Tuesday, June 14, 2011

ESL/EFL in Multilingual Classroom

A multilingual class is a class where the learners speak a variety of first languages. Multilingual classes can be compared to monolingual ones, where all the learners speak the same first language.
Example
Multilingual classes are typically found where learners have travelled from other countries to learn a language, e.g. summer schools.
In the classroom
In a multilingual class there can be much more use of the target language, because it will be the only common language between the learners, who will use it for their normal interactions both in and out of class. Learner behaviour and cultures can be very different, which may create problems but can be used as a focus of comparison and discussion.

Americans speak more than 150 languages at home, from Bengali to Tatar to Swahili. More people speak Spanish in the United  States than in Spain.

But in America's all-English classrooms, what's a teacher do when faced with students for whom English is a foreign language?

Jesi Holschbach, a high school science teacher in New York City, worries. Many of her students are native Spanish speakers. She has Spanish-speaking tutors in the classroom to help, but she says her students don't just need to understand the concept. In order to pass their classes in New York, they need to be able to explain it in English.

"My tutors try to explain a concept and continue to get frustrated until they explain the topic in Spanish. Then tell me that the students understand the material but they cannot convey their understanding to me," Holschbach says. "But they need to complete state exams in English."

She says her students are often tripped up "by words that many English speakers take for granted." For example, she says, "when the state exam asks what the benefit of a particular thing is and students answer with a disadvantage."

Tammy Conard-Salvo, the head of Purdue University's Writing Center, says that even students who speak English with a good degree of fluency can get tripped up by idiomatic phrases like "tripped up." Idioms are hard for native-English-speaking teachers to avoid, she says: "One reason they are idiomatic is because they are so ingrained." But phrases like "miss the boat" and "back to back" which mean something different than the words mean on their own, can be baffling for a student who didn't grow up speaking English.

The most important thing, she says, is to gives students space and time to ask questions without being embarrassed. Teachers also need to be good judges of body language. "Students won't tell you when they're confused," she says, "because they're too embarrassed to say they don't understand it."

Holschbach says she pairs up her Spanish-speaking students, and works with them to express their ideas creatively. They portray their knowledge in pictures, or through their tutors.

The students who don't understand Spanish don't always like to hear it spoken. "The English-only speaking students feel as though when the other students speak Spanish, they are talking about them." Holschbach says. "Then the English-speaking students start fights with the Spanish-speaking students."

Even so, Holschbach says teaching to a mixed-language audience changes her teaching in a good way. "I present new vocabulary with pictures to help the students," she says. "I do not necessarily slow down, and the things I do also benefit English-speaking students."

Conard-Salvo encourages teachers to see multi-lingual classrooms as an opportunity.

"A lot of times there's that expectation that students learn English and become acclimated to American culture," she says, "when we could be a lot more open minded and looking to what we can learn from students from other backgrounds."


______________________________

Tips for Teaching Conversation in the Multilingual ESL Classroom

Cara Pulick

Introduction

Leaving aside completely the matter of potential cultural conflicts and misunderstandings, teaching conversation in the multilingual classroom presents challenges beyond those faced in the monolingual classroom. The difficulties inherent in a conversational ESL class--namely, speaking and listening in another language--are multiplied when the participants in those conversations are neither native speakers nor from the same linguistic background. Problems ranging from grammatical mistakes to vocabulary limitations to, perhaps most troublesome, pronunciation issues complicate the process of conversing in a foreign language.

From a classroom management standpoint, however, a bigger challenge is when such obstacles turn to frustration and students from differing linguistic backgrounds begin to tune each other out or, worse, exhibit irritation. Fortunately, when handled well, a multilingual classroom is a great place for students to try out their real-world conversation skills. If they can make themselves understood not only to ESL teachers and to others linguistically like themselves, but also to the world at large, then they are communicating.

The following are some suggestions for increasing cross-cultural student-to-student engagement and understanding in the ESL classroom.

Mix It Up

  • Incorporate as many communicative activities as you can into your lesson plans--role plays, Q&A sessions, information-gap exercises, realistic problem-solving tasks--and group students from distinct linguistic backgrounds together.

Keep the Student on Their Toes

  • After a student answers a question, tells a story, or makes a sentence, throw a mini listening pop quiz. Choose a student from a different linguistic background to see if he understood the original student's comments. Ask him to rephrase, repeat or summarize what he heard. This is a good double-check on both speaker and listener.
  • Play linguistic Hot Potato in the classroom: If a student asks you a question, divert the question back out to the class to see if another student can provide an answer or explain it to the others. In this way, students won't tune out while the others are talking and they have yet another chance to interact with each other.

Let the Students do the Work

  • At the beginning or end of class or after a comprehension exercise, have students ask each other questions about the material covered. That will get them used to listening to each other's accents, not just to yours. Plus it provides an oft-needed review of the frequent problem of question formation in English.
  • Try not to echo your students or summarize their comments.If you "help out" students with pronunciation difficulties in this way, the others will feel free to ignore them and wait for you to repeat it more clearly.

