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Act III: Les Jongleurs, Les Sauteurs, Les Saltimbanques Avec Les Ours Et Les Singes - Couperin*, Ram

These sculptures should be looked at by the other groups Variation: Each member of one sculpture makes. After this the topic must be guessed. Variation: not a concrete but an abstract term is represented in a concrete or abstract way e. According to the continuous numbering they stand up and represent an association to a given topic e. As soon as a group member has done that, they say their number.

This is the signal for the next person to place himself. When each had their turn, number one breaks free and places himself anew, then number two follows etc. Three rounds! Three completely different pic- tures on the same topic will develop. We played it in two groups, one group was. Comment: I sometimes use this as a kind of warm- up for a topic - often very exciting to watch always. Note: The reflection of the audience is important.

Stretching and Yawning. Then in 30 to 60 seconds between as many shoulder blades as possible. Comment: a very good physical warm-up; can be fun. They are the framework, the springboard for the story. They should be a clear framework. They quickly introduce the participants emotion- ally into working with drama. During the preparation bear in mind what the drama is really about The participants should believe in the situation and take it seriously.

Using a short story as a drama pre-text English:. Speaking and listening, writing, poetry, charac- terisation, vocabulary work characterising, per- suading, making excuses etc. Using basic drama conventions realist and non- realist Other:. Personal and social education, moral and values education. Trainer names a character ad- jective e. After a few seconds the group members strike a pose expressing this emotion. Comment: holistic character adjective revision Lesson plan:.

How do situations like this develop between parents and their teenaged children? In other words, is she like many other people of her age? Look closely at the dialogue used by the three characters - do you think their speech is also. In other words is that what mothers say, what fathers say, in situations like this? Variation 1: You could also have Larissa or one of the parents on the hot seat starting a sentence:.

Home-exercise options:. What might Larissa write into her diary after this incident? Write her diary entry. What will her parents say to each other after Larissa leaves the room?

Write a dialogue between mother and father. Imagine this was the opening scene in a play about Larissa and rewrite the extract as the scene might look in the play script. Use stage directions and some ideas of the setting. What does Larissa mean by this? In what ways can parents not know their own children? Also, consider what each group has added to the character of Larissa- how has her character been developed through the freeze frames and the discussion of them.

Each group prepares a short scene which shows Larissa under different kinds of pressure. In each scene your objective is to show the strategy that might be used to make Larissa give in to the pressure. Teacher-in-role as Larissa goes from group to group.

What strategy might the friends use to try and make Larissa give up the play and spend more time with them. What strategy might the maths teacher use to try and make sure that Larissa does her detention whatever the consequences might be for Larissa in the play.

Group 4: One of the older students wants the main part in the play for herself. She knows that Larissa will also audition for it. What strategy might the older student and her friends use to try and make Larissa go for a smaller part in the play? Each group now takes responsibility for thinking about what tactics Larissa might use in each of. We played it, however, without anyone being able to interfere.

The scenes do not need to have endings. Just try to show what might work and then discuss the different scenes, strategies and tactics used by Larissa as a class. Either :. Each group now makes a tableau but this time with a difference.

The objective is to try and show physically and visually all of the different pressures Larissa is under at this moment in one image. Imagine that Larissa has a nightmare in which all the characters appear to torment her with their voices and physical appearance. Act out this nightmare.

Remember that in nightmares people can appear to be more exaggerated than in real life. Imagine that Larissa goes for a walk on her own to try and sort herself out. As she walks, she hears different voices - some are the voices of the other characters and what they have said to her, some are the voices of help which offer her advice on what to do and who try to raise her self-esteem and courage.

Choose one voice for yourself and when you are ready, stand in a circle with the rest of the class with one person being Larissa. She walks around the circle listening to each of the voices as she goes. She was fidgeting even more than I do when. I am upset. You sat there and flat-out lied to us. Really I am. That goes without saying. This was a total and complete nightmare. High Series Bantam - www. You might have …. You have no right to ….

How dare you …. Have I got to …? Must I …? I advise you not to …. Come on! How can I persuade you to …? Larissa-Drama with an extract from a text as a starting point. Read through the text, talk about it conflict of the generations, mistrust, stereotypes, which clues of the characters do we get. And present them. Creative Writing e. Dialogue between mother and father after Larissa has left the room. Her parents want her to attend the birthday party. Larissa wants to act in the play at all costs.

Which strategy will the parents adopt to persuade Larissa? Portray the pressure on Larissa. Group Which strategy do her friends adopt who think that she spends too much time in the theatre group and who want her to spend more time with them?

One of the older pupils envies Larissa her role. She and her friends claim the part for themselves and want Larissa to be content with a minor part.

What kind of pressure will they put her under? What strategy do they adopt? Presentation of a scene. The teacher-in-role acts as Larissa in the different groups. They are also assigned tasks to observe the performance exactly.

Group 1 observes group2, group 2 observes group 3, group 3 observes group 4, group 4 observes group. In a following round assignment: How could Larissa react? Which tactics would she develop? Circle of Thoughts Each member of the group is either one of the characters who put Larissa under pressure or somebody who offers advice or who tries to raise her self-confidence. When each member has decided on something, they get together in a circle.

One Larissa walks around in the circle and listens to the voices. Love is…. Warm-up One after the other walks up to the chair, sits down and says one of these sentences:. Drama Conventions Pairs. A is blind and is guided by B through a town etc. B may ask questions e. What are the walls like? You use it to establish a setting e. Chair - Topic of Love and Conflict Walk to the chair, arrive there, sit down, make a gesture expressing affection or hatred, plus stamping your feet , then say.

I like it when my father …. I love his nose, when he blows it …. I hate it when my father …. I love Juliet when …. I hate Juliet when …. Hot Seat and Alter Ego cf. The group asks him questions. Alter Ego Two Juliets are introduced. Each comments on what the father says, one after the other verbally and non-verbally. Voice Sculpture cf. Drama conventions. A player stands in the middle of the room and adopts. Romeo, who sees the presumedly dead Juliet; or Juliet, who realizes that Romeo is definitely dead.

