DRAMA TECHNIQUES ALAN MALEY AND ALAN DUFF PDF

Togrel On the positive side, Lappin offers a service to the literal-minded translators as an intermediary between the original and the verse-rhymed versions some of which are, admittedly, quite literary and distant from the originalit is a question of the literal meaning versus an aesthetic one, and it evolves finally into an individual choice. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. In addition, the section on the use of literary texts, poems, and songs has grown from one page of general recommendations in the first edition to twenty-four pages of detailed suggestions. For example, exercise 1. These involve the whole personality of the learner and provide real reasons for expressing feelings and opinions. This greatly expanded highly successful edition provides: In lieu of an abstract, here is a brief anv of the content: Physical description vi, p.

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Rent from DeepDyve In lieu of an abstract, here is a brief excerpt of the content: Rocky Mountain Review as Baudelaire certainly believed , he would naturally or, supernaturally "slip through" a door without having to open it wide. Again, Lappin remains on the physical level in his rendition.

On the positive side, Lappin offers a service to the literal-minded translators as an intermediary between the original and the verse-rhymed versions some of which are, admittedly, quite literary and distant from the original , it is a question of the literal meaning versus an aesthetic one, and it evolves finally into an individual choice.

New York: Cambridge University Press, This second edition of a very popular book of activities for the foreign language classroom has been greatly expanded to include four new categories of exercises: Introductory exercises to prepare students for dramatic interaction , Creation and Invention activities, Word-play, and Problem-solving.

In addition, the section on the use of literary texts, poems, and songs has grown from one page of general recommendations in the first edition to twenty-four pages of detailed suggestions. In all, more than one hundred pages have been added to the book. Even for language teachers familiar with the first edition, it may be difficult to see the relationship between many of the activities, especially the Introductory exercises, and "drama," in that they do not necessarily involve plot, conflict, dialogue, or dramatic action.

The preface to the first edition begins with the explanation that "there is a long tradition in Britain and elsewhere in the use of theatre games to train actors in observation, sensitivity and imagination" vii. The emphasis throughout the book is on creativity and working together to produce something or solve a problem. It is assumed that language acquisition is one of the desired outcomes of incorporating emotional and physical involvement in language study — and this assumption is supported, ofcourse, by research, as reviewed by Earl Stevick in his Memory, Meaningand Method In the remarks provided for individual activities, key terms such as "making contact," "developing confidence," "accuracy of observation," and "recreating the world through fantasy" appear repeatedly.

Given the current communicative movement in language teaching, one would expect objectives to be stated in terms of functions or aspects of language development, yet these goals seem to be peripheral. For example, exercise 1. A few of the activities are overtly oriented to language development, such as 1.

The activities described in this handbook are truly intriguing, providing plenty of stimulating ideas for involving students in interaction that should motivate them and hold their attention. While some seem to be based on well known classroom techniques e. Any instructor who stresses language use and proficiency development will find enough ideas to keep students involved throughout the course, by selecting and altering activities to fit well thought out purposes.

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DRAMA TECHNIQUES IN LANGUAGE LEARNING. Alan Maley and Alan Duff

Jugal Any instructor who stresses udff use and proficiency development will find enough ideas to keep students involved throughout the course, by selecting and altering activities to fit well thought out purposes. SearchWorks Catalog Stanford Libraries. While some seem to be based on well known classroom techniques techniquee. Introductory exercises to prepare students for dramatic interactionCreation and Invention activities, Word-play, and Problem-solving. Describe the connection technkques. Cambridge University Press, Physical description vi, p. Drama techniques in language learning: For example, exercise 1.

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