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CAMBRIDGE HANDBOOKS H1R IANGt:i\GE TEACHERS

Once Upon a Tillle

General Editors: Michael Swan and Roger Bowers This is a series of practical guides for I"eachns of English and other languages. Illustrative examples are usually drawn from the field of English as a foreign or second language, but the ideas and techniques described can equally well be used in the teaching of any language.

Using stories in the language classroom

In this series:

Drama Techniques in Language Learning - A resource book of communication activities for language teachers by Alan Matey and Atan Duff

]ahnMargan and Maria Rinvalucri

Games for Language Learning by Andrew Wright, David Betteridge and Michael Buckby Discussions that Work - Task-centred fluency practice by Penny Ur Once Upon a Time - Using stories in the language classroom by John Morgan and Mario Rinvolucri Teaching Listening Comprehension by Penny Ur Keep Talking - Communicative fluency activities fot language teaching by Friederike Ktippel Working with Words - A guide re teaching and learning vocabulary by Ruth Cairns and Stuart Redman Learner English - A teacher's guide to interference and other problems edited by Michaet Swan and Bernard Smith Testing Spoken Language - A handbook of oral testing techniques by Nic Underhitl Literature in the Language Classroom - A resource book of ideas and activities by Joanne Collie and Stephen Slater Dictation - New methods, new possibilities by Paul Davis and Mario Rinvolucri Grammar Practice Activities - A practical guide for teachers by Penny Ur

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Contents

© Cambridge University Press 1983

First published 1983

Fifth printing 1988

Printed in Great Britain at the University Press, Cambridge

Techniques To the Teacher Section 1

Telling a story

Section 2 2.1

Stories and follow-ups Revenge questions

2.2 2.3 2.4 2.5 2.6

Theme pictures For beginners Taking roles Theme words Discussion

2.7 2.8

Shapes and characters Completion

2.9

Story to poem

2. J() 2.1 J

2..12

In new clothes Birth order Problem stories

.2..1'\

A serial story

2.1 /1

Story ro picture

Library of Congress catalogue card number: 83-5356

British Library cataloguing in publication data

Morgan, John Once upon a time - (Cambridge handbooks for language teachers) 1. English language - Study and teaching­ Foreign students I. Title n. Rinvolucri, Mario 428.2'4'091 PE1128 ISBN 0521252695 hard covers

ISBN 0 521 272629 paperback

Once Upon a Time was originally published in pilot form by Pilgrims Publications, Canterbury, England. This Cambridge Univcrslly Press echtlOn ha~ been extensively revised and cxpandcd.

Stories

SCI:~ion 3

Hl'tl'llinl~

'..1

1'.\1 ;.11('1 ~l11I"lC''''

Page 1

The hunchback The river

The inventor King Caliban Kacuy MrsPeters The bear that wasn't Jack and the beanstalk Peacocks Freyfaxi Rumpelstiltsk in The two sons Yvonne Willow The singing mushrooms Th.epiperofRome The Billy Goats Gruff The two doors Unexpected The sign ofthe broken sword

An anecdote

Seguin 's goat TIll:' (:{It that wal1ud by itself

n

If'

,Inee bears

1,,1',11'11-'

5

12

13

13

16

18

20

23

25

27

28

29

31

32

32

34

35

36

37

38

38

40

41

41

42

43

44

47

Itl'" I""'I1'/S 1I1I1"/"',II,!

4S

1/"/'1,,1'1}1/

\ I

Techniques

Section 4

4.1

Before I begin... Grammar practice

4.2 4.3

Theme sentences A picture starter

4.4

Picture rose

Section 5

5.1

Co-operative telling

In the language lab

5.2 5.3

Group story Dictation

5.4 5.5 5.6 5.7 5.8 5.9

Scene to story A story from four words Three item stories Random story Picture composition Dictogloss

Section 6

6.1 6.2 6.3 6.4 6,5 6.6 6.7 6.8 6.9 6.10 Section 7

7.1 7.2 7.. ~ .LI

St"" ....

