Drama In Teaching English As a Second Language
=== e9804dd2a58c05b9d0739ae1f8f2afaae4b0bad0_50036_1 ===
INTRODUCTION
Dramatization enables and facilitates the ability to design and regulate learning spaces and situations in different contexts, meeting the educational needs of students, gender equality, respecting different cultures and rights of students.
The objectives will develop during the English courses and appear as following:
Knowing the curricular areas of education, the interdisciplinary relationship between them, the evaluation criteria and the body of didactic knowledge regarding the respective teaching procedures and learning.
Dealing in an effective manner with language learning situations in multicultural and multilingual contexts.
Promoting coexistence in the classroom
Stimulating and valuing the effort, perseverance and personal discipline of students.
Reflecting between classroom practices in order to innovate and improve teaching.
Acquiring habits and skills for independent and cooperative learning and promoting it among students.
This paper is divided into four chapters,each of them presenting esential aspects of drama in teaching English as a second language. The first chapter highlights aspects related to drama in education, framing this concept at its general level and also defining it.
The second chpater represents an insight of drama in teaching English as a second language. In this respect, there were approached advantages of drama in teaching English as a second language, dramatization in the English class, together with a comparison between the use of drama and the use of theatre. Also, this chapter includes both a methodology and the principles and drama teaching models.
The transition to chapter III reveals how can dramatic activities be used in teaching English as a second language, presenting certain general aspects regarding educational drama games, mime, role-play and improvisation.
Chapter IV outlines the role of the teacher, approaching subjects such as: teaching as a profession, teacher’s role in the dramatization context, programming activities of dramatic play, from the teaching profesion to the challenges of a globalized society, education and drama as teaching resources, teachers and drama, teachers’ characteristics and their functions as well as the relations between students, teachers and the dramatic process.
On the other hand, the main objective of the present work has been the study of drama in English class as a leisure activity. To do this I relied on a search for bibliographic information regarding English specialized materials.
Drama puts the teacher in the role of supporter in the learning process and the students can take more responsibility for their own learning. Ideally, the teacher will take a less dominant role in the language class and let the students explore the language activities. In the student centered classroom, every student is a potential teacher for the group.
Drama for second language learners can provide an opportunity to develop the imagination of the students. The students can go beyond the here and now and even 'walk in the shoes' of another. It provides an opportunity for independent thinking (McCaslin 1996). Students are encouraged to express their own ideas and contribute to the whole. Creative drama will offer exercises in critical thinking and the chance for the students to be creative. Drama gives an excellent method for studying human nature and working in harmony. The play acting provides the opportunity for a healthy release of emotion in a safe setting which can work to relieve the tension of learning in a second language.
CHAPTER I
DRAMA IN EDUCATION
1.1 General
In the school curriculum, drama in education is both a method and a subject. As a subject, the curriculum uses various dramatic elements such as movement, voice, concentration, improvisation and role play to aid the personal development of the student. As a method it utilises role play and acting out to teach the student through experience, for example, to learn the facts of a historical event by acting it out. In many Secondary schools drama is now a separate department. In some schools it is used as a method to teach a number of subjects.
In many European Countries, drama in teaching English foreign language ppears for the first time in the General Education Act of 1970, in the section concerning the artistic teaching. This area was structured in three sections: plastic education, music education and drama and it related activities. In the Royal Decree 1513/2006 of Teaching minimum of education drama in different areas: language and literature in the block 3: literary education of first, second and third cycle of dramatization of literary texts and situations.
The third block, physical education: artistic-expressive activities of first, second and third cycle. On the Real Decret126 / 2014 of the curriculum basic education, drama is one of the five elements of the curriculum of physical education in the drive actions in Situations of expression or artistic nature. And in the fifth block: education literature, understanding and interpretation of literary works. In language and literature drama appears in language books in first cycle in each teaching unit (a session and theatrical text to the reading of the unit).
The paradigms of learning have undergone significant changes in recent decades, which has allowed evolve, on the one hand, educational models focused on teaching models aimed at learning, and secondly, the change in the profiles of teachers and students . In this sense, the new educational models require teachers to transform their exhibitors’ role and knowledge in order to monitor learning, and students, viewers of the teaching process, the participatory, proactive and critical members in building their own knowledge.
In the field of education, there is general agreement to define learning as a change in behaviour that normally occurs within a set of activities and purposeful interactions, the result is just learning. This behavioural modification is, therefore, the result of a process in which various factors are related to the dimensions of teaching and learning and it occurs where the phrase involved teaching-learning emerges.
Apparently, the use of teachers from other educational areas is a significant phenomenon for discouragement and lack of dedication of students in learning languages, which causes the class to become monotonous, disinterested and insignificant. The materials play a significant role, along with the quality of strategic tools of the pedagogue , having great influence on students’ oral production, grammar, communicative and writing skills, the materials being a major factor in foreign languages education. Wearing suitable strategic procedures greatly facilitates cognitive learning with compressive magnitude as a transcendent factor.
Working on drama in the ELE classroom, one of the things one in mind is the close relationship between drama and class. At the moment in which one to the basic method of teaching of the second language oral interaction we converted the classroom into a theatrical space. In the traditional method of teaching the class played a drama, but the only performer was the teacher, and the students are limited almost always to be public.
The relationship between the teacher and the students and between each one of these is theatre during the development of the class. Teachers try to create a simulation of real space; in the classroom how much more the reality is similar to the situation more will be useful for the student learned without it, but all this get out of class. To teach and learn English there is, therefore, to make theatre. One’s proposal could be to develop oral interaction through all the possible theatrical techniques that one can use in the classroom and revolve around the concepts that of:
• Dramatization.
• Improvisation
Dramatization is the representation of an action carried out by characters in a given space. For example, one can take a poem. In it we will find characters and something happens to these characters; one can change the shape of this to create a theatrical scene in which the same story but count on a stage with actors. One can dramatize anything: written texts of any genre or oral productions.
Improvisation is the representation of something unforeseen, not prepared in advance and invented spontaneously from a given stimulus without a previous script.
Teachers intend to work with these two things in the classroom, making them a class assignment. The representation itself would be the product of that task, but another task in itself. That is, the goal is not to create a good theatrical performance, for which it would be necessary to test again and again, giving the process of creating only the value of trials, but play acting.
The game is the key element of this proposal while the aspects that will are:
• Disinhibition
• Motivation
• Imagination
• Creativity
During dramatic play, for the student there is no pressure from the concept of public, because both dramatization and improvisation are made to be enjoyed during the time they are taking place, and only at that time, both students that they are representing as for the rest that are contemplating. Students are controlling at all times the process of creating their representations; group have decided what they want to do and how they will do. Each member of the group has decided on its own contribution. The type of work they are doing helps them develop their imagination and creativity. All this is essential to promote their autonomy as learners.
1.2 Defining
"Who does not know foreign languages he knows nothing about his own". The importance of the English language today is so crucial that is taken for granted in the acquisition of any work in our society. Communicating in English is required from the very beginning of the learning process in the first academic courses.
In the early twentieth teachers should begin their theatrical performances at school, learning to adapt tales, fables and skits for their students. Thus dramatization used as a teaching method, the learning activities in a playful way. United States arise various theatre companies that will tour schools and colleges in the UK and our country came later this stream but today there are many theatre companies both in Romanian and English attending schools or colleges to theatres. It is very important especially for rural areas that these companies approach the English language centers, especially in rural areas where there are fewer cultural media. Dramatization as a learning method has also been introduced in the school curriculum as discussed throughout the work.
"Every child enjoys healthy acting, because acting means to demonstrate their knowledge and feel the joy of sharing it with others." According Hayes, all terms used in pedagogy to refer to the drama as dramatic play, dramatic play, role playing, game expression, improvisation and others have in the theatre a common origin, but are used differently way, sometimes in the classroom, others like animation and sometimes as psychotherapy. For these authors use it depends on the culture or the country in which it is to be used. For English-speaking countries is "dramatic creative" or "role playing" is French dramatic play and improvisation is Italian.
These authors materialize the definition of drama, improvisation and expression game, procedures used in the different areas of learning. They define the dramatization as the representation of an action carried out by different characters, ie, shaping theatrical something that does not, poems, legends, fables, texts, etc., which can be adapted to a dramatization.
Following the concept of dramatization of these authors define and specify the large differences concerning the theatre. One is that theatre is designed to show many demanding tests, while dramatizing the theatrical language used for educational, recreational or educational purposes. Another difference is represented the fact that during the play, the actors and audience are different and during the dramatization all are actors and audience, or both at once. For these differences and use in school, it is more important for dramatization process over creating a dramatization work different abilities of students intellectually, physical, social and emotional expression.
Ulas points out the various parts of this process, although all are not necessary: games, approach to the prior intention, dramatization proposals, selection of dramatization, dramatization and final comment. The dramatization can be applied to all areas, not only in art, especially in language and in English. Besides being used as conflict resolution, there is a need of integration of immigrant students or of those with special educational needs. The last part of the process is very interesting because the students take part individual or group self-criticism that allows them to say what they think without getting angry about the dramatization or topic dealt with.
Another concept to consider is the dramatic play, following the definition that make it the Motos and Tejedo authors (2007). For them it is the same as dramatization, although some authors appreciate in dramatic play more spontaneity. Consider the mistake of considering different, comes from the translation of different languages, for whites "Theatre games", "creative dramatics," have been translated as dramatization and for the French, "jeu dramatique" translates as dramatic play this has been deemed the same. The other two procedures are set free expression and improvisation.
Free expression is part of the area of physical education when it comes to physical play, but if he joined the imagination through body language, gestures and mime is considered dramatization. Improvisation, as its name suggests, is to make a representation without being prepared, based on the spontaneity of the students and their imagination. Children's manifested especially in the symbolic play (corner of the house, hairdresser, doctor, etc.) and in some moments of the class in which everyone can contribute something, especially in the early grades where spontaneity in class is less repressed and shyness or embarrassment of older students is expressed manifest way. (Example of a language game of improvisation is to create a story either Castilian or English from a sheet passed between students, when their turn comes point ideas after each partner).
Through the definition of these concepts , one came to a fundamental conclusion for the use of dramatization in the classroom and the development of creativity, one of its main objectives.
The instruction of a second language through theatre covers various methods and theories of education: communicative, collaborative, socio-cultural, based on content, and others. They will be identified here the most important theories that explain and promote the development of linguistic communication, which is one of the most significant and remarkable instruction L2 through theatre results. Richards & Rodgers (1986) describe Teaching for Communication Linguistics (Communicative Language Teaching) as an approach rather than a method since it represents a philosophy of teaching centered on the use of communicative language. The CLT was developed thanks to the research of British linguists Wilkins, Widdowson, Brumfit, Candlin, and others, and American educators as Sauvignon (1983). All emphasize the concepts notion-functional and communicative competence rather than grammatical structures as a central aspect of language teaching. Richards & Rodgers (1986) claim that the CLT includes theories that emphasize the communicative principles: activities involving communication promote language learning; the principle of task activities include solving real-world tasks promote learning; the principle of meaning: learners need to be involved in the use of authentic language and meaning so that learning takes place.
CHAPTER II
DRAMA IN TEACHING ENGLISH AS A SECOND LANGUAGE
2.1 Advantages of Drama in English as a
2.1.1 in the English
From the eighties, the teaching of foreign languages has been a change in methodology, giving importance to the use of different close technical literature, stories, songs and drama, which are recreational activities that manage to create environments attractive learning fun and motivators but also significant that make students involved in them. Zaro and Salaberri (1993), in his book "Telling Tales", emphasize natural language acquisition and its need for communication. In this new syllabi for English teaching (content-based syllabuses), in which both grammar and activities are based on the interest of students, taking advantage of all the chances of spontaneous use of language, based on English here and now activities, classroom language. To use this new methodology we need different resources such as games, storytelling and drama activities that make internalize the language. According to these authors all these activities relate to the assumptions of learning and acquiring foreign languages made by Stephen Krasen (1985), which refers to them as comprehensible input. It is defined as a set of input information, resources and materials given to the students for activities or tasks. Therefore dramatization activities (use simple texts, repetitions, rhymes …) help in English class to a greater understanding and speaking, besides developing creativity, their personality and the students really have fun.
One of the first texts regarding dramatization activities to be used in schools was published by Maley and Duff in 1978 with 150 dramatic activities. From this point there are many authors and publishers who have published activities in both Castilian and English.
Rooyackers defines very well the dramatic play that one may use. In this respect, drama activities encourage and develop creativity, improvisation, sociability, personality, self-esteem, confidence and communication.
2.1.2 Use of vs. of
A second language (L2) learning is a long and comprehensive process that involves the apprentice at the slightest mental level and requires the use of various skills as: the ability to read, write and speak understand in that language.
The teaching of a second language should aim to promote the development of each of these skills, adding a fifth skill, appropriate use of language in context ITS culture. To Achieve such a goal the professor must organize it lesson using varied activities and practices in the student that is actively involved, participating and contributing to the development of the lesson itself. It is a method of education focused on the use of involving the apprentice multiple intelligences described by Gardner (1983). The experience of studying must translate into a chance of learning the L2 both body and mind, to promote retention of the information to which apprentices are exposed. The activities must be effective, fun and useful to the L2 acquisition.
In their studies of L2 acquisition, Omaggio (2000) and Shrum & Glisan (2005) have shown that if the student is actively involved in the learning process in the classroom, more retention of the material presented occurs, and active participation stimulates greater motivation, which pushes the student to attend classes and study more. As a result the production of L2 is improved and that gives satisfaction to the learner and the teacher. In this context, one of the most used resources including the above elements (active participation, fun element, useful and effective exercises) are the dramatic activities. Within these sections, students are asked to imagine themselves in a variety of everyday situations and there should build a dialogue or conversation on the subject mentioned. They need to practice new vocabulary and new grammatical structures learned. They should practice with questions and answers related to new topics. In the event that such exercises are not included in the texts, the teacher can ask students to work in pairs or groups and write a dialogue and that act as oral practice. Such work sections in the books are one of the resources that the teacher can use to promote oral practice.
Other activities that implement the oral use of L2 and require an element of creativity of students are sketches, role-play, dialogues, simulations, cuddles, language games, etc. These activities aim to contribute to give confidence to students in their L2 oral production and at the same time give them the opportunity to use the material learned in context. When the subject of study, vocabulary and expressions are studied in context, its content is more relevant for learners, creating connection between the subject in the classroom and real life outside the purely school environment. This connection process supports a style more meaningful for students learning and retention consequently produces them.
