Beruflich Dokumente
Kultur Dokumente
Faculty of Education
Department of English Language and Literature
Brno 2011
Supervisor:
Written by:
Lenka Kivkov
Brno 2011
Declaration
I declare that I worked on my Diploma thesis on my own and that all the
information sources I used are listed in the bibliography.
I agree with storing my thesis in the library of the Faculty of Education of
Masaryk University in order to make it available for study purposes.
..........................................................
Lenka Kivkov
Brno 2011
Acknowledgements
I would like to give my cordial thanks to Mgr. rka Dohnalov for her kind
guidance that she provided me as my supervisor. I particularly appreciate her helpful
advice, insightful comments and most of all her enormous patience.
My cordial thanks also belong to Lic. Jos de Jess Galvn Muoz for his
immeasurable support during the realization of this workshop and during my whole stay
at Universidad Nacional Autnoma de Mxico in Mexico City.
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Contents
1 INTRODUCTION..........................................................................................................5
2 DRAMA EDUCATION IN ENGLISH LANGUAGE TEACHING.............................7
2.1 English Language Teaching.............................................................................7
2.2 Traditional versus alternative methods............................................................8
2.3 Drama Education.............................................................................................9
2.4 Drama Education in English Language Teaching.........................................10
2.4.1 Motivation..................................................................................11
2.4.2 Meaning in context.....................................................................12
2.4.3 Learning styles and multiple intelligences.................................13
2.4.4 Affective filter............................................................................14
2.4.5 Psychological benefits................................................................15
2.5 Methods and techniques of Drama Education used in English Language
Teaching...............................................................................................................16
3 STRUCTURED DRAMA............................................................................................24
3.1 Concept of structured drama..........................................................................24
3.2 Selection of the motifs for structured drama.................................................25
3.3 Structure of structured drama........................................................................26
3.4 Structured drama in English Language Teaching..........................................28
4 THEORETICAL BACKGROUND OF THE PROJECT.............................................30
4.1 Population of the project................................................................................30
4.2 Methodology of the project............................................................................32
4.2.1 General information about the workshop........................................33
4.1.2 Objectives of the workshop.............................................................33
4.1.3 Contents of the workshop...............................................................34
5 PRACTICAL PART.....................................................................................................37
5.1 Description and realization of the activities of the workshop.......................37
5.2 Feedback and evaluation of the workshop.....................................................97
6 CONCLUSIONS........................................................................................................110
7 RESUME....................................................................................................................111
8 BIBLIOGRAPHY......................................................................................................112
9 APPENDICES............................................................................................................116
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1 INTRODUCTION
During my studies at the Faculty of Education of Masaryk University in Brno I
was given a possibility to study the specialization in Drama Education. It was not only
an immense contribution to my academic education, but especially to my personal life
because these studies brought me an enormous amount of experience, adventures and
better understanding of myself and my possibilities. In respect to my study combination,
which is teaching English and French language and literature, I started to specialize in
the integration of my experience from drama classes and workshops into the foreign
language teaching.
The thesis is divided into two main parts. The first, theoretical part concerns the
concept of Drama Education in English Language Teaching, particularly exploring the
field of drama methods and techniques and focusing on structured drama. It also
describes the theoretical foundation of the workshop, such as its population and design.
The second part deals with the description of realized activities and evaluation of the
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workshop I created for the teachers who would like to learn more about drama in
English Language Teaching and how to practically use it in their classes.
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Some language teachers feel rather unwilling to use drama in their classes. They
either do not know how or they do not feel creative or experienced enough to try this
teaching method. Butterfield, though, encourages such teachers to give it a try while
presenting some of the undisputable benefits of drama. Drama as a way of working is
so unlike most other forms of learning that we must explore the nature of the concept
itself. For a great many teachers, not to say students, it is an untried method of
expression rarely used in education although extremely familiar through film, radio,
television and theatre as it is through life itself. But those who have experienced good
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drama teaching can bear witness to its unique quality of integration, of holism, of
communication and of a warm humanity which can elevate the learning of a language
from a series of techniques to an understanding which embraces at once the language,
its cultural setting and the emotions and values of the student. (Butterfield: 2)
Some teachers, on the other side, refuse to use drama because they are afraid of
losing respect as educators and authorities. As Wessels declares: Since the use of
drama involves the formation of relationships and breaking down of barriers between
teacher and students, less confident teachers are understandably reluctant to use it.
(Wessels: 14) However, these teachers should realize that working on the creation of the
positive and supporting atmosphere and environment of mutual trust is one of the
factors contributing most to students motivation and safe learning.
Drama in education uses the same tools employed by actors in the theatre. But
while in the theatre everything is contrived for the benefit of the audience, in classroom
drama everything is contrived for the benefit of the learners. (Wessels: 8) Drama in
education has a clear pedagogical aim concentrating on the personal and social
development of its participants. It should encourage learners to imagine, act and thus
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reflect on human experience and the process of this social learning is highlighted above
the final product.
Drama used in education gives participants the chance to submerge into fiction,
take on different roles, explore them, try things on their own, learn through their proper
experience and thus form their positions and attitudes to the surrounding reality. In this
manner, an experienced teacher using drama can link the language-learning experience
with the students own experience in life. Such personalization of the subject matter can
be very motivational and favourable for effective learning.
And drama does not have to be used just in order to practise language functions,
grammatical structures or particular vocabulary. It can be easily, and most of all
effectively, exploited in cross-curricular teaching when studying and exploring topics
related to the foreign culture or other school subjects. As Phillips suggests the teacher
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using drama can use topics from other subjects: the children can act out the scene from
history, or the life cycle of a frog; or he or she can work on the ideas and issues that run
through the curriculum, such as sexism, respect for the environment and road safety.
(Philips: 8)
2.4.1 Motivation
Good motivation is one of the factors necessary for efficient learning. Jeremy
Harmer defines motivation as some kind of internal drive which pushes someone to do
things in order to achieve something. (Harmer, 2001: 51) Drama gives students the
chance to learn by doing where students are involved in experimentation in order to
arrive at knowledge (Harmer, 2007: 20), which is much more engaging than just
learning by rote.
The use of drama undoubtedly represents one of the methods of work used by
teachers to provoke intrinsic motivation. Not only does it help to build a good teacherstudent relationship, but it also actively engages all the students and all the time, so in
a sense, motivation is not needed when working through drama, because the enjoyment
comes from imaginative personal involvement. (Maley and Duff: 13) As Maley and
Duff further explain drama activities also help to get rid of the diffidence and boredom
that come from being forced to stay passive most of the time. (Maley and Duff: 13)
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Maley and Duff also mention another motivating factor of drama, which is its
versatility and unpredictability. If drama is motivating and we believe it is the
reason may be that it draws on the entire human resources of the class and that
technique, in its own way, yields a different, unique, result every time it is practiced.
(Maley and Duff: 13)
Drama takes advantage of the concept of learning by doing to the full extent. Not
only is it motivating in terms of the reward of enjoyment when students are asked to get
up and actively explore the world around them through their own experience, but the
active participation also encourages the cognitive processes, such as memory
development and better information retention.
2.4.2
Meaning in context
Drama represents an ideal method of work if teachers want to put the meaning
for students into a sizeable context. Unlike in guided practice, students are involved in
real communication while they activate language to communicate real meaning, rather
than just practising language (Harmer, 2007: 270) and thus develop their
communicative competence in a natural way, using body language, making pauses and
interruptions, showing emotions, and creating relationships. Phillips encourages using
drama in second language teaching because it encourages children to speak and gives
them the chance to communicate, even with limited language, using non-verbal
communication, such as body movements and facial expressions. (Phillips: 6)
Moreover, making students focused on the process of the creation of the drama
rather than the final language product provides them with natural and purposeful need
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for speaking, which describe Maley and Duff by stating that the problem of not
wanting to speak or, more often, not knowing what to say is practically resolved
because the activity makes it necessary to talk. (Maley and Duff: 13-14) According to
these educators drama techniques have the singular merit of directly engaging
students feelings and, as a result, often making them aware of the need to be able to
express them appropriately. (Maley and Duff: 11)
Lenka Kivkov
Brno 2011
Considering the fact that drama includes all kinds of stimuli, visual, auditory,
and kinaesthetic, and encourages students to develop all the intelligences through active
exploration of reality and problem-solving, its use in education can be regarded as
extremely beneficial.
Drama helps students to overcome resistance to the foreign language and the
fear of making mistakes. It creates a natural need for speaking because it does not
concentrate on language itself, but on creating drama. Focusing on the creative process
more than on final linguistic output enables students to learn almost unconsciously. As
Maley and Duff opine every student needs periods in which he or she has a chance to
practice what he or she knows without restraint, without fear of being wrong. Students
need the occasional chance to take risks in the language, to try out new ways of
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combining words, and of course, to find out where the gaps are in their knowledge.
(Maley and Duff: 14)
To provide learners with such opportunities for free practice, teachers using
drama in their classes should create a safe and comfortable atmosphere where students
would not be afraid of speaking in the target language. This kind of stress-free, fun
teaching encourages pupils to participate without embarrassment (Hamilton and
McLeod: 4) and it helps them to overcome the psychological barrier from speaking in a
foreign language.
Maley and Duff give a list of categories of language that learners use naturally and
without further thinking during drama activities:
Transactional language - the language needed for getting things done in a group
situation.
Discussion language - used to come to agreement about something, to describe,
comment on, or recall the activity in questions.
Performance language - it is the end product of some of the activities, but it is in
many senses the least important precisely because it involves the most
preparation. Clearly, almost any language function can come into play here,
depending on the nature of the activity. (Maley and Duff: 17)
Charlyn Wessels provides the best definition of what drama in education is and
how it benefits students learning and personality development. If a learner of English
asked you What is a blind person?, you might simply reply, A blind person cannot
see, and this would probably satisfy him intellectually. But if you replied, Shut your
eyes and try to find your pen on the desk in front of you, you would be involving him
in the actual experience of being blind, and would thus satisfy him not only
intellectually, but emotionally as well, and possibly inspire in him feelings of empathy
with all blind people. He would be more likely to remember the meaning of the word as
a result of this moment of direct experience. (Wessels: 7)
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As drama gives the direct experience of human reality, students are first getting
to know themselves and then also the others. They naturally develop empathy, by
creating and taking over different social roles and asking questions like What is he or
she thinking? What does he or she feel? How would I feel being in their shoes?, etc.
Hamilton and McLeod describe drama as a process of social learning: Involving
relations with others, it promotes social and adaptive skills which in their turn feed into
the process of learning a foreign language. (...) Learners are encouraged to explore
themselves and their reactions in relation to the outside world in a way which can be
both strengthening and enriching. (Hamilton and McLeod: 5)
Lenka Kivkov
Brno 2011
Methods and techniques of Drama Education are particularly useful for the foreign
language teaching because they give students the opportunities for natural
communication in a meaningful context.
Jim Scrivener mentions six most commonly used drama activities in English
Languages Teaching classes, stating that by bringing the outside world into the
classroom, we can provide a lot of useful practice and there may also be a freeing from
the constraints of culture and expected behaviour, which can be personally and
linguistically very liberating. (Scrivener: 363) Scrivener describes the most traditional
drama activities as follows:
Role-play students act small scenes using their ideas or from ideas and
information on role cards.
Simulation a large-scale role-play. The intention is to create a much more
complete, complex world, say of a business company, television studio, etc.
Drama games short games that usually involve movement and imagination.
Guided improvisation you improvise a scene and the students join in one by
one in character, until the whole scene (story) takes on a life on its own.
Acting play scripts short written sketches or scenes are acted by the students.
Prepared improvised drama students in small groups invent and rehearse a
short scene or story that they perform for the others. (Scrivener: 362)
It is true that these activities are the most traditionally used in English lessons.
However, in my practical workshop I wanted to show to the future teachers not only the
individual activities that can be simply inserted into the lesson, such as distributing role
cards and acting out the scene from the airport or acting a particular play script, but also
how they can emerge students into a complex fictional story and let them live it and
explore it on their own and thus ensure them a real dramatic experience. That is why I
decided to concentrate first of all on the structured drama and I drew inspiration
especially from the classification of the drama methods and techniques by the British
theatre pedagogues Jonothan Neelands and Tony Goode.
These theatre specialists consolidate the two terms, methods and techniques, into
one - the concept of conventions. In their book Structuring Drama Work they define
conventions as follows: In theatre, meanings, social codes and interactions are
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The classification of the conventions according to Neelands that I had chosen for
my workshop have been developed in response to a certain basic needs required for
participation in dramatic activity:
Need for a clearly defined context theatre presents us with imagined situations
in which a shared understanding of place, time, characters and other contextual
information becomes crucial to the quality of involvement in the experience.
Need to nurture and create an interest in what happens next theatre is defined
as a narrative form, like story and film, in which curiosity about the story line
and a sense of imminent action act as motivation for those acting or spectating in
the dramatic event.
