EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

EDB Professional Development for Teachers British Council Hong Kong

Teaching English through Drama

1 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1 Teaching Drama
In part 2 of the workshops we experienced two demonstrations. In this section we review the two teachin se!"ences and consider the sta es# aims and ran e of activities avai$a%$e for deve$opin En $ish ski$$s thro" h drama.

1.1 A Structure Approach to Teaching Drama

&eachin Drama to $ar e ro"ps p$aces a n"m%er of demands on the teacher. 'hen teachin drama we can expect( a fair$) hi h $eve$ of conversationa$ noise different ro"pin s# with st"dents standin # movin # sittin # and "sin space to express themse$ves different ro"ps workin at different paces towards different oa$s

In the workshop we addressed the fact that $earners ma) not %e confident a%o"t their En $ish# or ma) think that drama is *"st f"n and ames. +s teachers we are aware that the main aim of this mod"$e is to deve$op st"dents, $an "a e ski$$s - not prod"ce actors or actresses. .or this reason we need to caref"$$) str"ct"re o"r $essons so that the) have c$ear $in "istic and ski$$s/deve$opment aims# and to comm"nicate these aims c$ear$) to st"dents so that are c$ear on what is expected of them. In Demonstration 1 we saw that it was important to have c$ear $an "a e aims for $essons. 'e a$so saw that a eneric str"ct"re for a $esson sho"$d contain a foc"s on aims and expectations# warm "p activities which tar et $an "a e as we$$ as performance aims# a context - s"ch as a stor) - within which to deve$op the drama# a ran e of drama conventions which foc"s on ski$$s s"ch as character %"i$din # expressin emotion thro" h voice and movement and# of co"rse# creativit) and confidence with $an "a e. 0essons# or series of $essons# sho"$d provide opport"nities for st"dents to ref$ect on their pro ress and to identif) areas for f"rther deve$opment. Demonstration 2 i$$"strated the process of movin from stor) to script and we saw how a n"m%er of different performance/%ased activities co"$d %e incorporated into $essons. &he EDB scheme of work offers man) options for teachers in terms of the t)pe of performance/%ased work the) do within the drama mod"$e. 1choo$s co"$d# for examp$e# adapt their c$ass reader or "se a prepared script that st"dents can then persona$ise %) editin and addin . 2e) drama ski$$s deve$oped in this process invo$ve characterisation and sta in conventions. In the workshop# we worked thro" h a series of tasks which foc"ssed on these ski$$s# whi$e sti$$ %ein foc"ssed on $an "a e ski$$s deve$opment. 3art two of the scheme of work a$$ows st"dents to deve$op# amon st others# their writin ski$$s. 1cript writin has a n"m%er of conventions which st"dents need to %e aware of. B"t the fact that writin dia$o "e is often easier than# for examp$e# writin a stor)# even $ower $eve$ st"dents wi$$ %e a%$e to achieve somethin the) can fee$ pro"d of# iven the ri ht s"pport from the teacher.
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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1.! Demonstration 1 " Lesson Plan an #esources

Lesson plan: A Structured Drama Class
1

Esta$lishing the focus Aims% To ensure stu ents are clear on the learning o$&ectives an 'hat is e(pecte in terms of $ehaviour an participation.
& or anises startin circ$e and a rees on the aims of the $esson. E$icit words %e innin with 4# e. . comm"nication# co/operation# creativit)# content# co$$a%oration.. 4heck spe$$in and write on the %oard.

)i(ing space Aims% To encourage learner autonom* an responsi$ilit*. To ensure stu ents have a efine 'or+ area. 1et "p ro"ps and assi n performance space.

,arm-.p /aterials% 1 set of word cards / 6 or 7 st"dents

Aims% To intro uce an provi e practice 'ith +e* voca$ular*. To evelop range of e(pression through movement an encourage colla$oration 0 cooperation Introd"ce the voca%"$ar) %) showin the word cards and checkin st"dents "nderstand the words.

Human Sculptures Introd"ce %) demonstratin with a st"dent. 8o" are a sc"$ptor9 the st"dent is the sc"$ptin materia$s. :ove the st"dent to make the o%*ect ;chair< written on the card. 4heck st"dents "nderstand what to do( if necessar)# et a pair of st"dents to demonstrate for the ro"p.
1t"dents work in ro"ps of 7 or =# the word cards are face down. >ne st"dent se$ects a card and sc"$pts their partner to form the o%*ect. &he) co"$d "se so"nd effects and movement as we$$. &he rest of the ro"p watch and tr) to "ess the correct word on the card.

Teacher

Lift

Door

Bottle of 'ater

Chair

/o$ile phone

Scissors

Train

)irefighter

E(ample A% ,or Car s for Human Sculptures

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

.sing Stimuli /aterials% 1 set of pict"re cards / 6 or 7 st"dents

Aims% To further evelop language s+ills in the conte(t of a narrative. To encourage creativit* an confi ence 'ith English through eveloping a group narrative. Exp$ain that a$$ the words in the $ast activit) re$ate to a tr"e stor) a%o"t a teacher. 1how %i pict"res on the %oard. 1t"dents work in ro"ps to match words to pict"res. & checks answers# stickin the word cards next to the correct pict"re In ro"ps# st"dents ora$$) create a %asic stor) in ro"ps# "sin the pict"res. &he) te$$ the c$ass. 4heck ideas %) re/orderin the pict"res and words on the %oard. +sk other ro"ps to sa) if their stor) is the same or different - if time a$$ows# ask another ro"p to te$$ their stor). 1oice 'or+ /aterials% 1entence word cards ;*"m%$ed order on the %oard< Aims% To evelop range an control of pronunciation. To learn a$out the effect of voice on creating a character. To intro uce a s*stem of notation to learners for further voice 'or+. & c$arifies the stor) for st"dents( ?&his stor) is a%o"t a )o"n teacher# 2ate. It is 1at"rda) mornin and she doesn,t have to o to work. 1he is oin to a hairdresser on 0anta". 'hen she is there# she ets a phone ca$$ which chan es her da) - for the worse@, & sticks the *"m%$ed word cards on the %oard. Exp$ain that this is what 2ate said when she received the phone ca$$. Aive st"dents time to tr) and reorder the words to make the correct sentence. E$icit s" estions from st"dents and rearran e the cards on the %oard. 4heck meanin and st"dents cop) the sentence. 2,ell3 45m reall* not sure that that is going to $e possi$le65 & works with the st"dents on pron"nciation ;show st"dents how to annotate "sin s)m%o$s<. :ake a note of the decisions made a%o"t the character,s voice in re$ation to(

word / sentence stress (draw dots over words to indicate stress) pa"sin (use // to indicate any pauses) accent ;BritishB +mericanB Con 2on B< speed ;fastB 1$owB< (Use an arrow under phrases that are spoken quickly and a dotted line under slow sections) vo$"me ;$o"d$)B soft$)B whisperedB< (write the words on the text) intonation (use arrows to indicate direction) pitch ;hi hB $owB< (underline high pitch, draw a line over low pitch)

Additional practice Dictate a different# $on er piece of speech - possi%$) a short dia$o "e %etween 2ate and the hairdresser 1t"dents work in pairs to decide how to sa) the sentence. &he) annotate their script# "sin the conventions a%ove. In open c$ass# st"dents de$iver their $ines. &a$k to the c$ass a%o"t how each one so"nds# e. . hi h or $ow pitch# stressed words# speed# etc.
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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

'ith more advanced ro"ps# ask st"dents a%o"t how the voice can he$p create a character# e. . does the character so"nd )o"n or o$d# what is her %ack ro"nd# did she o to "niversit)# what kind of a person is sheB =

Soun collage Aims% To provi e opportunities for creativit*3 suita$le to mi(e level groups. To emphasise the importance of soun an soun effects in creating rama.
& works with the c$ass. Aive st"dents time to %rainstorm the different thin s )o" can hear at a hairdresser,s. E$icit a ran e of so"nds that we can hear in the $ocation ;a hairdresser,s< &. writes "p ideas on the %oard. +sk st"dents for how the st"dents can make the different so"nds. 1t"dents cop) the $ist of so"nds# for examp$e( 1cissors Cairdr)er 'ater Dadio / m"sic 3eop$e ta$kin Door openin and c$osin &raffic Deceptionist answerin the phone / makin appointments

3eop$e readin / %rowsin 4ash re ister / Fideo ames newspapers and ma aEines E(ample B% Soun s ,e Hear at the Hair resser7s 1t"dents work in ro"ps. &he) create a so"nd co$$a e for the scene ;finishin with $ine of dia$o "e the) practised %efore<. &he) "se their voices and an) other o%*ect in the room to he$p them. 'ork with the ro"ps to enco"ra e and s"pport. Aro"ps perform their so"nd co$$a e. >ther st"dents $isten and identif) the so"nds the) hear. &he) tick the so"nds the) hear on their $ists. Additional practice If )o" have the e!"ipment# have st"dents practice and then record their ?so"nd tracks,# as if the) were makin a fi$m. 3$a) the so"nd tracks to the who$e c$ass# and identif) the different so"nds. Disc"ss how thin s co"$d %e improved or a$tered. G

Bo *scaping 8Preparation for free9e0unfree9e an thought trac+ing: /aterials% Deve$opin )o"r character - !"estions ;1 per st"dent<
Aims% To practice forming an respon ing to a range of ;uestions in 'riting. To focus stu ents on characterisation an prepare them for performance. & prepares st"dents to create a short performance of the scene. Individ"a$$)# st"dents think a%o"t the character the) are p$a)in # writin answers to the !"estions. +sk st"dents to write 2 or 5 other !"estions and to answer them a%o"t their character. &e$$ st"dents that we wi$$ ask them !"estions a%o"t their character d"rin the performance 1t"dents work in ro"ps to create their %od)scape scenes. & monitors and he$ps. &he %od)scape finishes when 2ate answers the phone and de$ivers her $ine.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1 2 5 6 7 =

'hat is )o"r character,s nameB Cow o$d are )o"B 'hat do )o" doB 'here do )o" $iveB 'ho do )o" $ive withB 'h) are )o" at the hairdresser,sB Is there a specia$ part) or is this a re "$ar visitB G Do )o" a$wa)s come to this hairdresser,sB 8 Do )o" know the peop$e at the hairdresser,sB 9 'hat did )o" do %efore )o" arrivedB 10 'hat wi$$ )o" do afterB E(ample C% Sample <uestions for Characterisation 8

)ree9e 0 .nfree9e an thought trac+ing /aterials% H"estion on the %oard ;as a prompt for st"dents d"rin the tho" ht trackin task<
Aims% To evelop a short3 group performance that ena$les stu ents to freel* practice the concepts an techni;ues covere in the lesson. To provi e practice in self- irection an evelop confi ence Aro"ps perform their short scenes. &eacher and st"dents freeEe and "nfreeEe the action as necessar). 3erformers are !"estioned on their character and motivation ;re$atin to the !"estions set in the previo"s sta e<. If time# other ro"ps a$so perform.

