2009-2010 Teacher of the Year
gregory brown
READER'S THEATER
WHAT'S IT ALL ABOUT?
Email: GregoryBrownNC@aol.com
What Reader's Theater is NOT
NOT a Broadway show
NOT a program you present to hundreds of folks at PTA (only if the kids WANT TO and have microphones)
NOT presented to an audience much larger than a homeroom class
NOT an activity you have to spend money on
NOT a replacement for other established reading programs
NOT something you have to do every single day
NOT designed for just good readers
NOT a reward for good behavior
NOT a bunch of lines a student has to memorize
NOT produced for the benefit of the audience, but for the benefit of the READERS.
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What Reader's Theater IS
Reader's Theater IS an oral reading activity. Two or more readers sit side by side, usually in a straight line or semicircle, holding scripts and reading their parts. They portray characters, narration, feelings and meaning. In other words, they take turns telling a story!
Speech, facial expression and body language convey the action of the story to the audience. Readers stay seated during the entire performance.
Since no memorization is required, the scripts are always held during the performance. There are no costumes, no stage sets or scenery, and no special lighting is needed. Since no real stage is required (just a few chairs for the readers) Reader's Theater can be performed at any location.
The practice sessions schedule is decided on by the teachers involved and is based on the needs of the students and each school's unique timetable for daily actives.
GOALS : INCREASE FLUENCY AND SELF-ESTEEM
READER'S THEATER FOR ELEMENTARY STUDENTS
(TWO-WEEK FORMAT)
WEEK ONE
Day One
1. Introduce the new script to students by reading the title and a main idea summary. Ask students what they think will happen in the story.
2. Have students look at the list of characters. Read each character's name out loud to them. If there is a narrator in the list tell them that a narrator is a character that "helps to tell what's happening in the story".
3. Mention the setting of the play. Tell students that the setting is "when and where the story takes place."
4. Have students skim through the pictures and text. Explain that the characters' names are in bold print. This "tells us who is talking."
5. Read the entire play orally to students as each student follows along with his finger. (Students should be sitting at a table or desk so the play script can be flat.) Model fluency and expression. Let your voice reflect the personalities of the different characters. As tricky vocabulary words come up, stop briefly to explain the word. At the end of the play ask students what their favorite part was.
Day Two
1. Review the vocabulary by reading the Glossary page at the end of the script booklet or by simply talking about each tricky word. (Index cards work well.)
2. Choral-read the play with the students. ALL STUDENTS READ ALL PARTS TOGETHER AT THE SAME TIME! Tell students that your voice is the leader and that they should "read with you." (Read the text at a slower than normal pace, so that all students can follow along more easily.)
3. Ask students some questions about the plot of the story.) This will help the students understand and relate the play to their lives.
Day Three
1. Ask the students a few of your own questions about how each character might feel. This will prepare them for reading separate parts.
2. Use the reading levels (usually provided in a teacher's guide) to assign parts. Use your own judgement as well.
3. Before beginning the next reading, suggest to students that they continue to use their finger to follow along. Say, "read loud enough for your teacher to hear you".
4. Students read the play orally, each reading their individual parts for the first time. Help students with words that they seem unsure of. Say "try it with me" and then model it for them. Offer suggestions for expression and voice.
5. At the end of the reading ask students which parts "sounded good."
(TWO WEEK FORMAT)
WEEK TWO
Day One
1. Remind students to read "loud enough for others to hear" and to use expression. Pick one of the stronger readers to help others with tricky words.
2. Students read the play orally, each reading their own part. Interrupt only to say briefly, "I like how you said that" or "that sounded like the character was really talking."
3. At the end ask students "which characters need something extra to help them stand out" and "are the readers changing their voices to show how their characters are feeling?"
Day Two
1. Students read the play orally using expression (vocal/facial) while sitting in chairs as if facing an imaginary audience. The teacher should remain silent during this reading. The same stronger reader can help the others.
