Why is dramatic play important

What It Is and Why It’s Important

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November 5, 2021

Have you ever watched kids play dress-up to prepare for an audience with the Queen, or pretend that they’re astronauts headed into space, or leap around the living room without touching the floor because it’s lava? If so, you’ve witnessed dramatic play in action.

What is dramatic play? It’s the kind of play where kids take on roles and act them out as a way of exploring themselves and their surroundings. By pretending to be someone—or something—else, children can learn new ways to express themselves, share thoughts and ideas, and even get in touch with their feelings. Dramatic play is a very important part of childhood development.

There are three main stages of childhood development. There’s early childhood, which spans birth to eight years old. Next up is middle childhood from 8to 12 years of age, followed by adolescence, which covers ages 12 to 18. Dramatic play is important during the early childhood stage of development, as kids start to grow into themselves more and start to have a greater understanding of their individuality.

There are two types of dramatic play. They are:

  • Structured Play: This is the kind of play where there’s a game plan for the kind of play that kids are engaging in. This could mean a teacher or parent has created a scenario that has a definitive end point. For example, maybe they’re shopping at a grocery store, shipping a package at the post office, or buying a bouquet at the flower shop. In these scenarios, there are defined roles that are dictated by the situation, and the play leads to a specific conclusion (for example, completing their purchase at the grocery store).
  • Unstructured Play: This form of dramatic play is more freeform and left up to the kids to choose how they want to play, and how—or even if—it ends. This is where the classic “floor is lava” scenario comes into play, but other examples might be pretend play like being a dinosaur stomping around the living room or using a spoon as a “magnifying glass” while hunting for butterflies in the basement.

Examples of Dramatic Play

  • Young children may engage in dramatic play in a variety of ways, including:
  • Role-playing, such as being the parent to a doll or pretending to be a doctor seeing patients
  • Dressing up, whether putting on their parents’ clothes and shoes, or putting on a costume that was made specifically for them
  • Fixing things like the TV, the kitchen faucet, or the car, offering their diagnoses of the problem and how they can solve it
  • Exploring and adventuring, whether in their own room or the backyard, discovering new creatures and unseen worlds

Dramatic play benefits are numerous. In addition to supporting creativity and self-expression, dramatic play can help children learn real life skills and social skills that can serve them throughout their lives, from engaging in dramatic play for toddlers, to playtime in their preschool classroom, and beyond. Technology can also play a part in dramatic play, giving kids an entirely different arena in which to explore themselves and the world around them.

The benefits of dramatic play include:

  • Learning conflict resolution, helping children to learn creative problem-solving skills alongside their peers
  • Exploring self-empowerment, allowing kids the opportunity to make choices, act out their feelings, and find a new connection to themselves
  • Learning math and literacy, particularly in play that includes playing with numbers (like the grocery store game)
  • Blowing off steam, so overly energetic children have another outlet to decompress and have fun
  • Engaging in language development, encouraging kids to express themselves in different ways, whether playing a role or playing as themselves
  • Embracing self-regulation, especially in role-playing where children are expected to fulfill a particular part in the play scenario

There are many ways that educators and parents like you can encourage dramatic play, both in a school setting and at home. For example, you can:

  • Buy some fun clothes from a thrift store and suggest playing dress up at home, encouraging your child to embrace role playing and drive the play narrative
  • Make time for dramatic play in the classroom, using a theme as a guide and giving kids an outline to follow within that theme
  • Engage in your own form of dramatic play at home and encourage your kids to join in, whether it’s opening a pretend restaurant where you make pizza or going hunting for monsters in the house
  • Give students a toy that they must create a narrative around, and break the class up into groups to explore that narrative

It’s important for parents and teachers to collaborate on dramatic play efforts so that each side of the child’s developmental support system is aware of the progress happening both at home and at school. Although many teachers learn about dramatic play while they’re pursuing their degrees, parents might not be as aware of it—and how important it is for early childhood development. By partnering with a teacher who has in-depth knowledge of dramatic play, everyone can collaborate on the themes and approaches that best suit their child.

Although dramatic play can differ from child to child and classroom to home, its results are the same: vibrant, playful children who find strength and comfort in their own self-expression.

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6 Reasons Why Dramatic Play Matters

It’s hard not to smile when you see young kids take part in imaginative play. The pile of pillows in the living room becomes a pirate ship, their friends and siblings become a fearsome gang of treasure-hungry swashbucklers and the dog’s now pulling double duty as a man-eating shark. 

