DOCUMENt RESUME 95 CS 202 367 - Ed

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DOCUMENt RESUMEED 116 190TITLEINSTITUTION1spors AGENCYPUB DATENOTEEDRS PRICEDESCRIPTORSIDENTIFIERSCS 202 36795Choice: A TheOatic Sequence of English Units.Institute for Services to Education, Inc.,Washington, DoC.National Inst. of Education (DHEW), Washington,D.C.71117p.;-See related docilmeMtsCS 202 365-366SF- C.76 HC-S5.70 Plus Postage*College Freshien; Composition (Literary); CurriculumDesign; *E4qlish Instruction; Higher Education;Instructional Materials; *Interpretive Reading;Literature; *Literature Appreciation; Novels; Poetry;Short Stories; Teaching Guides; *Thematic Approach*ChoiceABSTRACT.One of.a serieslof volumes containing units onspdcific themes designed for usei in college freshman English courses,this particular volume consider the issue of choice throughliterature (short stories, novelp, and poems). A section describing'chamber theatre technique, whichis an integral part of many of theunits in this sequence, is inclu ed. The units in this volume includea discussion of the following: t e question of choice, euthanasia,death and choice, impulse, "the ottery," "The Piece of String,""Siddhartha," "Manchild in the Promised Land," "An Enelky of thePeople," and "Man's Search for Mdaning." ***************************Documents acquired by ERIC include many informal unpublished* materials not available from other sources. ERIC makes every effort ** to obtain the best copy available. Nevertheless, items of marginal ** reproducibility are often encountered and this affects the quality ** of the microfiche and hardcopy reproduciltions ERIC makes available* via the ERIC Document Reproduction Service (EDRS).4EDRS is not* responsible for the quality of the original ocumente Reproductions ** supplied by EDRS are the best that can be made from the ******i***********************

I S DEPAR TMENT OF HEALTHEDUCATiONL WELFARENATIONAL INSTITUTE OFEDUCATION:',r",1-"NOG,04,BEF NII PIt) P" N',DO NC,' NI.1 N'EL.'c c,A 7,4NA,,AN,.t hES.4,,Nr etI,,k,,E itON%C)r-4OLLJCHOICE4A Thematic Sequence of English UnitsThe Thirteen-College Curriculum ProgramDeveloped byInstitute for Services to Educationin conjunction withThe Thirteen Colleges ConsortiumandThe Five Colleges ConsortiumN )Sc)V)2fli

a./TO REPRODUCE THIS COPYOTMISSIONRIGHTED MATERIAL HAS BEEN GRANTED EIYThe Institute forServices to EducationTO ERIC A'.D ORGANIZATIONS OPERATINGUNDER AGREEMENTS WITH THE NATIONAL INSTITUTE OF EDUCATION FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PERMISSION OF THE COPYRIGHT'AAINTFTCopyright(c)1971 by The Institute for ServiCes to Education,2001 S.Street, N.W., Washington, D. C. 20009. No part of ttais mate/rial may bereproduced in any'form whatsoever without the express written cons, nt of theInstitute for Services to Education.10 3

IINSTITUTE FOR SERVICES TO EDUCATIONEnglish Editorthl StaffArthur P. Davis, Ph.D.Lawrence- Langer, Ph.D./Carolyn Fitchett BinsEthel LewisJoan MurrellSloan WilliamsLee SharkeyThadious DavisCheryl Birdsall (Research Assistant)Tiveeda Williams (Research AssistantCharles Hodges (Research Assistant)The following teachers in the.Thirteen- College Curriculum Program conceived anddeveloped the materials in this volume in collaboration with the Institute forServices, to Education.Joseph. BensonNorth Carolina A & T State UniversityAnn CarterClark CollegeTyree MillerTennessee State UniversityDouglas O'ConnorAuthorMissouri TorrenceAlabama A & M UniversityJean KleinNorfolk State College

