Modern Languages - Education Scotland

Transcript

Modern Languages
Extended Reading and
Viewing
6524
February 2000
HIGHER STILL
Modern
Languages
Support Material Extended
Reading and Viewing
Support Materials
CONTENTS
Note regarding video/film recordings
Section 1: Introduction
Section 2: French
Linked texts: L’Education
The series of texts includes fiction and fact, with suggestions as to where to find
further information.
Film/text: Sac de Billes/Au revoir les enfants
The film and text are linked thematically, and allow for a variety of approaches to the
texts.
Section 3: German
Linked texts: Hamide spielt Hamide
Students may choose simply to read the book and work on the material provided, or
they might choose also to watch a film on a related theme, and study factual texts to
give a wider overview of racism and the position of immigrants in modern German
society.
Section 4: Spanish *
Film/text: Mujeres al borde de un ataque de nervios
In this approach, the film is the central focus of the Unit. The other texts relate the
film to the social context in which it was produced, and give some greater insight into
the film maker.
Section 5: Italian
Linked texts: Morte accidentale de un anarchisto
In this approach, students will look at the background to the political movements of
the seventies and eighties in Italy, find out about the author, and read extracts from a
play. At Advanced Higher, they could then study the play in more depth.
Section 6
Using TV series: Susanne, Café des rêves, Clémentine, Catrina
In this approach, students will use BBC 2 and Channel 4 programmes to provide the
viewing element, and will supplement them with a mixture of factual and fictional
texts.
* Section 4 will be distributed at a later date due to copyright difficulties.
Modern Languages Support Materials: Extended reading and viewing (Higher)
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NOTE
Showing video recordings of films to a class would be technically illegal, as this
counts as a public performance. There is however no easy way of obtaining
permission to show films.
It is acceptable to show a film which has been recorded from a broadcast, as the TV
transmitter has negotiated the rights for public performance. However, films taken
from European transmitters of course will not be sub-titled.
A film purchased from a shop or mail order can be given to students to watch
independently, as this is not a public performance, and there is no further charge
made.
Many teachers of course do show films to classes, and the film industry is aware of
this, even providing support packs to help with the exploitation of the films for
teaching purposes. The use of film in classes seems to be a very much a grey area and
teachers/lecturers should follow any existing guidelines issued by the school/college
and/ or, in the case of schools, by the local authority.
Video-cassettes of sub-titled foreign language films may be obtained from various
suppliers, including the Edinburgh and Glasgow Film Theatre shops.
J Whiting Books
46 St Olaves Road
York YO3 7AL
01904 656766
has a large catalogue of sub-titled films, and can supply a copy of any film which has
a Board of Control classification. (The catalogue gives the classification, which
allows you to match the films to the age-group you intend to show the film to.)
Grant & Cutler
55-57 Great Marlborough Street
London W1V 2AY
0171 734 2012
also sell films, but more importantly have a large list of film scripts for foreign
language films.
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SECTION 1: INTRODUCTION
The extended reading/viewing option at Higher was introduced with the aim of
broadening the options for students at this level, while still maintaining the standards
of the Higher examination. During consultation it became apparent that many
students found the book at Higher a disincentive, and there was a strong feeling that
extended reading of journalistic material, and the use of film, would allow the Higher
to appeal to a larger number of candidates. Accordingly the Arrangements document
proposed four categories of type of text which could be suitable:
• texts linked by subject matter reflecting the interests of individual candidates
• texts linked by subject matter, developing in greater depth a topic studied
• a book written for speakers of the target language
• film, video or TV viewing supported by written texts.
These categories are intended to be wide-ranging and offer opportunity rather
than be restrictive. The third category for instance is intended to allow teachers/
lecturers or lecturers and students who are happy with the existing arrangements
at Higher to continue to use the material they are already familiar with.
The first category is intended to allow teachers or lecturers and students to use
this unit as a means of developing individualised study programmes, where
students would work independently or in small groups with a greater or lesser
degree of support.
The second category is intended to allow teachers or lecturers to develop or
continue working with materials which do not necessarily fit with the prescribed
themes and topics of the Language unit, but which they have used successfully in
the past, or which they think would be of interest and use to their students.
Both the first and second categories are intended to cover a mixture of literary
styles, some journalistic, some factual, and some fictional. Some examples of the
type of texts proposed will be found later in this document.
One approach to these two categories might be to use an existing textbook and
linked cassette already in the centre. There may be a chapter tackling a theme
outside the themes and topics of Higher and this chapter could be supplemented
with appropriate viewing and fictional material, to support the development of
students’ language.
The final category was proposed with the idea of making use of the satellite and
video material which is now widespread in Scottish schools, and which has often
been found to be highly motivating, and to develop students’ language skills in a
way which the written text cannot. This has proved to be a more difficult task
than at first envisaged, due to copyright restrictions on the showing in schools or
colleges of pre-recorded video material. One way round this is to use films or
programmes which have been broadcast either as normal films/programmes, or as
school TV broadcasts.
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In the Unit Specification there are no guidelines as to the amount of text to be
studied by students, or to the number of items which should be read. Rather, it is
intended that teachers or lecturers should make their own decisions, bearing the
following criteria in mind:
•
•
•
the unit aims to develop competence in the four skills of speaking, writing,
reading and listening.
students should be prepared for the demands of both Unit and external assessment,
and should have studied a sufficient amount of text to enable them to perform well
in these assessments.
presenting students with a variety of texts in a range of styles and registers link
with their studies of their own language and should provide them with a greater
resource for the understanding and production of new texts.
Thus students should be given enough support to develop their skills in all areas for
course assessment, and should also be given enough support to enable them not only
to carry out both presentation and report, but also to be comfortable in the follow up
discussion. The texts studied should of sufficient length and complexity to allow
students to develop their extended reading and listening skills.
The following guidelines provided for each of the four categories in the Arrangements
should therefore not be seen as prescriptive, but rather as suggestions which should
provide learners with sufficient material to perform well in assessments. In later
sections, more detailed plans based on a variety of material are supplied as
exemplification, but again these should not be seen as prescriptive, but rather as a
template which should be adjusted to fit the needs of individual groups,
teachers/lecturers and students.
Texts linked by subject matter, such as magazine or newspaper articles or short
stories, reflecting the interests of individual candidates
Students could be encouraged individually or in groups to choose a subject area which
is of interest to them, and be provided with initial target language texts in this area,
but encouraged to research and locate further material. For instance, a student with an
interest in the environment could be offered extracts from existing course textbooks
which are no longer of direct relevance to the external assessment at Higher. Suitable
articles can also be found on an encyclopaedia such as Encarta, which is easily
installed on a computer. The Internet is also a good source of material, and a list of
appropriate web-sites could be given to students to encourage them in their searches.
Much of the listening material in the Green packs and provided with commercial
courses could be used, and there is now a large amount of listening material provided
for the English A-level market which would be relevant to many topic areas. Most
foreign language magazines and newspapers allow the copying of extracts for use in
educational establishments, and many topic areas can be supported with documentary
material from the BBC and Channel 4 catalogues of support material. Song and
poetry is widely available, and the libraries of, for instance, the Goethe Institut or the
Alliance Francaise can be used to support this. Fictional text may be an appropriate
short story, or extracts from a novel which is already in the centre.
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Guidance should be given to the students to allow them a wide enough variety of
material to work from successfully, but focussed enough to allow them to follow a
topic through in sufficient depth. Examples of this approach can be found in the
French and German sections.
Texts linked by subject matter, developing in greater depth a topic studied
For this approach, a topic area which is drawn from one of the Language unit topics
may be developed in greater depth or a topic may be chosen which is outwith the
themes and topics of Higher. This may reflect the availability of material, the
interests of the class, or the knowledge of the teacher or lecturer. The same kind of
texts as are suggested for the first category are most relevant to the task. They may
already be in the centre, and have been proved to be of interest to the students and
have been used successfully in the past. Again what is important is for the students to
be able to use them to develop all four skills, and to be provided with enough resource
material to carry out the tasks which will be asked of them. An example of this
approach can be found in the French section of this document.
There is a variety of suitable text books which would support these two approaches.
In Italian, there is a book called ‘Il reale e il possibile’, by Anna Maria Bellezza
(Orlando, Harcourt Bruce and Company: ISBN 0-03- 021786-5) which is divided into
chapters, each of which features a magazine article, a short story, and a scene from a
film, on a common theme. In French, ‘L’Essentiel’, by Jack Powell (Hodder &
Stoughton ISBN 0-340-68823-8), has a similar thematic approach. Any one of the
chapters would provide the basis for a series of linked texts. Both these books also
have the advantage that there is a lot of material aimed at developing students’
language skills and grammar. There are many more such examples which would be
suitable.
A book written for speakers of the target language appropriate to the level of
study and to the interests of the candidate
Many of our students struggle with a book in the foreign language, unused as they are
to reading extended fiction in their own language. However, many students are very
at home with fiction, and enjoy, and gain a great deal of benefit from, the in-depth
study of a work of fiction. It is also an important preparation for those students who
will have to read and discuss fictional texts at university. The guidelines which
applied to the book at Higher still apply, and centres and teachers and lecturers who
are happy with a particular text or texts should feel under no obligation to alter their
approach. Providing students with a film or TV programme which is relevant to the
text (or indeed a filmed version of it) may help with motivation, and provide the
opportunity to hear extended use of the target language, but is by no means essential.
It may also be useful to some centres to cover the same area at both Higher and
Advanced Higher, with students reading for comprehension in the first year of the
course, and then tackling the literary text in Advanced Higher as one of the texts they
study. An example of this approach can be found in the Italian section of the
document
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Film, video or TV viewing supported by written texts
This can be approached in a very wide variety of ways. It may be based on a full
length feature film, with appropriate support material, it may be based on videorecordings produced for language learners or for speakers of the target language, or it
might approach a topic with support material both in video and written form. What is
of paramount importance is that students are provided with enough material to
develop their language resource, and also to tackle the assessments with confidence.
If a full length film is available and can be used, the kind of support material which
might be useful could include:
• extracts from the work of fiction on which the film was based
• a script of the film - these are widely available from specialist shops
• critical reviews and articles about the film - these can be found in on-line
newspaper archives
• texts giving historical background taken from history textbooks or encyclopaedias
• fictional or journalistic texts dealing with similar topics
• background information on for example director, stars, etc.
Examples of this approach can be found in the French and Spanish sections of the
document.
If video material taken from schools/college broadcasts is used, then support material
might include:
• material provided by the broadcaster such as scripts, background information
• texts which relate the programme to the relevant Higher topic area
• texts and tasks which allow the students to develop their discussion and opiniongiving skills
• short fictional texts on similar themes
• magazine articles/letters on similar topics.
Examples of these approaches can be found in Section 6 of this document.
If video material produced for speakers of the target language, such as documentaries,
soaps, or drama are used, then the type of written text used as support would depend
very much on the actual material used. Documentaries would be supported with
journalistic material on the same theme, plus treatment in song and poetry if possible,
to widen students’ exposure to different registers, while soaps or drama might be
supported by:
• newspaper and magazine criticism of the programmes
• background articles on the programmes and/or actors taken from online archives
• texts dealing with similar problems.
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SECTION 2: FRENCH
Linked texts: L’Education
Higher French texts linked by subject matter
Theme - Education
In this option, students will be required to read the texts below. They will then take
part in a group discussion, taking as their starting point “...(text)... m’a plu parce que”
or “…(text)... ne m’a pas plu parce que ...” followed by a personal response in writing
to each text or set of texts. Finally, they may choose a particular aspect of the theme
for their resumé and presentation.
Resources
Module 3/4 Éducation - Une journée à l’école [from Okapi], Je regarde par la fenêtre
[from Le Monde de l’Éducation]
Le cancre, page d’écriture, l’accent grave - Jacques Prévert [Gallimard Folio]
Stories from Le Petit Nicolas - Goscinny and Sempé [la photo de la classe, la visite de
l’inspecteur, Djodjo] [Longman ISBN 0 582 36071 4]
La dernière classe - from Contes du lundi - Alphonse Daudet
Texts which explain the French education system to your students
These particular materials have been chosen because they are likely to be available to
teachers/lecturers. However, where teacher/lecturers find the theme above to their
liking but are not happy with the resources suggested, it is quite acceptable to
substitute other resources, providing students read a mixture of prose and poetry,
fiction and non-fiction.
For example, it would be reasonable to substitute for the short story suggested,
chapter 23 of Olivier et Ses Amis by Robert Sabatier [Albin Michel ISBN 2-22606221-1], in which Olivier learns about animals from a zoologist who is passionate
about his job. For the comic stories of Sempé’s Petit Nicolas, teacher/lecturers could
substitute M Jourdain’s discovery in Molière’s Bourgeois Gentilhomme that he has
been speaking prose all his life without realising it.
This is likely to be the Higher French student’s first encounter with French literature.
Teachers/lecturers whose own experience of reading in French has been a happy one
will want to pass on their enthusiasm for different styles of writing - poetry, prose and
journalism - to their students, offering as they do many opportunities to enrich the
education and life of the learner.
In preparing material for use in this option, these guidelines should be borne in mind.
The material to be selected for reading should to an extent reflect the possible
interests of the group of students working on the option. At the same time, it should
be remembered that the teacher/lecturer will present material best where it has a
personal significance for him/her.
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The material need not be modern but it should reflect a wide range of interests. In
particular, the material should provide opportunities to study aspects of the history,
geography, culture and way of life of French-speaking countries. The inclusion of
non-fiction texts will make this option more attractive to students who do not
normally read fiction.
The students have, of course, already begun to develop the skills of criticism in their
reading in the English language but it should be borne in mind that they are likely still
to be in the process of acquiring these skills, and may need a great deal of help from
the teacher/lecturer to transfer them to French texts.
It should also be remembered that it may be unrealistic for teachers/lecturers to expect
the student to talk or write about literary criticism in the foreign language, particularly
in the early stages. Teachers/lecturers should be prepared to provide a lot of help in
English to begin with in this area.
The following notes are intended to give an example of ways in which the material
can be made accessible to students and provide an example of a suitable structure
within which the students can be guided in their study.
1. Le cancre, page d’écriture, l’accent grave - Jacques Prévert [Gallimard Folio]
Students should know that Jacques Prévert (1900-1977) was a popular writer of
poetry, songs and films.
Le cancre is the most accessible of the poems suggested. It could be presented to
students with the title hidden and with a brief glossary: le fou rire, efface, chiffres,
pièges, huées, prodiges, malheur, bonheur It could be read aloud to the students either
by the teacher/lecturer or the assistant.
Students should decide immediately where the poem takes place and who the
people in the poem are and quote words that show this.
In a classroom - the teacher/lecturer, one boy being questioned and the rest of the
class - professeur, chiffres, mots, enfants, craies, tableau noir.
They should then decide whether they think the situation depicted is a happy one
and whether the person in the poem likes school or not.
They need not give a reason for thinking that at the moment but they should know that
in some schools in France it was until fairly recently the custom for teachers to call
individual pupils out to do, for example, a Maths problem on the board in front of
their classmates.
This is not a happy situation - the person in the poem does not like school. The poem
describes a child being asked questions which he cannot answer, and rebelling against
the teacher and the rest of the class who can all answer the questions, by rubbing out
the work on the board and drawing in a happy face.
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Students should then look closely at the language used in the poem:
• simple language
• conversational language
• lack of punctuation - why?
• the poem falls into two sections - long phrases in first 7 lines end with abrupt
phrase line 8; the rest of the poem flows smoothly to the last two lines
• pairs of phrases opposing each other in meaning - malheur - bonheur
• opposition of certain sounds - tête (hard consonants) - coeur (long vowel sound)
chiffres
- mots
dates
- noms
malheur - bonheur
huées
- enfants prodiges
• why are certain words used - why huées and not cris? why maître and not
professeur? why prodigies and not intelligents?
Students should then try to work out exactly what happens in the poem.
Students should finally try to invent a title for the poem.
L’accent grave
To enjoy L’accent grave, students should be familiar with, if not the play Hamlet,
then at least the line “to be or not to be”. This quote is widely known and used by
speakers of English for example in comedy sketches and adverts in many countries.
Students should be asked to describe briefly what they think of when they hear the
name Hamlet. If necessary, students should be provided with a glossary of the
phrases être dans les nuages, pas tant de manières, and vous n’y êtes pas. They can
then hear the poem read by two speakers.
Students should decide what it is the teacher in the poem is trying to do and how
Hamlet stops him doing this.
The teacher is trying to conduct a grammar lesson. Hamlet is disrupting the lesson by
turning everything the teacher says into a philosophical question.
Students should then examine the language used in the poem. Apart from the three
phrases given above, this poem like le cancre is written in very simple conversational
French.
