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Don’t make a drama out of drama.





In language teaching, drama has come to be a catch-all word for many different types of activities. These can include anything from students working in pairs, asking each other the time, to end-of-course plays, written by the class in collaboration with the teacher.

Because drama covers such a wide range of activities, it can make some teachers feel unskilled. It’s an aspect of teaching that many don’t feel qualified to do. Others just don’t like doing it, and feel annoyed that they should have try. A third group take a pragmatic attitude. They feel that they haven’t got time during their lessons to incorporate drama, or, they worry that their students will think the activities are not serious enough.

Teachers’ concerns are exacerbated by current thinking about classroom teaching, which would have teachers believe that drama is the key to creativity and imaginative language use. The prevailing idea is that drama is the best possible way to let students express themselves and, consequently, course materials in the 1990s are packed with activities that can only be described as drama -based.

Drama activities are a good idea, but many activities seem to me to add unnecessary complications. For example, I find the idea of students spending 20 minutes preparing a role-play that takes about three minutes to perform a very poor use of time.

 

Drama Starting Points.

What I want to do is offer teachers some ideas that will give them an easy introduction to working with material that they use on a day-to-day basis. I want to show teachers that drama need not be contrived and rehearsed, and that various possibilities for role-play and dialogue appear all the time. All you need to do is encourage your students to use their imagination.

Let’s imagine the class is doing a practice exercise, say a series of sentences that have to be modified in some way. As most teachers will know, this kind of activity is potentially uninvolving and mechanical. Normally, students will only think about how to answer using the key language, and will ignore the implications of the situation behind the example. If you allow them to do this, you are missing an excellent “dramatic” opportunity. Instead, you could be engaging students in a conversation, as if they were the person who made the utterance in the first place. In the boxes below, I have outlined two examples to show you how to do this. You might question whether this type of activity is actually drama - it is, as you’ll see below. I believe drama is an essential element in a language classroom. In fact, I think it should be an essential element in a history or geography classroom, and perhaps even in maths and chemistry classes. Who knows? Maybe someone is teaching chemistry communicatively somewhere, with students acting the parts of different molecules.

 

Make a list of essential vocabulary and 10 questions.

Write down a speech on any of the given talking points.

1. Human relations can safely be said to be a basic human necessity. In most cases it is regarded as one of the social or spiritual needs of the individual. But how to communicate effectively?

2. The profession of a teacher obviously implies the ability to speak in public - to students, parents, etc. Do you think this ability is inborn or can acquire it through training?

 

Контрольная работа № 1

для студентов V курса заочного отделения.

(практика устной и письменной речи)

Составители: Поспелова Н.В.

 

Федеральное агентство по образованию

Елабужский государственный педагогический университет

Факультет иностранных языков

Контрольная работа № 3

для студентов V курса заочного отделения.

(практика устной и письменной речи)

Елабуга, 2006.

Control Work N 3

Cinema: its past, present and future

Read the following text about the first silent films.

Silent Movies

Talk to people who saw films for the first time when they were silent, and they will tell you the experience was magic. The silent film, with music, had extraordinary powers to draw an audience into the story, and an equally potent capacity to make their imagination work. They had to supply the voices and the sound effects, and because their minds were engaged, they appreciated the experience all the more. The audience was final creative contributor to the process of making a film.

The films have gained a charm and other worldliness with age but, inevitably, they have also lost something. The impression they made when there was no rival to the moving picure was more profound, more intense; compared to the easily accessible pictures of today, it was the blow of a two-handed axe, against the blunt scraping of a tableknife.

The silent period may be known as “The age of Innocence” but it included years unrivalled for their dedicated viciousness. In Europe, between 1914 and 1918 more men were killed to less purpose than at any other time in history.

In publications of the time, one reads horrified reactions against films showing “life as it is”. you didn’t leave the problems at home merely to encounter them again at the movies. You paid you money initially, for forgetfulness.

Gradually movie-going altered from relaxation to ritual. In the big cities, you went to massive picture palaces, floating through incenseladen air to the strains of organ music, to worship at the Cathedral of Light. You paid homage to your favourite star; you dutifully communed with the fan magazines. You wore the clothes they wore in the movies; you bought the furniture you saw on the screen. You joined a congregation composed of every strata of society. And you shared your adulation with Shanghai, Sydney and Santiago. For your favourite pastime had become the most powerful cultural influence in the world - exceeding even that of the Press. The silent film was not only a vigorous popular art; it was a universal language - Esperanto for the eyes.

 

Answer the following questions.

1. Why did the audiences of silent movies appreciate them so much?

2. What makes the author think that the first movies provided the audiences with a sort of escape from reality? Do you agree with this point of view?

3. Why does the author call the first cinema-houses “Cathedrals of Light”? Do you think this comparison can be applied to modern cinema-houses?

4. Are there many people nowadays for whom cinema is a favourite pastime? Can we claim that cinema is still the most powerful cultural influence exceeding even the press?

5. Do you think that the advent of sound killed the silent movies?

Explain what the author means by the following.

1. The films have gained a charm and other worldliness with age but, inevitably, they have also lost something. What have the films gained? Are their achievements mainly associated with the progress of science and technology? What have they lost?

2. The impression they made when there was no rival to the moving picture was more profound, more intense to the easily accessible pictures of today.

There are three main functions of the first silent movies singled out by the author in this extract. Pick them out and enlarge on them. Do you think that these functions are performed by modern films as well?







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