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Нетрадиционный урок английского языка в 10 классе по теме

Bernard Shaw: World of Pygmalion”

Александрова Тамара Николаевна, учитель английского языка

Голота Татьяна Сергеевна, учитель английского языка

Цели урока:


- формирование лингвострановедческой компетенции учащихся путем ознакомления с английской литературой и наследием страны изучаемого языка;

-познакомить учащихся со страницами жизни и творчества Б.Шоу, внесшего большой вклад в литературный процесс Англии;

-начинать и вести диалог, соблюдая нормы речевого этикета;

- описывать события и явления, выражать свое отношение к увиденному и услышанному, давать краткую характеристику.


-формирование умения организовывать учебное сотрудничество, слушать партнера, формулировать, аргументировать и отстаивать свое мнение;

-формирование умения адекватно и осознанно использовать речевые средства в соответствии с задачей коммуникации;

-осуществление регулятивных действий самонаблюдения, самоконтроля, самооценки в процессе коммуникативной деятельности на иностранном языке


- формирование осознанного, уважительного отношения к культуре и языку изучаемой страны;

-формирование коммуникативной компетенции в общении и сотрудничестве;

-формирование мотивации изучения иностранных языков;

-стремление к совершенствованию речевой культуры в целом

-развитие умения выражать себя в доступных видах творческой деятельности

Ход урока:

Teacher: Good afternoon, dear boys and girls! Today we have an unusual lesson. We will have a literary party. It is a special party because we have invited an outstanding British playwright George Bernard Shaw. Let us greet him.

Shaw: Dear friends! I am glad to see you and ready to answer your questions!

(Вопросы учеников):

Question 1: Mr. Shaw, what can you tell us about your life?

Shaw: I was born in Dublin, Ireland, on the 26 of July 1856. My family was very poor. I even had to leave school at the age of fifteen. I became a cashier in a Dublin land agency. I hated my job and after I had worked for five years, I gave it up and left for London.

Question 2: What did you do in London?

Shaw: I tried to make a living by writing. I wrote four novels, which were published in magazines but they were not a success. From 1885 to 1898 I wrote a lot as a critic of art, music, literature and drama and was very popular with the readers.

Question 3: Mr. Shaw, how did you become a playwright?

Shaw: I became a playwright by chance. One day I met a famous English theatre critic William Archer at the British Museum Library. We discussed the situation in the British theatre and lack of good modern plays. In addition, I decided to try my hand at writing a play for the theatre. My first play was “Widowers' Houses”.

Question 4: Your style of writing is always optimistic, isn’t it?

Shaw: I think, if I make you laugh at yourself, remember that my business as a classic writer of comedies is 'to chasten morals with ridicule'; and if I sometimes make you feel like a fool, remember that I have by the same action cured your folly, just as the dentist cures your toothache by pulling out your tooth. Moreover, I never do it without giving you plenty of laughing gas.

Question 5: What is your attitude to the theatre, Mr. Shaw?

Shaw: As for me, theatre is a platform for the communication of ideas. Everything that happens in the world around me I put in the form of books and plays. Read and watch them, it is my true story.

Teacher: Mr. Shaw, we have a surprise for you! We have invited the best actors of our school theatre to role-play a scene from your most popular play “Pygmalion”.

(двое учащихся рассказывают об истории создания пьесы и главных персонажах):

Pupil 1: The title of the play comes from a Greek myth. Pygmalion was a mythological character who dabbled in sculpture. He made a statue of his ideal woman - Galatea. It was so beautiful that he asked the Gods to give it life. His wish was granted.

Shaw: You are right. I tried to give a modern interpretation of this theme.

Pupil 2: Two old gentlemen meet in the rain one night at Covent Garden. Professor Higgins is a scientist of phonetics, and Colonel Pickering is a linguist of Indian dialects. The first bets the other that he can, with his knowledge of phonetics, convince high London society that, in a matter of months, he will be able to transform the cockney speaking Covent Garden flower girl, Eliza Doolittle, into a woman as poised and well-spoken as a duchess.

Pupil 1: Eliza hears their conversation and is impressed. The next morning, the girl appears at his laboratory on Wimpole Street to ask for speech lessons, offering to pay a shilling, so that she may speak properly enough to work in a flower shop. . Higgins makes merciless fun of her, but is seduced by the idea of working his magic on her. Pickering goads him on by agreeing to cover the costs of the experiment if Higgins can pass Eliza off as a duchess at an ambassador's garden party. The challenge is taken, and Higgins starts by having his housekeeper bathe Eliza and give her new clothes.

Pupil 2: For a number of months, Higgins trains Eliza to speak properly. Two trials for Eliza follow. The first occurs at Higgins' mother's home, where Eliza is introduced to the Eynsford Hills, a trio of mother, daughter, and son. The son Freddy is very attracted to her, and further taken with what he thinks is her affected "small talk" when she slips into cockney. Mrs. Higgins worries that the experiment will lead to problems once it is ended, but Higgins and Pickering are too absorbed in their game to take heed.

