(Drama Research Project) - Essay!!

THE POTENTIAL
OF
DRAMA
IN AN
TO
ENHANCE STUDENT EXPERIENCES
AUTHOR STUDY UNIT
An Hoang Truong The University of Melbourne November 2011
AN TRUONG 297127 - Drama Research Project The Potential of Drama to Enhance Student Experiences in an Author Study Unit
TABLE OF CONTENTS
ABSTRACT INTRODUCTION AND BACKGROUND LITERATURE REVIEW METHODOLOGY RESULTS DISCUSSION CONCLUSION REFERENCES APPENDICES
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ABSTRACT
The purpose of this research study is to explore the ways in which drama can enhance students learning experiences in an author study unit and to reveal their perceptions of drama in relation to the activities they partake. The qualitative case study was conducted at a Western suburban government primary school in Melbourne over the course of two weeks. Students were informed of the research project from the beginning and encouraged to be as honest in their responses as possible, for the sake of quality data. Data was collected through a range of methods including observations, student reflections and work samples, informal interviews and a survey/questionnaire. The results of this study revealed that drama has a very positive effect on many aspects of a students learning experience. Significant findings indicate that drama is socially beneficial, motivates students to take charge of their learning, develops their self-confidence and intrapersonal skills. Lastly, the novelty of it simply makes it fun and exciting.
INTRODUCTION AND BACKGROUND

