Overcoming the Fear of Using Drama in

English Language Teaching

Judith Gray Royka
Jnjroyka [at] hotmail.com
Andong National University Language Center (Korea)
Just a few drama activities can bring an EFL/ESL classroom to life. The trends in English
Language Teaching (ELT) lean heavily toward communicative and authentic language
use. Drama provides lots of immediate resources and is fun for teacher and students alike.
The fear factor for a new drama user is the hard part to overcome.

At times teachers are reluctant to use 'drama' activities in classrooms for various reasons:
they don't know how to use the activities, limited resources, time constraints, a fear of
looking and feeling foolish and the list goes on. Generally these feelings are more
prevalent when attempting to use drama with adults. Teachers of young children tend to
use more play, games and drama type activities since the children are closer to the "play
and explore" stage of development. Often children are much more receptive to any kind
of "make-believe" or drama type activity. Of course this is not always the case and it
would depend on the cultural values, the ability of the children, and varying social
factors. This article is concentrating on the reluctance that is observed in language
teachers of adults when drama activities are introduced to them.

The following is based on problems brought up by teachers when tackling using drama in
ESL/EFL classes for the first time. They come from actual feedback from ELT teachers
after I have given a drama workshop. These following "problems" were the most
common negative feedback I received from teachers when asked to try drama activities in
ELT. Remember, these are only a few complaints that I encountered many times. The
majority of EFL teachers I have been in contact with use drama or communicative
activities often and regularly. The two books I refer to are excellent resources for drama
in ELT.

1) I am not a drama expert.

Many teachers feel that they cannot approach drama activities without being a trained
actor. They feel, at times, they just wouldn't know what to do. Even if they have the
activities in a book, which explains them clearly, some feel they couldn't do them
properly or explain the purpose of the activity.

Suggestions: Very few drama or communications activity books assume that a drama
expert is using it. Most books are "user friendly" and explain the activities in a way that
anyone could understand and re-explain it and it's purpose. Many of the popular drama
games books are targeted for teachers of other subjects; to give them some ideas to add or
extend lessons; not to teach drama. Charlyn Wessels offers an exclusive view of drama
for use in ELT settings. Drama (1987) is a book for ELT teachers specifically but really
any teacher interested in using some drama activities in any class could find the material
of value. The areas that she includes detailed chapters of are using drama for: teaching
the course book, teaching the four skills (reading, writing, speaking/pronunciation and
listening), teaching spoken communication skills and the drama project "which leads to
the full-scale staging of a play in the target language" (Wessels: 10) The teachers who
"don't know what to do with drama" can easily choose a few games and start slow in their
own style of teaching.

2) I wouldn't want to risk looking silly in front of a class of students.

This is an extension of the first problem, where teachers feel they are unprepared for
"performing" in front of a group. Risk is a big factor for teachers and students. If teachers
have never tried using a drama activity before both students and teacher could be
reluctant to take the risk and just try it. Looking and feeling silly is a big barrier for
teachers and students. It is not easy to overcome.

Suggestions: The relationship between teacher and students in an ESL/EFL setting is

important. If the teacher is introducing drama to the students it is even more important to
establish a comfortable and free thought-sharing environment.
"Drama demands enthusiasm- not only for the lesson, but also for the students. And this
in turn depends on the formation of a relationship of mutual trust in which neither teacher
nor student feels 'at risk', but they willingly change roles and status to achieve the aims of
the lesson." (Wessels: 15)

The teacher should not be seen as "performing" the drama to the class but all members
creating the experience together.

For a teacher just starting to use drama in ELT it is important to start slow, maybe with a
few warm-up games or role play, that everyone accepts and uses comfortably before
moving into any kind of intense drama activity. If the teacher is not comfortable with the
activity it probably should not be tried.

"Drama attempts to put back some of this forgotten emotional content into language - and
to put the body back too. This does not mean that we must suddenly start leaping about
the room in an exaggerated fashion, but it does imply that we need to take more account
of meaning."
(Maley and Duff, 1987: 7)

3) Drama is just playing and is not a serious study method for learning
English.

Some traditional style teachers are afraid they will appear unprofessional and even risk
being fired if they focus the lesson on 'playing' instead of serious study. Some language
teachers feel comfortable only when using the course textbooks and feel that drama
activities could take away from their position as the language "role model". Instructors
can be wary of focusing too much on "drama" and not the real subject; English. There is
also the issue of control here. A class of 25 students who are working in groups on a
drama activity can be a nightmare for a leader who wants to control the timing, language
use and focus of the unit.