Students should discuss what impression they get of the teacher’s way of
speaking and compare that with Hamlet’s speech.
The teacher is quite abrupt in his way of speaking to Hamlet. Maybe he is used to
Hamlet’s philosophising? Hamlet’s speech gives us the idea that he may be in the
classroom in body but his thoughts are elsewhere.
Students can then decide for themselves whether they think the poet takes Hamlet
seriously or is sending up the idea of the hero spouting philosophy.
They should also decide whether there is a common theme to the two poems they
have read so far.
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Page d’écriture
This poem continues Prévert’s theme of the child in school who is out of step with
everyone else. Again, students will need a glossary - oiseau-lyre, surtout pas, de toute
façon, fichent le camp, faire le pitre, s’écroulent, redevient/redeviennent, falaise,
porte-plume. Like le cancre, this poem tells a little story, and tells it in
conversational and fairly simple language.
The use of the phrase ‘sauve-moi’ near the start of the poem should be pointed
out to students who should then, as the teacher/lecturer reads the poem, try to
work out what it is the child in the poem needs to be saved from - and by whom.
The child is in the classroom repeating his ‘times-tables’. He wants to be saved from
the boredom of school by the lyre-bird he sees passing in the sky.
Students should then work out the events of the poem, and decide why the events
are interspersed with the ‘times-tables’.
The boy wants to play and, seeing the lyre-bird in the sky, persuades him to come
down and play with him. When the bird comes down and hides in the boy’s desk, all
the numbers in the sums fly away; none of the children listen to the teacher and finally
the entire school crumbles. In the first part of the poem, the events take up only a few
lines, with most of the lines being ‘times-tables’. When the events are being related, a
lot of repetition is used - e.g. the repetition of ‘et’ links the events and keeps the story
moving.
Further points about the language used in the poem should also be made:
• no punctuation again - why not?
• short lines, sometimes with only one word to a line - this keeps the eye moving
down the page quickly
• in the last six lines of the poem, the poet uses longer lines and longer words in
those lines - to what effect? The teacher/lecturer can demonstrate this by reading
the poem aloud again to show how the pace of the poem slows down towards the
end
• finally, why a lyre-bird? Why not a sparrow or an owl?
Where students show an interest in Prévert, teachers/lecturers may wish to read with
them other poems from Paroles and other collections of Prévert’s poetry [Gallimard
Folio]. They could also, if time allows, let students watch extracts from Les Enfants
du Paradis, written by Prévert [Artificial Eye 066].
Students should then write their personal response to the poems.
2. Stories from Le Petit Nicolas - Goscinny and Sempé [la photo de la classe, la
visite de l’inspecteur, Djodjo] [Longman ISBN 0 582 36071 4]
Students should be aware that the Petit Nicolas stories date from the 1950s and
1960s, an age when the inkwell was still in use and television had only just reached
France. The stories were written not for children but for adults and depict an innocent
world in which catastrophe means a bad report card. To enjoy the stories, students
should think back to their or their children’s early childhood - before adolescence.
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Students should first read la photo de la classe, which sets the scene for the rest of
the stories, introducing most of the main characters and showing the kind of
adventures Nicolas and his friends are likely to become involved in. This story also
establishes the Sempé style - there is one joke in each story (here the photographer
who knows how to talk to children getting his comeuppance at the hands of the
children) and the adults exist merely to be made to look foolish by the children.
The stories are best presented to students by the teacher/lecturer reading each story
aloud, in one reading. Before they read la photo de la classe, and so that they can
enjoy the reading, students should skim the pages and note down the names of the
different characters who appear. The teacher/lecturer should then give a quick
description of each character, in Sempé’s style. For example Agnan - c’est le premier
de la classe et le chouchou de la maîtresse and la maîtresse - elle a l’air fatiguée ces
jours-ci.
During the reading, the teacher/lecturer should check comprehension if necessary, by
asking questions in English or French. After the reading, students should be
encouraged to describe their immediate reaction to the story. They should add to their
descriptions of the characters. Each student could also ‘adopt’ a character or perhaps
two contrasting characters for example and plot what part these characters play in the
next two stories - e.g. Agnan and Alceste.
Before students move on to la visite de l’inspecteur they should be given some
background information on Jean de La Fontaine and should then read le corbeau et le
renard, which is referred to in the story. Students should be aware that it is still part
of everyday schooling in France to learn poems and prose extracts by heart and recite
these in class. They should know that La Fontaine (1621-1695) wrote many fables,
short stories in poem form, mainly with animals as characters and conveying a moral
point. Le corbeau et le renard is perhaps the best known of these fables. Although
the language of le corbeau et le renard is more than four hundred years old, it is
quite easy to read, and students may only need a handful of words as a glossary before
they look at it - alléché, ramage, proie, vaut bien, honteux, jura. It may be necessary
to give a brief explanation of the use of past historic tense, if this has not been seen
before.
The teacher/lecturer may also wish to mention that one reason that the fables of La
Fontaine appear to a modern reader in approachable French is that the French
language has been since 1634 under the protection of the Académie française which
set itself the task of overseeing the ‘embellissement de la langue’. Part of that task
was the drawing up of standard dictionaries and grammars of the French language.
La Fontaine was, of course, a member of the Académie, as most of France’s greatest
writers have been.
In la visite de l’inspecteur, students should read with a view to discussing the role of
grown-ups in the story - la Maîtresse, l’Inspecteur and le Directeur. Students could
look closely at the very old but very funny joke central to the story - the ink on the
bench transferring to the hankie - and try to work out how Sempé builds up to the joke
and how he uses the joke to build up our impression of the adults in the story.
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Djodjo gives students the chance to explore the use of slang in France. Students
should be aware before they start reading that there exists in France a vast slang
vocabulary which varies from group to group in French society and which is
constantly changing. The slang in Djodjo is therefore likely to be a generation out of
date. If students have access to an assistant, they should find out the most commonlyused slang expressions among students for these English words - a child, a friend,
‘great’, ‘rubbish’. A glossary of slang expressions used in the story will certainly be
helpful as students start to read.
After the story has been read the teacher/lecturer should be ready to discuss with
students the stereotype of the Scotsman that Djodjo is intended to be - cheveux roux,
taches de rousseur, etc. Many if not most nations have a stereotyped and quite false
idea of other nations. Students should be set the task of finding out what French
people think the Scots are like and what they think Scotland looks like, and should try
describing our stereotype of a French person and what we think France is like. [The
opening chapter of Pierre Daninos’s Carnets du Major Thompson, while dated,
gives a good description of the stereotype of the Englishman and the Frenchman.]
After reading Djodjo and the other stories suggested above, students might try to
describe the attraction of Nicolas and his friends for the adult reader, and should
decide whether the stories are dated or have some lasting interest for new readers.
If students are interested in the cartoons that appear in the book, they may wish to
look at:
• the Astérix stories by Goscinny and Uderzo - on video and in print
• Sempé cartoon collections such as Sauve Qui Peut, la Grande Panique.
3. Une journée à l’école [from Okapi], Je regarde par la fenêtre [from Le Monde
de l’Éducation] [both articles from Modules 3/4 Éducation section]
Une journée à l’école is the easier article to read and should be tackled first.
Students should first read page 50, with a glossary provided in advance. Easy
comprehension exercises are provided on page 51 of M3 [the marking key for this is
on page 53 of M3] and more testing exercises are provided on page 51 of M4.
The final stage of the activity should be the preparation of a debate - imagine that a
western charity which has been supporting the Touareg school may be forced to
withdraw its funding. Try to persuade the representative of the charity - the
teacher/lecturer - to continue to finance it. [If students have access to the internet,
they may be able to provide themselves with some valuable background information
about the need for education in the developing world by keying in Yahoo français and
then surfing for charities and agencies such as l’Organisation des Nations Unies.]
Students should then read Je regarde par la fenêtre [pages 11-18] which gives a
contrasting attitude to education. The teacher/lecturer may wish to go over the
glossary on page 12 with students before they read. The teacher/lecturer may further
wish to give at least some activities as homework, allowing students time to think out
their personal response to the situation described.
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Students may wish in discussion to contrast the education provided for the Touaregs
and for Ahmed - Ahmed is offered everything that a western education can provide
and finds that it is not suitable for him, while the Touaregs can study only a limited
number of subjects for a limited time but keep coming back for more. Teachers/
lecturers may at this point wish to explore with students the position of immigrants in
France, particularly immigrants from the Maghreb.
As a discussion, the teacher/lecturer may wish to propose the following topic - si
votre école ne vous offre pas l’éducation qu’il vous faut, vous devriez avoir le droit de
quitter l’école.
If students are interested in reading other factual articles, they may wish to study
French magazines for young people for example, Okapi, Phosphore, Astrapi, Ça
m’intéresse.
4. La dernière classe - from Contes du lundi - Alphonse Daudet (pages 55-61 of
Module 4 Éducation)
It is important that students should understand the historical background to this story
before they read it. The teacher/lecturer may wish to invite a member of the History
Department to present a ‘mini-lecture’ on the topic of the place of Alsace and
Lorraine in French and German history.
Students should also be aware that Alphonse Daudet (1840-97) now quite out of
fashion in France, was once a very popular writer whose name will be recognised by
any of their older relatives who studied French at school.
The teacher/lecturer may wish to allow students to read the story for themselves in
sections as suggested on page 55 and then complete the activities given on page 56.
Alternatively, where students need support, the teacher/lecturer may wish to read the
story aloud as students follow the text, asking comprehension questions as they go
along.
Students should consider in discussion why an invading army would take measures to
stop people speaking their language. They may wish to consider the efforts that were
made in Scotland to stop people speaking Gaelic and Scots in school in the late
nineteenth and into the twentieth centuries.
Finally, students should prepare a written response to their reading, summarising what
they have read and suggesting what they have learned from the reading.
Students who are interested in any of the authors they have read or the topics they
have come across during their reading may wish to continue with their study and
incorporate further reading in the external examination for this unit.
Teachers/lecturers should also revise what their students know of the French
education system, make sure that they have a knowledge of the principal features of
the system, and of the principal differences between the Scottish and French systems.
Suitable texts will be found in the Higher Still support material, on the web-site for
UK learners of French, France à la Carte, and in various textbooks.
17
Personal response
Finally, students should prepare their thoughts on the material they have read and
watched under these headings:
• What you have read - Qu’est que vous avez lu?
• What the reading was about - Quel thème avez-vous étudié?
• What you thought of what you have read - Vous êtes arrivé à quelle conclusion?
• A description of a characte - Décrivez un personnage que vous admirez dans votre
lecture - et dites pourquoi vous l’admirez.
• What in your reading has impressed you - Racontez ce qui vous a frappé dans ce
que vous avez lu.
18
Film/text: Sac de Billes/Au revoir les enfants
Higher French
Film supported by reading texts
In this option, students will be required to:
• view one feature-length video up to three hours in length, made in a Frenchspeaking country for viewing by speakers of French and
• read a long short story or a series of extracts from a novel amounting to no more
than 25-30 pages or 10% of the novel.
• read a series of extracts from factual and journalistic texts in French and English.
Resources
• video recording of Au Revoir, les Enfants , written and directed by Louis Malle
1987
• biographical information on Louis Malle from a variety of English and French
reference books and from the internet
• extracts from the novel Un Sac de Billes by Joseph Joffo (Livre de Poche ISBN 2253-02949-1)
• a resume of the plot of the novel
• background material on World War II from a variety of English-language
reference books, Encarta, from the school’s History Department and from the
internet
• blank maps of France
• dictionaries and/or glossaries of vocabulary used in the film and novel extracts.
Theme<<Ce sont tous des héros>>
Students will study and discuss different portrayals of ‘heroism’ and examples of
‘heroic’ behaviour in the film and the novel, and will try to reach a conclusion as to
why the characters studied can be considered as heroes. To do this, they may
compare various incidents and characters in the film and the novel, and may compare
these characters with people in real life whose behaviour they think is heroic. They
will, towards the end of the unit, prepare to give their opinion in writing and orally of
the question set above, quoting incidents from the film and the novel extracts to
support their opinion. The most able in a group of students may also wish to consider
the more abstract question - C’est quoi, l’héroïsme?
This is likely to be the Higher French student’s first encounter with French literature
and perhaps also with French film. Teachers/lecturers whose own experience of these
media has been a happy one will want to pass on their enthusiasm for these aspects of
French life to their students, offering as they do many opportunities to enrich the
education and life of the learner.
In preparing material for use in this option, these guidelines should be borne in mind.
The material to be selected for reading and viewing should to an extent reflect the
possible interests of the group of students working on the option. At the same time, it
should be remembered that the teacher/lecturer will present material best where it has
a personal significance for him/her.
19
The material need not be modern but it should reflect a wide range of interests. In
particular, the material should provide opportunities to study aspects of the history,
geography, culture and way of life of French-speaking countries. The inclusion of
non-fiction background-reading will also extend the students’ reading skills.
The students have, of course, already begun to develop the skills of criticism in their
reading and viewing in the English language but it should be borne in mind that they
are likely still to be in the process of acquiring these skills, and may need a great deal
of help from the teacher/lecturer to transfer them to French literature and film.
It should also be remembered that it may be unrealistic for teachers/lecturers to expect
the student to talk or write about literary criticism in the foreign language, particularly
in the early stages.
Teachers/lecturers should be prepared to provide a lot of help in this area, to begin
with in English.
The following notes are intended to suggest ways in which the material can be made
accessible to students and provide an example of a suitable structure within which the
students can be guided in their study:
• let students find out for themselves from the library or from the History
Department the role of France in European events from 1938-1940.
• with students, use reference books to complete a time-chart from 1940-1945,
showing, where relevant, events in France.
• read with students the introductory page to Un Sac de Billes and summarise the
theme of the novel in a sentence or two in English.
• let students read a biography of Louis Malle and the critiques provided of the film
Au Revoir, les Enfants.
First steps
• Set the scene for students by describing the task they are to undertake - they are to
look at incidents from the lives of two young boys, Jean Bonnet and Joseph Joffo,
in France during World War II. Point out that both works are said by the writers
to be to an extent autobiographical. Students are to consider the events of the film
and the novel in order to decide why these people could be considered to be
heroes.
• Start by considering the idea of a ‘hero’, then consulting English and French
dictionaries; naming some heroes; saying why these people are heroic in their
view. Students might also read from a dictionary of quotations under ‘hero’ and
‘heroism’ - these entries might change their initial definition of a hero.
• Continue to set the scene by allowing students to read up on the Occupation of
France and the role of the Resistance, pointing out (perhaps on OHP) the partition
of France during the Occupation. Make sure students have an understanding of
the past enmity between the French and the Germans (you may wish to invite a
member of the History Department to do this as a mini-lecture). Discuss with
students the physical and psychological effects of occupation on the population.
20
The novel
• Use the resume of the story of Un Sac de Billes in about 1500 words, divided into
sections, to practise reading technique:
- let students read the section alone without using a dictionary or glossary and
without help
- invite students to write in one or two sentences what happens in the section
• provide a glossary for this section or allow students time to look up words
beforehand and then
• read the section aloud to students, pausing to note the names of characters and
incidents mentioned and check that the place of these characters and incident in
the story is understood
• draw attention to language where appropriate
• plot the journey of the two brothers across France on a blank map
• mark a timeline on frieze paper on the wall, charting the major incidents in the
story, and invite students to predict what they think will happen next at each stage.
•
•
•
Use the second section of the resume in a similar way in class but this time allow
students to read alone, and add to the maps and the timeline without help. They
should continue to have guidance on character/incident/language from the
teacher/lecturer and be encouraged to make predictions by discussing in French
‘the story so far’.
Further sections of the resume should be read in the same way. At least one
section should be set as homework.
Read with students the extracts from Un Sac de Billes, described below, beginning
by using the method above but adding to it the following techniques for close
reading:
Read the whole passage for gist
After reading, write in the margin what the passage is about in two or three words.
Go back over the extract a paragraph at a time
• Who is mentioned in it? Are any important places mentioned? Are dates given?
• Is this a little story with a beginning, middle and end? If so, why has the writer
put it in?
• What does it add to the plot or to the reader’s understanding of the characters?
• Is it a description of a person or people? Do we learn anything about the people
that we didn’t know before?
• Are events or incidents described? [That may mean that verbs are used whose
meaning you may not know - this will slow down your reading and perhaps force
you to re-read the paragraph several times.] Why have they been included?
Write in the margin what each paragraph is about
Decide at this point - do you need to use a dictionary? If so, do it now.
