This document summarizes Gary Carkin's presentation on why teaching English through drama works. It discusses Lev Vygotsky's model of how inner speech and subtext generate thoughts and feelings that lead to speech. This mirrors Konstantin Stanislavski's approach to acting. The document provides exercises to help students generate images and feelings from words to practice this process. It emphasizes defining character intentions, developing subtext, and using inner monologues to create "a film of visual images" that facilitate language acquisition through drama.
Metaphor & Idiom in EFL and ESL Teaching &Learningfaisal khallab
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Addressing The Role Of Metaphor in Productive Fluency development
Getting Feel For the language
Exploring Pedagogical claims by CL Approach:
Alternative Pathways For learning From Blind memorization
Metaphor And Vocabulary Teaching
Learning of Idioms
Metaphor & Idiom in EFL and ESL Teaching &Learningfaisal khallab
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Addressing The Role Of Metaphor in Productive Fluency development
Getting Feel For the language
Exploring Pedagogical claims by CL Approach:
Alternative Pathways For learning From Blind memorization
Metaphor And Vocabulary Teaching
Learning of Idioms
Readers' Theatre. An alternative to the school play pcSusan Hillyard
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This presentation covers the following areas of Readers' Theatre:
1. Definition
2. The value of RT in ELT
3. The value of RT for developing literacy skills
4. The value of RT for education
5. How to prepare an RT performance
a) Procedure
b) Selection of Materials
c) Scripting
d) Creating self made scripts
e) Staging
f) Rehearsal
g) Performance
A presentation focusing on Lev Vygotsky's psycholingusitic theory and how it may be applied through using poetry, haiku, readers' theatre and other dramatic vehicles.
What Is Acting? Paper presented at NYU Theatre Pedagogy conference 2009James Croft
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What is Acting? This is a question that many have tackled, but few have answered convincingly. It is also a question crucial for teachers of acting: if you don't know what you're teaching, how can you teach it?
This presentation, presented at New York University in April 2009, explores how different definitions of acting have led to different theatre training techniques, and tries to show a way forward using the philosophy of Nelson Goodman.
There is also a short discussion of emotion and its relationship to good acting.
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A lecture exploring the phrase 'how to do things with words'. Full of creative ideas and theoretical perspectives the presentation aims to provide a platform from which people can think about their own creative or art writing. James Clegg
Readers' Theatre. An alternative to the school play pcSusan Hillyard
Â
This presentation covers the following areas of Readers' Theatre:
1. Definition
2. The value of RT in ELT
3. The value of RT for developing literacy skills
4. The value of RT for education
5. How to prepare an RT performance
a) Procedure
b) Selection of Materials
c) Scripting
d) Creating self made scripts
e) Staging
f) Rehearsal
g) Performance
A presentation focusing on Lev Vygotsky's psycholingusitic theory and how it may be applied through using poetry, haiku, readers' theatre and other dramatic vehicles.
What Is Acting? Paper presented at NYU Theatre Pedagogy conference 2009James Croft
Â
What is Acting? This is a question that many have tackled, but few have answered convincingly. It is also a question crucial for teachers of acting: if you don't know what you're teaching, how can you teach it?
This presentation, presented at New York University in April 2009, explores how different definitions of acting have led to different theatre training techniques, and tries to show a way forward using the philosophy of Nelson Goodman.
There is also a short discussion of emotion and its relationship to good acting.
