戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件

1、Educational Theatre: Drama/Theatre as a Method of Teaching Language教育性戲劇：以戲劇與劇場方法做為語言教學(xué) Educational Theatre: Drama/Convener of 12-year Civic Basic Education Curriculum Guideline of Arts Domain in Performing Arts.High School Curriculum Guideline of Arts and Living course（藝術(shù)生活科）.Technique High School

2、Curriculum Guideline of Arts Domain（藝術(shù)群）.Technique High School Practical TechniqueProgram of Arts （藝術(shù)學(xué)程）1-9 Curriculum Guideline（九年一貫課程綱要） Committee for Performing Arts Domain Study.Convener of 12-year Civic BaAcademic research on periodical or conference collection more than fifty peer-reviewed art

3、icles, such as:A case study on the application of the Role 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. Ch

4、ap. 2. Jennings,S. and Holmwood, C. Ed.(2016). pp.8-18. London: Routledge.A Brief 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 UGAcademic research on periodica教育性

5、戲劇在統(tǒng)整課程教學(xué)上應(yīng)用之成效：以崇左市小學(xué)與幼兒園實(shí)驗(yàn)師資培訓(xùn)計(jì)劃為例，廣西教育學(xué)院學(xué)報(bào)155期 (2018.6). 南寧市：廣西教育學(xué)院。失智老人戲劇治療活動(dòng)案例分析：以揚(yáng)智力學(xué)堂為例藝術(shù)治療應(yīng)用對老人急重復(fù)健進(jìn)階實(shí)務(wù)研討會(2015.3). 臺北市：臺灣老人急重癥醫(yī)學(xué)會。戲劇應(yīng)用的范疇與運(yùn)作2014戲劇應(yīng)用國際學(xué)術(shù)研討會論文集(2015.2). 新北市：臺灣藝術(shù)大學(xué)。臺灣中小學(xué)表演藝術(shù)戲劇教學(xué)的解析教育學(xué)報(bào)第10卷，第1期（2014.2）。北京：北京師范大學(xué)戲劇治療與治療性戲劇內(nèi)涵之療愈解析，兩岸三地戲劇療愈研討會論文集，(2012.4) 。臺北：國立臺灣藝術(shù)大學(xué)。教育性戲劇在統(tǒng)整課程教

6、學(xué)上應(yīng)用之成效：以崇左市小學(xué)與幼兒園戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件Academic Publication Seventeen Books have released, such as:Persona and Performance: The Meaning of Role in Drama, Therapy, and Everyday Life. 人格面劇與表演：角色在戲劇、治療與日常生活的意義 (Robert Landy, 1994),（Co-translator, 2016）教育戲劇跨領(lǐng)域統(tǒng)整教學(xué)：課程設(shè)計(jì)與實(shí)務(wù) Drama in education for

7、 transdisciplinary domain: The curriculum design and praxis (Ed. 2014).The Handbook for Teaching Performing Arts. (2009) 表演藝術(shù)120節(jié)戲劇活動(dòng)課 120 Dramatic Activities for the Class of Performing Arts. (2008).教育戲劇理論與發(fā)展 The Theories and Development for Drama in Education. (2003)創(chuàng)作性戲劇教學(xué)原理與實(shí)作 Creative Drama, th

8、e Theory and Practice for Teachers and Leaders. (1996)Academic Publication Seventeen戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件Published Chinese Simple Character EditionsPublished Chinese Simple CharaTeaching CoursesCreative Drama, the Theory and PracticeDrama in Education, the Theory and PracticeTheatre in Educ

9、ation, the Theory and PracticeChildrens theatre, the Theory and PracticeDrama therapy, the Theory and PracticeHistory of Western Theatre, Stage Design, Lighting Design, Directing, Playwriting, Rehearsal, Teaching Methods of Performing Arts etc.Teaching CoursesCreative DramaWhy Drama/theatre in Educa

10、tionThe values in drama:an opportunity to develop the imaginationindependent thinkingdevelopment of original ideascooperation with the groupsocial awarenessa healthy release of emotionbetter habits of speechan experience with good literaturean introduction to the theatre artsa time for recreation in

11、 the best sense of the wordWhy Drama/theatre in EducationThe values of theatre are aesthetic and intellectual, include: work with a good story (literary or original)the creation of credible charactersgood performance skillsthe creation of beautiful visual effectschallenging ideasan opportunity to le

12、arn about other persons and different culturesthe foundation for an appreciation of the theatre as an adult.The values of theatre are aestDrama/theatre as an essential way to teach languageDrama and the language are very closely interrelated.The means to language arts goals are social and often phys

13、ical or nonverbal.A theatre play is a good model for whos talking, whos listening, whos present or absent. Drama/theatre as an essentialDrama 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 th

14、e multi-disciplinary curriculum in schools. In Taiwan, the course of drama study of performing arts was first enacted in the law of the Arts Education Act (藝術(shù)教育法, 1997, 總統(tǒng)公布法律令). Drama Applications in the EduThe National Curriculum of UKProgramme of study: English(Department for Education and Employ

