Communicative Language Teaching - Coursework Example

THEORY AND PRACTICE By Name: University: Date: Town: THEORY AND PRACTICE Introduction Performing on a stage requires one to take into consideration basic communication skills that will distinguish the performance from that of others. Communication, in this case, involves utilization of body posture, voice, and work group composition (Richard-Amato, 1988). This essay focuses on bringing a succinct understanding of drama approach that is geared towards developing communication skills as displayed in both theories and practice. This is based on how the three elements were utilized in assessment work and the professional theater while giving appropriate examples (Bennett et al., 1999). Application of such factors is critical in coming up with a lively performance while putting across the intended message based on subject matter. According to Kristein Linklater in her book “Freeing the natural voice”, use of voice should reflect the purpose of the performer. Voice is one of the essential elements that contribute to successful presentation (Bennett et al., 1999). Feelings should be reflected to provide good performance. However, many actors are not well informed about the optimal use of voice in theater performance. Taking on an example from theater production whereby the student involved shouts, “stop that!” while the voice is presented in a rising intonation hence representing that of a person who has undergone painful experience (Bennett et al., 1999). This brings up the situation in which the performer has gone through hence setting a sad tone in the play. When written down on paper, one may not differentiate the emotional feeling that the words stand for until they are being spoken by a performer or actor in a particular manner. One should, therefore, be in a position to utilize his or her voice to drive the intended message to the audience hence making the performance lively. One may say “Stop it,” using a lower pitch that is flat in nature hence does not carry any notable meaning that would be instrumental in performance’s setting (Savignon, 1987). Hart (2013) has also shown linkage of theory and practice in voice usage in performance. She advocates for how anxiety gets into practice in any stage performance. The actor should therefore, work towards reducing anxiety and bettering artistic performance (Street, 2014). Relaxation and regular breathing would work well for artists in different stages. During a recent performance in class, some students who were presenting some folklore piece rehearsed well by taking on physical exercises. They then repeated the lines they were supposed to offer. This was done twenty minutes before the actual presentation. Warm up activities were carried out whereby the group members learned how to breathe while utilizing bottom areas of the body; especially lower torso (Street, 2014). Actually, if they had not taken heed the guidance of Berry, they would have not been so confident with sue of voices in presentation hence inhibiting results (Tomlinso, 2011). This shows that practice makes work perfect. It also applies in actual setting in order to bring about relaxation on the side of performers (Savignon, 1987). Use of body is essential in delivering a presentation. It carries weight in that many postures are significant. However, inappropriate use of any of such postures will distort the intended information hence hampering the subject matter of performance as a whole. According to Engeström et al. (1999), the art of movement should be utilized in order to bring forth the compelling message. Based on class performance, a group of students who were taking part in a cast jerked their bodies rhythmically following a dynamic music that was being played. This not only introduced pomp to the performance but also drove across intended message accurately (Engeström et al., 1999). An actor who makes many movements on stage would distort the message while leading to exaggeration regarding drama, in that too much weight would be directed to the use of body while not taking into consideration the other two elements of presentation; that is, voice and group work. During other performances in class, a particular student actor mimicked how a father danced while rejoicing great harvest. This involved him moving the trunk rhythmically while the hands were laying on the waist. This was occasionally repeated to display happiness that such a man displayed. However, such appropriate use of body movements leads to intended emotions (Bolton, 1985). Martin and Nakayama (2010), went ahead to show the correlation that exist between effort and natural elements. Such features include weight, space, time, and flow. Most of the actors in previous exercises were not utilizing such elements in totality. For instance, a woman artist put much effort on space while forgetting to synchronize with available time (Engeström et al., 1999). She took much time in walking across the big stage. She might have been aiming to better her performance, but such kind of over-emphasis did not auger well.Another case is where an actor punched a child using his fist. The type of movement that the fist and arm emitted was a good indication of Laban’s eight working actions theory (Martin and Nakayama, 2010) It is evident that unnecessary movements, if not tamed would mess performance of various actors (Hart, 2013). Tina Landau, in Bolton (1985), focused on nine Viewpoints, which talk about movement on stage. These