








































Article 
 

Claire L. Holman, Linguistics, Spanish, Theatre Major; TESOL Minor, University of Georgia, 
Athens, GA; email claire.holman@uga.edu. 
 

Theatre as a Means for Teaching a 
Second Language 

GATESOL Journal 
2022, Vol. 32(2), pp. 14–26 

doi:10.52242/gatesol.163 
ISSN: 2331-6845 

 

Claire L. Holman 
University of Georgia 
 
 

Abstract 
This paper discusses theatre as a way to enhance and/or revitalize the language classroom both 
in second and foreign language contexts. Theatre and drama have been identified as creative 
pedagogical approaches to engage students to interact in situations and realistic scenarios in 
which their second language would be used in an accessible, safe way that adequately prepares 
them for language use in the real world. Using theatre and drama as instructional support does 
not disregard current language teaching practices, but provides educators options to enhance 
their teaching and learning spaces. I hope the discussion presented here will inspire educators 
to integrate theatre into their classroom contexts because when language is accessible, 
approachable, and relevant in a fun and meaningful way, language learning and acquisition 
are achievable.  
 
Keywords 
theatre, drama, product-based, processed-based, creation, devised work 

 
Introduction 
 

I regard the theater as the greatest of all art forms, the most immediate way in which a 
human being can share with another the sense of what it is to be a human being. –Oscar 
Wilde 

 
Performance theorist Schechner (2020) describes performance as being which is existence itself, 
doing which is the activity of all that exists, and showing doing which is performing: pointing to, 
underlining, and displaying doing. More than just an actor reciting a soliloquy on stage, 
performance is the way a student feigns attention in class, the way one carefully selects an outfit 
for a job interview, the way we binge the newest Netflix hit. Performance, according to Schechner, 
is central to our very existence. All that we do and all that we are is performance.  

Discourse analyst Gee (2011) similarly connects language to performance. He asserts that 
meaning in discourse is created in/by the ways we communicate who we are and what we are doing 
in the here and now. In order to co-construct meaning, interlocutors must perform effectively in 
the role(s) they wish to portray (i.e., identity). Each component of language (i.e., phonetics, 
phonology, morphology, syntax, pragmatics) develops the grand performance of one’s identity 
with the external processes of speaking and writing, which fronts the performance, while reading 
and listening inform the choices one makes toward that performance. Gestures and other forms of 
non-verbal communication contribute to this performance. Thus, an important inquiry arises: how 
can language be taught in accordance with this idea? 

Common in English as a Foreign Language (EFL) classrooms but also salient in English 
as a Second Language (ESL) contexts is a way of teaching language that “decontexualizes 

mailto:claire.holman@uga.edu


Holman 15 
 

language,” directing the focus entirely to “grammar, syntax, vocabulary, pronunciation and 
functional aspects” (DiNapoli, 2009, p. 98; see also Lei & Huang 2012; Kuyumcu, 2013; Pandian 
et al., 2014). These elements are unequivocally important and necessary, but they depict language 
as a system of sounds and words and tends to overlook the rich and complex fixture of culture and 
communication. To truly communicate and participate in the target language (TL), students must 
be taught in a way that recontextualizes language into its culture and builds their communicative 
skills. As Gee (2011) illustrates, “it is not grammar alone (or primarily) that carries out the work 
of achieving status and solidarity, but the ways in which words are spoken, or, we might say, how 
one ‘designs’ one’s utterances” (p. 113). Viewing language as a performance, as something 
grander than the words, and as something richly dependent on context allows one to understand 
these complexities and visualize a new way of teaching.  

