Teatro de lectores | Readers’ Theatre

~Thomas DeVere Wolsey

Available in English/inglés and adapted from: 

Lapp, D., Fisher, D., & Wolsey, T. D. (2009).  Literacy growth for every child: Differentiated small-group instruction K-6. New York, NY: Guilford Publishers.

Un teatro para lectores es una actuación informal en la que los estudiantes en grupos pequeños leen un guion en voz alta. El guion puede ser preparado por adelantado por el maestro o los estudiantes pueden crear sus propios guiones. El ensayo les permite a los estudiantes practicar ante una audiencia con sus compañeros de clase. En el proceso, vuelven a leer el texto muchas veces y aumentan su fluidez de lectura.

readers' theatre

Teachers in Guatemala City demonstrate readers’ theatre.

Los puntos fuertes del lenguaje y la lectura se desarrollan a través del teatro de lectura cuando pequeños grupos de estudiantes vuelven a leer los textos en su nivel de lectura independiente y los transforman en un guion de teatro de lectores que pueden representar más tarde para sus compañeros. La relectura, que es importante para la comprensión, también proporciona la seguridad de que los estudiantes hablen públicamente durante la actuación. Todos los estudiantes, incluidos aquellos que son muy competentes, aquellos a quienes todavía les cuesta alcanzar la competencia, y los que son estudiantes de un segundo idioma tendrán un crecimiento positivo a medida que participan en las representaciones teatrales de los lectores (Goodman, 1978). En estos grupos de colaboración, todos los niños aumentan su fluidez en la lectura y el habla al compartir textos con sus compañeros (Martinez, Roser, & Strecker, 1998/1999). Estas actuaciones se pueden compartir dentro de su clase y también con otras clases. Un beneficio para la clase que se visita es que una vez que los oyentes están expuestos a nuevos libros, a menudo claman por leerlos

El énfasis en el teatro de lectores está en apoyar el crecimiento de cada niño en fluidez de lectura y lenguaje oral. Esto sucede naturalmente si los estudiantes, con la ayuda del maestro, seleccionan sus roles y tienen tiempos de relectura y de práctica adecuados. La meta del maestro debe que todos los estudiantes trabajen dentro de sus niveles de comodidad y competencia y que tengan experiencias exitosas. Todo el grupo también puede discutir cómo actuar con el uso de títeres, personajes de fieltro o programas de animación gráfica.

Las ventajas del Teatro de lectores incluyen*:

  • Promoción de la fluidez, incluida la expresión o prosodia
  • Brinda a los estudiantes la oportunidad de elegir, ensayar y presentar guiones cortos de tipo obra ante los compañeros de clase y otras personas sin el estrés de memorizar líneas o usar disfraces o accesorios elaborados
  • Proporciona oportunidades de lectura repetida a medida que los estudiantes practican antes de la actuación
  • Maximiza el compromiso de los estudiantes ya que cada estudiante en el grupo tiene un rol.
  • Aparece menos desalentador que otros textos ya que un alumno lee una parte en lugar de todo el texto solo
  • Se adapta a una amplia gama de habilidades con roles o partes de nivel de dificultad variado.

Los profesores:

  • Seleccionan los textos. Los textos narrativos con mucho diálogo funcionan mejor.
  • Preparan los guiones (las fuentes incluyen guiones preparados comercialmente, sitios web y guiones escritos por el docente o los alumnos); resaltan las partes específicas en los guiones de los estudiantes
  • Modelan leyendo el texto en voz alta
  • Asignan los estudiantes a grupos
  • Proporcionan retroalimentación y monitorean a medida que los grupos pequeños practican

Los estudiantes:

  • Leen el guion en silencio o con un compañero
  • Vuelven a leer en grupo con los estudiantes, leyendo diferentes roles, en turnos
  • Negocian y asignan roles
  • Leen y releen de forma individual, centrándose en la parte o rol asignado (pueden practicar fuera de la escuela y en casa)
  • Practica la relectura del guion con otros en grupo
  • Hacen etiquetas, tarjetas o marionetas que los estudiantes sostienen para identificar a su personaje
  • Deciden dónde se colocarán los estudiantes durante la actuación
  • Actúan con el guion en la mano

El teatro de lectores no es una gran producción y no es necesario que los estudiantes memoricen líneas, usen un micrófono o se pongan disfraces.

