2023學(xué)年完整版Module1Unit1Atriptothetheatre設(shè)計(jì)Reading

Module1ExtraordinarytalesUnit1AtriptothetheatreReading教學(xué)設(shè)計(jì)一、章節(jié)分析（Readingsection）（一）綜述本章節(jié)講述了一個(gè)故事：劇院魅影。由于此劇在上海曾經(jīng)演出過(guò)，因此學(xué)生們對(duì)這個(gè)主題應(yīng)該是比較熟悉甚至熱愛(ài)的。因此，教師應(yīng)充分利用學(xué)生的興趣，將此名劇同課文相結(jié)合，來(lái)進(jìn)行教授。本課的任務(wù)有兩個(gè)：學(xué)生通過(guò)對(duì)課文的學(xué)習(xí)。掌握一些核心詞匯，例如：capture,kidnap,mask,magically等。通過(guò)學(xué)習(xí)課文，了解故事的寫(xiě)作方法，為writing部分做準(zhǔn)備。（二）閱讀目標(biāo)知識(shí)目標(biāo)學(xué)習(xí)課文中重點(diǎn)詞、詞組、句型和語(yǔ)法。能力目標(biāo)通過(guò)閱讀進(jìn)一步了解歌劇的歷史以及其他方面的知識(shí)。情感目標(biāo)對(duì)文中的phantom的內(nèi)心世界進(jìn)行分析，判斷文學(xué)作品中人物的善惡和性格的復(fù)雜矛盾性。（三）教學(xué)方法采用任務(wù)型教學(xué)法組織教學(xué)，通過(guò)聽(tīng)說(shuō)，討論等具體活動(dòng)，達(dá)到教學(xué)效果。（四）重點(diǎn)和難點(diǎn)詞匯學(xué)習(xí)核心詞匯belowobeyphantomrolekidnapaudiencereleaseburstmagicallyinjure拓展詞匯operaangelexistcapture詞組和短語(yǔ)ahugebuilding,withseventeenfloorsforcehimtoleavehomemakeasecrethomeforsbgainpowerovermustbebecrowdedwithintheendbefillingwithwaterbeshockedatmakesbdo句型學(xué)習(xí)1.Inthemiddleofthislakewasanisland,andonthatisland,onehundredyearsago,livedthePhantom.2.…,hewassouglythathisownmothermadehimwearamask,…二、教學(xué)設(shè)計(jì)（TeachingDesigns）教學(xué)內(nèi)容教學(xué)實(shí)施建議教學(xué)資源參考Pre-reading要學(xué)好本課,建議老師在這個(gè)階段完成以下兩個(gè)任務(wù):通過(guò)圖片和歌劇中的音樂(lè)將學(xué)生帶入<劇院幽靈>所帶來(lái)的特定的場(chǎng)景.鼓勵(lì)學(xué)生說(shuō)出自己看海報(bào)和聽(tīng)音樂(lè)之后的感受,初步體會(huì)這部風(fēng)靡世界多年的名作所來(lái)的震撼.為進(jìn)入課文學(xué)習(xí)作好鋪墊.［具體處理這部分內(nèi)容的建議見(jiàn)[鏈接1,2]中學(xué)英語(yǔ)合作網(wǎng)《牛津英語(yǔ)教學(xué)參考》While-reading這是本課的重點(diǎn)部分。要求老師與學(xué)生一起走進(jìn)這部名劇.同時(shí)初步了解歌劇院的整體布局(見(jiàn)練習(xí)A).可以由PHANTOM和OPERA談起.將課文中出現(xiàn)的詞匯貫穿其中,使學(xué)生在比較自然的情景中習(xí)得課文中的詞匯.通過(guò)picture(課本P2)和Skimming（同上）了解歌劇院的布局以及故事的大概梗概。Scanning部分通過(guò)TrueorFalse練習(xí)，使學(xué)生熟悉故事情節(jié)，還通過(guò)（P4）中的Readandthink使學(xué)生加深對(duì)于故事主人公Phantom，ChristineandRaoul之間復(fù)雜而又凄美的愛(ài)情的了解。從而對(duì)于劇中人物的遭遇寄予更多的同情和理解。這部分教師除了利用課本中所提供的素材和練習(xí)之外，師生間用問(wèn)答方式則更好。建議文中的填詞部分放到課文整體閱讀和理解之后進(jìn)行，這不僅提高教學(xué)效果，更重要的是符合學(xué)生思維發(fā)展的循序漸進(jìn)規(guī)律，讓課堂的發(fā)展更有層次和合理。接下來(lái)的環(huán)節(jié)是Furtherunderstandingofthetext。學(xué)生在這一環(huán)節(jié)里，可以用適當(dāng)?shù)男稳菰~來(lái)描述文中的主要角色。這個(gè)設(shè)計(jì)安排既可以回顧課文的主要內(nèi)容，還可以看出學(xué)生的理解是否準(zhǔn)確，很多精彩的智慧火花會(huì)在這一刻出現(xiàn)；這樣安排的另一目的是為下一課時(shí)Grammar部分作準(zhǔn)備。Consolidationandconclusion指導(dǎo)學(xué)生完成課文后的Scanning部分的其他練習(xí)。Post-reading安排學(xué)生討論：Whatotheroperashaveyoueverheardof?Whichoneisyourfavorite?Whichcharacterimpressedyoumost?Why?同時(shí)推薦學(xué)生閱讀補(bǔ)充材料：見(jiàn)鏈接4[鏈接1]說(shuō)明：對(duì)課文背景知識(shí)的介紹。thePhantomoftheopera

故事一開(kāi)始是一場(chǎng)拍賣會(huì)，其中一只八音盒使老年的拉包爾回到了過(guò)去：當(dāng)時(shí)青年拉包爾是歌劇院的出資人，新女歌劇演員克里斯汀與他相愛(ài)，一個(gè)神秘的聲音將克里斯汀帶到劇院下面地下湖的幽靈的巢穴，幽靈愛(ài)上了她，他開(kāi)始教她聲樂(lè)，并為了讓劇院使用克里斯汀上演主角，他甚至用恐怖的手段來(lái)達(dá)到目的。