Suggestions:
"If drama can really enrich the language class in all these ways, why are so many teachers
reluctant to use it? Many still think of drama as 'theatricals', because this is their only
experience of it. Often the fault lies not with the individual teacher, but with the training
that he or she has received; a training that presents education as the one-way transmission
of knowledge from the teacher to the student, rather than the creation of a learning
situation in which the student is also the teacher." (Wessels: 14)

For some teachers the mere mentioning of drama brings up ideas of acting, performing
and creating school plays. As mentioned above the training that teachers have received
may have altered their view of what "education" should be. Perhaps if teachers had a
chance to see "drama in action" in an ELT setting the resistance would lessen.

Teachers who feel most comfortable using a textbook as the focus for language learning
could use drama in a limited way in order to bring the text more authenticity for the
students. Often the text alone is not enough to provide the students with "real life"
practice in the target language.

Evaluating a lesson that incorporates drama techniques can be another trigger that sets
teachers off using them. The two main objectives when including these types of materials
in a class should be overcoming resistance to the foreign language and creating a need for
speaking. By looking at these two areas and asking questions about the students reaction
and the lesson overall they can be evaluated by all members involved.

Loss of control is a fear for any teacher in any setting. Using a drama activity with a large
class can seem like chaos if all students are not engaged in the lesson. If the relationship
between the teacher and students is well established and other communicative games
have been used to promote group cohesion the whole class should be able to be involved
in a drama activity and explore the second language at the same time.

Large group drama activities are ideal for ELT situations. More students have the chance
to engage in some form of language use and interact in different settings that can be
created in one space. These kinds of group drama activities can develop better language
use and provide the teacher more observation time and less direct teaching time. (In the
one way transmission form)

4) I don't have time to prepare the lesson from the student book and come
up with some drama games too.

Teachers who are willing to try some drama games and activities are often frustrated with
the materials needed for some games and the time it takes to understand a game and be
able to lead it well. A lack of drama resources in a staff room, school or library can make
the situation even more frustrating. Some drama resources are not appropriate for ELT
and others are based on theatre arts or materials for having students put on "plays" in
class. It can be very time consuming and fruitless in some cases to look for some kind of
'drama' to put into a class.
Suggestions:
A basic knowledge of communication activities that can be added to a lesson can be a
huge help for any teacher. A warm-up that leads into the lesson does not have to be a
complicated "drama" lesson but just a way to get the class working together, awake and
focused on the topic. Using the course material, teachers can find many drama techniques
to make the course book more communicative and 'alive' for the students. Often no extra
planning time is needed if the instructor has these techniques in mind while preparing the
actual lesson.

'Drama can help the teacher to achieve 'reality' in several ways. It can overcome the
students' resistance to learning the new language:

 by making the learning of the new language an enjoyable experience;

 by setting realistic targets for the students to aim for;
 by creative 'slowing down' of real experience;
 by linking the language-learning experience with the student's own experience of
life

And drama can create in a students a need to learn the language :

 by the use of 'creative tension' (situations requiring urgent solutions);
 by putting more responsibility on the learner, as opposed to the teacher.'

(Wessel: 53-54)

Conclusion
Very few resources are needed to make the communicative experience more 'real' for the
students. Perhaps if teachers think of the drama activities in the terminology of the
popular ELT methodology such as 'communication games', or 'tasks' they could better
comprehend the goal of using them.

Resources
 Maley, Alan and Duff, Alan 1978. Drama Techniques in Language Learning.
Cambridge University Press.
 Wessels, Charlyn, 1987. Drama (Resource Books for Teachers) Oxford University
Press.

Drama in Education for Language Learning

secondary and adult

 Céline Healy
celinehealy@eircom.net

This article has two kinds of readers in mind. Those who would like to explore the
use of Drama in Education or Process Drama in their language classroom but don't
know where or how to start. Those who have some experience of using Drama in
Education but want to extend their knowledge and understanding of how to use it in
the language class. It is in two parts: after a brief introduction to the underlying
principles and aims of Drama in Education it sets out a detailed workshop plan with
accompanying objectives and task descriptions.

