How to Approach Speaking and Listening through Drama
Name : Dita Amalia Rahmah
Nim : 171230099
Microteaching
1. How to Begin With Teacher in Role
The first part of this chapter is exolain how to begin teacher in role and Why use teacher in role? Because 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 . Many times we have watched trainee teachers with a class of children struggling to get attention when giving instructions in traditional teacher mode. Yet, as soon as they move into role, they obtain that attention more effectively.and the role of teacher also very important becausr The teacher as a storyteller is something all primary school teachers will recognise. In preparing to be this kind of storyteller the teacher must have made particular decisions about this child
2. How to Begin Planning Drama
The part here is explain how to planning drama because We cannot establish a simple procedure for an order of planning. Clearly the teaching/learning objective will drive the shape of the drama, but the engine that drives the drama needs fuel and that fuel is a piece of strong material, a creative idea, and that is more inspirational than an objectives-led design.
Summary of points to consider
*● How to begin a plan – facing the problems of starting from scratch
*● The frame – the way the elements link together to provide viewpoint for the class
*● 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
* Planning with someone else
*● Road testing the first version
3.How to Generate Quality Speaking and Listening
In this part is explain about How to Generate Quality Speaking and Listening Authentic dialogue – teacher and pupil talk with a difference What is speaking and listening ? Speaking and listening is the most important communication form than 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. It has to be an interaction with others where both sides are contributing. When a pupil is speaking and listening properly, he or she is able to see how each contribution arises from what has already been said.
4. How to Use Drama for Inclusion and Citizenship
This chapter is concerned with the relationship between inclusion and drama as a pedagogical approach. We look at how drama, through its idiosyncratic approach, facilitates inclusion. We then make the link to the Citizenship curriculum and how drama’s approach to inclusion is an intrinsic part of this area. Drama’s inclusion is embedded, first, in its dialogical approach to teaching and learning.
If we want the pupils to experience a particular political idea or social situation, the fictional world of drama can provide that situation efficiently and with an immediacy that reality cannot provide. As one example let us consider the use of ‘The Governor’s Child’ drama as a vehicle for uniting these areas. The drama builds the pupils’ roles as citizens of a mountain village and places them in the situation where the community is under threat. The drama opens up the issues of justice and revenge as sought by a revolutionary soldier, the idea of what you undertake when you give someone hospitality and ultimately the question of the worth of the single life against the community.
We can see from a summary of the drama that a number of citizenship issues are immediately contextualised and presented to the children. Drama ensures that they have to explore them and get involved in them, to challenge and seek solutions in a number of ways.
We can see that the ideas listed cover important aspects of the Citizenship curriculum. In addition, the content of a specific drama can be planned to highlight key Citizenship areas. If we examine the thinking behind the planning of the stages of ‘The Governor’s Child’, we can see how by the nature of the tasks, techniques and content, it promotes elements of the Citizenship curriculum. We have given examples from ‘The Governor’s Child’ so that you can see how abstracts like fairness, democracy, identity, community, belonging, responsibility, can be made concrete through the process of drama.
The process makes them more of a community that can work together to the benefit of each individual’s understanding.
5. “ How to Generate Empathy in a Drama “.
Empathy, like drama, is framed in the particular and so we need to move from broad-brush emotions to their demonstrable particularity. Drama works by focusing upon the particular and moving from the particular to the general. To understand drama’s relationship with empathy we need to deconstruct the process of empathetic behaviour and see how this is replicated in drama. In the next part of the drama the pupils are told that a new inmate is expected and that they are to witness her induction to the workhouse. First, they look at the Workhouse Master (TiR) as he watches the girl walking towards the gates. They tell the teacher how they want him to stand and how they want him to look. He holds a stick. One of the girls in the class is enrolled as Martha, the new inmate. She carries a rolled up cardigan to signify she is carrying a baby. Like the role of the pupils, the role of the teacher is also important in the generation of empathy; the relationship is co-dependent. The role of the pupils needs in the first place to be a community one so that they see the situation from one point of view and are not divided in their attitude. Just as the role of the pupils gives them a perspective from which they can empathise, the role(s) you plan for the teacher is also part of structuring for an empathetic response. Empathy is often misconstrued The components of empathy Component One – the cognitive component. Component Two – the affective component How to structure drama for empathetic response Building the cognitive component Framing the affective component Planning the role of the teacher and of the pupils for generating empathy.
6. 6 How to Link History and Drama
A problematic alliance For drama there is a fatal attraction with history as a source for its content. Drama as a medium with which to engage with the past is established in theatre, film, literature, radio and television. In fact one of the Key Elements in the History National Curriculum is the interpretation of history, People represent and interpret the past in many different ways, including: in pictures, plays, films, reconstructions, museum displays, and fictional and nonfiction accounts. Interpretations reflect the circumstances in which they are made, the available evidence, and the intentions of those who make them (for example, writers, archaeologists, historians, filmmakers). (QCA/DfES, 2000)
So it is not surprising that the teacher using drama should engage the class through the use of roles, contexts and symbols from the past. We are not historians, and in writing this chapter we shared our approach tO using drama to teach history with Professor Hilary Cooper at St MartinsCollege. Professor Cooper’s vast experience in the world of education and history teaching illuminated and clarified issues that exist between a pedagogical approach firmly rooted in the creation of fictional worlds and a subject striving to find truth and authenticity in views of the past. In using the arts pupils are creating their own interpretation or account, based upon sources. In Professor Cooper’s words: ‘This helps them to understand how historians and others create accounts of the past and why accounts may be equally valid, but different.’ (The ideas that we discussed are embodied in History
3–11: a Guide for Teachers, by Hilary Cooper, published by Fulton, 2006.) In view of the fact that the use of drama to teach history is not straightforward it is important for the teacher that a conceptual framework be adopted that balances the tensions between the medium and the content, between fiction and fact.
●* There are tensions between history and drama but they can be resolved by
* adopting 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
