Using Drama To Engage Mixed Ability Ks3 Language Learners

Drama in MFL teaching and learning and the Communicative Approach

In modern foreign languages, with the current emphasis on the Communicative Approach, considerable weight is attached to the opportunities pupils have to get involved in meaningful dialogues, as this is considered to be the only way students can "really learn" a language. (Stern, 1981: 139). As Candlin and Breen, two of the main sustainers of the Communicative Approach stated, "learning to communicate is a socialisation process. In much of his previous experience the learner has seen communication as the basic means whereby human activity and consciousness is shared and reflected upon socially. Therefore, it makes sense for the teacher to see the overall purpose of language teaching as the development of the learner's communicative knowledge in the context of personal and social development." (1980: 91).

In practice, in the current educational climate heavily dominated by testing and results, little space is left for creativity, spontaneity and unpredictability. The language taught is too often restricted to "set responses, guided dialogues and clearly controlled patterns of speech" (Dougill J., 1987: 5). In fact, it is recognised that traditional classroom role-plays do not offer students a real choice and they do not involve real tension, considered a key element in any kind of authentic language interaction. (Kao & O'Neill: 1998). Di Pietro also sustains that closed and memorised role-plays do not give students that feeling of control which motivates them and makes them consider worthwhile carrying out the activities. (Di Pietro: 1982b). He also states that the language exercises aimed only at practising through repetition certain language structures and vocabulary not lead to real language knowledge and ability to use it in real life situations, since what ensures language acquisition is the desire to do things with words. (Austin, 1962). Drama has in fact the power of creating the kind of situations in which students feel active participants and meaning negotiators; the language they use is contextualised and thus purposeful. Moreover, students do not learn only from their teachers, but also from other learners, which transfers the pressure from the teacher onto learners, allowing them to become more independent and take responsibility for their own learning.

Moreover, as many educators, such as Cook, Hold and A. S. Neal sustain, emotions are of primary importance when meaningful learning is to take place. (Dougill J., 1987). Drama activities put the individual at the centre of the learning process and appeal to the whole person, to his/her creativity, emotions and rational part. They help "bridging the gap between the cosy and controlled world of the classroom and seemingly chaotic composition of language in the world outside". (Dougill J., 1987).

1.2 Why use drama in the MFL classroom

'Drama is a unique teaching tool, vital for language development', G. Bolton (Heathcote: 1984, Foreword).

With the ever increasing emphasis on the communicative language teaching approach, it becomes essential that students are given the chance to simulate reality in the classroom, experiment with the language and thus employ it in a meaningful and purposeful way. Drama activities are meant to close the gap between the sometimes excessively controlled and predictable world of the classroom and the chaotic outside world reality. Moreover, in real life conversations, the four skills (listening, reading, writing and speaking) overlap; it is therefore essential that students practise them in combination, and the only way they can do this in the classroom is through drama activities which simulate reality. Allowing students to put themselves in other people's shoes, drama engages their emotions and enables them to become creative and take risks. This increases confidence and self-esteem, which fosters pupils' motivation and engagement. By doing so, it is more likely that meaningful learning takes place and therefore better attainment results are obtained.

But why should language teachers start introducing drama activities in their lessons? Maley and Duff (2005) list some of the main points supporting the value of drama as an educational tool in the MFL classroom: 1. It switches the focus from form to meaning, by contextualising the language and therefore engages pupils in spontaneous and meaningful talk; 2. The speaking skills are practised together with the listening skills in a very natural and meaningful way; the focus is not on language anymore, but on the message being transmitted and this de-focus from the study of language fosters students' engagement and thus high-quality learning takes place; 3. It brings together both the verbal and non verbal aspects of communication, transforming learning in a whole-person experience by engaging not only the intellectual, but also the physical side, which is fundamental in real life interaction. In this way, each student can make the most of his/her own strengths and therefore students are provided with equal opportunities to participate, enjoy and learn; 4. It emphasises not only the cognitive, but also the emotional domain, creating a balance between thought and feelings; 5. It fosters confidence and self-esteem, likewise motivation and engagement; 6. It shifts the responsibility for learning from teacher to student.

