Plays and illustrations

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The relationship between children's plays and illustrations is a very convenient one in terms of developing the high order functions of reading. The combination of illustrations with drama makes way for an embodied learning experience.

Text of Plays and illustrations

  • 1. 8 T H I N T E R N AT I O N A L T E C H N O L O G Y, E D U C AT I O N A N D D E V E L O P M E N T C O N F E R E N C E CHILDRENS PLAYS AND ILLUSTRATIONS: EMBODIMENT RESOURCES FOR READING PRACTICES Valencia 10th - 12th March 2014 Isabel Pinto (CECC, UCP) Arcngela Carvalho (ESE Almeida Garrett)

2. CHILDRENS PLAYS AND ILLUSTRATIONS: EMBODIMENT RESOURCES FOR READING PRACTICES 3. GOALS Enlightening the role played by illustrations in the reading of plays as means to an improved meaning assessment. Driving a new range of clues for constructing textual meaning, through embodied reading practices. Arguing for the relevance of embodied cognition and embodied pedagogy as core concepts. 4. MAIN ARGUMENT The relationship between drama and illustration, through imitation and gesture, is a promising one in terms of reading achievements, at the level of textual interpretation. 5. THE PLAYS Teatro s Trs Pancadas [Theatre with Three Punches] (2013), by Antnio Torrado, and illustrated by Antnio Pilar, read at the 4th grade; O Prncipe Nabo [The Turnip Prince] (2000), by Ilse Losa, and illustrated by Manuela Bacelar, read at the 5th grade; Os Piratas [The Pirates] (1997), by Manuel Antnio Pina, read at the 6th grade. 6. PLAY Os Piratas [The Pirates], Manuel Antnio Pina 1997, p. 47 7. OS PIRATAS [THE PIRATES] The plot: two teenagers, Manuel and Ana, and Manuels mother, are caught up in a time thread, with events from the past interfering with the present in such a way as to make dream and reality collide. The illustrations are scenery and costume sketches, helping the reader pull together on his own a setting and a mood for the plot. 8. PLAY O Prncipe Nabo [The Turnip Prince], Ilse Losa 2000, p.31 9. O PRNCIPE NABO [THE TURNIP PRINCE] The plot: the king wishes to find a prince to marry his daughter princess Beatriz. But she mocks all the princes that want to marry her. As a result, she will end up marrying the first man entering the palace. The illustrations in bright colors depict scenery arrangements, constantly alluding to the puppet theatre, thus underlining the power of make believe. 10. PLAY A Raposa e o Corvo [The Fox and the Raven] in Teatro s Trs Pancadas [Theatre with Three Punches], Antnio Torrado 2012, p. 41 11. TEATRO S TRS PANCADAS [THEATRE WITH THREE PUNCHES] The book contains seven short plays that, according to the author himself, aim at satisfying teachers needs of appropriate plays for school staging. The illustrations add something of its own to the play, giving a number of clues and hints concerning the staging process. 12. DRAMATIZING ILLUSTRATION An intervention was conducted, namely an interview, comprising different phases, in a school in the Lisbon area, with two students from the 4th grade of primary school, about two illustrations of O Prncipe Nabo [The Turnip Prince]. First, the students described the picture. Then, they were told to enact what the illustration depicted. After that, they would read the corresponding passage of the play. 13. RESULTS Combining illustrations and plays prompts readers, mainly those in the first stages of reading development, to engage in a first imaginary staging of the plot, additionally promoting textual interpretation and analysis. At school illustrated plays make reading a matter of performance, nourishing the complex relationship between textual clues and the readers prior knowledge of the world. 14. FINAL REMARKS The enactment of illustrations, through improvisation, functioned as a first opportunity to collect meaningful clues for the reading of the text. Embodied resources for reading practices rely on: (a) the distinctive features of plays when compared with other genres, and (b) taking learning as a necessarily embodied experience . 15. REFERENCES Fang, Zhihui (1996). Illustrations, Text, and the Child Reader: What are Pictures in Childrens Storybooks for?. Reading Horizons, Vol. 37, N. 2, 130-142. Hassett, Dawnene D.; Curwood, Jen Scott (2009). Theories and Practices of Multimodal Education: The Instructional Dynamics of Picture Books and Primary Classrooms. The Reading Teacher, 63(4), 270282. 16. REFERENCES Perry, Mia; Medina, Carmen (2011). Embodiment and Performance in Pedagogy Research: Investigating the Possibility of the Body in Curriculum Experience. Journal of Curriculum Theorizing, Vol. 27, N. 3, 62-75. Pinto, I. (2009). Leitura do Texto de Teatro: Teoria, Prtica e Anlise. Dissertao de doutoramento, na especialidade de Estudos de Teatro, apresentada Faculdade de Letras da Universidade de Lisboa.