Dramathink 2015

925 views

Published on

It has become widely understood that effective language learning involves more than the four integrated skills of ELT. The missing link is the fifth dimension ........that of teaching thinking. This PIPP will explore the cognitive processes employed by learners in a drama lesson and see how they relate to the development of higher order thinking skills. Reference will be made to Fisher's model of language learning, Heathcote's premise that drama IS education, Baldwin’s cross reference chart and Cummins´ quadrant of cognitive processes. There will be some theory and lots of activity.

Published in: Education
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
925
On SlideShare
0
From Embeds
0
Number of Embeds
810
Actions
Shares
0
Downloads
0
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Dramathink 2015

  1. 1. DramathinkDramathink Actful Teaching,Actful Teaching, UruguayUruguay June 6June 6thth , 2015, 2015 Susan Hillyard B.Ed (Hons)Susan Hillyard B.Ed (Hons) http://susanhillyard.blogspot.com.arhttp://susanhillyard.blogspot.com.ar//
  2. 2. Questions for todayQuestions for today  What is Drama?  What is thinking?  How are they related?  How do we use Drama to bring thinking skills to our students to help them acquire the language?
  3. 3. Think Time TechniqueThink Time Technique
  4. 4. · a willing suspension of disbelief· a willing suspension of disbelief · an agreement to pretence· an agreement to pretence · employing all past experiences· employing all past experiences · employing any conjecture of imagination· employing any conjecture of imagination to create a living, moving picture of life whichto create a living, moving picture of life which aims at surprise and discovery for theaims at surprise and discovery for the participants rather than for any onlookers.participants rather than for any onlookers.
  5. 5. What is thinking?What is thinking?
  6. 6. How many types?How many types?
  7. 7. TypesTypes  LogicalLogical  PhilosophicalPhilosophical  ReasoningReasoning  MemoryMemory  ReflectiveReflective  CriticalCritical  MusingsMusings  IntuitiveIntuitive  NegativeNegative  HypotheticalHypothetical  VisualVisual  MeditativeMeditative  MetacognitiveMetacognitive  EvaluativeEvaluative  CreativeCreative  LateralLateral  Stream of consciousnessStream of consciousness  PositivePositive  BiasedBiased  MetaphoricalMetaphorical
  8. 8.  EmotionalEmotional  Conflict resolutionConflict resolution  SpeculativeSpeculative  SymbolicSymbolic  SubjectiveSubjective  ConceptualConceptual  BadBad  ComparativeComparative  OrganizedOrganized  Problem solvingProblem solving  AssumptiveAssumptive  ArgumentativeArgumentative  ObjectiveObjective  GoodGood  EmpatheticEmpathetic  CompassionateCompassionate
  9. 9. METACOGNITION (thinking/inner speech) KNOWLEDGE (learning input) PERFORMANCE (linguistic output) reading writing listening speaking Linguistic intelligence – the modes of language Teaching Children to ThinkTeaching Children to Think Robert Fisher (1995)Robert Fisher (1995)
  10. 10. Processes in ThinkingProcesses in Thinking  InputInput - obtaining and organising- obtaining and organising knowledge throughknowledge through sensory awareness andsensory awareness and perception to confirm:perception to confirm: ““what Iwhat I know” know” 
  11. 11. Processes in ThinkingProcesses in Thinking  ControlControl –– thinking through athinking through a situation and makingsituation and making actions meaningful:actions meaningful: planning,planning, decisiondecision makingmaking andand evaluatingevaluating  
  12. 12. Processes in ThinkingProcesses in Thinking  OutputOutput –– strategies for usingstrategies for using knowledge and solvingknowledge and solving problems that combineproblems that combine “what I do” with “what I“what I do” with “what I know”:know”: rememberingremembering and thinkingand thinking about andabout and generating newgenerating new ideas.ideas.