In addition to this, Hayes (1984) outlines some other factors in favour of the use of drama in MFL teaching and learning, and these are categorised as follows: 1. Linguistic factors - "Through drama the student is given the chance to take risks in the language" and to "express needs, feeling, attitudes and opinions." (Hayes, 1984: 9). "They may argue, persuade, justify, defend, complain, inform, instruct, report, explain, negotiate and mediate' (Hayes, 1984: 9). 2. Psychological factors - "it is often the student who is weak linguistically who can dominate the drama class by bringing to it humour, sensitivity, imagination and gifts of mimicry" (Hayes, 1984: 10). In addition, "for the student suffering from stress and insecurity drama can be very therapeutic" (Hayes, 1984: 10). "It can be extremely liberating to step outside oneself and enter the realms of imagination to become another personality" (Hayes, 1984: 10). 3. Cultural factors - through drama cultural awareness of differences and similarities between cultures arise and by analysing them insight into one's own culture is gained. "In the drama class the student will discover that the way to approach a situation in this country is often very different from how it would be in their own" (Hayes, 1984: 10). 4. Social factors - "Drama is essentially social interaction" (Hayes, 1984: 11). "Development through social interaction in drama focuses primarily on the simultaneous symbolic and real relationships of people, the roles they play, personalities, feeling and ideas and the human situation in which they find themselves. Drama is effective as a means of communicating ideas and feelings to other people and the student learns how to put ideas across clearly" (Hayes, 1984: 11).

Drama, therefore, appears to be the ideal method for students to learn a foreign language in a meaningful way, especially when they do not have the opportunity to live in the country where the language is spoken and thus use it on a daily basis in real life situations. This is because it exposes the whole person and it makes learning memorable through direct experience. Moreover, drama activities cater for all types of students, from the most talkative to the shyest ones. At this regard, Di Pietro (1987) sustains that students who are not naturally talkative are more willing to get involved in the classroom activities, as they appreciate the fact that the experience is not being dominated by the teacher's figure. Giving more ownership to students, therefore, motivates them to be more willing to use the target language, and by doing so to learn in an effective manner.

Bibliography

Austin, J. L. (1962) How to do things with words Oxford: Clarendon Press

Bolton, G. (1993) A brief history of classroom drama. In Schewe, M. & Shaw, P. (Eds.) Towards drama as a method in the foreign language classroom. Peter Lang

Breen, M. P. & Candlin, C. N. (1983). The essentials of a communicative curriculum in language teaching. In Applied linguistics. 1, p 89-112

Di Pietro, R. J. (1982b). The open-ended scenario: A new approach to conversation. TESOL Quarterly, 16, 15-20.

Di Pietro, R. J. (1987). Strategic instruction: learning languages through scenarios. Cambridge: Cambridge University Press.

Dougill, J. (1987) Drama activities for language teaching. Macmillan Publishers

Education Department of Tasmania (1980) A framework for speech and drama. An introduction to speech and drama from kindergarten to lower secondary. Hobart: Education Department of Tasmania.

Finocchiaro, M. / Brumfit, C. (1983) The Functional-notional Approach. From theory to practice. New York: Oxford University Press

Glock, C. (1993) A brief history of classroom drama. In Schewe, M. & Shaw, P. (Eds.) Towards drama as a method in the foreign language classroom. Peter Lang

Hawkins, B. (1993) Back to back. Drama techniques and second language acquisition. In Schewe, M. & Shaw, P. (Eds.) Towards drama as a method in the foreign language classroom. Peter Lang

Hayes, S. K. (1984). Drama as a second language. A practical handbook for language teachers. National Extension College Trust Ltd.

Holden, S. (1982) Drama in Language Teaching London. Longman

Johnson, L. and O'Neill, C. (Eds) (1984) Dorothy Heathcote: collected writings on education and drama. Hutchinson

Kao, S. M. / Carkin, G. / Hsu, L. F. (2011) Questioning techniques for promoting language learning with students of limited L2 oral proficiency in a drama-oriented language classroom. In The Journal of Applied Theatre and Performance. Vol. 16, No. 4, November 2011, 489-515

Kao, S. M. & O'Neill, C. (1998). Words into Worlds. Learning a Second Language Through Process Drama. Greenwood Publishing Group.

Malley, A. / Duff, A. (1978, rev. 1982) Drama techniques in language learning. Cambridge: Cambridge University Press.

Maley, A. and Duff, A. (2005) Drama techniques: a resource book of communicative activities for language teachers. Cambridge: Cambridge University Press

Murphy, D. E. (1986) Communication and correction in the classroom. ELT Journal 40, p. 140-151

Nixon, J. (Ed) (1982) Drama and the whole curriculum Hutchinson

O'Neill, C. / Lambert, A. (1986) Drama structure. A practical handbook for teachers. London: Hutchinson

Piepho, H. E. (1981) Establishing objectives in the teaching of English. In: C. Candlin (ed): The communicative teaching of English. Principles and exercise typology. Harlow: Longman

Prodromou, L. (1988) English as cultural action. ELT Journal 42, p. 73-83.

Slade, P (1958) An introduction to child drama. Longman

Stern, H. H. (1981). Focus on Second Language Learning, in J. Atlatis / H. B. Altman / P.E. Atlatis (eds): The second language classroom. Directions for the 1980s. New York: Oxford University Press.

Wessels, C. (1987) Drama. Oxford: Oxford University Press

Winston J. (2012) Second Language Learning through Drama: Practical Techniques and Applications. Routledge