Since the end goal of learning a language, for many, is to be able to communicate 
effectively or, as defined by Schechner (2020), to perform effectively, language should be 
rehearsed and practiced before students encounter it outside the classroom. To create an 
environment where language can be rehearsed, language curricula should be infused with drama 
and theatrics in order to transform language from simply conjugation drills and vocabulary quizzes 
into a breathing piece of art, culture, and life. Wagner (1979) asserts that dramatic instruction is 
“particularly well suited” to not only hone skills, but also to learn the rhetorical effect of 
vocabulary and grammatical structures in usage with others (pp. 268–269). Wagner’s (1979) work 
develops that dramatic instruction furthers the skills taught from those drills and quizzes and turns 
them into usable units of language. Ultimately, the incorporation of theatre and drama into the 
language classroom creates an effective rehearsal environment that mimics real world scenarios 
for language use, developing both interpersonal/intrapersonal skills and language competency, 
breaking typical classroom constraints.  
 In this paper, I will discuss the benefits of using theatre before addressing the instructional 
practices used by teachers for incorporating theatre and drama into the language classroom. 
Readers will then be able to understand how theatre increases motivation and self-confidence, 
decreases language-related anxiety, and could improve command over language skills. The general 
approaches discussed will break down theatre versus drama and establish the specific benefits and 
details of each as well as the contexts they are best suited for. I will then address the major concerns 
educators have about changing their teaching approaches into these more artistic educational 
practices before I summarize my points. At the end of the paper, I hope to create new perspectives 
on theatre’s place in the language classroom and motivate readers to incorporate theatre and drama 
into their pedagogical repertoire. 
 
Benefits of Theatre 
This section will discuss how theatre creates a unique environment that allows for realistic practice 
of and a strong connection to the target language. Then, it will explore the positive impact this 
context could have on the learner’s interpersonal/intrapersonal skills by decreasing anxiety and 
improving motivation and self-confidence. Finally, it will discuss the ways theatre can support 
language development. 
 
A Realistic Environment 
As discussed above, language can be academic and can be studied, but its true utility comes from 
its basis as a contextualized speech act, an utterance spoken for a purpose, within a discourse, 
within a culture. One commonly used instructional style that emphasizes the academic nature of 



16 GATESOL Journal 32(2)  
 

language is focus on forms, an explicit method that is targeted toward supporting learners to 
“master the structural features listed on the syllabus” (Ellis, 2015, p. 262). DiNapoli (2009) 
asserted that this method and others like it that focus almost entirely on the more academic qualities 
of language “lack affective commitment” (p. 101), meaning these pedagogical approaches do not 
inspire connection to the language. Through drama, however, students are provided with “more 
opportunities for encountering contextualized exposure to the language, in which they could 
experience the signaling value of natural and more spontaneous communication” (DiNapoli, 2009, 
p. 106) which raises affect, or students’ positive attitudes toward the language, via turning 
students’ attention to the real-world contexts beyond the classroom. By eliminating focus on forms 
and putting language into its natural context, language can be understood as it exists naturally.  
 Theatre and drama could create a naturally occurring context by establishing a scenario 
within the classroom space that is as close to reality as possible, which can be particularly useful 
in foreign language education settings when the culture is not easily accessible to the learners. It 
is just as useful in second language or immersion settings where learners may need the benefit of 
a rehearsal space to explore and try new forms and features before needing to use these structures 
in real world scenarios where mistakes can lead to confusing, embarrassing, or even potentially 
dangerous misunderstandings (Pang, 2019). Acting, as Meisner et al. (1987) defined, is “behaving 
truthfully under imaginary circumstances” (p. 27) meaning that despite pretend circumstances, 
acting encourages students to use their target language (TL) with their true selves. In theatre 
productions and drama exercises, the circumstances may be whatever the director wishes, such as 
a sticky situation in a foreign country or an important interaction with proficient speakers of the 
language. Through this reliance on imagination, students could develop a sensitivity to the 
intricacies of TL interaction and become familiar “with the cultural appropriateness of words and 
expressions to specific settings and social situations” (Stern, 1980, p. 79). The students develop 
these essential skills out of a need to act truthfully in the scene, to communicate as they would in 
their first language with attention to the new context they are speaking in. By creating these 
opportunities, the learners are able to take their passive knowledge from the textbook and 
classroom assignments and shift what they know into useful communicative information, made 
accessible by the use of theatre.  
 
