LGA3104 PLAYS AND DRAMA FOR YOUNG LEARNERS TUTORIAL 1

BY: NUR NASHRAH NURULJANNAH

1. The story contains captivating characters.

Age of the characters: Some children enjoys watching children as the characters. hey can imagine the a!ility of a child as com"are to an ad#lt character. Uni$#e "ersonalities: he characters ha%e their own strong "ersonality that ma&es it easy for the children to identify them. 'or e(am"le:
)eter )an: non*chalant+ de%il*may* cry attit#de

2. The story has many adventurous events.

Beca#se children are mostly energetic+ they li&e to watch ris&*ta&ing e%ent rather than melancholic e%ent. 'or e(am"le: At ,ermaids- Lagoon+ )eter and the Lost Boys sa%e the "rincess iger Lily and !ecome in%ol%ed in a !attle with the "irates+ incl#ding the e%il .a"tain Hoo&. )eter is wo#nded when Hoo& claws him. He !elie%es he will die+ stranded on a roc& when the tide is rising+ !#t he %iews death as /an awf#lly !ig ad%ent#re/. L#c&ily+ a !ird allows him to #se her nest as a !oat+ and )eter sails home.

How it feeds childrens imagination?

,agical and fantasy elements* ,ermaids+ "irates+ fairy A""ealing and f#nny characters* he Lost Boys 0(traordinary setting* Ne%erland

How would you think children would respond to the story?

Some may ask s??!

how could Captain Hook want to KILL a child? are there other adults who want to hurt children? why aren't there adults to protect the children? why is Tinkerbell so mean? why doesn't the father love his children? why did the parents leave the children alone when they went out? could someone come into our house through the windows while we are sleeping?

! ! ? ? . e m o s e Wh i l
1hile some children may not !e affected !y these scenes+ eg: highly intelligent or sensiti%e children And while these to"ics are worth disc#ssing and e("loring+ "reschoolers do not need to !e e("osed to them !efore they are mat#re eno#gh to ha%e a meaningf#l disc#ssion. oo many "arents let their children watch a mo%ie sim"ly !eca#se it comes from 2isney.

How can the story facilitate language acquisition?

 In mo re spec ific, pla and int ys invo eractio lve sim n activi such u lation t i e s as vario us form dramat s of dia i z e d s to logues ry tellin !o pl , an d g ay can ta"e se langua veral fo ge clas r ms in t s r o o m it sho he uld #e a comm among unicati th e p u p ve activ langua i l s i n ity using t ge h e $n g lish

'or e(am"
4n the )resentation Stage

le3.

a new item of lang#age co#ld !e "resented !y means of a dramati5ed dialog#e on %ideo or a#dio cassette+ as silent reading+ or as reading while listening to the teacher or to an a#dio cassette. 4n the )ractice Stage the new %oca!#lary+ str#ct#res+ or le(is to !e learnt can !e "ractised !y means of connecting e(ercises.

 What are the problems if we want to adapt the story as children plays?

 $arly childhood is also the %high season& of imaginative play '!inger ( !inger, 1))*+, a period in which ma"e #elieve evolves from simple imitative acts into ela#orate plots involving com"le( coordination of roles. S6333333333333..

 children will find it h ard to #se strategies3 cogniti%e .. to contro l their emo tions and i act in acco m"#lses+ l rd with soc earn to ial and mo standards ral 3.. and ma& e strides in directing a their thin&i nd monitor ng and !e ing ha%ior in " chosen go #rs#it of se als and the lf* e("ectatio "resenting ns of other the )LAYs s in 3..

. 3 3 y l l a 0motion

his is !eca#se3.
4t ha s a ma & e*! el .hi ie%e e ldren w lemen i l l find i t somet t hard h i n g th to ! e a in this a t is # d a " te d nrea l a real w o r ld n d ne % to How er e(is e %e r i t ts is not it if tea im"os chers si ! l e t th e m " #t an o im"l effort t ement o e("l ain it t o

)hysically3..
)re"aration of "ro" s and cost#mes for th e characters he le%el of lang#a ge #sed 7need to !e s#ited to the "#"ils8 le %el9

his is !eca#se3.
hese elements are %ery im"ortant to !e considered

o ma&e s#re that the message will !e deli%ered s#ccessf#lly to the a#diences

TH,-. /01