Note: In this case the conscious stepping out of. This is why common physical activities e. A creates a position of conflict. B creates a counter position on the topic of conflict. C can make two changes in A and B to de-escalate. Three rounds so that each can be in every position. Angel and Demon cf. Drama conventions Two chairs, one player standing on each. They have to prompt a player standing between the two chairs with the pros and cons of a decision e.

The others audience can and should support them. Marking the Moment - Spot of Great Intensity cf. The members of the group should think about the spot in the room where they experienced the greatest intensity in the drama, look for it and adopt the same position there - freeze. Two questions should be considered:.

What does my position mean? Why did I choose this position? The group members write characteristic features of this person within the outlines. Social statements about this person are written down outside. His thoughts and reasons for the decision are whispered to him by the people in the alley e. Should I leave school or not? Wishing Well Ending Circle. Each throws in a wish for the future symbolically, verbally or silently and takes with them what they want symbolically.

In between: two or more players portray various objects, situations or emotions in a freeze frame. Feeling Followed All players move about the room to the music of Pink Panther and look around. They feel followed. Rhythm in the Circle Circle. Step into the circle, one after another and make a particular, characteristic movement e. The other players repeat this together. Name - Word Every name is given a particular word and movement e.

Egon- eating. The players introduce themselves one after the other, then everybody imitates. Back to Back Couples. The other part of the group gets status. B low status and walks around heads held down. Status II Each player gets a card with a number between one and ten on it.

By meeting and having small conversations the players can find out which status the others have got and experience how the differences feel.

Slap Showers Slap your body from head to toes. Simple Relaxation Exercises With music:. Write numbers with your head Write letters or words with your hips Identification Photos of different people are on the floor. Then talk to the others about it. Clapping Pass on the clapping in the circle. Mind the rhythm, accelerate, change directions Who?

Two rows are facing each other. A player from row A. B must react spontaneously. Examples for sentence starters: Can you help me? You are driving me mad. What are you doing here? Guide Dog Guide the blind and after a while leave them alone. The guide dogs constantly change partners. Complementary Rhythm Couples. Chinese Whisper with Movements. A starts miming an activity. Then C turns around, B mimes for.

C etc. What do you think you were doing? Communication Exercise. Improvisation with Everyday Dialogue in Four Scenes a agree b disagree c compromise d humiliate. Drama methods for the teaching of vocabulary and grammar. Grab a chair. Run around the chairs. Listen to the words. As soon as you hear a word which does not fit into the category, grab a chair! The player who does not get. Examples for lists of words: colours, things in the house, school things, clothes, musical instruments, adjectives, emotions, ….

Person to person parts of the body Walk or dance around the room. Change your speed to the number which is being called out. One is slowest, one hundred is fastest. Zero means stop. The ball adjectives, comparison. Stand in a relaxed position. Imagine that a ball. Pick it up and visualize it. The ball becomes bigger and bigger, heavier and heavier, …. Then it becomes smaller and smaller, tinier and tinier, almost as small as a pea.

Then it becomes bigger again, harder and. Act out your guesses without speaking! Mime each letter Get into groups of four or five. Each group will get. Each letter in your word is the first letter.

Act the new words out in the right order. The others must put the letters together and guess your word. Run for the next word Form two teams. Sit back to back. One of you will mime a word in front of your team. If it is the wrong word, I will send you back to your team. The mime must be repeated until someone guesses the right word. If it. Newspaper headlines Form groups of four or five. Each group will get a role card with a newspaper headline.

Think of a photograph to go with the headline and form a statue. The other groups will have to guess. I would tiptoe into the house if … verbs of movement. Learn and mime verbs of movement: bounce, creep, gallop, glide, limp, rush, storm, stroll, tiptoe, etc. Act out a word and say in which situation you would move like this:. What mood are we in? The player must guess the right word. Spontaneous theatre places, characters, abstract nouns Two volunteers: Your task will be to react to a word spontaneously.

Teacher-in-role acts out a situation:. T comes home, tired, takes off shoes, sits down, phone rings, he picks it up, is happy, looks at his watch, looks into his wallet, hangs up receiver, gets ready for going out, obviously a date, is about to.

T took off his shoes, he sat down on. A tells B what B got wrong: No, he did not sit. Act out the first telephone conversation. Act out the second telephone conversation. If she really loved me, she would not let me down like this … conditionals. Drama in Modern Language Teaching: Module 2. Beginn: Sonntag, April , Uhr Ende: Mittwoch, April , Uhr. Studierende der Musik, Wien Prof. A PRIL Session One. The aim of this session is to draw attention to the appropriate use of speech in different situations.

This includes using descriptive and narrative voices to build up a sense of location and character and changing the meaning of pieces of texts by delivering them in different ways. The session also uses a forum theatre technique to structure and conduct an argument. Objectives By the end of the lesson the participants should:. Part One. What sort of things would they see if they looked through the window.

Press the pupils to give details descriptions. Explain that, one night, a police patrol car had noticed that some pieces of graffiti had been scrawled onto the window. One of them read:. Baby rabbits, eyes full of pus Is the work, of scientific us! Spike Milligan. There were other pieces of writing on the win- dow. What did they say? Invite pupils to come and write these on the board around the verse above.

Some pupils may write other animal rights slogans, others may be more flippant but this will be useful later! Describe how, after leaving the chemists shop, the police apprehended a teenage girl walking on her own. Stopping to ask if she was alright, they quickly become suspicious and ask her to turn out her bag in which — surprise, surprise — they find a can of spray paint!

