How to approach speaking and listening through drama
Name : Sri Rahayu (171230110)
Manyteachers see TiR as a difficult activity, particularly with older children in the primary school. However, it is our experience that when a teacher takes a role he or she becomes ‘interesting’ to the children, so that there are less con-trol problems because they become engaged. 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. It is very useful in a Literacy lesson for the teacher to use roles from the text. The very fact that you take on a key role can provide important ways of defining and exploring the text. How does hot-seating open up the ideas and issues of a story to the children? Let us look more closely at the Hermia role. It can be used with 10- or 11-year-olds as a way of introducing Shakespeare or for other objectives.
- Teacher as storyteller
The teacher as a storyteller is something all primary school teachers will recog-nise. Good teachers slip easily into it and use it frequently. In its most observable guise it occurs when teaching the whole class and engaging them with a piece of fiction. The pupil’s role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The teacher’s role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imag-ination. In making judgements about the quality of this method of teaching, the critical questions will be around whether the content of the story interests the class and holds their attention, whether the delivery of the teacher, i.e. voice, intonation and interpretive skills, are good and, where relevant, whether accompanying illustrations have impact and resonance. For many pupils the times spent listening to their teacher as storyteller will remain as significant moments in their education. The connection between the teacher as storyteller and the teacher using drama, lies in the fact that they both use the generation of imagined realities in order to teach.
There are five basic types of role and mostly can be illustrated from the ‘The Dream’ drama.
- The authority role This is a role like the Duke in the ‘The Dream’ drama, who is presented with Egeus’s problem and has to rule on it. This figure is usu-ally in charge of an organisation and has the class in a role subordinate to him/her. The role is fair, applies rules and governs properly, but often does not know the full facts and issues and needs the class to investigate and enlighten him/her. It is very close to being teacher and can be reassuring for a class, but also has the negativity of not changing the teacher–taught relationship enough to allow more ownership for the class.
- the opposer role This is a role that is often in authority but dangerous to and/or creating a problem for another role and, by extension, the class. Egeus is an opposer role who is against Hermia and therefore in opposition to the class role, as they take her side against his dictatorial treatment of her. This is a stim-ulating position for many pupils as the opposition of parents is something they have all experienced. The opposer role has to be used carefully because the response to it can be difficult to handle if it becomes too strong. We have to know what response to expect and be able to channel it productively.
- The intermediate role This is often a messenger or go-between, as the ser-vant role used in the ‘The Dream’ drama. This role is then caught between opposing sides and can appeal to the empathy in the class to help them out of the predicament. In the ‘The Dream’ it might be a servant to Egeus who is sym- pathetic to Hermia but does not know what best to do as she cannot just tell her employer what she thinks he should do. So she seeks the help of the class to solve her dilemma.
- The needing help role This is a role like Hermia, who is in need of help to fight the injustice of her father’s decision. This role, like the servant described above, is the best way to get empathy from a class and most raises the status of the class, putting them in a position of responsibility and thus generating interest and learning possibility because the teacher is the one who does not know what to do for once.
- The ordinary person This role is in the same position as the role given to the class. We do not have this sort of role in our ‘The Dream’ drama but the Steward in the ‘Macbeth’ drama is like this. He faces the same problem and danger as the other servants represented by the class. Even though he is in charge of them, he needs them to sort it out for him and make decisions. Therefore this is a lower status role, the teacher being ‘the one who does not know’, a very powerful position of ignorance that teachers cannot ordinarily occupy. It is powerful because it shifts responsibility more to the pupil roles
Manyteachers see TiR as a difficult activity, particularly with older children in the primary school. However, it is our experience that when a teacher takes a role he or she becomes ‘interesting’ to the children, so that there are less con-trol problems because they become engaged. 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. It is very useful in a Literacy lesson for the teacher to use roles from the text. The very fact that you take on a key role can provide important ways of defining and exploring the text. How does hot-seating open up the ideas and issues of a story to the children? Let us look more closely at the Hermia role. It can be used with 10- or 11-year-olds as a way of introducing Shakespeare or for other objectives.
- Teacher as storyteller
The teacher as a storyteller is something all primary school teachers will recog-nise. Good teachers slip easily into it and use it frequently. In its most observable guise it occurs when teaching the whole class and engaging them with a piece of fiction. The pupil’s role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The teacher’s role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imag-ination. In making judgements about the quality of this method of teaching, the critical questions will be around whether the content of the story interests the class and holds their attention, whether the delivery of the teacher, i.e. voice, intonation and interpretive skills, are good and, where relevant, whether accompanying illustrations have impact and resonance. For many pupils the times spent listening to their teacher as storyteller will remain as significant moments in their education. The connection between the teacher as storyteller and the teacher using drama, lies in the fact that they both use the generation of imagined realities in order to teach.
There are five basic types of role and mostly can be illustrated from the ‘The Dream’ drama.
- The authority role This is a role like the Duke in the ‘The Dream’ drama, who is presented with Egeus’s problem and has to rule on it. This figure is usu-ally in charge of an organisation and has the class in a role subordinate to him/her. The role is fair, applies rules and governs properly, but often does not know the full facts and issues and needs the class to investigate and enlighten him/her. It is very close to being teacher and can be reassuring for a class, but also has the negativity of not changing the teacher–taught relationship enough to allow more ownership for the class.
- the opposer role This is a role that is often in authority but dangerous to and/or creating a problem for another role and, by extension, the class. Egeus is an opposer role who is against Hermia and therefore in opposition to the class role, as they take her side against his dictatorial treatment of her. This is a stim-ulating position for many pupils as the opposition of parents is something they have all experienced. The opposer role has to be used carefully because the response to it can be difficult to handle if it becomes too strong. We have to know what response to expect and be able to channel it productively.
- The intermediate role This is often a messenger or go-between, as the ser-vant role used in the ‘The Dream’ drama. This role is then caught between opposing sides and can appeal to the empathy in the class to help them out of the predicament. In the ‘The Dream’ it might be a servant to Egeus who is sym- pathetic to Hermia but does not know what best to do as she cannot just tell her employer what she thinks he should do. So she seeks the help of the class to solve her dilemma.
- The needing help role This is a role like Hermia, who is in need of help to fight the injustice of her father’s decision. This role, like the servant described above, is the best way to get empathy from a class and most raises the status of the class, putting them in a position of responsibility and thus generating interest and learning possibility because the teacher is the one who does not know what to do for once.
- The ordinary person This role is in the same position as the role given to the class. We do not have this sort of role in our ‘The Dream’ drama but the Steward in the ‘Macbeth’ drama is like this. He faces the same problem and danger as the other servants represented by the class. Even though he is in charge of them, he needs them to sort it out for him and make decisions. Therefore this is a lower status role, the teacher being ‘the one who does not know’, a very powerful position of ignorance that teachers cannot ordinarily occupy. It is powerful because it shifts responsibility more to the pupil roles
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