Drama in Education is essentially improvised in nature. Drawing on the

elements of drama it enables learners to create and inhabit a fictional
world for the experiences, insights and understandings it may yield
(Heathcote, 1984). It encourages learners to bring their interests and
personalities, their 'cultural capital' (Giroux, 1989), to the learning process
so that they can become actively involved and their knowledge
personalised (Bruner, 1962). Thus Drama in Education helps to blur the
edges between the classroom and life outside by promoting a content-rich
learning environment that creates meaningful, motivating contexts for
communication and learning.

The emphasis is on using drama for the process of learning and not for
producing a spectacle. The whole group is involved and there is no external
audience: the participants are audience to their own action. The starting
point of the improvised drama is a theme, situation or pre-text that is both
interesting and challenging for learners, will lead them into the drama and
imply action (O' Neill, 1995). The drama is then built from a series of
episodes, often developed in a non-linear way, to enable participants to
explore different aspects and perspectives of the dramatic world created.
Learners are thus encouraged to actively engage with the content, to
reflect and to communicate their reflections and opinions thereby creating
a web of meaning and advancing the drama.

The workshop that follows shows how Drama in Education techniques and
conventions may be used to explore the language and themes of poetry. The
unfolding drama leads learners into an understanding of the language and the
themes of the poems so when they read the poems in their entirety for the first
time they can do so independently of their teacher and their classmates. Thus,
Drama in Education prepares them for success and helps them develop a growing
sense of autonomy in their language learning and language use.

The workshop illustrates how the teacher can work as co-participant in the
drama to create a more democratic classroom environment that promotes
collaboration and risk-taking. A Multiple Intelligences approach (Gardner,
1983) is fostered through a variety of tasks appealing to different learning
styles while promoting an integrated approach to the development of the
language skills. The emphasis is on involving learners in their learning,
scaffolding them in their understandings, encouraging them and promoting
their success.
Three poems, dealing with the theme of escaping from reality and loss, by Irish
poets are explored. These are 'I Will Leave This Place' by Mary Dorcey1, 'The
Woman And The Igloo' by Joan Mc Breen2 and 'The Stolen Child' by William Butler
Yeats3. Through the drama participants are encouraged to make links between the
poems, to relate the themes to their understandings of life and to explore these
understandings. The level is pitched at upper intermediate or lower advanced
learners. The tasks do not have to be sequenced in the way suggested and not all
tasks have to be used: the needs and interests of the learners should take
precedence over the workshop plan.

1
Dorcey, M. 'I Will Leave This Place' in MacMonagle, N. (ed.) (1994) Real Cool: Poems to Grow Up With, Dublin:
Martello.
2
McBreen, J. 'The Woman And The Igloo' in MacMonagle, N. (ed) (1994) Real Cool: Poems to Grow Up With,
Dublin: Martello.
3
Yeats, W.B. 'The Stolen Child' in A. Norman Jeffares (ed) (1974) W.B. Yeats Selected Poetry, London: Pan
Books in association with Macmillan.

Task: Rapid Mimes

Task description:

Participants, working in small groups, respond to vocabulary items written on slips

of paper by creating mimes.

Resources:

An envelope containing 8 slips of paper for each group.

Objectives:

 To enable participants to become physically as well as cognitively involved in

their learning through the mime activity.
 To foster a relaxed, collaborative learning environment through physical
activity in small groups.

 To enable participants to collaborate in the revision and learning of

vocabulary that will help them to read the poetry with ease.

Activity:

Each group of 3/4 is given an envelope containing 8 slips of paper.

They read the first slip and decide how best to represent this through mime. They
are given 20 seconds for this.
The group facilitator calls aloud what is written on the slip and all the groups
together do their mimes. This ensures that the focus is on the vocabulary and on
group collaboration and not on any individual.
This is repeated for each of the slips.
Often the class want to see individual groups' representations. As long as the
groups are willing this can be great fun.

Vocabulary items used:

Herons. Flapping herons. Water rats. Drowsy water rats. Olden dances. To and fro
we leap. Chasing frothy bubbles. Leaning out.
* This is based on an activity called Rapid Mimes in Brandes, D. (1982), The
Gamesters' Handbook Two, London: Hutchinson.

Task: Setting the scene through teacher-in-role.

Task description:

Participants are invited by the facilitator to sit on chairs in a circle. When everyone
is settled the facilitator, in role as leader of an amateur detective society, welcomes
all to a meeting, reports on the job they have been asked to do and invites their
questions and comments.

