Dear ESL Drama Gamers, a promise is a promise!
Here is the second part of the summarized inspiratons IATEFL 2015 provided me.
Lots of artsy love,
ESL Drama Queen
Here is the second part of the series of posts about my favourite talks and workshops throughout the four days of IATEFL 2015 Annual Conference and my personal comments about each of them.
Some of the quotes were heard at events specifically about arts, some of them at talks that had completely different topics. Despite being heterogenous, all of them are relevant to one who is eager to include drama games in ELT in one way or another, for transdisciplinary approaches require transdisciplinary theoretical basis.
A few of them may seem obvious, however I believe that the strongest epiphany one can have is truly noticing for the first time what the eyes failed to see for so long.
I hope they can be as useful and inspiring to you as they were to me. And may you all sail through the rough yet fulfilling, known yet fairly unexplored waters of using art, theatre and creativity in ELT.
Uncovering expertise in coursebook writing
Julie Norton & Heather Buchanan
Bio: University lectures at the University of Leeds and Nottingham and materials writers for Oxford University Press.
Practical constrains – word count, time and spread limit
Creativity constrains – using the right kind of language, linking deadlines with creativity
Following the brief – who are you writing for, coping with changes in briefs during the project
Managing the process”
ESL Drama Queen: When a teacher starts creating his/her own material some of these challenges don’t apply, though some do. For instance, planning the format – how much space on a page is going to be utilized and why – choosing the best language to get maximum effectiveness and managing the time taking to prepare and execute activities. This also applies to developing new games and inserting them in the lesson plan.
Write with someone
Be prepared to take criticism
Think about how other people would use the material
Be self-critical, meticulous, flexible Imagine what it will look like on the page
Manage your time within the day
Be aware of your own principles about teaching and learning and the principles of the project
Write answer key
Start at end point and work your way backwards
Get classroom experience
Be alert for new ideas”
ESL Drama Queen: All of these tips are also applicable when inserting drama games in a lesson plan. The best way to make the best out of a drama game is to sync it to the teaching point of the day and using the game as a means to achieve that goal. In order to do that, the process is very similar to that of writing brand new material: you have to look at the goal you want to achieve in the end of the class and think about each phase you are going to develop in order to get there. Then analyze the games you know and think about which one could help each phase you developed and how they could be included in the lesson. Bear in mind these tips above as well and the lesson will probably work out fine.
Emotional Engagement for adult sudents
Bio: Herbert Puchta holds a PhD in English – with a focus on ELT pedagogy, has been Professor of English at the Teacher Training University in Graz, and is a past President of IATEFL. He is also one of the most influencial authors in YL.
Personalize the content
Tackle emotional inteligence
Allow teacher’s personality to be shown
Make sure the classroom is a safe place
Make activities relevant
Provide the element of surprise
Use music and movement
Make sure students feel included
Provide and ask for meaningful feedback
Allow some thinking time”
“Emotion is part of the process, and not its conterpart; emotions and intelligence go hand in hand (Lazarus and Lazarus)”
“Neuronal connexions grow as the chid gets older: that’s PHYSICAL learning. The brain physically grows when we learn. This growth is more extensive and powerful when emoton is envolved. Emotion here is also physical, it’s adrenaline, dopamine and serotonine, who influence sinapsis. Therefore emotions are like fertilizers for learning. That’s why emotional engagement is key for the learning process. Learning is also a physical process. the brain is an organ of emotion”
“Focused attention (Egbert): it is easier to focus on something that we consider to be relevant”
ESL Drama Queen: All of the above can be successfuly achieved by proposing games in the classroom that connect the teaching point of the day with emotional skills development. In order to allow both language learning and emotional engagement to coexist, I’d reccomend choosing a drama game that targets actors’ emotional development and adapt it in order to include your teaching point during the playing process. This way, the production of that specific piece of language will coexist with the emotional development of the group.
