In early foreign language teaching drama is a very useful method to promote language. According to my experience at primary schools, unfortunately drama activities are not that current in the language classroom. This is due to various reasons such as additional work for the teacher or insufficient practical experience in this area. I have to admit that even I myself had doubts about the efficiency of language learning with the help of drama activities. My fear was losing too much time with preparation, organisation and rehearsals, time that could be used more effectively otherwise in the language classroom. This explains my curiosity in how far the seminar Cross-curricular English through Drama and Multimedia would change my previous attitude or more precisely my slight objections towards drama activities.
In fact, I changed my mind through the work on the performance of our course during that term. More details concerning the new perspective I adopted can be found in the last part of this extended essay. Mainly, I want to point out how drama can help in learning English at primary school level. In this context, the four major features focus on language, focus on context, focus on learner as well as focus on content are of importance. But first of all, I want to look into the theoretical aspects of drama by trying to define the term drama and to differentiate between its different types.
Table of Contents
1. Theory on drama
2. Early foreign language teaching
2.1 Focus on language
2.2 Focus on context
2.3 Focus on learner
2.4 Focus on content
3. The performance of The Pied Piper
Research Objectives and Core Themes
This paper examines the efficacy of drama activities as a pedagogical tool in primary foreign language instruction, specifically focusing on how performative methods enhance linguistic acquisition, learner motivation, and cultural understanding.
- Theoretical definitions of children's drama and its various forms
- Key pillars of early language teaching: language, context, learner, and content
- The integration of multi-sensory learning through theater and role-play
- Practical implementation of dramatic performances in the primary school classroom
- The impact of performance-based learning on student self-confidence and social integration
Excerpt from the Book
1 Theory on drama
As this extended essay mainly deals with drama activities in the language classroom, first of all the term drama should be clarified. When a generous interpretation of drama is taken into account, then children “encounter drama whenever they play, act out stories, imitate other people, experiment with social roles, pretend to be someone else whom they admire or fear or love” (HOLLINDALE, 1996, page 206).
John O’Toole‘s classifies drama as a “symbolic representation at first hand of the working out of relationships involving human beings.” (O’TOOLE, 1976, page 18, taken from: HOLLINDALE, 1996, page 206). In this context, HOLLINDALE argues that there is a continuity of drama in children’s lives from playing to watching a play, from acting stupidly to acting on the stage (Compare HOLLINDALE, 1996, page 207).
The British Arts Council pamphlet of guidance on drama education, Drama in Schools (1992), regards drama as educational experience referring to the three activities making, performing and responding that can be pointed out as followed:
- Making comes up in early childhood when children start to improvise stories and games with rules and allotted parts.
- Performing can be found in form of a structured play at school. Here stories are acted out for peers, parents and/or local community. Often drama is regarded as a process not as a product.
- Responding on broadcast or stage performance as third activity includes the development of critical response. (Compare HOLLINDALE, 1996, page 208). There are three terms that correspond to these three activities. All of them are subordinate denotations of the term children’s drama.
Summary of Chapters
1 Theory on drama: This chapter defines the concept of drama in education, categorizing it through various activities like making, performing, and responding, and distinguishes between different types such as creative dramatics and children's theatre.
2 Early foreign language teaching: This chapter outlines four primary focus areas—language, context, learner, and content—and evaluates how drama activities effectively address these requirements to support language acquisition in primary settings.
3 The performance of The Pied Piper: This chapter details a practical classroom experience involving the staging of a play, discussing the pedagogical benefits, challenges, and the positive impact on student engagement and language retention.
Keywords
Drama in Education, Foreign Language Teaching, Primary School, Language Acquisition, Role-Play, Multi-sensory Learning, Authentic Literature, Theatre in Education, Learner Motivation, Cultural Competence, Visual Literacy, Pedagogical Methods, Self-confidence, Social Skills, Drama Activities
Frequently Asked Questions
What is the primary focus of this paper?
The paper explores the integration of drama activities into primary foreign language instruction to improve language learning outcomes and student engagement.
What are the core thematic areas discussed?
The work centers on four major features of language teaching: focus on language, focus on context, focus on learner, and focus on content.
What is the central research goal?
The goal is to demonstrate how drama-based performance can act as a successful method for early foreign language acquisition by making the learning process interactive and meaningful.
Which scientific methods are employed?
The paper uses a theoretical analysis of existing educational literature combined with a practical case study (a theatre project) to reflect on classroom experiences.
What topics are covered in the main body?
The main body covers definitions of children's drama, the role of literature and role-play in language acquisition, the influence of context on learning, and practical reflections on performing plays.
Which keywords define this work?
Essential keywords include primary school education, language acquisition, drama activities, theatre in education, and learner-centered approaches.
How does Total Physical Response (TPR) interact with drama?
TPR is described as a multi-sensory approach that aligns with drama, helping children internalize language through action, mime, and physical movement within a contextual framework.
Why is the play "The Pied Piper" mentioned?
It serves as a specific case study for a play that provides flexibility for student roles, utilizes authentic language, and offers opportunities to introduce cultural and historical topics.
What role does "visual literacy" play in the author's argument?
The author argues that visual literacy is a critical pre-reading skill, enhanced by high-quality picture books that combine text and imagery to increase student interest and aid long-term memory retention.
How does the author address the teacher's role in drama activities?
The author emphasizes that while drama requires significant preparation, it allows the teacher to control language input and recycling while fostering a stress-free environment for students.
- Citar trabajo
- Alexandra Zuralski (Autor), 2003, Drama and early foreign language teaching, Múnich, GRIN Verlag, https://www.grin.com/document/93427
