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Procedia - Social and Behavioral Sciences 70 (2013) 1424 1431

Akdeniz Language Studies Conference 2012

Nine drama activities for foreign language classrooms:

Benefits and challenges
Sehriban Dundara*
a/b
Akdeniz University, Antalya, 07058, Turkey

Abstract

This paper aims to exemplify nine types of drama activities that can be used in foreign language classrooms. Drama
can be integrated into all foreign language classrooms effectively to achieve communicative purposes by integrating
the four basic language skills, the lexis, and grammar structures. In this presentation, providing the teachers of
English with nine types of drama activities (drama and language games, role play, improvisation, simulation, mime,
skits, frozen image building, scriptwritin
implementing drama activities are emphasized. Regarding the criteria that should be used during the implementation
of drama activities, challenges of implementing drama activities into foreign language classrooms will be shared.

2012
2012The Authors.by
Published Published
ElsevierbyLtd.
Elsevier Ltd. Open
Selection access under CC BY-NC-ND license.
and/or peer-review under responsibility of ALSC 2012
Selection and peer-review under responsibility of ALSC 2012
Key words: Foreign language teaching; drama; drama activities

1. Introduction

According to Schejbal (2006, p. 6) drama in foreign language teaching context does not mean
using a classical play or performing a theatre performance. Drama inhibits an active involvement of
learners. Thus, the learners, who experience using a language in the classroom become similar to the
real-life experience. The use of drama in foreign language teaching is not a new concept. Having been
used to teach foreign languages since middle ages, drama plays an important role to learn target language
has played small but consistent role in language teaching in Britain and

*
Sehriban Dundar, Tel.: 0090 5383485763
E-mail address: sehribandundar@gmail.com

1877-0428 2012 The Authors. Published by Elsevier Ltd. Open access under CC BY-NC-ND license.
Selection and peer-review under responsibility of ALSC 2012
doi:10.1016/j.sbspro.2013.01.206
 Sehriban Dundar / Procedia - Social and Behavioral Sciences 70 (2013) 1424 1431 1425

-well known advocates of drama in the

L1 classroom was Bolton (1984), who encouraged teachers to integrate the theatre into all what they did.

foreign language teaching.

Current theory in second language acquisition supports the assumption that drama activities can
enhance communicative competence and thus facilitates language learning in general (Savignon, 1983).
According to Savignon (et al., 198), the most effective language program is that involves the whole
learners in the experience of language as a network of relations between people, thing and event. Theater
arts, one of her suggested approaches to shape communicative language curriculum helps the learner
involve them in the created imaginary world. This setting, according to her, provides an opportunity for
real language use and allows learners to explore situations that would otherwise never come up in the
classroom setting. Smith (1984), a professionally trained actor and a teacher of English as a second
language draws a parallel between the theater arts and the language learning. He suggests that actors and
learners share a common goal of communicating intended messages, have the similar obstacles of dealing
with new roles and language, and therefore can use the same strategies to overcome the difficulties and
achieve the aims. Smith proposes that language learning will benefit linguistically or socio-linguistically,
from the techniques applied in the theater arts. Via (1987
learning is acquired through experience, and in the language classroom drama fulfills the experiential
need by accepting the power of theater arts for language learning. Drama is an ideal way to bring the
skills of grammar, reading, writing, speaking, listening and pronunciation together in a course where the
focus is not on from but rather fluency and meaning (Dodson, 2000). The following are nine drama
activities for foreign language classrooms provided with their benefits and challenges.

1.1. Drama and language games

Drama and language games can serve as a natural introduction to dramatic activities and as
preparation for role-play, improvisation, and other drama experiences (Davies, 1990). Drama games
include ice-breakers, energizers, brain-teasers, etc. These are usually of short duration and are used as
introductory or concluding activities. They are meant to create immediate motivation as well as physical
and/or mental stimulation, which will draw students into or sustain active learning that, is centered on
authentic/actual communication in the target language (Stoate, 1984 and Dougill, 1987).

Observations have indicated that the less structured games allow students the easiest switch to
their mother tongue. Unstructured games also demand very minimal teacher control so the class can be
out of control (Gaudert, 1990). It is important to choose an appropriate time and integrate them into the
regular syllabus and curriculum. However, because of the limitations of the syllabus, games often cannot
be used, as much as they should be. Therefore, it may be challenging for teachers to try to add some
games in class in order to develop students' English proficiency of the target language (Deesri, 2002).

1.2. Role play

Role-play is any speaking activity when you either put yourself into somebody else's shoes, or
when you stay in your own shoes but put yourself into an imaginary situation (Budden, 2004). According
to Kodotchigova (2001) role play prepares L2 learners for L2 communication in a different social and
cultural context. Role play is really a worthwhile learning experience for both the students and the
1426 Sehriban Dundar / Procedia - Social and Behavioral Sciences 70 (2013) 1424 1431

teacher. Not only can students have more opportunities to "act" and "interact" with their peers trying to
use the English language, but also students' English speaking, listening, and understanding will improve
(Huang, 2008).

