Permata 's blog

My name is Elpasari Permata (171230148) from TBI- 6E. In here, I summarized a book "Speaking and Listening through Drama 7-11 by Francis Prendiville and Nigel Toye"

1. How to Begin with Teacher in Role?

a) Why use teacher in role?

Learning demands intervention from the teacher to structure, direct and influence the learning of the pupils. One of the best ways to do that in drama work is to be inside the drama. Therefore, at the centre of the dramas that we include in this book, is the key teaching technique that is used, namely teacher in role (TiR). TiR creates a particular context and can raise the level of commitment and the meaning-making. It can ‘feel real’ even though it is not. You are not effective as a teacher if you do not at some point engage fully with the drama yourself by using TiR. Remaining as teacher, intervening as teacher, side-coaching, structuring the drama from the outside, and/or sending the class off in groups to create their own drama must at best restrict and at worst negate any opportunity for the teacher to teach effectively.

b) Teacher as storyteller

The teacher as a storyteller is something all primary school teachers will recognise. Good teachers slip easily into it and use it frequently. In its most observable guise it occurs when teaching the whole class and engaging them with a piece of fiction. As long as some fundamental planning strategies are observed, knowledge of the story is not a barrier to participation.

- Preparation for the role

In preparing to be this kind of storyteller the teacher must have made particular decisions about this child. Begin by asking the class out of role what they want to ask the child and the order of those questions.

d) Teaching from within

Moving in and out of role – managing the drama and reflecting on it.

We are describing using role as ‘teaching from within’ because the teacher enters the drama world, but it is very important to step out of the fiction often and not let it run away with itself. TiR changes the nature of the contract entered into by the class. What is that contract? It is ‘the imaginative contract’:

● It is not, I will teach you by telling you what you need to know – the style of much classroom teaching.

● It is not, I will present a play before you and you will watch me, as the actor contracts with an audience.

● It is not, Listen and I will tell you a story. It is my story and you must not interrupt it.

● It is, You will become a playmaker, an author with me and will be a part of the story that I start and we create together. The result is to make the creative community.

e) The requirements of working in role

The teacher, working in this way, is an important stimulus for the learning. It is not necessary to use role throughout the piece of work. In order to make the TiR most effective, we need to look at educational drama from the point of view of the ‘audience’, an audience who in this instance are participants at the same time.

f) Disturbing the class productively

Discovery/uncovering – challenge and focus

The teacher’s function is to provide challenge and stimulus, to give problems and issues for the class to have to deal with. The drama is developed through a set of activities that build the class role, which is usually a corporate role. We have to help them into the drama, making them comfortable, and then disturb that comfort productively. The fact that, as in any good play, the class discover things as they go along provides the possibility of productive tension

g) Responding to your class

The art of authentic dialogue – needing to listen – two-way responses

The art of teaching and learning should be a synthesis from a dialectical approach. If a teacher runs drama without using TiR there tends to be a lack of dialectic because the teacher produces the structure that the children engage with, but the teacher can only manipulate it from outside that structure.

2. How to Begin Planning Drama

In this chapter we are going to describe and analyse the main components of planning in drama. On this journey we will visit a number of key planning decisions and approaches. These are:

● The frame of a drama – first example ‘The Governor’s Child’.

● The frame of a drama – second example ‘The Wild Thing’

● How did this drama evolve?

● The ingredients of planning

● Learning objectives

● Strong material

● Roles for the pupils

● Tension points – risks – theatre moments

● Building context and belief-building

● Challenges and decision-making

There are two main types of this sort of classroom drama that have evolved: ‘living through drama’, where the pupils face the events at a sort of life rate in the here and now, and ‘episode drama’, or strategy-based drama, where the class are led by the teacher in creating situations and events through specific techniques or strategies and where chronology is more broken.

With all plans you need to ensure that a tension moment comes early to spur the interest of the group and that a TiR features early to model the commitment and seriousness of the drama.

- How to begin a plan, facing the problems of starting from scratch.