In recent times, there have been many calls for classrooms to become holistic, interactive student-centred environments, yet many classrooms today remain fixed on discrete skills and product-based learning. Educators are being pushed to consider the way their students brains work, how diverse each learners needs are and how they can cater for these needs throughout the curriculum. Teaching approaches therefore need to provide students with opportunities to be creative in meaningful, multi-sensory and socially engaging learning contexts (Baldwin & Fleming, 2003). Drama is a multi-sensory method that gives students the experiential framework to examine texts visually, auditorily and kinaesthetically. Its focus on process and participation makes it a remarkably effective tool for creating emotional and intellectual learning (Baldwin & Fleming, 2003). However, because many teachers are concerned about time restraints and getting through the sheer breadth of the primary curriculum they are required to teach, they easily dismiss the recommendation to integrate the arts in their childrens education. McMaster (1998) claims that some teachers have misleading ideas about what drama in the classroom entails, thinking that acting and performances dont teach much and are excuses for students to have fun. On the other hand, others worry that trying to incorporate drama in their classrooms equates to wearisome, time-consuming preparations. Some teachers simply feel inadequately trained to utilise drama. As an undergraduate student teacher just shy of becoming a professional, I often feel afraid that I will slip into easy, non-threatening traditional methods of teaching that involve predictable patterns of teacher-student exchanges and monotonous learning routines. For that simple reason, I have dedicated this research inquiry to learning about drama and having a close look at exactly what it can offer a classroom. My research project was undertaken in a Western suburban government primary school in Melbourne with an enrolment of approximately 250 students. It boasts a highly diverse and multicultural population and has a strong focus on literacy and numeracy
achievement. My study aims to investigate the effects of drama on students learning experiences and to gain an understanding of their attitudes towards the activities they will be participating in as a part of an author study unit. In order to achieve this, the study was designed around one focus research question and sub-question to help guide the inquiry:
How does drama enhance students learning experiences in an author study unit?
What are students perceptions of using drama in the classroom?
LITERATURE REVIEW
An emerging and strongly advanced contention among childhood teachers and researchers is that children learn most effectively through dramatic play and active interaction within a fun and meaningful environment (Brown and Pleydell, 1999; Davis, 2007; Maley & Duff, 2005; Via, 1987). In conjunction, many studies have been conducted on drama and its positive impact on student learning (Moore, 2004; Wagner, 2003; Wilburn, 1992), with the majority of them highlighting the importance of a classroom which encourages and supports children in their physical, emotional and intellectual engagement with learning. They detail how drama can foster such a learning environment, and illustrate its power to enhance every aspect of a childs literacy development, advocating it as a powerful tool in any language classroom. Much of the literature make reference to drama as a medium through which all types of learning styles can be catered for. Ashton-Hay (2005) and Baldwin & Fleming (2003) assert that drama intersects Howard Gardners Multiple Intelligences theory. This theory suggests that there are many types of intelligences and thus every learner has their own preferred way of learning. Drama-oriented activities appeal to a wide range of learners and help integrate and cultivate all kinds of intelligences. Improvisation and performance, for example, require that students speak and listen in authentic settings, negotiate physical space, use body language and gesture, interact and cooperate with others as well as reflect on personal feelings and identity (Baldwin, 2004); as such, they must exercise a variety of intelligences, including linguistic, spatial, kinaesthetic, interpersonal, intrapersonal and spiritual. This allows learners to capitalise on their strengths at the same time as extending their range, and, in turn, encourages them to be actively involved in the activity (Zyoud, 2010). Drama enriches students learning experiences because the more sensory organs they use while learning, the greater the quality of their thinking and engagement (Bengtsson, 2009). Likewise, Davis (2005), through her research, found that students engagement was most heightened when there was some sort of sensory element to the scene they had to act out. The framework which drama provides makes it very much a constructivist and active learning method; it is student-centred and encourages learners to self-direct and take ownership of their learning. Drama increases motivation and provides strong incentive for
learning and discovering (Cornett, 2011) and, when taught effectively, offers opportunities for students to project themselves safely into fictional worlds that challenge, interrogate and demand their engaged and committed attention (Miller & Saxton, 2009). When children role-play fictional characters from a text, as performers, they feel the need to read deeply into the text in order to justify their portrayal of the character (Baldwin & Fleming, 2003). Cornett (2011) maintains that performance gives rise to a sense of anticipation and both ClipsonBoyles (1998) and McMaster (1998) affirm this, stating that having an audience is motivating for students because it gives them a sense of purpose and focus; they all want to succeed in putting on a good show. In turn, this places the onus on the student to be focused and responsible (Zyoud, 2010).
Essentially, drama is social and involves interaction and communication of meanings. By verbally and nonverbally taking part in created imaginative worlds, learners can experience how language functions in different situations (Young-Joo, 2005: 20). Many educators and researchers agree that drama is a medium for fostering personal, social and emotional development; it requires peer interaction, including feedback, and the building of social relationships and healthy classroom dynamics because learners must work together to create and share their drama (Baldwin & Fleming, 2003; Cornett, 2011; Moore, 2004). This is in accordance with Vygotskys theory of social development (1978), which stresses the importance of social interaction in assisting with cognitive growth. Moreover, drama activities compel students to express various emotions, to problem solve, negotiate action and meaning, listen to different opinions and perspectives and, consequently, this enhances their awareness of themselves as learners and communicators (Dowdy & Kaplan, 2011; Zyoud, 2010). Role-playing characters from a text has the value of nurturing childrens emotional intelligence, which is the capacity to know, understand and manage their emotions through reflecting on them and linking them consciously and rationally to their actions (Baldwin, 2004: 51). They explore character emotions and interaction and learn to empathise in authentic settings (Dowdy & Kaplan, 2011).
A further factor that is believed to make drama such a learning enhancement is that it provides a safe and imaginative setting for students to take risks and develop self-confidence
