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- Discussion Papers
Using
Drama to Enhance the Reading of Narrative Texts
Margery
Hertzberg, University of Western Sydney, School of Education and Early
Childhood Studies
A
paper presented at the 2001 AATE/ALEA Joint National Conference
ABSTRACT
The
language of drama (movement, sound and energy) is as old as drama itself.
Its place within a multiliteracies framework needs to be articulated because
drama is another medium that can be used to help students interpret and
communicate the meanings of themes in narrative texts (Pascoe, 1999; Wagner,
1998). The process of enactment enables students to see things from different
perspectives, to experience someone else's reality. To take on the role
of a character challenges students to develop empathy for the motivations
and/or reasons for their actions in an important way that is quite unique
to drama.
This
practical workshop will examine how the non-verbal language inherent in
sculpting and still image drama strategies enables students to explore
and question narrative texts and, at the same time, actively engage with
the themes and issues that emerge.
In
addition, some findings from my research in this area will be presented.
Prominence in this section will be given to the children's voices as we
analyse what they said about their learning when engaged in the process
of drama.
KEY WORDS
Drama, Multiliteracies,
Reading, Literature, Active learning.
PREAMBLE
This
is not a conventional paper.
In
this workshop I referred to a research study (Hertzberg, 1999) that examined
many different areas and aspects of Educational drama. Space constraints
(four pages) preclude a paper to cover all of these in adequate detail.
Therefore, just one aspect highlighted in the workshop is selected for
further elaboration in this paper–the findings from interview data
about what children thought they learnt when engaged in the drama strategy
of still image. In the workshop a snap shot of one thirty-minute session
with these children was presented to demonstrate how drama helped these
children interpret and communicate the meaning of an excerpt from a narrative
text. To help put these findings in context, workshop participants engaged
in the same drama experience used in the research project. A brief explanation
of this drama activity follows.
USING
STILL IMAGE TO INTERPRET A TEXT: ITS PLACE IN THE MULTILITERACIES FRAMEWORK
Still
image involves the participant/s creating a still (frozen) image with
their bodies to feel the dramatic moment. The analogy of a still photograph
is useful when explaining this strategy. Photographs record a moment in
time, depict an idea and/or capture a dramatic moment. The same applies
in still image and the drama language emphasised is facial expression,
gesture, posture and placement in space (position, levels and so forth).
In addition, other elements such as contrast, symbol and mood contribute
to this form of communication.
To
demonstrate this, workshop participants read an excerpt from the book
Onion Tears (Kidd, 1989, p. 9). This novel explores the isolation
and despair that Nam-Huong, a recently arrived 12 years old female Vietnamese
refugee, feels when she is teased and rebuked by three children because
of her name. The participants then divided into groups of four and assumed
the roles of either Nam-Huong, Mary, Tessa or Danny and made a still image
to communicate their interpretation of this scene. These were then presented
to the group. In the subsequent discussion the following aspects were
analysed:
¨
How the language of drama communicated the meaning of each image;
¨
That each group's image was different–reflecting the concept of multiple
interpretation within critical literacy theory;
¨
That in planning an interpretation it was necessary to re-read the text
and attend to both the linguistic and story discourse.
To
demonstrate how these same aspects were either attended to and/or noted
by children some findings from the research project were then presented
in the workshop. A brief explanation of this project now follows.
RESEARCH
CONTEXT
The
drama plan for the book Onion Tears (the book used in this workshop)
was part of a larger project (Hertzberg, 1999). This consecutive fourteen-day
project was conducted with one mixed ability co-educational year five
class (ten and eleven year-olds) in a large Sydney government school.
All drama sessions took place in the first three and a half-hours of each
day. The project was based on both action research and case study methodologies.
It was an action research project because it was an investigation of my
practice as a drama educator. It was a case study project (in an unique
setting), because it investigated the students’ language and literacy
learning during drama activities planned as part of their literature-based
reading program.
The
overall objective was to investigate how a variety of drama forms and
techniques could be used to enhance students' language and literacy development
when reading a range of narrative texts. Altogether three different drama
plans were written in consultation with the co-researcher (class teacher).
The "Onion Tears" plan was deliberately designed to analyse
how drama strategies during the reading of a narrative text
develop critical reading skills (in this case issues dealing with cultural
diversity). Other drama plans within the overall investigation included
the use of Readers’ Theatre to enhance interpretative oral reading
skills (Hertzberg, 2000) and the use of teacher-in-role, improvisation
and playbuilding to read the visuals in picture books (Hertzberg &
Ewing, 1998).