The Editorial Staff of Institute for Services to Education wishes to express itsappreciation to. the following teachers in the Thirteen-College Consorpum, theFive-College Consortium as well as the Graduate Students from the Thike-UniversitiesFellowship Program for the revisions and additions they made to the original body ofmaterials.Elwyn BreauxLangston UniversityLynda ByrdTexas Southern UniversityLucille CurryBishop\CollegeLucy GrigsbyAtlanta UniversityHelen Houston.TennesseeState UniversityJennie PollardLangston University.Norma RaglandNorfolk State CollegeBetty SimpsonSaint Augustine CollegeCer4e WilliamsSouthern University (Shreveport)0Bertha WinrpwNorfolk State CollegeThree-Universities Fellowship ProgramLucy GrigsbyDirectorRaymond AustinMary BrownDaisy GloverMary KempMaxine LanhamNerve Whitesides4ty

ABOUT THE INS ITUTE FOR SERVICES TO EDUCATIONThe Institute for Services to Education was incorporated as a non-profitorganization in 1965 and received a basic grant from the Carnegie Corporationof New York. The organization is founded on the principle that educationtoday requires a fresh examination of what is worth teaching and how to teachISE undertakes a variety of educational tasks working cooperatively withit.other educational institutions, under grants from government agencies andcfor change.It does not just produceprivate foundations. ISE is a catalysteducational materials or techniques that arp innovative: it develops, incooperation with teachers and administrators, procedures for effective installation of successful materials and techniques in the colleges.ISE is headed by'Dr. Elias Blake, Jr., a former teacher and is staffed bycollege teachers with experience in Working with disadvantaged youth and Blackyouth in educational settings both in predominantly Black and predominantlywhite colleges and schools.ISE's Board of Directors consists of persons in the higher education-systemThe Board members are:with histories of involvement in curriculum change.Vernon AldenHerman BransonKingman Brewster, Jr.Donald BrownArthur P. DavisCarl J. DolceAlexander HeardVivian HendersonMartin JenkinsSamuel NabritArthur SingerOtis SingletaryC. Vann WoodwardStephen WrightJerrold ZachariasChairman of the Board, The Boston Company, Boston, Mass.President, Lincoln UniversityPresident, Yale UniversityThe Center for Research on Learning and Teaching,University of MichiganGraduate Professor in English, Howard UniversityDean, School of Education, North Carolina State UniversityChancellor, Vanderbilt UniversityPresident, Clark CollegeDirector, Urban Affairs, Council on EducationExecutive Director,,Southern Fellowship Fund, Atlanta, Ga.Vice President, Sloan Foundation, New York, New YorkPresident, University of KentuckyProfessor of History, Yale UniversityVice President of CEEBProfessor of Physics, Massachusetts Institute of TechnologyABOUT THE THIRTEEN-COLLEGE CURRICULUM PROGRAMFrom 1967 to the present, ISE has been working cooperatively with theThirteen-College'COnsortium in developing the. Thirteen-Cbilege CurrioulutThe Thirteen-College Curriculdm Program is an educational experiment'Program.that includes developing new curricular materials for the entire freshman yearof college in the areas of English, mathematics, social science; physicalscience, and'biology and two sophomore year courses, humanities and philosophy.The program is designed to redUce the attrition rate of entering freshmenthrough well thought-out, new curricular materials, new teacking styles, andIn addition, the program seeks tonew faculty arrangements for instruction.alter the educational pattern of the institutions involved by changing blocksIn this sense, theof courses rather than by developing single courses.Thirteen-College Curriculum Program is viewed not only as a curriculum program with a consistent set of academic goals for the separate courses, but,i

