Anda di halaman 1dari 31

CHAPTER II

REVIEW OF LITERATURE
In this review of literature the researcher tries to discuss drama, the
techniques, kinds of drama, drama a creative and learning medium, speaking and
using drama to improve the students speaking ability.
A. Drama
Drama is not a new issue and a part of concepts that have different
meaning to each of experts or whoever. According to olton !"#$%&''(. )he
term *drama in education, like the term *play, has become a *family concept. It
is difficult to define its essence. Drama in education is not the study of dramatic
texts, although this could be part of it+ it is not the presentation of school play,
although this could be part of it+ it is not even teaching drama or teaching about
drama, although this could be large part of it.
Drama is an art form, it provides educators with a powerfull instruction
tool. In drama like as characteri,ation is the method used to develop a character,
the method includes showing the characters appearance, displaying the
characters actions, revealing the characters thought letting the character speak
and getting the reactions of others . -hatever and however everyone give means
of drama, the researcher underline that between drama, theatre or performance art
is different. ecause in process drama the performance is not for audience or
there is no audience. .owever, process drama is not /ust for someone who have
10
acting talentor in a convention of time and place because for drama do not have
to be talented because there is no performance or particular audience.
Improvisation is another term that is used to describe drama activities in
educational settings. Improvisation is refer to an exercise or an action that
involves spontaneous speech and movement. ut, improvisation is not the same
with drama it is /ust an essential element of it.
ased on the explanation above the researcher tries to make conclusion
that drama is a form of art which provide someone to show their performance in
communication. )hen, in drama divided into the elements of drama and kinds of
drama. 0o, the explained below& According to 0teven !122"&''( there are some
elements of drama &
a. 3lot & 3lot is the incidents in a play. It helps to give the drama easy to
understand.
b. Action & is the activities which the characters are involved in any dramatic
piece.
c. Dialogue & Drama is an extraordinary significant form of conversation because
it is through it that every play implies the total make4up of its imaginative
world.
d. Imitation & Imitation is the basic concept of drama. Its an act of copying the
ways somebody talks and behaves, especially to entertain.

11

1. Kinds of Drama
)here are some kinds of drama & opera, pantomime, creative drama,
tragedy, comedy, and melodrama. )he following are the similarities and
differences that determine each genre. 0teven !122"&55( devides drama as the
following &
". 6pera
-estern opera is a dramatic art form, which arose during the
7enaissance in an attempt to revive the classical 8reek drama tradition in
which both music and theatre were combined. eing strongly intertwined with
western classical music, the opera has undergone enormous changes in the
past four centuries and it is an important form of theatre until this day.
9oteworthy is the huge influence of the 8erman "#th century composer
7ichard -agner on the opera tradition. In his view, there was no proper
balance between music and theatre in the operas of his time, because the
music seemed to be more important than the dramatic aspects in these works.
)o restore the connection with the traditional 8reek drama, he entirely
renewed the operatic format, and to emphasi,e the equal importance of music
and drama in these new works, he called them music dramas.
1. 3antomime
)hese stories follow in the tradition of fables and folk tales, usually
there is a lesson learned, and with some help from the audience the
hero:heroine saves the day.
12
)his kind of play uses stock characters seen in masque and again
commedia, the lovers etc. )hese plays usually have an emphasis on moral
dilemmas, and good always triumphs over evil, this kind of play is also very
entertaining making it a very effective way of reaching many people.
5. ;reative Drama
;reative Drama refers to dramatic activities and games used primarily
in educational settings with children. Its roots in the <nited 0tates began in
the early "#22s.
=. )ragedy
)ragedy according to ;remin !1221&55( is >a play of serious or solemn
kind ... a very sad event, action or experience.? )he last part of the definition
explains why the word is used to describe misfortunes, natural and human
disasters in everyday life. .owever, the researcher will be concerned with the
aspect of the definition that sees tragedy as a play of a serious or a solemn
kind. .owever, the song continued but a minimal part of it was acted by one
actor. As time went on, the spoken part was increased and Aeschylus added a
second actor while 0ophocles added a third actor. As time went on, the
number of chorus decreased gradually as more actors increased. )ragedy is
the most esteemed of all the dramatic genres. It has attracted many definitions
and rules, from the days of Aristotle, who is the first person to write on the
circumstances of and what tragedy should be, to the present day.
13
)ragedy is an imitation of an action that is serious, complete and of
acertain magnitude+ in language embellished with each kind of
artisticornaments, the several kinds being found in separate parts of the play+
in the from of action not of narrative+ through pity and fear effecting aproper
purgation of these emotions.