15、ment, London: 1999. pp.46-48)Key Stage 3&4Teaching should ensure that work in speaking and listening, reading and writing is integrated.Speaking and listeningGroup discussion and interactionDramaStandard EnglishLanguage variationBreadth of studyThe National Curriculum of UKDramaTo participate in a r

16、ange 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, texts and meaningsb use different ways to convey action, character, atmosphere and tension when they are scripting and performing i

17、n 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 performances of dramas that they have watched or in which they have taken part.DramaTo participate in a rangBreadth of studyDr

18、ama 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.Breadth of studyDrama activitDrama, what is happeningDialogue:The interview is, to some extent, a model of that its n

19、ot completely planned. Were acting under the impact of each others statements. Drama, what is happeningDialogMonologueDrama 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 somebody begins to monologue t

20、o of that.This is expository; it might be narrative; it might be emotional descriptive.MonologueDrama is a good basSoliloquySoliloquy 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 nee

21、d 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.SoliloquySoliloquy is inHow Do Children Learn LanguageChildren speech development goes with the interactive, dialogical appro

22、ach.Talking across differences is a vital learning process.This is even better, talking across differences in ages, as will as background, social class, and so on.How Do Children Learn LanguageThree Phases of Drama/theatre in Learning LanguagePresentationOne attempts to find a way of presenting the

23、item so that it is clearly understood.PracticeOne practises it under controlled conditionsReinforcementOne tries to create conditions in which it can be used more or less freely by students. (A. Maley and A. Duff, 1992. p.16)Three Phases of Drama/theatre Initiators of Creative DramaWinifred Ward Cre

24、ative Dramatics, 1930Geraldine Brain Silk Creative Drama: An Art for Children,1965Nellie McCaslin Creative Drama in the Classroom, 1968Initiators of Creative DramaWiThe Praxis of Drama Applications Creative Dramais an improvisational, non-exhibitional, process centered form of drama in which partici

25、pants are guided by a leader to imagine, enact, and reflect upon human experience. Although creative drama traditionally has been thought of in relation to children and young people, the process is appropriate to all ages.The Praxis of Drama ApplicatioThe creative drama process is dynamic. The leade

26、r guides the group to explore, develop, express and communicate ideas, concepts, and feelings through dramatic enactment. In creative drama the group improvises action and dialogue appropriate to the content it is exploring using elements of drama to give form and meaning to the experience. The prim

27、ary purpose of creative drama is to foster personality growth and to facilitate learning of the participants rather than to train actors for the stage. 戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件 Creative drama may be used to teach the art of drama and/or motivate and extend learning in other content areas. Part

28、icipation 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 clarification of values and attitudes, and an understanding of the art of theatre. Build on the huma

29、n 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 T. Behm, Terminology of Drama/Theatre with and for Children: A Redefinition, Children

30、s Theatre Review, 27, no.1,1978. pp. 10-11. Creative drama may be usedThe study content of Creative Drama ConcentrationPhysical movementRelaxationGameImaginationPantomimeImprovisationStorytellingPlaymaking. The study content of Creative 戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件戲劇在英語教學(xué)中的應(yīng)用：以戲劇和劇場方法助力英語語言學(xué)習(xí)課件Bas

31、ic Teaching Procedures of Creative 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

32、 to do the scene by doing the scene.Basic Teaching Procedures of CA 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

33、scene, and then plays it out, probably several times until satisfied that the scene expresses their idea.A scene is played by the groupEvaluatingThe focus of the evaluation is always on the group objectives, rather than on the accomplishment or failures of any individual. The teacher encourages cons

34、tructive, rather than destructive criticism. At the end of each evaluation period, there is an additional planning period and another playing period.EvaluatingThe focus of the ePlanning-Playing-Evaluation is repeated until the group is satisfied with its product.Planning-Playing-Evaluation isCreativ

35、e Drama Teaching StrategiesObjectives: 1. The creation of an improvised play. 2. drama skills: concentration, observation, sensory recall, whole body pantomime, creating dialogue between two characters, or running through a three-consecutive-scenes play without stopping. Creative Drama Teaching Stra

36、t3. The materials: stories, poems, pictures, objects, music, sounds, or any of an infinite variety of materials.3. The materials:Procedures1.Warm-up:begin sessions with a game or drama exercise activity related to the main lesson of the day, designed to focus attention on work and to stimulate think

37、ing about the play.Procedures1.Warm-up: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. 2. Introduce story:3. Plan: Discuss the story and choose (from volunteers) characters for playing the story.4. Play: Each gr

38、oup plays the scene of story.5. Evaluate: Discuss playing in terms of sequence, characters, locale, actions. Discuss improvements to the scene.3. Plan:6. Plan: Discuss the scene of the story; determine kinds of characters, review each part should be played, cast volunteers.7. Replay:Replay the scene

39、 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.6. Plan:Readers Theatre for ExampleReaders theatre is that they draw their material from any sourceit could be books, literature

40、 texts, ads, 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.Readers Theatre for ExampleReThe Blind Men and the Elephant(A dramatization for Readers Theatre by Hsiao-hua Chang)Ch

41、aracters: Narrator, Six blind Indostan men.Narrator: 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 stur