Objectives:

 To set the scenario with economy of time through use of teacher-in-role.

 To focus the attention of the group and stimulate their interest in the next
task.

Resources:

Teacher-in-role as leader of the amateur detective society; sufficient chairs for the
whole group arranged in a circle.

Activity:

Teacher-in-role welcomes the amateur detective to the meeting. 'Good evening and
welcome. Thank you very much for coming out on such a wet and windy night, and
at such short notice, for this meeting. Why was this meeting called? Well, you know
it's happened again - yet another person has been reported missing, disappeared
into thin air, no evidence of foul play, disappeared as if abducted by aliens. So all
hands are needed on deck and that's why we, in the amateur detective society,
have been called in to help in the investigation. We are, however, under pressure of
time and have been asked to examine the information and clues available and come
to some conclusions before we leave here this evening. Do you have any
questions?'

This convention sets the scene and invites group members to participate without
any need for lengthy contextualisation. The group are now aware of their roles and
what is expected of them. A time constraint is given to lend tension to the
proceedings. The facilitator-in-role offers the group a model of behaviour and the
type of language to be used during the drama. Inviting the group to ask questions
immediately plunges them into the make-believe situation; to participate in what
Dorothy Heathcote calls 'the big lie' (Heathcote, 1984). This acts as an incentive
and motivation for them to become involved in and to take responsibility for the
emerging drama.

Task: Examining the scene

Task description:

Participants examine the scene where the latest person to have disappeared is last
known to have been.

Objectives:

 To stimulate participants' imaginations as they examine the scene and form

hypotheses.
 To encourage participants to consider the human situations behind the
poems that will be read later.

Resources:

A desk and chair; a folder; a writing pad; a handbag; personal items such as a
plant or an incense stick on the desk; torn slips of paper; a sheet of paper; a
crumbled sheet of paper; sheets of poster paper.

Activity:

Participants are invited to examine the scene then break into groups to compile a
chart of their findings under suggested headings: Who? Why? Where? With Whom?
The scene consists of a desk and chair. On the desk is a black folder on which is
placed a sheet of paper and a writing pad. There is a note written on the pad*. The
sheet of paper under the pad is decorated with doodles that include an outline of
mountains with trees, a river and a waterfall. The words 'to the waters and the
wild'* are scribbled in a corner. On the back of the chair a handbag is hanging.
There are torn slips of paper in the bag with words written on them in an old
fashioned script*. On the floor beside the desk is a crumbled ball of paper*.
*On the pad is hand-written:

I will leave this place,

and go somewhere
you are not known.
Days might pass,
without hearing your name.

This is a poem entitled 'I Will Leave This Place' by Mary Dorcey in MacMonagle, N.
(ed.) (1994) Real Cool: Poems to Grow Up With, Dublin: Martello, 72.

*An examination of the crumpled ball of paper reveals the hand-written text:

My time has never been my own

I have so much to do
and do again tomorrow
Between all of you
I am exhausted
I will take time off and go away.

This is an adaptation of a poem entitled 'The Woman and The Igloo' by Joan
McBreen, in MacMonagle, N. (ed.) (1994) Real Cool: Poems to Grow Up With,
Dublin: Martello, 145.

*The words doodled on the sheet of paper 'to the waters and the wild' are taken
from 'The Stolen Child' by William Butler Yeats.

*The words on the torn slips of paper found in the handbag are places referred to in
'The Stolen Child':
Sleuth Wood; the lake; a leafy island; hills; grey sands - Rosses;
waterfall - Glen Car; pools among the rushes.

Task: Modelling an image of the person who went

away
Task description:

Participants are invited to create a living picture of the person before they went
away to give some idea of how they might have been feeling and what they might
have been thinking.

Objectives:

 To build participants involvement in the make believe situation as they see a

physical representation, in a particular moment in time, of one of the people
who disappeared.
 To enable participants to create a physical representation of their
observations and thoughts after examining the scene.

 To allow participants to critique these observations and thoughts through

seeing and commenting on different physical representations.

 To foster an understanding of how people interpret scenes in different ways.

Resources:

The table and chair scene used above and one volunteer from the group.