(;oM duI' ;,>.,' 'I 'f!/'l'I' 1I'lshl's "Un' tIJlI'I' liltlt~ pigs HreJllfslm'l'lJr'Silent (;dert The IJigl'oll The qllilrrymall

The unicorn Two brothers The ghost The seventh rose

No name wom,m The dragon ofNara

Techniques

Page

54

54

55

56

57

59

59

60

63 63 65

65

66 68

69

Fire stories Hiding things Heroes and heroines Stories from jobs Shame

The wrpark attendant The orchard

97

Section 8

Vanishing stories

God in a matchbox

98

Section 9

Revision A story you really liked Music Doodlestrip review

9.1 9.2 9.3

E F G H I

Students'stories Mumble, listen, tell Comprehension questions The giant tortoise

Spoof stories Cambodian soupstone Air travel Story of the film Love stories Rapunzel From beginnings ... Frog in a well Grandpa Three-wheeler ... to endings Wild cat Objects tell stories Doodlestrips Triple stories

79

79

80 80 81

82

82 83

84 84

85 86 87

88

PI""" I ipl

From the past Photos

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96

102

103

104

A B C D

77 77

'I

94

95

95

Section 10 Story pool

72

l)()

Page

7.5 7.6 7.7 7.8 7.9

73

74 75 Solomon's judgement The forced burglar

Stories

Snow The pullover Honour The figtree Ivar In the cellar The donkey Oogledeboo The man, the snake, and the stone

The baby The husband Enkidu Ophir A horse race The wisdom ofthe world The princess and the pea Thepaem Analdman Ants The magic barrel

105

105

105 106 106 107 107

108

108

109

110 110 110 111

112 112

113

114 114

115 116

117

119

111"111'.

120

Thanks

We wish to thank the following people: Students with whom we have learnt to tell stories. Both sceptical and enthusiastic colleagues, in particular .lane Lockwood, Katya Benjamin, Paul Davis, Mo Stcll1gcman, Cynthia Beresford, .lan Aspeslagh, Charles Williams, .lames Dixey, Michael Swan, Margaret Callow, Carlos Maeztu, Richard and Marjorie Baudins, Elena Morgan, Lindsay Brown, Loren McGrail, Sarah Braine. Bernard Dufeu who opened our eyes to the psychodrama use of tales. The artistic oral tradition we know best is that of the Greek shadow puppeteers and we particularly want to acknowledge the insights gained from working with Giorgos Charidimos. Books that have helped us in our thinking about the oral story include: ' Bruno Bettelheim, The Uses of Enchantment, Penguin 1978 Iona and Peter Opie, The Classic Fairy Tales, OUP 1974 V1adimir Propp, Morphology of the Fo/ktale, Austin 1968 Gianni Rodari, Grammatica de/la Fantasia, Einaudi 1973 Finally, this book owes a heavy debt to the various oral traditions of which it 1S a curious continuation, and to individuals whose written stories we have 'skeletonised' in preparation for many oral tellings.

To the teacher

Among both practising language teachers and applied linguists there an IOcreasmg awareness that successfu.l second-language learning is far more a matter of unconscious acquisition than of conscious, systemaric study. Stephen Krashen (Second Language Acquisition and Second Language Learning, Pergamon 1981) goes so far as to say that 'the major function of the second-language classroom is to provide intake for acquisition'. It ~s o~r view that the 'intake' required to facilitate language ~cqUlS1tlOn wdl be very different from the materials currently provided m the dassroom as part of systematic structural or notional courses. If ,unconscious processes are to be enlisted, then the whole person Will need to be engaged: we shall no longer be able to rely on the learner's general 'motivation' or on the intrinsic charms of the target bnguage to sustain him or her through the years of monotonous drilling and bland role-play, Classroom activities will have to be slructurcd to serve immediate rather than long-term needs, to promote I'atl!cr than practise communication and expression, This book is offered as a step in that direction. Within the frame of srofytelling-that most ancient and compelling of human activities-we Ill' >])OSC a \vide range of classroom exercises and more than 70 story ol1dil1cS ('skeletons') for you and your students to work from. The 1''1: 'rcist's range honl introspective to highly i.nteractive; from beginner 1,) advanced; many are offered as communicative altemative~ to I r:lditiollal language-teaching activities; all, we hope, arc engaging ,lllll fL'w:ll'dlng Hl rhcl11,'dves. ~s

