Egista Sri Handayani (171230125) TBI 6D
Advanced English
7. C
Because in that question, there are 2 clause which separated with connector 'when' the first clause are complete sentence but the second clause are not. So the second clause need subject and verb to complete the sentence, and the answer C is correct.
8. D
Because the question use parallelism structure, so the word because need to be replaced to the word to
9. A
Because I guess that question use past perfect tense, so the answer A is correct.
10. B
Because verb 'decide' are always followed by the infinitive. So the answer B it must be replaced to the word 'to support'
11. A
Because in that question, there are 2 clause which separated with connector 'where' the first clause are complete sentence but the second clause are not. So the second clause need subject and verb to complete the sentence, and the answer A is correct.
12. A
Because in that question, there are 2 clause which separated with connector 'because' the first clause are complete sentence but the second clause are not. So the second clause need verb to complete the sentence, and the answer A is correct.
13. C
Because verb 'resented' are always followed by the gerund. So the answer C it must be the correct answer.
14. C
Because the participle phrase can be used to express an idea in the passive voice, one in which the subject was not responsible for the action.
Minggu, 26 April 2020
How to Approach Speaking through Drama
Egista Sri Handayani
171230125
TBI 6 D
Resume How To Approach Speaking through Drama
Why we use teacher in role pupils listen to teachers in role
The most important resource when using drama is the teacher itself. Learning demands intervention from the teacher to structure, direct and influence the learning of the pupils. One of the best ways to do that in drama work is to be inside the drama. Therefore, at the centre of the dramas, there are important teaching technique is used, namely teacher in role (TiR). Many teachers see TiR as a difficult activity, particularly with older children in the primary school. However, it is our experience that when a teacher takes a role he or she becomes interesting to the children, so that there are less con- trol problems because they become engaged. Many times we have watched trainee teachers with a class of children struggling to get attention when giving instructions in traditional teacher mode. Yet, as soon as they move into role, they obtain that attention more effectively.
How we expand the possibilities of story and explore story
The teacher as a storyteller is something all primary school teachers will recognise. Good teachers slip easily into it and use it frequently. In its most observable guise it occurs when teaching the whole class and engaging them with a piece of fiction. The pupils role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The teachers role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imagination. In making judgements about the quality of this method of teaching, he critical questions will be around whether the content of the story interests the class and holds their attention, whether the delivery of the teacher, i.e. voice, intonation and interpretive skills, are good and, where relevant, whether accompanying illustrations have impact and resonance. For many pupils the times spent listening to their teacher as storyteller will remain as significant moments in their education. The connection between the teacher as storyteller and the teacher using drama, lies in the fact that they both use the generation of imagined realities in order to teach.
Operating the two worlds of drama, inside and outside the fiction
In preparing to be this kind of storyteller the teacher must have made particular decisions about this child. Begin by asking the class out of role what they want to ask the child and the order of those questions. Before the drama session, decide what attitude you are going to take when questioned by the class. Of course, all these things are possible from the text of a book; however, the pupils will be defining what is important, which are the most important questions to be asked and how to handle the mood of the storyteller, whose views n the events may be very different from those of the audience whom he addresses. Be clear about his attitude towards being left behind, what has happened and how he feels about it.
Moving in and out of role managing the drama and reflecting on it
We are describing using role as teaching from within because the teacher enters the drama world, but it is very important to step out of the fiction often and not let it run away with itself. When using TiR, the teacher is operating as a manager as well as participant and must spend as much time stopping the drama and moving out of role (OoR) to reflect on what is happening and give the pupils a chance to think through what they know and what they want to do. This OoR working is as important as the role itself. It manages the role and therefore the drama; it manages the risk, establishes where the class is and helps pupils believe in the drama. It provides time and space for the teacher to assess and reassess the learning possibilities.
Building the teacher role with the support of the class
The teacher, working in this way, is an important stimulus for the learning. It is not necessary to use role throughout the piece of work. It can be used judiciously to focus work at strategic points or to challenge particular aspects of the childrens perceptions whilst other techniques and conventions are used to support the work and develop it. In order to make the TiR most effective, we need to look at educational drama from the point of view of the audience, an audience who in this instance are participants at the same time. This will help us shape up the TiR elements particularly according to how the audience is seeing things. Here are two responses to considering the audience position.
What, when and how to give information for maximum influence and effect
The teachers function is to provide challenge and stimulus, to give problems and issues for the class to have to deal with. The drama is developed through a set of activities that build the class role, which is usually a corporate role. We have to help them into the drama, making them comfortable, and then disturb that comfort productively. The fact that, as in any good play, the class discover things as they go along provides the possibility of productive tension.
The key is how children are given information. They can be handed it on a plate or they can be given opportunities to uncover/discover/be surprised by information. In this last case there is much more involvement and ownership, especially if they have to work to get the information from someone who is reluctant to give it (as with Tim the Ostler in The Highwayman), someone who only gives clues as to what is really going on (the central TiR in the Macbeth drama), someone who does not realise the importance of the information (Icarus in the Daedalus and Icarus drama). Hence the skill of the teacher lies in the art of the unexpected. If pupils acquire knowledge and understanding by working for it, stumbling upon it or having it sprung upon them such that their expectations are challenged, their learning experiences will be more dynamic than simply being old.