)hese principles have continued to influence the definition till date.
.owever, some dramatic scholars agree with him while some others disagree
with him. In drama, tragedy is a serious play that deals with the misfortunes of
man. It presents a man !tragic hero( who is not too virtuous or too vicious but
one who aspires for higher ideals. .e tries to improve himself and the world
around him. In the course of this, he makes a mistake, or commits an error of
/udgment.
@. ;omedy
-e use the words AcomedyA and comic to describe something that is
funny in our everyday lives. )hese include a /oke, or a fantastic story that is
full of nonsense, or an absurd appearance that makes us giggle, smile or
laugh. ;omedy is not inherent in things or people but the way things:people
are perceived. ;omedy is a deliberate presentation experiences drawn from
real life but not the same with real life !0teven, 122$&'5,(. -e should
therefore not expect dramatic comedy to be the same as real life. .owever, in
both real life and drama, comedy should indicate a kind of pleasure which
finds physical expression in laughter or smile.
14
%. Belodrama
)he word melodrama is coined from melo its may have mean related
with music and drama !Adam,122$&'$(. It is, therefore, a play that utili,es
music extensivelyusing drama when it to performance. In melodrama, there is
always serious excitement, suspense and thrills for the audience. )he
characteri,ation of melodrama according from !Adam, 122$&'%( include &
"( It looks at human beings as a whole. 3eople are expected to interact and
help one another in the society. )his explains why the protagonist is
usually assisted or aided by someone for him to triumph or succeed.
1( It sees human beings as encountering and enduring outer conflicts and not
inner ones in a generally hostile and wicked world.
5( )hese human conflicts end in victory. Belodramatic characters either win
or lose. .owever, in the spirit of poetic /ustice, the protagonist usually
wins despite the difficulties he encounters in the course of the action to
show that good triumphs over evil.
=( )here is an over simplification of human experiences which are usually
exaggerated in such a way that the main thesis of the play is made
transparent.It treats a serious sub/ect matter in a serious manner, though
exaggerated speaking ability.
ased on the explanation above, the writer will use ;reative Drama as a
kind of drama in his study because this type of drama is relevant enough with the
topic of narrative genre and used as a strategy in the class for teaching speaking.
15
2. Drama as Creatie Tea!"in# and Learnin# $edi%m
)he importance of creativity and its integral relationship with culture and
education has become increasingly apparent throughout the last century.6nce
again educators are beginning to acknowledge that creativity and creative
thinking are essential to the nations future development and to meeting the
educational challenges posed by the future workforce. Drama fits easily within
this definition, indeed it could almost be a definition of drama itself. Imaginative
activity is one of the main characteristics of creativity and also the cornerstone of
drama.It is logical therefore, to suppose that drama can provide children, through
a variety of teacher4fashioned forms and representations, with a responsive multi4
sensory learning environment, which is likely to facilitate rather than inhibit
creativity.-ithin this environment, they are able to go through a process of
making connections, generating original ideas, solving problems together and
playing with ideas and feelings. -illiam states that &
Drama provides agreed and open structures and forms through which
children have opportunities to create, apply and express individual and
shared imagination in a forum which supports risk taking without failure
and the safe handling of the excitement of the new and unexpected.)his
imaginative framework motivates and stimulates curiosity, exploration
and experimentation by encouraging the construction, deconstruction,
generation and recreation of ideas, all of which are valued and considered
by the teacher and peers !1225&=@(.
16
)hus, children have the excitement of generating imaginative ideas that
are original to them, are listened to by peers and teachers and may be used to
shape the way the drama develops for the whole class. )hey are creatively
empowered, alongside, and with their fellow creators.
Drama creates a shared focus and purpose for creative thought and action
based on real4life experiences and imagination, which all children bring to the
drama space.-hether the children are playing in the drama area, spontane ously
improvising in a drama lesson or presenting a staged theatre performance, by its
dynamic, interactive and live nature, dramatic activity always generates shared,
original and creative outcomes which are different every time and which offer a
sense of individual and shared ownership.
;reative thinking is central to the drama process.In education it should
involve teachers and children being free to make learning links between
experience, knowledge, skills and present understanding using make4
believe.)hrough drama they can gain new knowledge, develop and apply their
skills and gain greater understanding, which in turn informs and enhances further
creativity. Drama provides a structure for interpreting, expressing and
communicating, of giving concrete form to personal and collective creative
thought.It focuses on children making meaning together through the potent
fusion of real4life knowledge and imagined experience on an integrated active,
affective and cognitive level and then expressing and communicating their
understanding, in order to deepen and affect the understanding of others.
