1great expectations

Transcription

1great expectations

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G R E AT E X P E C TAT I O N S
THÈME DE L’UNITÉ
Les vocations artistiques (dons, difficultés) et accomplissement personnel.
POINTS PRIVILÉGIÉS
Lexique
Vocations artistiques
Grammaire
What ; Présent / Present Perfect (référence à l’avenir) ; noms en -ing ;
So I did // So did I ; which ; that /ðæt/
Phonologie
Rythme : accent de mot ; finales accentuées
Intonation : accent pivot de l’énoncé
Culture
Comprendre le parcours individuel de quelques personnalités du monde
artistique anglophone
Méthodologie
Écrire un dialogue
SOMMAIRE DE L’UNITÉ
Documents iconographiques
Jumping all the way – p. 11
Visual arts: “Artist’s Studio, Dancers” – p. 17
p. 11
p. 25
Textes littéraires
You are born with it – p. 12
“What sort of future is that?” – p. 14
“I knew I could do it” – p. 18
p. 13
p. 18
p. 27
Biographie
Steven Spielberg’s early career – p. 13
p. 14
Documents audio
Norma Miller talks about her passion for dance –
p. 13
Jamie Bell recounts how he came to dancing – p. 22
p. 16
p. 33
Fiche méthodologique
Can you… write a dialogue? – p. 21
p. 32
Culture
UNDERSTANDING… artistic vocations – p. 22-23
p. 33
Entraînement lexical
Word perfect – p. 24
p. 36
Compétences de communication
Review & practise – p. 25
p. 38
Documents complémentaires
(XL Extras)
“Not for lads” – p. 26
“We are the way we want to be” – p. 27
p. 39
p. 40
Sujet type bac n° 1
“We are the way we want to be” – p. 27
p. 280
1 . G R E AT
E X P E C TAT I O N S
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PROJET DE SÉQUENCE N° 1 : Billy Elliot
◗ Un thème très concret pour les élèves : un personnage,
une histoire.
◗ Rencontre fiction-réalité : Billy Elliot / Jamie Bell (destins parallèles
du personnage et de l’acteur).
◗ Lien possible avec le film.
◗ Documents accessibles à tous les élèves.
1.
2.
3.
ET
Jumping all the way p. 12
Pour introduire le thème.
I knew I could do it p. 18
Not for lads p. 26
Deux moments clés du roman Billy Elliot (texte p. 26, préparation
possible à la maison – lecture guidée, cf. Workbook p. 15).
4.
Listen p. 22
L’acteur – Jamie Bell – et son
double, Billy (cf. Workbook).
5.
Speaking p. 25
Pour s’exprimer en réinvestissant
idées et moyens d’expression.
… et selon les besoins, tout au long de la séquence :
Can you write a dialogue? p. 21
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Word perfect p. 24
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PROJET DE SÉQUENCE N° 2 : Debuts
◗ Un thème positif et d’actualité pour les élèves de terminale : savoir
ce que l’on veut faire de sa vie et se donner les moyens d’y parvenir.
◗ Au travers de destins personnels, l’évocation de différents arts :
danse, sculpture, musique, peinture, théâtre, cinéma.
◗ Un projet susceptible d’intéresser tout particulièrement les élèves
de sensibilité artistique.
1. + 2.
3.
4.
Visual arts p. 17
Évocation des différents arts.
You are born with it p. 12
Le point de vue polémique d’une artiste sur le talent.
5.
6.
Understanding p. 22-23
Les débuts de quelques artistes célèbres (préparation
à la maison possible, Workbook).
7.
Not for lads p. 26
(Préparation possible à la
maison, Workbook).
En complément ou à la place
du texte p. 14.
What sort of future…? p. 14
De la difficulté à faire accepter
un choix de vie à ses parents.
8.
Role play et/ou Writing
p. 25. Pour s’exprimer
en réinvestissant idées
et moyens d’expression.
Listen p. 13
Témoignage d’une grande chorégraphe
américaine sur ses débuts à Harlem.
Can you write a
dialogue? p. 21
Word perfect p. 24
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PROJET DE SÉQUENCE N° 3 : On stage
◗ Réalisateurs, acteurs, danseurs… : un monde plein d’attraits pour
les élèves.
◗ Un choix de personnalités connues qui favorise l’accès aux
documents du chapitre.
◗ Le cinéma offre de nombreuses possibilités de prolonger le thème.
1.
2.
3.
I knew I could do it p. 18
Texte qui précède la scène
illustrée par la photo p. 11.
4. + 5.
6.
Steven Spielberg p. 13
La vocation précoce du célèbre réalisateur américain.
Listen p. 13
Un autre exemple de vocation précoce : la chorégraphe N. Miller.
7.
Speaking et /ou Role Play p. 25
Pour s’exprimer en réinvestissant
idées et moyens d’expression.
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Not for lads p. 26
2e extrait à découvrir en lecture
semi-autonome (Workbook).
Understanding p. 22-23 (doc. 1 , 2 , 3 )
Autres exemples de célébrités du monde du
spectacle (Workbook).
Can you write a dialogue? p. 21
Word perfect p. 24
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CITATION, p. 10
Cette citation pourra être évoquée à l’occasion de l’étude de la plupart des documents du chapitre. De
