Republic of the Philippines

RAMON MAGSAYSAY TECHNOLOGICAL UNIVERSITY

Castillejos Campus
Castillejos, Zambales

Bryan Jester S. Balmeo

Compiler

November 2012

Republic of the Philippines

RAMON MAGSAYSAY TECHNOLOGICAL UNIVERSITY
Castillejos Campus
Castillejos, Zambales

C E R T I F I C AT I O N

To Whom It May Concern:

This is to certify that the attached instructional material entitled Teaching
Literature: Teaching of Life compiled by Mr. Bryan Jester S. Balmeo has been reviewed
to suit the needs of the students of Teaching Literature, a subject being taken by the
Bachelor of Secondary Education (English) students.
Hence, this manual is hereby APPROVED for instructional use among students of
BSEd courses.
Given this 20th day of November, 2012 at RMTU-Castillejos Campus, Castillejos,
Zambales.

DR. RENATO P. RUBA

Executive Dean
RMTU-Castillejos Campus

FOREWORD
This manual entitled Teaching of Literature: Teaching of Life is a compilation
of lecture materials from different sources in the internet and textbooks cited at the end of
each lesson.
With the use of this manual, students will now find it easy to learn the different
strategies and techniques in teaching literature. This manual will also serve as a big help
in reviewing lessons regarding this subject when they take other examinations in the
future, and also as an instructional material when they become full-fledged teachers of
Literature.
Despite the approval from the Office of the Executive Dean, this manual is always
open for improvement to cater the needs of Literature students in the future.

Teaching Literature Strategy No. 1

Talk Show
Description:
The talk show dramatizes the exploration of literature.
Because students are generally familiar with the format, talk
shows are a particularly engaging form of "reader's theater," or
minimalist classroom theater in which the students write and
perform skits based on the literature they are studying. In
creating a talk show, the students interpret characters, conflicts,
themes, and issues for a live audience on a classroom "stage."
To create a talk show, some students role play key characters from one or several
texts, while other students role play interviewers or reporters. Often, teachers will host,
directing the flow of questions and answers among characters and reporters. After the
class has experience with this strategy, a student might take on the role of host.
Talk Show in Carol O'Donnell's Classroom
Before creating their talk show, Carol O'Donnell's students read works by Julia
Alvarez, Gish Jen, Khoi T. Luu, Lensey Namioka, and James McBride that explore issues
of identity. Then students take on roles. O'Donnell comments, "Often I assign roles, as it
helps me challenge some students to take on particular roles they might not have chosen
themselves." The students who will play reporters determine their media affiliation and
write open-ended questions for a specific character or for the group. Each characterplaying student writes an "identity statement," drawing on the text and their imagination.
When the talk show begins, the students playing characters sit at a table with
identifying name tags, while the students playing reporters sit across from them with
media affiliation name tags. The panelists first present their statements of identity, and
then the reporters pose questions. O'Donnell acts as the host, directing the flow of
questions and answers and occasionally adding comments.
Tips and Variations for the Talk Show

Teachers should remind students throughout the process, as Carol O'Donnell does,
that this activity must be very strongly grounded in the text. Though the students
will have a great deal of imaginative input, as characters they must speak, act, and
emote in ways consistent with the literature. (The students might even be required
to use a certain number of actual lines from the text to make sure they have
consulted the literature closely enough.) Similarly, the issues that these dramatic
presentations explore must be true to the original text.
5

The students might collaborate to write and perform a script based on a pivotal
scene, chapter, or event in a text. Sometimes, as in O'Donnell's class, this script is
based on a text the whole class is reading, and the whole class can collaborate in
writing it. Other times, a script can be written and performed by a small literature
circle group to introduce to the rest of the class a book that the group is reading.
Other formats for dramatizing textual issues include trials, newscasts, debates, or
a vignette series.

Assessment of the Talk Show

To help students assess their own learning through this strategy, teachers might
pose questions such as:

What did you learn by playing a character or reporter?