Need to recognize and create a symbolic dimension to the work theatre
provides a means of looking beyond the immediate story or plot through the
symbols and imagery which are capable of crystallizing, projecting and holding
the essence of an experience.
Need to reflect on the meanings and themes which emerge through the
experience theatre provide a mirror for participants to consider themselves
and their relationship to others. (Neelands and Goode: 6-7)
dramatic context: the concrete particulars of the situation, characters or roles which will
inform and drive the action:
Collective Drawing small groups make a collective image to represent a place
or people in the drama.
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Defining Space students learn how to take into account the perception of space
and how to reflect on relationships between context and action.
Diaries, Letters, Messages written in or out of role as a means of reflecting on
experience; or they are introduced into the drama by the teacher as a new
tension, or as evidence; or they are used as a means of reviewing work.
Drama Games rather put into the context of drama; to reveal game structures
in life situations blocking, hiding, deceiving, etc. (Neelands and Goode: 9-93)
Drama games are based on motifs from the real life; they often try to solve the
conflicts arising from the interference of people, their needs and attitudes, and
thus create dramatic actions.
Making Maps used to represent problems diagrammatically and concretize
the environment of the story.
Objects of Character this convention allows for the creation of a character
through consideration of a carefully chosen assemblage of personal belongings.
The selection of the objects should give clues about the character. The items can
be found as a means of introducing a character.
Role on the Wall an important, pivotal role is represented in picture form on
the wall; information is added as the drama progresses and contributes to the
concretization of the character.
Soundtracking realistic or stylized sounds accompany action, or describe an
environment.
Still Image the groups devise an image using their own bodies to crystallize a
moment, idea or theme.
encounters which will be central to development of the narrative. They allow groups to
test out their hypotheses and speculations about the narrative through their dramatic
involvement.
A Day in a Life this convention works backwards from an important event in
order to fill in the gaps in the history of how the characters have arrived at the
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event. It draws attention to the influences, and exposing the forces, which drive
a character to the moment of conflict or decision.
Hot-seating a character in the role is seated on a chair and is supposed to
answer the questions used by others for highlighting characters motivations and
personality disposition.
Interviews, Interrogations encourage framing appropriate questions and
strategies.
Mantle of the Expert the group become characters endowed with specialist
knowledge that is relevant to the situation: historians, social workers, etc. The
power and responsibility move from teacher to group.
Meetings the group are gathered together within the drama to hear new
information, plan action, make collective decisions and suggest strategies to
solve problems that have arisen.
Reportage gives an interpretation/presentation of events through journalistic
conventions, for example in manner of TV news.
Teacher in the Role the teacher influences the dramatic context by adopting a
suitable role in order to: excite interest, control the action, invite involvement,
provoke tension, create choices and ambiguity, develop the narrative, and create
possibilities for the group to interact in role.
C.
Reflective action used when there is a need to stand aside from the
action and review and comment on the action. These conventions provide a way for the
group to articulate what characters are thinking or to give psychological commentary
affording insight into the physical action.
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Choral Speak the group are asked to prepare a choral reading of a stimulus text
using sound, repetition, emphasis and variety of voices in order to highlight the
essence of the material they are working on.
Giving Witness an individual gives a monologue purporting to be an objective
account of events, but which in effect is a highly subjective re-telling from the
witness point of view.
Group Sculpture an individual (or members of the group) models others in
order to reflect a particular aspect of the theme or issue under scrutiny. This
activity usually produces still images.
Narration can be in or out of the dramatic context. The teacher might provide a
narrative link, atmosphere or commentary, initiate a drama, move the action on,
create tension, etc.
Spectrum of Difference requires group members to place themselves
physically on an imaginary line linking two alternatives, indicating their
preference through their choice of position.
Though-Tracking reveals publicly the private thoughts of participants-in-role
at specific moments in the action so as to develop a reflective attitude towards
the action. Action may be frozen and participants tapped for thoughts, or
thoughts may be prepared to go with the presentation of a Still Image.
(Neelands and Goode: 9-93) In Czech background this technique is better known
under the term of Voices in the Head which will be also used in the workshop.
Voices in the Head a means of reflecting on the complexity of a difficult
choice facing a character in the drama. (Neelands and Goode: 9-93) The main
character walks down the alley formed by the members of group who convey
him their pieces of advice or feelings. In Czech background this technique is
better known under the term of Alley of Opinions which will be also used in the
workshop.
Other methods and techniques that were used in the workshop, though Neelands
and Goode do not mention them, are:
Role play is the fundamental methodical principle of drama. The Oxford
English Dictionary defines it as the changing of ones behaviour to fulfil a
social role. [3] Role play in an English classroom is usually used in its basic
form where students imagine themselves in some specific situation and they act
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in this situation as if they were there. This is the easiest way how to bring
everyday reality to the classroom and how students can, in a certain way,
prepare for these potential situations linguistically. However, role play can
include even more complex levels where students either take on a social role of
someone else and act a typical behaviour of this character or take on not only the
social role but also the individual characteristics of the character he or she is
impersonating. This type of role play already requires a setting of the rich
situational context and emerging students into the fiction which they accept as
real. It also demands a great amount of empathy and psychological maturity of
the performers as it directly leads to the theatrical statement.
Interpretation of dialogues and texts is one of the essential methods of Drama
Education where students explore the literary texts through their own acting and
experience and convey its meanings and artistic contents by means of the
different drama methods and techniques, such as improvisation, role play, still
image, etc.
Improvisation next to the role play, improvisation is the basic method used in
theatre. It gives the opportunity to experiment and explore the given problems
and situations through unplanned spontaneous action to a certain stimulus. It
underlines an immediate acting in order to search for the best solution of the
problem, a thus it contributes to the personal and social development of the
participants.
Narrative Mime teacher narrates the story and students perform the actions
simultaneously as they listen to the story. It is essential that the story contains a
reasonable number of dramatic actions that can be performed by the medium of
mime.
Props, Costumes help students concretize the characters they are suppose to
embody, their physical appearance, movements, gestures and other personal
features. They develop students imagination and creativity when preparing the
costumes and at the same time they afford a sort of protection because shier
students feel safer when wearing a costume behind which they can hide.
Besides the various drama methods and techniques, it is very useful to have in
store an inventory of warm-ups or ice-breakers which help students to tune to the
learning activities, help them relax and thus concentrate better on more demanding
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activities that will follow. They can also be included as a part of the drama as a lead-in
activity, assuring that all participants enter the drama in the same energetic and
emotional tuning. Some warm-ups have the only purpose which is to activate the group,
overcome self-consciousness or develop group sensitivity and cooperation and therefore
improve the relationships in the group and its interaction during learning activities.
What have most warm-ups in common is that mostly all of them use some kind of
physical movement and that is why they are motivational particularly for younger
students who always welcome change from the constant sitting and in majority prefer
kinaesthetic learning style.
Lenka Kivkov
Brno 2011
3 STRUCTURED DRAMA
Structured drama is a particular form of a school drama created in the Great
Britain and introduced to the Czech educational background after 1989 through
mediation of the British drama lecturers holding here drama workshops and seminars.
The most acknowledged British drama pedagogues of the present days are Jonothan
Neelands, John Sommers, Warwick Dobson, Tony Goode and others.
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situations in depth. The task of the teacher is to choose such activities that would best
accomplish this pedagogical goal.
Pavlovsk (2004) mentions particular types of motifs suitable for the structured
drama:
Motifs from the real world reflecting the current problems of the society and
individuals.
Motifs from the history.
Literary motifs - particularly suitable seem to be legends, fairy tales,
adventurous fiction or even science fiction. (Pavlovsk, 2004: 23)
Machkov (2004) offers different classification of the motifs based on the source
of the subject:
Authentic, created by the teacher or by the group itself, motifs which stem from
the real life, which appeared in the news or on television, which were inspired
by a particular person, object or memory, etc.
Taken from literature.
Combined, which means using motifs from literature, but in rewritten form so
that they reflect the current needs of the teacher.
Subject-matter implied by the curriculum. (Machkov, 2004: 23)
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Some motifs have the potential to properly combine both teachers pedagogical
goals and goals of the social learning we want to reach in our students. In English
language teaching teachers can use the detective story which is not only highly
motivating as the students are asked to solve the mystery, but the role of the investigator
encourages the natural need for asking and answering questions and thus develops
studentscommunicative competence. When discussing and reflecting historical topics,
drama can draw students attention to interesting problems concerning the whole
society, society and individuals, and it can help empathize with the characters who find
themselves in difficult life situations. Such motifs can also explore the important
decisions in the history and give possibility to polemize about its legitimacy and
worthiness. Structured drama is also extremely suitable for teaching cross-curricular
topics, integrating subject matters of several disciplines into one project/drama.
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also the ways how students can make most of it for their learning. Kao and ONeill
define the construction of structured drama as careful sequencing and layering of
dramatic units or episodes, often in a non-linear way, to cumulatively extend and enrich
the fictional context. (Kao and ONeill in Liu: 13) The non-linear way represents the
importance of the key moments of the story that can be explored from several angles
using several different techniques, which is superior to the uninterrupted linearity of the
common narrative.
British drama lecturers Norah Morgan and Julia Saxton (2001) coincide in the
structure of their Well-done play with the classical theatre structure of ancient
Aristotle. They, however, omit the phase of peripetia (falling action), which usually
brings new changes and turnovers, and thus the crisis is directly followed by the
catastrophe and final reflection. Their structure of the structured drama hence consists
of:
Exposition introduces the story, emerges participants into the fiction.
Collision (rising action) teacher introduces activities that reveal relationships
between the characters in the story, the problem is explored from different points
of view through different techniques while respecting the suggestions of the
participants.
Crisis (climax) the climax of the tension that cannot be planned by the teacher.
It arrives at the moment when participants feel the emotional power of the
situation and they desire to solve the conflict.
Catastrophe (dnouement) resolution of the intrigue, it is necessary to take
time for reflection, let the participants understand and intellectually reflect on
their feelings and experience from drama. (Morgan and Saxton: 26-27)
Authors of the book Lessons for the Living (2008) submit the model of five
elements that should not be missing in any structured lesson. According to Warwick
Dobson, British university scholar specialized in theatre, these elements are:
Lure teacher must find the way how to draw students attention to the theme
and motif of the drama and engage them for the story.
Building trust teacher must motivate the participants in such a way so that they
trust the plausibility of the situation and accept to emerge themselves into the
fiction.
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The most important thing to consider if we want to assure the harmony and
complexity of the structured drama is a clear purpose of the drama. In other words, how
this particular drama will enrich the knowledge of the world in its participants. On
account of this reflection, teacher chooses appropriate methods and techniques and thus
defines the form of the drama. Choices about which conventions are used and which
content is explored should respect the teachers purpose need to ensure that the work is
controlled, purposeful and effective. (Neelands and Goode: 98)
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Liu, in addition, stresses the fluency and accuracy necessary to accomplish the
task with both support and challenge of the teacher who is also a participant in the
dramatic world. (Liu: 6) Moreover, participants of drama use English almost
unconsciously because the language in drama has two levels, as describes Jonothan
Neelands: Language is used in theatre as the organizing medium for discussing,
planning and implementing ideas. But language is also used symbolically as a means of
representing a situation or characters speech. (Neelands and Goode: 95)
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Brno 2011
This project was designed for English teachers of all levels, but in particular for
the pre-service and in-service teachers who have already completed or were currently
completing their education in the study programme the Licenciatura en Enseanza de
Ingls (Teaching English) provided by the Facultad de Estudios Superiores Acatln,
which is one of the campuses of the Universidad Nacional Autnoma de Mxico
(UNAM) in Mexico City.
Founded in 1551 under the name of Royal and Pontifical University of Mexico,
the Universidad Nacional Autnoma de Mxico (UNAM) is recognized as the biggest
and the most important teaching and research institution in Mexico and one of the most
prestigious ones in the whole Latin America. At present, it comprises a huge complex of
thirteen faculties and more than 40 research institutes and centres.
Lenka Kivkov
Brno 2011
The LEI, founded in 1975, was the first compact university study programme in
English Language Teaching in Mexico. The graduates of this programme are given the
academic degree of Licenciado (a four and a half-year Bachelor degree) and they are
considered pedagogues competent in methods of instruction and investigation in
English teaching/learning process, capable of creating and evaluating of study
programmes, using the theories and methods of applied linguistics. This programme
qualifies its graduates for the position of English teachers at all educational levels,
investigators in education and linguistics or alternatively for non-teaching positions
requiring excellent knowledge of English, such as translators or administrative
personnel.
Lenka Kivkov
Brno 2011
Although this workshop was designed particularly for LEI students and
graduates, it is appropriate for English teachers of all levels as no previous knowledge
of Drama Education of its participants is required. It could be offered as an option for
the professional development course for English teachers because it helps to develop
many important features in teachers personality, such as their creativity in lesson
planning or establishing good teacher-students relationship.
Lenka Kivkov
Brno 2011
context) where teachers became familiar with drama through simple activities with
sounds, space and body, before moving to texts and more complex structures.
