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Romeo and Juliet in One Hour

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Romeo and Juliet in One Hour Classroom Techniques Judy Monthie-Doyum and Gülay Öztürk T URKEY Romeo and Juliet in One Hour n addition to offering variety to petence. The fourth-year students, lesson plans, the use of physical who were senior teacher trainees, had Iactivity in the classroom is par- developed both their written and oral ticularly beneficial when combined English skills but still needed practice with language learning. However, too to improve their self-confidence and often classroom activities lack real their oral presentation skills, as they “activity,” as they do not involve much were required to teach lessons in local action or movement. An excellent Istanbul schools. way to introduce action is through Objectives the production of a drama, a poem, or some other literary work. Students Enacting a stimulating dramatic will likely make concrete advances performance of a memorable literary with such a technique. work of art offers the opportunity to Based on experience teaching uni- select content that is highly relevant versity students in Istanbul, Turkey, to students, which increases the qual- we can recommend the following ity of their experience and challenges simple activity of introducing, per- the teacher to define specific educa- forming, and evaluating a classical tional objectives (Fleming 1994). The play for an EFL class. Although there objectives of this activity are (1) to are many wonderful works to choose develop cognitive skills to motivate from, the drama presented here is students toward the reading of classi- Romeo and Juliet, which we have cal literature in English; (2) to improve successfully used on numerous occa- students’ knowledge of second lan- sions. This activity has been used in guage vocabulary and pronunciation; first-year classes, which dealt with (3) to illustrate professional skills to English composition and language teacher trainees through a communi- awareness, and fourth-year classes, cative, interactive, and student-cen- which emphasized the use of literature tered activity; and (4) to enhance the in TEFL. The first-year students were personal skills of cooperative learning, pre-service teachers who were fairly oral participation, and the affective proficient in written English but had variables of motivation, confidence, not yet acquired adequate oral com- and self-esteem. 34 2006 NUMBER 4 | ENGLISH TEACHING FORUM 006-00046-0004 EETF_34_40_CX.inddTF_34_40_CX.indd 3344 88/17/06/17/06 77:56:42:56:42 AAMM Classroom procedure Step 2: Assignment of roles (5 minutes) The time needed for this activity will The teacher explains to the students that depend on several factors, including the size they are to interpret the action any way they of the class, the language level of the students, like in a three- to five-minute dramatization of and whether they are familiar with the work the act assigned to them. They are to use their to be performed. If students have read the imagination to create gestures and dialogue to play before, the play can be reviewed and the illustrate the events of the particular act they activity can aim for more lengthy and complex are to perform. They are reminded to incorpo- performances and a higher level of interpreta- rate at least one of the given quotes into their tion. If the play is being introduced for the first performance. Each group will decide which time, more schemata-building introductory students in their group will play which role. time may be necessary. Step 3: Rehearsal of the play (20 minutes) The following five-step activity is based on one session of approximately fifty minutes. Each group of students is encouraged to After being introduced to Romeo and Juliet, creatively imagine what kind of action their students receive scripts, discuss roles, rehearse, roles require and to rehearse their act to pre- and perform the play. pare for the performance of the drama. Props and costumes can be supplied by the teacher Step 1: Distribution of scripts (5 minutes) or created by the students themselves from The class is divided into groups according materials found in the classroom or school. to the number of acts in the play (five groups (An example of a prop “created” by a student: for Romeo and Juliet), with attention given to instead of a tiny, dainty vial for Juliet’s sleeping potion, a student found a huge bottle of indus- the number of characters appearing in each trial cleaning fluid that Juliet could hardly pick act. Each group receives a script that contains up, and the effect was very amusing.) Rehears- (1) the main characters and their roles in the al should last about twenty minutes, with the play; (2) the main events of each act sum- teacher walking around the classroom, helping marized in a few sentences; and (3) two or students with pronunciation, vocabulary, the three short quotes for each act, usually among interpretation of each group’s