A LESSON PLAN FOR VERBAL AND NON-VERBAL COMMUNICATION

I. OBJECTIVES:
1. To differentiate verbal from non-verbal communication
2. To perform a stage play using verbal and non-verbal communication
II. SUBJECT MATTER:
Introduction to verbal-non verbal communication: Aspects of facial expression,
posture, gesture etc.

III. MATERIALS
Text for running dictation
Pictures of facial expressions and gestures (original and from Nolasco andArthur –
Conversation)
Dialogue for practice (from a presentation by Paul Seligson)
Extract from a play (Oscar Wilde – A Woman of no Importance), picture to set the
scene.

IV. PROCEDURE

TEACHER’S ACTIVITY STUDENTS’ ACTIVITY

ROUTINARY ACTIVITIES: Turkey:
(5minutes) Homosexual

MOTIVATION: (10 minutes) Commonly: Perfect

Show off expressions/gestures. Japan: Money

Ask students the meanings of
Turkey: obscene
each picture. Demonstrate
gesture
variety of meanings and show
how intercultural
No such gesture
misunderstandings might
in English
occur.
Brazil: Good luck!
Turkey: You get
nothing from me

Commonly: Stop,
enough

W.Africa: You have

5 fathers!
Turkey: Right
wing political
party

Commonly: OK

Japan: Five
Ask students if they know any Students’ answers may vary.
others.

Add more details to students’

answers.

What is the importance of

knowing these signals that
have multiple meanings?

Introducing the topic by

running dictations through
text.

Nonverbal communication is
the unspoken communication
that goes on in every face-to-
face encounter with another
human being. It tells you their
true feelings towards you and
how well your words are
being received. 90% of our
message is communicated
nonverbally, and only 10% is
actual words. Students’ answer may vary.

What do you think of

misunderstood feelings?
Where is it coming from?

What should be done to avoid

miscommunication?

In order to be effective, we
should know the kinds of non-
verbal communications:

Types of nonverbal Students’ read and explain each type of non-verbal

communication and body communication.
language

There are many different types

of nonverbal communication.
Together, the following
nonverbal signals and cues
communicate your interest
and investment in others.

Facial expressions

Unlike some forms of

nonverbal communication,
facial expressions are
universal. The facial
expressions for happiness,
sadness, anger, surprise, fear,
and disgust are the same
across cultures.

Body movements and posture

The way you move and carry

yourself communicates a
wealth of information to the
world. This type of nonverbal
communication includes your
posture, bearing, stance, and
subtle movements.

Gestures

We wave, point, beckon, and

use our hands when we’re
arguing or speaking
animatedly—expressing
ourselves with gestures often
without thinking. However, the
meaning of gestures can be
very different across cultures
and regions, so it’s important
to be careful to avoid
misinterpretation.

Eye contact

Since the visual sense is

dominant for most people, eye
contact is an especially
important type of nonverbal
communication. The way you
look at someone can
communicate many things,
including interest, affection,
hostility, or attraction.

Touch

We communicate a great deal

through touch. Think about the
messages given by the
following: a weak handshake, a
timid tap on the shoulder, a
warm bear hug, a reassuring
slap on the back, a patronizing
pat on the head, or a
controlling grip on your arm.

Space

Have you ever felt

uncomfortable during a
conversation because the
other person was standing too
close and invading your space?
We all have a need for physical
space, although that need
differs depending on the
culture, the situation, and the
closeness of the relationship.
You can use physical space to
communicate many different
nonverbal messages, including
signals of intimacy and
affection, aggression or
dominance.

Voice

It’s not just what you say,

it’s how you say it. When we
speak, other people “read” our
voices in addition to listening
to our words. Things they pay
attention to include your
timing and pace, how loud you
speak, your tone and
inflection, and sounds that
convey understanding, such as
“ahh” and “uh-huh.” Think
about how someone's tone of
voice, for example, can
indicate sarcasm, anger,
affection, or confidence.

PRACTICE: Students work in pairs on a scripted dialogue.

To practice expressions,
gestures and posture.
(13 minutes)
First, student B replies silently to half of the dialogue read
by student B, then A replies to the other half of the
dialogue. Both students become familiar with the dialogue
then act out the whole dialogue using expressions,
gestures and posture. Give plenty of time for thought and
rehearsal, remind students to stand up to practise posture
and whole body language.

Dialogue:

A: Excuse me. Can you take a picture of me ?

B: Yeah, sure.

A: Just press that button.

B: Er, which one?

A: The one on the top.

B: OK, right. Er.... can you move back a bit.

A: Is this OK?

B: Fine, now smile. That’s it. Very nice.

A: Thanks.

B: Not at all. You’ve got a lovely smile. Er... fancy a drink?

A: OK, but I’ve got no money on me.

B: That’s OK. I’ll pay.

PRODUCT: Students work in groups of three and are given a short
extract from a play, complete with stage directions
To give students the including nonverbal cues. Students work on the three-part
opportunity to use verbal and dialogue and act it out using body language to add
nonverbal communication in dramatic effect.
the context of a play.
The teacher will set the scene
by giving the situation:
Sitting room at Mrs.
Arbuthnot’s. Large open French
window at back, looking onto
garden. Gerald Arbuthnot is
writing at the table. Lady
Hunstanton and Mrs. Allonby
enters the room. They are
worried about Mrs. Arbuthnot.
REFLECTION:
Non-verbal communication is Students give reaction to it.
as important or if not, more
important than verbal
communication.- Donna White
Extract:
LADY HUNSTANTON (Smiling). Good morning, Gerald.
GERALD (Rising). Good morning, Lady Hunstanton. Good
morning,Mrs. Allonby.
LADY HUNSTANTON (Sitting down) (Politely). We came to
inquire for your dear mother, Gerald. I hope she is better?
GERALD (Apologetically). My mother has not come down
yet, Lady Hunstanton.
LADY HUNSTANTON. Ah, I am afraid the heat was too
much for her last night. I think there must have been
thunder in the air. Or perhaps it was the music. Music
makes one feel so romantic - at least it always gets on
one's nerves.
MRS. ALLONBY (Sarcastically). It's the same thing,
nowadays.
LADY HUNSTANTON. I am so glad I don't know what you
mean, dear. I am afraid you mean something wrong. Ah, I
see you're examining Mrs. Arbuthnot's pretty room. Isn't it
nice and old-fashioned?
MRS. ALLONBY (Looking through her glasses). It looks
quite the happy English home.
LADY HUNSTANTON. That's just the word, dear; that just
describes it. (Turning to Gerald). One feels your
mother's good influence in everything she has about her,
Gerald.