Assalamualaikum, My Name is Rahmah Dyani Sya'baniah, TBI- 6C. In here, I summarized a book "Speaking and Listening through Drama 7–11 by Francis Prendiville and Nigel Toye" about "How to Approach Speaking and Listening Through Drama" Chapter 1.
1. How to Begin with Teacher in Role
- Why use teacher in role?
Learning demands intervention from the teacher to structure, direct and influence the learning of the pupils. For another example of the simple use of hot-seating see the Tim the Ostler section in ‘The Highwayman’ drama. This can show important elements of how the children see the text, what their comprehension of it is. It provides a more stimulating way of approaching comprehension than questions from the teacher. This is partly due to the shift in tense. We are talking ‘as if’ it is happening now as against the past tense, which so often dominates classroom talk.
- Teacher as storyteller
The pupil’s role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The teacher’s role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imagination.
- Preparation for the role
Before the drama session, decide what attitude you are going to take when questioned by the class. You are going to be telling them a story but it will be xas if they had just met you and it will not be the voice of the narrator re-telling someone else’s story but in the present tense as if it is happening now. There is no book symbolising the re-telling of someone else’s words. This is your story re-told in a specific place (coming down the mountain path) at a specific time (within minutes of a significant event) and from the child’s point of view, not a dispassionate onlooker or observer of events.
- Teaching from within.
Moving in and out of role – managing the drama and reflecting on it We are describing using role as ‘teaching from within’ because the teacher enters the drama world, but it is very important to step out of the fiction often and not let it run away with itself.
- The requirements of working in role
In order to make the TiR most effective, we need to look at educational drama from the point of view of the ‘audience’, an audience who in this instance are participants at the same time. This will help us shape up the TiR elements particularly according to how the audience is seeing things. Here are two responses to considering the ‘audience’ position.
- Disturbing the class productively
Discovery/uncovering – challenge and focus We have to help them into the drama, making them comfortable, and then disturb that comfort productively. The fact that, as in any good play, the class discover things as they go along provides the possibility of productive tension. The key is how children are given information. They can be handed it on a plate or they can be given opportunities to uncover/discover/be surprised by information.
- Responding to your class The art of authentic dialogue – needing to listen – two-way responses
As the class feed back their responses and make possible development of the role’s importance the teacher must respond appropriately and therein lies the skill of the ‘subtle tongue’ and the possibility for authentic dialogue.
- The teacher–taught relationship
In the classroom, the pupils enter into an agreement with you the teacher that you are in charge. This may be a tacit agreement, it may depend upon many factors but in it the teacher is in charge and there are certain rights and privileges attached to your role. The power relationship is asymmetric. Of course, in drama we have the possibility of shifting the power when we are inside the fiction because we may choose a role that has low status and has little power. This shift in status and power is very engaging for pupils. It can result in a different kind of dialogue from the usual teacher/pupil one and this can be very attractive to pupils.
2. How to Begin Planning Drama
Machine that drives drama requires fuel and that fuel is strong material, creative ideas, and more inspirational than goal-led design. books, literary works, pictures or other subject matter, fiction or non-fiction - will give us one or more good elements drama, role or role, interesting context or dilemma. In this way we can come up with ideas for roles that will provide special challenges for class; we can get a mental picture of certain situations that we want for children to engage in, or an idea to focus the problem based on the original ingredients.
- The ingredients of planning :
1. Learning objectives
The learning can be in any of five areas:
-Language Development
-Spiritual, Social, Moral, Cultural, Personal
-Content
-Art Form drama
-Thinking Skills
Objectives
- Pupils will understand:
-the significance of legends as a focus for literacy work
-legend as part of historical understanding
2.Strong material
3.Roles for the teacher
4.Roles for the pupils
5.Tension points risks theatre moments
6.Building context
7.Building belief
8.Decision-making key developments in the drama which provide the class with challenges
9.The drama conventions, strategies and techniques
-create context
-build belief in the roles and therefore the drama
-focus learning
-help explore a situation and deepen understanding
-Help to reflect on the meaning of the event.
- Drama type
There are two main types of class drama that have developed:
1.Living through drama
Where students face various events with a high level of life in here and now, and
2. Episodic ramad or strategy-based drama
Where the class is led by the teacher in creating situations and events through specifics technique or strategy and where the chronology is more broken.