2. At the end of the reading, ask students, "was it loud enough", "did we use good expression and did we all keep our places?"
3. Make a point to praise every student for his or her contributions to the reading.
Day Three
1. Allow each student reading the play to pick one or two friends from class to attend the final performance. (Students could also read for their entire homeroom if they choose.)
2. Readers sit in a line of chairs (side by side) facing the audience of friends/teachers.
3. Students give their final oral reading of the play using all the skills they have been practicing. The teacher is there to support any situation that arises.
4. At the conclusion of the reading praise all students individually for their performance and thank the audience for being good listeners!
FINAL NOTE: Any of the above sessions can be repeated the very next day if you feel the students need more practice. It's perfectly okay to carry a script over to a third week if your kids need extra time to feel good about what they're doing.
CHORAL READERS THEATER
CHORAL READERS THEATER THREE WEEK CYCLE
Copyright 2008
Gregory Brown
WEEK ONE – 4 days
Day One (20 minutes)
Introduce the new script by reading the title and main idea statement to students. Using a device such as a circle map, have students brainstorm what they think will happen in the story. Have students look at the list of character groups on page one of the script. Read the names of these to students and provide a brief description of whom each character group will represent. Explain that the narrator is a character that "helps to tell what's happening in the story." Tell them that in CHORAL READERS THEATER the teacher will always be the narrator. Mention the setting of the play. This is "when and where a story takes place." Have students skim through the pictures and text. Explain that the names of the character groups are in bold print. This "tells us who is talking."
In preparation for the first reading, the teacher should have written five "Tier Two" vocabulary words to be targeted on large index cards. On this first reading, the teacher reads the entire play orally to students and they follow along with their fingers. (Students should be sitting at a table or desk so the script can be flat.) The teacher models the fluency and expression of the different character groups. As the "Tier Two" vocabulary words come up, pause briefly to explain each word. Hold up the appropriate index card and have students repeat the word with you. At the end of the reading, ask students some questions about the plot of the story. Example: Did the story end the way you wanted it to?
Day Two (20 minutes)
Review the "Tier Two" vocabulary words by having students read the glossary page at the end of the script and by engaging students in a short interactive vocabulary activity. (Index cards are now posted on the wall.) Divide the students into 5 or 6 character groups according to the script. These groups should be a mixture of high, average and below grade level readers. Tell the students that they will be reading together out loud with their group. Pick one of the stronger readers from each group. This student will be the choral leader of that character group. Instruct students that they are to "read with" their choral leader. He will set the pace. (This second reading will be at a much slower than normal pace, so students can get a feel for choral reading.) Students must not read ahead of their leader. However, if they fall behind or need to skip a word, that's OK. They are to "jump back in" as soon as they can. Students in the same character group should sit next to each other.
Tell students to always listen closely when the narrator speaks. (The narrator/teacher will occasionally throw out a "think question" that they can answer (in their heads) during the story. Before beginning the reading, suggest to students that they continue to use their fingers to follow along. Say, "read loud enough for others to hear you". After this reading, ask students what they liked or didn't like about their characters. Have students share how their characters changed as the story progressed.
Day Three (20 minutes)
For the third reading, invite students to put a bit more expression into their parts. Remind them they still must follow the pace and tone of their choral leader. (The students should be aware that their character groups and leaders won't change during this first week.) Ask students which words were "tricky" yesterday. Find these words in the script and read them orally. Tell students that they should read "like real people talk" This third reading should be allowed to flow without interruption, if possible. At the end of this reading, have each character group offer one complement and one suggestion to another character group. These MUST be directed at the group and not a single student.
Day Four (20 minutes)
Students should chorally read the play using both vocal and facial expressions. The pace of each character group will probably show a gain in momentum. This is good, but not essential. Each group's pace will continue to vary. At the end of this reading, ask students, "was it loud enough", did we all use good expression" and "did we all do our best to keep our places?" Encourage students to record their thoughts on this week's reading in a journal or other reflective collection.