These kids’ pirate adventures may just seem like some simple afternoon of fun, but they’re actually engaging in a positive learning experience called dramatic play. You may have heard of dramatic play before, but do you know what it is or why it matters for your kids?

Believe it or not, something as simple as an hour of pretend playtime can provide real benefits to children’s cognitive development. We have the scoop on what dramatic play entails, why it matters and how you can encourage this activity with your kids.

What is dramatic play?

While academic research using terms like “sociodramatic play” to describe this activity might make it sound like an intimidating concept to grasp, you’re probably already familiar with dramatic play.

“Dramatic play, also called pretend play, involves acting out real-world situations and taking on the roles of different characters,” says Lily Jones, former kindergarten teacher and founder of Curiosity Forever.

"Children use dramatic play to explore their own thoughts and feelings."

There are two primary types of dramatic play: structured and unstructured. Unstructured dramatic play gives children the freedom to choose their own roles and play scenarios. Structured dramatic play, on the other hand, has specific guidelines or prompts to get them started. Children are presented with a pre-determined scenario and then must make choices and discover solutions.

Both structured and unstructured dramatic play are important for your children’s emotional and social development. Maybe you remember dramatic play from your own childhood as “make-believe” or “playing house.” Whatever you want to call it, it’s an important opportunity for kids to act out scenarios from the real world and fictional lands alike.

6 Reasons why dramatic play for toddlers is important

Dramatic play is an integral part of a child’s social, emotional and cognitive development. Here are six important aspects of dramatic play:

1. Dramatic play teaches self-regulation

Toddlers and preschoolers are known for acting impulsively, but dramatic play is a positive steppingstone toward self-regulation. While they’re still figuring out what is or isn’t appropriate for a situation, children tend to be motivated to follow the “rules” of a pretend play scenario and learn to stick to their roles in a way that is acceptable to the group. This helps them grow in their ability to inhibit their impulses, coordinate with others and make plans.

2. Dramatic play gives children an emotional outlet

Dramatic play allows kids to act out scenarios they’ve seen or heard in real life, giving them an important emotional outlet as they explore new situations. “Young children do not yet think internally,” explains Barbara E. Harvey, executive director of Parents, Teachers and Advocates. “Children use dramatic play to explore their own thoughts and feelings.”

This is especially important for children who have seen something upsetting or scary in their daily lives. Dramatic play gives them an opportunity to sort through difficult emotions and “practice being in the world,” according to Jones.

3. Dramatic play teaches conflict resolution

Both unstructured and structured dramatic play offer plenty of opportunities for teachable moments about conflict resolution. Disagreements between children will inevitably crop up during unstructured dramatic play, which offers a chance for kids to work through their differences and arrange a compromise.

Dramatic play encourages children to resolve conflict, consider perspectives beyond their own and recognize the various roles and responsibilities individuals have in our society. Structured dramatic play often encourages children to consider a specific problem and propose their own solutions.

4. Dramatic play supports literacy

Dramatic play provides a prime opportunity for kids to improve their literacy skills. They can be exposed to “functional print” (like newspapers, signs or menus) in a play setting, which can help contextualize words and concepts. Additionally, with some light guidance, vocabularies can be expanded. Questions like, “What foods should we serve?” and “What tools will we need?” to the kids playing restaurant can provide an easy opening for introducing new words and concepts.

Dramatic play can also increase reading comprehension. Kids often choose to act out scenes from a favorite storybook. This gives them a deeper understanding of the narrative structure and character motivations found in familiar stories.

5. It develops creative thinking and storytelling ability

The question “So what happens next?” is a given during any dramatic play scenario, and your little ones certainly benefit from filling in the narrative gaps. The twists and turns of a pretend trip to a grocery store can be pretty wild when left in the hands of a toddler (watch out for the humongous dinosaurs tearing up aisle two), but these uncommon scenarios and ideas are still an excellent way to get their gears turning as they figure out how to proceed.

6. Dramatic play allows you to support your kids and encourage their ideas

Like we said above, kids process their inner thoughts and emotions externally through dramatic play. That means you can learn a lot about what makes your kids happy, scared or frustrated just by observing their pretend play.

The next time you see your kids acting as pirates, firefighters or chefs, pay attention. This is your chance to foster ideas and work through different emotions and social concepts.

