人教版选修8 unit 4 PygmalionP3分教学设计.docx

1、人教版选修8 unit 4 PygmalionP3分教学设计Unit 4 PYGMALIONPart 1 Teaching Design第一部分教学设计Period 3 A sample lesson plan for Using Language(MAKING THE BET)IntroductionLanguage 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, maki

2、ng 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.ObjectivesT

3、o help students read the passage MAKING THE BETTo help students to use the language by reading, listening, speaking and writingProcedures1. Warming up by learning more about PYGMALIONWhen George Bernard Shaw wrote Pygmalion more than a half century ago, no one could have predicted his play would eve

4、ntually 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 Shaws story of speech therapist Henry Higgins, who successfully transforms Liza Doolittle, a draggle-tailed gu

5、ttersnipe, 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 actingRead

6、 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 collocationsWhy do we learn collocations? Your language will be more natural and more easily understood. You will ha

7、ve 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 BETsit deep in conversation坐着深切交谈, fancy oneself自负, pronounce twent

8、y-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,

9、 treatlike dirt把当下贱人看, getfor two shillings an hour from从每小时得到两先令, have the face to do有脸做, passoff as冒充一位, pay for向付钱, burn ones 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

10、Shaw)ACT ICovent 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. Pauls Church, where there are already several people, among them a lady and her daughter in evening dr

11、ess. 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 DAUGHTERin the space between the central pillars, close to the one on her lef

12、t Im getting chilled to the bone. What can Freddy be doing all this time? Hes been gone twenty minutes.THE MOTHEROn her daughters right Not so long. But he ought to have got us a cab by this.A BYSTANDERon the ladys right He wont get no cab not until half-past eleven, missus, when they come back afte

13、r dropping their theatre fares.THE MOTHERBut we must have a cab. We cant stand here until half-past eleven. Its too bad.THE BYSTANDERWell, it aint my fault, missus.THE DAUGHTERIf Freddy had a bit of gumption, he would have got one at the theatre door.THE MOTHERWhat could he have done, poor boy?THE D

14、AUGHTEROther 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 DAUGHTERWell, havnt you got a cab?FREDDYTheres not one to

15、be had for love or money.THE MOTHEROh, Freddy, there must be one. You cant have tried.THE DAUGHTERIts too tiresome. Do you expect us to go and get one ourselves?FREDDYI tell you theyre all engaged. The rain was so sudden: nobody was prepared; and everybody had to take a cab. Ive been to Charing Cros

16、s one way and nearly to Ludgate Circus the other; and they were all engaged.THE MOTHERDid you try Trafalgar Square?FREDDYThere wasnt one at Trafalgar Square.THE DAUGHTERDid you try?FREDDYI tried as far as Charing Cross Station. Did you expect me to walk to Hammersmith?THE DAUGHTERYou havnt tried at

17、all.THE MOTHERYou really are very helpless, Freddy. Go again; and dont come back until you have found a cab.FREDDYI shall simply get soaked for nothing.THE DAUGHTERAnd what about us? Are we to stay here all night in this draught, with next to nothing on. You selfish pig-FREDDYOh, very well: Ill go,

18、Ill 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 GIRLNah t

19、hen, Freddy: look wh y gowin, deah.FREDDYSorry he rushes off.THE FLOWER GIRLpicking 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 ladys right. She is no

20、t 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

21、. 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 tha

22、n theirs; but their condition leaves something to be desired; and she needs the services of a dentist.THE MOTHERHow do you know that my sons name is Freddy, pray?THE FLOWER GIRLOw, eez ye-ooa san, is e? Wal, fewd dan y de-ooty bawmz a mather should, eed now bettern to spawl a pore gels flahrzn than

23、ran awy athaht pyin. Will ye-oo py me fthem? Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.THE DAUGHTERDo nothing of the sort, mother. The idea!THE MOTHERPlease allow me, Clara. Have you any pennie

24、s?THE DAUGHTERNo. Ive nothing smaller than sixpence.THE FLOWER GIRLhopefully I can give you change for a tanner, kind lady.THE MOTHERto Clara Give it to me. Clara parts reluctantly. Now to the girl This is for your flowers.THE FLOWER GIRLThank you kindly, lady.THE DAUGHTERMake her give you the chang

25、e. These things are only a penny a bunch.THE MOTHERDo hold your tongue, Clara. To the girl. You can keep the change.THE FLOWER GIRLOh, thank you, lady.THE MOTHERNow tell me how you know that young gentlemans name.THE FLOWER GIRLI didnt.THE MOTHERI heard you call him by it. Dont try to deceive me.THE

26、 FLOWER GIRLprotesting 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 DAUGHTERSixpence thrown away! Really, mamma, you might have spared Freddy that. She retreats in

27、 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 daughters retirement.T

28、HE GENTLEMANPhew!THE MOTHERto the gentleman Oh, sir, is there any sign of its stopping?THE GENTLEMANIm 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 MOTHEROh, dear! She

29、retires sadly and joins her daughter.THE FLOWER GIRLtaking advantage of the military gentlemans proximity to establish friendly relations with him. If its worse its a sign its nearly over. So cheer up, Captain; and buy a flower off a poor girl.THE GENTLEMANIm sorry, I havnt any change.THE FLOWER GIR

30、LI can give you change, Captain.THE GENTLEMENFor a sovereign? Ive nothing less.THE FLOWER GIRLGarn! Oh do buy a flower off me, Captain. I can change half-a-crown. Take this for tuppence.THE GENTLEMANNow dont be troublesome: theres a good girl. Trying his pockets I really havnt any change-Stop: heres

31、 three hapence, if thats any use to you he retreats to the other pillar.THE FLOWER GIRLdisappointed, but thinking three halfpence better than nothing Thank you, sir.THE BYSTANDERto 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 GIRLspringing 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 Im a respectable girl: so help me, I never spoke to him except to ask him to buy a flo