drama techniques in the english as a foreign language
TRANSCRIPT
Universidad Austral de Chile
Facultad de Filosofía y Humanidades
Pedagogía en Comunicación en Lengua Inglesa
Lead Advisor:
PhD. Amalia Ortiz de Zárate Fernández
Drama Techniques in the English as a Foreign Language Teacher
Training Programme at Universidad Austral de Chile:
A Perceptional Case Study
Seminario de Tesis para optar al Título de Profesor en Comunicación en Lengua Inglesa
y al Grado de Licenciado en Educación
Natalia Martin González
Daniela Lobos Ortiz
Valdivia, Chile
2013
Acknowledgements
At the end of my process as an undergraduate student, I would like to express
how grateful I am for all the people who have been an important part of it.
Firstly, I would like to dedicate this work to my mother, Myriam González, the
first person to teach me about spiritual strength and the value of courage. She taught me
not to give up and smile even when everything seems to be tragedy. Her memory is a
constant inspiration in my life and a motivation to persist on being as happy as she
would like me to.
Also, I would like to thank the constant support of two very special people. First,
my brother Gabriel who lit the spark of knowledge and free thought in my mind. Thank
you for being the unconditional partner who always believed in me. Then, I would like
to thank the patience and constant advice provided by Delia Sáez, my grandmother. She
has been a fundamental support throughout these years.
Likewise, I want to thank my family and friends whose help in every little detail
of my life has been fundamental. I feel blessed with all the marvellous people that
surround me, with whom I intend to continue building dreams.
Finally, I want to express my gratitude to our lead advisor Ph.D. Amalia Ortiz de
Zárate, whose kind and honest guide in this process was essential.
Natalia Jennifer Martin González
Acknowledgments
I would like to thank Natalia for having invited me to join this research project; it
was a smooth and non-traumatic process (stressful at some instances? YES!). Also to
Amalia, our lead advisor, it was a great experience to work with a PhD who is chummy
and kind to us.
To all the people who asked me for help to study a certain subject, without them I
would not have discovered how much I love teaching and learning. Also, to my
university friends for the good times we are still sharing.
Finally, I thank so much my closest family members, who have strongly loved
and supported me during my entire life.
Daniela Paz Lobos Ortiz
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh
i
Abstract
The main objective of this research project is to determine the EFL teachers’ perception of the
impact of the Drama Technique courses given by the English as a Foreign Language Teacher
Training Programme at UACh regarding personal, professional and pedagogical development.
Along with it, this analysis aims at depicting the teacher trainees’ motivation to take the
courses, identifying the way in which their performance is influenced and developing a set of
suggestions for improvement of these courses. To accomplish the objectives, the researchers
conducted a series of interviews and a survey answered by two different groups of
participants, the results of both tools were analysed under the concepts of Teacher Trainees’
Motivation and EFL Teachers’ Performance. The conclusions drawn assert that the Drama
Technique courses do make an impact on the EFL Teachers’ career. However they are
perfectible, therefore a set of suggestions was designed so as to be applied in future editions
of the courses.
Keywords: Teacher Training, Drama Techniques, Teachers’ Performance, EFL Teaching
Table of contents
Page
Abstract………………………………………………………………………………. i
List of Figures………………………………………………………………………... ii
Introduction…………………………………………………………………………... 1
Antecedents…………………………………………………………………………... 4
Chapter I: Theoretical Framework…………………………………………………… 6
1.1. State of the art……………………………………………………….. 6
1.1.1. Drama Techniques in EFL classrooms in the World……… 6
1.1.2. Drama Techniques in EFL classrooms in Chile…………… 8
1.2. Drama Techniques to teach EFL Classrooms………………………. 11
1.2.1. Definition of Drama techniques…………………………… 11
1.2.2. Examples/Types of activities in EFL Classrooms………… 12
1.2.3. Advantages and disadvantages of Drama Technique
activities in EFL Classrooms…………………………………….. 14
1.3. Teacher Training…………………………………………………….. 16
1.3.1. Ideal Teacher Training…………………………………….. 16
1.3.2. Corporality and Body Awareness…………………………. 18
1.4. Drama Technique Courses at the English as a Foreign Language
Teacher Training Programme at UACh…………………………………. 20
1.4.1. ILIN 123 Storytelling……………………………………… 21
1.4.2. ILIN 109 Telling Stories through the Body ………………. 22
1.4.3. ILIN 223 Drama Techniques in the Classroom…………… 23
1.4.4. ILIN 154 Dramatics……………………………………….. 23
Chapter II: Methodological Framework……………………………………………… 25
2.1. Type of Research …………………..……………………………….. 25
2.1.1. Type of Case Study ……………………………………….. 25
2.1.2. Subjects of the Study………………………………………. 25
2.2. Data Collection Methods……………………………………………. 27
2.2.1. Survey……………………………………………………… 27
2.2.2. Semi-Structured Interviews………………………………... 28
2.3. Criteria of Analysis………………………………………………….. 29
2.3.1. Teacher Trainee’s motivation……………………………… 30
2.3.2. Teacher performance………………………………………. 30
Chapter 3: Outcomes And Results…………………………………………………… 31
3.1. Results per Criteria…………………………………………………... 31
3.1.1. Teacher Trainee’s motivation……………………………… 31
3.1.2. Teacher’s performance……………………………………. 34
3.2. Discussion………………………………………………………... 37
3.2.1. Teacher Trainee’s motivation……………………………… 38
3.2.2. Teacher performance………………………………………. 41
Suggestions…………………………………………………………………………… 46
Conclusions………………………………….……………………………………….. 50
References……………………………………………………………………………. 54
Annexes ……………………………………………………………………………… 56
List of Figures
Figure
Page
1. Reasons to Take Drama Technique Courses………………………...
31
2. Reasons not to Take more than Two Drama Technique Courses …...
32
3. Teacher Trainees’ Motivation to Take the Courses………………….
33
4. Trainees’ Feelings during the Classes……………………………….
34
5. Influence of the Courses on the Interviewees’ Teaching
Performance…………………………………………………………...
35
6. Types of Drama Technique Activities Developed by the
Interviewees…………………………………………………………...
35
7. Influence of the Drama Technique Courses on the Relationship with
the Educational Community………………………………………….
36
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 1
Introduction
Just like society changes, so does teaching. In the case of EFL learning the
challenge is the acquisition, a task that becomes very complex in a context in which the
new generations of students is one that is increasingly receiving media and technological
stimuli from daily life. By contrast, Chilean EFL teaching is widely dominated by
grammar translation teachers. Throughout this research, experiences about an alternative
teaching approach are presented: Drama Techniques. About the use of these, Chris
Boudreault (2013) states that “ESL/EFL professionals need to use [drama techniques]
more because the artificial world of the classroom can be transformed into a quasi-real
language situation and provides an endless amount of opportunities for student’s
personal growth” (p.1). As mentioned by Boudreault, through the use of Drama
Technique activites, teachers take a less dominant role in the classroom, turning
themselves into supporters of the learning process and students are more responsible of
their own language acquisition (Boudreault, 2013, p.2). In this manner, learning
becomes an autonomous process for each student and the teacher becomes a guide to
facilitate this path instead of a dictionary to translate the foreign language.
Since the re-opening of the English as a Foreign Language Teacher Training
Programme at UACh in 2004, the faculty has been searching for the integration of
innovative didactic approaches to prepare competent teachers for the Chilean society
who promote collaborative work (Filosofía y Humanidades UACh). In this context, from
2009 a set of four courses related to Drama Techniques has been offered. The following
research paper is a case study that aims at knowing the influence these courses have had
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 2
on the teaching praxis of the former trainees who took them. After that, a set of
suggestions will be provided in order to contribute with the improvement of the courses.
This paper is composed by three chapters. The first one is the theoretical
framework, in which the state of the art regarding Drama Techniques is exposed. This
chapter takes a glimpse at the international and national context of the Universities that
offer Drama Techniques within their teacher training programmes. Also some concepts
about the topics covered in this paper are explained and exemplified. By the end of this
chapter, a brief description and the main objectives of every Drama Technique courses
offered by the EFL Teacher Training Programme at UACh is provided in order to
understand the courses that will be later analysed.
The next chapter is advocated to the methodological framework. In this section all
the procedures considered to carry out this investigation are stated. For example, the
subjects of study of this paper are the Newly Qualified Teachers (NQTs) or teacher
trainees that have taught EFL in real contexts. The subjects have provided important
information by answering either a survey or an interview. The criteria of analysis
correspond to two topics: The first is the trainee’s motivation to take the Drama
Technique courses and the second is the influence of these courses on the NQTs’
performance.
The final chapter of this research is divided into two sections. The first part
exhibits the main results obtained from the data collection tools, while the second part is
a discussion in which the answers provided by the participants are analysed and
contrasted with the theoretical framework. The most relevant results are organised
according to the tool that was applied: the survey and the interview. On the one hand,
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 3
the answers to the surveys give information about the reasons why trainees decide to
take the Drama Technique courses and why they eventually stop taking them. On the
other hand, interviews retrieve information about the influence of these courses on the
performance of the NQTs. Both tools hand the participants’ opinion about aspects to be
improved in the courses, which is the last part of the research.
To conclude this paper, a set of suggestions is proposed. These are based on the
information provided by the participants, the theoretical framework and the conclusions
of the researchers. There are two types of suggestions, the first type deals with general
suggestions which are aimed to be applied in the set of Drama Technique courses; the
second are suggestions per course, which propose specific implementations for each of
the courses.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 4
Antecedents
Research Question
The research Question that this research seeks to answer is: What is the perception of
the Teaching Practice trainees and Newly Qualified Teachers who took the Drama Technique
Courses given by the English as a Foreign Language Teacher Training Programme at UACh
regarding the impact of these courses on their teaching experience?
Objectives
General Objective
To determine the teachers’ perception of the impact of the Drama Technique courses
given by the English as a Foreign Language Teacher Training Programme at UACh regarding
personal, professional and pedagogical development.
Specific Objectives
1. To depict the motivation for trainees of the English as a Foreign Language Teacher
Training Programme at UACh to take Drama Technique courses.
2. To identify the way in which the Drama Technique courses influence the Newly Qualified
Teachers’ performance in terms of personal, professional and pedagogical development.
3. To develop a set of suggestions to improve the syllabi of the Drama Technique courses
given by the English as a Foreign Language Teacher Training Programme at UACh.
Justification
Since 2009 Drama Technique courses in the English as a Foreign Language Teacher
Training Programme at UACh have been given with the purpose of contributing to the
development of the future teachers’ personality as well as pedagogical skills through the use
of Drama as a didactic approach to teach English. These courses are called ILIN 109
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 5
Storytelling, ILIN 123 Telling Stories through the Body, ILIN 233 Drama Techniques in the
Classroom and ILIN 154 Dramatics. It is ideal that the students take them as a sequence, since
these are planned in a correlational manner, being the content of one course fundamental for
the understanding of the following one.