(Учащиеся разыгрывают сценку «В гостиной у Миссис Хиггинс»:


THE PARLOR-MAID [opening the door] Miss Doolittle. [She withdraws].

HIGGINS [rising hastily and running to Mrs. Higgins] Here she is, mother. [He stands on tiptoe and makes signs over his mother's head to Eliza to indicate to her which lady is her hostess].

Eliza, who is exquisitely dressed, produces an impression of such remarkable distinction and beauty as she enters that they all rise, quite fluttered. Guided by Higgins's signals, she comes to Mrs. Higgins with studied grace.

LIZA [speaking with pedantic correctness of pronunciation and great beauty of tone] How do you do, Mrs. Higgins? [She gasps slightly in making sure of the H in Higgins, but is quite successful]. Mr. Higgins told me I might come.

MRS. HIGGINS [cordially] Quite ""> PICKERING. How do you do, Miss Doolittle?

LIZA [shaking hands with him] Colonel Pickering, is it not?

MRS. EYNSFORD HILL. I feel sure we have met before, Miss Doolittle. I remember your eyes.

LIZA. How do you do? [She sits down on the ottoman gracefully in the place just left vacant by Higgins].

MRS. EYNSFORD HILL [introducing] My daughter Clara.

LIZA. How do you do?

CLARA [impulsively] How do you do? [She sits down on the ottoman beside Eliza, devouring her with her eyes].

FREDDY [coming to their side of the ottoman] I’ve certainly had the pleasure.

MRS. EYNSFORD HILL [introducing] My son Freddy.

LIZA. How do you do?

Freddy bows and sits down in the Elizabethan chair, infatuated.

HIGGINS [suddenly] By George, yes: it all comes back to me! [They stare at him]. Covent Garden! [Lamentably] What a damned thing!

MRS. HIGGINS. Henry, please! [He is about to sit on the edge of the table]. Don’t sit on my writing-table: you’ll break it.

HIGGINS [sulkily] Sorry.

He goes to the divan, stumbling into the fender and over the fire-irons on his way; extricating himself with muttered imprecations; and finishing his disastrous journey by throwing himself so impatiently on the divan that he almost breaks it. Mrs. Higgins looks at him, but controls herself and says nothing.

A long and painful pause ensues.

MRS. HIGGINS [at last, conversationally] Will it rain, do you think?

LIZA. The shallow depression in the west of these islands is likely to move slowly in an easterly direction. There are no indications of any great change in the barometrical situation.

FREDDY. Ha! Ha! How awfully funny!

LIZA. What is wrong with that, young man? I bet I got it right.

FREDDY. Killing!

MRS. EYNSFORD HILL. I'm sure I hope it won’t turn cold. There’s so much influenza about. It runs right through our whole family regularly every spring.

LIZA [darkly] My aunt died of influenza: so they said.

MRS. EYNSFORD HILL [clicks her tongue sympathetically]!!!

LIZA [in the same tragic tone] But it's my belief they done the old woman in.

MRS. HIGGINS [puzzled] Done her in?

LIZA. Y-e-e-e-es, Lord love you! Why should she die of influenza? She comes through diphtheria right enough the year before. I saw her with my own eyes. Fairly blue with it, she was. They all thought she was dead; but my father he kept ladling gin down her throat till she came to so sudden that she bit the bowl off the spoon.

MRS. EYNSFORD HILL [startled] Dear me!

LIZA [piling up the indictment] What call would a woman with that strength in her have to die of influenza? What become of her new straw hat that should have come to me? Somebody pinched it; and what I say is, them as pinched it done her in.

MRS. EYNSFORD HILL. What does doing her in mean?

HIGGINS [hastily] Oh, that’s the new small talk. To do a person in means to kill them.

MRS. EYNSFORD HILL [to Eliza, horrified] You surely don’t believe that your aunt was killed?

LIZA. Do I not! Them she lived with would have killed her for a hat-pin, let alone a hat.

MRS. EYNSFORD HILL. But it can’t have been right for your father to pour spirits down her throat like that. It might have killed her.

LIZA. Not her. Gin was mother's milk to her. Besides, he'd poured so much down his own throat that he knew the good of it.

MRS. EYNSFORD HILL. Do you mean that he drank?

LIZA. Drank! My word! Something chronic.

MRS. EYNSFORD HILL. How dreadful for you!