* Adaptado de los materiales proporcionados por la Universidad de Texas en Austin. https://buildingrti.utexas.org/instructional-materials/fluency-fourth-grade

Recursos y ejemplos:

Teatro de lectores- 02 La Honestidad

https://www.kinderbilingue.com/collections/reading-activities/products/teatro-de-lectores-01-la-responsabilidad-readers-theater-in-spanish?variant=39500372300

University of Texas at Austin Resources in Spanish and English

https://buildingrti.utexas.org/instructional-materials/fluency-spanish-readers-theater-scripts

Tareas del teatro de lectores

Readers’ Theatre Tasks en-es (descargar PDF)

El coyote y el conejo

http://bibliotecadigital.ilce.edu.mx/Colecciones/index.php?clave=huasteca&pag=7

Ejemplos

https://youtu.be/-2lyNbteztk

https://youtu.be/9i88od41w0s

https://youtu.be/bgd0ieZx4RU

Referencias

Goodman, J. A. (1978).  Teaching the total language with readers’ theatre.  [ERIC document number ED 191321].

Martinez, M., Roser, N. L., & Strecker, S. (1998/1999). I never thought I could be a star: A readers’ theatre ticket to fluency. The Reading Teacher, 52, 326-333.

 

 

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Readers’ Theatre | Teatro de lectores

by Thomas DeVere Wolsey

This post is available in Spanish/español.

Adapted from

Lapp, D., Fisher, D., & Wolsey, T. D. (2009).  Literacy growth for every child: Differentiated small-group instruction K-6. New York, NY: Guilford Publishers.

A readers’ theatre is an informal performance as students in small groups read a script aloud.  The script may be prepared in advance by the teacher or the students may create their own scripts from narrative texts they have read. Rehearsal permits students to practice in advance for an audience of their classmates. In the process, they reread the text many times and increase their reading fluency.  In this post, a rationale and online resources are shared.

Readers' Theatre Teatro de lectores

Screencapture source: https://youtu.be/bgd0ieZx4RU

Language and reading strengths are developed through reader’s theatre as small groups of students re-read texts at their independent reading level and transform them into a readers’ theater script that they can perform at a later time for their classmates.  Rereading, which is important for comprehension, also provides the security for students to speak publicly during the performance. All students including those who are very proficient, those who are struggling toward proficiency, and second language learners will have positive growth as they engage in readers theatre performances. In these collaborative groups, all children increase their reading and speaking fluency as they share texts with their peers. These performances can be shared within your class and also with other classes. A benefit for the class being visited is that once listeners are exposed to new books they often clamor to read them.

The emphasis in readers’ theatre is on supporting each child’s growth in reading fluency and oral language. This happens naturally if students, with the aid of the teacher, select their roles and have adequate rereading and practice time. The teacher’s goal should be that all students work within their comfort and proficiency levels and have successful experiences. The entire group can also discuss how to perform it themselves with the use of puppets, felt board characters, or graphic animation programs.

The advantages of Readers’ Theatre include*:

  • Promotes fluency, including expression or prosody
  • Affords students the opportunity to choose, rehearse, and present short play-like scripts to classmates and others without the stress of memorizing lines or using elaborate costumes and props
  • Provides opportunities for repeated reading as students practice before the performance
  • Maximizes students’ engagement as every student in the group has a part
  • Appears less daunting than other texts since a student reads one part rather than the entire text alone
  • Accommodates a wide range of reading abilities with roles or parts of varying difficulty

Teachers:

  • Select texts. Narrative texts with much dialog work best.
  • Prepare scripts (sources include commercially prepared scripts, Web sites, and scripts written by teacher or students); highlight specific parts on students’ scripts
  • Model by reading text aloud
  • Assign students to groups
  • Provide feedback and monitor as small groups practice

Students:

  • Read script silently or with a partner
  • Reread in group with students taking turns reading different roles
  • Negotiate and assign roles or parts
  • Read and reread individually, focusing on assigned part or role (can practice outside of school and at home)
  • Practice rereading script with others in group
  • Make labels, cards, or puppets that students hold to identify their character
  • Decide where students will be positioned during performance
  • Perform with script in hand

Readers’ Theatre is not a big production, and students are not required to memorize lines, use a microphone, or wear costumes.

