Drama Techniques in the Foreign Language Classroom

Constantine the Philosopher University in NitraFaculty of Arts

Department of English and American Studies

Andrea Billíková – Mária KiššováDrama Techniques in the Foreign

Language Classroom

Nitra 2013

Reviewers: prof. PaedDr. Zdenka Gadušová, CSc. Mgr. Daniela Bačová, PhD.

© Andrea Billíková – Mária Kiššová, 2013

ISBN 978-80-558-0328-9EAN 9788055803289

Contents

FOREWORD ................................................................................................................................... 09

INTRODUCTION .......................................................................................................................... 11

BEFORE YOU START .................................................................................................................... 13

1. DRAMA TECHNIQUES AS A TEACHING AND LEARNING TOOL ....................................17Foreign language classroom versus theatre ............................................................................................................17Potential of drama techniques in the foreign language classroom ......................................................................19Myths and facts about drama techniques in the foreign language classroom ...................................................20Getting started – how to implement drama techniques in the foreign language classroom ...........................22

2. DRAMA-BASED WARM-UPS, ICE BREAKERS AND MINGLERS ........................................31Concentration and relaxation activities .................................................................................................................32Creating sounds .........................................................................................................................................................33Miming activities .......................................................................................................................................................33Trust activities ............................................................................................................................................................34Spatial-awareness activities.......................................................................................................................................35Pronunciation and intonation practice activities ..................................................................................................36Name activities ...........................................................................................................................................................38Word chains ................................................................................................................................................................39Hot-seating .................................................................................................................................................................40Thoughts behind words ............................................................................................................................................41Statues..........................................................................................................................................................................42Improvisation .............................................................................................................................................................42Conscious alley ..........................................................................................................................................................46Caption-making.........................................................................................................................................................46

3. DRAMATIZING COURSEBOOK DIALOGUES ..................................................................... 49Authentic communication in the foreign language classroom ...........................................................................49Role-plays and simulations ......................................................................................................................................52Making coursebook dialogues come alive via drama techniques .......................................................................58

4. DRAMATIZING LITERATURE IN THE FOREIGN LANGUAGE CLASSROOM ................ 70Teaching literature through drama techniques .....................................................................................................70Drama techniques and picture books .....................................................................................................................71Drama techniques and poetry .................................................................................................................................76

5. DRAMA-BASED LESSON PLANS ............................................................................................ 84Essentials of a drama-based lesson plan .................................................................................................................84Structure of a drama-based lesson plan .................................................................................................................89Reflection as part of a drama-based lesson plan ...................................................................................................90How to assess learners in drama-based lessons .....................................................................................................94

6. SAMPLE LESSON PLANS AND REFLECTION ..........................................................................98The Train to Glasgow ................................................................................................................................................98Amazing Grace ....................................................................................................................................................... 104

Aliens ................................................................................................................................................................................107FINAL THOUGHTS ..................................................................................................................... 112BIBLIOGRAPHY.......................................................................................................................... 115SUMMARY .................................................................................................................................... 118INDEX ........................................................................................................................................... 119APPENDIX 1 ................................................................................................................................. 120APPENDIX 2 ................................................................................................................................. 121

DVD

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Dagmar Inštitorisová: O projekte Vzdelávanie divadlom .............................................................125

Our great thanks go to Daniela Bačová and Tim Phillips who introduced drama techniques to English teachers across Slovakia. We also wish to express our deep thanks to our colleagues from primary and secondary schools and their learners for their active involvement during Drama Days – workshops and festivals held annually in Nitra. We also appreciate the cooperation and support of our colleagues and our students from the Department of English and American Studies, Faculty of Arts, Constantine the Philosopher University in Nitra.

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FOREWORD

Are you the kind of teacher who is curious and innovative? Are you looking for inspiration and efficient ways of teaching? Do you like presenting new activities to your learners? Do you prefer a relaxed and friendly atmosphere in your lessons? Are you simply a teaching addict? Then welcome to the club. This handbook will definitely provide you with lots of lovely drama-based ideas and activities and ready-made learner-oriented lesson plans appropriate for English language learners of any age and proficiency level.When thinking about the meaning of drama , the first thing that comes to mind is usually con-nected with the word theatre, which is about acting, actors, a stage, props and an audience. This is a very common connotation for most people. However, our perception is slightly different. The term drama is perceived as an umbrella term which covers a variety of fields (educational drama, sociodrama, etc.); but in the context of this handbook, drama refers to and is used interchangeably with drama techniques. These are understood as a  tool for practising language skills, especially speaking and listening comprehension, which may contribute significantly to the development of communicative competence of language learners. In this perspective, drama activities are spe-cific learning tasks with determined linguistic and extralinguistic (mostly social) goals.Drama techniques break barriers and help learners become self-confident, tolerant and independ-ent. Besides personal growth and development of the social, communication, acting and directing skills of learners and their teachers, drama techniques increase self-awareness and encourage learn-ers to communicate confidently in a foreign language. Drama techniques can be a very powerful, personal and experiental tool. However, they can be harmful when not used carefully, sensitively and appropriately with language learners. They can also be a splendidly fresh alternative to mo-notonous, coursebook-oriented lessons. Therefore, drama is not our aim, it is rather a TOOL we can use to make learning a foreign language more enjoyable and efficient.Finally, we believe that after reading and using this handbook, drama will become one of your fa-vourite teaching activities in your classrooms. Taking into consideration its huge potential, drama is definitely one of the best ways in which to become not only a better teacher or learner but also a better human being.

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INTRODUCTION

This handbook is dedicated to all pre-service and in-service teachers of English and teacher train-ers who wish to experiment with their learners at their lessons via acting, moving, improvising and speaking English naturally and spontaneously. In this handbook, drama techniques are perceived as an efficient teaching and learning tool that motivate both learners and teachers, break com-munication barriers and make learning more enjoyable and efficient for visual, auditory, tactile and kinaesthetic learners. The main aim of the handbook is to encourage all kinds of language teachers and drama lovers to start using drama techniques and activities in their language classrooms.Chapter 1 introduces the perception of drama techniques in education and in foreign language teaching and learning. It shares different explanations of what drama is and what it definitely is not about. Practical aspects of its implementation in a foreign language classroom and possible difficulties are also discussed here. The objectives and procedure of selected non-verbal and verbal techniques are described in Chap-ter 2. Besides development of communicative competence, drama techniques share common goals such as raising personal, social and cultural awareness. Some drama techniques put into practice are demonstrated on the DVD that is part of the handbook.Special attention is paid to exploring dialogues through drama techniques in Chapter 3. Creating characters, setting and a dramatic hook within a dialogue are used to show how any (coursebook) dialogue can be used more authentically in an instructional setting.In Chapter 4, some teaching tips on how to use drama techniques and literature are provided. Here, it is emphasized that enthusiasm, courage, creativity and joy from teaching and learning are the only prerequisites for drama implementation in a foreign language classroom. Chapters 5 deals with planning and structuring drama-based lessons and their analysis through teachers’ and learners’ reflection. There are three sample lesson plans in Chapter 6 with different drama techniques included in this chapter. The users of the handbook have a great opportunity to watch all three lessons on the DVD that is part of this handbook. Specific conclusions on assess-ment of learners in a foreign language classroom are focused on in this part of the handbook, also. The conclusion summarizes ideas and thoughts related to efficient drama usage in a foreign lan-guage classroom. Users of this handbook are recommended to move from chapter to chapter in sequence since ideas and advice on implementing and using drama in a foreign language classroom become gradually more and more complex. Tasks that open and close every chapter should lead handbook users to critical thinking and evaluating and sharing ideas, opinions and expertise in teaching English as a foreign language. Reflection boxes summarize the main ideas introduced in the chapters of this handbook. They also lead handbook users to self-reflection and self-assessment. The handbook Drama Techniques in the Foreign Language Classroom was written with love and the hope that every little step towards humanistic language teaching can make our lives better. We hope

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that you will find the handbook helpful and that drama will become one of your favourite teaching and learning tools as well.

Good luck!

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BEFORE YOU START

Successful users of this handbook will be able to: • Distinguish the purpose of different drama techniques and activities in a  foreign language

classroom.• Implement drama techniques into their lessons and use them efficiently across any age and

proficiency level.• Dramatize coursebook dialogues according to needs and wants of learners.• Write drama-based lesson plans applying various drama techniques.• Express their opinions about drama techniques in a  foreign language classroom through

reflections and tasks in this handbook. • Evaluate strengths and weaknesses of drama techniques as one of their teaching and learning

tools in a foreign language classroom.

LEAD-IN TASKS

TASK 1. Before using this handbook, brainstorm the meaning of the following key words that you will come across in various chapters. How are they related to drama techniques in a foreign language classroom? If you are not sure, consult them with your colleagues.

• approach-method-technique-activity-procedure• communicative competence• learning vs. acquisition• “real life” communication• “learning by doing”

TASK 2. Put a tick (√) next to those statements that best describe your current teaching abilities, skills and competences. Mark also those you wish to improve. Then discuss their importance/un-importance with your colleagues. How are the findings from this survey related to using drama in the EFL classroom?(Note: EFL - English as a Foreign Language)

MY CURRENT TEACHING ABILITIES, SKILLS AND COMPETENCES YES I WISH TO IMPROVE

1. I have theoretical knowledge on how to apply the communicative approach in an EFL class.2. I use communicative techniques (such as information gap activities, role-plays, simulations, problem solving, games etc.) at my lessons.

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3. I encourage my students to speak English from the beginning of their learning even if their language repertoire is limited.4. I use a lot of body language when I teach English.5. I encourage my learners to use body language (mime, gestures, body posture) to express themselves at our lessons.6. I train my learners to use their voice potential and modify the intonation and rhythm of their speech.7. I invite my learners to move in the classroom and use the space when doing action songs, playing games, performing dialogues or acting out short performances. 8. I use authentic aids for teaching English (such as clothes, objects, etc.).9. I keep a variety of activities to satisfy the needs of visual, auditory, tactile and kinaesthetic learners.10. I know how to “break the ice” to create a pleasant and stress-free classroom atmosphere.11. I can prepare a lesson with little or no dependence on a coursebook.12. I can prepare a learner-oriented lesson where I am just a facilitator, prompter and encourager.13. I lead my learners to be independent and confident users of English.14. I encourage my learners to prepare short scenarios in English and then perform them in front of the class/audience.15. I am my learners’ partner and I keep their “respect” at the same time.16. I care about my learners’ family and social background.17. I lead my learners to be aware of themselves as learners (to be able to identify and explain their learning progress).18. I teach my learners how to cooperate and respect each other.

TASK 3. Read the comments of in-service English teachers showing their experience and attitude towards using drama techniques in their lessons. Do their comments tell us anything about their teaching? Which comments can you most identify with? “I  cannot use drama, it is very time-consuming. I  cannot manage to use it in a 45-minute lesson. It is nice, I like it but it is impossible to implement into regular lessons where you have to teach new grammar and test your students.” (Hana, 52 years old, secondary school)

“Drama? I love it. I use it quite a lot at my lessons. To be honest, I like it more than my students do. They are shy, they look at me as if I was from a different planet... They are lazy to do any movement activity... They prefer sitting down and learning from their coursebook.” (Petra, 28 years old, secondary school)

“Actually, I used to do a  lot of drama but I had to stop. My pupils got very loud and excited, they easily lost control over their behaviour. Then my colleagues complained about my “noisy teaching”. So I didn’t want to get into trouble.” (Simona, 23 years old, primary school)

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“Drama is very helpful at my seminars with future teachers of English. My students do not know each other very well at the beginning of the semester. Through drama we get to know each other better and we create a stress-free and cooperative environment, which is very important even in an academic setting. We sit in a circle, play different games to become more self-confident and aware of self and others. We pay a lot of attention to using voice potential and intonation and to body language as well. At the beginning, they find drama childish, not academic enough, but later on they admit its benefits.” (Andrea, 37 years old, university lecturer)

Write about your attitude and experience (if you have some) about using drama in your lessons:

TASK 4. Do you agree or disagree with the following statements? Mark your answer on the scale provided and share your opinions with your colleagues.

a. Drama techniques are a useful learning tool for foreign language learners of any age. STRONGLY AGREE-AGREE-NOT SURE-DISAGREE-TOTALLY DISAGREEb. Drama techniques are a useful learning tool for foreign language learners at any proficiency

level. STRONGLY AGREE-AGREE-NOT SURE-DISAGREE-TOTALLY DISAGREEc. Drama techniques are appropriate only for teachers with acting and directing skills. STRONGLY AGREE-AGREE-NOT SURE-DISAGREE-TOTALLY DISAGREEd. Drama techniques are appropriate only for learners with acting and directing skills. STRONGLY AGREE-AGREE-NOT SURE-DISAGREE-TOTALLY DISAGREEe. Drama techniques are loud and noisy which might cause some disciplinary problems. STRONGLY AGREE-AGREE-NOT SURE-DISAGREE-TOTALLY DISAGREE

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TASK 5. What do you wish to find out about using drama techniques in the foreign language classroom? Share your questions with your colleagues and discuss possible answers.

I want to know the following about drama techniques...

Example: Can I teach grammar through drama techniques?

1.

2.

3.

4.

5.

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CHAPTER I.

DRAMA TECHNIQUES AS A TEACHING AND LEARNING TOOL

CHAPTER I. DRAMA TECHNIQUES AS A TEACHING AND LEARNING TOOLIn this chapter, you will come across the following issues:1. Foreign language classroom versus theatre2. Potential of drama techniques in a foreign language classroom3. Myths and facts about drama techniques in a foreign language classroom4. Getting started – how to implement drama techniques in a foreign language classroom

TASK 6. Explain the meaning of the following lines by W. Shakespeare.“All the world is a stage and all the men and women are merely players.“(Shakespeare: As You Like It, Act II, Scene VII)

TASK 7. What do you think the difference is between “drama in education” and “drama tech-niques in a foreign language classroom”? What are the goals of each one?

FOREIGN LANGUAGE CLASSROOM VERSUS THEATRE

We are all participants in life performances without rehearsals. We “play” our roles with other charac-ters on different life stages. We act with emotions and communicate our messages through words and body language. As Richard Via says, drama is communication between people.1 We do it every day, in different situations, in different roles, in different moods, in different places, with different people who are also in different moods and in different roles. Drama is the mirror of the life we live.School and theatre have many things in common. We go to school and theatre for the same reason: to learn something about life and for life. There are a few similarities between these two institutions:

• stageversusthespaceinfrontoftheblackboardinalanguageclassroom• soloactor versus atraditional teacher• audience versus learners

1 VIA, Richard: “The magic if “ of theater: Enhancing language learning through drama. In: RIVERS, Wilga M. (edit.): Interactive Language Teaching. 1st ed. Cambridge : Cambridge University Press 1987, pp. 110-123. ISBN 0-521-322-162.

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A  teacher, often a  solo actor on a stage with the spotlight on them, plays a 45-minute role for their audience of learners. It is quite challenging to keep students’ attention for such a long time. To be good at their profession, they should raise the interest of their learners by different tricks: by showing adequate knowledge of subject matter; by appropriate communication, presentation and social skills; by using both words and body language and of course appropriate intonation. If a solo actor stayed in one place and did not use body language and spoke monotonously without any eye contact, the audience would leave the theatre. However, learners are not allowed to leave the classroom in such a situation. A learner who is called on or in other words given the “solo role”, for example when being exam-ined in front of the blackboard, will be either rewarded by a good mark (applause) or punished by a bad mark. Learners, just like real actors, enter the stage with fear and anxiety. There are some professionals (actors and teachers) who even after many years of acting and teaching still face stage fright. Therefore, before the play starts, actors do various relaxation, concentration and vocal warm-ups to eliminate these negative feelings. Stress and anxiety disappear after the first applause of the audience. Positive feedback provided by  teachers and peers can lead to enormous motivation and, consequently, motivation leads to more success. The idea behind using drama techniques in a foreign language classroom is that it makes learning more efficient. English learners use the language naturally and spontaneously. For example, when we practise a grammar structure or function, we use it in an appropriate setting and the students’ imagination is engaged. This sets the structures, functions and vocabulary in learners’ minds and memory and gets them ready to use it again in the future. In addition, the taking on of a role allows learners to “forget” their fear of the language and takes the learning process into the realms of the unconscious.Drama is not an extra element at schools. It is there whether you want it or not. Some teachers apply it subconsciously in different subjects. Drama techniques can be a perfect tool for example in history lessons, where different emperors, conquerors, kings and queens come alive and fight for the throne; in geography lessons when learning about different countries and cultures; in biology lessons demonstrating life cycles, animals, plants and microorganisms such as cells, bacteria, para-sites and viruses; in literature lessons dramatizing poems, stories, fables and novels; in ethics, where learners can prepare short performances on what is good and what is bad, and what is appropriate and what is not. We could continue with many more examples. However, that is not the purpose of this handbook. Our wish is to encourage teachers and learners to use drama especially when teaching and learning foreign languages to make this long-lasting process easier, more authentic and pleasant for both teachers and learners.

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POTENTIAL OF DRAMA TECHNIQUES IN THE FOREIGN LANGUAGE CLASSROOM

Language teachers aim to “produce” foreign language users who are able to use a foreign language appropriately in real-life situations. This means educating users who are fluent, accurate and cul-turally and socially active users of a foreign language instead of being “passive knowers”. Herein a question connected with the potential of drama in a foreign language classroom arises. How can language learners and teachers benefit from drama techniques?With drama techniques, we imitate authenticity and bring it to the classroom through a variety of communicative situations with real-life characters and their problems. Language practice is based on solving these problems and providing creative solutions in the target language. Such tasks stimulate learners’ imagination, creativity, thinking, decision-making and motivate them to participate actively. There is always some reason to speak and to listen to each other. Authentic communication is usu-ally not planned in advance, it is spontaneous and unpredictable. Some drama techniques (e.g. im-provisation) offer such experience to learners — to act without preparation. This is a rather advanced technique so it is reasonable to start with techniques that let learners prepare the situation, characters and language in advance. As to foreign language practice, drama provides the opportunity to solve language difficulties in a foreign language — to say something somehow even with limited knowledge of a target language. They can fill these gaps by using facial expressions, body language, gestures and different “communication tricks” (paraphrasing, repetition, hesitation, fillers and others) that we all use subconsciously and naturally even when communicating in our mother tongue. Drama tech-niques provide the context to practise conversation strategies (opening, leading, ending, changing the topic) and the whole scale of language functions (describing, asking, refusing, accepting, explaining, etc.) Through drama techniques we teach our learners to become more aware of themselves (the way they move, speak, behave and feel), to identify with others (to understand how they feel, react, speak, move and behave) and respect the environment we live in (the animals, plants and objects around us, their purpose of existence, how they affect us). Learning happens in a stress-free environment without fear, tension or threat. These negative factors can be also eliminated by drama. So it is not only the language we aim to teach but also cooperation, thinking, acceptance and awareness. The potential of drama techniques in a foreign language class is enormous. That is why drama techniques are used there in order to:

• improve communicative competence and performance of language learners; • express naturally and spontaneously via verbal and non-verbal means (such as mime, ges-

tures, posture);• experiment in (with) a foreign language and take risks in communication;• use voice potential to its maximum in a foreign language;• vary intonation and rhythm of speech according to different moods;• be aware of the setting where the language is used; • be emphathetic and tolerant;• acquire new language subconsciously, without too much conscious effort;• create a friendly and cooperative atmosphere;• change the roles of learners and teachers;

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• lead learners to responsibility and independence when learning a foreign language via reflec-tion on the learning process, and self-reflection;

• see the reason behind learning a foreign language;• practise all skills (speaking, listening, reading, writing);• involve learners with different learning styles, different personalities and multiple intelligences;• motivate both learners and teachers;• lead all participants to creativity and convergent thinking;• create better rapport between a teacher and his or her learners;• make the learning and teaching process joyful; • implement interdisciplinary knowledge;• develop the whole personality of learners.

In spite of the above listed benefits, it is crucial to remember that drama techniques are just a learn-ing and teaching tool, not a goal. Therefore we remind teachers to teach a  foreign language via drama instead of teaching drama through a foreign language.

MYTHS AND FACTS ABOUT DRAMA TECHNIQUES IN THE FOREIGN LANGUAGE CLASSROOM

Many teachers have some unjustified prejudices against drama techniques. Although they are aware of the advantages drama techniques bring to our lessons, drama techniques are often consciously avoided. The most frequent excuses are that drama techniques are an extra element in our lessons, that they are time-consuming and demanding both for teachers and learners, that they require acting skills from teachers and learners, and only smart learners whose level of foreign language is at least pre-intermediate are able to participate. Other reasons why drama techniques are avoided are following the curricullum strictly and being dependent on coursebooks.

The following anti-drama myths are explained and supported with arguments clarifying the posi-tive role of drama techniques in a foreign language classroom.

Myth 1: Drama is playing and not real learning.Trying to be in “somebody else´s shoes” needs a lot of observation, empathy and, of course, prac-tice. However, doing drama in a foreign language classroom is more than playing roles. Learners learn a great amount of new language subconsciously in a friendly atmosphere with the support of their classmates and teachers. Effective learning happens when a learner is motivated, relaxed and provided with comprehensible input. Therefore, for effective learning, it is necessary to change the formal teaching style into an informal one.

Myth 2: Drama is about producing performances. Producing performances is only one perspective of using drama techniques for language teaching and learning. This kind of drama is recommended to be used in school clubs. It needs more time

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and space. 45-minute lessons do not create oppotunities to “live” the play properly. In this case, the process of putting the play on stage matters much more than the final product.

Myth 3: Drama is an extra element in lessons.Drama is a way of teaching used naturally by many teachers even without knowing that they use drama. Activities such as “Simon says” or “Show us your job” and many others are definitely based on drama. They are called communicative activities. Neither a good communicative coursebook nor talented learners guarantee success. It is the teacher who has the biggest influence and re-sponsibility for learners’ language production. The chosen teaching method used by a  language teacher definitely matters a lot. There are excellent communicative-based teachers’ manuals that offer the application of drama techniques in an EFL class. Simple dramatization of dialogues and some drama-based warm-ups take more time and energy at the beginning, but will bear more fruit afterwards. It is worth at least trying.

Myth 4: Drama is an approach for teachers with “acting abilities”.Drama techniques require spontaneity and creativity. The personality of teachers does not mat-ter to such a great extent. The will, courage and motivation of teachers matter more than their personality. Although extrovertness and some acting skills might be helpful, they are not essential. The fewer acting skills a teacher has the more challenging and encouraging it can be for introverted and shy learners.

Myth 5: Drama is an approach for talented learners.Drama does not need talented learners. It needs learners who are willing to learn by doing, using all their senses. It might take some time to get used to drama techniques and trust their potential. Some learners will fall in love with drama techniques immediately, others later. Some learners will see the pedagogical reasons behind the process, some will not. Therefore, it is fully recommended to explain the goals and objectives of the utilized drama techniques and activities and encourage learners to reflect on them at the end of lessons. It is not reasonable to push learners to do drama activities if they are not ready. Introducing drama in small portions is certainly better than intro-ducing it all at once.

Myth 6: Drama is very noisy.A relaxed atmosphere, trust and friendly rapport between a  teacher and learners will certainly contribute to excellent outcomes and performances. Drama-based lessons can easily become very noisy. Therefore it is necessary to keep balance between quiet and loud activities and keep the noise under control.

Surprisingly, there is no need for teachers to undergo any special drama training or theatre course. We teachers ARE already actors, even solo actors, when standing in front of the blackboard and present-ing subject matter. We have to remember the lines of our role. If we forget them, we improvise. We act in different roles that are characterized via our moods and status. Our learners are a great audience just short in applause. Drama techniques bring a moment of surprise to our classrooms, a shift of roles

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when learners become actors on the stage. Drama IS already there in our lessons; it is not a new ele-ment as one might think. Different coursebooks contain drama-based techniques such as role-plays, simulations and problem-solving activities. However, it is up to teachers how they approach these techniques and whether they are willing and able to use them to their maximum.

GETTING STARTED – HOW TO IMPLEMENT DRAMA TECHNIQUES IN THE FOREIGN LANGUAGE CLASSROOM

The most common ways of applying drama in a foreign laguage classroom are the following ones:

1. drama-based activitiesWe use simple drama-based warmers, ice-breakers, trust activities, introduction activities and relaxation activities to remove negative affective elements from the class. These activities help us create a secure learning environment.

2. drama-based lesson plansThe whole lesson is structured through drama. The lesson plan follows the following stages: a dra-ma-based warm-up, pre-drama, drama and calm down. New vocabulary, structures and functions are pre-taught in the pre-drama stage and later on practised via context during the drama stage.

3. performances on the stageThe time and space for this kind of drama is quite limited during English lessons. It is reccomended to start running so-called “English clubs” where simple and short plays can be performed on stage. This kind of drama is addressed to an audience. Short performances can be presented at school events or theatre festivals.

The following ideas can become stepping stones towards using drama with your learners.

• Arrange a classroom for drama.When using drama techniques in lessons, some changes in classroom arrangement are necces-sary. Traditional seating in rows is not helpful at all. Drama techniques require empty space in the classroom to:

• move freely and express meanings with body positions; • practise face-to-face communication, not “face-to-back” communication;• pair off and group learners flexibly;• divide the performance area from the audience area;• create a scene setting; • monitor the work of all students, not only of those sitting in the front rows.

Creating free space without desks and chairs, ideally with a carpet on the floor, is the most fre-quently used seating arrangement in a  drama-based lesson. The easiest way to get a  classroom

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prepared is to put all desks and chairs aside creating enough space in the middle. Changing the classroom to such a configuration is a physical and noisy activity. That is why we recommend doing it before NOT during the lesson. Once you introduce this as a regular activity, your learners might quite like it as a physical warm-up activity.

Apart from the performance and audience areas, a few “working zones” or “working corners” can be created. For example, the storytelling area is the place for telling and making stories. In a silent area learners do silent activities such as writing, drawing and painting. Props corner is the place to keep the drama box with all props (masks, clothes, glasses, hats, gloves, wigs, plastic swords, etc.). The gallery is the place where learners’ work, such as drawings, drama projects and scripts are displayed. Finally, a reflection corner is the place to “digest” the process of doing drama (team work, goals of activities, outcomes etc.) and learning via drama (new vocabulary, expressions, dealing with language difficulties). There is a nice idea to “plant” a “comment-tree” where learners write down how they feel in the lessons, what they learn, what they like, when they feel confident, foolish, etc. Such reflections can be written on pieces of paper in the shape of tree leaves and can be stuck on the tree. Doing this, learners experience how to provide imme-diate feedback and reflect on their own learning. The leaves with comments on can be changed every lesson.

What if classroom furniture is non-movable? That might make using drama techniques a little bit more difficult. However, there is no reason to give up. Some techniques which do not require lot of space, for example mime, creating stat-ues, chain verbal and nonverbal activities, concentration activities and relaxation activities can be used. Another possibility is to create a class puppet theatre with, for instance, characters from a coursebook.

• Have clear objectivesWhen implementing drama techniques in a foreign language classroom, teachers should ensure that they have some reasons behind it. Clearly stated linguistic, social, personal, cultural or drama objectives showing what learners will be able to do by the end of the lesson are the main determi-nants of a carefully planned learner-oriented lesson plan. Before using drama techniques, the following questions concerning learner-oriented objectives should be taken into consideration:2

What will my learners be able to do/produce after doing this particular activity?What kind of language will my learners practise/acquire when doing this particular activity?Which language skills (listening comprehension, speaking, reading and writing) will they practise when doing this particular activity?How will learners with different learning styles benefit from doing this particular activity?How does this particular activity raise my learners’ social and cultural awareness? How does this particular activity develop my learners as human beings?

2 There is more attention paid to objectives formulation in Chapter 5 in this handbook.

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• Change your roles and responsibilitiesDrama is based on a humanistic approach to education which gives teachers enough opportunities to practise facilitative roles in the classroom: an initiator, a counsellor, an encourager, a supporter, a monitor, a participant, a prompter, a co-communicator, a cooperator and so on. These roles do not mean the loss of discipline or the loss of authority. They give teachers the opportunity to like their job and their learners, and see their learners as creative and resourceful human beings with real needs, wants and lacks.

Here are some tips on how to accept the facilitative roles of a foreign language teacher:1. Become your learners´ partner but be respected at the same time.2. Listen to your learners attentively and respond to them.3. Accept your learners’ opinions and suggestions.4. Encourage them, don’t discourage them. 5. Respect your learners’ feelings and emotions. 6. Help them raise their self-esteem and increase their confidence.7. Model how to function and cooperate in a community.8. Learn about your learners’ learning styles, strategies and motivation. 9. Show your learners how to learn effectively and autonomously.10. Reveal the hidden creativity of your learners.11. Laugh with them and not at them.12. Prepare your learners for life.13. Participate in activities and cooperate. 14. Appreciate their work.

• Lead your learners towards cooperation and autonomyCreating a good, friendly atmosphere between a teacher and learners and among learners them-selves is another important step towards the efficient implementation of drama techniques in a for-eign language classroom. If learners do not know each other well, if they do not know a teacher and do not trust his or her teaching method and style, no simple drama technique would work in a class with alienated relationships. To prevent that happening, simple name activities, ice-breakers and trust activities are used especially at the beginning of the course. Leading learners to cooperation is one of the main objectives to be achieved through drama tech-niques. Since every learner is a unique personality with a different social (sometimes even cultural) background, it is quite challenging for a teacher to create a community of learners in a class who respect, support and encourage each other. The different personalities of learners make the social-izing process quite demanding. There are learners who prefer working on their own. However, in real life there are daily activities and situations where people have to share, cooperate and help each other in order to survive in society. Therefore, school is an ideal institution for social educa-tion. On the other hand, there are so-called class “stars” who will not like working with outsiders. Neither are too active learners very popular because they automatically take control of work and do the job without real cooperation with other classmates. Overcoming these class-management difficulties cannot be done overnight but cooperative learning techniques can help a bit.

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How to apply cooperative learning in a foreign language classroom?1. Put students into groups by using pairing and grouping techniques. 2. Give them time to invent their logo and slogan. 3. Give them a chance to present their team by some ritual typical for their group (either

by some typical chant, movement or a short dance).4. Give role cards to your learners and make sure they are ALL familiar with their roles and

their duties.5. Set the task.6. Give them enough time to accomplish the task.7. Ask them to reflect and evaluate their work, assess themselves and comment on coopera-

tion with other members in the group. 8. Suggest ways of possible improvements for better cooperation.

Examples of roles of learners, their responsibilities and their sample sentences in a foreign language classroom where group work is used:

• GROUP LEADER is responsible for cooperation and fulfilling the task within the group. For example:Hey, guys, let´s do it together, we are one team. How shall we sort this out? Mike, what do you think?

• FINDER is a kind of assistant to the group leader. He asks questions to keep everybody in-volved in the discussion.For example:What do you think, Maria? What did you say? Could you repeat your original idea?

• ENCOURAGER brings positive comments, praises group and encourages groupmates for the successful completion of a task.For example:Come on, guys, we can do it. Let´s do it. Well done, Pete, that is really a great idea.

• REPORTER is responsible for the outcome of the group. He reports the ideas/findings to other groups. He can use the notes taken by the recorder.For example:We agreed on the following…, By this we mean, Firstly…, Secondly…, Finally….

• RECORDER/NOTE TAKER is a kind of a group secretary.For example:Ok, I´ll put that down. We might need this idea later. Let´s brainstorm…

• QUIET CAPTAIN keeps the noise level of a group under control. Reminds the group mem-bers not to speak too loud. For example:Guys, we are too loud. Calm down.

• TIME-KEEPER is another manager in a group. He makes sure that a task will be accom-plished in time. For example:Come on, guys, we have only ten minutes left. Let´s keep five minutes for final rehearsal.

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Extra roles of learners when drama is used in a foreign language classroom: • DIRECTOR directs either short improvisations or scenes using a short script. He manages

the process.For example:Put your emotions into the role! Use the space, go closer to Tim! When saying this line, pretend to be angry, say it louder!

• PLAYWRIGHT is the one who writes a scenario. This is a very demanding role so we recom-mend it be shared with more learners.

• MASKS DESIGNER/COSTUME DESIGNER is responsible for making and selecting props suitable for performances. Again, it is appropriate for a group of learners.

• ACTOR/ACTRESS are learners in a role who perform short scenarios in front of an audience.

Example of a role card:

RECORDER/ NOTE TAKERYou are responsible for:1. taking notes or main points of what has been said or discussed.2. using notes to arrive at conclusions by the end of team work.

You can say or ask:1. This makes sense.2. This is not relevant enough.3. Can you repeat that again?Let´s see what we have so far. Any other suggestions?

ENCOURAGERYou are responsible for:1. creating and keeping a positive atmosphere in the team.2. motivating your partners.3. encouraging them by support.

You can say or ask:1. We are doing good job – let’s keep going.2. Wonderful idea.3. We can do it.

Recommendations:It is advisable to keep the same role for more than one lesson to make a learner familiar with it. Everybody in the class should get a chance to experience all kinds of different roles.

• Put your students into pairs and groups The practice of oral communication in a foreign language classroom happens via monologues and dialogues between two or more learners. Almost all drama activities are done in a variety of these forms, requiring perfect management skills in a teacher. Putting learners into pairs or groups is as easy as it might seem. Automatic pairing and grouping of weaker learners with brighter ones is “out of fashion”. When managing a 45-minute class, this way of pairing and grouping of learners is the fastest and, naturally enough, is very tempting for all teachers. Having experienced some resistance from girls to cooperating with boys in young learners classes, we have decided to use the so-called RANDOM pairing and grouping techniques. Even teachers who will not use drama techniques with their learners for various reasons might use some of these ideas. Pairing or grouping learners according to their shoe number, colour of their clothes, hobbies, place of origin, month of birth or favourite food might be very funny ways of putting learners together. It is not the teacher anymore

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who points at learners and decides who will work with whom. These techniques guarantee learners’ motivation and willingness to cooperate. The activities below show other possibilities of forming pairs and groups.

