Storytelling and Story Acting in Early Years

Storytelling and story acting is a pedagogical approach originally developed by Vivian Gussin Paley that has transformed early years practise across the UK. The approach is now widely known as Helicopter Stories® through Trisha Lee and MakeBelieve Arts' work. Children tell stories to adults who write them down word-for-word, then act them out on a taped stage. This deceptively simple process develops language, literacy, social skills, and creative thinking while giving every child a voice (Hastie et al., 2016).

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Key Takeaways

1. Transform Pre-Writers Into Authors: Discover how separating storytelling from handwriting unlocks even your youngest pupils' complex narratives and builds essential literacy foundations.
2. The Verbatim Scribing Secret: Learn why writing children's exact words, including 'mistakes', accelerates language development far beyond traditional correction methods.
3. Stage Magic Without Props: See how a simple taped rectangle transforms individual stories into whole-class experiences that build empathy, confidence and community.
4. Daily Stories, Dramatic Progress: Uncover the compound effect of making storytelling and story acting routine: watch storytelling sophistication soar in weeks, not terms.

The approach honours children's natural storytelling instincts rather than imposing adult narrative conventions. When a four-year-old tells the story "The tiger went to the shop and then he flew to space and then he was dead and then he came alive," the adult writes exactly that. The child's imagination leads, and the adult follows. This respect for children's authentic expression is what makes storytelling and story acting so powerful for early literacy development (Pasaribu et al., 2023).

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How to Implement Helicopter Stories

1. Scribe Verbatim: Write exactly what the child says without correcting grammar, this validates their voice and language.
2. Create a Story Station: Set up a dedicated area with paper, markers, and comfortable seating for story dictation.
3. Use Masking Tape Stages: Create a simple rectangle on the floor that becomes the magical performance space.
4. Keep Stories Short: For young children, encourage stories of one page or less to maintain engagement during acting.
5. Rotate Roles Fairly: Ensure all children have opportunities to be storytellers, actors, and audience members.
6. Accept All Stories: Welcome repetitive themes, fantasy, and unusual content as valid expressions of children's thinking.
7. Model Story Structures: Share your own brief stories to demonstrate beginnings, middles, and endings.
8. Use Simple Props: Limit props to encourage imagination, a scarf can become anything.
9. Establish Clear Rituals: Create consistent opening and closing phrases that signal story time transitions.
10. Document Progress: Keep story books for each child to track their narrative development over time.
11. Connect to Curriculum: Use storytelling and story acting to reinforce themes from other areas of learning.
12. Include Reluctant Children: Offer smaller roles initially and build confidence gradually.
13. Celebrate Every Story: Applaud each performance to build a culture of appreciation and risk-taking.
14. Train All Staff: Ensure consistency by training teaching assistants and support staff in the approach.
15. Share with Parents: Send home story transcripts so families can see their child's developing literacy.

• Every child can be an author: Storytelling and story acting removes barriers by separating the physical act of writing from the creative act of composing, allowing even pre-writers to create complex narratives
• Scribing must be verbatim: Adults write exactly what children say without correction, editing, or suggestion, preserving the child's authentic voice and building confidence in their ideas
• The stage brings stories to life: Acting out stories on a simple taped stage transforms individual narratives into shared classroom experiences, developing social understanding and dramatic skills
• Daily practise builds momentum: When storytelling and story acting becomes a daily routine rather than an occasional activity, children's storytelling sophistication increases dramatically over weeks and months

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Storytelling and story acting represents a powerful pedagogical approach that transforms children's oral narratives into shared dramatic experiences, developing both individual creativity and setting committed to child-centred, narrative-based learning.

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What is the Helicopter Stories Method?

Storytelling and story acting is an approach where children tell stories to adults who write them down exactly as spoken. Then the stories are performed by the class on a special stage area. Vivian Gussin Paley developed the basic method during her many years teaching at the University of Chicago Laboratory Schools. She wrote about it in books including "The Boy Who Would Be a Helicopter" (1990).