*Adapted from materials provided by the University of Texas at Austin. https://buildingrti.utexas.org/instructional-materials/fluency-fourth-grade

Resources and examples:

Teatro de lectores

https://www.kinderbilingue.com/collections/reading-activities/products/teatro-de-lectores-01-la-responsabilidad-readers-theater-in-spanish?variant=39500372300

University of Texas at Austin Resources in Spanish and English

https://buildingrti.utexas.org/instructional-materials/fluency-spanish-readers-theater-scripts

Readers’ Theatre Tasks en-es (download PDF)

El coyote y el conejo

http://bibliotecadigital.ilce.edu.mx/Colecciones/index.php?clave=huasteca&pag=7

Examples on YouTube:

https://youtu.be/-2lyNbteztk

https://youtu.be/9i88od41w0s

https://youtu.be/bgd0ieZx4RU

Preserving Indigenous Language

Cultivating home languages in the classroom. 

By Thomas DeVere Wolsey, Alan N. Crawford, and Frances Dixon

On a mountaintop surrounded by clouds and rainforest, students gather for classes. The students here all came from the surrounding villages where Q’anjob’al, a Mayan language, is spoken.  The school serves students aged 12 to 18, and many go on to university. At times, students have even been known to inflate their ages so they can attend; the desire to learn is that great.

 

 

The students at Maya Jaguar come to preserve their heritage as Mayans, to learn Spanish, and to bring the best of the world beyond their villages back home. Alumni from Maya Jaguar return to the villages as nurses and teachers.  Most of the teachers at the school speak Q’anjob’al and Spanish.

To read the entire article, please download Preserving Indigenous Language (click the link) or join the International Literacy Association to stay current with literacy topics and issues all year long.

Resources:

 

Exploring Literacy in the Disciplines: What Disciplinary Experts & Teachers Think

By Thomas DeVere Wolsey

4:30 – 5:25 PM, July 6, 2017, Room 2, Palacio de la Audiencia Cultural Center

Soria, Spain
For this presentation, the researchers brought literacy professionals, professors, experts from several disciplines, and teachers together to inform each other and us about the role language and literacy plays in their respective disciplines. Their conversations highlighted how the literacies are used during an “at work day”, how professors can share this information with perspective teachers, and exactly what that means for middle and high school students (Draper, Broomhead, Jensen, & Siebert, 2010).

Presentation slides [ PDF]

Literacy in the Disciplines Interview Project page. Visit the conference site here.

Literacy in the Disciplines

Literacy in the Disciplines

International Literacy Association Pre-Convention Institute

Developing Conceptual Knowledge Through Oral & Written Language  – Literacy Practices in Schools and in the Workplace: Match or Mismatch? #ILA2017

  1. PowerPoint  (Opens in Box.com)
  2. Introduction to Literacy in the Disciplines PDF
  3. Writing in the Disciplines by Time and Source PDF
  4. Accuracy in Digital Writing Environments: Read Up, Ask Around, Double Check [Free Access – Scroll down to find the article].
devere-bernadette-at-ila-july-2017-2-e1500226951644.jpg

Bernadette & DeVere representing Literacy Beat at #ILA2017

Reference:

Draper, R.J., Broomhead, P., Jensen, A.P., Nokes, J.D., & Siebert D. (Eds.). (2010). (Re)Imagining content-area literacy instruction. New York: Teachers College Press.

 

 

Story Shares – A Digital Library for Teens and Young Adults

By Thomas DeVere Wolsey

Recently, I participated in a Twitter chat hosted by the International Literacy Association #ILAChat and Sam Patterson (@SamPatue) on the topic of the Association’s latest What’s Hot in Literacy report.  While there, I met the Story Shares team.

Story Shares in their own words, “Story Shares is a non-profit organization devoted to inspiring reading practice and improving literacy skills.”  The organization leverages technology to bring books worth reading to teens and young adults who struggle. As most readers of Literacy Beat who work with adolescents know, finding material that is not overwhelming is a challenge.