21
Now look at the language:
• Is there any vocabulary used that strikes you as worth noting - slang? bad
language? adjectives? [e.g. on Pages 24-26, the writer uses a large number of
adjectives in his description of Joseph’s personal hero, his grandfather.]
• Is there dialogue? A little? A lot? Are the people who are talking friendly? How
can you tell? What is the purpose of the dialogue? [e.g. In the fourth extract, the
constant repetition of the question “Tu es juif?” is very menacing and helps to
build the readers’ sense of the danger facing Joseph and his brother]
• What verb tense is used? Is that important?
[e.g. In much of the novel, Joffo uses the dramatic present to keep the story
moving along quickly]
22
Extracts from Un Sac de Billes
Page 24 Certains soirs, il entrait, ... to Page 26 dans la région - Joseph’s
grandfather and the pogroms - this is Joseph’s definition of a ‘hero’.
Exercise: collect together adjectives used to describe Joseph’s grandfather so that
students can decide why Joseph’s grandfather is a hero in his eyes.
Page 64 J’ai une soif atroce ... to Page 73 la met dans sa poche. Joseph and
Maurice are saved by a priest.
Exercise: compare the behaviour of the soldiers with that of the priest. The violence
of the soldiers and the stillness around the priest - he hardly does anything and says
very little - makes him seem an island of safety for Joseph and Maurice in a
dangerous world. Why should this man be considered as a hero?
Page 133 Pipi aux w.-c. dans le sous-sol ... to Page 137 d’un garçon de dix ans.
Joseph has a narrow escape from the Gestapo in the station in Marseilles.
Exercise: study Joffo’s use of dramatic present tense and of rapid-fire bursts of
dialogue to make the incident more threatening - and so make Joseph’s escape appear
more ‘heroic’.
Page 260 L’interprète paraît ... to Page 267 chirurgical gemacht. Joseph and
Maurice are protected by a doctor.
Exercise: students should consider what it about the doctor that is heroic. In
particular, they should consider motivation - why does the doctor do what he does?
Page 272 - Vers sept heures un soldat ... to Page 284 Je suis juive. Joseph is held
prisoner by the Gestapo and becomes ill, and is nursed by a fellow prisoner.
Exercise: students could consider the fate of Jean Masso and compare it to Joseph’s
escape in the previous extract, and then discuss - what is the difference between
Joseph and Jean Masso that leads to Joseph escaping and Jean Masso dying in a
concentration camp?
Page 326 il n’y a pas de car ... Page 328 les parfums de la montagne. Joseph
reflects on how he has been changed by events since he left his parents.
Exercise: students could consider this extract and the previous one and decide why
Joseph is himself a hero.
Debate: students should prepare a debate to present the case for and against
considering Joseph’s grandfather, the priest on the train and Joseph himself a hero.
23
The film
The film can be watched in two parts - from the beginning to Julien’s questioning of
his brother about what a Jew is (just before the scene in the forest of Fontainebleau)
and from the forest scene to the end of the film. It is particularly important that the
final fifteen minutes should be viewed without interruption or comment at this stage.
Before watching, students should be aware that the film is set later than the beginning
of Un Sac de Billes: it is January 1944. There is no longer a Zone Libre - and
therefore nowhere to escape to - since the Germans now occupy the whole of France.
Students should be asked in advance to consider the roles of certain characters in the
film:
• Jean Bonnet and Julien
• Father Jean and the other priests.
They will be asked at the end why these people are heroes. Before watching the film,
they could generate as long a list of adjectives as possible to describe a hero, using
this as the basis for later discussion.
Let students mark on the map of France both Paris and the approximate location of
the school in Au Revoir les Enfants.
After watching, students should watch certain sections again and question what they
see and hear:
•
The opening sequence, before the titles, take place in a Paris railway station. The
scene seems banal - a boy is being seen off to boarding school by his mother. No
mention is made of the war. Students should watch again and listen to the
loudspeaker announcement in the background, which is in German. Students
should then watch the next 20 minutes of the film again (up to the arrival outside
the classroom window of the young German soldier seeking confession from the
priest) and this time discuss why Malle keeps the war at arm’s length so far into
the film and why the first sight of a German soldier should show a very young
soldier - not much older than the boys in the school - asking a priest to hear his
confession.
•
There are several occasions in the film when the boys in the school, highly
privileged children from well-off families, are happy to use Joseph to get them
black-market goods but make it clear that they see him as an object of fun. It is
Joseph’s rejection by the boys, by the woman he is chasing and finally by the
priests that lead to his betraying Jean Bonnet and the other Jewish boys. Students
should work out how Malle helps the viewer to understand Joseph’s behaviour in
the course of the film.
•
Julien’s attempt to be friendly with Jean Bonnet in the school refectory should be
watched again. Students should consider how the new boy appears to Julien and
how Malle builds up the viewer’s picture of Jean Bonnet through Julien’s eyes in
the first half of the film. Students should discuss particularly why the scenes in
which Julien overhears Jean Bonnet reciting his prayers and reads Jean Bonnet’s
letter have been included.
24
•
Julien searching Jean Bonnet’s locker and discovering his real name should be
watched again. From now on, Julien is a witness to the events of the film, not just
a ‘nosy’ little boy. This scene can be used to look at a different kind of heroism can you be a hero if all you do is report what you have seen and heard?
•
The scene in Fontainebleau forest should be watched again, firstly to show how
Malle gives the viewer the impression that Julien and Jean Bonnet are very young
and inexperienced in handling themselves in the world outside the school. Julien
and Jean Bonnet are seen in several settings, most notably the school, the forest
and the restaurant. Students should consider the contrast Malle makes between
the school and the other settings. What do the boys know about the war in the
school? What happens to them when they venture outside the school? (i.e. What
happens to them when the protection of the priests is removed outside of the
school?)
•
Students should watch the restaurant scene again, in which Malle shows the
‘milice’ and the German army in conflict, and should consider why this scene has
been included in the film. They may also want to consider the reactions of
Julien’s mother and of M. Mayer to the insulting behaviour of the ‘milice’, and
how Malle shows Julien’s sympathy with Jewish people.
• The role of Dr Müller should be looked at again - he is a caricature Gestapo
officer. Why does Malle include his lecture to the assembled school in the yard at
the end of the film? How does his rant compare with the departure of Father Jean
and the Jewish boys?
Debate
Students should debate the case for and against considering Jean Bonnet, Julien and
Father Jean and the other priests to be heroes. They may also wish to compare the
‘heroes’ of Un Sac de Billes with those of Au Revoir les Enfants. For example
Joseph’s determination to survive can be compared with Jean Bonne’s passivity or
with any modern-day heroes they may be familiar with.
Conclusion
Students should decide in writing why they think that the characters named are
heroes. They should be able to justify their view by quoting evidence from the novel
and the film.
Personal response
Finally, students should prepare their thoughts on the material they have read and
watched under certain headings:
• What you have read and watched - Qu’est que vous avez lu et regardé?
• What the reading and viewing were about - Quel thème avez-vous étudié?
• What you thought of what you have read and watched - Vous êtes arrivé à quelle
conclusion?
• A description of a character - Décrivez un personnage que vous admirez dans le
roman ou le film - et dites pourquoi vous l’admirez.
• What in your reading or viewing has impressed you - Racontez ce qui vous a
frappé dans ce que vous avez lu ou vu.
25
Internet sources
The following internet sources are particularly useful in the study of the novel and the
film:
http://ourworld.compuserve.com/homepages/SchneiderF/malle.htm
This provides a biography and filmography of Louis Malle and a bibliography for Au
Revoir les Enfants, along with the cast list and credits from the film.
http://search.yahoo.co.uk/search/ukie?p=French+resistance
This site provides personal accounts of involvement in the French resistance during
World War 2.
http://www.phrasius.mcmail.com/resist/resindx.htm
This site is a comprehensive collection of documents on the subject of the French
resistance - see attached index.
26
Un Sac de Billes
résumé de l’histoire
On est en 1941. Joseph et Maurice Joffo habitent Paris, près de la Porte de
Clignancourt, avec leur famille - les parents, leurs frères aînés Henri et Albert. Ils ont
aussi une soeur Rosette qui est mariée et qui habite le village d’Aunay-le-Vieil. Le
père et les frères sont coiffeurs. La famille habite au dessus du magasin. La France
est occupée par les Nazis. Un jour, un soldat allemand vient se faire coiffer chez les
Joffo. C’est la seule rencontre de Joseph avec l’armée d’occupation jusqu’à présent.
Page 24 Certains soirs, il entrait ... Page 26 dans la région: le père raconte des
histoires de la vie de la famille en Russie.
Des étoiles jaunes sont livrées à la famille. Les Joffo seront obligés de les porter
partout. Joseph ne comprend pas ce qui se passe. Il n’est même pas très sûr ce que
c’est qu’un Juif.
Un jour, le père Joffo dit à ses deux fils cadets que la famille entière va être obligée de
quitter Paris et qu’ils devront partir ensemble pour la Zone Libre - rester, c’est trop
dangereux - ils risquent d’être arrêtés et d’être renvoyés dans un camp de
concentration.
Le père les accompagne à la Gare d’Austerlitz où ils doivent prendre le train vers le
sud, pour entrer dans la Zone Libre. A la gare de Dax, (Page 64 J’ai une soif atroce
... Page 73 la met dans sa poche) les garçons risquent d’être arrêtés par des soldats et
sont protégés par un vieux prêtre. Les garçons prennent le bus pour Haguetmau, où
ils trouvent un garçon de leur âge, Raymond, qui sert de guide aux gens qui veulent
passer en Zone Libre. Maurice et Joseph commencent à marcher.
Après une longue marche, et des aventures étonnantes, les garçons arrivent à
Marseille. Ils vont à la gare où ils sont presque pris par des gendarmes. (Page 133
Pipi aux w.-c. dans le sous-sol ... Page 137 d’un garçon de dix ans) Ils prennent le
train pour Menton où ils retrouvent leur frères aînés. Là, pendant un moment de joie,
les garçons ont l’occasion de se porter en petits garçons - ils jouent au foot sur la
plage, explorent le pays autour de la ville, aident leurs frères à la maison. Mais
Joseph a le goût de l’aventure et décide d’aller trouver du travail à la campagne chez
les Viale.
Les frères ont des nouvelles de leurs parents qui ont quitté Paris pour éviter d’être
arrêtés. Ils ont traversé la ligne de démarcation près de Pau, où ils ont été arrêtés et
enfermés dans un camp de transit d’où des convois partent tous les jours pour assigner
les prisonniers à des résidences forcées. Le frère aîné Henri part tout de suite pour
Pau pendant qu’Albert emmène Joseph et Maurice à l’école, selon les voeux des
parents. Quand Henri revient, il annonce que les parents sont libres - Henri a réussi à
voir le chef de camp et il l‘a persuadé de laisser partir les parents. Les parents se sont
réfugiés à Nice. Ils vont bientôt faire venir les garçons.
Un jour deux gendarmes arrivent chez les garçons. Henri et Albert doivent se rendre
à la préfecture pour partir au service de travail obligatoire en Allemagne. Les garçons
se sauvent tout de suite pour Nice où la famille est réunie.
27
À Nice, la famille vit bien malgré la guerre. Le père, Albert et Henri travaillent
comme coiffeurs. Joseph, qui a appris des leçons importantes de sa vie de réfugié, est
devenu marchard du marché noir avec les soldats italiens qui occupent Nice. Il ne
pense qu’à jouer sur la plage pendant le beau temps et à rentrer à l’école en
septembre. Pour Maurice et Joseph la guerre est bien loin.
Un jour, les Italiens disparaissent et Nice est occupé par l’armée allemande. Au salon
de coiffure, Henri et Albert entendent les soldats allemands parler - ils sont en train
d’arrêter tous les Juifs qui sont enfermés dans l’hôtel Excelsior. Tous les vendredis,
les prisonniers sont emmenés la nuit dans des convois spéciaux vers les camps
allemands. La famille a très peur. Albert et Henri doivent partir pour Aix-les-Bains.
Joseph et Maurice vont se rendre dans un camp appelé Moisson Nouvelle.
Théoriquement c’est une organisation paramilitaire du gouvernement Vichy. Là, ils
seront protégés des Nazis.
Au camp Joseph rencontre Jean Masso qui devient son ami. Joseph et Murice
inventent une histoire pour expliquer leur présence à Nice - ils viennent d’Alger d’où
leurs parents les a envoyés à l’école à Nice. Quand la guerre a commencé, les deux
garçons ne pouvaient pas rentrer chez eux.
Un jour les frères vont en ville avec Ferdinand, l’intendant du camp. Ferdinand les
emmène par accident dans un piège - il les emmene dans un centre de résistance où il
espère obtenir des papiers faux pour pouvoir passer en Espagne. Les résistants,
Ferdinand et les deux garçons sont emmenés à l’hôtel Excelsior. Ils sont interrogés
par un officier du Gestapo qui les renvoie passer une visite médicale - s’ils sont
circoncis et si leur circoncision a été faite pour des raisons de religion, ils vont être
envoyés au camp de concentration. Le médecin qui les examine ment à l’officer du
Gestapo en disant que leur circoncision a été faite pour des raisons médicales. En
disant ceci, le médecin sauve la vie aux garçons. Page 260 L’interprète paraît ...
Page 267 chirurgical gemacht.
Pendant six jours, ils sont interrogés. Le sixième jour c’est vendredi, jour des départs
pour les camps. Dans le hall, Joseph voit son ami Jean Masso. Lui aussi a été arrêté.
Jean est sûr qu’il ne sera pas déporté puisqu’il n’est pas juif. Quand Joseph le voit
pour la dernière fois il sourit toujours. Le pauvre Jean part pour le camp de
concentration pour que les statistiques de Juifs arrêtés cette semaine-là soient exactes.
Joseph devient malade et est emmené à l’infirmerie. Là, il est soigné par une jeune
femme, juive elle aussi, prisonnière aussi. Page 272 - Vers sept heures un soldat ...
Page 284 Je suis juive.
Quand Joseph et Maurice sont interrogés pour la dernière fois, l’officier du Gestapo
renvoie Maurice - il aura 48 heures pour ramener les preuves que les deux frères ne
sont pas juifs. En effet, Maurice doit trouver un prêtre à Nice qui dira les avoir
baptîses et qui leur fournira des certificats de communion.
28
Maurice trouve un prêtre qui veut bien lui donner des certificats mais quand il revient
à l’Excelsior l’officier du Gestapo ne veut pas le croire. Trois jours plus tard, le prêtre
arrive. On le fait attendre sur une chaise dans le couloir pendant trois heures avant de
refuser de le voir. Le prêtre promet aux SS qu’il reviendra jusqu’à ce que les garçons
soient libérés. Il les assure aussi que l’Archevêque est au courant. Le prêtre revient
tôt le lendemain et passe la journée entière dans le couloir. Le surlendemain, il a son
entrevue avec l’officier du Gestapo. Les garçons sortent de l’Excelsior avec le prêtre.
Mais les garçons - et tous les enfants abrités par Moisson Nouvelle - sont en danger.
Ils doivent quitter Nice tout de suite. Leur père est arrêté par les SS. Leur mère s’est
évadée déjà. Les garçons partent pour Montluçon chez leur soeur Rosette.
Là, ils entendent une histoire terrible de dénonciations dans le petit village où habite
Rosette. Ils doivent encore repartir. En route pour Aix-les-Bains, Joseph refléchit sur
ses expériences de la guerre. Page 326 il n’y a pas de car ... Page 328 les parfums
de la montagne.
Vers la fin de 1943, Joseph se trouve installé dans le village de R. Il travaille dans
une librairie-papeterie dont le patron est un homme brutal pro-allemand. Un jour,
Joseph fait une course pour la Résistance. Page 349 A travers les rideaux ... Page
353 je suis entré dans la résistance.
Quand la France est libérée, la population du village se jette sur le patron de Joseph
pour se venger - et c’est Joseph qui lui sauve la vie.
Joseph et Maurice rentrent à Paris dans le train. Là, ils trouvent la famille dans
l’ancien appartement - tous sains et saufs sauf le père qui n’est jamais revenu.
29
SECTION 3: GERMAN
Linked texts: Hamide spielt Hamide
Hamide spielt Hamide deals with the problem of young Turkish people growing up
in modern day Germany and the text may be supported by a variety of resources.
Newspapers and magazines have regular reports of violence towards immigrants, and
some textbooks also feature chapters on this phenomenon. A small sample of such
newspaper articles is included as an introduction to the pack, for use as an
introduction to the book, and use could also be made of the film ‘Yasemin’, available
from the library of the Goethe Institut, which relates the story of a teenage Turkish
girl in Germany. Channel 4 broadcast two years ago a film called ‘Dann eben mit
Gewalt’, dealing with the problems in a German Gymnasium caused by a relationship
between a Turkish girl and a German boy. Anyone who made a copy of this would
find it very useful and accessible.
