Character Exploration

Overview

In this second lesson of the 10-lesson unit, students build understanding of how narrative characters can be revealed through performance choices. They will select a character from a traditional tale and explore traits, motivations, and relationships using structured drama techniques.

Learning intentions

• WALT explore character traits, motivations, and relationships using drama strategies.
• WALT communicate character choices through movement, voice, and facial expression.
• WALT give and receive kind, specific feedback using agreed performance criteria.

Success criteria

• I can describe what my character wants or needs and explain why.
• I can show at least two character traits through my performance (body, voice, and facial expression).
• I can create and perform a short character moment that includes a clear relationship (how my character feels about another character).
• I can use feedback to improve one element of my performance.

Curriculum links

• Curriculum Refresh: Drama—perform, develop, and refine drama ideas by using movement, voice, space, and relationships to communicate meaning.
• Curriculum Refresh: Creating and presenting—use drama conventions and rehearsing processes to shape performance.
• Te Whāriki? (not required here) — Focus remains on communicating thoughts/feelings through performance.
• Key competencies: Managing self (trying, rehearsing, improving), Relating to others (working safely and respectfully), Communicating (using voice/body to express meaning), Participating and contributing (group roles and feedback).

Lesson structure (60 minutes)

1. 0–5 min · Warm-up: Mirror and Mood

• Teacher models quick “mirror” pairs: one student creates a gesture/stance with a mood (e.g., brave, fearful); partner matches and holds for 3 seconds.
• Students partner up, take turns leading, and practise showing mood clearly through facial expression and posture.

2. 5–15 min · Direct teach: Character wants, traits, and relationships

• Teacher leads a mini model using one familiar traditional tale character (e.g., a wolf, trickster, or princess). Think-aloud prompts:
• What does the character want or need?
• What traits can you see/hear?
• Who do they relate to, and how?
• Students suggest answers, then teacher records three headings on the board: “Want/Need”, “Traits”, “Relationships”. Students copy one example under each heading.

3. 15–28 min · Guided exploration: Character freeze-frames

• Teacher explains the task: in groups of 3–4, students choose one character card from a prepared set (selected tale characters). They create a freeze-frame for:
• Trait 1 (stance and face)
• Trait 2 (voice/gesture—what they do with their hands/body)
• Relationship (how their character feels about another character in the group)
• Students practise in their groups, taking turns to perform a short freeze. The group gives one piece of feedback using sentence stems on the board:
• “I can see…”
• “I notice your…”
• “I think it shows…because…”

4. 28–40 min · Small-group rehearsal: 30–60 second character moment

• Teacher sets a clear structure and demonstrates once:
• Start: “character in their world” (1–2 seconds)
• Action: show the want/need (movement + voice)
• Relationship: react to another character (eye contact + distance)
• End: a clear final image (stillness)
• Students rehearse a 30–60 second moment, ensuring each performance includes the want/need, two traits, and a relationship.

5. 40–52 min · Perform and feedback: Gallery walk

• Teacher organises a gallery: groups perform one at a time while others observe. Observers use a simple criteria checklist: clarity of want/need, two traits, relationship shown.
• Students perform and observe respectfully, using the stems to give one “glow” (what’s working) and one “grow” (one improvement). Groups note the grow idea for later editing.

6. 52–60 min · Exit reflection: One choice to improve

• Teacher prompts: “Write or say one change you will make next rehearsal and why it helps show your character.”
• Students complete a quick exit ticket (or half-page reflection): “Next time I will… because it shows…”

Resources

• Character cards (2–4 per group) from the selected traditional tales
• Board chart: Want/Need, Traits, Relationships
• Observer checklist (printed or displayed) with 3 criteria
• Space for pairs, groups, and gallery performances
• Optional: simple prop items (e.g., scarf, cloak, crown substitute) kept minimal to focus on acting choices

Assessment

• Teacher observation during freeze-frames and rehearsals: can students show want/need, traits, and relationship through performance choices?
• Feedback quality: listen for specific, kind, actionable feedback using the stems.
• Exit ticket: students identify one improvement linked to character communication (not just “I’ll try harder”).

Differentiation

• Support for students needing scaffolding:
• Provide sentence starters for reflections (e.g., “My character wants…”, “My character shows this by…”).
• Offer a “minimum expectation” performance: one trait + one clear want/need + relationship reaction.
• Allow roles such as “voice leader” or “motion leader” before full performance.
• Challenge/extension within the task:
• Ask students to add a “change moment” (e.g., from calm to angry) within the 30–60 seconds and show the shift with voice and movement.
• EAL/SEN considerations:
• Encourage non-verbal clarity first (facial expression, body shape, proximity) while students develop spoken lines if needed.
• Permit using a single word/phrase for voice changes (e.g., “No!” “Why?”) rather than memorising scripts.
• Safety and inclusion:
• Establish clear agreement: performances are respectful; feedback focuses on actions, not people.