17
)eachers can guide and support children both as participants and audience
to appreciate the aesthetic aspects of their work and the work of their peers as
well as that of creative professionals, such as theatre directors and
playwrights.Ideall y children will have opportunities to work creatively alongside
adults as fellow artists, including actors and theatre in education teams, who may
function as supportive creative models and facilitators of the childrens own
creativity. Developing creativity is demanding and to a great extent relies on the
teachers own creativity, sense of challenge, and belief in the strengths and
creative potential of each individual.It is important to encourage children to
believe in their creativity and to foster an environment which raises self4esteem
and confidence, and rates creativity as important within the learning
process.-hen teachers are seen to value creativity it is more likely to be valued
by the children themselves.A learning environment that values and fosters
creativity should be a basic entitlement of every child, and every teacher should
be enabled and encouraged to work creatively to meet the requirements placed
upon them.
;reative and critical thinking skills are needed to generate and extend
ideas and in the application of imagination.)aking children beyond what they
already know requires not only the recognised skills of problem4solving, but the
creative formulation of new problems and the discovery of new solutions and
representations.
18
-hen planning drama it is worth considering whether the range of
strategies, materials and resources used in a lesson or series of lessons are
spanning multisensory and multi4intelligence learning !)able 1."(.
Ta&'e 2.1
T"e Inf'%en!ed of Drama on Tea!"in# and Learnin# Pro!ess
!Andrew,122$&11(
Drama appeals to a wide range of learners as it invites them to access,
understand, develop and communicate their learning creatively, in and across the
whole curriculum, verbally, visually and kinaesthetically using and developing a
wider range of intelligences than many other sub/ects. )he teacher has the
responsibility to ensure that the child learns, regardless of what type of learner
19
they are and this will mean approaching teaching and learning in a variety of
ways.
)here is no point in trying to persistently teach a child in the same way if
it is not working !e.g. if a child fails to understand imagery in a text when it has
been verbally explained repeatedly, then teachers would be well advised to move
into enabling the children to create the image, not /ust give even more verbal
explanation(.)hinking and sensitive teachers will change their approach and
teaching strategies in order to accommodate the learner, and the drama teacher
has the advantage of a powerful range of welltried, yet sophisticated strategies
that can be used to motivate a wide range of learners.
(. )*ea+in#
)he mastery of speaking skill in Cnglish is priority for many second or
foreign language learners. Dearners consequently often evaluate their success in
language learning as well as the effectiveness of their Cnglish course on the basis
of how they feel they have improved in their spoken language proficiency.
Advances in discourse analysis, conversational analysis, and corpus
analysis in recent years have revealed a great deal about the nature of spoken
discourse and how it differs from written discourse. )his differences reflect the
different purpose for which spoken and written language are used. According
from 7ichards !"##%&$$( comments & >In speaking and listening we tend to be
getting done exploring ideas, working out some aspect of the world. In writing we
20
may be creating a record or simply being together, commit in gevents of moment
to paper?.
0ome research found the complexity of spoken interaction in either a first
or second language. 0cott !1225& 1'( give an example on it, cites some of
following features of spoken discourse&
"( ;omposed of idea units
1( Bay be planned or unplanned
5( Cmploys more vague or generic words than written language
=( Cmploys fixed phrase, fillers and hesitation markers
@( ;ontains slip and error reflecting on4line processing
%( Involved reciprocity
'( 0hown variation ! between formal and casual speech(, reflection speaker role,
speaking purpose, and the context.
In designing speaking activities for second or foreign language teaching is
also necessary to recogni,e the very different functions of speaking performs in
daily communication and the different purpose for which students need speaking
skill. )eachers can also help students adapt their speeches and informal talks so as
to correspond to the intended audience, the information to be communicated, and
the circumstances of the occasion at which they will speak !E. -alberg, 122=&''(
Functions of speaking according to 0cott !1225& $#( then developed by
7ichards explores three part version of functions of speaking& talk as interaction,
talk as transaction, and talk as performance. Cach of this activities are differ in
21
terms of form and function and require different teaching approaches, those are
explained below&
a. )alk as Interaction
)his refer to conversation and describes interaction which serves
primarily social function. -hen people meet, they exchange greetings, engage
in small talk and chit chat, recount recent experiences and so on because they
wish to be friendly and establish a comfortable ,one of interaction with others.