Work on Everyone's Difficulties

  • If you are doing a pronunciation exercise or discussing a false cognate for one linguistic group follow it up with one for another group. This will help teach the students to be patient with each other's linguistic limitations, as they learn that while the problems may not be the same for each group, each group has its own problems.

Explain It to the Students

  • Emphasize that communicating effectively means not only speaking so that a teacher can understand, but speaking so that everyone can understand. Students who speak the same language often understand each other not because they speak correctly but because they make the same mistakes. If you can do so tactfully, you can use a multilingual conversational exercise to point out the difference between what a student thinks he is saying and what his classmates actually hear.
  • As students tend to forget, communication also means accurate listening, not just to the video or to native speakers, but to each other as well. For those students who think it is pointless or even detrimental to listen to other non-native speakers, remind them that in today's global society, the chances are that they will find themselves conversing, doing business, or otherwise interacting in English with other non-native speakers.

    Have Fun

    • One of the best aspects of multi-lingual classrooms is that the widely varying cultural, linguistic and personal backgrounds of the students provide a constant source of interesting conversational material. Use this to your advantage by creating activities where students have to speak--and actively listen--to each other describe how things work in their culture or country
    There are two broad categories of situations in which non-native English speakers may learn English. Multi-lingual classes are with students from various nationalities normally in a country where English is the native language. This may be considered as teaching ?English as a Second Language (ESL). Monolingual classes are usually in the students? home country and this context is ?English as a Foreign Language? (EFL). In multi-lingual classes the students are living in an English speaking country and are exposed to the language, either for a limited period of time or permanently. In class they must use English to communicate even if there are some other students with the same native language (L1). The teacher will probably ask them to sit separately, and even if he/she speaks their native language it will not be used in class because the teacher?s job ?is to serve as a model of fairness and neutrality and only English is the surest way to achieve this in a multilingual classroom? (1). In multi-lingual groups students are likely to have a higher intrinsic motivation (1a) which the teacher should take into account in his approach and lesson planning. Task based activities can involve extra-classroom activities in ESL teaching e.g. interviewing , and it is said that a teacher can ?focus more intensively on accuracy? (1) in speaking because there are opportunities for fluency practice outside the classroom. Culturally related activities can be used to great advantage in multi-lingual classes. Rosemary Richey (2) feels that intercultural training is not just an added ?extra? in Business English but that it is essential to ?genuinely communicate in a real life business setting?. The teacher could find difficulty in multi-lingual classes because students from different cultures will have different language problems and learning styles. The Japanese have been classified as ?reflective learners? whereas Brazilian students are ?impulsive learners? (1). In a monolingual class, students could have a low intrinsic motivation (1). They find themselves in classes of 30 ? 50 at university and have to pass an examination or study English as part of a compulsory curriculum. Alternatively a high extrinsic motivation in certain situations e.g. businessmen with promotion prospects in smaller classes, can give good results (1). The classroom activities in monolingual groups can be related to the students? culture and will need to have as much student talking time as possible since there is otherwise very little opportunity to speak English. It is very important to aim the activity at the students? level otherwise they will resort to the use of L1 either through boredom or because they are out of their depth. At a presentation on English Language Teaching in Japan in 2004, the conclusion reached was that ?properly trained Japanese English teachers will more often do a better job ? (3) than the EFL teachers in Japanese High Schools. In the future, as globalization continues, cultural awareness will become increasingly more important. This should be taken into greater consideration in the English Language teaching field especially regarding monolingual and multi-lingual groups. 

    You can make it easier for students to use English by:
    • Describing your rationale clearly and getting their support from the beginning,
    • Deciding where you place yourself in the classroom. The groups nearest you are more likely to use English than those further away. So take an interest in what each group is doing and move around so that groups have less chance of switching back to their own language.
    • Monitoring more overtly: for example, by having a pen and paper in your hand.
    • Making the work task-oriented. If the final product has to be in English, whether it is a story, a film review or just answering comprehension questions, a greater use of English is ensured.
    • Keeping speaking activities short until the students have more confidence and increased fluency. It is better to have a shorter time than is strictly necessary than having time to spare at the end of group work.
    • Making sure that the students have the English to do what you ask. You might find it helpful to start off with very structured activities after you have taught some essential words and expressions so students are not at a loss for words.
    • Starting with “open” pair work (a dialogue in front of the class) as a model for the “closed” pair work (every pair working simultaneously).
    • Assigning roles. If everyone knows what he or she must do, they are more likely to do it in English. You might consider giving someone the role of “language monitor” - someone to make sure English is used in the group – or “evaluator” - someone who will report back on the of the group overall, including their use of English and of their mother tongue.
    Finally, don’t be too concerned if your students resort to their mother tongue in group work or pair work activities. Sometimes it saves time in the long run, as when they are clarifying instructions before they begin the task. It is worth remembering that if you are doing group work as an alternative to whole class work, then even if only 2 people are using English simultaneously you have doubled the amount of student talk for that time.