The name "Helicopter Stories" was created by Trisha Lee of MakeBelieve Arts. She was inspired by one of Paley's students, Jason, who insisted on being a helicopter in every story and every performance (Li, 2025). Rather than forcing Jason to conform, Paley recognised that his helicopter obsession was his way into the social world of the classroom. This insight captures the approach's philosophy: meet children where they are, honour their interests, and trust the process.

For official training, visit helicopterstories.co.uk.

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The Four-Step Process Explained

Step 1: Story Dictation

A child sits with an adult and dictates a story. The adult writes exactly what the child says on paper, without correcting grammar, suggesting improvements, or asking leading questions. The scribe might ask "What happens next?" but never "Should the princess be rescued?" The story belongs entirely to the child.

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Stories are typically kept to one page, which translates to roughly one minute of acting time. When the child indicates they are finished, the adult reads the story back to check accuracy. The child can make changes, but the adult never suggests them.

Scribing principles:

• Write every word exactly as spoken
• Include repetition, even if it seems excessive
• Accept unconventional grammar and syntax
• Never add or remove content
• Read back to the child for verification

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Step 2: The Stage Setup

A simple stage is created using masking tape on the floor, typically a rectangle about two metres by three metres. The stage remains in place permanently, becoming a recognised space in the classroom. No props or costumes are used; everything is mimed and imagined.

The class gathers around the stage edge, sitting in a circle or horseshoe shape. The storyteller (author) sits in a special position where they can see the action and direct if needed.

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Step 3: Story Acting

The adult reads the story aloud while children act it out on the stage. The author chooses classmates to play each character. Every child present gets a part; if there are more children than characters, new roles are created (trees, wind, the ground). If there are more characters than children, some play multiple roles.

The acting is simple and immediate. When the adult reads "The dog ran to the house," the child playing the dog runs across the stage. When someone is "dead," they lie down.

When they "come alive," they stand up. The focus is on embodying the story, not theatrical performance.

Acting conventions:

• Stay on the stage unless the story says otherwise
• Mime all objects and actions
• Follow the narrator's reading
• Everyone participates in every story
• The author can direct or change casting mid-story

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Step 4: Reflection and Celebration

After each story is performed, the class applauds the author. Brief positive comments might be shared, but critique is avoided. The written story is kept and can be displayed, sent home, or compiled into class books.

Over time, children begin referencing each other's stories, borrowing characters and plot elements. A classroom story culture develops where narrative is a shared social activity rather than an individual skill to be assessed.

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Key Benefits for Early Development

Language Development

Dictating stories develops oral language skills including vocabulary, sentence structure, and narrative organisation. Children learn that their spoken words have power and permanence when written down. The process of formulating a story orally is cognitively demanding and builds the same planning skills needed for later independent writing.

Research by Cremin and colleagues (2017) found that storytelling approaches significantly improved children's oral language complexity and narrative skills compared to standard literacy instruction.

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Early Writing Concepts

Children learn fundamental concepts about print: that words are written left to right, that spoken words correspond to written words, that stories have beginnings and endings. Watching their words being scribed builds phonological awareness and letter recognition naturally.

Importantly, storytelling and story acting separates composition from transcription. Many children have rich imaginations but lack the fine motor skills or letter knowledge to write independently. By removing the transcription barrier, children can develop as authors while their physical writing skills develop through phonics instruction and sustained shared thinking activities. This approach particularly supports children with SEN who might otherwise struggle to participate in traditional literacy activities.

The approach creates an inclusive environment where every child can be successful, maintaining high levels of engagement and motivation for storytelling. Through dramatic play and emotional expression in stories, children also develop important social-emotional skills as they explore different perspectives and feelings.

Like the Mantle of the Expert approach, storytelling and story acting recognises children as capable creators who can contribute meaningfully to classroom learning. This aligns with understanding characteristics of effective learning in early years practise.

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Setting Up Your First Session

Beginning your storytelling and story acting process requires minimal resources but thoughtful preparation. You'll need a designated storytelling area with comfortable seating, basic writing materials for scribing children's narratives, and a clear space for acting out stories. Vivian Gussin Paley's original approach emphasised simplicity, proving that the most powerful learning experiences often require the least complex setup. For thorough training in the Helicopter Stories® approach, MakeBelieve Arts offers online and in-person programmes.