also as a vehicle to produce new and pertinent educational changes within theAt ISE, the program is directed by Dr. Frederick S.consortium institutions.Humphries, Vice-President. The curricular developments for the specialcourses and evaluation of the program are provided by the following persons:ADMINISTRATIONDr.Dr.Ms.Mr.Elias Blake, Jr., President'Frederick S. Humphries, Vice PresidentBea Smith, Executive AssistantJohn Chism, AccountantMs. Vivian Ernestine Brw, Assistant AccountantParticia M. Parrish, Administrative AssistantDonna Mahaney, Executive Secretary to PresidentAlma Palmore, Executive Secretary to PresidentJoan Cooke, Secretary to Vice PresidentMs.Ms.Ms.Ms.ISE STAFFEnglishMr.Ms.Ms.Mr.Ms.Social ScienceDr. George King, Senior Program AssociateMs. Camille Miller, Research AssociateMs. Charlottie L. Simpson, SecretaryMathematicsMr.Dr.Dr.Ms.Bernis Barnes, Senior Program AssociatePhillip/McNeil, Program AssociateWalter Talbot, ConsultantDebrah Johnson, SecretaryPhysical ScienceDr.Dr.Dr.Ms.Leroy Colquitt, Senior Program AssociateRoosevelt Calbert, Program AssociateRalph Turner, ConsultantLuCinda Johnson, SecretaryBiologyDr.Dr,Dr.Ms.Charles Goolsby, Sen -jor Program AssociateDaniel Obasun, Program AssociatePaul Brown; ConsultanJeanette Faulkner, SeHumanitiesMr.Mr.Mr.Ms.Ms.Clifford Johnson, Senior Program AssociRoger Dickerson, Program AssociateKeopapetse Kgositsile, Program AssociateMarguerite Willett, Research Assistant .Cynthia Paige, SecretaryPhilosophyDr. Conrad Snowden, Senior Program AssociateDr. Henry Olela, Program AssociateMs. Alma J. Ealy, Secretary47"Sloan Williams, Senior Program AssociateCarolyn Fitchett Bins, Program AssociateEthel Lewis, PTogfam AssociateCharles Hodges, Research AssistantBarbara Edwards, Secretary4Fii4

EvaluationDr. Thomas Parmetei, Senior, Research AssvciateDr.,Joseph Turner, Senior Research AssociateMr. John Faxio, Research AssistantMs; Judith Rogers, SecretaryCotinselingMr. Gerald Durley, Program AssociateThe number-of colleges participating in the program has grown froebthcoriginal thirteen of 1967 to nineteen in 1970. The original thirteen coliegtmare:Huntsville, AlabamaGreensboro,North CarolineDallas, TexasAtlanta, GeorgiaTallahassee, FloridaJackson, MississippiLincoln, PennsylvaniaNorfolk,Virgi,niaGreensboro, North CarolinaAlabama A & M UniversityBennett College'Bishop CollegeClark CollegeFlorida A & M UniversityJac4on State CollegeLincoln UniversityNorfolk State CollegeNorth Carolina A & T CollegeSouthern UniversityTalladega CollegeTennessee State UniversityVoorhees CollegeBatson Rouge, LouisianafecTalladega, AlabamaNashville, TennesseeDenmark, South CarolinaA fourteenth college joined this consortium in 1968, although it is stillcalled the Thirteen-College Consortium. The fourteenth member is:West Point, MississippiMay Holmes Junior-e?llegeIn 1970, the Five-College Consortium joined the effort although linkingup as a separate consortium. The members of the consortium are:Elizabeth City, North CarolinaFayetteville, North CarolinaLangston, OklahomaRaleigh, North CarolinaShreveport, LouisianaHouston, TexasElizabeth City State, UniversityFayetteville State UniversityLangston UniversitySaint Augustine's Colleg"Southern University at ShreveportTexas Southern UniversityIn 1971,'\eight more colleges joiThe member. schoolsanother consortium.d the curriculum development effort asf the Eight-College Consortium are:Lorman, MississippiDaytona Beach, Florida'Grambling, LouisianaHawkins, TexasMemphis, TennesseeNew Orleans, LeuisianaPrincess Anne, MarylandRichmond, VirginiaAlcorn A & M CollegeBethune Cookman CollegeGrambling CollegeJarvis Christian CollegeLeMoyne-Owen CollegeSouthern University in New OrleansUniversity of Maryland, Eastern ShoreVirginia Union University8ttiii

