An In-Depth Study on the Application of “Reader's Theatre” in Chinese Reading Instruction for Upper Primary School Pupils

Wong Mei Fong  [Singapore]

Abstract

To address superficial engagement and fragmented textual comprehension in Chinese reading instruction for upper primary pupils in Singapore, this study introduced the “Reader's Theatre” teaching strategy and implemented modifications aimed at fostering deep reading. Distinct from conventional role-reading, this practice emphasises the transformative journey ‘from reader to performer’. It focuses on synergistically designing vocal delivery, facial expressions, and body language to deepen students' experiential interpretation of textual depth, character emotions, and linguistic style. Using the Grade 5 text Grandpa Banana as a case study, this research details a four-stage teaching model: "Close Reading – Vocal Sculpting -Theatrical Presentation-Reflective Reconstruction.‘ Findings indicate this model effectively stimulates pupils' reading motivation, fosters multifaceted textual interpretation and emotional resonance, and significantly enhances the fluency and expressiveness of oral communication. It offers a novel pathway for Chinese language reading instruction to progress from ’comprehension-based reading‘ towards ’appreciation- and creativity-oriented reading."

Keywords: Reader's Theatre; Chinese Language Reading Instruction; Deep Reading; Oral Expression; Textual Interpretation

Introduction

Singapore's Chinese language pedagogy strives to cultivate students' capacity for ‘enjoying learning and applying knowledge effectively.’ However, in upper-grade reading classrooms, instruction often becomes entrenched in a cycle of vocabulary explanation, paragraph summarisation, and comprehension exercises. Students' engagement with texts frequently remains confined to information extraction, lacking profound emotional investment and personalised meaning construction. Reader's Theatre, a pedagogical strategy that interprets texts through the reader's voice, expression, and simple gestures rather than relying on costumes, props, or recitation, has been proven effective in enhancing fluency and comprehension in both first and second language teaching. Yet its application in Singaporean Chinese language classrooms has largely remained at the superficial level of ‘role-playing reading’. This study, grounded in Reader Response Theory and performance theory, posits that reading constitutes a dynamic interaction between reader and text, while performance serves as a vital means to externalise and deepen personal interpretation. Consequently, the author undertakes a profound pedagogical adaptation of RT, transforming it into a systematic process for deepening reading comprehension. This aims to explore its unique value in enhancing the Chinese reading literacy of senior primary students, particularly in literary appreciation and expressive abilities.

I. Teaching Case Design: Using the Text ‘Grandpa Banana’ as an Example

1. Target Learners: Fifth-year advanced Chinese language class students possessing foundational reading comprehension skills, yet requiring development in oral expression and emotional comprehension.

2. Text Analysis: ‘Grandpa Banana’ is a narrative prose piece. Through recollections of childhood interactions with an elderly banana seller, it portrays the character's kindness and simplicity while conveying the narrator's gratitude. The language is straightforward yet emotionally nuanced, with dialogue rich in characterisation.

3. Learning Objectives:

Deepen understanding of character traits and emotional shifts through RT activities.

Learn to convey textual emotions through intonation, rhythm, pauses, and facial expressions.

Enhance the vividness and confidence of spoken Chinese expression.

4. Teaching Sequence (Two lessons, 60 minutes):

Phase One: Close Reading and Vocal Blueprint (20 minutes). After initial reading and vocabulary review, students form groups. Rather than assigning roles directly, they undertake ‘text detective work’:

① Highlight narrative text, character dialogue (Grandpa Banana, ‘I’, Mum), and words describing character expressions/actions in different colours.   

② For each instance of character speech and key narrative sentences, annotate the voice blueprint in the margins using symbols and brief phrases, e.g., ‘Intonation: deep/light; Pace: slow/rapid; Emotion: nostalgia/doubt/gratitude’. This process compels students to repeatedly digest the text and infer implied meanings.

Phase Two: Vocal Sculpting and Rehearsal (25 minutes). Groups rehearse based on their ‘vocal blueprint’. Key training focuses:

① Emphasis and pauses: Where should emphasis be placed? Where should pauses create suspense or convey emotion?

② Tone and intonation: How to use voice to distinguish characters' ages, personalities, and prevailing emotions?

③ Paralinguistic and Gestural Language: Design simple facial expressions, eye contact, and gestures (e.g., ‘reaching out tremulously’) to complement the reading. Teachers circulate as ‘voice directors,’ guiding students through demonstration and probing questions (‘Why read this part slowly?’ ‘What do you think Grandfather is feeling here?’) to connect vocal choices with textual understanding.

Phase Three: Reader's Theatre Presentation and Focused Observation (10 minutes). Groups present in sequence. Audience groups undertake ‘focused observation’ tasks: observing a specific reader's vocal delivery (e.g., ‘listen intently to Grandfather's tonal shifts’) or a particular literary element (e.g., ‘note how they convey the passage of time through sound’). After each performance, observers provide feedback grounded in specific details.

Phase Four: Reflection, Reconstruction and Writing Extension (5 minutes). The teacher guides discussion: ‘Through acting, what new insights did you gain about characters (e.g., Grandfather Banana)?’ ‘If you were directing, how would you approach this differently?’ Homework: Select an underlined passage (e.g., ‘I watched his retreating figure...’), and write a monologue from either the narrator's or Grandfather's perspective.

II. Teaching Outcomes and Reflections

1. Outcome Analysis:

Multi-dimensional and Personalised Textual Understanding: To convey the complex emotions (gratitude, reluctance, caution) behind the line ‘Grandfather, this banana... please take it,’ students must deeply contemplate character relationships and context, progressing from ‘fragmented information’ to ‘holistic empathy.’

Oral Expression Evolving from ‘Accuracy’ to ‘Expressiveness’: Students spontaneously practised pronunciation, breath control, and intonation to enhance expressiveness. One pupil repeatedly rehearsed breathy tones and a slightly tremulous voice to convey the grandfather's frailty, demonstrating unprecedented precision in linguistic form.

Formation of learning communities: During group discussions on textual interpretation, effective communication, persuasion, and collaboration in Mandarin became essential, enabling the integrated application of language skills within authentic communicative contexts.

Cultural-emotional immersion: Through the enactment and experience of sentiments like simplicity and gratitude, the cultural values embedded in the text were naturally internalised, transcending didactic moralising.

2. Reflections and Recommendations:

The Teacher's Professional Role: Educators must possess strong textual interpretation skills and linguistic expression guidance capabilities, shifting from ‘teaching content’ to ‘teaching process’ (the processes of comprehension and expression).

Time Commitment and Teaching Progression: Deep RT requires significant lesson time allocation. It is recommended to implement 1-2 carefully selected classic texts per semester, serving as an enrichment and elevation of conventional reading instruction.

Assessment Dimensions: Establish multi-dimensional evaluation criteria encompassing comprehension depth, vocal expressiveness, collaborative engagement, and creative interpretation, avoiding sole emphasis on performance outcomes.

Conclusion This case study demonstrates that Reader's Theatre, through pedagogically refined design, transcends mere classroom engagement activities to become a potent model for deep reading instruction. It transforms static texts into dynamic, experiential, and recreative ‘soundscapes,’ enabling students to forge profound emotional and intellectual connections with texts, characters, and authors through the processes of “embodiment” and ‘performance.’ This approach powerfully addresses the demands of senior Chinese language education for literary appreciation and creative expression, forging an effective pathway to cultivate students as active, confident, and compelling users of the Chinese language.

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