Even though the effectiveness of teaching English through drama techniques has been
internationally recognized, as a programme, there has not been a study that could indicate if
the teachers who took these courses are conscious of this knowledge and if they identify their
benefits. Also, this is a good instance to receive feedback from people that may have put into
real practice the activities developed in classes; therefore, it is expected that useful
suggestions may emerge from the subjects of this research. The importance of this research
lies on the improvements that can be made on these courses through the analysis of its impact
on the teachers, which will mean that the future teachers from the English as a Foreign
Language Teacher Training Programme at UACh will be better prepared and consequently,
their students will receive a better qualified education.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 6
Chapter 1: Theoretical Framework
1.1.State of the Art
1.1.1 Drama Techniques in EFL Classrooms in the World
It is widely recognised how profitable the use of drama is in the EFL classrooms.
Different uses of drama are helpful not only for EFL learners, but also for teachers.
According to Mark Almond (2005), drama requires learners to have a holistic view of
communication, acting helps build confidence. When building a character, learners
become aware of other people’s needs and traits and they learn how English language is
used in the real world. Then, one can infer that drama also contributes to a better
command of the target language. In Gerd Bräuer’s (2002) words:
Via and many other teachers, researchers and students have found that the value
of drama in language education stems from the opportunities it provides for
students to express themselves in English for a meaningful purpose, going
beyond vocabulary and grammar drills. (p.161)
Therefore, teachers who use drama as a teaching tool contribute to the acquisition of the
target language and to improve the performance of the students when they use what they
have learned in the classroom, in real life contexts.
Drama by itself does nothing. It is only what teachers do with drama that makes
the difference (Neelands, in Anderson & Dunn, 2013). Including drama activities in EFL
classrooms requires teachers to be skilled in both, the English language and drama
techniques. Michael Anderson and Julie Dunn (2013) consider that the acquisition of the
language will not be guaranteed just by the implementation of drama techniques in the
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 7
classroom. Therefore, teachers or facilitators must be proficient in both drama and
language pedagogy. When this happens:
Learning is contextualised within a dramatic fiction;
participants are able to work in embodied and enactive ways, contributing
within the drama to develop agency in the target language; and
learners are empowered to create their dual scaffolding by applying their
developing metacognition of language learning. (Anderson & Dunn, 2013, p.
215)
This exposes the relevance of including drama and teaching techniques in teachers’
skills in order to have proficient EFL learners.
As well as students enrich their learning experience through drama activities,
teachers also improve their teaching practice when they bridge drama and teaching
techniques. According to Almond (2005) the obvious connection between teacher and
actor is that both have an “audience” to which ideas, feelings and knowledge must be
transmitted in a captivating, entertaining and memorable way (p. 12). Almond puts
special emphasis on the understanding and awareness teachers must have about their
voice, body movement, classroom space and humour. Unfortunately not all the
institutions imparting teacher training include drama courses as part of their syllabi.
In England, there are fifty institutions that impart TESOL (Teaching English to
Speakers of Other Languages) or MFL (Modern Foreign Language) teacher training
programmes. Among them one can find universities and colleges that offer a wide range
of options, from full time studies to distance learning, fluctuating from one-year in-
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 8
service training to four-year Masters degree. Subjects such as Creative Teaching or
Innovating in the Classroom are part of the curricula, but drama subjects are not
explicitly mentioned in any of them. Some universities offer Performing Arts as a major,
therefore, it might be possible for students to take drama courses, however it is not
evident.1
1.1.2 Drama Techniques in EFL Classrooms in Chile.
In the current Chilean educational system, classes are planned according to the
guidelines given by the Ministry of Education (MINEDUC). These state the objectives
and minimal contents to be learned in every grade. Then, teachers must follow these
guidelines at the moment of teaching, since the achievements of the objectives stated by
the Ministry are constantly measured by standardised tests such as SIMCE and PSU.
The last adjustment in the curriculum of the English Language subject was made by
MINEDUC in the year 2009. According to this document “the curricular adjustment
introduces higher learning expectations of the productive abilities, giving equal
relevance to the development of the four abilities of the language, proposing
1 English institutions providing FL teacher training: Anglia Polytechnic University, Bath Spa University
College, Bradford College, Brunel University, Canterbury, Christ Church University, Cheltenham &
Gloucester College, Chester College, York St John College, University of Leicester, Edge Hill University,
Goldsmiths College, Homerton College, Institute of Education, King Alfred's College, Kingston
University, Leeds Metropolitan University, Liverpool Hope University, Liverpool John Moores
University, Manchester Metropolitan University, Middlesex University, Newman College of Higher
Education, The Nottingham Trent University, Oxford Brookes University, Sheffield Hallam University,
South Bank University, University of Cumbria, St Mary's College, Leeds Trinity University, University of
Chichester, University of Northampton, Worcester College, Birmingham City University, University of
Brighton, University of Central England, University of Derby, University of Durham, University of East
Anglia, University of East London, University of Greenwich, University of Hertfordshire, University of
Hull, University of Leeds, University of Leicester University Road, The University of Manchester,
University of Newcastle upon Tyne, London Metropolitan University, Northumbria University, The
University of Reading, University of Southampton Highfield, University of Sunderland, University of
Roehampton, University of the West of England, University of Warwick. For more detail see Appendix A.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 9
fundamental objectives and minimal contents for each one of them (MINEDUC,
2009).”2
It might seem that from that adjustment teachers would try methodologies in
order to reach acquisition. However, the way in which proficiency is measured by
MINEDUC is not coherent with its own expectations, since all tests they have applied
are focussed only on reading comprehension. In 2010 the TOEIC Bridge was used as a
SIMCE test to assess 11th
graders. Then in 2012 MINEDUC used the KET test, since
this test is supposed to be easier. None of these tests consider the development of the
four language skills promoted by MINEDUC (Gallardo & Henríquez, 2013).
After knowing this, it becomes logical to think that teachers have planned their
classes according to the abilities their students will be assessed for. This means teachers
will prepare class materials focused on receptive skills. On the contrary, as Maley &
Duff (2005) say, drama techniques “draw on the natural ability of everyone to imitate,
mimic and express themselves through gesture and facial expression.” Therefore, these
activities are focused on productive skills. This mismatch between the national
curriculum and the methods used to assess could be a source of reluctance for teachers to
carry out activities related to production and communication, such as the drama based
ones. Assessment is a major concern for teachers, since their student’s marks are also an
evaluation for themselves. Therefore, promoting the four abilities (reading, listening,
speaking and writing) during the lessons, if only two (reading and listening) will be
considered in the standardised tests, it seems unpractical. This point can be exemplified
2 “Por estas razones, el ajuste curricular introduce mayores expectativas de aprendizaje par a las
habilidades productivas asignando igual relevancia al desarrollo de las cuatro habilidades del lenguaje y
proponiendo objetivos fundamentales y contenidos mínimos para cada una de ellas.” (MINEDUC 2009)
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 10
through researches like Sandra Mckay’s in Chile (2003). She has asked teachers from
different kinds of institutions (public, private and semi-private) about the way in which
they embrace communication in their classrooms. When she asked if they considered
that group work should be used to reach a communicative classroom “teachers gave
answers like the following: Not necessarily because you have communication between
teachers and students or through a video or tape. You can have the written part too”
(p.143).
As it can be deduced, not only has the national curriculum affected the
pedagogical decisions of every teacher when planning but also the syllabi of the EFL
teacher training programmes. Chilean governments have expressed their desire of
progressively becoming a bilingual country. Accordingly, from the 58 Universities that
are in the country, at least 35 offer an EFL teacher training programme. Out of these 38
universities, only two exhibit courses related to drama techniques or bodily expression.3
As it could be expected, most of the programs are based on grammar and receptive
skills.
Although it could seem that, in the general Chilean context, drama techniques are
not valued as important tools for enhancing communication, Universidad Austral has
3 This information has been obtained from the web pages of the following universities:
Católica de Chile, Católica de Valparaíso, Academia de Humanismo Cristiano, Adolfo Ibáñez, Adventista
de Chile, Alberto Hurtado, Austral de Chile, Autónoma de Chile, Católica del Norte, Central de Chile, de
Arte y Ciencias Sociales, de Atacama, de Chile, de Concepción, de La Frontera, de Las Américas, de La
Serena, del Bío-Bío, del Desarrollo, de Los Lagos, de Magallanes, de Playa Ancha de Ciencias de la
Educación, de Santiago de Chile, de Talca, de Tarapacá, de Viña del Mar, Diego Portales, Finis Terrae,
Gabriela Mistral, Iberoamericana de Ciencias y Tecnología, Internacional SEK, Mayor, Metropolitana de
Ciencias de la Educación, Nacional Andrés Bello, San Sebastián, Santo Tomás, Técnica Federico Santa
María, Tecnológica de Chile – INACAP, Tecnológica Metropolitana, Bolivariana, Chileno - Británica de
Cultura, de Aconcagua, de Artes, Ciencias y Comunicación, Los Leones, Miguel de Cervantes, Pedro de
Valdivia, del Pacífico, Arturo Prat, Católica Cardenal Raúl Silva Henríquez, Católica de La Santísima
Concepción, Católica del Maule, Católica de Temuco, del Mar, de Antofagasta, de Ciencias de la
Informática, de Valparaíso, de Los Andes and Bernardo O Higgins. For more detail see Appendix A.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 11
implemented a series of courses to encourage students to explore new methods related to
the use of the body and creativity with the objective of reaching communication
naturally. A deeper description of these courses is given further in this chapter.
1.2. Drama Techniques to teach EFL Classrooms
Foreign Language classrooms require a variety of activities and techniques.
These techniques may change according to the context, students’ age, language level,
etc. Drama techniques in FL classrooms are resources that allow students and teachers to
employ their own personalities in the creation of learning materials (Maley & Duff,
2005). Therefore, it is of great importance for a FL teacher to implement drama as a
teaching method in order to improve students’ comprehension and acquisition of the FL.
1.2.1 Definition of Drama Techniques
It is highly important to clarify what Drama Techniques are; Charlyn Wessels
(1987) defines Drama as it follows:
Drama is doing. Drama is being. Drama is such a normal thing. It is something
that we all engage in daily when faced with difficult situations. You get up in
the morning with a bad headache or an attack of depression, yet you face the
day and cope with other people, pretending nothing is wrong. You have an
important meeting or an interview coming up, so you “talk through” the issues
with yourself beforehand and decide how to present a confident, cheerful face,
what to wear, what to do with your hands, and so on. (p. 7)
According to the above stated, one can infer that Drama Techniques are the skills
people develop in order to improve their communicative competence. These techniques
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 12
provide people with the endowment that supports them to enrich and enhance their
speech, which helps listeners to convey meaning.
Regarding the FL learning context, drama techniques are activities that draw on
the natural ability of everyone to imitate, mimic and express themselves through gesture
and facial expression as well as on students’ imagination and memory, and they also
bring to life memories that would not emerge through a different type of activity (Maley
and Duff, 2005.) From the previously explained, one can notice that drama techniques
are not only a tool to teach a foreign language, but also a source of self-expression for
people of all ages when their language level might limit the accuracy of their
communication.