    FROM ___GOOGLE

    Tuesday, June 7, 2011

    MOTHER FIGURE


    Housewife Lucy has the difficult job of looking after the children alone whilst her husband is away. This job of looking after the children has taken over her life; so much so that she never leaves the house and doesn't even have the time to change out of her pyjamas. Concerned neighbour Rosemary decides to come around to check on Lucy and to give her the number of her husband Harry who has been trying to call her for a while, and is shocked to find Lucy rushing around trying to look after the children and revealing that she doesn't listen to bells. Rosemary enlists the help of her husband Terry to discover what is wrong with Lucy. Terry is a chauvinist with no respect for Rosemary, and this attitude is clear in the way he speaks to both Lucy and Rosemary. However Lucy, in her permanent state of the "mother", treats the pair in the only way she knows how, as children. This approach quickly puts Terry in his place and puts an end to the petty squabbles between Rosemary and Terry, and the end result is the pair leaving hand in hand (if rather reluctantly).

    Friday, May 27, 2011

    ENERGY CRISIS

    An energy crisis is any great bottleneck (or price rise) in the supply of energy resources to an economy. In popular literature though, it often refers to one of the energy sources used at a certain time and place, particularly those that supply national electricity grids or serve as fuel for vehicles. There has been an enormous increase in the global demand for energy in recent years as a result of industrial development and population growth. Supply of energy is, therefore, far less than the actual demand.
    Causes
    Market failure is possible when monopoly manipulation of markets occurs. A crisis can develop due to industrial actions like union organized strikes and government embargoes. The cause may be over-consumption, aging infrastructure, choke point disruption or bottlenecks at oil refineries and port facilities that restrict fuel supply. An emergency may emerge during unusually cold winters due to increased consumption of energy.
    Pipeline failures and other accidents may cause minor interruptions to energy supplies. A crisis could possibly emerge after infrastructure damage from severe weather. Attacks by terrorists or militia on important infrastructure are a possible problem for energy consumers, with a successful strike on a Middle East facility potentially causing global shortages. Political events, for example, when governments change due to regime change, monarchy collapse, military occupation, and coup may disrupt oil and gas production and create shortages.
     Historical crises
    ·         1973 oil crisis - caused by an OPEC oil export embargo by many of the major Arab oil-producing states, in response to Western support of Israel during the Yom Kippur War
    ·         1979 oil crisis - caused by the Iranian Revolution
    Emerging shortages
    Kuwait's Al Burqan Oil Field, the world's second largest oil field, will be depleted within 40 years.
    Crises that exist as of 2008 include:
    • 2000s energy crisis - Since 2003, a rise in prices caused by continued global increases in petroleum demand coupled with production stagnation, the falling value of the U.S. dollar, and a myriad of other secondary causes.
    • 2008 Central Asia energy crisis, caused by abnormally cold temperatures and low water levels in an area dependent on hydroelectric power. At the same time the South African President was appeasing fears of a prolonged electricity crisis in South Africa.
    • In February 2008 the President of Pakistan announced plans to tackle energy shortages that were reaching crisis stage, despite having significant hydrocarbon reserves,. In April 2010 Pakistan government announced the Pakistan national energy policy, which extended the official weekend and banned neon lights in response to a growing electricity shortage.
    • South African electrical crisis. The South African crisis, which may last to 2012, led to large price rises for platinum in February 2008 and reduced gold production.
    • China experienced severe energy shortages towards the end of 2005 and again in early 2008. During the latter crisis they suffered severe damage to power networks along with diesel and coal shortages. Supplies of electricity in Guangdong province, the manufacturing hub of China, are predicted to fall short by an estimated 10 GW.
    • It has been predicted that in the coming years after 2009 that the United Kingdom will suffer an energy crisis due to its commitments to reduce coal fired power stations, its politicians' unwillingness to set up new nuclear power stations to replaces those that will be de-commissioned in a few years (even though they will not be running in time to stop a full blown crisis) and unreliable sources and sources that are running out of oil and gas. It is therefore predicted that the UK may have regular blackouts like South Africa.
    Social and economic effects

