With suitable example discuss the role of drama, theatre and play in developing students core skill in language

Assigenment Answer

Course-503

D.El.Ed under NIOS

Assigenment- iii

Q.1. With suitable example discuss the role of drama, theatre and play in developing students core skill in language.

Answer: The Role of Drama in Informal Education

Drama in Education In the school curriculum, this is both a method and a subject. As a curriculum subject it uses various dramatic elements such as movement, voice, concentration, improvisation and role play to aid the personal development of the student. As a method it utilises role play and acting out to teach the student through experience, for example, to learn the facts of an historical event by acting it out. In many Secondary schools drama is now a separate department. In some Primary schools it is used as a method to teach a number of subjects.

Theatre in Education A professional team of trained and experienced actor/teachers, who prepare relevant material/project/experiment to be presented in schools often involving more than one visit. These programmes are usually devised and researched by the team/teachers and are for small groups of one or two classes of a specific age. The aim of the programmes is essentially educational, and uses theatre, drama in education and teaching techniques to gain these ends. This work provides an educational aid, resource and stimulus for both teaches and pupils, but to do so it may vary from place to place, total participation sessions to performance and discussion. Theatre in Education can be considered as a method of work used by some companies all the time, and by others only occasionally. Many companies who use this method of work have, as their starting point, a strong left-wing approach to their subject matter, and they cannot be considered as mere tools of the education system. Rather, they act as outside questioners, looking at ideas and values in society.

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As proposed by Barry Chazan, there are three important reasons for pursuing informal education as a serious discipline. Although home life, peer groups, families, neighborhoods and world events impact on the Jewish identity of a person, they lack three key components and ingredients which need to be a part of informal education: "Intentionality," respect for the autonomy and dignity of the learner, and worthwhile activities.

Informal education must be goal directed and learning oriented. It must have methodology and structure, organization and planning. "intentionality" in the informal learning process implies that there exists "conscious intent or desire to affect the Jewish character of people.25

The second requirement bespeaks the importance of teaching self-worth and self-dignity in the educational process. Students must be permitted and even encouraged to make decisions and to develop the process of discrimination, the ability to tell right from wrong, good from bad, appropriate from inappropriate. This, alone, is what will allow young people to become mature adults capable of self-advocacy.

Finally, there is a recognition that only by offering activities that are worthwhile can there be a hope of education being meaningful, and, therefore, lasting for the participants. It behooves the professional educator to carefully structure informal educational activities with as much care as should be devoted to formal educational pursuits.

It is not necessary, however, for each teacher, administrator or school to "reinvent the wheel" in preparing informal programs. There is a wealth of information that is readily accessible and a vast amount of content easily adapted.

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How does one begin to develop an approach for the use of drama, dramatic technique and film in informal Jewish education? It requires integrating separate disciplines, which, though overlapping and intersecting on several planes, have unique and distinct professional requirement.26

Drama involves an ultra-high degree of creativity and innovation, and an ongoing, elevated level of sensitivity and awareness. The educator needs to be familiar with various acting methodologies and the components associated with presentations and performances. Familiarity with techniques of the director is useful, and at least a tangential knowledge of the following, all or some of which may be called on in designing a program: script writing, timing, tempo, pace, characterization, lighting, set design, choreography, movement, blocking, costuming, vocalization, casting, props, scenery, special effects, et. al.27

Most importantly there needs to be willingness, perhaps even aggressiveness, to integrate the creative process with knowledge acquisition and educational goals. This opens up a whole world of possibilities for learning. This willingness, of course, is not limited to the teacher, but must be supported by an administration ready to search for and acquire any key that will unlock the door to learning and enhancing Jewish education.

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