The class need to decide on a name and age for the girl. Each pupil is asked to think of something that would be found in the room and mentally devise a line that describes this in neat. For example:. Take some of these ideas and fine tune them in order to give the pupils examples of how to make them punchier and almost poetic!

Discuss the effect of the montage and what sort of girl the pupils think they have created. Ask the class to imagine who might like to say something to the girl if they had the chance. For example, the chemist, someone who was responsible for some of the other graffiti, her mother etc. Ask the pupils to think about such a character and what they might say. The task is to design a line that illustrates both who they are and what their attitude to the girl is.

Pupils take it in turns to speak aloud to the empty chair, trying to use their voice to portray different characters. Once again, it is helpful to give a few examples:. I mean, I only went along for a laugh. Part Two. Pupils work in small groups to write one of the following pieces of text:.

Their task is to think who might read the piece aloud and in what circumstances. The constraint is that they must try to show both who they are and what their attitude is to the piece of writing without adding any dialogue.

Watch some examples and discuss how the audience knew who the characters were and what their attitude was. Part Three. The participants divide into pairs and improvise the scene in the car between the parent and the girl as they travel to the meeting. The material generated from this improvisation is used to create a short piece of dialogue this is constrained by the device of asking the group to agree on a pattern of either long or short lines; in this way the mass of material generate by the improvisation becomes much sharper and dramatic by having to capture its essence in just 8 or 10 lines.

Divide the class into three groups to represent the girl, the headteacher and the parent. Each group needs to discuss what their given character thinks about the forthcoming meeting and decides a what they hope the outcome of the meeting will be and b what they hope to avoid happening! Each group will need to nominate a spokesperson. Three chairs are set up facing each other. Before the meeting starts, explain to the class that a number of rules will be used to shape the meeting:. They must then explain why they have stopped the meeting and suggest what the character could have said that would have been more appropriate to the situation.

She has demanded a written apology or she will withdraw her promise. Of course, you may add as many jokers of your own devising as you can think of! It is difficult to predict how a debate such as. Sometimes one of the characters will bring it to a natural end by deciding to leave the meeting or perhaps the headteacher decides that enough has been said and calls the meeting to a close.

Either way, at the end of the meeting there will be a great deal to discuss:. That is, did the talk fit the characters and the situation?

Further development A number of other scenes might be explored as extension tasks in this drama. Some may, like her, be committed to the cause of animal rights while others are simply having a laugh.

Session Two. The aim of this sequence of this session is to investigate how different speech registers are used and what their effect on an audience is.

By the end of the session the participants should be able to:. Content The frame for this series of lessons is a television news report based on an actual incident that was reported to Lord Louis Mountbatten by his gardener.

For much of the time the pupils work in role as a variety of characters who would contribute to the report. This will involve some of the pupils using discussion to prepare written scripts that will then be presented as formal spoken presentations. Others will study written evidence and use this as the basis for spontaneous talk. The teacher works in role as an elderly gardener who tells a tale of a strange thing that has hap- pened to him:.

By Mr Bert Hedges. Everything seemed the same as it was every morning. I was cycling down the same lane at the same time. It was about 8. Anyone will tell you that apart from the odd sherry at Christmas I never touch a drop.

It really happened. Now I know just about all there is to know around these parts. I know who comes and who goes. So, I was cycling along.

It was a clear morning. Quite frosty in fact and there was a bit of mist clinging to the ground. Well, I came around the cor-. It was all shiny and sort of hovering about twenty feet or so above the lane. I stopped and looked at it long and hard. You could see sort of windows around it. It was like a big fat cigar but a sort of silvery blue colour, all shimmery.

Then a long sort of ramp came out of it stretching out down to the lane. Then a couple of figures suddenly appeared at the bottom of the ramp. They had these masks on — bit like the old gas masks but the eye holes were purple and there was a round black hole where their mouth should have been. Anyhow, as I started moving towards them I suddenly got this terrific shock, like some big fist had punched me right in the chest. It was so hard it knocked me right off my bicycle into the hedge.

Even so I could still see what was going on. These two fellers just seemed to be sucked up into the big cigar thing then. I heard this rumbling sound and it just sort of shot. It was like watching the dot on the television. Having told the story, the teacher invites pupils to ask Bert some questions about his tale. Key words are listed on the white board e. The pupils placed in threes. B then relates the tale in a way that makes it clear they have not believed it at all.

C relates tale in as neutral a way as possible. Discuss the different vocal and visual registers used in each retelling. It would be useful to use an unplugged hand held microphone to signal this. Explain to the class that they will be working towards presenting a television news report which will be video recorded.

Show an example of a pre-recorded report from the local television news. Ideally, the example should have the following elements:. Integrating drama as a teaching method in language teaching, means bringing real life as well as fantasy situations and characters into the classroom. The main ideas and some of the tangible results of the training course are now presented in this booklet. Perhaps of even greater importance, is the fact that during these three years of drama course, new contacts were made, ideas and experiences exchanged, and new friendships established among the participants from various types of schools and parts of Austria.

As one of the organizers, I would like to take this opportunity to say how much we regret the recent unexpected passing away of AL DI Mag. Robert Davies.

He was a valued member of our Institute and we thank him in particular for his valuable advice and support launching this unique training course in co-operation with Dr. Gerhard Schmid, who both promoted this training course.

Finally, I wish all the participants lots of joy along with success when implementing these ideas in their classrooms. In the year , through an initiative of Mag.

Anton Prochazka, English language teachers who were particularly interested in drama, started networking and held three consecutive conferences. The result I of one of these conferences was the idea of organizing a training course for teachers of all types of school who already had some experience in drama and who wanted to use drama as a teaching method in the English classroom.

As a starting point, a team of three teachers Stefan Egger, Karl Eigenbauer, Egon Turecek created a curriculum for a three-year course consisting of five modules. The curriculum, the exact wording of which is included in this booklet, defines drama as a method and describes the objectives and contents of the course. Module 1 was designed to give a basic introduction into drama techniques.