What did you learn about the text or theme from this conversation?

Benefits of the Talk Show

1.

Students generally find this creative drama activity motivating and memorable.
Drawing upon their interpretations and their imaginations, the students can
demonstrate their understanding, synthesize information, and make sophisticated
connections between texts and their lives.

2.

Including drama in literary studies provides access points for students with
diverse learning styles.

3.

By deciding how to communicate their understanding to an audience, students are

challenged to interpret texts persuasively.

4.

Role-playing helps students to empathize with people of diverse cultural

backgrounds.

Source: http://www.learner.org/workshops/tml/workshop1/teaching2.html
BJSB_14

Teaching Literature Strategy No. 2

Character Charts
Rationale:
Graphic organizers, like the sample below, can be used to help
students organize information about major and minor characters in a
text. Completed character charts are useful tools for writing essays
and studying for tests. They are often used to record information about
literacy characters, but can also be adapted to record information
about historical figures.
Procedure:
Step one: Decide why you are having students keep these charts.
There are many reasons to have students use identity charts. Here are some:

To help students deeply understand characters in the text

To help students develop the skill of looking for textual evidence
To ensure accountability that students are reading
To help students prepare for an essay or final project
To serve as an assessment tool to measure students understanding of the text

Why are you having students keep a character chart? Your answer to this question
will inform how you approach steps two and three.
Step two: Designing the character chart template
Which characters you would like students to focus on? What information you
would like them to track? Do you want students to track multiple characters or to follow
one character? Build a chart based on your answers to these questions. Here are two
examples:
A character chart for following multiple characters:

Characters Name

Biographical
information

Major actions taken Important quotations

by this character
said by this character
(with page numbers) (with page numbers)

A character chart for following one character:

Character Name:
Dialogue Spoken by the Character
Description about the Character

Actions Taken by the Character

Dialogue Spoken about the
Character by Other People in the
Text

Step three: Decide how students will work on completing their charts
Students can work on character charts individually or in small groups. Often
teachers have students share information on character charts through using
the jigsaw teaching strategy. Sometimes students complete charts as a whole class
activity. You could also organize this activity as a gallery walk where a sheet for each
character is posted on the wall and students walk around the room filling information in
the charts.
Source: www.facing.org/node/5436

BJSB_14

Teaching Literature Strategy No. 3

Jigsaw - Developing Community and Disseminating Knowledge

Rationale:
Using the jigsaw teaching strategy is one way to help
students understand and retain information, while they develop
their collaboration skills. This strategy asks a group of students to
become experts on a specific text or body of knowledge and then
share that material with another group of students.
These teaching groups contain one student from each of
the expert groups. Students often feel more accountable for
learning material when they know they are responsible for teaching
the content to their peers. The jigsaw strategy is most effective
when students know that they will be using the information they have learned from each
other to create a final product, participate in a class discussion, or acquire material that
will be on a test.
Procedure:
Step one: Preparation
Select the material you want students to explore. It might be a collection of
documents (e.g. readings, images, charts) or it could be a series of questions. Also,
decide how many students you would like to work together in an expert group.
Teachers often find that groups of 3-5 students work best. Sometimes it makes sense to
make groups randomly (e.g. by counting off) while other times you might want to divide
students in advance to balance strengths, needs and interests. You can assign the same
material to more than one group.
Step two: Students Work in Expert Groups
In this step, small groups of students (experts) are responsible for reviewing
specific material so that they can share this information with their peers. Expert groups
work best when students have clear expectations about the type of information they are
supposed to present to their peers. Therefore, it is often helpful to provide a chart or a
series of questions that students answer together in their expert groups. It is important
that all group members understand the material they are responsible for presenting. To
avoid having students present inaccurate or misleading information, teachers can review
and approve of content before this information is shared with students in the other
groups.
9

