TPRS in a Year - Taalleermethoden

of eye contact, and stay on the structure until you sense that the students arecomfortable with it.Ask the boy to repeat the line to the girl again, with feeling. This keeps the interesthigh. Nobody will be watching the clock to see how long it is before class endswhen you do this.Next, moving to the next line, write the new expression on the board with itstranslation:Chère mademoiselle/Dear missthen sign and gesture itChère/Dear – hands clasped together in front of heartMademoiselle/Miss – point to your Cosette.Two important points:1. remember to point and pause at the words in their written form on the boardto reinforce everything going on2. the kids suggest the signs, creating ownershipThen, as before, say each expression while they sign it. Once they show that theyknow the words “chère” and “mademoiselle”, combine the two, eyes open, eyesclosed, and just play the game of signing the words.Then, returning to the acting space, ask the boy to say the line to the girl, withfeeling. If the boy balks, you have chosen the wrong actor, and you have to getbehind the boy and lip-synch the words.Again, ask the kids what the words mean in English after you say them. Praise themfor knowing them. Take every opportunity to give them reason to be confident.Then circle this set of words:Classe, chère mademoiselle?/Class, dear miss? (yes)Classe, chère mademoiselle ou cher monsieur?/Class, dear miss or dear sir? (chère mademoiselle)Classe, cher monsieur?/Class, dear sir? (no)Correcte, classe, pas cher monsieur! Chère mademoiselle!/Correct, class, not dear sir! dear miss!(yes)Classe, chère amie?/Class, dear friend? (no)etc.So the process of circling a song is the same as circling anything else. The “musthave” ingredients for successful circling are slow, personalized, comprehensible,repetitive language that is interesting and carries meaning. All those ingredients arepresent above.