30
Ostdeutsche Jugendliche attackieren erneut Ausländer
Drei Afrikaner verletzt / Haftbefehl gegen zwei Täter
Cottbus/Oranienburg/Wismar (dpa). Schon wieder Attacken in Ostdeutschland gegen
Ausländer. In Cottbus schlugen und traten am Freitag abend wahrscheinlich
Rechtsgerichtete in einer Straßenbahn auf elf Afrikaner und ein 15jähriges deutsches
Mädchen ein. Drei Afrikaner wurden verletzt. In Wismar überfielen am Freitag drei
der Skinhead-Szene zugerechnete Täter zwei Asylbewerber. Eines der Opfer liegt mit
einem Schädelbruch in einem Krankenhaus der Hansestadt.
Gegen zwei der Angreifer in der Cottbuser Straßenbahn wurde vom Amtsgericht
Cottbus Haftbefehl erlassen, sagte eine Sprecherin der Staatsanwaltschaft am
Sonntag. Vorwürfe: Landfriedensbruch und gefährliche Körperverletzung. Die
beiden Verhafteten - 22 und 26 Jahre alt – sind der Staatsanwaltschaft bereits wegen
Körperverletzung und anderer krimineller Delikte bekannt.
Zum Wochenanfang werde mit weiteren Haftbefehlen gerechnet, erklärten die
Sicherheitsbehörden. Nach ersten Ermittlungen waren die Jugendlichen grölend in
eine Straßenbahn eingestiegen, pöbelten dort Fahrgäste mit rechtsradikalen Sprüchen
an und wurden dann gewalttätig.
Zwei Vietnamesen brutal zusammengeschlagen
Jugendliche Täter geben Ausländerfeindlichkeit als Motiv an
Eggesin/Luckenwalde (AP). Brutale Überfälle haben Gewalttäter auf zwei
Vietnamesen im vorpommerschen Uecker-Randow Kreis und einen Inder im
brandenburgischen Luckenwalde verübt. Wie die Polizei erst am Montag
mitteilte, machten am Sonntag beim Randow-Festival in Eggesin mehrere junge
Leute aus “purer Ausländerfeindlichkeit” Jagd auf zwei Vietnamesen. Sie
verletzten den einen durch Tritte mit Springerstiefeln lebensbedrohlich und
fügten dem anderen schwere Verletzungen zu. Am selben Tag schlugen
Unbekannte einen indischen Asylbewerber beim Luckenwalder Schützenfest
zusammen.
Im Fall der beiden Vietnamesen sind sieben in Eggesin wohnhafte Tatverdächtige im
Alter zwischen 15 und 20 Jahren ermittelt worden, teilte die Polizei mit. Sie hätten
die ausländerfeindliche Tat teilweise gestanden. Eines der beiden Opfer habe wegen
der Schwere seiner Verletzungen aus dem Krankenhaus Ueckermünde per
Rettungshubschrauber zur Spezialbehandlung in das Klinikum Neubrandenburg
geflogen werden müssen. Die Staatsanwaltschaft hat Haftbefehl wegen versuchten
Totschlags beantragt. Bei den mutmaßlichen Tätern handele es sich um Schüler und
Auszubildende.
In Luckenwalde riefen die Angreifer Parolen wie “Ausländer raus” und “Warum seid
ihr hier”, bevor sie den 22-jährigen Inder verprügelten. Die Polizei berichtete, sie
fügten ihm mit Schlägen und Tritten so Verletzungen zu, dass er in stationäre
medizinische Behandlung eingewiesen werden musste.
31
Notes for teachers/lecturers
The activities in this unit and page references are based on the DTV Junior edition
(ISBN 3-423-07864-2). The unit includes the following:
• glossary sheets for students
• comprehension tasks in English
• comprehension tasks in German
• speaking/discussion activities.
The unit will allow students to work through the text independently at home and
provides ample scope for discussion with either the teacher/lecturer or the assistant.
Each chapter is supplemented by comprehension questions in English. Students are
also required to answer questions in German and/or write a summary of each chapter
in German. General discussion activities at the end of each chapter underline the
themes raised and aim to make students reflect on what they have read. Discussion
activities could be completed with the language assistant and recorded either on video
or tape. The activities in this pack are designed to allow teachers/lecturers to offer as
wide a range of activities as possible. It is not intended that every activity should be
completed. Supplementary reading texts on racism can be found in the SCCC
Revised Higher and CSYS Pack.
A note for students
This glossary contains translations of vocabulary from each chapter of the book. Not
all vocabulary has been translated, only those words which may cause some difficult.
Page references have been given from the dtv junior edition of the text (ISBN 3-42307864-2). Reading a book in German for the first time may be daunting but
remember, you do not need to know every word of a text to understand it. You may
find the following steps useful when reading “Hamide spielt Hamide”:
• first look at the comprehension questions which belong to each chapter as this will
give you clues before you begin reading the German
• quickly read each chapter to see how much you can understand, using the
vocabulary in the glossary section. (You’ll be surprised how much you can
manage without looking up the dictionary!)
• re-read each chapter with the help of a dictionary if necessary
• always try to learn new vocabulary as you go along - new words have a habit of
appearing again and again!
• irregular past participles have been included in the glossary.
Above all, enjoy reading your first book in German!
Viel Spaß beim Lesen!
Glossary
In this glossary section vocabulary is noted with the relevant page reference. Only
those words and phrases which may cause the greatest difficulty have been noted.
New vocabulary has only been noted once. Irregular past participles have also been
given.
32
Glossary sheets
Kapitel 1
P7
mit forschen Schritten
die Aktentasche
Anlauf nehmen
Verstummen
Jäh
die Anordnung
der Knäuel
sich wälzen
quietschen
die Balgerei
belagern
with brash steps
briefcase
to take a run up
to fall silent
suddenly
order
muddle/group
to surge
to squeal
tussle
to lay siege to (fig)
P8
der Aufschub
widerwillig
erpressen
delay
reluctantly
to blackmail
P9
sich für jdn einsetzen
voll Vertrauen
ohne Scheu
blöde Kanakin
mutig
to fight for sb
full of trust
without inhibition
pejorative term used for foreigners
courageous
P10
jdn anstarren
bewundern
der Streber
schadenfroh
vertrösten auf + Acc
allmählich
das Schweigen
to stare at sb
to admire
swot
gloating
to put off
gradually
silence
P11
träumen
die unregelmäßigen Verben
die Federmappe
unruhig
dann und wann
das Klassenbuch
der Schulhof
to dream
irregular verbs
pencil case
restless
now and then
(class)register
playground
33
P12
sich prügeln
die Ermahnung
die Eroberer
die Fragebildung
geschafft!
Ermuntern
Streit schlichten
Trösten
die Massenabfertigung
der Anspruch auf
to fight
warning
conquerors
question forms
made it!
to encourage
to settle an argument
to comfort/console
mass processing
claim to
P13
der Nachdruck
der Klassenlehrer
das Windei
Geld stehlen (pp gestohlen)
stress
class/register teacher
non-starter (fig)
to steal money
P14
der Dieb
aus Angst vor Schlägen
die Strafe
jdm etw gelingen (pp gelungen)
die Platte
es gießt
thief
for fear of beatings
punishment
to succeed
record
it’s raining
P15
Ich habe nun sechs Wochen
Stubbenarrest
böse sein (pp gewesen)
I’ve now been grounded for six weeks
to be angry
Kapitel 2
P15
die Pausenaufsicht
sehnsüchtig
break duty
longing
P16
allerdings
etw abschreiben (pp abgeschrieben)
schummeln
der Ausgleich
etw in Kauf nehmen (pp genommen)
bestrafen
mind you
to copy
to cheat
balance
to accept sth
to punish
P17
die Zuschauer
verbissen
das Rinnsal
die Beule
spectators
determined
rivulet
bump
P18
die Drohgebärde
sich zerstreuen
beleidigen
der Zündstoff
sich absondern
das Kopftuch
threatening gesture
to scatter
to insult
explosive material
to keep yourself to yourself
head scarf
34
Kapitel 3
etw gründen
wirklichkeitsnah
der Hausbesitzer
eine Wohnungssuchende
die Miete
der Dachdecker
die Bühne
wir tun doch keinem was
drohen + Dat
überzeugen
to set up
realistic
house owner
someone looking for a flat
rent
roofer
stage
we’re not harming anyone
threaten
to convince
P21
nachdenklich
die Bedenkzeit
verlangen
gönnerhaft
thoughtful
time to think
to demand/ask for
patronizing
P22
heimisch werden (pp geworden)
das Vorurteil
die Wirklichkeit
der Spiegel
beeindrucken
der Vorschlag
der Streit
werden verdächtigt
die Begeisterung
to settle in
prejudice
reality
mirror
to impress
suggestion
argument
are suspected
enthusiasm
P23
auf dem Nachhauseweg
flüchtig
annähen
on the way home
fleetingly
to sew on
P24
der Stolz
die Waage
der Schafskäse
das Einwickelpapier
knöchellang
eilig
pride
scales
goats cheese
wrapping paper
ankle-length
hurridly
P19
P20
35
Kapitel 4
P25
der Schichtarbeiter
die Skepsis
der Gastarbeiter
shift-worker
scepticism
foreign worker
P26
Anatolisch
auf etw. stolz sein
die Arbeitslosigkeit
dauergewelltes Haar
die Wirklichkeit
bescheuert
die Armut
Anatolian (from the Asian part of
Turkey)
to be proud of sth
unemployment
permed hair
reality
dumb
poverty
P27
Staunend
die Herkunft
in astonishment
background/origin
P28
die Säule
erspähen
verlegen
widerstrebend
column
to spot
embarassed
reluctant
P29
die Anwesenheit
schleppend
weich
presence
shuffling
weak
P30
die Ziege
weiden
fließend
goat
to graze
fluently
P31
der Lieferwagen
lorry
Kapitel 5
P32
die Zustimmung
unvorstellbar
etw bestimmen
der Ruf
ehrlich
agreement
inconceivable
to determine sth
reputation
honest
P33
etw vermeiden (pp vermieden)
der Zorn
die Handlung
knüpfen
to avoid sth
anger/rage
act
to befriend
36
P34
aufhetzen
das Vorurteil
trinkfreudig
der Diebstahl
etw zu seinen Gunsten ausnützen
die Unbeliebtheit
die Verabredung
to stir up
prejudice
fond of drinking
thief
to use sth to your advantage
unpopularity
appointment
P35
rückständig
die Meinung
backward
opinion
P36
wenn ihr euch einig seid
geschmiert
if you all agree
smudged
P37
streng
schimpfen
jdn behandeln
jdn in Ruhe lassen
strict
to get angry
to treat sb
to leave sb in peace
Kapitel 6
P38
mit Bedacht
die Lehrstelle
wegen der Ausländerfeindlichkeit
die Träne
der Rücken
with care
position for an apprentice
because of the hostility to foreigners
tear
back
P39
die Einreise
der Hauptschulabschluß
bauen
die Wut
entwurzeln
entry
equivalent of Standard Grades
to build
rage
to uproot
P40
der Leib
spüren
der Entschluss
die Vorbereitung
schwermütig
body
to feel/sense
decision
preparation
melancholy
37
Kapitel 7
P41
die Theaterprobe
furchtbar
die Hauptfigur
die Begeisterung
etw begreifen (pp begriggen)
rehearsal
terribly
main character
enthusiasm
to understand sth
P42
das Vertrauen
lebendig
der Vorschlag
sich mit jdm verstehen (pp verstanden)
offenbar
trust
lively
suggestion
to get on with
obviously
P43
erkennen
deutlich
to recognise
clearly
Kapitel 8
P43
die Weberei
die Autobahn
der Geschmack
die Zunge
weaving mill
motorway
taste
tongue
P44
der Vorchlag
der Reiher
bremsen
überwältigt
die Schar
erholsam
der Bach
ratlos
suggestion
heron
to brake
overcome
flock
relaxing
stream
helpless
die Überraschung
der Beweis
vorsichtig
surprise
evidence
carefully
P45
P46
Kapitel 9
P47
die Stufe
das Schleierchen
umwerfend
ernst
step
little veil
fantastic
serious
P48
der Besen
lässig
gleichzeitig
rempeln
broom
casual/careless
at the same time
to barge/jostle
38
P49
meckern
jdn beruhigen
fuchteln
to moan
to calm sb down
to wave your hands about
P50
das Abziehbild
sichtlich
Scheinwerfer an!
transfer
visibly
Lights!
P51
begegnen + Dat
die Entrüstung
robben
sich verbeugen
Feierabend haben
to meet (by chance)
indignation
to crawl
to take a bow
to be finished work
P52
zwischendurch
die Änderungsschneiderei
der Auftrag
die Anerkennung
in between times
alteration tailor’s
contract
recognition
Kapitel 10
P53
bin rausgeflogen!
I’ve been thrown out
P54
stockend
unbedingt
hesitant
really
P55
die Klinke
bescheuert
zischen
stöhnen
sich räkeln
der Schornstein
der Zeitdruck
die Sprechblase
die Spannung
die Versäumnisliste
handle
stupid
to hiss
to groan
to stretch
chimney
pressure of time
conversation bubble
tension
absence list
der Einkaufskorb
die Forderung
der Tresen
shopping basket
demand
counter
P56
P57
39
Kapitel 11
P58
der Bühnenevorhang
jdn ausstehen (ausgestanden)
peinlich
stage curtain
to put up sb
embarrassing
P59
mit Entschiedenheit
lauschen
die Bedingung
die Schikane
with determination
to eavesdrop
condition
harassment
P60
kapieren
vorhin
sie sind genau so viel wert wie wir
provozieren
to understand
earlier
they’re just as important as us
to provoke
P61
unvermittelt
vernünftig
ausgerechnet (du)
wertvoll
der Verdacht
suddenly
sensibly
(you) of all people
valuable
suspicion
P62
der Kumpan
der Beobachter
der Alptraum
heimsuchen
retten
der Engel
überführen
entschwinden
auflauern + Dat
verständigen
die Aufdeckung
die Hausgemeinschaft
pal/buddy
observer
nightmare
to plague
to save
angel
to convict
to vanish
to lie in wait for
to notify
exposure
household (community)
P64
beschuldigt
verstört
die Aufforderung
die Herausforderung
accused
distraught
request
challenge
40
Kapitel 12
P64
der Koffer
aufgeregt
blass
wirr
suitcase
worked up
pale
tangled
P65
die Verantwortung
einverstanden sein
die Pflicht
jdm etw zumuten
die Überforderung
zerren
responsibility
to agree
duty
to expect sth of sb
excessive demands
to pull/drag
P66
erscheinen
die Kekse
zappeln
vorsichtig
jdn beruhigen
to appear
biscuit
to wriggle
carefully
to calm sb down
P67
sich um jdn kümmern
to look after sb
P68
die Matratze
der Plattenspieler
versetzen
mattress
record player
to move (in German schools students
can be kept back a year if their grades
are not good enough)
P69
die Grimasse
fliehen (pp geflohen)
einfangen
die Qual
der Plagegeist
grimace
to flee
to catch/capture
pain/torture
nuisance/pest
P70
versichern
to assure
41
Kapitel 13
P70
die Generalprobe
häufig
dress rehearsal
frequent
P71
der Bräutigam
die Macht
sich erholen
ich hatte keine Ahnung
die Ausbildung
ich gerate in Aufregung
anständig
packen
überzeugt
die Auffassung
etw besprechen (pp besprochen)
eindringlich
groom/fiancé
power
to recover
I had no idea
education
I get worked up
decent
to manage
convinced
opinion/view
to discuss sth
insistent
etw beweisen (pp bewiesen)
tatenlos
sich verdrücken
to prove sth
idle
to beat it/go away
P72
P73
Kapitel 14
P74
trotz + Gen
verzweifelt
das Lampenfieber
inspite of
despairingly
stage fright
P75
die Nachsicht
auf Zehenspitzen gehen
(pp gegangen)
forbearance
to tiptoe
P76
neugierig
der Scheinwerfer
immer gelöster
nosey
spotlight
more and more relaxed
P77
der Einsatz
entry (music)/entrance (theatre)
P78
mit Freude
ein astreines Stück (slang)
das Lob
with joy
a fantastic piece
praise
P79
der Negerkuß
ich drücke euch die Daumen
das schadet meinen Ruf
chocolate marshmallow
I’m crossing my fingers for you
it will damage my reputation
42
Kapitel 15
P80
der Schritt
der Knecht
bedeuten
die Hetze
die Diffamierung
die Vernichtung
unwillkürlich
die Rechtfertigung
step
servant
to mean
rabble-rousing propaganda
defamation
extermination
instinctive
justification
P81
wegwischen
Habe ich mir zu viel vorgenommen?
etw bewältigen
jdn gegen jdn aufhetzen
to wipe off
Have I taken on too much?
to overcome
to stir up sb against sb
P82
Da kommt nichts dabei raus!
einverstanden sein
flüstern
Nothing will come of it.
to be in agreement
to whisper
Kapitel 16
P83
bremsen
die Scheibe
die Häuserzeile
die Biegung
to brake
car window
row of houses
bend/curve
P84
gesprächig
die Enkelin
chatty
granddaughter
P85
das Giebelhaus
erkennen
Einverstanden!
gabled house
to recognise
Agreed!