    The macroeconomic implications of a supply shock-induced energy crisis are large, because energy is the resource used to exploit all other resources. When energy markets fail, an energy shortage develops. Electricity consumers may experience intentionally engineered rolling blackouts during periods of insufficient supply or unexpected power outages, regardless of the cause.
    Industrialized nations are dependent on oil, and efforts to restrict the supply of oil would have an adverse effect on the economies of oil producers. For the consumer, the price of natural gas, gasoline (petrol) and diesel for cars and other vehicles rises. An early response from stakeholders is the call for reports, investigations and commissions into the price of fuels. There are also movements towards the development of more sustainable urban infrastructure.
    In 2006, survey respondents in the United States were willing to pay more for a plug-in hybrid car
    In the market, new technology and energy efficiency measures become desirable for consumers seeking to decrease transport costs. Examples include:
    Other responses include the development of unconventional oil sources such as synthetic fuel from places like the Athabasca Oil Sands, more renewable energy commercialization and use of alternative propulsion. There may be a Relocation trend towards local foods and possibly microgeneration, solar thermal collectors and other green energy sources.
    Tourism trends and gas-guzzler ownership varies with fuel costs. Energy shortages can influence public opinion on subjects from nuclear power plants to electric blankets. Building construction techniques—improved insulation, reflective roofs, thermally efficient windows, etc.—change to reduce heating costs.
    Crisis management
    An electricity shortage is felt most by those who depend on electricity for heating, cooking, and water supply. In these circumstances, a sustained energy crisis may become a humanitarian crisis.
    If an energy shortage is prolonged a crisis management phase is enforced by authorities. Energy audits may be conducted to monitor usage. Various curfews with the intention of increasing energy conservation may be initiated to reduce consumption. To conserve power during the Central Asia energy crisis, authorities in Tajikistan ordered bars and cafes to operate by candlelight. Warnings issued that peak demand power supply might not be sustained.
    In the worst kind of energy crisis energy rationing and fuel rationing may be incurred. Panic buying may beset outlets as awareness of shortages spread. Facilities close down to save on heating oil; and factories cut production and lay off workers. The risk of stagflation increases.
    Mitigation of an energy crisis
    The Hirsch report made clear that an energy crisis is best averted by preparation. In 2008, solutions such as the Pickens Plan and the satirical in origin Paris Hilton energy plan suggest the growing public consciousness of the importance of mitigation.
    Energy policy may be reformed leading to greater energy intensity, for example in Iran with the 2007 Gas Rationing Plan in Iran, Canada and the National Energy Program and in the USA with the Energy Independence and Security Act of 2007. Another mitigation measure is the setup of a cache of secure fuel reserves like the United States Strategic Petroleum Reserve, in case of national emergency. Chinese energy policy includes specific targets within their 5 year plans.
    Andrew McKillop has been a proponent of a contract and converge model or capping scheme, to mitigate both emissions of greenhouse gases and a peak oil crisis. The imposition of a carbon tax would have mitigating effects on an oil crisis. Oil Depletion Protocol has been developed by Richard Heinberg to implement a powerdown during a peak oil crisis. While many sustainable development and energy policy organisations have advocated reforms to energy development from the 1970s, some cater to a specific crisis in energy supply including Energy-Questand the International Association for Energy Economics. The Oil Depletion Analysis Centre and the Association for the Study of Peak Oil and Gas examine the timing and likely effects of peak oil.
    Ecologist William Rees believes that

    “
    To avoid a serious energy crisis in coming decades, citizens in the industrial countries should actually be urging their governments to come to international agreement on a persistent, orderly, predictable, and steepening series of oil and natural gas price hikes over the next two decades.
    ”

    Due to a lack of political viability on the issue, government mandated fuel prices hikes are unlikely and the unresolved dilemma of fossil fuel dependence is becoming a wicked problem. A global soft energy path seems improbable, due to the rebound effect. Conclusions that the world is heading towards an unprecedented large and potentially devastating global energy crisis due to a decline in the availability of cheap oil lead to calls for a decreasing dependency on fossil fuel.
    Other ideas concentrate on design and development of improved, energy-efficient urban infrastructure in developing nations. Government funding for alternative energy is more likely to increase during an energy crisis, so too are incentives for oil exploration. For example funding for research into inertial confinement fusion technology increased during 1970s.
    Energy economists theorize that declining energy availability will result in a higher price for energy and that this will attract investment to procure new sources of energy that may be substituted. However as Michael Lardelli and others have pointed out, this hypothesis does not include the concept of Energy Returned on Energy Invested, which is important for example, when considering biofuels as an alternative to conventional energy supplies. The theory also assumes that capital investment in the substitution sector will be available even if a financial downturn caused by higher energy prices happens.Nor does the theory account for the fact that the most easily obtainable energy is extracted from reserves first because it provides the most profit leaving the smaller, harder to reach and more expensive to produce reserves.
    Future and alternative energy sources
    In response to the petroleum crisis, the principles of green energy and sustainable living movements gain popularity. This has led to increasing interest in alternate power/fuel research such as fuel cell technology, liquid nitrogen economy, hydrogen fuel, methanol, biodiesel, Karrick process, solar energy, artificial photosynthesis, geothermal energy, Space-based solar power, tidal energy, wave power, and wind energy, and fusion power. To date, only hydroelectricity and nuclear power have been significant alternatives to fossil fuel.
    Hydrogen gas is currently produced at a net energy loss from natural gas, which is also experiencing declining production in North America and elsewhere. When not produced from natural gas, hydrogen still needs another source of energy to create it, also at a loss during the process. This has led to hydrogen being regarded as a 'carrier' of energy, like electricity, rather than a 'source'. The unproven dehydrogenating process has also been suggested for the use water as an energy source.
    Efficiency mechanisms such as Negawatt power can encourage significantly more effective use of current generating capacity. It is a term used to describe the trading of increased efficiency, using consumption efficiency to increase available market supply rather than by increasing plant generation capacity. As such, it is a demand-side as opposed to a supply-side measure.
    Predictions
    Although technology has made oil extraction more efficient, the world is having to struggle to provide oil by using increasingly costly and less productive methods such as deep sea drilling, and developing environmentally sensitive areas such as the Arctic National Wildlife Refuge.
    The world's population continues to grow at a quarter of a million people per day, increasing the consumption of energy. Although far less from people in developing countries, especially USA, the per capita energy consumption of China, India and other developing nations continues to increase as the people living in these countries adopt more energy intensive lifestyles. At present a small part of the world's population consumes a large part of its resources, with the United States and its population of 300 million people consuming far more oil than China with its population of 1.3 billion people.
    William Catton has emphasised the link between population size and energy supply, concluding

