TOEFL exercise and summary how to approach speaking and listening through drama
7. It is not clear when…………although there are many different theories
A. Dinosaurs becoming extinct
B. Dinosaurs extinction
C. Dinosaurs became extinct
D. Did dinosaurs become extinct
Note : the answer is C because with the connection we need a noun clause as object and it is found in answer C.
8. The professor decided to allow (A) the students to take (B) the examination a second (C) time because (D) the low scores.
Note : answer D because it must be "because of " because it is followed by the noun phrase, the score is low.
9.If the driver’s own car………….damaged, the favorite probably would have won the race.
A. Had not been
B. Not
C. No had been
D. Has no be
Note : the right answer is A which is "had not been" this shows past perfect tense.
10.Having (A) withdrawn from the race, the candidate decided supporting (B) his opponent despite (C) the opponent’s representing the other (D) political party.
Note : The answer is B Decide must be followed by the infinitive, “to support”.
11.The soldiers were unable to determine where…….
A. The jeep had been left
B. Had been leave the jeep
C. Had the jeep been left
D. Had the jeep left
Note: the answer is A because it already has 1 subject "the jeep" and verb "had been left".
12. The manager was angry because somebody……..
A. Had allowed the photographers to enter the building
B. Had let the photographers to enter the building
C. Permitting the photographers enter the building
D. The photographers let into the building
Note : the answer is A "had allowed" as verb.
13.. The committee members resented……..of the meeting.
A. The president that he did not tell them
B. The president not inform them
C. The president’s not informing them
D. That the president had failed informing themselves
Note :the answer is C, because this is sentence 2 and there are Subjects and Verbs to complete sentence 1.
14..…………..did Arthur realize that was danger.
A. Upon entering the store
B. When he entered the store
C. After he had entered the store
D. Only after entering the store
The answer is D
Explain : After a limiting word “only” introduces a sentence.
Summary
How to Approach Speaking and Listening through Drama
Role Why use teacher in role?
The most important resource you have as a teacher when using drama is yourself. 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 that we include in this book, is the key teaching technique that is used, namely teacher in role (TiR).
The trainee was using the simplest form of TiR, hot-seating the role, where the class meets the role sitting in front of them and can ask questions. TiR creates a particular context and can raise the level of commitment and the meaning-making. It can feel real even though it is not.
You are not effective as a teacher if you do not at some point engage fully with the drama yourself by using TiR. Remaining as teacher, intervening as teacher, side-coaching, structuring the drama from the outside, and/or sending the class off in groups to create their own drama must at best restrict and at worst negate any opportunity for the teacher to teach effectively. It is far more effective for the teacher to engage with the drama form as artist and be part of the creative act.
It is very useful in a Literacy lesson for the teacher to use roles from the text. The very fact that you take on a key role can provide important ways of defining and exploring the text. How does hot-seating open up the ideas and issues of a story to the children? Let us look more closely at the Hermia role. It can be used with 10- or 11-year-olds as a way of introducing Shakespeare or for other objectives.
Teacher as storyteller
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 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. The relationship between story and drama in education is a complex and dynamic one. It means a known narrative can still be used, the knowledge of the narrative is not a barrier to its usage. However, if the pupils are locked into the original narrative it is problematic. It is the negotiable and dynamic elements of the relationship between drama and narrative that liberate the pupils and the teacher from merely retelling the known story. A class can take part in a drama where all of them know the story, where none of them knows the story, or a mixture of both. As long as some fundamental planning strategies are observed, knowledge of the story is not a barrier to participation. Broadly these pre-requisites are:
An awareness of those elements of the story that will not be changed and agreements about these must be made with the class at the beginning or during the drama, in other words, the non-negotiable elements of the narrative.
A willingness to move away from the fixed narrative to an exploration of the narrative. The use of drama strategies to explore events and their consequences, to look at alternatives and test them. In these periods the class develop hypotheses, test them and reflect upon them.
If narrative consists of roles, fictional contexts, the use of symbols and events then the teacher needs to hold some of those elements true and consistent with the story so far. For example, roles and contexts may already be decided but new events may be introduced, the delivery of a letter, for example. How the class respond to this event is not known and it is at this point that they become the writers of the narrative.
Preparation for the role
In preparing to be this kind of storyteller the teacher must have made particular decisions about this child. Before the drama session, decide what attitude you are going to take when questioned by the class. You are going to be telling them a story but it will be as if they had just met you and it will not be the voice of the narrator re-telling someone elses story but in the present tense as if it is happening now. There is no book symbolizing the re-telling of someone elses words. This is your story re-told in a specific place (coming down the mountain path) at a specific time (within minutes of a significant event) and from the childs point of view, not a dispassionate onlooker or observer of events. 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 on 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.