  13. 13. The Language and ThoughtThe Language and Thought ConnectionConnection  objects, events and experiences are linkedobjects, events and experiences are linked internally as the students develop theirinternally as the students develop their understanding of symbolism and symbolic formunderstanding of symbolism and symbolic form  the “dialogic” talk enables “intermental”the “dialogic” talk enables “intermental” experiences to influence “intramental” thoughtexperiences to influence “intramental” thought  unique collective opps for exploratory talk inunique collective opps for exploratory talk in role/”as if ”/ as self in imagined worldsrole/”as if ”/ as self in imagined worlds  speculation, consideration, evaluation,reasoningspeculation, consideration, evaluation,reasoning
  14. 14. Drama provides an exciting and safeDrama provides an exciting and safe forum for thinking and acting behindforum for thinking and acting behind the shield of a role but once the shieldthe shield of a role but once the shield is removed the experience and thoughtsis removed the experience and thoughts from the drama remain with the childfrom the drama remain with the child cognitively and maybe emotionally.cognitively and maybe emotionally.
  15. 15. Drama is a forum forDrama is a forum for encouraging, stimulating andencouraging, stimulating and liberating individual andliberating individual and collective thoughts ……..So?collective thoughts ……..So?
  16. 16. Bloom’s taxonomyBloom’s taxonomy
  17. 17. Still image or tableauStill image or tableau  Students use their bodies to make an image or tableauStudents use their bodies to make an image or tableau capturing an idea, theme or moment in time, describingcapturing an idea, theme or moment in time, describing what they want to say.what they want to say.  Students may use thought-tracking to extract meaningStudents may use thought-tracking to extract meaning from the image.from the image.  Try with IBoBTry with IBoB
  18. 18. Inclusive BrainstormingInclusive Brainstorming on Bullyingon Bullying  In groups up to 8In groups up to 8  Number down in 4 columns 1-8 (or 1-5 etc)Number down in 4 columns 1-8 (or 1-5 etc)  Sit in a circle and label each with a N°Sit in a circle and label each with a N°  Start with N° 1 who says a word or a phraseStart with N° 1 who says a word or a phrase  Everybody lists each person’s contributionEverybody lists each person’s contribution  Keep listing until you are all saying PASSKeep listing until you are all saying PASS  Using your words create a tableau toUsing your words create a tableau to represent Bullyingrepresent Bullying
  19. 19. Types of Bullying-VisualisationTypes of Bullying-Visualisation Use your Mind’s Eye…..Use your Mind’s Eye….. Can you identify 5 types?Can you identify 5 types?
  20. 20. Talk TimeTalk Time
  21. 21. Types of Bullying?Types of Bullying?
  22. 22. Ping pongPing pong BullyBully What doesWhat does the bullythe bully SaySay andand DoDo?? VictimVictim What doesWhat does the Victimthe Victim Feel?Feel?
  23. 23. Bully does…..Victim feels…..Bully does…..Victim feels…..  TeasingTeasing  Name callingName calling  PushingPushing  HittingHitting  ViolenceViolence  PokingPoking  Ordering aboutOrdering about  StealingStealing  Swearing at….Swearing at….  SadSad  AloneAlone  RejectedRejected  In painIn pain  AnxiousAnxious  AfraidAfraid  FrustratedFrustrated  SmallSmall  AshamedAshamed  HelplessHelpless
  24. 24. Call and ResponseCall and Response  How does sadness smell?How does sadness smell?  ……..rejection sound?..rejection sound?  …………self esteem feel?self esteem feel?  …………anxiety taste?anxiety taste?  What does loneliness look like?What does loneliness look like?  ………………helplessness feel like?helplessness feel like?