Personal Skills 
 

Overcoming fears. A benefit of these imaginary circumstances is the removal of the 
performance-related anxiety that stems from interaction with proficient speakers. The classroom, 
even when turned into a Parisian café or the set of a Korean drama, is still a classroom, designed 
to be a safe space with only the intention of facilitating learning and exploration. Stern (1980) 
asserts that in addition to the inherent safety of the classroom, students find safety in numbers 
while working as a performing ensemble and can find security behind a role. It is easy to feel 
secure when the words and personalities expressed are not one’s own. There is less risk being 
laughed at after making a mistake, especially if everyone in the class is in the same situation. Even 
the anxious, quiet student can find security in the understanding that these projects and exercises 
are rehearsals, prefacing success within the TL. The risks are low and the benefits are high. Of 
course, some students will likely still feel uncomfortable with performing even in this situation. 
Stern (1980), who examined dramatic role-play specifically, asserted that: 
 



Holman 17 
 

If they fail to communicate outside of class, the results can be embarrassing or even 
harmful. But in role-play, having the courage to demonstrate the ability to use the second 
language is in itself a success, and they should therefore not be embarrassed by a poor 
performance. It follows that they should be less inhibited using the language in role-play 
than in real life, and therefore function better than they thought they could. This in turn 
should raise their self-esteem. (p. 85) 

 
Stern’s observation demonstrates the weighted risks inside and outside of classroom spaces and 
examines the positive effect that this vulnerability can have on the learner, proving that the 
implementation of theatre practices creates a safe space to truly be culturally and linguistically 
vulnerable. Additionally, one study at Keimyung University that examined how adult English 
learners in South Korea perceived the way that drama use in their classroom impacted their second 
language (L2) development found that, across three case studies, students gained self-confidence 
from compliments and good advice from teachers and the realization that hard, scary things like 
communicating in the TL are possible (Park, 2015). The result resolved preliminary fears and the 
students believed they ended better than they began, establishing that stage fright is combatable 
and worth the work to overcome.  
 

Motivation. Another difficulty that can sometimes trouble the second language classroom 
is overcoming low motivation. In a traditional class based around tests and quizzes, the only 
motivation for students may be to get a good grade, which could push their focus to memorize 
information for passing tests. When the unit is over and the exams are done, the students no longer 
have use for what they just studied and lose what knowledge they have just gained. However, in a 
classroom that utilizes a communicative approach based in theatre and drama, student motivation 
could change and increase greatly because when we speak, “we risk our psychological well-being” 
which can either be an inhibitor or a motivator to students (Smith, 1984, p. 6). As discussed above, 
theatre and the safe space it creates might be able to decrease fears surrounding risk taking and at 
the same time increase student motivation with the knowledge that there is safety behind a 
character and safety in numbers.  

Furthermore, one of the most important ideals of theatre is creation, which supports student 
motivation. Ntelioglou (2011) states that the “process of creation, rehearsal, and performance of 
these dramatic performances” (p. 603) motivates the students greatly. Thus, giving students a 
platform to create and tell the stories they wish to tell transforms the classroom space into a studio 
for creativity to thrive. Maley and Duff (1978) define this creativity in conjunction with the 
opportunity for imagination and discovery through working together as “imaginative personal 
involvement” (p. 13). The students' performances are created uniquely by them and the people 
they perform with. Even if another student performed the same role or acted in a similar scenario, 
the performance would not be the same. This idea is the beauty of the ephemerality of theatre and 
a great motivator for each student. Creating something that is truly yours and performing it in such 
a vulnerable way can raise motivation in a way that the average classroom cannot (Lee et al., 
2020).  
 

Introducing fun. Moreover, performing is fun. Acting can be silly and exciting. Placing 
students into a scene with the intent to perform gives students reason to elicit some emotion or 
reaction from the audience. Acting could also empower learners to explore language play, which 
is the “manipulation of the surface properties of language . . . [that] encompasses with the flavors 



18 GATESOL Journal 32(2)  
 

of past uses of words or phrases, and play with the interpretative frameworks that a particular 
context allows” (Hann, 2017, p. 223). As Hann (2017) established, creativity and humor can turn 
mistakes/errors into positive experiences the students can “literally laugh off” (p. 240). Mistakes 
become both something to learn from and something to laugh about. By allowing the students to 
have fun and develop their personalities/unique senses of humor in the TL, students enjoy their 
time and thus feel unified with the other learners, proving that language play is “central to the 
process of making a community of practice with its own culture” (Hann, 2017, p. 240). This 
creation of an in-class culture bolsters the previously mentioned ‘safety in numbers’ principle 
found when examining why the classroom doubles as a rehearsal hall/safe space.  
 