WEEK TWO – 3 days
Day One (20 minutes)
Using the same script, assign students to new character groups. Again, this should be an equal mix of high, average and below grade level readers. Be careful to assign every student a NEW part. No one should be reading the same part they did in week one. All students will now be familiar with the story and this will enable them shift comfortably to new dialogue they have "heard before".
Pick another strong reader from each group to be the choral leader. Students will have learned to follow the pace and tone of their leader. Students should chorally read with good vocal and facial expression (and occasionally, other body language) during this reading. At the end of the reading, double-check their understanding of the previously introduced "Tier Two" vocabulary words by assigning each character group one of the words. Each group must then come up with a good sentence that demonstrates their knowledge of its meaning and how it can be used. Each group shares with the whole class.
Day Two (20 minutes)
During this reading encourage students to really get into character. (Choral leaders may wish to "pow wow" with the members of their character groups before the reading to discuss how to make their characters come to life.) At the end of this reading allow each individual to create a drawing or color picture depicting a scene from the script. Have students share their drawings by providing a place to post them on the wall. (If space is limited, scan them and create a slideshow for one of your classroom computers.)
Day Three (15-20 minutes)
Students should use everything they have learned thus far to make this reading very fluid and fun. At the end of the reading have students record in their journals or other reflective collection how the characters they played this week were different from last week. Which did they enjoy more? Which was more difficult to play?
WEEK THREE – 3 days
Day One (15-20 minutes)
Have student revisit the circle map (or other prediction activity) that was used in the week one introduction. Allow them to add any information they have learned about the stories or characters to this device. This can be discussed as a whole class. Using the same script once more, reassign students to a different character group. Try to pick different students to be choral leaders whenever possible. (By the third week on the same script, some lower readers may even be able to handle this task. On this reading, tell students to relax and have fun! All the work they've done will "come out" as they read.
Complement all character groups at the conclusion of this reading. If there is a lesson to be learned from a particular script, have students discuss how they could apply it to their real life. If the story was just pure entertainment, have students suggest what the characters might do in a "sequel".
Day Two (30 minutes)
This is RECORDING DAY! Tell students to do their most "polished version" of the play today. Record the entire reading on tape. (It could also be videoed.) After the reading, have students listen to their performance and come up with their own evaluations of how they did.
Day Three (15-20 minutes)
This is PERFORMANCE DAY! Students may invite a few friends from other classes, other teachers and also the principal. (Students can also choose to be their "own" audience for this final reading.) Tell students to use all they have learned in the past three weeks to give their VERY BEST performance. As the students read, make sure to give them lots of positive body language. Remember that the teacher is a part of this play too. Do YOUR best as well! At the conclusion of the reading, present each student with a special certificate for doing an outstanding job.
END OF THREE-WEEK CYCLE
CHORAL READERS THEATER
An Explanation of Goals, Format and Implementation
Copyright 2008
Gregory Brown
INTRODUCTION & EDUCATIONAL REASONING
As an elementary teacher of over 20 years, I've seen the individual benefits of both Readers Theater and Choral Reading. It seemed natural to me that these two powerful reading strategies should be brought together as an accepted concrete unit for reading instruction. It's similar to the "peanut butter and chocolate" scenario we see advertised on television: individually we know they're great, but put together they are stupendous!
In the early days of American education, students were expected to chorally read or recite verses from the Bible, famous poems and passages from classic books on a daily basis. In the era of the one-room schoolhouse, it was an effective strategy for addressing the many different ages and grade levels to be taught at one time. The younger children would listen and follow along with the older kids as they read out loud. Through daily and weekly repetition of the same verses or passages, they too would be able to successfully read with the group. There's nothing magic about it. It's just a strong, non-threatening, visually and orally supported way to read that works.