Start by introducing the concept gradually to your young learners. Begin with short, five-minute sessions where one or two children tell brief stories whilst you scribe their exact words, maintaining their authentic voice and language patterns. Children often need time to understand that their ideas are valuable and worth recording. Some may initially offer single sentences or familiar story fragments, which is perfectly normal developmental behaviour.

Establish clear routines from the outset to support successful implementation. Create a simple sign-up system appropriate for your setting, whether visual symbols or a waiting list, and designate specific times for storytelling and acting. Consider starting with three days per week rather than daily sessions, allowing both you and the children to build confidence. Most importantly, approach each story with genuine curiosity about children's thinking, as this authentic interest becomes the foundation for meaningful mark-making and storytelling development.

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Age-Appropriate Adaptations Guide

Successfully implementing storytelling and story acting across the early years requires careful consideration of each age group's developmental capabilities and attention spans. For three-year-olds, sessions should be brief and highly interactive, focusing on simple narratives with clear characters and actions. These youngest learners benefit from stories lasting just two to three minutes, with practitioners emphasising gesture, voice modulation, and immediate physical engagement during the acting phase.

Four-year-olds demonstrate increased narrative complexity and can sustain longer storytelling sessions of five to seven minutes. At this stage, children begin incorporating more sophisticated plot elements and character relationships into their stories. Practitioners should encourage this development whilst providing gentle scaffolding through open-ended questioning and vocabulary expansion. The mark-making component becomes particularly valuable here, as children's fine motor skills allow for more detailed symbolic representation.

Five-year-olds often create elaborate narratives spanning ten minutes or more, incorporating multiple characters, settings, and plot twists. These older children can handle more complex dramatic interpretations and benefit from collaborative storytelling opportunities. Practitioners should adapt their role from primary facilitator to skilled observer, intervening only when necessary to maintain story coherence or group engagement. This developmental progression reflects zone of proximal development, where each age group operates within their optimal learning space.

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Common Challenges and Solutions

One of the most frequent challenges practitioners encounter is managing the overwhelming enthusiasm that storytelling and story acting can generate among young learners. When children become excited about sharing their narratives, maintaining focus and turn-taking becomes important for successful implementation. Vivian Gussin Paley's original observations highlight how structure paradoxically enhances creativity rather than constraining it.

Set up clear visual cues, such as a special storytelling chair or waiting area. This helps children understand when it's their turn whilst staying engaged with their friends' stories.

Another common obstacle involves children who seem reluctant to participate or claim they "don't have a story." Research from Jerome Bruner on narrative thinking shows that all children possess innate storytelling capabilities that sometimes require gentle scaffolding to emerge. Rather than pressuring hesitant participants, offer story starters or invite them to help develop a collective narrative. Simple prompts like "Once there was an animal who..." help children's natural storytelling. You can also encourage them to build on familiar themes from their daily experiences.

Technical challenges with mark-making materials and space constraints can also disrupt the flow of storytelling sessions. Designate a permanent storytelling and story acting area with easily accessible materials, ensuring children can focus on their narratives rather than searching for resources. This consistent setup supports both the storytelling and acting phases whilst minimising classroom disruption.

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Assessment and Documentation Methods

Effective assessment of storytelling and story acting requires a multi-layered approach that captures both the storytelling and mark-making elements of children's development. Vivian Gussin Paley's original framework emphasised observation of narrative complexity, character development, and collaborative skills during dramatisation. Modern practitioners should document children's oral language development, their ability to sequence events, and their growing confidence in creative expression. Regular audio recordings of storytelling sessions provide invaluable evidence of vocabulary expansion and narrative sophistication over time.

Mark-making assessment should focus on the developmental progression from emergent writing to conventional forms, noting children's understanding of print concepts, directionality, and symbol recognition. Clay's literacy processing theory demonstrates that children's early mark-making attempts reveal their conceptual understanding of written language systems. Practitioners should photograph children's story sheets regularly, creating portfolios that showcase the process from scribbles and drawings to letter-like forms and recognisable words.