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To the teacher

To the teacher listening comprehension frolll 1;'11('. TIH' 1.1l1l"l" is always third-person listening, a kind of eavesclroppill1',lI1.l1 i·. ~I r:\llgely uncompelling. To be told a stOry by a live storyteller, Oil 1l1l' l'Olllrary, involves onc in 'I-thou' lisrening, where the IiSll'IllTS t ';111 Ji reedy influence the telling. Even if you arc a non-native Il':lt her of English, the com­ municative gain will more than outwl'igh thl' 'un-Englishness' you may hear in your telling. 'Compn'hL:l1sion ql1'estions' and paraphrase exercises are standard classroom follow-ups to listening work: after a story they at best dilute, at worst de-stroy, its effect on the listener. In Section 2 you will find a variety of alternative follow-up exercises. 2.1, for example, gives the student all opportunity to decide for himself or herself which questions (if any) he or she wants answered, and to hear the answers from a classmate. 2.4 uses role­ assignment to explore the group's feelings towards characters in a story; 2.14 uses a drawing exercise to help students 'cap' one story with another. All the exercises encourage the recycling of new language.

FOLLOWING UP A STORY

shows the teacher modelling vocahulary from within a group; in 5.1 a use IS found for the language lahoratory. ORAL PRODUCTION There are stories hidden inside everyone. Elementary students will bring them out in dramatic, excited half-sen­ tences; advanced speakers will reach out for ever more vivid or exact expression. For all, adequate communication is an attainable miracle if the teacher is prepared to allow it. Section 6 provides frames for ' the recal,l or creation of students' own stories; Section 7 goes a little deeper-m to one's real or imaginary past. PICTURE STORI~S We arc all familiar with the 'picture story' as a deVice for provokll1g narrative work. Unfortunately, anyone with no~mal eyeSight produces much the same story, which robs the te~lll1g of any p~int. In 6,9 -v:e provide symbolic pictures to provoke a WIde range of dIfferent stones, Once they have created their own story, students are keen to tell them and to find out what others have made of the 'doodlestrip':

RETELLING Being required to retell a story to someone who has just heard it is a pleasure few of us would willingly repeat: yet this is often what we force upon our students. Section 3 suggests activities in which retelling is both necessary and enjoyable. STORIES AND GRAMMAR Many traditional stories abound in powerful repeated phrases (e.g. 'Who's been sleeping in MY bed?). For elementary and intermediate students, such stories (suitably chosen) can be used as an almost subliminal grammar input. 4.1 gives some examples of this. It is also a fairly simple matter to angle your telling and/or follow-up exercises in such a way that particular structures are demanded of the student: ftom common strong verbs to third conditionals. In Section 8 you are introduced to the Silent Way reduction technique which has the students working intensively on grammar, syntax, intonation and meaning all at the same time. After 20 minutes intensive work the story they started out from has vanished! FROM I.ISTENINC TO OI{AI. I'ROIHI(TI()r-!

suggest

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To the teacher in detail) in the student's 11Iot 111'1 1III 11',1 Il' • 1" ' LUlguage is simple ~et the meanings are evocative ,11ll! 11l.IlIY 1.')"'I\'d; and the stones,bnng back, often in a flood of cxcitCIlIl'1l1, 1111'IIIOd(',~ of one's own chIldhood and that of one's children.

Telling a story

Section 1

One day, while testing material for this book, we decided to tell the same story in each of the two groups of students we were working with, and to record ourselves while doing so. The story, a Ghanaian folk tale, goes like this: A hunchback girl protects her father's beans from wild animals In the fields, she is visited by fairies They ask herfor bean soup She says she can't bend down to pick the beans, because of her hump The fairies remove the hump She picks the beans and cooks them The fairies eat, thank her They replace the hump and leave Her father tells her: 'You silly girl, you should have run away before they could replace the hump' Next day, the same thing, She runs off before they replace the hump She hides in the hut from the fairies A week later there is a dance in the village She can't resist-joins the dance While dancing, she feels a weight on her shoulders She turns, sees the fairies leaving the village (from Folk Tales and Fables, ed, p, Itayemi & P. Gurrey) I11 OIl('

rooll1l11C stlldcllt.