Step three: Students Meet in Teaching Groups

After expert groups have a solid understanding of the material they will be
presenting, assign students to teaching groups. Teaching groups are typically
composed of one or two members from each expert group. Experts take turns presenting
information. Often teachers ask students to take notes while the experts present. For
greater accountability it is best if students are required to synthesize the material
presented as part of an assignment, presentation or discussion.
Step five: Synthesis and Reflection
Teaching groups can be assigned a task that requires them to synthesize the
information that has been shared, such as answering a larger question, comparing texts, or
generating a plan of action. Or, students can synthesize information individually or in
pairs. It is appropriate to structure a class discussion that asks students to draw from the
material they just learned to answer a question about history and apply this information to
society today.
Example:
This strategy is designed to include all students in the reading and dissemination of
knowledge. The key to its success is that each "expert group has information that
contributes to the larger group.
Students are divided into expert learning groups and given one reading to study and
share with one another. For example, a selection of five readings from Chapter 4: The
Nazis Take Power in Holocaust and Human Behavior Resource Book could include:

Reading 2: Threats to Democracy, p. 160

Reading 3: Targeting the Communists, p. 162
Reading 15: No Time to Think, p. 189
Reading 17: Eliminating Opposition, p. 193
Reading 20: Did you Take the Oath?, p. 198

After experts meet in teaching groups to learn from each other, students can use the
material they have learned to make a list of the factors that contributed to the Nazis rise
to power. Groups can present their list to the larger class.

Source: www.facing.org/node/5436

10

BJSB_14

Teaching Literature Strategy No. 4

Reader's Theater
Rationale:
Readers theater is an effective way to help students to
process problems experienced by characters in a text. In this activity,
groups of students are assigned a small portion of the text to present
to their peers. As opposed to presenting skits of the plot, readers
theater asks students to create a performance that reveals a message,
theme, or conflict represented by the text. The more familiarity
students have with readers theater, the more proficient they become
at using the words of the text to depict concepts and ideas.
Procedure:
Step one: Preparation
Depending on how many students are in your class, you will likely need to identify 45 excerpts or scenes for this activity. Typically, groups of 4-6 students are assigned
different sections of a text to interpret, although it is certainly possible to have groups
interpret the same excerpt. When selecting excerpts for use with readers theater, keep in
mind these suggestions:

Shorter excerpts allow students to look more deeply at specific language than
longer excerpts. Often excerpts are only a few paragraphs long.
Use excerpts that contain one main action or decision-making point.
Excerpts should address an important theme in the text; they should represent
more than just the plotline.

Step two: Read selections

Before groups are assigned scenes to interpret, give students the opportunity to
read the selections silently and aloud. This step familiarizes students with the language of
the text. After the text is read aloud, invite students to ask clarifying questions about the
vocabulary or plot. That way, students can begin their group work ready to interpret their
assigned scene.
Step three: Groups prepare performances
1. Assign scenes (excerpts) to groups.
2. In their small groups, students read their assigned scenes aloud again. As they
read, students should pay attention to theme, language and tone. You might ask
students to highlight or underline the words that stand out to them. Groups may
11

choose to read their scenes two or three times, and then to have a conversation
about the words and phrases they have highlighted.
3. Then groups discuss the scene. At the end of this discussion, students should
agree on the words, theme, or message represented in this excerpt that they would
most like to share with the class. To help structure the groups conversations, you
might provide them with a series of questions to answer. Example: what conflict
is expressed in this excerpt? What theme is represented? What words or phrases
are most important? What is the message of this text? What is most important or
interesting about the words or ideas in this excerpt?
4. Now students are ready to prepare their performance. Students should be
reminded that the goal is not to perform a skit of their scene, but to use specific
language (words and phrases) to represent the conflict, theme, and/or underlying
message of that excerpt. Performances can be silent or they can use voice in
creative ways, such as by composing a choral reading that emphasizes key
phrases. Students can use movement, or they can hold their body positions to
create an image frozen in time, much like a photograph. It often helps to give
students a list of guidelines or suggestions to follow when preparing their
presentations.
Example:

Repeat key words, phrases or sentences.

