Филология.

Методика преподавания языка и литературы.

Dovzhenko O.A., Solovey M.S.

Sumy National Agrarian University

Methodological and Linguistic Advantages of Role Play

Reading 'good' literature, is still considered to be an integral part of any demanding English syllabus which tries to offer the learner's meaningful and authentic reading material. Literature in this context is taught not only for its own sake but as a sort of prompt to encourage students to think and speak in English.

A standard approach. Most teachers try to depart from question-and-answer techniques, because it is hard for them to keep asking genuinely open-ended questions, and students can easily feel that the teacher is directly or indirectly imposing his or her view of the text in question.

One variation of this standard approach has, however, proved successful. Тeachers get students themselves to ask questions about the text they have read. This not only gives them practice in asking relevant questions—which they will have to learn for their studies—but also enables them to take their own interest in the text. The questions are then discussed in groups. When this variation works well, it can be very satisfying for teachers to hear classes actually speaking the foreign language. The work can include asking for and expressing opinions, agreeing and disagreeing, expressing personal insights, giving examples, and so on. At best, the approach helps students to deal with texts sensitively.

On the other hand, teachers will be aware that in this situation some students do much more talking than others: some students, though diligent, may appear to be somewhat passive. Asking students to ask questions about the text favours a rather intellectual approach, which does not necessarily tap all students.

A different approach. What are the alternatives? Solutions are relatively accessible, though, eliciting a complete response can be difficult.

Setting up the activity

Step 1: An empty space is provided in the centre of the classroom. Step 2: An (inner) circle with nine chairs is formed. Step 3: Eight chairs are each marked (with a big name tag) with important character from the novel, the ninth chair is left empty—this represents the 'Joker'. Step 4: Eight pupils are assigned one of these roles and take a seat in the 'inner circle'. The rest of the class stand around these chairs in an outer circle.

Instructions to the students

Number 1: The pupils on the chairs are told that they have to take the roles of these characters. They are expected to talk about their lives with each other. Number 2: The pupils standing around this inner circle are informed that they can take part in the discussion at any given moment by simply tapping on the shoulder of one of the characters and taking his or her seat. They can also sit on the empty chair – the Joker – and take on the role of any other character in the novel.

The activity then starts. Once the seated pupils begin, there is no more need for the teacher to intervene with the inner circle. It may be necessary, however, to encourage pupils in the outer circle to relieve one of their colleagues. More passive students can be assigned a role and sent into the inner circle. In this way, the teacher can indirectly steer and influence the course of the talk in the inner circle.

Methodological advantages. There is no direct teacher intervention. Once the pupils grasp the idea, the activity keeps going 'automatically' for a whole lesson. Students help each other to formulate what they want to say. The atmosphere is merry and relaxed. There is genuine interaction among the pupils. Student participation is extremely high. Even normally very passive pupils put themselves forward spontaneously. There is a high turnover of pupils adopting the same role. The characters ask each other about the motivations behind their actions in the story and pupils discuss the importance and the functions of the characters in the story. The presence of the author is also very stimulating. The Joker (empty seat) is important. It is a means of ensuring the constant influx of new and unforeseen ideas to which pupils have to respond spontaneously. It allows for creativity and inventiveness and calls for even more rotation among the participants.

Linguistic advantages. The English used is more natural and more real than can normally be heard in a classroom. Pupils ask follow-up questions for clarification. The whole style is closer to colloquial English. There is variety in the registers used, from formal, standard English to 'bloody Dixon'. The students speak fluently and actively use words learnt from the text. A number of different speech acts occur, similar to the ones observed in the 'standard' approach; the students (all of them) express opinions, agree and disagree, give examples, and so on.

Dealing with mistakes. Of course, the students make mistakes and should note these down for further language practice. But a discussion of a literary work is not the time for systematically insisting on linguistic accuracy. What counts is the quality and quantity of the communication between the pupils, and these are what this activity has helped them to practise.

Students' reactions. Students say that it is a most enjoyable activity. They like the completely different approach and the fact that it gives them a framework within which they are able to respond as they please. In particular, less talented actors are able to make a contribution because they can choose whether they just want to speak the role or to act it out with mime and gesture.

Conclusion. The standard approach of questioning and discussion serves well, yet this method of intellectual analysis clearly has its deficiencies. That is where literary role play can add a new dimension to the foreign language classroom. It involves the pupils emotionally, prompts them to use more natural language, and is particularly effective in that it facilitates fluency. It does not replace other ways of dealing with literature in the language classroom but forms a useful addition to the repertory of the foreign language teacher.

To sum up the basic idea, there is an 'inner circle' of pupils who are performing a linguistic task without any direct intervention by the teacher. The pupils in the 'outer circle' replace or relieve the participants in the inner circle. It is clear that this kind of set-up can be applied to other areas of teaching English literature, such as teaching plays and poems.