“Asking ‘How do you know?’ or ‘Why do you think?’ kinds of questions are great for inspiring further thinking and extending the learning,” says Dr. Debbie Bergeron, deputy director for community engagement and innovation at the National Head Start Association®.

Pretend play ideas: How can you encourage dramatic play?

Now you know dramatic play is important, but how can you incorporate it into everyday life? The answer is easier than you might think. Kids naturally gravitate toward dramatic play, so they only need a little encouragement from you before they’ll be off and running.

There are a few tried-and-true ways to encourage dramatic and pretend play.

1. Have a prop box and costumes

It doesn’t take a lot to provide a spark. Starting a dress-up box filled with scarves, hats and other clothing items for costumes is a simple step that can capture their attention. It can also help to include themed toys or props (like a kitchen playset) at their disposal. Remember, you don’t need to go overboard—cardboard boxes and pillows can still provide a solid starting point.

“Use everyday items to create a fantasy world for your child,” says Joanne Cazeau, pediatric speech-language pathologist at Koze Speech Therapy. “Large crates and used shipping boxes make great race cars and homes. Old blankets and pillows make excellent forts.”

2. Having a dedicated space for pretend play

While it’s not necessarily a requirement, it can certainly help to have a dedicated space set aside in your home or childcare center. With the right props and equipment, you can give kids a somewhat contained space that sparks dramatic play ideas.

“[Ideally] the area has multiple possibilities. It can be transformed into a supermarket, an airport, a doctor’s office, a fire station, etc.,” says Yvette Estrella, an education specialist at PS Family NYC®. “Such settings can reflect the children’s community and help them better understand the world around them.” 

3. Intentionally having free time set aside for play

It might seem a little counterintuitive, but there’s value in leaving “unscheduled” space in the day for kids. Sometimes the absence of planned activities is the perfect catalyst as children will often naturally fill the time with unstructured dramatic play.

“Parents and caregivers can engage with their children during unstructured play, but they should be open to following their child’s lead,” says Sally Macaluso, special education preschool teacher and blogger at Tenderhearted Teacher. “A parent or caregiver can encourage pretend play by providing their child with the time and space to explore.

4. Provide scenarios and model behavior

For structured dramatic play, it can help to provide scenarios to get the ball rolling.

“After transforming the dramatic play area, I would introduce the ‘new’ space. For instance, if the area was transformed into a supermarket, we’ll start with asking the children questions to see their prior knowledge of supermarkets,” says Estrella. “We’d then show them the new materials and supplies and explain to them how each item is used, such as the cash register or the food baskets.”

During this time, you’ll still want to maintain a light touch and let the kids take the scenario where they want.

“Let the children’s imagination go so they can grow,” says Estrella. “Parents and educators should let their children explore safely without judgment or criticism.”

Ready, set, PLAY!

Now that you know more about what dramatic play is, why it matters and how to encourage it, you’re in a great position to continue supporting child development through play.

If you love supporting your kids in their dramatic play adventures, you might be destined to help other kids in a career as an educator! If you’re seriously considering a career in early education, check out our article “Why Become a Teacher?” Preschool Educators Share What They Love About Their Work” to hear more from educators in the field.

EDITOR’S NOTE: This article was originally published in 2015 and has since been updated. Insight from Jones and Harvey remains from the original publication date.

National Head Start Association is a registered trademark of National Head Start Association Corporation.
PS Family NYC is a registered trademark of Program Support LLC.

How games create dramatic tension - Gamedev at DTF

Expectation, uncertainty, complexity, fear.


Author: Artemy Leonov

Many researchers agree that the main element of an exciting story is the so-called "stress curve". Dramatic tension gradually builds up, then reaches a climax and subsides.

Almost any mainstream work works according to this scheme. The most textbook example, of course, is Star Wars - more and more dramatic events occur with Luke, the tension reaches the limit in the scene with the attack on the Death Star, and then everyone is awarded medals. nine0003

"Stress curve" can be built both for the product as a whole and for its individual elements. Game designer Charles Hinoshu cites the Harry Potter series as an example. The confrontation between Harry and Voldemort becomes more intense with each book and culminates in the sixth, but in each individual book, Harry confronts a smaller threat (for example, Professor Quirrell), and their confrontation develops according to the same laws of dramaturgy. And the books, in turn, are divided into even smaller dramatic episodes, each of which also has its own climax. nine0003

Researcher and game designer Chris Winkle calls this structure of storytelling “fractal”. The tension constantly rises and falls, not letting you get bored with the help of “peaks”, and allowing you to take a break from acute experiences with the help of “downs”. At the same time, the stakes are gradually increasing, and everything is moving towards a global climax.

