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The simultaneous education of the mind and body, the nurturing of imagination, and the use of secular venues to foment education, has been the practice of dedicated teachers since time out of hand. However, during the 1800s, the insatiable desire of the Prussian royalty for absolute supremacy and compliant citizens, followed by the greed of factory...
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... In the viewpoint of Feldhendler (2007), in Higher Education especially in preparatory education and teacher education, for instance -Playback Theatre can be utilized as a method of empowering the improvement of democracy based support in language learning and teacher training. Motos (2015) Playback Theatre is a modeled application of the Content in Language Learning method for the growth and advancement of innovative, synergetic and verbal communication key abilities. Gill (2016) asserts that learning spoken English through drama techniques reduces learners' fret and repression. ...
Drama strategies refer to the methods and processes used by language instructors for many years. These strategies are intended to involve learners in the creative process while exploring a concept, narrative, or thought. The students are encouraged to develop inquiry skills and use their imagination to gain understanding when theatre techniques are used. This study is intended to identify the impact of narratives in Playback Theatre that develops the oracy skills of the second language learners. The students pursuing bachelors’ degree have been surveyed from Tamil Nadu, India. The aspects with respect to Oracy skills namely vocabulary, intended meaning, structure grammar, pronunciation and pragmatic have been evaluated. The study also examines whether the relationship between the independent and dependent variables is moderated by the medium of instruction i. e. Playback theatre-based instruction influenced the oratory skills of the second language learners. The outcome shows that intended meaning and pragmatics are the most influential factor than vocabulary, pronunciation and structure grammar. The results show that teaching through Playback Theatre through collaborative learning enhances the oracy skills of the bachelor degree students.
This chapter reflects on the main themes explored in the book, including embodiment in second language education, performative language pedagogy, and process drama. It considers issues related to identity in the teacher as artist, and touches on the lingering myth of creativity as the gift of only a talented few—inviting teachers to unsubscribe from this view, to fully embrace the paradigm of the artistry of teaching. It highlights the importance of a phenomenology of practice, with attention to body, voice, presence and imagination in second language education. It calls for a sense of community in performative language teaching and research.
