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Promotion of speaking skills through drama technique

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Promotion of speaking skills through drama technique 1

C O N T E N T S INTRODUCTION …………………………………………………............... 5 CHAPTER I . THE THEORY OF EDUCATIONAL DRAMA …………52 1.1. Effective strategies and activities to develop language skills through educational drama techniques……………………………................... 2 1.2. Advantages of Role-play, Simulation and Hot Seating in Language Education……………………………………………………………… 2 1.3. Disadvantages and drawbacks of Role-playing . ..…………………... CHAPTER II. EDUCATIONAL DRAMA AS A COMMUNICATIVE TOOL TO EXPAND LANGUAGE AWARENESS AND PERSONAL DEVELOPMENT ……………………………………………………………. 2.1. Motivation of speaking skills through drama technique ………………. 2.2 . Teachers' competences, roles and responsibilities……………………… 2.3. The role of students…………………………………………………… … CONCLUSION ………………………………………………………………. REFERENCES ............

needs in training bachelors and masters, achieving consistency of the range of educational and training directions, improving the employability of graduates of higher education institutions as well as structural changes in the economy introduction of medium-term targeted programs of implementation, modernization, technical and technological re-equipment and diversification of sectors, and for complex socio-economic development of territories were considered 1 . Huge tasks are set before teachers of English language; teachers became one of the main subjects of educational reforms. Therefore, if a teacher is open to welcome new pedagogical innovations, he can provide goal-oriented introduction of innovative ideas into educational process. Lately, range of significant official acts was issued

The subject of the research: learners and teachers in educational drama treated classes. The tasks of the qualification paper have been settled so that to achieve the aim. They are: - To study, analyze, and sum up the role of independent study skills in learning foreign languages; - To analyze the major results achieved in the studied field; - To prove the idea of importance of enhancing B1 autonomous study skills. The following methods of inquiry was used in research work: a critical analysis of contemporary literature on drama technique. The methodological ground of the research work consists of the theoretical issues and scientific articles of scientists and linguists in the sphere of linguistics, methodology, psychology, socio-linguistics etc. The research is founded on fundamental wor

The introduction covers actuality , the aim, practical and theoretical significance, object and the subject, methods of research and the structure of the research. Chapter I deals with the theoretical part of the research as different strategies, advantages and disadvantages of drama technique. The role and responsibilities of teacher and students’ role are given in Chapter II of the work. The findings of the research are given in conclusion. References indicate the scientific issues, articles and thesis that were used in doing research work. CHAPTER I. THE THEORY OF EDUCATIONAL DRAMA . 1.1. Effective strategies and activities to develop language skills through educational drama techniques. Learning language is a long way, it is a hard process and it demands effort and patience. In most c

problem is reluctance or lack of motivation . In teaching a foreign language it is necessary to think over the motives which make learners speak. Subsequently, educational drama shares many of the language acquisition theories that make acquiring speaking skills easy and successful, and it also emphasizes the communication skills and meaningful input required. In order for successful language acquisition to occur, 3 call for the need to express students' own ideas and opinions in the target language. Aski 4 (2003: 62) explains that students need opportunities "to interpret and express real-life meaningful messages, negotiate meaning, and exchange information". According to Asher 5 , both L1 and L2/FL learning pass through three stages: a silent period, the development of unders

context". Teaching which takes foresee, and a place in the classroom is described by Harmer as "an interactive process, primarily involving classroom talk, which takes place between teacher and pupils and occurs during certain definable activities" 9 . So far, Coil put forward that "... teaching is fundamentally a social process involving communication and interactions between at least two people, a teacher and a student" 10 . In a meticulous review of the EF language acquisition theories, the researcher compiled the following pillars to be taken into consideration when utilizing educa- tional drama to promote EFL students' speaking skills: • Learning through interaction and social involvement with the help of the teacher. • Comprehensible input and agreeable condit