Evaluating achievements an learning an closing the session 8 rama log: /aterials% drama $o ;1 per st"dent<
+ims( &o enco"ra e ref$ection on pro ress in re$ation to the aims of the $esson / series of $essons. Deve$op capacit) to critica$$) ref$ect on $earnin . &eacher works with st"dents to ref$ect on the $esson and comp$ete the drama $o .
Date 1 &oda) we I What did you do? Why did you do it? ! &oda)# I didn,t "nderstand I What language was difficult? = Jext time# I want to I ow will you i!prove in the next lesson? > Cow we$$ did )o" doB "ircle a nu!#er

4omm"nication 4o/operation 4o$$a%oration

E(ample D% E(ample of a Self-#eflection ?ournal = EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1.!.1 Developing Autonom* + ke) part of the new c"rric"$"m is the deve$opment of $earner a"tonom) and in the session we stated that this imp$ies a chan e of attit"de in# first# teachers and then st"dents. 'e see a"tonom) as the a%i$it) and wi$$in ness of the $earner to take responsi%i$it) for the direction of their $earnin . In c$ass we need to provide st"dents with opport"nities to exercise a"tonom) and work independent$) of the teacher. 0essons# therefore# sho"$d inc$"de aims and sta es which a$$ow st"dents to deve$op their a"tonom). &o do this we ma) choose to incorporate the fo$$owin techni!"es 1e$f/monitorin ;e. . a pro ress record< 1e$f/correction ;a$so peer/correction< Faria%$e pacin ; ro"ps# rather than $ockstep< Extensive readin and $istenin Kse of p"pi$ teachers# either forma$$) or informa$$) Aro"p work 3ro*ect work &ro"%$e/shootin sessions ;i.e. disc"ssin $earnin pro%$ems 4hoice of activities# or contexts 1harin o%*ectives ;i.e. invo$vin st"dents in some wa) with the p$annin of their co"rse<

.i "re 1( &echni!"es for deve$opin a"tonom)

If we ref$ect %ack on these techni!"es# we can see that the demonstration $esson incorporated man) opport"nities to deve$op $earner independence. 'e accept that rea$ independence of the teacher is somethin most $earners need to achieve %) the time the) o to "niversit). 'e a$so see that man) $earners are "nwi$$in to take on more responsi%i$it). Deve$opin a"tonom) is a process and if we permit o"rse$ves to pass some of the contro$ of the $earnin %ack onto the st"dent# we can %e s"re that over time the effect wi$$ %e %eneficia$. 1.!.! The 4mportance of ,arm up Activities &he warm/"p is a ke) feat"re of a performance/%ased c$ass and sho"$d a$wa)s %e "sed even if there is on$) time for 7 min"tes. &he warm/"p works on a n"m%er of $eve$s foc"sin on ;a< warmin "p the %od) to ena%$e st"dents to "se a ood ran e of movement and ;%< warmin "p the voice so st"dents are read) to "se the f"$$ ran e of pitch# intonation and vo$"me $eve$s. .or o"r p"rposes# warm "ps sho"$d have a c$ear $an "a e foc"s as we$$. In terms of the ro"p# this is the teacher,s ke) moment to %rin a%o"t a sense of cohesion and co$$a%oration in the ro"p. Each activit) in the ta%$e opposite has a different foc"s and can %e "sed a$one. &hink a%o"t the %asic $eve$ of %ehavio"r in )o"r c$ass as each activit) re!"ires increased foc"s and reater ph)sica$ or voca$ o"tp"t.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

,armer 1 Change places

@utcomes 1s et a sense of who,s in the ro"p9 the) think# respond and think !"ick$) and so et a ph)sica$ warm/"p9 the) have to work "sin e)e contact and so this form of comm"nication increases in the ro"p. ! /agnets &he circ$e disperses as st"dents +nother ph)sica$ warmer which wa$k aro"nd the room9 the a$so re!"ires !"ick thinkin and teacher ca$$s o"t ro"pin co$$a%oration especia$$) when n"m%ers and feat"res# e # st"dents are not in a ro"p and groups of three & wearing have to form another ro"p "sin trousers' those who are not somethin the) have in common. wearin tro"sers stand a$one or form other ro"ps# e # skirts = #aising 1t"dents form a circ$e a ain and &his is $ess ph)sica$# %"t re!"ires the flag this time the teacher exp$ains ro"p work# p"rpose and foc"s. that the f$a for the c$ass has 1ome peop$e sho"$d stand at one fa$$en - ?we have to raise the f$a end of the ima inar) po$e $iftin it a ain,. 1s work to ether to raise with ?ropes, whi$e most stand at the the f$a a ainst a storm. other side p"shin it "p. +n opport"nit) exists here for "sin a voca$ warmer with ?heave9 heave, or a workin chant. :ake s"re ever)one shows how m"ch effort the) are p"ttin in and drops after the),ve $ifted the f$a po$e with handshakes# s$aps on the %ack and %i smi$es. > @rchestra Kse an orchestra $a)o"t on the &his is a ood wa) to or anise the 3ower3oint# or on the %oard# ro"p to work to ether and and have st"dents stand in comp$ement one another9 the "se certain sections. Kse the of spot$i htin one ro"p whi$e the me$od) )o" have devised ear$ier others p$a) in the %ack ro"nd and orchestrate the ro"p in the mirrors the spot$i htin techni!"e fo$$owin wa)( we wi$$ "se in 3art 5. &he ;1< 3erc"ssion ;c$aps# stamps< techni!"e re!"ires that st"dents ;2< Do"%$e %ass ;$on # $ow take "p a rh)thm and $isten to one notes< other for pitch. +s s"ch# it is a ;5< 'ind L %rass section ;hi h ood voca$ warmer. notes< ;6< 1trin s ;hi h# !"ick notes# main me$od)< Brin in each section one at a time# have the ro"p ?p$a)in , to ether for a%o"t 60 seconds# then spot$i ht one ro"p and fina$$) fade the piece o"t.
.i "re 2( Examp$es of 'arm "p +ctivities

Proce ures 1t"dents stand in a circ$e facin one another and swap p$aces dependin on the instr"ction# e # change places if you$re wearing #lack socks%

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1.!.= .sing Stimuli In $an "a e teachin # we enera$$) refer to tasks# activities and exercises. &his $an "a e can %e "sed in drama# %"t there are a$so other terms "sed to refer to materia$s. &he word ?stim"$"s, ;sin "$ar< or ?stim"$i, ;p$"ra$< is "sed to refer to materia$ the teacher "ses to enerate a foc"s or create a stor). 1tim"$i can come from a ran e of so"rces as is $isted %e$ow# and can %e "sed a$one or in com%ination(/
Stimuli 1 Fis"a$ 2 +"ra$ 5 Dea$ia or props 6 0iterat"re 7 3ersona$ events E(amples 3hoto raphs# paintin s# pict"res# cartoons + so"ndtrack# so"nd effects in a se!"ence# a son + %a containin a character,s possessions + diar) entr) from a character# a $etter# an e/mai$# a phone %ook + poem# an excerpt from the news# a passa e from a stor) +n anecdote from someone,s experience# for examp$e# the teacher co"$d te$$ a stor) from her persona$ experience )igure =% T*pes of Stimuli

>ne wa) to "se stim"$i is to %"i$d "p an event or a character thro" h the piecin to ether of a ran e of stim"$i# for examp$e# the fo$$owin co"$d %e "sed to create a stor)( a newspaper c$ippin a%o"t a dramatic event a son /so"ndtrack to indicate ;a< tra ed)9 ;%< comed)9 ;c< excitement an ;invented or rea$< report from someone who was invo$ved in the event

&he "se of stim"$i is one wa) to provide opport"nities for the st"dents to co$$a%orate comm"nicate and think creative$) ;three of the nine eneric ski$$s<. 1t"dents "se a$$ the $an "a e the) have at their disposa$ to ne otiate what kind of stor) is %ein introd"ced and what opport"nities exist for deve$opin it. In o"r session# we "sed photo raphs of distinct$) different scenes. &he $an "a e work invo$ved foc"sed on(/ descri%in what was in the pict"re ;main$) voca%"$ar)# e # tr"ck# crowd# d"st< descri%in where it mi ht %e ;$an "a e of spec"$ation< descri%in what peop$e mi ht %e doin ;$an "a e of spec"$ation<

1.!.> Developing )ree9e )rame Activities 4reatin a sti$$ ima e ;a$so known as ?ta%$ea", ;sin "$ar<# ?ta%$ea"x, ;p$"ra$<< is a partic"$ar$) "sef"$ for $ower $eve$ st"dents# or $earners at the %e innin of the co"rse. 3art of the appea$ of mime work# in enera$# is that it he$ps to deve$op the ke) ski$$s of concentration and ph)sica$ expression. Aro"ps can take photo raphs of their sti$$ ima es and "sin one person as a ?sc"$ptor,# the) create a sti$$ ima e to %est represent the ima e. >nce the

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

$earners have deve$oped confidence with the task# )o" can %e in to introd"ce some of the devices drama that offers "s.
Aspect of the rama De$ative stat"s De$ationships Emotion .oc"s of attention 1isual effect Levels 8o" can "se hi h $eve$s and $ow $eve$s ;someone who is standin hi h9 someone who is cro"chin <. Distance 3h)sica$ distance %etween characters can show the c$oseness in their re$ationships. 4haracters can %e $ined "p %ehind one another to show s"pport or for protection. Stance an gesture &he est"re and stance a character takes can s)m%o$ise his/her emotiona$ attit"de and invo$vement in the scene. 0ack of foc"sed est"re a$so indicates one,s invo$vement. Ba9e &he aEe can %e "sed to show re$ationships# emotions# foc"s of attention and# a$on with the wa) the head is positioned# can indicate the $ike$) action a character wo"$d take. )igure >% Techni;ues for Developing Ta$leau(

1.!.A #eflecting on Learning &he session sho"$d contain some attempt to eva$"ate what has %een done# what achievements st"dents have made and what the) have $earnt. &here are different wa)s to do this from simp$e to comp$ex and the ta%$e %e$ow sets o"t some s" estions.