1.2.2. Examples/types of activities in EFL classrooms
For teachers or facilitators, it is not necessary to have been trained as drama
experts, although some training, especially voice training is desirable. Maley and Duff
(1987) advice that teachers themselves need to believe drama activities will work in EFL
classrooms, since teachers are the key to the success of these activities. Also, they
recommend using an “open” body language, a firm but friendly tone of voice, giving
helpful and non-threatening feedback.
Maley and Duff propose to work on four areas of language teaching using Drama
technique activities:
a) Non-verbal warming up: These activities are meant to be done at the beginning
of the lesson. Their aim is to lower and/or release the nervousness students may
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 13
feel when they are just beginning. An example of these activities is called "Hand
Catching" where students also get prepared for more sustained exercises.
b) Non-verbal relaxation/cooling down: In general terms, these activities lead
students to get concentrated and focused on the tasks. "Feeling your Muscles" is
an activity that develops body awareness and control over the muscles of the
whole body. At the same time, it is a relaxation activity that prepares students for
the following exercises.
c) Activities involving language: The objectives of this type of activities are mainly
to generate a reaction over verbal stimuli and to create bonds among the group or
class. "Childhood Memories" leads students to share their past, stimulating
genuine oral exchange.
d) Group formation activities: As their name says, these ones contribute to allocate
people when carrying out pair or team work. They help students to work with
peers they would probably not work with without this tool. "Strings" is a good
example, couples are formed in a totally random way.
As one can notice, drama techniques are not simply related to performing a play on a
stage. Apart from performing or role-playing, these techniques offer a vast range of
options for teachers to find innovative and entertaining means of revision, improvisation,
classroom management and arrangement, among others. As stated before, teachers do
not need to be drama experts to put these activities into practice, although, some
previous knowledge is required in order to succeed.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 14
1.2.3. Advantages and Disadvantages of Drama Technique Activities in EFL
Classrooms
Considering the broad amount of information about drama activities, it becomes
clear that they are beneficial to both teachers and students, nevertheless at the same time
they might not be suitable for all. This leads to search for the positive and negative
aspects drama techniques imply when putting them into practice, in order to become
aware about their pros and cons.
The positive aspects of teaching a FL using drama techniques are pointed by
Maley and Duff (1982).
It integrates language skills in a natural way. Careful listening is a key feature.
Spontaneous verbal expression is integral to most of the activities; and many of them
require reading and writing, both as part of the input and the output.
It integrates verbal and non-verbal aspects of communication, thus bringing together
both mind and body, and restoring the balance between physical and intellectual
aspects of learning. It draws upon both cognitive and affective domains, thus
restoring the importance of feeling as well as thinking.
By fully contextualizing the language, it brings the classroom interaction to life
through an intense focus on meaning.
The emphasis on whole-person learning and multi-sensory inputs helps learners to
capitalise on their strengths and to extend their range. In doing so, it offers unequalled
opportunities for catering to learner differences.
It fosters self-awareness (and awareness of others), self-esteem and confidence; and
through this, motivation is developed.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 15
Motivation is likewise fostered and sustained through the variety and sense of
expectancy generated by the activities.
There is a transfer of responsibility for learning from teacher to learners – which is
where it belongs. (p. I)
When learning anything, six elements must be present in order to acquire and
retain what is being studied; according to Wessels (1987) these six elements are:
situation, problem, solution (surface reality), background, emotions, and planning
(underlying reality/foundation). When communicating those six elements are present,
therefore when carrying out Drama activities in EFL classrooms, learners are not only
putting into practice what they are studying, but also they are helping themselves to
reach language acquisition.
As reported by Wessels (1987) drama should be viewed as a technique of
communicative language teaching. It focuses on the role of the students as active
participants rather than passive receptors. Among the cons, it is found that it often
becomes difficult to link the theory with the practice. From the teacher’s side Wessels
(1987) affirms that many teachers view drama techniques simply as something enjoyable
that can be used with easy-going, extrovert students. This results in teachers avoiding to
include drama techniques as a permanent teaching tool.
Another negative aspect of drama techniques is related to the misconception its
name evokes, leading many people to think about plays. McGregor et al. (1977) sustain
that “for most of those who are not directly involved in drama teaching, drama and
theatre are the same thing – they are about plays, writers, actors, directors, rehearsal and
performance” (p. 6). This misconception can be easily broken when the teacher or
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 16
educator knows about the different uses proposed for drama techniques in the EFL
classroom.
1.3. Teacher Training
The following chapter will be focused on the way teachers should be trained to
accomplish the objectives that Drama Techniques seek to reach. Also corporality and
body awareness will be analysed as fundamental issues to carry out activities that relate
to non-verbal communication.
1.3.1 Ideal Teacher Training
It is widely known that teachers are meant to be skilful people who must be
enabled to develop multiple tasks within the classroom, school environment and
community. However, in the case of EFL teachers, knowing the language is not enough
if they mean to transmit it. In Lin Wright’s (1985) words “the challenge is to prepare
teachers to move beyond safe lessons devoted to reading scripts or following lesson
plans in texts to truly creative improvisation based on structured but flexible situations
that have real meaning for the students” (p.1). This point becomes logic if it is
considered that real life situations happen naturally, therefore, acquisition should take
place in the same kind of natural settings, where improvisations are constant and actions
do not happen as single and unconnected phrases. Hence, the teacher should be a
creative leader to encourage their students towards acquisition. Wright’s proposal is a
big challenge in the Chilean context, considering the situations mentioned earlier in this
chapter, therefore, this is a task to carry out progressively and patiently.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 17
In relation to this, it is also necessary to think about the features of a teacher
trainer in a drama oriented classroom, where teaching strategies must be complemented
through the use of drama. In order to do so, they must be creative leaders that favour
appropriate playable dramatic action for the group. Hence, the first thing a teacher
should aim at is getting to know their students, since it will facilitate individual and
group involvement in the drama activity. Also, it will help the teacher to guide
individuals within the group towards an understanding of the drama activity just created,
which is fundamental for trainees, since they will be able to adapt any activity as long as
they understand it. Another advisable activity for teacher trainers is demonstration and
modelling of these teaching strategies, so that trainees analyse the situations,
contextualise them into different settings and finally discover how to make a decision
within the lesson (Wright, 1985).
It is possible to say that drama technique activities provide many
communicational opportunities in terms of personal development as in improving
language skills. So, teacher training programmes should emphasise this area in order to
have teachers who are able to perform such activities. By contrast, as mentioned before,
most universities that offer teacher training programmes are focussed on grammar and
receptive skills. Most teachers teach the same way they were taught, where the influence
of teaching through methods that privilege the use of grammar rules and their
understanding through textbooks, tapescripts and worksheets is evident. These are
situations, where the practice of language teaching cannot take place without a textbook
in hand (Vernon, n.d.), which makes teaching English through drama an unusual
situation, while this should be a common thing to see.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 18
1.3.2 Corporality and Body Awareness
Being conscious of the body language projected is a relevant skill teachers are
advised to foster. Firstly, it is important for teachers to reach a more profitable
comprehension of their students’ behaviour and attitudes, and secondly it is helpful for
teachers in order to improve the comprehensible input their students receive so they can
convey meaning easily and at the same time, it might help to lower students' affective
filter.
Knowing the people in the classroom is of great importance for teachers. This
opens different paths to approach students, and one way of doing this, is by paying
attention not only to the vocabulary they use when they express their ideas or opinions,
but also to their gestures. Ahmet Benzer (2012) states that
Body language gives very important clues about people's feelings, attitudes and
thoughts, and it helps us to understand their behaviour according to their
appearance at the point of decision. These clues are important in understanding
and assessing both ourselves and other people. (p.467)
The above stated is closely related to what Benzer explains about the teaching
practice: the process of making a pedagogical decision. It becomes hard for teachers to
determine an activity for a group when they do not know the way their students feel and
think. It is also common to observe that some people do not say what they feel, or they
struggle to tell their feelings since they often cannot describe them. This is an even more
recurrent situation in the classroom, where students are building their identity and
understanding themselves as individuals. Therefore, perceiving students' reactions
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 19
towards activities or content should be a constant indicator to be measured, for it can
lead us to better pedagogical decisions. Furthermore, if teachers are able to perceive
beyond what is explicitly said by the students, they will have a more suitable range of
methodologies to carry out their activities.
Regarding body language, not only students should be carefully examined but
also the teachers, since their performance has great influence on the acquisition of the
knowledge in terms of the acceptance of it. People leave impressions on their peers
during the process of communication by voice and body language (Mahrebian and
Ferris, 1967). It has emerged that the content of speech has 7 % of influence, tone and
quality has 38 %, while body language has an impact of 55 % (Benzer, 2012, p. 467).
This explicitly shows the importance for teachers to become aware of corporality and
body awareness.
In addition, body language is closely related to the students’ affective filter. Our
body is able to tell people how we feel about ourselves and others, which can influence
the students’ predisposition towards the teacher and the class. Stephen Krashen, states
that
The presence of the affective filter explains how two students can receive the
same (comprehensible) input, yet one makes progress while the other does not.
One student is open to the input while the other is not. (2003, p. 6)
Hence, being aware of the communicational possibilities teachers can use in
their favour, is a great skill they can develop in order to be understood rapidly and
efficiently. Taking the previously stated into account, it becomes essential to privilege
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 20
the use and understanding of communication not only from the grammar perspective, as
it has been done traditionally, but also from the one of reaching effective
communication. Then, at the moment of designing teacher training programmes, body
language should become an indispensable subject for the development of future teachers
and the effective learning of their students.
1.4. Drama Techniques in the English as a Foreign Language Teacher
Training Programme at UACh
Throughout the eight semesters that the English as a Foreign Language Teacher
Training Programme lasts at UACh, four courses related to Drama Techniques to teach
EFL are offered. These are elective courses which can be taken by trainees from the
third semester onwards. Courses including Drama Techniques have always been part of
the curricula of the programme. “Storytelling” and “Dramatics,” were offered since the
reopening in 2004; however, these were not correlative with each other. Since 2009, in
the context of a research project called “S2009-16 English: Acting out Language,” two
new courses were added: “Telling Stories through the Body” and “Drama Techniques in
the Classroom.” Then, the contents of the four courses were adjusted in order to
correlate.
This project was developed by teachers of the EFL Teacher Training Programme
and one of its objectives was to “apply teaching methodologies related to drama
techniques that encourage student’s oral production, involving them in an effective and
responsible way in their learning process to reach real acquisition of English as a
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 21
Foreign Language” (Ortiz de Zárate, A. et al, 2009)4. From that year on, these four
courses have been designed to be taken, preferably, in a sequential way, since every
course builds up on the contents of the previous one. Nevertheless, as these are electives
and they do not have any prerequisites, students tend to take some of the courses
randomly.
In terms of methodology, all courses are developed as workshops. That means
they are more practical than theoretical and the final aim of each course is directly
related to an activity linking the students with the educational community. Also the
room for the classes is different; it is a special room designed to carry out drama
oriented activities, here, relaxation and breathing exercises can be easily developed. It is
expected that a student who participated in all the courses should be able to effectively
communicate through body language and teach using drama resources. In order to
understand and contrast every course, a description of each will be detailed in the
following points.