Academic Skills and Theatre Knowledge 
Aside from the affective importance of theatre and drama, these practices are also beneficial for 
the learners’ command over the target language and theatre understanding. Davies (1990) asserts 
that “drama activities facilitate the type of language behavior that should lead to fluency” and 
fortify “the bond between thought and expression in language, provides practice of 
suprasegmentals and para-language, and offers good listening practice” (p. 96). Dodson (2002) 
investigates how drama activities (see Tables 1 and 2 below) improved advanced ESL university 
students’ self-perception of their English skills and knowledge of theatre as a genre.  
 
Table 1 
Drama Activities and Practical Applications for Developing English Skills (Dodson, 2002) 
 

Skill Activities Application 
Reading Reading classic American play scripts (often revised to the 

ESL readers’ level) and articles about theatre not only 
enveloped students into the genre, but also promoted their 
reading comprehension in English 

Reading Louise 
Fletcher’s Sorry Wrong 
Number (1948) and an 
article about a recent 
performance of the play 

Writing Daily collaborative and individual writing of responses to 
course materials and their own scripts boosted writing 
fluency. The collaborative exercises gave opportunities for 
discussion and negotiation. 

Writing an alternate 
ending to Sorry Wrong 
Number or a response to 
the show 

Speaking Vocal Warm-Ups: Tongue twisters and choral readings 
allowed a focus on the suprasegmental elements of 
pronunciation that provided for a deeper look at sounds that 
caused difficulty for the students. In these exercises, students 
were asked to vary in pitch, level of projection, 
stress/intonation, and finding a natural pattern of breathing in 
English speech. These activities forced students to make the 
speech their own instead of simply memorizing patterns of 
stress and pitch. 

Using classic tongue 
twisters like “She sells 
sea shells” or “Unique 
New York” to speed of 
speech and command 
over individual sounds 
 

 
 
 
 
 
 
 



Holman 19 
 

Table 2 
Activities and Practical Applications for Developing Theatre Genre (Dodson, 2002) 
 

Theatre Activities Application 
Improvisation Short games that allowed students 

to practice spontaneous speech and 
work on extending the length of 
speech. 
 

Playing games like “Scrapbook,” a game 
where two students pose as if they are on 
vacation and a third student must tell the story 
behind the ‘photo’ of the two students, or “One 
Word Story”, a game where students go 
around in a circle each contributing one word 
with the intention of collaboratively telling a 
story 

Theatre 
Production 

Students modified a script for their 
performance; rehearsed with it; 
designed costumes, lights, and a 
set, and worked on publicity. This 
project gave the class a real-world 
application and demonstrated 
students' improved control over the 
English language in a public 
setting. 

A production of Sorry Wrong Number 
complete with costumes and a set (even if just 
a few chairs and a hat or scarf to show the 
different characters) and rehearsed over several 
weeks and performed one night for friends and 
family 
 

 
Each activity tackled a specific part of the students’ path to fluency and provided creative, exciting 
ways for students to work on what were often trouble areas. Such was the case with vocal warmups 
being an excellent space for the teacher to tackle the smaller problems with suprasegmentals that 
were a source of self-consciousness and created comprehension problems from more proficient 
speakers. These findings from Dodson’s (2002) study provide support for the academic value of 
theatre.  

In summation, aside from the fun, creative way it can create scenarios as close to real life 
language use as possible and raise the students’ motivation to take the risk of speaking in their 
TL, theatre/drama also benefits the academic skills of the student. 
 
Methods: Product-based versus Process-based Learning 
The differences between theatre and drama must be broken down. Throughout this paper, the terms 
theatre and drama have been used interchangeably because of their similarities in benefits, but the 
two refer to different styles of drama-based education. Theatre is the process and subsequent 
product of staging a theatrical production that combines performance, technical aspects, and an 
audience while drama refers to “classroom exercises” that “combine dialogue and action” (Burke 
& O’Sullivan, 2002, p. xiv). Each carries similar utility to the student, but has varying levels of 
commitment. No style is inherently better than the other as they have similar positive effects on 
the student. 

