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Introduces drama strategies for language teachers to maximise learners’ engagement, retention and development of personal and social skills.
In recent years the contribution of drama to second language learning has grown internationally as a field of interest to both teachers and researchers. The potential for drama to provide strong social contexts for learning, to provide opportunities for the learner to embody the target language and to motivate students’ desire to communicate have been increasingly recognized as fruitful areas of inquiry. This book provides a brief historical perspective on the development of this interest before presenting a range of examples drawn from recent research projects led by those who are themselves experienced as drama and second language teachers. Drawing on a variety of theoretical perspectives and deploying a range of methodological processes, the chapters present evidence as to how and why drama can impact on student learning in a range of classrooms, from the primary school through to undergraduate level. Focusing on issues such as questioning in role, the professional development of second language teachers interested in using drama, and the role of artistry when applying drama as pedagogy for second language learning, they provide an up to date picture of contemporary practices and an acute analysis of both the possibilities and the challenges facing researchers in the field. This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.
An analysis of learning a second language through process drama. Topics covered include: evoking dramatic moments in second language learning and teaching; the nature of teacher-student interaction in drama-orientated language classrooms; and the psycho-social aspect of drama on learning.
This book explores embodiment in second language education, sociocultural theory and research. It focuses on process drama, an embodied approach that engages learners’ imagination, body and voice to create a felt-experience of the second language and culture. Divided into three parts, it begins by examining the aesthetic and intercultural dimension of performative language teaching, the elements of drama and knowing-in-action. The central part of the book examines issues related to play, emotions, classroom discourse and assessment when learning a language through process drama, in a sociocultural perspective. The third part is an analysis of the author’s qualitative research, which informs a subtle discussion on reflective practitioner methodology, learner engagement and teacher artistry. Each chapter includes a drama workshop, illustrating in practice what embodying language in action can look like when working with asylum seekers, adult learners with intellectual disabilities, pre-service teachers, international students and children involved in a Content and Language Integrated Learning (CLIL) programme. A unique combination of theory, research and reflective practice, this book provides valuable insights for teacher/artists, teacher educators and researchers in the fields of performative and sociocultural language learning.
This book explains why and how drama works as an enjoyable, social, and emotionally engaging way for young people and adults to learn and use a second language within imagined worlds and develop their 21st century skills. A flexible teachers' toolbox of drama strategies is offered and guidance on how to start using drama for learning with language students. Each strategy is presented in detail and used within the exemplar lessons. The authors refer to relevant educational, psychological and neurological theories and cite research that helps account for drama's efficacy in motivating talk and supporting second language acquisition, whilst developing important life skills such as communication, collaboration, critical thinking, creativity and resilience.
Process drama is now firmly established, internationally, as a powerful and dynamic pedagogy. This clear and accessible book provides a practical, step-by-step guide to the planning of process drama. Grounded in theory and illustrated in practice, it identifies and explains the principles of planning and shows how they can be applied across age ranges and curricula. Drawing on the authors’ wide-ranging practical experience and research, examples are built up and run throughout the book, at each step showing how and why the teachers’ planning decisions were made. This second edition features: a wider range of examples illustrating the planning principles in practice two completely new chapters: one deals with planning for diverse learner groups and the other moves the reader on from the pre-action planning phase to the ‘planning on your feet’ required as the drama unfolds. incorporated new material to reflect recent understanding of how learning takes place Written as a conversation between reader and authors, Planning Process Drama will help practitioners to update and refine their practice and strengthen their understanding, skills and confidence. Planning Process Drama will be an essential guide for students undertaking initial teacher training at primary level, in addition to both Drama and English at secondary level, and a Masters in Drama in Education. It will also prove to be valuable reading for specialist and non-specialist teacher in both the primary and secondary sectors who teach, or wish to teach, process drama.
Drawing on current theories of additional & foreign language learning this text illustrates through practical case studies how drama can be used to support the four key skills of listening, speaking, reading and writing.
Developed by one of the world's leading theatre companies, this resource offers teachers a practical drama-based approach to teaching and appreciating three of Shakespeare's most popular plays: Romeo and Juliet, Macbeth, and A Midsummer Night's Dream.Drama-based exploration of the text for pupilsTeacher's notes and photocopiable worksheets for a lesson-by-lesson routeAlso works as a dip in resourceFlexible ideas for use with current teachingMapped to KS3 Framework for English and KS2 Primary Framework for LiteracyCD contains printable digital versions
The author leads us on a journey of his years teaching additional languages through the use of performing arts. Drama, theater games, music, and other performance activities promote language use in authentic and engaging ways that differ from typical classroom activities and allow the language learners to have fun as they solve challenges in the target language. Drawing on the work of Lev Vygotsky and Sociocultural Theory, he demonstrates how learning is social and how learners create their knowledge by working with each other. Drama and creative arts are a powerful means for teaching and learning language because of the emotional support and encouragement it entails. He shows how performing arts engage learners intellectually, physically, and emotionally while offering supports and scaffolds that lead to powerful learning outcomes. He has effectively used these techniques with children and adults both at home and abroad in many different cultures and settings and argues that anyone can use these learning strategies to augment their teaching.
Drama Worlds examines the complex improvised event called process drama and identifies it as an essential part of today's theatre. Cecily O'Neill considers process drama's sources and its connections with more familiar kinds of improvisation: the texts it generates, the kinds of roles available, its relation to its audience and dramatic time, and the leader's function in the event. She provides examples of several process dramas and identifies dramatic strategies and characteristics. The explicit associations between theatre form and process drama make O'Neill's approach accessible and its purposes and possibilities easy to understand, particularly to those working in actor training and theatre. Teachers and directors alike will discover effective ways of initiating and maintaining the drama world, achieving a significant dramatic experience for all participants.