After each activity, we reflected on and analysed the dramatic convention used
and talked about its possible further exploitation in English teaching. In structured
drama lessons, however, we left the analysis of the methods and techniques for the final
reflection taking place after the lesson in order to create authentic dramatic experience
and submerge the participants into the fiction and not to interrupt it by analysing each
stage of drama separately.
Number of hours:
Break:
Number of participants:
20
Population for the workshop: Pre-service and in-service English teachers of LEI.
Prerequisite:
Technical equipment:
Space adjustment:
Realization of workshop:
General objective:
At the end of this workshop, the participants will experiment individual drama
methods and techniques within the drama structures and analyse the way they were used
Design of the Workshop: How to Use Drama in English Class?
33
Lenka Kivkov
Brno 2011
in order to intensify the zest of drama experience as well as the contribution to the
foreign language acquisition.
Specific objectives:
The participants will discuss the basic principles of Drama Education,
particularly in English Language Teaching.
The participants will identify, analyse and discuss the methods and techniques of
Drama Education that can be exploited in English Language Teaching, from the
simple activities that can be simply inserted into English language classroom up
to more complex dramatic structures that can last for several sessions.
The participants will be given chance to express their imagination and develop
their creativity and critical thinking while searching for solutions to given
problems.
The participants will formulate their ideas within the context of a drama
technique.
The participants will examine and estimate their own self, their values and
positions through mutual interaction and communication with other participants.
The participants will elaborate their ability to co-operate and work in teams in
order to accomplish given tasks within a drama technique.
The participants will explore and appraise literary texts displaying various
cultural aspects and will evaluate them from different points of view.
Concerning the content of the workshop, the first day is dedicated to simple
individual activities, graded in order to become familiar with the basic principles of
using drama in foreign language teaching. Other days are devoted to 3 different
structured dramas, underlining the significance of appropriate context for language
learning.
First two days of the workshop are based particularly on two courses, the
semester course Dramatick techniky ve vuce cizch jazyk (can be found in [4])
taught by Mgr. rka Dohnalov, assistant professor at Department of English language
and literature, which I attended in autumn 2007; and workshop of structured drama led
Design of the Workshop: How to Use Drama in English Class?
34
Lenka Kivkov
Brno 2011
by British lecturer of University of Reading Andrew John Kempe who visited our
university in spring 2008. A brief description of his course is also posted in the moodlink-a course in [4], created by Mgr. rka Dohnalov who was the official translator of
the whole event. I have used the activities of these experienced lecturers because they
perfectly reflected my needs and pedagogical purposes to explore the activities
gradually, first through sounds, then space, then movements and finally speaking. The
first structured drama is also highly inspired by both fore mentioned courses, though
slightly adapted. The remaining two structured dramas are mine own, although I have
been inspired by other dramas and activities I had experienced during my drama studies.
In terms of drama methods and techniques, the participants will get familiar with
the definitions, advantages, and possible practical usage of these particular conventions
(according to Jonathan Neelands and Tony Goode: 9-93):
1. Context-Building Action (techniques used to build the situation):
Collective Drawing
Defining Space
Diaries, Letters, Messages
Drama Games
Making Maps
Objects of Character
Role on the Wall
Soundtracking
Still Image
Unfinished Materials
2. Narrative Action (techniques used to evolve the story):
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
A Day in a Life
Hot-Seating
Interviews, Interrogations
Mantle of the Expert
Meetings
Reportage
Teacher in the Role
3. Poetic Action (techniques used to provide symbolic content to the story):
Mimed Activities
Re-enactment
Small-Group Play-Making
4. Reflective Action (techniques used to reflect on the story and its situations)
Choral Speak
Giving Witness
Group Sculpture
Narration
Spectrum of Difference
Though-Tracking used as Voices in the Head
Lenka Kivkov
Brno 2011
5 PRACTICAL PART
The practical part of my Diploma thesis is concerned with the description of the
concrete activities included in the workshop. It describes its realization and evaluates
the feedback received from the participants.
Lenka Kivkov
Brno 2011
Not all these points of activity description are always present, only when the
description requires it for better understanding of the context or completing the
situations occurred.
I have also included here the opening introductory part of the workshop, as all
the basic information about the workshop (the objectives, contents and manner of work)
is explained here. For the smoother flow of the reading, I have left the short
introductory part in the first person in the way I presented it to the participants of the
workshop. First, I welcomed the participants and introduced myself. Then, the
participants introduced themselves and told us about their motivation to come to the
workshop. Then, I introduced the goals of the workshop and the discussion about the
drama and Drama Education and its benefits, particularly in the foreign language
teaching, was held. With that, I explained the contents of the workshop and we agreed
on the manner and rules of our work. To conclude the introductory part, we tried several
times the technique called Freeze so that I could use it during the workshop when
necessary.
Lenka Kivkov
Brno 2011
(5 min)
(20 min)
(15 min)
Realization: When speaking about potential of drama and advantages of using drama
in the language class, the theme was talked over the vivid discussion of
the participants, while I summarized the main points at the end of the
discussion.
4) Rule Freeze
Objectives:
Time:
5 min.
Material:
Tambourine.
Setting:
Lenka Kivkov
Brno 2011
You can surely imagine that when you work with drama, the class can get
very noisy. That is why it is useful to set the Freeze rule when your
students simply freeze on the signal when you need to calm them down or
catch their full attention.
Procedure:
Acknowledgement: I have learnt this activity during my very first lesson of drama led
by PaedDr. Marie Pavlovsk, Ph.D. However, this activity is so
commonly used in drama in education that it would be very difficult to
identify its original author.
Lenka Kivkov
Brno 2011
Day 1
Name Games
Lazy Lenka + gesture
Change position
Dracula
II.
Soundtracking
Rain
Soundtracking of environments
Ghostly forest
III.
Definition of space
Observation of the room
Death Taco
Guiding a blind person
IV.
V.
Miming
Passing imaginary object
Mirrors
Miming actions
Statues
Still image (film scene + famous line)
VI.
Interpretation of texts
To be or Not to be
Interpretation of a dialogue
Interpretation of a text
VII.
Lenka Kivkov
Brno 2011
Name Games
Focus:
Adjectives.
Time:
10 min.
Setting:
Teacher:
As we are going to work with each other for four days, first, we will try to
remember each other's names. If we want to use drama in our classes,
first, we need to create the atmosphere of relaxation, mutual trust and cooperation where students feel confident and happy. (Wessels: 10) That is
why drama works a lot with group dynamics and reinforcing positive
relationships among its participants.
Procedure:
1 Students think of an adjective which begins with the same letter like
their name (for example My name is Lenka, so I need an adjective
beginning with L Lazy Lenka).
2 Students add a gesture characterizing this adjective.
2) Change position
Objectives:
Time:
5 min.
Setting:
Lenka Kivkov
Brno 2011
1 Students change their position in the circle, but only if they know the
name of the person who challenged them (for example I want to change
my position with Nancy. So I say her name and if she wants to change
position with me, she must say mine. Then, she continues and says the
name of someone who she wants to change the place with).
2 Two or three couples of students start changing their position at the
same time.
3 The game culminates until the moment when all the participants are
changing places at the same time.
Variations:
3) Dracula
Techniques: Drama Game.
Objectives:
Time:
5 min.
Setting:
All students stand in the circle, one student inside the circle.
Procedure:
1 The student inside the circle is Dracula who wants to catch a victim.
Dracula chooses his victim and starts to approach her.
2 The victim can save herself by eye contacting someone. When someone
is contacted by a victim and wants to save her, he or she must say her
name. If the name is correct, Dracula starts approaching the savour.
II.
Soundtracking
Design of the Workshop: How to Use Drama in English Class?
43
Lenka Kivkov
Brno 2011
1) Rain
Techniques: Soundtracking.
Objectives:
Focus:
Time:
5 min.
Setting:
Teacher:
Now we know each other's names, so let's start with the exploration of
the first drama technique soundtracking. We will go gradually. First,
we will explore how we can use sounds, then space, then miming, before
we start working on activities where we need to speak. When we start
using drama in our English teaching, we should also go gradually, from
simple activities to more complex ones. First, we should let students
focus entirely on physical movements to communicate, like eyes, facial
expressions, hands and the whole body. Gradually, students learn how to
coordinate these physical activities with verbal activities, which will help
them with more natural communication in English language.
Procedure:
Variations:
Soundtracking of wind.
Lenka Kivkov
Brno 2011
2) Soundtracking of environments
Techniques: Soundtracking, Improvisation.
Objectives:
Focus:
Time:
Material:
Setting:
4 teams of 5
Procedure:
1 Students sound the environment that they select by lot (for example
rain forest, factory, horse race, etc.). During their presentation, they
cannot speak, but they can make all kinds of sounds.
2 Students perform one team by one their environment and the others
guess.
Note:
3) Ghostly forest
Techniques: Soundtracking, Improvisation.
Objectives:
Focus:
Lenka Kivkov
Brno 2011
Time:
15 min.
Setting:
Procedure:
1 Students close their eyes and imagine that they are in a deep forest and
they can hear all its mysterious sounds. Students imagine all the sounds
they can hear there (trees, animals, etc.).
2 Students start to make the sounds, first silently, then graduating the
volume and then, lessening the sound again.
3 Students start to move like the objects/animals that they sound. If they
are a tree, they imagine and make its branches, if they are an animal, they
start to move like that particular animal.
4 But no forest grows in a regular circle, so the students get closer and
make a huddle of trees and branches. Students connect the movements
with the sound and set the forest in motion.
5 A volunteer can take a walk through the ghostly mysterious forest,
guided by a teacher.
Variations:
Any other environment can be interpreted this way (e.g. the sea, the
jungle, etc.).
III.
Definition of space
Lenka Kivkov
Brno 2011
Time:
5 min.
Setting:
Teacher:
Procedure:
1 Students walk around the room and have a good look at it.
2 (After 2 min) Students close their eyes and answer in their mind these
questions: What colour is the ceiling? What colour is the door? Is the
door open? Is anything written on the board? How many lights are
there?
3 Students open their eyes, share their impressions with the person next
to them and compare their answers.
Variations:
Students can be divided into pairs and be seated back to back. They can
be asked to describe their partner (type of shoes, colour, etc.) without
possibility to look at him or her. Then, they compare their description
with the reality. (I first experienced this activity in a drama lesson led by
Mgr. Miroslav Coufal in 2006.)
2) Death Taco
Techniques: Drama Game, Definition of Space.
Objectives:
To explore and feel the space, to activate the group, to develop group
sensitivity, to overcome self-consciousness.
Focus:
Any particular word can be practised (for example a word with difficult
pronunciation).
Design of the Workshop: How to Use Drama in English Class?
47
5 min.
Setting:
Procedure:
Lenka Kivkov
Brno 2011
2 Students are all ... (tacos) and they walk around the room with their
eyes closed. The person who the teacher touches is Death taco (he also
walks around with his eyes closed).
3 Once someone walks into somebody else or touches somebody else, he
wants to ensure that it is not Death taco, so he asks Taco? If the person is
not Death taco, he will answer Taco and both move on. However, if the
person is Death taco, he will say Death taco and the original person is
killed. The killed person has to scream very loudly and clear away sit
down around the classroom and watch others play.
Notes:
Teacher must emphasize that students must keep their eyes closed all the
time!
Focus:
Time:
10 min.
Material:
Scarves.
Setting:
Procedure:
1 Students decide in their pairs which one will be the blind person.
2 The blind student closes his eyes (or blindfolds them with a scarf) and
his partner will give him directions in order to leave the room and go to
the place where both want to spend the break. The leaders cannot touch
the blind in order to tell them where to go.
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
IV.
BREAK
(15 min)
Focus:
Time:
5 min.
Material:
String.
Setting:
Procedure:
1 Teacher explains to the students that the right side of the classroom
means I like and the left side I dislike.
2 Teacher gives students a word and they have to run to the right or left
side of the classroom according to their likes. (Show an example:
Chocolate). Students do not think about the word, they act on impulse.
Words: the Moon, Monday morning, yellow, ice, school, Beethoven.
Variations:
1 Students can explain to each other why they like or dislike something.
2 Students can try to persuade the others from the opposite group why
they should like or dislike something.
Acknowledgement: Inspired by the activity The Sun and the Moon in Maley and
Duff: 66 and by the activity led by Mgr. rka Dohnalov in the course
Dramatick techniky ve vuce cizch jazyk (can be found in [4]).
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
Miming
Focus:
Time:
5 min.
Setting:
Teacher:
Procedure:
1 Students pass to each other the object the teacher picks up from the
floor. They try to express by miming what is its shape, if it is heavy, if it
is nice, if it smells good, etc.
2 Students give vent to their imagination and take turns in choosing the
objects they are passing around the circle.
Variation:
2) Mirrors (
progressive mirrors)
Techniques: Miming, Improvisation.
Objectives:
Focus:
Times:
10 min.
Design of the Workshop: How to Use Drama in English Class?
