In language teaching theory we just love the potential of the arts for enhancing learning. In practice this is not always possible on a large scale. This is why it is such a triumph to see an arts project optimised for language learning.
I applaud the students and guiding faculty at the Institute for Foreign Languages (IPBA), Kuala Lumpur, for their production of Shakespeare's King Lear, which I was lucky enough to catch a quick glimpse of this afternoon. As a newcomer (my workplace is on the Institute's campus) I was not privy to the process leading up to the big day, but the product was impressive, not only from a pedagogical point of view but also as a performance in its own right. Three things in particular struck me about the production, and they are briefly discussed below.
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| Image: IPBA |
The fabulous spectrum of language learning opportunities in a theatrical production was exploited in the production. This is especially relevant, since the troupe consisted of language learners who are training to be language teachers. Most certainly, this experience will influence their teaching profoundly, more so since it was a resounding success. Aside from the production seen on stage, students were involved in creating the programme, ushering, orchestrating the whole event and also hosting an exhibition displaying their extensive preparations, including extensive research on the play and preparation of costumes and props.
2. Learner Involvement
The involvement and intensive, efficient, on-task team work among students seriously blew me away. From the exhibition team to the ushers and stage hands, not to mention the actors, the cooperation was staggering. Talk about learner independence - the proof of how good a job the faculty in charge did is in the fact that I have no idea who they are: the students did everything. The best kind of teaching (if we can even call it that) is when the teacher becomes invisible and the learning takes centre stage. Pun unintended.
3. Shakespeare As You Like It
Shakespeare's venerable place in the literary canon has unfortunately given the Bard a bad reputation in English-speaking countries. Especially the tragedies are tolerated rather than enjoyed by the audience. Not so in Malaysia-Upon-Avon. If ever there was a contemporary audience to rival the ribald throng of the original Globe Theatre, this was it. The audience was enthralled, lapping up every punchline from the Jester (and every remotely risque word) with vociferous gusto. Every impressive piece of stagecraft was applauded and cheered. No stoic theatre crowd, this. This was Shakespeare as his work was meant to be performed: ribald and raucous and bustling.
I offer a standing ovation to a good production, a great language learning project and an unforgettable teacher training experience.