/aterials nee e &raffic $i ht cards( sma$$ 5cm M 5cm cards of red# am%er and reen ;can %e $aminated< :in"te papers

1e$f/Datin

4ompetenc) %ad es

Proce ure an purpose 1s iven cards of red# am%er and reen. & asks specific !"estions# and st"dents show the card that most ref$ects how the) assess this themse$ves. 1s are iven a ?min"te paper, - often %oxes with ;a< what did I $earnB ;%< what didn,t I "nderstandB ;c< what do I sti$$ need to work on next timeB 1s have 2/5 min"tes to fi$$ them o"t with points. &he) can share them with a partner or with the teacher. &he min"te paper co"$d %e part of a $o /%ook or the portfo$io and occ"r after ever) session. 1s are iven a $ist of statements a%o"t ;a< their performance# and ;%< what the) $earnt# which the) respond to with a n"m%er %etween 1 and 6# 1 meanin - I didn,t do ver) we$$/didn,t "nderstand M# and 6 meanin # I did ver) we$$/I "nderstood M. &here is a worked examp$e of this in 3art 6 of the da). &he teacher has a co$$ection of competenc) %ad es# for examp$e# ? ood rasp of $eve$s,9 ? ood rasp of aEe,9 ? ood "se of space,9 ? ood "nfreeEe,# and st"dents nominate who sho"$d et them for that session. If the) are stickers# these co"$d %e mo"nted on an on/ oin wa$$/chart.
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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Aoa$s to work on

&his is another techni!"e that can %e "sed with a wa$$/chart. :ake a $ist of competencies# s"ch as ;a< workin co$$a%orative$)9 ;%< workin in En $ish9 ;c< "sin the space p"rposef"$$)9 ;d< "sin $eve$s meanin f"$$)9 ;e< "sin aEe meanin f"$$)# and so on# and have st"dents p"t their name next to two tar ets to work on for the comin session. In this wa)# the) can "se this as an aim at the %e innin of the session and come %ack to it in order to assess their foc"s and pro ress at the end.
)igure A% E(amples of #eflective Tas+s

1.= Demonstration ! " Lesson Plans an #esources

Lesson plans: Developing Stories and Writing Short Scenes &his fo$$owin $esson o"t$ines foc"s partic"$ar$) on parts 2 and 5 of the EDB 1cheme of 'ork. &he aim of the demonstratin was to show the main sta es of the pro ression from introd"cin a stor)# or inventin one# to writin and rehearsin the script.
1

4ntro ucing the stor*

/aterials% 4assette ;stor)<# 3aper and pens ;for note takin < Introd"ce the stor) "sin the pict"res from the previo"s $esson. 3"t the pict"res on the %oard. 'orkin in pairs# st"dents $isten to the stor) and make a note of the main action. 3$a) a ain if necessar). 4heck their "nderstandin %) %rief$) e$icitin the main action - referrin to the pict"res to he$p c$arif). 'rite "p the names of the main characters in the stor) ;2ate# Cenr)<

Developing a'areness of character

1t"dents do a variet) of tasks to deve$op awareness of different aspects of the main characters in the stor). 1: #ole on the 'all 8Character Kate: /aterials% H"estion hando"t ;1 per pair<# +5 paper for ro$e/on/the/wa$$. 1t"dents work in pairs. &he) answer a series of !"estions on their hando"ts a%o"t the character# 2ate. Dead thro" h the instr"ctions for the task. Aro"ps create an o"t$ine for their character and write in the information "sin co$o"r# etc. 4haracters are p"%$ished - ro"ps $ook at each other,s characters and answer some !"estions ;e. . 'hich version of 2ate wo"$d )o" most $ike to have as a teacherB 'hich one do )o" think is f"nniestB :ost strict or serio"sB<

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

#ole on the 'all - Kate

&hink a%o"t the character# 2ate. 'rite answer the fo$$owin !"estions.

'hat,s her *o%B Cow o$d do )o" think she isB Is she at work toda)B 'here is sheB 'h) is she thereB 4an )o" descri%e what she $ooks $ikeB Cow ta$$/heav)/s$im is sheB

'hich words %est descri%e her persona$it)B De$ia%$e ."nn) 0aE) 3ractica$ 4$ever 4onfident Knre$ia%$e 1erio"s Card/workin .$ak) 1i$$) Jervo"s

Decide on three more words to descri%e her persona$it). Cow does she fee$ when she receives the phone ca$$ in the hairdressersB 'rite three fee$in s she has at the same time. .or examp$e( an r)# happ)# sad# s"rprised# etc.
5 6

Draw a %od) temp$ate for 2ate. &hink a%o"t the c$othes she is wearin . Decide where )o" wi$$ write the words that descri%e(

her ph)sica$ appearance her persona$it) her fee$in s after she ets the phone ca$$

(ip) *e!e!#er that you can write outside the outline and inside the outline' close to the #ody and far fro! the #ody% +ou can use colour for different reasons, and you can add words to this character at any point%

)igure C% Sample Tas+ Sheet for #ole on the ,all

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

!: Boo angel 0 Ba angel 8Character Henr*: /aterials% Cando"t ;1 per st"dent< - Aood an e$ / Bad an e$ 1t"dents exp$ore another character and do some simp$e performance / voca$ warm "ps. & introd"ces the activit) and "ides st"dents with $an "a e. In ro"ps of three# st"dents ro$e p$a) ood an e$ / %ad an e$. & monitors and he$ps with $an "a e. If time a$$ows# st"dents perform for other ro"ps.

Boo angel 0 Ba angel

1: Dead a%o"t Cenr)# the $oca$ reso"rce assistant.
Henr* the resource assistant Cenr) is in his ear$) =0,s# is a widower# and has ad"$t chi$dren and randchi$dren. Ce has %een workin at this schoo$ for 27 )ears9 knows ever)one9 knows a$$ the ro"tines# and is ver) or anised. Ce is friend$) man# who $ikes to chat. 'hen thin s do not o to p$an# Cenr) fee$s responsi%$e for findin so$"tions# and wi$$ sometimes tr) to do or ta$k a%o"t doin heroic thin s that are %e)ond his ph)sica$ a%i$it).

4over "p the text. 'hat can )o" remem%er a%o"t Cenr)B !: 'ork in two ro"ps. ,roup - - think of a$$ the positive thin s a%o"t the sit"ation. 'rite sentences ivin advice or s" estions for Cenr). Examp$e( 2,h* on5t *ou rela(3 Henr*. Ever*thing is @K65 ,roup . - think of a$$ the ne ative thin s a%o"t the sit"ation. 'rite sentences ivin advice and s" estions for Cenr) Examp$e( 24t5s *our fault. Dou shoul sa* sorr* to Kate.5 =: 'ork standin in ro"ps of three. >ne of )o" is Cenr)# one is the ood an e$ and the other is the %ad an e$. Aood an e$( make s" estions to Cenr) a%o"t the %est wa) he can react in the sit"ation# and a$$ the ood opport"nities that exist at this moment. Bad an e$( te$$ Cenr) a%o"t a$$ the %ad thin s a%o"t this sit"ation9 fri hten him with fears a%o"t the worst possi%$e thin s that can happen %oth now and when he event"a$$) ets o"t of the $ift. Cenr)( $isten to what the ood and %ad an e$ each sa) to )o" and see how )o" fee$ a%o"t each comment and s" estion. 'hich has the %est advice and s" estionsB Is it the ood an e$ or the %ad an e$
.i "re G( 1amp$e &ask 1heet for Aood +n e$ / Bad +n e$

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

=: Thought tunnel & introd"ces the task. 1t"dents $isten and decide on their ideas. &he) p$an short $ines of dia$o "e for the character,s tho" hts. 1t"dents work in two ro"ps. &he) take it in t"rns to speak the character,s tho" hts and wa$k thro" h the t"nne$ $istenin to them.