Another advantage of using achievement and dialogues, sketches, role playing, etc. is intended to use the language in real situations and approaching a genuine use of the language studied. It is achieved thereby avoid the use of mnemonic learning lists of words or accustom students to answer a specific list of discrete and separate the context questions. Although the use of dramatizations allows the four skills, it is proven that it puts more emphasis on listening and speaking skills. In most cases, the purpose of using drama activities is to promote learning through language practice starting from novices’ levels. It facilitates students more fluent in speaking and more confidence in the practical use of the language. It focuses more on the meaning in the way.
One of the advantages of improvised skit and expresses Hawkins (1993), is that exposure to the language, rather than study, produces and promotes skill and confidence in their use. Use expressions that are appropriate to a particular context and having to repeat them in situ help and makes the most vivid language in contrast to the typical teacher-student system-based question and answer in the classroom . One of the fundamental conditions that give them 'permission' to students to speak at the L2 is the creation of a work environment where the affective filter under makes them feel safe, relaxed, and do not be afraid to make mistakes or be judged.
One of the pedagogical models that facilitates an environment with low affective filter is work in pairs and in groups. The dynamics of the activities among classmates engages students to a very productive psychological level for L2 acquisition. It is a psychological-cognitive state that encourages students to be more relaxed when they have to express themselves in their new language; they feel less inhibited and produce more accurately according to their abilities and their level of knowledge. It also helps to give them confidence in themselves and in what learned so far. In the group dynamic elements that help learning and acquiring foreign language they are numerous: the negotiation of meaning that involves repetitions, pauses, hesitations, confirmations; clarifications, explanations and justifications why they have selected certain words or structures rather than others; interaction, collaboration and cooperation among members of the group towards a common goal.
The above activities, if regularly used as a teaching tool, not only can be used as exercises for oral practice but also to assess the progress of apprentices in it, in its use of new grammatical structures in the acquisition of vocabulary and in the use of the pragmatic aspects in an appropriate cultural context. The benefits derived from the use of dramatizations in its various forms prove to be an effective and useful method to promote more fluency and confidence in oral use of the L2.
The drama reasons why it should be used as a tool for teaching L2 have strong and obvious benefits, especially in oral production. What is not equally obvious are the reasons for not choosing to use in the teaching of second languages to tool strictly related to the dramatic techniques, a very malleable and comprehensive resource in its very nature: the authentic play. There is a lack of the use of theatre and authentic plays (whole or partial) for teaching L2 and along with it a vacuum in the educational literature related to the use of theatre in the teaching of a foreign language. What are the reasons not to take advantage of works (or scenes) in the plan of the original theatrical lesson of a class of L2? First let's look at the advantages, which are numerous and relevant. The works are written and located in already original context and use culturally certain oral language polished and authentic. To what is referred to the terms 'authentic language', 'real' or 'natural'?
Brinton, Snow and Wesche (2003) mention that is the authentic language or actual natural language as the native language speakers of that used in real-life contexts; the language is not created or manipulated with purposes of teaching grammar or vocabulary. The language of the original theatrical works within fits its definition. The benefits derived from the use of texts written in advance are numerous. For starters, the literary production is very wide, and that allows the teacher to choose to have a text that language level and to register for the level of appropriate proficiency of ITS students. If they have theatrical text, and their performance with it, they put emphasis of a way very naturally in the interaction, in the pragmatic and in them social contexts of the language.
Next to them pragmatists and social aspects, the texts play is offered preferred also as source of data and authentic culture attitudes. From a pedagogical point of view, the use of the performance with fixed scripts is very useful because it deflects attention from the apprentice, who must not feel embarrassed, and the use of language is developed based on the dramatic role. The positive results in other areas that are very important for the development of the student as an individual and member of the society should be mentioned along with the aspects connected to the linguistic benefits. The self-esteem of the student, the development of his interpersonal skills, the learning in collaboration, the critical thinking, the use of the imagination, the use of the creativity, the self-discipline, for example are all elements that are improved or developed thanks to the use of drama activities. From the point of view of the methodology, following them more recent theories and approved by them researchers, is a method of practice need teaching focused on the student, not in the professor. In addition there are to promote participation and active learning, stimulating and engaging the creativity of the students. These items are all included in the teaching with the authentic theatre of the target culture. The advantages and benefits of the use of authentic plays as a second language teaching tool seems to please its frequent and extensive use.
2.2 The
Throughout the history of the English teaching as a foreign language, there have been different methods. The first was to appear in the traditional method which was taught the language as the Latin and the Greek, translation and grammar method or what is the same thing the grammar translation method. This method is based on the acquisition of rules of grammar and vocabulary in order to be reliable to translate a text, according to the coordinators of the didactics of the English book, Hearn and Garcés (2005), this method is fundamentally comprehension and written expression, neglecting the expression and comprehension . The teacher is the centre of the learning process, and it is taught with explanations grammar in the native language, i.e., the native language, in a way that such translation is the key.
From this traditional method and due to shortcomings emerged other methods which proposed the acquisition of the foreign language starting from mainly the comprehension and oral expression as the nature or direct method, the direct method, which is based on the foreign language has to be learned in natural way, from the learned language shows exclusively with emphasis on pronunciation. Arising from the methods others need of learn a language more quickly it possible during the second world war were the teaching of the language through foreign situations, language teaching situational linguistic method and the audio, audio lingual method. Hearn and Garcés (2005), mention other methods: such as the Suggestopedia, and the total physical response, total physical response. One of the most important approaches is the communicative approach, Communicative Language Teaching, the main objective in which is that the student learns to communicate, i.e. not only learn grammar and vocabulary but develop communicative competence. The role of the teacher as a mediator is rather as main part as it was the case in the traditional method, and the student has a key role. The four skills are based on reading, hearing- understanding, expression and interaction written and oral expression and interaction, such as Reading Comprehension, Listening Comprehension, Written Expression and Interaction, Oral Expression and Interaction. This method has-been the basis of the last of the discussed methods: learning tasks, task-based language learning, where students raised them different tasks or new situations that have to solve on unaided, being the end goal real-reaching communication. Many teachers introduce it in their classes at the same time to the study of the grammar and the lexicon. the dramatization fits in it last methodology, study of the grammar and the lexicon besides the approach of tasks in the classroom of English, allowing to create real situations of a way fun and motivating, since the professor has that provide different activities in which them students develop their autonomy, self-esteem and creativity.
Area objectives
Area objectives (foreign language, English) for the schedules of activities, regarding the main dramatic activity are related to:
Express themselves and interact orally in common situations using verbal strategies and procedures.
Read a text type in a comprehensive way.
Write different types of texts in the classroom for various purposes.
To identify phonetic aspects of rhythm, accentuation and intonation of the foreign language.
Learn how to use all the means at its disposal with progressive autonomy.
Evaluate the foreign language, and languages in general as a means of communication and understanding of different cultures between people and backgrounds.
Express an attitude receptive and with Interest.
Develop intra and interpersonal competencies.
The specific objectives of the activities which students should develop are:
Participate in a simple and understandable way in a small dramatization of a story previously, worked with known structures and vocabulary.
Although the pronunciation is not very clear, pauses and hesitations are obvious and necessary repetition, paraphrase and the cooperation of the partner to maintain communication.
Know and apply the basic strategies to produce oral texts of each character in a play.
Know basic, concrete and significant socio-cultural and sociolinguistic aspects, and apply the same gained knowledge about to the dramatization.
Comply with the main communicative function of the play
Make understood of the right way in the dramatization.
Interact correctly and with ease, imagination and creativity in each paper of every character in the play.
Content
To program the contents of the implementation of dramatization in the classroom, one took into account the following aspects. The core curriculum of Drama Education contents are a set of knowledge, skills and attitudes that help set the achievement of the objectives of each teaching and educational stage and the acquisition of skills. The contents are arranged in courses, which are classified into subjects, areas, areas and modules based on the teachings, educational stages or programs involving students.
Block I. Comprehension of oral texts.
Block II: Production of oral texts and interaction.
Block III: Understanding written texts
Specific contents are related to the following activities:
Listen to the story, read it and reproduce it orally.
Play the story orally and represent him in a play.
Participate in oral individual and group activities related to classroom activity.
Participate in communicative exchanges and real or simulated situations through verbal and non-verbal responses.
Produce oral texts through active participation in performances, songs, stories, games, recitations and dramatization
Accept the class rules.
Show an attitude of respect toward peers.
Familiarize yourself with the phonological aspects of the English language.
Regarding the evaluation, one should reflect on how to evaluate the learning process, what, how and when to evaluate, the use of continuous assessment and / or and to consider overall evaluation criteria. The observation is a strategy very important at the time of evaluating the activities to develop, it is going to assess the written and oral understanding and expression. Also is going to rating the interest and motivation towards the activities and the cooperation in the work in group. The effort in learning aspects of the English language in addition to participation in class will be evaluated. At the end of them will assess sessions objectives proposed them, also that content is have evaluated them worked (grade of achievement) them strategies and instruments besides the development of them used during sessions.
Foreign languages should be introduced in a context where activities and experiences are related both with the interest and motivation of students and the stimulation of their learning.
It is important to prepare the activities in order to present them in a friendly environment in the classroom. The drama is a motivating activity and of interest to students, given its difficult to not present it in an atmosphere of mood and fun. Students must be integrated into the activity, so they can learn while having fun. There are numerous resources teaching with the objective of that them students and students are perfectly motivated and integrated in the activities and games of dramatization.
Resources should make students to feel comfortable, should be impressive and authentic language, and above all, should help students learn. The teacher will divide to them 18 students in three groups of six students, of such mode of that as there are six characters in each group that represent, each student / goes to represent to a character.
After the groups, the students will have to divide up the roles themselves, leaving them autonomy and freedom to discuss, comment, and choose the characters who themselves want to represent. This is what some teachers are looking for students to strengthen their autonomous and at the same time enhancing their capacity to choose and to cooperate with their colleagues. Even, the students can be recorded in their representations to a greater motivation, as well as perform a small positive reinforcement with competition for them best "actors or actresses".
Scenarios available
The physical spaces of the school where out will be carried dramatization activity in the classroom will be mainly:
– The classroom.
The activities of reading comprehension and listening comprehension will be performed in that classroom, in their respective tables. The choice of the groups, pooled, cooperation and preparation of the play, referring to the preparation of materials for the work itself and decided to perform a little decoration; all this will be done in the same classroom. The play can be performed in different areas of the centre; in the sixth grade classroom can be developed, but you want to have more space (also, it should be more classes for the activity).
– Multipurpose room.
The play can be developed in the multipurpose room, and can thus prepare a set, and if it is appropriate, to perform the work to different classes of the centre, both Primary Education and Early Childhood Education. For students it becomes even more motivating activity if they are in a different space specific activity.
– Classroom language.
Although the play and activities to be performed above can be developed in the classroom in sixth grade and the multipurpose room as a third option, many first activities as the main activity of dramatization, can lead to out in that language classroom.
2.3 and
Authentic plays as a tool for teaching a second language can be used with different teaching methods and approaches. In literature classes, for example, the teacher can have a focus on the literary aspect of the play. Teachers can focus their study on the analysis of the work from the purely linguistic and stylistically. Teachers can analyse and explore related content to historical and social period in which the work was written and in relation to the personality of the author and his contemporaries. In addition, they you can use the theatrical literary text as a tool to review grammar, teaching new vocabulary in context, and especially as an interactive model to integrate the three communicative modes: Interpretive, Interpersonal and Presentation.
The three communicative modes and the four skills are integrated as students, working in pairs and in groups, they insist on the analysis of oral texts, written texts, and videos. Interactive model is called because it explains the ways in which the text message interacts with the perceptions of the reader / listener in the process of reading and listening from the top down and from the bottom up, as described by Swaffar, Arend, & Byrnes ( 1991) (cited. in Shrum & Glisan, 2005).
Interactive approach involves actively structure the meaning between the text and the personal experience and / or prior knowledge of the student. Figure 1 illustrates the integrated aspect of the three modes depending on the model:
1. The interpretive mode, with students understand and interpret a text, acquiring new information and cultural perspectives;
2. Through the interpersonal mode, students share information, inferences and reactions to reciprocal level;
3. Presentation mode, students use the new learning and new perspectives at the time which create a summary and / or an oral or written presentation.
Figure 1: Integration of the three modes of communication
Resource: Adapted after Shrum and Glisan of NSFL EP, 1999 (p. 176).
Communication skills and strategies that students use are repeated and non-linear nature. Also they reflect the two processes, cognitive and social. The interactive model that includes the three communicative modes helps learners to develop strategies to understand and interpret a text, and provides them with ways to use the new knowledge and skills acquired way relevant to them.
It is an integrative model because it provides opportunities for students to combine skills needed in the three communicative modes and cultural perspectives, that derives meaning of the text, recreating, and reacted personally to the text itself. Students are guided through the text with five phases of interaction:
1. Preparation
2. Understanding
3. Interpretation
4. Application
5. Extension
Teachers should invest enough time in the preparatory phase to allow students to have the skills, prior knowledge, and motivation necessary to understand and interpret to the task. This preparatory phase should include the performance of prior knowledge about the content of the text, establish the purpose of exploring the text, provide opportunities for learners to predict and anticipate events of the text, and opportunities to explore and predict new vocabulary. In the understanding phase, students demonstrate that they have understood the main ideas and important details of the text and can connect these aspects with the text. In the interpretation phase, inferences and interpret the author's attempt through oral exchange of ideas and opinions. It should be noted that, even before being assigned as homework, students derive inferences from the text individually when they assign meaning to the text. The implementation phase provides students with the opportunity to use their knowledge and feedback from the exploration of the text in order to create a product. The extension phase leads to the end the model at the time that students compare the original text and the product created by them.
Interactive Model is especially useful for the exploration of literary texts, and in the case of this study the theatrical literary text, as will be shown in the lesson plan.
In this respect, one want to add specific implications of cooperative learning on interpersonal communication. Dörnyei (1997) has defined cooperative learning and instruction among small groups to achieve common goals through cooperation. Although this method of teaching there for several decades until recently has not received much attention. Investigations have shown that cooperative learning has very effectively in the classroom and teaching of L2.
