1. Drama Re-visited: Dealing with Identity Tensions Ayaka Ihara San Francisco State University http://www.freedomwritersfoundation.org/

2. Outline: Collaborative Monologue 1.Basic Info 2.Theoretical Background 3.Project Steps

3. Target Students Intermediate Young adults in California Model Project: Collaborative Monologue

4. Skills Integrated (Focus on oral skills) Model Project: Collaborative Monologue

5. Objectives Expand ‘selves’ Deliver extended speech Model Project: Collaborative Monologue

6. What Are Identity Tensions? L2 Learning: Becoming ‘Someone Else’ The ‘Mask’ Tensions btwn Emerging & Existing Selves

7. Why Dramatic Monologue? Drama Try out new identity Express true ‘selves’ Safely through ‘masks’

8. Why Dramatic Monologue? Monologue Extended speech (has been neglected (Thompson, 2008)) Internalize authentic language model

9. Objectives Expand ‘selves’ Deliver extensive speech Model Project: Collaborative Monologue

10. Overview DayContents Day 1Introduction Day 2Pre- & Initial Reading Day 3Close Reading Day 4Speaking #1: Pause Day 5Speaking #2: Stress Day 6Speaking #3: Intonation Day 7Group Rehearsal Day 8Performance Day 9Conference

11. Overview DayContents Day 1Introduction Day 2Pre- & Initial Reading Day 3Close Reading Day 4Speaking #1: Pause Day 5Speaking #2: Stress Day 6Speaking #3: Intonation Day 7Group Rehearsal Day 8Performance Day 9Conference

12. Day 1: Introduction Who Are Freedom Writers? Mid 1990s High school (Long Beach, LA) Gang violence Racial minorities, immigrants, low income

13. Day 1: Introduction Erin Gruwell “The Pen Is Mightier Than the Sword”  Diary Writing for Freedom http://www.freedomwritersfounda tion.org/fw-outreach-EG http://www.imdb.com/title/tt0463998/

14. Day 2: Pre- & Initial Reading Diary #54 African American writer Labelling / microaggression Frustration / anger

15. Day 2: Pre- & Initial Reading Prediction ‘Gist’ Vocabulary  ‘Expert’

16. Day 3: Close Reading Character Analysis  Common Grounds

17. Day 4: Speaking (Pauses) “Thought Groups” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 221)

18. Day 4: Speaking (Pauses) “Thought Groups” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 221) 11: I don’t feel complimented. How the hell should I know what the black perspective is 12 : on Affirmative Action or The Color Purple? What is it, magic? Black people read, and

19. Day 4: Speaking (Pauses) “Thought Groups” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 221) 11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /

20. Day 5: Speaking (Stress) “Prominence” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 223)

21. Day 5: Speaking (Stress) “Prominence” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 223) 11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /

22. Day 5: Speaking (Stress) “Prominence” (Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M., 2010, p. 223) 11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /

23. Day 6: Speaking (Intonation) Rising () vs Flat (→) vs Falling ()

24. Day 6: Speaking (Intonation) Rising () vs Flat (→) vs Falling () 11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /

25. Day 6: Speaking (Intonation) Rising () vs Flat (→) vs Falling () 11: I don’t feel complimented. / / How the hell should I know / what the black perspective is / 12 : on Affirmative Action / or The Color Purple? / / What is it, / magic? / /

26. Demo!

27. Conclusion Dramatic Monologue Works! Try out new identity & express ‘true’ self Let out suppressed emotions/opinions Long chunks & retainment

28. Special Thanks Dr. Whalley Dr. Santos Fellow TESOLers at SF State http://www.amdblog.org/macular-degeneration/thank-you-for-your-support-during- amd-awareness-month/

29. References Arao, H., & Murphey, T. (2001). Reported belief changes through near peer role modeling. TESL-EJ: Teaching English as a Second or Foreign Language, 5(3). Available from: http://www.tesl-ej.org/wordpress/issues/volume5/ej19/ej19a1/http://www.tesl-ej.org/wordpress/issues/volume5/ej19/ej19a1/ Celce-Murcia, M., Brinton, D. M., & Goodwin, J. M. (2010). Teaching pronunciation: A course book and reference guide (2nd ed.). New York: Cambridge University Press. Dreyer-Lude, M. (2013). Feeling double: The psychophysical activation of personality in bilingual performance. Theatre Topics,23(2), 197-208. Horwitz, E. K., & Young, D. J. (1991). (Eds.). Language anxiety: From theory and research to classroom implications. Englewood Cliffs, NJ: Prentice Hall. Kramsch, C. (2009). The multilingual subject. Oxford: Oxford University Press. Piazzoli, E. (2011). Process drama: the use of affective space to reduce language anxiety in the additional language learning classroom. Research in Drama Education: The Journal of Applied Theatre and Performance, 16(4), 557-573. Reed, J., & Seong, M. H. (2013). Suggestions for an effective drama-based EFL course at a Korean university. Pan-Pacific Association of Applied Linguistics, 17(2), 91-106. Sağlamel, H., & Kayaoğlu, M. N. (2013). Creative drama: A possible way to alleviate foreign language anxiety. RELC Journal, 44(3), 377-394. Spielmann, G., & Radnofsky, M. L. (2001). Learning language under tension: New directions from a qualitative study. The Modern Language Journal, 85(2), 259-278. Thompson, P. (2008). Learning through extended talk. Language and Education, 22(3), 241-256.

30. Thank You for Listening! http://www.compositiontoday.com/blog/60.asp

31. Questions / Comments? https://www.gninsurance.com/library-us-medical- health-insurance-information-resources/

32. For More Details Ayaka Ihara aihara@mail.sfsu.edu OR a-ihara@hotmail.co.jp *Business cards at the front