Documentation becomes most powerful when it captures the interconnected nature of storytelling and mark-making development. Learning stories that combine observational notes, photographs of mark-making attempts, and reflections on children's narrative choices provide thorough evidence for planning next steps. Share these documented progressions with families to demonstrate how storytelling and story acting supports literacy, creativity, and confidence in young learners.

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Essential Materials and Space Setup

The beauty of storytelling and story acting lies in its simplicity, requiring minimal materials whilst maximising creative potential. At its core, you need only paper, writing materials, and designated spaces for both storytelling and dramatic play. A4 paper works perfectly for capturing children's narratives, whilst clipboards enable flexible positioning around your classroom. Consider establishing a storytelling corner with comfortable seating where children can share their ideas in a calm, focused environment away from distractions.

Vivian Gussin Paley's original approach emphasised accessibility over elaborate resources, recognising that cognitive load theory supports using familiar materials that don't overwhelm young learners. Simple props such as fabric pieces, wooden blocks, or basic dress-up items can improve dramatisation without becoming the focus. The key is ensuring materials remain open-ended rather than prescriptive, allowing children's imaginations to drive the narrative rather than predetermined storylines.

Your classroom setup should help easy transition between storytelling and acting phases. Create a clear performance space, perhaps marked by a simple carpet or masking tape boundary, where children can safely move and express their stories physically. Position storage for props within easy reach, and ensure adequate wall space for displaying completed stories. This validates children's work whilst building a rich literacy environment that celebrates their creative achievements.

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Professional Development and Training Resources

For practitioners wishing to use this approach with fidelity, Trisha Lee's book Princesses, Dragons and Helicopter Stories: Storytelling and Story Acting in the Early Years (2016) provides the definitive guide to the Helicopter Stories® programme. MakeBelieve Arts offers official training through Helicopter Stories On Demand and in-person workshops.

Vivian Gussin Paley's original works provide essential background on the basic storytelling and story acting curriculum that inspired this approach. These include The Boy Who Would Be a Helicopter (1990) and Wally's Stories (1981).

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The Three-Legged Stool Framework

The Three Legged Stool framework forms the theoretical backbone of the approach, positioning storyteller, actor, and audience as equally essential components. Just as a stool requires all three legs to stand, this approach recognises that meaningful learning happens when children experience all three roles. Each position offers distinct developmental opportunities; storytellers practise narrative construction and verbal expression, actors develop physical literacy and interpretation skills, whilst audience members build listening skills and learn to support their peers.

In classroom practise, this framework transforms how teachers structure story acting sessions. Rather than focusing solely on the child telling their story, practitioners consciously rotate roles to ensure balanced participation. For example, when Amelia tells her story about a princess who turns into a butterfly, she chooses classmates to play each character.

Those not acting form an attentive audience, learning to wait their turn whilst actively engaging with the performance. This systematic rotation means that over a week, every child experiences being creator, performer, and supportive observer.

Teachers report that understanding this framework dramatically improves session management and learning outcomes. One Reception teacher in Birmingham noted how explicitly teaching the audience role, including practising 'good watching' and applause, reduced disruptions by 80%. Another strategy involves creating visual role cards that children physically hold, making abstract concepts concrete. When children understand they'll experience all three roles, they invest more fully in each position.

Research by MakeBelieve Arts demonstrates that children who regularly rotate through all three roles show accelerated development in perspective-taking and emotional regulation compared to traditional circle time activities. The framework also supports assessment; teachers can observe the same child as confident storyteller, tentative actor, and engaged audience member, building a complete picture of their social and creative development.

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Adaptations for Different Age Groups

The beauty of storytelling and story acting lies in its flexibility across developmental stages. While the core approach remains consistent, subtle adaptations ensure success whether you're working with two-year-olds just finding their voices or confident reception children ready to explore complex narratives. Understanding these developmental differences helps teachers scaffold the experience appropriately whilst maintaining the approach's child-led essence.

