Toefl Exercise 2

7.  It is not clear when ... although there a           many different theories.
 A.  dinosours becoming extinct
 B.  dinosours extinction
 C.  dinosours became extinct
 D.  did dinosours became extinct
The answer : C, because if the first sentence using simple present tense, so the second sentence using past tense.

8. The professor decided  to allow  the
                                                    A
student to take the examination a second
                      B.                                          C
time because the low scores.
              D
 A. to allow           
 B. second 
 C. take
 D. because
The answer : D, because after word   because   is noun (phrase). So, we must using because of + noun (phrase).

 9. If the drivers own car ... damaged, the favorite probably would have won the race.
 A. had not been   
 B. not     
 C. no had been
 D. has no be
The answer : D, because using the present perfect tense, so using has no be. be is using because meet damaged (adj).

 10. Having withdrawn from the race, the
           A
candidate decided supporting his opponent
                                          B
despite the opponents representing the
     C
other political party.
   D      
 A. having             
 B. supporting       
 C. despite
 D. other
The answer : A, because, if sentence begins with [verb + ing] (gerund), the verb must also be singular and using singular verb. But, the sentence above does not using verb.

 11.  The soldiers were unable to determine where ...
 A. the jeep had been left
 B. had been leave the jeep
 C. had the jeep been left
 D. had the jeep left
The answer : A, because, if the first sentence using past tense, so the second sentence using past perfect (S + had been + past participle)

 12. The manager was angry because somebody...
 A. had allowed the photographers to enter the bulding
 B. had let the photographers to enter the building
 C. permitting the photographers enter the building
 D. the photographers let into the building
The answer : A, because, if the first sentence using past tense, so the second sentence using past perfect (S + had + past participle)

 13. The comite members resented ... of the meeting
A. The president that he did not tell them
B. the president not to inform them
C. the presidents not informing them
D. that the president had failed informing themselves
The Answer : D, because the word "resent" is a transitive verb, followed by a verb noun and after the verb "resent" there must be a noun phrase or a clause. And then  after a verb that requires a gerund in the subordinate clause, any noun must be possessive.  Informing is a gerund because of "resented".


 14. ... did arthur realize that there was danger
 A. Upon entering the store

 B. when he entered the store

 C. after he had entered the store

 D. only after entering the store

The Answer : B , because the anwer B using past tense and  " did " usally use in the ast tense.

Speaking and Listening through Drama

Speaking and Listening through Drama

Part One: How to Approach Speaking and Listening through Drama

How to Begin with Teacher in Role

1.  Why use teacher in role?

The most important resource you have as a teacher when using drama is yourself. Learning demands intervention from the teacher to structure, direct and influence the learning of the pupils. The teaching technique that is used in speaking and listening through drama, namely teacher in role (TiR). Teacher in role technique is a role teacher becomes ‘interesting’ to the children, so that there are less control problems because they become engaged. Many times we have watched trainee teachers with a class of children struggling to get attention when giving instructions in traditional teacher mode. Yet, as soon as they move into role, they obtain that attention more effectively.

The class were calling out and not listening properly. She was talking over them and trying to teach without getting their full attention. Then she explained that they could ask questions of one of the roles from the story and that she was going to become that role when she sat down. She picked up a ribbon with a ring threaded on it and put it round her neck as the role signifier. When she sat down as Hermia, they were focused entirely on her and were listening very closely, putting hands up to ask questions and taking turns in a very orderly way. They were interested in her problem, which was her father’s insistence on deciding whom she should marry. The trainee was not doing anything different apart from using role and committing to it very strongly. She looked far more comfortable.

You are not effective as a teacher if you do not at some point engage fully with the drama yourself by using TiR. It is far more effective for the teacher to engage with the drama form as artist and be part of the creative act. Teacher can read the text, the student listen. After that, teacher can stop  read the text and give question about the text. when the class have speculated enough, they will have questions to ask Hermia and you have an interesting way to begin to tell them the basic situation at the beginning of text of drama that you read. You can then answer the questions by playing the role of Hermia based on the way that the character is in the play. This can show important elements of how the children see the text, what their comprehension of it is. It provides a more stimulating way of approaching comprehension than questions from the teacher. This is partly due to the shift in tense. We are talking ‘as if’ it is happening now as against the past tense, which so often dominates classroom talk.

2. Teacher as storyteller

The teacher’s role will be to communicate the text in a lively and interesting manner, holding their attention and engaging their imagination. The pupil’s role will be dominated by listening and this will be interlaced with questioning, responding and interpreting the meaning and sense of the fiction. The critical questions will be around whether the content of the story interests the class and holds their attention, whether the delivery of the teacher, i.e. voice, intonation and interpretive skills, are good and, where relevant, whether accompanying illustrations have impact and resonance.