- The elements of planning including: learning objectives, a stimulus to learning, roles for the teacher and for the children, how to create tension points, building context and belief in the drama, the decision-making for the class, the choice of strategies and techniques.

- The frame, the way the elements link together to provide viewpoint for the class.

- Planning with someone else.

- Road testing the first version.

Appendix: Drama starters

Here are some beginnings of ideas for dramas that can be used to provide short TiR events or can be developed more fully as dramas by taking the approaches suggested in this chapter. In each case we have supplied a ‘learning intention’, a starter role and the situation to be set up. The ‘key moment later’ shows potential for further development.

3. How to Generate Quality Speaking and Listening

Authentic dialogue – teacher and pupil talk with a difference

a) What is speaking and listening ?

Speaking and listening is the most important communication form that human beings use. Really effective oracy, developmental speaking and listening, will help pupils build their language, their understanding, their ability to handle their own world, making sense of it and who they are in it.

b) Dialogic teaching

In schools too often speaking and listening is seen as question and answer, usually the teacher questioning and the pupils answering. Too often talk is this ‘recitation’ (Alexander, 2005, p. 34) where teacher speaks most and pupils listen or only answer questions. The resulting classroom games include:

● guessing what is in the teacher’s head – pupils avoiding having to answer the question

● linguistic tennis – where it is about getting rid of the ball quickly not about developing an exchange of ideas

● point scoring – getting the answers right or getting them wrong and feeling a failure.

Talk, being central to the development of the brain, must be a priority for teachers. Alexander promotes dialogic teaching as the most powerful form of talk in the classroom. He identifies its key elements as:

● Collective: teachers and pupils address learning tasks together, as a group or as a class;

● Reciprocal: teachers and pupils listen to each other, share ideas and consider alternative viewpoints;

● Supportive: pupils articulate their ideas freely, without fear of embarrassment over ‘wrong’ answers; and they help each other to reach common understandings;

● Cumulative: teachers and pupils build on their own and each other’s ideas and chain them into coherent lines of thinking and inquiry;

● Purposeful: teachers plan and steer classroom talk with specific educational goals.

Alexander, in examining current research in the use of dialogical teaching, highlights three areas that are essential for the achievement of authentic dialogue but which are very demanding and more difficult for teachers to achieve in ordinary classroom settings. They are:

● Learning talk and teaching talk – the achievement of understanding what the child says matters at least as much as what the teacher says.

● Is extended talk dialogical teaching? – pupils’ answers and other contributions are becoming longer, but do these necessarily add up to a dialogue?

● Form and content – how can we best ensure that classroom talk is cumulative and purposeful as well as collective, reciprocal and supportive?

c) What does dialogic teaching demand of the teacher?

It demands changes – in the handling of classroom space and time; in the balance of talk, reading and writing; in the relationship between speaker and listeners; and in the content and dynamics of talk itself. (Alexander, 2004)

The teacher working through drama is intervening as teacher but also as other roles within the drama, roles that are models and anti-models to promote the pupils’ language in ways that teacher language cannot.

d) How is listening of high quality taught through drama?

The teacher can provide surprises, challenges, interesting people to meet in the forms of teachers in role; pupils can provide models of language use for each other because lead pupils begin to take initiative and provide input. In drama we can get new levels of listening because of the pupils’ interest in the problem-solving of the drama itself. The focus of the problem or dilemma that the pupils face embodies the nature of the language. In order to carry out all of these speaking activities they are, of course, inevitably developing their listening and we see this in all its powerful and active modes, listening that is: open, sensitive, reflective, receptive, supportive, attentive, collective, creative.

4. How to Use Drama for Inclusion and Citizenship

Drama’s inclusion is embedded, first, in its dialogical approach to teaching and learning. This is reflected in two contracts that form part of its rubric.

These are:

- Everyone will take part, including the teacher both in and out of role.

- We will treat members of the group with respect by listening to them and allowing them to express their views without fear of derision or humiliation.

a) What can drama offer in terms of inclusion?

● Drama offers ‘new opportunities to pupils who may have experienced previous difficulties’ (Ofsted, 2006, p. 7).

