Using Plays in the Classroom. Part 1: Introduction

This article is another installment in our new Helping Superheroes Teach series. The aim of this new series is to offer teachers helpful strategies and practical tips they can implement in their classrooms. It is also Part 1 of a series on using plays in the classroom.

   
By Dr. Frances Boyd and Christopher W. Collins

Plays are a rich language-learning resource, yet they are underutilized in curricula for English language learning. In this series of blog posts, we will investigate what plays are, why they are beneficial for language learning, and how they might be used to practice the four skills (reading, writing, listening, and speaking), practice grammar and vocabulary in context, develop cultural knowledge, and practice critical thinking. We will also discuss how both teachers and students respond to using plays in the classroom, and how to choose plays for language-learning purposes.

We are lecturers in the American Language Program (ALP), Columbia University’s ESL program at the School of Professional Studies; neither of us has a background in theater, but over the years, both of us have come to see the many benefits of using this genre in the classroom.

What is a play?

A dramatic work for the stage: A play is a story told through dialogue, interaction, and movement that needs to be completed by a performance, for example, Children of a Lesser God by Mark Medoff (1986 film; 2018 Broadway revival). However, this performance need not be on the stage; a film adaptation, such as Tracy Letts’s August: Osage, County (2013 film), John Guare’s Six Degrees of Separation (1993 film), Tennessee Williams’ The Glass Menagerie (1987 film), or William Gibson’s The Miracle Worker (1962 film) can be equally if not more rewarding than a work adapted for the stage.

A crucible of culture: The playwright’s skill is to distill language and experience of a specific time and place, focusing on the family, for example. In the plot, character, and setting we find cultural values that can be extrapolated and highlighted to deepen student understanding.

What is an American play?

A play written by an American, set in the United States, and engaged with themes crucial to understanding the U.S.: Because we teach in the U.S., our students want to learn about the culture they are studying in. Each work provides a snapshot of a time and place, with characters acting within a particular socio-historical context. Such rich, evocative settings can provide an important area of research for students, allowing them to develop their understanding of the culture and history that shapes individuals in the U.S. The works often engage with complex and weighty themes: race, class, gender, disability. While these themes may be universal, the way that they are part of the U.S. and its culture are particular and distinct.

What themes do American plays deal with?

Conflicts within families, between individuals, within individuals: These are intensely personal stories unfolding with dramatic emotion before our very eyes. The great American playwright Arthur Miller observed* that the best playwrights have something in common: “They are all burning with some anger with the way the world is … Between the lines it’s exploding.”

While humor may be present, plays more often deal with psychologically fraught, uncomfortable subjects. The family is usually at the core of a play, so we find themes such as the impact of history on families and individuals, parents’ disappointment with adult children, what children owe their parents, and what parents owe their children.

Other themes in the American canon include addiction, betrayal, dishonesty, downward mobility, gender identity, greed, jealousy, mental illness, and religious identity. Given the mature nature of these themes, most plays suit young adult and adult students.

The layers of complexity in a play often touch on themes that can be deeply and sometimes surprisingly meaningful to learners. Still, these themes are difficult to deal with directly in a classroom setting. However, in a play, students can recognize, feel, and identify with the dramatic, emotional struggle of members of a family. Such an experience brings them closer to the target culture.

Why are plays underutilized in language-learning curricula?

 Unfamiliar, incomplete, unsupported with materials: Teachers may be unfamiliar with accessible plays in the American canon or may feel pedagogically underprepared for working with them. Or teachers may feel they are being called upon to teach literature. In this series of blog posts, we will demonstrate a language-centered approach to plays that builds on the same skills teachers apply to many kinds of content. At the same time, instructors can see exploring a new resource as an opportunity for professional development, an opportunity to be a “fellow traveler” with students on the path to learning.

Plays are “incomplete” in the sense that a film or stage performance is essential to the experience. Yet the leap “from page to stage” offers a special opportunity for student engagement, collaboration, and critical thinking. In outsourcing the act of completion, the playwright invites the reader/viewer to step into the shoes of a film or stage director and consider a number of questions: What choices would you make in staging this work? What choices has the director made? Why? How does the stagecraft—lighting, sound, costuming, setting, and so on—enhance or detract from the viewer’s experience? How does casting match or conflict with your own imagined version?

As most plays are unsupported with materials, they may require more work up front to adapt for language learning. Yet you and your colleagues can start small. One play per semester is what we recommend, for high-intermediate (CEFR B1–B2) and advanced (CEFR B2–C2) learners. Over time, you can develop an in-house repertoire of works at different levels by a variety of playwrights. In our experience, our response and our materials may evolve, but quality plays themselves don’t go out of date.

In the American Language Program, we have been collaborating on materials production for many years. We have developed our language-centered approach through the experience of teaching and learning, and we continue to hone the design of our activities, to introduce plays to new teachers, and to come back to teach some of the same plays over and over with new insights and ideas.

*Charlie Rose (Television show). (1992, July 3). Arthur Miller [Video file]. Retrieved from https://charlierose.com/videos/14696

Stay tuned for Part 2 of our series: Preparing the Play

Dr. Frances Boyd has been teaching students and developing teachers for over 30 years in the U.S. and abroad, in China, Columbia, Kyrgyzstan, and Mexico. She serves on the faculty of Columbia University’s American Language Program in the School of Professional Studies, where she has collaborated on the American Play Project for nearly all of those years. She is co-editor of the academic book series NorthStar, author of Making Business Decisions –both published by Pearson—, and a frequent featured speaker at international ELT conferences. Boyd holds the BA from Oberlin College, the MA from the University of Wisconsin, and the Ed.D. from Teachers College, Columbia University.

Christopher W. Collins is a lecturer in the American Language Program (ALP) at the Columbia University School of Professional Studies, where he also co-chairs the annual ALP Winter Conference, and he has also taught in the Czech Republic and in Japan. He completed his M.A. in TESOL at The New School, with a concentration in Curriculum Development.