Story Shares Home Page Screenshot

Story Shares Home Page

Story Shares has created an online space that provides opportunities for writers to publish their work in a variety of genres and fills the need of teen readers for something meaty but not impossible to read.

Romeo and Me

Story Shares Digital Book

The online book collection is searchable by the usual indicators (author, title)
but also by interest level and three readability indices.  The books are easy to navigate by chapter and by scrolling. Controls include a bookmark, a word lookup tool that brings up definitions of challenging words, and a tool to mark a book for reading later. Some readers prefer books on paper, so Story Shares makes some of their collection available for purchase as a paperbound book.

Because some readers benefit from hearing the words of a book read aloud, the Story Shares team has built in a text-to-speech reader. As the reader speaks the words, the written words are highlighted on the page.

Nelson Mandela

Nelson Mandela: In His Own Words for iPad. Author: Ruth Chasek

I sampled the books on my computer and on my iPad. Both worked perfectly with the books on Story Shares.

For authors who wish to write for the teen and young adult audience, a user-friendly interface allows the writer to focus on the narrative and not the technology.  I tried it and found the graphic user interface (GUI) very easy to use.

Because Story Shares is a nonprofit organization that serves students around the world, they also appreciate donations. Just click here to help them out.

Literacy in the Disciplines: A Teacher’s Guide for Grades 5-12

My book with co-author Diane Lapp will be available in October 2016.  Besides many resources, some of our colleagues and friends contributed to our chapter on specific disciplines.

A Special Offer for Readers of Literacy Beat from Guilford Press: Save 20% with Promotion Code 2E! Just click the link or the cover art to automatically have the discount applied in your cart. You may also enter the code 2E directly in the cart to receive the discount.

Literacy Disciplines Cover

Meet some of our experts:

A great lineup of experts in teaching and in the disciplines contributed to chapter 2 with sections for many content areas and topics.  Take a look!

Faith Bass-Sargent teaches mathematics at Elsinore Middle School in Lake Elsinore, CA.

Kathy Blakemore is an outdoor education enthusiast who also teaches science and physical education at Elsinore Middle School in Lake Elsinore, CA.

Cameron Brown is the Director of Instrumental Music at Thurgood Marshall Middle School in San Diego, California.

Devin Burr, D.O., is a resident physician at Aspen Dermatology in Spanish Fork, Utah.

Dr. Maria Grant is a Professor of Education, California State University at Fullerton working in the College of Education.

Dr. Dana L. Grisham is a retired professor in the Department of Teacher Education at CSU East Bay (Hayward) where she taught courses in literacy teacher preparation and in the graduate reading program.

Liz Jardine owns a design studio and is an artist in San Diego, California.

Dr. Denise Johnson is professor and director of the Literacy Leadership Program and Department Chair of Curriculum and Instruction at the College of William & Mary, Williamsburg, VA.

Dr. Linda Lungren, a music teacher for San Diego City Schools (elementary).

Stacy Miller teaches at Stuttgart High School (DoDEA) in Germany.

Dr. Stephen Mogge is an Associate Professor in the Graduate Reading Education Program at Towson University.

Dr. Barbara Moss is a professor of literacy education at San Diego State University, where she teaches courses at the credential and masters levels.

Dr. Donna Ogle is Professor Emeritus of Literacy Education at National Louis University (NLU), Chicago, IL.

Dr. Susan J. Pearson is an Associate Professor of History at Northwestern University in Evanston, IL.

Tim Peterson is a bass guitar specialist. He works in retail at Guitar Center in the Los Angeles area and is a member of the popular band, EverTheory.

Steve Sheinkin is the author of several award-winning nonfiction books for young adults: The Notorious Benedict Arnold: A True Story of Adventure, Heroism & Treachery; Bomb: The Race to Build–and Steal–the World’s Most Dangerous Weapon; and the Port Chicago 50.

Dr. W. David Scales is a professor and psychometrician in the Department of Psychology at Western Carolina University in Cullowhee, NC.

Javier Vaca is a teacher of social studies at Health Sciences High and Middle College, San Diego, CA.

