1、Educational Theatre:Drama/Theatre as a Method of Teaching Language教育性戏剧：以戏剧与剧场方法做为语言教学 Convener of 12-year Civic Basic Education Curriculum Guideline of Arts Domain in Performing Arts.High School Curriculum Guideline of Arts and Living course（艺术生活科）.Technique High School Curriculum Guideline of Arts
2、 Domain（艺术群）.Technique High School Practical TechniqueProgram of Arts（艺术学程）1-9 Curriculum Guideline（九年一贯课程纲要）Committee for Performing Arts Domain Study.Academic research on periodical or conference collection more than fifty peer-reviewed articles,such as:A case study on the application of the Role
3、Method in a therapeutic production at National Taiwan University of Arts,Drama Therapy Review.vol.3(2017)pp.61-71.Albany,New York:NADTA.The development of drama therapy in Taiwan,Routledge International Handbook for Dramatherapy.Chap.2.Jennings,S.and Holmwood,C.Ed.(2016).pp.8-18.London:Routledge.A B
4、rief Introduction of Drama Applications in Educational,Social,and Therapeutic Domains in Taiwan,Creative Arts in Education and Therapy.vol.1(2015)pp.26-40.Berlin:Quotus Publishing UG 教育性戏剧在统整课程教学上应用之成效：以崇左市小学与幼儿园实验师资培训计划为例，广西教育学院学报155期(2018.6).南宁市：广西教育学院。失智老人戏剧治疗活动案例分析：以扬智力学堂为例艺术治疗应用对老人急重复健进阶实务研讨会(2
5、015.3).台北市：台湾老人急重症医学会。戏剧应用的范畴与运作2014戏剧应用国际学术研讨会论文集(2015.2).新北市：台湾艺术大学。台湾中小学表演艺术戏剧教学的解析教育学报第10卷，第1期（2014.2）。北京：北京师范大学 戏剧治疗与治疗性戏剧内涵之疗愈解析，两岸三地戏剧疗愈研讨会论文集，(2012.4)。台北：国立台湾艺术大学。Academic Publication Seventeen Books have released,such as:Persona and Performance:The Meaning of Role in Drama,Therapy,and Every
6、day Life.人格面剧与表演：角色在戏剧、治疗与日常生活的意义(Robert Landy,1994),（Co-translator,2016）教育戏剧跨领域统整教学：课程设计与实务 Drama in education for transdisciplinary domain:The curriculum design and praxis(Ed.2014).The Handbook for Teaching Performing Arts.(2009)表演艺术120节戏剧活动课 120 Dramatic Activities for the Class of Performing Art
7、s.(2008).教育戏剧理论与发展 The Theories and Development for Drama in Education.(2003)创作性戏剧教学原理与实作 Creative Drama,the Theory and Practice for Teachers and Leaders.(1996)Published Chinese Simple Character EditionsTeaching Courses Creative Drama,the Theory and Practice Drama in Education,the Theory and Practic
8、e Theatre in Education,the Theory and Practice Childrens theatre,the Theory and Practice Drama therapy,the Theory and Practice History of Western Theatre,Stage Design,Lighting Design,Directing,Playwriting,Rehearsal,Teaching Methods of Performing Arts etc.Why Drama/theatre in EducationThe values in d
9、rama:an opportunity to develop the imagination independent thinking development of original ideas cooperation with the group social awareness a healthy release of emotion better habits of speech an experience with good literature an introduction to the theatre arts a time for recreation in the best
10、sense of the wordThe values of theatre are aesthetic and intellectual,include:work with a good story(literary or original)the creation of credible characters good performance skills the creation of beautiful visual effects challenging ideas an opportunity to learn about other persons and different c
11、ultures the foundation for an appreciation of the theatre as an adult.Drama/theatre as an essential way to teach language Drama and the language are very closely interrelated.The means to language arts goals are social and often physical or nonverbal.A theatre play is a good model for whos talking,w
12、hos listening,whos present or absent.Drama Applications in the Education In UK,the law of“Educational Reform Act”was approved by the Parliament in 1992.Drama was combined with English studies in the multi-disciplinary curriculum in schools.In Taiwan,the course of drama study of performing arts was f
13、irst enacted in the law of the Arts Education Act(艺术教育法,1997,总统公布法律令).The National Curriculum of UKProgramme of study:English(Department for Education and Employment,London:1999.pp.46-48)Key Stage 3&4Teaching should ensure that work in speaking and listening,reading and writing is integrated.Speakin
14、g and listening Group discussion and interaction Drama Standard English Language variation Breadth of studyDramaTo participate in a range of drama activities and to evaluate their own and others contributions,pupils should be taught to:a use a variety of dramatic techniques to explore ideas,issues,t
15、exts and meanings b use different ways to convey action,character,atmosphere and tension when they are scripting and performing in plays for example,through dialogue,movement,pace c appreciate how the structure and organization of scenes and plays contribute to dramatic effect d evaluate critically
16、performances of dramas that they have watched or in which they have taken part.Breadth of study Drama activities The range should include:a improvisation and working in role b devising,scripting and performing in playsc discussing and reviewing their own and others performances.Drama,what is happeni
17、ng Dialogue:The interview is,to some extent,a model of that its not completely planned.Were acting under the impact of each others statements.Monologue Drama is a good base or matrix is that the learning to monologue derives from dialogue.It was in the Greek plays.Theres a dialogue going on,and then