DEFINITIONS, THEORY, GOALS & EFFECTIVE CHORAL READING
In a nutshell, Choral Reading is defined as a group of students orally reading the same text, at the same time and at the same pace. In our normal conversational speech, people don't usually communicate with each other in that way. To be sure, it would feel rather odd if you walked into work or the supermarket today and people spoke to you only in groups. You might feel as though they had lost their marbles or that you were the victim of some kind of group joke! Yet, our mental speech (the things we all say in our heads) is probably very similar to those who are feeling/observing/experiencing the same situation at the same time we are. Have you ever been chatting with a friend and you both blurted out a shared thought verbatim? On many occasions most of us have used the phrase, "You took the words right out of my mouth"…because someone really did! Adults and children may not actually speak chorally all the time, but they certainly do think chorally throughout the span of any routine day. The foundation for effective Choral Readers Theater is rooted in the way groups of characters behave and vocalize this internal speech.
The goal of Choral Readers Theater is to give all students in the Whole Class Setting (regardless of reading level) the opportunity to be exposed to and enjoy repeated readings of material that is on grade level. In my professional observations, students who are reading below grade level are usually put into lower reading groups (with good intentions) where they may be very successful, but not fully exposed to on grade level texts. Paradoxically, these same students must be able to successfully read and comprehend grade level materials on end-of-year evaluations. This is often a struggle for them because they have missed out on that much-needed modeling and interaction with their more fluent reading peers.
Readers Theater with multi-leveled characters is a wonderful way to bridge this gap in the small group setting. It is one of the strategies that I personally use with my own students. They do get exposure to higher reading levels and their self-esteem always takes on a positive spin.
However, within the Whole Class setting a slightly different approach could be explored. The span of reading levels in a class with 25 or 30 students can be as wide as an ocean. A multi-leveled script with that many levels and participants would have so many characters that they would end up with only one or two lines of dialogue each! Plus, the lower level students still wouldn't get to actually READ something on grade level!
Choral Readers Theater provides that challenge in a non-threatening and fun atmosphere. I find that students are willing to take more risks if they feel they are not "alone" and realize they won't be singled out if they fail to meet expectations. With Choral Readers Theater it is "OK" if a child does not read every single word or sentence during that first or second classroom reading. Other children in that child's character group WILL read those words and the language will flow. There is no need to wait for decoding. On a later repeated reading, the student who previously skipped over those sentences may anticipate that part and (using visual cues, oral support and memory) successfully try that section. With more repeated readings, fluency and confidence will definitely grow.
THE FORMAT OF A CHORAL SCRIPT
Coming up with format that allows every child in the classroom, to tell a story, become a character and read chorally comes with its own set of challenges. Luckily, a simple glance out the window provides an easy solution. It is the natural order of the universe that things occur in groups. There are groups of people, animals, plants, foods, rocks, cars, clouds, bubbles, mountains, stars…really, just about anything you can think of. We live and work in groups. We hang out in groups. To build a story around groups of people, animals (or inanimate objects brought to life) would not stretch any plot line or a child's suspension of disbelief at all. What enables it to work are stories with dialogue where it makes sense for groups to be interacting and talking to each other.
The unique glue that holds a choral script together is the way that teacher participation is infused into every story. When you're instructing a whole classroom full of diverse children the dynamics are quite different than when you're addressing kids in a small group. Getting 25 pairs of eyes to focus on something at one time requires an omnipresent leader. You could compare it to the clocklike workings within a church choir. There is always a director there: setting the tone, marking the pace, and bringing out strength in the vocals or cueing the subtle nuances. Even on Sunday morning when the song is ready to be presented to the congregation…the director is still there, out front, continuing to do his job. He does not step aside and watch from the wings. Imagine attending a performance by a famous symphony without the conductor. It just doesn't happen. In a choral script, the teacher will take on this pivotal position by always being the narrator of the story. If a narrator is not needed within the framework of a particular plot, then there must be one individual character part specially created for an adult reader. This marks a difference between traditional Readers Theater and Choral Readers Theater scripts. Not only will the narrator help move the story along, he will also keep the students in a responsive, on task mode by interjecting certain statements (and many times, questions) throughout the play. This will promote the use of prediction and reflective strategies, which are essential for young readers to develop.
