Bring broad figure A and square-mark cards cut above the school's small-parts threshold, two large blank scene mats, thick pens, tape approved for the room, a divider card and a private observation sheet. Print seven practice sheets and two fresh check sheets, or draw two large frames and use the exact text route. Emboss, raise or outline frames if helpful; label every mark in words, never colour alone. A person can read neutrally and move pieces only as a child directs. No device, sound, costume, film, home printing or paid prop is required.
Safe opt-in enactment gate: check clear exits, stable tables, school prop policy, space for mobility aids and every participant's consent. No contact, forced vocal role, surprise noise, darkened room, real sign imitation, personal story or public performance. Offer paper-only, broad tactile pieces, AAC, gaze/pointing, child-directed puppet/adult, brief safe enactment or a pass. Do not treat these as fixed learning styles. A child's authored paper arrangement may evidence devising; record enacted role and actual sharing only if each happens. A staged fictional safety sign is not a real school sign or safe action test.
| Aid | Original fictional source and what to prepare | Evidence boundary |
|---|---|---|
| A · Now / later | Figure A and one square card at an archive desk in NOW; same A/card at a shelf in LATER. Place two broad physical mats and a LATER word/raised tag. | Two intended scene moments, not actual time measurement. |
| B · Same / changed | Aligned figure A and square card; desk outline changes to shelf outline. Child sorts stated continuity and change. | Do not infer a child's feeling or a real object's history. |
| C · Scene shift | Three pictorial steps: HOLD first frame, CLEAR mat, PLACE second frame. Adult may move pieces on direction. | A planned transition is not a performed scene. |
| D · Boundary choice | Two large invented versions: one continuous stage picture and two framed moments with LATER marker. Child explains which better signals a shift. | Neither layout is universally correct; ask for intended viewer clue. |
| E · Returning mark | Same large square mark beside the archive desk then on the later shelf. Use actual broad physical mark if tactile route. | Returning mark is dramatic continuity, not a mathematical repeat unit. |
| F · Returning action | Figure A makes the same open-hand / raised-card action in two different paper settings. Child offers more than one plausible reading. | Describe visible action; do not diagnose emotion, intent or audience response. |
| G · Two-scene record | Two blank scene frames, boundary space, continuity and change lines, optional actual audience/work fields left empty. | Keep first and revised child work; do not fill real-event fields by imagination. |
| Check M · Paper sorting shelf | New two-scene paper source with figure P, striped token, desk NOW and shelf LATER; no solved transition printed. | First independent response before teacher key. |
| Check N · Paper repair table | New two-scene paper source with figure R, ring mark, two neutral stage settings and a returning-action choice; no model answer printed. | First independent response before teacher key. |
Observation record: date/day; fictional source; exact child choice and intended clue; first work; modality, adult support and prompt; paper devising, child enactment, authentic work encounter and actual willing-audience sharing as separate evidence types; next invitation. Store only under school rules. Keep Check M/N out of routine teaching until Days 35/40, then use other contexts for practice. Pair with local movement/rest and integrated lessons; the 25-minute Drama starts are optional timetable blocks.