Descriptive essay: Problem solving topics for essay. 200 Most Commonly Accepted Problem And Solution Topics. 50 Problem And Solution Worksheet Problem solution essay, Word .... Excellent problem solution essay topics Ireland Assignment Help. Problem and solution essays topics - Top 5 Problem and Solution Essay .... Problem and solution speech topics. Get More Than 100 Problem .... 100 Problem Solution Essay Topics with Sample Essays. Free Problem Solution Essay Examples: Topics, Outline, Samples. Problem And Solution Essay : 007 Problem Solution Essay Sample Ielts .... 008 Essay Example Writing Problem Solution Transition To Academic .... 199 Easy Problem Solution Essay Topics for College Students. Problem solving topics. 100 Problem Solution Essay Topics to Spark .... Easy problem solution essay topics ligmbh de - essnewday.web.fc2.com. How to Write a Problem Solution Essay: Guide with Examples. Problem Solving Essay Examples Sketsa. Problem solution essay ideas. Problems And Solutions Examples: Unique .... Problem and Solution Essay. Problem-Solution Speech Definition, Topics, Structure. Problem-solution-linking-sentences - Eslflow. Critical essay: Problem solution essay example college. 001 Problem Solution Essay Thatsnotus. IELTS Problem Solution Essays Step-by-Step Guide IELTS Jacky. problem solution essay template ielts. FREE problem and solution! Problem solution activities, Problem .... What is an academic problem-solution essay? Academic Marker. 199 Easy Problem Solution Essay Topics for College. PROBLEM-SOLUTION ESSAY EXPLANATION ACTIVITIES AND ANSWERS by Carmen .... PPT - PROBLEM-SOLUTION ESSAY PowerPoint Presentation, free download .... Problem - solution essay - ESL worksheet by vickyvar. 10 Beautiful Ideas For Problem Solution Essay 2023. Problem solution essay sample. 101 Problem Solution Essay Topics, For .... Business paper: Problem solving essay topic ideas Easy Problem Solution Essay Topics Easy Problem Solution Essay Topics
A lecture exploring the phrase 'how to do things with words'. Full of creative ideas and theoretical perspectives the presentation aims to provide a platform from which people can think about their own creative or art writing. James Clegg
Diction In Shakespeares Romeo And Juliet
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John McCarthy, doctor at Department of Applied Psychology, University college Cork. Visiting professor (2007) at Department of Communication, Technology & Design, SÃļdetÃļrn university college, Sweden. Lecture May 31st 2007.
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DQ 5
Please write at least 250 words for each question. Also, double check the work for plagiarism and please cite all quotes.
CH. 10
1. Discuss the problem space hypothesis. How might it account for and explain the various blocks to problem solving?
2. In what ways is mental set similar to perceptual set? In what ways are the two phenomena dissimilar?
CH. 11
1. Describe the similarities and differences between inductive and deductive reasoning.
2. Describe the image theory and contrast it with expected utility theory.
3. Discuss the relationship between hindsight bias and overconfidence.
CH. 13
1. Discuss the implications of the major findings regarding gender differences in cognitive abilities.
CH. 14
1. Describe Hudsonâs studies of pictorial perception and discuss their implications.
2. When trying to solve a problem, you might have been instructed to âstop thinking about it and come back to it later.â Based on what you have learned about impasses, do you think this is a good advice? Why or why not?
3. Consider the following choice? I will give you a free $5.00 bill, no strings attached. Optionally, I will allow you to flip a coin: heads you win $10.00, tails you win nothing. Do you want the $5.00, or do you want to flip the coin? What does expected value theory tell you that you should do? Does this accurately represent your feeling about the decision?
DQ 4
Please write at least 250 words for each question. Also, double check the work for plagiarism and please cite all quotes.
1. Does language come from cognitive processes? Or is language and mental cognition separate? Explain.
2. Language structure is important in cognition, but is it really? For example, if a child said to you, âYou, me, cookie, go, now, hurry,â you would know what the child meant, even though what is said is not grammatically correct. How is that possible?
3. Is there a critical period for language? Is so, what might this imply about learning multiple languages in school?
4. Who is Noam Chomsky? What was one of his major innovations as a linguist?
CH. 9
1. What is the Whorfian hypothesis of linguistic relativity? Evaluate the empirical evidence bearing on it.
2. Describe the modularity hypothesis and its implications for the study of language as part of cognitive psychology.
3. What does it mean to say that our knowledge of linguistic rules is implicit rather than explicit? Discuss the implications of this statement.
4. What does the term âgrammarâ mean to linguists and psychologists? How does their understanding of the term differ from that of a layperson?
Ashford 5: - Week 4 - Instructor Guidance
ENG 125 WEEK 4 GUIDANCEDrama
"What is drama but life with the dull bits cut out." - Alfred HitchcockThis week's overview
Welcome to Week 4! We are already over halfway through our literary journey in this course. Your lesson this week involves drama, especially its history in Greek and Elizabethan theater. Some of you might be wondering what such old plays have to .
A Power Point Production of a panel discussion held at the South Atlantic Modern Language Association 2009 convention in Atlanta, GA under the Panel Title of: "The Political and Social Ramifications of Misunderstanding American English:"
This presentation was provided by Steph Pollock of The American Psychological Associationâs Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
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Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
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This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
1. Worlds of TESOL: Building Communities of Practice, Inquiry, Creativity
Why Teaching English through Drama Works
by Gary Carkin, Ph.D.