,IA fourth consortium, The Consortium for Curriculum Change is beingorganized for the 1972-i73 academic year.Members of this consortium are:Bowie State CollageCoppin State CollegeHoustonTillotson CollegeLane CollegeLincoln UniversityLivingstone CollegeMis'sissippiValley State CollegeShaw UniversityBowie, MarylandBaltimore, MarylandAustin, TexasJackson, /TennesseeJefferson City, MissouriLivingstone, North CarolinaMississippi Valley, MississippiDetroit, MichiganThe Thirteen- College Curriculum Program has b e n supported by grantsfrom:The Office of Education, Title III, Division of College SupportThe Office of Education, Bureau of ResearchThe National Science Foundation, Division of the Undergthduate EducationThe Ford FoundationThe Carnegie GorporationThe Esso FoundationAt-

TABLE OF CONTENTSIntroductionviChamber' Theatre TechniqueviiiThe- Units1A Question of Choice9EuthanasiaDeath and. Choice14The Lottery19The Piece of String22Impulse24Your World28We Wear the Mask37It on The MountainGo TeSiddhr tha4146Manchild in the Promised'Land54A Choice of Words60An Enemy of theteop64Two Plays69The Wall73The Last Flower76Mass Hysteria78Brig80rThe84Man's Search for Meaning 8Bibliography10Ina

INTRODUCTIONThe units in this sequence have been organized around the theme ofThey have been designed to develop an awareness of the serious andChoice.often irreversible options lavaillable to most human beings And the way inThe student iswhich we often allow such options to slip past us unnoticed.'not asked to deal with "choice" as an abstract term; instead he is led toconsider the components, varieties, and repercussions of choice throughencounters with many of its manifestations in literature.For the purpose of helping the student to look at choice in all ofits elements, we have chosen to identify the components of choice in theOne, choice can exist only,when there is freedom-to choose.following ways.The question, what is freedom, then, is central to any serious:discussion ofSecondly, there must also be alternatives from which to choose.choice.Finally, one must have some tnderstanding of what the consequences of choiceIs one willing to accept and answer to the consequences of one's acts?are.This, of course, raises the question of responsibility and one's valueWhile we hope not to focus entirely on consequences, we find thatsystem.the questions raised when one considers the idea of choice are almost alwaysWe hope in the study of this sequencerelated to choice and its consequences.that the elements of freedom and the existence of alternatives will be givenequal consideration.'The volume is the instructor's manual of this sequence of units andsuggests ways to use material appearing in the Student's Manual. The sequenceof units is intended to move from simple to more-complex and more comprenhensiveselections and to emphasize and reemphasize complexity not only of moral andphilosophical choice but also word choice, word order and the variation ofchoice upon basic themes. While there 'are two units which deal specificallywith poetry, poetry is interwoven into some of the other units, particularlyWhile we recommend thatthe units dealing with the short story and the novel.the teacher follow the units in the sequence in the order that they are presented,we hope that teachers do not feel limited by this arrangement and will amendand rearrange units in light of their individual classroom experience.For those new to the materials and specific teaching pedagogy of theThirteen-College Curriculum Program, we have included a brief explanation ofthe Chamber Theatre Technique which is an integral part of many of the unitsThe suggested pr9cedures in this volume have been developedin his sequence.and tested by English instructors in the Thirteen-College Curriculum Programand have been successfully used in the classroom since 1967. Neither thematerials nor the procedures suggested here are considered sacrosanct, butrather, they are a record of what we have known to be successful. It is inthis spirit that we offer both the procedures and material.However, we have found that procedures and materials alone do not makeA class is the instructor and his students. We havea successful class.found that the successful class lies in the fle4bility of the instructor1iVi