1.4.1 Storytelling
ILIN 123 Storytelling is the first course in the sequence of Drama Technique
courses. It is mainly oriented to the improvement of oral production. The objective is to
“develop the trainees’ skills to understand and express orally short stories in English,
using adequate linguistic components of the oral discourse” (Renftel, 2012, p.1)5.
During the semester, students work on basic drama techniques to tell stories, so they go
4 All translations from Spanish into English have been carried out by the authors of this paper.
“. . . aplicar metodologías de enseñanza relacionadas con técnicas teatrales que motiven la producción oral
de los alumnos y los involucren efectiva y responsablemente en el proceso de aprendizaje, culminando en
una adquisición real del inglés como lengua extranjera” (Ortiz de Zárate, 2009).
5 “[…] desarrolla en el estudiante la habilidad para comprender y expresar oralmente historias cortas en
inglés haciendo uso adecuado de los componentes lingüísticos propios del discurso oral”. (Renftel, 2012)
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 22
gradually progressing on their fluency and pronunciation. Besides, they have to create
stories and design didactic material to complement the stories. The topics covered in the
course are related to the context of storytelling as a cultural tradition, the different types
of stories and the benefits of adapting them in an educational setting. By the end of the
course, students are expected to be able to tell a story with a teaching purpose,
specifically in primary education contexts (Renftel, 2012).
1.4.2 Telling Stories through the Body
ILIN 109 Telling Stories through the Body is the second course and, as well as
“Storytelling”, it is dedicated to primary education. This course focuses on the
awareness of body language, its objective is that “trainees develop the skills to
understand and express short stories in English orally and through body language (Ortiz
de Zárate et al, 2009b, p.1)6. Throughout the semester, students read stories aloud and
adapt texts from different genres, so they continue perfecting their fluency and
pronunciation. However, the backbone of this course is the transversal objective that is
in every activity to concentrate and get conscious of the use of voice, body and space.
Also, students are asked to work on their creativity by creating characters and didactic
material, using a variety of elements as props to tell stories such as puppets or masks,
which must be tailored by themselves. When the course ends, students are expected to
understand the importance of the influence of body language in communication in order
to use it as a teaching tool combined with different drama elements (Ortiz de Zárate et
al, 2009b).
6 “[…] desarrolla en el estudiante la habilidad para comprender y expresar oralmente y utilizando su
lenguaje corporal historias cortas en inglés.” (Ortiz de Zárate, 2009)
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 23
1.4.3 Drama Techniques in the Classroom
ILIN 233 Drama Techniques in the Classroom is a course which focuses on the
“practical application of drama techniques and ludic activities to acquire a foreign
language” (Ortiz de Zárate et al, 2012, p.1)7 and emphasises the importance of
stimulating a suitable environment for the learning process. This course works
intensively on breathing techniques, relaxation and voice production in order to improve
the trainees’ teaching performance. Every activity developed has an explicit pedagogical
purpose. Consequently, the instructor provides a theoretical background about
researches on the field of didactic strategies to teach EFL through ludic and dramatic
approaches. Critical analysis of the use of these approaches is discussed in class as well.
The final outcome of this course is to plan and teach through ludic activities with the
aim of learning contents and language, which is assessed by carrying out a micro lesson.
At this point students should combine the elements from all three courses in order to
innovate in the classroom with drama techniques (Ortiz de Zárate et al, 2012).
1.4.4 Dramatics
ILIN 154 Dramatics is the last of the sequel. The language level needed to
develop the activities is higher and students must have an intermediate level8 and at least
partial knowledge of the contents of the previous courses. The objective of this course is
the “practical application of drama techniques for the interpretation of theatrical texts
and the teaching of a foreign language” (Ortiz de Zárate et al, 2011, p.1)9. Classes begin
with theoretical background based on the “Shakespearean Theatre” and its features. In
7 “Aplicación práctica de técnicas dramáticas y lúdicas para la adquisición de una lengua extranjera.”
(Ortiz de Zárate et al, 2012) 8 It is suggested that “Language IV” should have been passed to take this course.
9 “Aplicación práctica de técnicas dramáticas en la interpretación de textos teatrales y la enseñanza de una
lengua extranjera” (Ortiz de Zárate et al, 2011)
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 24
contrast with the previous course, the outcome expected is a much more elaborated
performance by the end of the semester, since the trainees must study, adapt (shorten)
and perform a play by Shakespeare in the original language.
During the whole semester, students work on the process of performance, which
requires a considerable amount of time and effort since relaxation, breathing and voice
control techniques are more methodically developed, adding memorization techniques.
Rehearsals are also prepared very carefully, stage position, props and all the
organization is very strict because the final performance is in front of an audience.
Finally, the performance of this play should concentrate all the knowledge and skills
developed through the four courses and be the visible example of the benefits of using
drama techniques as a teaching tool (Ortiz de Zárate et al, 2011).
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 25
Chapter 2: Methodological Framework
2.1. Type of Research
This research is catalogued as a case study following C.R. Kothari’s (2004)
description: “a very popular form of qualitative analysis and involves a careful and complete
observation of a social unit, be that unit a person, a family, an institution, a cultural group or
even the entire community.” (p.113). The analysis of the information was done from
a qualitative approach, which is “concerned with subjective assessment of attitudes,
opinions and behaviour” (Kothari 2004). This research deals with those aspects, since it aims
to measure the perception of people.
2.1.1. Type of Case Study
This investigation is a descriptive and explanatory study. On the one hand it describes
the way in which the Drama Technique courses are given and their purpose, which matches
with the definition given by Ranjit Kumar (2011) about descriptive studies: “[which attempt]
systematically to describe a situation, problem, phenomenon, service or programme, or
[provide] information about or attitudes towards an issue” ( p.383). On the other hand, this
study also intends “to clarify why and how there is a relationship between two aspects of a
situation or phenomenon” (Kumar, 2011, p.385); in this case, the relationship between the
teachers’ performance and the training given by the courses.
2.1.2. Subjects of the Study
The first step to consider was the subjects of study to participate in the research since
“in every discipline it is considered unethical to collect information without the knowledge of
the participants, and their expressed willingness and informed consent” (Kumar, 2011, p.244).
Therefore, before the tools were applied, the researchers had a previous contact with the
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 26
participants and delivered a formal document called “Informed Consent”, which let them
know the objectives of the research, as well as informed them about all the aspects of their
participation and their importance in the investigation. Then they were asked to consent to be
part of the study.
To obtain the final amount of subjects of study, a list of all the students who took the
Drama Technique courses between 2009 and 2012 was gathered, resulting in 135 subjects.
Then the list was narrowed, discarding those who have not had a formal teaching experience.
After that, the number of subjects of study remained in 67. Then, in a second stage, the
subjects were divided into two groups because different information was expected from them,
so different data collection tools were designed for each group. The first was composed by 28
Teaching Practice trainees or EFL Teachers who took at least three of the four courses. The
second group made of 39 Teaching Practice trainees or Newly Qualified EFL Teachers who
are currently working that took one or two of the courses. From this group, 21 replies were
obtained, representing a 54% of response. In total, the average response of the subjects was of
52 %. A set of interviews was conducted with the first group, since the researches considered
that, due to the higher exposure they had to Drama Techniques, their knowledge about the
topic would allow them to give deeper and varied information. The second group answered an
online survey, since; unlike in the group of the interviews, the information required from them
did not need further explanations. The level at which teachers are working has not been
considered as criteria to discard subjects because the issues covered in this research are
transversal, because Drama Technique activities can be adapted to be performed at any level.
Besides the personal development acquired in these courses are tools that are supposed to be
useful at any stage of their career as well.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 27
In terms of the context of the participants, most of them are young adults between 22
and 31 years old, who are beginning or have recently started their teaching careers. Therefore,
it can be inferred that they have had recent contact with contemporary teaching approaches.
Regarding gender, 80% of the sample is female, which is a tendency in the English as a
Foreign Language Teacher Training Programmes at a national level.
2.2. Data Collection Methods
The data collection tools were designed according to the specific objectives of the
research. In this case, the tools were a survey and an interview. The first was created to gather
the information related to depict the motivation of trainees from the English as a Foreign
Language Teacher Training Programme at UACh to take Drama Technique courses (specific
objective number one) and to obtain the NQTs’ opinions about the courses and suggestions to
improve the syllabi of the Drama Technique courses given by the EFL Teacher Training
Programme at UACh (specific objective number three). The second tool was a semi
structured interview, which was designed to identify the way in which the Drama Technique
courses influence the NQTs’ performance in terms of the personal, professional and
methodological development (specific objective number two) as well as the two specific
objectives previously mentioned.
2.2.1. Survey
Regarding the large amount of people that were contacted, the geographical distance
among the participants and the lack of free time they had, a survey fits the needs better than
any other data collection tool. On the internet, there are some free programs designed to carry
out surveys such as “Survey Monkey”, which is a popular software that allows the researchers
to send the questions via e-mail, so the participants can decide the best moment to answer it.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 28
There are advantages and disadvantages when a survey is used as a data collection
tool. Some of the benefits set by Kothari (2004) are that the respondents answer in their own
words, they have enough time to give well thought answers and thus the results are more
dependable and reliable (p. 101). Another benefit associated to this tool is that it “enables the
researcher to collect data in field settings, and the data . . . are more amenable to
quantification” (Nunan, 2004, p.143). However, drawbacks are also mentioned in Kothari’s
work (2004) they relate to a low rate of return of the duly filled in surveys and the possibility
of ambiguous replies or omission of replies altogether to certain questions (p. 100). The last
negative aspect to be considered is that if the participants who answered the surveys had any
doubt regarding the questions, the researchers were not able to solve them. That is the reason
why the next data collection tool was designed.
2.2.2. Semi-Structured Interviews
The interview was the data collection tool that answered to the three specific
objectives and thus, also to general objective: to determine the teachers’ perception of the
impact of the Drama Technique courses given by the EFL Teacher Training Programme
at UACh regarding the personal, professional and methodological development.
This tool was selected because it fits the requirements to obtain deeper information.
Kothari (2004) mentions two very important features of this tool; first, personal information
can be easily obtained under this method, being this highly relevant for a research that is
asking for the perception of the subjects. The second important characteristic is that through
interviews the researcher can collect supplementary information about the respondent’s
personal attributes and environment which is often of great value in interpreting results (p.
98). Other reason to choose this tool is that semi structured interviews are more flexible, due
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 29
to the fact that they give the opportunity to rearrange and clarify questions and answers. Also,
samples can be controlled more effectively since the researcher can make sure all the points
are covered and none question remains without an answer, so non-response remains very low.
Finally, unlike surveys, this tool avoids the misinterpretations of the questions (p. 98).
In this research, in order to obtain the mentioned benefits, a semi structured interview
was applied because it is not excessively rigid, which might produce an uncomfortable
atmosphere, but at the same time it is not too general, which could make the analysis of
information difficult (Kothari 2004). According to David Nunan (1992) in a semi-structured
interview, “the interviewer has a general idea of where he or she wants the interview to go,
and what should come out of it, but does not enter the interview with a list of predetermined
questions”. Therefore, this tool seems to be the most adequate type, since it gives the chance
to have an interview that looks like a conversation and be more precise when required. At the
same time the respondents knew (through the informed consent) that the interviews were
recorded in audio format.