Viewpoints indicate the frequency that should be observed based on the amount of time that is disposal. Viewpoint on time includes the tempo, repetition, duration, and physical response. However, tempo shows the frequency or speed in which such movement should be made. Each kind of action should reflect on purpose and message intended (Engeström et al., 1999). For instance, an agitated character would move two or more steps back and forth to indicate dismay or dissatisfaction based on the situation at hand. However, Landau advocates for the use of Viewpoints in each rehearsal session in order to produce desirable results in the actual day. Most of the people of whom she has directed have come out successful courtesy of Viewpoints in Social Work (Savignon, 1987). During a preparation of class performance, a group of students divided themselves into smaller groups while focusing on how each views the topic given forth to them to tackle in the performance, each member was fully involved while they came up with a strategy to put up an astounding performance. According to Tina Landau Martin and Nakayama (2010), group involves dividing the target group into smaller groups during composition in order to ease exercise or rehearsal. In such a case, the composition should put together what would be staged during the actual date (Tomlinson, 2011). Therefore, the example given above links with the theory was presented by Landau. It can, however, be seen that it is true that theory fits well to practice during group work/composition. Compositions need ample time in rehearsals so as to give forth to promising results. Composition deal with engaging one's thought and feeling in a piece of work to be acted to reveal the intended message to the audience (Savignon, 1987). Another element of group work exercise is working with others. A cast that I witnessed preparing for actual acting was sharing roles while delegating duties to each one of them. They then bonded well with each other to create an engaging environment that would influence positively performance (Hart, 2013). They made sure that they were in good terms while they focused on integrating the subject matter to an extent that it seemed to me that they were perfect when it comes to working together peacefully. Nine Viewpoints were also applied as per Landau (Martin and Nakayama, 2010). In this case, the group of students who were rehearsing for a play made use of all corners of the stage hence forming seeds using their bodies by curling. This represented the “seeds” that were referred to in the play. The character who represented a farmer collected the “seeds”. This, however, makes use of the element of working with others in an attempt to make the play more appealing while passing the intended message (Bolton, 1985). According to Savignon (1987), an excellent performance should ensure that all the members of the cast are utilized well while each plays their role effectively. This should match with what is theorized. However, many artists find it difficult to put together such written pieces and rules into practice. Many producers and directors ensure that Social work is put into practice to come up successful performance (Nee and Ingram, 1998). However, a proper understanding of group members would act as a catalyst in letting out excellent results because each of them will feel part of the cast. Conclusion Communication is vital in artistic performance because it gives a message its identity. It involves appropriate use of voice based on emotion’s setting. For instance, one may project their voices based on some intonation to mimic certain feeling. Physical relaxation and regular breathing are also instrumental in coming up with good voice according to Nee. However, this can be seen in subsequent examples. It also involves proper use of the body to drive a point. Body usage requires movement of parts such as trunk and hands. According to Laban’s eight working action theory, one can apply them actually in clenching a fist as in when he hits another person in a play. Group work is also instrumental in performance by contributing to the successful composition. Finally, it is evident from the discussion that theory has been put into practice in theater performance. Bibliography Bennett, N., Dunne, E. and Carré, C., 1999. Patterns of core and generic skill provision in higher education. Higher education, 37(1), pp.71-93. Bolton, G., 1985. Changes in thinking about drama in education. Theory into Practice, 24(3), pp.151-157. Engeström, Y., Miettinen, R. and Punamäki, R.L., 1999. Perspectives on activity theory. Cambridge University Press. Hart, R.A., 2013. Children's participation: The theory and practice of involving young citizens in community development and environmental care. Routledge. Martin, J.N. and Nakayama, T.K., 2010. Intercultural communication in contexts. Nee, V. and Ingram, P., 1998. Embeddedness and beyond: institutions, exchange, and social structure. The new institutionalism in sociology, 19. Richard-Amato, P.A., 1988. Making It Happen: Interaction in the Second Language Classroom, From Theory to Practice. Longman Inc., 95 Church St., White Plains, NY 10601-1505.. Street, B.V., 2014. Social literacies: Critical approaches to literacy in development, ethnography and education. Routledge. Tomlinson, B., 2011. Materials development in language teaching. Cambridge University Press. Savignon, S.J., 1987. Communicative language teaching. Theory into practice, 26(4), pp.235-242. Read More