Read some or all of your selection as a group, as part of a group, or as
individuals.
Alter the order of the text.
Position yourselves around the room as you see fit.
You may not use props, but you can use body positioning to achieve a certain
effect.
Everyone has to participate.

Step four: Performances

There are many ways to structure performances. Some teachers ask students to
take notes while all groups perform. Then students use their notes to guide their reactions
to the performances. Or, teachers ask students to comment immediately after each
performance. It is best if students comments are phrased in the form of positive feedback
rather than in the form of a critique (e.g., It would have been better if . . .) Before
debriefing performances, you can go over the types of comments that are appropriate and
inappropriate, or you can provide students with starters they could use when phrasing
their feedback.
Examples of starters that frame positive feedback:

It was powerful for me when . . .

The performance that helped me understand the text in a new way is . . . because .
.. .
12

It was interesting how . . .

One performance that stood out to me is . . . .because . . ..
I was surprised when . . ..because . . .

Step five: Reflection

After presenting and debriefing performances, give students the opportunity to
reflect on their learning and participation in this activity. How did it feel to present? To
receive feedback? What would they do differently next time? Students can answer these
questions in their journals and then you can allow volunteers to share ideas or questions
from what they wrote.
Example:
This strategy is most often used with a reading passage that is emotionally powerful.
Examples can include:

After reading Night by Elie Wiesel.

Eugenics and Civic Biology: An Exploration of Buck v. Bell Lesson (see
Holmes majority decision)

Source: www.facing.org/node/5436

13

BJSB_14

Teaching Literature Strategy No. 5

Reading Aloud
Rationale:
For many students, ideas on the page come alive when they are spoken. Reading
text aloud provides a way
to help all students access the
material and develops
students skills as active
listeners.
Listening to
proficient readers provides a
model for fluent reading
and can help students,
especially ELL students,
recognize how to pronounce
unfamiliar
words.
By
inviting students to read, this
strategy encourages class
participation and takes the
focus off of the teacher as
the
only
source
of
information.
Procedure:
Step One: Selecting a text
Most texts are appropriate to read as a read-aloud. It can be challenging to hold
some students attention for texts longer than 2 pages. But, an extremely engaging story
can hold students attention for quite awhile. Use your knowledge of your students,
coupled with the appeal of the text, to select a reading of an appropriate length.
Step Two: Reading aloud
When doing a read-aloud, it is best if all students have a copy of the text so that they
can follow along, usually taking notes as they listen. The teacher or a volunteer can begin
reading the text, reading a few lines or a whole paragraph. There are many ways to
structure a read-aloud:

Students can read in the order in which they are sitting (like a wraparound),
continuing around the room until the text is finished. Sometimes teachers allow
students to say pass if they prefer not to read.
Read-aloud can be structured popcorn style. As soon as one student stops
reading, another student can begin.
Teachers can assign students a section of the text to read. Often teachers give
students the assignment the night before, so that they can practice reading for
homework.

As the text is read, students can mark up their own text or take notes on a graphic
organizer. Many teachers have students underline or highlight important words or

14

phrases in the text and write questions in the margins of the page. Sometimes teachers
give students questions that they should answer as they listen to the text being read.

Step Three: Pausing for comments

Depending on the length of the reading, you may want to pause after each
paragraph to check for understanding, clarify misconceptions, and ask students to make
predictions.
Step Four: Re-read sections of the text
If there are particularly important parts of the material that you want to
emphasize, you can have students re-read these sections. Often students pick up on
different ideas and words when they hear a text read more than once. Or, after the readaloud, you can ask students to re-read the text silently on their own.