The Institute for Language Education
Southern New Hampshire University
In our 2007 TESOL-Drama/ EVO_Drama forum, we looked at the issue of just why
drama is such an effective facilitator of language acquisition. Of course, the usual
explanations were offered: drama activity lowers the affective filter (Krashen & Terrrel,
1983), eases anxiety, creates relaxation in the classroom (Krashen , 1982), there is an
abundance of comprehensible and interesting input (Krashen, 1982; Kozub, 2000), it
encourages natural speech because students are working on a task and negotiating
meaning in a natural way (Hatch, 1972; Pica, 1994; Long, 1983) it brings the teacher into
position of co-worker and guide, rather than an authoritarian figure in classroom
relationships (Bolton, 1992; Bolton & Heathcote, 1995; Bolton, 1999; Freire, 1972; Kao
& OâNeill, 1998; Vygotsky, 1976; ) it allows all to help each other and for some to seek
help from others who know more (Laughlin & Latrobe, 1990; Prescott, 2003; Smith,
1984; Vygotsky, 1978).
Most to the point and most relevant for us here today, were, we found, the theoretical
concepts of Lev Smenovich Vygotsky (1986), the 20th Century Belorussian
psycholinguist whose seminal works, although published in Russia in the 1930âs are just
receiving attention in the West today. One concept, the idea of the Zone of Proximal
Development as outlined in Mind and Society (Vygotsky, 1978) is generally expressed as
we have mentioned above: the idea that language acquisition occurs when the learner not
only achieves fluency through the help of materials provided and the input of a teacher,
but with the help of a more advanced interlocutor who through example, repetition, or
simplification, models the language (Lightbown, 1999). In reading and working on
dramatic material, we can easily see how this can be so.
But it is in the model which Vygotski provides for us in his work, Thought and
Language, that, I believe, is the most penetrating in its significance to language
acquisition and production and that model is the one that I would like to outline to you
here today as it has received too little attention from the practitioners of English through
2. drama, but yet may be found to form the fundamental basis of the dramatic approach to
teaching language.
At a skeletal level, Vygotskyâs model looks like this:
A person starts with a MOTIVE to speak. That MOTIVE generates INNER
SPEECH/SUBTEXT. The INNER SPEECH/SUBTEXT generates a
THOUGHT/IMAGE. The THOUGHT/ IMAGE generates a FEELING. The FEELING
propels the SPEECH.
How many of you have studied acting? How many are familiar with the name,
Konstantin Stanislavski?
To those who have studied acting and are familiar with the approach of the revolutionary
acting teacher, Konstantin Stanislavski, upon whose work almost all contemporary
theatre training is based, the outline of Vygotskiâs understanding will jump off the page
at you as the fundamental approach to acting as taught by Stanislavski. Indeed, it is not
surprising then when we read in Vygotskyâs, Thought and Language, the following:
âThought has it own structure, and the transition from it to speech is no easy manner. The
theater faced the problem of the thought behind the words before psychology did. In
teaching his system of acting, Konstantin Stanislavski required the actors to uncover the
âsubtextâ of their lines in a play.â Here, we see that what Vygotsky means by âinner
speechâ is called, âsubtextâ by Stanislavski! And subtext is at the core of any basic acting
class. Vygotsky, in Thought and Language, goes on to give examples from Stanislavskiâs
notes for the play called, Woe from Wit. I wonât repeat them here because we will
proceed with a similar experiment in a moment. But I want to point out the significance
of this because the relationship between motive, subtext, thought, image, and feeling
leading to speech (and its reverse) is too often left out of second language acquisition
discussion. In fact, I would go so far as to say that ignorance of this important, step by
step, process to speech production is what leads some to see improvised drama as having
more value in language classrooms than scripted drama and the equally misguided view
that performing scripted drama is not really effective because it is too often a mechanical,
rote, ego driven process. I would be the first to agree that without paying attention to the
elements listed above, scripted drama is just thatâĻmechanical. The richness of the
process evolves from making sure all the elements of the model are considered, worked
at, and incorporated in drama work.
So, let us consider first: Identifying the motive. We turn now to theatre people to do so.