the classroom is dominated by the teacher while the student in the class is doing "the same thing at the same time and in the same way". Educational drama focuses on meaning and oral expression. This is supported by Krashen's theory that a FL is most successfully acquired under conditions similar to those of L1acquisition in which the focus of instruction is on meaning rather than on form and where there is plenty of opportunity to use language meaningfully. However, drama techniques go a step further because they also centre on other meaning conveyors, such as grammar structures, pronunciation and intonation 12 . Hot seating will help with the personal and social development: • Be confident to try new activities, initiate ideas and speak in a familiar group. • Maintain attenti

and extensive cognitive processing”. 13 Students draw their own meaning from these experiences while learning from their mistakes and also from each other. The students also build upon their previous knowledge and use their new knowledge in a situation separate from the activity in which they learned it. Furthermore, the teacher is now able to make observations on each student and see what areas the class or individuals are struggling with or excelling at as well as the social dynamics of the group. “The learning process should be interesting, easy and it should be fun to learn. It also should fit with an everyday task and the working environment in order to achieve optimum results”. 14 Performing roles allow for creativity, independence and higher order thinking. Usually, questions posed

dinner?” As foreign language learners, it is important that they are provided with scenarios that are as realistic as possible. In order for successful language acquisition to occur, Aski, call for the need to express students' own ideas and opinions in the target language. Aski explains that students need opportunities "to interpret and express real-life meaningful messages, negotiate meaning, and exchange information" 15 . According to Asher (1982: 128), both L1 and L2/FL learning pass through three stages: a silent period, the development of understanding, and a readiness state. Therefore, any foreign language teaching strategy should follow the biological program. In other words, it should develop comprehension before making the student speak. Although studies indicate some

fundamentally a social process involving communication and interactions between at least two people, a teacher and a student". 17 In a meticulous review of the EF language acquisition theories, the researcher compiled the following pillars to be taken into consideration when utilizing educational drama to promote EFL students' speaking skills: • Learning through interaction and social involvement with the help of the teacher. • Comprehensible input and agreeable conditions of learning. • Motivation and the affective filter. Subsequently, educational drama shares many of the language acquisition theories that make acquiring speaking skills easy and successful, and it also emphasizes the communication skills and meaningful input required. Also, research has shown drama to be a succes

language meaningfully. However, drama techniques go a step further because they also centre on other meaning conveyors, such as grammar structures, pronunciation and intonation. Besides, Richards and Renandya 19 introduce twelve principles concerning the acquisition of EFL. They pinpoint some such as motivation, meaningful learning, self confidence and risk taking as major pillars of a successful learning. When learners experience meaningful learning, they are led towards better long- term retention than rote learning. 19 Richards, Jack (1985) "Conversational competence through roleplay". RELC Journal l6:1, pp.82-100. 12

1.2. Advantages of Role-play, Simulation and Hot Seating in Language Education Drama has the potential to lower English language learners affective filter, helping them lose their inhibitions and overcome their fear, shyness and anxiety. Crookall 20 put in plain words that educational drama is an engaging activity that can increase motivation and cause students to be so involved in the action and forget that they are actually learning. By sharing educational drama strategies, students' motivation, self-esteem, the realistic appraisal of themselves and willingness to become gamblers in the game of language play a role to go beyond their absolute certainty. (Stern, 1980; Coleman, 2005; Stinson and Freebody, 2006) studies claim that drama helps ESL students gain self-confidence and that t

question & answer. Task based activities focused on the participation of each individual class member in a social setting. Studies have revealed that when students participate actively in class through educational drama, their academic achievement seems to be higher than that of those who are passive in class. Harmer summarizes in her study that "interaction involves participation, personal engagement, and the taking of initiative in some way, activities that in turn are hypothesized to trigger cognitive processes conducive to language learning". 22 Schmitt (2002: 116) denotes that languages can be unconsciously acquired through conversation and exposure to 'comprehensible input', based on the notion laid out by Krashen and SLA theorists. Hedge (2004:12) claims that for bei