42、dy side, at once began to bawl:The Blind Men and the ElephanThe First: God bless me! 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 ver

43、y like a spear!”Narrator: The Third approached the animal, and happening to take the squirming trunk within his hands. Thus boldly up and speakThe First: God bless me! But tThe Third: I see, the Elephant is very like a snake!”Narrator: The Fourth reached out his eager hand, and felt about the knee.T

44、he Fourth: What most this wondrous beast is like, is mighty plain, this clear enough the Elephant is very like a tree!Narrator: The 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 l

45、ike a fan.The Third: I see, the ElephantNarrator: The Sixth no sooner had begun about the beast to grope, then, seizing on the swinging tail that fell within his scope.The 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 op

46、inion, exceeding stiff and strong. Though each was partly in the right, and all were in the wrong! (John G. Saxe )Narrator: The Sixth no sooner Drama in Education（DIE,教育戲?。? Applied Drama as the Teaching Method Drama in education is a mode of learning. Through the pupils active identification with i

47、magined roles and situations in drama, they can learn to explore issues, events and relationships. (Cecily ONeill and Lambert, 1982) Drama in Education（DIE,教育戲?。?DIE is a workshop rather than a performance-based activity, drawn extensively from play.It allows participants to discover for themselves,

48、 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 of the actor/audience relationship.DIE is a workshop

49、rather thanInitiators of DIEJean-Jacques Rrousseau Emile,1772Harriet Finlay-Johnson Dramatic Method of Teaching, 1911Henny Caldwell Cook (1889-1937) A Play Way, 1917Peter Slade Child Drama, 1954 Initiators of DIEJean-Jacques Teaching Strategy of A Play Way,19171. Reading and telling of the story2. I

50、nformal discussion3. Sub-committee stage4. Preparation of rough notes5. Acting in the rough6. Master the lesson7. Discussion of special points8. Careful fashioning, shaping and writing9.Careful acting, as in rehearsal10. Final revision of text of speeches11. Performance with all due ceremonyTeaching

51、 Strategy of A Play WaLearning drama for personal GrowthBrain Way. Development through Drama,1967Learning drama for personal GrNature of the pattern of workThe individual working on his or her own.In pairsIn threesIn small groupsGroups all working to the same endNature of the pattern of workAn Episo

52、de at an Airport pp.261-265Built-up that happens in the lunge and general waiting room of an airport.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 timeAdd the

53、 moment of conflict, develop the conflict furtherMany other situations can be developed around an airportAn Episode at an Airport pp.26Approaches of Drama in EducationLearning through drama approaches (Gavin Bolton, 1979)Role drama approaches (Carole Tarlington and Patrick Verriour, 1991)Process dra

54、ma approaches (Cecily ONeill and John OTool, 1992,1995)Approaches of Drama in EducatiMantel of expert approaches (Dorothy Heathcote,1995)Compound stimulus approaches (John Somers, 2000) Story drama approaches (David Booth, 1992)Mantel of expert approaches (DDramatic ConventionsContext-Buiding Action

55、Object of character 見物知人Tableau or still image 定鏡Circle of life 生活圈子Collective character 集體角色Games 戲劇性游戲Making maps/diagrams 畫圖Defining space 定義空間Role-on-the-wall 墻上的人物Dramatic ConventionsContext-BuNarrative ActionCritical events 關(guān)鍵事件Interviews/Interrogation 訪問/審問Hot-seating 焦點(diǎn)人物Meeting 會議Reportage

56、報(bào)導(dǎo)文學(xué)Teacher-in-role 教師入戲Time Line 時(shí)間線Narrative ActionPoetic ActionAlter-ego 心底話Caption-making 設(shè)立標(biāo)題Forum-Theatre 論壇劇場Mimed Activity 啞劇活動(dòng)Montage 蒙太其表現(xiàn)法Noises Off 場外之音Small-Group Play-Making 小組演繹Poetic ActionReflective ActionChoral Speak 團(tuán)體詩歌朗誦If I Was You 如果我是你Making the Moment 重要時(shí)刻Spectrum of Differe

57、nce 觀點(diǎn)與角度Taking Sides 立場選擇Thought-Tracking 思考軌跡This Way/ That Way 自圓其說Reflective ActionTheatre in Education (教育劇場）Applied Theatre as the Teaching of SubjectTheatre in Education (TIE), an audience-participation form of theatre, applied as an educational medium to let some of specially designated proj

58、ects perform and engage with the students in the learning process.Theatre in Education (教育劇場）AppTIE performances are engaged with, especially, designated projects in a learning process. The aim is to provide an experience for children that will be intensely absorbing, challenging, even provocative,

59、and an unrivaled stimulus for further work on the chosen subject in and out of school. TIE performances are engagedIt is a learning theatre through which audiences, young and old, may comprehend problems related to their social environment and possible solutions to such problem.Scripts are usually b

60、ased on school curriculum or relevant social or historical issues and teachers often provided with follow-up work for their students based on the topics discussed in the productions.It is a learning theatre throuThe audience is invited to participate both actively and passively, sometimes actually d