By Gerd Bräuer
What are the strategies, tools, ideas, and curricular buildings that have interaction language rookies in carrying on with discussion among one's personal tradition and the only but to be came upon? What contains the language we communicate on the way to comprehend and be understood? Which physique is it we converse via and to? This quantity solutions those and different questions of the pedagogy of drama-based educating around the foreign/second language curriculum and on all degrees of the academic pyramid. There are significant matters at the moment mentioned in drama-based international and moment language method. the 1st is goal-oriented, asking even if the purchase of accuracy or fluency is extra vital, and no matter if a managed (learning via imitation) or an open (through improvisation) studying surroundings is extra effective. the second one factor matters utilizing drama in language instructing: both its use is process-oriented, the place drama turns into an instantaneous medium for language studying, or product-oriented, the place it turns into essentially the cause of language studying. The booklet outlines the theoretical frameworks of either concerns and introduces own narrative, comparative commentary, and analytical mirrored image, illuminating possibilities for studying at either ends of the doubtless contradictory poles of either matters.
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Extra info for Body and Language: Intercultural Learning Through Drama
I cry, reaching forward. To my amazement, others have already secured tribal ribbons on the bodies of our warriors. Like tattered flags, attached to arms, legs, backs, shoulders, they signal the defiant presence of our people, our heritage, our culture, as the warriors pull, pull against the weight of the < previous page page_29 next page > < previous page page_30 next page > Page 30 church, the government, the teachings that are not ours. The moment turns, and triumphant we chant, “Pull! Pull!
From a critical applied linguistics perspective, the scenarios typically chosen for drama-based foreign- and secondlanguage learning promote the dominant culture, consciously or unconsciously reinforcing cultural behaviors, expectations, and relationships common to the culture of the language being taught. Absent from or silenced in these dramatic exchanges are the identities and experiences of language students who are instructed to work within a prescribed text. Lost is an opportunity for a sharing of multiple perspectives, for engaging in intercultural dialogue, and, most importantly, < previous page page_20 next page > < previous page page_21 next page > Page 21 for inviting a shifting of paradigms that signal an embodied understanding that opens new possible conversations.
The paper canoe: A guide to theatre anthropology . (R. ). London: Routledge. , & Sumara, D. (1996). Cognition, co-emergence, curriculum. Journal of Curriculum Studies, 28, (2), 151–169. Fels, L. (1998). In the wind clothes dance on a line. Journal of Curriculum Theorizing, 14, (1), 27–36. < previous page page_34 next page > < previous page page_35 next page > Page 35 ——. (1995). Cross-country with Grumet: Erasing the line. Educational Insights . htm. , & Meyer, K. (1997). On the edge of chaos: Co-evolving world(s) of drama and science.