The rest of the cast will always consist of 5 or 6 character groups. Unless it is relative to the plot of a particular story, the size or number of readers in each character group will not be specified. This will allow the teacher more flexibility when assigning the choral parts. It also ensures that the student readers will readily accept that they can join any group. Since the average classroom size ranges from about 22 to 32 students, that roughly equates to about 6 readers per group. But remember, the teacher can place as few as 2 readers in any character group or as many as 10 and still pull it off! Those numbers are up to the teacher and students. The hard rules are: every character group must be read by a group of students. Only the adult narrator will read alone. Everyone in class is involved!
I've found that the key to intriguing a whole class from the "get go" is to welcome them into a story that is both full of action and speckled with humor. My choral scripts may all carry an underlying lesson, but they are mostly written as a way for my students to have FUN while improving their reading. I believe that original stories work best for choral scripts. The playing field is "evened out" because there are no preconceived main characters. Even very young kids are keen on "who gets the best part". Original stories offer a chance for every character group to shine.
Reading something chorally takes longer than when students read individually. This is the nature of the beast. Therefore, the scripts will be written with that in mind. What would take 15 minutes in a traditional Readers Theater approach, may take 20 minutes or more done in choral style. The pace has to be slower to facilitate the learning process in the whole classroom. A fun, short script works best. Its brevity also ensures that the script will receive repeated readings throughout the week, which is essential for receiving the full benefits from the activity. In the real world, teachers are constantly grilled about how their instructional time is used from minute to minute. Thus, if something is deemed "too long and drawn out" it will not be chosen for use. Add that to the fact that kids' attention spans are shorter and it's easy to see why teachers need something with lots of bang for their bucks.
Since time is a big factor in the real world of education, the teacher's role as narrator becomes even more important. Every choral script begins with an introductory monologue read by the narrator/teacher. The monologue sets the tone for the piece, establishes the setting and provides any necessary background knowledge. This opens up a comfortable springboard allowing the student readers to jump directly into the action of the story. The dialogue between the character groups then propels the plot along while the narrator's comments (which are directed at the general audience) add to the comprehension of the piece. If there is no narrator, then the single character read by the teacher/adult will interact with the different character groups according to the story.
It's important that the ending of the play never be "neatly wound up" by the narrator/teacher. The character groups will play out the plot until its resolution. Thus, the students, not the teacher, will "own" the theatrical experience.
The "look" of a Choral Readers Theater script is very similar to that of traditional Reader's Theater. When the students first open the script they should immediately recognize it as a type of play. Choral Reading is more easily achieved if the size of the letters on the printed page is a little larger than normal. This facilitates the use of their fingers to track the words (which will be encouraged on the first readings) and generally helps poor readers keep their place. If the print is too small, those elementary readers who often struggle with print will perceive it as "too hard" and they will tune out.
I've found in my teaching that most students (even those below grade level) can chorally read a few lines of text at a time (including return sweep) without problems. If there are too many lines of text bunched together then the students often get tired faster, loose their place at the end and generally don't do as good a job. Reading specialists know that elementary text is basically leveled by the number of words (and syllables) in a sentence and is also affected by the number of lines on a page. The inclusion of pictures and certain vocabulary concepts play a part as well. I developed a simple formula that seems to work well for my students: Provided that the sentence lengths are within the limits of the designated reading level, students can usually chorally handle the number of sentences (plus one or two more) that their grade level equates to. For example: My fourth graders were able to chorally read 5 sentences in a row without problem. My fifth graders could handle 6 sentences in a row. Likewise my second grade groups handled 2 or 3 sentences chorally with no drawbacks. When I tried longer sets of sentences, my poorer readers lacked the momentum to follow through to the end. It's those kids that have the greatest need to be an accepted part of the whole! My choral scripts use this formula to ensure maximum success from all students.
