Introduction
Performance-based courses are generally divided into two primary groups: those in which drama workshops are integrated in order to enhance course goals, and those that culminate in a full-fledged performance. In general, the former focuses on process-drama to negotiate meaning through conflict- and problem-solving; the latter, product-orientated courses focus on the preparation towards a final public performance. Both involve a process that synthesizes multiple communicative resources, including linguistic, cognitive, bodily-kinesthetic, interpersonal, and intrapersonal intelligence, connecting the mind to the body, and individuals to the community. Furthermore, in immersing learners in the world and vocabulary of theater, acting, and dramaturgy, learners connect their language skills creatively to another discipline. Even in smaller role-plays, learners develop their potential for âplayingâ with different kinds of social gestures and body language, in other words, putting on a mask or a hat helps free them up to explore other identities, other versions of themselves â to experience the foreign in order to reconsider the familiar. At the same time, learners pay attention to another fundamental and yet challenging communication skill: social and cultural appropriateness, which requires sensitivity to tone, intonation, gesture, and register. As Maley and Duff point out, such process-drama activities venture beyond conventional textbook role-plays in their attention not only to physical setting and conventional structure, but also to social setting, character, status, mood and attitude (Mayley & Duff 9â12) â the foundation of authentic interaction. Whatever the primary goal of the course is, however, it is necessary to begin by establishing a cooperative working relationship among students; to help form the social bonds necessary for lowering inhibitions; to reduce anxiety and stress by providing ample space for uninhibited physical and linguistic exploration; and to coach students in verbal and non-verbal communication as well as training of clear and comprehensible speech, diction, intonation, and pronunciation. Such preparatory workshops ideally involve a combination of both pre-scripted and semi- or non-scripted improvisational exercises that target interpersonal, interpretive, and presentational modes of communication, as recommended in the Standards.
The following presents a selection of such exercises, beginning, as any performance-based course should, with pre-verbal group exercises designed to help students overcome inhibitions through mutual trust and support. These are followed by exercises that connect verbal expression to emotion by focusing on pronunciation, intonation as well as enunciation; exercises that connect non-verbal to verbal expression; exercises for improvisation and word play; and a variety of approaches to dramatic texts. There are numerous sources from which to draw inspiration and practical guidance for all kinds of process-drama exercises, from which some of these (where indicated) have also been adapted (see âFurther reading and resourcesâ). In the process, seminal texts from the German-language tradition serve to introduce innovations in drama theory and dramatic techniques (Schauspielkunst) from the early-eighteenth to the late-twentieth centuries. While some of these exercises may be used in any language course at various levels, as indicated in each section, they are also called upon and brought to bear on dramatic texts in the remaining chapters of the book. Most important in all exercises is their integration into a lesson: They are never intended merely to fill dead time or to lift spirits; rather, they are integral to the goals of a lesson, whether that be an entry point into a text, or a communicative goal.
Some important factors to consider
Timing: Avoid letting an exercise drag on for more than necessary! In general, the shorter the excerpt, the more productive the workshop.
Side-coaching vs. teaching: In the interest of encouraging a welcoming environment, take care to set up a relaxed atmosphere, in which everyone is welcome to coach from the side, rather than top-down correction or disapproval.
Follow-up: Always leave room for a debrief and a follow-up activity. By âfollow-up,â I also imply the integration of an activity into the overall goals of a lesson. Rather than let an activity dangle pointlessly, be sure to embed it within a the lesson so that it serves to further the learning goals.
Scaffolding: Warm up with physical gestures before moving towards language-based exercises with increasing complexity.
Reflection: It is preferable to have students follow up each workshop with a reflection in a theater journal. This enables participants to reflect on what was learned, what was challenging, what was enjoyable, and what needs improvement.