也許看兒童戲劇如何演變的最好方法是從一開始就開始。作為兒童娛樂的第一種表演形式之一是朱蒂和木偶戲。這些木偶劇是在十七世紀開始的，在孩子們發現的不同場景中，扮演了潘先生和他的妻子朱蒂的角色，他們通常會在勸說中加入一些麻煩或惡作劇。這是一個很好的了解B. F Skinner的積極和消極的強化理論。雖然他的理論直到60年代才出現，但我們可以理解孩子在良好的行為和不良行為后的良好反應中的良好反應。在這種情況下，用警棍打重拳先生的其他人物如朱蒂或鱷魚偷他的香腸是視為一種不好的行為，引發孩子的“boooo負反應！”按所說的字符。這個理論也適用于舞劇、兒童劇的另一個早期的形式，但是有一個更大的社會發展與鑒定。觀眾參與是這種娛樂形式的一個關鍵方面。根據心理學家的說法，兒童從早期起就自然而然地合群，但他們與父母等成人人物形成了密切的聯系。一旦他們了解了他們對某些環境的反應，他們就會變得更開放。以戲劇為例，我們可以看到孩子們與人物建立關系，特別是那些與他們直接交流的人物，比如灰姑娘的“按鈕”角色。澳洲拉籌伯論文代寫:兒童戲劇演變他扮演故事的敘述者，對孩子們來說很有趣，所以他們認為他是一個安全的角色，在那之后，他們認為“邪惡的繼母”是殘忍的，他們不得不大聲喊叫，表達他們對一個優秀人物的不良行為的消極態度。當觀眾們在這些時刻進行合作時，孩子們會變得更加自信，因為他們不是孤獨的，他們是以個人發展為基礎的。
Probably the best way to look at how children's theatre evolved is to start at the beginning. One of the first performance styles recognised as children's entertainment was Punch and Judy puppet shows. These puppet shows started in the seventeenth century, playing out the characters of Mr Punch and his wife Judy in different scenarios that children found amusing, usually involving some sort of trouble or mischief being added to the persuasion. This is a good insight into B.F Skinner's theory of positive and negative reinforcement. Although his theory did not emerge until the sixties, we can understand a child's recognition of a good response following a good action and bad response following bad conduct. In this case, Mr Punch using a truncheon to hit any other character such as Judy or the Crocodile stealing his sausages is seen as a bad action which triggers a child's negative response to "Boooo!" at said character. This theory can also apply to Pantomime, another early form of children's theatre, however there is a greater identification of social development that coincides with. Audience participation is a key aspect of this form of entertainment. According to psychologists, from the early stages children are naturally sociable, however they form close attachments to adult figures such as their parents. They become more open socially once they gain an understanding of how they are supposed to react to certain environments. Take the Theatre, for example and we can see that children establish relationships with characters, particularly those who communicate directly with them, such as the role of "Buttons" in Cinderella. He acts as a narrator for the piece and is amusing for children to watch, so they regard him as a safe role, after that they regard the "Evil Stepmother" as cruel and feel compelled to shout out and express their negativity towards their bad conduct against a good character. As the audience collaborate during these moments children are made to feel more confident as they are not alone and build upon their personal development.