2002/3 PGCE ENGLISH WITH DRAMA

ENGLISH with Drama

COURSE HANDBOOK 2002/ 2003

A3 As part of all courses, trainees must be taught that, if pupils are to make progress in English, teachers must:
a develop pupils as critical readers and extend the range of what they read, recognising::
i the responsibility of the teacher to intervene in pupils’ reading, including their independent reading, to ensure that:
• pupils are familiar with a range of information texts, their purposes and forms.

B6 Trainees must be taught how to teach literary and non-literary texts to whole classes and groups.

B9 Trainees must be taught how to teach non-fiction, through
a providing for systematic, structured reading of non-fiction texts using a range of techniques, eg skimming and scanning;
b teaching pupils how to analyse the organisational and linguistic features of different types of text in non-fiction And use these features in their own writing, eg patterns of cohesion in information texts; emotive language reports; perorations in speeches; use of analogy in persuasive writing.


B12 Trainees must be taught how to teach writing.

Writing Frames Maureen Lewis and David Wray Reading University
Extending Literacy David Wray and Maureen Lewis Routledge

NLS/KS3 Non-fiction in English

Newspapers & Non-fiction Writing

Newspapers & Non-fiction Writing:
Job Advertisements

Choose advertisements for the same (or similar) career. Discuss the language used, the style, the details, the layout.

Do the style and presentation of the advertisements differ from one publication to another?

Ask pupils to write an advertisement for a post in a chosen career in the style of a specific publication.

Newspapers & Non-fiction Writing:
Reviews

Provide lots of examples of reviews of different performance art genres: theatre, opera, pop & rock music, dance etc.

Analyse each piece to distinguish between fact and opinion. Discuss the language used to express the reviewer’s own opinions.

How does the language change according to the kind of performance reviewed and according to the expected readership?

Ask pupils to write their own review of something they have experienced: a theatre trip, perhaps, a new album, a television programme.

Consider target audience and the appropriate language.

In addition, ask pupils to write a publicity blurb as if by the producers of the reviewed piece. How will this differ from a review?


Newspapers & Non-fiction Writing:
Pictures & Captions
(‘Anchoring the Image’)

Provide a heap of newspapers from which pupils choose a selection of photographs. In groups, pupils assemble their photos for a display. Each one is given three captions. You may want to set rules for the captions. For example, a positive caption (one which highlights positive elements of the picture), a negative image; an image which questions our stereotypes, and so on. You might want to invite humorous captions, though this can degenerate into something other than what you want!

The point is that the caption fixes a different image of the photo in our minds. Simple images become more complex; puzzling images are explained. The combination of image and text - the staple of the mass media - provides almost endless opportunities for interpretation.


Newspapers & Non-fiction Writing:
Letters to the Editor

Collect examples of Letters to the Editor from a range of newspapers including broadsheets, tabloids and local.

Display and annotate interesting examples, drawing attention to features in the language - such as rhetorical questions and so on - and also to differences in style between one paper and another.

Why are these people writing? How do they support their views? Is their argument clear?

Invite pupils, perhaps in small groups, to discuss their own opinions in response to a group of letters on one theme. Ask them to write a response to one of the letters in the appropriate style.

Finally, consider layout and presentation too.

Newspapers & Non-fiction Writing:
Headlines

Pupils collect a heap of headlines. They classify them into appropriate categories. Some, for example will use homonymic or homophonic puns; others will play on inter-textual references to other works; some will use rhyme or alliteration for effect. Others are serious and informative.

Individual groups could present a display of one or other category with annotation and comment.

After this, pupils could provide one another with newspaper stories with the headlines removed. Partners provide headlines which suit the material of the story.

Compare the paper’s own headlines.


Newspapers & Non-fiction Writing:
Précis

Pupils in pairs read an article carefully and shorten it, drawing attention to its main arguments.

Pupils in conversation should be able to explain and clarify the content of the article and the issues raised.

An opportunity to link reading skills with speaking & listening skills.

Newspapers & Non-fiction Writing:
The Dossier

Pupils will do this work best if they have chosen their own stories; they will naturally choose stories which interest them. They will need some guidance about which stories will be most effective.