1. StringsAids: String and scissors.Prepare enough strings for half the number of learners (i.e. the number of pairs that will be formed). Hold a bunch of strings of the same length and colour so that one end of each piece of string comes out at either side of the hand. Each learner takes one of the ends. Release the bunch and the learners are in pairs.Comments: This is a very simple and quick way of creating random groups.If there is an uneven number of learners then one string should be tied to another so that it has three “ends” and two will be on the one side of the hand and one on the other.Alternatives: For forming groups of four, strings can be tied together in the middle so that each has four “ends” (or the process can simply be repeated).

2. Split ExchangesAids: Prepared split exchanges.Each learner is given one half of a dialogue or joke, for example: A: What do you get if you cross a kangaroo with a sheep? B: A woolly jumper!Learners then move around the room to find the person whose quote matches their own so that the exchanges fit.Comments: The exchanges must be carefully chosen so that they are unambiguous.

Example split exchange:“Birds of a feather,Flock together”.

“When in Rome, Do as the Romans do”.

“Don´t put off till tomorrow,What can be done today”.

“Too many cooks,Spoil the broth”.

• Control the noise levelControlling noise level at communicative lessons is always challenging. On one hand we want our learners to be productive, which is naturally connected with increased noise level. On the other

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hand we do not want to lose control over them. Therefore we need to distinguish positive and negative noise. Drama techniques bring a lot of relieved emotions, sounds and loudness to our classrooms. If learners are involved in the process of task accomplishment they usually stop con-trolling their noise level. Having a Quiet Captain in a class is one solution. Which noise is negative and which is positive? Presuming that all learners are fulfilling their task and are speaking English, such noise is definitely positive. However, it can easily turn into an unwanted situation if learners switch to their mother tongue and lose control over their emotions. The following 10 golden rules can give teachers some ideas how to avoid chaos in a drama class.

• 10 golden rules on how to keep discipline in a drama class:1. Prepare a classroom before the lesson starts. Put desks aside, chairs in a circle. Leave enough

space to move without any barriers.2. Introduce drama in small steps. Firstly, start with drama-based warm-ups, later dramatize

dialogues from your coursebooks. After your learners are familiar with basic drama tech-niques, then move to advanced ones such as simulations, improvisations, plays etc.

3. Give clear instructions (but NOT too long!) before doing even a very simple activity. Dem-onstrate first.

4. Don´t speak too loudly, nor too quietly. Remember that your learners usually adjust to your voice level.

5. Be involved in activities, become a partner. Overcome the barrier between you and your learners. Be in a role of a facilitator, manager, monitor, not an authority.

6. Give learners reasonable time to accomplish a given task.7. If the noise level increases, never make the “shhhh” sound. Use silent signals instead, such

as clapping, switching the light on and off, or raising a hand. 8. Give a chance to everybody to show the result of his work. Praise all learners, do not neglect

weaker ones. Clap hands to show appreciation. 9. Alternate quiet and loud activities. Make sure you calm your learners down before sending

them to the next lesson. We recommend “quiet activities” such as writing activities (e.g. writing a letter) or whispering (e.g. sending a secret message in a chain).

10. Leave at least 3 minutes at the end to reflect on the lesson.

If you follow these rules, you can at least prevent some discipline difficulties. Drama techniques can be used as a form of relaxation away from using coursebooks at English lessons. By handling some teaching tricks, drama will definitely provide endless moments of fun, surprise and of course – LEARNING.

• Start running a “drama box”A drama box is one of the most important aids in drama-based lessons. It is simply a box containing potential props for various characters. Old hats, caps, scarves, ribbons, ties, aprons, wigs, glasses, etc., will certainly be enjoyed by all age groups of learners. On one hand, costumes help learners create more authentic characters. On the other hand, using props stimulates the memory of all types of learners - kinaesthetic, tactile, auditory and visual learners.

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• Dramatize a coursebookSome teachers believe that good coursebooks make their lessons communicative. It is true to some extent. In contrast, there are some old, traditional coursebooks where a lot of communication can be achieved by using proper teaching methods and techniques. We strongly believe that it is a  teacher and his personality, skills, competences, abilities, teaching style, attitude, approach, knowledge and experience that are more important than any coursebook used. In common teach-ing practice there is a huge dependance on using coursebooks during lessons. Using interactive and up-to-date coursebooks with various supplementary materials such as CDs or DVDs do not necessarily guarantee the quality output of learners. Drama techniques such as role-plays, simula-tions and problem solving can be found in almost every coursebook. They make lessons more learner-oriented, productive, communicative and interesting. Dramatizing coursebook dialogues or texts will motivate learners and it will also enhance their accuracy and fluency.

SUMMARY

Bringing drama techniques into a foreign language classroom cannot be done overnight. It is a pro-cess that requires a lot of time and patience. If you decide to implement drama techniques into your lessons, do it step by step.

• Start with simple drama-based warm-ups and move to more complex ones. Reading course-book dialogues in a dramatic way, and creating characters, a setting and dramatic hook can be a successful start.

• Make sure there is some learning purpose behind every single activity used in your class. Pay special attention to their linguistic, social and cultural objectives. Make your learners familiar with your aims and objectives to be more trustworthy and goal-oriented.

• Keep a variety of drama-based techniques. Do not overuse them. • Provide enough time to your learners to get used to drama techniques. Do not rush them to

accomplish their tasks. Keep extra time for drama performances.• Get involved! Change your roles and become a part of your learners’community. Do not stand

aside. Enjoy drama with your learners. Laugh with them, not at them.• Take risks! Experiment with drama, experiment with language, experiment with your learn-

ers. Be creative and open-minded.• Do not forget to reflect at the end of each drama-based lesson to get immediate feedback from

your learners. You can easily find out their attitude towards drama in English lessons. Help your learners with open questions and lead them to free self-expression.

• Emphasize process (learning by doing) over product (performances). • Do not expect professional performances from your learners. Bear in mind that drama tech-

niques are just learning and teaching tool. They are NOT the goal.

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Questions for you CHAPTER I.

1. Did your teachers use drama techniques when you were a learner of English? What do you think were their reasons for using/not using them?

2. In which school subjects would drama techniques find their place? Suggest their possible application.

3. Why are drama techniques considered to be an alternative way of teaching and learning a foreign language?

4. Explain the roles of teachers teaching a foreign language through drama techniques and roles of learners learning a foreign language through drama techniques.

5. What is your attitude towards using drama techniques in a foreign language classroom from the point of view of a pre-service/in-service teacher?

REFLECTION BOX 1.Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after studying Chapter I.

After studying CHAPTER I. I am able to: YES I WISH TO IMPROVE

• explain the potential of drama techniques in a foreign language classroom

•distinguish what drama techniques are and what they are not

• explain what cooperative learning is and how it is related to drama techniques

•define learners’ and teachers’ roles when using drama techniques

• clarify advantages and disadvantages of using drama techniques in a foreign language classroom

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CHAPTER II.

DRAMA-BASED WARM-UPS, ICE BREAKERS AND MINGLERS

CHAPTER II. DRAMA-BASED WARM-UPS, ICE BREAKERS AND MINGLERSIn this chapter, you will come across the following issues:1. Concentration and relaxation activities2. Creating sounds 3. Miming activities4. Trust activities5. Spatial awareness activities6. Pronunciation and intonation practice activities7. Name activities8. Word chains9. Hot-seating10. Thoughts behind words 11. Statues 12. Improvisations13. Conscious alley 14. Caption-making

TASK 8. Go through the list of the drama techniques (see above) to be discussed in this chapter. Put a tick (√) next to those you are familiar with and a question mark ? next to those you wish to learn more about.

TASK 9. What do you think are the aims of warm-ups, ice-breakers and minglers in a foreign language classroom?

TASK 10. Go through any English teaching coursebook. Which drama techniques are used there? What are their aims?

TASK 11. Which is your favourite drama-based activity you might have experienced either with your learners, teachers or teacher trainers? Describe its procedure and objective.

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CONCENTRATION AND RELAXATION ACTIVITIES

Concentration and relaxation activities are used at the beginning of lessons to prepare learners’ minds and bodies for creative work in pairs or groups without any tension. They aim to break the ice and warm learners up physically and mentally.

• Clapping sounds3 Learners sit in a circle. Start clapping any rhythm. Encourage your learners to join you. When they catch it, pass the role of leader to one of the learners by giving a signal. He makes another rhythm and again the whole class follows the new rhythm.

• Sending signals Learners stand in a circle holding hands. One of the learners is the leader who passes the signal by pressing the hand of the partner next to him. The signal is sent from person to person around the circle. More advanced learners may try to send two signals at the same time.

• Playing with a purse4

Fix an invisible string on an old purse. Put learners into two teams. One team is pulling the purse while the other is trying to catch it. Draw a border line between the teams which cannot be crossed. Both teams work on strategies how to “cheat” and how to catch the purse or pull it away.

• Chain massage Learners stand in a circle facing each other. All turn right so that they face their partner’s back. Each learner massages the shoulders of the classmate standing in front of him or her. Then all turn left and this time they give a massage to the other partner.

• Guided fantasy Learners sit in a circle with closed eyes. Tell them to take a deep breath and create an image of  a story you will read to them in a gentle, soft voice.Example: It is Sunday morning. You woke up after eight hours of deep sleep. It´s a perfect summer morning. The birds are singing… the sun is shining… you smell the fresh smell of the grass. You have decided to go for a walk near your house which is right in the middle of a beautiful meadow. Open the door and step barefoot on the grass. It´s a little wet but you don´t mind. Make more steps and feel the touch of every single blade. You like this feeling, it´s very pleasant….Make a longer pause before finishing. Tell them to take a deep breath again and open their eyes slowly. Ask about their feelings. Keep reminding them to relax, breathe, not to worry about anything.

3 This technique is used in the lesson plan called ‘The Train to Glasgow’ which is included in this handbook.4 We learnt this activity from Daniela Bačová.

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CREATING SOUNDS

Making sounds in English lessons can be unusual to both language teachers and learners. In tradi-tional lessons, learners are usually expected to be quiet and not make any unpleasant noise. However, various sounds are an important part of lessons where drama techniques are used. Soundscapes or soundtracking are drama techniques in which sounds are made by voices, body and objects in the classroom. They usually accompany some action and complete an image of a place or its atmosphere (e.g. street sounds, breaking glass, squeaking door etc.). Initially, teachers and learners might find these techniques strange. Later, they will see how stimulating they are especially when creating setting.

• Sounds of a town5 Create an image of a train station through elicitation. Learners are passengers walking freely in the space as if being at the train station. While walking they make sounds which they hear:

• at the city train station during the day and at night• at the village train station during the  day and at night

They should adjust their walking to the sounds they make (quiet sounds – relaxed walking, loud noises – fast walking).

• Rainforest Create an image of a rainforest by soundscaping. Each learner has a chair in front of him to make sounds according to the teacher’s instructions. Learners produce the sounds of rain (by tapping fingers on the chair seats), then of heavier and heavier rain, showers, wind (by blowing the air and whistling), stronger wind, and lightning that hits a  tree. Encourage your learners to gradu-ally increase the noise level according to your instructions. Maximum noise will be created when soundscaping thunderstorms. After achieving the loudest sounds, let your learners decrease the noise level according to your instructions (imitating sounds of heavy rain, showers, light rain, few drops, one drop....the sun is shining and the birds are singing).

MIMING ACTIVITIES

Mime is a basic drama technique that can be used even by inexperienced drama teachers and learners. The main focus is put on the development of physical movement through precise miming of every single moment occurring in an activity. It requires a lot of concentration to do it properly. The technique of miming can be easily spoilt if not enough time and attention is paid to it. Through miming, a learner should become aware of his body language and more confident in communicat-ing non-verbally. It usually does not include any speech.

5 This technique is used in the lesson plan called ‘The Train to Glasgow’ which is included in this handbook.

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• I will show you my name… Show your name to your class. You are not allowed to use any words. Use only sounds, mime and gestures. If it is possible, show several letters at once.Example: The name Gavin can be shown in this way: G – draw it in the air, A – show an aeroplane, V – show the sign of victory, IN – show it as a preposition. The class guesses one letter after the other.This is a more time-consuming activity but it is a very inventive and creative way of introduction. If learners already know each other’s names, they can show their nicknames.

• Mirroring Put your learners into pairs. Ask what sort of activities they normally do in front of the mirror in the morning. Demonstrate one morning activity using one of the learners as a mirror. Stress that there is no physical contact between partners. One learner from the pair will show all his or her activities one after the other in front of the mirror very slowly and precisely. The other learner from the pair being “the mirror” copies all the movements of his or her “leader”. They will swap round half-way through.

• Giving presentsLearners stand in a circle. Create an image of an invisible box full of presents. Learners, one by one, go to the box, pick up something, mime it and give it to somebody from the circle. “Here you are” and “thank you” are the only words used. The one who gets the present goes to the box and chooses another thing, mimes it, gives it to somebody, says “Here you are”, the learner gives their thanks and this continues until everybody has mimed something. Finally learners summarize what presents they got and who from.

• Chain-mime activities6 Learners sit in a circle. Learner A is in the centre and mimes some activity without telling it to the others (for example a car repair). Give enough time to each learner to mime an activity properly. Learner B joins him if some moment from the mimed activity reminds him of some other activity. For example, Learner A mimes repairing a car by lying on the floor, so Learner B joins him miming swimming on his/her back. Learner A MUST adjust to the activity of Learner B. Learner C joins Learner B (Learner A leaves) with miming a new activity (a scene of swimming reminds him of a scene of giving birth). Learner B will adjust to Learner C and will mime together giving birth (each of them can be in a different role). This continues until every student has mimed at least one activity. Only miming and making sounds is allowed.

TRUST ACTIVITIES

There are certainly many learners who have never experienced learning a language through any alternative or humanistically-oriented approach or method. Since traditional language teaching

6 We learnt this activity at a drama seminar in Nitra in 1999 from a drama expert, Anka Gamanová (in memoriam).

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does not consider the social, cultural and psychological aspects in a foreign language classroom, it does not require any learner-oriented techniques and activities. Learners coming from a traditional learning setting might initially struggle with drama. They might express discomfort and scepticism when doing drama in their lessons. The most problematic thing is to touch their classmates, even hold each other’s hand. Hence drama requires a lot of physical contact, trust and cooperation; the “ice” in the class must be broken. However, nothing happens over night. Learners need some time to get used to a new approach in language learning. On one hand, trust activities help learners create trust towards a teacher and his or her way of teaching. On the other hand, trust activities help learners get used to each other, overcome shyness and beat stage fright. They are usually non-verbal and are used especially at the beginning of a course.

• Climbing through people Learners get in a circle, hold hands and face each other. When the teacher gives a signal, all learners start to move to make “knots” from their bodies and entwine with other learners. When the teacher gives another signal, they one by one start to disentangle from the knots.

• Pass me around the circle Learners stand in a circle very closely facing each other. One learner stands in the middle of the circle and cannot move from that point. He/she is passed around the circle by other learners. Strong cooperation and trust is needed. Make sure that your learners are mature enough to do this activ-ity. Otherwise it will be spoilt and they will get hurt. The activity requires some muscle work and concentration.

• Guide me Put your learners into pairs. One of them will be a “blind” person with closed eyes. The other person will guide him through barriers prepared in the classroom (or in the corridor). They will “communicate” by gentle touching of their palms, then only by touching their fingers. The “blind” person cannot cheat by opening their eyes, they must fully trust his guide. After some time, learners change roles. Alternative: A guide cannot touch “the blind” person at all but can give him very detailed instructions how to move in a class with barriers without being hurt.

SPATIAL AWARENESS ACTIVITIES

The following activies use the classroom space in order to become more familiar with it and see it from a new perspective AS IF it was a totally different setting, for example, a restaurant, a flat, a beach, a zoo and so on. The following minglers and other activities provide our learners with the opportunity to experience different ways of walking in different settings and roles. They are frequently used as preparation activities, for example when creating characters.

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• Walk as if you were a …Learners mingle in class. They walk freely in the space provided. Clap your hands and say who your learners are. Example: Walk as if you were an old person who needs a walking stick. Learners move according to teachers’ instructions. Then clap your hands again and choose a different role: Walk as if you were walking a dog which keeps pulling you all the time (learners improvise this way of walking in the classroom). Then clap your hands again and say a new role, for example: Walk as if you were a robot. Learners can imitate celebrities, cartoon characters or animals’ way of walking too.

• Move as if you were doing…Learners mingle in class. Tell them to move as if they were skiing (whole class pretends they are skiing), skating, rollerblading, walking in deep snow, walking on ice, walking in the ocean, walking in high-heel shoes, tiptoeing etc. Clap your hands when changing activities.

• Touch somebody who…Learners mingle in class. They follow teacher’s intructions whom to touch. Example: Touch some-body who is wearing jeans. Learners are immediately supposed to touch somebody who is wearing jeans. The activity continues accordingly (touch the tallest person in class, touch somebody wearing white socks, etc.). The activity is dynamic if the given instructions are clear and related to learners in class.

• Do what I do…Learner A shows his own way of walking to Learner B when he is in different moods (walking in a happy way, walking in a sad way, walking in a lazy way, walking when he is in love, walking when in a hurry etc.). Learner A teaches Learner B his ways of walking. Then they swap.

• Guided tourLearner A will take Learner B on a tour around the classroom and will describe all the details to create a full, detailed picture of the place in which they are moving. Example: guided tour in an ancient castle, gallery, new house, production hall, etc.

PRONUNCIATION AND INTONATION PRACTICE ACTIVITIES

Teaching and practising pronunciation in a foreign language class includes dealing with: 1. sounds of language 2. stress and rhythm3. intonation. All aspects of teaching pronunciation are important since we wish to educate learners who are able to:a. distinguish different sounds or phonemesb. produce different sounds or phonemes

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c. use the word stress/sentence stress properly d. vary intonation according to situationsOur goal is not to achieve a native-like accent but to teach our learners accurate pronunciation in order to be clearly and comfortably understood. The most common classroom techniques to prac-tise pronunciation are choral drills or individual drills of separate sounds, words, chunks and sen-tences. However, this automatic drilling is not enough. It does not give us a chance to personalize and express our feelings in our speech. The following activities give you some ideas how to practise pronunciation, stress and intonation naturally in various contexts.

• Tongue twistersTongue twisters are phrases that are difficult to pronounce since they rely on rapid alternation of similar phonemes (such as “v” and “w” or “s” [s] and “sh” [ʃ] etc.). Fast articulation of these sounds placed in one sentence usually causes some confusion and amusing mistakes. In a language classroom, tongue twisters are great warm-ups for learners who wish to release their vocal cords and exercise their tongue muscles. In class, say a tongue twister slowly and clearly and then invite your learners to join you. Repeat the same tongue twister a few times together with your learners and then try to accelerate to make it more dynamic and funny. Examples:

• Red lorry, yellow lorry. Red lorry, yellow lorry.• I scream, you scream, we all scream for ice-cream!• She sells sea shells on the sea shore.• Very well, very well, very well...• The thirty-three thieves thought that they thrilled the throne throughout Thursday.• Peter Piper picked a peck of pickled peppers. A peck of pickled peppers Peter Piper picked. If Peter

Piper picked a peck of pickled peppers, where’s the peck of pickled peppers Peter Piper picked?

• A, B, C, D Each learner in the circle says one letter of the English alphabet in order with distinct intonation. Learners have to listen to each other to be able to continue and alter the intonation of the letters. Modification: Learners are in roles of, for example, a  policeman and a  driver who make a  short dialogue together. Instead of words they use letters of alphabet in its order (each letter with different intonation). They arrange the roles and decide on dramatic conflict in advance. The others guess what the scene is about according to the characters’ intonation and body language.

• What time is it?7 In a circle, learner A asks learner B the question “What time is it?” with distinct intonation. Student B pretends not to hear and asks “What?”. Student A repeats the same question impatiently. Student B pretends for the second time not to hear and asks “What?” Student A asks the last time very

7 This activity is great practice for using the voice potential of learners. We learnt this wonderful activity from Gabriela Šimová at Drama Day in Nitra, 2001.

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angrily. Student B says “I don´t know”. The same continues between learner B and learner C, then between learner C and D and so on.

• I like it8 In the first round, each learner in the circle says the sentence “I like it” with different intonation as if using it in some context. Body language can be used too. In the second round, the learners say the same sentence in the same intonation they used before. However, this time, the others guess the context.

• Gibberish or mumbo-jumbo9 Gibberish is a non-existing language which can be created by making any sounds that our vocal cords and body can produce. It works best when learners are in the roles of, for example, “Mar-tians” or members of tribes who do not understand each other. The mood, status and intention of a communicator can be better expressed by varied intonation, body movement and clear gestures. Modification: A Martian will explain to his audience in gibberish how he got to Earth. One student will interpret it into English for the others.

• Choral reading10

Learners in groups read a dialogue together in different voices, stressing and repeating some parts, adding some extra sounds to give the essence of the text (poems, playscript, songs, chants, limer-icks...).

• DubbingLearners A and B read their lines from a dialogue without producing any sounds. They just open their mouths and act the dialogue out. Learners C and D follow the same dialogue while they read learners A and B’s lines loudly, as if they were dubbing them. There must be strong cooperation among all learners who are involved in the dialogue so that dubbing is done simultaneously and sounds natural. Learners C and D need to adjust their intonation, stress and pitch to learner A and B’s body expression.

NAME ACTIVITIES

Remembering learners’ names is the first step towards creating a friendly atmosphere in a drama class. Name activities provide opportunities to get to know each other and learn about each other. Many of them are a combination of verbal and non-verbal elements. Learners stand in a circle during these activities.

8 We learned this activity from Daniela Bačová. It is also used in the lesson plan Aliens in this handbook.9 This technique is used in the lesson plan Aliens.10 This technique is used in the lesson plan ‘The Train to Glasgow’ in this handbook.

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• My name is Ann and I like… Introduce yourself by your first name and say the sport you like playing. The name of the sport has to start with the first letter of your name. Example: My name is Ann and I like aerobics. Mime doing aerobics.A learner next to you continues, repeats your name and your favourite sport, adds his name and his favourite sport. This continues until all learners are introduced. Finally, they practise all names and their classmates’ favourite sports together. They mime these at all times.Modification: The vocabulary of favourite food or animals can be used instead. This can be easily mimed too. Example: My name is Ann and I like apples (showing eating apples). OR My name is Ann and I like anaconda snakes (miming anaconda snakes). Instead of “I like”, “I don’t like” can be used.

• My name is Ann and I usually do this…Introduce yourself by your first name and show some feature (gesture, bad habit) typical for you (biting nails, playing with hair, or tapping on a table, frowning, etc…).Example: My name is Ann and I usually do this… (the person mimes his/her habit or typical gesture). Learner next to you continues, repeats your name and mimes your habit/gesture and adds his name and his habit/gesture. This continues until all learners are introduced. Practise all names and mime typical habits/gestures of all learners in the circle together.

• Alphabet chain Tell your learners to reorder themselves according to their first names into alphabetical order. The person whose name starts with A is the first person in a chain. Check the order together, practise students’ names from A to Z and vice versa. It is a very easy and quick activity. Learners with the same names will stand next to each other.

• An imaginary ball Learners throw an imaginary ball in a circle and say their own names. In the second round they can say the names of learners catching the ball. Make sure that no learner is omitted. If you want to prevent some discipline problems caused by throwing and catching the ball, roll it on the floor, pass it in the circle or use a paper ball instead.

WORD CHAINS

Word-chain activities are types of verbal warm-ups. They require concentration and listening to each other to be able to continue in a chain. Since these activities are preparatory oral activities, learners are not asked to produce a lot of language yet.

• Associations In a circle, say a word. Pass the ball to Learner A next to you. Learner A says another word somehow connected with yours and passes the ball to the next learner. Learner B makes another association

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with Learner A´s word. This continues in a circle. Example: ocean – shark – teeth – dentist – fear – flying – ...

• What you did at the weekend In a circle, say a  sentence: At the weeked, I  relaxed. Learner A  repeats your sentence and adds a new piece of information: At the weekend I relaxed and watched TV. Learner B repeats learner A’s sentence and adds another piece of information: At the weekend I relaxed, watched TV and met friends. This goes on. If your learners cannot remember all the activities towards the end of the chain, encourage others to mime their activities or make two small circles.

• Say one word11 Learners sit in a circle. Start a sentence with Once... Learner A adds a word which grammatically and logically fits, B adds another one, C continues and this goes on while the structure and logical meaning of a sentence is kept. The sentence might look like: A (Once), B (there), C (was), D (a), E (man), F (who), G (lived), H (alone)..Modification 1: You can determine the words which must be used in the sentence (e.g. who, his, then, slowly...).Modification 2: You can appoint the students who will be the punctuation marks such as fullstop, question mark and comma.Modification 3: You can determine the initial letter of all words in a sentence. Example: Timothy, the thin teacher, training the third team told Tamara to train three times...Modification 4: Each chunk of words/phrase will begin with a different letter of the alphabet in order.

• Say more words Learners sit in a circle. Start a sentence with one word, learner A adds two words, Learner B adds three words, Learner C adds four words... grammatical structure and logical meaning cannot be broken.

HOT-SEATING

Hot-seating is a verbal drama technique which can be used before or after role-plays, short im-provisations or short performances. Its aim is to understand characters’ motives, background, feelings, personality and relationships to others. The characters in roles sitting on the “hot-seat” are interviewed by other learners who are also in roles of, for example, judges, journalists, sociolo-gists, TV reporters, psychologists, teachers, parents, friends, etc. The interviewed character sits in the “hot seat” in front of the interviewers and answers questions about his actions, motives, feelings and thoughts. Having two identical characters sitting in the “hot seats“ might be less threatening for learners. Hot-seating should not have either an evaluative or moralizing character.

11 We learnt this activity from Tony Butterfield in Nitra in 1999.

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Possible pre-activities:Give some time to your learners to prepare questions in advance. This technique gives an oppor-tunity to practise different questions in context with the intention of finding out something about the characters. The teacher can play a role too. He welcomes the guest(s) (who will be in the hot-seat) and the group of interviewers or journalists. He controls the procedure of the interview and encourages learners in roles to ask questions addressed to the character(s).

Possible while-activities:While the interviewers are listening to the character(s), they take notes of their answers.

Possible follow-up activities:Teacher-in-role thanks the guest(s) and interviewers. Learners can be asked to use their notes from the interview to write an article for the local newspaper, school magazine, etc.

THOUGHTS BEHIND WORDS

Learner A is a character and Learner B is the character’s thought. The technique aims to provide a commentary of inner speech; it deepens understanding of characters’ real feelings and distin-guishes the text and its subtext. Give a situation to the groups (e.g. Someone you dislike sits next to you on the bus). Half of the learners are the people in the situation. The other half are the thoughts for one of the others. For example, Learner A is the person on the bus. Learner B will speak his thoughts. Learner C is the other person on the bus, and Learner D is Learner C’s thoughts. Learners can practise their scenes and then perform them for the rest of the class.Examples of situations:

• On the bus. There is an old, lonely woman sitting and reading on the bus and suddenly a smelly, old, drunk man sits next to her.

• A job interview. The interviewee is lying!• A married couple. One of them is having an affair, and the other knows!• At school. A teacher is examining a student who is not prepared.• Life situation. A young man asks his girlfriend to marry him.• Excuses. A driver is trying to explain to a police officer why he was speeding.

Give clear instructions to your learners: the thought speaks first or the character speaks first (the character speaking first is more interesting for the audience).You can show the scenes with just the thoughts speaking, or just the characters speaking – or first with the characters and then with the thoughts.

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STATUES

The techniques listed below share the static moment where learners either in the role of statues or when being “frozen” during action display crucial moments, ideas, thoughts or relationships through their bodies (body posture and facial expression).

• SculptingSculpting is a drama technique where pairs or trio of learners are in the roles of sculptor(s) while the other pair or trio of learners is in the role of clay. Sculptors shape the clay either manually or verbally in order to create the sculpture of a person, idea, moment or a theme from a drama through using posture, gestures and facial expressions of the sculpture.

• Still image/tabloid/tableauIn groups learners create a frozen position using their bodies to depict a moment, idea or theme from drama. It enables us to focus on a moment in time. It reminds us of book illustrations, freeze-frame on a video, photographs, waxworks, posters and advertisements. Contrasting images showing an actual and ideal situation, dream and nightmare version can be used as well. When the still image is ready, the rest of the class looks at it and comments on what they can see. They can speculate about the image, characters, their relationship, status and tension.

• Freeze-frameThis technique is similar to tabloid. It is achieved by stopping learners at the most crucial moment in their improvisation to hold their positions (as if freezing) for a few seconds. Such a picture can be discussed and analysed in class. Special attention should be paid to WHAT is expressed in the picture and HOW meaning is expressed.

• Touch and tellThis technique uses freeze-frame where the participants are touched by a  teacher or any other viewer on the shoulder to state ideas and thoughts in role. It enables learners to better understand characters’ motives, ideas and thoughts via context.

IMPROVISATION

Improvisation is a non-scripted drama technique that does not require any planning or struc-turing. Learners are given roles and a situation and they act it out spontaneously without any preparation. The fewer details about their roles and situation they are given, the better it is for their imagination and dynamics of the performance. Characters and language develop in the course of action. Learners are encouraged to act out immediately on the spot and develop their first ideas. In a foreign language classroom, this technique might have a diagnostic purpose to reveal learners’ proficiency of spoken language. The improvisations can be repeated, polished

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and improved from lesson to lesson. Situations appropriate for improvisations may be based on role-plays and simulations.

• Objects and their usageThe easiest way to start off an improvisation is to work with a daily object and show its possible usage in life. For example, learners stand in a circle. Place a chair in the middle and ask learners to imagine anything else but NOT the chair. If they have an idea, they come to the middle and show the usage of their invented object (manipulating the chair in different ways – e.g. pushing it as if it were a pram, handling it as if it were a guitar, etc.). They mime the situation and accompany it with sounds, not with words. The others guess.

• Short improvisationsBefore doing any improvisation, tell your learners to decide WHO they are, WHAT they do and WHERE the scene will happen. At the hairdresser’s: improvise a situation at the hairdresser’s where Learner A is going to have his/her hair cut. Learner B is a novice hairdresser and it is his/her very first day at work and Learner A is his/her very first customer.

• What’s the word?Learners sit in a semi-circle. Ask two learners to come on the stage. Give them a card with a key word they will be TALKING ABOUT during their performance. However, the word can never be said aloud. It can be described, it can be shown but never directly said. When the viewers have an idea what word it is, they can join and develop the scene one by one. Finally, when all learners are acting the scene out, ask for the key word. Some funny situations can appear because of misunder-standing the key word and still being actively involved in the scene thinking that they knew the key word. Examples of key words: pizza, puppy, smell, crime, bribe, …..Comment: it is recommended to start with concrete words and later when learners gain some ex-perience you can move to abstract words. This technique aims to practise communication strategies of foreign language learners that are essential in real life.

• Alphabet improvisationLearners in pairs decide WHO they are, WHAT they do and WHERE they are. They act out the dialogue without any preparation. The first line of their scene must start with the letter A, the next line with letter B, the following with letter C and this continues up to the letter Z, when they have to finish their dialogue. Example:

Klára: Anything can happen to you if you go alone.Tom: Because you want to go with me?Klára: Cairo is dangerous, my dear.Tom: Dangerous? Klára: Extremely dangerous if you are a tourist there.Tom: Forget about it, dear. You’ll stay at home.

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Klára: Gosh, you are so selfish…Tom: Honey, it’s you who is selfish.Klára: I just want your company, sweetie.Tom: Just my company?Klára: Kind of…Tom: Let me hug you.Klára: Marco will be disappointed not to see me in Cairo…Tom: Nobody will be disappointed.Klára: Of course not, but you know anything can happen there.Tom: Please, my dear, stop telling me the journey’s off.Klára: Quiet, I can hear somebody coming in.Tom: Really?Klára: Sweetie, I’ve told you I heard something.Tom: This is not funny anymore. Klára: Up there is somebody.Tom: Very funny…Klára: What is it, my dear?Tom: X-file aliens…Klára: You are afraid af everything.Tom: Zombies came to visit us.(The end.)

• Three-word improvisation12

Tell learners to imagine the following situation: You want to buy a used car which is in great condi-tion and of course not very expensive. You have an image in your mind. You want a sporty BMW model because you love fast cars. You have come to a used car showroom to get one which in the advertisement looked just like the car of your dreams.

Pre-stage A: Creating the image of the car of your dreamsAt this point, elicit from your learners what they imagine by the car of their dreams. Create the image of the car together using questions such as:What kind of car would you buy if you had some money available? What does it look like? How big is it? How wide is it? (Show the width and length of the imagined car with your learners, keep the image of the car in the classroom during the whole activity and refer to it.) How powerful is it? What sound does the engine make? (invite your learners to imitate the sound of an engine). What about the wheels? What is it like to touch such a car? What lights does it have? Get into the car and take a seat. What material are the seats made of? Are they comfortable? What smells can you detect? What about the steering wheel?... (elicit the answers from your learners; use the key words so that your learners pick them up in the context).

12 The following activities of three-word improvisation, freeze-start and improvised storytelling can be found in: COCKETT, Stephen – FOX, Geoff: Keep talking!: learning English through drama, storytelling and literature. 1st ed. Krakow : Wydawnictwo Naukowe WSP 1999. 124 p. ISBN 978-8387513-84-9.