15

Source: www.facing.org/node/5436
BJSB_14

Teaching Literature Strategy No. 6

The Fishbowl Technique

What's it for?
The fishbowl exercise is a technique for discussing difficult and controversial
issues between two groups of people who may be in disagreement. It overcomes barriers
to communication such as pressure to conform from peers, professional detachment and
intimidation.
Who can use it?
The fishbowl can be used by staff and residents that wish to communicate in
depth. No special skills are necessary, but there are some general guidelines and
principles that will enhance and improve results.
How to use it
The fishbowl involves between 10 and 20 people. A circle of chairs is arranged in the
centre of a room with chairs arranged around the outside. A facilitator, (someone fairly
neutral if possible), splits the group into two roughly equal teams that apparently share
the same views or are recognizable as peers (e.g. residents, staff). One team sits in the
centre (the fishbowl) and one team around the outside. The people in the fishbowl will be
involved in the discussion and cannot involve anybody around the outside in the
discussion (though they may, of course, refer to them). The people around the outside are
privileged listeners. The people around the outside cannot speak until they are invited
into the middle by the facilitator. The facilitator starts the discussion by providing a
contentious statement for the fishbowl to comment on. The statement will relate to a
subject of concern for the group. e.g.

Why shouldnt we have visitors after 10.00pm?

They treat us like children...

They dont respect our space...

16

As an alternative the contentious statement can be a subject of current concern for

society, one which is likely to polarize the fishbowl.e.g.

Smoking should be banned everywhere

Beggars should be locked up...

The discussion continues until it appears that nothing new is being said. The
facilitator may interject from time to time to stir up the discussion and involve everybody
in the fishbowl in the discussion but, in general, less intervention the better.
Then the listeners swap places with the fish bowlers and continue the discussion
adding their views to the discussion. The teams may swap half a dozen or more times
until the subject is exhausted.
An alternative method is to bring individuals into the fishbowl who then sum up
the discussion so far as they see it. The discussion then continues with the new
participant.
When the fishbowl discussion is exhausted the participants then join together in a
more conventional discussion having established a pattern of talking and listening in
an equitable way.

17

Source: http://handbooks.homeless.org.uk/hostels/environment/participation/fishbowl
BJSB_14

Teaching Literature Strategy No. 7

Correlating
Definition:
This is about correlating selections to world events and events in our country,
comparisons with people, and other subjects like social studies, music, arts, etc. This will
help the students to apply what they have learned in real life.

Teaching Literature Strategy No. 8

Encouraging Outside Reading

Definition:
The teacher should motivate the students to have
their readings of their favorite literary masterpieces outside
the classroom premises. This will enhance their reading
skills and will increase their interest in literary articles.
Magazines, newspapers, novels, or any printed materials can
be used.

Teaching Literature Strategy No. 9

Dyads, Triads and Quarters

Definition:
18

2-4 students will get together to communicate verbally about an issue.

Teaching Literature Strategy No. 10

Discussion of the message of the selection

Definition:
Questions are given after reading the selection to test understanding and to
develop the reading skills.

Teaching Literature Strategy No. 11

Picture Talk
Definition:
Pictures are presented at a visible level.
Suggested procedure by Donald Broncard:
a. Words- what words do you associate with this picture?
b. Facts- what do you really see in the picture?
c. Interpretation- What title would you give to this picture? Do you
imagine yourself in the picture? What role will you play?
d. Application- students are asked to have a dialogue by pairs and share
stories in class.

Teaching Literature Strategy No. 12

19

Chamber Theater
Definition:
The narrator and the characters are the same person.