The layout of a script might offer a title page that lists all the character groups and the narrator. This includes a short description of each one. An illustration near the beginning of the script to provide additional background knowledge would really help students. (Students can be taught to "pause and soak up" an illustration as part of the choral reading process. The narrator's comments can be strategically placed to "bookend" other illustrations so that the teacher controls how much time is spent there.) On standardized end-of-grade reading tests there are actually very few drawings or photos. Students are expected to read a lot of text on one page without picture cues.
The title of the play should also appear at the top of the first page of dialogue. A concise main idea statement written in italics should be directly underneath it. Students often use this for quick reference when they want to "double check" their understanding of text and make sure they are on track.
After the Narrator's introductory monologue (which is printed in the student script) the character groups dialogue begins. Their group names should be printed in bold on the left of the page when it is their turn to speak. This visual cue is so important! It compliments left to right progression, which is a basic rule of reading instruction. The dialogue should be written across the full width of the page so the sentences can form short paragraphs with each exchange. Expression cues should be written in parenthesis as needed. Color-coding the bold print of the character groups' names is another way to assure that students will keep their place.
Tier Two vocabulary words will be placed in the dialogue (at an average of 5 to 8 per script) so the students' word power will be even more enriched. Too many new vocabulary words or concepts can sabotage the goal of increasing fluency. These words should be included in a short glossary at the end of the script. During the implementation of the choral readings, interactive vocabulary activities will be used to solidify the meanings of these useful words.
IMPLEMENTATION OF CHORAL READERS THEATER
Choral Readers Theater is designed primarily for the benefit of the readers, not the audience! Its implementation should reflect that. There are many ways that the readers will become their own audience and totally enjoy the experience. That's not to say that the final reading of the play can't be performed before a small audience of friends, other teachers or administrators…it can! That decision will be based on the needs of the children, as all teaching decisions should be.
In most Readers Theater classroom arrangements, the students participating are usually sitting side-by-side at the front of the room. Since Choral Readers Theater involves the entire classroom, students may continue to sit right at their regular desks or tables. The important factor is that students in the same character groups are in fairly close proximity to each other. Just as altos and tenors are grouped together in a choir, the students reading the same choral parts must be able to hear each other clearly. In other words, they can't be halfway across the room. In my experience as a homeroom teacher, children LOVE a break from being glued to their regular assigned seats. They welcome any opportunity to move around and sit in a new spot! Another option is the have all the desks in a large circle, facing inward. Students will be sitting close to their assigned character groups, yet have a good view of the other groups they are interacting with during the readings. When assigning students to character groups the teacher should make sure that each group consists of a mixture of strong, average and low readers. As the script is reread on subsequent sessions and they become more familiar with the story, readers can be allowed a little more choice in their roles. However, each new group must still have that mix.
Each Choral Readers Theater script would idealy be designed for use during a three week cycle in which the students will experience numerous opportunities to reread their roles. (I've found that 1 or 2 weeks is just not enough time for all elementary kids to internalize new material. On the flip side, covering the same story beyond 3 weeks invites the risk of deteriorating the students' interest and enthusiasm.)
Once the teacher has introduced a new script, it should be chorally read daily for at least 3 consecutive days during that week. Often, poor readers have memory problems and benefit from this back-to-back approach. After spending 1 week chorally rereading the same roles, the students will then be placed in different choral groups for the following week. That's right…same script, different roles. This gives children a chance to really build on what they have learned the previous week…yet they'll be reading new words from other character viewpoints. By the end of the 3rd week, all students will have been totally immersed in the plot, seen the story through the eyes of the various characterizations, and tackled the unique problems that each different role presented. And all this can be done over the safety net of the group!
Educational theory states that one of the best ways to strengthen any concept taught is to have a good follow-up lesson. This three week cycle, with its emphasis on rereading and changing roles, automatically provides such an experience within a manageable, student-friendly and teacher-friendly platform.