According to Dörnyei, "Cooperative Learning is superior to most traditional forms of instruction in terms of producing learning gains and student achievement, higher-order thinking, positive attitudes toward learning, increased motivation, better teacher-student and student-student relationships accompanied by more developed interpersonal skills and higher self-esteem on the part of the students. "
Dörnyei divided Cooperative Learning into three categories:
1. First: beginners spend a lot of time working in groups of three to five students;
2. Second: Students are motivated by themselves and also accept some responsibility for the other members of the group, therefore cooperation begins and with it several collaborative strategies;
3. Third: the evaluation of group work and individuals is very important.
Within this process all students will be recognized for their work and that promotes positive interdependence. In a traditional learning environment, only the best students will receive recognition for their independent work, while all the other students take advantage of the cooperative method .Interdependence occurs when an element of a group perceives that it is strictly connected with other elements, so that they can’t succeed without them, and vice versa. To complete a task a common commitment, energy and talents of all members of the working group is needed.
Psychologically research work in cohesive groups show that members learn more and communicate more. Cooperative Learning is rooted in the dynamics of group work. Long & Porter (1985) that there are no educational reasons but also psycholinguistic supporting this teaching method only with five arguments that clearly demonstrate the importance of groups as a tool for teaching are presented. The first explains that this method provides students more communication opportunities.
It is common to have classes with a very high number of students. It is common that the teacher speaks for half the class giving thinking uncommunicative students. The teacher taught activities can take another important part of the lesson, and occasionally leaving free only 10 or 15 minutes that beginners can communicate in L2. On the contrary, if the work is divided into groups structure, it increases the communication time beginners at least 50%. Effect as the first point, increases the oral quality. Long & Porter (1985) state that the quality of communication improves when students work in groups. The repetition of questions about the teacher with students in the traditional classroom, usually do not create authentic communication and other students do not seem to pay much attention or have an interest in the process of individual questions. Instead, the dynamics of group work of 2 or 3 students, trainees have the opportunity to communicate face to face and can take some discursive competence. Within the group, without interference from the teacher, students have the opportunity to negotiate and solve problems to finish a job and learning conversational skills such as selecting topics, taking turns, focus, summarize and clarify. With carefully selected by the teacher activities, they can implement the features of a real conversation during development work. Speaking of work in groups of two or three apprentices, the teacher is closer to the idea of individualized instruction.
the importance of individualized learning with students of any age is explained. For this reason, teaching in small groups can facilitate and increase the chances to practice and get a teaching style and a more individualized learning. Fourth point and another advantage of using this system is that it promotes a positive environment. Working in small groups helps to reduce anxiety that students experience when asked to answer in front of the whole class. Reducing anxiety affective filter goes down, hence students begin to talk more and learn more. Long & Porter (1985) emphasize that it is that freedom of expression without fear of being judged what gives students the opportunity to develop their communication skills in a positive environment.
Last and equally important is that it promotes motivation. Working in small groups seems to promote more interest in students to the task and show more motivation in learning and desire to study the L2.
The characteristics of the working model presented here reveal ideal from the point of view of the benefits at the end of learning and acquiring students. It is also a working model which perfectly fits the teaching of plays by the aforementioned benefits.
The need for more drama, as a teaching tool in L2 classrooms, is clear. It not only adapts to the instructional model based on the three modes of communication, but any kind of teaching today. Regardless of the approach, the work chosen, or the teaching program is followed, the instructor can always benefit from the use of the theatre. The plays are resources of teaching materials that can be very exploitable. Authentic plays have not been modified, adapted, intentionally simplified in order to make more understandable material. Therefore there was no partial or total loss of the original value of the text, both cultural and linguistic and pragmatic.
The benefits that the use of plays brings to the class of languages and learners are that the approach to teaching is exchange between teacher and students. Learners are active participants in the conversation. They interact and negotiate the type of information they receive from entry way to acquire the language. The use of the drama means reciprocal exchange between novice and expert, promotes collaborative work and this helps lower the affective filter and the level of frustration. multiple intelligences of students thus increasing the quantity and quality of retention of acquired material is involved. The use of original plays involves the use of authentic language and meaning, in context, the student's vocabulary is enriched and the need to promote retention between form and meaning connection is created. These features help keep alive the interest of students, and therefore increase your level of motivation. With a high level of motivation means you can achieve develop highly productive and effective activities that students learn to have more confidence in the use of L2, and consequently lower the affective filter.
With education through drama, and focusing on the communicative use of language, it is attached to the acquisition of mere language learning socio-cultural, linguistic competence and performance, all included in the strategic competition.
Teachers should invest enough time in the preparatory phase to allow students to have the skills, prior knowledge, and motivation necessary to understand and interpret to the task. This preparatory phase should include the performance of prior knowledge about the content of the text, establish the purpose of exploring the text, provide opportunities for learners to predict and anticipate events of the text, and opportunities to explore and predict new vocabulary. In the understanding phase, students demonstrate that they have understood the main ideas and important details of the text and can connect these aspects with the text. In the interpretation phase, inferences and interpret the author's attempt through oral exchange of ideas and opinions. It should be noted that, even before being assigned as homework, students derive inferences from the text individually when they assign meaning to the text. The implementation phase provides students with the opportunity to use their knowledge and feedback from the exploration of the text in order to create a product. The extension phase leads to the end the model at the time that students compare the original text and the product created by them.
Interactive model is especially useful for the exploration of literary, theatrical and literary text. As mentioned before, with a good lesson plan without achieving represent the play studied at the professional levels of stagecraft, obstacles that stop language teachers to use and exploit the theatrical tool they have been eliminated. The drama seems the most complete and effective way to teach a L2 and one can achieve extraordinary results through the teaching method of strategic competition.
It would be interesting and commendable conduct research to establish exactly how much L2 program would benefit under various aspects of learning and acquisition: linguistic, cultural, pragmatic, using the theatrical tool. It is very likely that the world of language teaching would benefit by promoting this type of resource through the publication of specific lessons that have already developed academic units and employing theatrical texts as the basis of the unit. Outreach and organizing seminars and meetings illustrative of the benefits of using drama language courses are other aspects that may invite the teacher to learn and consequently experiment with this teaching tool.
In conclusion, the first step to see drama’s booming as a teaching tool L2 is to change the thinking and approach to this by educating and informing teachers about their benefits and accessibility as a means that can be integrated to the media and broadcast and common teaching.
CHAPTER III.
HOW CAN DRAMATIC ACTIVITIES BE USED IN TEACHING ENGLISH AS A SECOND LANGUAGE
3.1 General Aspects Regarding Educational Drama Games
"Every child enjoys healthy acting, because acting means to demonstrate their knowledge and feel the joy of sharing it with others." . According Motos and Tejedo (2007), all terms used in pedagogy to refer to the drama as dramatic play, dramatic play, role playing, game expression, improvisation and others have in the theatre a common origin, but are used differently way, sometimes in the classroom, others like animation and sometimes as psychotherapy.
For these authors use it depends on the culture or the country in which it is to be used. For English-speaking countries is "dramatic creative" or "role playing" is French dramatic play and improvisation is Italian.
These authors materialize the definition of drama, improvisation and expression game, procedures used in the different areas of learning.
They define the dramatization as the representation of an action carried out by different characters, shaping theatrical something that does not, poems, legends, fables, texts, etc., which can be adapted to a dramatization.
Following the concept of dramatization of these authors define and specify the large differences exist in this regard the theatre. One is that the theatre is designed to show many demanding tests, while dramatizing the theatrical language used for educational, recreational or educational purposes. Another difference is that in the theatre the actors and audience are different and the dramatization all be actors and audience, or both at once. For these differences and use in school, it is more important for dramatization process over creating a dramatization work different abilities of students intellectually, physical, social and emotional expression.
Motos and Tejedo (2007) point out the various parts of this process, although all are not necessary: games, approach to the prior intention, dramatization proposals, selection of dramatization, dramatization and final comment.
The dramatization can be applied to all areas, not only in art, especially in language and in English. Besides being used as conflict resolution, integration of immigrant students or those with special educational needs. The last part of the process is very interesting because the students take part individual or group self-criticism that allows them to say what they think without getting angry about the dramatization or topic dealt with.
The games are important resources to make the teaching-learning process in a more enjoyable and participatory moment, but they must agree with the teachers' professional practice and included in the lesson plan so as to provide greater interaction between content and learning. It should be noted that the random or overuse can render them unproductive. That means that the teacher is not enough to access if its use is not based on a planning that considers the various aspects of the educational process different materials available in the publishing market. For the game to be productive under the pedagogical point of view, it is necessary to be clear about the objectives to be achieved and insert them at the right time of the teaching-learning process. Thus, when entering a game in class, you must confront the intended objectives with the characteristics and needs of students and resources available and analyze what type of activity will be the most profitable for the group at that time.
The selection and application of games in the school context implies, by the teacher, in a work of reflection and analysis that must be planned and consistent and not simply as a way to occupy the time or improvisation when the class has changed course and it does not know what to do. The games offer countless options for use and can be used at different times of the class: to enter a subject, to fix and practice the contents after an explanation or to make a review. Indeed, the game does not have to be something to take advantage of last-minute classroom and may even be the focal point of the class.
The educational games are excellent alternatives to traditional methods, because they allow to work different skills of students, combining education and fun. They make viable the development of cognitive aspects and social attitudes such as initiative, responsibility, respect, creativity, communicability, among others. In addition, the use of games in class often motivate students and reduce anxiety to the extent that in these activities, it is possible to reduce the importance of errors and understand them as part of the learning process. In traditional activities that clearly marks the place and role of the teacher and students, insecurity and fear inhibit error class participation. However, when leisure activities are carried out, a new working atmosphere in which the student acquires more confidence you create and feel free to participate in the learning process in a responsible and autonomous. In teaching a foreign language games acquire significant importance, once they act as a channel of direct and spontaneous communication between students, enabling them to develop communication strategies. These activities help in improving communicative competence, because they cause a real need for communication and create the opportunity the student use the language studied. Although the game is intended to be used has the aim of working grammar or vocabulary and not directly speaking, the communication aspect is the development of the game itself, in which students are forced to use communication strategies to interact with peers and reach the intended goals.
The game is a real communication situation in which students without receiving, put into practice their effective communication skills, often more naturally and in a conversation class. To participate actively in the game, the student needs to argue, express their feelings and ideas and defend their point of view, practicing and developing mental and emotional processes that are to be activated whenever undergo a communication situation. Another advantage of the games is that they can bring the teacher to the characteristics and needs of their students. This is possible because the game creates a pleasant atmosphere, where students express themselves more freely and without inhibitions common communication in a foreign language. At that time, the teacher can detect their real difficulties of expression and work them later. Thus, the game also serves as a mechanism for evaluating the teaching-learning process, pointing out what is right and what you can improve and guide the teacher towards a more complete and productive teaching. With that, the school environment a motivating element which prioritizes not only the memorization of academic knowledge required in tests but cultural training individuals and becomes socially active.
The language can not be separated from the context in which it is performed, it is not appropriate to contemplate his teaching as mere transmission of isolated formal structures. Learning a foreign language also means acquiring the ability to adapt the speech to different context situations. The language teaching must strengthen its acquisition by contextualized presentation of language use and the teacher has to wonder what there is to know a foreign language to use in real communication situations. Language teachers can develop communication skills through activities involving a stimulus, since a language is acquired and mastered more easily when elements that help communicative work and intensify the desire to share and expand experiences are used. Therefore, the possibility of finding a methodology theatrical activities to help students communicate fluently and correction arises; these activities can be useful, also, to interpret and critically understand all texts and to learn the fundamentals of own socio-cultural environment of the target language. It is important to clarify that the application of these theatrical techniques has as its ultimate goal the achievement of theater workshops or action (which is in fact a very rewarding experience and proven teaching language arts): the mission is to train students of English language in the practice of oral skills by incorporating strategies inspired by the dramatic play, which are the axis that articulates the program and define the style of activities; the aim is to achieve an improvement in communicative competence of students and create a space where carried out situations close to reality (in which recreate cultural and social aspects of Hispanic field aspects that would otherwise be very difficult to achieve) and that allow the student to make mistakes without fear of ridicule.
One may design exercises and proposals for foreign language courses, no theatrical training courses or actors. Moreover, it would be beneficial that the use of theatrical techniques happen, as far as possible, the student unnoticed and understand them as a natural part of the program and the methodology chosen by the teacher. It is essential, therefore, are clear differences between dramatic play, aimed at stimulating learning, and theatrical or final representation of a theatrical text. Educational programming should not stick only to the scope of the subject they want to teach. The use of dramatic play, as part of a series of theatrical techniques, favours the incorporation of many disciplines, such as literature, music, history, art, etc. Therefore, the use of dramatic play in the classroom allows students to improve sensitively, English pronunciation, communication skills and knowledge of the English social and cultural reality. The ultimate meaning of this paper is to provide a theoretical framework to help incorporate theatrical language teaching as a game of appropriation and assimilation of reality activities, which develop oral expression as the main capacity. By using these activities aim to achieve the following objectives:
Achieve a genuine and complete communication, in which the voice and gesture form a unified whole.
Find the balance between the established rule and naturally expressive, giving priority to communication and the meaning of the message.
To facilitate the understanding of messages, especially linguistic messages.
Acquire or perfect the language.
The above objectives correspond to linguistic goals related to language learning, but they can point others that have to do with any educational activity:
Encourage fellowship, in an atmosphere of cordiality.
To stimulate creativity.
Encourage concentration on development tasks.
Helping disinhibition and self control.
Encourage respect to the group action, collaboration and helpful attitude.
Let's start with the use of recreational component in the classroom. One of the most important advantages when using the game as a teaching method is the ability to develop rules that structure activities clearly and naturally. The game can be defined as an activity in which players cooperate or compete with each other to achieve a specific objective, and following the established rules without breaking them. Among other aspects of the game, the rules indicate for each participant a defined role and a specific time to intervene. Another advantage is that the games are ideal activities for work in pairs and small groups, so that increase significantly the time of practice, especially in large groups. To this it contributes to create an atmosphere of familiarity and relaxation, where you can practice exercises studied it without inhibitions, which helps achieve a dynamic active and productive class.
But perhaps even more important than the increase in practice time allowing games is its the quality. Few classroom activities that enable a real and natural communicative practice, then, as in every act of true communication, language games becomes a means to an extra-linguistic goal. This is not practicing for practice, but with the use of language, achieve a certain goal: to collaborate with the other player to find errors an illustration, figure out what action you are thinking the other player, get to the finish first, etc. This is the goal that gives extra-linguistic games range of authentic communication activities.
Once established the differences between spectacle and dramatic play to enumerate the characteristics and reasons supporting its use in the kind of language teaching. In essence:
Increase motivation and encourages the development of confidence and self-esteem of the student.
Driving assistance group, in a climate of cooperation, thanks to group dynamics and habits.
Create a need to communicate, through the negotiation of meaning that usually occurs in tasks.