    “
    The faster the present generation draws down the fossil energy legacy upon which persistently exuberant lifestyles now depend, the less opportunity posterity will have to live in anything like the same way or the same numbers. Yet most contemporary political proposals for solving problems of economic stagnation or inequity amount to plans for speeding up the rate of drawdown of non-renewable resources.
    ”

    David Pimentel professor of ecology and agriculture at Cornell University, has called for massive reduction in world populations to avoid a permanent global energy crisis. The implication is that cheap oil has created a human overshoot beyond Earth's carrying capacity, which inevitably led to an energy crisis.
    For nearly 60 years the US dependence on imported oil has grown significantly.
    Matthew Simmons and Julian Darley amongst others, have examined the economic effects of an energy crisis. Historian, and sociologist Franz Schurmann links an energy crisis with a deflating American dollar. He has stated that

    “
    If a dollar free-fall should take place, Americans will confront an energy crisis that will make the October 1973 oil shortage seem a mild nuisance.
    ”

    According to Christopher Falvin, geopolitical factors have made the current fossil fuel-based energy system a risk management issue that undermines global security.[citation needed] As the major source of greenhouse gas emissions that accumulate in the atmosphere, fossil fuel energy is increasingly viewed as socially irresponsible. Joseph Tainter, an expert on societal collapse and energy supply, draws attention to the complexity of modern society and our ability to problem solve the wider issue of environmental degradation.
    National population suffering from undernourishment as percentage.
    Agriculture
    According to Kenneth S. Deffeyes, agricultural production depends heavily on hydrocarbons for energy, in the form of:
    • Petroleum to power machinery and transport goods to market
    • Natural gas to produce fertilizer and sometimes to power irrigation
    Between the late 1940s and early 1980s, as the Green Revolution transformed agriculture around the globe, world grain production increased by 250%. Energy for the Green Revolution was provided almost always by fossil fuels.[citation needed] The 20th century population explosion is strongly correlated with the discovery and extraction of hydrocarbons.
    The decision to develop a biofuel industry through subsidies and tariffs in the USA increased food costs globally. Lester R. Brown states that by converting grains into fuel for cars

    “
    ..the world is facing the most severe food price inflation in history as grain and soyabean prices climb to all-time highs,
    ”

    World power usage, 1965–2005
    Catastrophe
    Some experts including Howard Odum and David Holmgren have used the term energy descent to describe a post-peak oil period of transition. Ron Swenson has described a looming peak oil crisis as a calamity unparalleled in human history. The peaking of world hydrocarbon production, known as peak oil may test Malthus critics. Michael C. Ruppert has discussed energy crises in relation to the petrodollar, oil imperialism and police states.

    Saturday, April 30, 2011

    ELT

    Managing innovation in English language education
    Alan Waters
    Innovation in English language education (ELE) has become a major ‘growth area’ in recent years. At the same time, an ELE innovation management literature has also developed, based on insights from innovation theory and their application, both from outside and within ELE, and concerned with attempting to critically evaluate and inform ELE innovation practice. Thus, using a well-established three-part framework for distinguishing the main stages involved in innovation project management, this review describes and discusses the main features of this body of work. After defining terms and clarifying its scope, it considers what is said about the innovation ‘initiation’ phase, in terms of innovation causes, characteristics and contexts. It then examines conceptualisations of the innovation ‘implementation’ stage, by distinguishing main overall approaches, frameworks for identifying and configuring roles, underlying psychological processes, and the use of evaluation techniques. Lastly, the literature relating to innovation ‘institutionalisation’ stage is analysed. The article concludes by identifying overall trends and areas for further development. In particular, it is argued that ELE innovation work needs to become more informed by many of the concepts and procedures which the ELE innovation management literature contains.