Charles McGaw points out in his book, Acting is Believing:
â Once the actor has been able to form an idea of âwhat a character wants,â he continues
analyzing until he understands the characterâs desire definitely. Then, he must state the
motivating desire in specific termsâĻA good name for the motivating force might be the
statement of a specific desire which the character can attempt to satisfy through actionâ
(p. 107).
3. The intentions of the character should be expressed in active terms, with verbs, not
nouns. âI want toâ or âI wish toâ should be followed by an active verb, not the verb to be
or a verb that expresses feelings because âbeing and feeling are conditions, not actions,
and consequently are not actableâ (p. 107).
So, in working with scripted drama, we must first determine what the characterâs
motivation is for each line that is uttered.
Vygotsky goes on to say:
In Griboedovâs comedy Woe for Wit, the hero, Chatsky, says to the heroine, who
maintains that she has never stopped thinking of him, âThrice blessed who believes.
Believing warms the heart.â Stanislavski interpreted this as âLet us stop this talkâ; but
it could just as well be interpreted as âI do not believe you. You say it to comfort
me,â or as âDonât you see how you torment me? I wish I could believe you. That
would be bliss.â Every sentence that we say in real life has some kind of subtext, a
thought hidden behind it (p. 250).
That subtext or inner speech behind the text is written in the form of a draft, according to
Vygotsky. It is a realm where there is abbreviation of syntax and is âlike writing a first
draftâĻ.Predication is the natural form of inner speech; psychologically, it consists of
predicates onlyâĻInner speech works with semantics, not phoneticsâĻ(the) sense of the
word over its meaning â the sum of all the psychological events aroused in our
consciousness by the word (Ibid. p.245).
The actorâs job then, or here, the language learnerâs job, is to construct the through line of
intentions and objectives with the flow of inner speech which will generate the images
which will in turn create the thought and subsequent feeling that supports the search for
the l2 words that will complete the intention. This is the process wherein new vocabulary
is utilized, new grammar structures are ingrained, and new fluency is achieved.
I will say a series of words. You close your eyes and visualize a detailed and specific
picture. Try to imagine what you would do if you were there. Remember, donât try to feel
anything, but let any feelings arise naturally as a result of what you visualize. I will
say:âVisualizeâ and you will visualize, âTellâ and you will tell the person seated next to
you the story of your image. Try to be as detailed in your telling as in your seeing.
Fountain
Tree
Shoe
Chair
Sister
Wedding
Ship
Beach
4. Mansion
Now, try some abstract words. Turn the abstract concepts into concrete images that are
meaningful to you and that can stir response. For example, âpowerâ might be an image of
a gigantic ocean liner bearing down on you in a small boat that you are in.
Power
Speed
Love
Happiness
Poverty
Wealth
Mercy
Elegance
Cruelty
Kindness
Injustice *
Now, in these exercises, you have been creating âa filmâ of visual images that lead you to
some level of emotion. Let me just now quote from Charles McGawâs, Acting is
Believing:
In the process you have been obliquely using another helpful technique called
inner monologue. What the actor is thinking â what is in his mind â each moment he
is onstage is vastly important to his performance. THE INNER MONOLOGUE IS A
TECHNIQUE FOR CONTROLLING HIS THINKING AND MAKING IT SERVE
THE OVERALL PURPOSE. It is used when he is not speaking the playwrightâs
words, that is, during pauses in his own speeches and during the lines of the other
characters. It is one of the actorâs truly creative contributions because, except in some
special instances, it is not given by the dramatist. It should be carefully planned,
written out, memorized, and thought at each rehearsal and performance, just as the
actor memorizes and speaks the playwrightâs lines (p. 91). (Emphasis added).
In class, when I am introducing my students to the use of drama, I usually have one
person who says, âBut, I CANâT act!!â I always use the film analogy, but reverse the
focus. I say to that person, âHave you ever cried at the movies, or laughed, or felt
embarrassed, or felt sympathy for the people in the film?â Inevitably, s/he will say,
âYes.â Well, then, say I, acting on the stage is exactly the same process. We have to relax
comfortably, like sitting in a darkened theatre, focus on a series of images that are of
interest to us and which evolve from the script and involve us emotionally. As the images
involve us, our feelings evolve naturally. We think and react naturally, and people are
simply looking over our shoulder watching us. But we donât mind, because we are
focused on what we are seeing in our film that is happening in our minds and on the
stage. I point out that this inner work of the actor is what makes every performance and
production different. We go to the theatre to see and hear the subtext because we can read
the text at home. Every production of Hamlet is different because of the subtext. And
5. thatâs what makes a play a classic. This inner work is the truly creative work of the actor
and language learner.
