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55Резюмируя вышеизложенное, приходим к выводу, что «инновационная компетентность» входит в структуру профессиональной компетентности педагога и состоит их таких компонентов, как ценностно -мотивационный, содержательный, операционно-деятельностный, рефлексивный, но содержательное наполнение каждого компонента понятия «инновационная компетентность» педагогов нуждается в детализации и разъяснении.
Литература
1. Звягинцева Н.Ю. Формирование инновационной компетентности будущего педагога. //Вестник Адыгейского государственного университета.- 2009.- №4.
2. Зимняя И.А. Ключевые компетенции - новая парадигма результата образования // Высшее образование сегодня.- 2003.- №5.
3. Ермаков П.Н., Абакумова И.В. О месте гуманитарного образования в инновационной деятельности университета// Высшее образование в России. —2014. —№ 1
4. Орлов А.А. Научное наследие М.Н. Скаткина и инновационные процессы в современном образовании /А.А.Орлов //Педагогика.—2016.— №1—0.107-116
5. Шкерина Л.В. Развитие инновационной педагогической компетентности студентов педагогического вуза как фактор их профессиональной успешности. - URL:
http://www.kspu.ru/doccom/c2.data/12efb66ff585e6aed0489c2641a6c9e9.doc.
THE CONCEPT OF DRAMA APPROACH IN ENGLISH LANGUAGE
TEACHING
Tasheva Bekhruza Hasanovna
Uzbekistan state world languages university Teacher of Applied sciences department
Drama is not a new concept in foreign language teaching; it has been already widely advocated in language classroom since 1970s. Since this time, drama approach, techniques and activities has been developing and entering into many bilingual or multilingual cultures' scholastic curriculum. According to an article by Nelly Zafeiriadou (2009), " In the 1980s and 1990s in England and in many other countries there was a fairly pronounced division between writers and practitioners who advocated different approaches to teaching drama. The dissimilar thing was that teachers who took a theatre approach talked about acting, rehearsals and performance, but teachers of drama concentration referred more to experience, living trough imrovisations and oral interpretation".
As the world known English writer Shakespeare quoted "All the world's a stage, and all the men and women merely players". That is, in this world all human beings have their own roles and as more people play the situations the bet-
ter they understand the realm. In language context this method of education has been applied already and the consequences of this approach are showing very respectable results.
Many people have a connotation of theatre, actors and performance when they hear the word "drama". Drama is in fact, putting on plays in front of audience in which a cast of actors perform together in harmony. Nevertheless, drama in foreign language education has much broader meaning and a chain of special functions. "Drama" in language classes is not only acting some roles or drilling the words that are handled by the teacher in front of the audience, as the majority of people concern. Moreover, as M.G. Rauen (1990) claims that "Drama is not designed for the benefit of the audience, but to bring internal and interpersonal rewards (such as self confidence and mutual understanding in the foreign language)". Unlike drama on stage, drama activities utilized in language context aim not to assess by the success of performance itself (how much it was realistic or credible), but how well participants (students) generate their interactions and behaviours.
As in any language context, in drama situation all the learners bring with them their own social and cultural background and face their prejudices in the classroom. Teachers usually appreciate learner-centered approach if they want to form an extanding efficiency in teaching English leading to the increase of their repertoire of pedagogic strategy. Thus, instructors of modern society are giving learners a wider option to practice their language by the help of drama activities.
Drama activities give students a prospect of using their own personality in generating the material on which language class is based. "They draw upon natural ability of people to imitate , mimic and express themselves through gesture. Drama activities draw, too, on the student's imagination and memory, and natural capacity to bring to life parts of their past experience that might never otherwise emerge" (A. Maley and A. Duff, 2002).
The method of drama seems to appear and spread as a reaction to the close and uncreative approaches at the time which entailed children acting out in a quite formal way the words of others rather than improving their own notions. When language learners are engaged in more spontaneous, improvised work as drama, their level of engagement and feeling will be much more passionate and sincere.
Teacher's are aware of the situation that while working with a group every learner brings different mood to the classroom: someone may be blithe, others downhearted, some of them tense while others are relaxed, or they can be alert and even bored. As long as people come to a classroom willing to assimilate some kind of knowledge, they have to work together in harmony. Drama approach can be a helpful tool that unifies all together arousing students' interest by drawing on the unpredictable power generated when one person is brought together with others. "Drama is a whole process that includes all of the dramatization activities such as non-verbal warming up exercises, non-verbal cooling down exercises, some ice-breaking activities or fun games as well as role-plays
and other activities that based on the usage of mimics and gestures" (A. Maley and A. Duff, 2005). These are all activities, which are usually learner-centered and grounded on the action and movements. This can be reason of applying such activities especially for young learners (children) because they may feel boredom being inactive in simple exercises that require to sit in one place and to do the tasks given in their course book.