2.3. Criteria of Analysis
The results obtained from the data collection tools were analysed within the
parameters of some criteria set in order to organize and understand them. These criteria are
based on the specific objectives, since the interview and the survey were designed with the
purpose of gathering information about the issues proposed in the specific objectives. Also,
the concepts analysed in the literature review for the theoretical framework were taken into
account so as to give a consistent support to the discussion.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 30
2.3.1. Teacher Trainees’ Motivation
Since depicting the teacher trainees’ motivation to take the Drama Technique courses
is one of the specific objectives of this research, this was one of the criteria analysed.
Therefore, through the interview and the survey, questions regarding this topic were designed
in other to identify if the reasons why students decide to take or leave these courses are related
to some kind of intrinsic motivation or extrinsic motivation.
2.3.2. Teachers’ Performance
Another criteria analysed is the influence of the Drama Technique courses in the
teaching performance of the subjects who took at least 3 of them. NQTs were asked to share
their experiences regarding the use of Drama Techniques, the complications and benefits of
putting them into practice in the classroom. Also, the influence in their personal development
was taken into account in order to know if they noticed any improvements as professionals in
terms of the way in which they build communication either when facing the classroom or
when approaching the school community.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 31
Chapter 3: Outcomes and Results
3.1. Results per Criterion
In the following section, the results obtained from the data collection tools, the
21 surveys and 14 interviews carried out, are exposed taking into account the two
criteria previously described.
3.1.1. Teacher Trainees’ Motivation
Surveys
As mentioned before, surveys were answered by 21 NQTs or teacher trainees
who took not more than 2 courses. Therefore, one of the aims of this survey was to know
why they did not finish taking the sequence of Drama Technique courses. Results
showed that most of the participants began the sequence of courses with Storytelling and
the main reason to start with the sequence was the interest on the themes proposed by
the courses as showed in the following pie chart.
Figure 1. Reasons to Take Drama Technique Courses.
52%
19%
29% Interest on the topic
Advise
No more choices
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 32
When asked about why they decided not to keep on taking all the courses, the
main two justifications they gave were that they felt uncomfortable with their
performance in the courses (embarrassment) or that they lost interest in the topics. This
can be seen through the following pie chart:
Figure 2. Reasons Not to Take more than Two Drama Technique Courses.
Nevertheless, an important part of the subjects surveyed (67%) declared to be
willing to eventually take similar courses in the future. Some of the reasons they gave
were that this kind of courses provided trainees with communicative skills to improve
their teaching performance and that it was a good experience. Also, some participants
admitted that even though the courses were useful, they felt that their personalities or
skills were not appropriate to take more Drama Technique courses. Actually, 86% of the
participants stated that they would advise a person to take courses like these because
they help to develop their personality and supplied trainees with many innovative
teaching methods. Similarly, some of them explained that even though they left the
courses because they felt they were not apt at performing, they would recommend
someone who has the skills to take them.
43%
50%
7%
Lack of interest
Uncomfortable feeling
Dislike of teachers
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 33
Interviews
The interviews, which were taken by the participants who took at least 3 courses,
showed four branches of interest to take the Drama Technique Courses, the majority of
them had previous experiences related to Performing Arts or Drama and they found
interesting to keep developing their skills and knowledge. The second place was
occupied by trainees who wanted to improve their social skills in order to be more
confident when approaching a group of students or colleagues. It is important to mention
that half of them considered themselves shy or introverted. The participants who took
these courses having the certification as a main reason to do so, enjoyed the classes and
found them useful for their teaching careers, therefore, they continued taking Drama
Technique courses. The littlest percentage was composed of participants who expected
to improve their teaching skills, seeing these subjects as a complimentary source of
methodologies. It is worth mentioning that a participant from this section expressed that
their main aim to take these courses was to learn how to teach young children.
Figure 3. Teacher Trainees’ Motivation to Take the Courses.
47%
18%
23%
12%
Previous interest
Certification
To improve Social Skills
To improve Teaching Skills
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 34
During the in-classroom time, 66% of the participants felt comfortable, 14% felt
uncomfortable because one of the trainers was too demanding. The last 14% did not feel
confident at the time of performing in front of classmates and instructors since it was
something unusual and too challenging. At the same time, knowing that they were
assessed according to their performance was an additional source of stress.
Figure 4. Teacher Trainees’ Feelings during the Lessons.
3.1.2. Teachers’ Performance
The main influence Drama Technique courses revealed on the participants'
teaching performance (57%) was related to the development of varied teaching
approaches in their classes. Among the subjects interviewed, 29% considered that they
used the voice projection and body language skills as their most frequent teaching tool.
A smaller amount of interviewees (14%) related the development of their social skills to
the learning outcomes of the courses.
36%
14%
36%
14% Comfortable
Uncomfortable
Progressive change
Uncomfortable in one specific subject
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 35
Figure 5. Influence of the Courses on the Interviewees’ Teaching Performance.
All the interviewees had the opportunity to implement Drama Activities in their
teaching career. The types of Drama Technique activities the participants put into
practice showed a tendency to performing and/or Role Playing. The pie chart below
pictures the percentage corresponding to each type of activity mentioned by the
participants.
Figure 6. Types of Drama Technique Activities Developed by the Interviewees.
It is relevant to mention that the activities developed with primary students
worked as expected or even better, being a good experience for the students (according
to the teacher’s perception). It is not the same case with secondary students, who showed
reluctance to participate at the beginning, or lack of engagement to the activities while
29%
57%
14%
Voice Projection & Body Language
Teaching Approaches
Social Skills
28%
56%
5% 11%
Mimicry
Performing/Role Playing
Group Formation
Relaxation/Breathing
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 36
university students participated very actively when given the opportunity. Relaxation
and breathing exercises were carried out with the aim of lowering the students' affective
filter and to provide them with comprehensible input.
When participants were asked about the use they gave to the knowledge they
acquired throughout the courses in their educational community, the majority (57%) said
that the courses had not influenced their behaviour with other people. However, 22% of
the subjects recognized to have increased their empathy with others in different contexts,
a 14% stated that they became more confident due to the voice and body awareness they
gained in the courses. Finally, it is interesting to notice that one participant recognised to
have intentionally put the skills/knowledge into practice with other people from the
school community – with the aim of complementing one’s spoken language with body
language and voice management – but the participant was misunderstood by the
interlocutors, who considered the behaviour as exaggerated.
Figure 7. Influence of the Drama Technique Courses on the Relationship with
the Educational Community.
Regarding personal development, the subjects exposed that the main tools/skills
they obtained from the Drama Technique courses were linked to professional
57% 14%
22%
7%
No influence
To feel more comfortable
To become empathic
Yes, but not efficiently
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 37
development. Two participants (14%) related a noticeable personal development to the
contents they studied and acquired in the courses. Both participants increased their
empathy with people in general and they put this into practice in their professional
career as well.
In terms of the interviewees' perception of the instructors' competence as
communicators, all of them considered that their instructors' attitude was a fundamental
aspect in order to create a positive atmosphere in the classroom, with students and
among them (teacher-student and student-student). A small percentage of the
participants (7%) was prejudiced against one of the instructors, but this attitude changed
throughout the development of the course due to the techniques the instructor used to
approach students. Finally, a 14% of the subjects felt uncomfortable and stressed due to
one of the instructor's attitude, which was perceived as too demanding, leading them to a
stressful and uncomfortable experience.
3.2. Discussion
The following section discusses the topics exposed in the theoretical framework.
These are contrasted with the results obtained from the data collection tools in order to
be analysed in the light of two criteria of analysis. The first criterion of analysis, Teacher
Trainees’ Motivation, aims to depict the motivation of teacher trainees to take the Drama
Technique courses and develop the specific objective number one of this research (To
depict the motivation for trainees of the English as a Foreign Language Teacher Training
Programme at UACh to take Drama Technique courses). The second, Teachers’
Performance, points out the teachers' performance and is related to the specific objective
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 38
number two of this research (To identify the way in which the Drama Technique courses
influence the Newly Qualified Teachers’ performance in terms of personal, professional
and pedagogical development).
3.2.1. Teacher Trainees’ Motivation
It is important to clarify that in the first criterion analysed in the discussion is
divided into the two groups of participants, the ones that did not take more than 2
courses (survey) and the ones that took least 3 courses (semi structured interviews). This
division is necessary since the motivation of the subjects vary according to the courses
they took.
Surveys
The first group gives information about the reasons that lead them to start taking
the Drama Technique courses. This group of subjects begins the process of the Drama
Technique courses but leaves it incomplete. It is interesting to notice that more than half
of them (52%) decide to begin with it because they are interested in the topics they
expect to be covered. It means that this percentage has some positive prospects on these
courses. Apart from the cases mentioned above, an important percentage (29%) declares
that they have taken the courses (any of them) because they have not had any other
choice. The difference between the latter and the former subjects is the lack of intrinsic
motivation. Therefore, it can be inferred that the resilience of these subjects in the sequel
of courses can be reduced. Following Wright’s (1985) ideas, teacher trainers should be
creative leaders who encourage an appropriate atmosphere within the classroom. Thus,
at this point the teacher trainers of these courses have to give their most to engage
students so that they persist on the series of courses.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 39
Later in the survey, participants give reasons to stop taking the courses. Half of
them feel uncomfortable with the activities developed because, though they recognize
the value of drama techniques, they feel embarrassed or think they do not have enough
skills to take the following courses. In this sense, Benzer (2012) shares some thoughts
about how important it is for a trainer to know their students. First, he points out, the
trainer must pay attention to the body language of the trainees; second the trainer must
really consider it in order to make good pedagogical decisions. Among participants, 43%
of them lack interest on the topic; however, it is relevant to point that an amount of them
loses the interest they have towards Drama Technique courses due to the frustration that
comes up during certain activities involved in the process.
Considering Almond’s (2005) words when he states that “drama requires learners
to have a holistic view of communication” (p.6), it can be said that all the rules of
coexistence between trainers and trainees must be clearly established, worked and
reworked from the beginning of the process onwards. This is considered of primal
importance for the trainees to become aware of the equality and partnership that should
be maintained during the whole process. This constructivist way of building confidence
might help decreasing the levels of frustration and increase the collaborative work,
which is essential when it comes to drama techniques in particular and daily life in
general, where all kind of personalities must coexist. There must be an explicit
development of a sense of belonging toward the participants of the courses to foster
continuity, which is a main issue taking into account that 58% of the trainees who take
these courses do not take the whole sequel.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 40
Interviews
A different scenario is presented by the subjects who take at least 3 courses. The
main contrast with the previous group (survey) is that 47% of participants enter the
Drama Techniques courses because they have some previous knowledge about the topics
that are covered throughout the process. The second majority begins these courses
because they want to improve their social skills; similarly, they already have a clear
expectation of the benefits they are going to obtain. These results highlight the
importance of the awareness of the students in relation to the process they undergo. This
secures their continuity in the courses.