The concept was obviously widely and readily accepted by teachers, because the number of applications exceeded all expectations: there were approximately 80 registrations from all parts of Austria, of which only 55 could be accepted. The most difficult part of the project was — you name it — to find an institution that would guarantee the funding of all five modules.

Thanks to the effort of Mag. In November , the project was launched at Schloss St. Martin in Graz. This venue became a source of inspiration and creativity for four further occasions. The competence and professionality of the drama experts made each module a rich and rewarding experience for each of us. To obtain a certificate, each participant planned, carried out and evaluated an English drama project with pupils. Some of these projects are documented in this book. We, the course tutors, would like to thank Toni Prochazka and Alfred Fischl for their initiatives and the enormous paperwork behind the scenes.

Furthermore, we would like to thank the staff of St. Last but not least we would like to thank each participant for their enthusiastic commitment to this project, for their creative and unique contributions, and for the intense cooperation and friendship which developed and will continue beyond this course.

Introduction Karl Eigenbauer In communicative language teaching drama methods play an important part because of their holistic approach, which is rooted in neuropsychology. The more the senses are involved the more effectively and actively you learn, and the improvements you make will be lasting. In the classroom the participants get the kicks.

This of course means that the traditional boring teacher questions and pupil answers are no longer the core of a lesson. Process drama is concerned with the development of a wider context for exploration — a dramatic world created by the teacher and students working together within the experience.

Very often teachers actively take part in the drama. The key characteristics of process drama include active identification with fictional roles and situations by the group, which will eventually lead to an improvement of communicative competence. Moreover, the techniques and conventions of process drama e. Landeskunde, Literatur, aktuelle Sachthemen einzusetzen.

Erprobung besonderer Spielformen wie Figuren- oder Schattentheater. Wien, im Dezember Mag. Stefan Egger Mag. Karl Eigenbauer Mag. It should be an integral part of the curriculum. Drama is a creative and holistic form of learning. The interdependence of cognitive and emotional contents helps to further a number of educational purposes. The potential for linking drama with the rest of the curriculum is considerable. Drama helps students to acquire a wide range of skills which are important both in private and in professional life.

Drama is important for the aesthetic education of children and young people. Guided and unguided improvisation, role play, drama Working with a variety of texts rhymes and songs, fairy tales, short stories, one-act plays, sketches, cartoons etc.

Dramatisation techniques Specific elements and techniques of drama work: freeze frame, hot seating, interior monologue, etc. Presentation and discussion of literature Didactic principles The emphasis is on drama in education.

Drama in foreign language teaching aims at the process and not the result. It is mainly about the achievement of learning aims without a focus on the aesthetic element. A small part of the course will deal with performance-oriented drama work, e. Active involvement and gaining of personal experience will be required of participants. Participation The course is open to teachers of all types of schools. Priority will be given to participants who have a basic training in drama.

Egger, K. Eigenbauer, E. Her educational theatre productions mostly for Graffiti but also for Replay and Very Special Arts have been seen not only in Ireland but also in the U. As an Educational Drama leader she has worked with teachers and youth leaders in Sweden, Malta, the U.

She has worked in schools at both primary and secondary levels, and has delivered workshops over twelve years, both nationally and internationally. Most of her publications are for teachers and provide accessible ways to help them deliver teaching goals through drama. He taught in secondary school, FE and as an advisory drama teacher for 14 years before moving in to higher education where he now teaches on undergraduate and post-graduate courses. He is also a National Teaching Fellow and through this work continues to practise drama education in a wide range of contexts including school, prison, business and the community both in the UK and abroad.

Prior to this she taught French and German in comprehensive schools in North Wales for 18 years, working with young people aged between who demonstrated varying degrees of interest in learning to speak foreign languages. She has always enjoyed the challenge of finding new ways to persuade the more reluctant learner that learning a language is worthwhile and fun.

He has extensive experience of working in drama with pupils of all ages and has been providing INSET to Drama and English teachers throughout the country and abroad for many years. He has written numerous articles and chapters covering a wide spectrum of issues in drama and his books are standard texts in a great many schools. Teacher, teacher trainer, communications trainer and conference speaker in Austria as well as throughout the world.

Born in the U. Loves her job! Martin, Kehlbergstr. November , Uhr Ende: Sonntag, Einsatz verschiedener fremdsprachlicher Textsorten fairy tales, short stories, one-act plays, sketches, cartoons etc. Comment: very effective warm-up game to create readiness for games also in the classroom Good Morning - group building The group walks around the room. The person who says yes or no must hand over one of his beans to his partner.

Comment: good introductory game for eager groups. There is also a considerable amount of language involved. Changing Teams The group members walk around the room freely. When the music stops or the game leader whistles, they get very quick instructions, e. Move about the room, making sure the shield is between you and the bomb. Comment: This game is good fun and involves a lot of movement Map of Your Home country The participants place themselves according to the geographical situation of their places of birth.

By talking to their neighbours a map should be established fairly quickly. Distinctive Marks in a Circle All participants form a big outer circle.

Each is free to choose whether or not they want to reveal a characteristic feature by joining the inner circle. Then the group moves about the room. Each participant introduces himself to another person, handing over his object and receiving one in return.

Then he carries on walking and says his name, then hands over the object, and name its owner. Carry on doing this for a while.

Finally the group forms a circle and the objects should be handed over to the people to whom they belong. Language input: vocabulary. Name Game from Jonathan Neelands Group stands in a circle. Each group member holds a different object in their hands. My name is Charlie and this is my watch while this other group member does the same I am Claudia and this is my earring.

They both go to other group members, introducing themselves and handing over the object they were given adding who they were given it by Hi. The group members then start walking around the room passing on and exchanging objects. After a while form a circle again upon a sign from the teacher and try to return the object you are holding in your hand at that particular moment to its owner.

