C o n c e p t s i n D r a m a

Marie Umerkajeff

Nonsense Language
In situations where new concepts are presented, it may be advisable not to start by
talking about them without letting students first trying 'on their feet' to later talk about
the perceived situation. Then based on the participant's own understanding and
experience the concept can be internalized.

General rules for improvisation - Affirm each other. Say YES! (accept). Do not say
NO! to other people's suggestions! (block). Listen carefully. Do not think so much
(spontaneity). Above all do not try to be funny.

In grade 7, on can change the order of the instruction by using the specific
terminology with the explanation followed by it, due to capture new students or those
who do not remember from grade six.

In grades 8-10, students are expected to be familiar with the specific terminology;
accept, block, spontaneity, improvisation (status is treated as a separate concept).


Considerations
Body language that reinforces what you are trying to communicate
Some words that might be the same in many languages.
Melody (intonation) and phrasing (emphasis)
Listen to each other

Instruction for different grade levels

Grade 6 - MYP I
Start by making an inventory of the class knowledge of how to say yes and no in
different languages. Write them down so that they are visible to the participants.
Then you can talk about fast food as a concept that most people recognize, such as
hot dogs, kebabs, burgers and pizza. If the class is still showing interest in talking
you can ask about other words such as water or how much? Etc. This they will have
the use of in their improvisation.

It is a pairimprovisation which is mimed provided using nonsens language. (no props)

The situation is a fast food place with a vendor and a buyer who speak different
languages but still manage to understand each other.

Each one decides a language that they can not understand by having clear
understanding about how to say yes and no in that language. Next, try to speak in
that language, given intonation and emphasis to the expression. Use the words 'yes'
and 'no' often (one can use 'no' without blocking).

The Improvisation do not need to be longer than one minute.
The Customer complete the purchase and leave the stage, then improvisation end.


C o n c e p t s i n D r a m a
Marie Umerkajeff
Grade 7 MYP II
Start by making an inventory of the class knowledge of how to say yes and no in
different languages. Write them down so that they are visible to the participants.
Then you can talk about body language of direction and even vocabulary for this, as
right, left, beyond, over, etc in other languages. If the class is still showing interest in
speaking, one could ask if they have experienced misunderstandings that they have
had related to gestures conveyed wrong if one arm straight out or proven wrong
finger or likewise. They will have use of this discussion in their improvisation.

It is a pair improvisation as mimas provided using up language. (no props)

The situation is different depending on the cards that the teacher hands out to them.
These include situations in which they are playing out. For example, a tourist asking
a traffic police where the subway is. Both participants speak different languages but
manage to understand each other using body language.

Each one decides a language that they can not understand by being clear about how
to say yes and no in that language. Next, try to speak in that language, given
intonation and emphasis to the nonsense words. Use vivid exaggerated gestures.

The Improvisation do not need to be longer than one minute.

Grade 8 MYP III
Start by making an inventory of the class knowledge on how different languages
melodies and phrasing sounds.

Ask students to investigate a language that they do not speak by listening to the
language in different contexts on the internet and additionally factually about the
language on Wikipedia. Ask participants for next time to prepare a presentation on
the facts of the language which they also gather on an A5 sheet paper.

The teacher collects the information sheets from the students and distribute them out
again but to other participants in class. These will now be using the cards to make a
pair improvisation according to grade 6 or 7 instructions. Be careful so that someone
does not speak the language they understand when they are assigned for this.

Repeat how to say yes and no in different languages. Write them down so that they
are visible to the participants. This will be usefull for them in their mprovisation.

Pair improvisation which is mimed and provided with the nonsens language. (no
props)

The task is to speak the proposed language in view of intonation and emphasis
according to the facts gained through the fact sheet. Use often the words 'yes' and
'no' (to use 'no' without blocking).

The improvisation does not need to be longer than a minute.

Homework for later, write down a poem or a proverb in the language you have
improvised on and bring it to class to the teacher who collects these. When all
C o n c e p t s i n D r a m a
Marie Umerkajeff
students have done this the teacher can base a lesson on these short texts. Then
give the student who had initially investigated the language of the poem the text
which another student have brought in. An oral presentation improvised without
preparation with the above-used tools.

Grade 9 MYP IV
Start by making an inventory of the class knowledge on how to say yes and no in
different languages. Write them up so that they are visible to the participants. Then
you can repeat tools for status when you improvise.

Ask about students' experience of situations with interpreters.

Explain to students that the interpreter is there just to convey the language and must
be noticed as little as possible. The interpreter must always be in the shadow of that
which he translates.

It is an improvisation with three people where two of them need to use a common
nonsens language. Props may be a pointer to the expert.

The situation is a TV show where the announcer who speaks English tells the rest of
the participants as if they were a studio audience. He or she presents the famous
guest who is an expert in an area and comes from the country X. To help them
understand he or she brings the interpreter Y.

Whoever plays the expert decides a language preparing by being clear about how to
say yes and no in that language. Next, try to speak in that language, given
intonation and emphasis. Use often the words 'yes' and 'no' (one can use 'no' without
blocking).

The interpreter's task is to translate what the expert says to the audience and the
host. This is where the humor comes in if it might not be translated so as the expert
had thought. This is clearly shown by a body language that is the opposite of what
they thought they perceived from the expert. But again - do not try to be funny. Do
not think, be spontaneous.

The improvisation do not need to be longer than a couple of minutes. The structure is
based on the presenter who asks questions that the interpreter must translate to the
expert and the expert's answers have to be translated for the host and the audience
to be understood.

Before starting the improvisation you have to agree on what the expertise consists of.
There may be about; wedding cakes, dog breeding, how to build a boat or whatever.
Facts in this conntext is irrelevant.

Choose any theorists / practitioners who treated the subject for a research:
Viola Spolin, gibberish
The game, mumbo jumbo / rappakalja
Charlie Chaplin or Marx Brothers and the clown Harpo who is just whistling.


C o n c e p t s i n D r a m a
Marie Umerkajeff


Grade 10 MYP V
In grade ten, there is a repetition of past grade level experiences and the
reinforcement of the new skills will be polished. We will look at what makes
communication effective and fun with the help of the unexpected. The timing is more
important than you think it is, as well as repetition 1-2-3 within the improvisation.

An in-depth research in any context, but in a historical and cultural context where
nonsens languages emerged.