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Tell your learners that when you got to the used car showroom, there was a totally different car and you were very disappointed by it. Now, together with your learners, create the image of the worst car ever.

Pre-stage B: Creating the image of the worst car everFollow the same procedure as described above. However, this time it is the worst car ever, so it is perhaps not shiny but rusty, it is not spacious but small, the wheels are not wide but narrow with a hole, etc. Continue in a similar way and invite learners to use their imaginations and involve all senses possible (sounds, smells, touch …).

While-improvisation 1: Three words onlyLearners in pairs decide whether they will play a used car dealer or a potential customer. Together with your learners agree on the moment the scene will start from (e.g. a customer opening the door and entering the car showroom while the used car dealer is making a phone call). Learners create short improvisations on the given situation by using their body language and three words only: CAR, BEAUTIFUL, OLD. Clap your hands to signal that “actors” can start acting out their scenes from the agreed frozen positions. At the end of their improvisations clap again to stop them. Learners stay in frozen positions. Comment: It is neccesery to instruct your learners to follow FREEZE-ACTION-FREEZE schema when improvising. The viewers get clearer idea about the beginning and the end of performance.

While-improvisation 2: Just act it outThis time the same improvisation as described above is done while learners keep the same roles and they act out the same situation without any limitations. Teacher claps hands to signal when to start and when to finish the improvisation. Again, they follow FREEZE-ACTION-FREEZE schema and start their improvisation from the agreed moment (e.g. a customer opening the door and entering the used cars shop while the shop assistant is making a phone call).

After-improvisation : ReflectionAfter improvisations, encourage your learners to reflect on doing both improvisations – with three word limitation and without limitation. Learners become aware of the fact how much body lan-guage can help them communicate in daily life and how difficult it is to rely just on miming and gestures. At the same time, they will be able to compensate for the unknown or forgotten words (by miming or describing) those which they might lack in their linguistic repertoire.

• Improvised storytelling Choose one learner who will be the narrator of the story. Place a chair on one side of the stage facing the audience. The narrator makes up a story without any preparation. The other learners act out the story as the narrator tells it. The “actors” become objects, people or animals depending on what the story is about. They can make sound effects, too. The narrator tells the story and makes a pause so that “actors” can act it out. They freeze and return the focus on the narrator to continue with the story. Nothing is planned in advance. Learners can join the scene whenever they feel the opportunity to do so.

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Example: Narrator: Once upon a time there was a monster. PAUSEMonster: Hello! (one learner in the role of a monster) FREEZENarrator: The monster lived alone in the woods. (other learners make the sounds of the woods) One day he found out that he was not scary at all but that he was afraid of everything in the woods. He was afraid of trees (learners in role of trees frightening the monster), he was afraid of the Sun (learner in the role of the Sun), he was afraid of the wind (learner in the role of the wind)… He started to be even afraid of himself. PAUSEMonster: I am afraid… I am afraid of everything!!! FREEZENarrator: So he went to see the wise owl to ask for some advice. PAUSEOwl: (learner in role of an owl) Whoo, hoooooo. FREEZE

CONSCIOUS ALLEY

This drama technique, also known as “Thought Tunnel” or “Angels and Devils”, aims to explore any dilemma faced by a character, providing an opportunity to analyse a decisive moment in detail and make suggestions for possible solutions. Learners form an “alley” (two lines facing each other) and the protagonist walks along the alley to get some advice. Learners in the first line might give some advice in favour of a particular course of action while the learners in the opposite line voice thoughts against it. The character/protagonist decides which advice/action he will accept when reaching the end of the alley. The learners in the lines can represent the walls of the room, pages from a diary, objects in the room. After the character has decided to take some action, we can invite him or her to the hot-seat where he/she will be asked questions about the reasons and possible consequences of his/her actions.

CAPTION-MAKING

Caption-making is a drama technique in which a performed scenario is summarized with a title, slogan, question or even a riddle. Its aim is to give the direct “message” of the scenario. Captions can be invented in groups for their own scenarios or scenarios of other groups. It is a great way to keep the attention of the audience while other groups are rehearsing/performing their own scenarios.

SUMMARY

One of the main aims in foreign language teaching is to educate communicative, competent foreign language speakers who are equipped with the language knowledge, skills, abilities and strategies to be able to actively and successfully participate in communication by using all means available.

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Such a learner is curious, he/she is not afraid to use a foreign language under any circumstances and is ready to take risks to give and get new pieces of information. He/she is able and willing to compensate for his/her gaps in linguistic repertoire by paraphrasing, giving examples, borrow-ing words from other languages and using paralinguistic and kinaesthetic elements. He/she knows how to start and close a conversation, how to join in and how to change the topic smoothly. When he/she does not hear or understand something, he/she asks for repetitions, clarifications and sim-plifications. Even more, he/she knows what to say and what not to say. Therefore, communicatively competent learners are expected to be more than fluent and accurate users of a target language. Do we, language teachers, educate foreign language users in the qualities described above? Is that just a dream or an achievable reality? We believe that the above-mentioned goals can be achieved in a foreign language classroom. Language teachers are constantly challenged to search for teaching techniques that increase efficiency and fulfil the above-mentioned qualities of communicatively competent users of a foreign language. Techniques that help break the ice, motivate and encourage language learners to practise the target language in a friendly, stress-free environment are essential in any language classroom. Drama techniques and their meaningful application in a foreign language education help teachers create an authentic setting and decrease students’ tension, anxiety and fear of speaking. Nowadays, drama techniques are given high credentials in increasing students’ communicative competence in a classroom setting where natural behaviour and natural language use is stimulated. They are appropriate for all types of learn-ers (visual, auditory, kinesthetic and tactile). Learners across all ages and proficiency levels will gain a feeling of satisfaction and joy, playfulness and entertainment from learning through drama. Even learners with different types of intellingences profit from drama activities in many ways. We proudly state that drama techniques belong in foreign language classrooms because of their endless potential to shape learners communicatively, socially and culturally. Learning happens naturally, spontaneously, with much less effort and energy. We strongly believe that drama tech-niques are a meanigful teaching tool that should not be avoided by any means.

Questions for you CHAPTER II.

1. What do you think are the reasons for teaching non-verbal communication in language les-sons?

2. Can you recall any real life situations which require non-verbal communication? 3. How is the quotation below related to teaching and learning a foreign language through drama

techniques? Explain.Tell me I forget,Teach me I remember,Involve me and I learn. (A Chinese proverb)

4. What are the general aims of the drama-based warm-ups, minglers and ice-breakers listed in this chapter?

5. Which drama technique mentioned in this chapter did you experience on your own (maybe as a language learner)? Which drama techniques do you wish to use in the future? Why?

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REFLECTION BOX 2. Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after completing Chapter II.

After studying CHAPTER II. I am able to: YES I WISH TO IMPROVE

• summarize important points on verbal and non-verbal activities in a foreign language classroom

•name at least five different drama techniques and explain their aims

• explain which techniques can be used to get to know my learners better

• explain the procedure of at least two different activities which can be used to increase learners’ concentration

•name some activities that aim to train learners’ pronunciation and intonation

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CHAPTER III.

DRAMATIZING COURSEBOOK DIALOGUES

CHAPTER III. DRAMATIZING COURSEBOOK DIALOGUES In this chapter, you will come across the following issues:1. Authentic communication in a foreign language classroom2. Role-plays and simulations3. Making coursebook dialogues come alive via drama techniques creating• setting • characters • dramatic hook

TASK 10. What do you understand by “authentic communication”?

TASK 11. How can authentic communication be taught in a foreign language classroom?

Notions such as communicative approach, communicative competence and authentic communica-tion are frequently used by practitioners, methodologists, teacher trainers and language teachers. The aim of this chapter is not to define them but rather show specific examples of drama techniques and activities that aim to develop the communicative competence of language learners, improve their so-cial skills and increase their cultural awareness. At the same time, drama techniques aim to encourage language teachers to be less dependent on ready-made materials (such as the strict use of coursebooks) and support the use of their creative potential when working with coursebook dialogues and texts.

AUTHENTIC COMMUNICATION IN THE FOREIGN LANGUAGE CLASSROOM

Foreign language communication as such is a complex process that requires long-lasting training as in any other activity. Looking at it from a different perspective, the following elements should be taken into consideration when analysing it:

• WHO? Who is my communication partner? Do I know him? What kind of relationship is there? What is my status/his or her status? …

• WHAT? Why should I speak to him/her? Is there any communication need? Does he have the information which I lack? What topics should I discuss with him/her?

• HOW? How am I going to speak to the person? Slowly? Fast? Politely? In which mood?

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• WHERE? Where will the communication take place? Doing what? • WHEN? When does the communication happen? In the past/present/future? In the morning,

afternoon, evening, at night? These elements are applied naturally in our L1 (mother tongue) usage; however, it is more difficult to bear them in mind when speaking a foreign language. We truly believe that the training of foreign language communication should also involve the above-mentioned elements.

Every communicative situation is specific and unique. Therefore, its participants are expected to be flexible enough to be able to exchange information. Herein the following questions arise: is there enough variety of communicative situations created in a foreign language classroom? Are there enough opportunities provided to our learners to practise their communication skills in different communicative situations with different communication partners? Will our learners be able to use a foreign language in their daily lives? Will they be able to adjust to a variety of communicative situations? Will their speech sound natural? How can we, language teachers, shape our learners into efficient language users rather than language knowers? How can we, language teachers, teach authentic communication in a classroom setting?

Referring back to Chapter 1, there is a great potential for drama techniques in the foreign language classroom. Besides linguistic, social and cultural advantages, drama techniques help create context, provide a variety of communicative situations with different characters and offer a unique op-portunity to play in a foreign language and at the same time with a foreign language. We agree with Richard Via13 when he says: “A play is all communication. We don´t talk in pattern practices and drills. We talk in ideas. We talk with emotion. We talk with feeling and we must learn to add this to the words if we are going to have true communication.“14 He also emphasizes the need to use emotions in speech when he writes: “It is impossible for someone to be anyone else; therefore language learners need to add their own feelings and desires to any exercise if the language is to express what they wish it to express. If students are not expressing their own feelings, then their conversation is meaningless.“15

It is obvious that drama techniques represent a great teaching and learning tool in the process of learning how to use a foreign language fluently, accurately but mainly naturally. The following quotations show how authentic communication is perceived among teacher trainees:

Authentic communication is......spontaneous, without thinking how to say something correctly. You speak how sentences come to you, not according to books and dictionaries. (Zuzana)

13 Richard Via (an ex-actor and stage manager on Broadway) used theatre techniques and applied them in a foreign language classroom. According to him, learners facing communication barriers feel the same thing actors feel on the stage - they are being watched by an audience. Via even used to teach his language learners how to act professionally and followed the ideas of Russian director Constantin Stanislavski.

14 VIA, Richard, 1987, p. 114.15 Ibid., p. 113.

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... with background sounds, fast speech, people are talking at the same time. (Peter)

...when participants use body language and gestures, expressions such as hmm, and make pauses to breathe. (Ján)...when we meet a friend in the street and we just talk about anything and gossip without any prepara-tion of vocabulary and language forms in advance. (Ľubica)...what we go through a few times a day - when I want to buy something in a shop, when I talk to my friends about the girls at school, when I call to my parents to ask what´s new at home. (Petra)

The above-mentioned explanations cover:• the place where communication happens (street, school, home, shop…);• who communication partners are (friends, teachers, parents…);• how they are talking (gossiping, chatting…);• how they behave (they use body language, gestures, make pauses to breathe, use expressions

such as “hmmm”, talk fast, they talk spontaneously without any preparation and thinking how to say something correctly);

• when it happens (a few times a day);• the purpose of communication – why (to buy something, talk about girls, call parents to ask

what’s new).

In our perception authentic communication happens: • between/among speakers and listeners of different cultural origin, sex, age, status who ex-

change ideas with feelings, emotions and also express themselves non-verbally through body language;

• when sending and receiving messages with an intention to find out something, without preparation of speech in advance; therefore there are some pauses and hesitations in their speech too;

• in a place where background sounds are present;• daily.

In spite of the fact that almost all language teachers are professionally trained to follow the latest trends in communicative language teaching, they are not able to implement them efficiently in a foreign language classroom. A good coursebook based on the communicative approach can become a great teaching aid for both teachers and learners. However, the combination of the human aspect of a language teacher and his/her will to respect the variety of his/her learners’ needs, wants and lacks is unbeatable. Without proper application of the communicative ap-proach, our learners will hardly become confident and natural users of a  foreign language in real-life situations.

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ROLE-PLAYS AND SIMULATIONS

TASK 12. What do you think is the difference between a dialogue and a role-play?

TASK 13. What do you think is the difference between a role-play and a simulation?

• Role-play This is the most frequent and well-known drama technique used in a foreign language classroom. The participants act out specific roles in some relationship (e.g. parent – child, doctor – patient, two friends, married couple, etc.). The roles can be specifically defined (e.g. an angry boss and a lazy secretary, an inexperienced doctor and an old patient, a lost child and an old lady, etc.). The roles of real people and also celebrity and supernatural characters are very popular among learners (e.g. Brad Pitt, Angelina Jolie, Roald Dahl’s Matilda, Superman, a Martian, etc.). Role-plays enable us to look at a situation from a different perspective by experiencing it on our own. Since role-playing is quite a complex drama technique, it needs careful planning, designing and preparation. Role-play should be preceded by a set of activities where characters, their actions and setting are described or invented. Role-plays should respect age, proficiency level and the interests of learners. As for the follow-up, the technique “hot-seating” can be used to reveal characters’ actions and the reasons behind their decisions.

Example: Role A: You are a 17-year-old teenager and you want to stay overnight with your girlfriend at her parents´ house, while they are not at home. You need to ask permission from your parents. Prepare a few reasons to persuade your parents to allow you to do what you want.Role B: You are a very conservative parent of a 17-year-old teenager who wants to stay overnight with his girlfriend in her parents´ house, while they are not at home. React to this situation.

Role-plays should practise:• conversation skills of a character in a specific role (how to start, lead and finish a dialogue,

how to express oneself even with limited knowledge of vocabulary and grammar);• nonverbal communication through mime, gestures, facial expressions and body posture (how

to express the status of the character through body language, how to express meaning through mime, how to understand and react to the body language of other cultures);

• awareness of otherness (how to understand others’ feelings and motives for acting, how to share others’ attitudes);

• self-awareness (how to gain confidence, how to become accepted and understood);• creativity (how to communicate in unpredictable situations, how to solve unexpected problems);• social skills (how to socialize, how to negotiate, how to approach people).

How to use role-plays in a foreign language classroom?1. Preparation stage - creating:• characters – who they are?• place – where they are?

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• the purpose of their communication – why they are talking together?• content – what they are talking about?2. Production stage involves performing role-plays where learners in roles act as somebody else

in an invented situation. 1. Reflection stage is the final stage of a role-play where learners and teachers are together expected

to provide feedback on the quality of performed role-plays. The language used, creativity of learners in roles and their motives to act in certain ways are possible issues to be discussed and reflected on in a class.

Features of a good role-play Nowadays different types of role-plays are commonly integrated into language coursebooks. A well-designed role-play should be tailor-made. It should be:

• appropriate to the age level of learners and their life experience (a teenage learner would be unable to book a flight ticket without personal life experience);

• adjusted to the proficiency level of learners (the task should be clearly formulated and it should require the use of known words; it should require language appropriate to the age and proficiency level of learners);

• communicative (there should be a reason to start a dialogue, negotiate and exchange infor-mation via applying different language functions);

• manageable in a given time limit (it should not be either too simple or too demanding to ac-complish);

• well-designed (1. there should be enough information about characters – who they are, what their relationship is to each other, what they are like, what they feel like, 2. description of set-ting – where the conversation happens, 3. moment of surprise – a twisting element in a dialogue where something unexpected happens).

TASK 14. Read the following role-plays and discuss:1. What age and proficiency level are they appropriate for?2. Would they be interesting for your learners? Why do you think so?3. Are they authentic enough? What makes them authentic? 4. Which language structures and functions can be practised through these role-plays?5. Which role-play do you like the most? Why? 6. Is it clear WHO the characters are, WHAT they are supposed to discuss, WHERE and

WHEN the dialogue happens?7. Is there any moment of surprise/tension?8. How would you modify the following role-plays so that they sounded more attractive

to your learners? 9. How would you design a simple version of a role-play for adults – beginners?10. Which steps would you follow if you used one of the role-plays in your class?

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The following role-plays are designed differently on purpose. Analyse them answering the ques-tions 1 – 10 above.

ROLE-PLAY A:You: You are a sports journalist from a magazine called Sport. You want to write a short article about a well-known Slovak sportsman. Do an interview with him and find out about how he started his career, the teams he played for, biggest life achievement, and about his future plans.

Your partner: You are a well-known Slovak sportsman/sportswoman. A sports journalist wants to write an article about you for a magazine called Sport. Answer his questions.

ROLE-PLAY B:You: You are having dinner in an expensive restaurant with your parents. Unfortunately, there are some problems. Complain to the manager of the restaurant about the quality of the food, service and waiting time. Your parents are not willing to pay for the food.

Your partner: You are the manager of an expensive restaurant. Some guests are complaining about the food, service and waiting time. They even refuse to pay for the food. Apologize to them and charge them only for drinks.

ROLE-PLAY C:You: You are walking to school and you are in a hurry because today you are sitting a very important exam. A foreigner stops you and asks you how to get to the nearest police station. His English is not very good so he will ask you to re-explain the directions. You are quite nervous because you want to be at school on time but you also want to be polite and help the foreigner.

Your partner: You are a foreigner visiting Slovakia. Your car was stolen. You are desperately looking for the nearest police station and you have stopped a student to ask him how to get there. Your English is not perfect and you have some problems understanding it. Ask for repetitions, reformulations and re-explanations.

ROLE-PLAY D: “FASHIONABLE GRANNY”Produce a dialogue between a young man and his grandmother who is learning how to use a mobile phone. Pretend you’re in an extreme situation of two people not hearing or understanding each other. To make the situation more real, use proper intonation, raise voice when necessary, make pauses and use body language.

Granny: You have received a new mobile phone from your grandson who worries about you and wants to be in touch with you more often. Your grandson will explain to you how to use it. You are quite old and you do not hear very well. You also wear false teeth so it is not easy to understand you. You find using the mobile phone very difficult and you really do not understand the instructions of your grandson. Ask for repetitions and reformulations until you understand.

Grandson: You have bought a mobile phone for your granny to be in touch with her more often. You are explaining to her how to use it. She is quite old and cannot hear very well. She also wears false teeth so it is not easy to understand her. What is even worse, she does not understand your instructions, so be patient and re-explain to her how to use the mobile until she understands.

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TASK 15. Modify one of the above role-plays in a way that makes it more exciting for your learners. Make the roles more interesting, controversial; invent some tension either between the characters or tension in the situation. Re-design it and then ask your colleagues/learners to role-play it in front of the class. Give them some time for rehearsing.

• SimulationsAccording to Ken Jones, “In a very real sense, a simulation is like a strawberry. It has to be tasted to be appreciated.”16

What is simulation?Simulation is a technique in which a clearly specified and realistic place and characters with background information and duties are created and a problem is solved, in the form of a discus-sion among the characters with the presence of concrete facts (written documents, letters, maps, newspapers etc.). A simulation is according to Ken Jones, “reality of function in a simulated and structured environment”.17 In simulation, learners have a role and clearly specified responsibilities. They respond to the task, solve the problem, analyse it, speculate, discuss, judge and evaluate it. They shape the event by their comments and behaviour. They should (but sometimes they do not have to) arrive at a conclusion and solve the problem.

Why use simulation in a foreign language classroom?• it lowers anxiety and breaks the ice in communicating in a foreign language;• it increases students’ talking time and decreases teacher’s talking time (teacher is in the role

of a facilitator or occasionally participates directly in the simulation);• it practises all language skills; • it brings reality of characters, setting, problems, and a real need to communicate;• it encourages thinking, creativity and motivation;• it provides opportunities to practise fluency and accuracy in context;• it promotes the development of interpersonal relations and social skills.

What is the difference between a simulation and a role-play?The terms “simulation” and “role-play” have been used interchangeably. Simulations have a broader concept and may include some elements of role-play. They are usually longer (they may last a few hours, weeks, months) and are more complex. The participants use their own life experience when solving the problems. The main aim is to provide an opportunity to communicate extensively in a realistic setting while the main aim of the role-play is to practise language functions in a con-trolled context.

16 JONES, Ken: Simulations in Language Teaching. 1st ed. Cambridge: Cambridge University Press 1982, p. 7. ISBN 978-0521270-45-8.

17 Ibid., p. 113.

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How to use simulations in a foreign language classroom.Before using a simulation with your learners, consider the following questions:

• Will it be suitable for your class? • Does it reflect your learners’ needs and wants? • Will your learners be interested in the topic? • Will all the class be involved? • Do your learners have any life experience to solve the problem in the simulation? • How much time are you willing to spend on it in a lesson?

Preparation stage: • arrange the furniture to create the real setting (e.g. court, office, canteen, club);• present/practise the language needed for simulation;• make your learners familiar with their roles, background, and with the documents available (e.g.

photographs, letters, invoices...). You might prepare some forms to be filled in to better define the role of a character through identifying his hobbies, personality, job, family relation etc.;

• start with some introduction activities and simple role-plays until all participants know their own and each other’s roles well;

• be in the role of a facilitator.

Action stage: Teacher is advised to be in the role of an observer without any intervention. Let simulation flow on its own. Learners interact and respond to the task and try to get the problem solved.

Reflection stage:Debriefing after action is the follow-up. Basically, the language and the behaviour of the characters can be discussed and focused on. Learners can express their feelings and specify the problems they had during simulation. They might ask about the meaning of some unknown words they needed during the activity. Students can describe what compensation strategies they used (if any) and how they behaved when they were lacking some words in particular situations. This stage is suitable for self-evaluation, where learners can evaluate their own language mastery and the way they interacted and cooperated with others. They may also comment on the simulation itself and discuss its relevance and connection to real life.

Example: “Spaceship”18

Scenario: The learners are inhabitants of a small city where an unknown spaceship with aliens has landed. They are at a meeting where they have to decide what they will do with the spaceship and how they will treat the aliens.

18 JONES, Ken, 1982.

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Setting: City Hall, a meeting room

Roles: mayor, members of the city council, doctor, priest, teacher, biologist, vet, farmer, town inhab-itants (children, their parents and grandparents).

Documents: • handout for each participant of the simulation explaining what it is about;• set of role cards (more learners may have the same role)• photographs of aliens;• invitation letter for aliens written by an unknown person;• a complaint letter written by farmers whose crops were damaged by the spaceship.

Stage 1: Create the setting of a meeting room in a city hall. Introduce the characters with their roles. Let your learners choose the one they feel comfortable with. Introduce the documents. Pre-teach the language your learners might need. Check whether everybody is familiar with his role and knows his responsibilities. Start with a short introduction and ice-breaking activities (such as miming, voice activities, statues etc.). Give your learners enough time to cope with their task. Start with short role-plays between/among characters.

Stage 2: Enjoy the action of simulation. Let the conversation flow and develop on its own. Be an active observer, take notes of reactions of your learners during the simulation.

Stage 3:Debriefing. Ask about the feelings and the way they followed when they were solving the problem. Ask your learners to evaluate their own contribution to the problem-solving process. Ask what they learned, what they liked, what they did not like and what they would do differently next time.

Example of a role card:

Role 1: A MayorI am a recently elected Mayor in a small town in eastern Slovakia. The inhabitants of my town trust me a lot and I do not want to disappoint them with a wrong decision about the unknown spaceship with aliens. I will explain to others what might happen if we approach the spaceship and try to open it. I will certainly ask the biologist how opening the spaceship might effect the health of the people in my town. I should not lose patience with the farmers who are very angry because the spaceship landed on their fields and destroyed crops. I need to find out who sent the invitation letter to the aliens. I need to listen to everybody and find out their opinions on the problem. I have to be careful in offering a final solution. It needs to be approved by more than half of the present city representatives.

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TASK 15. How would you extend the following role-play into a simulation? Consider the situa-tion, setting, characters and their responsibilities. Prepare the scenario.

Role A: You and your friends are fans of the pop group U2 and you were planning to go to their concert together. You went to buy the tickets but you got the two last ones. How will you react? Who will go to the concert? Role B: You have a car and you promised to drive it to the U2 concert with your friends. However, you do not have a ticket yet.Role C: You are the biggest fan of the group U2. You finally have a chance to go to their concert with your friends. You have already paid A for the ticket that he was supposed to buy for you.

MAKING COURSEBOOK DIALOGUES ALIVE VIA DRAMA TECHNIQUES

TASK 16. Which coursebooks do you use for teaching English? Do these coursebooks teach your learners authentic language? Explain.

TASK 17. Do you think the dialogues in the coursebooks you use are authentic enough? Explain.

TASK 18. Read the following coursebook dialogue and decide what kind of learners it is ap-propriate for (their age and proficiency level). Which teaching techniques would you use when working with this dialogue? Explain their goals and procedure.

A sample dialogue: Shop assistant: Good morning, Madam. May I help you?Sandra: Good morning. I need a pair of socks.Shop assistant: What’s your size?Sandra: Number 38.Shop assistant: What colour do you prefer?Sandra: Uhm, black.Shop assistant: How about these ones? Sandra: I’ll take them. How much are they?Shop assistant: 2.50.Sandra: OK.

• Becoming familiar with a dialogue Before using a cousebook dialogue, make sure that you first become familiar with it. Set clear goals and objectives (linguistic, cultural, social). Predict the language your learners will be and will not be familiar with. Try to be creative when using a dialogue with your learners. Start with simple

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activities which pre-teach new vocabulary, grammar structures and functions. Involve auditory, visual, tactile and kinaesthetic learners through miming and guessing new words. Make sure you write them on the blackboard or on slips of paper. With your learners, drill their pronunciation in chorus, then in small groups, finally inviting individuals. Create short chants to remember new vocabulary and its pronunciation better.

• Visualization of charactersDiscuss the dialogue characters and let your learners draw them according to their imagination. Older learners might prefer searching for some photos on the Internet. The technique called “Statues” can be used in order to make a still image to depict the dialogue characters and their relationship in a particular moment in a dialogue. Their bodies are frozen as in a photograph. Other learners comment on these characters, discuss their relationship and tension (if there is any) in order to understand better the characters’ feelings and their motives for action.

• Reading techniques Reading a dialogue sounds a rather traditional technique. However, it is undeniably a crucial step towards complex language practice and acquisition. Learners should get a correct pronunciation and intonation model either from listening to a recording accompanying the coursebook or from a teacher who reads the dialogue aloud in front of the class.

• Reading aloud. After listening to a dialogue, learners practise their pronunciation and intona-tion through different types of drills (with a teacher, in small groups, in pairs, individually) until feeling confident enough to pronounce new words correctly.

• Reading in roles. Learners are welcome to experiment and read the lines of characters depend-ing on their mood (reading in a happy, angry, sad, tired way; reading aloud as if old, young, a teenager, a small child or reading aloud in a high or low status).

• Reading and acting out a dialogue. A pair of learners read a dialogue in roles while the other pair of learners act out the same dialogue simultaneously. Another possibility is that another pair of learners create a soundtrack to the dialogue and sing along while the other two pairs read and act out the same dialogue. Finally, dancing by learners in the mood of a dialogue or dialogue characters may accompany the whole process.

• Dialogue aside This is an advanced version of the role-play in which characters play their roles, make conversation but add extra information which should not be said aloud because it reflects their real attitude and could sound impolite or too honest. This creates tension and reveals the characters´ intentions and attitudes. This extra information can be whispered as an aside by the characters.

A in role: The sushi you made is just delicious! You are such a great cook!(A aside: ...Uh, It’s awful. I am already feeling sick….)B in role: I spent all day cooking, my dear…(B aside): ...I hope he will not notice that I bought it in a sushi bar....

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• Voices in the head (Brain)Learners are in roles and are sitting. The same number of learners are standing and facing the sitting learners. They are in the roles of their brains and say “true” things aloud. The sitting learners make conversation and their “brains” comment on what they really think.

• Dubbing Learners read a coursebook dialogue in the way that they follow the exact lines but do not say them aloud. They just open their mouths. Another pair of learners follows the same dialogue and reads it aloud as if they were dubbing it.

• Creating settingIf a dialogue is demonstrated in a traditional classroom arrangement, an experience of authentic communication will never be achieved. The classroom needs to be rearranged, changed into a dif-ferent setting with colours, smells and sounds.

ClassroomarrangementAfter doing this activity, learners will become familiar with the space in their classroom.The first thing is to rearrange the classroom and change it into a dialogue setting. If a dialogue takes place in a restaurant, invite your learners to rearrange it in that way. Decide where the entrance, tables, chairs, bar, kitchen etc. will be placed. Comments: this activity is always helpful in practising prepositions of place such as near, behind, in front of, next to, between, above, below, on, under, in etc.

If a dialogue takes place in a train station, create the whole scene together. Draw rails with chalk on the floor, decide where the waiting room, ticket office and fast-food restaurants are.

Another way of creating setting is to “furnish” an empty classroom with invisible furniture. Learn-ers in groups pretend to move themselves into a one-room flat. They are arranging it, for example, with a heavy sofa, a huge TV set, a bed, tropical flowers and so on. They mime how they carry the furniture and place it in a flat. They have to achieve compromise as to where the furniture will be placed. Each piece of furniture has its own position, so learners should respect this when “visiting each other” and not walk through walls and so on. If they can not “see” where the furniture was placed, they can ask their hosts.

Sounds,smells,colours,sizeandtouchAfter doing this activity, learners will be able to better imagine the scene of a dialogue using their senses.

• Tell your learners to close their eyes. Guide their fantasy through the following questions:Example: Creating a setting in a restaurant. What colour are the walls in this restaurant? What colour are the curtains? Tablecloths? Car-pet?... How big are the tables? What is their shape? What is on the tables? What smells can you smell? Are they pleasant? What do they remind you of? Which sounds can you hear? Can you make the same sounds? What can you hear in the morning? What can you hear in the evening?

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• Invite students to “touch” objects created by their imagination. What is it like to touch an old wooden table? Is it pleasant? Why? Why not?

• Creating charactersCoursebook dialogues do not tell us much about their characters. We get to know them either through pictures in a coursebook or short videos from DVDs. We hardly know their first names. We know nothing about their feelings, attitudes and problems. Creating characters and shaping them as real human beings is up to our learners’ imaginations. The following drama techniques demonstrate how their appearance, behaviour, manners, status and way of walking and speaking can be gradually created.

ClayThe objective of this activity is to “model” a dialogue character (or any other character) according to learners’ imaginations. Learners work in small groups where some are in the role of sculptors and others are a pile of clay. The sculptors model a statue (from learners who are in the role of clay) that is identical to a dialogue character. The statue is modelled in a specific position and shows any moment from a dialogue. Modification: The sculptor does not touch the clay but gives clear instructions to the learner who is in the role of clay. For example: Raise you head slowly and look up. Bend your knees. Lean forward…

PhysicalappearanceThe objective of this activity is to create the physical appearance of dialogue characters. Learners choose some props from their drama box and disguise themselves with hats, scarves, glasses, wigs etc. Another possibility is to draw characters or use old pictures from magazines or photographs. As for the follow-ups, learners in groups create statues (see the technique above) and describe their physical appearance. Example: This is Lady Gaga, she is wearing a …, she is holding a …, she is singing ….

StatusStatus is defined as one’s social or professional rank or position, considered in relation to other people. Each communication situation requires a different status between communication partners depending on their social position, relationship or mood. For example, a teacher can act in a high status when talking to his/her students and at the same time can be in a low status when talking to his/her superior, a school headteacher. Sometimes people change their status within the same communication situation (e.g. a modest teacher initially in a low status will gradually turn it into a higher status when arguing with a colleague). The chart below demonstrates some features of the low and high status of characters.

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low status high status

nonverbal features

• indirect, avoiding eye contact•hunched shoulders•worried facial features• closed palms

•direct eye contact• body straightened up• confidence in facial and body expression• open palms

verbal and suprasegmental features

• stammering• low voice level•poor articulation, muttering•poor intonation

•fluent speech•distinct intonation and accent • exaggerated articulation

Status of characters can be practised in small steps through:• The individual practice of nonverbal features: how the character walks, sits, looks at others,

shakes hands, hugs others...;• individual practice of suprasegmental features: voice depth, intonation, stress, the sounds the

character makes (how he/she smiles, laughs, weeps, coughs, hums etc.).

Examples of activities to practise status in a foreign language classroom:

MimingadjectivesPrepare a pile of cards with adjectives on them. Choose one card and without showing it to others, mime the adjective which is written there. Demonstrate an example. Let your learners guess. Then your learners take turns and do the same.Comment: This activity appears to be very simple. However, it is very demanding especially for drama beginners who have difficulties to “act” in front of their classmates. Make sure you cover a variety of adjectives showing positive and negative feelings. Modification: Prepare two files in advance: one file with adjectives (e.g. angry, cheerful, funny, sleepy, …), the second one with activities (open the window, walk, play tennis, …). Then invite learners to mime both expressions together (e.g. walk in an angry way, open the window in a cheerful way, etc.).

Readingadialogueinhighandlowstatus19

Prepare a coursebook dialogue in advance. First, practise reading the roles in a low status with all the class and then in a high status. Finally, learners practise reading aloud in high and low status in pairs. Comments: Learners read a dialogue in a different status while the rest of the learners listen carefully and have to decide who was in high and in low status.

Stillimage(frozenpicture,tabloid,tableaux)Still imageis a drama technique that is used to clarify context, characters and their needs. It helps learners visually distiguish between characters in high and low status and their relationship in a spe-cific communication situation. A group of learners in the roles of dialogue characters show via frozen

19 We learnt the “status” technique and “status” activities from BELTS – Bratislava English Language Theatre Society in 2000.

