Tim,
I use TBL in an Intro to Hispanic Lit course. I have also found it a challenge to design team activities that have short (reporting) answers. Some successes that I have had in this effort include:
(1) For the short story titled "Sin of Omission" by Ana María Matute (a very poetic writer): "Select the passage that best uses figurative language to express the meaning of the title."
(2) Consider you are planning an activity for a summer enrichment program for high school students. Of the following three poems that deal with the theme of death, choose the poem that would work best to engage the youth's interest and develop their critical thinking skills.
(3) Write a 1-2 sentence thesis statement that proposes a relationship between these three elements of the third act of García Lorca's House of Bernarda Alba: (a) what Adela says about the shooting starts, (b) the image of the big white stallion in the coral, (c) the dialogue between Martirio and María Josefa about the sheep María Josefa is carrying.
In each case, my aim is to have students build on their knowledge base of technical forms & their analytical skills to explain HOW a text uses LITERARY DEVICES to express a meaning/message or convey a feeling.
I hope this is helpful,
Kathy
Kathryn J. McKnight, Associate Professor and Acting Chair
Department of Spanish and Portuguese
MSC03 2100
1 University of New Mexico
(505) 277-5907
Albuquerque, NM 87131-0001
Office (505) 277-3924
Fax (505) 277-3885
----- Original Message -----
From: Anna Rubin
To: [log in to unmask]
Sent: Wednesday, June 25, 2008 2:20 PM
Subject: Re: TBL in Theatre History and/or Performance courses
Tim, I'm using TBL in a music appreciation class. I'm using a text w/ CD examples for listening. I start off with basic questions on the readings but I won't include listening examples in the first sessions of testing -- because the students need a lot of guidance in how to listen. (Classical music is highly exotic for them.) But as the course progresses, I will include more and more questions on form, instrumentation, period, both in listening for these things and answering questions from the reading material. For the more creative and analytical aspect, I start them off describing a favorite piece of any genre/style. (This is all in online discussion) The focus is on description of what they hear, apart from personal preferences. Gradually, they have to write about specific pieces which are referenced in the text but not fully analyzed. John Fritz of UMBC has a great structure for having students do these short writing examples and eventually collecting the best ones in a portfolio to submit for grading. They also have to comment, question and respond to other team members' writing. l I'm weak on designing a group project where they collaborate on applying their analytical and music comprehension skills. I may find a pop piece which classical allusions and have them pair it up with something they've already studied and compare/constrast. But it's not necessarily going to work as a group project.
I imagine you are using a text along with their reading plays and seeing some performances? I can see fun actiivites you could do like staged readings but that may not easily fit in the TBL structure. I think in the arts we can use certain aspects but not all others. John F has always encouraged me to adapt it as I see fit. For example, I can't have the kids perform classical works but I can do a fun exercise where with kazoos/body sounds, they actually create a 60' sonata-allegro movement or a theme and variations. I've only taught it this way once but with several students I definitely saw them become engaged and compelled by the music in ways that surprised them.
Best, Anna Rubin
On Jun 23, 2008, at 10:59 PM, Tim Connors wrote:
Dear List Members,
I am brand new to the idea of TBL but am intrigued by the possibilities. I
am a bit lost, however, in transferring the theory to practice in my theatre
history courses, as well as performance-based theatre courses (e.g.,
directing, acting, voice & diction).
Does anyone have experiences/concrete examples in
history/literature/performance courses they would be willing to share?
Thanks much.
Tim
Timothy D. Connors
Professor of Theatre
Central Michigan University
Office/Voice: 989-774-3815
Fax: 989-774-2498
Dr. Anna Rubin
Associate Professor, Music
UMBC
(410) 455-3190
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