18、 somebody begins to monologue to of that.This is expository;it might be narrative;it might be emotional descriptive.Soliloquy Soliloquy is inner speech,but we externalize it to benefit an audience.Soliloquy is really interior dialogue,different voices and persona and roles that we have.teachers need
19、 to learn meditation techniques and teach meditation techniques to their students.Free Writing,a way to write a composition,the basic technique is just sit down and write.How Do Children Learn Language Children speech development goes with the interactive,dialogical approach.Talking across differenc
20、es is a vital learning process.This is even better,talking across differences in ages,as will as background,social class,and so on.Three Phases of Drama/theatre in Learning Language PresentationOne attempts to find a way of presenting the item so that it is clearly understood.PracticeOne practises i
21、t under controlled conditions ReinforcementOne tries to create conditions in which it can be used more or less freely by students.(A.Maley and A.Duff,1992.p.16)Initiators of Creative Drama Winifred Ward Creative Dramatics,1930 Geraldine Brain Silk Creative Drama:An Art for Children,1965 Nellie McCas
22、lin Creative Drama in the Classroom,1968The Praxis of Drama Applications Creative Dramais an improvisational,non-exhibitional,process centered form of drama in which participants are guided by a leader to imagine,enact,and reflect upon human experience.Although creative drama traditionally has been
23、thought of in relation to children and young people,the process is appropriate to all ages.The creative drama process is dynamic.The leader guides the group to explore,develop,express and communicate ideas,concepts,and feelings through dramatic enactment.In creative drama the group improvises action
24、 and dialogue appropriate to the content it is exploring using elements of drama to give form and meaning to the experience.The primary purpose of creative drama is to foster personality growth and to facilitate learning of the participants rather than to train actors for the stage.Creative drama ma
25、y be used to teach the art of drama and/or motivate and extend learning in other content areas.Participation in creative drama has the potential to develop language and communication abilities,problem solving skills,and creativity;to promote a positive self concept,social awareness,empathy,a clarifi
26、cation of values and attitudes,and an understanding of the art of theatre.Build on the human impulse and ability to act out perceptions of the world in order to understand it,creative drama requires both logical and intuitive thinking,personalizes knowledge,and yields aesthetic pleasure.(J.Davis and
27、 T.Behm,Terminology of Drama/Theatre with and for Children:A Redefinition,Childrens Theatre Review,27,no.1,1978.pp.10-11.The study content of Creative Drama Concentration Physical movement Relaxation Game Imagination Pantomime Improvisation Storytelling Playmaking.Basic Teaching Procedures of Creati
28、ve Drama Teacher guides a planning session during which the group must.All players must agree on the“rules of playing”agree to play the scene in the same time and place frame.The playing period is essentially a rehearsal period,during which the group discovers how to do the scene by doing the scene.
29、A scene is played by the group,or by part of the group with the others serving as audience.After one group has played the scene,another will get a chance to play it.In Improvisational drama,a group decides what it wants from the scene,and then plays it out,probably several times until satisfied that
30、 the scene expresses their idea.Evaluating The focus of the evaluation is always on the group objectives,rather than on the accomplishment or failures of any individual.The teacher encourages constructive,rather than destructive criticism.At the end of each evaluation period,there is an additional p
31、lanning period and another playing period.Planning-Playing-Evaluation is repeated until the group is satisfied with its product.Creative Drama Teaching Strategies Objectives:1.The creation of an improvised play.2.drama skills:concentration,observation,sensory recall,whole body pantomime,creating dia
32、logue between two characters,or running through a three-consecutive-scenes play without stopping.3.The materials:stories,poems,pictures,objects,music,sounds,or any of an infinite variety of materials.Procedures1.Warm-up:begin sessions with a game or drama exercise activity related to the main lesson
33、 of the day,designed to focus attention on work and to stimulate thinking about the play.2.Introduce story:Tell or read the entire story.Or tell one part of the story up to the point where the plot developed on some place.3.Plan:Discuss the story and choose(from volunteers)characters for playing the
