The work begins with a description of play as a significant activity in a child's life. Everything originates from it, including drama. I mention symbolic play as a child's first encounter with dramatization from an early age and the importance that creativity holds for a child's development. Furthermore, in the paper, I discuss one of the more suitable dramatic methods in working with children, which is process drama. The paper defines the concept of process drama, how this dramatic method has evolved, and what its actual goal is. Along with outlining the course of process drama, the paper also clarifies the roles of participants and facilitators in process drama and how each role in the drama affects and can be applied. The paper then continues to a chapter on dramatic techniques, in which their definition is first described, followed by their application in working with children, and finally, the division of dramatic techniques itself. Initially, dramatic techniques are divided into two types, taking into account the way a moment in the development of the plot is played out or processed in each dramatic technique. Later, the first type branches into two more to facilitate their planning before actual execution. All techniques are categorized according to their type, each is individually explained, and specific implementation examples are provided. The last chapter contains an analysis of dramatic techniques from three conducted process dramas: "Princess Pif" by Želimir Hercigonja, "The King Who Banned the Dark" by Emily Haworth-Booth, and "Maca Papučarica" by Ele Peroci. Process dramas were conducted by regular students in the third year of the Teacher Education Faculty in Zagreb during the 2022/2023 academic year. The analysis aims to provide a more detailed and clearer presentation of the implementation of dramatic techniques in process drama, their impact on children's thinking, and the reactions that children had to them.