Shows the social and cultural reality, as it recreates situations outside the classroom reality.
Supplementing the methodology approach tasks in preparation for the final task.
Improves speech and pronunciation and fluency develops the work of language skills.
Stimulates cognitive component: memory exercises, observation and concentration.
Support the development of intercultural awareness.
Strengthens the multidisciplinary nature of classroom literary texts incorporates elements of history, art, etc.
Elements involved in dramatic play
Kao and O’Neill’s article (1998) will be useful to make an analysis of the elements affecting the use of dramatic play as a methodological element. As for the technical preparation of the teacher, some suggestions to teachers who wish to use dramatic play as a staple in the class will be:
• The most important is to ensure, and to show others that his theatrical proposal is a necessary and complementary to other activity.
• No need to have specific training in literature, architecture, painting, music, and, in general, different artistic and literary languages; for it is available additional information on books, courses, doubts confrontations with colleagues, etc.
• It is also essential specialized in theatrical techniques knowledge, but curiosity and the search for resources to help meet the basic principles of this activity is necessary and minimum theoretical knowledge related to pronunciation, vocal projection, speech and phonetics.
• You should be aware at all times, which is not doing traditional theater with students and have to assume that their work will not produce dramatic results.
Cómitre and Valverde (1996) insist on the idea that in order to implement the dramatic activities there must be a radical change in the relationship between teacher and student:
• not enough simply to change the organization of the classroom, we need to also change the idea of students about the teacher's role.
• This is not the source of all knowledge, neither the arbitrator decide what's right and wrong.
• The role of the teacher is to initiate activities, "put things in motion", being the "animator".
In conclusion, the authors give some general advice for implementation:
• All students must work simultaneously, without making public groups and actors.
• The procedures for each activity should be explained clearly and simply uniforms, using examples.
• Not everyone works and learns at the same pace, therefore can not be competitive and criticism.
• Start by oral language to then give way to writing.
• Problem solving takes time.
• Not to mention the word drama or theater not bias.
• The student can play different roles and different situations.
• Find balance between improvisation and attention to grammatical rules.
Pre dramatic theatrical performance strategies.
First, the 'tableau' proposes a freeze activity image as an excellent introduction to drama for students especially at primary level. At this stage still not production but a linguistic approach to art in general role playing sign language and performed. In the activity of 'talking walls', students assume the role of a wall expressing views on the issue raised in class discussion. They may arise analysis of historical events as the fall of the Berlin Wall or the Industrial Revolution. Students use the vocabulary acquired in previous language class or history class CLIL own. This activity encourages the expression of personal opinions, exploitation and cross-cultural issues and the analysis of history and its relation to current events. In 'questioning in role', the teacher uses another technique CLIL own philosophy, the "scaffolding". Gibbons defines the concept of scaffolding as "the temporary assistance which helps teachers to learn to know how to do something, so that the learner will later be reliable to complete a task alone" . In traditional sense, the technique of 'scaffolding' means the immediate intervention teacher to lead the discussion with the student and help you organize your ideas to the oral production. The teacher can ask about the main points of the topic, repeat key phrases and forwards the information to the rest of the class.
3.2 Mime
Before discussing the teaching experience I should make a brief review of the concepts of mime and pantomime and its origins and evolution. Also , on the concept of body language.
Body language is one signal or set of nonverbal cues that indicate our personality, feelings, attitudes and moods.
The study of body language covers all movements of the human body. From deliberate as kissing, shaking hands, slapping, look to the totally unconscious: open your eyes or mouth by surprise or fear, lift your shoulders when you do not know something. Body language is in instinctive and learned and imitative part. Children learn from verbal language and forget to emphasize the importance of body language that we use constantly throughout our lives. This clarifies, confirms or denies the messages of verbal language, since more than 50% of the information comes from body nonverbally. The main elements of body language gestures face, hands and posture. The body posture is almost always determinant of a mental attitude. According muscle tension, intensity and location are distributed in significant areas, determining positions that "speak" are configured and transmit messages themselves. Even when trying to express something different from what one is, there are details that they discover.
If we go back to the origins of our species, we will see as man began communicating before the sign language with verbal language, so it is important not ignore a language that has evolved with us since the beginning of our days.
Mimicry is defined as: "Expression of thought by the gesture and facial movement that accompany or replace the oral language".
Mime the word comes from the Greek word meaning imitation.
• "In the Greek and Roman literature, realistic comedy genre that imitates life and customs. Among the Greeks mimes were short works with two or three characters."
• "theater actor who uses gestures and body movements".
Mime dates back to Greek antiquity. Some scholars point out that the Greek mimes came mostly from Sicily and Syracuse Sophron point to as the initiator. It was a silent drama played by two or three characters that extended to the Roman civilization and then to other genres. Rome was becoming increasingly parodic and rude and ended up drifting into farce. In the mid-first century, it was transformed almost in a literary genre. With the decline of the Roman Empire and the revival of Christianity, mime spreads throughout Europe and survives in squares and public places, but wait until the fifteenth century in Italy, with commedia “dell'arte” to see the revival of mime. This was a form of improvisational comedy by actors representing fixed characters. These characters were represented by Harlequin, Pierrot and Colombina.
The objectives of the mime in teaching English have been divided into: conceptual, procedural and attitudinal objectives. With these goals work the knowledge, know-how and knowledge to be. In this respect, in teaching English, mime’s objectives appear below:
CONCEPTUAL OBJECTIVES
To Know and investigate the body language codes and symbols.
Know the centers of the body expression and practice with them.
Practice gestures and postures linking them with different moods and movements.
To know and practice the different qualities of movement.
PROCEDURAL OBJECTIVES
Develop expressiveness to segmental and global level (eg. Facial expression), in order to express ideas, feelings
Promote eyes expressiveness.
Deepen in the expression of feelings and body control.
Promote control the movement itself and work the motor expression.
Practice the basic movements of mime.
To represent the body with different figures.
Improvise proposals scenes on characters and situations in order to stimulate the imagination and narrative invention.
ATTITUDINAL OBJECTIVES
Create a good dynamics group.
To value and accept the expressive and communicative possibilities of the body.
Respect the different expression forms of / as peers.
To acquire a positive predisposition towards the body work.
POSSIBLE TRAINING OBJECTIVES
Recognize mime as an expression and part of English culture.
show videos about groups known or current mime commenting as an introduction (Tricicle, Spasmo and so on.).
Distinguish between forms of verbal and nonverbal communication.
Know and practice different qualities of movement.
By short dramatizations or containing some qualities of movement
Recognize centers expression of body language.
Direct relationship with the movement
Practice gestures and postures associated with different moods or paintings or sculptures represent imitating the posture to dramatize or gestures
Improvising scenes at the proposal of situations, represent everyday scenes or improvise on a given script
KEY POINTS IN MIME EXPRESSION
Another important aspect on which, we believe, we must special emphasis on the work of mime, are those key points higher expression. These key points correspond to the face and the basic actions mime:
Face: in body language work on the face is very important: gesture, gaze, facial masks, development of the 27 packages muscle. The face expresses emotions and moods: calm, laughter, fear, anger, fear, anger, shame
Mime basic actions: among them including:
Positions or movements: there are some movements and some positions the pampering repeated alike. They are very unique actions that have great expressiveness. For example: action up and down stairs, pull a rope around hands resting on a glass walk without travel
Transformations: a characteristic element of the mimes, is that transform other objects. Mime generally not used implements therefore the transformation of objects is imaginary (by that must be very exaggerated and marked) movements.
Falls: mime, plays with falls, with shocks, with trope zones.
Handling of volumes and imaginary objects: as we said, not typically used implements therefore transforms objects, forms, volumes, weights, etc. at will.
Any proposal must contain mime technique oriented exercises development of these basic actions and facial work, because we consider these points as the basis on which we can work with improvisation and pantomime.
ACTIVITIES FOR MIME.
To start mime activities, without particular technical aspects, one may propose the following activities will gradually introduce this expressive specialty. In the table below we present schematically the idea or progression of work that we raised and subsequently develop:
Initiation activities to body work: its axis of work will be the body schema. Games disinhibition and group dynamics, breathing and relaxation. Within this block of work we develop in the later proposal:
Work Facial Mime.
Body Work.
Manipulation of objects.
Expressive and communicative activities focused on working the body, space and movement and body language. In this section one board a block specific content called "Improvisation and Mimo research. " Within this, it will specifically address to:
Body language
Communication Games
The qualities of movement
Downtown expression of mime
The gestures and postures
Activities staging and improvisation activities where it shows a show to an audience (with a prepared choreography or improvisation): dramatize about everyday situations, improvise on a given script, create and perform on invented situations. It blocks work activities where this will call: Representation Scene. Pantomimes.
Reflection activities: As we do not address the art of mime from purely technical point of view but also from the one of educational and recreational propose, a final section of activities regarding reflections has being exchanged and shared with the group work: emotions, feelings, personal feelings. With this section is to address the mime work holistically taking into account the whole person.
3.3 Role-Play
The didactic purpose of teaching English based on the role-play illuminates the processes involved in education. Teachers find methods, strategies and resources designed in the classroom environment as a basic form of teaching organization . But their goals are not achieved only by extending the time spent with teaching, but mainly through increased schoolwork, so that the student fully develop starring a real active role in the classroom. Therefore, a way to achieve these goals is the use of methods in order to activate creative processes and encourage teaching in which students pose and solve problems, organize ideas, propose innovative alternatives, thereby giving rise to a pleasant and deep learning.
In this regard, one may find that "the role play" provides new ways to explore the reality and different strategies to operate on it, favouring a room for spontaneity in a world where most things are brought to normal. The games allow the group (students) to discover new facets of his imagination, think of many alternatives for a problem, develop different modes and styles of thought, and promotes behaviour change that enriches and diversifies the group exchange. The game has an important place in the life not only of man but also of animals instead. Allen (1970) tells that: "there is no doubt that the game is one of the serious and functional requirements of the human psyche. Different forms of gambling accompany humanity in all stages of development. blithely circumvent this fact will not be of any benefit to science. And what is more important, the game never opposed to knowledge; on the contrary, it represents one of the fundamental means of mastering the diverse life situations, learning the types of behaviour. " "The role play, considered a game, has great importance in learning the type of behaviour, allowing construct models of situations in which the inclusion of an individual prepared for it a death threat, or situations whose creation does not depend on the will of the teacher. Here unconventional situation (real) is replaced by the conventional (playful). This offers great advantages. First, the learner receives the ability to stop in time the situation (to correct a play). Second, learn to build on his conscience the model of this situation because it represents as a game whose rules can and must be formulated, an amorphous system of reality. Another important property is related to this fact: the role play allows man to achieve a conventional victory over the invincible or on a very powerful enemy (the hunting game in the primitive society). This determines its magical significance and psychological-pedagogical property of enormous importance: it helps to overcome the horror of such situations and educates the structure of emotions necessary for practical activity. A similar meaning in man's education is the sport against labor activity, where it is presented as a game ".
Therefore, the role play is a model game of a particular type of reality, which reproduces certain aspects of translating the same language rules. In this regard and continuing with the findings of Lotman: "The game art is precisely to acquire the habit of behaviour on two fronts. Any deviation from the same type of behaviour is specific. Such, for example, confusion, common in children's communities, including the playful behaviour and real: children can not distinguish emotions flat double games emotions of a plane of life, and the game often turns into a fight. " In this same type belong arguments, widespread, how to mask the person becomes his own nature, respectively, it becomes a role. This happens for example when the game becomes reality, therefore, the mask becomes true and more, viewers are convinced that by acting participants find their true nature, that is, change their attitudes.
Confirming the position of Lotman: "It is precisely the game with its dual plane behavior, with the possibility of conventionally place the person in situations realities inaccessible to him, allowing him to find his own deepest nature. In creating man a conventional possibility of talking to himself in different languages, to encode various ways their own art helps man to solve one of the most important psychological problems: the determination of his being "
It can be observed in children's play operation role. In the free game (no rules-play) the child plays to be different characters, often representing the complementary roles of the same situation. When he plays, on the role of seller and buyer, learns to play the role of the other and react to their own actions as would the other. In the regulated game (game), plays a defined role but must know the role of others to act appropriately. In this passage of free game play regulated you learn how reality works. However, the roles assumed by individuals are mainly influenced by external factors such as people, institutions and culture: "The roles played by individuals are determined by several factors operating over many years. The type of people we know affects our feelings toward people in general. The way these people act in relation to the individual and how individuals perceive their feelings for people, influence harbouring feelings to themselves. The rules of their own culture or institution help determine the roles assumed by a person and how assumed. It may happen that people do not feel satisfied with the roles they have assumed. And you may mistakenly perceive the attitudes and feelings of others because they do not recognize their role or why adopt it. Two people can share the same feelings but behave differently. They may want the same goals, but if others misinterpret the behaviour of one of them, that person may not reach the proposed goal ". As a result: "Every individual has a unique way of relating to people, situations and objects. Someone may feel that most people are dishonest and untrustworthy. Another, however, you can believe that all people are interesting and want to meet new people. People are also evaluated and are conducted in relation to themselves in a way that corresponds to their idiosyncrasies, is considered powerful and ready or perhaps fearful and not very capable.
These feelings about people, situations and themselves influence the behaviour of individuals and determine how they will respond in different situations. Some react with an aggressive and hostile behaviour, playing the part of the bully. Others withdraw and isolate themselves, playing the role of shy or resentful”. Therefore, it is considered as a fundamental aspect of human beings for their current and future relationships, both with itself and with other individuals, know yourself; this purpose Dickey says: "To have a clear understanding of oneself and others is very important to be aware of the roles and how they way they play. To achieve this, each person must take the place of another and experience, as far as possible, the thoughts and feelings of the other. If someone is able to empathize, you can correctly interpret events and social interactions. Role playing is a vehicle to force people to assume the role of another ". However, in the educational context and for the implementation of role play is essential that students know and know properly use the concept of role; in this sense Joyce provides that: "The concept of role is one of the essential theoretical foundations of the model role play. It is also a very important goal.