Teaching from within
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 re-assess the learning possibilities. class is and helps pupils believe in the drama. It provides time and space for the teacher to assess and re-assess the learning possibilities.
Oor is very important as a way of negotiating the intent and meaning of the role and is the way the teacher can best control and manage learning. For the class are both an audience and observers of their own activities. When the drama is stopped they can describe, recap, interpret, think through, consider next moves and understand what is the significance of their work. It is very important to get the participants to look at and interpret what is going on, frequently by stepping out of the drama. In effective drama, children can actually feel the as if world as real at certain points. The teacher must make sure that if the drama does engage in that way, the pupils know it is a fiction at all times, especially by stopping and coming out of role frequently. That is also a protection.
The requirements of working in role
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.
Disturbing the class productively
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 told. An example of this occurs in The Governors Child, a drama based on Brechts Caucasian Chalk Circle. The class are in role as a village community helping a woman with a baby, who, unbeknownst to them, has fled a revolution. The villagers discover later who she really is and then have to deal with the consequences. It is important to withhold information early on, as any good playwright will do. Planning the how and the when of strategies is all-important here.
Responding to your class
The class working as a community is the key to the use of drama as a teaching method. This is another reason that the class have more ownership. This community is made most effective by the teacher participating in role. The art of teaching and learning should be a synthesis from a dialectical approach. If a teacher runs drama without using TiR there tends to be a lack of dialectic because the teacher produces the structure that the children engage with, but the teacher can only manipulate it from outside that structure.
The teachertaught relationship
In all teaching situations there exists a power relationship between the learners and the teacher. The learners are bound together as a group merely by being the learners and, of course, as there are more of them than there are of you, they hold the power. In the classroom, the pupils enter into an agreement with you the teacher that you are in charge. This may be a tacit agreement, it may depend upon many factors but in it the teacher is in charge and there are certain rights and privileges attached to your role. The power relationship is asymmetric. Of course, in drama we have the possibility of shifting the power when we are inside the fiction because we may choose a role that has low status and has little power. This shift in status and power is very engaging for pupils. It can result in a different kind of dialogue from the usual teacher/pupil one and this can be very attractive to pupils. So what are the possibilities in terms of power and choosing a role? There are five basic types of role and mostly can be illustrated from the The Dream drama.
( The authority role) This is a role like the Duke in the The Dream drama, who is presented with Egeuss problem and has to rule on it. This figure is usually in charge of an organisation and has the class in a role subordinate to him/her. The role is fair, applies rules and governs properly, but often does not know the full facts and issues and needs the class to investigate and enlighten him/her. It is very close to being teacher and can be reassuring for a class, but also has the negativity of not changing the teachertaught relationship enough to allow more ownership for the class.
(The opposer role) This is a role that is often in authority but dangerous to and/or creating a problem for another role and, by extension, the class. Egeus is an opposer role who is against Hermia and therefore in opposition to the class role, as they take her side against his dictatorial treatment of her. This is a stimulating position for many pupils as the opposition of parents is something they have all experienced. The opposer role has to be used carefully because the response to it can be difficult to handle if it becomes too strong. We have to know what response to expect and be able to channel it productively.
( The intermediate role) This is often a messenger or go-between, as the servant role used in the The Dream drama. This role is then caught between opposing sides and can appeal to the empathy in the class to help them out of the predicament. In the The Dream it might be a servant to Egeus who is sympathetic to Hermia but does not know what best to do as she cannot just tell her employer what she thinks he should do. So she seeks the help of the class to solve her dilemma.
(The needing help role) This is a role like Hermia, who is in need of help to fight the injustice of her fathers decision. This role, like the servant described above, is the best way to get empathy from a class and most raises the status of the class, putting them in a position of responsibility and thus generating interest and learning possibility because the teacher is the one who does not know what to do for once.
(The ordinary person) This role is in the same position as the role given to the class. We do not have this sort of role in our The Dream drama but the Steward in the Macbeth drama is like this. He faces the same problem and danger as the other servants represented by the class. Even though he is in charge of them, he needs them to sort it out for him and make decisions. Therefore this is a lower status role, the teacher being the one who does not know, a very powerful position of ignorance that teachers cannot ordinarily occupy. It is powerful because it shifts responsibility more to the pupil roles.
