Literacy Project: Teaching Literacy through Drama
Exercises used in learning a monologue to increase literacy and observations of literacy.
1. Mem Fox and the Joy of Reading Everything I knew about ‘literacy’ I learned from Mem Fox “When we take time to read aloud to the children in our lives, we bond closely with them in a secret society associated with the books we’ve shared. The fire of literacy is created by the emotional sparks that fly when a child, a book, and the person reading make contact.” – p.9 2. Literacy Content knowledge, experience and skills, Meeting the ability to read, write, listen and speak, To think critically and perform credibly In the context of a given field 3. Drama literacy As a Drama teacher I help students: Transition through deeper understandings and definitions of Drama theory and techniques, Playing with, practising and developing skills (including, but not limited to, the reading of scripts) So that the appropriate skills and approaches can be selected and put into action, In the creation of a Drama Production 4. In Tovani, can the ‘actor’: Relate to the subject matter in a way that enhances interest and deepens understanding Determine importance based on personal experience and knowledge Ask authentic questions about the text in a way that enhances understanding and deepens understanding Recognise signals that indicate they are confused Recognise that re-reading with a different purpose in mind can improve comprehension [related to Method, related to TOVANI] p.105 5. Cynthia – Case Study 1 6. relentless suspended reinvent Contain myself in a birdsong How I think of nothing Like a shadow suspended within myself REWORKED SKIP BECAME IMPORTANT 7. In this Monologue Study Able to say the words : pronunciation Understanding literal meanings Understanding emotional content Understanding metaphorical and symbolic meanings Identifying significance: text, emotion, selecting what is important Technique: which to use Determining audience and delivery style Finding authentic connections to assist interpretation and performance 8. The Fundamental Litmus Test Is Cynthia using her: RECITING VOICE – the voice readers hear when they are only reciting the words and not drawing meaning from the text (Tovani p.63)? CONVERSATION VOICE – the voice that has a conversation with the text (Tovani p.63)? AUTHENTIC VOICE – the voice that has internalised meaning, even transitional meaning, and made it her own (Cath JK)? 9. Strategies Employed by Me Substitution of older actor’s marking up of text with Director’s reflection of the actor’s choices Memorising the text: speaking it with emotion, no script in front of Cynthia, she repeats but DIFFERENT emotion choice Asking her to explain how she sees something Repetition of this after re-reads and further exploration, building on knowledge 10. ‘The Wish Palace’ Text - 2 KateMacNamara 11. Who is the speech for? Comprehension: Individual words Contain myself in a birdsong How I think of nothing Big Meanings Make the given words AUTHENTIC Made relatable How does that make you feel “Good readers know a purpose will help them focus their reading and determine what is important” - Tovani 12. Playing, Persistence and Audience 13. Where did we get to? 14. References Fox, M, 2001,“Reading Magic”, Pan Macmillan Australia, Sydney. Tovani C, 2004, “Do I really have to teach reading?”, Stenhouse Publishers, Portland. IMAGE Compson-Bradford, B, Sleeping Beauty, http://images.fineartamerica.com/images-medium- large/sleeping-beauty-bethany-compson-bradford.jpg