    Monday, April 25, 2011

    ELEMENTS OF DRAMA

    Elements of Drama
    Character
    Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character.
    Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate.
    The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain?
    Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the play), and the best actor, who got the principal part(s), was the protagonist. The second best actor was called the euteragonist. Ideally, the term "protagonist" should be used only for the principal character. Several other characters can be defined by their relation to the protagonist. The antagonist is his principal rival in the conflict set forth in the play. A foil is a character who defines certain characteristics in the protagonist by exhibiting opposite traits or the same traits in a greater or lesser degree. A confidant(e) provides a ready ear to which the protagonist can address certain remarks which should be heard by the audience but not by the other characters. In Hamlet, for example, Hamlet is the protagonist, Claudius the antagonist, Laertes and Fortinbras foils (observe the way in which each goes about avenging the death or loss of property of his father), and Horatio the confidant.
    Certain writers-- for example, Moliere and Pirandello--use a character type called the raisonneur, whose comments express the voice of reason and also, presumably, of the author. Philinte and the Father are examples of the raisonneur.
    Another type of character is the stereotype or stock character, a character who reappears in various forms in many plays. Comedy is particularly a fruitful source of such figures, including the miles gloriosus or boastful soldier (a man who claims great valor but proves to be a coward when tested), the irascible old man (the source of elements in the character of Polonius), the witty servant, the coquette, the prude, the fop, and others. A stock character from another genre is the revenger of Renaissance tragedy. The role of Hamlet demonstrates how such a stereotype is modified by an author to create a great role, combining the stock elements with individual ones.
    Sometimes group of actors work together over a long period in relatively stable companies. In such a situation, individual members of the group develop expertise in roles of a certain type, such as leading man and leading lady (those who play the principal parts), juveniles or ingénues of both sexes (those who specialize as young people), character actors (those who perform mature or eccentric types), and heavies or villains.
    The commedia dell'arte, a popular form of the late Middle Ages and early Renaissance, employed actors who had standard lines of business and improvised the particular action in terms of their established characters and a sketchy outline of a plot. Frequently, Pantalone, an older man, generally a physician, was married to a young woman named Columbine. Her lover, Harlequin, was not only younger and more handsome than her husband but also more vigorous sexually. Pantalone's servants, Brighella, Truffaldino, and others, were employed in frustrating or assisting either the lovers in their meetings or the husband in discovering them.
    A group of actors who function as a unit, called a chorus, was a characteristic feature of the Greek tragedy. The members of the chorus shared a common identity, such as Asian Bacchantes or old men of Thebes. The choragos (leader of the chorus) sometimes spoke and acted separately. In some of the plays, the chorus participated directly in the action; in others they were restricted in observing the action and commenting on it. The chorus also separated the individual sins by singing and dancing choral odes, though just what the singing and dancing were like is uncertain. The odes were in strict metrical patterns; sometimes they were direct comments on the action and characters, and at other times they were more general statements and judgments. A chorus in Greek fashion is not common in later plays, although there are instances such as T.S. Eliot's Murder in the Cathedral, in which the Women of Canterbury serve as a chorus.
    On occasion a single actor may perform the function of a chorus, as do the aptly named Chorus in Shakespeare's Henry V and the Stage Manager in Thornton Wilder's Our Town. Alfieri in the View from the Bridge functions both as a chorus and a minor character in the action of the play.
    Reference:
    The Norton Introduction to Literature (Combined Shorter Edition) Edited by Carl E. Bain, Jerome Beaty & J. Paul Hunter Copyright 1973 by W. W. Norton & Company, Inc. and published simultaneously in Canada by Goerge J. McLeod Limited, Toronto

    Plot
    by: Eduardo M. Tajonera Jr.
    The interest generated by the plot varies for different kinds of plays. (See fiction elements on plot for more information regarding plot.) The plot is usually structured with acts and scenes.
    Open conflict plays: rely on the suspense of a struggle in which the hero, through perhaps fight against all odds, is not doomed. Dramatic thesis: foreshadowing, in the form of ominous hints or symbolic incidents, conditions the audience to expect certain logical developments. Coincidence: sudden reversal of fortune plays depict climatic ironies or misunderstandings. Dramatic irony: the fulfillment of a plan, action, or expectation in a surprising way, often opposite of what was intended.
    Reference:
    Encarta Encyclopedia