(Baldwin & Fleming, 2003; Zyoud, 2010). It offers children avenues to develop their own ideas and experiment with registers and vocabulary without the fear of failure, and McMaster (1998) furthers this view by advocating that drama builds on the natural ability to play and pretend and so all children can experience success from the beginning, which is a real confidence booster. Researchers have observed the way shy students are able to hide behind a character when they pretend to be somebody else, allowing them to abandon any reservations and assume a persona through which they can speak and act out in ways they would otherwise be too tentative to. In this regard, it is an ideal method for students to increase self-esteem and learn to be more assertive (Ashton-Hay, 2005; Zyoud, 2010). Many educators also endorse the use of drama as a way to bolster creativity and imagination. In drama, students essentially spend a lot of time functioning in open make-believe or as if settings, which gives rise to curiosity and the need to explore, experiment and think creatively (Baldwin & Fleming, 2003; Cornett, 2011). For teachers and researchers who have observed drama in the classroom, a point of concurrence is the way drama integrates communication, language and literacy development within shared contexts (Baldwin & Fleming, 2003: 10). McMaster (1998) argues that drama generates varied opportunities for students to develop language skills in role, whether through speaking or writing, in rich, exciting contexts. Students adapt their language in consideration of a target audience and the purpose for communicating, whether that be suggesting, instructing, explaining or challenging (Clipson-Boyles, 1998). In particular, studies show that when students write in the context of drama, they produce their best writing (Wagner, 1998; Winston, 2004). Teachers note that when students become a witness of a crime, or an explorer in search of a cure for a deadly illness plaguing the school, they gain a strong sense of purpose for writing and that is when they are able to manipulate their linguistic skills most effectively. Their language becomes richer, their writing more complex, their ideas more substantial, and they demonstrate a clear sense of audience in their writing. Being in role enables them access to a new realm of attitudes and feelings and it equips them with strong reason to write. (Baldwin & Fleming, 2003; Wagner, 1998; Winston, 2004).
METHODOLOGY
Research Design: The results from this research investigation have been obtained through the framework of a qualitative case study. Qualitative research involves making sense of human behaviour in its natural setting using a range of data sources (Greenhalgh & Taylor, 1997). This is supported by Merriam (1998), who advocates for the understanding of phenomenon from the participants perspective rather than the researchers so as to ensure quality constructive data. Qualitative research entails the researcher being the primary instrument for data collection and analysis. The work that the researcher conducts is known as fieldwork, which is practical work carried out by the researcher in the natural environment, known as the field (Merriam, 1998). I chose to do a case study because the focus of my study involves answering a how question. In educational research, qualitative case studies provide a way to gain holistic perspectives and thus in-depth understanding of subjects and the contexts they function in (Merriam, 1998). They are useful for examining small samples that do not necessarily represent a wide population. With the limited time I had for my research and the size of the site, I believe using the framework of a qualitative case study is the most effective and appropriate way to seek answers to my research question.
Context: My study was effected in order to investigate and recognise how drama can enrich students experiences of a particular author study unit, as well as their perceptions of drama according to the activities they participate in. The class comprises 20 students: 9 boys and 11 girls. Almost 90% of the students are of Asian ethnicity, though only one student is considered ESL.
Participants: Four students were chosen by the classroom teacher as a cross-section that represented the class well. For the sake of anonymity, students have been given pseudonyms. They are of mixed abilities and strengths: Steven is a student functioning at a very high level across all subjects and is a leader by nature. Georgia is an above-average functioning student who loves drama and acting. Her teacher describes her as extremely theatrical. Henry is an average functioning student who is quiet in class but rather loud and unruly with a group of friends. His teacher wants him to open up in class more. Tina is a below-average functioning student who is socially adept in personal and individual contexts but extremely timid in front of an audience.
Data Collection Devices: Observations: I took substantial observatory fieldnotes at the research site every day over the period of two weeks, with the exception of the first few lessons where I was teaching the class and could only take reflective notes in hindsight. The rest of the notes I recorded was as an observer during the majority of the author study unit on Alison Lester, which was conducted by the classroom teacher. See Appendix B for detailed samples of my observation. Students Interviews: The four students selected as a cross-section of the class were informally interviewed during or after each drama activity to reveal insights into their attitudes towards drama and/or the activities. I did not have a writing instrument or notepad at hand so as to put students at ease and invite more honest opinions from them. I kept it as nonthreatening and casual as possible, jotting down notes only after I had finished conversing with them. I asked questions similar to those I put down for the survey. See Appendix C for details on the interview. Students Surveys/Questionnaires: At the end of the unit, each student was given a
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survey/questionnaire to complete (See Appendix C). Questions enabled me to gather their thoughts and feelings about the activities they had done throughout the unit, both positive and negative. Students were encouraged to be completely honest as that would be much more helpful. All have been analysed to generate whole class data. 20 students were present in the class, but only 18 surveys were completed and handed in. Student reflections and work samples: These were collected and analysed as further avenues for triangulation of data. Student reflections were on the improvisation activity they did and the work samples were their in role jungle explorer writing pieces. See Appendix E for sample student reflections.
Data analysis: Because the bulk of data I collected was of qualitative/narrative nature, I had to be systematic and use coding that allowed me to reduce the information into categories for ease of interpretation. I decided to organise the data by format (observations; interviews; surveys; reflections/work samples) and drew out the most significant points I could from each. Once that was completed, I combed through the newly organised data once again, this time looking for key words that cropped up as or were related to the categories I had formulated in my literature review (e.g. senses, intelligences, student-centered and active learning, social and collaborative, confidence, motivation, speaking/listening/communicating etc.). From what I could gather this second time around, I created the final summation of dot points and put it against the research question to make sure that it matched.
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RESULTS
The results that emerged from the data I collected throughout my field work were interpreted in relation to the research questions as a way to see a) whether drama enhanced childrens literacy experience in the ways discussed in the literature review, and b) childrens personal thoughts on drama and the activities they took part in. The following is a summary of the data I collected which I have organised according to format.
Observations: See Appendix A for sequence of lessons and Appendix B for observation/reflection notes. Table 1: Lesson: Lesson 1 *I taught this lesson - Virtual field trip - In role writing Significant Observations Many students claimed to not have done drama in the class before. Most students seemed focused and engaged. Shyer students could only participate more liberally when whole class was asked to act out a verb. Students showed a lot of excitement when asked to lie down and close their eyes for the virtual field trip. Students generally gave limited answers when tapped on shoulder. Definite sense of hesitation and uncertainty from most students. Many students eager to write, but displayed limited signs of being in role
Lesson 2 *I taught this lesson
as a jungle explorer. Significant Observations Students use of language indicated that they were attempting to put themselves in the position of their character (I think he would Dont you think he would). Some groups worked very well together and engaged in vibrant discussion, while others needed a little push in terms of ideas and the thought processes they could have used to come up with more appropriate answers.