Some researchers believe that such a structure is almost impossible to achieve in games due to interactivity. The author of the game cannot control the narrative to the same extent as the author of the book - if the player wants to spend 10 hours killing rats and rummaging through the chests of peasants, he will do it. In this case, you will have to forget about the carefully calculated “voltage curve”. nine0003

For example, Super Mario 3D Land development head Koichi Hayashida once stated in an interview that the level design for Nintendo's platform games is not based on the European three-act structure, which is characterized by a gradual increase in tension, but on the structure of Japanese and Chinese traditional poetry. In Japanese haiku, two lines of exposition are usually followed immediately by a twist, without any gradual buildup.

Mario games work in much the same way: in the first part of the level, the player is slowly taught new mechanics, and then abruptly turns everything upside down, forcing the player to use the acquired knowledge in a new environment. nine0003

However, any interactive story must create tension in one way or another - otherwise, at some stage, the player will simply lose interest in it. Sometimes game designers use tried and tested methods from books and movies, but more often they have to find their own methods.

According to game designer Jonas Tyroller, three key elements are responsible for dramatic tension in games: suspense, suspense, and difficulty.



This is the classic instrument that Alfred Hitchcock described in his textbook example of the bomb under the table. If the viewer doesn't know about it and the explosion happens unexpectedly, it will shock the viewer. But to create dramatic tension, you need the viewer to know about the bomb and that it is about to explode - with every second of waiting, the tension will increase.

Almost any horror movie relies on anticipation as a dramatic device. Just like with the Hitchcockian explosion, a scary moment that comes out of nowhere is unlikely to have the desired effect on the player. Therefore, many horror games make us wander around locations for a long time. We know that sooner or later something terrible will happen to us - the game hints at it in every possible way. But we don’t know at what exact moment this will happen - and with every second of waiting, the dramatic tension intensifies. nine0003

Here it is important for the game designer not to overdo it: at some stage, the increased tension may become unbearable for the player. But if you find the right balance, every “terrible” moment after a tedious wait will work as efficiently as possible.

Creative Assembly's Brion Bullock also referenced Hitchcock in Alien: Isolation's creation of dramatic tension. The developers created anticipation with sounds whose source is invisible to the player.

First, the player hears the sounds of the monster moving through the ventilation - this is the first level of tension. Then he hears the Alien coming out of the vent - this is a new level of alarm, because now the Alien is in the same space with the player. And then the player climbs into some kind of shelter and listens to the monster's steps on the floor - this is the maximum level of tension. According to Bullock, the introduction of all these sounds in Alien Isolation has radically changed the behavior of the players.

The sound of a shot is more frightening than the shot itself. This phrase is the whole essence of horror. nine0042 Retrieved

Brion Bullock, Sound Engineer

Jonas Thirroler advises to use waiting as a mechanic - in order to constantly create small "voltage curves". For example, if the character shoots immediately after you press the button, it does not create tension.

But if you add a delay, make it accumulate energy or aim for a few seconds, it's a completely different feeling. Each shot has a dramatic arc: with suspense (whether the character has time to shoot before the enemies get to him), climax (the character finally shoots), and denouement (whether he hit the enemy). nine0003


This tool also works on both narrative and mechanic levels. In the same horror films, the unknown, combined with expectation, creates the suspense necessary for developers - usually we are afraid to look around the next corner or open the next door, not because we are afraid of a particular monster, but because we don’t know what awaits us there. In this regard, games are not so different from cinema.

But with the mechanics everything is more interesting. One of the main ways that gameplay creates tension is through situations where the outcome is unknown. Every mechanic that has an element of randomness is a potential "tense" situation. Perhaps the most striking example is when you decide to fire a shot with a certain chance of hitting X-COM. nine0003

The more unknown variables in the gameplay, the more dramatic tension it will create. The role of "dramatic" mechanics can be played by both the "fog of war", from which enemies can appear at any moment, and conditional "dice rolls".

Only one thing should remain known in any situation - the player must be 100% sure that he can win. As soon as he decides that he is in a hopeless situation, all the tension will come to naught.


There will be no drama if everyone knows in advance who will win and who will lose. A match between teams, one of which is obviously much stronger, will not be of interest to either the participants or the spectators. The basis of the drama is the uncertainty of the outcome.

