Lesson planning spain

Lesson Planning – Granada Spain – Drama

Glottodrama

Introduction: What is Glottodrama?

(adapted from Guide to Glottodrama Method, by Carlo Nofri)

The Glottodrama project aims to create an innovative methodology to teach foreign

languages through Drama and Theatre. It focuses the attention on the “oral language” since the

achievement of a satisfactory standard in oral skills often represents a weak point in many school

and academic programmes. Moreover, it shares a broader concept of “language competence” to

encompass both verbal and no-verbal aspects of communication. This general idea has been

translated in pedagogical terms and summarized with the formula of “a communicative approach

with a humanistic-affective orientation”.

To turn into a practical methodology these theoretical assumptions, Glottodrama developers

have chosen to develop a research work aimed to integrate the communicative approach with the

actors’ training. The teaching is based on the work-project pedagogical idea and classes are

intended as workshops of actors’ training with the employment of a foreign language. The syllabus

is semi-procedural and according to the programme the first step is working on micro-texts,

involving the students in some basic activities: dramatising a text, role-taking, role-play, story-

telling, monologues and improvisation. In the second step the course concentrates on preparing a

complete play to perform (either a theatre play or a movie script or a self-produced play). The text

is explored by the student-actors in all its dimensions (linguistic, cultural and dramaturgic) under

the guide of 2 teachers (1 language teacher and 1 drama teacher) who take the roles of language

counsellor and actors’ coach.

The Glottodrama Method moves from a communicative and humanistic approach to

language teaching. It is based on a holistic perspective of the language acquisition process in which

both cognitive and behavioural aspects are relevant, that is to say feelings, emotions and attitudes.

The pedagogical challenge of this interdisciplinary approach to language learning is to stimulate

student’s motivation by a strong and personal psychological involvement. In fact it refers basically

to the best known emotional theories of acting (Stanislavskij System and Strasberg Method of the

Actors Studio).

The final scope of the project has been to demonstrate on scientific basis that this

methodology - far from being just a mere technique or a playful side activity to enrich ordinary


courses - is a complete approach to language teaching. It can be combined with other programmes

or stand alone as an autonomous, effective and alternative language course. A method able to target

the usual school and academic objectives in terms of language and communicative competence and

able to reach them in a faster and more pleasant way.

The final results of teaching experiments have shown to be consistent with the Glottodrama

project hypotheses and predictions. Quantitative evaluation: Glottodrama students who sat for

language examinations have scored remarkably better in oral papers than control class students, that

is to say Glottodrama students learn better and faster the oral language. In addition they have shown

results in written skills equivalent to students of control classes where other methodologies - more

grammar and written skills based - have been employed. Also a qualitative evaluation has shown

the positive psychological impact of the methodology on both students and teachers. On one hand it

has reinforced students’ motivation involving them more than any previous experience, on the other

hand it has offered also to teachers a good chance for professional growth, an opportunity to widen

their knowledge of teaching techniques and to enrich their pedagogical experience.

To put it in a nutshell:

- Test Teach Test based lessons;

- a lesson shouldn’t exceed 3 hours; - the whole course is planned for 90 hours; - the class is led by two teachers – a language teacher and a drama teacher; Equipment - A workshop-classroom - A “stage” area - A video-camera - An overhead projector or whiteboard - An equipped grammar corner (with dictionaries, grammar books, computers with Internet access,

activity sheets...)


Structure of teaching units 1. Textual or situational input. At the beginning of a Glottodrama course, we will only work with

microtexts).We present the text or video and analyse it. 2. Performance of a short situation (in small heterogenous groups) that is related to the video or

text students have just read or watched. We record it and play it for the rest of the class. 3. Linguistic reflection (at the grammar corner). Now we reflect on language: explore more

deeply the vocabulary and grammar aspects of the text. A synthesis that formalizes into rules what

has been discovered should be provided by the tutors, if asked, only at the end of this work.

Grammar is explained in a natural order, that is, whenever we come across a certain grammatical

structure, although we have to bear in mind that students need some previous knowledge about

grammar. For instance, in this didactic unit students must be familiar with the Past Simple. 4. Actor Studio (rehearsal) 5. Back to the performance


TABLE TO ANALYSE AND EXPLOIT A TEACHING UNIT Communicative Typology Micro Text Macro Text

Textual Input Situational Input

Activity Title

Source (Authors)

CEFR Level

(Common European Framework)

A1 A2 B1

B2 C1 C2

Target Language Skills OC WC OP WP INT

(Oral Comprehension, Written Comprehension, Oral

Production, Written Production, Interaction)

Activity Description


Linguistic Functions

Main grammar structures

Vocabulary and phraseology

Cultural and sociolinguistic

elements

Specific drama activities

Specific language activities

Teaching notes


Attached materials

Text: SILLY SONG by Federico Garcia Lorca

Mama,

I wish I were silver. Son,

You’d be very cold.

Mama,

I wish I were water.

Son,

You’d be very cold.

Mama,

Embroider me on your pillow.

That, yes!

Right away!


TABLE TO ANALYSE AND EXPLOIT A TEACHING UNIT Communicative Typology Micro Text X Macro Text

Textual Input Situational Input

Activity Title The Silly Song

Source (Authors) Cecilia Díaz Marín

CEFR Level

(Common European Framework)

A1 A2 X B1

B2 C1 C2

Target Language Skills OC WC OP WP INT X

(Oral Comprehension, Written Comprehension, Oral

Production, Written Production, Interaction)

Activity Description 1. Input. Start the lesson by briefly explaining who

Federico García Lorca was. Make one of your students read

the poem aloud and ask them what the poem is about.

2. Performance. In heterogeneous groups of four, students

invent a short situation in which people talk about what

they would be like to be/to be like/ to do. You can suggest

possible situations: group of friends making suggestions for

their upcoming trip to Granada; parents and children

X

X


discussing career choices at the University of Granada, etc.

