Drama techniques : a resource book of communication activities for language teachers

Enhanced descriptions from Syndetics:

Drama Techniques Third edition is a resource book of communicative activities for language teachers. This completely revised edition of the classic title Drama Techniques provides: *150 ideas for interesting and productive fluency practice *a large selection of drama-based techniques which focus learners' attention on communicative tasks or activities *techniques suitable for all levels *clear instructions for the teacher *advice on how to use the techniques in the classroom

Table of contents provided by Syndetics

• Thanks and acknowledgements (p. x)
• Introduction (p. 1)
• 1 Getting ready (p. 6)
• Non-verbal warming-up activities (p. 7)
• 1.1 Handshakes (p. 7)
• 1.2 Hand catching (p. 8)
• 1.3 Mirror hands (p. 9)
• 1.4 Numbers in your head (p. 11)
• 1.5 Clap around the circle (p. 12)
• 1.6 Swings (p. 13)
• 1.7 Catch the ball (p. 15)
• 1.8 Beat out that rhythm (p. 16)
• 1.9 Touch it (p. 17)
• 1.10 Blind (p. 17)
• Non-verbal cooling-down activities (p. 18)
• 1.11 Breathing (p. 18)
• 1.12 Feeling my space (p. 19)
• 1.13 Feeling your muscles (p. 20)
• 1.14 From seed to plant (p. 21)
• 1.15 Slow motion (p. 21)
• 1.16 Just relax (p. 22)
• 1.17 Directed relaxation (p. 23)
• 1.18 Going with the flow (p. 24)
• Verbal exercises (p. 26)
• 1.19 Football wave (p. 26)
• 1.20 Can you do this? (p. 27)
• 1.21 The sun and the moon (p. 27)
• 1.22 Back writing (p. 28)
• 1.23 Gobbledy-gook (p. 29)
• 1.24 And I'm a butcher (p. 30)
• 1.25 Let me tell you something about X (p. 30)
• 1.26 Something in common (p. 31)
• 1.27 Directed group visualisation (p. 32)
• 1.28 Childhood memories (p. 33)
• 1.29 Personalities/celebrities (p. 34)
• Group formation activities (p. 35)
• 1.30 Strings (p. 35)
• 1.31 Atom 3! (p. 36)
• 1.32 Mix and mingle (p. 36)
• 1.33 I've got my eye on you! (p. 36)
• 1.34 I know what I like (p. 37)
• 2 Observation (p. 38)
• 2.1 Freeze! (p. 38)
• 2.2 Back-to-back (p. 39)
• 2.3 Say `Cheese' (p. 40)
• 2.4 Just listening (p. 40)
• 2.5 I said, he said, she said... (p. 41)
• 2.6 Minimal differences (p. 42)
• 2.7 My potato (p. 43)
• 2.8 Kim's game (p. 44)
• 2.9 Familiar scenes (p. 45)
• 2.10 Like me? Like you? (p. 46)
• 2.11 First this, then that... (p. 47)
• 2.12 Picture memory (p. 48)
• 3 Working with mime (p. 50)
• 3.1 What am I doing? (p. 50)
• 3.2 My word (p. 53)
• 3.3 Metronome mime (p. 54)
• 3.4 Difficulty with large or small objects (p. 55)
• 3.5 Exchanging objects (p. 56)
• 3.6 Taste, touch, smell... (p. 57)
• 3.7 What time of day is it? (p. 59)
• 3.8 Mimes from the past (p. 60)
• 3.9 Miming a poem (p. 61)
• 3.10 Miming noises (p. 63)
• 3.11 Normal, slow, fast (p. 64)
• 3.12 Hotel receptionist (p. 66)
• 4 Working with the voice (p. 69)
• Preparing for voicework (p. 69)
• 4.1 Relaxation (p. 70)
• 4.2 Physical warm ups (p. 71)
• 4.3 Breathing (p. 73)
• 4.4 Warming up the voice (p. 75)
• 4.5 Preparing the articulators (p. 77)
• 4.6 Volume (p. 78)
• Working with the voice (p. 79)
• 4.7 Thinking about my voice (p. 79)
• 4.8 Changing voices (p. 81)
• 4.9 Delayed repetition (p. 83)
• 4.10 Working on words (p. 84)
• 4.11 A vocal tapestry (p. 85)