50
Lenka Kivkov
Brno 2011
Setting:
Procedure:
1 Students face each other in pairs. The pairs in each group stand next to
each other (teacher helps with the setting and shows it on one group).
2 One person is a leader and begins to move. The other person must
imitate her as if she was a mirror reflection. Students will mime the
simple activities like daily routines (for example first, you wake up,
brush your teeth, etc.) Students change roles when the teacher claps
(approximately 2 min. for each turn)
3 (After 8 min) Students link up their miming in their teams so that it
looks fluent. The whole activity works without speaking or visual signals
and that is why students need to be attentive and observe each other
closely. (Teacher gives an example: first pair starts miming waking up
and brushing teeth, then the second pair fluently follows with dressing
up, etc.). Students try not to talk!
Variations:
As a follow-up activity, students can talk about the activities they were
miming and practise appropriate vocabulary and tenses.
Acknowledgement: The activity with mirrors is described in Wessels: 36, the activity
with progressive mirrors is included in Rittenberg and Kreitzer in their
book English through Drama. However, it is again so traditional drama
activity, it would be impossible to recognize its original author.
Realization: Students had already known this activity so it did not cause them any
problems. Unfortunately, we did not have enough time to try the linking
part twice. However, the second team learnt from the mistakes of the first
one and their movement was much more fluent.
3) Miming actions
Techniques: Miming, Improvisation.
Objectives:
Focus:
Time:
10 min.
Material:
Setting:
Lenka Kivkov
Brno 2011
Volunteers select an activity by lot and they mime the activity. The rest
of the group guesses what they are doing. (Teacher shows the example:
blowing out the candles on a birthday cake.)
Variations:
Students can mime some more complex actions; the others guess the
whole situational context, such as time, situation, characters involved,
etc.
4) Statues
Techniques: Still Image.
Objectives:
Focus:
Vocabulary.
Time:
5 min.
Setting:
Procedure:
Students walk around the classroom and they express the word the
teacher says by the medium of their body. (Teacher shows an example:
happiness)
Words: anger, puppy, toy, puma, universe, desert, laughter.
Variations:
Lenka Kivkov
Brno 2011
Focus:
Time:
Material:
Setting:
4 teams of 5
Procedure:
1 Students select by lot the name of the film and they make a still image
representing a scene from this film.
2 Each performer also thinks of a famous line of his or her film character.
(For example I am Tarzan and my famous line is Me Tarzan, you
Jane).
3 Each team shows their still image to the others and the others guess the
name of the film.
4 Animation of Still Image: When students guess the film, the performers
will stay in their position and when teacher touches them, they will say
their famous line like their character would say it.
Variations:
The grammar of the famous lines and the topic of films can be further
exploited.
Acknowledgement: The technique of still images and its animation is abundantly used
by all drama teachers. However, it is described for example in Jonothan
Neelands and Tony Goode.
Realization: Very successful and enjoyable activity. Students understood the
technique of animation of still images immediately; all the group
members were performing.
VI.
Interpretation
1) To be or not to be
Techniques: Interpretation of a sentence/text.
Objectives:
Focus:
Adverbs.
Time:
5 min.
Material:
Lenka Kivkov
Brno 2011
Setting:
Procedure:
Each student selects by lot a slip of paper with an adverb and reads the
famous Hamlet's line To be or not to be, that is the question
expressing that particular adverb. Other students guess what adverb is
being expressed.
Notes:
2) Interpretation of a dialogue
Techniques: Interpretation of a dialogue/text.
Objectives:
Focus:
Time:
Material:
Setting:
Pairs.
Procedure:
Students receive a short dialogue that they will perform. They think about
the background of the dialogue (who is talking, why, where they are,
etc.). In order to make the situation clear for the rest of the group,
students can add one sentence at the beginning of the dialogue and one
sentence at the end.
Variations:
Students can make a dialogue using only the lines of tongue twisters
(pronunciation practice and drama expression practice (through body).
Lenka Kivkov
Brno 2011
3) Interpretation of a story
Techniques: Interpretation of a story/text, Improvisation.
Objectives:
Focus:
Time:
Material:
Copies of the text Little Red Riding Hood [4] (see Appendix 3)
Setting:
4 teams of 5
Procedure:
Students are given the famous fairy tale story Little Red Riding Hood.
They read the text and act it out respecting the form that they select by lot
(soap opera, opera, like robots, thriller, etc.). The story cannot be more
than 2 min long. The performers need not stick to the text precisely.
Notes:
Lenka Kivkov
Brno 2011
Relaxation
Focus:
Time:
5 min.
Material:
Setting:
Procedure:
1 Students close their eyes and relax. Teacher tells them not to think of
anything and just listen to the music.
2 Students share with the person next to them a picture that the music
evoked in their head the whole group discussion.
Variations:
Students lie on the floor with their eyes closed and the teacher makes
various sounds. Students then draw a picture depicting the sounds they
had heard. (This variation is taken from the workshop of Ji Pokorn
held in spring 2008.)
Students enjoyed sharing their feelings. One girl said that she
immediately visualized the smile of her father.
Reflection on Day 1
I expected 20 participants, however, only 12 appeared, which gave us much
more time for activities and reflections. The students were really initiative, creative and
they immediately overcame their initial shyness. We created a great working
atmosphere; all the students got involved and actively participated in the discussions
concerning the possible ways how to use the methods and techniques in question in
their classes. They also had very inspiring comments on their own well-tried activities.
Lenka Kivkov
Brno 2011
Day 2
Warm-ups
Zip zap
Walking warmers
The seat on my left is free
II.
III.
IV.
V.
Lenka Kivkov
Brno 2011
I. Warm-ups
1) Zip zap
Objectives:
Time:
5 min.
Setting:
Procedure:
1 Students send a Zip signal around the circle. Teacher starts, points to
the person on her left and say Zip. This person must as quickly as
possible send the signal to the person on her left saying Zip.
2 (After running a circle) Student can also block somebody by saying
Zap and refusing the signal with his hands (teacher demonstrates).
3 Student can send the signal across the circle by saying Zop.
4 The pace increases.
Acknowledgement: I first experienced this very common warm-up activity during the
workshop of drama teacher Pavla Rackov in Studio Racek in 1999. It is,
however, mentioned in many different drama books.
2) Walking warmers
Techniques: Miming.
Objectives:
Focus:
Time:
5 min.
Setting:
Procedure:
Variations:
Lenka Kivkov
Brno 2011
Objectives:
Focus:
Time:
5 min.
Setting:
Procedure:
1 Teacher says the phrase The seat on my left is free and I'd like
_(Paco)__ to sit next to me. This student (Paco) will move to the empty
place. The person who now has an empty place on her left will continue
(teacher shows the example).
Focus:
Time:
5 min.
Material:
Setting:
Teacher:
I have promised you to see how drama activities can be used in more
complex drama structures. Let's see how we can use drama in context, so
that it submerges students into fiction and creates an authentic dramatic
experience.
Procedure:
1 Teacher explains to students that when she puts on the prop (in this
case a police cap), she becomes a police officer. When she puts it down,
she is the teacher again. (Note: It is not even necessary to explain this to
the pupils as they accept the function of representative props very
naturally.)
2 Teacher in the Role, students listen:
Good afternoon, dear detectives. My name is chief detective Smith.
Thank you very much for coming to our police headquarters so quickly. I
have sent for you because I need your help with the case I cannot solve
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
Realization: Students accepted the reality of the story immediately and they got
involved in the story.
Focus:
Time:
15 min.
Material:
Bag containing keys, cigarettes and a lighter, a bill from the shop from
last night, library book Veronica wants to die, a postcard from Lisa's
father from which it is evident she has not seen him for a long time, a
wallet with little money, a metro ticket, etc.
Setting:
Procedure:
Lenka Kivkov
Brno 2011
Realization: Students were very resourceful. While presenting the objects, they
immediately started to invent complicated hypotheses (for example that
Lisa probably comes from a well-off family because she had a whole box
of cigarettes, although Mexican teenagers usually buy cigarettes only
piece by piece because of its price). One student suggested interrogating
Lisas parents, which I chose as the next activity (after Role on the Wall
technique).
3) Examination of character
Techniques: Role on the Wall, Teacher in the Role, Mantle of the Expert.
Objectives:
Focus:
Time:
10 min.
Setting:
Procedure:
Variations:
Students can go and write the facts on the board themselves (but it takes
much more time).
Realization: After the first suggestion I asked if it was a fact or assumption. With it,
students told me automatically where to write their comments and
suggestions.
Lenka Kivkov
Brno 2011
Focus:
Asking questions.
Time:
15 min.
Material:
Setting:
Procedure:
Variations:
Focus:
Asking questions.
Time:
20 min.
Setting:
Pairs.
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
Variations:
Again, the questions may be restricted in form (for example students who
act someone who knew Lisa cannot answer yes and no).
6) Alibi
Techniques: Role Play, Hot-seating, Interviews and Interrogations, Teacher in the
Role, Mantle of Expert.
Objectives:
Focus:
Time:
Setting:
Pairs.
Procedure:
1 One person in the pair is Lisa's father who is now the main suspect. The
police think he has kidnapped Lisa. Lisas father must prepare his alibi
for last night from 8 pm to midnight and his partner must confirm it. Both
students claim to spend this time together, so they must be able to
account for everything that they did, saw, said, etc.
Lenka Kivkov
Brno 2011
Variations:
III.
BREAK
(15 min)
Warm-up: Molecules
Objectives:
Focus:
Time:
5 min.
Material:
Setting:
Procedure:
Students walk around the classroom. When teacher stops the music and
calls out, for example, Molecule 3 knees, students must create trios
and be connected by knees (teacher shows an example). The numbers and
the body parts will change.
Lenka Kivkov
Brno 2011
This activity can be used when teacher wants to make groups of a certain
number of students (for example pairs, trios, teams of 6, etc.)
Acknowledgement: This typical childrens game can be found for example in Maley
and Duff: 80 under the name Atom 3!.
Realization: Students enjoyed the most the final instruction Molecules 11
shoulders. When they realized that they all had to touch because they
were exactly 11, they made a line.
IV.
7) Police Broadcast
Techniques: Re-enactment, Reportage, Making Maps, Role Play.
Objectives:
Focus:
Time:
Material:
Flip charts.
Setting:
4 teams of 5
Procedure:
1 Students now have more information on Lisa and they have various
ideas about what could have possibly happened to her. Teacher asks
students to work in groups and prepare a police broadcast announcing
Lisa's missing including:
a) Introduction of Lisa as a missing person (the facts about her: hair
colour, age, where and when she was last seen, dress, etc.),
b) Re-enactment of what could have happened last night from 8 pm till
midnight. It can be spoken or mimed, through the technique of Still
Images, etc.
c) Ask the viewing public for help to call the police if they have any
information about Lisa.
Lenka Kivkov
Brno 2011
2 Students will also present a poster with a map of places where Lisa
certainly and possibly was last night.
Variations:
Realization: Students started to work very enthusiastically and they wanted their
posters to be too elaborate. That is why I had to keep insisting that they
should start working on their improvisations. The reporters looked very
professional and performed brilliantly. The first group interpreted their
story by means of miming; it was very simple and legible. The second
group included speaking as well, which was a bit tedious. In order to
preserve the tension and symbolism of drama, I would recommend using
more artistic forms, such as Still Images.
Focus:
Time:
10 min.
Setting:
Material:
Mobile phone
Procedure:
A mobile phone is put on the chair. The phone represents the police
station. Anyone of the students can go, pick up the phone and make a
phone call to the police as a witness and give police some piece of
information about Lisa and what happened to her (again, there is a rule
that students cannot contradict each other)
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
This can be the end of the story as students decide what happened to Lisa
(if she is OK, dead, if she called the police herself, etc.) or it can lead to
other activities. All depends on students (if they want to explore the topic
more or not) and the flexibility and creativity of the teacher.
Realization: When the first student picked up the phone and called the police station,
another student immediately reacted and answered as a police detective.
Therefore the whole activity went on in a dialogue, even without my
previous instructions. Each student wanted to contribute, so almost
everyone took turn in roles of witnesses and detectives. At last, the
neighbour of Lisas boyfriend resolved the mystery and announced that
Lisa was sleeping over her boyfriends flat.
Focus:
Time:
15 min.
Material:
Slips of paper.
Setting:
Procedure:
Students imagine that they are Lisa and they saw the police broadcast on
TV. They are writing a text message to their mother. (Question: What
would you write?)
Notes:
1 Another scene can be added if students are interested (for example the
encounter of Lisa with her mother).
2 As a final product activity students/detectives can write a police report
about the case.
Realization: Students calmed down quickly and they concentrated intensively. All of
them wanted to read their message, some of them were quite moving.
Everyone agreed that this structured drama would be a strong theme for
teenagers.
Lenka Kivkov
Brno 2011
(25 min)
Reflection on the theme: What was the story about? What was the story about for you?