Make sure it is a real drama situation -with a short plot

including a beginning, an action with a climax and a

denoument-, but it does not have to be very long.

3. Grammar Corner. We watch the performances, and we

focus on the language used by students in their

performances. Grammar that is likely to appear: First and

second conditional sentences, hypothetical sentences,

suggestions... Vocabulary that is likely to appear: materials,

professions, places of the city (in Granada)...

4. Actors Studio. Rehearsal of the same situation, but in

this case, students correct their mistakes (pronunciation,

grammar, vocabulary... but also in terms of drama. Is it a

real dramatic situation? Can it be improved?)

5. Back to the performance. Students perform their

situations again, and we record and watch it again, and

compare it to their first performance. Both can be included

in our students' Portfolio.

Linguistic Functions - Making suggestions

- Making hypothesis

Main grammar structures - First and second conditional

- Hypothetical sentences

Vocabulary and phraseology - Materials

- Jobs

- Making suggestions

Cultural and sociolinguistic

elements

- A poet from Granada: Federico García Lorca

- University of Granada

- Places to visit in Granada

Specific drama activities - Perfomance of a short situation talking about wishes

Specific language activities - Non communicative activities to practice the grammar and

vocabulary that we are likely to come across during the


performances.

- Writing a poem using hypothetical sentences (similar to

“The Silly Song”)

Teaching notes Aims:

-to improve oral communicative competence using English.

- to appreciate the rhythm and beauty of a poem.

- to master the grammatical structures and vocabulary that

we will come across during the teaching unit.

- to develop creativity in order to write a short poem and a

short script for the performance.

- to work cooperatively in small groups.

- to learn about the city of Granada and its most famous

poet, Federico García Lorca.

- to overcome shyness and to strenghten self steem and

assurance.

- to develop a positive attitude towards the work of other

groups.

Attached materials - Poem.

Evaluation - See attached rubric


Oral Presentation Rubric : The Silly Song

Student Name: ________________________________________

CATEGORY

4

3

2

1

Pitch

Pitch was often

used and it

conveyed

emotions

appropriately.

Pitch was often used

but the emotion it

conveyed sometimes

did not fit the content.

Pitch was rarely

used OR the

emotion it

conveyed often

did not fit the

content.

Pitch was not

used to convey

emotion.

Pauses

Pauses were

effectively used 2

or more times to

improve meaning

and/or dramatic

impact.

Pauses were

effectively used once

to improve meaning

and/or dramatic

impact.

Pauses were

intentionally used

but were not

effective in

improving

meaning or

dramatic impact.

Pauses were not

intentionally

used.

Enthusiasm

Facial expressions

and body language

generate a strong

interest and

enthusiasm about

the topic in others.

Facial expressions and

body language

sometimes generate a

strong interest and

enthusiasm about the

topic in others.

Facial expressions

and body

language are used

to try to generate

enthusiasm, but

seem somewhat

faked.

Very little use of

facial expressions

or body language.

Did not generate

much interest in

topic being

presented.

Speaks Clearly

Speaks clearly and

distinctly all (100-

95%) the time, and

mispronounces no

words.

Speaks clearly and

distinctly all (100-

95%) the time, but

mispronounces one

word.

Speaks clearly and

distinctly most

( 94-85%) of the

time.

Mispronounces no

more than one

Often mumbles or

can not be

understood OR

mispronounces

more than one

word.


word.

Props

Student uses

several props

(could include

costume) that

show considerable

work/creativity

and which make

the presentation

better.

Student uses 1 prop

that shows

considerable

work/creativity and

which make the

presentation better.

Student uses 1

prop which makes

the presentation

better.

The student uses

no props OR the

props chosen

detract from the

presentation.

Uses Complete

Sentences

Always (99-100%

of time) speaks in

complete

sentences.

Mostly (80-98%)

speaks in complete

sentences.

Sometimes (70-

80%) speaks in

complete

sentences.

Rarely speaks in

complete

sentences.

Content

Shows a full

understanding of

the topic.

Shows a good

understanding of the

topic.

Shows a good

understanding of

parts of the topic.

Does not seem to

understand the

topic very well.

Collaboration

with Peers

Almost always

listens to, shares

with, and supports

the efforts of

others in the

group. Tries to

keep people

working well

together.

Usually listens to,

shares with, and

supports the efforts of

others in the group.

Does not cause

\\\"waves\\\" in the

group.

Often listens to,

shares with, and

supports the

efforts of others in

the group but

sometimes is not a

good team

member.

Rarely listens to,

shares with, and

supports the

efforts of others

in the group.

Often is not a

good team

member.


Volume

Volume is loud

enough to be heard

by all audience

members

throughout the

presentation.

Volume is loud enough

to be heard by all

audience members at

least 90% of the time.

Volume is loud

enough to be

heard by all

audience members

at least 80% of the

time.

Volume often too

soft to be heard

by all audience

members.

Listens to Other

Presentations

Listens intently.

Does not make

distracting noises

or movements.

Listens intently but has

one distracting noise or

movement.

Sometimes does

not appear to be

listening but is not

distracting.

Sometimes does

not appear to be

listening and has

distracting noises

or movements.

Acting

Acts naturally.

Shows a lot of

expression and

emotion.

Acts with certain

naturality. Shows some

expression and

emotion.

Sometimes acts

naturally. Shows a

little expression

and emotion.

Acts without any

naturality.

Monotone and

not expressive.

Playwriting

Play was creative

and really held the

audience\\\'s

interest.

Play was creative and

usually held the

audience\\\'s interest.

Play had several

creative elements,

but often did not

hold the

audience's

interest.

Play needed more

creative elements

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