Ian Schreiber, game designer and professor at Ohio University, believes that the increase in dramatic tension in the narrative should be combined with the increase in the complexity of the gameplay. If, according to the plot, the hero is faced with a growing threat, then this should be reflected in the gameplay. Many games do not follow this principle - for example, the player has the hardest time somewhere in the middle of the passage, and the narrative culminates towards the end. nine0003

The idea was that the tension should rise with the complexity of the game, and the dramatic climaxes corresponded to the most difficult parts. In this way, the narrative will be more tightly integrated into the mechanics.

It is strange for me to write that the plot must be calculated with the help of mathematics - but that's how it is. Another option is to ask the writers to place the dramatic moments in other places to fit the difficulty curve. But in practice, it is much easier to change a couple of characteristics of enemies than to change the plot. nine0042 Source

Ian Schreiber, Game Designer

At the same time, one should not forget that the principle of "voltage curves" is applicable not only to the entire work as a whole, but also to its individual elements. A separate level is also built according to the laws of drama - and here the complexity should also decrease and increase in accordance with the narrative.

Game designer Travis Hoffstetter, who was in charge of stealth in 2013's Tomb Raider, believes that the difficulty that increases towards the end of the level is primarily a dramatic technique. Thinking through Lara Croft's next skirmish with enemies, he first of all wondered what type of dramatic tension he wanted to create in this particular scene. nine0003

Often the designer will simply say, "I have three stealth encounters on a level, and each one is harder than the last." Looking at everything through the prism of difficulty is a good approach, but to get the most out of the level, we need to look at it wider and think about what emotions the player will experience.

For example, a level could be described like this: “At the beginning I have a small collision so that the player feels confident, then a moment with an average number of opponents so that he feels tension, and then a moment in which you are being chased so that he feels fear. ” nine0003

Thanks to this approach, the level does not seem to be rehearsal - the player gets different emotions from each collision.

Travis Hoffstetter, Gamesigner

In theory, the same dramatic "curves" should be not only for long levels, but also for individual gameplay moments. The player must feel the rising and falling tension constantly. But the main problem here is that it is extremely difficult to calculate the complexity required to create the desired degree of stress. For some, the game may be too easy, and someone will experience stress even in those places that, according to the idea, should be simple. nine0003

To solve this problem, game designers sometimes use a system of dynamic difficulty up and down. For example, game designer Craig Thomas, while working on the flight simulator Ace Academy: Skies of Fury, drew attention to the following trend:

- When a player is attacked, the tension increases depending on the remaining health points.

- When the user fires at an enemy, the tension increases based on the difficulty of the enemy.

- When the player is not pursuing a target, the voltage drops to zero. nine0003

Based on this data, the developers created a system that unleashed additional enemies on the player when the voltage dropped, and forced opponents to give him a break when it got too high.

The most famous example of this approach is the so-called "Director" from Left 4 Dead: an artificial intelligence that ensures that the events in the game develop as dramatically as possible.

The developers tried different methods, but all the options in which the difficulty increased linearly did not work: sooner or later the players memorized the zombie spawn patterns, and the tension disappeared. Total randomness didn’t help either: with this option, some matches turned out to be very dramatic, and some very boring. Only the “Director” managed to maintain the required level of drama, placing enemies around the location and scattering useful items based on the current situation in the match. nine0003

There are also more minimalistic and witty solutions: for example, the creator of the recent Yes, Your Grace shared the secret of why the battles in the game feel so dramatic. It's just that the dialogue is written in such a way as to constantly give the player the feeling that his army is about to lose - no matter what he does.


The dramatic tension in books or films often arises from our empathy for the characters: for example, we are afraid that they will die or lose something valuable to them. In games, this effect can be achieved using mechanics. nine0003

The most important method here is the "final death" mechanic. It can cause stress in two ways at once. In roguelikes, for example, it is needed so that the fear of losing all their progress constantly hangs over the player. With every minute of the game, the dramatic tension builds up. If at the beginning it’s not scary to lose a battle, because you can safely start over, then after an hour, each collision with enemies turns into an extremely dramatic episode by itself - because of how much is at stake. nine0003

That's why games that play some dramatic high-stakes situations so often ban saves from loading, or at least introduce a mode that restricts their use. For example, games about robberies: in Swindle you have only one attempt per mission, and in Invisible Inc. you can only “rewind time back” a couple of times, and then only at some difficulty levels.

