How
to Approach Speaking and Listening through Drama Chapter 1
Nama
: shulthoniah
Class
: tbi 6E
Nim : 171230171
1. How to Begin With Teacher in Role
The first part of this chapter is exolain how to begin teacher in role
and Why use teacher in role? Because One of the best ways to do that in
drama work is to be inside the drama. Therefore, at the centre of the
dramas that we include in this book, is the key teaching technique that
is used, namely teacher in role . Many times we have watched trainee
teachers with a class of children struggling to get attention when
giving instructions in traditional teacher mode. Yet, as soon as they
move into role, they obtain that attention more effectively.and the role
of teacher also very important becausr The teacher as a storyteller is
something all primary school teachers will recognise. In preparing to be
this kind of storyteller the teacher must have made particular
decisions about this child.
2. How to Begin
Playing Drama
In this chapter we
are going to describe and analyse the main components of planning in drama.
There is even an intermediate stage in planning and that is to take parts of
different dramas and remake them as new ones. Clearly the
teaching/learning objective will drive the shape of the drama, but the
engine that drives the drama needs fuel and that fuel is a piece of strong
material, a creative idea, and that is more inspirational than an objectives-led
design. This material – a book, a piece of literature, a picture
or some other subject matter, fiction or non-fiction – will give us one or
more of the elements of a good drama, a role or roles, an interesting
context or a dilemma.
The frame of a
drama
We are using the
idea of a frame as a way of seeing key decisions in planning. Translated
into terms of process drama as a genre of theatre, we could say that
Goffman’s frame constitutes a means of laying in the dramatic tension by
situating the participants in relation to the unfolding action. In
planning a drama we have to write the main frame, the scenario, in a
way that indicates the relationship of the component parts and how the
interactions provide tension and potential.
The ingredients of
planning
Let us take the
elements of a drama we have been referring to above and look at them separately
with other examples. Creating a drama is very much like cooking.
The learning can be in any of five areas
·
Language
Development – the medium of drama and hence the key impetus to Speaking and
Listening . ●
Spiritual, Social, Moral, Cultural, Personal – there is
usually this capability in any drama. The very reflective nature of the
work, going out of role to examine the meaning of situations and events in
the drama, promotes metacognition.
·
Comparing the drama
version of the story and the original myth.
If we can refine an
objective tightly it will help us make decisions about the structure and what
it should do.
The drama
conventions, strategies and techniques
There are many
techniques for structuring the stages of a drama.
Planning as a
collaborative activity
In our
team, one member may have the beginning of an idea and sketch that idea
out, but usually turns to another member of the team for feedback and a
planning discussion. This functions as a means to bounce ideas, to
see flaws and to provide insights into the potential for learning. The
complexity of drama means a multiplicity of possible learning
outcomes. For example, when planning developments to the original
‘Macbeth’ drama, we wanted to add the ‘Witch’ section.
We began with the idea of facing the class with the ambiguity and teasing
language that the witches in the original demonstrate. One of
us, A, had ideas about the Witch arriving at the castle door, a
vagrant, carrying something
Road testing the
first version
Participants in
dramas offer us as the teachers insights into ways of using an established
structure. Once we have the beginnings of a drama we need to try ideas
out. When a class are responding to strong moments in a drama they not
only provide ideas for future use, but also show us the sections which are
weak and need replanning. Their positive responses reveal new
possibilities and can often become incorporated as ‘givens’ when the drama is
used in future.
He had to manage the situation carefully to avoid the drama
deteriorating. It was clear that whilst that attitude in Max might
recreate ideas from the book, the entry needed to be more subtle and the
context of Max’s adventure built more in order to work.
Another example of
the class offering new ideas as to what to do and the form to use when you run
the drama occurred in a run of ‘Daedalus and
King Minos what
they have found out about Daedalus’s plan, we were out of role discussing
the pros and cons and putting forward powerful arguments on both sides when one
pupil said, I’d like to see two of the servants discussing what to
do. This method of moving forward can then be taken as the planned
possibility for exploring the issue in future use of the drama. The group
even took the drama further themselves. The quality of the drama develops
in these ways.
You can choose to incorporate them in future versions of the drama.
There are two main
types of this sort of classroom drama that have evolved
‘living through drama’, where the pupils face the events at a sort of life
rate in the here and now, and ‘episodic drama’, or strategy-based
drama, where the class are led by the teacher in creating situations and
events through specific techniques or strategies and where chronology is more
broken. Of course, most dramas have a mixture of the styles, but
the younger or more inexperienced a class, the more ‘living through’ will
dominate to create the tensions and challenges more directly.
Finally – the key
decisions
With all plans you
need to ensure that a tension moment comes early to spur the interest of the
group and that a TiR features early to model the commitment and seriousness of
the drama.
3. .How to Generate Quality Speaking and Listening
In this part is explain about How to Generate Quality Speaking and
Listening Authentic dialogue – teacher and pupil talk with a difference
What is speaking and listening ? Speaking and listening is the most
important communication form than human beings use. Really effective
oracy, developmental speaking and listening, will help pupils build
their language, their understanding, their ability to handle their own
world, making sense of it and who they are in it. It has to be an
interaction with others where both sides are contributing. When a pupil
is speaking and listening properly, he or she is able to see how each
contribution arises from what has already been said.