David Magarshack, in his preface to Stanislavski and the Art of the Stage says:
The actor needsâĻan uninterrupted series of visual images which have some
connection with the given circumstances. He needs, in short, an uninterrupted line not
of plain but of illustrated given circumstance. Indeed, at every moment of his
presence on the stageâĻthe actor must be aware of what is taking place outside him
on the stage...or of what is taking place inside him, in his own imagination, that is,
those visual images which illustrate the given circumstances of the life of his part.
Out of all these things there is formed, sometimes outside and sometimes inside him,
an uninterrupted and endless series of inner and outer visual images or kind of film.
While the work goes on, the film is unwinding itself endlessly, reflecting on the
screen of his inner vision the illustrated given circumstances of his part, among which
he lives on the stage (p. 38).
Charles McGaw simply says: âWhen an actor acts, he see a picture. He keeps the images
before him as if they were on a television or a motion picture screenâ (p. 90).
So, in this short acting lesson, what do we have to do? First, we define the character
intention or motive for the speech utterance, next, we determine the words of the subtext
and write them out (I want toâĻ I wish toâĻ.) in so far as these wants and wishes effect
another person on stage with us. We then generate, write out and rehearse an inner
monologue that keeps our thoughts rooted in our part while listening to the lines of others
onstage and then we allow this play of subtext or inner speech and inner monologue to
generate a flow of images that in turn create the feeling that supports the speech.
Now, the opposite process occurs as I listen to the words of another character speaking to
me. His or her words excite a flow of images (the inner monologue) that release feelings
that motivate a reply, and the whole process continues back and forth in the ongoing
dialogue which is the play. Thatâs where real language acquisition occurs.
References
Bolton, G (1992) New Perspectives on Classroom Drama. Simon and Shuster: Hemel,
Hempstead.
Bolton, G. & Heathcote, D. (1995) Drama for Learning: Dorothy Heathcoteâs Mantle of
the Expert Approach to Education. Heinnemann, New Jersey.
Bolton, G. (1999). Acting in Classroom Drama. Calendar Island Publishers: Portland,
Maine
Freire, P. (1972). Pedagogy of the Oppressed. Penguin: Harmondsworth, Middlesex.
6. Hatch, E. (1992). Discourse and Language Education. Cambridge: Cambridge University
Press.
Kao, S.M. & OâNeill, C. (1998) Words into Worlds: Learning a Second Language
through Process Drama. Ablex Publishing Company: Stamford, CT.
Kozub, R. (2000). âReadersâ theatre and its effects on fluency.â Retrieved September 6,
2007 from http://www.readingonline.org/editorial/edit_index.asp?
HREF+august2000/rkrt.htm
Krashen, S. & Terrel, T. (1983). The natural approach: Language Acquisition in the
Classroom. Oxford: Pergamon.
Krashen, S. (1982). Principles and Practice in Second Language Acquisition. Oxford:
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Laughlin, M.K., & Latrobe, K.H. (1990). Readersâ Theater for children: Scripts and
script development. Englewood, CO: Teacher Ideas Pass.
Lightbown, P. (1999). How Languages are Learned. Oxford: Oxford University Press.
Long, H.M. (1983). âNative speaker/non-native speaker conversation and negotiation of
comprehensible input.â Applied Lingusitics 4: 126â41.
Magarshack, D. (1961). Stanislavski and the Art of the Stage. New York: Hill and Wang
McGaw, C. (1975) Acting is Believing, New York: Holt, Rinehart, and Winston
Pica, T. (1994). âResearch on negotiation: What does it reveal about second language
acquisition? Conditions, processes, outcomes.â Language Learning 44: 493-527.
Prescott, J. (2003). The Power of Readersâ Theater, Retrieved September 16, 2007 from:
http://teacher.scholastic.com/products/instructor/readerstheater.htm
Smith, S. (1984). The Theatre arts an teaching of languages. New York: Addison-
Wesley.
Vygotsky, L. (1978). Mind in Society: The Development of Higher Psychological
Processes. Cambridge Mass: Harvard University Press.
Vygotsky, L. (1976, 1986). Thought and Language. MIT Press: Cambridge, Mass.