Story Theatre

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"So do not fear, for I am with you; do not be dismayed, for I am your God. I will strengthen you and help you; I will uphold you with my righteous right hand." Isaiah 41:10

Notice from the SVG FSA : Forex IBCs – Wilfred International Services

Humor:

Teacher: You aren’t paying attention to me. Are you having trouble hearing?

Pupil: No, teacher I’m having trouble listening!

Dear visitor,

Use the language selector above to go through my whole site using any native language you speak, then you can enjoy my YouTube channel.

اختاراي لغة من لغات العالم / اللغة التى تريد تصفح موقعى باستخدامها . استخدم المؤشر

الذى فى الاعلى

I register a video presentation in my YouTube channel for each page of my site.

Next,use the other world site selector above to go to the search engine site or the social media site you like.

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منهج الانجليزى ثانوية عامة / و شكل و طريقة امتحا ن نظام التعليم الجديد والتصحيح الكترونيا

Story Theater in Education

Mr. / Girgis

Theater in Education

Theater in Education (TIE) is a process in which it includes all the interactive theater/drama practices that help aid the educational process.

As TIE is used, new strategies and objectives for using theater as an educational tool emerge. It includes the interactive theater practices that helps student in their educational process (learning

Drama in Education

In the school curriculum, this is both a method and a subject. As a

curriculum subject it uses various dramatic elements, and acting out.

In many high schools drama is now a separate department. In some

Primary schools it is used as a method to teach a number of subjects.

Story dramatizations are based on a story that students are familiar with. While it is planned by students, a script is not necessary. Students know the story and characters well enough to improvise action and dialogue. The dramatization can be recast with different students playing different parts each time it is played so that everyone has an opportunity to step into the roles. Many stories have characters and elements that can be played by several students so that all can participate in a story dramatization.

What is a story theater?

Story Theater takes a text—a piece of fiction,a fable, or a folk tale— and students act it out.They have not written this text, but if there is narration, they recite that narration.

They do not write dialogues; but if characters in the story have dialogue, then students will speak that dialogue. Students will orchestrate the drama that a story portrays, choosing sound effects, props, and blackboard pictures to provide background.

They decide who stands where and what actions are needed to bring the story alive…in a special way.In Story Theater, students, not the teacher,do the telling, although the success of the telling depends, first of all, and mostly, on the teacher’s original decision in selecting a tale.

In making this choice, the teacher should remember that while students may become frustrated, truly exasperated, as they struggle with this foreign language, they also have the faculty of imagination.

The benefits:

1-Story Theater evokes imagination, putting a number of formal

pedagogical principles into play simultaneously as action proceeds.

2-language materials ought to engage the students, pique their

curiosity, and be within their range of proficiency so that they are not

bored.

3-Story Theater is especially relevant at that time when students are

tired or are about to become tired.

4-It is also useful with students who are afraid to make mistakes, or

with those who have a knowledge about the language and can

recognize words, but cannot easily produce what they can recognize.

5-The text of a story gives words to them so that they can actively use

the language. This provides security.

The main element of TIE

These are the following characteristics of TIE

There is a clear aim and educational objective running throughout this process.

The cast should be small so actors must be versatile and often take several roles.

A low budget project has to be taken so that actors can play instruments too.

The production must be portable and the design of the production will be simple and representational.

The exploration of issues has to be from various viewpoints, so that we can see the effect of the action upon a range of people.

There should be involvement by the audience.

They are rarely wholly naturlistic because narration is often used.

As actors have multiple roles, the costumes are representational
and simple.

For educating the audience facts and figures can be included.

They may have a strong message or moral running throughout the production

TIE creates different productions:

Supported by the resource materials, Production can to be designed to stimulate reaction and participation from its small audience, through role play and debate. By specifically targeting an area for a particular age group in a school’s personal, social and health education curriculum.

For the young audience the play designed can be based on the traditional story and allowing range of follow-up activities if desired. Linking the story in the given activities for very young children can help in the opportunities for involvement.

For the adult age group some dramatizing activities as to be add with specific needs, e.g.- learning parenting skills or preparing for employment. It should be organized meaningfully.