During the English class, teachers must teach students to use this concept to recognize different roles, to think about their own behaviour and that of others in terms of roles. At the same time, the model has many aspects and many levels of analysis that, to some extent compete with each other. For example, the content of the problem, solutions to the problem, the feelings of those who are acting and the acting itself contribute equally to students to participate in the role play. Consequently, to be a prominent part of that experience, it must interweave, so to speak, the concept of role, but always keeping in the forefront throughout all activities incumbent on the role play. It is advisable also that before using the model students be taught the concept directly ". Role playing as a teaching model was specifically designed by Fannie and George Shaftel (1967) to help students study social values themselves and reflect on them, exchanging roles also it serves for students to collect and organize information on social issues, develop empathy with others and try to improve their social skills. In addition, the model requires students to represent the conflict to learn to assume other roles and observe social behaviour. In this sense, role play, has its beginnings and roots in social and personal dimensions of education, aiming to help students find their own meaning in society to solve their dilemmas (which are usually interpersonal conflicts) with support and assistance group investigating feelings, attitudes, values and problem solving strategies in order to find honest and democratic solutions to these problematic situations.
Role-Playing Features
At the simplest level, role play or role play deals with problems through action, which outlines are represented to finally be discussed. Some students are actors and others are observers. For its development, a person is put in the place of another and then interacts with those who are also playing various roles. Since the process generates empathy, understanding, anger and affection during the interaction, role play, although it is done, it becomes a part of life itself. The essence of the role play is the commitment of both participants and observers in a real problematic situation, in order to understand to find a successful solution. This process is performed in the role play provides a living example of human behavior that serves as a vehicle for students to:
1) Enquire into your feelings.
2) Achieve greater understanding and knowledge of attitudes, values and perceptions.
3) Develop skills and attitudes that lead to problem solving.
4) Study the contents of the subject in various ways.
These objectives involve a number of assumptions about the learning process generated by the application of role play students in this way and as stated Porter, we have: "These objectives reflect several assumptions about the learning process in the game of roles. First, this model implicitly proposes a learning situation centred on experience and where the 'here and now' become the content of teaching. The model assumes that it is possible to create genuine analogies with problematic situations from real life and that through these recreations students can "prove" life. Thus, the action raises genuine emotional responses and behaviours and characteristics of students. Related budget is a role play can bring feelings light, and can be recognized and perhaps expressed by students. The version of the Shaftel about role play also emphasizes intellectual content and the emotional content; analysis and discussion of the performance are as important as the role-play itself. English teachers, as educators, want students to recognize and understand their feelings and see how feelings influence their behaviour. In another similar to synthetic budget models, the group can make emotions and ideas to surface into consciousness and even expand them. Collective peer group reactions tend to show new ideas and provide direction to growth and change. The model remains relevant to the traditional role of the teacher and promotes exchanges and peer learning. A final assumption is that the underlying psychological processes hidden in one's attitudes, values and belief systems can emerge into consciousness when you combine the spontaneous performance with the analysis. In addition, individuals can achieve a certain degree of control over their belief systems if they recognize their values and attitudes and confronting undergo testing with the views of others. An analysis of this kind can help them evaluate their own attitudes and values as well as the implications of their beliefs, and that lucky allow themselves to grow ".
Application of Role Playing during English courses
Role playing is extremely versatile as it can apply to various educational objectives because students enjoy the action and it is easy to forget that role performance is, in itself, a vehicle to develop the teaching content. By developing role play during the English course, students can increase their ability to recognize their own feelings and those of their peers learn new behaviours to handle situations that were difficult before and improve their skills for problem solving.
The contributions of role play depends largely on the quality of the performance of each individual (actor) and the analysis subsequently performed at the end of the process, and it also influences the perception of the role assumed by students as it should be as close to real life situations. Therefore, students must learn to engage in the process of performance of an honest and sincere manner, so that the content generated throughout the development of the game can be analyzed seriously. According to Shaftel, for the development and implementation of role play must follow a total of nine phases or steps, each with the specific purpose of contributing to the enrichment and central aspect of learning activity:
1) Preparation of group exercises.
2) Selection of participants.
3) Atmosphere stage.
4) Preparation of observers.
5) Performance.
6) Discussion and evaluation.
7) New performance.
8) Discussion and evaluation.
9) Share experiences and generalize
Phase One:- Group Exercises consist in presenting a problem to students in a way that recognizes it as a reality that everyone needs to learn. The teacher sensitizes the group about the problem and create a climate of acceptance, so that students feel that all opinions, feelings and behaviours can be inquired into without penalty. The second part of the warming is vividly express the problem by examples. These can come from descriptions made by students of real or imaginary where the problem occurs, or teacher selected and illustrated by a film, a TV show or story problem situations. The last part of pre-heating is to formulate questions so that students think the denouement of the story and can predict.
Phase two: -Selection of participants of this phase, the teacher and students describe the various characters (how they are, how they think and what they might do). Then students volunteer to participate in role play; They may even play a certain role. In this sense Shaftel "warn us against the danger of assigning a role to a student who was nominated to represent you, he who made the suggestion may be stereotyping the individual or putting him in an awkward situation. It is necessary that the person wants to assume the role. While taking into account the individual's preferences, the teacher must exercise some degree of control over the situation. " Therefore, there are several criteria for selecting a student for a role in particular. The roles can be assigned to those who seem so involved in the problem that is identified with a specific role; those who manifest an attitude that needs to be analyzed and who must learn to identify with the role to be in the position of another person.
Phase Three – Stage setting – In this stage, the actors outlined the scene but do not prepare any specific dialogue. They merely sketch the situation or perhaps the line of action of an individual. The teacher usually collaborate in the atmosphere by a few questions about where the representation is developed, how the place, and so it is. One need only identify a single line of action and clarify a general framework so that participants feel safe enough in roles to start acting.
Phase Four -Preparation of observers . It is important that they participate actively so that the whole group can experience the performance and analyze it later. In this respect, Shaftel advises that teachers commit to assigning observers tasks such as assessing the realism of the role play, discuss the effectiveness and sequences of behaviour of actors and define the feelings and mindsets of people represented. Observers must discern what is the purpose of the actors, if the actions were useful or not and what alternatives could have dramatized experiences. Or can observe a certain role in order to define the feelings of that person. Observers need to know that in most cases there will be more of a performance, and if they think they have played a certain role in another way, may have the opportunity to do so.
Phase five – Performance. In this stage actors assume the roles and live the situation spontaneously responding realistically. No one expects the role play is smooth and quiet dramatization, nor every actor always knows how to respond. This uncertainty is part of life and at the same time feel part of the role. A person may have a general idea of what to say or do, but at the same time being unable to dramatize at the right time. Shaftel recommend that action be brief. The teacher should be allowed to unwrap only until the conduct proposal being clear; the character develops; It has exercised a behavioural skill; it reaches a dead end or has expressed a viewpoint or idea through action. If further analysis reveals a lack of understanding of events or roles by students, the teacher may request that the scene is rendered again. The purpose of the first performance is simply to establish the events and roles, which can be probed, analyzed and modified in subsequent proceedings. During the first performance, you can change the actors who play the main role in order to demonstrate the diversity inherent to the role and more data for analysis.
Phase Six -Discussion and evaluation. If the problem is important and participants and observers agree intellectually and emotionally, is likely then that the discussion begins spontaneously. At first, you can focus on the different interpretations of representation and disagreements over how they should play the roles. But most important are the consequences of action and the motives of the actors. To prepare for the next phase, the teacher should focus on the discussion of these issues.
Phase seven -New Performance . The representation can be carried out many times so that it is constantly renewed. Students and teachers share the new interpretations of the roles and decide whether they should be made by new individuals. The activity alternates between discussion and action. It is desirable that the new actions to investigate, as far as possible, new possibilities regarding the causes and effects. For example, you can modify a role so that everyone can see what this change in behaviour causes another actor. Or, reached the climax of the performance, participants can seek behave differently in order to observe what the consequences are. Thus, the role play becomes a conceptual and dramatic activity.
Phase Eight -Discussion and evaluation. After the various representations made, students are willing to accept the solution, but the teacher encourages them to find a realistic solution, asking them if they think that the end might be feasible in reality.
Phase nine -Share experiences and generalisable. It is possible that at the beginning of the implementation of the role play are not immediate results in generalizations about aspects of the situation incumbent upon human relations. Such generalizations require a lot of experience. However, it is the duty of teachers set the analysis so that students after perhaps a long experience in strategy roles-game start generalizing about ways to address problematic situations and the consequences thereof. The better the analysis is set, the conclusions are more general and more students will approach the hypothetical principles of action with the potential to be applied to your own life. The initial goal, however, is to relate the problematic situation with the experiences of students, and make it so they do not feel threatened. This objective can be achieved simply ask the class members if they know anyone who has had a similar experience. This kind of discussion principles that all students can articulate and use arise. These principles can be applied to specific problems or be used by students as a springboard to study other types of problems. Theoretically, students will gradually dominate the strategies and when a problem arises, either in the group or in a subject under study, can use role play to clarify and better understand the problem.
In the current research, for the implementation and development of the teaching strategy role playing phases proposed and adapted by Shaftel, are as following:
1) Motivation.- (Involves phases one, two, three and six). It is guided by the teacher who promotes a climate of trust with the class and has problems to be taken into account as a topic of interest. The importance of the approach of problem tasks is that the process of solution involves self information and organization of all collective relations on the sole basis of these tasks, so stop being formal and are made directly vital, what each participant fully committed, fully influencing the content under study.
2) Preparation for dramatization.- (Involves phases three and four). The teacher disclosed the data necessary for the representation, indicating which is the ultimate goal and the characters involved. Notably, the value attached to the role play by allowing practice behaviour learning object until its execution approaches the performance to be achieved since they can make all representations deemed necessary from the perspective of behavioural treatment in order to achieve reach as close to reality approach.
3) Drama.- (phase involves five). Students assume the leading role and strive to develop in the best way their role, trying to find the best solution to the problem. The performance of a role (including the performance in a fictitious situation) can cause changes in self-concept, attitudes and behaviors in the direction of the characteristics associated with him; helping to develop a better understanding and empathy for the people who play in everyday life.
4) Investments.- (phase involves seven, eight and nine). The dramatization of conflicting roles has proven to be highly effective to develop empathy and encourage the adoption process of perspectives as a result of which the knowledge of students and of others is built. Basically, this technique consists of repeating the representation switching roles adopted in its first embodiment, or ask the actors who play antagonistic to their real life roles. Its use is especially recommended for those students who express negative attitudes and stereotypes toward people who play a role. The fact perform it, and having to express their thoughts and feelings, it seems unbalancing these attitudes and stereotypes and encourage the development of a higher level of social awareness and moral reasoning.
Significance in teaching
While the purpose of this study is aimed at the realization of a conceptual or detailed theoretical reflection about significant learning, it is useful to highlight some ideas and concepts in perfect harmony with the teaching experience described in this document. A first reflection points out that training of university professionals is a complex process that requires a number of materials, technical and human, necessary to develop in a person the right to enter the labor world job skills conditions, in order to perform activities you demand a specific conceptual and practical mastery of a body of knowledge and techniques that belong to their respective professional specialty. Among the complexities associated with the process of university education, it is important to emphasize, on the one hand, the material and human conditions that are necessary to develop a training process of university professionals, which include infrastructure (classrooms, laboratories, casino, sports facilities, etc.), library, financial resources, etc., while in human conditions highlight aspects such as adequate faculty, a set of values and institutional principles, methodologies efficient education, just as some examples of the relevant aspects that affect the formation of university level.
In addition, according to Zurita, teaching is "the central activity, axis, in the process of formation, training and updating of members of the academic community, whose core is the process of teaching; learning is understood as an organized, intentional and systematic process through which is promoted, directed , conducted and significant provided with creditable learning are " , a definition incorporating, at that time, fundamental aspects of teaching university of the XXI century, as is the role of the student in the teaching-learning process and the ability of university organizations to certify the quality of their teaching. However, at present the university teaching is attached to traditional paradigms, related, inter alia, with the central role of the teacher in the class and a passive role of students in their own training process, with assessments focused mainly on the repetition and memorization of contents on the development of know-how, and is usually the domain of theory over practice in the training process of university professionals undergraduate, as a dominant characteristic appearance and often affects the proper employment of graduates of universities in the future.
It should also be added that in many cases the analysis of the contents of the courses at university level is currently done in total disconnection with the previous cognitive structure that has the college student, and the possibility of developing a significant learning obvious tied to "a process through which the same information is related to neither arbitrary nor literal way with an important aspect of the cognitive structure of the individual ", which is expressed in the use of teaching strategies and learning too conventional, that inhibit or hinder learning it is important for the student. In this area, it is especially important that university teachers are willing to use innovative strategies and teachers with, or at least different from the traditional, which likely will force them to develop a greater effort in the pursuit of a more constructivist teaching, but that definitely will impact positively on the education of its students. This change in university teaching will leave behind traditional lectures and assessments memorization of content, to introduce interactive classes using new information and communications technology, or using valuations based on discussions, case, recreational activities or any other assessments put more emphasis on know-how.
Accordingly with DeNeve & Heppner (1997), the role play is considered in university education as an active learning technique, which has a growing potential demand between teachers and students, compared to the techniques of passive learning, as conferences or lectures, especially the ability to combine or add new knowledge or information with previously acquired knowledge. The proposals made by the studies and international research confirms the importance that the incorporation of strategies of teaching and learning aimed at obtaining meaningful learning by teachers at all educational levels, but especially at the university level, where the class master has a very dominant position.
In this way, Schaap, for example, states that "games promote or help to promote widespread participation, creating situations where social conventions are broken, promote two new roles regardless of the traditional participant, they are the coordinator and observer "situation, as is evident, promotes social interaction of people, and aspects such as communication, leadership and teamwork are developed.
Similarly, Barbato (1999, p. 78) states that "recreational activity allows the player (student) organization of ideas in such a way that it can extract those considered fundamental to relate to other situations, making learning meaningful ".This situation offers an important opportunity to expand the teaching strategies and didactic teaching and learning that contribute to a more comprehensive vocational training, where the main beneficiary will be the student. Notwithstanding the foregoing, when analyzing the role play in the context of university teaching is possible to identify specific benefits in the training process, according to Schaap relate to "promoting an approach deep and holistic learning that requires students to interact and collaborate to complete an assigned task. The context of the role play requires students to take different perspectives and think reflectively on the information representing the group "benefits connected, indisputably, this methodology with obtaining meaningful learning in the development of university teaching.
In addition, according to Porter, role play has multiple motivations for students, including those mentioned: take ideas and different to their own positions, teamwork, empowerment in decision-making in the game, more commitment to school attendance; they become powerful reasons why a teacher should consider incorporating your classroom this type of methodology.