  25. 25. A Lump of ClayA Lump of Clay 1.1. ImagineImagine 2.2. Pick it upPick it up 3.3. Put it downPut it down 4.4. Make a sausage shapeMake a sausage shape 5.5. Now make the same shape a different wayNow make the same shape a different way 6.6. Now put it down and think…..how can youNow put it down and think…..how can you make it into a person…..start now…make it into a person…..start now… 7.7. In pairs tell what you did ….you can ask QsIn pairs tell what you did ….you can ask Qs
  26. 26. Conscience Alley/The Devil andConscience Alley/The Devil and the Angelthe Angel A useful technique for exploring any kind of dilemma faced by a character,A useful technique for exploring any kind of dilemma faced by a character, providing an opportunity to analyse a decisive moment in greater detailproviding an opportunity to analyse a decisive moment in greater detail  Consider a moment when a character has aConsider a moment when a character has a decision to make.decision to make.  Line up the students in two parallel linesLine up the students in two parallel lines facing each otherfacing each other  One person takes the role of the protagonistOne person takes the role of the protagonist and walks between the lines as eachand walks between the lines as each member of the group speaks their advice.member of the group speaks their advice.  It can be organised so that those on oneIt can be organised so that those on one side give opposing advice to those on theside give opposing advice to those on the other.other.  When the protagonist reaches the end ofWhen the protagonist reaches the end of the alley, she makes her decisionthe alley, she makes her decision
  27. 27. Improvisation and Freeze FrameImprovisation and Freeze Frame  Get into groups of 4 - Plan an improvisation:Get into groups of 4 - Plan an improvisation:  Choose one of the types of bullying:Choose one of the types of bullying: 1.1. VerbalVerbal 2.2. PhysicalPhysical 3.3. ExtortionExtortion 4.4. ExclusionExclusion 5.5. On-lineOn-line
  28. 28.  Decide who the characters are and what theirDecide who the characters are and what their attitudes areattitudes are  Discuss what you will do and say for eachDiscuss what you will do and say for each charactercharacter  Practice in your groupPractice in your group  When I say ACTION perform your ImprovWhen I say ACTION perform your Improv then when I say FREEZE! Stay still exactly asthen when I say FREEZE! Stay still exactly as you are like a photo.you are like a photo.
  29. 29. H.O.T.S. from D HeathcoteH.O.T.S. from D Heathcote AA A problem must be seen inA problem must be seen in actionaction Must be interesting for theMust be interesting for the participants. Must seem toparticipants. Must seem to employ their ‘interest’.employ their ‘interest’. BB The new elementThe new element Old familiar matter in new formOld familiar matter in new form to ‘shock’ into awareness.to ‘shock’ into awareness. CC Decisions must be called forDecisions must be called for The active area of commitmentThe active area of commitment to action and the solving ofto action and the solving of problems.problems. DD Employing experienceEmploying experience productively not passivelyproductively not passively Relevant previous experienceRelevant previous experience comes into action.comes into action. EE Getting feedback – not toGetting feedback – not to be ducked!be ducked! No escape from the immediateNo escape from the immediate outcome and results of decisionsoutcome and results of decisions FF Conscious examination ofConscious examination of changes if anychanges if any A standing back from the actionA standing back from the action to review presentto review present conceptualization.conceptualization.
  30. 30. Provide Contexts to SupportProvide Contexts to Support Language DevelopmentLanguage Development Cummins (81/89) Cognitively Demanding Context B D Context Embedded A C Reduced Cognitively Undemanding
  31. 31. Cognitive ProcessesCognitive Processes AA  • reading to find specific informationreading to find specific information identifiesidentifies namesnames matchesmatches retellsretells • transferstransfers information from one medium to anotherinformation from one medium to another • appliesapplies known proceduresknown procedures • describesdescribes observationsobservations • sequencessequences • narratesnarrates with sense of beginning, middle, endwith sense of beginning, middle, end B D A C
  32. 32. B D A C BB   • generalisesgeneralises • comparescompares andand contrastscontrasts • summarisessummarises • plansplans • classifiesclassifies by known criteriaby known criteria • transformstransforms,, • personalisespersonalises given informationgiven information • recallsrecalls andand reviewsreviews • seeksseeks solutionssolutions to problemsto problems
  33. 33. B D A C CC  parrotsparrots: repeats utterances of adult: repeats utterances of adult or peeror peer copiescopies: reproduces information: reproduces information from board or textsfrom board or texts