但當(dāng)它發(fā)現(xiàn)拉包爾和克里斯汀的相愛(ài)時(shí)，它試圖阻止這一切，當(dāng)他失敗時(shí)，他在最后的演出后，劫持了克里斯汀，但拉烏爾緊緊追趕到地下湖，但幽靈擒獲了拉包爾，用他的生命來(lái)要挾克里斯汀，克里斯汀勇敢面對(duì)了幽靈提出的可怕選擇。幽靈終于絕望了，他放他倆離去，自己卻柔聲地對(duì)著八音盒唱起了歌，八音盒開(kāi)始神奇地轉(zhuǎn)動(dòng)起來(lái)......，最后當(dāng)人們追來(lái)時(shí)，他已經(jīng)消失，只在座位上留下下一個(gè)白色的面具。

[鏈接2]說(shuō)明：ThePhantomoftheOpera歌詞欣賞ABeneaththeoperahouseIknowit’stherehe’swithmeonthestageHe’severywhereandwhenmysongbeginsIalwaysfindaphantomoftheoperaisthereinsidemymindSingonceagainwithmeourstrangeduetMypoweroveryoushowsstrongeryetYougiveyourlovetomeforloveisblindThephantomoftheoperaisnowyourmastermindThosewhohaveseenyourfaceDrawbackinfearIamthemaskyouwearIt’smetheyhearYourspirittouchmyvoiceinonecombinedThephantomoftheoperaisthereinsidemymind[鏈接3]說(shuō)明：本部分建議采用任務(wù)型閱讀教學(xué)方法。通過(guò)略讀、掃讀、細(xì)讀等不同手段來(lái)提高學(xué)生的閱讀理解能力，從而培養(yǎng)學(xué)生的閱讀技巧。TeachingproceduresStepOneStudentsreport:IntroductiontoafamousmusicianPresentingthestudentssomeposterswhileenjoyingthemusicandsongfromtheoperaAskthestudentstosharewitheachothertheirfeelings.StepTwoSkimmingSkimthetextanddoEXA.B，atthesametimelearnaboutthenewwordsinthissection.QuestionsforthestudentstoconsiderandanswerWhatdoyouknowabout…?Whendidthishappen?Doyouthinkthestoryistrueornot?WhatdoyouthinkthePhantomis,amanorananimal?Whydoyousayso?UseonewordtodescribethePhantom.Scanning1.TrueorFalseexerciseonP.5教師在進(jìn)行這一部分練習(xí)時(shí)，不光只是帶領(lǐng)學(xué)生練習(xí)，更重要的是要通過(guò)設(shè)問(wèn)引領(lǐng)學(xué)生進(jìn)入課文。如：Fromthetext,weknowthePhantomwasnotbornonanisland,butlivedthere.Butwhereistheisland?ThePhantom’smotherwascrueltohim.Why?Asweallknow,motheristhepersonthatistheonewholovestheirkidsthemost.HowcomethePhantom’smotherwascrueltohim.Doyouthinkthatsheshouldbeblamedordoyouthinkshewasnotagoodmother?AsweknowthePhantomwasaverycruelandcold-bloodedperson,what’simportant,hewaslovingChristineandwantedherforhimself.RaoulsavedChristinefromthePhantom,whatdoesthatshowus?Asweknow,thePhantomdidn’tkillChristineandRaoul,whathappenedthen?Howdidthathappen?WheredidthePhantomgointheend?通過(guò)這樣的討論，我們可以讓學(xué)生在考慮問(wèn)題和閱讀課文的時(shí)候，將對(duì)于課文的理解立體起來(lái)，不但看到了表面的一些東西，更有助于走入故事各主人公的內(nèi)心世界，設(shè)身處地地站在主人公的位置考慮問(wèn)題，從而加深對(duì)于課文的理解。Readandthink這部分的練習(xí)主要是對(duì)于課文細(xì)節(jié)的把握，教師依然可以采取師生互動(dòng)的方式進(jìn)行。WhatwasthePhantom’smother’sreactionwhenshesawheruglyson?Howuglywashe?WhydidthePhantomstayoutofhersight?HowcouldthePhantommakehimselfsostrong?Whydidhemakehimselfstrong?WhichsentencesshowthatthePhantomwasreallyalonelyman?Furtherunderstandingofthetext這一部分是教師引領(lǐng)學(xué)生在進(jìn)行了以上對(duì)于課文的整體理解以及細(xì)節(jié)討論的基礎(chǔ)上，通過(guò)思考和小組討論，用他們所知道的形容詞來(lái)描述故事中的主人公。ThePhantom:ugly,strong,wonderful(voice),cruel,lonely…Christine:beautiful,lovely,clever,kind-hearted…Raoul:handsome,devoted,brave,responsible…Managers:…FinishdoingtherestoftheexerciseintheReadingpart.Questionsforfurtherthinking:Whatotheroperashaveyoueverheardof?Whichoneisyourfavorite?Whichcharacterimpressedyoumost?Why?6.Assignment:Readthesupplementaryexercisetoknowmoreaboutoperas.見(jiàn)鏈接4。[鏈接4]說(shuō)明：關(guān)于opera的補(bǔ)充閱讀材料，拓展學(xué)生的閱讀能力，并加深對(duì)課文主題的理解。