8See section 1.=.1 for more conventions:

5 Developing a'areness of plot structures /aterials% :atchin cards ;1 set / ro"p or 5 or 6<# answer cards# +5 paper and pens In pairs# st"dents match different p$ots t)pes to their definitions. & checks answers "sin the $ar e cards and c$arifies as necessar). 1t"dents make a ?poster, with examp$es of each of the p$ot t)pes and decide the t)pe of p$ot of the stor) ;introd"ced in sta e 1<

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

&his p$ot %e ins with %ack ro"nd information. &here is a sma$$ 1st pro%$em# and a so$"tion. &hen# a m"ch %i er pro%$em happens. +fter some diffic"$t moments# this pro%$em is so$ved and $ife ret"rns to norma$. Ksed in &F soaps# Co$$)wood fi$ms 1imp$e L reco nisa%$e for a"dience &his p$ot is rea$$) series of events which ma) or ma) not %e connected to one another. The Episo ic plot &his was ver) common in 18th cent"r)# for examp$e 4har$es Dickens. &his p$ot t)pe is $ike rea$ $ife %eca"se the dramatic se!"ences are not so extreme

The 2,5 plot

The Hero5s &ourne*

&his is the stor) of a hero who is ca$$ed to advent"re. &he hero is tested in a minor sit"ation L wins &he hero is then tested in a ma*or sit"ation L a$tho" h it $ooks $ike s/he wi$$ $ose# fina$$) wins. .ina$$)# the hero ret"rns to societ). &his p$ot t)pe is "sed in m)ths# $e ends# fair)/ta$es# fa%$es# fo$k ta$es &he characters face a series of increasin $) dramatic incidents# responses# and so$"tions or comp$ications - each one worse than the $ast.

The /ountain plot

&his p$ot t)pe is "s"a$$) excitin %eca"se it deve$ops dramatic tension. &here are often s"%p$ots# which keep the a"dience interested.

)igure E% Samples of Plot T*pe /atching Car s

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Planning an 'riting the script

1t"dents $earn a%o"t the %asic conventions of script writin and %e in to deve$op their own scripts. /aterials% Cando"t - .oc"s on p$ot str"ct"res & introd"ces the p$ot raph. 1t"dents divide the stor) "p into scenes and write these on their raphs. &he) note the main action in each scene. & checks in open c$ass. 1t"dents make a $ist of the main characters in each scene. &he) write these on their hando"t. & introd"ces the next activit) %) e$icitin $an "a e for how the characters fee$ d"rin each scene. 1t"dents contin"e makin a $ist of ad*ectives to descri%e the fee$in s of the characters at different points in the stor).

a< Jame the 5 main scenes in the stor). 'hat action happens in each sceneB 4omp$ete the raph with )o"r ideas.

%< 'ho are the characters in each sceneB 'hat are the) fee$in B 4omp$ete the ta%$e with )o"r ideas. Kse the words in the %ox to he$p )o".

happ)

re$axed

an r)

scared

tired

sad

excited

s"rprised

re$ieved

)igure F% Sample Plot Braph 'or+sheet 8a:

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

/aterials% Cando"t - 'ritin scripts & introd"ces the main feat"res of a p$a)script. & writes "p the information on the %oard.

1ettin # props# new characters# cost"me# what happened %efore# sta e directions# $i htin # so"nd effects
1t"dents $ook at the examp$e scene and $a%e$ the different feat"res of the introd"ction. & checks in open c$ass. & %e ins workin with dia$o "e. 1ome of the dia$o "e is written in# st"dents work in pairs to comp$ete the missin parts.

Introd"ce some adver%s for the manner of de$iver) ;e. . h"rried$)# ca$m$)# happi$)# sad$)# an ri$)# etc.< 1t"dents practice readin the dia$o "es. &he) decide which adver%s ;or ad*ectives< descri%e the manner of de$iver)# writin the adver%/ad*ective at the %e innin of each $ine ;e. . happi$). sad$)# ca$m$)# tired# an ri$)# etc.< In open c$ass# st"dents practise readin their dia$o "es. >ther st"dents $isten and decide on the emotion in the voice.

Dead the examp$e introd"ction for 1cene 5. :atch the words to the information in the text Setting3 props3 ne' characters3 costume3 'hat happene $efore3 stage irections3 lighting3 soun effects

The Sub and the Lift Scene 3 Kate has finally arrived at Kwai Hing school after a long and difficult journey where she nearly gets lost.

She is met in a messy staffroom by Henry, the Resource assistant. There are desks, chairs, papers and a hamster in a cage.
Kate enters stage left, Henry appears stage right!

2<

'ork with a partner. 'rite )o"r own introd"ction for a different scene.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

)igure 1G% Sample Tas+ Sheet for Anal*sing Pla*scripts

Dead the examp$e dia$o "e for scene 1. In pairs# contin"e the dia$o "e for a few more $ines.

Kate( ;h"rried$)< Henr*( ;ca$m$)< Kate( ; <

I,m so $ad to see )o"# Cenr). 'e tho" ht )o" ot trapped on the :&D or somethin # %"t here )o" are@ NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN

Henr*( ;

< NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN

10<

'rite a short dia$o "e for a different scene. Don,t for et to inc$"de information on( a. %. c. d. Cow the character is fee$in 'hat the character is doin 'here the) are and the o%*ects the) "se +n) specia$ effects with $i ht or so"nd
)igure 11% Sample Tas+ Sheet for Developing Dialogue

To'ar s performance
& introd"ces the %asic parts of the sta e and their notation. 1t"dents $isten to the instr"ctions from the teacher and do the action ;e. . wa$k s$ow$) "p sta e $eft# r"n down sta e centre# sta er sta e ri ht# etc.< 1t"dents practice their short scenes and %$ock in the moves on their scripts.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1.=.! Discussion factors affecting plot an script evelopment Developing stories + n"m%er of h"man sit"ations can %e worked o"t thro" h drama. Each of the fo$$owin sit"ations invo$ves either a critica$ moment that the drama hin es on# a process of %ein in one state and %ecomin another# or makin connections %etween peop$e# events or thin s( se$f/discover) or the discover) of know$ed e achievin a oa$ thro" h hard work# $"ck or inf$"ence %ein tested ;tr"th# temptation< ettin to know someone or somethin - enco"nterin the "nfami$iar experiencin a connection with the wor$d aro"nd "s( anima$s# nat"re facin a di$emma and choosin a co"rse of action %ein ca" ht in the act of doin somethin wron keepin or %reakin promises/tr"st escapin from diffic"$t circ"mstances pers"adin someone to do somethin takin reven e or resistin takin reven e facin the same pro%$em and tack$in it in different wa)s mat"rin as a res"$t of oin thro" h a diffic"$t experience

Theme + second area to consider when decidin what stories to work with is the theme. :an) teachers find that a pro%$em that is fami$iar can %e worked o"t we$$ in a drama c$ass. &hemes that mi ht resonate with )o"r c$ass inc$"de the fo$$owin ( fami$) re$ationships and press"re $eavin home competin demands at schoo$ cheatin # %"$$)in the press"re to smoke the press"re to conform - fashion# $an "a e# possessions the need for a %o)friend/ ir$friend the ori ins or effects of "i$t# pride# reed

+$ternative$)# teachers mi ht want to foc"s on socia$ iss"es with wider themes# s"ch as(

povert) vs. wea$th racism / a eism / sexism crime menta$ hea$th and i$$ness teena e pre nanc)
19

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

divorce the effects of war the effects of mass media messa es/perspectives the extent of the portra)a$ of vio$ence in societ) and its effects the treatment of anima$s

Plot structure 3$ot str"ct"re is the term we "se to refer to what action takes p$ace in the stor) which hooks and keeps the a"dience interested. :an) stories we see as drama on &F# read or $isten as p$a)s fo$$ow fami$iar str"ct"res. &he most common and easi$) accessi%$e p$ot str"ct"re is .re)ta ,s# which when written as a dia ram# is $ike an "pside down ?F,. In the simp$est terms# it contains some or a$$ of the fo$$owin se!"ence( settin and context an event that starts the action ;ca$$ed ?dramatic hook, or ?comp$icatin action,< p"rs"it of action# deve$opment of character ;see processes a%ove< crisis reso$"tion

Creating Dialogue Dia$o "e has fo"r ke) f"nctions. It creates the context of the p$a)9 esta%$ishes and maintains the theme9 revea$s and shows deve$opment in character# and is "sed to advance the component parts of p$ot. 2e) "ide$ines to %ear in mind when he$pin st"dents to write dia$o "e are( the motivation and aims of the characters ;%ased on processes - see a%ove< the re$ationships that are formed and deve$oped the conf$icts and str" $es that are created and reso$ved the re$ationship with the a"dience ;%"i$ds L maintains or %reaks the fo"rth wa$$< &o achieve this re$ationship to %est effect# the fo$$owin techni!"es can %e "sed( Esta%$ish and find s)non)ms for important words and themes and make them appear in the dia$o "e of different characters# for examp$e# one character ma) refer to his randmother with a ne ative word# and another with a positive word# %"t the character of the randmother is present and maintained %etween them. 1imp$if) speeches %) restrictin each speech to one ke) idea Deve$op ideas %) "sin more than one character# e. .# "se the main character ;the prota onist< and his opponent ;the anta onist<# or the main character and a s"pport character with different %"t not opposin traits ;a foi$<. &here is a traditiona$ r"$e of three in drama writin . &his is interpreted in different wa)s# %"t can %e "sed as a r"$e to state and re/state
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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

important information in the p$a). .or examp$e# a character ma) %e warned in three different wa)s not to p"rs"e a co"rse of action. .or the p"rposes of emphasis# when statin names# p"t them at the %e innin or the end of the $ine. 'hen introd"cin new information# especia$$) references to ke) events or o%*ects in a p$a)# p$ace it at the end of $ine. Ens"re that the $ast $ine %efore a character $eaves the sta e in each scene ;the exit $ine< is memora%$e. 'a)s to do this are to ;a< s"mmarise an overa$$ fee$in a%o"t what has happened in the scene9 ;%< make a hint a%o"t what is to happen in the forthcomin scene9 ;c< make reference to someone,s response to events.

Blocking B$ockin is the word we ive to the sta e directions9 where the actors m"st stand/sit9 which direction the) sho"$d face9 how the) sho"$d move across the sta e or set. B$ockin is an important consideration as the a"dience needs to maintain its si ht of events and action. 'e refer to the a"dience,s ?si ht$ines,. B$ockin is a feat"re of the p$a) that is worked o"t in performance# %"t script writin sho"$d a$wa)s inc$"de reference to the sta e set# and ive some idea of where the actors enter and exit.