are environmentally enriching as a means of promoting higher mental functioning. Therefore, the teacher enriches the children's environment by bringing them to educational drama techniques. McMaster presents strong arguments for the benefits of drama in developing language skills. She adds: "Children involved in drama activities are constantly experimenting with different ways of talking, which leads to a higher awareness of the variations in language". Bodrova underlines that through dramatization, the children in the class receive constant scaffolding as they shifted from functioning at the lower limit of their ZPDs (performance without assistance) to the upper limit (i.e., a higher level of performance with assistance). Willis proposes "that strategies promoting active l

role of literature course in providing occasions for participation in advanced speaking functions. According to Mantero (2002:182-183) when questions have only one right answer, students are not able to consider alternative points of view. Thus, the foreign language teacher's goal should be to create a sense of reality or facilitate situations of real communication by following the communicative approach. To conclude, the researcher believes that EFL can be acquired through the application of language acquisition tenets. As challenging as it may be to utilize the pillars of those theories, educational drama seems a rewarding strategy. ED represents thoroughly those theories and reflects their notions in prompting speaking skills. To do educational drama, the rewards in terms of sociali

• Role-plays, simulations and hot seating have the effect of psychological inoculation; Their role in reducing anxiety and inhibitions when the learner has the opportunity to use language outside the classroom" • Increasing motivation as Jones (1982) and Stern (1980) affirm that they increase students' and teachers' motivation, especially for those in EFL situations that might see English as a deferred need at best. • Helping the learner to confront and identify with the target culture as well as learning about cultural differences between the target language and the mother tongue. As it is assumed by the students that most Asian and English have the same cultural functions, until they are given the chance to discover otherwise. Most of scholars find role-plays a good technique

themselves". This explains why students are likely to lose their inhibition and shyness through the three techniques. • Role-plays, simulations and hot seating help in promoting proficiency especially on the oral test. These students also became more confident and less inhibited in speaking English, as well as more willing to take part in interactions in English. They encourage the production of utterances that are unpredictable and generated by context • Role-plays, simulations and hot seating allow for the classroom setting to be expanded and its limitations to be overcome. Savignon (1997:187), Guntermann, (1980); Littlewood, (1981) and Purcell (1993) confirm that students explore • situations that would otherwise never come up in the classroom". They encourage freer use of langu

involvement, students are motivated to learn. Therefore, role-play can also promote cooperation and competition in class which stimulates every student to learn. 4) Additionally, McMaster posits that they dismantle the normal teacher-student relationship so that students take control of their own destiny within the simulation, leading towards "declassrooming" the classroom. 5) They create low-anxiety learning environments for students. Ladousse (1987: 16) comments that role-play provides a mask for students and encourages them to feel liberated in performing. Chesler & Fox (1966: 14) claim that while doing role- play (also other drama techniques), the students can participate both in action and speaking. They will engage in the class activity instead of sitting or standing still. T

emerging. Littlejohn (Ibid: 128) puts in that "simulations will show us how the student actually performs". This also is applied to the rest of the educational drama techniques 1.3. Disadvantages and drawbacks of Role-playing. In spite of all the advantages attributed to the use of the three techniques in language classrooms, there are also drawbacks that can limit their effectiveness: more practical problems with incorporating the techniques: 1) the lack of classroom space; 1) cost of a lot of classroom time, students' play acting, chaos in the classroom; 2) the lack of grammar work; and 3) lack of enough opportunities to participate. 4) Operational problems of preparation, implementation and assessment. • The noise level. • The difficulty some students have in carrying out ce

a real-life situation, which is a more natural and relaxed setting. Kember 30 states that "role-play first of all is not and cannot be a realistic situation". • A negative role of the audience as it is difficult to involve the rest of the class while a small group of learners act out their roles. • Role-plays, simulations and hot seating may lead to embarrassment concerning grammar mistakes. Thus this might allow less motivated students to withdraw from participation. According to Smith, promoters of role-play "...may have set their goals too high", and role-playing may not be as effective as the theory suggests. • They allow students to misunderstand and misuse new vocabulary and structures • They leave teachers feeling ineffective or excluded. • They work best with alread

• Conduct the presentation stage via English language. • Ensure that the Role-plays, Simulations and Hot seating are of relevance and interest to the students • Form pairs and groups with mixed or differentiated levels of ability depending on the students' needs. • Monitor the groups' language and participation levels during the role-play, simulation and hot seating. • Deliver ongoing feedback and remedial work on observations taken during monitoring. In summary, even though role-plays, simulations and hot seating pose some unique features to promote the development of speaking skills, these techniques have drawbacks that may jeopardize their success. On the one hand, they allow students to use the English language in a non-threatening situation and promote cultural understanding.

