1. Lesson Planning – Granada Spain – Drama
Glottodrama
Introduction: What is Glottodrama?
(adapted from Guide to Glottodrama Method, by Carlo Nofri)
The Glottodrama project aims to create an innovative methodology to teach foreign
languages through Drama and Theatre. It focuses the attention on the “oral language” since the
achievement of a satisfactory standard in oral skills often represents a weak point in many school
and academic programmes. Moreover, it shares a broader concept of “language competence” to
encompass both verbal and no-verbal aspects of communication. This general idea has been
translated in pedagogical terms and summarized with the formula of “a communicative approach
with a humanistic-affective orientation”.
To turn into a practical methodology these theoretical assumptions, Glottodrama developers
have chosen to develop a research work aimed to integrate the communicative approach with the
actors’ training. The teaching is based on the work-project pedagogical idea and classes are
intended as workshops of actors’ training with the employment of a foreign language. The syllabus
is semi-procedural and according to the programme the first step is working on micro-texts,
involving the students in some basic activities: dramatising a text, role-taking, role-play, story-
telling, monologues and improvisation. In the second step the course concentrates on preparing a
complete play to perform (either a theatre play or a movie script or a self-produced play). The text
is explored by the student-actors in all its dimensions (linguistic, cultural and dramaturgic) under
the guide of 2 teachers (1 language teacher and 1 drama teacher) who take the roles of language
counsellor and actors’ coach.
The Glottodrama Method moves from a communicative and humanistic approach to
language teaching. It is based on a holistic perspective of the language acquisition process in which
both cognitive and behavioural aspects are relevant, that is to say feelings, emotions and attitudes.
The pedagogical challenge of this interdisciplinary approach to language learning is to stimulate
student’s motivation by a strong and personal psychological involvement. In fact it refers basically
to the best known emotional theories of acting (Stanislavskij System and Strasberg Method of the
Actors Studio).
The final scope of the project has been to demonstrate on scientific basis that this
methodology - far from being just a mere technique or a playful side activity to enrich ordinary

2. Lesson Planning – Granada Spain – Drama
courses - is a complete approach to language teaching. It can be combined with other programmes
or stand alone as an autonomous, effective and alternative language course. A method able to target
the usual school and academic objectives in terms of language and communicative competence and
able to reach them in a faster and more pleasant way.
The final results of teaching experiments have shown to be consistent with the Glottodrama
project hypotheses and predictions. Quantitative evaluation: Glottodrama students who sat for
language examinations have scored remarkably better in oral papers than control class students, that
is to say Glottodrama students learn better and faster the oral language. In addition they have shown
results in written skills equivalent to students of control classes where other methodologies - more
grammar and written skills based - have been employed. Also a qualitative evaluation has shown
the positive psychological impact of the methodology on both students and teachers. On one hand it
has reinforced students’ motivation involving them more than any previous experience, on the other
hand it has offered also to teachers a good chance for professional growth, an opportunity to widen
their knowledge of teaching techniques and to enrich their pedagogical experience.
To put it in a nutshell:
- Test Teach Test based lessons;
- a lesson shouldn’t exceed 3 hours;
- the whole course is planned for 90 hours;
- the class is led by two teachers – a language teacher and a drama teacher;
Equipment
- A workshop-classroom
- A “stage” area
- A video-camera
- An overhead projector or whiteboard
- An equipped grammar corner (with dictionaries, grammar books, computers with Internet access,
activity sheets...)

3. Lesson Planning – Granada Spain – Drama
Structure of teaching units
1. Textual or situational input. At the beginning of a Glottodrama course, we will only work with
microtexts).We present the text or video and analyse it.
2. Performance of a short situation (in small heterogenous groups) that is related to the video or
text students have just read or watched. We record it and play it for the rest of the class.
3. Linguistic reflection (at the grammar corner). Now we reflect on language: explore more
deeply the vocabulary and grammar aspects of the text. A synthesis that formalizes into rules what
has been discovered should be provided by the tutors, if asked, only at the end of this work.
Grammar is explained in a natural order, that is, whenever we come across a certain grammatical
structure, although we have to bear in mind that students need some previous knowledge about
grammar. For instance, in this didactic unit students must be familiar with the Past Simple.
4. Actor Studio (rehearsal)
5. Back to the performance