A. Dinosaurs becoming extinct
B. Dinosaurs extinction
C. Dinosaurs became extinct
D. Did dinosaurs become extinct
Note : the answer is C because with the connection we need a noun clause as object and it is found in answer C.
8. The professor decided to allow (A) the students to take (B) the examination a second (C) time because (D) the low scores.
Note : answer D because it must be "because of " because it is followed by the noun phrase, the score is low.
9.If the driver’s own car………….damaged, the favorite probably would have won the race.
A. Had not been
B. Not
C. No had been
D. Has no be
Note : the right answer is A which is "had not been" this shows past perfect tense.
10.Having (A) withdrawn from the race, the candidate decided supporting (B) his opponent despite (C) the opponent’s representing the other (D) political party.
Note : The answer is B Decide must be followed by the infinitive, “to support”.
11.The soldiers were unable to determine where…….
A. The jeep had been left
B. Had been leave the jeep
C. Had the jeep been left
D. Had the jeep left
Note: the answer is A because it already has 1 subject "the jeep" and verb "had been left".
12. The manager was angry because somebody……..
A. Had allowed the photographers to enter the building
B. Had let the photographers to enter the building
C. Permitting the photographers enter the building
D. The photographers let into the building
Note : the answer is A "had allowed" as verb.
13.. The committee members resented……..of the meeting.
A. The president that he did not tell them
B. The president not inform them
C. The president’s not informing them
D. That the president had failed informing themselves
Note :the answer is C, because this is sentence 2 and there are Subjects and Verbs to complete sentence 1.
14..…………..did Arthur realize that was danger.
A. Upon entering the store
B. When he entered the store
C. After he had entered the store
D. Only after entering the store
The answer is D
Explain : After a limiting word “only” introduces a sentence.
Summary
How to Approach Speaking and Listening through Drama
Role Why use teacher in role?
The most important resource you have as a teacher when using drama is yourself. 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 that we include in this book, is the key teaching technique that is used, namely teacher in role (TiR).
The trainee was using the simplest form of TiR, hot-seating the role, where the class meets the role sitting in front of them and can ask questions. TiR creates a particular context and can raise the level of commitment and the meaning-making. It can feel real even though it is not.
You are not effective as a teacher if you do not at some point engage fully with the drama yourself by using TiR. Remaining as teacher, intervening as teacher, side-coaching, structuring the drama from the outside, and/or sending the class off in groups to create their own drama must at best restrict and at worst negate any opportunity for the teacher to teach effectively. It is far more effective for the teacher to engage with the drama form as artist and be part of the creative act.
It is very useful in a Literacy lesson for the teacher to use roles from the text. The very fact that you take on a key role can provide important ways of defining and exploring the text. How does hot-seating open up the ideas and issues of a story to the children? Let us look more closely at the Hermia role. It can be used with 10- or 11-year-olds as a way of introducing Shakespeare or for other objectives.
Teacher as storyteller
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 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. The relationship between story and drama in education is a complex and dynamic one. It means a known narrative can still be used, the knowledge of the narrative is not a barrier to its usage. However, if the pupils are locked into the original narrative it is problematic. It is the negotiable and dynamic elements of the relationship between drama and narrative that liberate the pupils and the teacher from merely retelling the known story. A class can take part in a drama where all of them know the story, where none of them knows the story, or a mixture of both. As long as some fundamental planning strategies are observed, knowledge of the story is not a barrier to participation. Broadly these pre-requisites are:
An awareness of those elements of the story that will not be changed and agreements about these must be made with the class at the beginning or during the drama, in other words, the non-negotiable elements of the narrative.
A willingness to move away from the fixed narrative to an exploration of the narrative. The use of drama strategies to explore events and their consequences, to look at alternatives and test them. In these periods the class develop hypotheses, test them and reflect upon them.
If narrative consists of roles, fictional contexts, the use of symbols and events then the teacher needs to hold some of those elements true and consistent with the story so far. For example, roles and contexts may already be decided but new events may be introduced, the delivery of a letter, for example. How the class respond to this event is not known and it is at this point that they become the writers of the narrative.
Preparation for the role
In preparing to be this kind of storyteller the teacher must have made particular decisions about this child. Before the drama session, decide what attitude you are going to take when questioned by the class. You are going to be telling them a story but it will be as if they had just met you and it will not be the voice of the narrator re-telling someone elses story but in the present tense as if it is happening now. There is no book symbolizing the re-telling of someone elses words. This is your story re-told in a specific place (coming down the mountain path) at a specific time (within minutes of a significant event) and from the childs point of view, not a dispassionate onlooker or observer of events. 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 on 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.