.arld histhe instructoworkshop replwhich exciteitrto guide students inductively. .We Viso have discovered thatgradually moves into the background at ale class/seminar/es the traditional lecture with student centered activitiesudents' minds Lo challenge, analyze, reflect and expressideas.We offer this volume to all teachers seeking an exciting exchange ofideas with students.We offer it with the sincere hope that the materialsand procedures suggestedRwill assist you in making that classroom excitementa reality.The EditorsN12vii

%.CHAMBER THEATRE TECHNIQUE*"Fiction-7U it at all aspires to be art--appeals to-temperament.""Such an appeal, tote effective, nust be an impression conveyed throughthe senses; and, in fact, it'cannot be made in any other wabecause temperament, whether individual or collective, is not amenable to persuasion. Allart, therefore, appeals-primarily to the senses, and the artistic aim when'exprdssing itself in written words must also make its appeal through thesenses, if its high desire is to reach the secret spring of responsiveemotions.","My,task which I am trying to achieve is; by the power of the writtenword, to make you hear, to make you feel--it is before all, to make you see.That--and no more, and it is everything."From Joseph Conrad's Preface toNigger of the NarcissusThe following explanatory material is pregented to-the teacher as anintroduction to Chamber Theatre Technique. Although the most importantaspects of the technique are pointed out, there rdmains a, great deal ofexplanation and detail that have been excluded here. Therefore,. it isrecommended that the teacher have read ISE's "An English Unit: Chamber .Theatre Technique," which is available under a separate cover.* The completeunit provides a clearer picture of the technique as well as'suggested class.room procedures and writing extensions.Chamber Theatre is a technique for dramatizing point of view in narrative fiction. Its Use in the classroom is aimed at helping students tobecome more aware of the controlling intelligence and the dynamic relationship between him and the characters in a short story or novel. The narratoris,encouraged to talk to the audience in a voice from the characters' worldand take the audience into that world. He invites them to see for themselves.He also has the freedom to move in time and space. The students areencouraged to study the story or novel for the unique or individual perspective presented.The observation of brief passages staged,in the classroom helps thestudent to hear, feel, and see mote clearly than he would ordinarily throughreading silently - -to examine human motivations (the actions of the mind) kswell as physical motions (the actions of the body).In addition the processof working out passages for staging, forces the student director to take acloser critical look at the work; not only what the narrator says, but a]sohow he says it.(style)nke technique was Introduced by Robert S.,Breen, Associate Professor ofInterpretation, Northwestern University. Quotations are taken from an unpublished manuscript. This brief explanation'is an excerpt forM "An English Unit:Chamber Theatre Technique" by Carolyn Fitchett. The complete unit is availablefrom. ISE, 2001 S Street, N.W., Washington, D. ,C.viii