34、 story.4.Play:Each group plays the scene of story.5.Evaluate:Discuss playing in terms of sequence,characters,locale,actions.Discuss improvements to the scene.6.Plan:Discuss the scene of the story;determine kinds of characters,review each part should be played,cast volunteers.7.Replay:Replay the scen
35、e until group is satisfied with it.8.Plan,replay and evaluate procedures as many times as necessary to complete the lesson,ending the class session with group evaluation.Readers Theatre for Example Readers theatre is that they draw their material from any sourceit could be books,literature texts,ads
36、,bits of biography diaries.Work with partners,and the texts they perform dont have to be scripts.Teachers could have students see any text as a possible performing item.The Blind Men and the Elephant(A dramatization for Readers Theatre by Hsiao-hua Chang)Characters:Narrator,Six blind Indostan men.Na
37、rrator:It was six men of Indostan to learning much inclined,who went to see the Elephant,though all of them were blind.That each by observation might satisfy his mind.The First approached the Elephant,and happening to fall against his broad and sturdy side,at once began to bawl:The First:God bless m
38、e!But the Elephant is very like a wall!Narrator:The Second,feeling of the tusk,cried:The Second:Ho!What have we here,so very round and smooth and sharp?To me,tis mighty clear,this wonder of an Elephant is very like a spear!”Narrator:The Third approached the animal,and happening to take the squirming
39、 trunk within his hands.Thus boldly up and speak The Third:I see,the Elephant is very like a snake!”Narrator:The Fourth reached out his eager hand,and felt about the knee.The Fourth:What most this wondrous beast is like,is mighty plain,this clear enough the Elephant is very like a tree!Narrator:The
40、Fifth,who chanced to touch the ear,said:The Fifth:Een the blindest man can tell what this resembles most;deny the fact who can,this marvel of an Elephant is very like a fan.Narrator:The Sixth no sooner had begun about the beast to grope,then,seizing on the swinging tail that fell within his scope.Th
41、e Sixth:I see,the Elephant is very like a rope.Narrator:And so these men of Indostan disputed loud and long,each in his own opinion,exceeding stiff and strong.Though each was partly in the right,and all were in the wrong!(John G.Saxe)Drama in Education（DIE,教育戏剧）教育戏剧）:Applied Drama as the Teaching Me
42、thod Drama in education is a mode of learning.Through the pupils active identification with imagined roles and situations in drama,they can learn to explore issues,events and relationships.(Cecily ONeill and Lambert,1982)DIE is a workshop rather than a performance-based activity,drawn extensively fr
43、om play.It allows participants to discover for themselves,through action and in the company of others,solutions to problems they encounter.The emphasis is on learning by doing.On experience and activity for the participants.Although utilizing many of the techniques of theatre,DIE lacks the element o
44、f the actor/audience relationship.Initiators of DIE Jean-Jacques Rrousseau Emile,1772 Harriet Finlay-Johnson Dramatic Method of Teaching,1911 Henny Caldwell Cook(1889-1937)A Play Way,1917 Peter Slade Child Drama,1954 Teaching Strategy of A Play Way,1917 1.Reading and telling of the story 2.Informal
45、discussion 3.Sub-committee stage 4.Preparation of rough notes 5.Acting in the rough 6.Master the lesson 7.Discussion of special points 8.Careful fashioning,shaping and writing 9.Careful acting,as in rehearsal 10.Final revision of text of speeches 11.Performance with all due ceremonyLearning drama fo
46、r personal GrowthBrain Way.Development through Drama,1967Nature of the pattern of work The individual working on his or her own.In pairs In threes In small groups Groups all working to the same endAn Episode at an Airport pp.261-265 Built-up that happens in the lunge and general waiting room of an a
47、irport.In pair,airport staff,people at the information desk.Divide into small groups,three or four,who are coming to an airport to meet friends or relations of particular plane at particular time Add the moment of conflict,develop the conflict further Many other situations can be developed around an
48、 airportApproaches of Drama in Education Learning through drama approaches(Gavin Bolton,1979)Role drama approaches(Carole Tarlington and Patrick Verriour,1991)Process drama approaches(Cecily ONeill and John OTool,1992,1995)Mantel of expert approaches(Dorothy Heathcote,1995)Compound stimulus approach
49、es(John Somers,2000)Story drama approaches(David Booth,1992)Dramatic ConventionsContext-Buiding Action Object of character 见物知人 Tableau or still image 定镜 Circle of life 生活圈子 Collective character 集体角色 Games 戏剧性游戏 Making maps/diagrams 画图 Defining space 定义空间 Role-on-the-wall 墙上的人物Narrative Action Criti
50、cal events 关键事件 Interviews/Interrogation 访问/审问 Hot-seating 焦点人物 Meeting 会议 Reportage 报导文学 Teacher-in-role 教师入戏 Time Line 时间线Poetic Action Alter-ego 心底话 Caption-making 设立标题 Forum-Theatre 论坛剧场 Mimed Activity 哑剧活动 Montage 蒙太其表现法 Noises Off 场外之音 Small-Group Play-Making 小组演绎Reflective Action Choral Speak