rendition, and the most well-known or important ones (see in general being an impromptu director. Appendix for the Romeo and Juliet script). It is important to emphasize here that These quotes are provided for the following this activity is not supposed to be analytical reasons: • or intellectual; it is dramatic, and students They give students a framework or are encouraged to imagine how Shakespeare’s anchor on which to base their interpreta- characters felt in a particular situation and to tion and eventual expansion of meaning represent those feelings and actions in their of the actions to be performed. own way. Through this activity, students will • They give students some contact with enjoy the text and will therefore be more will- the actual lines of the play, thus making ing to invest the intellectual efforts needed, in the experience more authentic and help- and out of class, to more fully comprehend ing them to more easily memorize some and appreciate the work. The teacher can of the most famous lines. explain the unknown vocabulary in the script, • They ensure that the students as audi- but the difficulties of Shakespeare’s language ence will listen more carefully to their should be smoothed over. Students can be peers’ performance to identify “real” encouraged to guess at interpretations, to use lines. their world knowledge to grasp the dramatic • They will help students to become more situations as quickly as possible, and to use aware of the rhythm, style, and manner their imagination to a great extent in deter- of expression in Shakespeare as opposed mining what Shakespeare meant in any given to modern, everyday speech, and hope- situation. fully, students will start to appreciate the The three main resources involved in the beauty of Shakespeare’s language in an activity are (1) the teacher, who is familiar implicit way. with the work; (2) the background knowledge E NGLISH TEACHING FORUM | N UMBER 4 2006 35 006-00046-0004 EETF_34_40_CX.inddTF_34_40_CX.indd 3355 88/17/06/17/06 77:56:43:56:43 AAMM the students will possess from their study of it, In six years of use in many classes, this unless the activity is used as an introduction activity has had very positive reactions from to the work; and (3) the students’ imagination both teacher trainees and the students in their and creativity complemented by the enthu- training schools, as well as from their teachers siasm of the teacher and the excitement and and mentors in those schools. This is evidence challenge of performing a whole drama in one that the use of drama helps develop profes- class period. The momentum should be fast, sional skills by showing teachers the benefits excited, and exuberant. of a communicative and student-centered activity that utilizes many important skills, Step 4: Performance of the play including those of cooperative learning and (20 minutes) professional oral presentation. Each group of students performs the play One reason for this success is because all for three to five minutes in class, act by act. people react to good stories, especially ones The non-performing groups are encouraged with meaningful action and relevant themes. to carefully observe the other groups’ perfor- Cockett (2000, 22) notes a simple but very mances and to listen for Shakespeare’s quotes; true fact: “Students have a sense of drama.” after each act, the class tries to identify those This sense of drama may be intensified, made quotes. more conscious, and channeled into improv- ing students’ overall English skills by studying Step 5: Evaluation of the performance and performing a play like Romeo and Juliet. (5 minutes) References The members of the class comment on the results of the performance, including the Cockett, S. 2000. Role-play in the post-16 language class: A drama teacher’s perspective. Language dramatization of the play summaries and the Learning Journal 22, 17–22. use of quotes. Then they choose the best group Fleming, M. 1994. Starting drama teaching. Lon- according to set criteria established with the don: David Fulton Publishers. instructor beforehand, which could include Wells, S., and G. Taylor, eds. 1994. The complete the effectiveness of the overall interpretation Oxford Shakespeare: Histories, comedies, tragedies. Oxford: Oxford University Press. by the actors, the use of gestures and dramatic voice, the amount of enthusiasm shown by the JUDY MONTHIE-DOYUM holds an M.Ed. from performers, and the smooth incorporation of the University of Georgia and a doctorate quotes. from the University of Paris, the Sorbonne, in Applied Linguistics for Foreign Language Conclusion Education. She has taught in the United This drama activity combines the use of States, France, and Turkey. She has authentic material with students’ improvisa- produced eight Shakespeare plays with tion to help them make a difficult literary the students of the Foreign Language work their own through interpretation and Education Department at Bosphorus University in Istanbul.
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