20

Follow up Activity No. 1

Debate
Description
Debate can be used in any classroom. It can be as detailed and formal as the
Lincoln-Douglass structure used by debate teams, or as simple and informal as pairing
students to research and discuss the pros and cons of an issue. As students identify,
research, and argue about complex ideas, they hone their skills in critical thinking,
organization, persuasion, public speaking, research, and teamwork. If the issue they
debate is something that is important to their families, their communities, or themselves
debate can also be a powerful way for students to effect change.
Debate in Laura Alvarez's Classroom
In Laura Alvarez's class, debates, like persuasive letters, help the students to
academically engage the social issues that affect their lives. The oral debates help
students verbalize and flesh out their thoughts. Alvarez scaffolds student debates on
issues with great care; at each step, she explains, models, provides graphic organizers,
and supports small groups. She begins by having the students identify common issues in
their books and in their interviews. The students look at the expectations immigrants have
about the United States and the realities they find. Alvarez provides them with a graphic
organizer that helps them classify the problems they see under several large headings:
safety, education, work, health, rights, language, pollution, and other. This helps the
students craft problem statements -- a step many find difficult.
As the students research, Alvarez helps them interpret what they find in books
and on the Web. She reads aloud to the small groups, asking them to stop her when they
hear something relevant to their problem statement. She shows them how to take notes on
these sources. She reminds her students regularly that there will be a real audience for
this work: after the students conduct their oral debates, they will write letters to their
intended
audience.
After the students have researched their issue, Alvarez guides them to detail
various arguments about it by handing out a list of and demonstrating the following
steps:
21

1. Identify the problem.

2. Identify someone who could address this problem.
3. Write a thesis statement that states your opinion about the problem and its
solution.
4. Brainstorm arguments to support your opinion.
5. Brainstorm counterarguments.
The class first works together as a group, focused on one issue. Alvarez shows the
students how to compile notes by brainstorming and reviewing their research. In small
groups, the students follow Alvarez's steps. Then they practice debating in pairs. Finally,
Alvarez invites pairs of students to the front of the class to debate.
Tips and Variations for Debate

Laura Alvarez uses a style of debate that suits her students: as transitionalbilingual fourth- and fifth-graders from immigrant families, they have a strong
stake in the issues but need support in reading, writing, speaking, and listening in
English. Other styles may apply to other students.
The students can identify debate topics themselves, or the teacher can list ideas
for them. However the topics are chosen, they should be phrased as questions
(e.g., "Should English be the only language of instruction in our schools?").
Remind the students that the test of a good topic is that arguments can be made on
both sides of the issue.

The teacher can help the students identify resources, including fiction and
nonfiction print resources, interviews, surveys, Web sites, statistics, etc. They can
ascertain the sources' reliability by asking: Is the source an authority? Is the
source up to date? Does the source have a "hidden agenda" or bias? Does the
source offer logical evidence for its information?
The students can list pros and cons with a simple T chart, working individually, in
pairs, in small groups, or as a class.
The teacher might halve the class and assign each side a position, or allow the
students to choose. If they work in teams, they might elect a "captain" who will
facilitate and delegate responsibilities. The teachers might also assign specific
roles or subtopics.
The students can organize their research into major and minor arguments. At the
same time, they should consider how to rebut counterarguments.
The students should rehearse the debate. Depending on the debate's format, the
teacher may impose time limits. The students can participate as individuals or in
teams. If they debate in teams, members should decide who presents the argument
and counterargument.
22

The students may stage debates for the class, larger school audiences, and/or
community members.

The most common formal debate structure is the Lincoln-Douglass style. The following
variations are particularly appropriate for middle school.

Think-pair-share debate strategy: Each student researches a common topic and

spends 10 minutes making notes on possible arguments. Next, the students form
pairs in which they share ideas, compare notes, and further their thinking for
another 10 minutes. Each pair then joins another pair to share ideas and compare
notes for another 10 minutes. If there is time, two groups of four can join for
another 10 minutes of sharing. Eventually the whole class regroups to share as the
teacher facilitates and takes notes.

Tag-team debate strategy: A team of five members represents each side of a

debatable question. Each team has three to six minutes: each speaker from the
team can speak for one minute, and then tag another team member to continue.
(Any team member can volunteer to go.) No member of the team can be tagged
twice until all the members have been tagged once.
Participation countdown strategy: This strategy ensures that no student
dominates a discussion. When the students are presenting, ask that every time
audience members raise their hands to pose counterarguments, they indicate how
often they have participated. The students should raise their hands the first time
with one finger pointing up, the second time with two fingers, etc. After three
times, they are no longer allowed to participate. This helps individuals ration their
involvement.