4. Lesson Planning – Granada Spain – Drama
TABLE TO ANALYSE AND EXPLOIT A TEACHING UNIT
Communicative Typology Micro Text Macro Text
Textual Input Situational Input
Activity Title
Source (Authors)
CEFR Level
(Common European Framework)
A1 A2 B1
B2 C1 C2
Target Language Skills OC WC OP WP INT
(Oral Comprehension, Written Comprehension, Oral
Production, Written Production, Interaction)
Activity Description

5. Lesson Planning – Granada Spain – Drama
Linguistic Functions
Main grammar structures
Vocabulary and phraseology
Cultural and sociolinguistic
elements
Specific drama activities
Specific language activities
Teaching notes

6. Lesson Planning – Granada Spain – Drama
Attached materials
Text:
SILLY SONG
by Federico Garcia Lorca
Mama,
I wish I were silver.
Son,
You’d be very cold.
Mama,
I wish I were water.
Son,
You’d be very cold.
Mama,
Embroider me on your pillow.
That, yes!
Right away!

7. Lesson Planning – Granada Spain – Drama
TABLE TO ANALYSE AND EXPLOIT A TEACHING UNIT
Communicative Typology Micro Text X Macro Text
Textual Input Situational Input
Activity Title The Silly Song
Source (Authors) Cecilia Díaz Marín
CEFR Level
(Common European Framework)
A1 A2 X B1
B2 C1 C2
Target Language Skills OC WC OP WP INT X
(Oral Comprehension, Written Comprehension, Oral
Production, Written Production, Interaction)
Activity Description 1. Input. Start the lesson by briefly explaining who
Federico García Lorca was. Make one of your students read
the poem aloud and ask them what the poem is about.
2. Performance. In heterogeneous groups of four, students
invent a short situation in which people talk about what
they would be like to be/to be like/ to do. You can suggest
possible situations: group of friends making suggestions for
their upcoming trip to Granada; parents and children
X
X

8. Lesson Planning – Granada Spain – Drama
discussing career choices at the University of Granada, etc.
Make sure it is a real drama situation -with a short plot
including a beginning, an action with a climax and a
denoument-, but it does not have to be very long.
3. Grammar Corner. We watch the performances, and we
focus on the language used by students in their
performances. Grammar that is likely to appear: First and
second conditional sentences, hypothetical sentences,
suggestions... Vocabulary that is likely to appear: materials,
professions, places of the city (in Granada)...
4. Actors Studio. Rehearsal of the same situation, but in
this case, students correct their mistakes (pronunciation,
grammar, vocabulary... but also in terms of drama. Is it a
real dramatic situation? Can it be improved?)
5. Back to the performance. Students perform their
situations again, and we record and watch it again, and
compare it to their first performance. Both can be included
in our students' Portfolio.
Linguistic Functions - Making suggestions
- Making hypothesis
Main grammar structures - First and second conditional
- Hypothetical sentences
Vocabulary and phraseology - Materials
- Jobs
- Making suggestions
Cultural and sociolinguistic
elements
- A poet from Granada: Federico García Lorca
- University of Granada
- Places to visit in Granada
Specific drama activities - Perfomance of a short situation talking about wishes
Specific language activities - Non communicative activities to practice the grammar and
vocabulary that we are likely to come across during the

9. Lesson Planning – Granada Spain – Drama
performances.
- Writing a poem using hypothetical sentences (similar to
“The Silly Song”)
Teaching notes Aims:
-to improve oral communicative competence using English.
- to appreciate the rhythm and beauty of a poem.
- to master the grammatical structures and vocabulary that
we will come across during the teaching unit.
- to develop creativity in order to write a short poem and a
short script for the performance.
- to work cooperatively in small groups.
- to learn about the city of Granada and its most famous
poet, Federico García Lorca.
- to overcome shyness and to strenghten self steem and
assurance.
- to develop a positive attitude towards the work of other
groups.
Attached materials - Poem.
Evaluation - See attached rubric