In addition, it is relevant to consider the feeling toward the courses of the
participants who answered the interview. In terms of their affective response to the
course, 36% of them feel comfortable during the courses and another 36% feel anxious
or nervous at the beginning but they start to relax and feel comfortable progressively.
These subjects are aware of their evolution and progress and they appreciate it. They
become confident about their performance in classes; therefore, motivation takes place
easily. As Maley & Duff (1982) say, drama technique activities “foster self-awareness
(and awareness of others), self-esteem and confidence; and through this, motivation is
developed” (p.9). In this case, trainees keep a low affective filter and a positive
disposition towards the courses. Finally, once motivation settles, the challenge for the
trainer is to find ways to bring together both kinds of trainees, those who are confident
and feel comfortable with the activities or exercises and the ones who do not. As
mentioned before, it is a collaborative and continuous work to be developed along with
the contents of the courses.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 41
3.2.2. Teachers’ Performance
In order to corroborate if subjects identify the influence of the Drama Courses in
their performance, results from the interviews are compared to the description of each
course in terms of the teachers’ praxis that is expected from them as future teachers and
the main objective of this research.
The first course of the sequence is ILIN 123 Storytelling. It can be said that this
course is the gate to the rest of the sequel, since it offers the basic principles of Drama
Techniques. In methodological terms, this course “develops the students’ skills to
understand and orally express short stories in English” (Renftel, 2012, p.1). As described
in the objective of the course, it is expected that NQTs use storytelling with a teaching
purpose in their classrooms. However, as seen in Figure 6. Types of Drama Activities
Developed by Teachers, storytelling is not mentioned by any of the interviewees.
Therefore, it can be inferred that even though they might use this resource, they do not
consider it relevant to be mentioned to the interviewer in relation to other activities they
carry out in class.
Nevertheless, the expected outcomes of this course are wider than the specific
activity of storytelling. Also the improvement of oral production is a major concern.
When asked about the impact of the Drama Technique courses, 29% of the interviewees
declare that these are helpful for improving their voice projection and body language,
which is one of the aims of Storytelling. Another activity developed in this class is the
design of original didactic resources such as puppets or big books, which according to
Maley & Duff (2005) allows students and teachers to employ their own personalities in
the creation of learning. Hence, evidence shows that teachers do not explicitly recognize
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 42
the use of storytelling activities; however, the influence of the course is proved through
the answers they give regarding features of their personal skills.
The second course in the sequence is ILIN 109 Telling Stories through the Body,
which focuses on the awareness of body language. When the course ends, students are
expected to understand the importance of the influence of body language in
communication and to use it as a teaching tool, as studied in the theoretical framework,
body language plays an essential role for teachers. The effectiveness of communication
relies, in a good part, not only on what is said but on how it is said. Appropriate use of
body language improves teachers’ performance and encourages acquisition in many
ways. First, it enhances the comprehensible input students receive, since by being aware
of body language people are able to manage better communicative skills which enable
them to adapt their performance to different contexts. Also, the use of body language
can lower the students’ affective filter, making it easier for them to accept the contents
the teacher presents.
In addition, becoming aware of the information the body gives, is a powerful tool
in the process of making pedagogical decisions, since it helps teachers to know their
students, and consequently, to plan coherently according to their students learning styles
and interests. Results show that NQTs are conscious about the benefits they obtain from
these courses regarding this topic, actually, 23 % of the subjects decide to take them
because they want to develop their social skills through drama approaches. Then, 29% of
them say that body language influences them the most, helping them to face the
classrooms in a more confident way and approaching the school community more
empathically and comfortably. It has been evidenced that after taking at least three
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 43
Drama Technique courses, NQTs give body language a relevant place in their
performance, since all of them carry out some kind of activity in which students learn
through their bodies.
The third part of the sequence is ILIN 233 Drama Techniques in the Classroom, a
course which focus is the “practical application of drama techniques and ludic activities
to acquire a foreign language” (Ortiz de Zárate et al, 2012, p.1). During these classes,
every activity has an explicit pedagogical purpose. This becomes evident when taking a
glance at the results of the interview, since they show that all the NQTs are performing
activities like the ones promoted in this subject. By doing so, the skills development of
their students is promoted, like the ones Maley and Duff (2005) refer to when they say
that drama techniques activities “draw on the students’ ability to imitate, mimic and
express themselves through gesture and facial expression”, as well as on their
imagination and memory. In this sense, the benefits of drama techniques in terms of
didactic approach to develop personal skills such as creativity can be inferred.
Most of the NQTs do role playing and mimicry with their students since those
activities are the ones they feel better prepared to perform. All NQTs consider drama
techniques as a valuable tool for their practice; however, they also acknowledge they
have trouble dealing with their students at the moment of using drama techniques,
mainly in secondary level. Several participants recognised they have found themselves
without enough classroom management skills to face the students who are reluctant to
carry out the activities and exhibit a bad behaviour during the lesson. To summarize,
according to teachers, the most notorious influence of these courses in their teaching
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 44
performance, are the teaching strategies they learn in order to develop innovative
activities.
The end of the sequence of courses is ILIN 154 Dramatics. Being this the last
step, it closes the process with a “practical application of drama techniques for the
interpretation of theatrical texts and the teaching of a foreign language” (Ortiz de Zárate
et al, 2011, p.1). By the end of the semester, a Shakespearean play is adapted and
performed in its original language. Here, all the knowledge from the last courses is put
into practice; this is why it can be more laborious to develop this course without having
passed the previous ones. It is considered by the interviewees as one of the most difficult
courses of the series, but also one of the most rewarding, since the final presentation is a
very challenging experience that enhances personal development. As Maley & Duff
(2005) point out, this kind of activities “foster self-awareness (and awareness of others),
self-esteem and confidence; and through this, motivation is developed”.
Along with the hard work, this course requires a huge amount of time inside and
outside the classroom due to its complexity. Some examples of the tasks they must carry
out are: the reading and understanding of a Shakespearean play in its original language,
adaptation of the play (shortening), creation of a character with all its features,
memorization of texts, planning and blocking of movements on stage, voice and body
projection on stage, and at least six to eight rehearsals for the final presentation. Trainees
who take this course feel defied by it but gradually – through permanent physical and
cognitive training – develop the necessary skills to face the challenge. However, it can
be said that, considering all the difficulties students have to overcome, this is the most
significant course in terms of the influence it has on the trainees when developing
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 45
different aspects of being an EFL teacher. This is because this course deals with the
personal features each trainee must develop so as to prepare a successful final
presentation Along with all the skills needed to carry out the activities previously
mentioned, which in some cases are far from being part of the previous knowledge of
the participants.
Finally, when reviewing the requirements proposed by the Ministry of Education
(MINEDUC) in the National Curriculum for EFL, it is worth mentioning the coherence
existing between the objectives sought by the MINEDUC and the objectives the Drama
Technique courses aim to achieve. As mentioned in the Theoretical framework of this
investigation, from the last adjustment for the EFL area in 2009, the MINEDUC has
emphasized the relevance that should be given to develop not only receptive skills, but
also productive skills in the same manner. Wessels (1987), as previously cited states that
drama focuses on the role of the students as active participants rather than passive
receptors. For that reason, it can be said that drama techniques are a useful and
complementary approach to achieve the goals that the Ministry of Education settles.
According to the results of the interviews, all the NQTs who took at least 3 courses use
Drama Techniques successfully during their performance. These results show not only
the effectiveness of the courses when duly taken, but also their consistency in the
context of the National EFL Curriculum.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 46
Suggestions
The following section is a set of suggestions designed in order to strengthen the
weaknesses found not only in courses but also in the trainers’ performance. These are
proposed according to the information provided by the participants and the information
retrieved in the theoretical framework. The following suggestions can be applied to all the
Drama Technique courses.
General suggestions
1. An introductory course to Drama Techniques should be implemented. It might be better
that this course would be compulsory for all the trainees within the programme, so the
ones who have no previous experience or knowledge related to this topic do not miss the
opportunity to discover a possible interest in these techniques or skills they can develop
by enrolling in these subjects.
2. Trainees should be asked to relate the activities they develop to different learning styles,
multiple intelligences and TPR approach. Also, it is important for the trainees to develop
the ability to create adaptations according to age range, contents, context, and amount of
students, among other variables.
3. Trainees should have a bank of activities and resources to organise all the material they
gather throughout the courses.
4. A workshop-like branch in each course related to resources and teaching material to
optimise time and economical resources. Then, trainees will be able use their creativity to
complement their lesson in and efficient way (saving time and money); therefore, by the
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 47
time they take their Teaching Practice they will have developed the skills to carry out a
lesson with less manufactured teaching materials.
5. Since Drama Techniques are taught in Foreign Language classrooms, it would be of great
contribution to instruct trainees on the creation of rubrics for Drama-based activities. This
could be done with the activities they develop within the courses or for possible “classes”
they might design. Through this, EFL teachers will be trained to assess learners through
contextualised activities instead of the traditional written or listening tests.
6. It is part of the objectives of the drama courses to perform a final activity in a school, in
favour of this, a formal collaboration agreement with one or more schools should be
signed.Hence it is guaranteed that there will be an appropriate context to carry out the
final task.
7. Finally, in order to guarantee the improvements are implemented without downplaying
the contents that are already being taught and that are known to work well with the
trainees, it would be crucial to add another 90-minute-session per week to each course.
By adding this session, trainers will also have more time to cover and reinforce the
current topics.
Suggestions per course
Since Story Telling is the first course of the set, there are two important aspects to
reinforce with the aim of engaging trainees in this field.
1. To promote collaborative work, leading to develop a sense of community and inter-
dependence within the group. This should be one of the objectives of this course.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 48
2. There is a second aspect that should be intensely worked; this is related to preparing
trainees to overcome shyness, which should be carefully treated, in order to smoothly
evolve from bashfulness to self-confidence. In this sense using puppets, masks or big
props in order to enhance voice projection, articulation and intonation should be part of
the objectives of the course.
The second course in the sequel - Telling Stories through the Body – should continue
strengthening relationships within the classroom.
1. To begin the course with activities aimed at building friendly and cordial manners of
giving and receiving feedback among instructors and trainees. This is highly important
because in this course trainees learn how to approach and audience conveying meaning
with their own bodies.
The third subject among the Drama Technique courses is Drama Techniques in the
Classroom.
1. This course needs to strengthen the communication among instructors.
2. To clarify the articulation between contents and evaluations because it was a source of
anxiety for trainees when they were not sure about how to relate the tasks they had to
develop to the contents they were studying.
Concerning Dramatics, the last course of the sequel, the following are the suggestions
proposed.
1. To assess each task trainees develop, with an understandable rubric so they have clear
goals (the step-by-step instructions have been clear during the last years).
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 49
2. A complementary skill trainees might be likely to develop is to tutor their peers in
specific tasks (developing a character, voice projection, proper use of the space on the
stage, etc.). In that way, trainees might assess in each class the different skills to carry out
the task assigned, so they can find the aspects their peers could improve and help them in
this process. This activity could be done in couples or small groups with each student
assessing a weakness of his/her partner and vice versa. In order to do this, small spaces
could be created so as to let trainees work in their groups without the intervention of the
instructor.
