By Gerd Bräuer
What are the suggestions, tools, techniques, and curricular buildings that interact language newbies in carrying on with discussion among one's personal tradition and the single but to be came upon? What includes the language we communicate in an effort to comprehend and be understood? Which physique is it we converse via and to? This quantity solutions those and different questions of the pedagogy of drama-based instructing around the foreign/second language curriculum and on all degrees of the academic pyramid. There are significant matters presently mentioned in drama-based international and moment language method. the 1st is goal-oriented, asking no matter if the purchase of accuracy or fluency is extra vital, and even if a managed (learning via imitation) or an open (through improvisation) studying setting is extra effective. the second one factor matters utilizing drama in language educating: both its use is process-oriented, the place drama turns into a right away medium for language studying, or product-oriented, the place it turns into essentially the cause of language studying. The booklet outlines the theoretical frameworks of either matters and introduces own narrative, comparative statement, and analytical mirrored image, illuminating possibilities for studying at either ends of the doubtless contradictory poles of either matters.
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Extra info for Body and Language: Intercultural Learning Through Drama
Within the performative space of the role drama, children learn that individual choices of action have repercussions and that decisions need to be carefully considered and negotiated from multiple perspectives. As educators, our challenge is to break free from Barba’s “walls of cement” that so often inform our curriculum and to venture into the intertextural5 realm of social responsibility and intercultural learning that drama invites. ” Language is inclusive of the language of experience, environment, and relationship; context; spoken, written, and danced language; cultural beliefs and values—an embodied text that speaks across time and experience (Norton, 1995; Norton/Toohey, 2002; McGivern, 2002).
Throughout this chapter, all these writings are from within a role drama about residential schools, designed and led by four adult students (Beverley Machelle, Matt Chenoweth, Yasushi Kadota, and Stephen Yachou) in a drama-in-education course, University of British Columbia, July, 1997. The tribal ribbons were lengths of colored masking tape attached to our shirts, above our hearts. The experience, language, and expression of drama are, for many, a lost practice, embodied in forgotten childhoods of imagination and play.
Wagner, Betty Jane. (1997). Books at play . Worthington, OH: SRA/McGraw-Hill. Wagner, Betty Jane. (1998). Educational drama and language arts: What research shows. Portsmouth, NH: Heinemann. Wagner, Betty Jane. ). (1999). Building moral communities through educational drama . Greenwich, CT: Ablex. Wagner, Betty Jane. ( 1999). Dorothy Heathcote: Drama as a learning medium . Portland, ME: Calendar Islands. Wagner, Betty Jane. ( 2000). Imaginative expression. In J. M. Jensen, D. R. ), Handbook of research on teaching the English language arts (pp.