In a very famous Chinese proverb it says: "I hear and I forget, I write and I remember, I act and I understand". Drama can foster language skills such as reading, writing, speaking and listening by creating a suitable context. "Drama is a powerful language-teaching tool that involves all of the students interactively all of the class period" (Dr. M. Zyoud). Transfering acquired skills from educational settings to real life situations have always been a challenging task in education. The significance of drama is often recognized to the fact that it allows the creation of contexts for diverse language uses, thus fostering students' language awareness.
During regular classes students usually ask questions like "Why are we doing it?", "Why do we need it? "Is it necessary for us?" because they want to know the necessity of the things that they are learning. The important thing here is that coaches should make the students sure, and their parents as well, that all the things that they do and learn in the classroom are beneficial in their life. They should have practical real-life situations in a class in order to avoid inconveniences that they may encounter because of having not enough experience. If they have similar dialogs or situations to their everyday life, they are likely to understand the importance of the knowledge taught by EFL teachers much better, and thus, drama is an effective way of experiencing the requisite of certain language patterns that for students.
It is hard to establish students' interest and their trust if a teacher teaches them in an impersonal way, so drama is something that gives authenticity that unites learners and help to open up themselves. In this case, learners include their emotions, feel the situation and experience it in a natural way as actors. Through the drama activities, students are given the opportunities to show their individual character and language abilities in a manner that amuses themselves as well as their peers.
Initiating drama into an EFL class changes the atmosphere of a class making it more lively and entertaining. Surely, it affects to the practical ability of learners as they enrich their experience through using language in different contexts in all drama activities. There are plenty of activities that can progress foundational skills needed in theatre arts that also have remarkable advantages on literacy development, academic success, and social interaction. Drama games include ice-breakers, energizers, brain-teasers and etc. They are typically of short duration and are used as introductory or concluding activities. "They are meant to create immediate motivation as well as physical and mental stimulation which can draw students into or sustain active learning that, is centered on authentic/actual communication in the target " (Stoate and Dougill, 1987). When
grouping drama techniques it is necessary to know any object, skill or the way of doing exercises because theere is no a vivid grouping of drama techniques. Every source has its own way of grouping drama techniques and they are nearly similar to each other. However, there are variances that one can notice while comparing them with one another; for example a game named Portraits is counted in a group of Visual Games (A. Maley and A. Duff, 2005) but in other book it is included in Interpretation (A. Maley and A. Duff, 1982). According to some scholars drama techniques can be roughly divided into seven major groups that contain several subgroups and games/activities: introductory exercises, observation, interpretation, miming exercises, word-play, role-plays, problemsolving, games and activities based on texts, poems and songs.
All of these exercises combine elements of creative drama, improvisation, pantomime, creative movement, storytelling and etc. They intend to crank out more speaking and vocabulary development as well as language in context. Each drama activity used in the language class should be directly allied to the components that are made up of smaller units of the modern curriculum. Many traditional games are aimed to develop only one particular skill, whereas drama games integrate numbers of skills. A drama game (e.g. roleplay) hypothetically develops communicative aptitude, language and cultural awareness. In particular, during a role play activity students can increase listening, speaking and reading skills (if the written version of the text is given) plus to improving students memorization capability and genuine performance ability. If a literary poetry or prose is acted, pupils also get the knowledge of the history or literature of a target language.
НАУЧНО-МЕТОДИЧЕСКОЕ СОПРОВОЖДЕНИЕ ИННОВАЦИОННОЙ ДЕЯТЕЛЬНОСТИ ОБРАЗОВАТЕЛЬНОЙ
ОРГАНИЗАЦИИ
Коваленко Наталья Владимировна,
канд. пед. наук, доцент Муниципальное автономное образовательное учреждение дополнительного профессионально образования «Институт повышения квалификации», 654041 Россия, г. Новокузнецк, ул. Транспортная 17
Кеда Елена Александровна, директор МБОУ «СОШ №31» г. Осинники, Коваленко Григорий Борисович, учитель МБОУ «СОШ№ 52» г. Новокузнецк
Аннотация. В статье рассмотрены проблемы организации научно-методического сопровождения, решение которых позволит образовательной организации обеспечить повышение качества системы образования.
