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This attitude is summarized by Maley and Duff who define dramatic activities as “activities which give the students an opportunity to use his or her own personality in creating the material on which part of the language class is to be based.” (Maley and Duff, Drama Techniques in Language Learning 6; see also Maley and Duff “Drama Techniques in Language Learning” 151)
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For McRae, for example, drama is only a part of the language course, which is “wise to restrict to short extracts, and, therefore, to limited class time.” (13)
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Similarly restrictive is the following definition of play-acting in contrast with role-play; play acting
is not role play as the language is pre-determined and learned by heart. This means that the students need not to monitor the speech of others with a view of formulating their own contribution to the discussion. No mental process other than memorization is involved. It does not, therefore, resemble real speech situation. (Livingstone 7)
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This process is well summarized by Antonio Alessio:
In un dipartimento di drammaturgia ci si accosta a un testo teatrale con un'ottica e finalità totalmente diverse. Se non è escluso che il valore letterario di un testo possa determinarne la scelta, esso viene innanzitutto avvicinato secondo il grado della sua teatralità, di determinate qualità intrinseche che ne permettano la trasposizione dl linguaggio verbale a quello dell'immagine, del colore, del suono, in relazione all'effetto del prodotto scenico finale, tanto a livello di regia che di recitazione. Portato nel laboratorio registico un testo subisce una trasformazione alchimistica al punto che alla fine potrebbe apparire totalmente irriconoscibile rispetto al prodotto originale. (192)
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It is necessary to note that at this initial stage the director's “actorial” expectations for his/her students are not set so high as to be unreachable; indeed, research (Heath, 1993; Courtney, 1999) has shown that “high-caliber theater productions result from the most disadvantaged or inexperienced actors, provided there is good social cohesion among the practitioners.” (Moody 137)
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Another main factor of this success could definitely be summed up with Maslow's motivation theory, which states that real learning will take place and will be retained only if students are highly motivated (see also Richard-Amato, Rivers, Vigotzky, Whiteson). The theme of motivation is well presented and dissected by Maley and Duff in all its different facets:
Drama activities [...] help to get rid of the difference and boredom that come from being forced to stay passive all the time. [...] There is no place here for stereotyped responses, set-up discussions, pre-planned arguments or 'free conversations' in which everyone speaks and nobody listens [italics mine], or else nobody speaks and the teacher is left to quench the fire started by his or her own burning questions. ( Maley and Duff, “Drama Techniques in Language Learning” 157-159; also Maley and Duff, Drama Techniques in Language Learning 13)
USE OF SQUARE BRACKETS [ ] TO INDICATE A MODIFIED QUOTATION
The theme of motivation is well presented and dissected by Maley and Duff in all its different facets:
Drama activities [...] help to get rid of the difference and boredom that come from being forced to stay passive all the time. [...] There is no place here for stereotyped responses, set-up discussions, pre-planned arguments or 'free conversations' in which everyone speaks and nobody listens [italics mine], or else nobody speaks and the teacher is left to quench the fire started by his or her own burning questions. ( 157-159)
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