Teacher, Peer, and Self-Assessment of the Debate

Many teachers use rubrics that the students have helped create. In addition,
teachers should ask the students to write or discuss debating. Sample questions
include:
Objective questions about the debates:

How logical were the arguments? How persuasive? What examples, facts, or other
evidence were especially persuasive? How strong were the counterarguments?

How well was the debate presented? Did the student(s) speak clearly and
forcefully with good eye contact? Was the style persuasive?

To self-assess the debate strategy as a whole:

23

How did your research process and debate help you better understand the
literature and the social issue?

What aspects of the debate did you do especially well? Why?

What aspects of the debate might you do differently next time? Why? How?
What have you learned about public speaking?
How did your own ideas and views develop through this process?
What did you learn about the "other side"?
What do you hope will happen as a result of this debate? What are your next steps
on this issue?

Benefits of Debate

By posing debatable questions, teachers help students think critically about

important social issues.
By helping students research their arguments, teachers engage them as critical
readers. With guidance, the students learn to evaluate sources, take notes,
determine the relative importance of arguments, and value counterarguments.
By having a real purpose and audience, the students have more ownership of and
pride in their arguments.
The students see that their views and voices make a difference.
The students learn to speak persuasively and to listen respectfully.
The students connect language arts with their worlds.
Debates challenge the students to understand multiple points of view. They must
be able to support their own opinions and others'. Teachers can use the rigor and
formality of a debate to make sure every voice is heard and respected. As teacher
educator Sonia Nieto notes: "When you put [real problems and issues] in the
curriculum, instead of sliding them under the rug, you're better able to deal with
them and make them transparent. This is really what education should be about: to
look at things critically, to teach kids to engage with the subject matter. And the
subject matter in this particular case happens to be their lives."

Source: http://www.learner.org/workshops/tml/workshop7/teaching.html
BJSB_14

Follow up Activity No. 2

Role Playing
Preparing for Difficult Conversations and Situations
Think back to the last time you
prepared for an important meeting.
Perhaps you needed to convince a prospective client
to do business with your organization. Or maybe
24

you had to present to executive board members, and you knew that they would be
peppering you with questions about your proposal.
Whatever the situation, chances are that you were nervous about the
meeting; and practicing in front of a mirror may not have helped you overcome your
anxiety, especially with respect to answering difficult questions.
This is where role playing can be useful. In this article, we'll look at what
role play is, and we'll see how you and your team can use this technique to prepare for a
variety of challenging and difficult situations.
Uses and Benefits
Role playing takes place between two or more people, who act out roles to
explore a particular scenario.
It's most useful for preparing for unfamiliar or difficult situations. For
example, you can use it to practice sales meetings, interviews, presentations, or
emotionally difficult conversations, such as when you're resolving conflict.
By acting scenarios like these out, you can explore how other people are
likely to respond to different approaches; and you can get a feel for the approaches that
are likely to work, and for those that might be counter-productive. You can also get a
sense of what other people are likely to be thinking and feeling in the situation.
Also, by preparing for a situation using role play, you build up experience
and self-confidence with handling it in real life; and you develop quick and instinctivelycorrect reactions to situations. This means that you'll react effectively as situations
evolve, rather than making mistakes or becoming overwhelmed by events.
You can also use role play to spark brainstorming sessions, to improve
communication between team members, and to see problems or situations from different
perspectives.

How to Use Role Playing

It is easy to set up and run a role playing session. It will help to follow the
five steps below.
Step 1: Identify the Situation
To start the process, gather people together, introduce the problem, and
encourage an open discussion to uncover all of the relevant issues. This will help people
to start thinking about the problem before the role play begins.