CHAPTER II. EDUCATIONAL DRAMA AS A COMMUNICATIVE TOOL TO EXPAND LANGUAGE AWARENESS AND PERSONAL DEVELOPMENT. 2.1. Motivation of speaking skills through drama technique. (Role-playing, Simulation and Hot seating and Speaking Skills) Researches point out that the teacher dominates the entire conversation in the classroom settings. Role-play, simulation and hot seating activities can compensate for the limitations of the traditional teacher-dominated language classroom. They provide students with a variety of conversational models between different roles and this changes the class to student-centered. It is apparent that there is a little room for genuine communication to occur inside the classroom. Scarcella and Crookall 32 argue that since the teachers determine the whole speaking process,

conversational control and allowing other language models to be introduced and experienced, role-play, simulation and hot seating serve as effective speaking activities which make the language class student-centered and self-learning initiated. Besides, Richards and Renandya introduce twelve principles concerning the acquisition of EFL. They pinpoint some such as motivation, meaningful learning, self-confidence and risk taking as major pillars of a successful learning. When learners experience meaningful learning, they are led towards better long-term retention than rote learning 34 . According to scholars Educational Drama serve as effective speaking activities which make the language class student-centered and self-learning initiated. Here given some statements related to educational dra

English Language requires serious research for alternative techniques that may improve our students' achievement level that is the educational drama. In addition, Bird claim that drama methods have not often been included in teacher training as a core principle of teachers' development, so it is of great importance that in-service training institutions and programs offer workshops or even a real training course on the use of drama techniques in language teaching 37 . DICE Project (2010) provides a definition of drama as a shared experience among students where they suspend disbelief and imagine and behave as if they were other than themselves. Holden points out that "Drama applies to any activity which asks the students to portray himself in an imaginary situation; or to portra

dramatization, role-playing, simulation, hot seating, improvisation, theatre games, process drama, and play production. First and foremost, as McCaslin, Kao and O'Neill assert that educational drama offers an unpretending opportunity to practice speech. It puts forwards a built in motivation to express themselves and be understood as it entails interacting in English and making full use of the various features of oral communication. DICE project states that "Drama is more concerned with providing the child with lived-through experience, with the enactive moment, rather than with performing the rehearsed moment. It moves along an educational continuum that embraces many forms, from simple role play that is very close to child's play to fully-structured sharing (including showing

medium to improve speaking skills in classroom settings. However there is also a deeper concern and a wider potential in educational drama: to connect the ways of thinking and emotions to build new attitudes, to explore and reflect on traditional methodologies and try out new ideas, acquire new knowledge, create new values, and build self-efficacy and self-esteem. Seven reasons are identified by Burke and O'Sullivan 43 (2002) to incorporate drama in the foreign language classroom : 1. Teachers and students can concentrate on pronunciation. 2. Students are motivated. 3. Students are relaxed. 4. Students use language for real purposes. 5. Risk-taking equals heightened language retention 6. Community is created. 7. Students and teachers can approach sensitive topics. The researcher linked

techniques in the teaching of English for specific purposes", concludes that learning through drama helps to develop the four main language skills. Moreover, Mattevi (and Makita-Discekici posit 45 that the use of drama in an English class not only enables English teachers to deliver the English language in an active, communicative, and contextualized way but also equips language teachers with the tools to create realistic situations in which students have a chance to learn to use the target language in context. Nonetheless, Cusworth & Simons and O'Neill 46 agree upon the following points: * Drama is seen as a process for engaging in learning both emotionally and cognitively. Reeve claims that "when engagement is characterized by the full range of on-task behavior, positive emot