What themes we could discuss (the world is dangerous and one needs to be
always careful; although you may not realize it, your family always loves you;
relationships in the family, communication, loneliness, etc.)
What is structured drama: The teacher gives students a starting situation and students
are encouraged to explore it using any means available. The teacher determines
the drama techniques for individual activities, but students are the ones who
determine the content and the conclusions. Thus, students actually create their
own story. You created your own end Lisa was sleeping at her new boyfriends
place (other possible ends could be: Lisa was kidnapped, Lisa escaped from
home and went to see her father, Lisa killed herself, etc.)
Acknowledgement: The whole structured drama was based on two courses. First, on
the course Dramatick techniky ve vuce cizch jazyk (can be found in [4]) led
by Mgr. rka Dohnalov in autumn 2007 (especially the activity Map
making); and secondly, on the workshop of Andrew John Kempe held at
Faculty of Education of Masaryk University in Brno in spring 2008.
V. Relaxation
Lenka Kivkov
Brno 2011
Focus:
Time:
5 min.
Material:
Setting:
Procedure:
1 Students imagine that they are a seed in the ground and they crouch
into a bobble.
2 When listening to the music, students start to grow very slowly and
spread their hands to the sun until they grow up in an adult plant or tree.
3 With the quieting music, the students go down again and end up in
original position of the seed in the ground.
Acknowledgement: Inspired by the activity From seed to plant in Maley and Duff:
58.
Realization: Unfortunately, we did not have time to realize this calming-down
activity.
Reflection on Day 2
There were 11 participants, which gave us enough time for activities
examination. The atmosphere and working enthusiasm was again very pleasant and
cheerful. Students immediately accepted the concept of the structured drama and they
really appreciated the chance to decide about the story themselves, about what would
happen next, which situations explore and how the drama would end. They assigned the
main themes of the drama as relationships in the family, communication in the family,
empathy, divorce and loneliness.
If I had the chance to change something, I would probably anticipate better the
time for particular activities so that we would still have time to do the last calmingdown activity. However, the participants were enjoying drama so much, I literally did
not have the heart to make them hurry through it or to skip some of its parts.
Nevertheless, in the exit questionnaire, one of the participants mentioned that he was
sorry that not all the ideas could have been sufficiently explored.
Lenka Kivkov
Brno 2011
Day 3
Plan of the activities:
I.
Warm-ups
Hands shaking
II.
Definition of space
Take your partner to the walk map of Mexico
Continent Machine
III.
IV.
V.
VI.
Relaxation (Thermometer)
Lenka Kivkov
Brno 2011
I. Warm-ups
1) Hands shaking
Techniques: Drama Game.
Objectives:
Focus:
Greetings, introductions.
Time:
5 min.
Setting:
Procedure:
Variations:
Lenka Kivkov
Brno 2011
Time:
15 min.
Setting:
Teacher:
Today we will talk about Mexico and a little bit of its history. In order to
tune to the topic, we will work with space and explore Mexico you know.
Procedure:
Students imagine the classroom is the map of Mexico. At the door is the
North, at the windows the South. Students in pairs take turns and take
their partner to a walk to three places in Mexico:
A) where they were born,
B) where they have spent the best holidays,
C) where they have experienced a big surprise.
Students give instructions (for example Let's go to the North-West to the
mountains and canyons of Chihuahua where I spent...).
Variations:
2) Continent Machine
Techniques: Definition of Space, Miming, Still Image, Collective Drawing.
Objectives:
Focus:
Time:
25 min.
Setting:
4 teams of 5
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Brno 2011
Material:
Teacher:
As you will see drama can be used for learning cross-curricular content
as well. This activity exploits students knowledge of geography, culture
and history and the structured drama we're about to start next explores
the specific historical period of Mexico.
Procedure:
1 Students in teams are given a flip chart and they draw collectively a
map of Mexico where they note several phenomena (natural, cultural,
historical, etc. for example the mummies of Guanajuato). They have to
agree on what to draw/indicate. They have 10 min to prepare.
2 Students in their teams will choose one phenomena and make a
collective still image. When the still image is finished, students will
animate it with a movement and/or a phrase. They have 5 min to prepare
(teacher shows an example).
3 Animation of Still Image: when teacher claps, the whole group will
make the still image. When teacher touches someone, all performers will
animate and make their movements or sounds. The other teams will guess
which phenomenon is being interpreted.
1) Creation of Tenochtitlan
Techniques: Definition of Space, Arts and Craft, Problem Solving.
Objectives:
Lenka Kivkov
Brno 2011
Time:
Material:
Setting:
4 teams of 5
Teacher:
The story we will now explore goes back to the huge and powerful Aztec
Empire which was at the top of its fame and growth at the beginning of
16th century. As you all know the centre and the capital of Aztec Empire
was Tenochtitlan, an island in the middle of Lake Texcoco where present
Mexico City is now.
Procedure:
1 Students imagine how Tenochtitlan at the top of its fame looked like
and they try to build its main square. They can create The Great Pyramid
of Tenochtitlan Templo Mayor or any other structure that they will then
present to the others. Students can use whatever material they want
(newspapers, string, chairs, etc.). Teacher should emphasize the time
limit for preparation (only 20 min) and observe it strictly.
2 Students present what they created.
3 Students evaluate the aesthetics and height of the creations.
Notes:
The feedback session could be held (Questions: who was the organizer?,
what was your role in the process?, etc.)
Acknowledgement: The idea of creating an ancient city was given to me by the British
lecturer Warwick Dobson during his workshop on structured drama held
at the Faculty of Education of Masaryk University in spring 2008.
Realization: Students started to work very enthusiastically and they took the
competition really seriously. They built high constructions from chairs
(the pyramids) which they decorated with newspapers, pillows, rugs, etc.
In the final reflection they stated that the fact they had to first build the
city helped them then empathize with the characters who were supposed
to lose it later on in the drama.
Lenka Kivkov
Brno 2011
Focus:
Time:
30 min.
Material:
Setting:
Procedure:
Notes:
impersonated
the
Lenka Kivkov
Brno 2011
characters
immediately
and
they
spontaneously started to create costumes and to look for the props. The
presentation of the celebration went particularly well. The progressive
movement of the animated still images made really strong aesthetic
impression.
IV.
BREAK
(15 min)
Focus:
Time:
5 min.
Setting:
Procedure:
Students imagine that they are riders preparing themselves for horse race.
Teacher is a horse race commentator and students will ride according to
her instructions.
Notes:
V.
3) Meeting
Techniques: Meeting, Narration, Teacher in the Role, Role Play, Using Prop.
Objectives:
Focus:
Lenka Kivkov
Brno 2011
Time:
10 min.
Material:
Setting:
Procedure:
Lenka Kivkov
Brno 2011
4) Choral speak
Techniques: Choral Speak, Interpretation of a text.
Objectives:
Focus:
Time:
Material:
Setting:
2 teams.
Procedure:
1 Teacher gives students the prophecy the wizard predicted. Students are
in two teams and they are supposed to read the prophecy in their team
chorally. Students should agree which parts they will read silently,
loudly, which parts will be stressed, etc. They can even sing.
2 Prophecy:
I wouldnt like Oh King! to alarm your spirit, but the prophecy of
Quetzacatl is about to come true. White and bearded men will come
from the Orient and our cities will be destroyed and ruined, our sons
dead and our gods chased out from the temples. Do not be alarmed any
more because what is going to happen cannot be avoided. Quetzacatl
will return to take the possession of his land. (Meza: 32)
Notes:
The text can be exploited from the point of view of grammar, vocabulary,
etc.
Realization: Students decided on their own that they would stand in a line, each team
facing each other in order to strengthen the resulting dramatic effect of
the dramatized choral reading.
5) Discussion
Techniques: Narration, Teacher in the Role, Role Play, Using Prop.
Objectives:
Focus:
Time:
5 min.
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Brno 2011
Setting:
Procedure:
1 A new meeting has been summoned. Students are again in the role of
the inhabitants of Tenochtitlan, waiting for the king to come and
wondering why there is another meeting in such a short time.
2 Moctezumas speech (Teacher in the Role):
Dear inhabitants of Tenochtitlan, dear Aztec people. I have some grave
news to inform you about. Some terrible things have happened and a
decision is to be made. As you all know the white men have already got
ashore in the East and more and more are still coming. They want our
land and our treasures. And now the messengers of the white people, the
so called Spaniards, brought the message from their king. Spanish king
says that if we, Aztec people, surrender to the Spaniards, they will spare
our lives. Now it is time for us to decide will we surrender or will we
fight?
3 Students discuss the given problem in their roles.
Notes:
6) Alley of opinions
Techniques: Alley of Opinions.
Objectives:
Lenka Kivkov
Brno 2011
Focus:
Time:
10 min.
Setting:
Procedure:
Focus:
Time:
10 min.
Material:
String.
Setting:
All students stand, the string is placed in the middle of the classroom.
Procedure:
1 Teacher tells the students: You all gave your piece of advice, which
means that you had made your decision for yourself. Now let's see what
your decision is.
Lenka Kivkov
Brno 2011
Acknowledgement: I have got the idea of using this technique for expressing opinion
or decision from Warwick Dobson who held his workshop in Brno in
spring 2008.
Realization: As expected, the entire group decided to fight, including Moctezuma
who, before joining the others, spontaneously gave a brilliant kings
speech where he appreciated the bravery of his people. He said that,
initially, he wanted to vote for peace and salvation of his people and the
city they had to build with so much difficulty, but when he saw the
courage of his people, he finally decided to fight.
8) Final Reflection
(25 min)
End of the story: As you know in the history the Aztec people fought and many of
them lost their lives. Maybe if they hadn't fought, Mexican nation could have
been very different from the present one. (Possible discussion about how they
think their nation would have looked like if Aztec people hadn't fought.)
Reflection on the theme: What was the drama about? What was is about for you? Did
you find it difficult to decide? Why have you decided for fighting/surrendering?
Could you imagine what the life in Tenochtitlan looked like? Did you learn
something new?
Possible exploitation: The historical and geographical texts can be further explored.
Techniques: Focused on fluency, direct experience from drama, empathy, development
of critical thinking (stating ideas, defending them, decision making, etc.).
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Realization: Topic connected to Mexican culture made the participants really involved
in the story. They all agreed it would be really useful as a cross-curricular
project and they pointed out how important is to discuss about their identity,
history and its consequences with younger generation.
VI. Relaxation
Thermometer
Techniques: Position on the Scale/Spectrum of Difference.
Objectives:
To calm down.
Focus:
Time:
2 min.
Setting:
Procedure:
Students imagine that they are a thermometer and they show how much
they are looking forward to the next day. Up is 30 degrees Celsius and
down is minus 20 (teacher demonstrates an example).
Acknowledgement: I have taken this activity from the Diploma thesis written by
Martina Brtov.
Realization: All students put their hands up; some of them even stood on tiptoes or
jumped high. We all left in a great mood.
Reflection on Day 3
There were 10 students. The theme deeply wedded to the culture of the
participants appeared to be extremely engaging and motivating. A very interesting
debate arose about Mexican identity, their slight inferiority complex when it comes to
the foreigners, their relationship to the Spanish culture, etc. The rather slow building-up
activities such as the construction of students own Tenochtitlan and representation of
Aztecs everyday lives really paid off because they amplified the fellow-feeling towards
the Aztec ancestors and their decisions. In the exit questionnaire many participants
stated that they had liked Moctezumas story best of all workshop.
Lenka Kivkov
Brno 2011
Day 4
Plan of the activities:
I.
Warm-ups
Blindfold (group makes circle, square, triangle, line from the tallest to
smallest)
II.
III.
Lenka Kivkov
Brno 2011
I. Warm-ups
1) Blindfold - the group makes circle, square, triangle, line from the tallest to
smallest
Techniques: Definition of Space.
Objectives:
Focus:
Time:
10 min.
Setting:
Procedure:
Students spread around the classroom (in order not stay in the circle) and
close their eyes. They perform instructions of the teacher:
Make a circle. Make a square. Make a triangle. Make a line from the
tallest to smallest.
Notes:
For this activity students should already know each other quite well.
Otherwise, it can feel uncomfortable to touch and be touched by others.
Acknowledgement: I have learnt this activity in the drama lesson led by Mgr. Miroslav
Coufal in autumn 2006.
Objectives:
Focus:
Time:
10 min.
Material:
Setting:
Teacher:
Let's start the very last drama of our course. This drama will show us
how it feels to be different and how we can work with it in our class. It
will also take us to one specific and very important point in the history.
Lenka Kivkov
Brno 2011
Students are given a picture and they study the character in it. First,
students describe her physically (Questions: How old is she?) and then,
they try to see behind the picture and think of the questions like What
does she like doing? What colour does he like? What kind of person is
she? What nationality is she? When and where was the picture taken?,
etc.
Variations:
Objectives:
Focus:
Time:
30 min.
Material:
Setting:
4 teams of 5
Procedure:
1 If students do not recognize Anne Frank in the picture, teacher will tell
them it's her (Questions: What do you know about her? Does her name
imply you anything?).
