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Robin Reid FINAL PROOF January ! ! ! ! Theatre as TBLT ! The implementation of theatre in a high school EFL Oral Communication course in Japan ! ! ! by ! Robin David Reid ! ! A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy (2015) ! ! ! ! This research was made possible, in part, by two research grants from the Faculty Research Committee, Faculty of Humanities and Social Sciences, Victoria University of Wellington ! ! ABSTRACT! Task-based learning and teaching (TBLT) has garnered growing interest from educators in EFL contexts around the world, particularly in East Asian classroom contexts such as Japan where prominent entrance examinations can exert a strong influence on pedagogy (Wada, 2002; Stewart, 2009). Aiming to increase communicative practice during class in such contexts, implementation of TBLT has yielded mixed results and some have questioned the ability of TBLT to achieve its objectives given the institutional constraints present in those contexts (Carless 2004, 2007, 2009; Butler 2011; Sato 2010, 2011). Most of these studies explore pedagogical tasks of a more conventional nature and overlook how holistic activities from other disciplines outside of language teaching can function as legitimate examples of TBLT. The current study nominated theatre as one such holistic activity and examined the implementation of theatre as a form of task-based pedagogy, following the study of Carson (2012). The theatre tasks were designed to fulfil the criteria for creative tasks, as described by Willis (1996) and the present study investigated to what extent theatre could promote language learning within such a task-based approach (e.g. Ellis 2003, 2009; Shekan 2003; Samuda & Bygate 2008). The main study was quasi-experimental in design and investigated whether two types of theatre tasks could function as viable instructional packages. The theatre tasks were either a theatrical adaptation of an existing story (Adapted Play) or an original story based on one of three provided themes (Original Play). These two tasks were distinguished by the different amounts of conceptual creativity that they required, with the Original Plays identified as more difficult due to their greater creative demands. Three aspects of these tasks were analysed: 1) the process of collaboratively devising a play; 2) the effects of task difficulty on the language produced in the task performance; and 3) the students’ reflections on their engagement with the tasks. The implementation of these tasks occurred during regularly scheduled Oral Communication (OC) classes at a high school in Japan. With a counterbalanced design, groups of six to seven students performed one of the tasks in the first study and then, "2 after a period of ten weeks, performed the other task. Either task consisted of approximately 100 minutes of planning and rehearsal, spread out evenly over four class periods, and culminated in a staged performance during a fifth lesson. The data compiled for analysis was taken from audio and video recordings of both group work in class and the final performances of each group, as well as post-task surveys administered to each student individually after each study. The main findings of this analysis were: (1) students in the Adapted Plays produced more fluent and syntactically complex language while students in the Original Plays produced less complex but more accurate language; (2) the Adapted Plays featured more use of overt narration which influenced the fluency and complexity of those plays; (3) student reflections from their post-task surveys indicated that the collaborative element of the tasks increased intrinsic motivation for completing the task; and (4) less initial demands on conceptual creativity in the Adapted Plays appeared to free up time later in the process to compose longer stories, though the frequency and quality of language related talk did not differ noticeably between the two play types. Based on these findings, two points can be argued. Firstly, the Original Play tasks put increased demands on students’ conceptual creativity. In relation to this, the provided content of the Adapted Play tasks acted as an ‘embedded scaffolding’ (Shapiro, 2008). Secondly, theatre, envisioned as a creative task within a TBLT framework, satisfied the criteria for a task (Ellis, 2003) but raised issues regarding the constructs of planning and report found in the ‘task cycle’ of Willis’ (1996) pedagogical framework. ! ! "3 ! ! ACKNOWLEDGMENTS This thesis is the culmination of many years of work and play. I have written this by my own hand, and spent countless hours “in the dark” to do so, but I am indebted to numerous people who have all provided assistance and support to me during this research study. First