The game is a normal aspect of human development, which is diluted as one ages; However, several authors have identified the importance in the lives of people, a situation which training college is not exempt, since it is a very important in the life of many human beings stage. This situation is confirmed by Shaw , which states that "a final goal of the game of roles, which can sometimes be overlooked is the simple goal of fun; people tend to remember the positive experiences and students tend to retain the lessons they have learned through interactive exercises due to the enjoyment of them. These exercises help capture the attention of students and are entertaining as well as being educational." However, the use of recreational activities applied to the learning processes of university level will be important for learning attitudes special, defined as "the subjective experience of cognitive-affective character involving evaluative judgments that are expressed verbally or non-verbal, which are relatively stable and learned in the social context ", recognizing participatory, such as role-play skits or as effective to develop attitudinal skills techniques.
Application of role play in different areas of education
The incorporation of recreational activities such as role playing, cognitive processes is a less common practice in forming processes at the university, and is confined, in the best case, certain very specific vocational training, as some pedagogies or in respect of certain issues or quite narrow skills, such as creativity or work groups. The situation described above is confirmed by Van Ments, who points out that: the use of RPGs can understand and experience the reality of others following an empathetic process. It is therefore a procedure that helps make significant some learning in Social Sciences please students to the analysis of the motivations of others (known, unknown, historical) and thus increases its comprehensiveness and tolerance for diversity of people, opinions, and alternative situations around us.
Internationally, Livingstone (1983) indicates that the research offers important coincidences as to what are the best strategies to motivate students, both from the perspective of the same students and teachers, especially history and basic education and secondary who agree in identifying the role plays, skits and discussion groups with other students as strategies that produce greater student motivation to achieve meaningful learning. Notwithstanding the foregoing, in the teaching-learning developed at the university level there is a strong influence of each professional profile to determine the type of strategies and teaching that should be used for analyzing the specific content of each subject, as well as models each university teaching implements an institutional nature, focusing on skills training, entrepreneurship or socially responsible behaviour as an expression of institutional seal distinctive of graduates of some universities. Similarly, each discipline or science of knowledge has specific demands that make those who teach a university chair, depending on whether it belongs to the basic sciences, social sciences, health sciences, arts or other disciplines grown within any university. For example, Prince (2006) describes an experience of the application of role playing for the teaching of ethics for engineers, in culturally diverse student contexts [anonimizat] in Toronto, where even success, this methodology has been built through short courses in the processes of integration of foreign-trained engineers.
Another interesting and new field for the application of ludic strategies in education appears to be linked to the development of online games, which allow students to interact virtually, using computer games with characters and contexts that facilitate the acquisition and practice of certain knowledge and skills through interaction with computers or platforms e-learning which has enabled the development of a line of educational work related to the production of educational software that incorporates the methodology of role play.
3.4 Improvisation
The usual concept of word improvisation carries an almost automatic or negative connotations, some of contemptuous character, deriving from its common use in spoken language and that should put clear now. Generally speaking it is understood to improvise is to invent any music directly on an instrument, either freely or following some sort of scheme. In this concept creative vision and raw natural talent of the performer. This preset concept of improvisation as activity derived almost exclusively from the imagination or intuition lead to pedagogical applications of partial interest. Seen in this way has an interest improvisation relative. In the field of music they have always praised the special conditions of those performers-creators who were able to create live and unprepared a work of varying dimensions and characteristics. However, the term Improvisation to which I refer is well below these geniuses. Who called genius who is able to express themselves correctly in their mother tongue? Nobody thinks compare the individual expressing their views to a group of friends while sipping a beer together at the corner bar with exquisite language of Cervantes and Calderon. Music is a language and, therefore, when we really learn to manage their orders, their vocabulary, syntax.
Improvising is speaking through the instrument itself. The instrument is naturally the means by which we use to learn the musical language and to express our ideas. is not only logical that the musician knows his instrument express it makes no sense otherwise, that is, who can touch only what is written in a score. To speak music need to understand the basics of the system in which we want to express, assimilate its syntax and know their chances of speech. We need words, structures and forms. Who and when these skills are provided? Who and when will allow us to use to express our message? Improvising is the result of a control language, is an interactive learning to share technique and creativity. Improvising is to use the known elements to obtain a new result.
When improvises known rules are used to give life to new ideas. Improvising is created. It is construed as creating or improvising the simple use of language that allows the correct expression of an own message using known elements. At any level of the educational process the student must accustom to create within the limits of their knowledge.
However, dramatization allows us on the one hand represent a class action, so we can, for example, pose dramatic games in which we ask the students to prepare some interviews, a television daily, then represent them. On the other hand, it is possible to provide a stimulus for the representation of something not prepared in advance, and invented almost spontaneously, unscripted. In this case, the work would be improvisation. If there are many texts on the dramatization generally we found few texts analyzed improvisation itself as interesting resource in the language classroom. According to L. Stone McNeece, improvisation allows, in itself, an individual development, both the public and the actors, it reflects real situations. It allows actors invent and actually projected, spontaneously, without imitations that are not voluntary. In a way, it would be best to project the individuality of our students not engage them as people.
The author sums up very well all the interest of improvisation in this paragraph: "At the core of Stanislavski method itself is the concept of improvisation. The emphasis on preparation rather than performance, the inner reality rather than external forms, the use of improvisation allowed the dynamic renewal of known texts. Updating them, he made them relevant to, representative of the general public and not just an intellectual elite present situations. Improvisation operates by the invention and not a mere imitation: in any situation presented, no two individuals respond the same way, as a person may respond differently at different times.
Improvisation is actually conscious amplification of the strategies that people use every day to achieve objectives of varying importance. Language is one tool among many for a goal. It is therefore impossible to communication motivated unless there is also motivation in behavior. It requires high self-awareness and awareness of another by individuals, and a high perception of their environment, since it is based on the idea that we formulate wishes and try to meet them in a social context, life is basically a group task, and that individuals are interdependent. Improvisation is a technique designed to relatives the belief that intelligence and rationality assure us daily control of our lives, freeing the imaginative energy that we hope will transform the existing circumstances rather than simply comply with them.
Temporarily suspend implies respect for property and conventions, if only to discover their purpose. In Improvisation for the Theatre, Viola Spolin describes the experience of moving into the unknown, transcending the familiar: 'When the answer to the experience takes place on an intuitive level, when a person moves beyond the strictures of intellectual plane, it is when it really is willing to learn "
Improvisation activities
The most important part of the workshop is certainly dedicated to improvisation. It consisted of systematically collecting functions that students had studied in previous classes and functions appropriate to their level, to create situations in which they would have to use improvisation. To do this, we proposed in each session, the draw of cards appeared in which described the various situations that each group would have to represent (normal was a representation from 5 to 15 minutes).
In the first classes, students will be given five minutes to figure out how to play the scene (they could not write any script, they could only discuss the possible scenes and positions that should represent). Then we were gradually reduced this time to give the fastest in thinking a scene, which would be the first to act group. usually we operate with groups of three students by modifying the structure of groups so that students know each other and they practiced were more affective and social strategies. Each team could choose to act on two or three of its members, the important thing was that if a person did not act for a function had to act in the next. Acted as a group, members of the other group had to take note of what communication problems they encountered in their interpretation and how their peers were getting (or not) solve. After the performance of the groups, we asked the "actors" what he had most cost them express (a communicative level), why (it was language problems or other problems affective?), And how they had solved (or not). Others could then discuss what had targeted during the performance and offer proposals to solve the various difficulties that had met. Also, there was the possibility of watching the video of the scene recorded and students who had acted aided by his teammates, could highlight what went wrong and what had been effective for communicating best.
CHAPTER IV.
THE ROLE OF THE TEACHER
4.1 Teaching as a Profession
Although the civil service status (in the public system) marks a decisive way industrial relations and they have not changed significantly in the last quarter century, it does not happen the same way as it affects the strictly professional field where changes faster . In recent times they have questioned many aspects that until now they were considered irremovable. One have seen how it has been questioning the immutable science education as a substrate of knowledge and it has been opened to other conceptions in which uncertainty plays an important role. But above all it has also incorporating ethical, collegial, attitudinal, emotional, all necessary to achieve a democratic education of future citizens. Thus, it has begun to appreciate the importance of the subject, and your participation, and therefore the relevance acquired in education the socio-cultural background (e.g. communication, teamwork, joint project development, the democratic decision-making, etc.).
Of course you should be alert to prevent the case of a reconceptualization of economic systems and market regulation to introduce elements that may pose a supervised autonomy, authorized or contrived collegiality; and in any case, to avoid compromise on autonomy (educational policy decisions, autonomous management, contextualized curricula) and to further enhance a real professional collective participation. This renewed educational institution, and this new form of education, requires a significant reconceptualization of the teaching profession and assumption of new professional skills in the context of a revised educational, scientific and cultural knowledge.
This new era requires a different professional education. But one can not analyze the changes in the teaching profession without forgetting that it has planned for many years around the debate on teacher professionalization, and as Craft (1997) says: "There are a number of reasons to believe that the way to professionalization of teachers is cratered and quicksand: the problems that arise when trying to promote professional standards in such a crowded profession, the possibility of devaluation credentials as a result of increased educational requirements, the leveller legacy of teaching unions, the historical position of teaching as a form of self-employment of women, the resistance offered parents, citizens and politicians to claim of professional control of schools, the fact that education has been latecomers to a studded field of professionalized work, previous professional managers of the centres and the entrenched power of the administrative bureaucracy, the long tradition of bringing out education reforms by bureaucratic means (…) and the diversity of environments in which teacher’s education occurs."
And here the question is, with so many difficulties in taking a professionalization, what are the skills required for the professional teaching for one in order to assume that professionalism in the school have an educational and social impact? Historically, the characteristics of the teaching profession, or the assumption of a certain professionalism (from the time that teaching is assumed to be generic rather than trade "profession" as it has always been considered as a semi-profession in the social context) , was characterized by traits in prevailing objective knowledge, knowledge of the disciplines, alongside with the image and likeness of other professions.
This is a formal knowledge that one had to assume the ability to teach. Besides these characteristics of a pre-established formal knowledge, professional autonomy is advocated, if one wants to be a professional, to make decisions on professional practice issues. Today, for the education of the future, these historical characteristics are considered insufficient although they are not necessary debatable.
The context is becoming increasingly important, the ability to adapt to it methodologically, the vision of the not so technical education as the transmission of a thorough and formal knowledge, but rather as a not immutable knowledge construction, which analyzes the education as a political commitment fraught with ethical and moral values (and therefore the difficulty of developing a training from a clinical process) and development of the person and cooperation among them being considered an important factor in professional knowledge. This leads us to appreciate the great importance for teaching while learning about the relationship, coexistence, culture, context and development capacity of interaction of each person with the rest of the group, with their peers and the community into an educational framing.
4.2 Teacher’s role in the Dramatization Context
Teacher training in recent years both in techniques of body expression, dramatization and especially in learning foreign languages has led in Primary Education teachers are increasingly better prepared. Barnes has been one of the authors who have given numerous teacher training courses and have developed lots of educational material on the practice of dramatization applicable both to the classroom after school as art, language and English. The author has defined the functions that must meet an educator, teacher or entertainer. In this respect, they are summarized in several points: the teacher must develop personal initiative, encourage students to express themselves, respecting individual and group spontaneous interventions; he should guide students rather than impose them, thus maintaining a flexible attitude and above all, he must be creative.
One must also have an attitude of listening and evaluating with the group. One should keep in mind that the end of the skit is not a play, but it is encouraging creativity and use it for the student to unwrap, especially in oral expression and autonomy. Regarding the preparation of dramatization in the classroom, one will consider the following points: the objectives, the proposed text, the process of dramatization (distribution of groups, roles, materials ), the final dramatization and evaluation. Evaluation is a complex part and shall be effected through various techniques such as observation, oral assessments by each student and if necessary, there should be written assessments. One must take into account the use of oral resources, forms of expression, participation, resource utilization, integration into the group and personal assessment of each student.
4.3 Programming Activities of Dramatic Play
As in any other activity, teachers program their schedule using the game as a resource to work the contents in a sequenced and cyclical way, avoiding improvisation. Similarly, globalization must be so, and, beside the language, it must work the remaining areas. The great advantage of this resource is that it has no need of motivation, because children want activity, they like to participate in different activities and host it generally with enthusiasm and pleasure. Also, teachers do not need a concrete stage space, but they just remove the tables back of the room to have a more than sufficient to carry out the activity.
There is abundant literature available to teachers to carry out the own content of the skit and included proposals, they can be applied easily by any teacher in the classroom. These materials, although they have always existed, have proliferated after the reform that led to a more efficient education and its intention to introduce the Dramatization into the curriculum. As Di Pietro points out that dramatization "can be very useful for teaching certain subjects, especially in history, ethics and human geography, as well as in foreign languages. If dramatize incidents or situations, students are interested in the events as they are happening."
Although the students require improvisation, not so in the case of teachers, who must program in detail everything that will perform, planning and organization based on the objectives to be achieved in areas that include a specific activity, but they must be careful to show details. Moreover, criticism of colleagues who observe also involve them in the teaching-learning process, but teachers should control the situation prevailing order and some degree of "seriousness". "The dramatic game should be creative and not chaotic or fun" as Hayes points out.
While it is true that since the dramatization can be worked different areas, as one has repeatedly stated, there is no doubt that one of the most favoured is the language and, in particular, the oral language. This is because the dramatic creation fundamentally considers the dialogue as a form of expression, that is, the verbal exchange between people, and through it, students can simulate familiar situations, but also others who do not know and would develop some time of their own life. One would recall that the communicative approach in teaching oral language gives equal importance, that the written language becomes a fundamental building block of the area. For this reason, and through the use of the game, teachers can put the students into very different situations in order to respond to various intentions and to partners with those who keep varying degrees of relationship. This can not be more than introducing them in the pragmatics of communication and helping to promote their communicative competences.
Written expression can also be facilitated by dramatizing and actually acknowledging something. David, T (1999), for example, used as a strategy to improve the wording of his students and the obtained results were significant, looking that favoured if precedes the representation of what later they expressed in writing. Doing so, the teacher does nothing but follow another indication of the designed Curriculum, as well as the connection between the activities of oral and written language.
But is not the language area that is involved, but those of art, music, physical, logical-mathematical, foreign languages which, together with the history, geography or ethic, complete the school curriculum. Therefore, dramatization can be considered as a whole language for full expression.
Like any school activity, dramatization requires evaluation. One understand it as an assessment of the whole process and affects not only the student but also the teacher and the means by which it had to carry out the task of learning. Regarding students, it is important to assess to what extent they have developed their skills and achieved the objectives that must always follow a constructivist approach, for example children are builders of their own knowledge, always from a significant teaching point of view.