What we are aiming for is an expansion of the story into a collection of (imagined) source materials, a dossier of sources.

For example, in one piece, Hypnotist’s subject hears voices of Jesus and Moses, we could proved letters to the hypnotist lodging the complaint and the agent’s or solicitor’s reply; a report from a doctor or psychiatrist; other articles, from, for example, a local paper; articles biased in favour of the hypnotist or in favour of the ‘victim’.

If group work on chosen stories, this could be developed into drama: the role-play of the original show, a ‘Vanessa’ style investigation with contributions from the floor (ie the rest of the class!)


Newspapers & Non-fiction Writing:
Spoofs

Some news items are chosen by the editors because they are so bizarre they appear fantastic.

Practise writing a serious news item about an unbelievable invention. The aim is to have such control of tone that the content - however absurd - is accepted as possible.

Ideal to be made up in the end using DTP software into a ‘genuine fake’.

Session Eleven.
14th November 2002: 14.15 till 17.15
Philip Rush. College, Francis Close Hall.
Teaching poetry: lessons from poems.

B7 Trainees must be taught how to teach poetry.
B12 Trainees must be taught how to teach writing.
B24 Opportunities to practise.
Trainees must be given opportunities to practise, in taught sessions and in the classroom, those methods and skills described above.

BIBLIOGRAPHY

http://www.poetryclass.net/

To rhyme or not to rhyme? Sandy Brownjohn Hodder & Stoughton
Jumpstart Cliff Yates (The Poetry Society)
English as a creative art Linden Peach & Angela Burton David Fulton
What is English teaching? Chris Davies Open University
Teaching poetry in the secondary school An HMI View HMSO
Key Poets ed Jenny Green (Penguin)
Cambridge Poetry Workshop Lynn and Jeffrey Wood (Cambridge)
Teaching through Poetry George Marsh (Hodder & Stoughton)

Poetry Anthology

A3 Progression.
B5 Trainees must be taught how to encourage individuals to read, through:
a encouraging pupils’ regular, individual, private reading;
b providing a range of resources which are likely to appeal to and develop pupil's different interests, eg through the use of libraries and School Library Services; through the use of book boxes;
c choosing texts which will motivate all pupils to read and extend their reading interests, eg texts which are likely to appeal to boys;
d stimulating individuals to read and supporting pupils’ reading, eg teachers’ recommendations; book weeks; visiting authors; setting aside specific times to discuss pupils’ reading and set targets.

BIBLIOGRAPHY

Poetry and paintings
Poetry and paintings: http://www.yale.edu/ynhti/pubs/A4/marshall.html
Double Vision ed Benton and Benton
Poetry and Paintings ed Benton and Benton

Tate Galleries: http://www.tate.org.uk/home/default.htm
Picasso: http://www.tamu.edu/mocl/picasso/tour/tl64.html
Goya: http://goya.unizar.es/InfoGoya/Obra/DesastresIcn.html

Billy Collins: http://www.bedfordstmartins.com/litlinks/poetry/collins.htm
Ruth Padel: http://www.rpadel.dircon.co.uk/

Oulipo: http://www2.ec-lille.fr/~book/oulipo/

In 1991, poet Paul Durcan was curator of a show at the National Gallery in Dublin and wrote a collection of poems based on the paintings in that show - Crazy About Women. Give me Your Hand follows a similar idea and is a collection of 50 poems inspired by paintings in the London National Gallery.