Say your name, the name of the person you are returning the object to, name the object and walk up to the respective person. The teacher starts. Gossip Circle name game Sit in circle.

Your neighbour has to react in a special way repeating your name e. Continue round the circle. I think he owns a race horse and does ballet dancing in his free time. Comment: Introduction to the language of the Bard; you can also work off your aggressions. Who are you? One player A sits down on the chair in the centre and says who or what he is e.

I am the sun , two other players C — 18 — Drama in Modern Language Teaching: Module 1 and B sit down on the chairs to the left and to the right.

This must be related to what the first person is e. A decides for one of the two and they leave together, the one that stays moves to the chair in the middle but remains who or what he was e. If there is an even number of players, the game leader has to take part, too.

One person is sent outside. The other players form couples and each couple agrees on one grammatical structure e. Then the group members spread out in the room.

When a couple has been found, these two step aside. Comment: a good game invented by myself. I have tried it out, pupils liked it a lot. This is a B passes this answer on to C. A watch! Every time the questions must go back to the game leader-until the present reaches him again.

Chinese Whispers vocabulary extension Everybody is sitting in a circle. Then in reverse sense everybody has to justify the choice of their words. Comment: whisper distinctly or ask back otherwise there will be listening errors, which does not really matter. Quite successful even in the 7th forms of Oberstufe. Variation: Association of words Same principle but loud justification at the end.

The Adjective Cat Vocabulary extension Sit in a circle. Variation on Fruit Salad warm-up Sit in a circle. One person in the centre says which group members should change seats e. At the same time the rest of the group must move on so that one chair to the right remains empty. At the same time the person in the centre tries to get a seat. You can play this game when you introduce a topic Language input: vocabulary; by moving on, the well known fruit salad gets even more entertaining.

When the game leader counts to three, at three everybody looks up quickly and looks at another person in the circle. When there is eye contact with another person, put your hands on your temples, scream and leave the game. If there is an uneven number of players, Kevin stays alone in the circle If nobody screams- possible with very few participants only-repeat Variation: circle of kisses Same game, but when dropping out of the game blow kisses at each other.

Comment: very effective warm-up game to get into contact with each other; children and young people like it a lot. Easter Bunny - Hunter - Vegetarian - God cf. In the next bar the person who had to react or associate repeats his term and you carry on like before; if somebody just stutters, even that has to be repeated and reacted to.

When mistakes are made, start again. Variation You can speed up the game and make people drop out if they hesitate or stutter; keep stamping this rhythm of four. Second net: capitals; same procedure as in one, remember both persons.

Third net: characters from fairy tales or historical events , remember both persons. Variations Flowers, colours, characters from plays, food - whatever you want. Language input: you can revise anything you want with this game; it can also be used for beginners. There is no limit to topics.

Variations Develop new pictures out of these sculptures flowing sculptures ; place yourself according to a new topic. A little picture story on a topic the purchase of trousers, the concert in several pictures, as a flowing sculpture. You can use this exercise in an improvisation of a longer type. I am a bench. I am a banana skin underneath the bench. I am the Third Man. I am vertigo etc. There are no boundaries to your imagination also concerning titles. First player starts telling a story, just half a sentence or parts of a sentence - the whole group claps twice - the next player continues the sentence.

A coherent text should develop. Yesterday we were - clap - clap - in a big park. A starts with a non-verbal activity e. Comment: An improvisation game, which can be used effectively as a grammar game to practise the present progressive also useful for beginners. Storytelling The activities mentioned below create opportunities to talk, they lead to more oral fluency something I could observe in my 6th and 7th forms where we do a lot of storytelling and drama conventions and they are fun activities for language development.

Most of these activities but not all can be done from Mittelstufe onwards as they require a certain command of English. The simple constraint is that the story shifts from positive to negative as each player takes a turn. A: There was a man dying of thirst in a desert. C or A : Unfortunately he did not have any money on him. Comment: again a very encouraging activity that usually gives students trust in their own ability to generate new ideas. Groups of 4 to 6 create a story based on excuses.

A student explains why he was not able to e. The second student repeats the excuse and gives reasons. Then the third etc. S3: I left it in the bathroom because I was in a hurry. Language input: sentences with because, past tense, fluency, creativity. One group member tells a story. Couples: change roles after some time. A: I went to Paris to see my friend. A: Jean is attractive, has black hair, drives a Peugeot and lives on the south bank of the Seine. B: Advance.

A: I was quite excited before the trip. Comment: a very useful exercise which helps the learner to improve written and oral expression and capacity for storytelling; can also be used in real life with people who are not concise storytellers.

I heard about it. You were seen dancing wildly with Mrs. Gehrer at a rave. A starts telling a story, gets stuck. B helps out, finishes the sentences. A carries on etc. A: Yesterday I …. B: went into the supermarket … A: Yes, and there I wanted to …. Comment: listening and speaking. Somebody starts telling a simple story. Nothing is obvious. A: Yesterday I was in church.

B: A church? A: Yes, the building where God is worshipped. B: God? Comment: a very good game for fluency and vocabulary development in higher forms. A and B sit facing each other. Player A begins a story teacher can give a title. B must try to say the words A uses at the same time as the speaker.

The idea is to work together not to outwit each other, so slow speech works well to — 21 — Drama in Modern Language Teaching: Module 1 start with.

Guided Tour through the Room Storytelling Either played in pairs or groups of 3 to 6. Make your tour as spectacular and interesting as possible e. This cupboard once belonged to Queen Victoria and watch out for details and build stories around them e. Change tour guides. Comment: Has been tried out several times, also with higher forms; can be fun; vocabulary development; opportunities to talk. Storytelling in Circle Group stands in circle.

Each group member ought to remember their number if there is an uneven number of group members, the workshop leader has to take part as well. The teacher makes the uneven numbers turn left and the even numbers turn right so that two people face each other. They give a new title. The French kangaroo that walked.