)he main features of talk as interaction can be summari,ed by rown
!1225&%%( as follow& "( .as a primarily identify, 1( Bay be formal or casual,
5( social function, =( 7eflects role relationship, @( 7eflect speakers, %( <se
conversational convention, '( 7eflect degree of politeness, and $( Cmploys
many generic words.
0ome of the skill involved in using talk as interaction are& "( 6pening
and closing conversation, 1( ;hoosing topic, 5( Baking small4talk, =(
7eacting to others, and @( Interrupting. In this case to mastering the art of talk
as interaction is difficult and may not be a priority for all learners. .owever,
the student who do need such skill and find them lacking report that they
sometimes feel awkward and at a loss for words when they find themselves in
situation that requires talk for interaction. )hey feel difficult in presenting a
good image of themselves and sometimes avoid situation which call for this
kind of talk. )his can be disadvantage for some learners where the ability to
use talk for conversation can be important.
22
b. )alk as )ransaction
)his type of talk refer to situation where the focus is what is said or
done. Guoted from Eones !122%&$$( describes the mean in transaction, talk is
associated with others activities. For example, student may be engage in hand4
on activities !e. g in a science lesson( to explores concept associated with
floating and sinking. In this type of spoken language students and teachers
usually focus on meaning or on talking their way to understanding. )he
different this type of talk of transaction, one is situation where the focus in on
giving and receiving information and where the participants focus primarily
on what is said or achieved. )he main features of talk as transaction are& "( It
has primarily information focus, 1( )here may be frequent question,
repetition, comprehention checks, 5( )here may be negotiation and digression
and =( Dinguistic accuracy is not always important. 0ome of the skills
involved in using talk for transaction are& explaining a need or intention,
describing something, asking questioning, confirming information, making
suggestion, clarifying understanding, and making comparison.
c. )alk as 3erformance
)he third type of talk which can usefully be distinguished has been
called talk as performance. )his refer to public talk, that is talk which
transmits information before an audience such as morning talks, public
announcements, and speeches. )alk as performance tends to be in the form of
monolog rather than dialog, often follows a recogni,able formal and is closer
23
to written language than conversational language. )he main features of talk
as performance are& there is a focus on both message and audience, it reflect
organi,ation and sequencing, form and accuracy is important, and language is
more like written language.
0ome of the skill involved in using talk as performance are& using an
appropriate formal, presenting information an appropriate sequence, using
correct pronunciation and grammar, creating and effect on the audience and
using appropriate opening and closing.
0o, from all of three type described above the researcher conclude that
talk as interaction is perhaps the most difficult skill to teach since interactional
talk is very complex as well as subtle that take place under the control of
unspoken roles.
)hen, talk as transaction is more easily planned since current
communicative materials are a research resource of group activities,
information4gap activity and drama that can provide a source of practicing
how to use talk for sharing and obtaining information as well as for carrying
out read4world transaction, therefore talk as performance requires a different
teaching strategy. In spoken language it is needed the clarification of
presentation and use of discourse, markers, reception and stress is important
points. Different speaking activities such as conversations, group discussion,
and speeches make different types of demands learners.
24
In additional, in speaking there is some type commonly used to test
spoken through& interviews, live Bonologues, record monologue,
dramas:drama, discussions and collaborative tasks.
ased on the explanation above, it can be concluded that in this study,
the writer uses talk as performance as the characteristic in teaching speaking
by using drama. .ere the students use an appropriate formal, presenting
information an appropriate sequence, using correct pronunciation and
grammar, creating and effect on the audience and using appropriate opening
and closing.
C. Usin# Drama in )*ea+in#
)here is an increasing body of research investigating the role of drama in
teaching and learning. )he existing drama literature suggests that drama offers
several opportunities for educators to promote learning and development. For
example, drama allows participants to be engaged, motivated, empowered, and
active agents of learning !Eeneb, 12"2&@@( and to do so, students have to be aware
of the situation as a whole, that is to say, not only do they need to be aware of
where the action takes place, but also, of the roles speakers take on, how they feel,
what they already know, etc. And here is where drama comes into our foreign
language class.