STYLEThe student becomes a critic who is interested in how successful awriter is at presenting his subject. The projected author's "voice" or "mask"is regarded as style; and though a stude'rat of literature may delight in theindividual's "voice-through his writing, his main conability to detectcern is the author'seation to his aesthetic ends. In most cases, carefulstudy of the Language useill reveal the author's skill in mimickingexpressions, feelings, bodilystures, tones'of voice, attitudes--the wholehuman experience.The Chamber Theatre Technique forces meticulous study of the text. Italso allows for oral renditions of the prose, which force the student to havethe intonations, tempo, and inflections that the style suggests. By readingaloud, the student will begin to realize the effect created as a result of anauthor's skillful use of the language concomitant with his purpose or theme.As the student becomes more observant nd gains fresh insights into a work,he also gains an inner satisfaction at realizing his increased awareness ofand sensitivity to the power of langua e.NARRATORThe technique also makes a student more aware and appreciative of anauthor's skill at depicting the various selves of one individual (applicablehere in first-person narration). The student is free to portray these selvesvisually by using more than one person to represent the narrator and speakthe lines applicable to the self revealed (emotional, social, religious,political;overt thoughts vs. overt statements and actions, etc.) In anycase the stucleilt may visualize the narrator as a certain physical type; thestudent dresses him accordingly and assigns him positions, gestures, and(Though an author does notmannerisms in keeping with his mode of speech.specify patterns of behavior for the narrator, one can infer them from know\le :e of human personality patterns.)CHARACTE Sder gains Anformation about characters through description and/orThethrough his wn conclusions as a result of their conversations, habits ofe ression actions, and thoughts. Though the main character in a story isu lly 'round" (many-sided and capable of unexpected behavior)',' some studentsmay fin, it difficult to discover his real personality when his overt behavio7masks it. The "flat" characters, on the other hand, are more easily understood because of their reliable behavior:Chamber Theatre encourages all levels of characterization tb be examined,enabling the student to study the. whole being--his physical; mental, andemotional characteristics, his personality, his relationship with others, hisview of others, his unique speech habits, and his unconscious reality (innerexperience).Much information about a character must be inferred; and thoughinferences may be mace, at first, according to one's.own limited perspective,the adapter to Chamber Theatre learns to sharpen his critical perspective.In doing so he will find indirect evidence for the major characters' mannerof behavidr, movements, and emotional condition throughout the text. Anymisinterpretation or false assumptions concerning a character's real person-ix14

ality will be disclosedethrough the Chamber Theatre demonstration or the follow-updiscussion.Chamber theatre is a drama technique designed,to increase one's insight intopoint of view and style in narrative fiction.In it, the narrator is personified--that4is, conceived as a person or character in the story who has some kind ofrelation with the other, actively involved characters.The point of chambertheatre is to stage scenes from a story in such a way as to,visually reveal thenarrator's relation to and attitudes toward the characters and events of the story,as well as his relation to the reader, or audience.In staging the scenes, the narrator is encouraged to talk to the audience ina voice from the characters' world and to take the audience into that world.Heinvites them to see for themselves the characters and the action. And, at times,he has the fre9rdom to move through time and space, or into and out of the characters'minds.Through an examination of the narrator's movements in the story, thestudent will discover the unique or individual perspective presented in that work.The staging of chamber theatre is 4ferent from conventional adaptations fort e stage in that the narrative passages that examine motivation are retained'int e former.In conventional drama the dialogue tells the story and the action isvi wed directly by the audience; motivations and attitudes must be suggested by'theactions of the characters. There is no"voice" that explores and examines thesethings.Nor is there any suspension of action, as in chamber theatre, when thethoughts of a character or of the narrator are given, and the actor playing thecharacter seems to examine the character's behavior--as when he thinks aloud abouthimself. As a member of the audience in chamber theatre, the viewer, consequebtly,becomes as critically independent as the examining actor.Instead of identifyingwith the characters and becoming emotionally involved with the action, as inconventional stage adaptations, the chamber theatre spectator is jolted out ofidentification and empathy in order to examine motivations critically.Ch mber theatre also differs from conventional stage adaptations in its useNote the followingInarrative passage:of diaglue.Charles looked at himself in the mirror with a subtle grin. thehad shaved off his mustache and dhe side of his beard.Should-he appear before Mary like this and have a little fun?Whatwould she think? He was overwhelmed-by this new idea and beganto envision how she might react to his Absurd face.In adapting this passage for the conventional stage, the passage would have to bebroken down to only those portions of Charles' thought's and actions which could besaid aloud or visually demonstrated. How could one visually demonstrate thatCharles was "overwhelmed by this new idea"? In chamber theatre, however, thepresence of the narrator makes it possible to keep the passage intact.The Chambertheatre dialogue, then, would run this:Narrator:Charles looked at himself in the mirror with a subtle grin.He had shaved off his mustache and one side Of his beard.Should he appear before Mary like this and have a little fun?Charles:What would she think? He was overwhelmed by this new ideaand began to envision how she might react to his absurd face.X