This person may then in return point at someone else in the group etc. You keep changing partners after each round. At some time in the middle the workshop leader tells the even numbers to move anti-clockwise. Each member can decide when to say a number. Aim: counting without interruption and getting as far as possible.

Variation: count to This game helps the members to calm down but also to coordinate the group. Variation: a sentence. Language input: numbers or the alphabet count to 26 or certain word fields. Ending It is recommended to end every session with something, e. Bellows Ending Tight circle. Each is face to face with an opponent. The opponents have to try and catch each other before reaching the wall.

When you catch somebody or your opponent runs into the wrong direction, you score a point. Comment: a good fun reaction game. The group counts down from 10 to 0, then from 9 to 0, from 8 to 0 etc. Comment: a good game for opting out of a role, when you were deeply involved emotionally. Storytelling around a Picture Postcard Take a picture postcard and tell a story around the picture.

Some suggestions: 1. Describe what you see colours, buildings, people, action 2. Describe what this place used to be like in the old days before the age of photographs 3. Tell a story about the most famous person who lived in this place.

Tell a story about how this place got its name. Tell a story about the most tragic event that happened in this place. When did it happen? Who was involved? Shortly after taking this photograph, something very unusual happened to the photographerindeed strange things happen to anyone photographing this scene.

Tell us a story about what happened. This particular picture-postcard is much sought after by collectors throughout the world. Why are they so anxious to obtain it? Tell a story about it. There is a unique celebration held there on the 4th of January each year. People come from miles around to share in these unusual celebrations. Describe the celebrations, how you came to know about them, explain why they are held and what happened when you took part in them.

Something very unusual was invented in this place shown on the postcard. Tell us who it was, who invented it, and how it came to be invented. The people who live in the place depicted on the postcard speak in a very unusual way. What does this speech sound like? How did it develop? A particular delicacy is prepared and eaten in this place. People come from far afield to taste this concoction. Describe the name of this delicacy, its preparation, taste and texture. A treasure is hidden somewhere in the placeand the postcard itself contains no vital clues to its whereabouts: Tell us the story about the person who first hid the treasure and the possible clues to its locale.

The treasure is guarded by …? Describe only one small part of the picture in this case one large picture could be used, e. This picture makes an immediate impact on you when you first see it. Devise some sentences using your words so carefully that the listeners will receive a similar impact aurally. Hundreds of these postcards, identical to the one you are now holding, are on sale in a shop thousands of miles away from the locale in the picture. Tell us the story! Make up a legend about this place and let this contain a song about the place or the story.

Make up the tune and words. Who is the most respected person living in this place? Tell us a story about this person. The publishers of this postcard were warned not to issue it to the public for sale. Was there any legal action? The outcome? If nor postcards were issued how is it that you, the teller, have one to show your listeners? Who is the most feared person in this place? There is a ghost in this place. Tell us about it. On taking office, every member of the government is issued with one of these cards.

This custom first began 50 years ago. Why did it begin? Why does it still happen? Customs Officers at Ports of Entry to the country have been told to seize any copies of this postcard which may be brought into the country.

Anyone carrying these cards may be arrested and held in custody without trial. Why is this happening? Tell a story about the time you were apprehended. How did you get free? How are you still able to show the card? Tell a story about what happened when you first encountered this mythical beast and how you escaped to tell the tale! If you gaze at this card for a long time, strange things will happen to you. Tell a story about what happened the last time you did this.

In most cases the story develops logically. Comment: there is no limit to ideas. Storytelling Required material: a wallet with all kinds of personal items about 10 , such as international coins, stamps, a photo, a medical report, a visiting card, a map of a town, an advert, … Scenario: A dead body was found floating down the Danube and fished out. A wallet obviously belonging to the dead person has also been found. The teacher appoints two detectives from the class.

One of them has to act as secretary and write down the items they find in the wallet on the blackboard. The audience may ask questions. Present your findings to the class. Variation: Artefacts A couple of artefacts bag, coat, a pair of shoes are found by the beach.

Make up a story or start a whole drama from there. Freeze Frames on a Given Topic Four to six participants create a particular sculpture on a topic together. After this the topic must be guessed. Variation: not a concrete but an abstract term is represented in a concrete or abstract way e.

According to the continuous numbering they stand up and represent an association to a given topic e. As soon as a group member has done that, they say their number.

This is the signal for the next person to place himself. When each had their turn, number one breaks free and places himself anew, then number two follows etc. Three rounds! Three completely different pictures on the same topic will develop.

We played it in two groups, one group was watching. Comment: I sometimes use this as a kind of warmup for a topic - often very exciting to watch always to be done in two groups, one group watching shows different, spontaneous approaches to a topic.

Note: The reflection of the audience is important. Then in 30 to 60 seconds between as many shoulder blades as possible. Comment: a very good physical warm-up; can be fun. Trainer names a character adjective e. After a few seconds the group members strike a pose expressing this emotion.

Comment: holistic character adjective revision Lesson plan: 1. How do situations like this develop between parents and their teenaged children? In other words, is she like many other people of her age? In other words is that what mothers say, what fathers say, in situations like this?

Home-exercise options: What might Larissa write into her diary after this incident? Write her diary entry. What will her parents say to each other after Larissa leaves the room? Write a dialogue between mother and father. Imagine this was the opening scene in a play about Larissa and rewrite the extract as the scene might look in the play script.

Use stage directions and some ideas of the setting. What does Larissa mean by this? In what ways can parents not know their own children? Also, consider what each group has added to the character of Larissa- how has her character been developed through the freeze frames and the discussion of them. Each group prepares a short scene which shows Larissa under different kinds of pressure.

In each scene your objective is to show the strategy that might be used to make Larissa give in to the pressure. Teacher-in-role as Larissa goes from group to group. What strategy might the friends use to try and make Larissa give up the play and spend more time with them. What strategy might the maths teacher use to try and make sure that Larissa does her detention whatever the consequences might be for Larissa in the play.

