Drama education in Croatia is being developed through individual practices that need systematisation in order to improve methodically. In this paper I am examining the bases of my own methods, trying to contribute to methodical structuring of work in drama studios and to affirm a more effective practice. This paper belongs to the field of drama creativity and its goal is to systemise the method which consists of process drama, preparation and presentation of a text-based performance, and devised theatre. In each of these methods, improvisation is used as a key drama technique. I describe practical drama pedagogical work with children and young people in a drama studio outside of the school system. After establishing the terminology of the field, I give a short historical overview of the development of drama pedagogy that has been continuously conducted in Croatia since the end of WWII, as well as the development of drama education in neighbouring countries. I am also introducing key theoreticians and practitioners of British and American drama teaching that have influenced European and Croatian drama pedagogy practices. The most famous Croatian director and drama teacher Zvjezdana Ladika had known the work of W. Ward and P. Slade, as can be recognised from her book ‘Dijete i scenska umjetnost’ (1970). Further on, I describe basic elements in the field of drama creativity: creative imagination, the relation between process and product, and the competencies of the process leader, who is a key factor in a high-quality implementation of practice. In special chapters, I have described the most important methods and techniques I use as a drama pedagogue: improvisation, process drama, preparation and presentation of a text-based performance and devised theatre. In the chapter titled Methodical design of work in a drama studio for children and young people I have researched and described my own practice (under the mentorship of V.Krušić) that is a followup of work done by our first drama pedagogues Đ. Dević and Z. Ladika. The development of every child is unique, but there are common questions and experiences that relate to a certain chronological age. Developmental stages are similar for most children, so in this paper I divided them into three age groups and presented three typical models of my practice: 1. Non text-based performance (age 7-10) 2. Text-based performance (age 11-14) 3. Devised theatre (age 15-18) Such an age division is relatively common in drama studios in Croatia. As spontaneous play is a key factor for younger children to develop creativity, focus and selfdiscipline needed for more complex content, for the 7-10 age group I am introducing the model called Non text-based perfromance. This model is based on children deciding on the content through creative play and searching for corresponding expression. The large majority of such work is spontaneous and carefully lead play and the basic goal of this phase is to keep the spontaneity, to encourage expression and imagination, to develop the sense for group work and creativity and to adopt the rules of organised/lead drama work. The leader directs work, gives instructions and structures children’s creative play into a performing format. In the initial phases, a showing in front of an audience is not implied by default. Children perform within their group for one another. Performance in front of an external audience is not a priority at this age. At this stage, various imple drama techniques and improvisations are used as theatrical forms. Through games and exercises a performance text is construed. In the final phase, the work is presented in the form of a demonstration class or presentation in front of a well-meaning external audience (family and friends). This usually happens after the children have gained enough experience performing in front of the other group members and have dealt with the subject matter in a safe environment. The performance itself is not the end of the work process, but a paradigm for an analysis of the experience and a motivation for working further. In that age playing as if is slowly transformed into a theatre act. From the age of 9-10, simple texts are being introduced into playing. The second model I am introducing, aimed at the 11-14 age group is - Text-based performance. In that age group, more complex forms of improvisation are used as a preparation for replacing improvised dialogue with literary texts. After that comes the period of intensified work on text. The process is similar to the one used in professional theatre: choice of text — rehearsals — performance. The text is chosen according to the composition, skills, interests and performing abilities of the group. This is the age where the search for one’s identity and self-acceptance starts. The peer pressure is strong and a sense of group belonging is very important. When choosing a play it is good to take into account that the text should reflect psychological and social issues of growing-up. If the characters are their peers or a little older, we make identification and adoption of the text easier. It is extremely important to choose a text that ‘concerns’ them and that will motivate them for working on it in a period of a few months. The texts do not necessarily have to be completely realistic, but it is good that they give a fair and recognisable account of early teen years. Drama creativity, which in this phase means moving from roleplaying to character work and their interactions, offers the exploration of real life situations and relationships. Younger teens are in a phase where they can ‘step into somebody’s shoes’ and observe the situation from a different perspective, which enables the design of the characterisation and understanding the characters’ actions, resulting in committed playing and transference of the meaning to the audience. The chosen text is adopted through various techniques and improvisations. This age also brings the ability to engage in more serious production work, such as group work on designing costumes, sets and posters for the performance In this model, the work is based on improvisation as well, which is used to help teenagers adopt the issue and the text, and the performance is the result of their creation. Also, in this stage, a performance in front of an external audience marks the end of the process. The process is still more important than the performance, but as this is the age where the work is presented to the audience through presentations and shows, one should also become ready for hearing the audience’s opinion. I consider the show to be a part of the work process, where improvement can be achieved by continued work after the first performance as the team stays together. For age 11-12, it is usual to have a presentation of a year’s work in front of a well-meaning external audience. For age 13-14, presentations or plays that are performed more than once can be produced, and sometimes they can become a part of a regular youth theatre repertory. The third model I describe is Devised theatre, aimed at the 15-18 age group. It is the age where the teenagers are sufficiently competent to create performance material by group improvisation work after choosing the theme/subject matter. Self-expression in performing arts is encouraged and a drama group is a place where they can communicate their feelings and rebellion in a creative way, where they can recognise and channel emotions and thoughts into theatre work. The performance material is constantly questioned by methods of verbal and non-verbal improvisations, while at the same time, a format for the performance is being explored and then structured under careful leadership. The group takes collective responsibility for the performance. Theatre becomes a safe space where the participants can creatively explore and discover the new, it becomes a space for envisaging more fulfilled and humane living, as well as a space for exploration of theatre forms and performative options. Control over performative skills is acquired, and the performance is devised together with the group. Various author roles such as playwright, director, actor, voice and movement expert are explored. At this age, another model can be putting on a play. In that case, variations of using the same text as a starting point are explored, the subtext (inner psychology of the play) is being discovered. The latter then serves as a basis for characterisation in order to speak the lines as coming from a personal experience. By convincing and focused performing, the meaning of the show is shared with the audience, the performance is analysed, improvement is continuous, and rehearsals serve as an attempt to keep the consistency of the performance. In all three models, by continuous work, performative skills are acquired and a theatrical act is being produced. In this paper, I have described methodical guidelines for working with children and young people in three different age groups: 7-10, 11-14 and 15-18 years old. I have also made a comparative analysis of the competencies that children and young people acquire by continuously attending classes in a drama studio. The participants acquire generic competencies of personal growth and development, including communicational and social skills which can be transferred to everyday life sphere. Specific competencies of dramatic creativity they acquire are used for devising theatre performances, for deeper understanding of theatre as a medium, and as preparation to become either competent audience members or theatre professionals. Drama creativity makes the drama studio a safe place for growing up, a space of trust and support. Education through the arts is indispensable in raising a versatile human being. That what distinguishes humans from other species is precisely the ability of symbolic thinking which is immanent to arts. In spite of the highly developed technologies which change the world rapidly, the circumstances we live in show us that one of the basic skills we need is the ability to adapt. In drama work, a special focus is placed on experiential learning, which helps children and young people to develop self-control, to cultivate emotions, to learn how to give and receive critical opinion, to accept and develop behavioural norms, to share values and attitudes and to learn understanding. As attending a drama studio is an extracurricular activity, I would say it is also an extra educational activity which supplements the education acquired in schools. Drama work develops personal, communicational and social competencies as well as artistic potential. As there is no systematic method of working in a drama studio in Croatia, this paper is an attempt at systematisation of drama pedagogical practice. I hope it will contribute to the systematisation of working methods and the affirmation of drama creativity as a highly valued factor in children and young people’s development.