Activity:

A volunteer sits in the seat at the desk. Following instructions from members of the
group he/she sits in a particular way, holds his/her head in a particular way, wears
a particular expression and so on. When, for example, one expression is seen
another may be tried and discussed. In this way multiple interpretations are seen
and critiqued and adjusted accordingly.
Having modelled the person in the moments before he/she disappeared the groups
then return to their charts and make any changes they deem necessary.

Task: Creating an information and hypotheses chart

Task description:

Participants pool together information gathered and hypotheses made to create a

summary in chart form that will be passed on to those leading the investigation.

Resources:

The charts that participants have created.

Objectives:

 To create a motivational context for reading and listening to others'

observations and points of view.
 To initiate debate and discussion among participants as they articulate and
defend their opinions.

Activity:

Each group posts the chart it has created on the walls of the room. Participants
circulate reading the charts to get an overview of the observations and hypotheses
made. They then return to their circle of seats to compile a chart similar to the ones
created by each group representing a summary of the group's work. A tension is
added by reminding the group that we are under pressure to submit a chart of our
findings as soon as possible. A further tension is added through the debate and
defence of ideas and opinions.

Task: Reading an e-mail for clues

Task description:

Participants read an e-mail found in the mailbox of one of the disappeared to find
further information on where the people may have gone, why and with whom.

Objectives:

 To enable participants to engage in a close reading of the refrain from 'The

Stolen Child' by reading and discussing the contents of the e-mail.

Resources:

Copies of an e-mail on which the refrain of 'The Stolen Child' is written in an

elaborate script (e.g., Blackadder ITC). The sender's address should be blanked out.

Activity:
Group facilitator in role as leader of the amateur detective society introduces some
new evidence that has just been found. Printed copies of an e-mail found in the
mailbox of one of people who have disappeared are distributed. The group is invited
to read the text for clues. Findings are shared, discussed and taken note of.

On the e-mail is written:

Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping
Than you
Can understand.
From The Stolen Child by W. B. Yeats

Task: Expressing heightened, poetic language in

everyday language
Task description:

Pieces of paper that have been written on in old-fashioned script are read and
expressed in everyday English.

Objectives:

 To facilitate a collaborative reading of extracts from 'The Stolen Child' to

encourage participants to help one another with any difficulties they may
have with the poetic language.

Resources:

Pieces of paper that have been charred around the edges on which extracts from
'The Stolen Child' have been written in old-fashioned script.

Activity:

The 'leader' announces that more clues have been found and forwarded to us for
investigation. The charred pieces of paper are distributed to small groups. They are
asked to read and find ways of expressing them in everyday English.
Before the groups give feedback on their pieces of text sheets of paper on which all
the pieces of text are written are distributed. Each group reads aloud the extracts
they were given and then expresses them in everyday English. The others help
where necessary and tell what clues they glean from them. Clues are discussed and
noted.

The following are examples of some of the texts on the charred pieces of paper:

Where dips the rocky highland

Of Sleuth Wood in the lake,
There lies a leafy island

There we've hid our faery vats

Full of berries
And of reddest stolen cherries.

Far off by furthest Rosses

We foot it all the night,
Weaving olden dances,

To and fro we leap

And chase the frothy bubbles,
While the world is full of troubles
And is anxious in its sleep.

In pools among the rushes

That scarce could bathe a star,
We seek for slumbering trout

He'll hear no more the lowing

Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast

From 'The Stolen Child' by W. B. Yeats.

Task: Exploring the theme of loss in the poems

Task description:

Participants read and listen to 'The Stolen Child' by W. B. Yeats arranged to music
by The Waterboys. They will also read 'I Will Leave This Place' by Mary Dorcey and
'The Woman And The Igloo' by Joan McBreen. As they read and listen they are
asked to focus on what the poems suggest the person who leaves will miss.

Objectives:

 To encourage participants to examine the theme of loss in the poems as

they read them in their entirety.
 To give participants the pleasure of listening to a beautiful arrangement of
'The Stolen Child'.

Resources:
Sufficient copies of 'The Stolen Child' by W. B. Yeats, 'I Will Leave This Place' by
Mary Dorcey and 'The Woman And The Igloo' by Joan McBreen for all participants. A
recording of 'The Stolen Child' arranged to music by The Waterboys with Tomás
MacEoin on the album Now And In Time To Be: A Musical Celebration Of The Works
Of W. B. Yeats, The Grapevine Label Ltd., London, 1997.