Teaching from within
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 re-assess the learning possibilities. class is and helps pupils believe in the drama. It provides time and space for the teacher to assess and re-assess the learning possibilities.
Oor is very important as a way of negotiating the intent and meaning of the role and is the way the teacher can best control and manage learning. For the class are both an audience and observers of their own activities. When the drama is stopped they can describe, recap, interpret, think through, consider next moves and understand what is the significance of their work. It is very important to get the participants to look at and interpret what is going on, frequently by stepping out of the drama. In effective drama, children can actually feel the as if world as real at certain points. The teacher must make sure that if the drama does engage in that way, the pupils know it is a fiction at all times, especially by stopping and coming out of role frequently. That is also a protection.
The requirements of working in role
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.
Disturbing the class productively
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 told. An example of this occurs in The Governors Child, a drama based on Brechts Caucasian Chalk Circle. The class are in role as a village community helping a woman with a baby, who, unbeknownst to them, has fled a revolution. The villagers discover later who she really is and then have to deal with the consequences. It is important to withhold information early on, as any good playwright will do. Planning the how and the when of strategies is all-important here.
Responding to your class
The class working as a community is the key to the use of drama as a teaching method. This is another reason that the class have more ownership. This community is made most effective by the teacher participating in role. The art of teaching and learning should be a synthesis from a dialectical approach. If a teacher runs drama without using TiR there tends to be a lack of dialectic because the teacher produces the structure that the children engage with, but the teacher can only manipulate it from outside that structure.
The teachertaught relationship
In all teaching situations there exists a power relationship between the learners and the teacher. The learners are bound together as a group merely by being the learners and, of course, as there are more of them than there are of you, they hold the power. In the classroom, the pupils enter into an agreement with you the teacher that you are in charge. This may be a tacit agreement, it may depend upon many factors but in it the teacher is in charge and there are certain rights and privileges attached to your role. The power relationship is asymmetric. Of course, in drama we have the possibility of shifting the power when we are inside the fiction because we may choose a role that has low status and has little power. This shift in status and power is very engaging for pupils. It can result in a different kind of dialogue from the usual teacher/pupil one and this can be very attractive to pupils. So what are the possibilities in terms of power and choosing a role? There are five basic types of role and mostly can be illustrated from the The Dream drama.
( The authority role) This is a role like the Duke in the The Dream drama, who is presented with Egeuss problem and has to rule on it. This figure is usually in charge of an organisation and has the class in a role subordinate to him/her. The role is fair, applies rules and governs properly, but often does not know the full facts and issues and needs the class to investigate and enlighten him/her. It is very close to being teacher and can be reassuring for a class, but also has the negativity of not changing the teachertaught relationship enough to allow more ownership for the class.
(The opposer role) This is a role that is often in authority but dangerous to and/or creating a problem for another role and, by extension, the class. Egeus is an opposer role who is against Hermia and therefore in opposition to the class role, as they take her side against his dictatorial treatment of her. This is a stimulating position for many pupils as the opposition of parents is something they have all experienced. The opposer role has to be used carefully because the response to it can be difficult to handle if it becomes too strong. We have to know what response to expect and be able to channel it productively.
( The intermediate role) This is often a messenger or go-between, as the servant role used in the The Dream drama. This role is then caught between opposing sides and can appeal to the empathy in the class to help them out of the predicament. In the The Dream it might be a servant to Egeus who is sympathetic to Hermia but does not know what best to do as she cannot just tell her employer what she thinks he should do. So she seeks the help of the class to solve her dilemma.
(The needing help role) This is a role like Hermia, who is in need of help to fight the injustice of her fathers decision. This role, like the servant described above, is the best way to get empathy from a class and most raises the status of the class, putting them in a position of responsibility and thus generating interest and learning possibility because the teacher is the one who does not know what to do for once.
(The ordinary person) This role is in the same position as the role given to the class. We do not have this sort of role in our The Dream drama but the Steward in the Macbeth drama is like this. He faces the same problem and danger as the other servants represented by the class. Even though he is in charge of them, he needs them to sort it out for him and make decisions. Therefore this is a lower status role, the teacher being the one who does not know, a very powerful position of ignorance that teachers cannot ordinarily occupy. It is powerful because it shifts responsibility more to the pupil roles.
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