- Character exploration
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Lesson 3 *I observed this lesson - Improvisation
Significant Observations Improvisations with the students proved quite chaotic. Some students were simply mucking around, while the more quiet ones tended to stand to a side. Even though it seemed like they wanted to talk, they were quickly overwhelmed by the more outspoken students. The talk at times was heated and there was a lot of cooperative communication. Some of the dialogue was inferred from students understanding of their character and how they might talk or interact in the given scenario. Social responses included: proposing, agreeing/disagreeing, directing and questioning. Although by the end of the lesson students had learned to listen, take turns and were creative with their conflicts and dialogue, they seemed to find it difficult to stay in character. They were conscious of it at first, but gradually slipped into their normal personas and forgot about distinguishing themselves as a unique character. Students showed a lot of enthusiasm but were not focused enough. Significant Observations Students given roles in their group to fulfill helped to focus them and give them a sense of purpose. All children could participate on equal grounding here thanks to their roles. The more withdrawn students were able to assert themselves. Over the two lessons, students quickly took on their responsibilities and generally managed themselves throughout, with the teacher only intervening with reminders about roles and time. Students who were rowdy in previous drama activities were able to manage themselves well here. A lot of their communication revolved around work. Social responses included: suggesting, clarifying, confirming, instructing, praising. The language was generally positive. There was a strong atmosphere of productivity as the class buzzed with life everyone was doing something positive to contribute to their team, whether they were at the computer or at their table. Significant Observations
Lesson 5 & 6 *I observed these lessons - Story book creation
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Lesson 7 *I observed this lesson - Performance rehearsals
Similar to the previous two lessons, students were self-directing and showed strong signs of cooperative behaviour. Students seemed very serious about rehearsing, and many asked to rehearse not just once or twice, but again and again until they were able to perform smoothly. The whole lesson was filled with smiles and laughter; they really seemed to
Lesson 8 *I observed this lesson - Performance
enjoy themselves. Significant Observations Supportive atmosphere; positive feedback from the audience of students clapping, laughing, cheering. The students seemed to love it. Some of the more timid students performed with surprising enthusiasm. Henry in particular, who was quite subdued during the rehearsals, vigorously ad-libbed almost everything when it was his turn to get up in front of the class. The response he got in the form of laughter seemed to really encourage him, driving him to extend and exaggerate his performances.
Student Interviews: Four students of different abilities were informally interviewed to reveal insights into their attitudes towards drama and/or the activities they were engaged in (See Appendix C). Table 2: Drama activity Students Responses Steven I could picture the jungle in my head very clearly, but I had to think hard to come up with rhyming for my poem. In role writing Georgia I didnt really think about being a jungle explorer, I was just imagining the jungle around me and writing down what I could see in my head. Henry Im used to writing narratives so I wrote mine like that. I forgot to make it a letter. I thought the virtual field trip was helpful. It gave me ideas. Tina Pretending to be somebody else and writing gives me more ideas. Steven I felt like I was the actual character and I could forget about everything else. It was easy, but I would prefer having a script. I want to do it
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Improvisation
again. Georgia I loved it! I wish we could do more of this drama. I feel strong and confident when I get to act. Henry I was nervous at the beginning, but then I got used to it. It was kind of fun. Tina I liked being my character. But in the elevator, it was hard to talk. I got too shy. Steven There were so many problems. People kept disagreeing and some people didnt do as much work as others.
Character and story book creation
Georgia I enjoyed it a lot because I liked that we all had roles. It made everybody feel important. It was also nice to mix with others I dont talk to normally, and share ideas with them. Henry I got to use my drawing skills, so I liked it. Being in a group is fun too, and I got to make more friends. Tina It was tiring because I had to do all the typing. After when we finished and we got to see the book all together, it felt good though. Steven I made people laugh that was good. Pretending to be somebody else made me not have to worry about looking stupid.
Performance
Georgia Acting for me is one of the funnest things ever. I loved it so much, to have people watching me act. Henry It was more fun than I thought. I pretended to be somebody really cool and confident. I felt nervous at first, but now its okay. I made people laugh and I felt better about everything, not scared anymore. I didnt have to hide anymore. I feel really good about that. Tina It was scary. I think if I did this more, I can do it better.
Student Surveys/Questionnaire: See Appendix D for sample survey/questionnaire responses.
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Figure 1:
Table 3:
Figure 3:
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Absolutely! I enjoyed roleplaying I enjoyed creating my own character I enjoyed making a picture story book with other students I enjoyed performing my role in the picture story book Absolutely! I would like to use my new character for writing in the future I enjoyed working in a group Drama helps me become more confident Drama is fun and interesting Drama motivates me and helps me learn I would like to do more drama in the classroom 14/18 (77.7%) 5/18 (27.7%) 11/18 (61.1%) 8/18 (44.4%) 7/18 (38.8%) 2/18 (11.1%) 7/18 (38.8) 12/18 (66.6%) 8/18 (44.4%) 6/18 (33.3%)
Yes 4/18 (22.2%) 10/18 (55.5%) 8/18 (44.4%)
I dont know 1/18 (5.5%)
No 1/18 (5.5%)
Absolutel y Not!
3/18 (16.6%)
1/18 (5.5%)
4/18 (22.2%)
4/18 (22.2%)
1/18 (5.5%)
2/18 (11.1%)
Yes 5/18 (27.7%)
I dont know 6/18 (33.3%)
No 5/18 (27.7 %)
Absolutel y Not!
8/18 (44.4%) 7/18 (38.8%)
2/18 (11.1%) 1/18 (5.5%) 2/18 (11.1 %) 1/18 (5.5%)
3/18 (16.6%) 9/18 (50%) 4/18 (22.2%)
1/18 (5.5%) 4/18 (22.2%) 3/18 (16.6%)
Significant Questionnaire Findings (See Appendix D): Many students noted that they needed to be more confident and more expressive in
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drama for their experience to improve. A few mentioned that the role-play improvising helped them to become more confident. Many thought they needed more time for all drama activities, especially rehearsing for the performance. Some noted they felt rushed and couldnt put on their best performance. Many students listed creating their own picture story book as the least enjoyable, because it was time-consuming and many of them encountered problems within their groups. A few suggested trying to incorporate drama in mathematics to spice it up like a Welcome to the Maths Show! Most wanted to do drama again because it was a lot of fun, they enjoyed working with others and it gave them the freedom to act the way they wanted. Quite a few of them only loved it and found it fun but did not circle anything else, indicating that they may not be aware of the benefits of drama on their learning. There were no students who hated drama or even found it boring. See Appendix E for sample student reflections and Appendix F for writing samples. Table 4: Significant findings based on student reflections Most students really enjoyed the improvisation activities and wanted to do it again. Several students said they started out shy, but then they got used to it. Some students showed further self-reflection, mentioning that it would have been a better experience for them had they abandoned any reservations and tried to be more confident/enthusiastic. Significant findings based on student work samples Some students displayed a heightened awareness of audience and purpose, but most of them didnt. In role writing generates rich language vocabulary choices (crunching, hissing, roaring, splashing, dashing) as well as image-making. Student reflections and work samples:
***
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Overall significant findings: Drama has a significant impact on boosting students self-confidence. Data revealed that drama generates extremely social and collaborative atmospheres, which students enjoy. Drama gives students the opportunity to take charge of their learning and become more independent. Drama enables students to reflect on their own strengths and weaknesses as a learner and as a person. Children find drama fun and interesting, and are excited about having it in the classroom.
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DISCUSSION
My field work has provided me with a reinforced view of the significant impact drama can have on childrens attitudes and literacy learning. Collecting a variety of data over the course of the author study unit allowed me to confidently make several inferences that parallel the literature and research available on its worth. However, the limited scope of the two weeks was not enough to fully realise the potential of drama to enhance students experiences in relation to all features divulged in the literature review. Drama as a confidence booster was one key finding that emerged in nearly all forms of data. This was especially prevalent by the end of the unit, as the survey results (See Table 3) revealed that 14 out of 18 students found that the drama activities enabled them to become more confident. This most certainly enhanced their experiences, as they were able to participate and contribute without being bound by shyness. Henry, for instance, was able to gain confidence through drama (I pretended to be somebody really cool and confident. I felt nervous at first, but now its okay. I made people laugh and I felt better about everything, not scared anymore. I didnt have to hide anymore.) (See Table 2). However, one exception was the in role writing, an activity that happened to be one of the first drama activities students engaged in. As Winston (2004) suggests, students in role should be able to access a new realm of attitudes and feelings which give them a strong reason to write. The majority of writing samples did not indicate this, as writing purpose and target audience were not overtly referred to. I mainly attribute this to the fact that the virtual fieldtrip, which was simply read to students, was not tangible enough to put them into the frame of mind of a jungle explorer. They needed to be part of a more perceptible context; for example, a soundscape, or a tableau. The novelty of the drama activity and natural inhibition of some of the students were perhaps additional factors leading to their limited responses during the virtual fieldtrip. The data also revealed that students value the social, collaborative context which drama creates. A staggering 16 out of 18 students (See Table 3) indicated that they enjoyed working in a group. Baldwin & Fleming (2003), Cornett (2011) and Moore (2004) state that drama involves peer interaction, including feedback, and the building of social relationships and healthy classroom dynamics, as learners must cooperate to create and share their drama. Results of this study are consistent with this statement; the improvisation, construction of
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characters and story book, and the final performance were all socially and emotionally engaging, whether students were confident or not (See Table 1). Throughout the unit they were placed in groups and were obliged to work together; this inevitably produced a range of social interactions, including but not limited to: suggesting, deciding, agreeing, disagreeing, directing, questioning and clarifying. This was mostly true when students got into groups to create their picture story book. Georgia, for instance, remarked specifically on her appreciation of the collaborative setting (It was also nice to mix with others I dont talk to normally, and share ideas with them.) (See Table 2). On the other hand, the role-playing and improvisation of Alison Lesters characters did not see students going beyond surface traits such as gender and occupation to think about such things as character feelings and motivations. They needed more time to explore these with the guidance of the teacher, and perhaps a text that contained characters in actual conflict. The open-ended nature of the improvisation was possibly too overwhelming for the inexperienced students, and, as such, they may have needed more structure and sequence to follow. Zyoud (2011) claims that students find motivation to be focused and responsible for their learning when there is an audience or an impending aspect of performance. As noted in Lesson 7s significant observations (See Table 1), students appeared extremely serious about rehearsing and refrained from wasting time because they wanted to get it right. The anticipation of a performance, similar to Clipson-Boyles (1998) appraisal, drove their intent and gave them purpose in what they were asked to do. Furthermore, the drama sequence of lessons (See Appendix A for sequence of lessons) continually encouraged students to be active in their learning, substantiating the fact that drama is student-centred and constructivist in nature. The context of two weeks was insufficient for me to gauge in depth whether drama can develop creativity, communication and language skills in students. If I had the opportunity to conduct research over several months, which has the added benefit of knowing the students well, then indeed the data would reveal much more as learners progress can be monitored. For that reason, I cannot justify the other literature findings in my review based on the results of this study alone. Despite many students claiming that they hadnt done drama in the classroom before, and despite the rather limited context of two weeks, 17 out of 18 students found drama fun 21
and interesting, with a substantial 14 of them circling Absolutely! on the survey (See Table 3). Students responses to the drama were overwhelmingly positive, which I have to admit, I did not quite expect. I was told prior to entering the research site that many of them needed to come out of their shells and that they had not experienced much drama before. Looking at Figure 1, it is most obvious that my preconceptions are unfounded. Individual tasks may have been perceived differently from student to student, but for the most part, the activities appealed to them. Having fun and getting to make people laugh (See Performance responses in Table 2) were certainly motivating factors. I am left in no doubt that drama has the ability to enhance students experiences.
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CONCLUSION
This study, despite its limited scope, demonstrates the capacity for drama to enhance students experiences and attitudes in a particular author study unit. The unit could have been a lot more thorough and fleshed out, but notwithstanding, I was able to confirm several contentions that were asserted in my literature review that 1) drama has the power to increase learners self-confidence, 2) it creates very social and interactive settings within which children learn, 3) it provides them with the motivation to become self-directing and responsible for their learning, 4) it develops self-reflection and intrapersonal skills and 5) it is simply enjoyable and engaging for students. The feedback I have received in this unit alone has been greatly valuable for both the classroom teacher and myself. It has allowed me a concise understanding of what to expect when employing drama as a teaching method, and has driven me to reflect on how I can better utilise it. For instance, the in role writing and some aspects of the improvisation I have considered not as successful as the performance process. With a class thats new to drama, I recommend that students receive more prompts and guidance. Developing tension and conflict may also compel students to engage more deeply in imaginary roles. To increase dramas potential and to really take advantage of it, comprehensive planning and clever teaching is ideal. Moreover, one cannot afford to use it irregularly, or even just for fun; drama should be an integral part of the classroom for it to really take root and reach its potential as a teaching tool. I believe its all about developing that classroom culture that celebrates active and engrossing student-centred learning. The effectiveness of drama has been well documented, but the prospect for it to be applied to every other discipline hasnt quite been realised. Long-term studies of drama being used as an all-encompassing pedagogy may be worth pursuing to further validate the contributions drama can make. Overall, all children have an ingrained sense of play and the majority of them just need a little inspiration to find the spontaneity and creative expression that could empower their learning in ways yet to be seen.