Lenka Kivkov
Brno 2011
Objectives:
To submerge students into fiction and get them interested in the topic, to
develop imagination.
Focus:
Listening.
Time:
5 min.
Material:
Setting:
Procedure:
1 Teacher connects the drama and students listen: Now we have learnt a
lot about Anne and about the social and political background she lived in.
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Brno 2011
I have got some terrific news for you some ripped off sheets from her
original diary were found, so we can investigate even this authentic
material. Let me read to you one of her introduction passages where she
writes why she actually started to write a diary
2 Teacher reads the diary entry (see Appendix 7):
SATURDAY, JUNE 20, 1942
Now I'm back to the point that prompted me to keep a diary in the first
place: I don't have a friend. Let me put it more clearly, since no one will
believe that a thirteen year-old girl is completely alone in the world. And
I'm not. I have loving parents and a sixteen-year-old sister, and there are
about thirty people I can call friends. No, on the surface I seem to have
everything, except my one true friend.
This is why I've started the diary.
To enhance the image of this long-awaited friend in my imagination, I
don't want to jot down the facts in this diary the way most people would
do, but I want the diary to be my friend, and I'm going to call this friend
Kitty. (Frank: 10)
Variations:
Students can explore and read from the diary on their own (it is more
effective, but it also takes more time)
Notes:
Teacher should definitely let students see and inspect the diary pages
before reading it.
Realization: Students were passing the diary to each other and each student explored it
and wanted to read it individually. That is why I invited one student to
read the extract aloud, but unfortunately, no one was able to read the
handwriting (as the Mexican use only capital handwriting). That is why I
read the diary to the students myself.
4) Jewish restrictions
Technique:
Work with Diary Entry (reading), Still Image, Animation of Still Image,
Voices in the Head.
Objectives:
Lenka Kivkov
Brno 2011
Time:
Material:
Setting:
4 teams of 5
Procedure:
1 Teacher connects the drama and tells the students: As your colleagues
have already informed us the Jews during WWII were undergoing many
restrictions before Nazi started to transport them to the concentration
camps. Anne describes some of the restrictions she and all the Jews had
to undergo before she was forced to go into hiding.
2 Teacher asks students to listen very carefully to the restrictions for
Jews and in their teams create a still image representing one of the
restrictions. In the still image, one of the characters will be Anne and the
still image will show how that particular restriction affects her.
3 When a still image is finished, each character will think of a phrase he
or she impersonates. (Teacher gives an example: Jews are not allowed to
use public transport, so Ann walks on the street in the winter. People
from the tram observe her saying: You cannot go here. You filthy Jew. I
am so sorry for you, etc.)
4 Teacher reads the diary entry (see Appendix 8):
SUNDAY, JUNE 21, 1942
Our lives were not without anxiety, since our relatives in Germany were
suffering under Hitler's anti-Jewish laws. After the pogroms in 1938 my
two uncles fled Germany, finding safe refuge in North America. After
May 1940 the good times were few and far between: first there was the
war, then the capitulation of Holland and then the arrival of the
Germans, which is when the trouble started for the Jews. Our freedom
was severely restricted by a series of anti-Jewish decrees: Jews were
required to wear a yellow star; Jews were required to turn in their
bicycles; Jews were forbidden to use street-cars; Jews were forbidden to
ride in cars, even their own; Jews were required to do their shopping
between 3 and 5 P.M.; Jews were forbidden to be out on the streets
between 8 P.M. and 6 A.M.; Jews were forbidden to attend theatres,
movies or any other forms of entertainment; Jews were forbidden to use
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Brno 2011
swimming pools, tennis courts, hockey fields or any other athletic fields;
Jews were forbidden to take part in any athletic activity in public; Jews
were forbidden to sit in their gardens or those of their friends after 8
P.M.; Jews were forbidden to visit Christians in their homes; Jews were
required to attend Jewish schools, etc.
You couldn't do this and you couldn't do that, but life went on. My friend
Jacque always said to me, "I don't dare do anything anymore, 'cause I'm
afraid it's not allowed." (Frank: 11)
5 Animation of Still Image: Once the team is ready, teacher will clap and
the students will do their still image. When teacher touches someone, he
or she will say their phrase.
6 After Animation of the Still Image, anyone from observing students
can stand behind Anne and say what she feels (Question: How would you
feel in her shoes?). Real Anne will express her phrase as the last one.
Notes:
A short discussion about how students felt can follow, teacher should ask
especially the student acting Anne, as it was very emotional for her and
teacher should help her step out of the role and express her feelings.
5) Hiding
Technique:
Objectives:
Focus:
Time:
30 min.
Material:
Lenka Kivkov
Brno 2011
Setting:
Procedure:
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Work with Diary Entry (reading), A Day in the Life, Still Image, Sketch.
Objectives:
Focus:
Time:
30 min.
Material:
Setting:
4 teams of 5
Procedure:
1 Teacher connects the drama saying: Let's see the most disturbing
aspect of living in hiding. Imagine being closed in such a small space
with 7 other people. For a year, two...
2 Students will listen to the extract describing graduating conflicts
appearing among the inhabitants of the Secret Annexe and they make a
still image in their groups while teacher is reading. When the teacher
finishes the extract, the still image is supposed to be ready. Students try
not to communicate verbally (teacher gives an example).
3 Students listen to the diary entry (see Appendix 11):
SATURDAY, MAY 1, 1943
Dearest Kitty,
You mustn't get the idea that Dussel's starving. We found bread, cheese,
jam and eggs in his cupboard. It's absolutely disgraceful that Dussel,
whom we've treated with such kindness and whom we took in to save
from destruction, should stuff himself behind our backs and not give us
anything. After all, we've shared all we had with him! (Frank: 91)
4 Teacher connects the drama: As you could see the conflicts were
graduating and here comes the last and the most serious one.
Lenka Kivkov
Brno 2011
5 Students in their teams make a short sketch of the most serious conflict
beginning by the phrase Don't! The sketch will end in its climax, the
tensest moment (for example the old Mr Dussel is approaching Anne and
wants to strangle her conflict not solved (reconciled). It will start in the
still image, and then students will perform their sketch and finish again in
a still image. The sketch can be a dialogue of only two people or more
people can participate.
Acknowledgement: The technique A day in the life can be found in many literary
sources, for example in Valentas Metody a techniky dramatick vchovy
or in Neelands and Goode. I first experienced this technique during the
course Dramatick techniky ve vuce cizch jazyk (can be found in [4])
led by Mgr. rka Dohnalov in autumn 2007. The activity of writing a
sketch beginning with the phrase Dont! can be found in Wessels: 85.
Realization: Students managed to accomplish the first task of the activity very well
because when I stopped reading, they were all standing in Freeze
position. All the students participated in the sketch, both teams
interpreted the same conflict (the first team interpreted Dussel stealing
the food; in the second team not only did he steal food, but also read
Annes diary).
Group Sculpture.
Objectives:
Focus:
Time:
10 min.
Setting:
Procedure:
Teacher points out that all sketches finished in the tensest moment, so
now it is the time to calm things down and make a truce. Students create
the final still image again and any one from the other team can come and
sculpt the statues in such position so that the conflict could be solved and
reconciled (what the characters need to do to reconcile).
Lenka Kivkov
Brno 2011
The sculptor can give just oral instructions to the statues in order to
practise the communicative competence.
Realization: Students immediately understood the task and they started to shape their
colleagues without feeling awkward or ashamed. The reflection was an
important part of activity, so that we could speak about the things the
characters needed in order to reconcile (empathy, patience, wisdom, etc.).
8) Reflection
(10 min)
Reflection on themes: What was the drama about? What was is about for you? Were
you able to empathize with Anne Frank and her family? Did you learn
something new? Possible themes to discuss: being different, relationships,
compromises, pacifying conflicts, observing rules, overcoming fear, etc.
Possible exploitation:
Techniques: Focused on fluency, direct experience from drama, empathy, crosscurricular content.
III. Relaxation
Giving presents
Objectives:
To award each participant/to thank each other, to calm down and relax, to
express feelings and emotions.
Focus:
Time:
5 min.
Material:
Setting:
Lenka Kivkov
Brno 2011
We have spent some wonderful four days together and I would like to
thank you for everything we have experienced. In order to thank the
others a little bit for their kindness, sensibility and creativity, we will give
each other a present.
Procedure:
1 Students lie down, relax and think of a present they would like to give
to the person on their left. They can also give some present to one more
person, whoever they want.
2 When everyone has their present in mind, they write the present on a
piece of paper, get up and hand over the present with an explanation what
it is and why.
Notes:
This activity was led in this way in order to show the participants how
they can use it with their pupils. In every class there will be pupils who
would receive 10 gifts and also the ones who would not receive anything.
That is why the instruction Give a present to the person on your left
was given and then students got the chance to be spontaneous and choose
one more person they wanted to gift.
Acknowledgement: I was inspired for this activity by a drama lesson led by Mgr.
Miroslav Coufal in autumn 2006.
Realization: Although we ran out of time, all students wanted to stay for final
relaxation activity which they really liked. Some of the students gave
presents to just one person; some of them gave presents to everybody. I
received four presents but all the participants came to say goodbye in
person and thanked me for the course. (We stayed and talked for more
than three hours after the end of the workshop).
Reflection on Day 4
There were 10 students. The atmosphere was great again. The drama of the
fourth day evoked really powerful dramatic and aesthetical experiences in all
participants. Students really liked examining the materials and gradual learning about
Anne through the diary. In the exit questionnaire many attendants said that they
appreciated the drama about such powerful and most of all real and authentic topic and
that they really found themselves empathizing with the characters. In the final
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Brno 2011
Lenka Kivkov
Brno 2011
The entry questionnaire was distributed the first day of the workshop and the
participants filled it in even before the introductory part of the workshop. It consisted of
8 questions. The exit questionnaires were filled the last day of the workshop at the very
end and they contained 12 questions. Both questionnaires were divided into
introductory part containing identical questions, serving only for obtaining the basic
information about the participants such as sex and level of their studies; and detecting
part which provided data for the evaluation of the workshop. One of the detecting
questions asked the same information both in the entry and exit questionnaires. This
particular question observed changes in participants knowledge and familiarity with the
drama methods and techniques, which the workshop pursued.
The introductory part (identical for both the entry and exit questionnaire):
1) Sex:
male
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Brno 2011
female
Sex
Number of participants
Male
4
Female
8
12
Total
Table 1: Sex of the participants.
Semester completed
Number of participants
second
6
fourth
0
sixth
3
eighth
1
I have already finished the Major
2
Table 2: Semester completed at LEI study programme.
The majority of the participants had just finished their first year in the LEI study
programme. There was only one participant who was finishing her studies and other two
who had already been working.
Entry questionnaire
3) What was your motivation to come to this workshop?
I was interested in the topic
to learn something new
to learn more about drama
I want to use drama in my own English teaching
to develop my communicative competence (in English, in general)
to develop my creativity and imagination
to meet new people
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Brno 2011
to have fun
other................................................................................................................................
Note: Participants had the possibility to tick off as many items as held for their answer.
My motivation to come
Number of participants
I was interested in the topic
4
to learn something new
5
to learn more about drama
1
I want to use drama in my own English teaching
4
to develop my communicative competence (in English, in
general)
3
to develop my creativity and imagination
3
to meet new people
0
to have fun
1
Table 3: Participants motivation to come to the workshop.
All the participants came with intention to learn something. They either sought
to learn something about using drama or to improve their communicative competence in
English. Some did not have very clear idea about what they were going to learn, but all
the attendants seemed very positively motivated in a pro-learning way.
Number of participants
4
yes
7
no
Table 4: Drama experience of the participants.
Lenka Kivkov
Brno 2011
Most of the participants did not have any previous experience with drama. Two
respondents stated that they had taken a semester course of theatre which was not
practical at all and they did not like it. The other student attended three months of
unspecified theatre classes and the last one performed in three short school plays.
Number of participants
3
yes
9
no
Table 5: Teaching experience of the participants.
Most of the participants did not have any teaching experience. However, one of
the participants passed a two-semester teaching practice at the faculty where the
workshop took place, another one had a five-month teaching experience at primary
school and the third respondent had been teaching in a well-known Mexican language
school for 16 years.
7) Do you use any these most common methods and techniques of drama in your
own English teaching?
yes
no
If yes, which one:
drama games
role play
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
interviews/interrogations
still images/tableaux
Design of the Workshop: How to Use Drama in English Class?
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soundtracking
definition of space
making maps
props, costumes, masks
diaries, letters, messages
other...............................................................................................................
Note: Participants had the possibility to tick off as many items as held for their answer.
Number of participants
5
yes
7
no
Table 6: Participants usage of common drama methods and techniques in practice.
Most of the participants did not use any of the most common drama methods and
techniques in their own teaching or teachers training. However, according to those
respondents who sometimes used them, the most used are certainly the most common
ones - role plays, interpretations of texts and improvisations.