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 50
Conclusion
After the investigation carried out throughout this research paper, it can be said that
the objectives have been accomplished, since the information retrieved helps to achieve the
general objective of the investigation: To determine the teachers’ perception of the impact of
the Drama Technique courses given by the English as a Foreign Language Teacher Training
Programme at UACh regarding personal, professional and pedagogical development. In order
to achieve this objective, three specific objectives were developed.
The first aims at understanding the trainees’ decision process that motivates them to
enter these courses or leads them to drop the sequence. The key concepts regarding this topic
are, on the one side, the lack of confidence, which is one of the reasons why some trainees
feel uncomfortable and decide to quit the sequel of courses. On the other side, previous
knowledge and awareness of the benefits of the courses are key concepts for the continuity of
trainees in the sequel, since that motivates them to attend the lessons and actually enjoy them.
Therefore, it can be said that, being stress and anxiety sources of reluctance towards the
courses, creating a comfortable classroom environment that fosters all types of learning styles
becomes crucial for the permanence of trainees since it contributes to lowering the trainees’
affective filter.
The second specific objective was to identify the way in which the Drama Technique
courses influence the teachers’ performance in terms of personal, professional and
pedagogical development. Through the interviews, participants shared their experiences as
trainees and NQTs, as well as their perception about the use of Drama Techniques in EFL
classrooms. They affirmed that the Drama Technique courses are an important contribution to
their development as professionals. They are currently preparing activities focused on didactic
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 51
approaches related to Drama Techniques. Also, interviewees are conscious of the impact of
body language. They consider this issue and essential matter for communication inside the
classroom. Moreover, participants who undergo all the Drama Technique courses state that
after taking these courses, they feel better prepared to face an audience, in this case, a
classroom. They declare that this is a rewarding process, whose benefits regarding
methodological, personal and professional aspects have been proved in their teaching practice.
Even though, participants’ answers evidence the use and influence of these courses,
there is still work to be done in some aspects. For example, some of skills that these courses
seek to develop were mentioned by just a few of the participants and in a very shallow way.
This situation is pictured by the low amount of teachers who carry out breathing and
relaxation activities for concentration, either for their personal nurturing or their students
training, which is a transversal matter covered in all the courses. Similarly, most of them
acknowledge the benefits of these courses in terms of communicative skills, however, only
few of them are aware of the influence these have had on their social skills, for instance, when
relating to the rest of the school community.
In its final specific objective, this research intends to contribute with the outcomes
obtained by developing a set of suggestions to improve the syllabi of the Drama Technique
courses given by the EFL Teacher Training Programme at UACh. These suggestions are
designed according to the comments received from the participants of the research, as well as
the information gathered in the theoretical framework and the researchers’ analysis. The
recommendations proposed are aimed at improving the outcomes of the courses in terms of
the classroom atmosphere, the relationship among trainers and trainees, the practical use of
the Drama Technique activities in different contexts and the awareness of this didactic tool as
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 52
a resourceful device for all aspects related to teaching. It is expected that, by the
implementation of the suggestions, learners will manage themselves more efficiently in the
Drama Technique area by creating innovative material, adapting it to different scenarios,
monitoring their own learning and the one of their partners, applying assessment strategies
suitable for their purposes and working collaboratively in order to make the most of their
teaching experience.
The findings of this study have shown a partial scenario of the influence of the Drama
Technique courses. However, new material for further research has emerged within the two
criteria of analysis. After analysing the first criterion, which is related to the trainees’
motivation take the courses, it was exposed the discomfort of the group of participants who
decided not to take more than two courses. Therefore, it would be useful to thoroughly study
this issue in order to obtain a better understanding of the process these students undergo. Most
of them declare that, even though they recognise the benefits of Drama Techniques, they feel
incompetent to take these courses. Paradoxically, these courses aim at developing the skills
that this group lacks; therefore, these trainees should be the ones who make the most of these
courses.
Another investigation that might be required in the future is related to the same aspects
this research examined but with the new generation of teachers. Since from 2009 – the year in
which the sequence of Drama Technique courses in the EFL Teacher Training Programme at
UACh was implemented – many changes have been implemented in the syllabi, planning and
contents of these courses. This is due to the fact that these courses are still in the process of
setting their guidelines; therefore, many changes will continue to be made. In this moment
these courses are being reviewed, since it is expected that after taking the four courses
DRAMA TECHNIQUES IN THE EFL TEACHER TRAINING PROGRAMME AT UACh 53
trainees should be School Monitors of Theatre in English, which will be official after the
approval of the regulation for the certification by all the pertinent authorities. Nevertheless,
some changes have to be made in order to reach the necessary requirements requested by
Universidad Austral de Chile. How these changes will influence the teacher trainees is the
interrogation that will remain for the future.
54
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A-1
Annex A: Lists of Universities
List of Chilean Universities which offer an EFL Teacher Training Programme
Pontificia Universidad Católica de Valparaíso
Inglés
http://www.ucv.cl/p3_carrera/site/pags/20031229104847.html
Universidad Adventista de Chile
Pedagogía en Inglés
http://www.unach.cl/index.php/2011-08-15-07-10-58/educacion-y-ciencias-
sociales/pedagogia-en-ingles
Universidad Alberto Hurtado
Pedagogía en Inglés
http://www.uahurtado.cl/pdf//Ped._en_Ingles_Libro_Pregrado_2013_MALLA.pdf
Universidad Austral de Chile
Pedagogía en Comunicación en Lengua Inglesa
http://www.uach.cl/dw/admision/plandeestudio.php?car=1785
Universidad Autónoma de Chile
Pedagogía en Inglés
http://admision.uautonoma.cl/wp-content/uploads/2013/10/ped-ingles1.pdf
Universidad Católica del Norte
Inglés
http://www.ucn.cl/facultades/SitioDeInteres/?cod=7&codItem=117&codPrincipal=1155
Universidad Central de Chile
Pedagogía en Lengua y Cultura Inglesas
http://www.ucentral.cl/prontus_ucentral2012/site/artic/20131111/asocfile/20131111204445
/lengua_cultura.pdf
Universidad de Atacama
Licenciatura en Educación y Pedagogía en Inglés
http://www.uda.cl/images/pdf/mallas-fac-humanidades/malla-ped-ingles.pdf
Universidad de Concepción
Pedagogía en Inglés
A-2
http://admision.udec.cl/themes/garland/mallas/concep/mallapedagogiaeningles.pdf
Universidad de La Frontera
Pedagogía en Inglés
http://admision.ufro.cl/index.php/ver-carreras/105
Universidad de Las Américas
Pedagogía en Inglés
http://www.udla.cl/portales/tp9e00af339c16/uploadImg/File/malla/2014/pedagogia-ingles-
diurna.pdf
Universidad del Bío-Bío
Pedagogía en Inglés
http://www.ubiobio.cl/postulantes/
Universidad de Los Lagos
Pedagogía en Educación Media en Inglés y Traducción
http://admision.ulagos.cl/index.php?option=com_content&view=article&id=100&Itemid=1
51
Universidad de Magallanes
Pedagogía en Inglés para Enseñanza Media y Básica
http://www.umag.cl/admision/2014/mallas/mallaN13.pdf
Universidad de Santiago de Chile
Pedagogía en Inglés
http://www.admision.udesantiago.cl/sites/default/files/mallas_carreras/pedagogia_en_ingle
s.pdf
Universidad de Tarapacá
Pedagogía en Inglés
http://www.uta.cl/facultad-de-educacion-y-humanidades/web/2012-09-13/173728.html
Universidad de Viña del Mar
Pedagogía en Inglés
http://www.uvm.cl/carreras/pedagogia_ingles/pedagogia_ingles.shtml
Universidad Diego Portales
Pedagogía en Inglés
http://www.udp.cl/descargas/facultades_carreras/educacion/pdf/MallaCurricular_ED_ingles
A-3
Universidad Internacional SEK
Pedagogía en Inglés
http://www.uisek.cl/carreras/mallas/pedagogia/PED%20INGLES.jpg
Universidad Metropolitana de Ciencias de la Educación UMCE
Licenciatura en Educación con Mención en Inglés y Pedagogía en Inglés
http://pregrado.umce.cl/documents/malla_ingles.pdf
Universidad Nacional Andrés Bello
Pedagogía en Inglés
http://www.unab.cl/admision/pedagogia-en-ingles.aspx
Universidad San Sebastián
Pedagogía Media en Inglés
http://www.uss.cl/carreras/pedagogia-media-en-ingles/?contenido=malla-
curricular#breadcrumbs
Universidad Santo Tomás
Pedagogía en Inglés
http://www.santotomas.cl/ust/facultad/portada/educacion/carrera/155/pedagogia-en-ingles
Universidad Chileno - Británica de Cultura
Pedagogía en Inglés
http://www.ubritanica.cl/Admin/App_Uploads/Carrera/174067_Mallafinal2009PE.pdf
Universidad Pedro de Valdivia
Pedagogía en Educación General Básica Mención Inglés
http://www.upv.cl/mallas/general.pdf
Universidad Arturo Prat
Pedagogía en Inglés
http://www.unap.cl/admision/carreras/pregrado/2014/mallas/23069.pdf
Universidad Católica Cardenal Raúl Silva Henríquez
Pedagogía en Inglés
http://ww3.ucsh.cl/resources/upload/5e09e6947bebbcc901085f00a6c48907.pdf
A-4
Universidad Católica de La Santísima Concepción
Pedagogía Educación Media en Inglés
http://educacion.ucsc.cl/carreras/pedagogia-educacion-media-en-ingles/?content=malla-
curricular
Universidad Católica del Maule
Pedagogía en Inglés
http://www.ucdelmaule.cl/uploads/media/Ped._Ingles_01.pdf
Universidad Católica de Temuco
Pedagogía en Inglés
http://admision.uct.cl/mallas/ped-ingles.pdf
Universidad de Ciencias de la Informática, UCINF
Pedagogía en Inglés
http://www.ucinf.cl/files/Pedagogia_En_Ingles.pdf
Universidad Bernardo O Higgins
Pedagogía en Inglés en Enseñanza Básica y Media
http://www.ubo.cl/admision/mallas/educacion/pedagogia-ingles.pdf
A-5
List of English Universities which offer EFL/MFL Teacher Training Programmes
University of Brighton
TESOL Diploma
http://arts.brighton.ac.uk/study/postgrad/teaching-english-to-speakers-of-other-languages-
diploma
University of East London
Secondary Modern Foreign Languages PGCE
http://www.uel.ac.uk/study/courses/secondarymflpgce-post.htm
University of Greenwich
Secondary Education Modern Foreign Languages (French), PGCE
http://www2.gre.ac.uk/study/courses/pg2013/seced/mfl
University of Hertfordshire
TESOL MA
http://www.herts.ac.uk/courses/search?query=TESOL&collection=herts-
courses&meta_Y=2013
Secondary Education ML (PGCE)
http://www.herts.ac.uk/courses/search?query=TEacher&collection=herts-
courses&meta_Y=2013
University of Leeds
BA (Hons) English, Language and Education
http://www.education.leeds.ac.uk/undergraduates/english-language-education/
University of Leicester University Road
TESOL MA
http://www2.le.ac.uk/study/postgrad/taught-campus/education/tesol
The University of Manchester
English Language for Education BA (3 Years) [BA]
http://www.manchester.ac.uk/undergraduate/courses/search2014/bysubject/09173/english-
language-for-education-ba-3-years-ba/
University of Newcastle upon Tyne
Applied Linguistics and TESOL MA
http://www.ncl.ac.uk/postgraduate/courses/degree/applied-linguistics-tesol
A-6
London Metropolitan University
TESOL and Applied Linguistics – MA
http://www.londonmet.ac.uk/courses/postgraduate/2013/tesol-and-applied-linguistics---ma/
Northumbria University
TESOL MA
http://www.northumbria.ac.uk/?view=CourseDetail&code=DTFSOL6
The University of Reading
Applied Linguistics or English Language Teaching Postgraduate Certificates
http://www.reading.ac.uk/Study/courses/taught/certAppliedLinguisticsEnglishLanguageTea
ching.aspx
Applied Linguistics or English Language Teaching Postgraduate Diploma
http://www.reading.ac.uk/Study/courses/taught/dipAppliedLinguisticsEnglishLanguageTea
ching.aspx
University of Southampton Highfield
PGCE Modern Languages
http://www.southampton.ac.uk/education/postgraduate/taught_courses/pgce_modern_langu
ages.page?
