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ALL THE CLASS IS A STAGE Actor Training Skills for the EFL classrooms. Julian Armoa ANGLO ENGLISH, Asuncion, Paraguay. Biodata: Julian Armoa is a E.F.L teacher and works at ANGLO ENGLISH in Asuncion, Paraguay. He holds a B.A. in English Language from the I.S.L. (Instituto Superior de Lenguas) from National Univeristy of Asuncion. He has been teaching English for 10 years in private and public schools in Asuncion as well as institutes and universities. Presently he is working as a “Literature II” teacher at the Instituto Superior de Educacion (I.S.E.) and a Theatre teacher for Kids at the Culture Department from a local NGO. He studied Performing Arts (Theatre/Dance) at I.S.B.A. (Instituto Superior de Bellas Artes). He is an eager practitioner of Asthanga Yoga and Tai Chi. Abstract: This proposal aims at introducing physicality in the EFL classroom. This hands-on workshop will focus on physical theatre techniques (actor training skills) such as breathing (pranayama) , proxemics activites (the use of space and direction), weight exercises, coordination and equilibrium, kinesics as well as intonation, elocution (phonetics/public speaking exercises) and relaxation techniques. This presentation intends to give EFL teachers interesting and funny activities taken from the theatrical milieu to spice up their EFL classes. SUMMARY . ALL CLASS IS A STAGE. Warm up Why physicality in the EFL classroom? Discussion.

See the Boal Be the Boal

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Page 1: See the Boal Be the Boal

ALL THE CLASS IS A STAGE

Actor Training Skills for the EFL classrooms.

Julian Armoa

ANGLO ENGLISH, Asuncion, Paraguay.

Biodata: Julian Armoa is a E.F.L teacher and works at ANGLO ENGLISH in Asuncion, Paraguay. He holds a B.A. in English Language from the I.S.L. (Instituto Superior de Lenguas) from National Univeristy of Asuncion. He has been teaching English for 10 years in private and public schools in Asuncion as well as institutes and universities. Presently he is working as a “Literature II” teacher at the Instituto Superior de Educacion (I.S.E.) and a Theatre teacher for Kids at the Culture Department from a local NGO. He studied Performing Arts (Theatre/Dance) at I.S.B.A. (Instituto Superior de Bellas Artes). He is an eager practitioner of Asthanga Yoga and Tai Chi.

Abstract: This proposal aims at introducing physicality in the EFL classroom. This hands-on workshop will focus on physical theatre techniques (actor training skills) such as breathing (pranayama) , proxemics activites (the use of space and direction), weight exercises, coordination and equilibrium, kinesics as well as intonation, elocution (phonetics/public speaking exercises) and relaxation techniques. This presentation intends to give EFL teachers interesting and funny activities taken from the theatrical milieu to spice up their EFL classes.

SUMMARY . ALL CLASS IS A STAGE.

Warm up

Why physicality in the EFL classroom? Discussion.

Programme

1. Breathing Activities (Yoga Pranayama. Diaphragmatic breathing)

2. Surya Namaskar (Salutation to the Sun)

2. Knowing my space (movement activities)

3. Physicality in the EFL classroom

Page 2: See the Boal Be the Boal

Different activities taken from the theatrical milieu to be applied in the EFL classrooms. These exercises are taken from Augusto Boal’s “Games for Actors and Non Actors”, Barbara Maria Bernhard’s “Sprechübungen: Eine Sammlung für Theatergruppen” and my own experience teaching theatre to kids.

5. Intonation, Elocution, Oral Skill Exercises

(Using different texts published by LABCI’s bookshops)

4. Close up

Savasana (Relaxation techniques taken from Hatha Yoga)

Feedback from attendees.

Breathing (Pranayama, Diaphragmatic breathing)

Space / Direction (Autonomous Movement)

Weight Exercises

Coordination and Movement in Space

Actor Training Vocal /Movement Exercises applied to the EFL classroom

Intonation / Elocution / Oral Skills (Exercises)

1. My sadness is your happiness

Lips Reading dos Tiempo: 10 - 15 minutos

Participantes: todo el grupo Objetivo: vocalización

• Hay una serie de tarjetas con palabras frente a un grupo de estudiantes.

Un/a participante saca una de las tarjetas y se coloca a una distancia de

Page 3: See the Boal Be the Boal

no más de 1 metro y medio del grupo. • La persona en cuestión comienza a articular la palabra con los labios y la lengua de la manera más lenta posible; es decir, en cámara lenta,

evitando cualquier tipo de sonido. Barbara Maria Bernhard en Sprechübungen - Eine Sammlung für Theatergruppen

Sprechübungen: Eine Sammlung für Theatergruppen / Barbara Maria Bernhard

TV Sets **

Nivel: todos Tiempo: 15 minutos

Participantes: todo el grupo, mitad televisores, mitad público espectador

Objetivos: vocalización / pronunciación. Barbara Maria Bernhard en Sprechübungen - Eine Sammlung für Theatergruppen Bernhard en Sprechübungen - Eine Sammlung für Theatergruppen

Affinities (Closed eyes, Open eyes) Phonetic Running

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Nivel: todos Tiempo: 10 minutos

Participantes: toda la clase dividida en grupos de 5 personas

Objetivos: vocalizar y discernir fonemas que presentan dificultades

• Los miembros del grupo se dispersan por la sala y cierran los ojos.

La profe anuncia que las personas a quienes ella toque en el hombro deberán pensar una palabra

Circle of names of Belo Horizonte: Circle with rhythmic gestures and their names. Introducing ourselves by creating rhythmic sounds three times and name, followed by the members of the circle.

How many “A’s” in a single “A”? Emotions and intonations (elocution exercises) with vowels. In A,E, o, I circle and different states of mind!! Repetition in circles.

Page 4: See the Boal Be the Boal

Two by three by Bradford: 1, 2, 3, sound, 2, 3, sound, sound, 3, sound, sound, sound (Phonemes playing)

Foto Danesa (Augusto Boal)