Exit questionnaire
3) Did this workshop fulfil your expectations?
yes, completely
yes, except for a few imperfections
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partially
only little
not at all
Number of participants
yes, completely
12
yes, except for a few imperfections
0
partially
0
only little
0
not at all
0
Table 8: Satisfaction with the fulfilment of participants expectations.
4) Do you think that this workshop was useful for you, that you gained some profit
from it?
yes
no
Please specify why: ...............................................................................
Number of participants
12
yes
0
no
Table 9: Participants view on the utility of the workshop.
All the participants stated they had really liked the workshop and that they
would definitely find the way how to somehow use it in their own teaching. They all
appreciated they had learnt some new ways of teaching, especially in a dynamic and
attractive way. One respondent wrote It brought me different resources to work
creatively, meaningfully and in a funny way in the target language. It also helped me to
relate topics to the classroom and to develop consciousness in my students. Another
student said that she had learnt how to experience English through drama. In the
group there was also one psychologist who stated I can apply this experience in many
ways in my profession, for example to make people understand the situation they are
living.
6) Which methods and techniques of drama do you see as particularly valuable for
teaching English?
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drama games
role play
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
interviews/interrogations
still images/tableaux
making maps
props, costumes, masks
diaries, letters, messages
soundtracking
definition of space
role on the wall
teacher in the role
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
other......................................................................................................................
Note: Participants had the possibility to tick off as many items as held for their answer.
Number of respondents
8
10
9
9
8
8
9
6
6
6
Lenka Kivkov
Brno 2011
The vast majority of participants stated they thought all the methods and
techniques given were very useful for English Language Teaching. However, we can
observe a certain preference for the most commonly used conventions such as role play,
interpretations of texts, dramatised reading or improvisations. The course attendants
also highlighted the value of interviews and interrogations, particularly useful for
teaching foreign languages because they provide the natural need for asking and
answering questions, the usage of authentic written materials such as diaries, letters and
messages, structured drama which motivates students by emerging them into the
meaningful context, and technique A day in the life, which was particularly successful
when performed by the participants during the last day of the workshop.
7) Do you think you will use some of the methods and techniques of drama
presented in this workshop in your own English teaching?
yes
no
If yes, please specify which ones:
drama games
role play
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
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interviews/interrogations
still images/tableaux
making maps
props, costumes, masks
diaries, letters, messages
soundtracking
definition of space
role on the wall
teacher in the role
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
other..............................................................................................
Note: Participants had the possibility to tick off as many items as held for their answer.
Number of participants
12
yes
0
no
Table 11: Participants who will use the information from the workshop in practice.
All the respondents declared that would use some of the drama methods and
techniques presented in the workshop, which was the main objective I had wished to
achieve when preparing this workshop. Several participants stated they would like to try
to use all the conventions that they had experienced. The others pronounced these
preferences:
Number of respondents
9
9
8
9
Lenka Kivkov
Brno 2011
miming activities
10
improvisation
9
interviews/interrogations
9
still images/tableaux
9
making maps
8
props, costumes, masks
7
diaries, letters, messages
7
soundtracking
7
definition of space
8
role on the wall
6
teacher in the role
9
mantle of the expert
4
a day in the life
8
hot-seating
6
voices in the head
5
alley of opinions
8
position on the scale
6
structured drama
7
Table 12: Particular methods and techniques participants will use in practice.
Again, the most commonly used drama methods and techniques in the repertoire
of the participants of this workshop will probably be the best-known ones. Nevertheless,
the respondents also expressed the wish to use techniques like still images, teacher in
the role, definition of space, alley of opinions and miming activities. In general, all the
participants stated they really appreciated the practical aspect of the workshop and that
they had found its content very inspiring for their future teaching carrier.
8) During your work on this workshop, what did you like most and why?
The answers to this question varied considerably. Almost each participant liked
something different. The majority of them liked most structured dramas because they
were set into a realistic or even historical context. The attendants liked especially
building the scenario in the story of missing Lisa, creating their own Tenochtitlan and
Anne Franks diary because, as one respondent wrote, it deals with the real issue, it
makes me feel part of it, understand feelings of others and at the same time we had
opportunity to talk in English and create. Other students liked still images and role
plays, also the nice atmosphere and kind guiding and experience of getting to know
each other during the drama work. One student highlighted the final reflections on
topics about which she had never thought before. Another girl liked the fact they could
Design of the Workshop: How to Use Drama in English Class?
106
Lenka Kivkov
Brno 2011
participate and live the experience by themselves and they could see an application of
drama in the English class.
10) What did you find the most difficult and why?
A few respondents stated they had problems with coming up with ideas quickly
because they did not feel that creative and spontaneous. Some of them again mentioned
miming and acting out because of the shyness with which they had to struggle. Two
participants mentioned they had difficulties to get into agreement with other members
of the team because they all had too many ideas and sometimes because of the level of
English that was not corresponding to the anticipated knowledge. This problem clearly
points to the significance of the ability to work in teams, which should be by means of
drama supported in every class.
12) How do you think you will use this experience in your own English teaching?
All the participants responded they would use the experience somehow. Some
enumerated the specific activities such as warm-ups; the others would use the activities
to practise speaking skills, to provide communicative activities and to establish good
relationships in the classroom and nice working atmosphere. Three respondents also
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
stated they got inspired by my guiding and that they would start working on themselves
to become more creative and cheerful teachers.
In both entry and exit questionnaire I included one identical question which is an
important indicator of participants acquiring of some knowledge and familiarity with
uncommon drama methods and techniques used in English Language Teaching. It
concerns the question number 8 from the entry questionnaire and question number 5
from the exit questionnaire.
Do you know these methods and techniques of drama (how they work, how they
are used)?
yes
no
If yes, which one:
soundtracking
definition of space
role on the wall
teacher in the role
still image
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
Note: Participants had the possibility to tick off as many items as held for their answer.
The inquiry shows that before the workshop the large majority of the
participants were not familiar with most of the less commonly used methods and
Design of the Workshop: How to Use Drama in English Class?
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Lenka Kivkov
Brno 2011
The main objective of this workshop was to present the participants the methods
and techniques of Drama Education in English Language Teaching. In this inquiry
question I concentrated on less commonly used conventions and from the answers we
can see the significant change in respondents knowledge and familiarity of given
conventions, their description, use and function in instruction. That is why I consider
my principle goal of the workshop as accomplished.
12
10
8
6
4
2
0
10
11
10
Entry questionnaire
Exit questionnaire
2
0
so
de und
f in tra
c
iti
on kin
g
ro of s
le
pa
ce
tea o n
ch the
er
wa
in
ll
th
er
m
ol
an
s
tle till e
of im a
g
th
ad ee e
ay xp e
rt
in
th
e
lif
vo hot
ice -se e
ati
si
ng
n
th
all
eh
e
y
po
ea
sit of
op d
io
n
on inio
str the ns
uc
tu scal
re
e
d
dr
am
a
Number of participants
Advancement of Knowledge
Lenka Kivkov
Brno 2011
6 CONCLUSIONS
The ambition of this Diploma thesis was to study all the theoretical information
about Drama Education I had gained during my studies and try to apply it in practice.
During my studies I have realized several drama lessons with my colleagues and
cooperated on several drama projects. This final project, however, gave me the
possibility to prepare the whole four-day workshop on my own, from the initial ideas,
through preparation of all the activities and materials, organization of participants,
communication with the institution (Universidad Nacional Autnoma de Mxico),
provision of equipment and space, to the longed-for realization.
The preparation and the realization of the workshop itself provided me with a
priceless academic, working, but most of all personal experience for which I feel really
grateful. This experience, which gave me opportunity to successfully represent my
university at such prestigious institution as Universidad Nacional Autnoma de Mxico,
definitely stimulated me to continue on this path and to further integrate Drama
Education into the foreign languages I teach.
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Brno 2011
7 RESUME
This Diploma thesis deals with the use of Drama Education in foreign language
teaching. It is divided into two main parts. The first, theoretical part is concerned with
the concept of Drama Education in English Language Teaching and concentrates on its
particular methods and techniques, especially in structured drama. It is also concerned
with the theoretical background of the project introduced in the practical part. The
second, practical part describes the project of the four-day practical drama workshop
called How to use Drama in an English language class?, realized with the students of
Training in teaching English at Universidad Nacional Autnoma de Mxico in Mexico
City. The considerable part of the workshop is based on the practical drama courses led
by Mgr. rka Dohnalov and Andrew John Kempe.
Lenka Kivkov
Brno 2011
8 BIBLIOGRAPHY
1. BRTOV, M. Vyuit dramatick vchovy k poslen kompetenc osob se
zrakovm postienm: diplomov prce. Brno: MU, 2009.
2. BUTTERFIELD, T. Drama through Language through Drama. Banbury:
Kemble Press, 1989. ISBN 978-0906835289.
3. CLARK, J., DOBSON, W., GOODE, T., NEELANDS, J. Lessons for the
Living. Drama and Integrated Curriculum. Newmarket: Mayfair Cornestone,
1997.
4. FRANK, A. The Diary of a Young Girl: The Definitive Edition. New York:
Doubleday, 1995. ISBN 0-385-47378-8.
5. GARDNER, H. Multiple Intelligences. New York: Basic Books, 1993. ISBN 0465-01821-1.
6. HAIS, K., HODEK, B. Velk anglicko-esk slovnk. Prague: Academia, 1991.
ISBN 80-200-0065-8.
7. HAMILTON, J., MCLEOD, A. Drama in the Languages Classroom. London:
CILT Publications, 1993. ISBN 978-1874016076.
8. HARMER, J. How to Teach English. Essex: Pearson Education Limited, 2007.
ISBN 978-1-4058-4774-2.
9. HARMER, J. The Practice of English Language Teaching. Essex: Longman
Press, 2001. ISBN 978-1405853118.
10. KERNERMAN, L. Password. Prague: Mlad fronta, 1991. ISBN 80-204-02888.
11. KOTKOV, S. Et Al. Vybran kapitoly z dramatick vchovy. Prague:
Karolinum UK, 1998, ISBN 80-7184-756-9.
12. KIVKOV, L. Vyuit dramatick vchovy ve vuce cizch jazyk: zvren
prce ze specializace Dramatick vchova. Brno: MU, 2011.
13. LARSEN-FREEMAN, D. Techniques and Principles in Language Teaching.
New York: Oxford University Press, 2003. ISBN 978-0194355742.
14. LIU, J. Process Drama in Second- and Foreign- Language Classrooms. In
Bruer, G. (Ed.). Body and Language. Intercultural Learning through Drama.
London: Ablex Publishing, 2002. P. 51-70.
Lenka Kivkov
Brno 2011
15. MACHKOV, E. Jak se u dramatick vchova. 2nd ed. Prague: AMU, 2007.
ISBN 978-80-7331-089-9.
16. MACHKOV, E. 2004. Volba literrn ltky pro dramatickou vchovu aneb
Hledn dramatinosti. Prague: AMU, 2004. ISBN 80-7331-013-9.
17. MACHKOV, E. Improvizace s pbhem v angloamerickm dramatu. 1st ed.
Prague: AMU, 1996. ISBN 80-85883-16-3.
18. MACHKOV, E. Metodika dramatick vchovy. Prague: Artama, 1993. ISBN
80-7068-041-5.
19. MACKOV, E. vod do studia dramatick vchovy. Prague: Artama, 1998.
ISBN 80-7068-103-9.
20. MALEY, A., DUFF, A. Drama techniques. A Resource Book of Communication
Activities for Language Teachers. Cambridge: Cambridge University Press,
1982. ISBN 0-521-24907-4.
21. MAK, J. a kol. Alternativn metody a postupy. Brno: MU, 1997. ISBN 80210-1549-7.
22. MCCASLIN, N. Creative Dramatics in the Classroom. London: Longman Pub
Group, 1995. ISBN 978-0801315855.
23. MORGAN, N., SAXTON, J. Vyuovn dramatu. Hlava pln npad. Prague:
Sdruen pro tvoivou dramatiku, 2001. ISBN 80-901660-2-4.
24. NEELANDS, J., GOODE, T. Structuring Drama Work. A Handbook of
Available Forms in Theatre and Drama. 2nd ed. Cambridge: Cambridge
University Press, 2000. ISBN 978-0-521-78729-1.
25. MEZA, O. Leyendas prehispnicas mexicanas. Mexico City: Panorama
Editorial, 2004. ISBN 9683801994.
26. MOCTEZUMA, E. Tenochtitlan. Mexico City: El Colgio de Mxico, 2006.
ISBN 978-968-16-8118-0.
27. PAVLOVSK, M. (Eds.) Komunikace a een problmovch situac ve kole.
Brno: MSD, 2004. ISBN 80-86633-24-1.