Group 4: One of the older students wants the main part in the play for herself. She knows that Larissa will also audition for it. What strategy might the older student and her friends use to try and make Larissa go for a smaller part in the play?

Each group now takes responsibility for thinking about what tactics Larissa might use in each of — 25 — Drama in Modern Language Teaching: Module 1 the situations in order to tackle the pressure and strategy used on her. We played it, however, without anyone being able to interfere.

The scenes do not need to have endings. Just try to show what might work and then discuss the different scenes, strategies and tactics used by Larissa as a class. Either: Each group now makes a tableau but this time with a difference. The objective is to try and show physically and visually all of the different pressures Larissa is under at this moment in one image.

Or: Imagine that Larissa has a nightmare in which all the characters appear to torment her with their voices and physical appearance.

Act out this nightmare. Remember that in nightmares people can appear to be more exaggerated than in real life. Illa rch and es de SOll- copun. P our trois fiacrc s all des. La Foi,. On va voir lous les 1I10nSlres, to lit es les belles Ci rcass ien nes, on cons ulte tout es les sO lllllalllbu lcs, on visite t outes les baraqne5, o n fait la. J e fai s moi au ssi, c haqu e allllee, montour d e F oi re au Pain d'e- pice, Illais no n poim en badaud qui " a oil.

Phil ip p e, direC leu r dl! Phi lipp e cst un a ncien ma rin; il a garde d e SOil fU ssage sur. Les Ballqllistes. Ies navires de guerre Ia coupe militaire de Ia barbe et Ie beret qu'il portait quand il a ete saluer Ie pole nord dans les alentours de Ia mer de Behring. C'est un homme bien intelligent et comme il n'en pousse que sur Ie pave de Paris, ce marin faubollrien, armurier de son etat, dont Ies hasards de l'existence et Ie gout de l'aventure ont fait en dernier avatar un forain journaliste.

Pour proceder avec ordre, cette excursion est toujours precedee d'une courte conference, entre deux bocks,. Ies coudes sur Ia table, dans laquelle on me rappelle qu'il faut sur toute chose distinguer.

Le forain, c'est Ie marchand, Ie teneur de jeux. Forain, Ie petris- seur de guimauves qui, au milieu d'un cercle de marmots ebaubis, enroule Ies anneaux serpentins de sa pate a unebarre mobile, chargee de sonnettes; forain, Ie marchand de beignets; forain, Ie riche commissionnaire des fabriques de Reims et de Dijon qui colporte a travers Ie monde Ies bonnes marques de pain d'epice. Forain l Ie celebre M.

Forain, l'habile M. Chable, I'homnie qui a fabrique les plus beaux clzevaltx ltygl'elll'ques qu'on ait vus jusqu'a ce jour, des betes en peuplier verni, grosses comme des juments de remonte et qui lui coutent dans Ies deux cents francs la piece. Chable en caressant ses bidets, mais je me rattrape sur la nour- riture. De meme que Ie maitre de poste des chevaux hygieniques, Ie directeur du Palals de Crista I, Ie plus Iuxueux carrousel de chevaux de bois que I'on ait monte au Trone et ailleurs, est un gros bonnet du monde forain.

II n'a pas moins de deux orgues sous sa tente, dont l'un lui a coute cinq mille francs, l'autre douze mille. Son manege entraine une depense de quatre-vingts francs de frais quotidiens; il est vrai qu'un dimanche de beau solei! La Fo;rl'.

II ' aurait un livre tom. II sait, par ex p er ience, que. I'a rb re. Vous voyez ici, aussi bien qu'a Monaco, Ie joueur qui s'acharne, qui se ruine; - las! Ces habiles gens rodent surtout alltour des tirs, des jeux de force ou d'adresse. C'est eux qui murmurent dans votre dos :. II allait casser. Le monsieur est fiatte, Ie monsieur sort sa piece blanche de son gousset, et, d'un air innocent, Ie patron du tir lui veriie ses douze capsules. Le tir, la mailloche, les poids, tous exercices masculins.

Les dames vont plus volontiers vers les chevaux de bois et les mon- tagnes russes. Vous savez combien ce dernier' divertissement a Me perfectionne pour la satisfaction des personnes qui, avec Hippocrate, croient a l'utilite des indigestions de printemps. Cela purge des hnmeurs peccantes. Les personnes qui n'ont pas fait Ie tour du monde peuvent se procurer dans ces wagon nets les spasmes du mal de mer et toutes les varietes de vertige.

A ce double point de vue, l'ancien systeme de montagnes russes donnait deja pleine satisfaction a nombre d'honnetes gens. La Fain',. Les inv e nt eurs de ces llIa c hine s nouvelles ne se so nt donc.

Les Bal1quistes. Ccs gc ns-]a SOnt dans un songe. Enivrcs par Ie vertigc eirculaire qui, dans i'incl inai;oll des corps ,. Un peu d'atten tion vous epar- gnera l:i failli te qui guctte vos maneges de vclocipedes et de blltes carnassieres. Jc sni s sth q ue vails vonlez manger des pommes de fr it es!

La F oire. Aussi les pit res o UVTaien t la bouche d'ull dcmi. Dans cette clallleur, l a fou l e, a vec des r CIll Otl s de Relive, 1Il0ntait l'avenu e de Vincennes vers It:s deux eolonnes drcssccs sur nn fonel cI'incendie. Ie di sqllc du sole il b rilla it com me snr repo-. Et , au mOlllent al L tout d'un coup il disparaissilit derriere Ia. C'est un e capitalc c rre ur de Cl o ire q ne tontes les aires se r es-.