P86
verschwinden (pp verschwunden)
tadellos
der Anzug
das Messing
to disappear
perfect
suit
brass
P87
die Gesundheit
loben
die Miene
die Anstrengung
dringend
health
to praise
expression
effort
urgently
43
P88
sonst
der Zorn
die Ähnlichkeit
otherwise
fury
similarity
P89
staunen
anstrengend
sich ausruhen
die Strickmaschine
mit den Achseln zucken
to be amazed
demanding/taxing
to rest
knitting machine
to shrug your shoulders
Kapitel 17
P90
gemeinsam
sich mit jdm unterhalten
beschleichen (pp beschlichen)
abhängig
erwartungsvoll
together
to chat with sb
to steal up on
dependent
expectant
P91
verweint
verhalten
aufmerksam
engagiert
die Zustimmung
das Raunen
tear-stained
restrained
attentive
with commitment
agreement
murmur
P93
sich verteidigen
ein schlechtes Gewissen
hüpfen
abseits
die Bewegung
die Aufführung
der Beifall
to defend o.s.
guilty conscience
to hop
to one side
movement
performance
applause
P94
erschöpft
pennen
exhausted
to sleep
P92
Kapitel 18
P96
die Landschaft
der Ausguck
die Weide
die Wiese
die Pappel
countryside
lookout
pasture
meadow
poplar
P97
die Aufregung
die Schafherde
excitement
flock of sheep
44
P98
alle sein
atemlos
to be finished
breathless
P99
sonnenblumenkernen
begeistert
der Vogelkäfig
sunflower seeds
enthusiastic
birdcage
P100
der Heimweh
homesickness
Kapitel 19
P100
die Erholung
die Anstrengung
die Aufregung
rest
strain
excitement
P101
die Enttäuschung
das Befinden
die Schar
die Ferienstimmung
disappointment
state of health
crowd
holiday atmosphere
P102
ausrutschen
schweigen (pp geschwiegen)
to slip
to be silent
P103
schuld haben
hantieren
to be guilty
to be busy
P104
voller Erregung
schlucken
der Magen
der Schmerz
erschrocken
full of rage
to swollow
stomach
pain
shocked
P105
der Militärdienst
unerbittlich
berichten
ausweichen (pp ausgewichen)
military service
relentless
to report
to get out of the way
P106
ein für alle Mal
beleidigen
der Pförtner
once and for all
to insult
porter
P107
nutzen
die Erfahrung
die Drohung
to use
experience
threat
P108
umsonst
jdn von einer Schule abmelden
for nothing
to remove sb from a school
45
Comprehension Section
This section contains the following activities:
•
Comprehension questions in English
•
Comprehension questions in German
•
Summary writing exercises
•
Extension writing/role-play exercises.
46
Schriftliche und mündliche Aufgaben zum Text
Kapitel 1
Aufgabe A
Answer the following questions in English
1.
Which characters are mentioned in the chapter?
2.
Who is Hamide?
3.
What problem is Hamide experiencing?
4.
How do some of the other pupils react to Hamide?
5.
Two other Turkish pupils are mentioned. How do they behave towards Hamide?
6.
What does Frau Weißenbach notice in the playground?
7.
Frau Weißenbach talks to Dr Stock. What does she learn about Hamide?
8.
How does Hamide’s father punish her?
9.
Why does he punish her?
Aufgabe B
Beantworte folgende Fragen auf deutsch.
1.
Wer ist Frau Weißenbach?
2.
Welche Charaktereigenschaften hat Frau Weißenbach deiner Meinung nach?
3.
Beschreib das Verhältnis zwischen Hamide und den anderen Schülern.
4.
Warum hat Hamide das Geld gestohlen?
5.
Hamide wird von ihrem Vater bestraft. Wie findest du diese Strafe? Begründe
deine Meinung.
Aufgabe C
Schreib eine kurze Zusammenfassung des Kapitels auf deutsch.
47
Kapitel 2
Aufgabe A
Answer the following questions in English.
1.
Hamide now has two friends. How does she manage to keep these friends?
2.
Frau Weißenbach notices something in the playground.
a.
What happens?
b.
Who is involved?
c.
Why has this happened?
3.
Frau Weißenbach is surprised that this has happened. Why?
4.
Which group of pupils normally stay together?
Aufgabe B
Aufgabe C
Arbeite mit zwei Mitschülern. Ihr spielt die Rollen von Frau Weißenbach, Cemal und
Frank. Nach der Schule sitzt Ihr im Klassenzimmer und diskutiert alles, was auf dem
Schulhof passiert ist. Welche Adjektive beschreiben am Besten eure Gefühle?
Warum ist alles so passiert? War es richtig, so darauf reagiert zu haben? Wie findet
Ihr die anderen Schüler, die dabei waren? Könnt Ihr eine Lösung zum Problem
finden? Schreibt den Dialog zwischen Frau Weißenbach, Cemal und Frank auf
deutsch.
48
Kapitel 3
Aufgabe A
1.
Frau Weißenbach has set up a drama group. Which classes are involved and
what kind of activities do they do?
2.
a.
Who is involved in the first scene?
b.
What is the scene about?
3.
Which role does Piet play and which problem confronts him?
4.
What does Thorsten’s wife in the play suggest?
5.
Frau Weißenbach has an idea for the drama group.
a.
What is it?
b.
How do the students react?
c.
Who does she think should be involved and why?
d.
What will the members of the drama group do to make this possible?
Aufgabe B
1.
Welche Klassen nehmen an der Theatergruppe teil?
2.
Zwei Szenen werden auf der Bühne vorgeführt. Welche Personen gibt es und
wovon handeln die zwei Szenen?
3.
Warum freut sich Frau Weißenbach?
4.
Woher weiß man, daß die Schüler sich für das neue Projekt begeistern?
Aufgabe C
49
Kapitel 4
Aufgabe A
1.
What do we learn about Malek?
2.
Which Turkish students take part in the play?
3.
What does Sevta say about herself?
4.
What do we learn about Hamide’s family background?
5.
How do the other students and Fr Weißenbach react to what they learn about
Hamide?
6.
How does Hamide help prepare the play?
7.
Which roles do the different Turkish students play?
8.
What concerns Cemal and Alit?
9.
Many people are afraid of the unknown. Which fears are raised in the scene from
the play?
Aufgabe B
1.
Wer ist Ertan?
2.
Warum besucht er die Schule?
3.
Er beschreibt die Auswanderung seiner Familie. Was erwähnt er?
4.
Wovor haben Cemal, Ali und Erdogan Angst?
5.
Cemal und Ali nehmen an dem Theaterstück teil. Wie spielt Cemal seine Rolle?
Aufgabe C
50
Kapitel 5
Aufgabe A
1.
What do the German students find difficult to understand?
2.
What do the others learn from Hamide?
3.
Why would Hamide’s father not be happy about her acting with Cemal and Ali?
4.
Describe Hamide’s feelings towards her father.
5.
What happens in the next scene of the play? (pp 33-34)
6.
Why won’t Olaf and Heino sign the petition in the new scene?
7.
Heino and Olaf plan to steal something. Why?
8.
Why does Sevta no longer want to take part in the play?
9.
How does Frau Weißenbach try to convince her to continue?
10. What difference does Frau Weißenbach see between German and Turkish
students?
11. Why is Hamide’s next scene smudged?
12. Why does Hamide’s character in the play not want to go back to school?
Aufgabe B
51
Kapitel 6
Aufgabe A
1.
Why can’t Cemal get an apprenticeship in Germany?
2.
Which qualification will Cemal not be able to achieve?
3.
What angers Frau Weißenbach about Turkish fathers?
4.
Describe the situation for apprentices in Germany.
5.
What does Frau Weißenbach say about racial tensions in Germany?
Aufgabe B
1.
Warum muß Cemal nach der Türkei zurückkehren?
2.
Wie fühlt sich Cemal, als er die Schule verläßt?
3.
Wann soll Cemal nach der Türkei zurückkehren und mit wem?
4.
Was hält Frau Weißenbach von seiner Abreise?
5.
Was macht Frau Weißenbach zu Hause?
Aufgabe C
Aufgabe D
Du bist Cemal und erfährst von deinem Vater, daß du nach deinem Heimatsland
zurückkehren mußt. Was hältst du davon? Schreib 100 - 120 Wörter auf deutsch zu
diesem Thema. Versuch’ folgendes zu erwähnen:
•
•
•
•
dein jetztiges Leben in der Heimat
die Freundschaften, die du geschlossen hast
deine Familie, die nicht mitfährt
deine Sorgen über die Zukunft.
52
Kapitel 7
Aufgabe A
1.
What does Yildiz tell Frau Weißenbach?
2.
What does Hamide now have to do each afternoon?
3.
What has happened to Melek?
4.
How has Melek changed, particularly towards Frau Weißenbach?
5.
What were Frau Weißenbach’s hopes for the drama group?
Aufgabe B
1.
Warum liegt Hamide im Krankenhaus und seit wann?
2.
Wie reagiert Frau Weißenbach auf die neue Situation mit Hamide?
3.
Wie hat die Theatergruppe Melek geholfen?
4.
Was schlägt Frau Weißenbach Melek vor?
5.
Wie geht’s Frau Weißenbach am Ende des Kapitels?
Aufgabe C
Aufgabe D
Diskutiert folgende Fragen in Gruppen von drei bis vier auf deutsch:
Ist es fair, daß ältere Geschwister ihren jüngeren Geschwistern etwas verbieten
dürfen?
Wie würdet Ihr darauf reagieren, wenn so etwas bei Euch zu Hause vorkommen
sollte?
Welche Adjektive beschreiben Frau Weißenbach am Besten am Ende des Kapitels?
53
Kapitel 8
Aufgabe A
1.
What had Frau Weißenbach had to eat?
2.
What happened when she was driving home?
3.
How did her son react and what did he do?
4.
What does Frau Weißenbach see in the distance and what does she do?
5.
What does she say happens in Turkey?
6.
What does she learn from Torsten?
7.
When had the group met and why had they come to their decision?
8.
How does Frau Weißenbach react to this news?
Aufgabe B
1.
Was hat Frau Weißenbach am Sonntag gemacht?
2.
Was machten ihre Freunde, als Frau Weißenbach bei ihnen ankam?
3.
Frau Weißenbach erzählt ihren Freunden, wie es mit dem Theaterstück geht.
Was sagt sie?
Aufgabe C
54
Kapitel 9
Aufgabe A
1.
What happened during the rehearsals?
2.
How does Sonja react?
3.
Describe the scene on stage.
4.
What does Frau Hallmann do to Herr Beifuß?
5.
Describe Chris’s acting.
6.
How does Chris react to the comments made about him?
7.
What is he going to do to improve his acting?
8.
Describe the scene with Olaf and Heino.
9.
How does the audience react to their performance?
10. What does Yildiz tell Frau Weißenbach and what does she ask her not to do?
Why?
Aufgabe B
Aufgabe C
Arbeitet in Gruppen und diskutiert folgende Fragen:
Welche Eigenschaften hat Chris?
Wie findet Ihr die Szenen auf der Bühne?
Glaubt Ihr, daß das Theaterstück das Alltagsleben in einem solchen Mietshaus
wiederspiegelt? Warum?
55
Kapitel 10
Aufgabe A
1.
Why has Ali not been at the rehearsals?
2.
How does Frau Weißenbach convince him to come back?
3.
What do the students think about Dr Stock?
4.
What concerns Frau Weißenbach about Hamide’s lengthy absence?
5.
What does Hamide tell Frau Weißenbach when she meets her in the shop?
6.
How does she react to this?
Aufgabe B
Lies die folgende Zusammenfassung des Kapitels. Es gibt einige Fehler. Korrigier’
den Text.
Ali fehlt seit einigen Wochen von den Proben und Frau Weißenbach freut sich
riesig darüber, weil er immer schlecht spielt. Sie erzählt ihm, daß Chris die Rolle
des türkischen Vaters besonders gut spielt, fast besser als ein Türke. Ali hat vor,
seinen Karateunterricht zur gleichen Zeit der Proben weiterzumachen. Hamide
fehlt seit drei Wochen von der Schule, weil sie mit ihrer Familie in die Türkei
gefahren ist, um Verwandte zu besuchen. Nach der Schule begegnet Frau
Weißenbach Hamide im Einkaufszentrum. Hamide erzählt ihr, daß sie nie wieder
in der Theatergruppe mitmachen darf, weil ihr ihre Mutter es verboten hatte. Sie
freut sich natürlich darüber.
56
Kapitel 11
Aufgabe A
1.
Dieter says something could make him stop taking part in the play. What?
2.
He also asks Chris what he thinks about Hamide. What is his answer?
3.
What annoyed Dieter about the rehearsal? Why?
4.
What does Chris say about the role of men in Turkish families? How does he
know this?
5.
Chris is determined to show the public he is on the side of the Turks. Why?
6.
What benefit to the students does Frau Weißenbach see in the play?
7.
What do Olaf and Heino do in the play and what is the outcome of this?
8.
The two characters Hamide and Dieter witness what happened. What is Dieter’s
reaction?
9.
What resolves Dieter to help Hamide?
10. What happens at the end of the scene?
Aufgabe B
Aufgabe C
Alle Familien der Hausgemeinschaft treffen sich zum ersten Mal, um sich besser
kennenzulernen. Wie ist die erste Konversation. Arbeite mit zwei/drei anderen und
schreib den Dialog auf deutsch. Nachher sollt Ihr die Konversation auf (Video)
kassette aufnehmen.
57
Kapitel 12
Aufgabe A
1.
Describe Hamide’s state when she arrives for the rehearsals?
2.
What does she have to do during the rehearsals?
3.
What concerns does Frau Weißenbach have?
4.
What hopes does she have for Ali?
5.
What happens as Hamide prepares herself for her scene?
6.
Describe the dream scene.
7.
What does Frau Weißenbach tell Ali at the end of the chapter and how does he
react?
Aufgabe B
Aufgabe C
Arbeite mit einem Partner/einer Partnerin und beantworte folgende Fragen auf
deutsch.
1.
Was wird von türkischen Mädchen verlangt nach dem Text?
2.
Wie würden schottische Mädchen darauf reagieren, wenn sie die gleiche
Verantwortung wie Hamide hätten?
3.
Wie hilft Hamide ihre Rolle im Theaterstück?
58
Kapitel 13
Aufgabe A
1.
Who is Willi Feuerberg?
2.
What does he tell Frau Weißenbach about Hamide’s father?
3.
Why has her father done this?
4.
How does Frau Weißenbach react to this news?
5.
What do we learn about Yildiz’s and Sevim’s parents?
6.
What does Frau Weißenbach bring to the attention of Will Feuerberg?
7.
Why does she think this problem needs to be resolved?
8.
a. Which classes does Frau Weißenbach want to attend the dress rehearsal?
b. Why does she think it’s important that they attend?
Aufgabe B
Aufgabe C
1.
Was hältst du von der künftigen Hochzeit der Hamide?
2.
Versuch dich in das Leben von Hamide einzudenken. Wie würdest du darauf
reagieren , solltest du erfahren, daß dein Vater einen Bräutigam für dich gefunden
hätte.
3.
Wie kann ein solches Theaterstück helfen, wenn es in einer Schule viele
Wandschmierereien gegen Türken gibt?
59
Kapitel 14
Aufgabe A
1.
Why does Dieter not want to take part in the dress rehearsal?
2.
a.
Why is Hamide nervous?
b.
How do you know that she is nervous?
3.
How does the audience react to the play?
4.
a.
Who is Turhal?
b.
Why does he want to help?
5.
Why does Hamide not want her father to know about Turhal?
Aufgabe B
Aufgabe C
Dein Lehrer hat dich darum gebeten, einen Bericht über das Theaterstück für das
Radio vorzubereiten. Dein Bericht soll 2 Minuten dauern und soll die Spieler und
auch die Zuschauer erwähnen. Nimm den Bericht auf Kassette auf.