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REFERENCES
Ashton-Hay, Sally (2005) Drama: Engaging all Learning Styles. In Proceedings 9th International INGED (Turkish English Education Association) Conference, Economics and Technical University, Ankara Turkey. Baldwin, P. & Fleming, K. (2003). Teaching Literacy through Drama: creative approaches. New Fetter Lane, London: RoutledgeFalmer. Baldwin, P. (2004). With Drama in Mind. Stafford, UK: Network Educational Press Ltd. Bengtsson, J. (2009). Students Perceptions of and Attitudes to Drama in English Language Education. Retrieved from, http://dspace.mah.se/handle/2043/7584, September, 2011. Brown, Victoria & Pleydell, Sarah. (1999) The Dramatic Difference. Portsmouth: Heinemann. Clipson-Boyles, S. (1998). Drama in Primary English Teaching. Boswell Street, London: David Fulton Publishers. Cornett, C.E. (2011). Creating Meaning Through Literature and the Arts. (4th ed.) Boston, MA: Pearson. Crumpler, T., & Schneider, J. J. (2002). Writing with their whole being: A cross study analysis of children's writing from five classrooms using process drama." Research in Drama Education", 7(1), 61-79. Davis, S. (2005). Cyberdrama and Forms of Youth Engagement. Retrieved from, http://eprints.qut.edu.au/16225/1/Susan_Davis_Thesis.pdf, September, 2011. Davis, S. (2007). Drama, Engagement and Creativity. Retrieved from, www.interdisciplinary.net/ati/education/cp/ce3/Davis%20paper.pdf, August, 2011. Dowdy, J.K. & Kaplan, S. (2011). Teaching Drama in the Classroom: a toolbox for teachers. Rotterdam, The Netherlands: Sense Publishers. Greenhalgh, T., Taylor, R. (1997)How to read a paper: papers that go beyond numbers (qualitative research).British Medical Journal; 315: 7110, 740-743. Maley, A. and Duff, A., (2005) Drama Techniques: A resource book of communication activities for language teachers. Cambridge: Cambridge University Press. McMaster, J.C (1998). Doing Literature: Using Drama to Build Literacy. The Reading Teacher, 51, 574-584. Merriam, S. (1998). Qualitative Research and Case Study Applications in Education. San Francisco, CA: Jossey- Bass Publishers. Miller, C. & Saxton, J. (2009). Drama: bridging the conversations between our inner selves and the outside world. Retrieved from, www.englishliteracyconference.com.au/.../SaxtonMiller-Keynote.doc, August, 2011. Moore, M.M. (2004). Using Drama as an Effective Method to Teach Elementary Students. Senior Honors Theses, Paper 113. Retrieved from, http://commons.emich.edu/honors/113/, August, 2011.
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Via, 1987 - Via, R. (1987). The magic if of theater: enhancing language learning through drama. In W. M. Rivers (Ed.), Interactive Language Teaching (pp. 110-123). New York: Cambridge University Press. Wagner, 2003 - Wagner, B. J. (2003). Imaginative expression. In J. Flood, P. Lapp, J. R. Squire, & J. M. Jensen (Eds.), Handbook of research on teaching the English language arts (2nd ed., pp. 10081025). Mahwah, NJ: Lawrence Erlbaum Associates. Wagner, B.J. (1998). Educational Drama and Language Arts. Portsmouth, NH: Heinemann. Wilburn, D., (1992) Learning Through Drama in the immersion classroom; in E. Bernhardt (ed), life in language immersion classrooms. Multilingual Matters. Bristol. Winston, J. (2004). Drama and English at the Heart of the Curriculum. Chiswick High Road, London: David Fulton Publishers. Young-Joo, B, (2005). Developing Communicative Competence through Drama-oriented Activities in an EFL Classroom. Retrieved from, www.paaljapan.org/resources/proceedings/PAAL8/pdf/pdf003.pdf, August, 2011. Zyoud, M. (2010). Using Drama Activities and Techniques to Foster Teaching English as a Foreign Language: a theoretical perspective. Retrieved from, http://www.qou.edu/english/conferences/firstNationalConference/pdfFiles/muntherZyoud.pdf, August, 2011.
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APPENDIX A
Sequence of Lessons
LESSON 1 TEXT: Imagine by Alison Lester 1. Read text to class. 2. Discussion; vocabulary building (powerful verbs). 3. Virtual field trip (detailed sensory adventure read out). 4. Brainstorming/sharing details on feelings, thoughts and sensations. 5. Writing in role as a jungle explorer. LESSON 2 TEXT: Rosie Sips Spiders by Alison Lester 1. Read text to class. 2. Discuss story structure, characters, roles. 3. Look at summary table of all characters students come up with own categories for a new table (e.g. fear, superpower, game). 4. Students break up into their expert groups of three, brainstorm and fill in the table according to what they know about their character. 5. Share as a class fill in table on whiteboard. LESSON 3 TEXT: Rosie Sips Spiders by Alison Lester 1. Reread picture book, talk about characters again. 2. Revise in their expert groups their character. 3. Brainstorm what their character would do in given scenarios. 4. All students leave expert groups and form a new group, where they represent their new character. 5. Improvise (in role) in their given scenario stuck in an elevator. 6. Regroup, discuss what went well and what couldve been better. One group presents their improvisation to the rest of the class. 7. Students improve (in role) in another given scenario stranded on an island. 8. Students reflect in writing their thoughts and feelings on the activity. LESSON 4 TEXT: Rosie Sips Spiders by Alison Lester 1. Brief revisit of picture book again to look closely at characters and how they are constructed and presented. 26
2. Class agrees on categories to write on about their own invented character (e.g. pets, fear, toy, food etc.). 3. On a blank A3 piece of paper, students create a mind map or flow chart of their own character. 4. Students must use the sentence constructions found in the picture book (e.g. Markus enjoys playing with a Frisbee) to guide their writing. 5. Students share their character with a partner, then class comes together and few students are selected to present their character to the rest of the class. LESSON 5 & 6 TEXT: Rosie Sips Spiders by Alison Lester 1. Class presented with a Process chart where they look carefully at the stages/procedure that theyd need to create a book and put on a performance (Role order rehearsing performance). 2. Students break off into groups of 5, and each student is assigned a role (Manager Editor Publisher Designer Illustrator). As a class, thorough discussion on what each role involves. 3. Students put their characters and writing together in a plan first. Designers and editors required most at this stage. 4. Students move onto typing up their stories on the computer, while illustrators begin drawing front cover. Managers oversee that everybody has something to work on and provides assistance when needed. 5. Picture story book printed. LESSON 7 TEXT: Rosie Sips Spiders by Alison Lester 1. Students discuss performance aspects organisation, props, what can be acted out or said. 2. Rehearsal for the rest of the lesson. LESSON 8 TEXT: Rosie Sips Spiders by Alison Lester 1. Last minute rehearsals. 2. Class gather to the front. Space created for movement. 3. Each group comes up at time, teacher reads out their story. 4. Students, as their character, come out to the front when their character is mentioned and acts out their role. Speaking is optional, but mime/acting is a must. 5. Class reflection/discussion. 6. Students fill out survey/questionnaire.
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APPENDIX B
Sample Observatory/Reflective Notes