Dearning speaking skills uses drama techniques with two actions, prove to
improve speaking skill. )here are several advantages the use of drama as
evidenced by Eenep !12"2( include& !"( drama techniques improve the skills of
25
speaking of this aspect, !1( drama techniques improve speaking skills aspects of
language, and !5( to improve speaking skills aspects of performance. Drama is
good strategy as an effective and valuable teaching because its able to make the
student active, well as in constructivist learning in the classroom and enhancing
speaking development. )herefore, by using drama can be able to give some
benefits as follows &
"( Authentic tasks. )he tasks used in processing learning are similiar to real life
tasks. )he speaking skill of students are enhanced, its similiar of a play and
giving them the opportunity to approximate the body and speech.
1( Increased motivation. )he motivation comes from the innovative and practical
nature of process learning.
5( A context is established which balances the need for fluency and accuracy.
=( ;onsists all of skills, it is reading, writing, listening, and speaking, are related
each other.
@( A flexible method. Its match the needs of learners with varyng skill levels and
learning style.
%( 6ther skills are developed. 0uch as interpersonal communication, planning,
self confidence.
6n the one hand, 0ally !122@&''( finds the benefits of using drama in oral
skills development assist students with pronunciation, intonation, and
development of emotional intelligence. .owever, thus might face some obstacles.
)he obstacles in using drama in learning speaking consist of class time that
limited, the number of students in class si,e of 524=2 students. It is difficult to
26
handle or managed them, and all of the students in a class mixed abilities and each
other is different in their capability. .owever, the researcher proposes to use
drama because it provides many benefits, both individually and in groups. )he
benefits are & to stimulate studentsA creativity, expression, self confidence and also
effective in building students confidence and communication.
;onsidering how important a teacher should make his or her lesson
classroom activity en/oyable, active, secure, and full of more exposure to
language input and more choice to practice the languages, he or she needs to
develop his or her teaching techniques. 6ne of the techniques to be used in
teaching the speaking skill is drama. Drama allows students to explore their inner
resources, empathi,e with others, and use their own experiences as scaffolds
upon which credible action. As a result, students can improve their ability to
produce the target language, acquire many of its nonverbal nuances, improve the
ability to work cooperatively in group situations, and effectively deal with
affective issues. Drama has high appeal for students because it allows them to be
creative and to put themselves in another persons place for a while !7ichard4
Amato, 1225&1"=(.
)o reach the ob/ectives of the drama technique, some important aspects
should be considered. )hose aspects are learning and teaching activities, role of
instructional materials, the procedure of drama, the media and the setting of
drama, the students role, and the teachers role. According to rown !122"&"$5(,
drama minimally involves !a( giving a role to one or more members of a group
and !b( assigning an ob/ective or purpose that participants must accomplish. .e
27
suggests that drama can be conducted with a single person, in pairs or in groups,
with each person assigned a role to accomplish an ob/ective.
Drama is >the act of imitating the character and behavior of a type of a
person who is very different from yourself, either deliberately, for example as a
training exercise, or without knowing it? !;ollins, 122=&"@%(. In this sense, the
students pretend as someone else in the real world situation brought into the
classroom. As a kind of guided conversation technique that is essential to the
development of the speaking skill, drama provides framework in which the
students build their own sentences but they may decide by themselves what they
want to say !Disick, 1225&15"(.
0ome teachers have students write their own dialogue, and students
generally like this because they can consider their own interactive needs. -hen
students act out their dialogue, they become skits, the idea being for students to
practice and then give a performance in front of the class. Drama activities are
similar to skits in that students are expected to act. .owever, unlike skits, in
drama, students are not provided with lines but are given a situation and roles to
play !8ebhard, 1222&"'%(
0haftel and 0haftel !7ichard4Amato, 1225&15( proposed "" steps in
implementing drama technique. )hose are introducing the topic, stimulating
student interest, presenting new vocabulary, reading a story that clearly identifies
a problem, stopping the story at the climax, discussing the dilemma, selecting
students to play the roles, preparing the audience to listen and later to offer
28
advice, acting out the rest of the story, discussing alternative ways of dealing
with the problem, and replaying the plays using new strategies if necessary.
.uang !122$+$'( applies six ma/or steps in the procedure for the drama
activities in her classes. )hose are "( Deciding on the )eaching Baterials, 1(
0electing 0ituations and ;reate Dialogs, 5( )eaching the Dialogs for Dramas, =(
.aving 0tudents 3ractice the Dramas, @( .aving 0tudents Bodify the 0ituations
and Dialogs, and %( Cvaluating and ;hecking 0tudentsA ;omprehension. Drama
in Cnglish Foreign Danguage !CFD( is to simulate *real4life situation and to
encourage meaningful communication in the classroom. It gives students
the opportunity to draw together all the bits of language they have learnt
and to practice it in the kind of situation they are likely to encounter
outside the classroom. In ;ambridge International Dictionary of Cnglish, role
defined as the person whom an actor represents in a film or play, while drama is
a method of acting out particular ways of behaving or pretending to be other
people who deal with new situations. It is used in training courses language
learning and psychotherapy.