Teachers often feel that a great deal of preparation is required from the teacher because the
students must be given clear guidelines as to how to carry out the role play. Although this is true, the
same could be said for any classroom activity which is not tied to a course book. The presentation needed
for a role play activity is not much more than for other non-course book activities (Gaudert, et al., 1990).
Another objection which has been expressed is that role playing is too emotionally demanding because
as
to be performed in front of others. In the pair-work, for example when students greet each other they are
not performing for the other person. The whole class could be working in pairs at the same time so no one
is performing for anyone else. The questi
It is important in fact, not only for role play, but for all drama activities in the classroom, that there is no
audience (Gaudert, et al., 1990). It is imperative for teachers to select role plays that will afford learners
the opportunity to practice what they have learnt or discussed in class, whilst simultaneously stimulating
their interest so as to ensure maximum participation (Athiemoolam, 2004). It is important to consider the
evel of language proficiency when implementing role play activities in the L2 classroom. Once
you have selected a suitable role play, predict the language needed for it. In this regard it is important to
ensure that the learners are exposed to new vocabulary before commencing with the role play
(Athiemoolam, et al., 2004).

1.3. Improvisation

Landy (1982) defines improvisation as an unscripted, unrehearsed, spontaneous set of actions in

response to minimal directions from a teacher, usually including statements of which one is, where one is
and what one is doing there. In improvisation, students must create a scene, speak, act, react, and move
without preparing (Davis, et al., n. d.). Maples (2002) emphasizes that improvisation provides learners
with opportunities to not only improve their language communication skills, but also to improve their
confidence, which will ultimately lead to the development of positive self-concepts. Improvisational
exercises provide three main goals: student pronunciation improves, proper use of a grammatical structure
is reinforced, and vocabulary practice is enhanced. It may be important to share with students these
functions in order to engage them in speaking and to build trust so they will not lose face and will not fear
making mistakes (Florea, n. d.).

While implementing improvisation, the situation has to be clearly stated, easy to act out and to
have dramatic story twist. When students are fairly fluent in English, they should be able to create a
plausible conversation around the given situation, complete with appropriate facial expressions and
gestures (Barbu, 2007). It is important to note, however, that the purpose of improvisation in the L2 class
is not to entertain others but to provide the participants with a medium of self expression (Athiemoolam,
et al., 2004). At the beginning students will be hesitant and shy to participate in the activities, but after a
few sessions they will become more enthusiastic and there will be a phenomenal improvement in their
confidence level (Davis, et al., n. d.). Practicing an improvisation exercise generally requires students to
utilize a number of skills at once. Students must actively listen to their peers, be aware of body language
and other contextual clues, maintain eye contact, and respond quickly, generally using a stem (Florea, et
al., n. d.).

1.4. Mime
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John Dougill (1987) defines mime as "a non-verbal representation of an idea or story through
gesture, bodily movement and expression". Mime emphasizes the paralinguistic features of
communication. From the point of the teacher, miming may as well be a good method how to integrate
even those students whose language abilities are not the best and in most of the activities want to keep
back (Hillova, 2008). Savignon (et al., 1983) says that the mime helps learners become comfortable with
the idea of performing in front of peers without concern for language and that although no language is
used during a mime it can be a spur to use language.

Long and Castonas (1976) warn us that mime clearly has its limitations in the communication of

teaching technique used to teach any language item. The problem with the mime form is that it is difficult
to remove the personal aspect from it entirely. Students who are quite happy to watch a mime may not be
willing to perform. The teacher has to be sensitive to those students and plan activities so that there is a
way out for these students not to perform, for the teacher not to have to insist that they perform, and yet
encourage those who might like to perform but need that final push to do so (Gaudert, et al., 1990).

1.5. Simulation

Jones (1980) calls a simulation as case study where learners become participants in an event and
shape the course of the event. The learners have roles, functions, duties, and responsibilities within a
structured situation involving problem solving. Simulations are generally held to be a structured set of
circumstances' that mirror real life and in which participants act as instructed. A simulation activity
provides a specific situation within which students can practice various communication skills like
asserting oneself, expressing opinions, convincing others, arguing eliciting opinions, group-problems-
solving, analyzing situations and so on (Smith, et al., 1984).

Participants must step inside the function mentally and behaviorally in order to fulfill their duties
and responsibilities in the situation (Jones, 1982). The role of students in simulations, therefore, is (1)
taking the functional roles such as reporter, survivor, or customer as a participant, (2) stepping into the
event, and (3) shaping the event, carrying out their duties and responsibilities. In simulations, a provided
environment must be simulated. In order to fulfill the essential condition of being a simulated
environment, there must be no contact between the participants and the world outside of the classroom. It

participants, to preserve reality of function (Jones, et al., 1982).

1.6.