My
role as researcher was to facilitate the teaching of each session in the
children’s classroom, and the co-researcher’s role as critical
friend involved taking anecdotal field notes. Other data gathering techniques
included: video taping; semi-structured audio and video interviews with
all students and the co-researcher; written work samples from children
and both researcher’s reflective journals. In accordance with action
research methodology these data collection techniques were selected to
adhere to the principle of triangulation (Lincoln & Guba, 1985).
ANALYSING
DATA
Audiotapes
were transcribed and each drama strategy or form distinguished and coded.
A similar process was also undertaken with all journals. I then viewed
the videotapes, noting examples from both the teaching sessions and interviews
that related to language and literacy practices in general and critical
literacy development specifically. Not only did the video remind me of
what happened–it showed me things that I did not see while in
the action. Confucius is believed to have said, "Keep your eyes on
things you cannot see".
The
data were then matched to specific outcomes and their indicators as presented
in the mandatory English K-6 Syllabus (Board of Studies, NSW, 1998)
to demonstrate how drama enables the achievement of the syllabus outcomes
pertaining to critical reading of narrative texts. Furthermore, and to
ensure trustworthiness in the analysis of "reflection in action"
and "reflection on action" (Schon, 1983), I asked some teaching
colleagues to act as "critical friends" to contribute to the
trustworthiness of the analysis.
Three
teachers distant from both the project and me (Hammersley, 1993) were
asked to view the video data for the "Onion Tears" plan. As
critical viewers their brief was to:
- view the
video and highlight aspects/episodes they thought related to critical
literacy practices;
- match
these episodes to specific outcomes in the English K-6 Syllabus.
With
the exception of one teaching activity all teachers identified and made
comments about the language and literacy learning occurring in the same
sections that I had. Again, their matching of these episodes to English
syllabus outcomes and indicators was almost identical to mine. Their comments
were insightful, making interesting links between the drama methodology
and generic pedagogic practices and the combined effect on the critical
reading practices of the children. Hence, I decided to report my findings
and discussion in a quasi-narrative form that would represent all stakeholders'
perspectives.
REPORTING
FINDINGS
Space
precludes a full report from the perspective of all stakeholders. The
findings from just some semi-structured audio or video interviews with
children have been isolated from the narrative. Refer to Hertzberg 1999
to cite this comprehensive version.
Drama
Language to Convey Meaning
Kate's
comment summarises the comments made by other children that referred specifically
to the language of drama (movement, sound and energy) as a means for communicating
ones interpretation of a text.
Margery: Why do you think I got you to do some drama activities?
Kate: For you to teach us that we can learn through drama.
Margery: And why do you think that? I noticed you wrote that in your journal.
Kate: Just that we can do the things we do in class the same through drama
like we can learn through drama and do those activities through drama…
. You can learn through drama ... you can use as much body and
facial expression as you want to so people watching us can see who our
characters are ... . This way (drama) is better because you can by the
expression on your face and the way you’re sitting and moving around
people can tell how you feel (Video interview C).
Re-reading
to Interpret a Text through Drama
To
plan their still images children re-read the excerpt several times. The
following group’s discussion whilst in the planning process illustrates
their interpretation of meaning through attention to linguistic form:
Chris: Yeah,
but Mary was asking her to come bike riding remember, so she is nice.
Tim: What about Tessa?
Chris: I
don’t know.
Sam: Hey
but look, ‘coconut’ is in capitals so she’s shouting at
her. I don’t think that’s nice.
Chris: Yeah
and princess is nicer than saying ‘coconut’ or ‘dragon’
(researcher’s field notes 1/9/98 and video recording excerpt).
The
group then positioned themselves in still image. Nam-Huong was seated
and towards the front, with Mary standing nearest to her "because she
was trying to be kind". Tessa was positioned further away whilst Danny
placed furthest away stood in an upright and aggressive manner.
As
well, all groups reported that doing drama as opposed to only reading
a text helped them understand the story because they could as one child
put it "feel the character". Further comments included:
John: Because
it, like, helps you in reading, writing. Helps you understand heaps of
stuff that you never understand, as well as if you don’t do drama.
Usually, like, when you read books you don’t understand it but when
you’re doing drama you understand why they’re feeling and how
(Audio One).
Rob: Well, if you’re just reading the book and you see Nam-Huong being
teased, you don’t really get the feel of the book, but if you’re
doing drama about it then you really know how she’s feeling about
it (Audio Two).
Jake …you
can understand it, ’cause you’re the one who’s like in
the shoes sort of and you’re the one who’s doing it, so you
understand it (Audio Three).
Drama
Strategies that Promoted Understanding
When
asked to comment on drama strategies that helped them to read Onion
Tears responses specific to still image included:
Sally: (Still image)…because like you’re actually doing frozen
moments like you sort of feel like how they would be feeling … (Video
B).