60
Kapitel 15
Aufgabe A
1.
What does Frau Weißenbach notice on her classroom door?
2.
What does she compare this to?
3.
Initially she feels guilt, but how does this change?
4.
What does Hassan tell her?
5.
How does Thomas react and why does this surprise Frau Weißenbach?
6.
What does Ute do?
7.
a.
What does Chris want to do?
b.
How does Thomas react?
8.
How do some of the others in the class react?
Aufgabe B
Aufgabe C
Du bist Chris und hast die Schmiererei an der Klassentür gelesen. Was denkst du
darüber ? Schreib 100 - 150 Wörter zu diesem Thema auf deutsch.
61
Kapitel 16
Aufgabe A
1.
Why do Willi Feuerberg and Frau Weißenbach go to the alterations shop?
2.
How does Willi Feuerberg react when he is told that Hamide has been working
for her parents?
3.
Describe the area Hamide lives in.
4.
How does Hamide react when she sees Frau Weißenbach?
5.
What does Willi Feuerberg say to Hamide’s father?
6.
What does he tell him about the benefits of the play for Hamide?
7.
What condition does Hamide’s father demand?
8.
Is Frau Weißenbach sure that Hamide will take part in the play? How do you
know?
Aufgabe B
Aufgabe C
1.
Warum suchen Willi Feuerberg und Frau Weißenbach Hamide?
2.
Wie einfach ist es, Hamide zu finden?
3.
Wie ist die Gegend, in der Hamide wohnt?
4.
Wie reagiert Hamide darauf, Frau Weißenbach vor ihrer Haustür zu sehen?
5.
Wie ist das Familienleben bei Hamide nach dem Text ?
6.
Warum fehlt Hamide in der Schule?
7.
Glaubst du, daß Hamide an dem Theaterstück teilnehmen wird? Warum?
62
Kapitel 17
Aufgabe A
1.
Why is Frau Weißenbach nervous shortly before the start of the play?
2.
What makes her believe there is something wrong?
3.
What shows that Chris is nervous?
4.
a.
Describe Chris’ acting.
b.
How do the Turkish women in the audience react to his acting?
5.
How does the audience react to Hamide removing her headscarf in the play?
6.
What happens to Hamide during the interval?
7.
What concerns some of the Turkish women about Hamide’s acting?
8.
How does Hamide’s father react to her acting?
9.
What two things does Chris tell Frau Weißenbach when they are leaving the hall?
10. How was Piet able to prepare for the performance?
Aufgabe B
Aufgabe C
Du bist Hamide und sitzst zu Hause, wo du vor der Premiere für deinen Vater
arbeitest. Du machst dir Sorgen, weil du gar nicht sicher bist, ob du an dem
Theaterstück teilnehmen kannst. Welche Sorgen und Gedanken hast du? Schreib 120
- 150 Wörter zu diesem Thema auf deutsch.
63
Kapitel 18
Aufgabe A
1.
Why is the drama group making a train journey?
2.
Describe Turhal’s journey from Istanbul to Hamburg?
3.
Why was he upset when he arrived in the station?
4.
What does he say about Cemal?
5.
What were Turhal’s dreams about life in Germany?
6.
What did Ayla give the drama group and why?
7.
What does Antja say about the play?
8.
What upsets Yildiz and why?
Aufgabe B
Aufgabe C
Wie Turhal mußt du eine lange Zugreise allein machen. Du sollst deinen Bruder in
einem ausländischen Bahnhof treffen. Beschreib deine Zugreise und Sorgen. Schreib
120 - 150 Wörter zu diesem Thema auf deutsch.
64
Kapitel 19
Aufgabe A
1.
Frau Weißenbach is concerned after the holidays. Why?
2.
What does she learn from Antje?
3.
What does Chris tell Frau Weißenbach?
4.
Why was Hamide in hospital?
5.
What happened at the hospital?
6.
What did Hamide’s father tell Chris?
7.
Describe Hamide’s dream?
8.
What does Dr Stock tell Frau Weißenbach?
Aufgabe B
Aufgabe C
Hamide schreibt Frau Weißenbach aus ihrer Heimat und beschreibt ihr neues Leben.
Was schreibt sie in ihrem Brief. Was vermisst sie? Wie findet sie ihr neues Leben?
Schreib’ 150 - 200 Wörter zu diesem Thema auf deutsch.
65
Schriftliche/Mündliche Aufgaben
Extension Activities
These activities are designed to focus your mind on the general themes of the text.
You will be asked to work
• in pairs
• in groups
• with your language assistant (if applicable)
• with your teacher/lecturer
• independently using library resources.
By the end of this section you will have a greater insight into some aspects of life in
Germany and will have enjoyed the opportunity of working with others and using
reference texts and the internet.
Aufgabe A
Gruppenarbeit
Es kommt ab und zu mal vor, daß manche Schüler in deiner Schule Rassismus erleben. Ihr seid völlig
dagegen und wollt sicher sein, daß es nie wieder passiert. Ihr redet mit dem Schulleiter/der
Schulleiterin, weil Ihr ein Poster gegen Rssismus in jedem Klassenzimmer haben wollt. Was würdet
Ihr auf das Poster schreiben? Versucht mindestens acht Regeln zu schreiben.
Beispiel
In unserer Schule soll jeder Schüler alle Mitschüler respektieren!
In unserer Schule soll jeder Schüler bereit sein, seinen Mitschülern zu helfen!
In unserer Schule akzeptieren wir kein Rassismus!
In unserer Schule wollen wir der Gesellschaft unserer Gegend zeigen, daß Rassismus
eine Vergangenheitssache ist!
Rassismus wird im neuen Jahrhundert nicht akzeptiert! …
66
Aufgabe B
Partner- und Gruppenarbeit
Hier ist eine berühmte Rede, die von Martin Luther King geschrieben und gehalten
worden ist.
Ich habe einen Traum
Ich habe einen Traum,
daß eines Tages
die Söhne
früherer Sklaven
und die Söhne
früherer
Sklavenhalter
miteinander am Tisch
der Brüderlichkeit
sitzen werden.
Ich habe einen Traum,
daß eines Tages
jedes Tal erhöht
und jeder Hügel
und jeder Berg
erniedrigt wird.
Die rauhen Orte
werden geglättet
und die unebenen
werden begradigt.
Die Herrlichkeit
des Herren
wird offenbar werden,
und alles Fleisch
wird es sehen
(Jes. 40, 4 & 5)
Das ist unsere Hoffnung!
Mit diesem Glauben
werde ich fähig sein,
aus dem Berg
der Verzweiflung
einen Stein
der Hoffnung zu hauen.
Mit diesem Glauben
werden wir fähig sein
zusammen zu arbeiten,
zusammen zu beten,
zusammen zu kämpfen,
zusammen
67
ins Gefängnis zu gehen,
zusammen
für die Freiheit
aufzustehen
in dem Wissen,
daß wir eines Tages
frei sein werden.
Lest die Rede und schreibt mit einem Partner/einer Partnerin die Hoffnungen von
Martin Luther King in einer Liste auf. Macht diese Übung auf englisch.
Aufgabe C
Geht in die Schulbibliothek und versucht Informationen über das Leben von
Martin Luther King herauszufinden. Ihr könnt entweder ein Lexicon oder das
Internet verwenden. Schreibt eine kurze Zusammenfassung seines Lebens und
seiner Arbeit auf deutsch.
Aufgabe D
Ihr habt das Buch, Hamide spielt Hamide” gelesen. Wie realistisch war der
Traum von Martin Luther King? Ist es möglich, daß es eines Tages kein
Rassismus mehr geben wird? Diskutiert dieses Thema mit dem Assistent/der
Assistentin in Gruppen von vier bis fünf. Einer/eine soll alles aufschreiben,
was in der Gruppe besprochen wird.
Aufgabe E
Arbeitet in Gruppen und schreibt zehn bis fünfzehn Fragen über das Leben in
Deutschland, die Ihr dem Assistent/der Assistentin stellen sollt. Ihr sollt
herausfinden, wie das Leben in Deutschland ist. Gibt es ein Problem mit
Rassismus? Wie gut spiegelt dieser Text das Alltagsleben in Deutschland wieder?
Ihr sollt auch erzählen können, wie das Leben in Schottland ist. Gibt es auch
Beispiele von Rassismus in unserem Land?
Aufgabe F
Ihr sollt eine Rede auf deutsch über das Thema ‘Rassismus’ vorbereiten. Welche
Lösungen könnt Ihr zu diesem Problem finden? Die Rede soll zwei Minuten
dauern und auf Kassette aufgenommen werden.
Aufgabe G
Auf Seite 30 des Textes lesen Melek und Cemal einen Dialog vor, in dem Melek
ihre Ängste vor ihrem neuen Leben in Deutschland beschreibt. Arbeitet in
Gruppen und lest den Dialog wieder durch. Versucht eine ähnliche Konversation
zu schreiben. Ihr müsst nach Japan auswandern, weil eure Eltern dort Arbeit
gefunden haben. Wovor hättet Ihr Angst? Würdet Ihr gern hinfahren? Was
würdet Ihr vermissen? Wie würden eure Eltern versuchen, Euch zu beruhigen?
Schreibt diesen Dialog auf deutsch. Nachher sollt Ihr den Dialog auf (Video)
kassette aufnehmen.
68
Aufgabe H
Hamide ist wieder in der Türkei und schreibt einen Brief an Frau Weißenbach.
Sie erzählt ihr, wie es ihr geht und alles, was sie macht. Sie beschreibt auch die
Schwierigkeiten, die sie erlebt, sich ins türkische Alltagsleben wiedereinzuleben.
Sie stellt auch Fragen über die Theatergruppe und ihre ehemalige Schule.
Schreibt 120 - 150 Wörter zu diesem Thema auf deutsch.
Aufgabe I
Nach dem Theaterstück wird ein Artikel für die Schulzeitung geschrieben, in dem
alles beschrieben wird. Schreibt 120 - 150 Wörter auf deutsch. Ihr sollt
folgendes erwähnen:
• was im Theaterstück passiert ist
• welche Personen die Hauptrollen gespielt haben
• wie die Zuschauer das Theaterstück gefunden haben.
69
SECTION 5: ITALIAN
Linked texts: Morte accidentale di un anarchico
This approach is intended for small groups which may include students at both Higher
and Advanced Higher level. It is also intended to allow students to work
independently, and particularly to access material on the Internet which would help
them prepare for the unit assessments, as well as for later study of the language.
For those students preparing for Higher, students will be asked to look into the
political background of post war Italy, and the great changes in society which took
place there. Texts which look at the changes in society, both historical and
contemporary, with a particular focus on the new left and the loss of influence of the
church, and also emphasising how life has changed for young people, will tie in with
various topic areas in the Language unit but allow for a greater awareness of recent
Italian history. As fictional text, extracts from Dario Fo’s Morte accidentale di un
anarchico will complement the study, along with some biographical detail, and an
insight into the political forces which influence Fo. The play is avaliable in its
entirety on a website, copyright free, and can be downloaded easily, and extracts
chosen to meet the needs and abilities of particular groups of students.
For those students studying for Advanced Higher, or for some students at higher level,
the Manchester University Press edition of Fo’s play would make an ideal text, with
an extensive introduction, notes, and vocabulary lists.
Web addresses
Interview with Dario Fo
Repubblica del 10 Ottobre
http://www.repubblica.it/cultura_scienze/dariofo/portante/portante.html
The same interview in Audio format
L'intervista della Repubblica in formato audio (1,4 MB)
http://www.repubblica.it/cultura_scienze/dariofo/dario.zip
A biography of Fo
http://www.wema.com/dariofo/biografia.htm
The text of Morte accidentale di un anarchico
http://www.geocities.com/CapitolHill/8485/morte.html
The dario Fo website
http://www.wema.com/dariofo/index.html
70
Some sites which allow historical background to be accessed
Compendi di storia - File da scaricare in formato zip di materiali didattici sulla storia
antica, medievale, moderna e contemporanea.
E' tutta un'altra storia - Saggi su Medio Evo, Età Moderna e Contemporanea contro la
cancellazione della memoria storica.
Pillole di storia - Compendio di storia mondiale, curato da Andrea Veronesi. Il testo è
anche scaricabile per la consultazione off-line.
A site dedicated to Pinelli, whose death persuaded Fo to write his play
Giuseppe Pinelli - Contributi diversi per raccontare gli anni più bui della Repubblica
attraverso un personaggio simbolo, la cui fine è ancora avvolta nel mistero.
71
Biografia
Pagina 1 di 10
Dario Fo nasce nel 1926 a S. Giano in provincia di Varese; suo padre un ferroviere,
sua madre una contadina. Nasce in una famiglia proletaria, di tradizioni democratiche
e antifasciste. Del primo periodo della sua vita parlerà in questi termini lo stesso Fo,
in appunti inediti del 1960:
"Ne sono certo, tutto comincia da dove si nasce. Per quanto mi riguarda, io sono nato
in un piccolo paese del Lago Maggiore, al confine con la Svizzera. Un paese di
contrabbandieri e di pescatori più o meno di frodo. Due mestieri per i quali, oltre una
buona dose di coraggio, occorre molta, moltissima fantasia. E' risaputo che chi usa la
fantasia per trasgredire la legge, ne preserva sempre una certa quantità per il piacere
proprio e degli amici più intimi. Ecco perché, cresciuto in un simile ambiente, dove
ogni uomo è un personaggio, dove ogni personaggio cerca una storia da raccontare ,
mi è stato possibile entrare nel teatro con un bagaglio piuttosto insolito e, soprattutto,
vivo, presente e vero; come vere sono le storie inventate da uomini veri.
Forse sembrerà un po' gratuita la provenienza di cui sopra, circa quel certo surreale,
fantastico, grottesco che è alla base dei miei lavori. Forse non tutto nasce di lì, ma è
certo che dai miei compaesani ho imparato a guardare e leggere le cose in quel certo
modo.
Quando, giovanissimo, arrivai in città (in Lombardia per città si intende Milano) non
potei fare a meno di usare gli occhi alla maniera dei contrabbandieri, cioè
classificando tutto in personaggio e coro, in costruttori di storie (autori) e in ripetitori
(attori). Con ancora l'aggiunta di un enorme piacere nel ravvisare il grottesco, il
rovesciamento, l'illogico".
A Milano giovanissimo, frequenta l'accademia di Brera. Si iscrive alla facoltà di
architettura del Politecnico, che frequenta fino a sette esami dalla laurea. Sono anni di
entusiasmo per un ambiente nuovo e in movimento, per le "Scoperte", per i rapporti
umani che si aprono e gli crescono intorno. Dario Fo si inserisce nella città (che molti
anni dopo definirà in una canzone "la brutta città che è la mia") con un profondo
istinto per la partecipazione attiva e creativa nel rapporto con gli altri, un forte senso
del positivo, della realtà concreta, una sana voglia di vivere che rifiuta ogni
atteggiamento di introversione, di abbandono decadente.
1930 Dario (il primo a sinistra) con la famiglia.
72
Gli anni '70
All'inizio degli anni settanta i governi di centro-sinistra entrarono in crisi e il
problema piu' importante della politica italiana divento' quello di trovare nuovi
rapporti tra la Democrazia Cristiana e il Partito Comunista.
L'istituzione delle Regioni, che ha consentito di attuare il principio costituzionale del
decentramento del potere da Roma alle comunita' periferiche, ha anche favorito lo
stabilirsi di relazioni meno rigide fra i partiti nelle diverse zone del paese.
Nel 1972 e nel 1976 vi sono stati scioglimenti anticipati del Parlamento per la
impossibilita' di dare vita a governi destinati a restare in carica per periodi di durata
non effimera su maggioranze stabili.
Dopo le elezioni del 1976 e per ispirazione di ALDO MORO (esponente della
Democrazia Cristiana) tuttavia si stabilirono accordi che consentirono al Partito
Comunista di appoggiare indirettamente il governo e in seguito di entrare nella
maggioranza parlamentare. Portarono a questo risultato l'accettazione da parte
comunista delle istituzioni di tipo occidentale e delle alleanze internazionali dell'Italia
(cosiddetto EUROCOMUNISMO) e la necessita' di fare appello a tutte le forze
politiche per avviare un programma di governo capace di fronteggiare la crisi
economica e sociale che investiva il paese, di cui un'ondata di attentati compiuti da
organizzazioni clandestine fu l'aspetto piu' preoccupante.
La strage di via Fani a Roma (16 marzo 1978) e il successivo assassinio di Aldo Moro
compiuto dalle BRIGATE ROSSE sono stati gli episodi piu' drammatici di una serie
di delitti che terroristi senza scrupoli hanno posto in essere per compromettere la vita
democratica dell'Italia, a cominciare dalla strage alla Banca dell'Agricoltura di Milano
(12 dicembre 1969).