In details, he described that there are three terms to cover the drama
activities. )hey are mime !mimicry4memori,ation(, drama and simulation. .e
distinguished the terms as follows&
a. Bime, the participants perform actions without using words !although as we
shall see, this activity leads naturally on to talk(.
b. Drama, the participant interact either as themselves in imaginary
situations.
29
c. 0imulation, this involves drama as defined above. .owever, for this
activity the participants normally discuss a problem of some kind with
some setting that has been defined for them.
oth drama and simulation are commonly used in foreign language
classes to facilitate communicative competence. -hereas mime seems more
appropriate as a language game. It is performing actions without using words.
For instance, if someone mimes and action, the others try to guess what it is.
0ome experts define Drama differently as follows&
a. 0haron !122%&"%2( states that&
7ole play is a largely spontaneous dramatic activity usually
performed by a small group of person whose goal is to explore some
problematic encountered, an exploration intended to provide both participants
and observers with a learning experience.
b. -ell and Eoyce !122$& =1( define that drama is an experience4based model
and requires minimal materials support outside of the initial problem situation.
c. ;urtain and 3esola !122$& "1=( say that& drama can be stated as a moving step
beyond the dialog, and places students in a situation in which they are called
on to cope with the unexpected or with a new setting.
)he writer concludes that drama is a task in learning, that will give the chance
to act either as participants or as observers+ it will give them practice in acting as
another person. Drama is controlled through dialogues, information, situation and
goals, debate or discussion. 0tudents are expected to make dialogues containing
such things above. Drama controlled through cued dialogues+ precise turn by
30
cueing on individual role cards, Drama controlled through cues and information+
individual role cards containing specific aims, and prompts of things to say, tables of
information. Drama is in the form of debate or discussion+ background
information, individual role cards leading to debate.
1. Drama A**'ied in Tea!"in# )*ea+in#
A teacher should create cooperative learning. It means that the
teacher should share, encourage and accept the students. It will decrease
their fear and embracement. In addition, it makes the students feel
appreciated and valued, so they are free to show their ability. In teaching
speaking, teachers need some creativity. Drama can be used to improve students
speaking. )eachers use the drama, acting out, and discussion that enable students
to listen and to speak and also to work together in the certain condition. .armer
!1225& "2( says that there are some steps in doing Drama&
a. )he learner is asked to take on a particular role and to imagine himself in that
role in a particular situation.
b. .e has to converse with the teacher in a way that is appropriate to the role and
the situation given.
According to .armer !1225& 1'=(, drama can be used to encourage
general oral fluency, or to train students who are expected to be able to add their
skill of speaking by doing drama. )his is why the writer chooses Drama to
encourage students to speak Cnglish.
31
2. T"e Pro!ess of Drama in t"e C'assroom
Drama can make the instruction more concrete. .einich, Borlenda and
7ussel !1221& 1"( explain as follows&
a. It supplies a concrete basis for conceptual thinking.
b. It has a high degree of interest for students. It can motivate the students and
increase their interest to be involved in the teaching learning process activity
and hence they gain the goal of learning.
c. It offers the reality of experience which stimulates self activity of the
students.
d. It provides experience which is not easily secured by other materials. It
gives strong and deep impression which lasts longer in the students mind.
David 9 !122#& %%( states& 6ral expression involves not only the use of
right sounds in the right pattern of rhythm and intonation, but also the choice
of words and inflections in the right order to convey the right meaning.
0tudents should speak with good pronunciation and intonation in order to make
them clear when they communicate with each other. )hey have to choose the
right words and put them into correct sentences. According to 9unan
!122#&51(, oral communication can be successful if it involves
developing& the ability to articulate phonological features of the language+
mastery of stress, rhythm, intonation patterns+ an acceptable degree of
fluency+ transactional and interpersonal skills+ skills in talking short and
long speaking turns+ skills in the management of interaction+ skills in
negotiating meaning+ conversational listening skills !successful conversation
32
requires good listeners as well as good speakers(+ skills in knowing about
and negotiating purposes for conversations+ using appropriate
conversational formulae and filters.