Kp sta e ri ht ;KD< 1ta e ri ht ;D< Down sta e ri ht ;DD<

Kp sta e centre ;K4< 4entre sta e ;4< Down sta e centre ;D4<

Kp sta e $eft ;K0< 1ta e $eft ;0< Down sta e $eft ;D0<

+KDIEJ4E
)igure 1!% Stage areas an shorthan names

Play script conventions &he fo$$owin contains a %asic description of the or anisation and writin conventions "sed in p$a) scripts. +s an examp$e# we wi$$ take the stor) we worked with in the workshop# ?&he 1"% and the 0ift,. 1 +cts and scenes ?&he 1"% and the 0ift, divides %est into a one/act p$a) divided into three scenes. &he act dea$s with an event that happened to a teacher9 and each scene fo$$ows the p$ot str"ct"re we disc"ssed in section c a%ove. 1cene 1 1ets the scene ;in the hairdresser# havin hairc"t< 4omp$icatin action/narrative hook ;ca$$ to s"%stit"te a c$ass<
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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1cene 2 1cene 5

B"i$d "p of action ;r"shin o"t of hairdresser,s/awf"$ sandwich< 4risis and reso$"tion ;arrivin at the schoo$# ettin st"ck in the $ift# %ein resc"ed %) the fire %ri ade<

In this wa)# each scene takes a part of the p$ot str"ct"re and deve$ops and conve)s it in the fo$$owin wa)s( thro" thro" thro" thro" thro" h "se of space and vis"a$ ima e h action h s)m%o$ and props h $i htin # ;co$o"rs# darkness< and so"nds ;m"sic# so"nd effects< h dia$o "e

&he convention is to write +ct 1# 1cene 19 +ct 1# 1cene 2# and so on. 2 1ettin # %ack ro"nd Each scene starts with a short# perhaps 5/$ine# description of the settin of the scene. It mi ht a$so ive a $itt$e %ack ro"nd to the scene. &his is especia$$) important if the p$a) incorporates the "se of ;a< f$ash%acks to an ear$ier time in the histor) of the characters ;not the main foc"s of the p$a)# %"t perhaps the reason $eadin to some action<# or ;%< cross/c"ttin # which is when the foc"s of a p$a) moves to a ver) different scene ;this is a techni!"e common$) "sed in fi$m9 first we see what character + is doin 9 then we see what character B is doin at the same moment<. Back ro"nd mi ht a$so %e important if a dramatic incident has not %een inc$"ded in the p$a). 5 1ettin tone# dia$o "e conventions and props 1t"dents can f"rther enhance their scripts %) addin in detai$s a%o"t how the character is fee$in or how s/he wi$$ approach the scene. .or st"dents $earnin En $ish# the most accessi%$e wa) to do this is to "se adver%s. 2ate( ;h"rried$)< Cenr)( ;ca$m$)< I,m so $ad to see )o". 'e tho" ht )o" ot trapped on the :&D or somethin # %"t here )o" are@

/ote that the na!e of the character appears followed #y a colon (0), then the description of the e!otions/approach of the character and finally the line of dialogue% .ina$$)# there needs to %e c$ear reference made to props "sed on sta e. &hese need to %e inc$"ded in a$$ rehearsa$s so that the actors can et "sed to %rin in them on sta e at the ri ht time and ho$din and "sin them for effect.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

6 +ddin in so"nd and $i htin c"es to create atmosphere &his ma) come at a m"ch $ater sta e in the script/writin process# %"t st"dents wi$$ a$most certain$) want the advent"re of addin some of the fo$$owin to he$p create atmosphere( $i htin # "se of darkness# "se of co$o"rs# "se of shadow# spot$i hts so"nd in the form of so"nd effects ;e. .# footsteps# a $ass smashin < m"sic

:ake s"re that st"dents add $i htin and so"nd c"es into the script so that actors are aware of the effects that accompan) and a" ment the action. +s we$$ as p$acin the c"es in the script# there sho"$d %e a separate c"e sheet for st"dents who are responsi%$e for makin s"re the effect takes p$ace at the ri ht time. Cere is an examp$e( 4"e +ct 1# 1cene 1 2ate( >h# that m"st %e m) phone. 0i htin effect

1cene oes dark# spot$i ht on 2ate as she takes the ca$$. 2ate( >ka)# then. I,$$ do m) %est to .$ood$i ht/norma$ $i ht res"mes. not et st"ck in the traffic. B)e.
)igure 1=% Sample lighting cue sheet

&here wo"$d %e a simi$ar sheet for ?1o"nd effects, and c"es. Sound e ects Cere,s a $ist of common$)/"sed so"nd effects. 1ometimes the so"nd effect is "sed to show the res"$t of an action# sometimes it is "sed to show the inner state and fee$in s of a person. Examp$es are iven.
Soun effect 1o"nd of app$a"se E(ternal action &o show a crowd c$appin 4nternal state &o show that a character fee$s that s/he has done we$$ and the wor$d approves. &o show that someone has made a mistake &o show that someone is expectin somethin ;%ad< to happen - comic &o show some examp$e of comm"nication that has taken p$ace or needs to take p$ace &o show a character is panickin a%o"t somethin &o show that a sit"ation or character %rin s tro"%$e with them
25 EDB 2008 / 2009

+ $ass %reakin .ootsteps on rave$ ;cr"nch) noise< 3hone rin in

&o show a minor accident &o show that someone is comin ;same<

+$arm %e$$ + th"nder storm or stron wind

.or an emer enc) &o show weather conditions o"tside

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1omeone h"mmin a t"ne

;same<

&o create an atmosphere of happiness and sense of %ein carefree

)igure 1>% Common soun effects an 'hat the* can represent

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1.=.! Activit* Ban+% Theatre Conventions O"st as in En $ish c$asses we "se activit) t)pes s"ch as ap/fi$$s or sentence comp$etion# in Drama there are man) esta%$ished activities# which are known as conventions. In this section we $ist some of the most wide$) "sed drama conventions# in the order that )o" ma) do them in c$ass. &hese sho"$d %e inte rated into a $esson str"ct"re simi$ar to demonstration $esson 1.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

1ti$$ Ima e / a$so a component of ?freeEe/framin , 'orkin definition ;a< + st"dent# or st"dents in ro"ps form the static ima e of a scene

;%< 4an %e "sed as a means of foc"sin the a"dience on a moment in the drama when the performers ?freeEe, in position whi$e action either contin"es on a different part of the sta e ;ca$$ed ?sp$it sta in ,<# or one character contin"es actin /movin in the spot$i ht ;ca$$ed ?spot$i htin ,< whi$e the others freeEe aro"nd him/her.
1tim"$"s Fis"a$( paintin # photo# advert +"ra$( m"sic# so"nd effects Fer%a$/written( poem# stor)# advert# report# head$ine# a named fee$in :ost often sma$$ ro"ps +fter "sin steps to access the meanin of the stim"$"s# $earners ph)sica$$) form a rep$ica of it# %"t ma) a$so chan e one part or interpret it different$). >ther mem%ers can ?sc"$pt, the sti$$ ima e participants into the ri ht form. 1 Aro"p d)namics( co/operation# !"ietenin # concentration 2 Improvisation( the first ?enterin in, to a mood# idea# concept9 the first co$$a%orative piece9 it can %e the startin or end point of a scene

Aro"pin 3roced"re

Ksed for

5 0ive performance( can he$p the a"dience "nderstand the ke) moments in a scene and hei hten tension. Ksed with effective ;spot< $i htin and the "se of so"nd or m"sic# it can reat$) enhance a piece. It can %e "sed at the %e innin ;to create foc"s<# in the midd$e ;to mark a moment for attention<# or at the end ;to ive the a"dience time to assimi$ate what the) have *"st witnessed<.
3ro%$ems C"man It can $ead to ?corpsin , ;one meanin of this is that st"dents start to i $e as the) rea$ise that the) ma) $ook si$$)<. &echnica$ It,s important the a"dience,s si ht$ines are considered when freeEe/framin . 4an each character %e seenB +re st"dents "sin the three %asic horiEonta$ $eve$s ;near the f$oor9 cro"chin 9 standin ta$$<B

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

&ho" ht/trackin 'orkin definition Ksin freeEe/framin or sti$$ ima e# the teacher taps a character on a sho"$der and asks her/him to ive =0 seconds of tho" ht from that character,s perspective. &his can %e repeated with other characters. 1tim"$"s Aro"pin 3roced"re &he stim"$"s comes from the importance of the moment in the drama to each character. Done whi$e in sma$$ ro"ps &he freeEe/framin or sti$$ ima e sho"$d %e we$$ esta%$ished %efore oin into tho" ht/trackin %) tappin someone on the sho"$der. &here sho"$d a$so %e an a"dience to hear what the character sa)s so that s/he fee$s that s/he,s speakin a$o"d for a reason# and not simp$) for the teacher. 1 +ccessin a character,s interior tho" hts# emotions# responses# motivations

Ksed for

2 Ksef"$ when different characters ma) %e experiencin different reactions to the co"rse of events# e. .# if someone wins a priEe# character + ma) %e de$i hted# character B ma) %e disappointed# 4 ma) %e pro"d# and D ma) %e *ea$o"s. &his wi$$ %e in response to the dramatic moment of the priEe/ winnin .
5 ;&E.0< Ksef"$ to enco"ra e spontaneo"s speakin # f$"enc) and confidence/%"i$din

6 4o"$d %e "sed in a $ive performance accompanied %) specific co$o"red spot$i hts for effect# e. .# 4haracter 4 speaks pro"d$) and is $it %) a %ri ht white $i ht# 4haracter D has *ea$o"s words and is $it %) a movin reen $i ht.
+daptations +n adaptation for in/c$ass improvisation is to freeEe the character %ein foc"sed on# and have the peop$e aro"nd him/her sa) the character,s tho" hts for him/her. .or examp$e# 4haracter + wins the priEe# and characters aro"nd him revea$ different aspects of his tho" hts and fee$in s thro" h speakin whi$e 4haracter + sta)s froEen and !"iet. Ce$ps others to %"i$d "p an "nderstandin of the interior of a character. &his techni!"e is ca$$ed# ?his tho" hts# her tho" hts, %) Brian :cA"ire.