Activity:

Copies of the poem are distributed. Participants are given time to read it in their
groups. Then the recording is played. Afterwards participants are given time to
discuss in their groups what the poem suggests the person who leaves might miss.
Copies of 'I Will Leave This Place' by Mary Dorcey and 'The Woman And The Igloo'
by Joan McBreen are also distributed and the discussion is extended to what these
poems suggest the person might miss by going away.
Findings are then shared and discussed with the whole group.

Task: Creating and reading tableaux using 'thought-

tracking'
Task description:

Participants in small groups are invited to create two tableaux or freeze-frames:

one showing why the person in the Mary Dorcey poem or the Joan McBreen poem
might want to 'run away with the fairies' and another showing what they might miss
by going away. Participants in each tableau are 'thought-tracked' or called upon to
express the thoughts their 'role' has at that particular moment in time.

Objectives:

 To enable participants to draw on their own experiences in the creation of

tableaux or freeze-frames in order to better understand those of others.
 To facilitate participants to express themselves kinaesthetically as well as
orally through the tableaux and 'thought-tracking'.

 To allow participants the possibility of exploring the tensions between 'what

is' and 'what appears to be' by reading the tableaux and 'thought-tracking'
the characters.

Activity:

Participants, in small groups, are invited to create two tableaux as outlined above.
A tableau is a representation, like a photograph, of a moment frozen in time.
Participants take a position and a role as if in a photograph and then hold still so
others may 'read' the physical image created.

Participants are given time to prepare a sentence or two that describes their
thoughts and feelings at the moment that the tableau depicts.

The tableaux are viewed and the others describe what they see paying particular
attention to the distance between bodies, body language and facial expression. In
this way participants look beneath the surface of what appears to be to examine a
particular moment in more detail.

The characters in the tableaux may then be thought-tracked. When someone in a

tableau is touched on the elbow by one of the participants then he/she can express
the thoughts of the character. In this way participants can gain further insights into
the situation depicted.

To facilitate further reflection participants may then be led to discuss their

observations or even to create a diary entry for one of the characters.

Task: Conscience Alley

Task description:

Participants are requested to divide into two straight lines facing one another.
Volunteers walk between the two lines in the role of one of the people depicted in
the tableaux. Those in the lines must offer advice about whether 'to go away with
the fairies' or stay.

Objectives:

 To enable participants to express their opinions and learn the opinions of

others through the giving and receiving of advice.
 To stimulate further discussion on the themes of the poems related to
participants' understandings of life.

Activity:

Group divides into two straight lines with participants from each facing towards the
other. Volunteers in the role of one of the people depicted in the tableaux walk
slowly between the two lines. As they go past participants whisper their advice to
them on whether or not they should go and why.

As many volunteers as wish, or as time permits walk through the alley and the
others give the same piece of advice each time. After some time those that have
walked through the tunnel in role tell whether they have decided to stay or go and
why. Further discussion may then ensue.

Céline Healy
School of Education,
Trinity College,
Dublin.
celinehealy@eircom.net

References:
Brandes, D. (1982), Gamesters' Handbook Two. London: Hutchinson.
Bruner, J.S. (1962), On Knowing: Essays for the Left Hand. Cambridge, MA:
Harvard University Press.
Dorcey, M. 'I Will Leave This Place' in MacMonagle, N. (ed.) (1994, Real Cool:
Poems to Grow Up With. Dublin: Martello.
Gardner, H. (1983), Frames of Mind: The Theory of Multiple Intelligence. New York:
Basic Books.
Giroux, H.A. (1989), Schooling for Democracy: Critical Pedagogy in
the Modern Age. London: Routledge.
Heathcote, D. (1984), Collected Writings on Education and Drama. , Johnson, L.
and O' Neill, C. (eds) Illinois: Northwestern University Press.
McBreen, J. 'The Woman And The Igloo' in MacMonagle, N. (ed) (1994), Real Cool:
Poems to Grow Up With. Dublin: Martello.
O'Neill, C. (1995), Drama Worlds: A framework for process drama. Barnett, L. (ed)
Portsmouth: Heinemann.
The Waterboys with Tomás MacEoin (1997), Now And In Time To Be: A Musical
Celebration Of The Works Of W. B. Yeats. London: The Grapevine Label Ltd.
Yeats, W.B. 'The Stolen Child' in A. Norman Jeffares (ed) (1974), W.B. Yeats
Selected Poetry. London: Pan Books in association with Macmillan.