2014-2015学年高中英语 Unit 4 Period 3 A sample lesson plan for Using Language教学设计 新人教版选修8

Period 3 A sample lesson plan for Using Language

(MAKING THE BET)

Introduction

Language is learned to be used in and for communication. So in this period we shall have the students read, listen, write and speak in English, making use of the focused words, collocations, structures and topic ideas covered in this unit. The following steps are offered to the teacher for reference: warming up by learning more about PYGMALION，reading and acting，copying the collocations， acting a play，closing down by learning to act. Objectives

To help students read the passage MAKING THE BET

To help students to use the language by reading, listening, speaking and writing Procedures

1. Warming up by learning more about PYGMALION

When George Bernard Shaw wrote Pygmalion more than a half century ago, no one could have predicted his play would eventually be converted into one of the great musicals of our time -- My Fair Lady -- and an Academy Award winning motion picture. Generations of readers and theatergoers have found relevance in Shaw's story of speech therapist Henry Higgins, who successfully transforms Liza Doolittle, a \guttersnipe,\into a darling of high society who momentarily upsets his hard-edged reserve. The extraordinary wit of this master dramatist of the twentieth century cuts away at the artificiality of class distinctions to reveal that human clay can be molded into wondrous shapes. 2. Reading and acting

Read the text MAKING THE BET on page 33 to: cut/ the sentence into thought groups, blacken the predicates, darken the connectives and underline all the useful collocations.

3. Copying the collocations Why do we learn collocations?

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? Your language will be more natural and more easily understood. ? You will have alternative and richer ways of expressing yourself.

? It is easier for our brains to remember and use language in chunks or blocks rather than as single words.

Now read the text and find the collocations.

Collocations from MAKING THE BET sit deep in conversation坐着深切交谈, fancy oneself自负, pronounce twenty-four distinct vowel sounds清晰地发出24个元音, a common kind of girl with dirty nails普通的手指甲脏的姑娘, talk into…对着……讲话, get an interesting accent夹杂很有趣的口音, a bit of luck有运气, make records做记录, return shortly很快回来, come into the rooms shyly羞怯地走进房间 ,be dirty and badly dressed穿着破旧并且脏, curtsy to…向……行屈膝礼, ask any favors求某人帮忙, treat…like dirt把……当下贱人看, get…for two shillings an hour from…从……每小时得到两先令, have the face to do…有脸做……, pass…off as…冒充一位……, pay for…向……付钱, burn one’s horrible clothes烧掉可怕的衣服, have a bath洗澡, weep with…和……哭泣, in need of…需要……, deal with…处理……, begin with…以……为开端, fade out减弱消失, go off stage走下台 4. Acting a play

Pygmalion

(By George Bernard Shaw)

ACT I

Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the portico of St. Paul's Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily. The church clock strikes the first quarter. THE DAUGHTER

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[in the space between the central pillars, close to the one on her left] I'm getting chilled to the bone. What can Freddy be doing all this time? Hes been gone twenty minutes. THE MOTHER

[On her daughter's right] Not so long. But he ought to have got us a cab by this. A BYSTANDER

[on the lady's right] He wont get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares. THE MOTHER

But we must have a cab. We cant stand here until half-past eleven. It's too bad. THE BYSTANDER

Well, it aint my fault, missus. THE DAUGHTER

If Freddy had a bit of gumption, he would have got one at the theatre door. THE MOTHER

What could he have done, poor boy? THE DAUGHTER

Other people got cabs. Why couldnt he?

Freddy rushes in out of the rain from the Southampton Street side, and comes between them closing a dripping umbrella. He is a young man of twenty, in evening dress, very wet around the ankles. THE DAUGHTER

Well, havnt you got a cab? FREDDY

Theres not one to be had for love or money. THE MOTHER

Oh, Freddy, there must be one. You cant have tried. THE DAUGHTER

It's too tiresome. Do you expect us to go and get one ourselves? FREDDY

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I tell you theyre all engaged. The rain was so sudden: nobody was prepared; and everybody had to take a cab. Ive been to Charing Cross one way and nearly to Ludgate Circus the other; and they were all engaged. THE MOTHER