2G EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

'ritin in Do$e 'orkin definition 1t"dents are iven the opport"nit) to write somethin whi$st in character and therefore express themse$ves in writin from this perspective. 1tim"$"s Aro"pin 3roced"re &his can take p$ace after some improvisation work has taken p$ace with sti$$ ima e# freeEe/framin # or ro$e/p$a). &his is an individ"a$ activit).

+fter havin had some time to %e in ro$e# and perhaps after experiencin an event or an exchan e with another character# st"dents are iven a choice of written tasks# e. .# to write a postcard# a diar) entr)# a $etter# an e/mai$# a text messa e# to "pdate a %$o # to write on ?parchment,# to raffiti on a prepared wa$$. If takin part in a thri$$er or histor)# st"dents ma) wish to reco"nt what the) witnessed in a po$ice report or for a historian,s doc"ment.
1 &o deve$op the fee$in s and tho" hts of a character 2 &o he$p a st"dent ;a< "nderstand and ;%< create the perspective a character has towards a set of events or towards another character 5 ;&E.0< &o create a %a$ance %etween the ora$ ski$$s "sin in ro$e/ p$a) and written ski$$s. Ens"re that st"dents have a c$ear mode$ of the format the) mi ht %e "sin .

Ksed for

6 +dd the writin to the portfo$io %"i$d/"p for that character# e. .# it co"$d accompan) ro$e/on/the/wa$$ dia rams.
3ro%$ems 1 1t"dents ma) draw a %$ank so it is important that the writin is in response to somethin that has %een experienced or witnessed. 2 ;&E.0< 1ome s"pport with ke) words and spe$$in wi$$ %e needed. 2eep the writin short at first and enco"ra e st"dents to add to it.

28 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Do$e/on/the/'a$$ 'orkin definition + wa) to exp$ore a character creative$) 1tim"$"s Aro"pin + character from a p$a) or sti$$ ima e s"ch as a paintin 1ma$$ ro"ps enco"ra e co$$a%orative thinkin 9 individ"a$ work can promote concentration and depth. +n o"t$ine of a character is created on a piece of paper. &his can either %e $ife/siEe# or sma$$ so that it can fit into a fo$der. If it is $ar e# it a$$ows access to man)# and can %e a foca$ point for the ro"p faci$itatin co$$a%orative ro"p work and opport"nities to deve$op each other,s ideas. 1t"dents think a%o"t the character and start to write thin s the) know a%o"t him/her o"tside the o"t$ine of the %od) s"ch as his/her mannerisms# appearance# est"res. &he) ma) a$so consider the forces that other characters exert on him ph)sica$$)# emotiona$$) or menta$$). 1t"dents then think a%o"t the character,s inner states possi%$) in response to others# motivations# emotions# needs and wants. >ften# the inner states can on$) %e worked on as the improvisation pro resses so it is "sef"$ to start a session with the ro$e on the wa$$# keep it "p on the wa$$# and add to it over a n"m%er of sessions as st"dents, appreciation and "nderstandin of the character deve$ops and deepens. >ne adaptation is to have three +6 siEe ro$e/on/the/wa$$ temp$ates for st"dents and ive them a few min"tes in an ear$) session# a mid/wa) session and a $ater session to show the additions the) made to the ro$e and wh)# ref$ectin the experience that tri ered it. 1 Deve$opin a character - especia$$) if "sed over a few sessions 2 4an show c$ear the press"re one character exerts on another 5 Ce$ps st"dents $ink inner states to o"ter est"res and actions 6 ;&E.0< 3repare to demonstrate and expose st"dents to $exica$ items to descri%e dress# post"re# e)e/hair co$o"r# and characteristics. Demem%er to show $an "a e that co$$ocates# ;keeps his eyes lowered<# and word stress# ;"n2E:3&<. 1 4an $ead to stereot)pin and sha$$ow# exterior characters if "sed once on$) and not deve$oped over time 2 If the st"dents don,t consider the re$ationships %etween characters in a piece# the ro$e wi$$ remain %asic and "ndeve$oped 5 Ens"re that )o" have s"fficient materia$s ;paper# co$o"red markers< for ever)one to contri%"te to avoid one person,s view dominatin .

3roced"re

Ksed for(

3ro%$ems

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Cotseatin 'orkin definition + character is interviewed in depth %) a ro"p 1tim"$"s Aro"pin >ne character sits in the hotseat whi$e other sit aro"nd him/her read) to interview. &his is enera$$) not done in character %) the rest of the ro"p# who are themse$ves. 4hoose a character which needs deve$opin . 3$ace her/him in the hotseat and ive some preparation to the others to deve$op !"estions a%o"t the character,s ro$e and his/her re$ations to other characters inc$"din (/ 'h) did )o" do IB 'ho,s c$osest to )o"B 'ho do )o" dis$ike and wh)B Cow did )o" fee$ whenB Cow does it fee$ when s/he doesIB 'h) are )o" tired/happ)/nois) a$$ the timeB If I ave )o" P1#000# what wo"$d )o" do with itB Cave )o" ever done ;somethin %ad/advent"ro"s/kind<B Cow do )o" eat nood$esB ;mime< Ksed for &his techni!"e is "sed in improvisation to he$p a st"dent deve$op his/her "nderstandin and connection with his/her character. &he speed with which the !"estions are asked can sometimes he$p a st"dent move into character more deep$). It a$so he$ps other characters "nderstand the hotseatin character. 4orpsin and sta e fri ht - it ma) %e too m"ch for the st"dent. If )o" sense anxiet)# a ree to $imit the !"estions to 2/5 and check %efore oin on. 0ack of empath) with the character. In this case# )o" mi ht want to resort to a !"ick session of pair/work where ever) other st"dent takes on character + and is interviewed %) another st"dent on 1/5 ke) !"estions and take the most perceptive answers.

3roced"re

3ro%$ems

50 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

&ho" ht &"nne$ 'orkin definition + means of he$pin st"dents to artic"$ate the tho" hts of a character especia$$) when s/he faces a di$emma in the ro$e/p$a) or improvisation 1tim"$"s Aro"pin 3roced"re + character,s di$emma or pro%$em 'ho$e c$ass ro"p of 20 1t"dents are divided into two e!"a$ $ines facin each other and *oin hands to form a %rid e. &he character foc"sed on s$ow$) and de$i%erate$) wa$ks down the h"man t"nne$. +s s/he passes# each st"dent makes a statement a%o"t ;a< what s/he is thinkin 9 ;%< what s/he needs to consider9 ;c< action and decisions that need to %e made in response to a di$emma or pro%$em that the character has. &o deve$op a character and hi h$i ht considerations that need to %e taken into acco"nt. Dependin on the c$ass profi$e# this activit) ma) need to %e r"n with fewer participants to ens"re st"dents sta) on/task.

Ksed for 3ro%$ems

51 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Aood +n e$ / Bad +n e$ 'orkin definition + means of he$pin st"dents consider two sides of a pro%$em the character is dea$in with 1tim"$"s + character,s di$emma or pro%$em enco"ntered in improvisation Aro"pin Aro"ps of 5 with one main character %ein foc"sed on 3roced"re 1t"dents enco"nter or decide on a pro%$em one character has# for examp$e# whether to $ie or not. >n one side stands the ? ood an e$, - the voice of reason# mora$it) and oodness9 and on the other side stands the ?%ad an e$, - the one who has no mora$ code# tries to take advanta e of an) sit"ation for short/term materia$ or stat"s ains# and wi$$ "se an) means to advance him/herse$f. &he centra$ character asks a !"estion# e # ?1ho"$d I $ie to m) father ;a%o"t somethin that has taken p$ace<B, &he ood an e$ sho"$d come "p with reasons and wa)s of avoidin $)in 9 the %ad an e$ wo"$d come "p with reasons for $)in and of ainin advanta e thro" h the process. &E.0 teachers ma) want to "se this as an opport"nit) to feed in $an "a e forms for h)pothesiEin # s" estin # or for the %ad an e$# wa)s of maskin the immora$it) of what s/he,s s" estin (/ If )o" $ie# )o",re $ike$) toI 'h) don,t )o"IB 8o" co"$d a$wa)sI Cave )o" ever tho" ht a%o"t IB 'o"$d it %e s"ch a %i dea$ if )o"IB It,s on$) the once# and he wo"$dn,t even noticeI 'hat )o" don,t know can,t h"rt )o". Ksed for &o he$p a character consider co"rses of action# and decide how to mo"$d the character. 3ro%$ems 4an $ead to s"perficia$ or inf$ated s" estions. Aive st"dents time to think# or %rainstorm %efore the) tr) this o"t. +$ternative$)# $et them tr) it o"t twice in different ro"ps so the) can refine some of their s" estions.

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

.ixin 1pace 'orkin definition &he wa) in which actors mark o"t the area the) are to work within either for improvisation or ro$e/p$a). :ateria$s Aro"pin 3roced"re 1t"dent ma) do this with avai$a%$e materia$s s"ch as ta%$es and chairs# shoes# or even cha$k on the f$oor. In improvisation or ro$e/p$a) ro"ps. 1t"dents divide the space the) have avai$a%$e for ro$e/p$a)# and proceed to choose their wa) of markin o"t their performance space. It ma) inc$"de decidin where rooms or parts of a street/vi$$a e are. &he most practica$ "se of this is to he$p esta%$ish re$ative movement of one character to another# $ines of si ht and direction of si ht to different parts of the $andscape of the p$a)# and c$ear si ht $ines for the a"dience. 1t"dents ma) find it diffic"$t to concept"a$ise what the a"dience sees# therefore# it is important to ive c$ass time to workin in the area to %e performed so that st"dents can work thro" h the wa) the) $ook# the wa) the) move their arms in partic"$ar ;so as not to %$ock their face# or to %$ock others< and how to "se the space to %est effect.