Theatre instruction may look like a unit where students audition and are assigned parts for 
a script. That script can be rehearsed in class or outside of class depending on the context and 
available resources. The final product would involve some level of technical elements like 
costumes or a simple backdrop, which can also be created by students if the time/resources are 
available, and an audience whether it be parents or other classmates. 

Drama is more flexible and can be utilized in any classroom for multiple class periods or 
for a single part of a lesson. Drama activities could take the form of a script writing project where, 



20 GATESOL Journal 32(2)  
 

over several classes, students write and perform their own play, or it could be a five-minute vocal 
warmup aimed at improving pronunciation of a difficult sound.  

The biggest difference between the two practices lies in the end goal of each. The result of 
theatre is a performance for an audience with complete design and technical elements, but the 
result of utilizing drama is to supplement a lesson plan or unit of the course with exercises and 
games based in drama. For example, theatre-based instruction would be a production of Alice and 
Wonderland performed for parents with costumes, lighting, and a publicity campaign. Drama 
could be conceptualized as a role play exercise during the class period to help Spanish learners 
practice in various contexts to appropriately use tú versus usted (informal or formal forms of the 
pronoun you). A role play example to practice tú versus usted, for instance, could be performing 
at a made-up family dinner in Mexico.  

Using theatre or drama-based instruction can be equated to product and process-based 
learning. Product-based (i.e., theatre-based instruction), emphasizes a formal, final performance 
“wherein the concluding dramatic realization in front of an audience is viewed as one of the 
primary goals of the learning experience” (Moody, 2002, p. 136). Process-based (i.e., drama-based 
instruction), draws focus to “the dramatic medium itself, in which the negotiation, rehearsal, and 
preparation for a more informal, or improvisational, in-class dramatic representation becomes the 
focus for language learning” (Moody, 2002, p. 135). It is paramount to note that neither of these 
instructional strategies are necessarily more important than the other; each practice has its own 
positives and negatives and not all teachers will have the means to execute both. Moreover, the 
overlap between the two can obscure any definite pros or cons as they are not distinct and mutually 
exclusive styles that absolutely cannot exist together. In the end, incorporating theatre into the 
classroom at all is more important than the specific styles you may choose.                   
 
Product-based Learning 
Product-based learning is often heralded for its practical uses. Even in non-theatre instructional 
contexts, this style of learning and its real-world connections gives a practical utility to the 
instruction and the final product becomes clear evidence of their inquiry and the agency given to 
the learners in completing their project (Anderson, 2021). In short, this manner of instruction 
creates an emphasis on authenticity to introduce the learners to the practical, real ways language 
is used (Carson, 2012).  

Another important piece of the real-world connection is an emphasis on interdisciplinary 
learning (Fonio, 2012). Utilizing this cross-disciplinary instruction deepens the level of 
authenticity by granting opportunities for creative integration of other subjects. In the context of 
theatre as product-based learning, the connection to theatrical production makes up the 
interdisciplinary connection. Aside from increasing students’ abilities within the dramatic arts, 
students can be exposed to artistic skills with designing the show, business skills through publicity, 
and also using Science, Technology, Engineering, and Mathematics (STEM) skills with lights and 
sound. What they learn when putting on a full production can be carried on into other classrooms 
and into the real world.   

