Teach english new edition r

Personalisation 
(where students use language they have studied to talk about 
themselves, or to make their own original dialogues, often as the third or production 
phase of PPP) provides a bridge between the study and activate stages. But more genuinely 
activate exercises include role-plays (where students act out, as realistically as possible, an 
exchange between a travel agent and a client, for example), advertisement design (where 
students write and then record a radio commercial, for example), debates and discussions, 
Describe and draw
(where one student tries to get another to draw a picture w ithout that 
other student being able to see the original), story and poem writing, email exchanges, 
writing in groups, etc.
Activation is not just about producing language in speech and writing, however. When 
students read or listen for pleasure (or when they are listening or reading to understand the 
message rather than thinking about the form of the language they are seeing or hearing), 
they are involved in language activation. They are using all and any language at their 
disposal to comprehend the reading or listening text.
But, of course, students may, once they have been through an activation stage, go 
back to what they have said or to the text they have read, and focus upon its construction. 
Activation can be a prelude to study, rather than necessarily the other way round.
All three ESA elements need to be present in m ost lessons or teaching sequences. Whatever 
the main focus of the lesson (e.g. a gram m ar topic or a reading skills exercise), students 
always need to be 
engaged
, if possible, so that they can get the m axim um benefit from the 
learning experience. Most students will readily appreciate opportunities to activate their 
language knowledge, but for many of them the inclusion of study elements, however small 
or of short duration these are, will persuade them of the usefulness of the lesson.
Some events, for example a