Ksed for

3ro%$ems

55 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

.acin >"t 'orkin definition + means of maximisin the p$a) space. 3roced"re If a sta e is not avai$a%$e# st"dents ma) make "se of this techni!"e to show that characters are not c"rrent$) actin in a scene. Cere# certain characters take the active part of the scene actin in front of the a"dience# and the rest of the characters stand with their %acks to the a"dience f"rthest awa) from the a"dience and not performin . .or practica$ p"rposes# this minimises the on/ and off/sta e traffic. .or the p"rposes of drama# it shows that even tho" h certain characters are not foc"sed on in terms of the action# the) are sti$$ present in the %ack ro"nd# and perhaps exertin force on the action. 1t"dents can ho$d a freeEe/frame to s)m%o$ise an aspect of their character whi$e facin /o"t and creative "se of $eve$s ;$ow# mid and hi h< can a$so %e "sed.

Ksed for

56 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

4oncentric 4irc$es 'orkin definition + means %) which characters can express and work o"t their c$oseness or distance from other characters in a ro$e/p$a). 1tim"$"s Aro"pin 3roced"re 1t"dents wi$$ a$read) have read or desi ned a ro$e/p$a) to work with which invo$ves re$ationships %etween characters. &he n"m%er invo$ved in the ro$e/p$a)# %"t this can %e red"ced to foc"s on the centra$ characters. >nce some warmer activities and a $itt$e work on the ro$e/p$a) has %een done# show st"dents a dia ram of the re$ationship distances %etween someone ;co"$d %e )o"rse$f< and other peop$e drawn ro" h$) a$on the $ines of concentric circ$es with each circ$e o"t representin a person who is $ess c$ose to the centra$ character. 2eep the n"m%er to six or $ess in tota$. &a$k thro" h the re$ationship map with reference to wh) someone is where the) are p$aced. &his ma) invo$ve reference to an incident that took p$ace %etween the characters which meant the) are now c$oser or more distant. >nce this mode$ has %een done# ask st"dents to form a standin h"man map with the character %ein foc"sed on in the midd$e# and other characters standin c$oser or more distant dependin on their re$ationship. If this works# take it one step f"rther# and have st"dents do two maps( one BE.>DE a dramatic event in the ro$e/p$a)# and one +.&ED in order for st"dents to think thro" h and show the impact the decisions# events and emotions have on h"man re$ationships. >ne techni!"e that can %e "sed is to have a character that has %een distanced face the opposite direction from the centra$ character to show $ack of connection. Knderstandin and showin re$ationships %etween characters at different points in the p$a). 'itho"t a ood mode$ and reasons %ein iven# it ma) %e diffic"$t for some st"dents to concept"a$ise this. 8o" co"$d start off with a map of the characters in a we$$/known fair) ta$e# or a star that st"dents know a $ot a%o"t and e$icit c$oseness and distance in re$ationships. &he difference %etween ph)sica$ c$oseness ;ie# +da $ives with her mother< and emotiona$ c$oseness ;ie# +da dis$ikes her mother< needs to %e made c$ear for the p"rposes of dramatic conf$ict.

Ksed for 3ro%$ems

57 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

:arkin the :oment 'orkin definition + wa) to make a moment in a p$a) si nificant %) actin # mime# "se of est"re# words# $i hts or so"nds. 1tim"$"s 1t"dents wi$$ a$read) %e fami$iar with a ro$e/p$a) and have chosen a si nificant moment when# for examp$e# a choice has %een made that $eads to a se!"ence of events. +s the ro$e/p$a) ro"p. Decide on a sma$$ n"m%er of si nificant moments in the ro$e/ p$a) and ive st"dents options for ?markin , them. &his co"$d %e thro" h the "se of(/ .reeEe/framin 1$ow motion 4o$o"red spot$i ht 1o"nd effects9 m"sic + vis"a$ s)m%o$ or prop + ke) phrase + $ook at the a"dience Cave st"dents tr) o"t 2/5 different techni!"es and decide on one or a com%ination of# e # s$ow motion Q red $i ht. Ksed for Ci h$i htin to the a"dience that a moment is si nificant and wi$$ have an impact on the co"rse of the rest of the drama and the characters invo$ved. 1t"dents ma) over$oad their moment with effects. +$ternative$)# the) ma) create the wron effect# makin a tra ic moment $ook f"nn) "nintentiona$$). :ake s"re that feed%ack from other ro"ps is an a reed part of the proced"re to et some perspective.

Aro"pin 3roced"re

3ro%$ems

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

&heme Bank &his %ank contains a $ist of themes )o" mi ht consider and work with d"rin improvisation# and examp$es of stim"$i to start the st"dents workin . .riendship &wo schoo$mates invite a third p"pi$ to participate in a pro*ect or ame. &he third person is sh) and awkward# and event"a$$) re$axes. + teacher acc"ses a 2e$vin of p$a iariEin . ."n defends 2e$vin in an "nexpected wa). + ro"p of st"dents tr) to pers"ade two others to smoke. >ne does# the other doesn,t - wh)B :in is sick %"t won,t o to the doctor. 1choo$ friends tr) to work o"t wh)# and fina$$) convince her to o. +n e$ is $)in a%o"t where she oes after schoo$. 1he,s ettin thin and has dark circ$es "nder her e)es. 1choo$ friends fo$$ow her one evenin # find o"t wh) and confront her. +$ex has %een %"$$ied after schoo$ for months. Cis work is startin to deteriorate and his rades are ettin $ower. +$ex tries to reso$ve the sit"ation. 'ho does he ta$k toB 'hat does he doB 3ip is a non/4hinese ir$ in a Con 2on 4hinese schoo$. &he st"dents have not %een we$comin %eca"se the) %e$ieve she is different from them. 'ork o"t one moment showin acceptance of the character %) the ro"p. Aood +n e$/Bad +n e$ techni!"e. 8o",ve earned G00C2D from doin some work for a $oca$ shop. 8o"r %rother needs the mone) to %") somethin for his comp"ter. 8o" want to %") a pair of shoes. 'hat sho"$d )o" do and wh)B 8o" spi$$ a can of 4oke over a hand/written piece of homework on )o"r desk. 8o" don,t know who it %e$on s to %"t )o" need to make amends %efore the person arrives. 4e$ia cheated d"rin her $ast En $ish exam. 1he is now startin to wake "p in the midd$e of the ni ht with ni htmares. 1he ta$ks to her friend a%o"t it. &wo st"dents from )o"r schoo$ have the same date of %irth# %"t ver) different %irthda) experiences( one is rich# one poor. 'hat happens to each one# and how are the characters shaped and formed as a res"$tB &wo schoo$mates. >ne has a co" h and co$d and ta$ks to the hea$th) one. B) the end of the conversation# the first character has recovered and the second character has ca" ht the co$d. 'hat is the conversation a%o"t and does it mirror the transfer of the co$dB

0o)a$t) 3eer press"re 1t"%%ornness Dishonest)

Deso$vin %"$$)in

Deso$vin racism

2indness

4are$essness

4heatin

'ea$th L povert)

Cea$th L disease

5G EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

! "valuation and assessment

1t"dents need to ;a< ref$ect on their own $earnin and experience9 ;%< ref$ect on other,s work and $earn from it9 and ;c< et feed%ack from the teacher which wi$$ he$p shape and deve$op foc"s and awareness. &his can %e achieved thro" h ;a< ?hot/sheets, - immediate tho" hts# ref$ections and ideas that the st"dents have after havin experienced a techni!"e9 ;%< recordin devices for ref$ection ;a di ita$ voice recorder# or video recorder can %e "sed to watch how the ro"p has achieved a oa$< and itemised ref$ection sheets can %e "sed to "ide noticin 9 ;c< a teacher can $ist competences and %ehavio"r that s/he is oin to comment on d"rin the session whi$st workin with the ro"ps# s"ch as co$$a%oration9 "se of voice# pitch9 workin in En $ish9 "se of $eve$s9 "se of est"re9 "se of $i ht/so"nd9 "se of si$ence and pa"sin . 1t"dents can record their tho" hts# work# research and feed%ack in an on/ oin $o %ook and portfo$io. Log$oo+s an Portfolios &he $o %ook can %e a simp$e note%ook# %"t sho"$d contain ;a< p$ans for work and experimentation# ;%< techni!"es# ;c< sta e directions# ;d< ref$ections on the "se of techni!"es and sta e directions on a re "$ar %asis. &ime can %e set aside in c$ass# or it can %e set for homework. &his is an on/ oin record of the st"dent,s experiences and "ses of different techni!"es. &he portfo$io can %e a $ever/arch fo$der with dividers. 'e recommend the fo$$owin sections for notes. ;a< ;%< ;c< ;d< ;d< ;e< ;f< ; < Improvisation and ro$e/p$a) techni!"es 3ractica$ $i htin and so"nd ideas 1ta e directions and props 4ost"me ideas# ;fa%rics# co$o"rs< Def$ections and $earnin points Drama watched or seen and ref$ections Dehearsa$ 3$anner 3erformance doc"ments ;1o"nd/$i ht c"e sheet# props c"e sheet# %$ockin p$ans

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Sel #assessment activities or role#on#the#$all and thought tunnel @$&ectives +< 'hat have )o" $earnt a%o"t the ro$e/on/the/wa$$ conventionB 4irc$e the appropriate options. Do$e/on/the/wa$$ is to he$pI deve$op p$ot &ho" ht/t"nne$ is to he$pI a character to speak more c$ear$) %) prono"ncin his/her words deve$op a character %) thinkin a%o"t his/her ro$e a character to "nderstand different parts of a pro%$em and make a decision deve$op character deve$op ima es

Language B< Deview the voca%"$ar) )o" wrote in )o"r ro$e/on/the/wa$$. 4omp$ete the ta%$e %) or anisin the voca%"$ar) into cate ories 3h)sica$ appearance 4haracter >ther

Achievement 4< Date )o"r ro$e/on/the/wa$$ character. Cow satisfied are )o"B 4hoose one. Hot ver* happ* #easona$l* happ* 1er* happ* Elate

'h) did )o" ive )o"r ro$e/on/the/wa$$ character this ratin B Beca"se ...