• 4.12 Shifting the stress (p. 87)
• 4.13 Listing (p. 88)
• 4.14 Elastic sentences (p. 89)
• 4.15 Playing with the text (p. 92)
• 4.16 Listen to me! (p. 95)
• 4.17 Group orchestration of texts (p. 96)
• 5 Working with objects (p. 99)
• 5.1 What am I holding? (p. 99)
• 5.2 My special object, your special object... (p. 101)
• 5.3 Metamorphosis (p. 102)
• 5.4 The envelope (p. 103)
• 5.5 The all-purpose object (p. 104)
• 5.6 Stone, wood and metal (p. 105)
• 5.7 It meant a lot to me... (p. 107)
• 5.8 Fashion show (p. 107)
• 5.9 Where did you get that hat? (p. 108)
• 5.10 Masks (p. 110)
• 5.11 What am I bid? (p. 111)
• 5.12 Symbols and icons (p. 113)
• 5.13 Who's the owner? (p. 114)
• 6 Working with visuals (p. 116)
• 6.1 Self-portraits (p. 116)
• 6.2 Identikit (p. 118)
• 6.3 From my album (p. 119)
• 6.4 Space invaders (p. 120)
• 6.5 High points (p. 123)
• 6.6 Portraits (p. 124)
• 6.7 Becoming a picture (p. 126)
• 6.8 Bringing a picture to life (p. 127)
• 6.9 Picture sets (p. 129)
• 6.10 Faces and places (p. 130)
• 6.11 Split cartoons (p. 131)
• 6.12 Mood pictures (p. 135)
• 6.13 Pictures from music (p. 136)
• 6.14 Recreating the scene (p. 138)
• 6.15 Guided visualisation (p. 139)
• 6.16 Characters from fiction (p. 142)
• 7 Working with the imagination (p. 145)
• 7.1 Something in common (p. 145)
• 7.2 Statues (p. 146)
• 7.3 Amazimbi (p. 147)
• 7.4 Patent pending (p. 149)
• 7.5 Making a machine (p. 150)
• 7.6 Waking dream (p. 152)
• 7.7 Festival (p. 153)
• 7.8 It's against the law (p. 154)
• 7.9 Time's arrow (p. 156)
• 7.10 Our new constitution (p. 157)
• 8 Working from/into words, phrases, sentences (p. 160)
• 8.1 My favourite word (p. 160)
• 8.2 The feel of words (p. 161)
• 8.3 Real English or not? (p. 163)
• 8.4 What's in a name? (p. 165)
• 8.5 Words and movement (p. 166)
• 8.6 Tableaux (p. 168)
• 8.7 Praise songs (p. 169)
• 8.8 Group story (p. 170)
• 8.9 Off the cuff (p. 171)
• 8.10 Mirror words (p. 172)
• 8.11 Charades (p. 174)
• 8.12 Split headlines (p. 175)
• 8.13 Split exchanges (p. 177)
• 8.14 People, places, problems and things (p. 180)
• 8.15 Odd news (p. 182)
• 8.16 Proverbs in action (p. 184)
• 8.17 First lines (p. 186)
• 9 Working from/into texts (p. 189)
• 9.1 Mini-texts (p. 189)
• 9.2 What next? (p. 192)
• 9.3 Starters (p. 194)
• 9.4 Tops and tails (p. 196)
• 9.5 Jumbled stories (p. 198)
• 9.6 What are they saying? (p. 200)
• 9.7 Stop press (p. 202)
• 10 Working from/into scenarios and scripts (p. 205)
• 10.1 One-word dialogues (p. 205)
• 10.2 Dialogue interpretation (p. 207)
• 10.3 Alibi (p. 209)
• 10.4 Just a minute (p. 210)
• 10.5 Telephone conversations (p. 213)
• 10.6 Conflict (p. 216)
• 10.7 Tension (p. 218)
• 10.8 The hole (p. 220)
• 10.9 Role reversal (p. 222)
• 10.10 A real bargain (p. 224)
• 10.11 Real theatre scripts (p. 226)
• 11 Into Performance (p. 229)
• Benefits from performance (p. 229)
• How to tackle the 'Play project' (p. 230)
• Selecting a play (p. 230)
• Getting to know the text (p. 232)
• Warming up (p. 234)
• Improvisation (p. 234)
• Rehearsal (p. 235)
• Involving everyone (p. 237)
• A few practical considerations (p. 238)
• Some possible sources for plays (p. 239)
• Bibliography (p. 240)
• Index (p. 244)