Il governo "di unita' nazionale", presieduto da GIULIO ANDREOTTI e costituito
dalla DC con l'appoggio di PCI, PSI, PSDI e PRI, entro' in crisi all'inizio del 1979.
Nel giugno dello stesso anno si svolsero nuove elezioni politiche anticipate che non
consentirono di sciogliere con immediatezza i nodi della situazione politica italiana,
lasciando aperti i problemi della costituzione di una larga maggioranza parlamentare e
dei rapporti tra i due maggiori partiti. Permasero ancora i problemi della lotta al
terrorismo, del rafforzamento delle istituzioni democratiche (di cui fu simbolo il
presidente della Repubblica SANDRO PERTINI, eletto a grande maggioranza l'8
luglio 1978 dopo le dimissioni di Giovanni Leone), del superamento della recessione
economica e della crisi energetica, in una prospettiva di pace e di collaborazione
internazionale.
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Mote accidentale di in anarchico: Dario Fo
PROLOGO
Con questa commedia vogliamo raccontare un fatto veramente accaduto in America
nel 1921. Un anarchico di nome Salsedo, un emigrante italiano "precipitò" da una
finestra del 14° piano della questura centrale di New York. Il commissario della
polizia dichiarò trattarsi di suicidio. Fu condotta una prima inchiesta e quindi una
super-inchiesta da parte della magistratura e si scoprì che l'anarchico era stato
letteralmente scaraventato dalla finestra dai poliziotti durante l'interrogatorio. Al fine
di rendere più attuale e quindi più drammatica la vicenda, ci siamo permessi di
mettere in opera uno di quegli stratagemmi ai quali spesso si ricorre nel teatro. Cioè a
dire: abbiamo trasportato l'intera vicenda ai giorni nostri e, invece che a New York
l'abbiamo ambientata in una qualunque città italiana... facciamo conto Milano. E'
logico che, per evitare anacronismi, siamo stati costretti a chiamare commissari i vari
sceriffi, questori gli ispettori e così via. Avvertiamo ancora che, qualora apparissero
analogie con fatti e personaggi della cronaca nostrana, questo fenomeno è da
imputarsi a quella imponderabile magia costante nel teatro che, in infinite occasioni,
ha fatto sì che perfino storie pazzesche completamente inventate, si siano trovate ad
essere a loro volta impunemente imitate dalla realtà!
PRIMO TEMPO
Una normale stanza della questura centrale. Una scrivania, un armadio, qualche sedia,
una macchina da scrivere, un telefono, una finestra, due porte.
COMMISSARIO - (Sfogliando degli incartamenti rivolto ad un indiziato che se ne sta
seduto tranquillo). Ah, ma non è la prima volta che ti travesti allora. Qui dice che ti
sei spacciato due volte per chirurgo, una volta per capitano dei bersaglieri... tre volte
vescovo... una volta ingegnere navale... in tutto sei stato arrestato vediamo un po'...
due e tre cinque... uno, tre... due... undici volte in tutto... e questa è la dodicesima...
INDIZIATO - Sì, dodici arresti... ma le faccio notare signor commissario che non
sono mai stato condannato... ho la fedina pulita io!
COMMISSARIO - Beh... non so con che razza di gabole tu ce l'abbia fatta a
scantonare... ma ti assicuro che stavolta la fedina te la sporco io... puoi giurarci!
INDIZIATO - Beh, la capisco commissario: una fedina immacolata da sporcare, fa un
po' gola a tutti...
COMMISSARIO - Sì, fai lo spiritoso... Qui la denuncia dice che ti sei fatto passare
per psichiatra, professore già docente all'università di Padova... Lo sai che per
millantato credito c'è la galera?
INDIZIATO - Sì, per il millantato credito messo in piedi da uno sano... ma io sono
matto: matto patentato... guardi qua il libretto clinico: sono stato ricoverato già sedici
volte... e sempre per la stessa ragione: ho la mania dei personaggi, si chiama
"istriomania" viene da istriones che vuol dire attore. Ho l'hobby di recitare delle parti
insomma, sempre diverse. Soltanto che io sono per il teatro verità, quindi ho bisogno
che la mia compagnia di teatranti sia composta da gente vera... che non sappia
recitare... d'altra parte io non ho mezzi,, non potrei pagarli... ho chiesto sovvenzioni al
ministero dello spettacolo ma siccome non ho appoggi politici...
COMMISSARIO - Appunto, così ti fai sovvenzionare dai tuoi attori... gli tiri il collo...
INDIZIATO - No, non ho mai tirato bidoni a nessuno io...
COMMISSARIO - Ancora un po': s'è fatto pagare addirittura ventimila lire per una
visita...
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AGENTE - (che sta alle spalle dell'indiziato) Ammazza che carabinata!
INDIZIATO - E' la normale tariffa di uno psichiatra che si rispetti... per uno che ha
studiato per sedici anni la stessa materia!
COMMISSARIO - Appunto ma tu, quando mai hai studiato?
INDIZIATO - Io, per vent'anni ho studiato, in sedici manicomi diversi... su migliaia
di matti come me... giorno per giorno... e anche di notte... perché io, a differenza dei
normali psichiatri, dormivo con loro... magari di piedi con altri due, perché mancano
sempre i letti. Ad ogni modo, s'informi, e vedrà se non gli ho fatto una diagnosi più
che perfetta a quel povero schizofrenico per il quale mi hanno denunciato.
COMMISSARIO - Anche le ventimila lire erano perfette!
INDIZIATO - Ma commissario... sono stato costretto per il suo bene!
COMMISSARIO - Ah, per il suo bene? fa parte della terapia?
INDIZIATO - Sicuro... se non gli carabinavo le ventimila, lei crede che quel
poveraccio e soprattutto i suoi familiari sarebbero stati soddisfatti? Se gli avessi
chiesto cinquemila avrebbero immancabilmente pensato :"Dev'essere uno che vale
poco: forse non è un vero professore, sarà appena laureato, un principiante". Invece
così, dopo la sparata gli è mancato il fiato e hanno pensato: ma chi è questo? Il
padreterno?... sono andati via felici come una pasque... e piangevano di commozione.
COMMISSARIO - Per la miseria, come la sai raccontare bene...
INDIZIATO - Ma non sono frottole commissario... perfino Freud dice... la parcella
salata è il più efficace dei toccasana tanto per il medico che per l'ammalato!
COMMISSARIO - E ci credo, ad ogni modo dai un'occhiata alla carta di
presentazione e al suo ricettario... se non sbaglio c'è scritto: Professore ANTONIO
RABBI, Psichiatra. Già docente all'università di Padova... avanti.. me la conti
adesso!?
INDIZIATO - Prima di tutto, io, professore lo sono davvero... professore di disegno...
ornato, mano-libera alle serali del Sacro Redentore...
COMMISSARIO - E va bene... complimenti! Ma qui dice: Psichiatra!
INDIZIATO - Bravo, ma dopo il punto! La conosce lei la sintassi e la punteggiatura?
Osservi bene: Professore Antonio Rabbi. Punto. Poi c'è maiuscolo P.psichiatra! Ora
guardi che non è mica millantato un titolo dire: "io sono psichiatra". E' come dire "io
sono psicologo, botanico, erbivoro, artritico". La conosce lei la grammatica e la lingua
italiana? Si? Beh, allora dovrebbe saperlo che se uno scrive archeologo è come se
scrivesse bergamasco... mica vuol dire che ha fatto gli studi!
COMMISSARIO - Si, ma quel "già libero docente all'università"?
INDIZIATO - Ecco, mi spiace, ma stavolta è lei che millanta: m'ha detto che conosce
la lingua italiana e la sintassi e la punteggiatura, e poi salta fuori che non sa neanche
leggere corretto...
COMMISSARIO - Cosa non so...
INDIZIATO - Ma non ha visto la virgola dopo il già?
COMMISSARIO - Eh, sì... c'è una virgola... ha ragione non ci avevo fatto caso.
INDIZIATO - Ah, ho ragione!.. "non ci aveva fatto caso". E lei col fatto che non ci fa
caso, ti sbatte in galera un innocente?
COMMISSARIO - Ma è proprio matto (senza rendersi conto ha cominciato a dargli
del lei)... cosa c'entra la virgola!
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INDIZIATO - Niente, per uno che non sa la lingua italiana e la sintassi!... Che poi mi
deve dire che titolo di studio ha ... e chi l'ha promossa lei... Mi lasci finire!... La
virgola è la chiave di tutto, si ricordi! Se dopo il "già" c'è la virgola, tutto il senso
della frase cambia di colpo. Dopo la virgola, dovete prender fiato... breve pausa
intenzionale... Poiché: "sempre la virgola impone diversa intenzionalità". Quindi si
leggerà:"Già, e qui ci sta bene anche una smorfietta di sarcasmo... E se poi ci vuol
fare un mugugno ironico sfottente, meglio ancora! Allora... ecco la lettura corretta
della frase: Già (fa una smorfia e un risolino di testa)... libero docente all'università,
altra virgola, di Padova... come a dire: dai non sparar frottole... ma a chi la racconti,
chi ti crede... solo i fessi ci cascano!
COMMISSARIO - Così io sarei un fesso?
INDIZIATO - No, lei è solo un po' sgrammaticato... Se vuole posso darle qualche
lezione. Le faccio un prezzo buono... Direi di cominciare subito... c'è molto lavoro da
fare: mi dica i pronomi di tempo e di luogo.
COMMISSARIO - La smetta di sfottere! Comincio a credere che lei sia davvero uno
con la mania di recitare ma sta recitando perfino di essere matto... invece è più sano di
me... scommetto!
INDIZIATO - Non saprei.. certo il vostro è un mestiere che porta a molte alterazioni
psichiche... Faccia un po' vedere l'occhio? (gli abbassa la palpebra con il pollice)...
COMMISSARIO - Ma insomma! Vogliamo andare avanti con 'sto verbale?
INDIZIATO - Se vuole scrivo io a macchina, sono dattilografo patentato:
quarantacinque battute al minuto...
COMMISSARIO - Stia fermo o le faccio mettere le manette!
INDIZIATO - Non può! O la camicia di forza o niente. Sono matto,e se lei mi mette
le manette: articolo 122 del codice penale: "chi impone in veste di pubblico ufficiale
strumenti di contenzione non clinici o comunque non psichiatrici ad un menomato
psichico così da procurargli crisi del suo male, incorre in reato punibile da cinque a
quindici anni e perde anche la pensione e il grado".
COMMISSARIO - Ah, vedo che te ne intendi anche di legge!
INDIZIATO - Sulla legge? Tutto so! E' venti anni che studio legge!
COMMISSARIO - Ma cos'hai trecento anni? Dove l'hai studiata legge?
INDIZIATO - In manicomio! Sapesse come si studia bene là dentro! C'era un
cancelliere paranoico... che mi dava lezioni. Che genio! So tutto: diritto romano,
moderno, ecclesiastico... il codice giustiniano... federiciano... longobardo... grecoortodosso.. Tutto! Provi ad interrogarmi?"
COMMISSARIO - Non ho tempo... Figurati! Qui, però, non c'è nel tuo curriculum
che tu abbia fatto il giudice... e nemmeno l'avvocato?!
INDIZIATO - Ah no, l'avvocato non lo farei mai... a me piace difendere, è un'arte
passiva, a me piace giudicare... condannare... reprimere... perseguitare! Io sono uno
dei vostri... caro commissario. Diamoci pure del tu!
COMMISSARIO - Attento matto... vacci piano a sfottere...
INDIZIATO - Come non detto...
COMMISSARIO - Allora, ti sei già fatto passare qualche volta per giudice, o no?
INDIZIATO - No, purtroppo non ne ho ancora avuto l'occasione: Ah, come mi
piacerebbe: il giudice è il meglio di tutti i mestieri! Prima di tutto non si va quasi mai
in pensione... Anzi, nello stesso momento in cui un uomo comune, un lavoratore
qualsiasi, a cinquantacinque sessant'anni è già da sbattere via perché comincia ad
essere un po' tardo, un po' lento di riflessi, per il giudice, invece, comincia il bello
della carriera. Per un operaio alla catena o alla trancia dopo i cinquant'anni è finito:
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combina ritardi, incidenti, è da scartare! Il minatore a cinquantacinque anni ha la
silicosi... via, scartato, licenziato, svelto, prima che scatti la pensione... così anche per
l'impiegato in banca, a una certa età comincia a sbagliare i conti, non si ricorda più i
nomi delle ditte, dei clienti, il tasso di sconto, la casella della Biam, e quella della
SA.SIS. Via a casa... sloggiare... sei vecchio... rincoglionito! Invece per i giudici no,
per i giudici è tutto l'opposto: più sono vecchi e rinco... svaniti, più li eleggono a
cariche superiori, gli affidano cariche importanti... assolute! Vedi dei vecchietti di
cartone tutti impaludati: cordoni, mantelline di ermellino, cappelloni a tubo con le
righe d'oro che sembrano tante comparse del fornaretto di Venezia, traballanti, con
delle facce da tappi della val Gardena... con due paia d'occhiali legati con le catenelle,
che se no li perdono... non si ricordano mai dove li hanno appoggiati. Ebbene 'sti
personaggi, hanno il potere di distruggere o salvare uno come e quando vogliono:
danno certe condanne all'ergastolo così come uno dice: "Beh, forse domani piove... ".
Cinquant'anni a te... a te trenta... a te solo venti... perché non dimentichiamocelo, da
noi... c'è ancora il reato di vilipendio se uno dice male della magistratura... da noi e
nell'Arabia Saudita! Ah, sì, sì... il giudice è il mestiere, il personaggio che chissà cosa
non pagherei per riuscire a recitare almeno una volta nella vita. Il giudice di
cassazione, dell'ordine superiore "eccellenza... s'accomodi, silenzio, in piedi entra la
corte... oh, guardi ha perso un osso... è suo? No, è impossibile, io non ne ho più!".
COMMISSARIO - Allora, vogliamo piantarla con 'sta ciance? Mi hai stordito. Su,
seduto lì, e stai zitto! (lo spinge verso la sedia).
INDIZIATO - (Reagendo isterico) Ehi, giù le mani o ti mordo!
COMMISSARIO - A chi mordi?
INDIZIATO - A te! Ti mordo sul collo a anche sul gluteo! Gniam... E se reagisci
pesante c'è l'articolo 122 bis: provocazione e violenza ai danni di menomato
irresponsabile e indifeso. Da sei a nove anni con la perdita della pensione!
COMMISSARIO - Seduto o perdo la pazienza! (All'agente) E tu cosa fai lì impalato?
Sbattilo sulla sedia!
AGENTE - Aì; ma dottore: lui morde!
INDIZIATO - Certo; mordo! Grrr grrr... e vi avverto che ho la rabbia. Me la sono
beccata da un cane... un bastardone rabbioso che mi ha morsicato mezza chiappa. però
lui è morto e io sono guarito. Sono guarito ma sono ancora velenoso: Maggrruuiim!
Uhuouuoh!
COMMISSARIO - Ma porco giuda, ci voleva pure il matto velenoso! Insomma mi fai
stendere 'sto verbale, sì o no? Dai, fai il bravo! Poi ti lascio andare... Te lo prometto!...
INDIZIATO - No, mi caci via signor commissario. Sto così bene con lei... nella
polizia... mi sento difeso: fuori nella strada ci sono tanti pericoli... la gente è cattiva,
vanno in macchina, suonano i clacson, frenano col cigolio... fanno gli scioperi. Ci
sono gli autobus e le vetture del metrò con le portiere che si chiudono di scatto... frii
gnach... schiacciato... Mi tenga qui con lei... l'aiuto a far parlare gli indiziati... e i
sovversivi... io sono capace di fare le supposte di glicerina con la nitro...
COMMISSARIO - Basta insomma... m'hai scocciato!
INDIZIATO - Commissario, mi tenga qui con lei o i butto dalla finestra... a che piano
siamo? Al terzo...? Beh, quasi regolamentare, mi butto! Mi butto, e quando sono sotto,
ormai morente, sfracellato sul selciato che rantolo... Perché io sono duro a morire... e
rantolo moltissimo... arrivano i giornalisti e gli racconto, sempre col rantolo, che siete
stati voi a buttarmi giù! Mi butto!
COMMISSARIO - Per favore: piantala! (Alla guardia) Spranga la finestra (esegue).
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MATTO - E io mi butto dalla tromba delle scale (va verso la porta).
COMMISSARIO - Per dio! Adesso basta davvero! Seduto, (lo scaraventa sulla sedia)
Tu chiudi la porta a chiave... togli la chiave...