Notice that in this chamber theatre dialogue the narrator shares the thoughtsIn this Technique, the character may take those lines in theof the character.The character must not, however, changenarration which indicate his thoughts.the erson ox tense of the passage.With these' distinctions between chamber theatre and conventional theatreclearly understood, let us examine now the details and uses of the Techniqud.Point of view refers to the mode of telling used in the story orew:This mode may be first- or third-person. If first-person, the mode may',be subjective, or stream-of-consciousness; if third-person, objective reporter,'subjective (with relation to one or more of the characters),.streamrof-consciousAs the students direct short passages it will become clearness, or omniscient.to them what an author'can achieve by selecting a particular point of view. Thechoice of point of view is a crucial matter, 'since the same incident told fromdifferent points of view becomes different incidents.Pointnavel.When first-person narration isemployed the action seems'already to havetaken place. Though the first-pers6n narrator is present at the tiMe'of thetelling, he is speaking after the event. This mode is significant, for example,in didicating how one's own experiences and motives can be perceived quite differ[See The Use of Force" by William Carlos Williams(in Shortently in retrospect.Story Masterpieces) and the Prologue from Invisible Man (Excerpt I in Appendfx D)In some first-person narrations, however, it is difficult to makeas examples.]the distinction between the time of telling and the time that the event actuallytook place. Much stream-of-consciousness narration takes this form; it is seen insome modern fiction which conveys the flowing together of different periods of timein the outer as well as inner experience.When third-person narration is employed, the action may seem to be takingplace in present time or past time. Authors using this mode can get into thethoughts and feelings of one or more characters (subjective) and can give thereader an all-knowing perspective about situations, events, and people (omniscient).Some authors use indirect discourse, with the narrator exercising great control byhaving him'report what characters have said, instead of having the characters tellus through direct dialogue.A third-person narrator's position may shift several times throughout awork as he-observes the same scene from different angles of vision, or through[James Joyce's "The Boarding House"the eyes and mind of different characters.in Short Story Masterpieces is an example.]It is not our intention here to suggest that the student memorize the labelsattached to different points of view. We hope that they will be able to employ agiven mode to achieve a desired effect in their own fiction.Introduction to the Technique: Working in groups, the students should think of aparticular situation that can be portrayed through body stance and motion. Theycan then decide on a narrator and place him @omewhere,in the scene to indicatewhat position he might be taking toward the events. Then upon request of theinstructor) a tableau should be formed which becomes animated. -Guidelines follow:I 1;xi

A.Thq SituationIs there a conflict?What is phe setting?What is the overall mood?B.The CharactersWho are they?mat is their. relationship to one another?What is each one's attitude?C.The NariatorWho is he?(Look at position--higher, lower, father away, close to one character, etc.)Is he involved or detached?(Look at his facial expression; his stance)What is his attitude?(Toward the whole scene: toward a character)What would be his tone of voice?Road it carcf9llySTUDENT AS DIRECTOR: Select a passage from a work of fiction.and decide on the number of characters needed. Select persons to portray thosecharacters as well as a narrator. In some cases, he may want to portray visuallythe various selves ievealed with1.4 a main character (i.e., emotional, religious,Extra actor.political; or private thoughts vs. overt statcmcnts,and actions).In any case, the student mustmay be needed if such a technique is'- employed.visualize the narrator as well as the characters as certain physical types. "ncnarrator should dress according to the student's vision and assigned positions,gestures, and mannerisms in keeping with his mode of speech. Though an authordoes not specify patterns of behavior for the narrator, one can infer them fromknowledge of human personality patterns. HINTS FOR THE DIRECTOR to follow:1.2.3.4.5.6.\,7.8.9.10.11.Indicate at what points the narrator should relate to the audience.Designate narration that, can be divided between narrator and character (inner thoughts shared).Designnate lines thaeknarrator and c

DOCUMENt RESUME ED 116 190 95 CS 202 367 TITLE Choice: A TheOatic Sequence of English Units. INSTITUTION Insti

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