drama re-visited: dealing with identity tensions ayaka ihara san francisco state university
TRANSCRIPT
Drama Re-visited: Dealing with Identity Tensions
Ayaka IharaSan Francisco State University
http://www.freedomwritersfoundation.org/
Outline: Collaborative Monologue
1. Basic Info2. Theoretical Background3. Project Steps
• Target Students • Intermediate• Young adults in California
Model Project: Collaborative Monologue
• Skills • Integrated (Focus on oral skills)
Model Project: Collaborative Monologue
•Objectives • Expand ‘selves’• Deliver extended speech
Model Project: Collaborative Monologue
What Are Identity Tensions?• L2 Learning: Becoming ‘Someone Else’• The ‘Mask’• Tensions btwn Emerging & Existing Selves
Why Dramatic Monologue?•Drama• Try out new identity• Express true ‘selves’• Safely through ‘masks’
Why Dramatic Monologue?•Monologue• Extended speech (has been neglected (Thompson, 2008))• Internalize authentic language model
•Objectives • Expand ‘selves’• Deliver extensive speech
Model Project: Collaborative Monologue
OverviewDay Contents
Day 1 IntroductionDay 2 Pre- & Initial ReadingDay 3 Close ReadingDay 4 Speaking #1: PauseDay 5 Speaking #2: StressDay 6 Speaking #3: IntonationDay 7 Group RehearsalDay 8 PerformanceDay 9 Conference
OverviewDay Contents
Day 1 IntroductionDay 2 Pre- & Initial ReadingDay 3 Close ReadingDay 4 Speaking #1: PauseDay 5 Speaking #2: StressDay 6 Speaking #3: IntonationDay 7 Group RehearsalDay 8 PerformanceDay 9 Conference
Day 1: Introduction•Who Are Freedom Writers?•Mid 1990s• High school (Long Beach, LA)• Gang violence • Racial minorities, immigrants, low income
Day 1: Introduction• Erin Gruwell• “The Pen Is Mightier Than the Sword” Diary Writing for Freedom
http://www.freedomwritersfoundation.org/fw-outreach-EG
http://www.imdb.com/title/tt0463998/
Day 2: Pre- & Initial Reading•Diary #54• African American writer• Labelling / microaggression• Frustration / anger
Day 2: Pre- & Initial Reading• Prediction• ‘Gist’• Vocabulary ‘Expert’
Day 3: Close Reading• Character Analysis Common Grounds
Day 4: Speaking (Pauses)• “Thought Groups” (Celce-Murcia, M., Brinton, D.
M., & Goodwin, J. M., 2010, p. 221)
Day 4: Speaking (Pauses)• “Thought Groups” (Celce-Murcia, M., Brinton, D.
M., & Goodwin, J. M., 2010, p. 221)
11: I don’t feel complimented. How the hell should I know what the black perspective is 12 : on Affirmative Action or The Color Purple? What is it, magic? Black people read, and
Day 4: Speaking (Pauses)• “Thought Groups” (Celce-Murcia, M., Brinton, D.
M., & Goodwin, J. M., 2010, p. 221)
11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /
Day 5: Speaking (Stress)• “Prominence” (Celce-Murcia, M., Brinton, D. M., &
Goodwin, J. M., 2010, p. 223)
Day 5: Speaking (Stress)• “Prominence” (Celce-Murcia, M., Brinton, D. M., &
Goodwin, J. M., 2010, p. 223)
11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /
Day 5: Speaking (Stress)• “Prominence” (Celce-Murcia, M., Brinton, D. M., &
Goodwin, J. M., 2010, p. 223)
11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /
Day 6: Speaking (Intonation)• Rising ( ) vs Flat (→) vs Falling ( )⤴ ⤵
Day 6: Speaking (Intonation)• Rising ( ) vs Flat (→) vs Falling ( )⤴ ⤵
11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /
Day 6: Speaking (Intonation)• Rising ( ) vs Flat (→) vs Falling ( )⤴ ⤵
11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /
Demo!
Conclusion•Dramatic Monologue Works!• Try out new identity & express ‘true’ self• Let out suppressed emotions/opinions• Long chunks & retainment
Special Thanks• Dr. Whalley• Dr. Santos• Fellow TESOLers at SF State
http://www.amdblog.org/macular-degeneration/thank-you-for-your-support-during-amd-awareness-month/
References• Arao, H. , & Murphey, T. (2001). Reported belief changes through near peer role
modeling. TESL-EJ: Teaching English as a Second or Foreign Language, 5(3). Available from: http://www.tesl-ej.org/wordpress/issues/volume5/ej19/ej19a1/
• Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M. (2010). Teaching pronunciation: A course book and reference guide (2nd ed.). New York: Cambridge University Press.
• Dreyer-Lude, M. (2013). Feeling double: The psychophysical activation of personality in bilingual performance. Theatre Topics,23(2), 197-208.
• Horwitz, E. K., & Young, D. J. (1991). (Eds.). Language anxiety: From theory and research to classroom implications. Englewood Cliffs, NJ: Prentice Hall.
• Kramsch, C. (2009). The multilingual subject. Oxford: Oxford University Press.• Piazzoli, E. (2011). Process drama: the use of affective space to reduce language anxiety in the
additional language learning classroom. Research in Drama Education: The Journal of Applied Theatre and Performance, 16(4), 557-573.
• Reed, J., & Seong, M. H. (2013). Suggestions for an effective drama-based EFL course at a Korean university. Pan-Pacific Association of Applied Linguistics, 17(2), 91-106.
• Sağlamel, H., & Kayaoğlu, M. N. (2013). Creative drama: A possible way to alleviate foreign language anxiety. RELC Journal, 44(3), 377-394.
• Spielmann, G., & Radnofsky, M. L. (2001). Learning language under tension: New directions from a qualitative study. The Modern Language Journal, 85(2), 259-278.
• Thompson, P. (2008). Learning through extended talk. Language and Education, 22(3), 241-256.
Thank You for Listening!
http://www.compositiontoday.com/blog/60.asp
Questions / Comments?
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