Kate: (Still
image) to see from Nam-Huong’s point of view how she felt. (Video
C).
Luke: Still image ’cause I like working in groups… . It’s
like interesting to hear all the ideas that other people have and you
learn to cooperate and combine your ideas with theirs (Video D).
Ned: (Viewing
and reflection of still images) I really liked watching everybody else
… to see what interpretation they have of it… (Audio 5).
Active
Learning: Book-talk through Drama Versus Book-talk through Class Discussion
All
children said that they learnt more when doing drama in book-talk sessions
than in book-talk during class discussions. Comments included:
Rachel: You could a little bit (understand the book in discussion activities),
but not that much because you’re not in that position you’re
just talking about it (Video E).
Clive: (It’s) good to act out … so you just don’t talk about
it. You can just like do it, so you know like you can like actually do
more about it. Like you can act it out more and you can do more than talk,
you can act out and every thing like that. Because when you’re just
talking about it you’re just talking about it, you’re not actually
doing anything, you’re just sitting there and talking. But when you’re
acting you’re standing up and doing something so it gives you more
opinion what you’re doing. It’s more interesting to do things
like that (Video F).
Motivation
and Learning
Children
also thought they learnt in drama because it was fun. Playing devil’s
advocate I often said in interviews that, although fun, they might not
be learning anything.
Kate
: It’s fun this way but (we are learning because) the expressions
on your face and the way you’re sitting or moving around people can
tell how you feel (Video C).
In
response to my saying that it was exhausting, Tom and Bob (Audio Two)
said:
Tom: Well, it is a bit exhausting but it's not that bad. I found it more
fun than exhausting.
Rob: Yeah.
And ’cause it’s fun you want to do it rather than if you’re
just sitting on the floor reading, you think, oh, it’s boring.
Margery: But are you learning anything? Some of you might not be learning anything.
Rob: Yeah, you are because you want to learn about it because it’s
fun. If it was just boring, you wouldn’t want to learn about it…
(Audio Two).
CONCLUSION
The
wonderful thing about books is that they allow us to enter imaginatively
into someone else's life. And when we do that, we learn … (about)
other people. But the real surprise is that we also learn truths
about ourselves, about our own lives, that somehow we hadn't been able
to see before
(Paterson,
1991, p.36).
Katherine
Paterson's books were read and enjoyed by many children in this class.
This quote was read to two of the more talented children for their comment.
Tom's response was "… there is a link between reality and fiction"
and Rob said "but sometimes the reality is hard. I like drama 'cause
you can say things that are you, but nobody has to know because you are
acting someone else (Audio 2).
Central
to drama is enactment–the ability to take on a role to step into
another person's shoes. In this process and through protection in role,
children can explore the themes within a book distanced from their own
lives but bringing the realities and understandings of their own experiences.
Furthermore, for many students in this research group the active nature
of drama–the get up and do it – was important. Our challenge
as teachers is to get up and do drama with children. In so doing we can
demonstrate its role within a multiliteracies framework as a means for
students to interpret texts critically. In this way we can contribute
to the growing body of research that demonstrates just what the language
of drama can do.
REFERENCES
Board
of Studies NSW. (1998). English K-6 Syllabus. North Sydney,
Australia: Board of Studies NSW.
Hammersley.
M. (1993). Controversies in Classroom Research. Bristol,
USA: The Open University.
Hertzberg,
M. (1999). How does Educational Drama Enhance Children's
Language and Literacy Development? Unpublished doctoral dissertation,
University of Western Sydney, Australia.
Hertzberg,
M. (2000). "So we can Learn Something as well as doing
Something Fun": Learning about Reading through Readers’
Theatre. The Australian Journal of Language and Literacy.
23 (1), pp. 21-36.
Hertzberg,
M. & Ewing, R. (1998). Developing our Imagination: Enactment and Critical
Literacy. PEN 116.
Kidd,
D. (1989). Onion Tears. North Ryde, Australia:
Angus & Robertson.
Lincoln,
Y. & Guba, E. (1985). Naturalistic Inquiry. California:
Sage.
Paterson,
K. (1991). Living in a Peaceful World. The Horn Book Magazine.
January, 1991. pp 32-38.
Pascoe,
R. (1999). New Literacies/Old Literacies for a New Millennium:
Drama and the Arts as Necessary Languages for all Students, The NADIE
Journal, 1, pp 121-136.
Schon,
D. (1983). The Reflective Practitioner: How Professionals
Think in Action. New York: Basic Books.
Wagner,
B.J. (1998). A Way of Knowing. In Saxton, J & Miller,
C, (Eds) Drama and Theatre Education: The Research of Practice,
the Practice of Research. Canada: IDEA Publications.
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