Planning a Drama-Oriented Second Language Course

1. Planning a Drama-OrientedSecond Language Course Week 13 Language in context

2. Gap • between research findingsand the real effect on the teaching of a second language through drama. <Why?> • Lack of research about using drama • Slow empirical testing and retesting research processes on the use of drama. • So follow individual experience and not research results.

3. Another reason for this gap • Paid too much to the technical procedures of drama. • Should think about more holistic vision social context, state policy • Teacher-student relationship, student learning attitude, learners’ learning processes.

4. Cognitive routes for second language development in the classroom. Two processes: • Primary process: skill using • Secondary: skill getting

5. Primary process • Augment learners’ L2 knowledge with their world knowledge of conceptual schema, communicative functions, situational features of discourse contexts, and language organization. • The learners’ L2 ability develops through a series of stages involving formulaic speech, propositionally-reduced speech, syntactic utterances, morphologically marked utterances and complex utterances.

6. Disadvantage of primary process • Likely to lead to pidgenized speech that may not cause critical difficulties in everyday communication but is a fatal obstacle for further improvement and refinement of the target language.

7. Secondary process • Analytic L2 knowledge. • Not available to be used in unplanned discourse. • Sensitive to language forms,  for use later. • Formal instruction focuses on analyzing language forms and practicing drills.

8. Drama Oriented L2 Classroom <Need 3 phases.> • Preparation Phase • Drama Phase • Reflective Phase

9. Preparation Phase • Provides learners with abackgroundfor the drama as well asessential languageitems to be used while participating in the activities. • Possessing analytical knowledge from their previous lessons. Various communicative situations and knowledge in L1 + Language learned in the classroom.

10. Preparation phase • Give a direct and explicit manner before they get involved in their roles in drama. • The teacher can discuss necessary vocabulary and certain language structures that are needed for a particular episode with the class. (need not be formal).

11. Drama phase • New non-analytical knowledge is generated through primary processes, due to the unpredictable and simultaneous situations and ideas that evolve in drama

12. Drama Phase • Temporarily suspends the drama to provide immediate help to the students. • Students benefit from monitoring each other’s verbal contribution to the dialogue. • Teacher monitor.

13. Reflective Phase • New language items that occurred in the drama may be discussed with the class, based on the teacher’s observation and the students’ reflection upon their drama experience. • Group assignments covering socio linguistic aspects appropriateness of discourse manner, intonation, cultural expressions, and turn taking

14. Reflective Phase • Allows learners to clarify their new non-analytic knowledge so that unneccessary struggles in language learning are avoided and the learning rate increases. • Processes of forming analytical and non-analytical knowledge when the three phases support one another in function, theme, and purpose.

15. Components of language teaching in drama oriented L2 classroom • Policy • Approach • Syllabus • Materials • The Teacher and the Learners • The classroom