Did you try Trafalgar Square? FREDDY

There wasnt one at Trafalgar Square. THE DAUGHTER Did you try? FREDDY

I tried as far as Charing Cross Station. Did you expect me to walk to Hammersmith? THE DAUGHTER

You havnt tried at all. THE MOTHER

You really are very helpless, Freddy. Go again; and dont come back until you have found a cab. FREDDY

I shall simply get soaked for nothing. THE DAUGHTER

And what about us? Are we to stay here all night in this draught, with next to nothing on. You selfish pig-- FREDDY

Oh, very well: I'll go, I'll go. [He opens his umbrella and dashes off Strandwards, but comes into collision with a flower girl, who is hurrying in for shelter, knocking her basket out of her hands. A blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident]. THE FLOWER GIRL

Nah then, Freddy: look wh' y' gowin, deah. FREDDY

Sorry [he rushes off].

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THE FLOWER GIRL

[picking up her scattered flowers and replacing them in the basket] Theres menners f' yer! Te-oo banches o voylets trod into the mad. [She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist]. THE MOTHER

How do you know that my son's name is Freddy, pray? THE FLOWER GIRL

Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy athaht pyin. Will ye-oo py me f'them? [Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.] THE DAUGHTER

Do nothing of the sort, mother. The idea! THE MOTHER

Please allow me, Clara. Have you any pennies? THE DAUGHTER

No. I've nothing smaller than sixpence. THE FLOWER GIRL

[hopefully] I can give you change for a tanner, kind lady. THE MOTHER

[to Clara] Give it to me. [Clara parts reluctantly]. Now [to the girl] This is for

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your flowers. THE FLOWER GIRL Thank you kindly, lady. THE DAUGHTER

Make her give you the change. These things are only a penny a bunch. THE MOTHER

Do hold your tongue, Clara. [To the girl]. You can keep the change. THE FLOWER GIRL Oh, thank you, lady. THE MOTHER

Now tell me how you know that young gentleman's name. THE FLOWER GIRL I didnt. THE MOTHER

I heard you call him by it. Dont try to deceive me. THE FLOWER GIRL

[protesting] Whos trying to deceive you? I called him Freddy or Charlie same as you might yourself if you was talking to a stranger and wished to be pleasant. [She sits down beside her basket]. THE DAUGHTER

Sixpence thrown away! Really, mamma, you might have spared Freddy that. [She retreats in disgust behind the pillar].

An elderly gentleman of the amiable military type rushes into shelter, and closes a dripping umbrella. He is in the same plight as Freddy, very wet about the ankles. He is in evening dress, with a light overcoat. He takes the place left vacant by the daughter's retirement. THE GENTLEMAN Phew! THE MOTHER

[to the gentleman] Oh, sir, is there any sign of its stopping?

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THE GENTLEMAN

I'm afraid not. It started worse than ever about two minutes ago. [He goes to the plinth beside the flower girl; puts up his foot on it; and stoops to turn down his trouser ends]. THE MOTHER

Oh, dear! [She retires sadly and joins her daughter]. THE FLOWER GIRL

[taking advantage of the military gentleman's proximity to establish friendly relations with him]. If it's worse it's a sign it's nearly over. So cheer up, Captain; and buy a flower off a poor girl. THE GENTLEMAN

I'm sorry, I havnt any change. THE FLOWER GIRL

I can give you change, Captain. THE GENTLEMEN

For a sovereign? Ive nothing less. THE FLOWER GIRL

Garn! Oh do buy a flower off me, Captain. I can change half-a-crown. Take this for tuppence. THE GENTLEMAN

Now dont be troublesome: theres a good girl. [Trying his pockets] I really havnt any change--Stop: heres three hapence, if thats any use to you [he retreats to the other pillar]. THE FLOWER GIRL

[disappointed, but thinking three halfpence better than nothing] Thank you, sir. THE BYSTANDER

[to the girl] You be careful: give him a flower for it. Theres a bloke here behind taking down every blessed word youre saying. [All turn to the man who is taking notes]. THE FLOWER GIRL