Entre elles deux,. Puis cc 80llt des bou t iques de cbapelets, de benil ie rs, de cruc ifi x qui rappe ll en t I'origine p ic lise de la rai re. Mais ce. V OIl S les aper cevez a Alger en dc! Ie n av ire. Japo n l es. Ill e r. Ve rsailles d'une lieue, Ie prytanec de. T o ns les ans aussi,. On se delll ande avec inquiet ude d'ou vicn ncil t ces naltes. Les B a l1qlti s te s". D "abard, c Ue n'osait pas s' arrHe r, p u is c ll e.

Cinq francs. Elle a hesite lin inslan t. C'est trap bl ond pou r mol. E t el l e eClIrtai l SO il voi le de so n vis:lge.

Ell e a fini par s'en aller sans c m plcttc. La foire de Ve rsailles, c'est une foire provi nciale , une fa ire de g rallds-phes et d e p eti t s -enfants, de Da ll ncs et de so lda ts. Ma is b "raie foire pa r isie nn e , la foire. Cela fait des frileuses soirees de pro menade, les mains dans ies. AlIssi , aprc s u! A la ro ire dn TrOn e! On arr i ve ra!! On s'cn va. Nelli ll y, c'est la roi re de nuit. Elle ouvre en. SOilS les tropi qucs. E lles se ievent alors, el, dans Ie d e mi -jo nr dl!

Le s BOl1qllistes. Et qu a nd il s an t enfin pal'll, les gilets b lancs, en vestons courts, des. Riga, cache da ns les jnrdins du pavilion, accrochc all pass age les prOllleneurs; on s'approche, all se penche pa r. T e l, une T elle,. Chose el. D es h OlUllles poli ti qll cs, li es ge n s de lett re s, des art is tes, des financier;;, de. Palais- Bo urbon , Ie lhetl. On s'assoi t SOliS In veranda, pour voir a rrive r les voimres. D es 1H. La F Qi,. La marche de Ra ko czr, b gavotte Stt!

Cc sont les rouges reffcts des! L" l1uil cst vcnue. C'est par les entreSOTlS que cl'o rdinaire on commence. RlftllblifJlIl', consei ll e r mun ici pal ct secretaire de la r edaction du. In baraqu c OL I Ie spec ta cl e es t permanent, sa n s co mmeu ce m en. En l r esorts,. P ou r l es iogctlcs o il s'abri -. Les B al1qllis l es. Je n'ai pas bcsoin de VOtlS d ire ponrqlloi.

Ce son t des s pect acles a bas. Entre So rl s et fasses. Ill odi fi e IOUS scs. C'es t t OlljOl1TS 1a baraquc e n t oile , les ba nes. C'est pourqlloi J'cntresort du Il:tin est tradition nelle ment line des loges les plus freq ue nt ees. Ch:lCnll sai t qu'il cxi:;tc de ll. L es n o u es son t des enrants dont In croissance,.

C hez ell x, les m e mb rcs. L es S lIlr esQr l s. F rant; o is, d ll cirq u e ranconi, -Ie part enai r e du clow ll Dill y. H ayden, Ie pl! Ces 1I0 lf CS sont d es Cir es p hysi qu c ment di n'o rm es, m ais , po ur tout.

Ie r es te, selll b lab les :lUX aut r es homm cs. A insi, F ran l;ois. Ill e. Fr:1Il 90 is. Ill :S. On Ie. ISO ::? Lcs Ballqllistes. II r a dans les hi sl oi res. SOllvary, qui, au dire des affichcs, :lVait ete da ns sa je un esse fian cl! Debe, Ie! Et si ces affiches- la m e n t'licnt, on t rotl ve rai t ai! Ed o nard.

Garni e r, dans sa Cll r ie ll se etu de s ur les 1I0lfCS au point de vue pathologiqne, cite. I'exemple dll.

Londres, Rohert et Judith ],inner, eurcnt. I t'c Le ge ne-. Les Entresorts. Jamais pres de Roy ny de Prince On ne vid de naine si mince. Quand une puce la mordait Et qu'icelle se defendait, La puce, pour tinir la guerre, La mettait aizement par terre, Et la moindre haleine du vent La faizait tom ber bien souvent.

Entin, elle etait si petite Quoiqu'aucunement favorite , Que, dans un petit balancier De cuivre, d'airain ou d'acier, Etant par plaizir un jour mise, Avec robe, jupe et chemize Et de plus sa coiffure encor, Tout ne pezait qu'un louis d'or. Elle mesure quarante cen- timetres de haut j eUe pese dix livres, elle est presentee par son ".

Et Ie robuste gaillard enleve la petite ponpee comme une once:. Elle est tres fiere de ce petit talent de societe. Quand je lui ai ete. Avec sa petite robe de mousseline et de satin corail, bouffant ainsi tout autour d'elle, la princesse Paulina n'etait. Lcs BOllqllistes. Grande co mllle cel:l, m on! Pauli na,. I VUJ' 1ucll. PI-incesse P aulina, p3rJez-vous I'al- lemand? Sthl' gilt. Embrasserun monsienr! Et de. Le grand frere a fait olli de la tt:le; e t Ia prince sse Paulina s'cs t exec ut ee; c'est pOllrqnoi je puis declarer aujour- d'hui a ceux qui l'ignorent qne, comlllc Jes bcbcs qui viennent cle nailre, Illl e.

La "anile habilc Ic ClCu r. Les Elltr esorts. Clll esurc, COlll lll e les pieds et les mains. I'avaien t ,. On r eign i! On cll fenn a ces. En UIlt! Lill e. Saiba mais sobre a Assinatura do Scribd Best-sellers. Muito mais do que documentos Descubra tudo o que o Scribd tem a oferecer, incluindo livros e audiolivros de grandes editoras. Iniciar teste gratuito Cancele quando quiser. Enviado por towsen.

8 thoughts on “Act III: Les Jongleurs, Les Sauteurs, Les Saltimbanques Avec Les Ours Et Les Singes - Couperin*, Ram”

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