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The Silent way. (Caleb Gattegno)



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Методика УУМ

The Silent way. (Caleb Gattegno)
Characterized by a problem-solving approach.
Develops independence and autonomy and encourages students to cooperate with each other.
Learning is facilitated if the learner discovers or creates rather than remembers and repeats what is to be learned.
Learning is facilitated by accompanying (mediating) physical objects).
Learning is facilitated by problem solving the material to be learned.
Typical techniques
Sound-Colour Chart: The teacher refers students to a color-coded wall chart depicting individual sounds in the target language - students use this to point out and build words with correct pronunciation.
Teacher's Silence: Teacher is generally silent, only giving help when it is absolutely necessary.
Peer Correction: Students encouraged to help each other in a cooperative and not competitive spirit.
Self-correction Gestures: Teacher uses hands to indicate that something is incorrect or needs changing - e.g.. using fingers as words then touching the finger/word that is in need of correction.
Word Chart: Words are depicted on charts, the sounds in each word corresponding in colour to the Sound-Colour Chart described above - students use this to build sentences.
Fidel Chart: A chart that is color-coded according to the sound-colour chart but includes the various English spellings so that they can be directly related to actual sounds.


Total Physical Response

The founder of the Total Physical Response (TPR), James Asher (1977), noted that children, in learning their first language, appear to do a lot of listening before they speak, and that their listening is accompanied by physical responses (reaching, grabbing, moving, looking, and so forth). He also gave some attention to right-brain learning. According to Asher, motor activity is a right-brain function that should precede left-brain language processing. Asher was also convinced that language classes were often the locus of too much anxiety and wished to devise a method that was as stress-free as possible, where learners would not feel overly self-conscious and defensive. The TPR classroom, then, was one in which students did a great deal of listening and acting. The teacher was very directive in orchestrating a performance: "The instructor is the director of a stage play in which the students are the actors" (Asher 1977: 43).


A typical TPR class utilized the imperative mood, even at more advanced proficiency levels. Commands were an easy way to get learners to move about and to loosen up: "Open the window," "Close the door," "Stand up," "Sit down," "Pick up the book," "Give it to John," and so on. No verbal response was necessary. More complex syntax was incorporated into the imperative: "Draw a rectangle on the chalkboard." "Walk quickly to the door and hit it." Humor was easy to introduce: "Walk slowly to the window and jump." "Put your toothbrush in your book" (Asher 1977: 55). Interrogates were also easily dealt with: "Where is the book?" "Who is John?" (students point to the book or to John). Eventually students, one by one, presumably felt comfortable enough to venture verbal responses to questions, then to ask questions themselves, and the process continued.
Like other methods discussed here, TPR—as a method—had its limitations. It was especially effective in the beginning levels of language proficiency, but lost its distinctiveness as learners advanced in their competence. But today TPR is used more as a type of classroom activity, which is a more useful way to view it. Many successful communicative, interactive classrooms utilize TPR activities to provide both auditory input and physical activity.

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