  34. 34. B D A C DD    • argues a caseargues a case / evidence persuasively/ evidence persuasively • identifies criteriaidentifies criteria • developsdevelops andand sustainssustains ideasideas • justifiesjustifies opinion or judgmentopinion or judgment • evaluatesevaluates criticallycritically • interpretsinterprets evidence, makes deductionsevidence, makes deductions • forms hypothesesforms hypotheses, asks further questions for, asks further questions for investigationinvestigation • predictspredicts resultsresults • appliesapplies principles to new situationsprinciples to new situations • analysesanalyses, suggests solutions and tests, suggests solutions and tests
  35. 35. The Relationship between ThinkingThe Relationship between Thinking and Dramaand Drama High quality thinkingHigh quality thinking High quality dramaHigh quality drama Is not routine – the path ofIs not routine – the path of action is not fully known inaction is not fully known in advanceadvance Is not just re-enactment of what is known. The childrenIs not just re-enactment of what is known. The children make decisions that influence the direction of themake decisions that influence the direction of the drama and they are given ownership, with theirdrama and they are given ownership, with their ideas being used to develop the drama.ideas being used to develop the drama. Tends to be complex – the totalTends to be complex – the total path is not visible from apath is not visible from a single viewpointsingle viewpoint Drama explores through role, the same situation fromDrama explores through role, the same situation from the viewpoints of different characters. It is not athe viewpoints of different characters. It is not a linear process.linear process. Yields multiple rather thanYields multiple rather than unique solutionsunique solutions Drama is “open”. Scenes can be reworked and replayedDrama is “open”. Scenes can be reworked and replayed in many ways with a multiplicity of solutions andin many ways with a multiplicity of solutions and outcomes.outcomes. Involves nuanced judgmentInvolves nuanced judgment and interpretationand interpretation Nuance is key to drama. Meanings are arrived at andNuance is key to drama. Meanings are arrived at and communicated in a variety of ways, verbal, visualcommunicated in a variety of ways, verbal, visual and kinaesthetic. Each person in an audience andand kinaesthetic. Each person in an audience and each participant in the drama will interpret theeach participant in the drama will interpret the drama somewhat differently, depending on theirdrama somewhat differently, depending on their present understandings and experience.present understandings and experience.
  36. 36. Can involve the application ofCan involve the application of multiple criteria whichmultiple criteria which may conflict with onemay conflict with one anotheranother Drama involves problem solving and the resolutionDrama involves problem solving and the resolution of dilemmas both within the drama and in theof dilemmas both within the drama and in the process of making the drama.process of making the drama. Involves uncertainty – notInvolves uncertainty – not everything about the taskeverything about the task at hand is knownat hand is known Drama in education develops. It cannot be knownDrama in education develops. It cannot be known what will emerge in the process as it is interactivewhat will emerge in the process as it is interactive and dynamic by nature. It is not about re-and dynamic by nature. It is not about re- enacting what is known and certain, but aboutenacting what is known and certain, but about discovering and exploring what is uncertain.discovering and exploring what is uncertain. Involves imposing meaning –Involves imposing meaning – finding structure infinding structure in apparent disorderapparent disorder Drama is all about finding, making andDrama is all about finding, making and communicating meanings. It is structured, mainlycommunicating meanings. It is structured, mainly by the teacher initially, but as children becomeby the teacher initially, but as children become more experienced and develop their drama skillsmore experienced and develop their drama skills they are more able to take over responsibility forthey are more able to take over responsibility for structuring their own drama and communicatingstructuring their own drama and communicating meaning to others through performance.meaning to others through performance. Is effortful – considerableIs effortful – considerable mental work is needed formental work is needed for the kinds of elaborationthe kinds of elaboration and judgements requiredand judgements required Good drama is an active and interactive experience,Good drama is an active and interactive experience, which is both intellectually and emotionallywhich is both intellectually and emotionally demanding for both participants and audience.demanding for both participants and audience. Adapted from Baldwin P. and McGuinness C.
  37. 37. What Drama promotes thinking?What Drama promotes thinking?  ImprovImprov  Conscience AlleyConscience Alley  Thought TrackingThought Tracking  Hot SeatingHot Seating  Circle LikertCircle Likert  Statue EvaluationStatue Evaluation  TrialsTrials  MeetingsMeetings  Mantle of the ExpertMantle of the Expert
  38. 38. Evaluatio n

×