 

 

The Lazy Classroom Model

By Thomas DeVere Wolsey

Hey, who are you  calling “lazy?” That’s what I thought when I first came upon the phrase, “Lazy User Model.” In this case, being lazy is not a value statement or judgment but rather a phenomenon that explains certain behaviors, particularly when technology is involved, that may permit the user to get on with the business of learning.  Let’s explore that a little.

What is the Lazy User Model?

Remember the last time you wanted to upgrade your cell phone? One of the factors you likely considered was how much time you would need to spend to learn the features and affordances of your new phone.  If you chose a phone that worked much as your old phone did, you demonstrated the principle of the Lazy User Model (Tétard & Collan opens as PDF, 2009).  The theorists postulate that users attempting to solve a problem, such as obtain information or carry out a task, are limited in some ways and have a set of possible solutions against which to weigh the need and the limitations.  They believe that users typically choose the solution that results in the least cost to them and still solves the problem. That is why they call the theory the “Lazy” User Model.  You can see that in this case, being lazy may save on the overall investment of time, money, or other resources.  Here is what that looks like in graphic form.

Lazy User Model

The Lazy User Model

Plug your need for a new cell phone into the graphic, and you will see how being lazy works for you.  You need a new cell phone. The state that limits you includes the choice of phones your cell phone provider offers, your knowledge of the phone you already have and when your current plan expires allowing you to select a new phone. Your possible solutions (let’s say) include an iPhone and an Android. The least cost or lazy option for you is the type of phone you already have because you already know how to use most of the features. The cost in terms of time spent learning the features of the phone outweigh the choice to adopt (or “switch” as Tétard & Collan, 2009 call the action) the possibility of choosing a new brand of phone.

Being Lazy in Class

What does being lazy look like in class? More important, why would you want to allow your students to be lazy? In our present case, let’s change the title of the model from Lazy User to Lazy Classroom.

Here is a scenario from a project Dana, Linda, and I reported on Literacy Beat recently (here and here). We asked a group of fifth graders to learn science vocabulary through the Vocabulary Self-Collection Strategy Plus (VSS+) model.  The students needed to solve the problem of creating the VSS+ entry by selecting images, creating an audio file, and writing a definition, among other things.

The need or problem: Create a VSS+ entry.

The state that creates the limitations: Use the tools assigned and that are available in the school computer lab.  The students were further limited by the amount of time they had to complete the project before they were required to submit it.

The set of possible solutions thus includes choosing Thinglink or PowerPoint. Most of the students were familiar with PowerPoint but hadn’t used it, and none of the students were familiar at all with Thinglink.

The lowest cost or “lazy” solution for most students turned out to be PowerPoint because most of the students were familiar with the software. Some students did try Thinglink and created successful VSS+ entries because they were intrigued with the tool, and a few others started with Thinglink but switched back to the more familiar tool after experimenting with it.

Lazy Classroom Model

Lazy Classroom Model

What are the Implications for the Lazy Classroom?

There are several things we might take away from the Lazy Student Model.

  1. Being lazy can be a time saver that allows the students to concentrate on the task and not on the tool.
  2. Being lazy might mean that students will not choose the best technology because they chose the tool they know instead of the best one for the task.
  3. If students need to learn how to use a new-to-them technology, the will need support. Support could include direct instruction, a series of help or job aids, or access to a peer expert who is knowledgeable about the tool. Indeed, in the VSS+ project, we purposefully chose some students to become experts in working with sound files, selecting graphics, or designing graphic images using the drawing tools in PowerPoint, for example. Then, when other students needed assistance, we teachers directed the students to their expert peers to teach them what they needed to know just in time to put the technology to work.

What other implications for the Lazy Classroom Model occur to you? Are there examples you would like to share? Please use the comments section to post your thoughts.

Learn more about the Lazy User Model at http://lazyusermodel.org/

Reference:

Tétard, F. & Collan, M.  (2009). Lazy User Theory: A Dynamic Model to Understand User Selection of Products and Services. Proceedings of the 42nd Hawaii International Conference on System Sciences – 2009. Retrieved from https://www.computer.org/csdl/proceedings/hicss/2009/3450/00/09-13-01.pdf


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