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Telling a story

Telling a story

had a bean field on the edge of the desert / and one of the daughter's jobs was to go and watch the beanfield / and make sure no animals or people stoic beans from.it / one evening she was there / as night was falling / in this part of the world night falls quickly / and as she was preparing to go home suddenly some fairies appeared on the edge of the bean­ field / and they came over / and one of them said to her / we're hungry / pick us some beans and make us a bean soup / but the girl looked at them sadly / and said / I can't bend down to pick the beans / but the fairy / came close behind her and lifted / the hump from off her back / and she could stand upright and walk straight / she smiled / and began to pick beans / she made a fire / and she made the fairies a bean soup / which they ate greedily / and then disappeared / across the edge of the field back / into the desert / and the girl / ran home / but as she was running / suddenly / she felt the hump / com­ ing back onto her shoulders / and by the time she got home she was stooped forward / and could only walk slowly / and she told her father everything that had happened / and her father said to her / you acted wrong my daughter / you should have run away as soon as the fairies took the hump off your back / they couldn't have found you to put it back on again / I'm sure they'll come back tomorrow / when it happens run away / before they can put the hump back on your shoulders / and so the next evening / the girl went to the bean field again and sure enough the fairies / appeared over the edge of the field / and they asked her to make them a bean soup again / and a fairy lifted rhe bump from off her back / and quickly she ran out of the field aud ran back home to the viJlage / she hid in her father's house / and she could walk straight / and she realised that she could dance / for that evening there was going to be n dance / at the house of some ncighbours where there was a wedding / and she / later on in the evening she crept out / and w('nl 10 th(' hflll~t: / fo the ncighbour's house / and joined I hl' J:lIH'illg / ;llld Ihl'n she saw / on the edge of the / d;III' 1111', 1'I'lll'Il' / 1111' f:lirics / suddenly / her hump was 111('1" 1111111'1 11,1< I. ''11,1111 / ;,h(' stooped f()[\vard / she could

who would ("(1111" .111\\ 111'11111.1" ,,,,, ',I ,Hound / ol1e (bv she wentouttotlll·fit'l.I 1111,1 whikshewastherc'sotnt fairies came oul ut 1111' "',,' ,.1 I ,Ill' I ,hked her for / beans / they walll... .1 111'1 '" I ""I 1111'111 / and make them a meal/she said ;,he 'lllIl.11l 1 I",. ,1I1'.C' ;,Ill' couldn't bend to pick the beans / SOIIIII',dllll"IIIJI"; ,UIH'uptoherputhis hand on her back and lili11'> Ilr 1111, 1"llIII01I11I(~rrrfi'1dtJr', ill K;ndergeschichten)

Stories and follou.;-ups

Before class Make one copy of the qucsriolls given llelnw. On this copy add the names of two people frOl1l your d;lss ill tilt: blanks in questions 4 and 25. Then copy the number of shn·ts you will need for your class.

In class

1 Tell the students the story. 2 Give them the 'comprehension' questions hdow and invite them to cross out any they don't like or think arc stupid. Each student should work on his or her own doing this. You are here inviting the student to take revenge on boring comprehension questions. 3 When students have read all the questions and crossed out those they want to, ask them to work in pairs and put to a partner the questions they have retained. Pair students who have retained a lot of questions with ones who have crossed out most or all of the questions. 4 Have them re-pair and repeat 3 above. QUESTIONS

1 2

3 4

5 6

7 8 9 10 11 12 13 14 IS 1(,

What did the man in the cafe tell his wife when he got home that night? Is it deeply useful to invent things that have already been invented? What did the inventor look like? Did in this group like this story? What kind of house did the inventor live in? What is the underlying theme of this story, for you? Where did the inventot get his living from? Why did the inventor no longer know how to speak to people? What new things surprised the inventor when he went into town? Do you know anybody like this man? What colour were the walls of the inventor's room? Would your brother like this story? What did the inventor look like? What kind of father would the inventor make? Why did the invcntor finally dccide to go into IOWII? Wh:ll sort of lnWIl did YO\l illJ:lgilll' :I'; yllll Ij~.ll·111 ,Ill. Jil" ',fllr)'?