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[springing up terrified] I aint done nothing wrong by speaking to the gentleman. Ive a right to sell flowers if I keep off the kerb. [Hysterically] I'm a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. [General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Dont start hollerin. Whos hurting you? Nobody's going to touch you. Whats the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and answer: Whats the row? What she do? Where is he? A tec taking her down. What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them to the gentleman, crying wildly] Oh, sir, dont let him charge me. You dunno what it means to me. Theyll take away my character and drive me on the streets for speaking to gentlemen. They-- THE NOTE TAKER

[coming forward on her right, the rest crowding after him] There, there, there, there! whos hurting you, you silly girl? What do you take me for? THE BYSTANDER

It's all right: hes a gentleman: look at his boots. [Explaining to the note taker] She thought you was a copper's nark, sir. THE NOTE TAKER

[with quick interest] Whats a copper's nark? THE BYSTANDER

[inapt at definition] It's a--well, it's a copper's nark, as you might say. What else would you call it? A sort of informer. THE FLOWER GIRL

[still hysterical] I take my Bible oath I never said a word-- THE NOTE TAKER

[overbearing but good-humored] Oh, shut up, shut up. Do I look like a policeman? THE FLOWER GIRL

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[far from reassured] Then what did you take down my words for? How do I know whether you took me down right? You just shew me what youve wrote about me. [The note taker opens his book and holds it steadily under her nose, though the pressure of the mob trying to read it over his shoulders would upset a weaker man]. Whats that? That aint proper writing. I cant read that. THE NOTE TAKER

I can. [Reads, reproducing her pronunciation exactly] \flahr orf a pore gel.\THE FLOWER GIRL

[much distressed] It's because I called him Captain. I meant no harm. [To the gentleman] Oh, sir, dont let him lay a charge agen me for a word like that. You-- THE GENTLEMAN

Charge! I make no charge. [To the note taker] Really, sir, if you are a detective, you need not begin protecting me against molestation by young women until I ask you. Anybody could see that the girl meant no harm. THE BYSTANDERS GENERALLY

[demonstrating against police espionage] Course they could. What business is it of yours? You mind your own affairs. He wants promotion, he does. Taking down people's words! Girl never said a word to him. What harm if she did? Nice thing a girl cant shelter from the rain without being insulted, etc., etc., etc. [She is conducted by the more sympathetic demonstrators back to her plinth, where she resumes her seat and struggles with her emotion.] THE BYSTANDER

He aint a tec. Hes a blooming busybody: thats what he is. I tell you, look at his boots. THE NOTE TAKER

[turning on him genially] And how are all your people down at Selsey? THE BYSTANDER

[suspiciously] Who told you my people come from Selsey? THE NOTE TAKER

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Never you mind. They did. [To the girl] How do you come to be up so far east? You were born in Lisson Grove. THE FLOWER GIRL

[appalled] Oh, what harm is there in my leaving Lisson Grove? It wasnt fit for a pig to live in; and I had to pay four-and-six a week. [In tears] Oh, boo--hoo--oo-- THE NOTE TAKER

Live where you like; but stop that noise. THE GENTLEMAN

[to the girl] Come, come! he cant touch you: you have a right to live where you please. A SARCASTIC BYSTANDER

[thrusting himself between the note taker and the gentleman] Park Lane, for instance. Id like to go into the Housing Question with you, I would. THE FLOWER GIRL

[subsiding into a brooding melancholy over her basket, and talking very low-spiritedly to herself] I'm a good girl, I am. THE SARCASTIC BYSTANDER

[not attending to her] Do you know where I come from? THE NOTE TAKER [promptly] Hoxton.

Titterings. Popular interest in the note taker's performance increases. THE SARCASTIC ONE

[amazed] Well, who said I didnt? Bly me! You know everything, you do. THE FLOWER GIRL

[still nursing her sense of injury] Aint no call to meddle with me, he aint. THE BYSTANDER

[to her] Of course he aint. Dont you stand it from him. [To the note taker] See here: what call have you to know about people what never offered to meddle with you? Wheres your warrant? SEVERAL BYSTANDERS

[encouraged by this seeming point of law] Yes: wheres your warrant?

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