This essay focusses on the acting dimension of drama in the EFL literature classroom. First, the interactive dimension of communication and foreign language learning in the ELT literature classroom will be emphasised with reference to the concept of Literary Communicative Competence. Subsequently, the question how drama can become an occasion for speaking in literature lessons will be addressed. Genre-specific elements of dramatic texts are discussed in this regard. Additionally, different possible learning goals which can be pursued by acting out dramatic texts will be illustrated. In this context, some methodological approaches will be presented. Finally, the limitations of acting methods have to be pointed out and the requirements for their implementation for teachers will be indicated.
Art addresses the affective level of the learner. It can impress, disturb, inspire, contradict the established and focus on foreign perspectives. Furthermore, it favours changes of perspective that develop intercultural communicative competence. One form of the arts that can be used in English literature education is drama. Experiencing drama via acting is one method of turning the reading of dramas into a speaking opportunity in class. During the Corona crisis, it became clear how important the social aspects of learning are. In both primary and secondary education, it has become clear that the social skills of learners have fallen by the wayside in front of the screen, resulting in deficits in other skills as well. Languages are social phenomena which need to be taught socially.
Table of Contents
1. Dramatic Times Call for Dramatic Methods – Acting out Drama in an EFL Literature Classroom
Objectives and Topics
This essay explores the didactic and methodological potential of using drama and staging techniques in the English as a Foreign Language (EFL) literature classroom, particularly as a response to the loss of social learning opportunities during the COVID-19 pandemic. It investigates how acting out dramatic texts can foster linguistic, communicative, social, and intercultural competences while emphasizing the necessity of integrating both analytical and creative approaches to maintain a balanced and student-centered learning environment.
- The impact of the COVID-19 pandemic on the social dimensions of learning in EFL education.
- Theoretical framework of Literary Communicative Competence (LCC) and its development through drama.
- Practical staging methods such as pantomimic performances, staged readings, and role plays.
- Methodological considerations and the role of the teacher in implementing performance-oriented approaches.
- The balance between analytical text work and creative, action-oriented drama instruction.
Excerpt from the Book
Pantomimic performances focus on the non-verbal dimension of language and communication - what is read becomes physical and thus tangible. In staged reading, passages of text are read out by the class - a staged realisation is hinted at, without the requirement of having to realise a complete production of a whole dramatic text. Constellations of characters and their relationships can be presented in a still image, corresponding to scenic modelling. In improvisation, a theme or a role can be verbalised with or without any preparation, or even presented in pantomime. In addition, role plays are a good way to engage with a dramatic text thematically. An important feature of role plays is that learners are allowed to break away from the text and extend it. They do not have to learn the text by heart, but they must know its central contents. Role plays can be intrapersonal or interpersonal. In intrapersonal role plays, several roles are played by the same person who most often uses the 'empty chair technique'. Characters from the drama text at hand become interlocutors and the learner can communicate with the character from the drama either as him/herself or as another dramatic character. It is even possible to have a character's past-self meet his present-self, which is particularly interesting because this makes intrapersonal conflicts tangible. The interpersonal role play serves to dialogue relationships between the characters and to work out their structure. Roles offered by the text are played either by a learner or a group of learners. Working in groups in this respect favours argumentative, strategic and emotional support among learners and thereby social competences in particular. The resulting scenes are creative additions to the text. For example, the back story of a character is thematised, the point of view of a secondary character is focused on, or an alternative ending is presented.
Summary of Chapters
1. Dramatic Times Call for Dramatic Methods – Acting out Drama in an EFL Literature Classroom: This chapter introduces the theoretical and practical motivation for using drama in EFL settings, focusing on compensating for pandemic-related social deficits through student-centered, creative performance methods.
Keywords
EFL Literature Classroom, Drama, Staging Methods, Literary Communicative Competence, Social Learning, Pandemic Deficits, Role Play, Student-Centered Teaching, Intercultural Competence, Communicative Language Teaching, Non-verbal Communication, Teacher-Pupil Relationship, Affective Learning, Hermeneutics, Didactics
Frequently Asked Questions
What is the fundamental focus of this work?
The work focuses on the pedagogical integration of drama and staging methods within the English as a Foreign Language (EFL) literature classroom to enhance student engagement and social interaction.
What are the primary thematic fields addressed?
The central themes include the didactics of literature, the communicative dimension of foreign language teaching, the social aspects of learning, and the practical application of creative staging techniques.
What is the primary objective of this research?
The primary objective is to demonstrate how performance-oriented drama activities can compensate for the loss of social learning opportunities and foster complex competences like Literary Communicative Competence.
Which scientific methods are utilized?
The author employs a literature-based theoretical analysis, drawing upon didactic concepts such as Communicative Language Teaching (CLT), Literary Communicative Competence (LCC), and Bloom’s Taxonomy to evaluate staging methods.
What is covered in the main section?
The main section covers the theoretical basis of communication in the classroom, the specific potential of drama as a genre, various methodological staging approaches, and the necessary balance between analysis and action.
Which keywords characterize the work?
Key terms include EFL Literature, Drama, Staging Methods, Literary Communicative Competence, Social Learning, and Intercultural Competence.
How does the pandemic relate to the proposed teaching methods?
The pandemic highlighted a lack of social interaction in schools; the author argues that drama, as a social and collaborative activity, is uniquely suited to restore these interpersonal connections in the language classroom.
What is the role of the teacher in these dramatic methods?
The teacher acts as an expert who must provide structure and orientation, ensuring that creative, "overflowing" classroom dynamics remain grounded in pedagogical goals.
Why is the distinction between "analyzing drama" and "teaching drama" important?
The author emphasizes that while performance is valuable, analytical work must not be neglected, as it provides the necessary vocabulary and understanding of the text required for successful creative realization.
What is the significance of the "empty chair technique" mentioned?
It is an example of an intrapersonal role play used to make conflicts tangible, allowing learners to engage with different characters or parts of a character's psyche directly.
- Quote paper
- Maximilian Rugen (Author), 2021, Acting out Drama in an EFL Literature Classroom, Munich, GRIN Verlag, https://www.grin.com/document/1152513