understanding and language into the zone of proximal development (ZPD) through shared activities. It enforce students to share in acting in role plays, simulations and other techniques getting them practice new patterns of language. B- Promotion of Speaking The benefits of drama techniques or educational drama to speaking development are extensively acknowledged. According to Hamilton and McLead , drama is beneficial especially to speaking development. Wessels adds that drama can reinforce a need to speak by drawing learners' attention to focus on creating dramatic situations, dialogues, role plays, or simulations. Educational drama focuses on meaning and oral expression. Drama techniques focus on other meaning conveyors, such as grammar structures, pronunciation and intonation 48 . C-

Approximately at the same time, Davis & Behm, cited in Mages, endeavor to state the role of drama in which participants are guided by a leader to imagine, enact and reflect on human experience". Gauweiler asserts that through drama students could be encouraged to imagine, discover, and create alternate realities. F- Self advocacy and self-awareness Szecsi 49 refers to the ways in which drama can help to develop self- advocacy and empowerment in individuals. He suggests that through drama techniques, children become empowered with knowledge, skills, and attitudes about themselves and the world around them. Porter (1989: 4) also speculates the idea that different contexts within drama would offer a range of different communication possibilities, enabling participants to develop a greater

on English teaching by means of drama techniques. They affirm that language acquiring happens in a particular sequence (silent period, understanding and then speaking). Therefore, any foreign language teaching strategy should develop comprehension before making the student speak. Sole determines that comprehension should be developed through body movements and hours of exposure to the target language. Therefore, following this idea, the starting point of any adequate instruction of a FL should be focused on creating the feeling of reality through a drama technique and a mood of believability and relaxation. Moreover, McMaster puts forward: Drama is an invaluable tool for educators because it is one of the few vehicles of instruction that can support every aspect of literacy and language de

• The teachers' personal beliefs and routines for the teaching of prep English. • Student response to instruction and the teachers' interpretation of the student response. • Other colleagues' perception of ED and how to convince them of the benefits of using educational drama. This is called by Rodgers "tension which emerged due to differing visions of teaching". Those opposing visions make professional development a rare occurrence 51 . Educational Drama Techniques Drama techniques are defined as strategies to communicate or convey the intended meaning which involves a wide range of activities. Therefore, it is worth noting that these two terms will be used interchangeably throughout this study. Heathcote ; Wagner affirm that they are the everyday tools of the drama te

Role Play • In Cambridge International Dictionary of English, role play is defined as, "a method of acting out particular ways of behaving or pretending to be other people who deal with new situations. It is used in training courses of language learning and psychotherapy." A new understanding of role-play is offered by Ladousse by redefining it as "an educational technique, known to generate a lot of fun, excitement, joy and laughter in the language class as 'play' itself guarantees a safe environment in which learners can be as inventive and playful as possible" . Further, Andryani identifies role-play as a spontaneous, dramatic, creative teaching strategy in which individuals overtly and consciously assume the roles of others. It involves multi-level communication

situation which could occur outside the classroom. • Learners adopt a specific role in this situation. • Learners are asked to behave as if the situation really existed, in accordance with their roles". • "learners must negotiate in the interaction itself as it unfolds, each partner to the other's communicative acts and strategies" For communicative competence to be best taught in class, Taylor ; Littlewood and Scarcella & Oxford believe that teachers should "... provide students with exposure to and interaction in the diverse registers they need to know". 52 In their opinion, one of the ways is by using role-plays in the classroom. They added that role-plays ".bring the outside world into the classroom", and limitations imposed by the classroom are overcome