3. How to Generate Quality Speaking and Listening
Authentic dialogue – teacher and pupil talk with a difference
Drama gives the pupils plenty of opportunities to think through speaking and listening. It promotes speech from the pupils because they want to speak, not because they are being asked to speak. Drama sets up more fluid situations with more possibilities. Mistakes can be made and looked at because any particular stage of the drama can be reworked to make it work better for us. In fact the making of mistakes is seen as part of the learning, a major part of helping to negotiate the meaning and to create the drama itself.
4 How to Use Drama for Inclusion and Citizenship
the content of a specific drama can be planned to highlight key Citizenship areas. If we examine the thinking behind the planning of the stages of ‘The Governor’s Child’, we can see how by the nature of the tasks, techniques and content, it promotes elements of the Citizenship curriculum.A key element of the approach is again the use of the teacher to provoke, to challenge, to guide and to model. Use of role-play is always a key strategy for Citizenship, but for us it must involve the teacher role-playing too. We have given examples from ‘The Governor’s Child’ so that you can see how abstracts like fairness, democracy, identity, community, belonging, responsibility, can be made concrete through the process of drama. The process makes them more of a community that can work together to the benefit of each individual’s understanding. In the end we can only provide a framework for learning how to be a member of society. If we give a sense of how it is beneficial to the individual to participate and interrelate rather than be selfish and anti-social then right thinking has a chance. If we model how the future can be, it has a chance of being better.
5 How to Generate Empathy in a Drama
What is empathy?
To do this we need to move from the general to the particular. Empathy, like drama, is framed in the particular and so we need to move from broad-brush emotions to their demonstrable particularity. Drama works by focusing upon the particular and moving from the particular to the general. To understand drama’s relationship with empathy we need to deconstruct the process of empathetic behaviour and see how this is replicated in drama.
- The components of empathy :
- Component One – the cognitive component
The cognitive component also allows you to predict the other person’s behaviour or mental state’ (Davis, 1994 and Wellman, 1990 in Baron-Cohen, 2003, p. 28)
- Component Two – the affective component
There is here a desire to do something, to take action, and therefore empathy is not just about recognising the emotional state of someone but also doing something about it.
6. How to Link History and Drama
- Dressing up to go back in time
Teachers may even be locked into roles from the past (one could almost say trapped in roles from the past), thinking, misguidedly in our view, this will generate ‘empathy’ in the pupils with people from history.
Using drama to make meaning of the past
Let us begin by looking at three elements of historical enquiry:
- A concern with facts
- A concern with reasons
- A concern with meanings
Historians are interested in making deductions and inferences about sources and then selecting and combining sources to create accounts of the past. Historical imagination is filling the gaps when sources are incomplete. In drama we are particularly interested in the last element. It is here that drama synthesises story and past events.
- Balancing the tensions – stories and history
So how does this work in practice? Where are we making up the past and where are we demanding authenticity? The ‘Victorian Street Children’ drama (see Part Two for the full drama) illustrates how the tensions between history and drama can be managed. While this drama illustrates how drama and history can work together it must be remembered that the drama lesson should not be seen in isolation from history lessons that precede or follow it. It is part of a series of lessons and issues raised in the drama can be dealt with in other more appropriate teaching and learning settings. The starting point for this drama is a photograph (see the photograph in the ‘Victorian Street Children’ drama in Part Two). This is the same starting point used by Cecily O’Neill and Alan Lambert in their book Drama Structures (1982), although we have used it to develop a different drama.
7. How to Begin Using Assessment of Speaking and Listening (and Other English Skills) through Drama
Some teachers say we should not be assessing speaking and listening at all because it is too complex a process. In addition, teachers often do not know the speaking and listening programmes of study and particularly the Speaking and Listening attainment levels of the English National Curriculum in any significant way. Where speaking and listening is assessed, there is a tendency to assess it not as an interactive situation, but as a very narrow construct, something that is not actually speaking and listening at all – the class talk. A talk by one pupil to the rest of the class does not usually involve dialogue, except, perhaps, at the end when there might be questions. In what sense is a talk like this speaking and listening? It is easier to assess, of course, because it is an isolated target, one person delivering a set structure in front of the teacher and class, a performance. This is not what we want to assess; we are interested in the fluid and often powerful exchanges that a drama brings.
Whatever the difficulties, we must consider assessing speaking and listening for very good reasons:
- How do we promote better speaking and listening unless we assess and reflect on the changes in pupils’ handling of the medium?
- Are we being fair to those pupils who demonstrate ability in this area if we do not honour their abilities, especially if they lack success in other areas?
These considerations have driven our own use of assessment of drama and speaking and listening for many years.
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