Date )o"r tho" ht/t"nne$ activit). Cow satisfied are )o"B :ark M on the $ine E(cellent 'or+ Average 'or+

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Sel #assessment activities or good angel % &ad angel 1 'hat,s the minim"m n"m%er of peop$e invo$ved in a Aood +n e$/Bad +n e$ activit)B ;a< 2 7 ;%< 6 ;c< 2 ;d< 5

'h) do we "se Aood +n e$/Bad +n e$B "ircle one% ;a< to deve$op a scene ;%< to create a character ;c< to write dia$o "e for more than one character ;d< to exp$ore two options for action ;e< to make *"d ements a%o"t the character ;f< to practise speakin

&hink a%o"t the Aood +n e$. 'hat is her/his ro$eB 4irc$e )o"r ideas.

&o pers"ade a character &o ive him reasons for &o ta$k to and ar "e with to do somethin %e$ievin the sit"ation the Bad +n e$ can have a positive endin

&o $ist positive and ne ative ideas connected with a sit"ation 6 ;a< ;%< ;c< ;d< ;e<

&o make the character happ)

&o $isten to the character

&hink a%o"t the Bad +n e$. 4ross o"t the thin s that s/he does not do. 0ists ideas a%o"t happ) so$"tions. &ries to he$p the character so$ve a pro%$em. .oc"ses on actions that are se$fish or ca"se tro"%$e. 1" ests actions that wi$$ shock other characters. 0istens to the Aood +n e$ and the character.

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&hink a%o"t the t)pe of $an "a e )o" "sed in the Aood +n e$/Bad +n e$ activit). 4omp$ete the appropriate section with $an "a e )o" "sed toda)

Suggesting 0 Persua ing

Biving an opinion

0an "a e "sed

Challenging an opinion

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Peer#assessment activities or plotting and scripting +< 4an )o"r partner to remem%er the different p$ot t)pes and what the meanB The , plot The Episo ic plot The Hero5s ?ourne*

The /ountain plot

Cow man) p$ot t)pes did )o"r partner exp$ain correct$)B

+$$ 6

B<

&est )o"r partner. Dead the sentences and )o"r partner "esses the correct p$ot t)pe. &ick the ones the) ot ri ht

a< 'hen someone is ca$$ed to advent"re %< Ksed a $ot in soap operas and Co$$)wood fi$ms c< + series of increasin dramatic events and comp$ications d< + series of events which ma) not %e connected to one other e< :ore $ike rea$ $ife ;f< + wa) of testin mora$ character and the deve$opment of stren th ; < &his p$ot deve$ops dramatic tension
Answer 1ey ;a< 'hen someone is ca$$ed to advent"re. The Hero5s ?ourne* ;%< Ksed a $ot in soap operas and Co$$)wood fi$ms. The 2,5 plot ;c< + series of increasin dramatic events and comp$ications. The /ountain plot ;d< + series of events which ma) not %e connected to one other. The Episo ic plot ;e< :ore $ike rea$ $ife. The Episo ic plot ;f< + wa) of testin mora$ character and the deve$opment of stren th. The Hero5s ?ourne* ; < &his p$ot deve$ops dramatic tension. The /ountain plot

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EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

' (esources
&his section contains a $ist of "sef"$ and practica$ reso"rces which come from two main so"rces( p"%$ished %ooks and the internet. &he materia$s are or anised accordin to when in the co"rse )o" are $ike$) to need them. 1ome of the so"rces wi$$ need to %e adapted to make s"re the) are appropriate for the needs of )o"r st"dents. EDB #esources Aenera$ Drama Deso"rce 3a e http(//www.ed%. ov.hk/index.aspxBnodeIDR2G72L$an noR1 :ain index pa e for +00 EDB doc"mentation( c"rric"$"m "ides# schemes of work# teachin reso"rces# etc. http(//www.ed%. ov.hk/index.aspxBnodeIDR2GG5L$an noR1 Deso"rces in s"pport of the 1chemes of 'ork http(//www.ed%. ov.hk/index.aspxB$an noR1LnodeIDR2G=9 4amenE"$i# Domm 23 4i!ple 5ra!a ,a!es B"shfire 3ress ;1988<

Practical and simple short activities to use at all stages o a drama session) "ach activity is less than *+ $ords long)

:cA"ire# Brian 4tudent and#ook for 5ra!a 3earson

;2005<

A main source o practical dramatic conventions and techni,ues put in simple and accessi&le language)

:cA"ire# Brian (echnical "o!panion to 5ra!a 3earson ;2000<

Covers some o the same areas as the -.and&ook/ &ut also includes clear0 practical e1planations on lighting and sound techni,ues)

Jee$ands# O. L Aoode &. 4tructuring 5ra!a Work

4K3

;2000<

A detailed and e1tensive coverage o dramatic conventions0 and invalua&le resource or the T"2L 3 drama teacher)

:a$e)# +. L D"ff +. 5ra!a (echniques in 6anguage 6earning 4K3 ;1982<

This is the classic techni,ues &ook or trans erring drama to the T"2L classroom and contains many practical lesson recipes)

:ok# + (ask7#ased 6earning, 6anguage Arts and the 8edia% A *esource 9ook for 4econdary :nglish (eachers IJ1&E3# .ac"$t) of Ed"cation# C2K ;2001<
A .ong 4ong speci ic &ook) Chapter three in this &ook is -Drama 5 A Tool or 6ntegrating Language Skills/ &y 7ackie Wheeler) 2ull o practical ideas $hich sho$ the language and learning areas that can &e $orked on through drama activities)

'esse$s# 4.

5ra!a

>K3

;198G<

8riginal ideas and lesson recipes going rom one#o activities to ull classroom per ormances) 65 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

Jew%rook# J. ;1998<

:xtracts & :nglish fiction for advanced students

1cho$astic

Jew%rook# J. with Jew%rook O. (i!esaver ;hotocopia#le :xtracts . & :nglish fiction for upper inter!ediate and advanced students (with "5) 1cho$astic ;2005<
Both good sources o photocopia&le literature) Teachers $ill $ant to select appropriate theme and content rom e1cerpts availa&le)

Je$son,s 1"per1cript series# 4onnections and 1t"dio 1cripts - which provide p$a)scripts for )o"n ad"$ts and a ran e in n"m%er of speakin and non/ speakin ro$es. www.ne$sonthornes.com ?+, $eve$ Drama A$ossar)
www.kenta)$or.co."k/die/materia$s/docs/$essons/)r12/e monton1/aNlevelNglossar*.pdf /

Basic drama methods http(//www.artsonthemove.co."k/reso"rces/ amesmethods/methods.htm$ http(//www.*s!"ared.co."k/to%ias/tech.htm http(//www.pem%schoo$.or ."k/$earnin /htm$/0=hotsN1.C&: Drama 0esson 3$ans http(//www.kenta)$or.co."k/die/
1hort $esson ideas for the teacher.

Drama ames http(//www.artsonthemove.co."k/reso"rces/ amesmethods/ ames.htm$

1hort# practica$# eas)/to/fo$$ow instr"ctions for drama ames for the teacher.

Detai$ed A$ossar) http(//$itera1no6.tripod.com/e$ements.htm$

H"ite detai$ed - for the teacher.

3$ot str"ct"re dia ram http(//so"th.hinsda$e8=.or /departments/en $ish/e1we%/ho$es/edia ram.htm$ 3$ot str"ct"re http(//en $ish.t)$er.cc.tx."s/en 1250Gn%)r/p$otstr"ct"re.htm http(//www.s)c.k12.pa."s/Ssms/Eart/shortNstor)/30>&/s$d017.htm
&his is a powerpoint intended for proficient speakers. &he &E.0 teacher is advised to adapt it.

1tat"s http(//www. a"detwc.com/drama/drama1/d1!5Nstat"s.htm

+n exce$$ent on/$ine reso"rce for the teacher. 0ists wa)s in which stat"s can %e shown and deve$oped thro" ho"t a dramatic piece.

1tim"$i http(//www.artsonthemove.co."k/reso"rces/ amesmethods/stim"$i.htm$ 1tr"ct"rin a drama c$ass

66 EDB 2008 / 2009

EDB Language Arts Electives Professional Development for Teachers Learning English through Drama

www.teachers.tv
&)pe in a search for 5ra!a - exce$$ent 17/min"te videos for teachers with accompan)in worksheets

&hemes www.chal+face.com/N2e)N&hemesNinNDrama
>n$) a free samp$e down$oada%$e from this site %"t f"$$ of practica$ activities %ased on Ahosts# :)ths and 0e ends. If )o" want the f"$$ doc"ment# )o" wi$$ need to p"rchase it from the we%site.

4n Hong Kong Con 2on Drama .estiva$ for 1choo$s http(//www.ed%.or .hk/schact/drama/ Con 2on +cadem) of 3erformin +rts http(//www.hkapa.ed"/ British 4o"nci$ Con 2on # Come pa e http(//www.%ritishco"nci$.or /hon kon British 4o"nci$ En $ish >n$ine - re iona$ sites for teachers and st"dents http(//www.en $ishon$ine.or .cn/en

67 EDB 2008 / 2009