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picture a key moment from a dialogue without using any words. Learners use mimes, gestures and body posture to such an extent that a message is clear to all viewers. Learners can show their status in different positions (learners with high status stand on a chair, learners in low status can kneel). Viewers evaluate and speculate on the created images, discuss the roles of characters, their status and relationship. A good tabloid shows clearly who the characters are and what their relationship is. Modification: The alternative technique, “Touch and Tell”, is based on a similar principle as “Still Image”. When learners who show the frozen picture are touched on the shoulder by the viewers or a teacher, they speak their thoughts in the role.

MasterandservantThe aim of this activity is to practise playing characters of low and high status and experience the twist when the character of low status changes to high status and vice versa. Learners in pairs are in the roles of a master and a servant who constantly gets ridiculous orders from his master who is of high status. However, the servant gets tired of his lazy master and gradually becomes angry (in high status) while his master becomes calmer (in low status). Example: Master: Servant, come here, immediately, scratch my back. (Servant comes, scratches his master’s back and leaves.) (In a moment.) Master: Servant, come here, bring me a glass of wine. …..(in high status)Servant: Sir, here you are… (in low status) Master: Servant, where are you? There is a fly on my hand. Do something about it…. ……(after a few orders)Servant: Of course, Sir. (slightly changing the status – intonation, mime, way of walking) Master: Servant, where are you? Come here, immediately. There’s a fly in my wine….Servant: Yes, sir. And what? What do you want me to do with the fly this time? (gradually increasing the status)…Master: What do you mean? (surprise, change of status from high to low)…

• Creating a dramatic hook (moment of surprise, dramatic tension)20

A dramatic hook is the moment in which the behaviour of characters unexpectedly changes. Such a twist in a dialogue (or in a story) conditions the development of forthcoming scenes. If there were no hook in films and theatre plays, they would be boring, monotonous and predictable. In real life, we are all excellent creators of different situations that contain a lot of tension. Misunderstandings, emotions, love, hate, envy are excellent stimuli to dramatize coursebook dialogues. A moment of surprise or dramatic tension makes a dialogue more interesting and stimulating for learners. When acting the dialogues out, teachers should encourage their learners to use their voice potential to the maximum and exaggerate their actions. Exaggeration would help our learners identify better with their role and act it out in a more “professional” way.

20 For the importance of dramatic hook, see COCKETT, Stephen – FOX, Geoff, 1999.

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TASK 19: Compare and contrast the following dialogues. What makes them different from each other? What do you know about the characters and setting? Which element creates the moment of surprise in the second dialogue?

DIALOGUE 1:Shop assistant: Good morning, Madam. May I help you?Sandra: Good morning. I need a pair of socks.Shop assistant: What’s your size?Sandra: Number 38.Shop assistant: What colour do you prefer?Sandra: Uhm, black.Shop assistant: How about these ones? Sandra: I’ll take them. How much are they?Shop assistant: 2.50.Sandra: OK. I’ll take them.

DIALOGUE 2:Shop assistant: Good morning. May I help you? (looking down without paying much attention to a customer)Sandra: Good morning. I need a pair of socks. (in a hurry)Shop assistant: What size? (in bored voice still looking down)...Sandra: Excuse me? (impatient... in a hurry) Shop assistant: Madam, what size? (saying words separately)Sandra: Hmm...(thinking, no answer, her mobile is ringing)Shop assistant: Size ?!? (upset, raising eyes at the customer) (this is the first time their eyes meet) Silence...she is talking on the phone ignoring the shop assistant. Suddenly, she takes off her sunglasses.Shop assistant: ...Oh my God !?!.... Sandra Bullock.... wow, I can´t believe...Oh, boy,... Sandra Bullock.... in our shop.... Wow… (stammering, showing surprise)Sandra: Shhh....(putting sunglasses back on her eyes) Number 38. Sorry, could you hurry up? (very impatient) Shop assistant: 38. Nice. Socks. Socks for Sandra Bullock. (dreaming with socks in hands) (After a while...) Number 38 for you, please (very polite, everything is falling from his hands still staring at her... )Sandra: Uhm, black.Shop assistant: Black? You mean black black? Or just black? Sandra: I´ll take these. (grabbing a pair from his hands) How much are they?Shop assistant: 2.50 EUROS but today we have a special offer on black socks. (showing his cheek and expecting a kiss from Sandra)Sandra: You know what!!! (angry)Shop assistant: (He has closed his eyes and is expecting a kiss.)Sandra: I’ve wasted 5 minutes with such an idiot who thinks that I am Sandra

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Bullock! Wake up! Are you seriously expecting a kiss for a pair of black socks?! (loses temper)Shop assistant: (speechless...)Sandra: No. Thanks. I don´t like you, nor these socks ...(throwing them at the shop assistant and leaving the shop)

TASK 20: Read the dialogue below. Which drama techniques would you possibly use when work-ing with this dialogue in a class of teenagers? Suggest some non-traditional teaching techniques to make the work with the dialogue more creative and interesting for learners.

Friend: I like your ring, Daphne.Daphne: Do you?Friend: Umm.Daphne: It’s my engagement ring.Friend: I didn‘t know you were engaged.Daphne: Of course I was. Well, for a short while, when I was eighteen…Friend: It’s a really nice ring.Daphne: Umm, yes it is quite nice. Friend: Was it expensive?Daphne: Well, he said it was expensive but I’m not sure really.

TASK 21: Analyse the dialogue above between Daphne and her friend. Answer the following questions.

• WHO are the characters in the dialogue? What is their relationship? What is their status? What do they look like? What are they like?

• WHERE is the dialogue happening? Smells/colours/sounds?• WHAT is unexpected/surprising in the dialogue? Dramatic hook? Dramatic tension?

TASK 22: In pairs prepare a short scene using the dialogue between Daphne and her friend. • Create the characters and show their relationship. Decide what kind of Daphne you will play.

Who is Daphne’s partner in the dialogue? Her friend? Best friend pretending to be her best friend? Her hairdresser? A neighbour?

• Create a dynamic setting (e.g. setting in a restaurant would require quite static action in com-parison with pretending as if for example jogging in the park, chasing a dog, painting walls etc.).

• Surprise your audience with something unexpected (e.g. getting a heart attack in the middle of  the dialogue, changing status, Daphne and her friend were engaged to the same person etc.).

• Perform your dialogue in front of the class and ask for feedback.

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TASK 23: Read more examples of drama techniques and activities to dramatize a dialogue between Daphne and her friend. Try to use some of them in your class and write down your reflections answering the questions below.

WARM-UPs(Ice-breaking, socializing) Objectives: After doing these warm-up activities, successful learners will be able to:• identify better with

dialogue characters (their way of walking)

WALKING IN THE SPACEInvite your learners to walk in the space of your classroom in the usual way, then fast, very slowly, in a different mood (as if you were angry/happy), as if you were a small child learning how to walk, as if you were an old person walking with a walking stick, walking on high-heeled shoes, skating, skiing, walking on ice, in deep water, in a glass ball, walking a dog etc.Give commands one after the other giving enough time and opportunity to experience precisely every single movement.

•develop physical contact needed for drama activities

BECOMING AWARE OF EACH OTHERTell your learners to mingle in class and touch people in a group on their shoulder if they have short hair, long hair, earrings, rings, bracelet or watch. Example: Mingle in the class. Touch somebody who is wearing a watch. Ok. Mingle again. This time touch somebody who is wearing a ring…..(This activity leads learners to the key words of the dialogue that will be dramatized later.)

PRE-DRAMA Objectives: After doing these pre-drama activities, successful learners will be able to:• create tension of suspense •describe the shape and

quality of the object through touching it

PASSING AN OBJECTPrepare a “ring” made from wire. Learners standing in a circle pass this object behind their backs without knowing what it is. Elicit what the object is via some of these questions:•What’s the shape of the object? •What material is it made of? •What is it like? Is it cold? Warm? Rough?

•describe the object and express different purposes of its usage

I WOULD USE IT FOR…Learners standing in a circle pass the same “ring” from the previous activity. This time they can keep it in their hands for a while, touch it and invent possible ways in which to use it. Example: I would use it for cutting…. I would use it for decorating my T-shirt….

• initiate and lead a dialogue on exchanging objects of different value

• increase/decrease status through words

EXCHANGING OBJECTSIn pairs, tell learners to exchange weird objects of very low (or no) value. However, they will gradually exchange more and more objects with higher and higher value. It is interesting to see the highest value of objects they come up with.Comment: Learners usually end up with “the universe” or a planet. Example: A: Mike, I’ve got something for you. It’s tiny but cute. B: What is it, my dear?A: A hair, my hair. Here you are….B: Oh, thank you. It’s so nice. I’ve got something for you too. It’s my nail…

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• reveal their real feelings through stress and intonation

USING YOUR VOICE POTENTIAL “I LIKE IT”Learners standing in a circle pass a “ring” (it can be just a circle made from wire). Each learner gets the “ring” and says the sentence “I like it” in accordance with his/her real mood, feelings and emotions at that moment.

•make short dialogues between dialogue characters when they are sincere and when they are pretending something

BRAIN ACTIVITY In a group of four, learners give compliments to each other. A: “I like it” (pretending) and BRAIN B: “It’s awful.” (sincere) A: I like your ring. BRAIN A: It’s awful.

B: Oh, really? BRAIN B: I don’t believe her. She’s just pretending.

• to develop a dialogue with the elements of story-telling

• to show interest in a story• to tell a short story in an

interesting way

BUILDING UP A SHORT STORYIn pairs, sentence starters are developed into dialogues with elements of storytelling.A: I like your ring. Where did you get it?B: Well, you know, I was ....A: Really? What happened?B: You know, once ... A: …

• to read the dialogue through emotions by using their voice potential

CHORAL READING OF A DIALOGUEGive learners a copy of the dialogue between Daphne and her friend (see the dialogue above, Task 20). Read the dialogue according to suggested reading techniques (see Reading Techniques in this chapter).

Tell learners to vary their voice and use their voice potential to the maximum (e.g. whispering, silent reading, normal reading, loud reading, shouting…)

Tell learners to read the same dialogue using different emotions (e.g. in a happy way, in an angry way, in a shy way... etc.). Final reading practice can combine the practice of voice potential and reading in different emotions.

• create a statue showing the key moment from a dialogue

TABLOID/ STILL IMAGEPut learners into groups according to the objects they have in common, e.g. people wearing watches would form one group, people wearing bracelets would form a different group, people with a ring would create another group, etc.)

Learners in groups create a frozen picture (a photo/a statue) showing the key moment from the dialogue.

Possible modification: “Touch and say techniques” – each character says a sentence related to the situation shown in the photo/statue when being touched. Then they freeze again.

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DRAMAObjectives: After this part, successful learners will be able to:• create short scenes using

the coursebook dialogues in a more stimulating way (with dialogue characters, setting and developed dramatic hook/dramatic tension)

CREATING SCENARIOS AND PERFORMING SHORT SCENES In the groups formed earlier, learners create short scenarios using coursebook dialogues (with dialogue characters, invented setting and developed dramatic hook). Make sure you provide your learners with enough time for preparation. With your learners decide where the stage is and where the viewers are. Learners on the stage act out their short scenes. They start from a FROZEN position, act out the dialogue and FREEZE again at the end. This shows the viewers that it is the end of their performance. Invite your learners to clap each other after each performance.

CALM DOWN Objectives: After this part, successful learners will be able to:•discuss the objectives of

the lesson, share their feelings and experiences, suggest possible improvements and modifications of drama-based activities

REFLECTIONAfter doing the above activities, reflect on them in the role of a future teacher answering the following questions:1. Which drama techniques were used in this lesson plan? 2. Which activities did you like most? Why?3. Which activities did you like least? Why?4. Which elements of language are practised via this lesson plan?5. How did you feel when using/doing the activities?6. What were the reactions of your colleagues/ classmates when doing the listed activities?7. What changes would you make in this lesson plan?

SUMMARY:

One of the main goals of language teachers is to educate communicatively competent learners who are ready to use the target language fluently, accurately and efficiently in real life. Therefore, learners should be provided with a lot of opportunities to practise a foreign language in dif-ferent communicative situations that are almost authentic. Coursebook dialogues practise new language in context but at the same time they enable our learners to create authentic characters in a specific setting where something unpredictable happens (dramatic hook). Their potential should be used to the maximum. Drawing dialogue characters, reading their lines using dif-ferent emotions and in a different status, making still images, acting out roles of real or unreal characters and many other drama-based techniques make coursebook dialogues alive and more stimulating for our learners. Learning by doing, or learning via direct experience makes learning more efficient and enjoyable.

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Questions for you CHAPTER III.

1. Why is teaching authentic communication the main goal of language teachers? How (if at all) can it be achieved through drama techniques in a foreign language classroom?

2. What are the features of a well-designed role-play and simulation?3. Which drama techniques are recommended in this chapter when working with a coursebook

dialogue?4. Which drama techniques can be used to make dialogue characters come alive?5. Choose a  dialogue from any English coursebook. Read it and discuss whether it contains

any features of authentic communication. Suggest some drama techniques useful for creating setting, characters and dramatic hook/dramatic tension.

REFLECTION BOX 3. Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after studying Chapter III.

After studying CHAPTER III. I am able to: YES I WISH TO IMPROVE

• explain the features of authentic communication

• tell the difference between role-play and simulation

•design a role-play and simulation in accordance with my learners’ communicative needs, interests, age and language proficiency

•make a coursebook dialogue more alive using drama techniques

•work with coursebook dialogues and texts more efficiently and not depend on a coursebook

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CHAPTER IV.

DRAMATIZING LITERATURE IN THE FOREIGN LANGUAGE CLASSROOM

CHAPTER IV. DRAMATIZING LITERATURE IN A FOREIGN LANGUAGE CLASSROOMIn this chapter, you will come across the following issues: 1. Teaching literature through drama techniques. 2. Drama techniques and picture books.3. Drama techniques and poetry.

TASK 27: What is the role of using literature in a foreign language classroom? Which literary genres (short stories, fables, fairy tales, poems, etc.) do you prefer? What might be the goals and objectives (linguistic, social, cultural) to be focused on when using specific literary genres in a foreign language classroom?

TEACHING LITERATURE THROUGH DRAMA TECHNIQUES

Authentic literary texts can be an efficient and inspiring tool in foreign language teaching. There are many ways in which a teacher can work with a literary text, applying drama techniques. We see this connection (drama techniques and literature) as very natural and definitely enriching.

Literature:• provides inspiring and interesting material which can be dramatized in different ways; • offers authentic vocabulary in a meaningful context;• motivates and engages if it is presented in an interesting and thought-provoking way; • teaches us about human character, values and traditions – it is a source of cultural, social and

spiritual information;• connected with drama techniques, can increase the number of language skills that are prac-

tised (reading skills, writing skills, speaking skills, etc.).

Nowadays, we often learn that children do not read, or if they do, they read very little. Being aware of this, we think that drama techniques - which are based on the notion of AS-IF and play/ play-fulness - can serve as a wonderful tool by which to motivate children to read more and to think critically about what they read.

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If we want to use literature in teaching English to children, we need to take into consideration several things. The most important is, naturally, the selection of the text, which should be done carefully. The text should be selected according to:

• the age of learners• learners’ interests• proficiency level (easy-readers are also a possibility)• the structure of the class (gender, abilities, group dynamics, relationships, classroom atmos-

phere) There is a wide spectrum of genres and literary forms that can be used in many ways in English language teaching.21 Therefore, we have decided to suggest activities for two types of children’s literature: picture books and poetry.

DRAMA TECHNIQUES AND PICTURE BOOKS

Picture books are an extremely popular genre in English – speaking countries. The story in these books is narrated either through pictures only, or, through the complex interplay between visual and verbal aspects. Picture books are often aimed at youngest children, but there are also picture books for older readers. To show the drama potential in using picture books, we have chosen three books written for younger children. The language used in all of them is simple and nice illustrations express the story of the books.

TheStinkyCheeseManandOtherFairlyStupidTales (Jon Sciezska and Lane Smith)Jon Sciezska (writer) and Lane Smith (illustrator) are the authors of several popular picture books for children, for instance The True Story of Three Little Pigs22, Math Curse23, or Science Verse24. The Stinky Cheese Man and Other Fairly Stupid Tales is an entertaining book based on humorous and ironical transformations of classic fairy tales. Characters and stories such as Chicken Licken, The Really Ugly Duckling, The Tortoise and the Hare, Cinderumpelstiltskin, Little Red Riding Shorts, The Stinky Cheese Man and The Other Frog Prince suggest that the reader finds twisted and subverted stories whose humour is based on recognition of the original tales. Some of the stories are also well-known to Slovak children, such as Červená čiapočka [Little Red Riding Hood], Škaredé káčatko [Ugly Duckling], Žabí princ [The Frog Prince].

21 See for example SHIBU, Simon: Teaching Literature in ELT / TESCOL Classes. 1st ed. New Delhi : Sarup and Sons 2006. 124 p. ISBN 978-8176256-57-5.

22 SCIEZSKA, Jon – SMITH, Lane: The True Story of Three Little Pigs. 10th ed. London : Puffin Books 1996. 32 p. ISBN 978-0140544-51-0.

23 SCIEZSKA, Jon – SMITH, Lane: Math Curse. 1st ed. London : Viking Juvenile 1995. 32 p. ISBN 978-0670861-94-1.24 SCIEZSKA, Jon – SMITH, Lane: Science Verse. 1st ed. London : Viking Juvenile 2004. 40 p. ISBN 978-0670910-57-1.

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The following drama-based activities are aimed at young learners (aged 10-12 years), proficiency level A2:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•use the structure “There

is a … in my bed.” and say what bothers them in their imaginary bed

• recreate the story about the Princess and the Bowling Ball with the help of the teache

THERE IS SOMETHING IN MY BED...: MIME AND SAY(based on the Princess and the Bowling Ball)Invite your learners to sit in a circle. Sit down on the carpet in the circle if there is one in the classroom. Tell them to show how tired they are. Encourage them to use mime and gestures. Tell them to go to bed, where they pretend to have found something under their mattress. Start with the sample sentence: Oh, there is a book in my bed. Take the book The Stinky Cheese Man, but do not open it yet. Ask your pupils: “What is in your bed?” Elicit answers and ask what bothers them in their beds. Ask pupils whether they know the fairy tale about the Princess and the Pea. Elicit the story in your mother tongue. Show the pictures in the book to increase your pupils’ interest before reading it to the class.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• to create the “tabloid”

(still image) related to the story

•describe the characters and their relationship/actions in the tabloids in relevance to the picture book

FAIRY TALE TABLOIDS Sit in a circle with your pupils, go through the picture book together. Focus on pictures and elicit what is strange about this book. Ask why the author wrote the stories which look to be confusing and twisted. Let your pupils choose the fairy tale from the book which they want to hear about. After reading it, put your pupils into groups of four and instruct them to create the “tabloid” (still image) related to the fairy tale. Give your pupils enough time to show their tabloids to other learners. Ask the rest of the class to comment on what they can see. Help them with the sentence starters:There is a/ There are some ... . He/ She is very... . He/ she is/ they are... + ing. I like/ don’t like him/ her/ them because ... .

AFTER-READINGObjectives: After doing this activity, successful learners will be able to:•modify a fairy tale, its

protagonists and their actions

• comment on the pictures with a modified version of the fairy tale

• evaluate and provide suggestions on possible improvements of the twisted version of the fairy tale

•perform the new version of the fairy tale related to their picture

TWISTED FAIRY TALE Pupils in groups of three choose the fairy tale they are the most familiar with. Provide them with a large piece of paper for drawing its twisted version. Encourage them to be creative without any imagination limits. (For example: the main protagonists would look differently and would do the opposite of what they are expected to do.) Display their pictures on the wall in the classroom. Below each picture, place a blank sheet of paper for pupils’ comments and possible suggestions on how to improve the fairy tale or how to make it more twisted. Staying in the same groups, tell your learners to prepare a short performance of the twisted version of their fairy tale.

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TASK 28: What other drama techniques can be used in a foreign language classroom in which fairy tales are used? Think of a specific fairy tale and suggest which vocabulary, language struc-tures and functions could be presented/practised. Fill in the box according to the example:

Example:

Fairy tale: THE FROG PRINCE

new language presented/practised

potential drama technique(s) used

vocabulary objects found in the well (a coin, a ball, a key…)

miming

grammar structures 1st conditional clauseExample: “I will give you the ball if you kiss me.”

creating characters role-playimprovisationhot-seat

language functions •negotiation (frog and princess hugging over the ball)

• invitation (princess invites the frog to come to the castle and have dinner)

role-playchoral readingimprovisationshort performances

Fairy tale:

_________________________

new language presented/practised

potential drama technique(s) used

vocabulary

grammar structures

language functions

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Golem(David Wisniewski)25David Wisniewski is an American author of picture books for chil-dren, known especially for his book Golem which won the 1997 Caldecott Medal. The technique of illustrations that Wisniewski uses is very complex and it is based on paper cuts arranged, fixed and then photographed in a special way. The well-known story of Golem is set in Prague, at the end of the 16th century, when many people were interested in alchemy and astrology at the court of the Emperor Rudolf II. The book describes an attempt by the Jewish people led by their Rabbi to fight injustice, strong prejudice and hatred. The oppression of Jews is so heavy that – as a last chance – the Rabbi creates the Golem who helps them to overcome difficult times.

The following activities are aimed at learners aged 10-12 years, proficiency level A2:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• brainstorm adjectives starting with

the letters G.O.L.E.M.• create the character of Golem via

pictures from the book and elicited adjectives

G. O. L. E. M.: CREATING CHARACTERWrite the name of the book G.O.L.E.M. on the blackboard. Pupils sitting in the circle roll the ball to each other and say an adjective in English starting with the first letter from the word G.O.L.E.M. The first pupil says a word starting with G, the second one with O, etc. Write the adjectives on the board. Encourage your pupils to help each other to come up with the adjectives. Discuss the meaning of G.O.L.E.M. - introduce the main protagonist through the pictures in the book with the help of your learners. Encourage your learners to create short stories about Golem using the adjectives from the blackboard.Example: G - good, O - old, L - lazy, E - emotional, M - mean

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• describe their feelings, images

related to the created setting

NIGHT IN PRAGUE: CREATING SETTING Bring a few pictures of Prague to the class and stick them on the board. Elicit picture descriptions from your learners. Then create the image of Prague at night. Invite your learners to walk along the most famous streets and places in Prague such as The Charles Bridge, Wenceslas Square [Václavské námestie], Old Town Square [Staromestské námestie], etc. Ask pupils what they can hear, see and feel at night when walking in the streets of a big city.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• create characters with an appealing

name • create dramatic tension between

these characters•perform a short scene with created

characters and dramatic conflict•write a key sentence related to the

characters• invent the name of the scene

(caption)

GOLEMS FROM CLAY: SHORT SCENES WITH DRAMATIC TENSIONPupils in small groups of three/four model story characters from clay and prepare a short scene from the book using these characters. Encourage them to invent dramatic tension (moment of surprise) to make the scene more interesting for other learners. They can create similar characters to Golem with very powerful names. Tell them to write a key sentence for the character in the chosen scene in the cartoon bubble. Pupils can invent the name of the scene (caption) and write it on a piece of paper. Display the Golems in the classroom with the cartoon bubbles and the name of the scene in a cut box that looks like a theatre stage.

25 WISNIEWSKI, David: Golem. 2nd ed. New York : Sandpiper 2007. 32 p. ISBN 978-0618894-24-6.

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Gorilla(Anthony Browne)26 The works of Anthony Browne belong to the classic British tradition of picture books for children. Gorilla - the book in our selection – is a story of a little girl called Hannah who lives with her busy father. Hannah’s biggest wish is to go to the zoo to see gorillas, which are Hannah’s great passion and interest. As her father is always working and does not care much about what Hannah wants, it is the girl’s imagination which creates for her an adventurous day with her beloved Gorilla. The story ends happily, though, since Hannah’s father finally decides to give his daughter a special birthday present and takes her to the Zoo. The following activities are aimed at young learners aged 8–9 years, proficiency level A1:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•describe and present their

drawing using simple English (adjectives and nouns)

•mime the animal from their drawing and activities typical for this animal

WHO IS WHAT?: MIMINGGive your pupils a sheet of paper divided into two parts. They draw their face onto one part of the paper and the animal that they wish to turn into onto the other part of the paper. Tell them to write some words in English on the other side of the paper that are related to the pictures (adjectives, nouns, etc.) When pupils are ready, arrange that they sit in the circle facing their drawings of animals. Encourage each learner to mime his/her animal and activity typical for this animal. The rest of the class look for the picture that matches the miming of their classmate. Then, the words from the other side of the drawing are used to introduce his/her own portrait and picture of the animal.

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•use their voice potential in

accordance with different adjectives

“SORRY, I HAVE NO TIME....”: CREATING CHARACTERPupils stay in the circle. Place an empty chair in the middle. Imagine there is Hannah sitting and begging her father to go to the zoo. Give a card with a different adjective to each learner. All pupils in the role of Hannah’s father say the following sentence in the mood that is described in the card (e.g. happy, sad, busy, angry...). For example: A “busy” father would say the sentence “Sorry, I have no time” in a busy way. The rest of the class guess the adjective from the card according to the intonation, mime, gestures and body posture.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•make a caption related to the

picture in the book using one sentence

• use the caption in the context when doing tabloids

LIVE PICTURES:CAPTION-MAKING, TOUCH AND TELLSit in the middle of the circle so that every pupil can see you well. Show the pictures from the book at random. Elicit what the character in the picture would say in the given situation. Tell your pupils to make a caption summarizing the scene in one sentence. Possible situations:

A. Hannah seeing a gorilla for the first time in her life. B. Hannah’s dad takes Hannah to the zoo.

Tell your pupils to create a still image identical to the picture in the book (using the same facial expression, gestures and body posture). Tell them to freeze for a moment to show the same scene as it is in the picture. When you touch them on the shoulder, your characters say their caption aloud and act out the part of the scene. Then they freeze again in a different position.

26 BROWNE, Anthony: Gorilla. London : Candlewick 2002. 1st ed. 40 p. ISBN 978-0763618-13-1.

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AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•make and write captions

using simple sentences in accordance with their own story

A DAY SPENT WITH GORILLA: CAPTION MAKINGDivide the class into three groups. Tell them that they are going to spend a day with a gorilla. The pupils in the first group draw how they would spend the morning with the gorilla, the second group draws the afternoon with the gorilla, the third group the night with the gorilla. They write captions in the form of simple sentences into speech bubbles onto their drawings.Modification: If the learners are more proficient, tell them to act out the short performances based on their drawings. Each scene must contain the sentence: “Sorry, I have no time”.

TASK 29: Referring back to dramatizing Golem by David Wisniewski and Gorilla by Anthony Browne, what kind of WHILE-READING techniques/activities could be used? Brainstorm at least five traditional and five drama-based techniques/activities.Example: choral reading, teacher reading the story in-role...

DRAMA TECHNIQUES AND POETRY27

Children encounter poetry – in the form of lullabies and nursery rhymes – from the earliest age. It is natural for them to imitate onomatopoeic structures based on musicality, rhythm and rhyme. First, it is only this “sound” aspect of the language that children use; understanding of the content comes later.The use of poetry (with the application of drama techniques) covers several cognitive, social and emotional aspects of the teaching process28. Practical activities that are linked to various drama techniques include:

• listening to recitation (of a  teacher, classmate, native speaker) with specific pre-listening, while-listening and after-listening tasks;

• reading aloud (choral reading or individual);• complex activity with voice (emphasizing selected words); • work with the narrative line of a poem (activities related to the content of a poem, activities

that extend the content)• discussion about the poem and its dramatization;• memorizing the lines of the text and poem (useful for performances);• “action songs” (songs accompanied by special gestures, miming or motions representing

the content).Drama techniques can be applied in any part of the work with poetry. There can be an activity preceding the reading (pre-reading stage), which would prepare a  learner for the content of the poem (theme, vocabulary, etc.). As part of the interpretative process (while-reading stage), drama

27 For more practical ideas about dramatizing poetry, see: BARTON, Bob – BOOTH, David: Poetry Goes to School: From Mother Goose to Shel Silverstein. 1st ed. Ontario : Pembroke Publishers 2003. 96 p. ISBN 978-1551381-61-9.

28 See WOODARD, Carol – MILCH, Carri: Make-Believe Play and Story-Based Drama in Early Childhood: Let's Pretend! 1st ed. London: Jessica Kingsley Publishers 2012. 160 p. ISBN 978-1849058-99-5.

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techniques may be used to understand the context but also specific features of a poem. They may even offer new interpretative layers to the discussion. Drama techniques can also be used in the after-reading stage, when they can be part of reflection or strenghtening of the goals of the lesson (practice and revision of the target language, grammar structures, etc.). Traditional forms of poetry used in English language teaching are nursery rhymes and limericks (the nonsensical verses of Edward Lear are especially popular). The list of authors that teachers may get inspiration from is very long. From the classics we can mention the poetry of Hillaire Belloc, Robert Louis Stevenson, Christina Rossetti, Eugene Field, Alexander A. Milne and Walter de la Mare. Modern writers include, for example, Dr. Seuss, Roald Dahl, Eve Merriam, Charles Causley, Robert Priest, Jack Prelutsky, Shel Silverstein, Michael Rosen, and Carl Sandburg29. Their poetry is simple but original and playful and offers space for dramatization. Many texts of children’s poetry are available online and we list a few sources as an inspiration for further reading:

Hilaire Belloc Bad Child’s Book of Beasts http://www.gutenberg.org/files/27175/27175-h/27175-h.htm

Cautionary Tales for Children http://www.gutenberg.org/files/27424/27424-h/27424-h.htm

More Beasts (For Worse Children) http://www.gutenberg.org/files/27176/27176-h/27176-h.htm

Robert Louis Stevenson A Child’s Garden of Verses http://www.gutenberg.org/

files/25617/25617-h/25617-h.htm

Eugene Field Love-Songs of Childhoodhttp://www.gutenberg.org/files/2670/2670-h/2670-h.htm#2H_4_0015

Walter de la Mare Songs of Childhood http://www.gutenberg.org/files/23545/23545-h/23545-h.htm

Peacock Pie, a Book of Rhymes http://www.gutenberg.org/cache/epub/3753/pg3753.html

Christina Rossetti Poemshttp://www.gutenberg.org/files/19188/19188-h/19188-h.htm#p_24

Laura Richards In My Nursery: A Book of Versehttp://www.gutenberg.org/files/39741/39741-h/39741-h.htm#jumbo_jee

29 For a  complex view on poetry for children, see the publication of Sylvia Vardell which discusses more than 60 contemporary authors: VARDELL, Sylvia, M.: Poetry People: A Practical Guide to Children’s Poets. 1st ed. Westport : Libraries Unlimited. p. 184. ISBN 978-1591584-43-8.

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In the following part, there are a  few samples of poetry with suggested drama-based activities. The activities do not form complete lesson plans and can be modified according to the age and proficiency level of learners.

Some practical advice before you start:• It is very useful to have a “collection“ of favourite poems and portfolios with activities. These

can be divided either thematically or according to proficiency levels.• Each learner should have their own copy of a poem. • If your learners like the poem, do not hesitate to come back to it after some time with slightly

modified activities. • Poetry does not need to be only “funny”. There are also some interesting poems dealing with

serious topics that can be used in class (for instance, the topic of the Holocaust in the poetry of Michael Rosen).

• Using lyrics is a great way in which to engage teenagers especially, who are usually not very fond of “traditional” poetry.

• Motivation and interest are key factors in working with poetry. If learners see that their teacher is not interested in poems, then why should they be? Try to show your learners the originality of ideas and playfulness of poetic language. Since poetry is about an individual reader’s experience, share your ideas about poetry with learners.

Hilaire Belloc: TheScorpion30

The Scorpion is as black as soot,He dearly loves to bite;He is a most unpleasant bruteTo find in bed, at night.

30 BELLOC, Hilaire: The Scorpion. In: BELLOC, Hilaire: More Beasts (For Worse Children). [Online.] 2008. [Cit. 20. 08. 2012.] Available on the internet: http://www.gutenberg.org/files/27176/27176-h/27176-h.htm.

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The following activities are aimed at learners aged 10-14 years, proficiency level A2:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• show their feelings when

reacting to certain pictures nonverbally

HOW DO YOU FEEL ABOUT THIS? WARM-UP Bring a set of flashcards with pictures that evoke different feelings of likes, love, hate, disgust etc. Show the pictures one after the other and elicit what your pupils feel. Tell them to show their feelings through facial expression, gestures and sounds. No words or comments are allowed. Let them exaggerate their feelings. Possible words:PIZZA SPIDER KARATE FILM ICE-CREAMPUPPY HOMEWORK SCORPION FROG etc.

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• brainstorm different

associations with the word “scorpion”

• share their knowledge about scorpions and talk about them in English

ASSOCIATIONSRefer to the word “SCORPION”. Learners in the circle throw the ball to each other and say a word that is somehow related to the scorpion. Firstly, learners say nouns (e.g. animal, spider, wall, death, legs, etc.), then they say adjectives (e.g. small, dangerous, bad, lazy, etc.) and finally they say the verbs (e.g. bite, climb, eat, etc). Then elicit what your learners know about scorpions. Ask questions such as: What kind of animal is it? What colour is it? How big is it? What does it do? What does it eat? Where does it live? Is it dangerous?...