A2 In order to understand the high expectations that teachers should have of their pupils, to aid planning and to ensure that trainees know how pupils are progressing in English, trainees must be taught the ways in which pupils develop and progress in reading, writing, speaking and listening from age 11-16.
a As part of all courses, trainees must be taught the importance of ensuring that pupils progress in English:
i from reading and responding to straightforward and familiar texts to an appreciation of varied and challenging texts;
ii from inference and deduction of simple meanings to grasping other layers of meaning and an appreciation of writers’ techniques in realising them:
iii from use of specific evidence from texts to support views to marshalling reasons and evidence for a sustained critical analysis:
iv from finding and using accessible information to researching, extracting and synthesising information independently:
v from writing in simple, familiar formats for different purposes to independent composition of texts tailored to their audience and purpose;
vi from accurate and consistent use of the conventions of grammar, spelling and punctuation in straightforward contexts to accurate use of them in more complex texts:
vii from being able to speak to different audiences with some adaptation to sustained adaptation of speech to the needs and interests of different audiences, including more formal speech when appropriate;
viii from identifying the key points of what is heard and how these are presented to a discriminating appreciation of what has been heard, attending to the main messages and their impact, and the detail and techniques used;
ix from contributing and responding in discussion, taking on a number of roles, to making a substantial contribution to the effectiveness of group discussion, including through taking a leading role;
x from exploring a range of dramatic forms and conventions to represent ideas and issues to adapting and using these to generate their own dramatic representations of character and action.
b Trainees on 11-18 courses must be taught how pupils’ progression in English post-16 builds upon the progression identified above.


A3 As part of all courses, trainees must be taught that, if pupils are to make progress in English, teachers must:
a develop pupils as critical readers and extend the range of what they read.

B4 Trainees must be taught how to place medium and short term planning in the context of longer term planning.

Examples of schemes of work:
'Write now' (Year 7)
Great lives (Year 7)
Travel writing (Year 9)
Pygmalion

Year 7 at St Peter's
Year 8 at St Peter's

Blank scheme of work form (Word)

B11 Trainees must be taught how to assess pupils’ reading.

B16 Trainees must be taught how to assess pupils’ writing, including how to:
a mark pupils’ work to respond to content as well as accuracy, highlighting both strengths and weaknesses, and intervening to extend pupils’ writing confidence;
b encourage independence and the ability to be self-critical, including self-correction among pupils;
c weigh the different facets of pupils’ writing when coming to a judgement about its overall quality in relation to its purpose, eg weighing narrative coherence against spelling and presentation.

B23 In order to understand how to evaluate and assess their teaching and their pupils’ learning in English, trainees must be taught:
a how to monitor and assess pupils’ progress and attainment in English, including how to:
i make effective use, in their teaching and in planning future lessons and sequences of lessons, of assessment information on the attainment and progress of pupils;
iv make summative assessments of individual pupils’ progress and achievement in English, through the use of National Curriculum tests, teacher assessment and other ways of assessing individual pupils including the appropriate use of standardised reading tests and spelling tests;
vi judge levels of attainment against the expected demands of each relevant level description for KS3 and KS4 in English.

PROGRAMME
Formative and summative assessments.
Ensuring that planning is informed by assessment.
Discussion and assessment of examples of Key Stage 3 written folder work.
The KS3 SAT in its new form:
a look at Year 7 and Year 8 ‘progress’ tests.

BIBLIOGRAPHY

http://www.qca.org.uk/ca/tests/standardsmain.asp

Sessions Seventeen and Eighteen.
16th January 2003: 9.15 till 12.15 and 14.15 till 17.15
Philip Rush. College, Francis Close Hall.
Schemes of Work for KS3:
Modern novel for children: Skellig

A3 As part of all courses, trainees must be taught that, if pupils are to make progress in English, teachers must:
a develop pupils as critical readers and extend the range of what they read.

B6 Trainees must be taught how to teach literary and non-literary texts to whole classes and groups.

PROGRAMME
Devising schemes of work to teach David Almond’s Skellig and Shakespeare’s Macbeth to KS3 classes:
objectives, methods, assessment.

BIBLIOGRAPHY

http://www.teenreads.com/authors/au-almond-david.asp

Schemes of work (1) (2)
http://www.teenreads.com/authors/au-almond-david.asp

St Peter's work
Scheme of work etc

KS3 Updates
KS3 Newsletter

Sessions Nineteen and Twenty.
23rd January 2003: 9.15 till 17.15
Kate Brockbank. Cirencester Deer Park School.
Drama lessons and planning

DRAMA LESSONS & PLANNING
A practical session in the drama space which will include lesson observation. We will plan some activities as a group & trial them with pupils

DEER PARK DRAMA STUDIO 9.15 – 5.15 PM KB

Links to Standards 2.7 Strategies to promote good behaviour & establishment of purposeful learning environment
2.4 Thinking how pupils learn