28. PAVLOVSK, M. (ed.) Cesta souasn koly ke kole tvoiv. Brno: MSD,
2002. ISBN 80-86633-02-0.
29. PAVLOVSK, M., KROA, D. Dramatick vchova a divadlo. Brno: CERM,
1999. ISBN 80-7204-110-X.
30. PAVLOVSK, M. Dramatick vchova. Brno: Cerm, 1998. ISBN 80-7204071-5.
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31. PHILLIPS, S. Drama with children. Oxford: Oxford University Press, 1999.
ISBN 0-19-437220-0.
32. RICHARDS, J. C. Curriculum Development in Language Teaching. New York:
Cambridge University Press, 2001. ISBN 978-0-521-80060-0.
33. RICHARDS, J. C., RODGERS, T. S. Approaches and Methods in Language
Teaching. 2nd Ed. New York: Cambridge University Press, 2001. ISBN 978-0521-80365-6.
34. RITTENBERG, M., KREITZER, P. English through Drama. California:
Alemany Press, 1981. ISBN 0-88084-001-3.
35. SCRIVENER, J. Learning Teaching. 2nd ed. Oxford: Macmillan Education,
2005. ISBN 978-1-4050-1399-4.
36. SVOZILOV, D. Analza strukturovan dramatick hry v kontextu dramatick
vchovy. Brno: JAMU, 2005. ISBN 80-86928-10-1.
37. UR, P. A Course in Language Teaching. Cambridge: Cambridge University
Press, 1996. ISBN 0-521-56798.
38. UR, P., WRIGHT, A. Five-minute activities. Cambridge: Cambridge University
Press, 1992. ISBN 978-0521397810.
39. VALENTA, Josef. Metody a techniky dramatick vchovy. Prague: Grada, 2008.
ISBN 9788024718651.
40. VALENTA, J. Kapitoly z teorie vchovn dramatiky. Prague: ISV, 1996. ISBN
80-85866-06-4.
41. WESSEL, CH. Drama. Resource Book for Teachers. Oxford: Oxford University
Press, 1987. ISBN 0-19-437097-6.
Lenka Kivkov
Brno 2011
[4] AJ DTVJ Dramatick techniky ve vuce cizch jazyk. April 17, 2011. Moodlink-a. 29 April, 2010. <http://moodlinka.ped.muni.cz/course/view.php?id=1166>.
[5] Dramatick postupy ve vuce anglitiny. April 17, 2011. Mood-link-a. 29 April,
2010. <http://moodlinka.ped.muni.cz/course/view.php?id=821>.
[6] Dotdismus.com. 2011. Dotdismus.com Ltd. April 20, 2010.
<http://www.dotdismus.com>.
[7] Wikipedia: The Free Encyclopedia. April 14, 2011. Wikimedia Foundations,
Inc. April 30, 2010. <http://en.wikipedia.org/wiki/Anne_Frank>.
Other Internet sources:
1. Dramatick vchova. 2010. Sdruen pro tvoivou dramatiku. March 30, 2011.
<http://www.drama.cz/osnovy_a_programy/osnovy_obecna_skola.html>.
2. About UNAM. 2009. Universidad Nacional Autnoma de Mxico. February 21,
2011. <http://www.unam.mx/acercaunam/en/>.
3. Portal de Estadsticas Universitarias. 2011. Universidad Nacional Autnoma de
Mxico. February 21, 2011. <http://www.estadistica.unam.mx/numeralia/>.
4. About Us (Acatln). 2011. Universidad Nacional Autnoma de Mxico.
February 21, 2011. <http://www.acatlan.unam.mx/campus-en/1210/>.
5. Enseanza de Ingls. 2011. Universidad Nacional Autnoma de Mxico.
February 21, 2011. <http://www.acatlan.unam.mx/licenciaturas/205/>.
6. Wikipedia: The Free Encyclopedia. March 26, 2011. Wikimedia Foundations,
Inc. April 30, 2010. <http://en.wikipedia.org/wiki/Moctezuma_II>.
7. Barter Theatre Diary of Anne Frank. April 18, 2011. Sunrise Theatre
Marketing. April 30, 2010. <http://www.royalinnbeach.com/2010/08/15/bartertheatre-the-diary-of-ann-frank/>.
Lenka Kivkov
Brno 2011
9 APPENDICES
Appendix 1: Certificate confirming the realization of the course
Appendix 2: Copy of a dialogue
Appendix 3: Copy of the text Little Red Riding Hood
Appendix 4: Moctezumas monologue
Appendix 5: Choral reading text
Appendix 6: Picture of Anne Frank
Appendix 7: Diary entry 1
Appendix 8: Diary entry 2
Appendix 9: Diary entry 3
Appendix 10: Diary entry 4
Appendix 11: Diary entry 5
Appendix 12: Entry questionnaire
Appendix 13: Exit questionnaire
Appendix 14: Photo documentation
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
A: Yes.
B: Why yes?
A: Because yes.
B: And if I say no?
A: Why no?
B: Because no.
A: No?
B: No.
Your granny is ill. Please will you take these cakes to her?
NARRATOR Little Red Riding Hood was reminded by her mother not to stop at all on
the way. She must go straight to her grandmothers house and not talk to
any strangers. So she promised to be careful, waved goodbye to her
mother and skipped off through the woods. It was a lovely sunny day and
Little Red Riding Hood saw some beautiful flowers growing. The
flowers were so pretty that she forgot her promise to her mother, knelt
down and began to pick some. But someone was lurking behind the trees.
It was a crafty, hungry wolf.
NARRATOR Mr Wolf walked up to Little Red Riding Hood and spoke to her in a nice,
friendly voice.
MR WOLF
Lenka Kivkov
Brno 2011
NARRATOR Mr Wolf thought that Little Red Riding Hood looked very tasty and he
cooked up a cunning plan. Off he ran as fast as he could to Grannys
house. He knocked on the door. Granny sat up in bed.
GRANNY
Who is it?
GRANNY
NARRATOR Mr Wolf let himself in. He went over to Granny, opened up his mouth
and gobbled her up whole. He let out a large burp!
MR WOLF
NARRATOR Mr Wolf put on one of Grannys nightgowns, one of her frilly sleeping
caps and her glasses. Then he got into Grannys bed and waited for Little
Red Riding Hood to arrive. A short time later there was a knock at the
door. Mr Wolf spoke in his friendly, sweet voice again.
MR WOLF
Who is it?
Come in my dear.
NARRATOR But when Little Red Riding Hood went into the cottage, she thought her
Granny looked very, very odd.
NARRATOR Little Red Riding Hood looked carefully at Granny.
LITTLE RRH Oh Granny, what big ears you have!
MR WOLF
All the better to eat you with and Im going to eat you up!!
NARRATOR Mr Wolf leapt out of bed and began to chase Little Red Riding Hood.
She ran round the room with the wolf behind her, screaming loudly. A
woodcutter, chopping logs nearby, heard the screams and ran quickly to
the cottage. He bonked the wolf on the head and slit him down the
middle with his axe. Out popped Granny.
GRANNY
NARRATOR Then Little Red Riding Hood, Granny and the woodcutter filled the
wolfs tummy with stones. They sewed him up and took him deep into
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Lenka Kivkov
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the woods. Mr Wolf had a very bad tummy ache when he woke up.
Everyone felt very relieved.
LITTLE RRH From now on, I will always do as mother asks and never speak to
strangers.
NARRATOR Granny, the woodcutter and Little Red Riding Hood sat down together to
have tea and cakes and were never bothered by that wicked Mr Wolf
again. [4]
Dear Aztec people, welcome to this special meeting. I have summoned you
because I wanted to inform you about some very disturbing event that has happened. I
have seen a sign, an omen and I had our greatest Totonaca wizard Itecupinqui to
interpret the sign. Here is what I saw:
The fishermen in the lagoon caught in their nets a bird, a bird of a colour and
size of a hawk, and that bird had in the middle of its head a mirror. They have never
seen anything like that. So they brought me the bird into my palace, I was in the hall
and it was after noon. I looked at the bird and at the mirror it had in its head, it was
round and glazed, and looking into the mirror I saw the stars of the sky, the
mamalhuaztli, the stars of the Taurus constellation.
I got really terrified and I turned away in surprise. When I looked back into the
mirror that was in the bird's head I saw people riding strange animals. Those people
were coming in a huge crowd, all with unknown arms. And when I saw this I got even
more frightened. That is why I summoned my tonapoulques, my astrologers and diviners
and I asked them What was it that appeared to me? and they were all really puzzled
and the bird disappeared and they got all really scared and they weren't able to say
anything. (Meza: 31)
That is why I called the famous Totonaca wizard to interpret the sign and here is
the prophecy he told me.
I wouldnt like Oh King! to alarm your spirit, but the prophecy of Quetzacatl
is about to come true. White and bearded men will come from the Orient and our cities
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Lenka Kivkov
Brno 2011
will be destroyed and ruined, our sons dead and our gods chased out from the temples.
Do not be alarmed any more because what is going to happen cannot be avoided.
Quetzacatl will return to take the possession of his land. (Meza: 32)
[7]
Picture 1: Picture of Anne Frank
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
It's the same with the curtains. Ever since we first went into hiding, they've been
tacked firmly to the windows.
Sometimes one of the ladies or gentlemen can't resist the urge to peek outside.
The result: a storm of reproaches. The response: "Oh, nobody will notice." That's how
every act of carelessness begins and ends. No one will notice, no one will hear, no one
will pay the least bit of attention. Easy to say, but is it true? (Frank: 127)
(Frank: 91)
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Lenka Kivkov
Brno 2011
Entry Questionnaire
Hello,
I would like to ask you to fill in this short entry questionnaire which serves to detect the
information concerning the workshop How to Use Drama in English Class? held
from June 14th to June 17th 2010 at LEI, FES Acatln, UNAM, Mexico. The
questionnaire consists of close questions, where you are supposed to tick off the items
that hold for your answer or opinion, and open questions, where you are supposed to
specify or amplify your answer/opinion. This questionnaire is anonymous and it will
serve only to the purposes of my Diploma thesis and the final project of the
specialization of Drama Education.
Thank you very much for your time!
1) Sex:
male
female
Lenka Kivkov
Brno 2011
7) Do you use any methods and techniques of drama in your own English teaching?
yes
no
If yes, which one:
drama games
Design of the Workshop: How to Use Drama in English Class?
125
Lenka Kivkov
Brno 2011
role play
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
interviews/interrogations
still images/tableaux
soundtracking
definition of space
making maps
props, costumes, masks
diaries, letters, messages
other................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
8) Do you know these methods and techniques of drama (how they work, how they are
used)?
yes
no
If yes, which one:
soundtracking
definition of space
role on the wall
teacher in the role
still image
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
Design of the Workshop: How to Use Drama in English Class?
126
Lenka Kivkov
Brno 2011
Hello,
I would like to ask you to fill in this exit questionnaire which serves to detect the
information concerning the workshop How to Use Drama in English Class? held
from June 14th to June 17th 2010 at LEI, FES Acatln, UNAM, Mexico. The
questionnaire consists of close questions, where you are supposed to tick off the items
that hold for your answer or opinion, and open questions, where you are supposed to
specify or amplify your answer/opinion. This questionnaire is anonymous and it will
serve only to the purposes of my Diploma thesis and the final project of the
Specialization of Drama Education.
Thank you very much for your time!
1) Sex:
male
female
Lenka Kivkov
Brno 2011
only little
not at all
4) Do you think that this workshop was useful for you, that you gained some profit from
it?
yes
no
Please specify why:
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
5) Do you know these methods and techniques of drama (how they work, how they are
used)?
yes
no
If yes, which one:
soundtracking
definition of space
role on the wall
teacher in the role
still image
mantle of the expert
a day in the life
hot-seating
voices in the head
position on the scale
structured drama
alley of opinions
6) Which methods and techniques of drama do you see as particularly valuable for
teaching English?
drama games
role play
Design of the Workshop: How to Use Drama in English Class?
128
Lenka Kivkov
Brno 2011
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
interviews/interrogations
still images/tableaux
making maps
props, costumes, masks
diaries, letters, messages
soundtracking
definition of space
role on the wall
teacher in the role
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
other.................................................................................................................................
7) Do you think you will use some of the methods and techniques of drama presented in
this workshop in your own English teaching?
yes
no
If yes, please specify which ones:
drama games
role play
dramatized reading
interpretation of dialogues and texts
miming activities
improvisation
interviews/interrogations
Design of the Workshop: How to Use Drama in English Class?
129
Lenka Kivkov
Brno 2011
still images/tableaux
making maps
props, costumes, masks
diaries, letters, messages
soundtracking
definition of space
role on the wall
teacher in the role
mantle of the expert
a day in the life
hot-seating
voices in the head
alley of opinions
position on the scale
structured drama
other.............................................................................................................................
8) During your work on this workshop, what did you like most and why?
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
10) What did you find the most difficult and why?
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
Design of the Workshop: How to Use Drama in English Class?
130
Lenka Kivkov
Brno 2011
12) How do you think you will use this experience in your own English teaching?
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
.............................................................................................................................................
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Photo 3: Still image (film scene + famous line) Romeo and Juliet
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011
Lenka Kivkov
Brno 2011