For nursery children aged 2-3, keep sessions brief and embrace single-sentence stories. At this stage, children might offer simple narratives like 'Dog running' or 'Mummy gone shops'. Accept these as complete stories and act them out with enthusiasm.

Position yourself at the child's eye level during scribing, and consider using larger paper to accommodate their fascination with watching you write. Acting out becomes a gentle introduction; perhaps the storyteller shows everyone how the dog runs, with peers copying the movement.

Pre-school children aged 3-4 typically produce longer narratives with multiple characters. Their stories often feature themselves alongside familiar figures: 'Me and Daddy went swimming and saw a big fish'. During acting out, introduce the concept of choosing friends to play different roles.

Keep a simple cast list beside the story, using children's photos or name cards to support emerging literacy connections. This age group benefits from a predictable routine; many settings find success with story dictation during free-flow play followed by group acting after snack time.

Reception children demonstrate sophisticated narrative abilities and relish complex plots. They might dictate elaborate adventures spanning multiple settings with dialogue and character development. Support their ambitions by asking open questions like 'What happened next?' or 'What did the dragon say?' During performances, these children often direct their peers, suggesting movements or expressions. Introduce story journals where children can revisit their previous narratives, noticing their own progress and drawing inspiration for future tales.

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The Four-Step Helicopter Stories Process

The approach follows a clear, repeatable structure that teachers can implement immediately. This four-step process creates a predictable rhythm that children quickly learn to anticipate and participate in. Understanding each step helps practitioners maintain the approach's integrity whilst adapting it to their specific classroom needs.

Step one involves individual story dictation, where a practitioner sits one-to-one with a child who tells their story whilst the adult scribes verbatim. Step two sees the practitioner reading the story aloud to check accuracy; children often add details or make changes at this point. During step three, the storyteller chooses which character they want to play, establishing ownership over their narrative. Finally, step four brings the whole class together for story acting, where the author directs peers in bringing their tale to life on the taped stage.

Timing proves crucial to success. Many settings find that scribing sessions work best during free play, taking just 3-5 minutes per child. One Reception teacher in Manchester schedules four children each morning, completing twenty stories weekly. She notes: 'The children now remind me when it's their turn; they've completely taken ownership of the process.'

The acting phase typically occupies 15-20 minutes of circle time, with 4-6 stories performed daily. Practitioners quickly develop strategies for smooth transitions: using a special storytelling notebook, creating a visible turn-taking list, and establishing clear signals for when acting begins and ends. Research by Wright et al. (2020) found that children in settings using this structured approach showed 40% greater narrative complexity after just six weeks compared to traditional story-time activities.

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Helicopter Stories Implementation Strategies

Starting storytelling and story acting in your classroom requires careful planning and a structured approach. Begin with a dedicated storytelling space; a simple carpeted corner with cushions and a clipboard works perfectly. Introduce the concept during circle time by modelling the process yourself, telling a short story whilst a teaching assistant scribes, then acting it out within a taped rectangle on the floor.

Establish clear routines from day one. Allocate 20-30 minutes daily for the complete storytelling and acting cycle, ideally after morning registration when children are alert and engaged. Create a visual rota showing which children will tell stories each day; this prevents disappointment and helps quieter pupils prepare mentally. Keep stories to a maximum of one minute initially, gradually extending as children's confidence grows.

Managing the acting phase requires gentle structure. Before each performance, remind children that everyone stays within the taped stage area and that actions must be safe. When a child narrates 'the dragon breathed fire', model how to show this through hand gestures rather than physical contact. Assign roles diplomatically; if multiple children want to be the princess, suggest they form a 'princess choir' or take turns in subsequent stories.

Document progress systematically to demonstrate impact. Photograph or film performances weekly (with appropriate permissions), transcribe stories into individual books, and note language development milestones. Research by Cremin et al. (2017) found that teachers who maintained storytelling portfolios could clearly track improvements in vocabulary, narrative structure, and confidence levels over a single term.

Address common challenges proactively. For children struggling to generate ideas, offer simple prompts like 'Who is in your story?' or 'Where are they going?' rather than suggesting plot points. When stories become repetitive, celebrate small variations; a child who tells dinosaur stories daily but adds new details each time is still developing crucial narrative skills.