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• brainstorm the words from

the poem according to the picture

•draw simple pictures related to the text of the poem

• compare the list of their words with the text of their poem

• (more advanced learners): write a different poem on the topic The Scorpion

THE SCORPION: TEXT AND THE PICTUREDivide the class into two large groups A and B. Distribute the poem to group A without the picture. Tell them to read it in silence and draw those words they can understand. Group B receives the picture without the words of the poem. Tell them to write as many words in English as possible that are related to the picture. Then, put learners from both groups into pairs, it means there is one learner from Group A with the picture of the poem and one learner from Group B with the words from the poem. Let them compare their drawings with the list of their words. Then learners compare their words with the original version of the poem and they compare their drawings with the original picture of the poem. More advanced learners can create a modified version of the poem using the words from their lists.

AFTER-READING ACTIVITY Objectives: After doing this activity, successful learners will be able to:•produce short performances

related to the poem and the picture of the scorpion

THE SCORPION NIGHTMARE: SHORT PERFORMANCESTell your pupils to prepare a short scene in small groups on the topic “The Scorpion Nightmare.” The poem itself and the character of the man can be part of the performance.

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Hilaire Beloc: The Vulture31

The Vulture eats between his meals,And that's the reason why

He very, very rarely feelsAs well as you and I.

His eye is dull, his head is bald,His neck is growing thinner.Oh! what a lesson for us allTo only eat at dinner!

31 BELLOC, Hilaire: The Vulture. In: BELLOC, Hilaire: More Beasts (For Worse Children). [Online.] 2008. [Cit. 20. 08. 2012.] Available on the internet: http://www.gutenberg.org/files/27176/27176-h/27176-h.htm.

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The following activities are aimed at learners aged 10-14 years, proficiency level A2:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• collect facts about vultures

from the Internet•write a paragraph using the

information about vultures•present their findings about

vultures in front of the class

INTERNET SURVEY: COLLECTING FACTSTell your learners to make a mini-survey about vultures. Encourage them to obtain the information from the Internet and summarize it into one paragraph. Tell them to bring it to the forthcoming lesson where you are going to deal with the poem THE VULTURE. Encourage your learners to present their findings in small groups.

WHILE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•use their voice potential

when reading the poem

USING YOUR VOICE POTENTIALGive the copies of the poem with the picture to your learners. Let them read it in silence.Read the poem together and focus on difficult words concerning pronunciation. Practise reading the poem together: •whispering,• gradually increasing the voice level from one verse to another• reading every second word and clapping instead of the omitted

one,• reading as loudly as possible.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• role-play a dialogue between

the poet and the vulture with the elements of complaining and negotiating

THE VULTURE AND THE POET: ROLE-PLAYLearners in pairs prepare the following role-play and then present it in front of the class. They can put on different props (a hat, a mask, etc.) if they want.Role A: You are the vulture from the poem, who is described as dull and thin. Complain to the writer of the poem about it. Suggest what he should change in the poem to make you a more loved animal and possibly a pet.Role B: You are the poet of the poem about the vulture. The vulture has complained to you about the way you have described him – dull and thin. Apologize to the vulture and ask the vulture how he wishes to be described in the poem. Negotiate what might be interesting and uninteresting for the readers of the poem.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•write a short poem (in the

role of an angry vulture) about the dull and thin poet

POEM ABOUT THE DULL AND THIN POET: WRITING THE POEMTell the learners to play the role of the vulture, who is still unhappy with the poem. Tell them to write a poem about the poet who is dull and thin as if it was written by the vulture.

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Laura Richards: The Postman32

Hey! the little postman,And his little dog.Here he comes a-hoppingLike a little frog;Bringing me a letter,Bringing me a note,In the little pocketOf his little coat.Hey! the little postman,And his little bag,Here he comes a-trottingLike a little nag;

Bringing me a paper,Bringing me a bill,From the little grocerOn the little hill.Hey! the little postman,And his little hat,Here he comes a-creepingLike a little cat.What is that he's saying?"Naught for you to-day!"Horrid little postman!I wish you'd go away!

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The following activities are aimed at learners aged 10-14 years, proficiency level A1/A2:

PRE-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:•mime an object found in the

parcel and write it on the blackboard

THE STRANGEST PARCEL EVER: MIMINGLearners sit in a circle. Place an empty chair in the middle. Tell your learners that nowadays people communicate via the Internet and mobile phones - they write emails and text messages instead of writing letters and postcards. Post offices are used mainly when sending parcels. Create the image of the IMAGINARY parcel you have just received in your classroom. Place it on the empty chair. Open it and pretend that you are taking out something. Decide in advance what it is and mime it to the rest of the class. Let them guess what object you were miming. Pretend that you are taking your object with you. After all learners have mimed what they found in the imaginary parcel, summarize the words and put them on the blackboard.

AFTER-READING ACTIVITYObjectives: After doing this activity, successful learners will be able to:• ask simple questions• answer the questions•write a short story with

the title “A day in a life of a postman”.

THE POSTMAN’S STORY: HOT-SEATInvite (a) learner(s)-in the role of a postman to sit on the hot-seat where he/she/they will answer different questions asked by the rest of the class, who are in the roles of journalists writing an article for a local magazine about the least paid jobs. Encourage your learners to prepare some questions in advance. The “journalists” should take notes and after the interview should write a short story with the title: “A day in the life of a postman.”

32 RICHARDS, Laura: The Postman. In: RICHARDS, Laura: In My Nursery. [Online.] 2012. [Cit. 20. 08. 2012.] Available on the internet: http://www.gutenberg.org/files/39741/39741-h/39741-h.htm#jumbo_jee.

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TASK 30: Choose one of the poems from the offered list of sources and try to think about how to make it more interesting through the use of drama techniques. Suggest the age and proficiency level of potential learners. Focus on setting clear learner-centred objectives.

The connection between literary text and drama techniques can become a natural and efficient part of foreign language learning. Activities which have been suggested cover picture books and poetry, but there are many other genres (folk tales and fairy tales, fantasy stories, legends, myths, adventure stories, etc.) which a teacher can use and adapt to individual needs of learners.

Questions for you CHAPTER IV.

1. What are the benefits of the use of literature in a foreign language classroom?2. What should a teacher take into consideration when selecting a literary text for learners?3. What are the advantages of using picture books in teaching English?4. Through what practical activities can poetry become interesting and motivating?5. What literary genres can be used in teaching English as a foreign language? Can you name

specific titles of books?

REFLECTION BOX 4. Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after studying Chapter IV.

After studying CHAPTER IV. I am able to: YES I WISH TO IMPROVE

•discuss the ways in which drama techniques can be used in work with literary texts

• explain how picture books can be dramatized

•prepare some activities based on a picture book

•find and list some sources for poetry (authors, online references)

• create modified activities (either related to picture books or poetry) for my learners

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CHAPTER V.

DRAMA-BASED LESSON PLANS

CHAPTER V. DRAMA-BASED LESSON PLANS In this chapter, you will come across the following issues:1. Essentials of a drama-based lesson plan 2. Structure of a drama-based lesson plan3. Assessment of drama-based lessons

TASK 31: What needs to be taken into consideration before planning an English language lesson?TASK 32: What kind of information should a lesson plan contain?TASK 33: How will a drama-based lesson plan differ from a non-drama-based lesson plan?

ESSENTIALS OF A DRAMA-BASED LESSON PLAN

Drama, as mentioned earlier in this handbook, is an excellent learning and teaching tool to im-prove the communicative competence of language learners. It helps them acquire new language more naturally and in a friendly way. Vocabulary, grammar structures and language functions are presented and practised in context. They are often accompanied by practice of body language, which is often neglected during foreign language education. Adequate attention is also paid to the practice of pronunciation and intonation. Drama-based lessons are undisputedly more demand-ing of teachers’ preparation and class management skills. Setting clear learner-oriented objectives, sequencing activities, timing and pacing are essentials of drama-based lesson plans. Doubtless to say, planning a lesson through drama requires a lot of preparation, creativity, enthusiasm, energy, patience and some teaching experience. In spite of that, it is WORTH it!

There are two basic approaches33 to be dealt with when discussing lesson planning based on the application of drama techniques in a foreign language classroom:

• The weak approach utilizes drama techniques in a more conventional teaching situation in which the teacher follows the pattern of presentation – practice – production. Drama is a part of different warm-ups, dialogue practice activities or reading activities. We can find a number of weak drama approach examples in different drama resource books, e.g. Alan Maley’s and Alan Duff ’s Drama Techniques in Language Learning : A Resource Book of Communication

33 In our handbook, we were inspired by Daniela Bačová’s ideas on utilising terms of “strong and weak approach of drama-based lesson planning in EFL classroom“.

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Activities for Language Teachers34; Sarah Phillips’ Drama with Children : Resource books for teachers35; John Dougill’s Drama Activities for Language Learning36; and Bernie Warren’s Drama Games: Drama and Group Activities for Leaders Working With People of All Ages and Abilities37. They contain various drama activities and independent ideas that can be influential and motivating for a language teacher and can function as stepping stones towards a more structural drama approach.

• The strong approach incorporates a distinctive educational philosophy implied in drama: a learner-centred, democratic and humanistic approach. Drama becomes the frame for all teaching and learning. Language is learned and acquired through active use in a meaningful, “as if ” situation. The strong approach determines the structure of the lesson which, though consisting of four different parts, forms a clearly coherent unit. Therefore, every step in lesson planning pre-determines the following one until a whole unity is created. In theatre terminol-ogy it is called the “unity of action”.

The basic structural component of a drama-based lesson plan that secures the unity of action has been defined as a dramatic frame. Dorothy Heathcote in her discussion of frame says that “in any social encounter, there are two aspects present. One is the action necessary for the event to progress forward towards conclusions. The other is the perspective from which people are coming to enter the event. This is frame, and frame is the main agent in providing tension and meaning for the participants.”38 According to Bačová and Phillips, dramatic frame is the situation or context in which the dramatic activity occurs.39 Dramatic frame has a human purpose to the action of the lesson. It follows cer-tain social, cultural or personal developmental objectives in the context of language learning and acquisition. The dramatic frame introduces a certain conflict or problem that needs to be solved, it allows different perspectives on the problem, it determines the context from the point of view of time, space, characters, and therefore constructs an effective learning situation in which particular language structures and functions are explored and immediately used. It should have two essential characteristics:

• it should set up a problem which initiates dramatic action so that the lesson activity is directed towards a goal;

• it should provide different perspectives from which learners can approach the problem and hence should create (dramatic) tension.

34 MALEY, Alan – DUFF, Alan: Drama Techniques in Language Learning : A Resource Book of Communication Activities for Language Teachers. 2nd ed. Cambridge : Cambridge University Press 1993, 234 p. ISBN 978-0521249-07-4.

35 PHILLIPS, Sarah: Drama with Children : Resource books for teachers. 1st ed. Oxford : Oxford University Press 2000. 151 p. ISBN 978-0194372-20-0.

36 DOUGILL, John: Drama Activities for Language Learning. 1st ed. London-Basingstoke : Macmillan Publishers 1991, 150 p. ISBN 978-0333392-15-9.

37 WARREN, Bernie: Drama Games: Drama and Group Activities for Leaders Working With People of All Ages and Abilities. 2nd ed. New York : Players Print 1996. 84 p. ISBN 978-0887346-81-1.

38 HEATHCOTE, Dorothy – BOLTON, Gavin: Drama for Learning : Dorothy Heathcote´s Mantle of the Expert Approach to Education. 1st ed. Portsmouth : Heinemann 1994, p. 163. ISBN 978-0435086-43-5.39 BAČOVÁ, Daniela - PHILLIPS, Tim (edit.): AS IF. 1st ed. Bratislava : The British Council 2000, p. 5. ISBN 978-

0863554-50-4.

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An integral part of every drama-based lesson plan are well-defined, specific objectives that are the main determinants for the construction of a particular dramatic frame. In order to determine clear, learner-oriented objectives showing learners’ performance rather than competence, it is necessary to ask the following questions:

OVERALL AIMS OF THE LESSON

How is the lesson content related to the school educational programme and national curricullum?What do I want my learners to achieve during this lesson? What is the general purpose of this lesson?

CLASS ATMOSPHERE

What kind of class atmosphere do I want to create among my learners? How can I create a stress-free environment? How can I help my learners break the ice and overcome stage fright?

TOPIC Is the chosen topic relevant to age, interest and proficiency level of my learners? What are the best ways to introduce this topic to my learners? How will my learners profit from dealing with this topic?

LANGUAGE (vocabulary, grammar structures and language functions)

What kind of vocabulary/grammar structures/functions do I want my learners to acquire/learn/practise/produce?What are the best ways of introducing/practising the new language to my learners?How is the new language related to the topic of the lesson? Will my learners need this kind of vocabulary/grammar structures/functions in real life?

PHONETICS Are there any pronunciation and intonation patterns relevant to be dealt with during the lesson? How are they related to the lesson content? What are the best ways to introduce them to my learners? How much attention should be paid to practice of these patterns?

SKILLS Will all four language skills be practised during this lesson? Which skills should be primarily practised? Which techniques/activities should be used to practise particular skills?

LEARNING STRATEGIES

Are there going to be any opportunities to focus on learning development? Which learning strategies will attention be focused on? Are there any specific learning strategies my learners need to work on in order to accomplish given tasks during the lesson more efficiently? How do I foster learner autonomy via this lesson?

ASSESSMENT What do I want my learners to be able to do by the end of this lesson?How can I assure that my learners accomplished this?What kind of assessment will be provided to my learners during this lesson? Formative or summative? Why am I going to assess my learners?How will my learners profit from this assessment?

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Lesson objectives have to be determined clearly reflecting the needs, wants and lacks of lan-guage learners. In drama-based lessons, the main focus is put on learners; whereas the crucial role of a teacher is to provide learners with efficient tools (tailor-made techniques and activities) to achieve the pre-set goals and objectives. For that reason, drama-based lesson objectives should reflect what language learners will be able to PRODUCE (their performance) rather than what they will KNOW (their competence).

TASK 34: Read the following lists of objectives. In which way do these lists differ? How would you modify them?List 1: The aim of the lesson is:

• to know the structure of the present perfect tense• understand the difference between the present perfect tense and simple past tense• realize the usage of new structures through coursebook dialogues

List 2: I want to teach:

• the structure of the present perfect tense• the difference between the present perfect tense and simple past tense• new structures through coursebook dialogues

List 3: At this session, my learners will:

• deal with the new structure of the present perfect tense• discuss the difference between the present perfect tense and simple past tense• work with coursebook dialogues to practise the present perfect tense

List 4:By the end of this lesson, successful learners will be able to:

• create and use present perfect tense forms in communication• use the present perfect tense and simple past tense appropriately• use the present perfect tense in dialogical speech

The following table provides a list of sample key verbs to determine learner-oriented objectives in relation to:

A. development of communicative competence, B. improvement of social skills,C. raising cultural awareness,D. improvement of learning strategies.

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Focus on: Examples of key words:

DEVELOPMENT OF COMMUNICATIVE COMPETENCE

produce, define, describe, say, ask, clarify, explain, talk about, give example, adjust, exchange information, negotiate meanings, report on something, summarize, paraphrase, quote, argue, present, complain, accept, refuse, apologize, excuse, offer, deny, express compliments, express worries, react, ...

IMPROVEMENT OF SOCIAL SKILLS

cooperate, share, socialize, work in pairs/groups, adopt, accept, show empathy, touch, ...

RAISING CULTURAL AWARENESS

compare, contrast, provide examples, clarify, express opinions, judge, argue, differentiate, distinguish, criticize, defend, generalize, specify, ...

IMPROVEMENT OF LEARNING STRATEGIES

assess, evaluate, adjust, provide constructive feedback, reflect on, modify, predict, analyse, synthesize, rearrange, arrange, predict,...

The content of a drama-based lesson plan must respect learners’ proficiency level. Since drama is a very flexible tool, every lesson plan can be adapted to the different proficiency level of lan-guage learners. With beginners, simple miming activities following TPR method (Total Physical Response)40, chanting, drawing and creating characters, and choral reading can be used. At this level, particular attention is paid to using body language, which is often used as the most frequent communication strategy to cover learners’ - beginners’ gaps in knowledge in their linguistic rep-ertoire. On the other hand, more advanced learners who dispose of a better knowledge of a target language can practise in real contexts that they have learned from coursebook. The topic of the lesson also depends on the age of learners and the interests of the group. For example, fairy tales can be employed with young learners probably up to the age of ten; they can be re-introduced to young adults or adult learners as these find the creative activities of deconstruct-ing classical stories and re-constructing them very enjoyable. Learners’ age conditions the content of the lesson and the choice of topics and techniques. For instance, young learners might have difficulties to role-play a dialogue or improvise while older learners might have no problems since they have such a life experience.

A drama lesson is enriched when learners are allowed to use different materials as props and parts of character costumes. The simplest idea can be a cardboard drama box in which you gather dif-ferent seemingly useless garbage, such as pieces of string, coloured pencils, coloured paper and old

40 Total Physical Response is one of the teaching methods that became popular in the 1970s. It was proposed by James J. Asher who believes that foreign language instruction can and should be modelled on mother tongue acquisition. Some characteristics typical for this method are similar to the way children acquire their mother tongue. Children listen to and do what their parents say before they speak. One of the principles of TPR is that when a student’s anxiety is low, language learning is enhanced. This method lowers learners’ anxiety because they do not need to produce audible language for a while. They can also watch fellow classmates to see if they understand a command etc. The benefits of this method are that language learners will be speaking, but in a more “free way” not simply repeating, but using words and commands they have heard several times. The limitations of this method are that more abstract items in the language might be difficult. Teaching around commands might get cumbersome for some language points.

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newspapers, pieces of cloth, old coats, stockings, hats, toys, music tapes, pictures, photographs, different objects – candles, plastic bottles, plastic flowers etc.

STRUCTURE OF A DRAMA-BASED LESSON PLAN

A drama-based lesson plan is divided into four parts: 1. warm-up stage, 2. pre-drama stage, 3. drama stage and 4. calming down stage41. Each part has its own function and they all depend on each other. You can divide a longer drama-based lesson into a number of subsequent parts, which means that you have to work on a way in which to refocus the learners’ attention on the issues you have been dealing with in your drama every time you go back to the lesson. The following table provides an explanation and description of every part and gives suggestions about possible timing, aims and techniques to be used.

Phases of drama-based lesson plan

Possible aims Possible techniques

I. Warm-up(s)(verbal/non-verbal)2 – 7 minutes

Warm-ups are introduced after opening the lesson. They aim to “warm students up”, prepare them for active participation in English lesson, increase concentration level of learners, create trust especially in a new class and prepare learners vocally and physically for drama-based activities.These activities are usually done in a circle.

1. nonverbal activities such as expressing mood via miming,clapping, creating a rhythm, sending silent signals, walking in space etc.2. simple verbal activities such as word chains, greeting activities, name activities, chants, tongue twisters etc.

Teacher’s roles: Teacher is a leader and a manager during this stage. Movement is great to start with to energize class and wake up learners’ bodies and senses.

II. Pre-Drama 10 - 15 minutes

Pre-drama stage is a preparation stage where the topic of a lesson is introduced. Specific vocabulary, grammar structures or language functions are presented and practised to be ready to use the target language confidently enough during drama stage. Learners’ imagination is enhanced and their expectations and commitment are raised. Learners usually work in small groups or in pairs. They can work with different objects, posters, letters, photos, texts in order to create context for drama.

miming, still image (tabloid), creating setting, creating characters,creating dramatic hook, choral and individual drills and chants, story elicitation, short improvisations, activities to deal with using voice potential

Teacher’s roles: Teacher is still quite dominant during this stage. He should monitor especially when learners start working in pairs/groups to ensure that they are accomplishing the task properly. It is important to play the role of a facilitator not of a doer!

41 This structure is adopted from Daniela Bačová and Tim Phillips’ publication AS IF, 2000.

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Phases of drama-based lesson plan

Possible aims Possible techniques

III. Drama15 - 30 minutes

This is the most productive stage, when learners prepare short improvisations, rehearse them and perform to other classmates. Performances might be done simultaneously (group performing to another group) which might save time and reduce anxiety. Focus on fluent and grammatically and socially accurate language should be centre of attention since the main goal is to develop communicative competence of language learners.

different alternatives of improvisations, simulations, role-plays, dialogue asides, rehearsed playlet, still images, etc.

Teacher’s roles: Teacher is a an observer and encourager. Learners are responsible for their work, which is represented by means of their performances.

IV. Calming down5 - 10 minutes

This is the final stage of drama-based lesson plan. It aims to calm learners down and bring them back to normal voice and energy level. Calming down is followed by reflection which is a crucial part of the lesson hence learners through leading either an internal monologue in a written way or a class discussion reveal their feelings and express opinions about learning experience through drama.

relaxation activities (music),hot-seating, writing (letters, news reports, journals, diary entries, dialogues, finishing a story), writing-in-role, drawing, creating posters, jigsaw reading, etc.

Teacher’s roles: Teacher should never finish the lesson without this stage. Learners’ cannot be “left” at a high emotional and voice level. In this stage, teachers and learners should share their experience from the lesson. They can discuss language difficulties they faced (if any) during their performances. They can evaluate themselves, their peers and teacher’s work as well. They can provide feedback on what they liked and what needs to be improved in the future.

REFLECTION AS PART OF A DRAMA-BASED LESSON PLAN

Reflection is a natural part of drama-based lesson plans. It is done at the end of the lesson either in the form of a class/group discussion or by writing a paragraph into a diary. Reflecting provokes learners to think retrospectively about their new learning experience, the process of the lesson, its aims, and personal ups and downs. Writing the reflection in English is not only valuable practice of writing skills but it also stimulates learners to think critically and evaluate themselves, peers and teachers in the sense of focusing on the quality of the learning process rather than the product. Therefore, reflection should be more evaluative than descriptive; it means describing activities in detail is quite redundant, while writing about the impact of these activities on learners is desired.

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There are three possible types of reflection techniques:

a. Guided reflection. Learners with the help of their teacher express their opinions answering such questions as “How did you feel today during our lesson?” “What have you learned?” What did you like/not like? Why? How did you like being in the role of a …? What would you do differently if you did the same task again? How would you evaluate the work of your group? Why did your teacher use this activity? etc.

b. Semi-guided reflection. Providing learners with sentence starters is a stepping stone to free reflection. Some of the following phrases from the list below can be used:Today we have practised....This is the first time we did...Our teacher´s aims were to.....I especially liked...I am not sure why....I didn´t like...I felt very confident when...I felt embarrassed when...My classmates looked....The class atmosphere was…I learnt...I want to learn more about...

c. Free reflection. Learners spontaneously reveal their feelings about the lesson via writing, speak-ing or drawing.

Example: Zuzana, 21 years old, teacher trainee: Today, we started our session with an interesting activity called “Show me your name”. Teacher welcomed us and introduced the activity. She gave an example and then we followed her. Our task was to mime the letters of our name one after the other. Other students were supposed to guess. Then we were sitting in a circle and clapping the rhythm of our names. Afterwards, we were mingling in the class and looking for somebody who was wearing e.g. glasses, funny socks, blue jeans and so on. Our trainer used this activity to put us into pairs. Then in pairs we were playing “a mirror” and a person who wakes up in the morning and does different activities in front of the mirror. Then we changed roles. We were expected to do it slowly...

Writing reflections provides learners with a chance to take responsibility over their learning. On one hand they practise writing skills in English, on the other hand they reflect on their own learn-ing process in which they are expected to think critically about themselves. That is often more demanding than evaluating peers.

Writing a reflection does not only appeal to learners but also teachers who want to reflect on their lessons in order to analyse them and determine their strengths and weaknesses. Novice teachers

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especially might profit from this procedure through which they can track their progress, personal growth and professional development over time. Example: Teacher trainer’s reflection after using drama with teacher trainees Having just got back from an exhausting conference I was not really ready to teach and unfortunately I felt very tired. I started the lesson very tired and was drained: the picture I drew on the wall was very inaccurate. I was struggling to maintain concentration through the lesson and left far too much to Andrea and Dana in the first lesson.Having said that, I did wake up during the class. I found the present-giving activities very stimulating and was impressed by the imagination that was brought into the classroom. I will remember to use this activity myself if I see that a class is very tired.One thing I did notice about the first lesson today was that it was a shame to introduce the informa-tion about the project at the end of the lesson: it brought everyone down from the high that they had reached. Looking back, we should have started with that and moved on to the lesson itself afterwards. With that in mind, that’s what we did in the second class.The second class was much easier for me because I had forced myself awake and was looking forward to the activities in the lesson. I found an interesting problem with the present-giving activity which was that the pairs were working at very different speeds: some pairs were giving trivial presents at the same time as others were handing out planets. Also the number of students in the second class makes a big difference. It’s so much eaiser to deal with a class of 10 in that room than a class of 16.

TASK 35. Read the three reflections below written by university students who are studying to become teachers. What can you learn from their reflection? Which reflection reveals a learner’s improvement? What do you think is lacking in the following reflections? Why?What should a teacher trainer consider about his own teaching after reading the reflection of his trainees?

1. Martin, 22 years old, a teacher trainee:To tell the truth, the last session was quite boring for me and I felt nervous. For me, it was in general not a very good day. The only thing I wanted to do was to go home. The thing is that I cannot see any sense behind the activities which we did last session. I felt like an actor in the theatre or somewhere. I felt as if we had studied some performance. It is something that I am not good at – I cannot act. I can´t imagine something that is not real. I´m too rational. Why should I pretend that I´m angry, shout at somebody that I don´t like him and do faces at someone when it is not necessary? For me, it is strange and crazy. Maybe someone could say about me: oh, he is so boring, because he couldn´t do that. But I personally don´t think that I´m boring. I can also be a clown, I can entertain other people. And this is another problem in our sessions. Most people in my group are unknown to me, they are strangers. I can talk to them, laugh with them but they aren´t my friends and when I don´t know the people around me, I´m very careful, because I don´t trust them. So performances are all right for me, but only among people whom I know well.

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2. Klára, 21 years old, a teacher trainee:Speaking English has always been a problem for me. During my secondary school studies my English teacher didn´t place much importance on speaking the language. So I didn´t practise and improve my speaking skills at all.When I came to the Special Language Seminar for the first time, I was afraid a bit. There were only girls who spoke English really well. And I didn´t know if I would be a good classmate for them. How-ever, after a few minutes I realized that they are not only good at English but also friendly and neat girls. And so is my teacher. She encouraged me to start and taught me that nobody is perfect: I can make mistakes. I learnt that the important thing is to be understood. At today´s session I felt quite good and I wasn´t embarrassed any more when I was supposed to speak in front of my classmates. I was relaxed and it was very amusing. And the most important thing: it started to be natural for me to speak English in front of other people. I learnt that communication is a crucial thing in our everyday life. But we should know how to communicate. I understood that you don´t have to speak like a native speaker, but you ought to try your best to be understood. The only way how to do it is to get rid of your fear of speaking which cannot improve your speaking skills even if you are listening to a good English speaker. So I should be willing to speak. And if I don´t know how to express my thoughts or I can´t remember an English word, I can use the body language. Then I can communicate more easily even if I can´t speak that language well.The first thing that I will certainly use in real-life communication is body language. It helps to express your thoughts, you can show you don´t understand or maybe that you don´t hear something, you can explain that you are in a hurry more easily, or how to get to the station or what something looks like. And on the other hand, it is important to be attentive about someone else´s body language. Thanks to it I can find out if he/she is nervous, bored, interested in something, so it is really useful for good conversation. Moreover, I learned that I should talk slower if I am talking with somebody with only the basics of English, to help him understand me.

3. Beáta, 22 years old, a teacher trainee:I´ve learned mostly how important my imagination is and that it is also important to use it. I realize that it is not only important for me as a student but also as a future teacher. I realized that I should develop the imagination of my future students, because without it, they may not be able to fulfil a particular task. You do not realize how big an influence such things have until you find out how important they are.For example, the making up “ring stories“ was amazing. I never thought I would be able to talk a whole ten minutes about something that actually did not happen. I enjoyed it so much.Not only did I learn how essential it is to be creative, I also stopped being nervous when speaking in public. At these sessions we all learnt how to work with our vocabulary, how to use it in a proper way, but also how to listen to others and thus create a good and friendly atmosphere also in an academic setting, which is just amazing. I wish each lesson was like this.

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HOW TO ASSESS LEARNERS IN DRAMA-BASED LESSONS

Evaluation is one of the activities that has to be done by all teachers. In a drama-based lesson, evaluation is the issue that needs more attention to be paid to it. As mentioned earlier in this handbook, drama in a foreign language classroom is an efficient teaching and learning tool which besides fighting affective undesired variables enhances learners’ interpersonal and intrapersonal qualities. Furthermore, it is an efficient tool to develop language learners’ communicative com-petence; learners are exposed to authentic language through almost authentic situations. Hence, drama techniques develop the whole personality of language learners and stimulate learners’ implementation of different learning styles (visual, auditory, tactile and kinaesthetic) and their multiple intelligences (interpersonal, intrapersonal, spatial, kinaesthetic, linguistic and musical intelligences). Therefore, in drama classes we cannot talk about summative assessment which is typically recognised in traditional teaching and learning approaches. Herein the main focus is put on the final educational output rather than the process of learning which is undoubtedly important and essential at drama-based lessons. The other one, formative assessment, employs qualitative evaluation in the form of feedback in order to 1. improve learners’ attainment, 2. increase learners’ intrinsic motivation, 3. become aware of one’s own learning and 4. be responsible for it. As for teachers, they can more easily determine standards their learners have already achieved and to what degree, and they can monitor their learners’ progress and adjust their instruction accordingly. Furthermore, they can prepare tailor-made lessons and activities considering the individual needs, wants and lacks of language learners.

In drama-based classes, the following criteria related to assessment should be applied:1. Command of English languageDid my learners use the target language all the time? Was the used language fluent and accurate enough? Was my learner’s speech natural? Did he/she try to apply any communication strategies to convey the message?

2. Cooperation in pairs or in groupsDid the learner cooperate? Did he/she share? Did he/she fulfil his/her role? Was he/she helpful in the group? Did he/she contribute somehow to the task accomplishment?

3. Task achievementDid the learner achieve the task? How did he/she achieve it? Was his/her performance creative enough? Was his/her solution unique?

4. Metacognitive awareness through writing a diaryWhat did my learner write about in his diary entry? Did he/she reflect on his/her learning process? Did he/she provide constructive feedback? Did he/she explain what he/she had learnt and how? Did he/she explain the reasons of doing various activities? What does he/she suggest to learn about in the future?

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SUMMARY

Designing drama-based lessons is very challenging, demanding and time-consuming but at the same time rewarding for language teachers. It needs a pinch of courage, confidence, creativity and motivation to implement drama into foreign language lessons. Since drama techniques are learner-oriented, the lesson plan structure, lesson objectives, roles of teachers and learners and the way of assessment must be redefined. The main principles to be followed when designing a drama-based lesson plan are:

• Before planning a drama-based lesson, consider the proficiency level, age and number of learners.

• Focus on language (vocabulary, grammar structures, language functions) you wish to present/practise with your learners.

• Define lesson objectives clearly showing what successful learners will be able to do after the lesson. Consider in what other way your learners might profit from the linguistic, social, per-sonal and cultural point of view.

• Decide whether you want to dramatize some coursebook material (e.g. coursebook dialogues) or you want to dramatize a short story, fairy tale, poem, fable, song, cartoon, etc.

• Maintain enough variety of verbal and nonverbal drama techniques. Do not overuse them within one lesson plan!

• Start with some easier and move to more advanced techniques. Prepare some alternatives for the lesson if some techniques fail.

• Prepare tasks that are socially interactive as well as individual. The tasks should be personally significant and go beyond the “here and now”, and they should be cross-curricular and com-municative. They should bring language into a life-like, though fictional, context by establish-ing spatial and time boundaries.

• Be realistic with time – 45 minutes! Do not plan too many activities for one lesson. Keep them for the future.

• If you plan to use some props, tell your learners to prepare them in advance. Keep your learn-ers busy! Not yourself!

• Remember your roles – you are an initiator, facilitator, monitor. Your learners are doers. Drama is a learner-oriented approach not a teacher-centred approach.

• Listen to your learners’ suggestions. Be flexible in changing the structure of the lesson if this change pursues the established objectives.

• Get ready for noise when using drama. You can easily monitor the noise level by balancing loud and calm activities. Work noise is acceptable.

• Expect that more native language will appear among your learners. Mother tongue (L1) can be used as a “planning language” when preparing, for example, short performances.

• Encourage your learners rather than discourage them. Praise them and watch their com-municative and social development.

• Keep some time at the end of the lesson for feedback. Ask your learners to reflect on their own learning. Encourage them to provide feedback to their peers and to you.

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• Bear in mind that not all the lesson has to be taught through drama! Using it purposefully within different lesson stages is fair enough.

• Make sure that you teach English through drama, not drama through English!

Questions for you CHAPTER III.

1. What are the golden rules of planning a foreign language lesson using elements of drama?2. How do the roles of teachers and learners differ in a drama-based lesson plans from non-

drama-based lesson plans?3. What is the structure of a drama-based lesson plan? Which techniques can be applied during

these stages? Why?4. How is writing a reflection connected with the development of language learners’ awareness?

Elaborate.5. Below, there are two different examples of diary entries. How do they differ from each other?

What do they show?A. Today we were doing many practical activities. I was really tired and had no energy to speak

English. The physical activity we did at the beginning woke me up. I felt quite embarrased when we were making sounds of animals in groups. I find it quite childish and cannot see any purpose behind it. My classmates were quite confident doing it. I am really glad that we practised irregular verbs by throwing the ball. It helped me later when we created dialogues...

B. The first activity was the warm-up. We stood in a circle and said our names and mimed activi-ties we usually do. Then we worked in pairs. Our teacher gave us a dialogue and we had to change it and create a dramatic hook. Then we performed the dialogues and evaluated other students. The last activity was a little bit rushed. We had to write ten questions appropriate for our dialogue.