LIZA. Not a bit. It never did him no harm what I could see. But then he did not keep it up regular. [Cheerfully] On the burst, as you might say, from time to time. And always more agreeable when he had a drop in. When he was out of work, my mother used to give him four pence and tell him to go out and not come back until he'd drunk himself cheerful and loving-like. There’s lots of women has to make their husbands drunk to make them fit to live with. [Now quite at her ease] You see, it's like this. If a man has a bit of a conscience, it always takes him when he's sober; and then it makes him low-spirited. A drop of booze just takes that off and makes him happy. [To Freddy, who is in convulsions of suppressed laughter] Here! What are you sniggering at?

FREDDY. The new small talk. You do it so awfully well.

LIZA. If I was doing it proper, what was you laughing at? [To Higgins] Have I said anything I oughtn’t?

MRS. HIGGINS [interposing] Not at all, Miss Doolittle.

LIZA. Well, that’s a mercy, anyhow. [Expansively] What I always say is—

HIGGINS [rising and looking at his watch] Ahem!

LIZA [looking round at him; taking the hint; and rising] Well: I must go. [They all rise. Freddy goes to the door]. So pleased to have met you. Good-bye. [She shakes hands with Mrs. Higgins].

MRS. HIGGINS. Good-bye.

LIZA. Good-bye, Colonel Pickering.

PICKERING. Good-bye, Miss Doolittle. [They shake hands].

LIZA [nodding to the others] Good-bye, all.

FREDDY [opening the door for her] Are you walking across the Park, Miss Doolittle? If so—

LIZA. Walk! Not bloody likely. [Sensation]. I am going in a taxi. [She goes out].

Pupil 1: A second trial, which takes place some months later at an ambassador's party (and which is not actually staged), is a resounding success. The wager is definitely won, but Higgins and Pickering are now bored with the project, which causes Eliza to be hurt. She throws Higgins' slippers at him in a rage because she does not know what is to become of her, thereby bewildering him. He suggests she marry somebody. She returns him the hired jewelry, and he accuses her of ingratitude.

Teacher: But what is to become of Eliza now when the game is over?

(учащиеся предлагают свои ответы)


Opinion 1: I think, Eliza and Higgins should marry. They spent a lot of time together and they may have fallen in love.

Opinion 2: To my mind, Eliza, having learnt some manners and good pronunciation, might open her own flower shop and become a prosperous and successful young lady.

Teacher: The following morning, Higgins rushes to his mother, in a panic because Eliza has run away. On his tail is Eliza's father, now unhappily rich from the trust of a deceased millionaire who took to heart Higgins' recommendation that Doolittle was England's "most original moralist." Mrs. Higgins, who has been hiding Eliza upstairs all along, chides the two of them for playing with the girl's affections. When she enters, Eliza thanks Pickering for always treating her like a lady, but threatens Higgins that she will go work with his rival phonetician, Nepommuck. The outraged Higgins cannot help but start to admire her. As Eliza leaves for her father's wedding, Higgins shouts out a few errands for her to run, assuming that she will return to him at Wimpole Street. Eliza, who has a lovelorn sweetheart in Freddy, and the wherewithal to pass as a duchess, never makes it clear whether she will or not.

The play is without an ending. Mr. Shaw, could you tell us why your play has no ending?

Shaw: I am a realist and I know that in England of these days there would be nothing for Eliza to do except to open a flower shop and marry Freddy Eynsford Hill who was in love with her. Therefore, I thought it is best not to go on with the story. Indeed, I could not have invented another ending. If I had indulged in the usual successful conclusion and Higgins had married Eliza, the play would have become an ordinary fairy-tale story: a rich man picks up a pretty girl from the gutter, and having dressed her up, marries her. This would have been too common, and perhaps too selfish on the part of Higgins. Higgins is old enough to be Eliza's father. He loves her only as his pupil. However, he loves his profession as an artist. He has created a new Eliza: she is the work of Pygmalion.

Teacher: Our party is ending. Thank you, Mr. Shaw. Thank you, boys and girls for your work and wonderful performance.


Teacher: And now I would like you to divide into three groups. Each group will express what they think of today’s lesson. The first group will speak only about positive feelings, the second group will say what they didn’t like about the lesson and the third one will present us only facts without any feelings or emotions. You may use phrases that you see on the blackboard.

(Group 1: I really liked it because…./ It was great because…

Group 2: It’s frustrating because…/I feel a bit dissatisfied because…

Group 3: The fact is that…/ It’s obvious that…)

Hope to meet again!

Краткое описание документа:
Нетрадиционный урок - литературная гостиная в 10 классе, посвященный драматургу Бернарду Шоу. Предмет - англо-американская литература в школе с углублённым изучением английского языкаЦель такого урока - формирование лингвострановедческой и коммуникативной компетенций  обучающихся в общении и сотрудничестве, а также формирование умения адекватно и осознанно использовать речевые средства в соответствии с задачей коммуникации. При подготовке урока создавалась  мотивация  к изучению английского языка,  стремление к совершенствованию речевой культуры
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