4. How to Use Drama for Inclusion and Citizenship
This chapter is concerned with the relationship between inclusion and
drama as a pedagogical approach. We look at how drama, through its
idiosyncratic approach, facilitates inclusion. We then make the link to
the Citizenship curriculum and how drama’s approach to inclusion is an
intrinsic part of this area. Drama’s inclusion is embedded, first, in
its dialogical approach to teaching and learning.
If we want the pupils to experience a particular political idea or
social situation, the fictional world of drama can provide that
situation efficiently and with an immediacy that reality cannot provide.
As one example let us consider the use of ‘The Governor’s Child’ drama
as a vehicle for uniting these areas. The drama builds the pupils’ roles
as citizens of a mountain village and places them in the situation
where the community is under threat. The drama opens up the issues of
justice and revenge as sought by a revolutionary soldier, the idea of
what you undertake when you give someone hospitality and ultimately the
question of the worth of the single life against the community.
We can see from a summary of the drama that a number of citizenship
issues are immediately contextualised and presented to the children.
Drama ensures that they have to explore them and get involved in them,
to challenge and seek solutions in a number of ways.
We can see that the ideas listed cover important aspects of the
Citizenship curriculum. In addition, the content of a specific drama can
be planned to highlight key Citizenship areas. If we examine the
thinking behind the planning of the stages of ‘The Governor’s Child’, we
can see how by the nature of the tasks, techniques and content, it
promotes elements of the Citizenship curriculum. We have given examples
from ‘The Governor’s Child’ so that you can see how abstracts like
fairness, democracy, identity, community, belonging, responsibility, can
be made concrete through the process of drama.
The process makes them more of a community that can work together to the benefit of each individual’s understanding.
5. How to Generate Empathy in a Drama
Empathy, like drama, is framed in the particular and so we need to move from broad-brush emotions to their demonstrable particularity. Drama works by focusing upon the particular and moving from the particular to the general. To understand drama’s relationship with empathy we need to deconstruct the process of empathetic behaviour and see how this is replicated in drama. In the next part of the drama the pupils are told that a new inmate is expected and that they are to witness her induction to the workhouse. First, they look at the Workhouse Master (TiR) as he watches the girl walking towards the gates. They tell the teacher how they want him to stand and how they want him to look. He holds a stick. One of the girls in the class is enrolled as Martha, the new inmate. She carries a rolled up cardigan to signify she is carrying a baby. Like the role of the pupils, the role of the teacher is also important in the generation of empathy; the relationship is co-dependent. The role of the pupils needs in the first place to be a community one so that they see the situation from one point of view and are not divided in their attitude. Just as the role of the pupils gives them a perspective from which they can empathise, the role(s) you plan for the teacher is also part of structuring for an empathetic response. Empathy is often misconstrued The components of empathy Component One – the cognitive component. Component Two – the affective component How to structure drama for empathetic response Building the cognitive component Framing the affective component Planning the role of the teacher and of the pupils for generating empathy.
6. How to Link History and Drama
A problematic alliance For drama there is a fatal attraction with
history as a source for its content. Drama as a medium with which to
engage with the past is established in theatre, film, literature, radio
and television. In fact one of the Key Elements in the History National
Curriculum is the interpretation of history, People represent and
interpret the past in many different ways, including: in pictures,
plays, films, reconstructions, museum displays, and fictional and
nonfiction accounts. Interpretations reflect the circumstances in which
they are made, the available evidence, and the intentions of those who
make them (for example, writers, archaeologists, historians,
filmmakers). (QCA/DfES, 2000)
So it is not surprising that the teacher using drama should engage the
class through the use of roles, contexts and symbols from the past. We
are not historians, and in writing this chapter we shared our approach
tO using drama to teach history with Professor Hilary Cooper at St
MartinsCollege. Professor Cooper’s vast experience in the world of
education and history teaching illuminated and clarified issues that
exist between a pedagogical approach firmly rooted in the creation of
fictional worlds and a subject striving to find truth and authenticity
in views of the past. In using the arts pupils are creating their own
interpretation or account, based upon sources. In Professor Cooper’s
words: ‘This helps them to understand how historians and others create
accounts of the past and why accounts may be equally valid, but
different.’ (The ideas that we discussed are embodied in History
3–11: a Guide for Teachers, by Hilary Cooper, published by Fulton,
2006.) In view of the fact that the use of drama to teach history is not
straightforward it is important for the teacher that a conceptual
framework be adopted that balances the tensions between the medium and
the content, between fiction and fact.
●* There are tensions between history and drama but they can be resolved by
* adopting a conceptual framework that is clear about the learning intentions
* Research is a key element in planning roles from history
* ● Using a variety of sources helps to support the validity of the work
It is important to be clear about what you mean when you use the word
empathy in relation to drama and history teaching
* ● Using signifiers, not full costume, when taking on a role allows you to come in and out of role
*● Reference to modern day parallels allows you to make the connections between then and now
