Bryce want our advice:
Estimados colegas,
I am slated to present TPRS methods to two regional university Methods of Teaching Foreign Language classes in the next couple of months. It has to be good because the national FL teacher of the year is presenting a week before me on both occasions (Yikes!!!). I have only one hour (!) I am having trouble paring it down.
What do our budding FL teachers need to hear about TPRS?
Here is my outline so far:
BASIC TPRS® STORY OUTLINE
Almost every TPRS® story is a mini three act play. To create a basic story you need a CHARACTER, a SOMETHING (can be tangible or intangible), and three LOCATIONS (can return to the original location). Here is the basic story outline:
BASIC STORY OUTLINE:
There is a CHARACTER at LOCATION #1. But there is a problem because CHARACTER wants a SOMETHING and does not have it.
CHARACTER goes to LOCATION #2. The SOMETHING is not there. CHARACTER is sad (disappointed/angry/upset/confused).
CHARACTER goes to LOCATION #3. The SOMETHING is there. CHARACTER has the OBJECT. CHARACTER is happy!
WORD FREQUENCY
TPRS® is a contextualized, verb-driven methodology (versus the conjugation and noun-driven found in 90% of foreign language classrooms). Notice how the most common verbs drive the action: is, has, wants, and goes. We keep using the most common verbs to get the students fluent in all their forms.
The 100 most common Spanish words make up 50% of all speech.
The 1000 most common Spanish words make up 80% of all speech.
The 2000 most common Spanish words account for approximately 95% of all speech.
Here are the 13 most high frequency verbs in Spanish:
1. ser to be
2. haber to have (helping verb)
3. estar to be
4. tener to have
5. hacer to do, make
6. poder to be able to, can
7. decir to say, to tell
8. ir to go
9. ver to see
10. dar to give
11. saber to know (a fact)
12. querer to want
13. llegar to arrive
14. pasar to pass, spend (time)
15. deber should, ought to, to owe
QUESTIONS = DETAILS = INTEREST
We add interest and make the story unique to the class by adding details. We add details by asking questions.
How big is the SOMETHING?
What color is it?
Why does CHARACTER want it?
We keep asking questions and getting more details. We train the students to compete to give good ideas. As we continue to ask questions the high frequency verbs start showing up.
Here are some examples of questions (high frequency verbs highlighted):
Why does the character want the something?
Does she want it or does she have to have it?
Should she want SOMETHING?
Should she have SOMETHING?
Does she know where LOCATION #2 is?
What does new character #1 say to her?
Can she go to LOCATION #2 right away?
How does she go to LOCATION #2?
When she arrives at LOCATION #2, is someone there?
Who does she see?
What does she do?
What does new character #2 say to her?
Does she know where LOCATION #3 is?
Does she know how to go to LOCATION #3?
What does she do?
When she arrives at LOCATION #3, is there another character?
Who gives her the OBJECT?
What we are striving for is interesting comprehensible input. We are using all of these verbs in context, pre-conjugated and ready-to-wear in a format that is compelling to students. They want to pay attention because it is engaging content. They keep paying attention because they can understand it.
You can start with the same story and end up with a very different end product each time because the students are directing the content. But each time the students will be hearing and acquiring the basic verbs.
We milk the story for as many details as we can. This can be done even with beginning level I students. To facilitate interest and understanding we use names, products, celebrities and stores that the students know and easily recognize. In some languages we can use cognates.
CORE PRECEPTS (AFTER KRASHEN):
• Comprehensible Input.
We teach the language. We do not teach ABOUT the language.
If it is not in the target language it is worthless.
If it is in Spanish that they do not understand it is worthless.
• Interesting to Students Trumps Teacher Brilliancy.
What we do must engage the students.
If we love it and they don’t it is worthless.
We are aiming at “Compelling Input”—content in the TL that cannot be ignored because it is so damn interesting.
• No Forced Speech beyond the Level of Acquisition.
No listen and repeat.
No dialogues.
Students speak when they are ready to speak.
• Shelter Vocabulary, not Grammar.
No grammar is off limits if it helps to move along the story.
If the grammar makes sense, use it.
• Repeat Many Times in Varied Forms.
Superstars can get a word after hearing it only 10-20 times.
Most students need to hear it in interesting, contextualized speech at least 100 times.
Slow processors may need to hear it 200+ times to get it.
“Ser means ‘to be’. Got it? OK, good, let’s move on.” That does not work.
• Grammar on an As-Needed Basis
Grammar is used to support comprehension.
Grammar is used to make the sentence we are using right now clear.
5-second grammar lessons for the class.
10-20 second grammar lessons for the superstars–the rest “take a break”.
Extended explanations outside of class for the superstars and budding grammarians.
I would appreciate your comments and advice.
Bryce