25

If you're in a group and people are unfamiliar with each other, consider
doing some icebreaker exercises beforehand.
Step 2: Add Details
Next, set up a role playing scenario in enough detail for it to feel "real."
Make sure that everyone is clear about the problem that you're trying to work through,
and that they know what you want to achieve by the end of the session.
Step 3: Assign Roles
Once you've set the scene, identify the various fictional characters involved
in the scenario. Some of these may be people who have to deal with the situation when it
actually happens (for example, salespeople). Others will represent people who are
supportive or hostile, depending on the scenario (for example, an angry client).
Once you've identified these roles, allocate them to the people involved in
your role play exercise; they should use their imagination to put themselves inside the
minds of the people that they're representing. This involves trying to understand the
characters' perspectives, goals, motivations, and feelings when they enter the situation.
(You may find the Perceptual Positions technique useful here.)
Step 4: Act Out the Scenario
Each person can then assume their role, and act out the situation, trying
different approaches where necessary.
It can be useful if the scenarios build up in intensity. For instance, if the aim
of your role play is to practice a sales meeting, the person playing the role of the potential
client could start as an ideal client, and, through a series of scenarios, could become
increasingly hostile and difficult. You could then test and practice different approaches
for handling situations, so that you can give participants experience with them.

Step 5: Discuss What You Have Learned

When you finish the role play, discuss what you've learned, so that you or
the people involved can learn from the experience.
For example, if you're using role play as part of a training exercise, you
could lead a discussion on the scenarios you have explored, and ask for written
summaries of observations and conclusions from everyone who was involved.
Further Tips

26

Some people feel threatened or nervous when asked to role play, because it
involves acting. This can make them feel silly, or that they've been put on the spot.
To make role playing less threatening, start with a demonstration. Hand two
"actors" a prepared script, give them a few minutes to prepare, and have them act out the
role play in front of the rest of the group. This approach is more likely to succeed if you
choose two outgoing people, or if you're one of the actors in the demonstration.
Another technique for helping people feel more comfortable is to allow them
to coach you during the demonstration. For instance, if you're playing the role of a
customer service representative who's dealing with an angry customer, people could
suggest what you should do to make things right.
Role Play Example
In an effort to improve customer support, John, Customer Service Manager
for Mythco Technologies, sets up a team role-playing session. Acting as the leader/trainer,
John brings together a group of software developers and customer support
representatives.
He divides the 12 people into two role playing groups: Group A represents the customer
support representatives; Group B represents the customer.
John tells Group A that the customer in this situation is one of Mythco's
longest-standing customers. This customer accounts for nearly 15 percent of the
company's overall annual revenue. In short, the company cannot afford to lose her
business!
John tells Group B that the customer has recently received a software
product that did not live up to expectations. While the customer has a long-standing
relationship with Mythco, this time she's growing weary because Mythco has previously
sold her faulty software on two separate occasions. Clearly, her relationship with Mythco
is in jeopardy.
John now allows the groups to brainstorm for a few minutes.
Next with this particular approach to role play each group sends forth an
"actor" to take part in the role play. The actor receives support and coaching from
members of the team throughout the role playing process. Each team is able to take timeouts and regroup quickly as needed.
John runs through the scenario several times, starting with the "customer"
behaving gently and ending with the customer behaving aggressively. Each time, a best
solution is found. Of course, John can always ask for additional role playing and
suggestions if he feels that the process needs to continue, or that the team has yet to
uncover the very best solutions.
Once it's clear that they cannot identify any more solutions, John brings the
two groups together and discusses the session. During this, they discuss the strategies and
the solutions that the actors implemented, and how they could apply them to a real-life
situation.
John also asks all of the participants to write a short summary of what they
learned from the role playing exercise. He then combines the summaries and provides a
copy of everything learned to everyone involved.

27

Key Points
Role playing happens when two or more people act out roles in a particular
scenario. It's most useful for helping you prepare for unfamiliar or difficult situations.
You can also use it to spark brainstorming sessions, improve communication
between team members, and see problems or situations from different perspectives.
To role play:
1. Identify the situation.
2. Add details.
3. Assign roles.
4. Act out the scenario.
5. Discuss what you have learned.

Source: http://www.mindtools.com/CommSkll/RolePlaying.htm
BJSB_14

28