According to Dubis !122$& @2(, students are given a chance to
participate in Drama. In this case teacher may make program short skits as
follows&
a. <se a dialogue or dialogues as a basis for a skit. 0tudents read their role
aloud two or three times then close their books and follow the pattern of the
material by Drama in their work.
b. )hink of a situation involving several people, a father, a mother,
school principal, teacher, and teenager, for example & )eacher writes on the
board a few lines then asks students to add several lines.
c. Ask each student to think up his own situation involving several people.
0tudents are asked to write situation on a paper after they choose one of the
easiest situation the make to act out. If the students feel that they are not
ready for doing Drama, teacher might find reading and enactment of plays
in a suitable activity. )here are some suggestions to help students in
choosing and working with a given play.
d. 0elect a short modern play, one that is simple comedy or family drama
e. 0ee that each student receives a copy of the play.
f. Discuss the play in class.
g. 0eat the student in a circle.
h. Do not ask the students to memori,e the play.
33
i. Cncourage the students to speak their lines with feeling.
According to .olden !122"& iii( Drama is used in teaching speaking
theoretically and application as follows&
a. )heory
"( Baterials& Drama can be used with curriculum material
1( A simple Drama
According to .olden !122"& "%( a simple drama has some
language function activities as follows&
a. Asking for advice
a( -here can IH.I
b( Do you knowH.I
c( Dook, I want toH.
d( -hat do you thinkI I want !giving advice: making suggestions(
e( -hat about H.ingI
f( IdH. if I were you
g( .ave you thought ofH.ingI
h( Jou really ought toH. e( Dook, go andH.
b. 7e/ecting advice
a( 9o, Id rather not b( I dont think so
b( 9ot now
c( It is not quite right e( )hanks, butH
d( Dont be cra,yK
e( Jou must be /okingK
34
f( Bmm L Im not sure d. Accepting advice
g( -hat a good ideaK
h( Joure genius c( 6k
i( Do you really think soI
/( Jes, I willH.
k( Im not sure
l( -ell, perhapsH.
c. Developing the scene
a( Further development& ;haracter and place
b( 3laying yourself on someone else
d. Discussion after the exercise
e. 6rgani,ing the discussion
f. ;onclusion
a(. Application
b( Improvisation
b. Baterial for cueing
Drama is provided by teacher and given to the students
theoretically and application. 0tudents are expected to do it well based on
the materials that have been given by their teacher. )hey should develop the
materials and improve them so that they can play it as someone else with
different characters and place. 0tudents should speak based on the teachers
instruction+ they should do what their teacher asks them to do in order to
get good control and discipline. .armer !1225& 12"( states&
35
)he teacher plays the role of controller when he is totally in charge of the
class. .e controls not only what the students do, but when they speak and
what language they use. ;learly, the introduction of new language often
involves the teacher in a controlling role, particularly at the accurate
reproduction stage. -e have suggested that session where the teacher
indicates exactly what is to be said !or written( and who is going to say !or
write( itH
-hen the students are ready to play the role, the teacher only asks them
to do the first thing that they have to do and after that they should do
the next. 0tudents can stop the play after they finish doing the activity.
,. T"e Adanta#es of Usin# Drama
;hoosing drama as a teaching technique for students of senior
high school is an alternative way to teach them Cnglish conversation. )o
teach the children Cnglish conversation, drama can be used as a means of
improving their ability in speaking. It is based on simple
conversation:dialogues that will be played by the students through drama.
Drama can motivate the children to act every conversation:dialogues part by
part and then they can understand what the conversation is. -e know that
children like playing rather than studying, so to teach Cnglish conversation in
my study, the writer used drama as teaching technique because students
could take the role of people based on the topic that was given.
<sing a role play is fun and motivates students to learn
Cnglish conversation easily because they can play and study.
According to Dinse !122%&=%4='( play is a vital and important aspect of
a childs development and language is a part of that play. ;hildren learn that
36
word can be used as a form of entertainment. ;hildren talk while they play
either alone or with their friends. 3aul !1225& "=$( states that children are
very sensitive. If we are bored, nervous, have inner doubts about the
materials we are using, or do not respect and love children, this will all
come across very clearly to most children. If, however, we are positive, feel
comfortable with ourselves and with the children, and how exciting the
world of Cnglish is, the children will sense this, too. Bake them en/oy studying
and practicing Cnglish conversation is the ob/ective of drama in
transactional and interpersonal conversation. In drama, students are pretending
to be someone else or some different persons. )hey imagine roles in the
class based on the topic which told them how they feel.