REFLECTION BOX 5. Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after completing Chapter V.

After studying CHAPTER V. I am able to: YES I WISH TO IMPROVE

• explain the difference between drama-based lesson plan and non-drama-based lesson plan

• explain the structure of a drama-based lesson plan and suggest relevant techniques

•design learner-oriented objectives related to development of communicative competence, social and personal development and raise cultural awareness

• clarify the importance of the reflection stage of drama-based lessons

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• clarify the importance of formative assessment in a foreign language classroom

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CHAPTER VI.

SAMPLE LESSON PLANS AND REFLECTION

CHAPTER VI. SAMPLE LESSON PLANS AND REFLECTIONIn this chapter, you will come across the following lesson plans and their analysis through reflection: Lesson plan 1: Train to Glasgow Lesson plan 2: Amazing Grace Lesson plan 3: Aliens

The following lesson plans were used with our teacher trainess and were recorded during the work-shops at the Department of English and American Studies, Faculty of Arts, Constantine the Philoso-pher University in Nitra in 2012. We wish to express our greatest thanks to all the teacher trainees who participated at our workshops for their enthusiasm and effort and for the constructive feedback they provided us with. The video extracts are included on the DVD which is a part of this handbook.

LESSON PLAN 1: THE TRAIN TO GLASGOW 42 43

This lesson plan is based on the book The Train to Glasgow by Wilma Horsbrugh and Paul Cox.

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Nowadays, there is a small number of learners who read poetry. However, as we have already sug-gested in a previous part of our handbook, poetry can serve as a  great means to motivate and engage learners in foreign language study. Besides this, bringing poems to English lessons and dramatizing them is an inspiring experience for both teachers and learners. This poem about a Scottish boy traveling to Glasgow is a unique example of creativity and imagina-tion that can be easily implemented into our lessons when working with poems. The lesson plan consists of various non-verbal and verbal drama techniques such as introduction sound and motion activities, creating characters from the train, choral reading, short scenes and improvisations and others. It addresses learners of all learning styles hence there is a variety of activities appropriate for kinaesthetic, tactile, auditory and visual learners. There is an equal bal-ance between easier and more advanced drama techniques such as miming, short improvisations, voices in heads and others. Characters such as Donald MacBrain, Mr. MacIver and the guard from

42 The ideas in this lesson plan are adapted from Daniela Bačová, Andrea Billíková and Conrad Toft who used this lesson plan during their teacher training courses at UKF in 2003. They were practising cooperative teaching at their drama sessions.

43 HORSBRUGH, Wilma – COX, Paul: The Train to Glasgow. 1st ed. New York: Clarion Books 2004. 32 p. ISBN 978-0618381-43-2.

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Donibristle who waves his flag and blows his whistle will become unforgettable after experiencing this lesson plan. So, let’s get down to work… Mr. MacIver is waiting for you in his train.

General information:age: young adults, adultslevel: A2 (with some modifications), B1, B2length: 90 minutes – 120 minutesmaterials needed: train tickets, copies of poems (see appendix 1), props (railway uniform coat, railway hat)

Language objectivesAfter doing this lesson plan, successful learners will be able to:• ask for a train ticket to a certain destination•describe people•pronounce the words from the poem correctly • read the lines of the poem in rhythm• identify the main rhymes in the poem• create a story with the help of a teacher• chant a poem in a distinct intonation and pronunciation

Social objectivesLearners will become more aware of other passsengers on a train and travelling etiquette.

Drama techniquesnon-verbal warm-ups (clapping a rhythm, making sounds), creating a setting and characters, miming, teacher-in-role, learner-in-role, story-telling and story-making, voices in head, short improvisations, choral reading

Class arrangementBefore the lesson starts, re-arrange the classroom as follows: 1. put two desks together to create the ticket office at the railway station, 2. get rid of the desks and place the chairs together as if creating the train carriages. When students arrive, wear the railway hat and sell the train tickets for the lowest price possible. Ask where they are travelling to and accompany them into the carriages according to their destinations. Demonstration: (X – chair, D - desk)

DD (office at the train station) Carriage 1: passengers travelling to PolandX X X XX X X X

Carriage 2: passengers travelling to FranceX X X XX X X XCarriage 3: passengers travelling to …..

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• Warm-ups Inthetrain: concentrationclapping(3minutes)Sit among your students in the carriage. Make sure everybody is travelling with a valid train ticket. Clap any rhythm at different noise levels which would resemble the sounds of a train. Tell your students to join you. Later pass leadership on by nodding at a student. He goes on with clapping a series of other rhythms. All students follow him and this continues a while.Comments: By doing this activity, successful learners will be able to concentrate by following the same rhythm indicated by the leader.

Soundsofastation:soundtracking(3minutes)Tell the students that the first stop will be at a small village a few kilometres from your place. Produce the sounds of that station at day and at night together. In contrast, produce the sounds of a busy station, for example Victoria Station in London. Comments: Creating the image of a specific station is very popular among learners. They like when the name of their town/village railway station is used in this activity. Compare and contrast small and big stations, what is happening at a station at day and at night.

• Pre-dramaAtthestation:stationmachine(5minutes)Students decide what roles they will play when doing the whole class station machine. One person starts doing the movement and sounds typical for the chosen object/character. The movements and the sounds are endlessly and circularly repeated. Others watch the scene and then join in as a different object/character doing endless and circular movements and sounds accordingly. This continues until all the class is involved.Comments: By this activity, learners are able to create the image of the railway station through creating typical objects and characters. The movements and sounds create a more authentic setting.

Thepassengers(25-30minutes)Put the chairs into the shape of the train carriage.Elicit what kind of people usually travel by train and where they usually travel to and what activities they do while travelling.

Step 1: MimingStudents are in the roles of passengers with different behaviour and status. One by one they intro-duce themselves by miming and showing their usual behaviour on a train. Other students guess who the passengers are, comment where they are travelling to and what for.

Step 2: Free individual improvisationsStudents keep the same roles from the previous activity and improvise a one-minute scene in the same carriage (moving and speaking). The individual improvisations reveal the characters, their status and behaviour towards other passengers.

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Step 3: Pair improvisationsStudents keep the same roles. Every sitting passenger faces one standing student in the role of his/her brain (this person says aloud true things). The sitting students do short individual improvisa-tions one by one and their “brains” (standing students opposite) comment on what they really think. The passengers pretend to be polite, do not tell the truth, lie, they are smooth-talking while their “brains” say what they really mean. Strong cooperation of pairs is a must.

Example: Sitting student A: Excuse me, sir, may I open the window?Standing student A (brain): What a terrible perfume this man is wearing. It’s going to kill me… Sitting student B: Of course, go ahead…Standing student B (brain): What a chick…. Nice legs….

Comments: Give numbers to the character to avoid chaos during dialogues. The status of passengers and their “brains” can vary. This is quite an advanced drama technique. We recommend doing it in small steps as described above.

• DramaWorkwithpoem:story-tellingandstory-makingwiththecharacters(15-20minutes)Tell the story about the little boy travelling to Glasgow and what happened to him. Introduce the characters from the poem. Retell the story interactively by involving your students to be in the roles mentioned while telling the story.

Characters:• Donald MacBrain: a boy travelling to Glasgow,• Mr. MacIver: the train driver,• Guard from Donibristle: waves a flag and blows a whistle,• hens, cocks in the boxes clucking and crowing.

Introduce the characters one by one while telling the story in small chunks.Scenes:

Scene 1: At the railway station. The guard from Donibristle waves his flag and blows his whistle to show the driver Mr. MacIver to start the train to Glasgow.(learners in roles of the guard from Donibristle and Mr. MacIver are miming what is happening in the scene)

Scene 2: Donald MacBrain, the boy came to the station to catch the train. The guard at the last moment hauled him into the van.(learners in the roles of Donald MacBrain and Guard from Donibristle)

Scene 3: The train gave a jolt. Hens and cocks got out from the boxes. (hens and cocks)

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Scene 4: Donald and guard are catching all hens and cocks and put them back into the box.(the guard from Donibristle, Donald MacBrain, hens and cocks)

Scene 5: The guard invites Donald for a cup of tea and lets him blow the whistle. Mr. MacIver and the guard praise Donald for being so quick and clever.(the guard from Donibristle, Donald MacBrain)

Loudreading(20minutes)a. Read the poem to the students in the rhythm of the moving train (t-tu-t-tu-t-tu). Make sure the students catch the same rhythm. Give students the copies of the poem and practise reading aloud together. Focus on hard passages and new vocabulary.

b. Put students into small groups (A, B, C, D) and give them their parts of the poem (A, B, C, D, ALL) to focus on and practise reading aloud.The text of the poem is divided into parts A, B, C, D and ALL.

c. All-class reading. The whole class reads the poem together keeping the same rhythm. When the groups read their lines, all members stand up and when they finish they sit down.Comments: There is motion in the class while reading the poem which makes it more interesting and dynamic.

• Calming downRhymingpairs(5minutes)Prepare the rhyming words on separate pieces of paper. Mix them and tell students to find them. The rhyming pairs are: driver – MacIver, MacBrain – train, man  – van, Donibristle – whistle, cocks – box, jolt – bolt, fell – well, notion – commotion, neat – feet, be – tea, never – clever. Comments: Finding the rhyming pairs is a nice, quick calm-down activity. It brings students back to a normal noise level.

REFLECTION of teacher trainers’ teaching cooperatively the same lesson plan to teacher trainees at Constantine the Philosopher University in Nitra, Slovakia, in 2003.

I think the lesson worked very well. The idea of introducing the topic immediately from the beginning of the lesson with the teacher in role and all the details of the railwayman costume, tickets, announcement on the door brought that special flavour or “spice” to the classroom atmosphere. The story was told in a more interactive way, as I was afraid the students would fall asleep. With the 3rd group though, the technician’s video recording ruined the charm of the story creation. We just couldn`t create make-believe with a laughing cameraman at our backs. Well, it was funny, but for drama you really need concentration otherwise it falls apart.I liked the idea about dialogues in the train in gibberish and the talking brain activity which are really quite difficult to perform and need some time to practice and also a good command of English if you want to do it spontaneously. It was fascinating to know what other people think (!).While the first groups’ performances were done in their groups with the freezing technique and roles

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to illustrate railway station images, the third groups were mixed with standing positions when they had to say their lines. I think I like both ways as nice alternatives. Another alternative could have been putting the groups into different corners of the classroom to enjoy space and voice projection etc.I still had a good feeling from the seminar.Daniela (a teacher trainer)

We were really excited about this lesson (too excited?). The poem is a great one for rhythm and so strongly themed that we could create the atmosphere in just a few minutes at the beginning of class with the teachers in role. I couldn’t believe how disappointed I felt when students didn’t know what kind of tickets they were buying – but I really enjoyed my role after suffering many times at the hands of bored and unhelpful railway staff in Slovakia. In the first class we had a major problem in that we didn’t have the photocopies of the poems ready. Stupid. Andrea and I realized just before the lesson and decided that I would go during the warm-up or pre-drama to make them. However, I was so absorbed into the lesson that I completely forgot about them until they were needed. The resulting copies were rushed and this caused some problems. There’s a lesson there about preparation, and also about how interesting the lessons are for us!!I liked Dana’s interactive story-telling and we developed this further in the later lessons. I also liked the addition of the ‘brain’ activity. It’s a difficult technique but it’s wonderful when it works (and is great for working with literature). The addition of the railway carriages in the third lesson was an example of the development of a lesson plan (the classroom was divided into three carriages of a train). It added well to the atmosphere. I felt that the use of the video camera was detrimental to the lesson (although I expect to get invaluable feedback from watching it). It’s not the first time I’ve had my lessons recorded but it was the first time it has felt disruptive. In previous lessons the video camera was static and above the eye-level of the students. That makes it much less threatening and is to be recommended. I think that the poetry performance in my group would have been better second time around. I think that in a classroom situation, I would probably start with simpler poems earlier in the term to get students used to the ideas and then develop into this poem. I suspect that some people won’t ever forget Donald MacBrain and Mr. MacIver. Conrad (a teacher trainer)

Introducing poems to learners of English is not very popular among English teachers. Firstly, students are not motivated enough to learn through poems; secondly, teachers are not very familiar with the ways in which they can teach through poems.I myself do not use poems in my classes very much. Today I have understood that poems can be a wonderful resource for teaching the language. It is not only grammar, vocabulary, but also pronunciation, intonation, rhythm, pitch..... teaching these features of language are pretty much neglected at English lessons (many teachers do not find them important). The poem we used at our drama session was very dynamic. I believe that we managed to create an almost identical atmosphere – as it looks at the train stations. I was a little bit disappointed when our students thought that we were selling tickets to the cinema.I really enjoyed the whole session, I believe that our students learnt that poems can be used easily in our sessions and that there is a lot of language, melody, rhythm in them – generally there is a lot of learning there.I am really looking forward to our next session, I want to see the ideas our students are supposed to come up with.Andrea (a teacher trainer)

REFLECTIONS of teacher trainees’ studying at Department of English and American Studies at Constantine the Philosopher University in Nitra, Slovakia. Workshop, spring 2012

The way of teaching English language through drama – which I saw – is very interesting. An idea about the train was very good though a bit time-consuming as to the lesson preparation. It was also very good

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that children used only English, because I think that the knowledge of a foreign language is important and useful. Since the first part of the workshop was done in the form of a game, children did not realize that they are actually learning. This might also give them greater courage to express themselves (they were not afraid to communicate in English).Ivana (a teacher trainee)

The idea itself – to prepare a lesson as a train journey – was very interesting. This idea was developed throughout the whole lesson as its main theme; individual activities were related to travelling (e.g. bus stops). I also liked that we weren’t sitting in the same way as at the beginning, but we changed seats according to our travel destination. What I liked most was the song at the end. It was very funny to sit down and stand up following the specific lines in a poem. I’m sure that children would appreciate this active playing also as they have a lot of energy, they need motion and an ordinary lesson – when they simply sit at their desks and look at their course books – must be very boring for them. On the other hand, this kind of lesson would involve them for sure. And unaware, they would even “catch” the correct rhythm of a foreign language. Martina (a teacher trainee)

TASK 36: Which parts from the above lesson plan would you like to try with your learners? Why? Which parts would you modify? How?

LESSON PLAN 2: AMAZING GRACEThis lesson plan is based on a book Amazing Grace by Mary Hoffman and Caroline Binch.

The protagonist of the picture book Amazing Grace44 written by Mary Hoffman and illustrated by Caroline Binch is Grace, an African American girl, who loves reading and listening to stories, as well as acting them out “[a]nd she always gave herself the most exciting part45”. Grace thus becomes Joan of Arc, a soldier in the Trojan War, a pirate, Hiawatha, Mowgli, Dick Whittington or Aladdin. Fascinated by acting, she naturally wants to have the role of Peter Pan in a play they plan to put on at school. Grace is disappointed when her classmates object that she cannot have the part, first, because she is a girl, and second, because she is black. After coming home from school, Grace confesses to her mother and grandmother what happened at school. They both encourage her to do her best in order to get the role. Grace’s confidence gradually grows and after successful auditions she gets the role of Peter.

General information:age: teenagerslevel: A2 (with some modifications), B1, B2length: 90 – 120 minutesmaterials needed: CD, CD player, handouts with lyrics, the book of Amazing Grace, sheets of paper, pens

44 HOFFMAN, Mary – BINCH, Caroline: Amazing Grace. 1st ed. London : Frances Lincoln Children’s Books 1991. 32 p. ISBN 978-0803710-40-5.

45 There are no page numbers in the book.

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Language objectivesAfter doing this lesson plan, successful learners will be able to:• brainstorm key words from the song•develop a discussion on what it means to be “strange”• read short passages from the book aloud in a distinct intonation• retell a story from the pictures in the picture book• act out the passages from the story•write a poem (an acrostic) to “Amazing Grace”• read the poem aloud

Social objectivesLearners will become more aware of •diversity among people• themselves as being special in some way•ways how to accept each other’s differences• empathy with Amazing Grace from the book

Drama techniquestabloid, reading in chorus, short performances, (as activity modifications suggest: soundtracking and dancing)

Class arrangementBefore the lesson starts, put the chairs into a circle without any desks.

• Warm-up“PeopleAreStrange”byTheDoors:song(5minutes)Play the song “People are Strange” by The Doors. Tell your learners to listen to the song and relax. Ask them to focus on the lyrics and remember as many words as they can. Then develop the discus-sion on the key word STRANGE. Ask some of these questions:

“What does ‘strange’ mean to you?”“What was the strangest thing that ever happened to you?” “Why are some people considered to be strange?”“Who is the strangest person you have ever met?” What makes him/her strange?

• Pre-dramaStoryofGrace:readingaloudwithelementsofstorytelling(10minutes)Introduce the picture book of Amazing Grace to your learners. Read the first page aloud in a distinct intonation and show the picture related to the text to your class. Pass the book around the circle and let the learner next to you read the second page. If there is no text just a picture, tell your learners to make up a few lines related to the picture in the book. This continues accordingly until all the picture book is read. Then ask comprehension questions about Grace:

“Who is Grace?”“What is she like?”“What does she like doing?”“Is she strange in any way? Why?”“In what ways can you identify with Grace?”

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I’mspecialinthewaythat…:personalization(5minutes)Ask the question: What makes YOU different/special from other people around you? Learners sitting in the circle pass the ball and finish the sentence starter “I’m special in the way that ….(for example I can sign my name with both hands, or I am a vegetarian…). Remind them that to be different means to be special and unique. In spite of that there are many things they (your learners) have in common.

Findsomebodywhocan…:mingler(10minutes)Tell your learners to mingle in the class and look for a person they find very special or unique based on the previous activity. Tell them to find three things they have in common (the same abilities, skills, qualities etc.). In pairs they mingle again and introduce each other to other mingling pairs. Tell them to stay together with such a pair they find alike in some way. Tell your students to label their newly created groups by the key word that best describes them (for example: THE SHY, THE LOUD, THE MYSTERIOUS etc….).

• Drama Dramatizingthepicturebook:tabloids(15–20minutes)Learners work in the groups of four created in the previous activity. Tell them to choose a part of the story from the book. Give them the copies of the text and the pictures from the book. Tell them to cre-ate tabloids (still image) connected with the text and the picture from the book. Give them enough preparation time. Then, invite your learners to show their tabloids. The rest of the class comments on what they can see, who the characters are and which moment/scene from the book is shown.

Shortscenes(20–30minutes)Your learners stay in the same groups. Tell them to prepare a short scene starting from the tabloid they prepared during the previous stage. They can modify their part of the story and develop it, but the characters must be the same. At the end of their performance they freeze to let their viewers know that it is the end of their performance. Your learners perform their scenes in front of the rest of the class. At the end let your learners vote for the best performance, the best English language competence, the best identification with the text and the best props used.

• Calm downWritingapoemto“AmazingGrace”(15-20minutes)In the same groups, learners write a poem (an acrostic) to “AMAZING GRACE” in which each sen-tence begins with the letter from “Amazing Grace”. It means the first line starts with A, the second with M, the third with A, the fourth with Z, etc. The topic of the poem is “Don’t be afraid to be different”. The poem must contain the name of their group (see the previous activity Find somebody who). When they are ready with their writing, provide your learners with extra time to practise the reading aloud of their poem in chorus. Then each group reads their poem aloud to the rest of the class.Possible modification: the poem will be read by one learner from the group while the rest prepare a soundtrack and a dance that would accompany the same poem.

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REFLECTION of teacher trainers from the workshop held at the Department of English and Ameri-can Studies, Constantine the Philosopher University in Nitra, Slovakia, in spring 2012.

Being – first and foremost – a “literature” person but also a teacher who likes drama techniques, it’s best when I can combine both. The story of Grace literally invites its readers to act it out (there was actually a play for children written based on the story from the book) and offers many ideas which can be used in the class. As far as the lesson was concerned, I had expected that learners might enjoy the song (lyrics as poetry). I had tried it before and this activity has never disappointed me (and, maybe surprisingly, students ALWAYS sing. There is a very small trick to achieve this: A teacher must “arrange” the learners so that they can’t see each other’s faces. Then, they don’t feel “to be directly observed” while singing which – for most – is unpleasant). I also felt that there was a relaxed atmosphere in the class, a very important aspect, especially when a teacher would like to try some “acting-out” activities with learners. What I also liked was the way that learners accepted my colleague as their partner in the activities and didn’t feel uncomfortable. Quite the opposite. Mária (a teacher trainer)

I really enjoyed this part of the workshop. It was very emotional from the very beginning when Mary introduced the topic of diversity through the song and a short discussion. I find reading the picture book very appropriate and helpful in a foreign language classroom since pictures help to understand the new language better. It was a great idea to work in groups and prepare short scenes from the book with pos-sible modifications. All performances were really creative. I did not notice any student feel uncomfortable performing his/her role. We all enjoyed it a lot. My favourite part was writing a poem to Amazing Grace. That was very challenging and it did not go as smoothly as I thought. In our group, we had real difficulty to write something meaningful. Maybe we just need more practice. In conclusion, the topic of diversity was really nicely introduced. I do believe that we all benefited from the workshop in some way. Andrea (a teacher trainer)

REFLECTION of teacher trainees’ studying at the Department of English and American Studies at Constantine the Philosopher University in Nitra, Slovakia. Workshop, spring 2012.

On Tuesday, 17 April 2012 I attended a “drama workshop” that I found rather interesting. What I liked most was its end. The whole workshop was conducted in a perfect atmosphere, it was not difficult to feel relaxed, activities weren’t boring since all students had to interact, and often unexpectedly. Thanks to the revisions of performances I think I will remember the workshop for a long time. I liked this method a lot. At the beginning we listened to a song about “strangers” by The Doors. At the end, we sang it; I don’t like singing but – in this case – it created a perfect atmosphere :).Martin (a teacher trainee)

TASK 37: Which parts from the above lesson plan would you like to try with your learners? Why? Which parts would you modify? How?

LESSON PLAN 3: ALIENS

The main aim of the following lesson plan is to show the potential of drama techniques when raising intercultural awareness of learners in a foreign language classroom. It consists of a few verbal and non-verbal techniques which make learners familiar with cultural diversity. Creating characters, miming or hot-seat enable learners to experience what it feels like to be an “alien” , a “stranger”, a “foreigner”.

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The aliens in the following lesson plan come from various planets; they behave strangely and commu-nicate in their own language using alien gestures and mime. Besides raising intercultural awareness, the lesson plan develops and practises learners’ strategic subcompetence. It happens mainly when learners (in roles of aliens/strangers) are expected to negotiate meanings using any available verbal or non-verbal means to cover the language gaps in their repertoire. The Alien activities help language learners practise a lot of verbal and non-verbal language through an easy and funny context.

General information:age: young adults, adultslevel: B1, B2, C1length: 90 minutes – 120 minutesmaterials needed: small pieces of paper for drawing, crayons, colouring pencils

Language objectivesAfter doing this lesson plan, successful learners will be able to:•develop a discussion on what it is like to be an “alien”•describe the appearance of an imaginary alien and the aliens in their pictures• introduce themselves in gibberish • explain how to survive on our planet• give clear instructions on how to do something/how to say something• ask questions during an interview•use the information from the interview for a written follow-up activity

Cultural objectivesBy the end of these lessons, successful learners will become aware of:• individual differences concerning the appearance of different nations/cultures• social and cultural behaviour (some examples of etiquette)• impact of physical contact (touching the “alien”)•differences between languages•differences between the way in which emotions are expressed in different cultures•differences between gestures in different cultures•mutual acceptance, tolerance, respect• the fact that we can learn a lot from other cultures • interview etiquette (what questions are culturally and socially appropriate)

Drama techniquescreating characters, drawing characters, gibberish, miming, hot-seat

Class arrangement Put the chairs into a circle before the lesson starts. Learners will need a lot of space to move.

• Warm-upAlien:creatingthecharacter(10minutes) Learners sit in a circle. Pretend that there is somebody behind the door. Open the door and call your little IMAGINARY friend to come in. Since he is very shy he is going to whisper everything into your ear (this should raise your learners’ interest). Welcome and introduce your imaginary little friend, an alien, to the class. Encourage your learners to give him a name and describe his appearance. Tell your learners that this little alien is “lost” on our planet, he does not know our customs.

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• Pre-dramaPassingthealien:treatmeinthesameway(15–20minutes) Pass the alien in the circle. Each learner in the circle welcomes the alien, touches him and gives him some advice on what to do on Earth to survive.For example: Learner A  to an imaginary alien: “Hello, little alien. Welcome to our planet! We, people, eat food to survive. This is how we do it (Learner A mimes eating).” Then Learner A passes the alien to Learner B sitting next to him who follows the same procedure. This continues until all learners have welcomed the alien.

Pretend that the alien is whispering something in your ear. He is telling you that he feels strange to be treated like an “alien” among so many humans. The alien wishes that the learners would treat each other in the same way as they treated the alien. For example: Learner A to Learner B (using the same sentences, intonation, mime): “Hello, little alien. Welcome to our planet! We, people, eat food to survive. We do it this way.” Learner A mimes eating and encourages Learner B to mime the same thing together. Learner B to Learner C....

Let your alien watch learners treat each other in the same way as he (the alien) was treated earlier.

Develop a discussion on what it is like to be an “alien”, a stranger or a foreigner. You might ask some of these questions:Why do people migrate from country to country?What is the range of immigrants living in our country?How do you feel when you meet an immigrant?How do you understand the word “multiculturalism”?If you were an immigrant in some foreign country, would you try to adjust to the new culture? How?

Drawingaliens:teambuilding(5–10minutes)Give each learner a piece of paper. Provide your learners with crayons and pencils for drawing. Tell them to draw a simple picture of an alien from different planets. When they are ready, invite them to show their pictures to each other and search for similar aliens. This is the way learners form groups. Basically it is not the teacher who tells them who to work with but learners decide by themselves.

• DramaIntroducingalienstoeachother:teambuilding(5–10minutes)Learners grouped together according to similar drawings from the previous activity pretend to be aliens from the same planet. They name their planet and decide on:

• how they say “hello, we are aliens from...” in their alien language (gibberish),• what they do when they meet other “aliens”,• what they do when they are happy/sad/angry/hungry/in love… • how they walk, speak, etc.

Aliens in groups introduce themselves to other “aliens”.

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DowhatI do:imitation(10–15mins) Mix groups and create new ones so that there are different aliens from various planets.Aliens from different planets teach each other their own language, the way they walk and body language related to their feelings (happiness, sadness, hunger, love...).

• Calm-downInterviewingaliens:hot-seat(10–15minutes)Learners are in roles of aliens and journalists. “Aliens” are invited to sit on “hot-seat(s)” and will answer 5 questions asked by their classmates who are in the role of journalists. The questions can be related to aliens’ planets, their lives and customs. For example: Where do you come from? What is your name? How many brothers and sisters have you got? How old are you?... Questions such as How do you kiss?, How do you reproduce? etc. may be funny but must be asked in accordance with “alien etiquette”. When all five questions are answered, invite another group of “aliens” from a different planet to sit on the hot-seat(s). All this continues until all aliens have been interviewed. Learners in roles of journalists take notes and use them for a later writing activity (See homework below).

SettinghomeworkUsing notes from the interview, tell your learners to write either a report for a local newspaper (in reported speech), a column in a newspaper or a compare and contrast essay on the topic: What is better, to be an alien or a human being? Why?

REFLECTION of teacher trainers from the workshop held at the Department of English and Ameri-can Studies, Constantine the Philosopher University in Nitra, Slovakia, in spring 2012.

Aliens is a great lesson plan. It is based on the topic that most people have been once interested in; either in their childhood or - for some - it remains a life-long fascination and sentiment (Spielberg’s E.T. movie). This first layer (an extra-terrestrial life) is used in a very efficient way to remind us of ordinary but very important situations, behaviour, even conflicts that we have to face (getting used to new surroundings, place of work, etc). The ideas behind Aliens are in this way very universal. There are some more points I would like to highlight. The lesson plan is structured so that a learner is gradually drawn in. Introduc-tion of an imaginary friend (who hasn’t had one) is charming and capturing. Individual activities use variety of drama techniques which prevent learners from becoming bored (they have NO CHANCE with this lesson plan!).Mária (a teacher trainer)

Raising intercultural awareness through “alien” activities proved to be a good idea. It was clear from our students’ reactions that they enjoyed doing alien activities during our workshop. However, if I used the same lesson plan again, I would focus more on reflection and analysis of every single activity done at the session. That would make the lesson plan objectives clearer and more explicit. Next time I would defi-nitely use less activities and spend more time on lesson plan analysis. Without seeing the clear purpose behind drama techniques and activities, drama would be considered just as an entertaining element in English lessons. Andrea (a teacher trainer)

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REFLECTION of teacher trainees from the workshop held at the Department of English and Ameri-can Studies, Constantine the Philosopher University in Nitra, Slovakia, in spring 2012.

I didn’t know what to expect so I was a bit tense coming there. However, after a few minutes, I found myself in the alien‘s world. How to describe it? Interesting, funny, inspiring, unexpected, spontaneous... simply perfect. I really liked the way of presenting things. Our teacher trainer got hold of us all immedi-ately after her introductory sentences. I think she really made a great decision when she chose a character that can be modified according to our imagination. Everything depended on it. I hadn’t experienced anything like this before neither in English nor in Slovak lessons, I think. It’s a pity. I hadn’t known what I was missing... Time spent with you flew really fast and it gave me a lot of new ideas. Martina (a teacher trainee)

I had the opportunity to participate in the workshop organized by the Department of English and Ameri-can Studies. I attended the last part of the workshop called “Aliens”. We were engaged in the activities through an interactive approach so that we could learn each other’s personal characteristics and at-tributes and find out how different behaviour and reactions of different types of people, or, in this case, of aliens can be. Thanks to our little friend – called Snuffy – we could become alien creatures of the universe for a while. We lived on different planets, we had different characteristic features and customs. I have to confess that I liked not only the content of the workshop but also its form. The relaxed atmosphere somehow highlighted the whole event. I hope that activities like this will be organized often either by our department or by the university. Eliška (a teacher trainee)

TASK 38: Which parts from the above lesson plan would you like to try with your learners? Why? Which parts would you modify? How?

REFLECTION BOX 6. Put a tick (√) next to those statements that best describe your teaching abilities, skills and compe-tences after completing Chapter VI.

After studying CHAPTER VI. I am able to: YES I WISH TO IMPROVE

• identify drama techniques used in the above lesson plans

• explain the aims of drama techniques used in the above lesson plans

•use some ideas for dramatizing literature with my learners

• follow the above lesson plans and modify some activities

•design a drama-based lesson plan with clear linguistic, social, cultural objectives accordingly

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FINAL THOUGHTS

Drama techniques have been described in this handbook as a very efficient teaching and learn-ing tool to cover linguistic, social and cultural objectives. However, they are not labelled as the only possible nor ideal way of teaching and learning. Nowadays, current trends in language teaching and learning offer teachers various approaches, methods, techniques and activities that lead learners to become communicatively competent in a target language. Therefore, drama techniques are NOT a MUST but a CHOICE that can be made.With their adequate application in a foreign language classroom, a good atmosphere for learning can be easily achieved. Negative influential variables such as fear, stress and anxiety are broken via ice-breakers, minglers and other warm-ups. A community of learners and a good rapport with a teacher, a course leader, is gradually created when they break the ice and start to trust each other.Drama techniques enable language learners to practise both verbal and non-verbal language, in-cluding intonation and pronunciation. Through dramatic context, a foreign language is acquired naturally without being aware of it. Learners basically discover and practise it by acting it out on the stage. Therefore it is also remembered for a longer period of time. Drama techniques fulfil needs, wants and lacks of a variety of learners with different sensory learning preferences. Kinaesthetic and tactile learners appreciate movement activities, while auditory learners enjoy chanting, choral reading, and other pronunciation and sound activities. Visual learners enjoy watching performances and their classmates on stage. If all learners are actively involved in the learning process, they remember the new language more easily due to the application of their sensory learning preferences. Learners with multiple intelligences and differ-ent hemisphere brain dominance would find learning through drama techniques more enjoyable and efficient as well.

What we have learnt about using drama techniques with our teacher trainees during our ses-sions and workshops at university…

• Drama techniques are an ideal training tool for future language teachers.While training future teachers of English, drama techniques are a crucial and unique teaching, learning and training tool at our methodology and literature sessions and workshops. Since our trainees are still in the roles of learners of English as a foreign language, they have an opportunity to experience different drama techniques on their own and afterwards analyse them from two different perspectives: from language learners’ and future language teachers’ point of view. Our teacher trainees have the opportunity to practise their voice potential, body language, inter-personal skills, evaluation and reflection which are undoubtedly very important features and skills of future language teachers. After taking the courses where drama techniques are used as

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a  training tool, our trainees become more self-confident, comfortable and better prepared for their teaching career.

• We have learnt a lot about our students and about ourselves. The reflection stage is very important for both, teachers and learners. While reflecting on our own learning or teaching, we lead a kind of internal monologue. This stimulates our thinking and raises our awareness about ourselves and our acts and about people around us and their acts. Via doing drama, we can more easily identify with people and understand their motives better. We learn to feel what they feel; it teaches us to be empathetic and more humanistic.

• We have acquired new roles.A teacher who decides to use drama techniques should give up controlling roles and accept more facilitative ones. A teacher should become an encourager, friend and partner. Inititially, it was a bit unclear where to draw the line: to be a friend and to stay respected, how to do it properly? We learnt the trick – both friendship and respect come naturally with drama in the classroom and a teacher’s personality.

