uninterrupted free play so that they can become more mature players. How much time do they recommend?

A) Twenty minutes
B) Thirty minutes
C) Forty-five minutes
D) At least sixty minutes

Question 26

When children describe to their early learning teacher a complex scenario that they had been enacting involving aliens and rocket ships, they are demonstrating:

A) Decontextualized language and fantasy storytelling
B) Their knowledge of the movie Star Wars
C) They are more interested in describing than enacting
D) The need for redirection to more traditional themes

Question 27

The term creative confidence influences early learning play environments and describes children:

A) Being talented in arts and theatre
B) Bringing exciting and novel new ideas to the play space
C) Having the emotional skills and courage to take creative risks by trying new ideas, failing, and refining perspectives
D) Playing and directing their peers in dramatic enactments

Question 28

Taking on a role of another helps children to see the perspective of others.

Question 29

Bodily-kinesthetic intelligence involves the ability to use the body to move large blocks and pick up small beads.

Question 30

School-age children use realistic props in their dramatic play and often take on the roles of characters in books.

Question 31

During the Roles in Action stage of dramatic play, scenarios can last from an hour or be extended to many.

Question 32

There are many connections between cognitive competence such as joint planning, negotiation, problem solving, and goal seeking with dramatic play.

Question 33

Theorists do not consider dramatic play as an effective strategy to reduce anxiety and understand traumatic experiences for children.

Question 34

Executive function is the ability to think straight and to order your thoughts in a coherent way to avoid distractions and to maintain a focus on the task at hand.

Question 35

Parents more than early learning teachers can negatively impact a child's socially competent play.

Question 36

The nature of a child's play changes when adults intervene in dramatic play by taking on a role and participating.

Question 37

According to Parten (1932), adults help children play cooperatively during dramatic play by making sure there are familiar props in multiple sets available.

Question 38

Story drama is suitable for both preschool and school-age children.

Question 39

Puppets speak a universal language.

Question 40

No matter what the space requirements are, every early learning environment should have a "house" centre as well as another area for prop boxes.

Question 41

Christie and Wardle (1992) conducted a study of children's play behaviour that concluded there was no correlation between the length of time children have to play and the maturity of the play.

Question 42

When writing materials are added to the dramatic play centre, the experiences are more meaningful than if children are given lessons to practice their letters at a table.

Question 43

Dramatic play is on the decline because an increasing number of adults and institutions do not understand its importance.

Question 44

All children will move from more advanced stages of dramatic play, regardless of adult support.

Question 45

Create a complex dramatic play scenario between three children that would illustrate how children can be both the regular and the object of the regulation in the enactment. Relate to "Tools of the Mind" and the theories of Lev Vygotsky.

Question 46

Explain how you would use pedagogical documentation to support children's dramatic play.

Question 47

By using teacher theatre you would be trying to help children solve classroom disputes. Give an example of what you would do and relate it to theory.

Question 48

Compare and contrast both sides of the debate concerning either superhero play or gunplay.

Question 49

Describe the six critical elements of dramatic play (PRoPELS) developed by Bodrova and Leong (2012). Explain how each stage can help children deepen their sociodramatic play.