TheLifeofLudwigvanBeethovenMozart’ssuccesswithoperaincitedahostofimitators;butofthatperiodonlyBeethoven’s"Fidelio,"stilloccasionallyheard,hassurvived.ThedetailsofBeethoven’slife,likethoseofMozart’s,arefamiliar.Thecomposercameofamusicalfamily;forhisgrandfatherwasKapellmeister,andhisfather,atenorsinger,filledasmallmusicalpostatCologne.HewasbornatBonninDecember1770.Hisfatherhadbecomeaconfirmedtoper,andtheboysufferedinconsequence.ThefatherhadheardoftheprodigyMozart,andthemoneyhehadbroughthisparents;andheconceivedthenotionofexploitinghisownsoninthesameway.Thushekepthimslavingatthepiano,andthrashedhimwhenhedidnotpractiselongenough.Therearestoriesofthesoncominghomelateanddraggingthelittlefellowoutofbedtogotothekeyboard.Thisdegradedspecimenendedhislifebyhisownhand,butnotbeforehisconducthadcastagloomoverhisson’syouthwhichgreatlyaffectedhisafteryears.BeethovenseemstohavehadnoregularcourseofinstructioninBonn,butwhenhewasseventeenhewenttoViennaandhadsomelessonsfromMozart.Lateron,hehadlessonsfromHaydn;butthetwodidnotgetonwelltogether,theirnaturesbeingtotallydifferent.BeethovenfinallyleftBonnwhenhewastwenty-two,andsettledinVienna,wherehegraduallymadeanameforhimself.Hebegantoappearinpublicasaplayer,andin1796playedbeforetheKinginBerlin;buthesoongaveupplayingforcomposing.Hisfirstworkswereroundlyabusedbythecritics--evensomethatwenowregardasamonghisgreatestcreations.WebersaidoftheSeventhSymphonythatitscomposerwas"quiteripeforthemadhouse."Then,whendeafnesscameuponhim--thetragedyofhislife--thesapientfellowsfoundthatthe"horrorsofsound"inhisworkswereduetothefactthathecouldnothearthemhimself.When"Fidelio"wasfirstperformed,itwassaidthatneverbeforehadanythingsoincoherent,coarse,wild,andear-splittingbeenheard!Ofcourse,thedeafnesshadnothingtodowithit.Beethoven,likeallreallygreatcomposers,wassimplybeforehistime.ButthedeafnesshadagreatdealtodowithBeethovenhimself.Itturnedhimintoawretchedmisanthrope,andwell-nighcausedhimtoendhislife.Indirectlyitpreventedhimfrommarrying.Hegotaspecialkindofpianoconstructed,withextrastringsandaresonator,andonthishewouldthrashoutinawildwaythethemesthatwerealwayscoursingthroughhisbrain.Inthetheatrehehadtolayhisearsclosetotheorchestrainordertounderstandtheactors,andthehighernotesoftheinstrumentsandvoiceshecouldnothearatallwhenonlyalittledistanceaway."Fidelio"wasbegunin1804andtheaffliction,firstevidencedin1798,hadbecomeacutefouryearsbeforethat.Weneednotdwellonit.InallmusicalbiographythereisnothingsoterribletoreadaboutasBeethoven’sdeafness."IfIwereofanyotherprofession!"heusedtowail.Fromthetimeofhisdeafnessonwards,hewasconstantlyaddingtotheworld’sstoresofthebestinmusic.Buthewasunhappyandworriedallthewhile.Wagnersaidofhimthathefacedtheworldinanalmostdefianttemperament,andkeptanalmostsavageindependence.Hewasinperpetualtroubleaboutlodgingsandservants."Thecook’soffagain,"wasafrequentpieceofdomesticinformationtohisfriends.Oncehedeterminedtobecookhimself,andsentoutinvitationstosharei