● Drama takes account of pupils’ varied life experiences and needs by using fictional contexts and roles which enable pupils to explore the underlying issues safely.

● For some pupils drama may offer experiences that are different to those they experience in the real world, for example taking the role of the outsider or the role of the one in charge.

b) The concept of drama and keeping pupils safe

There is a perception of drama dealing with issues in a safe way because it uses fictional contexts. It is almost as if by shifting to the fictional, a safe emotional distance is automatically created.

c) Having a voice in society

If we return to the central idea in drama of creating an ‘as if’ world we see that it is a world that is, at least in part, created by the participants through their ideas. As we have seen in the planning section, good planning creates gaps and spaces for pupils to input their ideas. If we plan for pupils’ ideas to be part of the drama lesson and we are creating a safe environment for this to happen, we are in effect giving them a voice to express their understandings and perspective on the world in which they live.

d) Having no voice in society

Let us examine this more closely. In the drama lesson the individual’s responses have three components:

● What we think (thoughts)

● What we say (utterances)

● What we do (actions)

e) The relationship between inclusion and citizenship

The PSHE and Citizenship framework comprises four interrelated strands which support children’s personal and social development. The strands are:

● developing confidence and responsibility and making the most of their abilities;

● preparing to play an active role as citizens;

● developing a healthy, safer lifestyle; and

● developing good relationships and respecting the differences between people.

5. How to Generate Empathy in a Drama

The components of empathy

The idea of a ‘cognitive’ stage and an ‘affective’ stage in the empathetic process is taken from the writings of Alan Leslie in his work at London University, as summarised by Simon Baron-Cohen (2003, pp. 29–30).

- Component One – the cognitive component

- Component Two – the affective component

Can we plan for generating empathy?

We can generate empathy through structuring roles and creating a drama frame where it is likely to happen. There are three parts to this process: the role of the teacher, the role of the pupils and the frame in which they are placed.

- The role of the pupils

- The role of the teacher

- How to structure drama for empathetic response

- Building the cognitive component

- Framing the affective component

6. How to Link History and Drama

There are tensions between history and drama but they can be resolved byadopting a conceptual framework that is clear about the learning intentions

Research is a key element in planning roles from history

Using a variety of sources helps to support the validity of the work

It is important to be clear about what you mean when you use the word empathy in relation to drama and history teaching

Using signifiers, not full costume, when taking on a role allows you to come in and out of role

Reference to modern day parallels allows you to make the connections between then and now.

7. How to Begin Using Assessment of Speaking and Listening (and Other English Skills) through Drama

a) What is assessment?

The primary aim of assessment is to provide information about the development and achievement of those involved in the teaching and learning situation. Assessment records evidence related to students' abilities, both actual and potential, and charts their progression. The intended audience of assessment feedback should always include the students themselves. (Clark and Goode, 1999, p. 15). We are looking at how best to obtain the information on the students’ abilities in Speaking and Listening.

b) What do you look for?

Jim Clark and Tony Goode identify key ways that drama promotes speaking

and listening: Drama as a context for speaking and listening

● Negotiating and co-operating with others in the creation of drama work and the roles within it

● Expressing imaginative ideas when contributing to the drama work development

● Taking and using effectively the opportunities within the drama that require oral and aural communication

● Modifying, selecting and relating language and vocabulary to the changing roles, moods and situations in the drama work

● Controlling effectively oral and aural communication particularly in challenging sequences of drama work, e.g. questioning, dilemmas, unfair or emotional situations

● Responding with enjoyment and enthusiasm to the exploration of speech, gesture and sound

● Contributing effectively to critical evaluation of their own work and that of others

(Clark and Goode, 1999, p. 22)

c) What is the purpose of the assessment?

To:

● give feedback to the pupil

● report to another teacher

● report to a parent

- Formative assessment – feeding back to the pupils

- Recording and analysing what we see

- Talk as the basis for writing

Permata 's blog

Minggu, 26 April 2020

ADVANCE ENGLISH

HOW TO APPROACH SPEAKING and LISTENING THROUGH DRAMA

ADVANCE ENGLISH

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