INDIZIATO - E buttala dalla finestra... (La guardia stordita va verso la finestra).
COMMISSARIO - Sì, buttala, NO mettila nel cassetto... chiudi il cassetto a chiave...
togli la chiave... (l'agente esegue meccanicamente).
INDIZIATO - Mettila in bocca e ingoiala!
COMMISSARIO - No, no, e poi no... a me non m'ha mai preso nessuno per il
sedere... (all'agente) dammi sta chiave (apre la porta) Fuori, vattene... e buttati pure
dalle scale... fai come ti pare... vado fuori io da matto.
INDIZIATO - No commissario... lei non può! non faccia l'abusivo... non spinga
così... la prego... perché mi vuol far scendere? ... Non è la mia fermata!
COMMISSARIO - Fuori! (C'è riuscito, accosta la porta) Oh, finalmente!
AGENTE - Signor commissario devo ricordarle che c'è la riunione dal dottor Bellati...
e siamo già in ritardo di cinque minuti.
COMMISSARIO . Perché, che ore sono? (Guarda l'orologio). Ma per la miseria...
quel disgraziato m'ha fatto perdere la trebisonda... Andiamo, sbrigati... (Escono da
sinistra e, sulla destra, si riaffaccia alla stessa porta dalla quale era uscito, il matto)
MATTO - Si può.. commissario... disturbo? non si arrabbi sono solo venuto a
riprendere i miei documenti... Non mi risponde? su, non mi terrà mica il broncio...
facciamo la pace... Ah, ma non c'è nessuno qua! Beh, me li prendo da solo... Il mio
libretto clinico... il mio ricettario... ehi qui c'è anche la denuncia... Beh, la stracciamo
va... e non parliamone più! E questa denuncia per chi è? (Legge) "Furto aggravato... "
Capirai, in una farmacia... niente, niente... sei libero (Straccia) Liberi tutti! (si
sofferma a considerare un foglio in particolare) No, tu no... sei una carogna... tu ci
resti... tu vai dentro... (lo stende per bene sul tavolo quindi apre l'armadio pieno di
scartoffie) Tutti fermissimi... è arrivata la giustizia! Oeu, mica saranno tutte denunce?
E io brucio tutto... al gran falò! (prende l'accendino... si accinge a bruciare un pacco di
fogli, legge sul frontespizio): "Istruttoria in corso" (poi su di un altro pacco):
"...decreto di archiviazione di istruttoria... ". (In quel mentre squilla il telefono.
Tranquillo il matto risponde): pronto, qui l'ufficio del commissario Bertozzo. Chi
parla? No, mi spiace, ma se lei non mi dice chi parla io non glielo passo...! Che è... il
commissario... proprio lei in persona? ma no... ma?? Che piacere... il commissario
definestra! No, niente, niente... e da dove telefona... e già, che stupido, dal quarto
piano... e da dove se no?! Come chi sono? Hai sentito Bertozzo, il terrore dei
sovversivi, qui, chiede chi sono... Indovina? Non hai tempo? Andiamo, per un collega
si deve sempre avere tempo... avanti: o indovini o il Bertozzo io non te lo passo! Chi
sono? Anghiari? (quasi fra sé) Sono l'Anghiari? E si hai indovinato... sono proprio io
commissario Pietro Anghiari. Bravo. Beh, che ci faccio qui a Milano... vuoi sapere
troppo. piuttosto dimmi, che cos'hai bisogno dal Bertozzo? No, lui non può venire al
telefono, dì a me. un giudice superiore? Lo mandano apposta da Washington?
Sì,voglio dire, da Roma. ogni tanto mi dimentico che c'è la trasposizione... Ah,
sarebbe una specie di "revisore". Cero, evidentemente al ministero non sono d'accordo
sulle motivazioni date dal giudice che ha archiviato l'inchiesta. Ma ne sei sicuro? Ah,
non solo "si dice"... mi pareva bene... prima gli va a meraviglia e poi ci ripensano... ah
sarebbe per via dell'opinione pubblica che preme... Ma fammi piacere... L'opinione
pubblica... ma chi preme... Appunto, il Bertozzo è qui che sghignazza. (Ride
spostando la cornetta) Ah, ah! e fa gesti scurrili... ah,ah! /finge di chiamare) Bertozzo,
il nostro amico del quarto piano dice che tu ti puoi permettere di sghignazzarci sopra
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perché non ci sei di mezzo... ma per lui e il suo capo son rogne... ah,ah... ha detto di
grattartele con cura! ah, ah.. no stavolta sono io che rido! No, perché mi farebbe
davvero piacere che il capo questore ci andasse di mezzo... eh sì, è la verità, puoi
anche dirglielo... "il commissario Anghiari ci avrebbe piacere... a anche il Bertozzo è
d'accordo con me, senti come ride (allontana la cornetta) Ah, ah! Sentito? E chi se ne
frega se ci sbattono al cesso... Sì, gli puoi riferire anche questo: Anghiari e Bertozzo
se ne strafregano... (emette un terribile pernacchio) Prett... sì, è stato lui che ha fatto il
pernacchio. Ma non ti scaldare, d'accordo che sei tanto amico del questore di Ustica e
Ventotene... ma non c'è mica bisogno di prendersela a 'sto modo...! Ecco, bravo, ne
riparleremo a quattr'occhi. allora, cos'hai bisogno dal Bertozzo, che documenti? Sì,
detta che prendo nota: la copia del decreto di archiviazione della morte
dell'anarchico... va bene e poi te la fa avere...e anche le copie dei verbali.. sì, sì è tutto
qui nell'archivio... E beh, ci credo dobbiate prepararvi bene tu e l'ex guardiano
dell'isola. se il giudice che arriva è appena appena una carogna come dicono... come,
dove lo dicono? A Roma. io vengo di lì, no? E il fatto che vi stanno preparando 'sto
servizio è in giro da quel dì! Certo che conosco il giudice! Malipiero, si chiama. Mai
sentito nominare? Beh, lo sentirai. E' uno che s'è fatto una cosa come dieci anni dic
onfino... domanda un po' al tuo capo dei bagnini penali se magari... no, a pensarci
bene forse è meglio non chiederglielo... Gli potrebbe venire un colpo e allora non ci si
diverte più... Ah, ah! Oeu, ma come sei permaloso dirimpettaio del quarto piano mio...
uno manco si può divertire un po' in 'sta polizia musona. D'accordo, ti faremo sapere
subito tutto quanto. Ti saluto... aspetta, aspetta! Ah, ah, c'è il Bertozzo che ha detto
una cosa molto spiritosa... se non t'arrabbi te la dico... non t'arrabbi? E va bene allora
te la dico: ha detto che... ah, ah.... che dopo 'sta visita del giudice revisore ti
spediranno nel sud, magari a Vibo Valentia Calabrese... dove c'è il palazzo della
questura che è a un piano solo e l'ufficio per il commissario è nel seminterrato... ah,
ah.. hai capito l'antifona: nel seminterrato... Ah, ah! Ah,ah, t'è piaciuta? Non t'è
piaciuta? Beh, sarà per un'altra volta. (Finge di ascoltare alla cornetta) Va bene...
glielo riferisco subito. bertozzo, il fra non molto calabrese commissario qui presente,
ha detto che appena ci incontra a tutti e due ci dà un cazzotto sul muso! Ricevuto,
passo, prree! (pernacchio) da parte di tutti e due e chiudo! (il matto abbassa il
ricevitore quindi si gettta subito alla ricerca del materiale) "Al lavoro signor giudice,
il tempo stringe". A,ah, un'occasione come questa per dimostrare a me stesso e al
mondo intero che i miei studi sono approfonditi, che sono degno di entrare nella
categoria dei "superiori" infallibile e sacri... dove la trovo più? Dio come sono
emozionato! E' come se dovessi dare un esame, più di un esame di laurea maxima! Se
riesco a convincerli che sono un vero giudice revisore... se non smarrono, per la
miseria, sono in cattedra! Ma guai se sgarro! Vediamo un po', prima di tutto trovare la
camminata: (ne prova una leggermente claudicante) no, questa è quella del
cancelliere. Camminata artritica ma con dignità! Ecco, così, col collo un po' torto... da
cavallo da circo in pensione... (prova e ci rinuncia). No, meglio ancora la "scivolosa"
con lo scatto finale (esegue) Mica male! E la "ginocchia di budino"? (esegue) oppure
quella rigida a saltabecco (esegue: passi brevi veloci alternando tacco-punta.).
Accidenti, gli occhiali? No, niente occhiali. l'occhio destro un po' socchiuso... ecco,
così, lettura di sguincio, poche parole... un po' di tosse: ohcc, ohcc! No, niente tosse...
qualche tic? Beh vedremo sul posto, se sarà il caso. Fare mellifluo, voce nasale?!
Bonario con scatti all'improvviso, di testa: "No caro questore, lei deve smetterla, lei
non è più direttore di un penitenziario fascista... se lo rammenti ogni tanto!". No, no è
meglio un tipo al contrario: freddo, staccato, tono perentorio, voce monocorde,
79
sguardo triste un po' da miope... che adopera gli occhiali, ma usa una lente sola: così
(esegue facendo la prova, sfoglia alcune carte). Ma tu guarda! Porco boia: eccoli qua i
documenti che cercavo! Ehi, calma... cos'è sta sbragata? Rientrare subito nel
personaggio... prego! (con tono perentorio) ci sono tutti? Vediamo: decreto di
archiviazione del tribunale di Milano... Ah, c'è l'inchiesta sugli anarchici del gruppo
romano... col Ballerino in testa... Bene! (Caccia tutto dentro la cartella, ma prima si
assicura che sia vuota, la capovolge e la scuote). Un momento, è che se per caso, c'è
rimasto dentro ancora qualche vetrino... non si sa mai, con le borse della giustizia!
Verificare sempre prima dell'uso! (A questo punto dopo che il matto ha preso da un
attaccapanni un soprabito scuro e un cappello nero, entra il commissario, non lo
riconosce così bardato, ha un attimo di perplessità).
COMMISSARIO - Buon giorno, desidera? Chi cerca?
MATTO - Niente commissario, sono tornato a riprendere i miei documenti...
COMMISSARIO - Ah, ancora lei? fuori!!
MATTO - Per favore, se è nervoso per i fatti suoi, perché se li viene a sfogare su di
me?
COMMISSARIO - Fuori! (lo accompagna, spingendolo, alla porta).
MATTO - Ma per dio! Siete tutti nevrastenici qui dentro? A cominciare da quel matto
abusivo che va in giro a cercarla per spaccarle la faccia.
COMMISSARIO - (si arresta un attimo) Chi va in giro a cercarmi?
MATTO - Un tale, col maglione girocollo dolcevita, non glielo ha ancora dato il
pugno?
COMMISSARIO - Un pugno a me?
MATTO - Sì, a lei e a un altro suo collega... un certo Angari...Angario...
COMMISSARIO - Anghiari... un commissario di Roma... della politica?
MATTO - E che ne so io?!
COMMISSARIO - E perché dovrebbe venirci a dare un pugno 'sto tipo "dolcevita"?
MATTO - Per via di un pernacchio.
COMMISSARIO - Un pernacchio?
MATTO - Sì, anzi due, per telefono... e con la risatina carogna ah,ah... Non si ricorda:
ah, ah! (Mima l'allontanare della cornetta come faceva prima).
COMMISSARIO - Ma cosa sta dicendo? Cos'è, un altro dei suoi personaggi?
MATTO - Sì, se ne accorgerà che personaggio quando le arriverà il pugno in un
occhio... e non gli posso neanche dare torto... al povero dirimpettaio del quarto
piano...
COMMISSARIO - A chi?
MATTO - Al suo collega, cosa gli va a dire che spera tanto che lo sbattano in Calabria
al aeminterrato... lui e il suo capo ex guardia confinaria del fascio?
COMMISSARIO - Chi, il nostro questore? quello che...
MATTO - Che vi dirige e vi guida!
COMMISSARIO - Senta, adesso basta, m'ha fatto perdere già troppo tempo... per
favore: se ne vada! Vattene!
MATTO - Per sempre? (accenna bacetti di addio) Bciu, bciu! (moto di rabbia del
commissario)... Va bene, d'accordo me ne vado. Ad ogni modo, se vuole un
consiglio... proprio perché m'è simpatico, appena incontra il "dolcevita dirimpettaio"
lei, si abbassi, mi dia retta (esce). Il commissario manda un gran sospiro poi va diritto
all'attaccapanni (lo vede completamente vuoto).
80
COMMISSARIO - (rincorrendolo) Ma, 'sto disgraziato! Quello con la scusa di fare il
matto si frega pure i cappotti... Ehi tu (blocca l'agente che sta entrando in quell'istante)
Rincorri quel matto... quello c'era qui prima... Sta uscendo con il mio soprabito... il
cappello... e forse anche la borsa... certo, anche quella è mia! Presto, prima che se la
batta!
AGENTE - Subito commissario... (si arresta sulla porta, parla rivolgendosi all'esterno,
al di là delle quinte) Sì dottore... il commissario è qui... s'accomodi. (Rivolto al
commissario che sta armeggiando alla ricerca dei fogli stracciati dal matto).
COMMISSARIO - Ma dove sono andate a finire le denuncie?...
AGENTE - Dottor Bertozzo, c'è qui il commissario della politica che la desidera. (il
commissario Bertozzo solleva la testa dalla scrivania, si alza e gli va incontro, verso la
quinta di destra).
COMMISSARIO - Oh, carissimo... proprio un secondo fa parlando di te con un matto
che mi diceva... ah, ah... pensa un po'... che appena tu mi avessi incontrato... mi
avresti dato... (dalla quinta spunta un braccio rapidissimo. Il Bertozzo si ritrova
letteralmente scaraventato a terra, ha ancora la forza di terminare la frase).
COMMISSARIO - ... un pugno! (e crolla). (dalla porta si affaccia il matto che grida).
MATTO - Gliel'avevo detto di abbassarsi! Buio: stacco musicale sul buio,
probabilmente una marcia grottesca tipo ingresso dei "comici". Il tempo necessario
per il cambio di scena.
81
SECTION 6
Drama series from schools broadcasts are widely used in schools, and come with
ready-made tapescripts and exercises from the broadcasters. These resources are
already in many centres, and are inexpensive to buy. They can certainly be used
successfully with Higher candidates, with a suitable amount of support material.
They have several advantages:
• they are very useful for use in a class which has some students being presented at
Intermediate 2, and some at Higher: the texts will also be useful as preparation for
Personal Communication
• they further develop the themes and topics of the Language unit, giving further
support to this area, helping prepare for external assessment, and providing
exercises to help students develop their control of grammar, and language
resources relevant to the demands which they will face in external assessment
• they are therefore particularly useful for students who are not confident with their
language use, and need more support: this is important if modern language
teachers/lecturers hope to expand numbers taking their subjects, and wish to make
sure more students are to be offered a successful learning experience
• for many students, soaps and TV drama are the normal way of experiencing
fictional texts, and discussing them is a normal activity in English. (This allows
the discussion of them in the foreign language to be less of a jump than discussing
written fiction)
• they can provide enjoyment to students, and give them a feeling of control over
their learning
• for schools, written as they are for teenagers, they link with the experiences of the
viewers, and allow them to relate events on screen to their own experience
When using these programmes, it is important to bear in mind what is expected of the
candidate in the end - to be able to write about and discuss the texts studied (both seen
and read), and to have developed vocabulary and knowledge of structures. If a
suitable selection of support material is used, then candidates should certainly be able
to perform well in the Unit and Course assessment. The amount of support material
necessary will depend upon the complexity of language in the programmes Clémentine, for instance, might require less support than Café des Rêves.
The three programmes recommended in thisdocument all come with exercises and
filmscripts which can be shared with students. This will provide a large amount of the
support material required. Suitable texts to widen the student’s exposure could
include extracts from books which are already in school - a chapter taken from Les
Petits Enfants du Siècle, or Anruf von Sebastian, for instance, would be of direct
relevance to the French and German programmes. These texts could be used in their
entirety for some students who are happy reading, and would like to develop their
reading skills to a greater extent. Short fiction taken from magazines produced for
French, German or Spanish teenagers could also be used, as could problem pages in
teenage magazines. Many of the texts from the language Unit would also be relevant,
as would texts and listening material from commercial courses. Listening material
such as ‘Von Aachen nach Zwickau’, available free from Inter Nationes is directly
relevant and at the correct level.
82
Many up to the minute texts of direct relevance can also be taken from the internet,
and to this end a number of possible sites is given with each of the series of
programmes in this document.
83

Modern Languages - Education Scotland

Transcript

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