According to Sloyer (1982) readers theatre is an oral presentation of drama, prose or poetry by
two or more readers. Readers first read a story and then transform the story into script involving several
characters. The script is then performed for an intended audience. To portray a character, readers strive
s heatre has been
adopted in Western educational settings to improve the reading fluency and to enhance the reading
comprehension of students (Henry, 2011). Because readers' theater focuses on vocal expression, and
students have the opportunity to practice repeatedly, pronunciation is a key component (Davis, et al., n.
d.). In creating RT scripts, students increase their knowledge of language structure (vocabulary, syntax
and meaning), and language use (forms and functions of language use) and the meta-linguistic awareness
such as the ability to talk about the language (Hill, 1990).
1428 Sehriban Dundar / Procedia - Social and Behavioral Sciences 70 (2013) 1424 1431

According to Patrick (et al., 2008) there can be some limitations to using the RT in the
classroom, particularly if students are not familiar with theatre as a genre or they may have not linguistic
ability to produce their own scripts. The teacher needs to ensure that every student is involved by getting
students to create sufficient characters by relating to the topic. The teacher may include the role of a
narrator to create the atmosphere for the play. Ensure that each student has sufficient lines for the teacher
to asses him/her on speaking skills. Ensure that each student has a copy of the script. Impress on the
students the importance of having a good plot, genuine characters (stress the use of a good dialogue to
liven up a character). While students are rehearsing their script, the teacher should try to reinforce, certain
vocabulary, grammar or sentence structure if necessary.

1.7. Frozen image building

Frozen image building is a technique in drama education where participants initially create
lving a series of interviews with
the characters incorporated in the respective images (Jarayseh, 2010). This technique could be
implemented very effectively in the English second language class as it enables the participants to work
with other members as a team to create their images. Second language learners definitely gain more
confidence when they are encouraged to share ideas and to work in groups (Athiemoolam, et al., 2004).
L2 learners who lack the confidence to communicate in the target language could be gradually initiated
into using the language by first enabling them to create their still images and later to add words to their
presentations (Athiemoolam, et al., 2004, p.14). As a frozen image will compel the observers to come up
with informed guesses and multiple possible meaning interpretations, it encourages students' linguistic
output to be free from anxiety, and thus allows the teacher to identify the forms the students have already
mastered as well as those they still need to learn in order to convey their thoughts and ideas appropriately
and idiomatically, and to introduce and reinforce these forms based on the needs of communication (Liu,
2002).

1.8. Scriptwriting

According to Davis (et al., n. d.) scriptwriting is an activity in which students write their own
words (and sometimes actions) to dramatize. Students may write what they will say, the cues for
movement, and other scene-setting elements. This can be as simple as a short dialogue or as long as a full-
length play. After students write their script, they can act it out. Scriptwriting can be done individually, in
pairs, or in groups. Scriptwriting helps students focus on register, adjacency pairs, vocabulary in context,
and fluency. A script can be edited and re-drafted to focus on the writing process. The added benefit is
that the students can perform their script when it is completed. An easy way to engage students in the
learning of new vocabulary is to have them create very short scenes in which they dramatize certain
concepts. Aside from practicing newly learned vocabulary, students can focus on specific grammar
features. Likewise, students may write scripts for scenes that focus on specific pronunciation issues.
According to Porcaro (2001), while primarily a writing exercise, role-play scriptwriting provides an
opportunity to integrate with it the other basic language skills of reading, speaking, and listening in EFL
instruction. It provides an opportunity for thoughtful expression and exercise of imagination; it
effectively integrates all the basic language skills; it involves participation by all members of the class
and is quite informative and entertaining.

1.9. Skits
 Sehriban Dundar / Procedia - Social and Behavioral Sciences 70 (2013) 1424 1431 1429

Skits which can be of various lengths and purposes include any activity from acting out a scene
in a storybook to present a full theatrical production. This type of drama can be a project extension from a
class reader, or even a textbook passage (Senf, n. d.). Skits created and performed by students can be a
successful supplement to the classroom experience (Shiue, n. d.). In addition, the nature of the task
requires cooperation, communication and creativity, i.e. involvement and practice is the key to success in
learning language. Motivation is the most frequently given reason for the use of skit in EFL and ESL
classes. Skit activities can assist in relieving flagging interest and frustration which is often a feature of
L2 learning (Hsu: 1975; Via: 1976). Skit can provide a strong motivation for language learning as play
production can foster cultural proximity allowing learners to participate in the new culture, this
developing sensitivity to speakers of the target language. Dramatizations of skits, with a fixed set of lines
eate expressions, yet where they can instill their own creative
interpretations and emotions, were thought to constitute a good intermediate point between practicing the
form and communicating the message (Nolan & Patterson, 2000).

Throughout this paper nine types of drama activities which aim various functions in foreign
language teaching have been introduced with their benefits and challenges. As it can be clearly
t challenges,
which can be easily dealt with taking many factors such as level, interest and age of learners and language
teaching points into account. It is hoped that foreign language teachers can be aware of nine drama
activities and can gain insights to use them in their practices so that learners can use the target language
communicatively integrating four language skills, the lexis, and grammar effectively. Limitation of this
oducing nine drama activities.
Assuming that each age group and level of learners learn the language different from each other, further
studies can focus on how to use and generate drama activities for specific age groups.

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