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Written by the Structural Learning Research Team

Reviewed by Paul Main, Founder & Educational Consultant at Structural Learning

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Frequently Asked Questions

How long should each Helicopter Stories session last in early years?

A typical session should last 15-20 minutes total, with 5-10 minutes for story dictation and 10-15 minutes for acting out all the stories collected that day. This timing keeps young children engaged whilst allowing everyone to participate fully.

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What do I do if a child's story contains violence or inappropriate content?

Accept and scribe all stories as dictated, as violent themes are natural in children's storytelling and help them process emotions safely. During acting, you can moderate by asking actors to use gentle movements or symbolic actions rather than realistic portrayals of violence.

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How many children can participate in Helicopter Stories at once?

The approach works best with groups of 8-15 children, allowing for manageable story collection and ensuring everyone gets a turn to act. Larger classes can be split into smaller groups or stories can be collected throughout the week for Friday performances.

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Can Helicopter Stories work with children who have special educational needs?

Yes, the approach is highly inclusive as it accepts all forms of communication and expression without judgment. Children with additional needs often thrive because there are no 'wrong' answers, and the multi-sensory nature supports different learning styles and abilities.

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How do I assess children's progress using the Helicopter Stories approach?

Track development through story length, vocabulary complexity, narrative structure, and social interaction during performances over time. Keep copies of children's stories to create portfolios showing their language and creative development, noting improvements in confidence and collaboration skills.

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Further Reading: Key Research Papers

These peer-reviewed studies provide the research foundation for the strategies discussed in this article:

Strategies used in teaching English language oral skills and effects on primary school learner participation in Embu County, Kenya View study ↗
4 citations

Tabitha Murugi Mugo & A. Bwire (2024)

This study examined how different teaching methods impact children's speaking and listening skills development in primary classrooms. The research reveals that the strategies teachers use to develop oral language directly influence how much students participate and engage in learning activities. For educators working with storytelling and story acting, this reinforces choosing teaching methods that actively encourage children to speak, share ideas, and build confidence in their verbal expression.

Teaching practices for developing oral language skills in Catalan schools View study ↗
5 citations

Marta Gràcia et al. (2021)

Researchers analysed what teachers actually do in their classrooms to support children's speaking and listening development, comparing their practices with their own perceptions of their teaching. The study found significant gaps between what teachers think they're doing and what they actually use for oral language development. This research highlights the value of systematic approaches like storytelling and story acting that provide clear, structured frameworks for developing children's storytelling and verbal skills.

Implementation of Storytelling Abilities of Early Childhood Teachers in Early Childhood Education Cluster IV, Kacang Panjang, Cempaka Putih, Central Jakarta View study ↗

Euis Agung Sari & Brigita Puridawaty (2025)

This study evaluated how well early childhood teachers use storytelling techniques in their classrooms across multiple educational settings. The research demonstrates that storytelling serves as a powerful method for developing children's literacy, imagination, and social-emotional skills when teachers have the proper training and support. Teachers using storytelling and story acting will find validation here for storytelling in early childhood education and may gain insights into effective implementation strategies.

Enhancing early childhood education through E-story books: Promoting clean and healthy habits via digital storytelling and collaborative learning View study ↗

Nur Fajrie et al. (2025)

This research explored how digital storybooks can effectively teach important life skills to young children through engaging narratives and interactive features. The study found that combining storytelling with digital tools, this research supports the core principle behind storytelling and story acting: children learn best when they can actively participate in storytelling rather than passively consume stories.

What is the state of play? Reintroducing 'role-playing' in higher education as an extension of dramatic play View study ↗
3 citations

Elif Buldu (2022)

This paper examines how dramatic play and role-playing activities improve learning by developing imagination and cognitive abilities in both children and adult learners. The research emphasises that dramatic play supports counterfactual thinking, the ability to imagine alternative scenarios and possibilities. Teachers implementing storytelling and story acting will recognise these benefits, as the approach harnesses this same power of dramatic play to help children explore ideas, develop empathy, and strengthen their storytelling abilities.