• We moved on in our professional career.Drama techniques made us reconsider our professional goals and aims. We understood that our task is to educate, which means provide our learners with necessary information applicable in their professional career and their personal lives. Educating a future generation of teachers who would educate new generations of children and then their children, we take our profession seriously with enormous responsibility. Using drama techniques at our sessions enables us to develop our trainees’ professional skills and also their human qualities.

TASK 39: Read the following feedback provided by teacher trainees after taking the optional methodology and literature courses where drama techniques were used. Referring to their re-flections, how much did they profit from the course?

“This course was a huge contribution to my future teaching career. I had never experienced learning through drama techniques, so I couldn’t imagine how to implement them properly in a foreign language classroom. You showed us how to fight against traditional teaching. I learned that there is no reason to be afraid to become a humanistic teacher… .”

“I finally had the opportunity to see how to apply the humanistic approach in foreign language teaching via using drama techniques. This course allowed me to be responsible for my own learning and professional development. I understood that socializing at sessions even here at university is a very important element… “

“Thank you for teaching me one of the best courses during my studies. You made me think….”

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TASK 40: Using the Reflection Box 7, reflect on your own attitude towards drama techniques in a foreign language classroom, your abilities, skills and competences.

REFLEXION BOX 7.

After using this HANDBOOK I am able to… YES I WISH TO IMPROVE

• summarize pros and cons of using drama techniques in a foreign language classroom

•name at least five verbal and non-verbal drama techniques and explain their aims and objectives

• suggest some drama-based warm-ups, minglers and ice-breakers to make a better class atmosphere

• use coursebook dialogues and texts more efficiently via the application of drama techniques

•plan and design lessons using some drama techniques

• set up learner-oriented objectives which develop learners’ communicative competence, social skills and increase their cultural awareness

• reflect on my own way of teaching and learning

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Bibliography

BAČOVÁ, Daniela - PHILLIPS, Tim (edit.): AS IF. 1st ed. Bratislava : The British Council 2000. 42 p. ISBN 978-0863554-50-4.

BARTON, Bob – BOOTH, David: Poetry Goes to School: From Mother Goose to Shel Silverstein. 1st ed. Ontario : Pembroke Publishers 2003. 96 p. ISBN 978-1551381-61-9.

DOUGILL, John: Drama Activities for Language Learning. 1st ed. London-Basingstoke : Macmillan Publishers 1991, 150 p. ISBN 978-0333392-15-9.

HEATHCOTE, Dorothy – BOLTON, Gavin: Drama for Learning : Dorothy Heathcote´s Mantle of the Expert Approach to Education. 1st ed. Portsmouth : Heinemann 1994. 163 p. ISBN 978-0435086-43-5.

JONES, Ken: Simulations in Language Teaching. 1st ed.. Cambridge: Cambridge University Press 1982, 7 p. ISBN 978-0521270-45-8.

MALEY, Alan – DUFF, Alan: Drama Techniques in Language Learning : A Resource Book of Communication Activities for Language Teachers. 2nd ed. Cambridge : Cambridge University Press 1993, 234 p. ISBN 978-0521249-07-4.

PHILLIPS, Sarah: Drama with Children : Resource books for teachers. 1st ed. Oxford : Oxford University Press 2000. 151 p. ISBN 978-0194372-20-0.

SHIBU, Simon: Teaching Literature in ELT / TESCOL Classes. 1st ed. New Delhi : Sarup and Sons 2006. 124 p. ISBN 978-8176256-57-5.

VARDELL, Sylvia, M.: Poetry People: A  Practical Guide to Children’s Poets. 1st ed. Westport : Libraries Unlimited. 184 p. ISBN 978-1591584-43-8.

VIA, Richard: “The magic if ” of theater: Enhancing language learning through drama. In: RIVERS, Wilga M. (edit.): Interactive Language Teaching. 1st ed. Cambridge : Cambridge University Press 1987, pp. 110-123. ISBN 978-0521322-16-2.

WARREN, Bernie: Drama Games: Drama and Group Activities for Leaders Working With People of All Ages and Abilities. 2nd ed. New York : Players Print 1996. 84 p. ISBN 978-0887346-81-1.

WOODARD, Carol – MILCH, Carri: Make-Believe Play and Story-Based Drama in Early Childhood: Let’s Pretend! 1st ed. London: Jessica Kingsley Publishers 2012. 160 p. ISBN 978-1849058-99-5.

Literary works:BELLOC, Hilaire: The Scorpion. In: BELLOC, Hilaire: More Beasts (For Worse Children). [Online.] 2008.

[20. 08. 2012.] Available on the internet: http://www.gutenberg.org/files/27176/27176-h/27176-h.htmBELLOC, Hilaire: The Vulture. In: BELLOC, Hilaire: More Beasts (For Worse Children). [Online.] 2008. [20.

08. 2012.] Available on the internet: http://www.gutenberg.org/files/27176/27176-h/27176-h.htm.HOFFMAN, Mary – BINCH, Caroline: Amazing Grace. 1st ed. London : Frances Lincoln Children’s Books

1991, 32 p. ISBN 978-0803710-40-5. HORSBRUGH, Wilma – COX, Paul: The Train to Glasgow. 1st ed. New York: Clarion Books 2004. 32 p. ISBN

978-0618381-43-2.RICHARDS, Laura: The Postman. In: RICHARDS, Laura: In My Nursery. [Online.] 2012. [20. 08. 2012.]

Available on the internet: http://www.gutenberg.org/files/39741/39741-h/39741-h.htm#jumbo_jee.SCIEZSKA, Jon – SMITH, Lane: Math Curse. 1st ed. London : Viking Juvenile 1995. 32 p. ISBN 978-0670861-94-1.SCIEZSKA, Jon – SMITH, Lane: Science Verse. 1st ed. London : Viking Juvenile 2004. 40 p. ISBN 978-

0670910-57-1.SCIEZSKA, Jon – SMITH, Lane: The True Story of Three Little Pigs. 10th ed. London : Puffin Books 1996.

32 p. ISBN 978-0140544-51-0.WISNIEWSKI, David: Golem. 2nd ed. New York : Sandpiper 2007. 32 p. ISBN 978-0618894-24-6.

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Further readingBROWN, Douglas, H.: Principles of Language Learning and Teaching. 3rd ed. New Jersey : Prentice Hall 1993.

347 p. ISBN 978-0131919-66-0.BROWN, Jean E. - STEPHENS, Elaine, C.: Teaching Young Adult Literature: Sharing the Connections. 1st ed.

Belmont, CA: Wadsworth 1995. 320 p. ISBN 978-0495476-17-7.CIPRIANOVÁ, Elena: Dramatizované úlohy a ich využitie vo vyučovaní obchodnej angličtiny. In:

Medzinárodné vedecké dni. Zborník vedeckých prác. 1. vyd. Nitra : Slovenská poľnohospodárska univerzita 1999. s. 155 – 159. ISBN 978-8071376-60-4.

CLARKE, Shirley: Formative Assessment in the Secondary Classroom. 1st ed. London: Hodder Murray 2005. 192 p. ISBN 978-0340801-26-3.

COCKETT, Stephen – FOX, Geoff: Keep talking!: learning English through drama, storytelling and literature. 1st ed. Krakow : Wydawnictwo Naukowe WSP 1999. 124 p. ISBN 978-8387513-84-9.

COHEN, Andrew: Strategies in Learning and Using a Second Language. 1st ed. London : Longman 1998. 312 p. ISBN 978-0582305-88-5.

DVORECKÝ, Michal – DVORECKÁ, Eva: Alternatívne formy práce na hodinách nemeckého jazyka - jazykové hry. In: POLÁK, Milan - VODRÁŽKOVÁ, Kamila (edit.): Tradiční a netradiční metody a formy práce ve výuce českého jazyka na základní škole: sborník prací z mezinárodní konference konané 19. března 2004 na Peagogické fakultě UP v Olomouci. 1. vyd. Olomouc : Univerzita Palackého 2005, s. 37 – 43. ISBN 978-8024410-02-8.

GADUŠOVÁ, Zdenka - HARŤANSKÁ, Jana: Vzdelávanie – vyučovanie - jazyk. 1st ed. 1. vyd. Nitra : Univerzita Konštantína Filozofa 2002. 152 s. ISBN 978-8080505-19-5.

HARMER, Jeremy: The Practice of English Language Teaching. 3rd ed. Essex : Longman 2003. 371 p. ISBN 978-0582403-85-5.

HEVEŠIOVÁ, Simona: Strategies of personalization and contextualization in foreign language learning. In: Učebné stratégie a cudzojazyčná kompetencia vo výučbe dospelých. 1. vyd. Nitra : Univerzita Konštantína Filozofa 2007, s. 47 – 53. ISBN 978-8080942-27-4.

HEVEŠIOVÁ, Simona: Teaching Foreign Language Literature Through Drama. In: Communication, Interaction and the Process of Teaching Foreign Languages after Joining the European Union. 1. vyd. Bratislava : RETAAS 2007. pp. 94 – 99. ISBN 978-8089113-31-6.

HVOZDÍKOVÁ, Silvia: Active teaching of english language to ADHD learners in dynamic process of creative drama. In: Modernization of Teaching Foreign Languages : CLIL, Inclusive and Intercultural Education. 1st ed. 1. vyd. Brno : Masarykova univerzita 2010, s. 146 – 159. ISBN 978-8021052-94-9.

HVOZDÍKOVÁ, Silvia: Dráma ako nástroj socializácie v triede In: MASLOVÁ, Marcela: Inovácie v škole. 1st ed. 1. vyd. Dolný Kubín : Združenie Orava pre demokraciu vo vzdelávaní 2002, s. 105 - 109. ISBN 978-8096866-43-5.

MACHKOVÁ, Eva: Zásobník dramatických hier. 1. vyd. Bratislava : Národné osvetové centrum 1997. 121 s. ISBN 978-8071211-26-5.

SCHER, Anna – VERRALL, Charles: 100 + Ideas for Drama. 1st ed. London : Heinemann Educational Books 1975. 130 p. ISBN 978-0435187-99-6.

SMIEŠKOVÁ, Alena: Employment of autonomous learning - student centred approach to teaching foreign languages (Autonómia žiaka ako decentralizovaný prístup vo vyučovaní cudzích jazykov). In: Inonárodné sociokultúrne fenomény a cudzojazyčné vzdelávanie. 1. vyd. Nitra : Štátny pedagogický ústav 2004, s. 258 – 261. ISBN 978-8080693-66-8.

TANDLICHOVÁ, Eva: Práca s textom vo vyučovaní anglického jazyka. 1st ed. 1. vyd. Bratislava : Slovenské pedagogické nakladateľstvo 1991. 171 s. ISBN 978-8008005-96-3.

TANDLICHOVÁ, Eva: Text pri rozvíjaní komunikatívnych zručností vo vyučovaní anglického jazyka. 2nd ed. 1. vyd. Bratislava : Univerzita Komenského 2001. 159 s. ISBN 978-8022316-12-1.

VALENTA, Josef: Metody a techniky dramatické výchovy. 1st ed. 1. vyd. Praha : Grada Publishing 2008. 352 s. ISBN 978-8024718-65-1.

VALENTA, Milan: Dramaterapie. 1. vyd . Praha : Portál 2001. 150 s. ISBN 978-8071785-86-5.

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WESSELS, Charlyn – MALEY, Alan: Drama. 1st ed. Oxford : Oxford University Press 1987. 137 p. ISBN 978-0194370-97-4.

WEST, Keith: Inspired English Teaching: A Practical Guide for Teachers. 1st ed. London: Continuum 2010. 184 p. ISBN 978-1441141-34-7.

WILLINGHAM, Daniel, T.: Why Don’t Students Like School? 1st ed. San Francisco : Jossey-Bass 2009. 228 p. ISBN 978-0470591-96-3.

WOLFE, Pat: The Role of Meaning and Emotion in Learning. In: New Directions for Adult and Continuing Education, 2006, n. 110, pp. 35 - 41.

ZELINA, Miron: Alternatívne školstvo. 1. vyd. Bratislava : IRIS 2000. 255 s. ISBN 978-8088778-98-0.ZELINA, Miron: Stratégie a metódy rozvoja osobnosti dieťaťa. 1 vyd. Bratislava : Iris 1996. 230 s. ISBN 978-

8096701-34-7.

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SUMMARY

Drama Techniques in the Foreign Language Classroom is a handbook for all teachers of English and teacher trainers who wish to implement drama techniques in their lessons. The handbook is divided into six chapters. Chapter 1 introduces drama techniques in education and in foreign language teaching and learning. Practical aspects of their use in a foreign language classroom are also discussed. Chapter 2 presents selected non-verbal and verbal techniques that increase communicative competence, as well as social and cultural awareness. Chapter 3 focuses on the use of dialogues through drama techniques to create characters, setting and a dramatic hook. Chapter 4 shows how to use and combine drama techniques and literature; Chapters 5 deals with planning and structuring drama-based lessons and their analysis through teachers’ and learners’ reflection. There are three sample lesson plans in Chapter 6, in which different drama techniques are used. The conclusion summarizes ideas and thoughts related to efficient drama usage in a for-eign language classroom. Selected samples of activities can be also found on the DVD that is a part of the handbook.

Metodika Drama Techniques in the Foreign Language Classroom (Dramatické techniky v cudzoja-zyčnej výučbe) je určená všetkým učiteľom angličtiny, ako i tým, ktorí budúcich učiteľov pripravujú a majú záujem o implementovanie dramatických techník do výučby cudzieho jazyka. Metodika je rozdelená do šiestich kapitol. Prvá kapitola predstavuje dramatické techniky vo vyu-čovaní vo všeobecnosti a následne vo vyučovaní cudzieho jazyka, vrátane vybraných praktických aspektov ich využitia. Druhá kapitola sa zameriava na neverbálne a verbálne techniky, ktoré zlep-šujú komunikatívnu kompetenciu a zároveň prispievajú k zvýšeniu sociálneho a kultúrneho po-vedomia. Tretia kapitola sa venuje práci s dialógmi formou dramatických techník. Rozoberajú sa pritom spôsoby vytvorenia postáv, prostredia a dramatického napätia. Štvrtá kapitola popisuje, ako je možné skombinovať dramatické techniky a prácu s literárnym textom. Kapitola piata podrobne uvádza postupy plánovania štruktúry vyučovacích hodín s využitím drámy. Vybrané hodiny sú za-nalyzované a reflektované aj z pohľadu učiteľov a študentov. V šiestej kapitole sú uvedené tri ukáž-ky plánov hodín s využitím rôznych dramatických techník. Záver metodiky sumarizuje základné poznatky a pozorovania, ktoré sú prezentované v publikácii. Vybrané ukážky aktivít je možné nájsť i na DVD, ktoré je súčasťou metodiky.

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INDEX

ASHER, J. James 88BAČOVÁ, Daniela 7, 32, 38, 84 – 85, 89, 98, 115BARTON, Bob 76, 115BELLOC, Hillaire 77 – 78, 80, 115BINCH, Caroline 104, 115BOLTON, Gavin 85, 115BOOTH, David 76, 115BROWN, Douglas, H. 116BROWN, Jean E. 116BROWNE, Anthony 75 – 76BUTTERFIELD, Tony 40CAUSLEY, Charles 77CIPRIANOVÁ, Elena 116CLARKE, Shirley 116COCKETT, Stephen 44, 63, 116COHEN, Andrew 116COX, Paul 98, 115DAHL, Roald 52, 77DOUGILL, John 85, 115DR. SEUSS 77DUFF, Alan 84 – 85, 115DVORECKÁ, Eva 116DVORECKÝ, Michal 116FIELD, Eugene 77FOX, Geoff 44, 63, 116GADUŠOVÁ, Zdenka 116RICHARDS, Laura 77, 82, 115RIVERS, Wilga M. 17, 115ROSEN, Michael 77 – 78, ROSSETTI, Christina 77SANDBURG, Carl 77SCIEZSKA, Jon 71, 115SHAKESPEARE, William 17SHIBU, Simon 71, 115SILVERSTEIN, Shel 77, 115SCHER, Anna 116SMIEŠKOVÁ, Alena 116SMITH, Lane 71, 115STEPHENS, Elaine, C. 116STEVENSON, Robert Louis 77ŠIMOVÁ, Gabriela 37TANDLICHOVÁ, Eva 116VALENTA, Josef 116VALENTA, Milan 116

VARDELL, Sylvia, M. 77, 115VERRALL, Charles 116VIA, Richard 17, 50, 115VODRÁŽKOVÁ, Kamila 116WARREN, Bernie 85, 115WESSELS, Charlyn 117WEST, Keith 117WILLINGHAM, Daniel, T. 117WISNIEWSKI, David 74, 76, 115WOLFE, Pat 117WOODARD, Carol 76, 115ZELINA, Miron 117

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APPENDIX 1This is the train to Glasgow. Here is the driver, Mr. McIvor,Who drove the train to Glasgow.Here is the guard from Donibristle Who waved his flag and blew his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

Here is a boy called Donald MacBrainWho came to the station to catch the trainBut saw the guard from Donibristle Wave his flag and blow his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

Here is the guard a kindly manWho at the last moment, hauled into the vanThat unfortunate boy, Donald MacBrainWho came to the station to catch the trainBut saw the guard from Donibristle Wave his flag and blow his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

Here are the hens and here are the cocks, Clucking and crowing inside a box,In charge of the guard a kindly manWho at the last moment, hauled into the vanThat unfortunate boy, Donald MacBrainWho came to the station to catch the trainBut saw the guard from Donibristle Wave his flag and blow his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

Here is the train. It gave a joltWhich loosened a catch and loosened a bolt,And let out the hens and let out the cocks,Clucking and crowing out of their box,In charge of the guard a kindly manWho at the last moment, hauled into the vanThat unfortunate boy, Donald MacBrainWho came to the station to catch the trainBut saw the guard from Donibristle

Wave his flag and blow his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

The guard chased a hen and, missing it, fellThe hens were all squawking, the cocks were as well,And unless you were there you haven’t a notionOf the flurry the fuss, the noise and commotionCaused by the train which gave a joltAnd loosened a catch and loosened a bolt,And let out the hens and let out the cocks,Clucking and crowing out of their box,In charge of the guard a kindly manWho at the last moment, hauled into the vanThat unfortunate boy, Donald MacBrainWho came to the station to catch the trainBut saw the guard from Donibristle Wave his flag and blow his whistleTo tell the driver, Mr. McIvor,To start the train to Glasgow.

Now Donald was quick and Donald was neat,And Donald was nimble on his feet.He caught the hens and he caught the cocksAnd put them back in their big box.The guard was pleased as pleased could beAnd invited Donald to come to teaOn Saturday, at Donibristle,And let him blow his lovely whistleAnd said in all his life he’d never Seen a boy so quick and clever,And so did the driver, Mr. McIvor,Who drove the train to Glasgow.

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Picture 2: Story-telling: Teacher-in-role. 2nd graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

Picture 1: Creating characters: Drawing characters. 7th graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

Picture 3: Statue of a Halloween Monster. 7th graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

APPENDIX 2

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Picture 5: Reading a story. 7th graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

Picture 4: Short performances. 7th graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

Picture 6: Action song with young learners: Teacher-in-role and learner-in-role. 2nd graders, Primary School Fatranská in Nitra. Photo by Andrea Billíková.

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Picture 8: Thought tracking. Workshop, 2012, Teacher trainees, Department of English and American Studies, Constantine the Philosopher University in Nitra. Photo by Łukasz Wojciechowski.

Picture 7: The tabloid of Aliens. Workshop, 2012, Teacher trainees, Department of English and American Studies, Constantine the Philosopher University in Nitra. Photo by Łukasz Wojciechowski.

Picture 9: Storytelling. Project Welcome to Wonderland, 2012, Teacher trainees, Primary school Mojmírovce. Photo by Natália Poláková.

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Picture 11: Drama Festival for Schools in English, 2012. Performance: When a Typical Slovak is not Typical - Gymnázium Andreja Vrábla, Levice, teacher: PhDr. Jana Jaďuďová. Photo by Jaroslav Dóczy.

Picture 10: Action song. Project Welcome to Wonderland, 2012, Teacher trainees, Primary school Mojmírovce. Photo by Natália Poláková.

Picture 12: Drama Festival for Schools in English, 2012. Performance: Snow White and the Seven Dwarves - Gymnázium P. Pázmáňa, teacher: Mgr. Zuzana Peternai. Photo by Photo by Jaroslav Dóczy.

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O projekte Vzdelávanie divadlom

Dagmar Inštitorisová

Základné údaje o projekteNázov projektu: VZDELÁVANIE DIVADLOMDoba realizácie: 1. septembra 2010 – 31. augusta 2013Celková výška schválených výdavkov: 848 495,67 EURPrijímateľ: Univerzita Konštantína Filozofa v Nitre. Trieda A. Hlinku 1Operačný program Vzdelávanie, prioritná os 1 – Reforma systému vzdelávania a  odbornej prípravy, opatrenie 1.2 Vysoké školy a výskum a vývoj ako motory rozvoja vedomostnej spoločnosti Agentúry Ministerstva školstva, vedy, výskumu a športu SR pre štrukturálne fondy.

Projekt sa realizuje na nasledujúcich katedrách a pracoviskách:Ústav literárnej a umeleckej komunikácie Filozofickej fakulty UKF, Katedra kulturológie Filozofickej fakulty UKF (vrá-tane Univerzitného tvorivého ateliéru), Katedra anglistiky a amerikanistiky Filozofickej fakulty UKF a Katedra hudby (učiteľstvo hudobno-dramatického umenia) Pedagogickej fakulty UKF v Nitre.

Projekt VZDELÁVANIE DIVADLOM je zameraný na inováciu foriem a metód kurzov teoreticko-dejinnej a praktic-kej výučby a na tvorbu pedagogicko-didaktických materiálov a pomôcok doterajšieho modelu vzdelávania divadlom (vrátane osobnostného rozvoja prostriedkami divadla), divadelnej tvorby a vyučovania o divadle na pôde Univerzity Konštantína Filozofa v Nitre. Projekt je koncipovaný tak, aby bolo možné kreatívne divadelné postupy využiť aj inter-disciplinárne.

Súčasťou procesu inovácie metód a postupov na jednotlivých predmetoch je participácia absolventov, bývalých doktorandov a  súčasných pedagógov VŠMU v  Bratislave, bývalých doktorandov DAMU v  Brne či aktívnych diva-delných tvorcov atď., čím dochádza k prelínaniu divadelných postupov s interdisciplinárnymi postupmi a myslením estetiky, kulturológie a ostatných odborov.

Jednotlivé aktivity sa budú realizovať priebežne počas celého školského roka počas troch rokov trvania projektu.Základný cieľ projektu - inovácia študijných odborov estetika, kulturológia, anglistika a amerikanistika a hudba

(hudobno-dramatický odbor) – sa opiera o Akčný plán vedenia univerzity pre rok 2009, ktorý bol vypracovaný v súlade so zámermi a cieľmi Dlhodobého zámeru Univerzity Konštantína Filozofa v Nitre na roky 2007 - 2017.

V rámci neho je jednou z priorít UKF Inovácia vzdelávania, ktorá spočíva predovšetkým v optimalizácii študij-ných programov na bakalárskom a magisterskom stupni štúdia, ktorej hlavným cieľom je racionalizácia a zabezpečenie kvality vzdelávania.

Projektový zámer vychádza z priorít Dlhodobého zámeru v oblasti výskumu a vývoja, ktorý je stanovený pre nasle-dujúce oblasti: umelecká komunikácia, metodológia výkladu a interpretácie umeleckých diel (literárne, hudobné, vý-tvarné, divadelné a filmové diela). Ide o základné vedné disciplíny ako teória vied o umení a teórie vyučovania disciplín umeleckovýchovného charakteru. Obdobne vychádza z priorít v oblastiach výskumu slovenskej hudby 20. storočia, metodologických otázok muzikológie (hudobná história, história nástrojovej hudby, slovenské vokálne umenie, hu-dobná pedagogika), historicko-estetických problémov výtvarného umenia a iných umení v regióne a z didaktických aspektov vyučovania umeleckovýchovných disciplín.

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Vzhľadom na to, že do projektu sú zapojené katedry kulturológie, hudby, anglistiky a amerikanistiky a Ústav literárnej a umeleckej komunikácie, zámerom projektu je tiež rozvíjať u študentov schopnosť aplikovať získané ve-domosti a zručnosti v širších – nehumanitných – súvislostiach, skvalitniť ich kultúrne a divadelné povedomie a cel-kovo tak prispieť k priblíženiu absolventov uvedených katedier k potrebám trhu práce a vedomostnej spoločnosti.

Projekt podstatou svojej koncepcie prepája výskumné a pedagogické ciele, zapojením doktorandov do projektu umožňuje aj skvalitnenie vedeckej a pedagogickej činnosti na III. stupni vysokoškolského vzdelávania na UKF v Nitre.

Projekt sa významnou mierou podieľa na rozvoji umeleckej činnosti Univerzity Konštantína Filozofa. Umelecká činnosť má svoje špecifiká, ktoré vyžadujú adekvátny prístup pri financovaní (individuálny spôsob štúdia, relatívne vysoké finančné nároky na materiálové zabezpečenie).

V rámci projektu sa technicky a materiálovo vybavujú katedry zapojené do projektu, ako i Mediálne centrum Filo-zofickej fakulty UKF, Univerzitný tvorivý ateliér a Univerzitná knižnica UKF.

Vďaka projektu sa na jednotlivých katedrách a v priestoroch študovní Univerzitnej knižnice vytvoria centrá na štúdium divadelných inscenácií a hier prostredníctvom multimédií. V rámci neho sa tiež zakúpi veľké množstvo do-mácich a zahraničných knižných a elektronických publikácii s divadelnou problematikou.

Na nahrávaní priebehu a výsledkov jednotlivých aktivít a na vyhotovovaní DVD a CD z nich bude participovať Mediálne centrum FF UKF v Nitre a Rádio Plus.

Výsledkom projektu budú:Cykly workshopov s názvom Historické divadelné poetiky, ktorých hlavnou súčasťou je rad workshopov zameraných

na problematiku rekonštrukcie historických divadelných poetík, a to prostredníctvom témy Sofoklovej Antigony. Ďalej cyk-lus s názvom Súčasné divadelné poetiky, v rámci ktorého sa prakticky ukazujú a učia postupy súčasnej divadelnej estetiky a zásady jej recepcie (dielňa autorského dramatického písania, dramaturgická dielňa, scénografická dielňa, dielňa scénickej hudby, režijná dielňa, herecká dielňa, divadelná kritika atď.). Poslednou skupinou sú Workshopy aplikácie divadelných po-stupov, v rámci ktorých sa študenti oboznamujú s rôznymi formami aplikácie divadelných prostriedkov v interdisciplinár-nych súvislostiach (divadlo a anglický jazyk, divadlo a terapia atď.).

Rôzne vzdelávacie inovatívne formy práce so študentmi priamo na hodinách a seminároch, medzi ktoré patrí aj naštudovanie školskej muzikálovej inscenácie Ples upírov či exkurzie po profesionálnych divadlách na Slovensku.

Vznik archívov divadelných hier a inscenácií (napríklad aj na základe videonahrávok inscenácií divadelného festi-valu pre základné a stredné školy v anglickom jazyku katedry anglistiky a amerikanistiky a pod.).

Veľký rad publikácii na tému dejín a teórie historických a súčasných poetík, väčšinou monografického a metodic-kého charakteru. Osobitne cennou publikáciou je multimediálna učebnica, ktorá vznikne na základe pravidelných hos-ťovaní divadelných súborov s netradičnými či inovatívnymi poetikami v Univerzitnom tvorivom ateliéri. Tak divadlá, ako aj hosťujúci umelci sú väčšinou slovenského pôvodu.

Projekt sa ukončí 21. a  22. mája  2013 medzinárodnou konferenciou Vzdelávanie divadlom, na ktorej sa budú prezentovať celkové výsledky projektu.

Cieľovou skupinou sú študenti a doktorandi uvedených katedier, ale aj ostatných katedier na UKF v Nitre.Na projekte by sa malo aktívne zúčastniť minimálne 320 študentov (z  toho 165 z odboru estetika, 65 z odboru

kulturológia, 70 z hudobno-dramatického odboru a 20 z odboru anglistika a amerikanistika). Predpokladaná veková štruktúra je 18 - 24 rokov. Predpokladané geografické umiestnenie: Nitriansky, Banskobystrický, Trnavský Žilinský, Bratislavský kraj s okresmi ako Nitra, Trnava, Topoľčany, Prievidza, Partizánske, Nové Zámky, Šaľa, Martin, Žilina, Trenčín, Banská Bystrica, Zvolen atď.

Základná vzdelanostná úroveň študentov: študenti vysokých škôl, absolventi stredných odborných škôl a gymnázií, bakalári a doktorandi.

Jednotlivé aktivity a  študijné a  pracovné materiály pre študentov k  workshopom sú priebežne zverejňova-né na   webovej adrese projektu: http://www.vzdelavaniedivadlom.ukf.sk v  týchto sekciách: Workshopy – nové, Workshopy – archívy, Publikácie, Muzikál, Iné činnosti (určená na oznamy o hosťovaní divadiel v Univerzitnom tvorivom ateliéri, o prednáškach, exkurziách, festivaloch a pod.), Prezentácie, Publicita a Materiály pre študentov. Súčasťou je, samozrejme, aj sekcia určená pre administratívu projektu - Administratíva.

Materiály pre študentov sú vytvárané na základe podkladov lektorov jednotlivých workshopov a dopĺňané superví-zorkou projektu o potrebné aspekty. Predstavujú ich jednak základná či odporúčaná študijná literatúra, s ktorou budú lektori na workshopoch pracovať, a jednak pracovné materiály, ktoré slúžia ako základ praktických realizácií worksho-

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pov. Materiály sú dostupné pre každého účastníka workshopov, teda nielen pre tých študentov, ktorí sa zúčastňujú iba na jednom. Materiály pre študentov, ako aj pre administráciu projektu sú chránené heslom.

Súčasťou každého workshopu je verejná prezentácia jeho výsledkov pred verejnosťou, na ktorej lektori spolu so študentmi predstavujú hotové výsledky (ukážky z  autorských hier, návrhy scénografických riešení, typov scénickej hudby pre divadelné inscenácie atď.) a lektori taktiež vysvetľujú zámery workshopov.

Propagácia projektu, jeho výsledky, výstupy a napredovanie sú okrem webovej stránky projektu zabezpečené aj prostredníctvom internetovej stránky Univerzity Konštantína Filozofa v Nitre www.ukf.sk a FF UKF v Nitre www.ff.ukf.sk. Nástrojom propagácie aktivít projektu sú tiež publikácie, monografie, meetodiky, DVD ukážky a konferencie atď. Taktiež budú v rámci študentských periodík uverejnené miniprieskumy, ako študenti vnímajú zmeny na jednot-livých katedrách, ktorých sa projekt dotýka, čo im projekt prináša, ako sú spokojní s inovatívnymi prístupmi, ako ich využívajú atď.

Do písania o jednotlivých aktivitách projektu sa už úspešne zapojili aj študenti z workshopov a publikujú svoje ná-zory, postrehy, skúsenosti, rozhovory a lektormi atď., či už na stránkach študentských tlačených a elektronických médií ako Občas NEČAS, http://artblog.sk/redakcia/ a i., alebo profesionálnych periodík ako Javisko, kød a pod.

Komplexnosť v prístupe k inovácii predmetov divadelného vzdelávania považujeme za základ zvýšenia príťažlivosti projektu u študentov a doktorandov.

Forma rekonštrukcie historických a súčasných poetík patrí medzi pilotné formy. Forma workshopov je síce známa a používaná, ale v projekte je využitá netradičných spôsobom, pretože na jednej strane sa prostredníctvom nich inovuje vyučovací proces, na strane druhej sa optimalizuje vzdelávacia situácia v širších súvislostiach (absencia či nedostatok základnej literatúry na niektoré témy, súčasné málo podnetné divadelnovzdelávacie prostredie atď.).

Projekt sa uskutočňuje vo dvoch základných aktivitách:

1 Prostredníctvom zavedenia inovatívnych foriem vzdelávania zvýšiť kvalitu a konkurencieschopnosť UKF v Nitre1.1 Inovácia foriem a metód kurzov teoreticko-dejinnej a praktickej výučby

2 Podporiť racionalizáciu a skvalitnenie vyučovacieho procesu študijných programov v divadelných disciplínach 2.1 Tvorba pedagogicko-didaktických materiálov a pomôcok

Ad 2.1Cieľom aktivity je inovácia, rozvoj a kreativizácia vyučovacích postupov a možnosť ich interdisciplinárnej aplikácie.

Aktivita inovuje model vzdelávania divadlom (vrátane osobnostného rozvoja prostriedkami divadla), divadelnej tvorby a vyučovania o divadle tak, ako sa v  súčasnosti príslušné disciplíny vyučujú v Ústave literárnej a umeleckej komunikácie FF UKF v Nitre, na Katedre kulturológie FF UKF a Katedre hudby (učiteľstvo hudobno-dramatického umenia) PF UKF (muzikálová tvorba) i Katedre anglistiky a amerikanistiky FF UKF. Je zameraný na teoreticko-meto-dologickú a pragmatickú inováciu predmetov dejinného a teoretického charakteru a na skvalitnenie a rozšírenie tém a postupov používaných na tvorivých a recepčne zameraných seminároch tak, aby bolo možné kreatívne divadelné postupy využiť aj interdisciplinárne.

Jedným z podcieľov projektu je aj príprava pedagógov Ústavu literárnej a umeleckej komunikácie ako možného re-kvalifikačného pracoviska stredoškolských pedagógov na vyučovanie nového predmetu umenie a kultúra na stredných školách, ktorého súčasťou je aj vyučovanie o divadle/divadlom.