    Theme
    The plot has been called the body of a play and the theme has been called its soul. Most plays have a conflict of some kind between individuals, between man and society, man and some superior force or man and h imself. The events that this conflict provokes make up the plot. One of the first items of interest is the playwright\rquote s treatment of the plot and what them he would draw from it. The same plots have been and will be used many times; it is the treatment that supplies each effort with originality or artistic worth. Shakespeare is said to have borrowed all but one of his stories, but he presented them so much better than any of the previous authors that he is not seriously criticized for the borrowing. Th e treatment of theme is equally varied.
    The same theme or story may be given a very serious or a very light touch. It may be a severe indictment or a tongue-in- cheek attack. It could point up a great lesson or show the same situation as a handicap to progress. The personality, background an d social or artistic temperament of the playwright are responsible for the treatment that he gives to his story or theme. We must, therefore, both understand and evaluate these factors.
    To endure, a play should have a theme. It is sometimes suggested in the title as in Loyalties, Justice, or Strife, You can't Take It With You, or The Physician in Spite of Himself. At other times it is found in the play itself, as in Craig's Wife when the aunt says to Mrs. Craig, "People who live to themselves are often left to themselves." Sometimes theme is less obvious, necessitating closer study.
    If a play has a theme, we should be able to state it in general terms and in a single sentence, even at the risk of oversimplification. The theme of Hamlet is usually stated as the failure of a youth of poetic temperament to cope with circumstances that demand action. The theme of Macbeth is that too much ambition leads to destruction; a Streetcar Named Desire, that he who strives hardes t to find happiness oftentimes finds the least; and of Green pastures, that even God must change with the universe.
    Of course the theme, no matter how fully stated, is not the equivalent of the play. The play is a complex experience, and one must remain open to its manifold suggestions.
    As indicated above, the statement of the play in specific terms is the plot presented. Plot and theme should go hand in hand. If the theme is one of nobility, or dignity, the plot must concern events and characters that measure up to that theme. As we a nalyze many plays, we find that some posses an excellent theme, but are supported by an inconsequential plot. One famous play of this nature, Abie's Irish Rose, held the stage for many years. The theme said: Difference of r eligion need not hinder a happy marriage. The plot was so thin and both characters and situation so stereotyped, that justice was not done to the theme. This weakness was most obvious in the play's revival after twenty years.
    Examples of the frequent fault of superior plot and little or no theme come to us in much of the work of our current playwrights. Known for their cleverness in phrasing and timing, and their original extremely witty conceptions, these plays are often ver y successful. More often than not, however, they are utterly lacking in a theme or truth that will withstand more than momentary analysis. They are delightful but ephemeral. An audience believes them only while watching in the theatre. Consequently, the author, although now among ou r most popular, will not endure as artists, nor are their plays likely to be revived a hundred years hence. They but emphasize more strongly the axiom that a good plot or conflict is needed for transitory success, but a great theme is more likely to assu re a play a long life.
    Reference:
    Wright, E.A. (1969). A PRIMER FOR PLAYGOERS. Englewood Cliffs; PRENTICE-HALL, INC., pp.156-158