A class can take part in a drama where all of them know the story, where none of them knows the story, or a mixture of both. As long as some fundamental planning strategies are observed, knowledge of the story is not a barrier to participation. Broadly these pre-requisites are:

·      An awareness of those elements of the story that will not be changed – and agreements about these must be made with the class at the beginning or during the drama, in other words, the non-negotiable elements of the narrative.

·        A willingness to move away from the fixed narrative to an exploration of the narrative.

·     If narrative consists of roles, fictional contexts, the use of symbols and events then the teacher needs to hold some of those elements true and consistent with the story so far. 

3. Preparation for the role

Preparation for the role begin by asking the class out of role what they want to ask the child and the order of those questions. This not only provides the teacher with some security in knowing what is going to be asked, at least initially, but also allows some minutes to refine the planning, so that the teacher can be specific in answering their questions. The questions will, to a certain extent, be predictable because they are largely generated by the circumstances of the drama so far and the role the class has taken, which will be that of anxious parents.

Before the drama session, decide what attitude you are going to take when questioned by the class. You are going to be telling them a story but it will be as if they had just met you and it will not be the voice of the narrator re-telling someone else’s story but in the present tense as if it is happening now. Stop and come out of role and discuss what they have found out. Negotiate what they need to ask next. At this point some questions about what the little boy saw will emerge. Then go back into role.

4. Teaching from within - Moving in and out of role – managing the drama and reflecting on it

We are describing using role as ‘teaching from within’ because the teacher enters the drama world, but it is very important to step out of the fiction often and not let it run away with itself. When using TiR, the teacher is operating as a manager as well as participant and must spend as much time stopping the drama and moving out of role (OoR) to reflect on what is happening and give the pupils a chance to think through what they know and what they want to do.

We are making a distinction between role behaviour and acting. Both depend on appropriate signing, but whereas the actor must give the non-participant audience the bulk of the signing, a teacher using role can get away with a committed minimum. OoR is very important as a way of negotiating the intent and meaning of the role and is the way the teacher can best control and manage learning. For the class are both an audience and observers of their own activities. When the drama is stopped they can describe, recap, interpret, think through, consider next moves and understand what is the significance of their work.

5. The requirements of working in role

The teacher, working in this way, is an important stimulus for the learning. It is not necessary to use role throughout the piece of work. It can be used judiciously to focus work at strategic points or to challenge particular aspects of the children’s perceptions whilst other techniques and conventions are used to support the work and develop it. But that is only most effective if the teacher is skilled in genuinely responding to the contributions of the class members at moments where they take the initiative and make suggestions, those critical incidents where they are teaching themselves and each other.

How should a teacher using role relate to his or her class/audience? One of the key issues is seeing them as co-creators. If sufficient ownership is not given to the class, it is possible to turn them into the wrong sort of audience, giving them too passive a role. When they are given opportunities to influence the outcomes, to make decisions, the drama becomes partly theirs.

6. Disturbing the class productively - Discovery/uncovering – challenge and focus

The teacher’s function is to provide challenge and stimulus, to give problems and issues for the class to have to deal with. The drama is developed through a set of activities that build the class role, which is usually a corporate role. We have to help them into the drama, making them comfortable, and then disturb that comfort productively. The fact that, as in any good play, the class discover things as they go along provides the possibility of productive tension.

The key is how children are given information. They can be handed it on a plate or they can be given opportunities to uncover/discover/be surprised by information. In this last case there is much more involvement and ownership, especially if they have to work to get the information from someone who is reluctant to give it. And It is important to withhold information early on, as any good playwright will do. Planning the ‘how’ and the ‘when’ of strategies is all-important here.

7. Responding to your class - The art of authentic dialogue – needing to listen – two-way responses

The class working as a community is the key to the use of drama as a teaching method. This is another reason that the class have more ownership. This community is made most effective by the teacher participating in role. The art of teaching and learning should be a synthesis from a dialectical approach. If a teacher runs drama without using TiR there tends to be a lack of dialectic because the teacher produces the structure that the children engage with, but the teacher can only manipulate it from outside that structure. A drama technique can be used to help them define possible reasons.

The ‘play’ we are creating is a joint enterprise and, when the beginnings of a role are in place and we have established the givens, the class will know what we are creating and why and can develop that role by the way they respond and the way they see it. TiR creates an ownership dynamic that is attractive to the participants.

8. The teacher–taught relationship

In all teaching situations there exists a power relationship between the learners and the teacher. The learners are bound together as a group merely by being the learners and, of course, as there are more of them than there are of you, they hold the power. In drama this power relationship is made overt. We must start from the point of view that if the class do not want the drama to work then it will not.

What we have to counter this with is a methodology that, if set up right and handled judiciously, offers interest and engagement to hold the class’s attention. So much so that if a minority of the class start to undermine it, the committed will demand they stop; the disrupters are seen as spoiling the enjoyment and it is not unusual to see the majority let them know this fact.