I ' \XI,I~.1I11'

111\'('11101.111.11111 '.tll I." III.IJii'

Revenge questions 18 If the inventor was a Muslim, how many wives would he have? 19 In what ways, if any, do you sympathise with the inventor? 20 What did the inventor do in the trams? 21 Why did the inventor get angry in the cafe? 22 Was this man a lunatic? 23 How did the story begin? 24 Did the story happen for you in England, your own country or somewhere else? 25 Did .......... in this group like the story?

26 What was the inventor's reaction to the new things he saw in the town? 27 Which of the new things did he probably find most revolu­ tionary? 28 Why did this man want to invent things? 29 How did the story end? 30 Were there any roses in the inventor's garden?

31 If ,he inventor had had hobbies, what might they have !been?

32 What sort of relationship do you imagine the inventor having had with his parents? .n What did the man in the cafe offer to do for the inventor? .H How could the inventor get by without earning a salary? .~5 What is the symbolic meaning of the story? 36 Did the inventor grow potatoes? . 37 What do you know about the author of this story, Peter Bichsel? ~ R Why are there traffic lights in towns?

9 Why did the inventor often tear up his plans?

.H) If the inventor was an animal, what sort of animal would he be? .~ I Is this a children's story? ·12 Do you think the person who told us the story liked it? ., ~ What was the weather like when the inventor went to town? 14 What year was the inventor born in? I Do you like listening to stupid stories in foreign languages? 1(, W;lS rhe inventor wearing a tie on the day he went into town or his IlStd pyjamas? I ' I)() yOll like :lIJswcring comprehension questions? l.\ \XIII:II did he S;lY 10 till' Ill'opk h 'met in the town? I" 1111\0\' old wOllld dlt' 111\'1'11(01' hl' j( he WLTC alive now? .11 \XlIIi, h i'.lIl1' 1I11,000f ',I'll·.I'II'~. 11'11";1 ion ill the above list?

Stories and follow-ups

Revenge questions

Preparation of this kind of quvstilll Ill, ,ire lor subsequent classes You will notice that che 50 C)u 'sI ions giV('lt 1;,111 into several categories, For examplequestions 4, Ll, 2. and IJ. ;11'(' ;t11 to do with the reactions to the story of people the student knows. I!()w Illany other categories are there for you? It is vital that you write very variL'd qlll'Slio!1S, .so chat students end up by crossing out very different things. Below you will find a second story, with a rather different selection of questions:

(I

How tall was the wrestling promoter's sister?

-;-

If Fred had been to a better school, would .he have been happier?

X )

Was the story well told?

How many fights had Fred had before the Town Hall fight?

Is wrc.)tling good for the spectators?

What was Fred's mistake?

Have you got a brother? Would he like this story?

Should women wrestle?

What SOH of shop did Fred and Dorecn work in?

How did Frcd entertain ills children?

Who is the villain of the story?

Who was the original Caliban?

Why didn't Fred like violence?

])0 you think the writer of che story was an educated man?

How many people wanted Fred to win?

How much more would Fred have made as a wrestler than as a shop worker? Does Doreen like wrestling?

Did the story take place in Manchester or London?

What happened to Fred in the police station?

Did in this group like the story?

How did Fred spend his Saturday mornings?

Were there more men than women in the audience?

Would the story make a good film?

fl so, \-"hieh actor should take the part of Fred?

I )id the story make you feel guilty?

\XIlLlt h:1ppened to Baldy after Fred threw him?

JII rrl,d',s shm's, what would you have done about Baldy?

Who dol'S f)oreen blame:?

\X!hidl is morl' 'I1t)nest, wrestling or education?

li I:r('d h;ldll'IIlHllle a l11israke, who would have won the fight?

I Ill\\' IllIlcll 1l1OIley W:.lS lhe referee paid?

