By Gerd Bräuer

What are the options, tools, options, and curricular buildings that have interaction language novices in carrying on with discussion among one's personal tradition and the only but to be found? What contains the language we converse so one can comprehend and be understood? Which physique is it we speak 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 tutorial pyramid. There are significant matters presently mentioned in drama-based overseas and moment language method. the 1st is goal-oriented, asking even if the purchase of accuracy or fluency is extra very important, and no matter if a managed (learning via imitation) or an open (through improvisation) studying setting is extra effective. the second one factor issues utilizing drama in language educating: both its use is process-oriented, the place drama turns into a right away medium for language studying, or product-oriented, the place it turns into basically the cause of language studying. The e-book 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 resources for Body and Language: Intercultural Learning Through Drama

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Spelunkenpädagogik: A personal account of dramatic performance in the foreign language classroom. Correspondence , 35/36, 5–10. Vygotsky, Lev S. (1966). Play and its role in the mental development of the child. Soviet Psychology, 12, 62–76. Vygotsky, Lev S. (1978). Mind in society: The development of higher psychological processes. (M. Cole, V. JohnSteiner, S. Scribner, & E. ). Cambridge, MA: Harvard University Press. Wagner, Betty Jane. (1990). Dramatic improvisation in the classroom. In Susan Hynds & Donald L.

In the foreign-/second-language classroom, students seek entry into new linguistic spaces located in the betweenness that is “a hinge that belongs to neither one nor the other” (Applebaum, 1995, 15, 16). In struggling to restabilize, an intercultural dance requires new footings, new ways of moving within an embodied language of discontinuity, unfamiliarity, the not-yet-known. Drama invites students to share these moments of uncertainty and dislocation, and to speak to the experience embodied within a disrupted imaginary world.

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. Not walls of cement, but . . the melodies of our presence3 Each of us and our students dwell within an embodied presence of language, gender, sexual and ethnic identity, cultural heritage and values, individual and communal experiences, ambitions, and perspectives.

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