Additionally, needing to have a complete product by a certain day that will be performed 
for an audience motivates students “to accomplish the various activities effectively and on time” 
(Fonio, 2012, p. 20). Furthermore, by assigning students clear roles on and off stage for the 
production, they have a greater grasp of the impact they have as individuals on completing a project 
and forming an ensemble—a group dedicated to producing a cohesive, single product. Also, when 
students feel their efforts are essential to the success of the performance, they are more likely to 



Holman 21 
 

participate, contributing to a richer dialogue and creative process (Fonio, 2012). Underscoring the 
efficacy of product-based learning, Carson’s (2012) study identified that dramatic products shape 
learners into co-agents which bridges the gap between individual and social. Learners must work 
together to create a shared knowledge or understanding through this process. As Carson (2012) 
later points out, the authentic connection that arises among learners in the foreign or second 
language classroom usually happens in students’ L1 or occurs artificially in the target language. 
With Fonios’s ideas in mind, we can postulate that in order to authenticate classroom target 
language use, more meaning must be given to these activities. The meaning students create 
together through the collaborative nature of a theatrical production possesses an inherent, authentic 
meaning that supersedes any artificial meaning manufactured through typical language classroom 
activities. That is to say, the creation of a product by nature authenticates the conversations and 
discussions students have in the target language. When students are forced to risk their sense of 
self by performing and when they are forced to communicate in a real world, cross-disciplinary 
situation, they truly become co-agents, creating a shared meaning and a shared product. 

 To summarize, product-based learning is understood in this context to be the process of 
creating the final presentation of a theatrical performance. This style of instruction may be favored 
if the resources are available because of its real-world applications and cross-disciplinary nature 
that fosters authentic communication in the target language and authentic knowledge of other 
subject areas. 
 
Process-based Learning 
Process-based learning, on the other hand, is ideal for educators with fewer resources, less time, 
or less experience working with theatre because it can be incorporated into just about any lesson 
plan with varying degrees of commitment. Process-based learning can take the form of 
improvisational games, role plays, exercises using TPR (Total Physical Response), miming, or 
script writing activities; anything based in the dramatic arts. Aside from the benefits for classes 
desiring a lesser commitment, a classroom that utilizes process-based learning becomes as Moody 
(2002) stated, “an open learning environment” (p. 138). He highlights this environment to be one 
of the strengths of the process-based approach; it is highly democratic and is the most successful 
when “participants are willing to take ownership of the dramatic process and embrace its outcome” 
(p. 139), meaning that this process works best in a collaborative classroom with motivated 
students. Moody then suggests the value of this instruction is augmented when small-scale 
products are used. These products can be accomplished in several ways such as through an in-class 
performance of a short skit or scene, having one student write a scene for a group of classmates to 
read, or through a reflection on what was learned through a casual game or role play. Moody 
(2002) cites the reasons why these products are needed as the opportunity for reflection and 
assessment from an audience there to specifically value their efforts and the structure of the 
product-based approach that motivates students to perform well. The students can also reap some 
of the benefits of the product-based approach such as developing a shared meaning with other 
students and seeing a real-world application to their classwork. Even so, the emphasis of the 
activity will still lie in the process.  
 
Devised Work 
Occasionally larger-scale products, reminiscent of those from the product-based approach, can 
develop as a result of process-based activities when similar themes emerge from the activities and 
the class truly forms a cohesive ensemble. In theatre, this event is known as devising–a process 



22 GATESOL Journal 32(2)  
 

where an ensemble creates a performance around key ideas and themes. To define it further, Scally 
(2019) explained the process of devising: 
 

Devised work is here very much viewed as a process, that can find its stimulus or beginning 
in anything–moving away from conventional notions of a pre-existing script. Additionally, 
pliability and openness are considered appealing to practitioners who wish to work as far 
removed as possible from pre-conceived notions of creativity or performance, especially 
with participants who are unfamiliar with working with drama. (p. 33) 
 