4.4 From the Teaching Profession to the Challenges of a Globalized Society
The discussion and analysis of the above aspects, increasingly present in the social and educational system should be developed taking account of the new social context: the reality of the social and economic deregulation, ideas and neoliberal practices, the much-touted globalization, performance indicators to measure educational quality, false educational autonomy and advancement of educational management. In this respect, it is necessary to establish a debate on the analysis of power relations and participation alternatives (autonomy, collegiality ) concerning the teaching profession. At first, there are three key ideas to be analyzed in the professional debate:
The first is represented by the existence of a professional knowledge of teachers, understood as the assumption by teachers and those involved in the educational process control and autonomy over the process and organization of the work carried out in educational institutions. Is it possible that more autonomous professional knowledge, to increase consideration and professional and social status? Is it possible that the development of true centre projects through explication of the interests of the different agents that allowing genuine participation beyond mere participation rules and legal power such as an artificial collegiality?
The second idea questions the legitimacy of official transmission of school knowledge that was previously immutable and as a result, the structure of the teaching profession that could be adapted to a pre-industrial or industrial era but that today is the need to bring together the educational community with diverse fields and ways of knowledge, and experience . The educational institutions must share the knowledge transmitted with other social institutions. Zeichner (1999) tells that: "Other work in that line (referring to the participation of the community) have shown that one of the keys to academic success in schools, especially for students of colour and those of low socio-economic status, is the positive interaction between community members and school staff that can arise from significant community involvement in school decision-making ".
The third idea is represented by the process of school questioning as being structured, and of course, one can extend it to the organization of profession training in the education system. The teaching profession has been a fertile field of mysticism, with a full of contradictions knowledge. It has advanced more in the realm of ideas and words in alternative organizational practices. It is necessary to develop new alternative practices based on real autonomy and collegiality as mechanisms of democratic participation of the profession that allow envision new ways of understanding the profession, revealing the hidden curriculum of educational structures and discover other ways to see the teaching profession, professional knowledge needed, school and educational organization.
In this respect, one has to understand what happens to the specificities concerning curriculum areas, the spatio-temporal structures that prevent new organizational cultures, the active participation of the community, dynamics and group communication, public schooling, the rapid introduction of new information technologies, to school integration of children with special educational needs, or intercultural phenomenon. This conditions the professional knowledge that must be assumed: What kind of professional and educational institution we want for the future? The theme continues.
4.5 Education and Drama, Teaching Resources
Education is one of the most important elements related to human activity and interest has arisen through history. It implies a great responsibility, a commitment and a company vital for companies and governments. Through educational system countries they have been meeting the needs of its citizens, with the idea of establishing a proportional relationship between education and quality of life. It is in schools where lies the responsibility to create future leaders and people committed to improve society in which they live and develop.
The need to establish a positive environment and school environment will provide the achievement of educational and personal through cooperative learning objectives, discussion, reflection in class, addressing relevant issues in the lives of students, non-aggressive conflict resolution the value of tolerance, respect and positive appreciation for ethnic and cultural diversity, etc. As a result of underachievement that involves the use of behavioural teaching techniques, it has now concluded that "what is true for a child, does not apply to others".
It is education that develops in each student principles and values, by encouraging them equal opportunities in achieving common and personal interests, developing the talent to achieve maximum potential skills and abilities. Promoting interest in educational tasks will lead to a motivated student, who always pays more attention and draws more closely the material presented in class, and most importantly, continues to carry out tasks without worrying about any external incentive.
The aim would be to use a model of teaching and learning that motivate, enthuse and educate young people in a fun way to create an environment in which the acquisition of knowledge is not a boring and monotonous educational process; to help them develop psychological, emotional, social and creative aspects. Dramatization as an educational resource and under proper working environment offers many opportunities for the development of school curriculum through its strong motivational character, providing a secure environment for the exploration of ideas, promoting the creative development and providing a variety of resources for development in different fields of learning.
One emphasizes that the educational value of the skit comes from the contributions that makes to the school curriculum transmits values, improving communicative, expressive and creative skills in different areas, as well as the development of different forms of art.
Dramatization as an educational resource promotes among students, the discovery of learning which implies a "teaching exposure", through which young people not only manipulates and discover the information, but listening to their classmates and teachers setting their own strategies work to help you plan and control their learning sequentially, learning to learn.
The similarity between constructivism and drama becomes more evident when we look at some of the features of the theory of Vygotsky:
The student builds knowledge and no one can replace him in this task.
The student relates new information to prior knowledge, which is essential for the construction of knowledge.
Knowledge gained in one area is further enhanced when relations are established with other areas.
The student gives a meaning to the information received.
The constructive mental activity of the student applies to content that they are already prepared, ie, the contents are the result of a process of building a social level.
Teacher, peers, parents’ support is needed to establish the "scaffolding" that helps build student’s knowledge.
The teacher should be a counsellor to guide student learning, trying at the same time to approximate what is considered true knowledge.
The teacher should promote interaction in the classroom and learning engine
Dramatization as a teaching resource has very similar characteristics to those developed both by constructivism, active learning or discovery learning. Thereby, its application in the classroom can be effectively developed, based on endorsed educational principles and effective results.
4.6 Teachers and Drama
Currently, schools demand for teachers to help students to build their own cognitive skills, enabling them to learn to think more effectively. In this respect, teachers have to strive for students to improve their skills and learning strategies, thinking and problem solving, so that they become researchers in their own classroom. One of the aspects that prevent the proper use of dramatization in the classroom is the lack of teachers’ preparation.
Given that, it involves a system of teaching and learning of cooperative nature being necessary for the teachers to be involved more with their students, exceeding the role of knowledge transmitter to a more active participation.
Traditional teaching models in which the teacher is the active element, transmitter of knowledge and role model for students and taxpayers, are being replaced by:
"Active teaching models, in which the classroom becomes a context of dialogue and communication, constructive and functional interaction, making the teacher a researcher of their own teaching practice that needs to be integrated in educational equipment to improve it. "
The quality of Drama teaching for future teachers and pedagogues has been harshly criticized by Cervera (1982), as the staff responsible for delivering this subject or focused on the literary or theatrical. For the author, none of these proposals completely covered the field of expressive resources covering dramatization, as this, by its interdisciplinary value, comprising:
• linguistic expression (covering literary aspects of oral expression and creation of texts).
• body language (which together with the linguistic expression establishes a sharing of physical and creative character)
• artistic expression (covering aspects such as scenery, costumes, props, makeup, light, etc., but for use in the classroom it will be less than in the theater, with a rather symbolic meaning.
• rhythmic expression (related to movement, dance, sound, music, singing, musical instruments, etc.).
Despite the various creative skills that may develop students, one insists that the use of dramatization in the classroom does not involve turning students into actors or directors or playwrights, even spectators, but they exploit all the possibilities and both expressive and educational benefits it brings. In this regard, “ role playing is a form of representation that uses the body, voice, space and time to express and communicate ideas, feelings and experiences. It is a form of expression (the same level as the musical rhythmic speaking, writing, and plastic) that uses signs and syntax of the dramatic language. It is characterized by integrating different languages (verbal, plastic. rhythmic musical and body), and being a process of symbolization.”
Therefore, it is important that teachers, both infant, primary and secondary knows and can apply rigorously dramatic classroom resources for themselves encourage creativity, confidence and self-esteem, reducing such violent attitudes and insecurity among students. As for the formation of members, teachers do not need to master acting skills, and if you believe it essential: Such attribute often is harmful, because it encourages the act as a model and find it more difficult to relegate its principles and prejudices aesthetic in the valuation of work. One must attack the paralyzing reserve, very expended among educators, under which dare not enter the dramatization because they themselves are not good interpreters.
One must avoid dramatic training has as its sole basis the Educational Sciences or a purely artistic training, where knowledge and practices on human development, which is what really worries the education professionals. The question of whether the dramatization is the responsibility of teachers and theatre professionals, educationalists and artists, considering that the early lack of theatrical training and the second of an educational, for Ackroyd and Boulton what is important for both specialists and teachers it is that both are formed in both educational and artistic fields.
Teachers also require a psychological knowledge of young people, both individually and in groups, as well as the socioeconomic and cultural environment where he developed his work of the school (with its programs, experiential situations, problems and mechanisms of action), as a training dramatic expression.
Resorting to guides, publications, courses and workshops as a training aid, according to Navarro (2006), it is not effective because although they learn to literally a series of games and exercises, trying to repeat with students can not be considered as dramatization. Experiential learning, which requires an elaborate process, not just experimentation is necessary. Clearly, teachers’ experience acquired for years empowers them to successfully perform their work.
And the process of teaching and learning involves a fully active attitude of students who are strengthening, transforming and assimilating information are transmitted , as is the case with the dramatization, so the primary objective is that students work in the classroom based on an active methodology, developing skills of expression and communication with experiences and reflections that are shared with other colleagues in a process of continuous review of the results obtained. This requires that the structure of the curriculum is not linear but spiral, with the possibility of reviewing previously acquired knowledge through teaching levels and more advanced learning. In this way students will be able to transfer and apply the knowledge they have acquired through the different situations they arise in the classroom and in life.
4.7 Teachers’ Characteristics and Their Functions
For teachers, dramatization application in the classroom is rarely a simple process despite its playful character. The reluctance to use the drama, either by teachers fear losing authority and respect, as well as the belief that the necessary skills are not have to guide students through .the dramatic activities, according to Yaffe (1989), teachers should not worry about whether or not they possess skills with dramatic play, as each day face standing before an audience, which qualifies them for it. Establishing new relationships with students, the need for more time to prepare these classes, as well as the few systems assessment dramatization, delimit the scope for action of teachers and undermine their interest in applying dramatic activities in the classroom.
Teachers feel more confident they will know what will be its role and functions, which the following authors are:
The teacher is a facilitator, collaborator and guide, devoid of that image of authority that has always preceded it.
It must be an assistant, guide and provocative thinking and value judgments, their function being to suggest and propose new ideas.
The teacher should help students to express themselves.
The teacher have to guide students through their learning process in order to:
Induce knowledge, teaching and encouraging any kind of expression.
Make develop personal initiative, because it is a provocative, trigger and catalyst element.
Encourage participants to express their ideas and feelings with absolute freedom. Listen and receives the proposals and spontaneous reactions of the group, promoting respect and privacy to creative proposals.
Orients, does not impose it;
Coordinates from pre-established rules and guidance on specific technical bases.
Maintains an open, attentive and intuitive relationship.
Plans with the group to achieve common goals.
Maintains a flexible, divergent and creative attitude.
Although it has a total security on the method, has modifying and experimentation will.
Evaluates the process as a group.
From another perspective, Anderman and Maehr expose what kind of behaviour a teacher must not carry out :
• He must not be a model of showing how, rather than encourages an action.
• He must not be a silent observer, who does not plan or intervene, not even arriving to direct or order the practical exercise.
• He must not be a stage manager, which uses participants as actors in their own project.
• He must not be a always smiling and agree with everything, without setting goals and carry out corrections permissive and uncritical teacher.
• He must not be a traditional expert, which prevents the generation of proposals for fear that they fail.
• He must not be a lecturer, who theorizes participants and explains everything you experience, without allowing these to analyze their own experiences.
• He must not be a mediator of conflicts that continually involved in groups and prevents them resolve their differences autonomously, so be developing new skills.
• He must not be a therapist, which analyzes psychologically every one of the actions of its participants, acting as a psychologist without being prepared for it.
To conclude this point, one will seize Asher words: “The leader does not have to teach, but to mobilize, engage, motivate, encourage. The protagonists are the participants, who need to be led from imitation to creation, the feeling acting, recognizing their own feelings and sensations.”
4.8 Relations Between Students, Teachers and the Dramatic Process
Given the teaching method that employs the teacher in the classroom, teachers will influence onto how it relates to their students. In cases where the teacher is teaching class traditionally, as a speaker and evaluating through tests, their relationship with the students will be much more distant than in cases which perform activities from a constructivist pedagogy.
An example of this can be seen in the research conducted by Moore when after the use of dramatic exercises to improve language skills of students in a class, during the English course, some teachers felt uncomfortable when the tide role changed significantly with the dramatization, reducing the distance or barrier between teachers and students to almost nothing. When this situation occurs it is necessary that teachers be prepared to allow their students to establish new emotional, affective and social ties that had previously not had.
According to the study of Morgan Norah and Juliana Saxton, there are two types of teachers, respectively the "noisy" ones, which in turn are subdivided into speakers, persuasive, intellectual and tamers, and "silent" ones which are often very technical and not very expressive from the emotional point of view.
Both a group or another have four different types of attitudes toward their students, and they are:
• Those who tend to have attachment behaviour towards those students who require them little and show a good performance without creating behaviour problems in class.
• Those who are indifferent towards those students who are passive, nervous, sad and little conflicting.
• Those with a growing concern for those students who perform poorly, but they are docile character. Often treated as immature and consider aid needed to improve their performance.
• And finally, one can talk about the negative attitude of teachers toward students who require continuous care, perform poorly in school, they are hyperactive, hostile and conflicting. Before them, the teacher often develops a negative emotional reaction, worrying more control in class to improve their academic performance and motivational.
There is a clear cause-effect relationship between academic performance of students and teachers attitude. For example, the higher the student group relationships are more distant, but to divide them into small groups, the attitude of teachers changes, this being more positive, and if the relationships are more individualized, usually occurs an increase academic performance. Cases where students who had been rejected or given out by their peers, have more attention from teachers influenced the rest of peers to change their behaviour and perception he had of them, establishing new and better relations.
In this sense, teachers support to a group of students involves not only an increase in qualifications but also to improve their social relations . It is therefore necessary to "develop a type of education associated with the democratic style that promotes cooperation between students and reduces the tendency to competitiveness and frustration". Even the order and discipline improve socialization so that students show high acceptance rates. On the contrary, those groups in which greater control by teachers are generally characterized by levels of acceptance, companionship organization and low perceived, though no academic performance decreases significantly.
CONCLUSIONS
In the school curriculum, drama in education is both a method and a subject. As a subject, the curriculum uses various dramatic elements such as movement, voice, concentration, improvisation and role play to aid the personal development of the student. As a method it utilises role play and acting out to teach the student through experience, for example, to learn the facts of an historical event by acting it out. In many Secondary schools, drama is now a separate department. In some schools it is used as a method to teach a number of subjects.
Apparently, the use of teachers from other educational areas is a significant phenomenon for discouragement and lack of dedication of students in learning languages, which causes the class to become monotonous, disinterested and insignificant. The materials play a significant role, the quality of strategic tools, training analyst or pedagogue who are exposed students have great influence on oral production, grammar, communicative and written, however the materials are a major factor in education foreign languages. Wearing suitable strategic procedures greatly facilitates cognitive learning magnitude compressive factor as transcendent.