Gauweiler explains that because simulations are related to the field of drama, they share some of the traits of drama such as characterization and invention. Through concrete experiences, students process abstract concepts and issues. So far, he determines that simulations present opportunities to examine values and increase decision-making skills. Essentially, a simulation has three characteristics: 1. A reality of function which means the participants in a simulation must step inside the role they have accepted and act accordingly. 2. A simulated environment where there is no contact with the real world. • 3. A structured environment where the participants have all the facts and information provided for them Simulations in the Classroom Simulations are a type of experiential language lea

participants in assumed roles." There does seem to be some agreement, however, that simulation is a broader concept and more elaborate than role-playing. In simulation students retain their own personas and are not required to pretend to be someone else, while in role play one student might be told his/her role. Besides, Wagner affirms that role play is a component of a simulation. For the center of all dramatic exercises, role play cannot be extricated from the simulation. Raz highlights the difference that simulation unlike role-play exercises where the participants are told 'You are angry', 'You are obstinate', 'You are weak', a genuine simulation does not try to control the behaviour-behaviour depends on the participant and is real, not assumed". Therefo

group about his or her background, behaviour and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analyzing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The technique is additionally useful for developing questioning skills with the rest of the group. Hot seating techniques can be employed to serve various purposes, subsequently; Hyman (1979) and Borich (2004) mention some purposes including: (1) it helps let other people know more about the character. (2) it creates interest and motivate participation in a class, (3) it encourages students to express their thoughts or ideas as well as to help them clarify their th

Richards 54 mentioned the following roles: • A thorough knowledge of the methodology • Sensitive to individual and group behavior • Self-knowledge, maturity and balance. • In addition to the above mentioned competence, teachers should also be thoroughly clear about what roles and tasks they have in role-play and simulation implementation. Teachers' Roles In order to create play environments and improve children's speaking skills; Roskos 55 provides the following list of the roles of teachers in running role-play. Role-play shares with all simulation and hot seating activities in concept of the teachers' roles. The roles of teachers in role-play, simulation and hot seating: 1) Onlooker: Appreciates ongoing drama, nods, smiles, etc 2) Stage Manager: Gathers materials, makes props

1) Preparation: Choose a relevant situation; determine roles and assemble information. 2) Briefing: Outline educational purpose; declare situation and roles, give opportunities for role-takers to establish their own intra-personal information; make arrangements for the setting-up of the role-play. 3) Interaction: Support role-takes and draw attention to the aspects of interaction 4) Discussion: Identify different learning points; help students put interaction into perspective, encourage each student to participate and help members appreciate the insights and skills necessary for the effective playing of roles in real life situations similar to the simulated ones. Surely, O'Sullivan asserts that achieving success in teaching language is best acquired by the utility of role-play when: •

 Adaptation of the classroom environment by organizing the room and gathering resources. As simulations represent real-world scenarios, materials should simulate the materials that would be used in the real world. 2- Introduction or Getting Going : • Tasks, roles and background are introduced. • Students engaged in information collection task. • Useful lexis, structures, discussion strategies are provided. Information should be kept as brief and simple as possible to avoid confusion, but can be given as homework texts or in the native language to help speed understanding of what is involved. • If possible, it is worthwhile watching a simulation in action before having a go. 3- Managing the Activity: • Students produce and interpret language on their own as the teacher withdraws. Ramos (20

• Provide systematic and constructive review, share students discuss the tactics employed, assessment of the performance, analysis of the language used, errors and further linguistic input. 5- Assessing Students : Generally, assessment will be based on how students have performed on individual tasks and on their participation and contribution to the group effort. • As the product of the simulation is a joint effort, a group mark can be allocated to each member, or the group itself can be asked to fairly share an allocated mark among its members. In other cases the quality of the student's work on task, the effectiveness of communication, the degree of participation, and the appropriateness of the group solution to the activity can provide a basis for assessment. C- Conducting hot seati