This quotation establishes devising as a culmination of the process-based approach, a summation 
of the “open learning environment” and the compromise needed from educators more hesitant to 
leap into theatre as well as emphasizing the products often required from a process-based approach. 
Mermikides and Smart (2010, as cited in Scally, 2019) emphasize that devising is the product as 
well as the process, providing the benefits of both product and process-based approaches. 
 As outlined by Wagner (2002), one history lesson taught to elementary aged students (aged 
7 to 9) exemplified the idea of a process-based product and a devised project done in a class 
environment. The teacher, Christopher Ford, led the children in the class through a series of 
“drama, reading, and writing exercises” based around their responses to the story of an 1869 boiler 
explosion that killed several mill workers and eight children playing during recess in a playground 
right by the sight of the explosion. The students conducted library research of primary and 
secondary sources that allowed them to place themselves into the period as the surviving students 
of the accident. After an exploration through dance and drama of the different perspectives and 
emotions the children must have felt that day, the students narrowed the focus of their project to 
what the “first scream” must have been like. They created images with their bodies and poems 
about that first scream. Their work was displayed for parents and was subsequently praised for the 
emotional depth and technical writing skills the work showed from students of such young ages.  
 Here the product was clear: a physical and a written representation of the first scream. 
However, the focus of the lesson was on the exploration of the topic. The product came from the 
process. It was never intended for their project to take the form of writing about the first scream; 
this result was just where their exploration led them. This lesson exemplifies devised work in that 
the product, the final performance of the imagery and poetry, developed from a broad idea and 
narrowed with the interests of and talents of the group before taking the final form. In addition to 
exemplifying one of these approaches, this lesson is a testament to the efficacy of theatre in the 
language classroom. One eight-year-old students’ poem was noted for its maturity and complexity 
of language that conveyed a “powerful impact of this profound response to a real but at first distant 
historical event” (Wagner, 2002, p. 15). Not only did the student’s control over language and use 
of rhetoric devices like juxtaposition and sensory imagery improve, but so did their connection to 
this event. Their affect was raised, thus improving motivation and emotional connection to the 
source material. In the language classroom, this process would work the same. Students’ academic 
skills improve and so does their affect as a result of the devising and the completion of the final 
product. 

While that example may not be suitable for modern students, it still stands to show the 
power of devising on students’ skills. Devising can come from anything. Instead of personal 
journals and newspaper articles around a horrific event, teachers could have students follow the 
same process about personal memories or lighter, less traumatic stories from history. For instance, 
as a final project, the students could all share verbally or write down their favorite memories from 



Holman 23 
 

the class which would spur discussion that would lead to the creation of a performance of favorite 
classroom activities, funny in-class jokes, and sweet moments between friends to summarize the 
semester or year. In my own experience, this devising process was done using fairy tales. Students 
were asked to pick a fairy tale or legend from any region and with a small group, research the fairy 
tale’s history, art, and the actual story before creating an informed retelling of this story to perform 
for the class. The topic is up to the educator, the needs of the students, and the demands of the 
curriculum, but the process and benefits remain the same. Thus, the two approaches established 
here, process and product-based, fit classes differently and provide countless opportunities to learn. 
The two also share a considerable deal of overlap, fitting the needs of every class. 
 
Practicality 
The dramatic arts are not every teacher’s forte, so hesitation is to be expected. However, the beauty 
of the theatre is that it is what one makes of it. Royka (2002) identified four key fears language 
teachers have that bar them from using theatre in their classroom. This section will address three 
of those fears. 
 The first fear she discussed was a teacher’s lack of knowledge of dramatics. We generally 
stick to what we know and many teachers feel they just would not know what to do (Royka, 2002). 
This fear can be assuaged by the aforementioned levels of commitment provided with the process-
based style. One can start with a simple exercise and build up to more involved product-based 
lessons such as a full production if desired. Royka also highlights that there is a plethora of 
resources written specifically for the untrained language teacher that guide one through exercises, 
activities, and projects of varying difficulty. Theatre as a discipline can be as structured or 
unstructured as one wishes and the beauty of the artistic process is that even the simplest of 
activities can create the most profound outcome.  
 The second fear she presented was the fear of embarrassing oneself in front of students. A 
perilous fear indeed, but in order for a teacher to establish a community of safety where students 
can be vulnerable, take risks, and have fun, the teacher must also be willing to step outside of their 
comfort zone. The artistic process of theatre should be “all members creating the experience 
together” which involves risk taking on both sides (Royka, 2002, para. 7). A teacher should never 
ask students to do something they would not be comfortable doing themselves. If hesitant, a teacher 
should slowly move from warm-ups and smaller activities into ones that require more from both 
teacher and student. 
 The third fear is more of a hesitancy from the more traditional teachers who do not view 
drama as a serious study method or worry they would lose control of their class (Royka, 2002). 
This fear can certainly be the case in college preparatory programs or any program where academic 
language is the focus. Because teacher education can often emphasize “the one-way transmission 
of knowledge from the teacher to the student, rather than the creation of a learning situation in 
which the student is also the teacher” (Wessels, 1987, p. 14), some traditional-minded teachers 
may face boundaries with their personal ideas of pedagogy, worry about being unable to reach 
standards, or feel inadequate to prepare their students if they are asked to implement drama in their 
classes. Additionally, some may worry that in adult ESL settings where attendance and class 
structure work differently, it may be hard to engage students who may not come in each week or 
have more immediate needs. Once again, Royka (2002) establishes that warming up to drama is 
key. By slowly exploring this non-traditional approach to language education, teachers can find 
methods that work for them and implement new classroom management styles that keep things 
more contained. For the more academic classes, I suggest that drama activities can be seen as 