Inovácia foriem a metód kurzov teoreticko-dejinnej a praktickej výučby obsahuje:1. Workshopy (realizácia počas seminárov a prednášok z dejín svetového a slovenského divadla na tému historických

a súčasných divadelných poetík a ich aplikácie v nedivadelných podmienkach).2. Kreativizácia, rozvoj a  optimalizácia pedagogických postupov na seminároch a  prednáškach z  dejín svetového

a slovenského divadla, teórie divadla (semináre interpretácia divadelného diela, teória dramatickej tvorby, žánre dramatickej tvorby, javiskové techniky a scénografia) a divadelnej tvorby a metodiky (tvorivá dramatika, tvorivý seminár: divadelná tvorba, herecká tvorba, muzikálový tanec, pohybová výchova, didaktika atď.).

3. Naštudovanie školskej muzikálovej inscenácie Ples upírov.4. Iné vzdelávacie aktivity pre študentov a doktorandov (prednášky domácich a zahraničných lektorov).

1. WorkshopyIde o inováciu metód a foriem práce na seminárnych a prednáškových predmetoch z dejín svetového a slovenského divadla i teórie divadla v už vymenovaných predmetoch. Pôjde o rozšírenie tvorivých seminárov, ako napr. divadelné

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dielne, alebo teoretických seminárov, ako napr. interpretácie divadelného diela, o aktuálne poetiky a problémy estetiky súčasných divadelných postupov formou workshopov. Konkrétne pôjde o rozšírenie a inováciu o problematiku autor-ského dramatického písania, o herecké, scénografické techniky atď. formou workshopov (ako napr. režijný, autorský, dramaturgický, herecký, scénografický, hudobný, workshop tvorivej dramatiky atď.). Workshopy sa realizujú v troch základných líniách:

• Historické divadelné poetiky,• Súčasné divadelné poetiky,• Workshopy aplikácie divadelných postupov.

Základom cyklu workshopov historických a súčasných divadelných poetík je práca s jedným dramatickým textom, a to historickým a súčasným.

V prípade cyklu Historické divadelné poetiky ide o prácu so Sofoklovou Antigonou, v prípade Súčasných divadel-ných poetík o prácu s dramatickým textom súčasného slovenského dramatika Dana Majlinga „P“.

Na základe všetkých workshopov s témou Antigony vznikne publikácia s názvom Antigona – nedokončená „tetra-lógia“ s DVD ukážkami možností „rekonštrukcie“ inscenačných techník starovekého gréckeho divadla formou dielní, s trilógiou Sofokla Vládca Oidipus, Antigona a Oidipus na Kolóne a inými dokumentmi.

Priebeh a výsledok takmer každého workshopu je nahrávaný na video, zostrih na DVD bude súčasťou publiká-cie, ktorá bude zaznamenávať ciele, metódy a prostriedky použité na jeho realizáciu. Autormi publikácií sú lektori workshopov. Výsledky dielní v podobe publikácii sa tak budú dať využiť aj v nasledujúcich rokoch a počas vyučovacích hodín sa budú dať nielen ďalej rozvíjať, ale postupne i implementovať aj v iných ako stanovených interdisciplinárnych súvislostiach (divadlo a kreativita, terapia, rétorika, estetika, literatúra, výtvarné umenie atď.).

Najdôležitejším workshopom v rámci cyklu Historické divadelné poetiky je séria workshopov na tému rekonštruk-cia divadelnej poetiky Antigony, v rámci ktorých sa bude realizovať viacero činností spätých s pochopením dobovej divadelnej estetiky a súčasnej divadelnej estetiky (odborná prednáška o starovekom gréckom divadle, scénografická dielňa zameraná na scénický výraz starovekého gréckeho divadla, dielňa zameraná na tanec, autorská dielňa študentov na tému Antigony atď.).

Do súčasných poetík patria workshopy, ktoré sú tematicky zamerané na tradičnú a súčasnú estetiku jednotlivých divadelnoinscenačných zložiek (scénografia, réžia, herectvo atď.). Aj na základe týchto workshopov vzniknú publi-kácie, v ktorých budú vždy vysvetlené základné pojmy divadelnej poetiky v historických a súčasných súvislostiach (napr. režijná dielňa: mizanscéna, aranžmán atď.; herecká dielňa: herecká postava, herecká akcia atď.). Pri ich vyu-žívaní na jednotlivých predmetoch bude možné prostredníctvom konkrétnych aktivít aplikovať dané postupy na iné situácie a  tiež na základe porušenia tradičných divadelných postupov tvoriť postupy platné v nových, súčasných divadelných poetikách. Aj autormi tohto typu publikácií budú lektori jednotlivých workshopov.

2. Kreativizácia, rozvoj a optimalizácia pedagogických postupov Zacielenie je na nové formy a metódy vyučovania, predovšetkým ide o rozšírenie používaných postupov o interaktívne a kreatívne formy, ktoré umožnia flexibilné narábanie so získanými vedomosťami a zručnosťami. Sú tiež zamerané na schopnosť študentov aplikovať ich na iné situácie súvisiace s dejinami a teóriou divadla a problematikou metodoló-gie divadelnovedných disciplín. Konkrétne ide o inováciu zaužívaného edukačného modelu historických a súčasných divadelných poetík tak v teoreticko-dejinných, ako aj praktických súvislostiach, a to tým, že napríklad v rámci vyu-čovania historických divadelných poetík na seminároch z dejín svetového divadla sa tieto skvalitnia smerom k lepšej predstave študentov o  jednotlivých divadelných poetikách. Použije sa na to forma rekonštrukcie historických poe-tík (obdobne súčasných), a to tak, aby okrem tradičnej možnosti získať vedomosti o príslušných poetikách formou analýzy tvorby dramatikov mali študenti možnosť oboznámiť sa priamo, konkrétnymi kreatívnymi aktivitami, napr. s režijnými, scénografickými či inými postupmi danej poetiky používaním jednotlivých techník v malých aktivitách, aj s pomocou rôzneho typu techniky. V rámci súčasných divadelných poetík ide o zachytenie „živého“ divadla v jeho bohatých formách a metódach práce prostredníctvom vystúpení hosťujúcich divadelných súborov v Univerzitnom tvo-rivom ateliéri. Predstavenia sú zaznamenané na DVD a súčasťou každého záznamu bude štúdia, ktorá sa bude venovať charakteristickým aspektom poetiky toho-ktorého predstavenia, a ďalší – veľmi rozmanitý – heuristický materiál. Vý-sledkom bude multimediálny učebný text, ktorý bude pozostávať z DVD a textových častí, ktoré zároveň predstavujú základný výskumný materiál na analýzu poetiky akýchkoľvek divadelných textov.

Súčasťou zefektívnenia vzdelávacích postupov je aj vytvorenie archívov divadelných hier a inscenácií, ktoré budú obsahovať videozáznamy a DVD záznamy divadelných inscenácií a skeny divadelných hier a ďalších potrebných doku-mentov i študijných materiálov s divadelnovednou problematikou.

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3. Naštudovanie školskej muzikálovej inscenácie PlesupírovŠkolská muzikálová inscenácia Ples upírov bola už realizovaná. Mala prvú a druhú premiéru 3. a 4. mája 2011 o 18. 30 hod. v Starom divadle K. Spišáka v Nitre. Vznikla na pôde hudobno-dramatického odboru Katedry hudby PF UKF (v spolupráci s FF UKF), ktorá ako jediná na Slovensku realizuje študijný program učiteľstvo hudobno-dramatického umenia. Študijný program je zameraný na integráciu hudob ného, tanečného a dramatického umenia a jeho pedagogic-kú aplikáciu v hudobno-dramatickej výchove základných umeleckých škôl a centier voľného času. V rámci prípravy na povolanie majú študenti tohto študijného programu možnosť overiť si svoje schopnosti aj v rámci hudobno-dramatic-kých predstavení Starého divadla K. Spišáka a Divadla Andreja Bagara v Nitre, ktoré Katedre hudby PF UKF pravidelne prepožičiavajú svoje priestory na výučbu niektorých predmetov.

Hlavným zámerom naštudovania školskej muzikálovej inscenácie bolo:• aktívnezapojenieštudentov,pedagógova pracovníkovUniverzityKonštantínaFilozofav Nitredoprípravy,tvorby

a naštudovania muzikálu;• tvorboumuzikálurozvíjaťtalent,schopnostia praktickéskúsenostištudentovv oblastihudobno-dramatickejtvor-

by, ktorú študujú v danom odbore;• uviesťmuzikálovú inscenáciu so živýmorchestrom, zborom a  detským zborom, pretože na Slovensku sa dnes

muzikál neuvádza v takejto samozrejmej a súčasne neopakovateľnej podobe;• umožniťvznikškolskejmuzikálovejinscenáciev optimálnychfinančnýcha technickýchpodmienkach.

Priebeh naštudovania muzikálu bol zaznamenaný na DVD, ktoré bude pracovným materiálom pre študentov. Spo-lu s metodikou Ako vznikal muzikál Ples upírov budú tiež základným študijným materiálom slúžiacim na objasnenie procesu vzniku muzikálu, na vysvetlenie poetiky jeho výrazových prostriedkov atď. Pôjde o publikáciu, ktorá sa vo svojej teoretickej podstate bude zaoberať inscenačným modelom súčasného muzikálu.

Kostýmy, scénické prvky a technika, ktoré boli vytvorené či zakúpené v rámci projektu, sa stanú súčasťou archívu kostýmov a scénických prvkov katedry a budú sa využívať v ďalšom pedagogickom procese.

4. Iné vzdelávacie aktivity pre študentov a doktorandov Zámerom je vytvoriť podnetné prostredie vzhľadom na záujem o doktorandské štúdium jednotlivých odborov a tiež aj teoreticko-dejinných a prakticky zameraných divadelných predmetov. Základom sú prednášky domácich a zahra-ničných lektorov. Táto časť aktivity je tiež previazaná s aktivitou v podobe publikačných výstupov, ako aj s materiá-lovo-technickým vybavením vzdelávacích priestorov jednotlivých pracovísk a workshopmi.

Ústav literárnej a umeleckej komunikácie tiež rozšíril svoje doktorandské vzdelávacie aktivity o externé pracovisko - Kabinet divadla a filmu SAV v Bratislave; činnosti zamerané na doktorandov skvalitnia doktorandské štúdium.

V rámci niektorých činností sa budú v projekte overovať možnosti využitia niektorých vyučovacích výsledkov v in-terdisciplinárnych súvislostiach, a to pri témach ako divadlo a kreativita – zameranie na osobnostný rozvoj – a divadlo a terapia – využitie divadelných postupov napr. v psychologických súvislostiach a i. Postupy použité v sérii workshopov na tému rekonštrukcie divadelnej estetiky Antigony sa budú aplikovať na niektoré súčasného formy divadla ako event, site specific, scénický náčrt a pod.

V rámci tejto aktivity sa projekt prepojí – organizačne a kultúrne – s Divadlom Andreja Bagara v Nitre a Starým divadlom K. Spišáka v Nitre (napr. teraz už bývalý herec DAB Miloslav Kráľ mal na starosti Hereckú dielňu atď.).

Ad 2.1 Tvorba pedagogicko-didaktických materiálov a pomôcok

Cieľom aktivity je skvalitnenie, optimalizácia a súčasne modernizácia učebných pomôcok, podporenie racionalizácie a skvalitnenie vyučovacieho procesu študijných programov v divadelných disciplínach.

V súčasnosti sa vo vysokoškolskom prostredí nevenuje dostatočná pozornosť divadelnému vzdelávaniu vo všetkých jeho súvislostiach, už dlhšie obdobie sa napríklad nekonala konferencia na danú tému (či iné formy diskusie na túto tému). Neustále chýbajú metodické, odborné i vedecké materiály pre veľkú oblasť tém, ktoré by reflektovali, prehlbovali či rozvíjali súčasný stav myslenia o divadelnej problematike a príbuzných disciplínach (teória inscenovania, scénológia, teória autorského divadla, teória divadelnej scénickej hudby atď.).

Problém inovácie vzdelávania divadlom a vyučovania o divadle v súvislosti s uvedenou aktivitou považujeme za závažný aj z hľadiska súčasnej teatralizácie bežného života, ktorá vyvoláva dojem, že nie je rozdiel medzi divadelným umením a teatralizovaným, performatívnym či interaktívnym konaním človeka či formami jeho činnosti. Projekt preto prináša rad publikácií, ktoré sa týmito otázkami priamo alebo nepriamo zaoberajú. K týmto problémom sa, samo-zrejme, vyjadrujú aj workshopy a inovácie postupov na teoreticko-dejinných predmetoch a praktických predmetoch s následným zaznamenaním ich výsledkov na DVD a v písomnej forme.

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V rámci aktivity sa vytvorí rad nových pedagogicko-didaktických materiálov, pomôcok. Rad publikovaných vý-sledkov má aj multimediálny charakter. Materiál na DVD alebo CD umožňuje na prednáškach a seminároch nadviazať na činnosti aplikáciou použitých postupov v nových súvislostiach, variovaním pragmatického napĺňania osnov a tém predmetov a pragmatickým rozvíjaním príkladov na tému vývoja historických poetík smerom k súčasným atď.

V rámci nových postupov sa tiež rozšíri a skvalitní používanie súčasných tradičných audiovizuálnych didaktických pomôcok, ako napr. nahrávok ukážok z divadelných inscenácií, používanie powerpointových prezentácií, priesvitiek s pôdorysmi atď.

Vzhľadom na uvedené súvislosti je zámerom projektu optimalizovať vzdelávaciu situáciu, preto budú výsledky projektu poskytnuté všetkým dotknutým záujemcom.

V rámci historických poetík ide o dopĺňanie bielych miest v dejinách divadla (pripravuje sa napríklad vydanie monografie o Sofoklovi atď.). Situácia však nie je iná ani pri problematike súčasnej divadelnej estetiky. Väčšinou pôjde o vydanie učebných textov základného významu v daných témach (monografia o francúzskom dramatikovi Koltèso-vi, divadelnom štúdiu Farma v jeskyni, anglickej dramatičke S. Cane, divadelnom preklade, divadelnej dramaturgii, scénografii, scénickej hudbe atď.). Bude ich možné využiť v disciplínach ako dejiny umenia, história, dejiny a teória literatúry, dejiny a teória hudby a pod.

S publikačnými výstupmi sa bude po ich vydaní pracovať na vyučovacích hodinách a stanú sa súčasťou základnej alebo odporúčanej literatúry pre študentov a doktorandov.

Výsledkom aktivity sú, resp. budú nasledujúce učebné texty:• monografie, metodiky atď. z dejín a teórie historických divadelných poetík; • monografie, metodiky atď. z dejín a teórie súčasných divadelných poetík (vrátane ich aplikácie do rôznych oblastí).

Súčasťou tejto línie je aj multimediálna učebnica.

Priame nadviazanie na výsledky aktivity:• výsledky aktivity budú po jej skončení, ale aj priebežne distribuované do knižníc (vrátane univerzitných) a pedago-

gicko-metodických centier na Slovensku;• publikácie budú tiež rozposlané do centrálnych knižníc (vrátane univerzitných);• budú takisto k dispozícii študentom, ktorí ich budú potrebovať po skončení vysokoškolského štúdia pre vlastnú

pedagogickú alebo inú činnosť;• keďže ich študenti (vrátane doktorandov či iných záujemcov o ne) budú môcť dostať bezplatne, zvýši sa ich dostup-

nosť;• publikácie sa stanú súčasťou prezentácie publikačnej činnosti (na konferenciách, sympóziách a pod.) jednotlivých

pracovísk doma a v zahraničí;• publikačné výstupy sa stanú súčasťou základnej alebo odporúčanej literatúry na príslušných pracoviskách UKF;• dlhodobý úžitok predstavuje okrem distribúcie publikácií do knižníc aj následné reflektovanie ich obsahu vo vý-

skumoch a súvisiacich pedagogických aktivitách.

Možnosti transferu všetkých výstupov:• verejná prístupnosť (verejné prezentácie, zverejnenie inovatívnych výsledkov v podobe multimediálnych publikač-

ných výstupov) umožňuje následné rozvíjanie jednotlivých postupov a ich aplikáciu v iných predmetoch;• výsledky výstupov podporia schopnosť študentov kreatívne sa učiť, sú zacielené na rozvoj kompetencie učiť sa;• výstupy rozvíjajú a podnecujú kompetencie ako kultúrne povedomie a vyjadrovanie, kreatívne vyjadrovanie pocitov,

myšlienok, skúseností a pod., iniciatívu, riešenie problémov, hodnotenie rizika so schopnosťou vytvoriť stratégie a plá-novať, prijímanie rozhodnutí, konštruktívne riešenie pocitov a základné kompetencie v oblasti vedy.

Priame nadviazanie na výsledky oboch aktivít predstavujú:• využívanie inovovaných postupov v predmetoch divadelného vzdelávania aj po skončení projektu;• ponúknutie niektorých foriem (workshopy ako divadlo a kreativita, autorské dramatické písanie v podobe autor-

ského kreatívneho písania) do širšej ponuky predmetov UKF;• distribúcia publikačných foriem výstupov do knižníc a pedagogicko-metodických centier;• stanú sa základom pre inováciu vytvorených archívov katedier (archív inovatívnych vzdelávacích postupov);• dôjde k dlhodobému prepojeniu pracovísk rôznych typov (UKF, VŠMU, AMU atď.), čím sa systematizuje a prehĺbi

záujem o divadelné vzdelávania na VŠ;• využívanie výstupov pre doktorandské štúdium aj na pôdach iných univerzít;

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• ide o dlhodobé účinky pre cieľovú skupinu;• nadobudnuté kompetencie študentom (vrátane doktorandov) umožnia efektívnejšie zapojenie sa do pracovného

procesu (vlastnej pedagogickej či inej činnosti);• zvýši sa tiež ich flexibilita, skvalitnia sa ich schopnosti prijímať nové informácie, orientovať sa v nich a vytvárať na

ich základe nové riešenia;• zvýši sa aj ich samostatnosť na trhu práce.

Všetky inovované vzdelávacie priestory sa budú intenzívne využívať aj po skončení projektu – vrátane priestoru Univerzitného tvorivého ateliéru a Mediálneho centra FF UKF – všetkými študentmi UKF.

V rámci celkovej prezentácie výsledkov projektu na konferencii i v rámci čiastkových výstupov sa prípadným záu-jemcom bude ponúkať možnosť prebratia archivovaných materiálov. Táto možnosť bude ponúkaná aj prostredníctvom príslušných informácií na webovej stránke projektu (nepriama cieľová skupina: iné VŠ, stredné školy, základné školy, pedagogicko-metodické strediská, knižnice).

Študenti budú môcť využívať archivované materiály:• na mimoškolské aktivity, ako napr. práca v amatérskych divadlách v mieste bydliska;• po skončení VŠ ako učebné pomôcky pre vlastnú pedagogickú, prípadne ešte na inú činnosť.

Doterajší odborní členovia projektového tímu:Mgr. Daniela Bačová, PhD., doc. Mgr. Miroslav Ballay, PhD., Mgr. Boris Belica, Mgr. art. Juraj Benčík, Mgr. Andrea Billíková, PhD., Mgr. Martina Borodovčáková, Mgr. Pavol Brezina, PhD., Mgr. Jaroslava Čajková, Mgr. Dáša Čiripová, Mgr. art. Viera Dubačová, Mgr. Katarína Dudová, PhD., Mgr. art. Petronela Dušová, Mgr. art. Peter Ďurovec, Mgr. Dana Gálová, Mgr. Marián Hlavatý, PhD., prof. PhDr. Dagmar Inštitorisová, PhD., Mgr. Emília Janecová, Mgr. Peter Janků, PhD., PhDr. Mária Kiššová, PhD., Mgr. Eva Kleinová, ArtD., PhDr. Tomáš Koprda, PhD., Mgr. art. Lucia Kovalčíková, Mgr. Svetlana Kozárová, Mgr. art. Miloslav Kráľ, Mgr. art. Patrik Krebs, Mgr. Romana Maliti, PhDr. Milan Michalec, PhD., PhDr. Marcel Olšiak, Mgr. Peter Oravec, PhD., PhDr. Petra Pappová, PhD., Mgr. Dana Paraličová, PhD., Mgr. Eva Pariláková, PhD., doc. Mgr. art. Peter Pavlac, Mgr. art. Marek Piaček, ArtD., Eva Priečková, Mgr. Miroslava Režná, PhD., doc. PhDr. Zoltán Rédey, PhD., Mgr. Juraj Šebesta, PhD., PhDr. Matej Šiška, Mgr. art. Iveta Škripková, Mgr. Ján Štrasser, Mgr. Iveta Štrbák Pandiová, PhD., Mgr. Edita Štrbová, Mgr. Daniel Uherek, PhD., Mgr. art. Michal Vajdička, Mgr. art. Stanislava Vlčeková, Mgr. Lukasz Wojciechowski, PhD., doc. Mgr. art. Elena Zahoráková, Mgr. Hana Zeleňáková, PhD., PhDr. Roman Zima. PhD., Mgr. Peter Zlatoš, PhD., prof. PhDr. Marta Žilková, PhD., Mgr. art. Kamil Žiška

Doterajšie aktivity:

WORKSHOPY:(Pozn.: Na záver sa vždy realizovala verejná prezentácia výsledkov.)1. Základy tvorivej dramatiky

(cyklus workshopov Aplikácia divadelných poetík) Dátum: 12. 11. 2010 – 14. 11. 2012 Lektorka: Mgr. art. Lucia Kovalčíková

2. Autorské dramatické písanie (cyklus workshopov Súčasné divadelné poetiky) Dátum: 15. 11. 2010 – 28. 1. 2011 Lektor: doc. Mgr. art. Peter Pavlac

3. Dramaturgická dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: doc. Mgr. art. Peter Pavlac Dátum: 28. 3. 2011 – 9. 5. 2011

4. Dielňa scénickej hudby (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. art. Marek Piaček, ArtD. Dátum: 8. 4. 2011 – 10. 4. 2011

5. Scénografická dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. Bc. Peter Janků, PhD. Dátum: 6. 5. 2011 – 8. 5. 2011

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6. Herecká dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. art. Miloslav Kráľ Dátum: 14. 10. 2011 – 16. 10. 2011

7. Antigona I. – dramaturgicko-režijný rozbor (cyklus workshopov Historické divadelné poetiky) Lektori: Mgr. Dáša Čiripová, doc. Peter Pavlac, Mgr. art. Michal Vajdička Dátum: 9. 12. 2011 – 10. 12. 2012

8. Divadelná kritika (cyklus workshopov Súčasné divadelné poetiky – recepcia) Lektorka: prof. PhDr. Dagmar Inštitorisová, PhD. Dátum: 16. 12. 2011 – 18. 12. 2011

9. Antigona II. – rekonštrukcia scénického výrazu (cyklus workshopov Historické divadelné poetiky) Lektor: Mgr. Bc. Peter Janků, PhD. Dátum: 17. 2. 2012 – 19. 2. 2012

10. Umelecký prednes, divadlo a prax (cyklus workshopov Aplikácia divadelných poetík) Lektorka: Mgr. Jaroslava Čajková Dátum: 29. 3. 2012 – 1. 4. 2012

11. Antigona III – rekonštrukcia scénickej hudby a choreografie (cyklus workshopov Historické divadelné poetiky) Lektori: Mgr. art. Stanislava Vlčeková, Mgr. art. Marek Piaček, ArtD. Dátum: 13. 4. 2012 – 15. 4. 2012

12. Dráma a jej potenciál v cudzojazyčnej výučbe (cyklus workshopov Aplikácia divadelných poetík) Lektorky: Mgr. Andrea Billíková, PhD., PhDr. Mária Kiššová, PhD. Dátum: 17. 4. 2012

13. Antigona IV. – rekonštrukcia estetiky inscenovania Antigony (cyklus workshopov Historické divadelné poetiky) Lektori: Mgr. art. Michal Vajdička, doc. Mgr. art. Peter Pavlac Dátum: 28. 4. 2012 – 29. 4. 2012 a 5. 5. 2012 – 7. 5. 2012

14. Ako vzniká inscenácia I. (cyklus workshopov Súčasné divadelné poetiky) Lektori: doc. Mgr. Miroslav Ballay, PhD., Mgr. Boris Belica, Eva Priečková Dátum: 1. 6. 2012 – 3. 6. 2012

15. Ako vzniká inscenácia II. (cyklus workshopov Súčasné divadelné poetiky) Lektor: doc. Mgr. Miroslav Ballay, PhD. Dátum: 8. 6. 2012 – 10. 6. 2012

16. Divadelná výchova (cyklus workshopov Aplikácia divadelných poetík) Lektorka: Mgr. Art. Lucia Kovalčíková Dátum: 28. 9. 2012 – 30. 9. 2012

17. Dramatické techniky a ich aplikovanie vo výučbe angličtiny (cyklus workshopov Aplikácia divadelných poetík) Lektorky: Mgr. Andrea Billíková, PhD., PhDr. Mária Kiššová, PhD. Dátum: 10. 10. 2012

18. Liečba divadlom (cyklus workshopov Aplikácia divadelných poetík) Lektorka: Mgr. Art. Viera Dubačová Dátum: 12. 10. 2012 – 14. 10. 2012

19. Artery – dramaterapia v sociálnej praxi (cyklus workshopov Aplikácia divadelných poetík) Lektor: Mgr. Art. Patrik Krebs Dátum: 26. 10. 2012 – 28. 10. 2012

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20. Pantomimická dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. art. Juraj Benčík Dátum: 9. 11. 2012 – 11. 11. 2012

21. Bábkoherecká dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. art. Petronela Dušová Dátum: 23. 11. 2012 – 25. 11. 2012

22. Režijná dielňa (cyklus workshopov Súčasné divadelné poetiky) Lektor: Mgr. art. Kamil Žiška Dátum: 7. 12. 2012 – 9. 12. 2012

HOSŤOVANIA DIVADIEL V UNIVERZITNOM TVORIVOM ATELIÉRI: 1. Jaroslav Viňarský: Buticulla: Figúrybláznaa Poslednýkrokpred

Dátum: 6. 4. 20112. Mariana Ďurčeková – Ján Luterán: projekt.svadba

Stanica Žilina-Záriečie Dátum: 11. 5. 2011

3. Švantner – Ditte – Jurčová: NevestahôľDivadlo Pôtoň - Centrum umenia a kreativity Bátovce Dátum: 5. 10. 2011

4. Katarína Aulitisová: PaskudáriumDivadlo Piki Pezinok Dátum: 9. 11. 2011

5. Karol Horák: Živýnábytok Študentské divadlo Prešovskej univerzity Dátum: 7. 12. 2011

6. Sláva Daubnerová: M.H.L. Divadlo P. A. T. a Štúdio 12 Bratislava Dátum: 29. 2. 2012

7. Juraj Benčík: PantomimáriumDivadlo s. r. o. Bratislava v spolupráci s Divadlom a. ha Bratislava Dátum: 28. 3. 2012

8. Blaho Uhlár a DISK: Výhľad Divadelný súbor Kopánka – Trnava (skratka DISK)  Dátum: 25. 4. 2012

9. Kolektív: Chránenéúzemie Mestské divadlo – Divadlo z Pasáže Banská Bystrica  Dátum: 3. 10. 2012

10. Kolektív: Kucapaca Divadlo bez domova Bratislava Dátum: 7. 11. 2012

11. Iveta Škripková: Mocad(r)ámy Bábkové divadlo na Rázcestí Banská Bystrica Dátum: 5. 12. 2012

PREDNÁŠKY:1. Vyučovanie o divadle Petra Scherhaufera

Prednášajúca: prof. PhDr. Dagmar Inštitorisová, PhD. Dátum: 3. 12. 2010

2. Rekonštrukcia historických divadelných poetík Prednášajúca: prof. PhDr. Dagmar Inštitorisová, PhD. Dátum: 10. 3. 2011

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3. Antigona starovekého Grécka Prednášajúca: Mgr. Dáša Čiripová Dátum: 23. 6. 2011 a  9. 12. 2011 (pre študentov v rámci workshopu Antigona I.)

4. Nový cirkus – umenie globálnej éry Prednášajúci: Mgr. art. Juraj Benčík Dátum: 9. 5. 2013

5. Sarah Kane – autorský Uroboros Prednášajúca: Mgr. Dana Gálová (rod. Kratochvilová), PhD. Dátum: 16. 5. 2013

KONFERENCIE, KOLOKVIÁ ATĎ.:1. Antigona – nedokončená „trilógia“

Dátum: 22. 3. 20122. Vzdelávanie divadlom – medzinárodná vedecká konferencia

Dátum: 21. a 22. 5. 2013

EXKURZIE:1. Divadlá v Žiline: Bábkové divadlo Žilina, Stanica Žilina-Záriečie, Mestské divadlo Žilina

Dátum: 8. 3. 20112. Slovenské komorné divadlo Martin

Dátum: 11. 4. 20123. Divadlá výchovného Slovenska: Študentské divadlo Filozofickej fakulty Prešovskej univerzity v Prešove, Divadlo

Alexandra Duchnoviča Prešov, Bábkové divadlo Košice, Štátne divadlo Košice, Divadlo Kontra Spišská Nová Ves, Spišské divadlo Spišská Nová Ves Dátum: 3. – 5. 4. 2013

FESTIVALY:1. The 12th Drama Festival in English „Stories&LegendsoftheSlovakPast“

Dátum: 11. 4. 2011 – 12. 4. 20112. The 13th Drama Festival in English

Dátum: 21. 3. 2012 – 22. 3. 2012

DIVADELNÉ INSCENÁCIE:1. Plesupírov – školský muzikál

Prvá a druhá premiéra: 3. 5. 2011 a 4. 5. 2011

KNIŽNÉ PUBLIKÁCIE:1. Daniel Uherek: Koltès – dramatik sveta v kríze2. Dagmar Inštitorisová a kol.: August Strindberg Hra snov (interpretačné sondy do slovenského divadla)3. Peter Oravec: Výrazové prostriedky muzikálu4. Peter Pavlac: Prekliaty dramatik alebo ako sa pokúsiť zbaviť útrap pri písaní dramatického textu5. Miroslav Ballay: Farma v jeskyni6. Peter Janků: Scénické myslenie7. Marek Piaček: Scénická hudba v reálnom čase8. KOLEKTIV: Ako vznikal muzikál Ples upírov9. Peter Janků: Scénografia pre nescénografov10. Marek Piaček: Hudba ako udalosť11. KOLEKTÍV: Preklad a divadlo. Tvorivé prekladateľské reflexie 212. Jaroslava Čajková: Od umeleckého prednesu k divadlu13. Juraj Šebesta: Cesta prekladu dlhým dňom do noci14. Daniela Bačová: Britské dramatičky druhej polovice 20. storočia15. Miloslav Kráľ: Malý sprievodca hereckým svetom16. Daniela Bačová – Andrea Billíková – Mária Kiššová: Dramatické techniky a ich potenciál vo výučbe cudzích jazykov17. Martina Borodovčáková: Sofokles18. Peter Pavlac: Zbytočný dramaturg alebo ako obhájiť svoju profesiu (Metodika pre pochybujúcich)

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19. Andrea Billíková – Mária Kiššová: Drama Techniques in Foreign Language Classroom20. Dana Kratochvílová: Fenomén Sarah Kane

Editorská poznámka:Autormi fotografií sú Andrea Billíková, Jaroslav Dóczy, Jana Jaďuďová, Natália Poláková, Lukasz Wojciechowki.Fotografie Lukasza Wojciechowského a Jaroslava Dóczyho pochádzajú z archívu projektu Vzdelávanie divadlom, ostatné fotografie sú z archívu autoriek metodiky.

Moderné vzdelávanie pre vedomostnú spoločnosť/Projekt je spolufi nancovaný zo zdrojov EÚ.

Metodika vznikla v  rámci projektu Vzdelávanie divadlom, ktorý sa realizoval pod vedením prof. PhDr. Dagmar Inštitorisovej, PhD., na pôde Ústavu literárnej a umeleckej komunikácie Filozofi ckej fakulty Univerzity Konštantína Filozofa v Nitre od 1. 9. 2010 do 31. 8. 2013.Projekt sa realizoval ako súčasť Operačného programu Vzdelávanie, prioritná os 1 – Reforma systému vzdelávania a odbornej prípravy, opatrenie 1.2. Vysoké školy a výskum a vývoj ako motory rozvoja vedomostnej spoločnosti Agentúry Ministerstva školstva, vedy, výskumu a športu SR pre štrukturálne fondy.

Andrea Billíková – Mária KiššováDrama Techniques in Foreign Language Classroom

Vedecká redaktorka: prof. PhDr. Dagmar Inštitorisová, PhD.

Výkonný a odborný redaktor: PhDr. Marcel Olšiak, PhD.

Grafický a technický redaktor: PhDr. Roman Zima, PhD.

Preklad summary: PhDr. Mária Kiššová, PhD.

Jazykový redaktor anglického jazyka: Marcos Perez

Jazykový redaktor slovenského jazyka:

PhDr. Marián Macho, PhD.

Menný register: Mgr. Andrea Billíková, PhD. PhDr. Mária Kiššová, PhD. PhDr. Marcel Olšiak, PhD.

Posudzovatelia: prof. PaedDr. Zdenka Gadušová, CSc.

Mgr. Daniela Bačová, PhD.

Náklad: 500 ksVydanie: prvé

Rozsah: 140 stránRok vydania: 2013

Tlač: Ševt, a. s., Bratislava

Vydavateľ: Univerzita Konštantína Filozofa v Nitre

Filozofická fakultaKatedra anglistiky a amerikanistiky

ISBN 978-80-558-0328-9

N E P R E D A J N é