7ole play can bring situation from real life. According to
.armer !122'&1@(, drama simulates the real world in the same kind of
way, but the students are given particular roles. )hey are told who they are and
often what they think about a certain sub/ect. )hey have to speak and act
from their new characters point of view. <sing drama in transactional or
interpersonal conversation will not make the children getting bored. )hey can
easily understand the meaning of the conversation by looking at the model first
that was given in the front of the class and then acting in real drama. If someone
in a drama cannot think of what to say, or if a discussion begins to dry up, the
teacher will have to decide if the activity should be stopped because the topic
has run out of steam or if careful prompting can get it going again !.armer,
122'&"51(.
37
In case of drama activities, according to Donn yrne, drama can be
grouped into two forms, scripted and unscripted drama. In details, those types
of drama activities described as follows&
a. )!ri*ted Drama
)his type involves interpreting either the textbook dialogue or
reading text in the form of speech. )he main function of the text after all is
to convey the meaning of language items in a memorably way. For more
details, Adrian Doff gave an example of scripted drama dialogue and reading
text and how the process is&
Angela & 8ood morning. I want to send a letter to 0ingapore.
;lerk & Jes, do you want to send it by air mail or ordinary mailI
Angela & I think IMll send it air mail. I want it to get there quickly. .ow
much does it costI
;lerk & )o 0ingaporeI )hat will be 52 pence, pleas.
Angela & !give the clerk @2 pence( .ere you are.
;lerk & .ereMs your stamp, and hereMs 12 pence change.
Angela & )hank you. -here is the post boxI
;lerk & Jou want the air mail box. ItMs over there, by the door.
!Adapted from living Cnglish book 1 & A.8. Abdalla et al(
)o demonstrate a drama activity based on the dialogue, the
procedures given by Adrian Doff is as follows&
"( First, the teacher guides the drama by writing these prompts&
!whereI : air mail : how muchI : post boxI : thanks(. )alk as you write to
show what the prompts mean.
1( If necessary, go through the prompts one by one, and get students to give
sentences or question for each one.
5( ;all two students to the front& one play the role as Angela and the
other one is the post office clerk. )hey should improvise the
conversation using the prompts to help them. 3oint out that the
conversation should be similar to the one in the textbook, but not
exactly the same+ the conversation can be shorter than the presentation
dialogue. It should /ust cover the main points indicated by the prompts.
38
=( ;all out a few other pairs of students in turn, and ask them to have
other conversation based on the prompts.
ased on these procedures, the writer views that the ways of
organi,ing this dialogue can be carried out into pairs of students who
would improvise a conversation in front of class, in turns. )he teacher can also
ask the students to practice the conversation privately with their partners
before they act it out in front of the class.
&. Uns!ri*ted Drama
In contrast to scripted drama, the situations of unscripted drama do not
depend on textbooks. It is known as a free drama or improvisation. )he
students themselves have to decide what language to use and how the
conversation should develop. In order to do this activity, good preparation from
teacher and students is really necessary. )he example and procedures of
unscripted drama which is adapted from Adrian DoffMs book are as follows&
6ne student has lost a bag.
.e:she is at the police station.
)he other student is the police officer, and asks for details.
)o brings out this ideas&
"( )he teacher could prepare the whole class, by&
a( Discussing what the speakers might say !e.g. the police officer
would asks the students how he or she lost the bag(.
b( -riting prompt on the board to guide the drama, and any key
vocabulary.
1( )he teacher could divide the class into pairs, and&
a( Det them discuss together what they may say.
b( Det them all try out the drama privately, before calling on one or
two pairs to act out in front of the class.

0usan .ouse explained that there are several procedures in using
drama&
39
a. 0tudents read and familiari,e themselves with the !example( dialogue.
b. Divide the class in pairs, A and , give A and roles from the dialogues.
c. Det students act out their drama, not /ust say them but students should
read it loudly.
d. -alk around correcting and checking.
e. 0tudents swap roles and repeat, those whose finish first can be asked
to make up their own drama, using different words to fill the gaps.
)he above procedures do not mean an exact to be used. It is
flexible+ teacher can create or develop procedures which is appropriate and
suitable with his:her own class.
In conclusion, drama is a technique which can develops studentsA
fluency in target language, promotes students to speak or interact with others in
the classroom, increases motivation and makes the teaching and learning
process more en/oyable.
40

Anda mungkin juga menyukai