Theatre-based Language Instruction Programme (tulip)

Theatre-Based Language Instruction Programme (TBLIP) is an art-based language developed programme that trains students to use Theatre-Based Instruction techniques. The TBLIP strategies aim to connect student’s personal experiences in a manner reliable with authentic instruction principles. The objectives of this programme are to focus on the learners” level of enhancement in English language learning, to increase the level of students” participation in classroom interactions and to change the learning attitude towards English language.

The paper highlights on various theatre models used for language development. It focuses on the role of Theatre in Education of an individual’s wholesome development. The discussion also emphasized on the relationship between TBLIP design, participants” pedagogy and their outcome fit into the comprehensive pedagogical framework designed by the researcher. The challenges faced during the implementation of the manual are also conferred.

THEATRE IN LANGUAGE EDUCATION

Language teachers must agree to the fact that there are no particular teaching method would work for all students. Henceforth teachers are in a constant quest to bring variation to their repertoire in order to maintain the interest of the learners in the classroom. In this regard, theatrical activities have greater values that most of the teachers are unaware of. Theatrical activities increase learners” self- esteem, language skills and their abilities to express themselves by using their own creativity. In addition, they can develop social skills and make the students attain more cultural knowledge in an interesting ways through a dramatic context. (Savela, 2009)

According to Wessels” language can be developed through dramatic arts. He lists out the benefits of enactment in language teaching as follows

• the acquisition of meaningful, fluent interaction in the target language;
• the assimilation of a whole range of pronunciation and prosodic features in a fully contextualized and interactional manner;
• the fully contextualized acquisition of new vocabulary and structure;
• an improved sense of confidence in the student in his or her ability to learn the target language.” (Wessels, p.10).

DRAMA AND THEATRICAL ACTIVITIES IN LANGUAGE CLASSROOM

Dramatic activities are critical in the early stage of language learning process because learners can be involved in listening and speaking as a holistic and meaningful communication process (Mcnamee, Mclane, Cooper, &

Kerwin, 1985). In addition, researchers have discovered that the mental requirements for understanding drama performances are similar to those for reading. For instance, the meaning of a reading is generally grasped in a transaction between the reader and the text well as the meaning of speaking underlying between the performers and the audience.

“Improvisational Theatre” refers to a teaching method that involves learners in imaginary, unscripted, and spontaneous scenes, in which the meaning is made from the engagement and transactions between the teacher and learner (Schneider & Jackson, 2000). In addition, reading can also stand for a “process of interpreting the world,” which endorses drama as a powerful learning medium because it provides a context for children to relate to their lived experience. In writing development, children who experience drama also appear to be more capable of making appropriate linguistic choices as well as expressing opinions or suggesting solutions (Mcnaughton, 1997).

GAP BETWEEN THEATRE USE & USAGE IN LANGUAGE CLASSROOM

Furman (2000) identifies that the gap between understanding the values of theatric activities use and its application in the language classroom. The reasons teachers still hesitate to embrace the ideas of utilizing drama and theatre in classroom activities can be summarized as follows:

• In the search for drama resources to develop curricula, teachers are easily overwhelmed by various terms used in drama and theatre, such as creative drama, creative dramatics, developmental drama, process drama, educational drama, improvisational drama, improvisation, informal drama, classroom drama, drama in education, etc.
• Theatrical activities tend to be placed at the “edge” of the official curriculum; they seem to be time-consuming and unnecessary.
• Since most teacher education programs do not offer courses related to drama and theatre, teachers are unfamiliar with facilitating theatrical activities.
• Dramatic activities are so playful that teachers might be afraid that learners will not take learning seriously.