Living with Lady Macbeth: A sociocultural approach to second language learning through Theatre PDF
Preview Living with Lady Macbeth: A sociocultural approach to second language learning through Theatre
Fall 08 Living with Lady Macbeth: A Sociocultural Approach to Second Language Learning through Theatre by Michelle Reyes Raquel B.S. (Commerce), M.A. (Teaching English) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Education, University of Tasmania March 2013 i ii iii Acknowledgements I would never have been able to finish this thesis without the help and support of many friends and colleagues. Most importantly, I am extremely grateful for the support of my mentor and best friend, Dr. Sivanes Phillipson, who has gone beyond what is required of a supervisor to help me complete this thesis. She offered advice, emotional support, and above all expertise. Our friendship is stronger because of this collaboration. I would also like to thank my other supervisors, Dr. Rosemary Callingham, for spending some time with me during the last stages of the thesis, and Dr. Thao Le for his support over the years. My co-director, Dr. Matthew DeCoursey, also helped me to develop ideas and reviewed much of the thesis. He got me involved with theatre work in Hong Kong seven years ago. Who would have thought it would lead to this? Living with Lady Macbeth would not be possible without his support. I am also extremely grateful for his efforts to ‘think out loud’ with me. The cast and crew of Living with Lady Macbeth committed themselves completely to this project. Their patience and perseverance to work hard to complete the project has always been a source of inspiration. I have learnt from them as much as they have learnt from me. The Hong Kong Institute of Education provided funding to produce the theatre production. The University of Tasmania, Faculty of Education generously provided a scholarship for my work. Finally, I would also like to thank my family and friends in the Philippines, Turkey, Hong Kong, and Australia who have cheered me on throughout my thesis. Their eagerness to see me graduate has always kept me focused and keen to work hard. This thesis is dedicated to Hunter who always believed that one should never give up. iv Declaration of Originality This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. Signed: ______________________ Date: 27 March 2013 Michelle Reyes Raquel v Authority of Access This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. Signed: ______________________ Date: 27 March 2013 Michelle Reyes Raquel vi Statement of Ethical Conduct The research associated with this thesis abides by the international and Australian codes on human and animal experimentation, the guidelines by the Australian Government's Office of the Gene Technology Regulator and the rulings of the Safety, Ethics and Institutional Biosafety Committees of the University. Signed: ______________________ Date: 27 March 2013 Michelle Reyes Raquel vii viii Table of Contents List of Figures ......................................................................................................................... xv List of Tables ........................................................................................................................ xvi List of Video Links ............................................................................................................. xviii Abstract ..................................................................................................................................... 1 Chapter 1: Introduction .......................................................................................................... 4 Terminology.............................................................................................................................. 4 Researcher’s Background ....................................................................................................... 6 Social Context of Hong Kong .................................................................................................. 8 Hong Kong education system (up until 2009). ............................................................... 8 Hong Kong education system (2009-present). .............................................................. 10 English language education in Hong Kong. ................................................................. 11 2005 English curriculum reform. .................................................................................. 13 Hong Kong Chinese learners. ........................................................................................ 15 Hong Kong Chinese learners of English as a second language. ................................. 17 The place of drama and theatre in the Hong Kong education system. ...................... 20 Institutional context–Hong Kong Institute of Education. ........................................... 21 Aims and Objectives of the Study......................................................................................... 24 Research Questions ................................................................................................................ 24 Significance of the Study ....................................................................................................... 25 Structure of the Thesis........................................................................................................... 26 Chapter 2: Literature Review ............................................................................................... 30 Theories of L2 learning ......................................................................................................... 30 Vygotsky’s Sociocultural Theory of Learning .................................................................... 33 ix Language learning from an SCT perspective. ............................................................. 34 Zone of proximal development. ..................................................................................... 40 L2 Learning from SCT perspective. ............................................................................. 41 Mediation of L2 in the ZPD. .......................................................................................... 43 Mediation through an L2 learning environment. ...................................................... 44 Other-regulation through DA: Mediation in the inter-mental plane. ...................... 47 Quality of mediator input. ....................................................................................... 49 Quality of learner response. .................................................................................... 51 Quality of transcendence......................................................................................... 52 Self-regulation: Mediation in the intra-mental plane. .............................................. 59 Forms of mediation for L2 development. ................................................................... 61 Theatre and L2 Learning ...................................................................................................... 63 Acting in L2. .................................................................................................................... 65 Acting in L2 theatrical productions. ............................................................................. 67 Gap in the Literature ............................................................................................................. 69 Chapter 3: Methodology........................................................................................................ 72 Research Approach ................................................................................................................ 72 Participants ............................................................................................................................. 74 Embedded Cases .................................................................................................................... 77 Sources of Evidence ............................................................................................................... 81 Video recordings of rehearsals. ..................................................................................... 81 Pre-production diagnostic task. ..................................................................................... 82 Assessment criteria. ........................................................................................................ 84 Pre-production interviews. ............................................................................................. 85 Journals. .......................................................................................................................... 87 Focus groups.................................................................................................................... 88 Post-production interviews. ........................................................................................... 93 Data Analysis .......................................................................................................................... 96 Research tool. .................................................................................................................. 97 Transcription protocol. .................................................................................................. 98 x Role of the Researcher ........................................................................................................... 98 Ethical Issues .......................................................................................................................... 99 Limitations of Method ......................................................................................................... 100 Chapter 4: Case Profile ....................................................................................................... 102 Case Background ................................................................................................................. 102 The directors. ................................................................................................................ 103 Director: Michelle Raquel. ....................................................................................... 103 Director: Matthew DeCoursey. ................................................................................. 104 Directors’ project objectives...................................................................................... 106 The Script ............................................................................................................................. 108 Selecting the script. ....................................................................................................... 108 Synopsis. ........................................................................................................................ 109 Case Study Participants ...................................................................................................... 109 Ivy. .................................................................................................................................. 109 Hunter. ........................................................................................................................... 113 Erin. ................................................................................................................................ 115 Jenny. ............................................................................................................................. 117 Pre-Production Task ............................................................................................................ 120 Ivy–dialogue. ................................................................................................................. 120 Ivy–monologue. ............................................................................................................. 123 Hunter–dialogue. .......................................................................................................... 125 Hunter–monologue. ...................................................................................................... 128 Erin–dialogue. ............................................................................................................... 130 Erin–monologue. ........................................................................................................... 132 Jenny–dialogue. ............................................................................................................. 134 Jenny–monologue. ........................................................................................................ 137 Chapter 5: Phase One–Theatre Basics ............................................................................... 141 Acting Method: The Stanislavski System .......................................................................... 141
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