of all, I would like to thank my thesis supervisors, Dr. Jonathan Newton and Dr. Frank Boers of Victoria University of Wellington for their guidance, patience, expertise, and humour. It would never bode well if academia was truly a vacuum of mirth and I deeply appreciate the supportive relationship, constructive criticism and invaluable advise they have provided me during the past three years. I extend a deep thanks to the three examiners who took time out of their already busy lives to review this thesis and provide critical advice and commentary on the integrity and quality of the work. Without communication between scholars within different fields of expertise, one’s ability to do research would likely only extend as far as his or her arm could reach along the bookshelf. I owe a deep thanks to my fellow colleagues and office mates (who I also consider dear friends) Shaun Manning and Behnam Soltani. I greatly appreciate the many hours of stimulating conversation, funny jokes, and good food that we have been able to share as we alternated frequently between encouragement, celebration, and commiseration. I would also like to thank Shota Mukai, Tomomi Yoshina, and Maiko Koizumi for their friendship and assistance, to varying degrees of tedium, with matters of Japanese translation and culture. I also need to extend a big thanks to my co-teachers and colleagues at my host institution in Japan for their support with the research, and I heartily extend a big, wide thank you to all of the students who agreed to participate in my study. They are such a wonderfully diverse cast of characters. Without their involvement in this project, my project would have been just an empty stage. I thank my good friends Bob and Carla Sturm, Holly Rawls, Elisha Griego, Myles Perry, Sergio Laureno, Sean Elliott, and Annie Wright (now passed on): for staying in touch all "4 this time, taking interest in what I do, listening to my inane (and often grumpy) ramblings, and providing a familiar refuge for good conversation. Basically, all the things good friends do. I thank my brother for being the great older brother that he always has been. It’s good to have had a role model in life that also shares many of the same interests and hobbies. Last, and most importantly, I thank my mother and father for their support that has never wavered since I have been in this world. Without their love and encouragement, it is nearly impossible to imagine where I would be today. "5 TABLE OF CONTENTS! ABSTRACT 2 ACKNOWLEDGEMENTS 4 TABLE OF CONTENTS 6 LIST OF FIGURES 9 LIST OF EXCERPTS 10 LIST OF EXTRACTS 11 LIST OF TABLES 12 CHAPTER ONE: INTRODUCTION 13 1.1 Background 15 1.2 Objectives 18 1.3 Personal statement 19 1.4 Significance of the study 20 CHAPTER TWO: LITERATURE REVIEW - THEATRE 23 2.1 Background 23 2.2 Rationale for theatre in education 27 2.3 Theatre and L2 learning 36 2.4 Chapter summary 42 CHAPTER THREE: LITERATURE REVIEW - TASKS and TBLT 45 3.1 Pedagogic tasks 45 3.1.1 TBLT in East Asian contexts 53 3.2 Tasks and Second Language Acquisition research 56 3.2.1 Task design features and their effects on language production 58 3.2.2 Learner interaction during tasks 63 3.3 Relevant studies 68 3.3.1 Task planning 69 3.3.2 Narrative tasks 73 3.4 Chapter summary 76 CHAPTER FOUR: METHODOLOGY 79 4.1 Research questions 79 "6 4.2 Participants 81 4.3 Measures 82 4.3.1 Qualitative measures (task process data) 83 4.3.2 Quantitative measures (language production data) 85 4.4 Procedures 89 4.4.1 Trial tasks 89 4.4.2 Main study: Devised theatre tasks 96 4.4.3 Post-hoc qualitative analysis of task outcomes: Narrative strategies 107 4.5 Chapter summary 113 CHAPTER FIVE: TWO CASE STUDIES OF GROUPS DEVISING PLAYS 115 5.1 Summary of relevant methodology 115 5.2 Case study one: An Adapted Play 117 5.3 Case study two: An Original Play 142 5.4 Discussion 170 5.5 Chapter summary 179 CHAPTER SIX: LANGUAGE PRODUCTION IN THE FINAL PERFORMANCES 181 6.1 Summary of relevant methodology 181 6.2 Task outcomes: complexity, accuracy and fluency 182 6.2.1 Complexity 183 6.2.2 Accuracy 184 6.2.3 Fluency 186 6.2.4 Summary of results for complexity, accuracy and fluency 187 6.3 Overall theatrical quality of oral performance 188 6.4 Post-hoc qualitative analysis: Narrative strategies 190 6.4.1 Summary of relevant methodology 190 6.4.2 Analysis 191 6.5 Discussion 209 6.6 Chapter Summary 217 CHAPTER SEVEN: STUDENT PERSPECTIVES OF THE TASKS 219 7.1 Summary of relevant methodology 219 "7 7.2 Enjoyment of the task 220 7.3 Positive aspects of collaborative work 225 7.4 Benefits of seeing the performances of others 234 7.5 Creative demands of the tasks 237 7.6 Opportunities for language learning 249 7.7 Discussion 253 7.8 Chapter summary 255 CHAPTER EIGHT: CONCLUSION 257
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