Strategy

Read the book aloud to both older and younger students, and older students may read different stories in groups related to a single genre of story (e.g., Greek myths).

Lead discussions using reader response questions and prompts, tapping into students' personal experiences of the story. The teacher and students can then plan and play a story dramatization:

Re-read and discuss the story
So that students are completely familiar with the story, the teacher can do repeated read alouds of picture books for younger students, and older students can read and discuss a story in groups. Ask students to note the setting, characters, and sequence of events or plot, as well as the most exciting parts, the climax, the way the story ended (i.e., the resolution), mood and theme, and important phrases and characteristic things characters say.

Make a story chart
The teacher can record students' ideas about each of these on chart paper for younger students and to model planning a story dramatization, and older students may do this independently in groups:

Plan for story dramatization

Setting (Where)	Characters (Who)	Sequence/Plot (When/What)
1.
2.
3.

Make a story map
Use the whole classroom space, adjusting furniture as necessary. Make a map of the classroom and place the settings needed for the story. Add the numbered sequence of events of the plot, with arrows showing the direction of the flow of the action.

Take volunteers for the first cast
Do a walkthrough of the story with the first cast. All students can be engaged in each dramatization by using stories that have a type of character that can be played by many students. Or students not playing in the story can be the audience, and then vice versa.

Play the scene
A narrator can be added to read parts of the story. This could be the teacher for younger students, who would also guide students through the actions.

Debrief and discuss
Ask questions that emphasize the positive and make plans for the next playing of the story:

What did you see that you liked?
Who did something really interesting (or exciting, realistic, funny, etc.)?
What can we do next time to make the play even better?

Play the story again
The teacher can take new volunteers to play characters in the story so that all students have the opportunity to step into one of the roles.

Ask for volunteers for the main characters to dramatize the story. Students can improvise the dialogue to tell the story. All students can participate at the same time. Any students not playing one of the characters can form a group that can all be the Demon King Ravana because he has ten heads.

Students playing Ravana can link arms and stand in a semicircle to signify that they are all the same character. Ravana can speak from any one of his many heads. Other students not playing main characters can be monkey soldiers in Hanuman's army.

After playing the story, debrief with students-ask them what they saw that they liked and make adaptations for another playing where students take on parts different from those played the first time.

Students can add simple costume pieces such as lengths of cloth over one shoulder, crowns for Rama and Sita, masks for the ten heads of the demon king, or monkey masks for Hanuman and his army.

Feedback:

Active learning depends on dramatization, miming, acting and playing roles among learners to change the theoretical text into alive practical learning or real life situations through using language in real situations.

The teacher must be like an artist , a musician or a clown that has a role to perform on the stage. The stage at school is the classroom. The team of artists that share the teacher are the learners themselves.

This brings life into the content, text, the vocabulary and the structure to be means of communication. Besides, story theater addresses and involves the learners physically, mentally and environmentally.

“أعطني مسرحًا أعطك أمة ً“، قولة تحمل الكثير من الصدق، ذلك أن للمسرح آثار تربوية لا تخفى على مبصر واع يدرك أهمية النشاط المدرسي، الذي يعد المسرح دعامة من دعاماته، وفق برامج هادفة تخطط لها مؤسسات التعليم تخطيطًا مدروس الجوانب المتكاملة، أسوة بالعمليات التربوية التي تسعى جاهدة لتكوين شخصية أبناء المدارس بصقل مهاراتهم، عن طريق تنمية ملكاتهم وقدراتهم بشتى وسائل رفع قدراتهم المعنوية، تعزيزًا لمبدأ الشجاعة الأدبية، السبيل الأمثل لعلاج الخجل، والانزواء بعيدًا عن الآخرين خوفًا من تعليقات الأقران السالبة أحيانًا، حيث يسود التوجس، والرهبة، والتخوف.

Other Resources:

1-Teacher's Toolbox.

2-Rediscovering Curiosity, Imagination,

and Humor in Learning.

3--Writing for the Reader: A problem-

solution approach.

4-STEM Education.

5-Teaching Vocabulary communicatively.

6-Teaching Grammar communicatively.

7-CPD for Technical and Vocational

Education.

8-Inquiry-based learning method /