University of Sunderland
TESOL
http://www.sunderland.ac.uk/course/472/teaching_english_to_speakers_of_other_language
s_tesol
University of Roehampton
English as a Foreign Language (leads to Teacher Training)
http://www.roehampton.ac.uk/templates/pages/CourseOverview.aspx?id=2147489965
University of the West of England
Secondary Initial Teacher Education Modern Languages (postgrad)
http://courses.uwe.ac.uk/R9X1/2014
University of Warwick
Teaching and Learning Foundation Degree
http://www2.warwick.ac.uk/study/cll/degrees/foundationdegrees/teachingandlearning/
A-7
Anglia Polytechnic University
English Language and English Language Teaching
BA (Hons)
http://www.anglia.ac.uk/ruskin/en/home/prospectus/ugft/xq13.html
Brunel University
Does not provide EFL/MFL Teacher Training
Cheltenham & Gloucester College
CELTA
http://www.gloscol.ac.uk/courses-and-departments/course-
details/EF121870/celta/?BackToSearchURL=%3fPageNo%3d1%26CurrentPageLocation%
3dByDepartment%26Qualification%3d%26SubjectArea%3d%26Keywords%3d%26Locati
onCheltenham[]%3dtrue%26LocationCheltenham[]%3dfalse%26LocationFoD[]%3dtrue%
26LocationFoD[]%3dfalse%26LocationGloucester[]%3dtrue%26LocationGloucester[]%3d
false%26LocationTewkesbury[]%3dtrue%26LocationTewkesbury[]%3dfalse%26StudyMet
hodHoursFT[]%3dtrue%26StudyMethodHoursFT[]%3dfalse%26StudyMethodHoursPT[]
%3dtrue%26StudyMethodHoursPT[]%3dfalse%26StudyMethodTimeOfDayDaytime[]%3d
true%26StudyMethodTimeOfDayDaytime[]%3dfalse%26StudyMethodTimeOfDayEvenin
g[]%3dtrue%26StudyMethodTimeOfDayEvening[]%3dfalse%26Department%3d15%26St
artingAfter%3d
York St John College
MFL - 3-year Undergraduate Primary Education
http://www.yorksj.ac.uk/education--theology/faculty-of-etrs/initial-teacher-
education/programme-information/mfl---3-year.aspx
University of Leicester
PGCE Secondary
http://www2.le.ac.uk/departments/education/pgce/secondary/subjects/modern-
languages/structure
Edge Hill University
BA (Hons) Secondary Modern Foreign Languages Education with QTS*
http://www.edgehill.ac.uk/study/courses/secondary-modern-foreign-languages-education-
with-qts
Goldsmiths College
PGCE (Secondary): Modern Languages
http://www.gold.ac.uk/pgce/secondary-mfl/
A-8
Homerton College
MFL Education
http://www.homerton.cam.ac.uk/subjects/education
Institute of Education
Post-Compulsory PGCE: Literacy and ESOL
http://www.ioe.ac.uk/study/IPGC_AL999P.html
Kingston University
Education (English Language Teaching) PgDip/MA
http://www.kingston.ac.uk/postgraduate-course/education-english-language-teaching-ma/
Liverpool Hope University
Education (MA) & English Language
http://www.hope.ac.uk/postgraduate/postgraduatecourses/educationmaenglishlanguage/
Liverpool John Moores University
PGDE in Modern Foreign Languages PgDip
http://www.ljmu.ac.uk/courses/postgraduate/course.asp?CourseID=401
Manchester Metropolitan University
PGCE Primary Education including MFL – Crewe Campus
http://www2.mmu.ac.uk/dbs/crewe-campus-courses/pgce-primary-education-including-mfl/
PGCE Secondary Modern Foreign Languages
http://www2.mmu.ac.uk/study/postgraduate/taught/2014/11208/
Middlesex University
PGCE Secondary Education: MFL
http://www.mdx.ac.uk/Assets/PGCE_Secondary_Progr_prog_spec.pdf
Newman College of Higher Education
PGCE Primary (including MFL and EAL)
http://www.newman.ac.uk/school-experience/2054/pgce-primary-including-mfl-and-eal
PGCE Secondary Modern Foreign Languages
http://www.newman.ac.uk/postgraduate/594/pgce-secondary-modern-foreign-languages-
qts#tab-struc
A-9
The Nottingham Trent University
PGCE Primary Education
http://www.ntu.ac.uk/apps/pss/course_finder/603281/7/pgce_primary_education.aspx#cour
se
Oxford Brookes University
PGCE Education - Secondary
http://education.brookes.ac.uk/courses/ite/
Sheffield Hallam University
PGCE Secondary Modern Foreign Languages
http://www.shu.ac.uk/prospectus/course/209/content/
South Bank University
MastersEnglish Language, literature and learning
http://www.lsbu.ac.uk/faculties-and-departments/arts-and-human-
sciences/education/school-direct
University of Cumbria
PGCE Secondary Education: Modern Foreign Languages
http://www.cumbria.ac.uk/StudentLife/Videos/ModernForeignLanguages.aspx
Secondary with QTS: Modern Foreign Languages
http://www.cumbria.ac.uk/Courses/Subjects/Education/Postgraduate/PGCE/SecondaryMod
ernForeignLanguages.aspx
Leeds Trinity University
PGCE Secondary: MFL
http://www.leedstrinity.ac.uk/intro/postgraduate/pgcesec/subjects/pages/mfl.aspx
University of Chichester
PGCE Primary Education (Modern Languages)
http://www.chi.ac.uk/department-education/i-want-be-teacher/pgce/pgce-primary-
education-modern-languages
PGCE Secondary: MFL
http://www.chi.ac.uk/department-education/we-are-partner-school/secondary-school-
experience/pgce-secondary
A-10
University of Northampton
Postgraduate Certificate in Education (Primary) (PGCE) (QTS)
http://www.northampton.ac.uk/study/courses/courses-by-subject/teaching/postgraduate-
certificate-in-education-primary-pgce-pgcert
School Direct (Primary and Secondary) PGCE QTS or QTS only
http://www.northampton.ac.uk/study/courses/courses-by-subject/teaching/school-direct--
primary-and-secondary
Worcester College
PGCE Modern Foreign Languages
https://www.worc.ox.ac.uk/Undergraduate-Admissions/Subject-Information/Modern-
Languages
Birmingham City University
Primary and Early Years Education - PGCE
http://www.bcu.ac.uk/courses/pgce-primary-education
B-1
Annex B: Data Collection Tools
Semi Structured Interview Guideline
This interview aims at accomplishing the following objectives:
To depict the motivation for trainees of the English as a Foreign Language Teacher
Training Programme at UACh to take Drama Technique courses.
To identify the way in which the Drama Technique courses influence the Newly
Qualified Teachers’ performance in terms of personal, professional and pedagogical
development.
To develop a set of suggestions to improve the syllabi of the Drama Technique courses
given by the English as a Foreign Language Teacher Training Programme at UACh.
Interview guideline
- “Consentimiento informado” (Informed Consent)
- Introduction to the topic.
- Confirmation that the interviewee knows the context.
- Confirmation of the courses taken
Story Telling
Telling Stories through the Body
Drama Techniques in the Classroom
Dramatics
1. Why did you decide to take these courses?
B-2
2. Were you clear about the knowledge or skills you were expected to acquire with these
courses?
3. How did you feel during the courses? Relaxed, comfortable, anxious, stressed…
4. Do you think these courses influenced your performance as a teacher?
5. Do you think that what you learned in these courses has helped you to communicate
with people from the educational community?
6. Have you been able to develop Drama Techniques as an EFL teacher?
Yes * Can you give me an example?
* What were the outcomes of these activities? (Classroom management,
vocabulary, grammar, etc)
* Have you had any problem when performing Drama technique activities?
No * Why not?
* Would you eventually apply them? What would you need?
7. What is the most significant learning outcome you obtained from the courses?
8. Is there anything you did not like about the courses?
9. Do you think the instructors’ attitude influenced the development of the course?
10. What would you suggest to improve the courses?
11. Would you advice a student to take the Drama Technique courses? Why?
B-3
Survey
This survey aims at the accomplishment of the following objectives:
To depict the motivation for trainees of the English as a Foreign Language Teacher
Training Programme at UACh to take Drama Technique courses.
To develop a set of suggestions to improve the syllabi of the Drama Technique courses
given by the English as a Foreign Language Teacher Training Programme at UACh.
*This survey is to be delivered via e-mail, using the Monkey Survey platform.
Antecedents (before the survey completion)
- Personal information (Name, Rut)
- Acceptance of knowing the context of the survey,
1. Which Drama Technique courses did you take?
Storytelling
Telling Stories through the Body
Drama Techniques in the Classroom
Dramatics
2. Where have you performed as an EFL teacher?
Primary School
Secondary School
Language Institute
Other
3. Why did you take the Drama Technique course/s? (1)
I was interested in the topics developed in the courses.
Somebody advised me to take it/them.
B-4
I did not have any other choice between the elective courses.
Other
4. Why did you decide not to take more than 1 or 2 courses? (1)
I was not interested in the topics of the courses.
I did not feel comfortable with the classes.
I did not like the teachers.
I would have taken more courses but I could not.
Other
5. Would you take similar courses if you had the chance again? (1)
Yes
No
6. Would you advice anyone to take the Drama Technique courses? (1)
Yes
No
7. What improvements would you make to these courses in terms of the instructors?
8. What improvements would you make to these courses in terms of the schedule?
9. What improvements would you make to these courses in terms of the activities?
10. What improvements would you make to these courses in terms of the facilities?