• It is important that the rest of the groups are primed to ask pertinent questions. • Don't get bogged down in facts during hot seating, but concentrate on personal feelings and observations instead. In conclusion, Educational drama has a propensity to help shoulder the burden of having a competent speaker. It plays a fundamental role in accelerating acquiring the students the anticipated outcomes of building a positive, enthusiastic outlook, embracing a tendency towards the utility of educational drama and innovation. The researcher advocates the role of educational drama in raising the speaking skills as well as raising commitment and dedication and excellence. It is not a bare medium for respect and empathy towards others but also a tool for engagement in collaborative partnership

their background and learning approaches are usually different. Some students want to follow a coursebook, and they are contended with what the teachers gives them. They prefer being dependent on the teacher and the rules rather than learning through communicating with others in the class. This the traditional role of the students and these students are usually regarded as the worst learners. An ideal language learner wants to participate in the activities and in the teaching programme enthusiastically, and work independently of the teacher. In addition, in his new role the learner can participate in choosing the activities. The learner can also evaluate the activities by stating his own opinion and talk about which activities they like. Such students can work in pairs or groups with littl

groups, third presenting solutions to another group or the whole class, and fourthly discussing the solution in groups or with all members of the class . Revell points out that "as the students progress they are required to supply more and more of the dialogue themselves, until finally they are interacting with each other with nothing but a photograph or a role-card to guide them". Students, more or less, share the same expectations, but they have different backgrounds and may have adopted different learning strategies. The ideal language learners' approach to the learning situation begins with an open mind, continues with broad contribution to the teaching programme, and working independently of the teacher. The worst foreign-language learners are passive in contribution to th

cultures. Some of these concepts are marriage, weddings, music, sports, death, birth, jokes, songs, and stories 57 . Drama techniques is very fruitful to implement in language classes, especially for young learners. As we know y oung children use drama naturally. They are always in the land of make-believe: "this is our house, and this is the baby, she is just born and she has to sleep now". They assign roles and direct the action: "I'll be the mommy and I'm going shopping. You're the daddy; you have to go to work!" And they slip in and out of multiple roles: "now it's my turn to be the teacher". In short we can say that Dramatization motivates learners. Not only children, but also adult learners enjoy learning through games because games hel

dramatic activities should be explained to the learners in order to make them comprehend the gist of the activities, and carry them to the target-language culture. Thus, the learners may become familiar with the speakers' language and culture in authentic classroom milieu . Rivers comments that when learners meet new circumstances, they form new combinations by their creative power. If teachers provide learners with more opportunities for impromptu activities and spontaneous discussion that are referred to in actual situations, students can easily be exposed to the foreign culture because of the appropriate use of the foreign language they are learning. There is no doubt that learning a foreign language requires active training and practice. Bley-Vroman advocates the importance of inst

suggests that learners need the opportunity for meaningful use of their linguistic resources to achieve native-speaker levels of grammatical accuracy 60 . Some scholar assert that "participation in verbal interaction offers language learners the opportunity to follow up on new words and structures to which they have been exposed during language lessons and to practice them in context". Teaching which takes foresee, and a place in the classroom is described by Amidon and Hunter as "an interactive process, primarily involving classroom talk, which takes place between teacher and pupils and occurs during certain definable activities". So far, Stolurow and Pahel put forward that "... teaching is fundamentally a social process involving communication and interactions between

learners. This study uses these frameworks as a way to add to the literature on the uses of educational drama in English language instruction. In a scrupulous appraise, researches show a positive effect of drama on students' interaction, academic achievement, involvement, anxiety, self-confidence and motivation towards learning English. Ur 62 accentuates that the traditional teaching methodology does not promote optimal learning. Interaction in the classroom is dominated by the teacher while the student in the class is doing "the same thing at the same time and in the same way". Educational drama focuses on meaning and oral expression. This is supported by Krashen's theory that a FL is most successfully acquired under conditions similar to those of L1acquisition in which th