W.I·, ,'0'%, ;l l'l':\son:lhlt.., Slllrl for the wrestling promoter to

10 11 12 I)

I·~

I'

I (, 17

King Caliban Fred, huge, strong, gentle but rather slow Earned £80 a week in shop Happy: kids, garden; wife Doreen, ambitious, unsatisfied Fred met wrestling promoter in pub Offered £800 a week as 'fighter'-all fights fixed Fred unsure, dislikes violence Doreen pushes him Fred becomes King Caliban, paired with Billy the Crusher In rehearsal Fred slow, makes mistakes, works hard Town Hall, Saturday night Audience out for blood Bald man out for Caliban Screams at him Fred nervous, makes mistake hurts Billy Fight in earnest,18aldy goes mad Fred knocks Billy unconscious, Baldy screams abuse Fred lumbers out of ring, picks Baldy up and smashes him onto seats Ambulance, police-Fred is charged

I~) It)

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(after John Wain, Death a/the Hind Legs and Other Stories)

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QUESTIONS

III

I 2. ,1

How old was Fred? Why did Fred marJ'y Dorcen { Wh.!t ~ort of C1I' did J)orL'I'n W:1l1t?

4

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Theme pictures

Stories and follow-ups 46 47 48 49 50

Ever since Kacuy bird has been searching forest for brother

If your son wanted to be a wn:stll'r, would you let him?

Was the Town Hall the right plan' for a wrestliog match?

Who is the best wrestler in this WOIl)?

How long did the story take to tel I?

What might you have been doing instead of listening to the

story?

(after Kacuy, in South American

Fairy Tales, ed, John Meehan)

IIp-fore class I

ollect a lot of magazine pictures and details, cut out from magazine

I 'I,-lures (these should come in useful for a whole range of exercises).

2.2

(!loose some pictures that, for you, are connected with the themes of 111l' story and plenty of others that appear to you to be unconnected. I'll lures with the following features might appear to connect easily Wil It Kacuy and its themes: orphans I feathers I lone trees I i'llds I families I him-her scenes I sex-role images I ',.I(I,ICSS anger I 'I'll teach you a lesson' I magic transIlllmations I flying ! honey = thirst for love I marriage ete. t III losing pictures that do not seem to you to connect to tbe themes '. 'll can see is important, as people see different things in a story.

Theme pictures

Skeleton

Kacuy She lived with brother in cottage in forest Did cooking, cleaning; he hunted She was unhappy; cottage too small, isolated One day he brought home animal: She said: 'Cook it you rself,' He said noth ing

III t:lass

He knew she loved honey Next day came home, told her about huge beesnest up tree Asked her to help him get honey-she refused 'If I go alone I'll spill the honey' She agreed to help He took hood and machete, they set off Finally came to tall tree in clearing She climbed ahead of him, wearing hood Near top he whispered 'Ssh, stop or the bees'lI hear' He went down tree, 10PiJed off branches above head Left clearing, thought: 'Now she will see she needs me' Cold, night falling, she was terrified, wind rising Began to grope her way down tree Her foot slipped into space Took off hood, looked down: no branches Her arm itched, looked down: feathers Felt back of head: something growing Her feet on branch: claws Gust of wino knocked her off tree She was flyillq; callt'!cl 0111 t)rotjll~r"; 11,11111', 11l',1I&1 'I'

I'd I the class the story, prl':ld the pictures and picture fragments on a table at one end of till' room. Ask students ro pick pictures that they associate with I Ill' story. Ask them to pair off and explain their choice of pictu re I.) ,1I}()ther person. ;\-,k rhl' students to find a new partner. Continue this until each h.I', '>pOlU'll with four others. The reasoll for proposing picture association is tha t l'("e,lll'S ;1 story vcry much of his or her own. Explaining J' I \111'1' ,l'>';I)l'j:lliollS to:1 p,lITncr allows the individual student to I' i1I""lllIW ,pn'j;ll ;ll1d Pl'l"soll~1i the story he or she heard or internally ,I' 1Il'd I',> hy di·; ..'o\,(·ril1g It'IW differently other people saw the story. 1'1,,11111' .1'.'•• ", i.lll'''! ,11 ,lW', (1111 Illjl\~', .... oft