    Dialogue
    Dialogue provides the substance of a play. Each word uttered by the character furthers the business of the play, contributes to its effect as a whole. Therefore, a sense of DECORUM must be established by the characters, ie., what is said is appropriate to the role and situation of a character. Also the exposition of the play often falls on the dialogue of the characters. Remember exposition establishes the relationships, tensions or conflicts from which later plot developments derive.
    Any artificial picture of life must start from the detail of actuality. An audience must be able to recognize it; however changed; we want to check it against experience. Death for exampl e, is something we cannot know. In every man it is represented as an embodying some of our feelings about it. So Death is partly humanized, enough, anyway, for us to be able to explore what the dramatist thinks about it.
    Conversely, the detail of actuality in realistic drama can be chosen and presented in such a way as to suggest that it stands for more on the stage than it would in life. The Cherry Orchard family, in the excitement of their departure, overlook s their old servant Firs. Placed with striking force at the end of the play, this trivial accident becomes an incisive and major comment on everything the family has done.
    So it is dramatic speech. A snatch of phase caught in everyday conversation may mean little, Used by an actor on a stage, it can assume general and typical qualities. The context into which it is put can make it pull more than its conversation al weight, no matter how simple words. Consider Othello\rquote s bare repetition: 'Put out the light, end then put out the light.' In its context the repetition prefigures precisely the comparison Shakespeare is about to make between the lam Othello is holding and Desdemona's life and being. Its heavy rhythm suggests the strained tone and obsessed mood of the man, and an almost priestlike attitude behind the twin motions. We begin to see the murder of Desdemona in the larger general terms of a ritualistic sacrifice. Poetry is made of words, which can be in use in more prosaic ways; dramatic speech, with its basis in ordinary co nversation, is speech that has had a specific pressure put on it.
    Why do words begin to assume general qualities, and why do they become dramatic? Here are two problems on either side of the same coin. The words in both cases depend upon the kind of attention we give them. The artist using them, whether aut hor or actors, force them upon us, and in a variety of ways try to fix the quality of our attention.
    If dialogue carefully follows the way we speak in life, as it is likely to go i n a naturalistic play, the first step towards understanding how it departs from actuality can be awkward. It is helpful to cease to submit the pretence for the moment. An apparent reproduction of ordinary conversation will be, in good drama, a constructio n of word setup to do many jobs that are not immediately obvious. Professor Erick Bently has written of Ibsen's 'opaque, uninviting sentences' :
    An ibsenite sentence often performs four or five function at once. It shed light on the character spo ken about, it furthers the plot; it functions ironically is conveying to the audience a meaning different from that conveyed to the characters.
    It is true that conversation itself can sometimes be taken to do this thing. 'Whatever you think. I'm going to tell him what you said.' is a remark which in its context can shed light on the speaker, the person spoken to and the spoken about. For a fourth person listening, as spectator witnesses a play, there may also be an element of that mean something only to himself as observer. In the play the difference lies first in an insistence that the words go somewhere, move towards a predetermined end. It lies in a charge of meaning that will advance the action.
    This is argued in a statement in Strindberg's manifesto for the naturalistic theatre. He says of his characters that he has 'permitted he minds to work irregularly as they do in reality, where, during conversation, the cogs of mind seem more or less haphazardly to engage those of another one, an where no topic is fully exhausted.' But he adds that. While the dialogue seems to stray a good deal in the opening scenes, \lquote it acquires a material that later on is worked over, picked up again repeated, expounded, and built up the theme in a musical composition.'
    It is a question of economy. The desultory and clumsy talk of real life, with its interruptions, overlapping, in decisions and repetitions, talk without direction, wastes our interest\emdash unless, like the chatter given to Jane Austen\rquote s Miss Bates, it hides relevance in irrelevance. It follows the dialogue which the wit and vitality in Shaw's dialogue yet ignore the question of its relevance to the action.
    When the actor examines the text to prepare his part, he looks for what makes the words different from conversation, that is he looks for the structural elements of the building, for links of characteristic thought in the character, and so on . He persists till he has shaped in his mind a firm and workable pattern of his part. Now the clues sought by the actor hidden beneath the surface of the dialogue are the playgoer's guides too. The actor and producer Stanislavsky have called these clues the 'subtext' of a play.
    The subtext is a web of innumerable, varied inner patterns inside a play and a part, woven from 'magic ifs' , given circumstances, all sorts of figments of the imagination, inner movements, objects of attention, smaller and greater truths and a belief in them, adaptations, adjustmen ts and other similar elements. It is subtext that makes us say the words we do in a play.
    And in another place he says that 'the whole text of the play will be accompanied by a sub textual stream of images, like a moving picture constantly thrown on the screen of our inner vision, to guide us as we speak and act on the stage.' Once we admit that the words must propose and substantiate the play\rquote s meaning, we shall find in them more and more of the author's wishes.
    For dramat ic dialogue has other work to do before it provides a table of words to be spoken. In the absence of the author it must provide a set of unwritten working directives to the actor on how to speak its speeches. And before that, it has to teach him how to think and feel them: the particularly of a play requires this if is not to be animated by a series of cardboard stereotypes.
    Dramatic dialogue works by a number of instinctively agreed codes. Some tell the producer how to arrange the figures on the stage. Others tell him what he should hear as the pattern of sound echoing and contradicting, changing tone, rising and falling. These are directives strongly compelling him to hear the key in which a scene should be played, and the tone and temp of the melody. Others oblige him to start particular rhythmic movements of emotion flowing between the stage and the audience. He is th en left to marry the colour and shape of the stage picture with the music he finds recorded in the text.
    Good dialogue works like this and throws out a 'substextual stream of images'; Even if the limits within which these effects work are narrow, even if the effect lies in the barest or simplest of speeches, we may expect to hear the text humming the tune as it cannot in real life. Dialogue should be read and heard as a dramatic score.
    Reference:
    The Elements of Drama by J.L. Styan
    Cambridge University Press 1960

    Convention
    The means the playwright employs are determined at least in part by dramatic convention. Greek: Playwrights of this era often worked with familiar story material, legend about gods and famous families that the audience was familiar with. Since the audience was familiar with certain aspects of these, the playwrights used allusion rather than explicit exposition. In representing action, they often relied on messengers to report off-stage action. For interpretation the Greeks relied on the CHORUS, a body of onlookers, usually citizens or elders, whose comments on the play reflected reactions common to the community. These plays were written in metered verse arranged in elaborate stanzas. This required intense attention from the audience. English Drama: Minor chara cters play an important role in providing information and guiding interpretation. The confidant, a friend or servant, listens to the complaints, plans and reminiscences of a major character. Minor characters casually comment among themselves on major characters and plot development. Extended SOLILOQUY enables a major character to reveal his thoughts in much greater detail than in natural dialogue. ASIDES, remarks made to the audience but not heard by those on the stage, are common. Realism: Toward the end of the nineteenth century, realistic depiction of everyday life entered the genre of drama, whereas the characters may be unconventional and their thoughts turbulent and fantasy-ridden. Contemporary: Experimentation seems to be the key word here. A NARRATOR replaces the messenger, the chorus and the confidant. FLASHBACKS often substitute for narration. Many contemporary playwrights have abandoned recognizable setting, chronological sequence and characterization through dialogue.
    Reference :
    Encarta Encyclopedia