Another way that "final death" creates dramatic moments is through fear for the lives of specific characters. If in roguelikes the player is simply afraid that he will lose progress, then, for example, games like Fire Emblem, X-COM or Darkest Dungeon can make him become emotionally attached to certain characters. nine0003

If it is possible to permanently lose a fighter with whom you went through fire and water in a battle, this inevitably makes it more dramatic. But more on that in a separate article.

Video produced by the XYZ Media team.

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Drama games for preschoolers | Preschool education

Author: Tomilova Olga Viktorovna

Organization: GBDOU DS No. 67 comb. type of Vyborgsky district of St. Petersburg

Settlement: St. Petersburg

Dramatic play is a spontaneous activity during which the child tries out, clarifies and expands knowledge about the world and about himself. As they play, children reenact places and scenes they have seen in life, imitate the actions of family members, and assume the roles of various people they have met. They reproduce the world that they understand, or one that brings confusion and fear into their minds.

From early childhood, children imitate the sounds they hear and the actions they see. While enjoying pretend activities, children react to new situations with movement and voice. That's how they play. This game, if supported, develops into dramatization: an art form, a socializing activity and a way of mastering reality. nine0003

Creative dramatization and play, especially in young children, cannot be isolated or limited to a certain place and time. In a group, at home or in a public place, creative dramatization and play help the child develop responsibility, develop new interests and, especially in a group, absorb new knowledge.

Dramatization is one of the most personal and individual ways of knowing. In creative dramatization, there are no performers who memorize roles and use accessories and costumes to influence the audience. In such creative activities, children spontaneously invent, act out and interpret familiar situations and themes for themselves. For example, they act out situations based on real or imaginary roles that they have come into contact with in life, such as going to the zoo. In dramatic play, children create their own world in which they master the real world. In this imaginary world, they try to solve real life problems. They repeat, play again, and relive their experiences. In this way, dramatic play helps the child develop from a purely egocentric being into a person who is able to interact with others. nine0003

Developmental impact

In dramatic play, children often spontaneously take on the role or actions of someone else (pretend to put out a fire like firefighters), use objects in a substitution function (sit on a building block, pretend to ride on a truck through the streets) and play out familiar situations (going to the market or grocery store). For a rich and meaningful preschooler, this is the ideal arena for emotionally rich and meaningful learning. Dramatic play develops the child in every way. If the educator correctly organizes the activities of children, they will receive a versatile (mental and motor) experience that is adequate to their individual characteristics. nine0003

In creative dramatization and play, a preschooler performs such types of actions that:

1) contribute to the development of the five senses;

2) develop active and passive speech;

3) help children understand human relationships and master patterns of behavior;

4) link ideas to each other;

5) stimulate creative thought and problem solving;

6) increase self-respect;

7) develop ways of expressing emotions and feelings; nine0003

8) develop fine and general motor skills;

9) signify the joy and freedom of childhood.

While playing, children learn to concentrate, exercise their imagination, try out new ideas, practice adult behaviors, and gain a sense that they influence the world around them. In addition, children gain a growing understanding of the beauty, rhythm, and organization of their environment and their own bodies as they learn ways to communicate their thoughts, feelings, and emotions to others. nine0003

Social development

The role-playing game almost always involves the participation of several children, so it is the most important factor in the social development of the child. The game often includes elements of joint planning and cooperation. Children may argue and get upset, but they get used to dealing with the interests of others. At the same time, they begin to understand that it is interesting and pleasant to play and study with peers.

Emotional development

Children bring to play what they know about life: their knowledge and delusions, their wishes and fears.

Play reflects children's understanding of social roles and relationships. Children can also act out events they have experienced or heard about. They may act out a frightening event, such as an accident they witnessed, to help deal with difficult emotions. They may also replay pleasant events to re-experience the pleasure. nine0003

In role-play, children can dress up and become whoever they want to be. Children depict people and events not only as they would like to see them, thereby expressing their desires or fears. The game gives the child the opportunity to express negative feelings that the child cannot yet put into words.

In play, children act out life experiences by selecting and organizing roles and events in accordance with the desire to maintain emotional well-being. Through play, children increase their understanding of their strengths and weaknesses, their attachments and dislikes, their ability to lead and persuade or obey. All this contributes to the development of self-awareness. nine0003

Intellectual Development

Through dramatic play, children develop cognitive skills by learning to connect with one another, to understand patterns of behavior and to organize information.

Learn more