10. Lesson Planning – Granada Spain – Drama
Oral Presentation Rubric : The Silly Song
Student Name: ________________________________________
CATEGORY 4 3 2 1
Pitch Pitch was often
used and it
conveyed
emotions
appropriately.
Pitch was often used
but the emotion it
conveyed sometimes
did not fit the content.
Pitch was rarely
used OR the
emotion it
conveyed often
did not fit the
content.
Pitch was not
used to convey
emotion.
Pauses Pauses were
effectively used 2
or more times to
improve meaning
and/or dramatic
impact.
Pauses were
effectively used once
to improve meaning
and/or dramatic
impact.
Pauses were
intentionally used
but were not
effective in
improving
meaning or
dramatic impact.
Pauses were not
intentionally
used.
Enthusiasm Facial expressions
and body language
generate a strong
interest and
enthusiasm about
the topic in others.
Facial expressions and
body language
sometimes generate a
strong interest and
enthusiasm about the
topic in others.
Facial expressions
and body
language are used
to try to generate
enthusiasm, but
seem somewhat
faked.
Very little use of
facial expressions
or body language.
Did not generate
much interest in
topic being
presented.
Speaks Clearly Speaks clearly and
distinctly all (100-
95%) the time, and
mispronounces no
words.
Speaks clearly and
distinctly all (100-
95%) the time, but
mispronounces one
word.
Speaks clearly and
distinctly most
( 94-85%) of the
time.
Mispronounces no
more than one
Often mumbles or
can not be
understood OR
mispronounces
more than one
word.

11. Lesson Planning – Granada Spain – Drama
word.
Props Student uses
several props
(could include
costume) that
show considerable
work/creativity
and which make
the presentation
better.
Student uses 1 prop
that shows
considerable
work/creativity and
which make the
presentation better.
Student uses 1
prop which makes
the presentation
better.
The student uses
no props OR the
props chosen
detract from the
presentation.
Uses Complete
Sentences
Always (99-100%
of time) speaks in
complete
sentences.
Mostly (80-98%)
speaks in complete
sentences.
Sometimes (70-
80%) speaks in
complete
sentences.
Rarely speaks in
complete
sentences.
Content Shows a full
understanding of
the topic.
Shows a good
understanding of the
topic.
Shows a good
understanding of
parts of the topic.
Does not seem to
understand the
topic very well.
Collaboration
with Peers
Almost always
listens to, shares
with, and supports
the efforts of
others in the
group. Tries to
keep people
working well
together.
Usually listens to,
shares with, and
supports the efforts of
others in the group.
Does not cause
"waves" in the
group.
Often listens to,
shares with, and
supports the
efforts of others in
the group but
sometimes is not a
good team
member.
Rarely listens to,
shares with, and
supports the
efforts of others
in the group.
Often is not a
good team
member.

12. Lesson Planning – Granada Spain – Drama
Volume Volume is loud
enough to be heard
by all audience
members
throughout the
presentation.
Volume is loud enough
to be heard by all
audience members at
least 90% of the time.
Volume is loud
enough to be
heard by all
audience members
at least 80% of the
time.
Volume often too
soft to be heard
by all audience
members.
Listens to Other
Presentations
Listens intently.
Does not make
distracting noises
or movements.
Listens intently but has
one distracting noise or
movement.
Sometimes does
not appear to be
listening but is not
distracting.
Sometimes does
not appear to be
listening and has
distracting noises
or movements.
Acting Acts naturally.
Shows a lot of
expression and
emotion.
Acts with certain
naturality. Shows some
expression and
emotion.
Sometimes acts
naturally. Shows a
little expression
and emotion.
Acts without any
naturality.
Monotone and
not expressive.
Playwriting Play was creative
and really held the
audience's
interest.
Play was creative and
usually held the
audience's interest.
Play had several
creative elements,
but often did not
hold the
audience's
interest.
Play needed more
creative elements