13th October --- Thursday. Period 1 & 2: Literacy Lessons. *On demand testing first. TEXT: Imagine by Alison Lester 6. Read text 7. Discussion --- vocabulary building 8. Virtual field trip 9. Brainstorming/Sharing 10. Writing in role Jess had a lot of trouble with the netbooks/internet connection, so because of the delay with on demand testing, was behind schedule (30 minutes). This lesson was planned for two lessons (1 hour per lesson). Felt slightly rushed, but still, a good lesson overall. First time for both students and me working with drama (students have done a bit of performing before, but thats about it). Time to studying each of the pages in this picture book had to be cut down a little. Reading of the text, discussion and vocabulary work went by well, most of the students were focused and engaged. When asked to act out the verbs on each page, several students were too shy and giggly. Expectedly, the more outgoing (theatrical, as Jess puts it) students flung their hands up in the air every time, eager to act out every verb. At the end of the reading when I randomly called out verbs and the whole class had to act it out, the shyer students could participate more liberally. There was one or two I noticed who looked particularly reluctant to participate. Virtual field trip went well. Students were animated and seemed excited when they were told they had to lie down on the ground. Took longer than expected to get them to close their eyes while I read out the field trip. Perhaps I shouldve given clearer instructions at the start about how I wanted students to tell me what they were feeling/thinking/seeing when I tapped them on the shoulder. After I finished with reading out the field trip and I went around to tap a few students on the shoulder, they gave limited answers (e.g. Im drinking water I felt cool --- I see a tiger; one even shrugged her shoulders and that was it) as the last thing in the virtual field trip was the mention of drinking water). I felt quite a bit of hesitation and uncertainty from several of the students whose shoulders I tapped. Perhaps the novelty of the drama activity and natural inhibition of some of the students were factors. I do think I might need to be more explicit and give more examples before starting on such a task next time. Students responded well to writing task. After having brainstormed 28
words/phrases to do with the senses and the jungle setting on the interactive whiteboard, students went back to seats and started on their descriptive writing. They had the option of writing a letter, or a poem or a song, as long as they attempted to describe the jungle. I definitely shouldve made a bigger deal out of the fact that they were jungle explorers I mentioned it, and the virtual trip reinforced it, but none of them really showed signs of being in role as a jungle explorer, though many were eager to write, knowing the purpose of their writing was to gift Ms. Carter (who was ill and couldnt come along on the expedition) with a description of exactly what they saw and felt so as to transport her to that world. Perhaps a concrete prop, like an ID badge or something, wouldve made the experience that little more tangible. I think creating a soundscape/tableau wouldve been a lot more helpful too. I had to consider time restraints though. Informal interviews with selected 4 students were good had a range of opinions on what they thought about the tasks.
17th October --- Monday. Period 1 & 2: Literacy Lessons. TEXT: Rosie Sips Spiders by Alison Lester 9. Reread picture book, talk about characters again 10. Revise in their expert groups their character 11. Brainstorm what their character would do in given scenarios 12. All students leave expert groups and get into a new group, where they represent their new character 13. Improvise (in role) in their given scenario Jess took on the drama lessons for the rest of this week. She wanted to try her hand at it and it gave me the opportunity to sit back, observe and take notes. Make sure students brainstorm on their characters to enough to feel comfortable getting into role. Share in the way of a written response. Have to be very explicit with instructions! Give examples of characters in different contexts, how they react (stranded island example Who is going to say: Oh my gosh, Im not going to get my hands dirty!; whos going to be able to hunt, build shelter, navigate the island etc.) and who they get along with. Why? I feel that this part of the lesson shouldve been extended to better equip the students and get them really familiarised. During the improvs, a lot of students were mucking around. Some were too shy and just stood aside (even though it seemed like they wanted to talk, they were quickly overwhelmed by the more outspoken students, or those who happened to be with friends and could be loud and feisty without hesitation). However, one group in particular had direction (they all cooperated
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and created certain conflicts they then attempted to overcome, in role). Jess stopped the class and had them all come to the front of the classroom, where she asked this group to perform in front of the others so they had a better idea. Talked about what they were doing right listening, taking turns, being creative with their conflict. Although one problem arose here: students had a bit of a hard time staying IN character. At first, everyone is enthused about their character and acting in role, but after a while they all just appear to be themselves and forget to uphold their special personas. Perhaps having name tags or a prop or something here may have validated their roles a little more and served as reminders for them to be in role. Stranded Island scenario (2nd scenario). Having already done a scenario just before, this time around, students seemed a lot more directed. One of the groups who had been a little disjointed in the first scenario, worked together this time. They quickly took out chairs and built themselves a make-believe aeroplane. While sitting in the plane, they heatedly talk about the situation and what should happen. Their communication is more cooperative, and not as many voices overlapping each other. As their improvisation continues though, its obvious that things begin to deteriorate again. Friends go off in groups, too many voices going on now its chaotic once again. Theyre enthusiastic, but not focused. Many of them have slipped out of role too and say/suggest things that they would do, not the character theyre supposed to be playing. One student says: Im not going to get my hands dirty (in role), but nobody else in her group notices or responds. Even when their character is not equipped to be an expert/leader, some of the students take charge (S, who displays leadership qualities on a regular basis) and directs everything. N is bored and rocking in her chair not involved. K, who needs to be characterising Ernie (wildlife expert), should be leading the group, but instead she hangs behind and says nothing. Perhaps instructions shouldve involved more specific goals each character should contribute somehow and should be the focus of the improvisation at one point, as an example. Reflections: Jess asks what are the sorts of things we could reflect on? When asked if they liked the drama activity, most students raised their hand. Quite a few raised hands too when they were asked if they wanted a script to follow, since it more often than not became overly noisy/uncontrolled. Structure was definitely needed here, as well as specific objectives to perhaps try to meet, which wouldve controlled and directed the improvisation even more so. Maybe smaller groups wouldve helped too, as with big groups its easy to get left behind. However all students seemed pretty enthusiastic about it. I think its really important that students receive explicit instructions and lots
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of suggestions that get their thinking flowing. They need the direction. Free improvisation may be a bit much for them at this point.
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APPENDIX C
Interview (leave blank).
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APPENDIX D
Sample Survey/Questionnaire Responses
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APPENDIX E
Sample Student Reflections
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APPENDIX F
Sample In Role Writing
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41