“Emotional engagement is a step further from integration”
ESL Drama Queen: Integration as I see it is external to the participants: I can be part of a group because I feel safe and comfortable with the people in it, but that does not mean I am actively emotionaly engaged to everyone in it or the topics we talk about. Engagement to my mind can only be achieved when I am aware of my own self and I personally make the choice to do, say and feel things in the group.
Authors: Doff, Lazarus and Lazarus, Thaine, Purpura, Zull
Well, this was part 2 of the IATEFL 2015 events to be reported here on ESL Drama Queen.
Stay tuned for more to come the next few days.
Don’t forget to follow us on Twitter, Facebook and Periscope!
And, as usual, have fun with the games!!!!
Viola Spolin is an institution. Writing about her feels both like talking about an old well-known friend and reviewing the works of a genius. It is gratifying and terrifying at the same time. But I will try to do my best.
The woman did it all: research, development and advertisement. Had she not decided to look further into the academic side of Theater and Pedagogy and make her ideas available to the world, many would have never come into contact with Drama Games and their use in the classroom (yours truly included).
My first experience with Viola Spolin’s work was through a book that a former teacher and coworker gave me for teachers’ day: Theater Games for Classroom – A Teacher’s Handbook. It was one of the best gifts I have ever received. Really.
The book changed my perspective in such a way that I immediately got caught in the fantastically inebriating Drama spider web. The book is edited in such a way that she is able to convince you little by little that you will no longer be able to teach a class without drama anymore. It worked on me.
The book is divided in 20 parts, however I can see three big blocks grouping them together:
The first part can be either a trigger for a teacher that has already been curious about the theme or the basis of a convincing argumentation for the skeptical teacher. It is successful in explaining when, where and how these games can be used and how helpful they can be in the classroom environment.
Part number two is the bulk of the book, where Spolin depicts a plethora of games for several objectives: movement, voice, observation, character building, communication, etc…
It is a guide, almost like a lesson plan, where all the games are there, ready to be used. It is one of the most mouthwatering ready-to-use game menus out there!
The last part is a compilation of tips and activities for the teacher to develop and manage all the phases of a theatrical presentation with the students.
In utter shock with that new world of never-ending options, I wondered: how could I apply those amazing ideas to my day-to-day classroom routine without interfering with the syllabus I was supposed to follow? And there it was, my first bump on the dramatic road.
Everything that was written on that magical book was fantastic – on paper. My reality was a much different scenario: I did not have the freedom to choose my own syllabus or the pace of the course where I worked at the time. Everything was already formatted and handed out to me, and my coordinators expected me to teach that exact content at that exact pace. There was little room for my own spice in the recipe.
Right then and there I knew that using Theater would be virtually impossible with my students. There simply was not enough time for that. Also, I have always enjoyed classroom activities that are intrinsically connected to the topic of the day’s class. So how could I connect the entire syllabus of the semester to a play? I would have to do that in order to make the content of the theatrical experience be meaningful to both the students and my coordinator. But it was just too much work with little chance of actually happening.
And that’s when the light bulb went on in my head: maybe I do not have to provide my students with the complete theatrical experience. Maybe they could benefit just from the drama games from the second part of the book, without even noticing that those activities have anything to do with theater whatsoever. Bingo.
As soon as I realized that, me, my coordinator and my students starting benefitting from the works of the marvelous Viola Spolin. Of course every game had to be adapted to the class, syllabus and classroom that I was teaching, but it was worth it!
Each activity would take me a maximum of 15 minutes, the students were more communicative, engaged, alert and also getting along better. I too noticed that fluency, intonation, pronunciation and overall awareness of the language was improved considerably in all groups that were exposed to Spolin’s material.
I highly recommend the book as reference and inspiration for ESL/EFL teachers. But bear in mind that the author did not think about Language Learning specifically when she wrote the book, so some activities have to be modified or adapted to one’s reality.
I hope I could do Viola Spolin justice and that you can benefit from the words I wrote.
If you want to purchase this book and also contribute to this website click on either this affiliate link or the one in the beginning of the text to go to amazon.com.
See you next time and have fun with the games!