24 GATESOL Journal 32(2)  
 

breaks from the typical routine of studying and helpful at engaging students amidst even the most 
boring history lesson. Additionally, the malleable nature of theatre allows it to fit into any 
curriculum. An adult class with varying attendance can prioritize lessons that take place 
completely within each class period or a part of it. The beauty of using theatre and drama-based 
approaches is the flexibility. Educators can start small and move to bigger things, exploring what 
works for them and their students. 
 Students may also experience similar fears. Some may lack the emotional or physical 
energy to exert toward performing, while others may experience stage fright. The solution to these 
problems goes back to what has been reiterated above: theatre and drama-based instruction is a 
process that must be undergone with the consent of both educators and students. When one moves 
from simple, low risk activities into the complex, both parties can grow into comfort and 
familiarity with theatre. Taking this care throughout the process will ease the fears and hesitancies 
of both parties and ultimately, augment the positive effects of theatre. 
 
Conclusion 
Performance is at the very center of our existence as people. One of the most prominent ways we 
perform the roles we play in our lives is through language. When approaching teaching language 
and developing fluency in that language, too often is language education approached as if it is an 
academic subject no different than history or chemistry; however, language must be taught as it 
exists naturally, as a performance deeply ingrained in our identities and personal histories.  
 When we teach language through theatre, we create a classroom that mimics the real world, 
providing a safe rehearsal for real world scenarios that is as close to reality as possible. This 
creation of a rehearsal space eases fears about using the TL in interactions with more proficient 
speakers and encourages them to take risks in this safe space. The creative nature of drama also 
establishes a more relaxed class environment where the rest of the class (the audience) may reward 
risk-taking that results in playful, humorous language or mistakes with laughter. The audience 
reaction and the gratification of successfully communicating bolster greater self-confidence. This 
style of instruction will also improve control and fluency over language with a wide variety of 
activities tailored towards helping improve various areas of language.  
 To accomplish theatre/drama-based instruction, there are two main ways to approach the 
integration: either through process or product-based learning. Product-based is typically done on 
a larger scale and involves an interdisciplinary aspect. The goal of this style is the culmination of 
the lesson or unit as a project, or in this case, a production. Process-based is typically more 
malleable and the emphasis is on what is learned along the way. The two are not mutually exclusive 
and many process-based methods rely on smaller scale projects to show learning or guide the 
process. Sometimes, process-based projects can produce a product that resembles product-based 
projects in what is known as devising.  
 Finally, it is important to note the malleability of this integration and the importance of an 
open mind when shifting the instruction. Hesitation is natural and expected, but the openness of 
theatre allows for much flexibility so that one can ease in. Theatre recontextualizes language and 
creates an environment ripe for learning. When educators shift their mindset, they can create great 
personal change and significant linguistic development within their students. I hope the discussion 
presented here have inspired educators to integrate this art into their classroom. When language is 
accessible, approachable, and relevant, language is achievable. 
 
 



Holman 25 
 

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____________________________________________________________________________ 
 

Received: December 1, 2021 | Accepted: July 29, 2022 | Published: October 26, 2022 

https://doi.org/10.1002/tesq.487
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	Theatre as a Means for Teaching a Second Language
	GATESOL Journal2022, Vol. 32(2), pp. 14–26
	doi:10.52242/gatesol.163
	ISSN: 2331-6845