(Drama Research Project) - Essay!!

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(Drama Research Project) - Essay!!

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THE POTENTIAL

ENHANCE STUDENT EXPERIENCES

AUTHOR STUDY UNIT

An Hoang Truong The University of Melbourne November 2011

Page 3 Page 4 Page 6 Page 10 Page 12 Page 19 Page 22 Page 23 Page 25

INTRODUCTION AND BACKGROUND

Lesson 2 *I taught this lesson

Lesson 3 *I observed this lesson - Improvisation

Lesson 5 & 6 *I observed these lessons - Story book creation

Lesson 7 *I observed this lesson - Performance rehearsals

Lesson 8 *I observed this lesson - Performance

Character and story book creation

Student Surveys/Questionnaire: See Appendix D for sample survey/questionnaire responses.

Yes 4/18 (22.2%) 10/18 (55.5%) 8/18 (44.4%)

I dont know 1/18 (5.5%)

Yes 5/18 (27.7%)

I dont know 6/18 (33.3%)

8/18 (44.4%) 7/18 (38.8%)

2/18 (11.1%) 1/18 (5.5%) 2/18 (11.1 %) 1/18 (5.5%)

3/18 (16.6%) 9/18 (50%) 4/18 (22.2%)

1/18 (5.5%) 4/18 (22.2%) 3/18 (16.6%)

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