How we work with the class as collaborators
If the class decide as a group they do not want to learn and they wish to make your attempts to teach them impracticable, they can do it. The power in the classroom lies with the class. Of course, it does not look like this when the class are responding and contracting into the tasks set by the teacher but should some or all decide not to, the cohesion can be broken. In drama this power relationship is made overt. We must start from the point of view that if the class do not want the drama to work then it will not. What we have to counter this with is a methodology that, if set up right and handled judiciously, offers interest and engagement to hold the classs attention. So much so that if a minority of the class start to undermine it, the committed will demand they stop; the disrupters are seen as spoiling the the enjoyment and it is not unusual to see the majority let them know this fact.
After that we choosing the role the low status roles offer more learning possibilities. There are five basic types of role and mostly can be illustrated from the The Dream drama.
1. The authority role
2. The opposer role
3. The intermediate role
4. The needing help role
5. The ordinary person
171230125
TBI 6 D
Resume How To Approach Speaking through Drama
Why we use teacher in role pupils listen to teachers in role
The most important resource when using drama is the teacher itself. Learning demands intervention from the teacher to structure, direct and influence the learning of the pupils. One of the best ways to do that in drama work is to be inside the drama. Therefore, at the centre of the dramas, there are important teaching technique is used, namely teacher in role (TiR). Many teachers see TiR as a difficult activity, particularly with older children in the primary school. However, it is our experience that when a teacher takes a role he or she becomes interesting to the children, so that there are less con- trol problems because they become engaged. Many times we have watched trainee teachers with a class of children struggling to get attention when giving instructions in traditional teacher mode. Yet, as soon as they move into role, they obtain that attention more effectively.
How we expand the possibilities of story and explore story
The teacher as a storyteller is something all primary school teachers will recognise. Good teachers slip easily into it and use it frequently. In its most observable guise it occurs when teaching the whole class and engaging them with a piece of fiction. The pupils role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The teachers role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imagination. In making judgements about the quality of this method of teaching, he critical questions will be around whether the content of the story interests the class and holds their attention, whether the delivery of the teacher, i.e. voice, intonation and interpretive skills, are good and, where relevant, whether accompanying illustrations have impact and resonance. For many pupils the times spent listening to their teacher as storyteller will remain as significant moments in their education. The connection between the teacher as storyteller and the teacher using drama, lies in the fact that they both use the generation of imagined realities in order to teach.
Operating the two worlds of drama, inside and outside the fiction
In preparing to be this kind of storyteller the teacher must have made particular decisions about this child. Begin by asking the class out of role what they want to ask the child and the order of those questions. Before the drama session, decide what attitude you are going to take when questioned by the class. Of course, all these things are possible from the text of a book; however, the pupils will be defining what is important, which are the most important questions to be asked and how to handle the mood of the storyteller, whose views n the events may be very different from those of the audience whom he addresses. Be clear about his attitude towards being left behind, what has happened and how he feels about it.
Moving in and out of role managing the drama and reflecting on it
We are describing using role as teaching from within because the teacher enters the drama world, but it is very important to step out of the fiction often and not let it run away with itself. When using TiR, the teacher is operating as a manager as well as participant and must spend as much time stopping the drama and moving out of role (OoR) to reflect on what is happening and give the pupils a chance to think through what they know and what they want to do. This OoR working is as important as the role itself. It manages the role and therefore the drama; it manages the risk, establishes where the class is and helps pupils believe in the drama. It provides time and space for the teacher to assess and reassess the learning possibilities.
Building the teacher role with the support of the class
The teacher, working in this way, is an important stimulus for the learning. It is not necessary to use role throughout the piece of work. It can be used judiciously to focus work at strategic points or to challenge particular aspects of the childrens perceptions whilst other techniques and conventions are used to support the work and develop it. In order to make the TiR most effective, we need to look at educational drama from the point of view of the audience, an audience who in this instance are participants at the same time. This will help us shape up the TiR elements particularly according to how the audience is seeing things. Here are two responses to considering the audience position.
What, when and how to give information for maximum influence and effect
The teachers function is to provide challenge and stimulus, to give problems and issues for the class to have to deal with. The drama is developed through a set of activities that build the class role, which is usually a corporate role. We have to help them into the drama, making them comfortable, and then disturb that comfort productively. The fact that, as in any good play, the class discover things as they go along provides the possibility of productive tension.
The key is how children are given information. They can be handed it on a plate or they can be given opportunities to uncover/discover/be surprised by information. In this last case there is much more involvement and ownership, especially if they have to work to get the information from someone who is reluctant to give it (as with Tim the Ostler in The Highwayman), someone who only gives clues as to what is really going on (the central TiR in the Macbeth drama), someone who does not realise the importance of the information (Icarus in the Daedalus and Icarus drama). Hence the skill of the teacher lies in the art of the unexpected. If pupils acquire knowledge and understanding by working for it, stumbling upon it or having it sprung upon them such that their expectations are challenged, their learning experiences will be more dynamic than simply being old.
How we work with the class as collaborators
If the class decide as a group they do not want to learn and they wish to make your attempts to teach them impracticable, they can do it. The power in the classroom lies with the class. Of course, it does not look like this when the class are responding and contracting into the tasks set by the teacher but should some or all decide not to, the cohesion can be broken. In drama this power relationship is made overt. We must start from the point of view that if the class do not want the drama to work then it will not. What we have to counter this with is a methodology that, if set up right and handled judiciously, offers interest and engagement to hold the classs attention. So much so that if a minority of the class start to undermine it, the committed will demand they stop; the disrupters are seen as spoiling the the enjoyment and it is not unusual to see the majority let them know this fact.
After that we choosing the role the low status roles offer more learning possibilities. There are five basic types of role and mostly can be illustrated from the The Dream drama.
1. The authority role
2. The opposer role
3. The intermediate role
4. The needing help role
5. The ordinary person
Langganan:
Postingan (Atom)