Authentic plays as a tool for teaching a second language can be used with different teaching methods and approaches. In literature classes, for example, the teacher can have a focus on the literary aspect of the play. You can focus their study on the analysis of the work from the purely linguistic and stylistically. You can analyze and explore related content to historical and social period in which the work was written and in relation to the personality of the author and his contemporaries. In addition you can use the theatrical literary text as a tool to review grammar, teaching new vocabulary in context, and especially as an interactive model to integrate the three communicative modes: Interpretive, Interpersonal and Presentation
The drama reasons why it should be used as a tool for teaching L2 have strong and obvious benefits, especially in oral production. What is not equally obvious are the reasons for not choosing to use in the teaching of second languages to tool strictly related to the dramatic techniques, a very malleable and comprehensive resource in its nature: the authentic play. There is a lack of the use of theatre and authentic plays (whole or partial) for teaching L2 and along with it a vacuum in the educational literature related to the use of theatre in the teaching of a foreign language.
The first step to see the drama’s booming as a teaching tool L2 is to change the thinking and approach to this by educating and informing teachers about their benefits and accessibility as a means that can be integrated to the media and broadcast and common teaching.
Teachers should invest enough time in the preparatory phase to allow students to have the skills, prior knowledge, and motivation necessary to understand and interpret to the task. This preparatory phase should include the performance of prior knowledge about the content of the text, establish the purpose of exploring the text, provide opportunities for learners to predict and anticipate events of the text, and opportunities to explore and predict new vocabulary. In the understanding phase, students demonstrate that they have understood the main ideas and important details of the text and can connect these aspects with the text. In the interpretation phase, inferences and interpret the author's attempt through oral exchange of ideas and opinions. It should be noted that, even before being assigned as homework, students derive inferences from the text individually when they assign meaning to the text. The implementation phase provides students with the opportunity to use their knowledge and feedback from the exploration of the text in order to create a product. The extension phase leads to the end the model at the time that students compare the original text and the product created by them.
The work of teachers in the classroom is of great importance when performing dramatic activities, so that foster and promote relationships among students, especially when there is an order and a working structure that favours a comfortable and stable environment. In the case of those young people with emotional, cognitive or physical difficulties, they can work more directly with peers through the dramatization of a class with traditional teaching methods.
One may design exercises and proposals for foreign language courses, no theatrical training courses or actors. Moreover, it would be beneficial that the use of theatrical techniques happen, as far as possible, the student unnoticed and understand them as a natural part of the program and the methodology chosen by the teacher. It is essential, therefore, are clear differences between dramatic play, aimed at stimulating learning, and theatrical or final representation of a theatrical text. Educational programming should not stick only to the scope of the subject they want to teach.
The use of dramatic play, as part of a series of theatrical techniques, favours the incorporation of many disciplines, such as literature, music, history, art, etc. Therefore, the use of dramatic play in the classroom allows students to improve sensitively, English pronunciation, communication skills and knowledge of the English social and cultural reality. The ultimate meaning of this paper is to provide a theoretical framework to help incorporate theatrical language teaching as a game of appropriation and assimilation of reality activities, which develop oral expression as the main capacity.
BIBLIOGRAPHY
Abbott, A. (1988): The System of Professions. Chicago. University of Chicago Press Publishing House
Ackroyd, J. (1998): Key Shakespeare: English and Drama activities for teaching Shakespeare to 14-16 year olds. London, Hodder & Stoughton
Ackroyd, J. , Boulton, J. (2001), Drama lessons for 5-11, London, David Fulton Publishing House
Allen, James E. Jr., Competence for all as the goal for Secondary Education. The Education Digest, v. XXXVI, no. 1, September 1970.
Amies, B., Warren, B. , Watling, R. (1986), Social drama, Towards a therapeutic curriculum. London, John Clare Books
Anderman, E. M., Maehr, M. L. (1994), “Motivation and schooling in the middle grades”, in Review of Educational Research
Asher, J. (1969) , “The total physical response approach to second language learning”, in Modern Language Journal, no. 53
Baldwin P. , Fleming K., Hendy L. (1994): The Drama Box: an active approach to learning. London, Collins Publishing
Barbato, M. (1999). El juego es algo serio, En C. Pregnam (comp.). Juego, aprendizaje y creatividad. Santiago de Chile, Pontificia Universidad Católica de Chile, Facultad de Educación
Barnes, Douglas (1968) Drama in the English Classroom. Champaign, Illinios, National Council of Teachers of English
Barnett, Lisa A. Educational drama and language arts: What research shows. Heinemann Drama, 1998
Bos, N. & Shami, S. (2006) Adapting a face to face role playing simulation for online play. Educational Technology Research & Development, vol. 54, No. 5
Brinton, Donna, Marguerite Ann Snow, Marjorie Bingham Wesche. Content-based second language instruction. University of Michigan Press, 2003
Brumfit, C., (1991) The communicative Approach to language Teaching.Oxford, Oxford University Press Publishing House
Chamot, A-U., Küpper, L. (1989), “Learning strategies in foreign language instruction”, Foreign Language Annals, 22 (1)
Clipson-Boyles, S. (1998): Drama in primary English teaching. London, David Fulton Publishing House
Craft, A. et al., (1997), Can you Teach Creativity? Nottingham, Education New Publishing Co-operative
David, T. (1999): Young Children Learning, London, Paul Chapman Publishing House
Day, C. , Norman, J. (1983), Issues in Educational Drama. London, Falmer Press Publishing House
DeNeve, K., Heppner, M. (1997). Role play simulations: The assessment of an active learning technique and comparisons with traditional lectures. Innovative Higher Education, vol. 21, No. 3
Di Pietro, R. J., (1987) Strategic Instruction: Learning languages throughScenarios. Cambridge: Cambridge University Press
Dickey, Michele (2007). Game design and learning: a conjectural analysis of how massively multiple online roleplaying games (MMORPGs) foster intrinsic motivation. Education Tech Research Dev, vol. 55, No. 3
Dodd, N. (1971), Drama and theatre in education. Londres, Heinemann Publishing House
Dörnyei, Zoltán, and Angi Malderez. "Group dynamics and foreign language teaching." System 25.1 (1997)
Dörnyei, Zoltán, and Mary Lee Scott. "Communication strategies in a second language: Definitions and taxonomies." Language learning 47.1 (1997)
Dougill, J. (1987), Drama activities for language learning, London, Macmillan Publishing House
Elbaz, F (1983), Teacher thinking. A study of practical knowledge. London. Croom helm Publishing House
Flinders, D. , Mills, G. (1993), Theory and Concepts in Qualitative Research: Perspectives from the Field. New York, Teachers College Press.
Furth Hans G. Las ideas de Piaget. Su aplicación en el aula. (1971). Buenos Aires, Kapelusz Publishing House
Gardner, Howard. "The theory of multiple intelligences1." Teaching and Learning in the Secondary School (2013)
Gibbons, P. 2002. Scaffolding Language, Scaffolding Learning: Teaching Second Language Learners in the Mainstream Classroom. Portsmouth, Heinemann Publishing House
Gutmann, A. (1987), Democratic Education. Princeton. Princeton University Press
Hardless, C., Nilsson, M. & Nuldén, U. (2005). Copernicus: Experiencing a failing project for reflection and learning. Management Learning, vol. 36, No. 2
Hawkins, Barrie. "Back to back. Drama techniques and second language acquisition." Towards drama as a method in the foreign language classroom(1993)
Hayes, Suanne, Karbowska, (1984) Drama as a second language: A practical Handbook for language teachers. National Extension College Publishing House
Hearn. I, Garcés Rodríguez. A, (2005) Didáctica del Inglés, Madrid, Pearson Educación Publishing House
Heathcote, D., and G. Bolton. "Drama for learning: Dorothy Heathcote’s mantle of the expert approach for teaching drama." (1995), Portsmouth, Heinemann Publishing House
Holden, Susan. (1982) Drama in Language Teaching. London, Longman Publishing House
Ivern, A. (2004). El arte del mimo: entrenamiento, técnica, investigación. Buenos Aires, Novedades Educativas Publishing House
Kao, S. M., O' Neill, C., (1998) Words into Worlds: Learning a second language Through Process Drama. Stamford, London, Abbex Publishing House
Krashen, Stephen D. Inquiries & insights: second language teaching: immersion & bilingual education, literacy. 1985, Alemany Press Publishing House
Lee, W.R. (1979), Language teaching games and contests, Oxford, Oxford University Press Publishing House
Livingstone, Carol. Role Play in Language Learning. Longman, Broadway, New York, 1983
Long, Michael H., Patricia A. Porter. "Group work, interlanguage talk, and second language acquisition." TESOL quarterly (1985)
Lotman. Yuri M. Estructura del Texto Artístico. Spain, Istmo Colección fundamentos Edition, no. 18. 1988
Maley, A. , Duff, A. (1979) Drama Techniques in Language Learning.Cambridge, Cambridge University Press Publishing House
Maley, A. , Duff, A. Variations on a theme: resource material for listening comprehension and fluency practice. Cambridge University Press, 1978
McCaslin, N. (1968), Creative dramatics in the classroom, New York, David McKay Company Publishing House
McCaslin, Nellie. Creative drama in the classroom. Addison-Wesley Longman Ltd, 1990.
Moffet, J. (1967), Drama: What is happening? The Use of Dramatic Activities in the Teaching of English, Illinois, National Council of Theachers of English
Moore, Harumi. "Learning Pronunciation and Intonation of Japanese through Drama by Beginning." no.19.2 (1997).
Morgan, Norah, and Juliana Saxton. Teaching drama: A mind of many wonders. Heinemann Educational Books, 1987
Morris, Ronald V. "Drama and authentic assessment in a social studies classroom." The social studies 92.1 (2001)
Motos Teruel T , Tejedo F. (2007). Prácticas de Dramatización. Real, Ñaque Publishing House
Navarro, Vicente, et al. "Politics and health outcomes." The Lancet 368.9540 (2006)
Neelands J. , Dodson W. (2000), Drama and Theatre Studies at AS/A level. London, Hodder & Stoughton Publishing House
Newbould, A. , Stibes, A. (1983), Exploring Texts through Reading along and Dramatization. London, Ward Lock Educational
Nordic voices in drama (2001), Theatre and Education (collective). Brisbane, IDEA
O’Connor, S. & Ross, A. (2004). Web CT role playing: immediacy versus E-Mediacy in learning environments. Learning Environments Research, vol. 7
Omaggio, Vincenzo. "Justus Metus Etica E Diritto in Thomas Hobbes." (2000)
O'Malley, J-M., Chamot, A-U. (1990), Learning strategies in second language acquisition, Cambridge, Cambridge University Press
Oxford, R. L. (1990), Language Learning Strategies: What every teacher Should Know, New York, Newbury House Publishers
Porter, A. (2008). Role-playing and religion: Using games to educate millennial. Teaching Theology and Religion Journal, vol. 11, No. 4
Prince, Robert (2006). Teaching engineering ethics using role-playing in a culturally diverse student group. Science and Engineering Ethics, vol. 12, No. 2
Richards, J.C., & Rodgers, T.S. Approaches and Methods in Language Teaching: A Description and Analysis. Cambridge University Press, 1986
Rooyackers, Paul. 101 more drama games for children: new fun and learning with acting and make-believe. Hunter House, 2002
Savignon, S.J. “Communicative Competence: Theory and Classroom Practice.” Paper presented at the Central States Conference on the Teaching of Foreign Languages
Savingnon, S., (1983) Communicative Competence. London, Addison-Wesley Publishing House
Schaap, A. (2005). Learning political theory by role playing. Politics Journal, vol. 25, No. 1.
Scott W. A. , Ytreberg L. H. (1993). Teaching English to Children. Harlow, Longman Publishing House
Shaftel, Fannie R., George Armin Shaftel. Role-playing for social values: Decision-making in the social studies. 1967, Prentice-Hall Publishing House
Shaw, C. (2004) Using role-play scenarios in the IR classroom: An examination of exercises on peacekeeping operations and foreign policy decision making. International Studies Perspective Journal, vol. 5, No. 1
Shrum, J.L., & Glisan, E.W. Teacher's Handbook: Contextualized Language Instruction, Boston: Heinle & Heinle, 2005
Stone Mac Neece, L. (1983), “The uses of improvisation: Drama in the Foreign Language Classroom”, The French review, Vol. LVI, no. 6
Swaffar, J., Arens, K., & Byrnes, H. Reading for meaning. Englewood Cliffs, 1991, Prentice Hall Publishing House
Tricia, E. (1984), Drama in English teaching. London, Croom Helm Publishing House
Ulas, Abdulhak H. "Effects of creative, educational drama activities on developing oral skills in primary school children." American Journal of Applied Sciences 5.7 (2008)
Van Ments, Morry. The effective use of role-play: A handbook for teachers and trainers. Kogan Page, 1989
Von Goethe, Johann Wolfgang. Elective Affinities: A Novel., 1999, Oxford, Oxford University Press Publishing House
Vygotsky, Lev Semenovich. Mind in society: The development of higher psychological processes. 1980, Harvard University Press
Wolfreys, Julian, Ruth Robbins, eds. Victorian Gothic: Literary and Cultural Manifestations in the Nineteenth Century. Springer, 2000
Yaffe, Stephen H. "Drama as a teaching tool." Educational Leadership 46.6 (1989)
Zaro, Juan Jesús, Sagrario Salaberri. Storytelling., 1995, Heinemann Publishing House
Zeichner, K. , Gore, J. (1990): “Teacher Socialization”, en Houston, R. (Ed.), Handbook of Research on Teacher Education. New York. Macmillan Publishing House
Zeichner, Ken. "The new scholarship in teacher education." Educational researcher 28.9 (1999)
Zurita, R. (1992). La docencia universitaria y los ciclos básicos en Chile. Santiago de Chile, Corporación de Promoción Universitaria (CPU)
Copyright Notice
© Licențiada.org respectă drepturile de proprietate intelectuală și așteaptă ca toți utilizatorii să facă același lucru. Dacă consideri că un conținut de pe site încalcă drepturile tale de autor, te rugăm să trimiți o notificare DMCA.
Acest articol: Drama In Teaching English As a Second Language (ID: 114352)
Dacă considerați că acest conținut vă încalcă drepturile de autor, vă rugăm să depuneți o cerere pe pagina noastră Copyright Takedown.