Culture is important aspect in language learning. The students may dislike the teacher's frequent change of role because of their cultural orientation or they may prefer play presentation instead of open-ended role-plays. Chang (1990-49) states in her article Using Drama to Teach English to Young Adults that Chinese students have been exposed to rote-memorization since their primary-school days. Thus, students consider this teaching technique as an important way of reinforcement. Drama activities do not stand alone in the classroom. They are usually performed after the teacher presents the necessary information about the subject. In addition, the teacher usually writes same useful expression on the role cards in a role play activity at the lower proficiency levels. Therefore, the teach

different levels as well as topics, so that students with different language proficiency levels can enjoy and gain the best results from them. Nowadays many researches have been conducted in order to work out the best and the most effective ways of using drama techniques in teaching communicative competence. In our research, we studied the ways of implementing these technologies for promoting communicative competence in EFL learners. As conducting lessons with drama techniques of improving speaking skills is important for teaching, we considered it actual to research. English teachers should be aware of the benefits and importance of drama and its techniques and all of them should try to use it in their classes to make their teaching more effective and to help their students use the langua

communication. Achieving this goal depends on the methods, techniques and activities that language teachers choose. It is the teachers' role to find the best way to make their learning more narural, more realistic and more fun. So teachers should be careful while choosing the techniques and activities. For the teachers looking for the most effective way of teaching drama activities are very suitable. Drama brings the real world to the classroom and helps to bridge the gap between real world and the classroom. Using the element of 'context', drama helps students learn saying the right thing, in the right place, at the right time. And it makes students aware of the paralinguistic aspects of the language. In language teaching, as communication depends on the use of a given languag

The data analysis shows that drama techniques have a positive effect on foreign-language learning. Students, through role play and games, experiences "real-life-like" situations in the classroom. The use of drama activities (role-play and simulation) in TESL can be used as an innovative method in language teaching. With the emphasis on the use of the Communicative Approach in language teaching, drama in the ESL classroom provides a meaningful way of learning the language. However, it should not be used in isolation but should be used in an integrated approach for language teaching. It should not be treated as a 'last resort' when all else fails. It should be part and parcel of the communicative classroom methodology in teaching English. Language learners may accept drama as

References 1. I.A.Karimov “Uzbekistan is on the threshhold of the XXI century”. Tashkent 1992.pp 1-5 2. Barrows, J. and Zorin James (1983). "Fifteen concise role-plays and how to use them". Forum 21:1, pp.23-27. 3. Bird, Allan (1972) "The use of drama in language teaching". ELT Journal 33:4, pp.290-96. 53

4. Crookall, David (1984) "The use of non-ELT simulation". ELT Journal 38:4, pp.262-273. 5. Dass, Birkam K. (ed.) (1984) "Communicative Language Teaching". (Anthology Series 14). Singapore: Singapore University Press. 6. Dougili, John(1987) Drama Activities for Language Teaching. London: Macmillan. 7. Early, M. and Tarlington C. (1982) "Off stage: Informal drama in language learning". ELT Documents 113. 8. Ellis, Rid, 1982. Informal and formal approaches to communicative language teaching. ELT Journal36:2, pp.73-81. 9. Fernandez, James (1984) "Communicative Methodology and the Malaysian teacher". Jurnal Pendidikan dan Pembelajaran, 1:1, pp.6-10. 10. Fernandez, L. and Coil, A. (1986) "Drama in the classroom". Practical Teaching 6:3, pp.18-21. 11. Gala

19. Livingstone, Carol (1983) Role-play in Language Learning. Singapore: Longman. 20. Long, M. and Castanos F.(1976) "Mime in the classroom" Practical Teaching 6:3 pp.18-21. 21. Maley, Alan (1983) "A room full of human beings". Guidelines-Drama, 5:2, pp.1-12. 22. Maley, A. and Duff, A. (1978) Drama Techniques in Language Learning. Cambridge: Cambridge University Press. 23. Medges, Peter (1986) "Queries for a communicative teacher". ELT Journal 240:2, pp.107-112. 24. Mordecai, Joyce (1985) "Drama and second language learning". Spoken English, 18:2, pp.12-15. 25. Moss, W.E. (1971) "The play's the thing". ELT Journal, 25:2 pp.161-164. 26. Raj, Devinder (1984) "Communicative methodology". Jurnal Pendidikan dan Pembelajaran, 1:1 pp.1-5. 27. Ri

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