plus, comme toutes les autres citations qui figurent sur les pages d’ouverture des chapitres du manuel,
elle pourra être donnée comme sujet d’essai ou de réflexion à la fin de l’étude du chapitre.
E. E. Cummings (1894-1962)
Edward Estlin Cummings was born in Cambridge, Massachusetts. He obtained his B.A. in 1915 and
his M.A. in 1916, both from Harvard. During the First World War, Cummings worked as an
ambulance driver in France, but was interned in a prison camp by the French authorities (an
experience recounted in his best-known novel, The Enormous Room, 1922) for his outspoken antiwar convictions. After the war, he divided his time between houses in rural Connecticut and Greenwich
Village, with frequent visits to Paris. In his work, Cummings experimented radically with form,
punctuation, spelling and syntax, abandoning traditional techniques and structures to create a new,
highly idiosyncratic means of poetic expression.
OPENING
I - JUMPING ALL THE WAY, p. 12
Ce que l’on peut faire…
Culture
Sexisme ; préjugés ; vocation
Lexique
Sentiments ; expression de l’opinion
Méthodologie
Interprétation d’une image
Cette photo est extraite du film Billy Elliot, réalisé par le britannique Stephen Daldry en 2000. Un
livre a été tiré du film en 2001 (auteur : Melvin Burgess). Deux extraits de cette adaptation romanesque
figurent dans le chapitre : I knew I could do it p. 18, et Not for lads p. 26. On trouvera par ailleurs dans
la rubrique UNDERSTANDING p. 22 un court témoignage sonore du jeune acteur qui incarne Billy. Il est
donc possible d’envisager un projet pédagogique articulé autour de ces supports (cf. Projet de séquence
n° 1, p. 8 du guide).
L’image du jeune Billy sautant et dansant dans une rue de la ville minière du Nord de l’Angleterre où il
vit avec son père, son frère aîné – tous deux mineurs en grève dans l’Angleterre des années Thatcher –
et sa grand-mère, sert d’introduction au thème du chapitre : les vocations artistiques et la construction
de l’individu, parfois en dépit même de circonstances défavorables.
Cette photo illustre par ailleurs les cinq dernières lignes du texte p. 18 (I knew I could do it) d’où le titre
Jumping all the way a été tiré. On peut donc profiter de l’étude de cette image pour introduire quelques
mots de vocabulaire figurant dans cette fin de texte.
Les élèves découvrent la photo. Leur demander s’ils identifient le personnage. Certains ont sans doute
vu le film. En profiter pour leur demander de retracer les grandes lignes de l’histoire :
– Where & when?
– The movie is set in the coal mining region of Durham County (England) in 1986, under Margaret
Thatcher’s Conservative regime. The coal miners are on strike.
– Who?
– Billy Elliot is a young 11-year-old boy who lives with his father, older brother and grandmother. His
mother died a few years earlier. The father and brother are both coal miners and they are on strike.
Their life is bound by tradition and a strong sense of machismo (/mətʃzməυ/).
– What?
– Billy is taking boxing lessons at the local gym which is also used for ballet classes. He soon realizes
that he is better at dancing than boxing and joins the ballet class without telling his dad. When his
father finds out about Billy’s interest for ballet, he is violently against it at first.
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1. Demander aux élèves de lire les cinq propositions ; donner, si nécessaire, la définition du mot
elation.
/leʃən/: (n.) a feeling of great happiness caused by success, relief, enjoyment…
adjective: elated /letd/
ELATION
Demander aux élèves quels mots peuvent être d’emblée éliminés (sadness et danger).
Réponses attendues :
Freedom: the impression of freedom is conveyed by the boy’s graceful movements – he seems to be
flying (he is a bird-like figure) – we have / we get the impression that his movements are not hindered
– we also get an impression of extreme lightness and great agility.
Happiness and elation: the smile on the boy’s face reveals / shows that he is in a happy mood – his
jumping is the outward / physical expression of his enthusiasm – he is literally jumping for joy –
maybe the prospect of going to his dance class (or the fact that he has just attended a dance class)
makes him feel happy / light-headed.
2. He has a pair of ballet shoes around his neck, so we can suppose / infer that he is either going
to, or returning home from, his ballet class – he may be running to, or running back home from, his
ballet class.
3. His movements make him look special. For example we have / we get the impression that he is
flying. He also looks special because he has ballet shoes around his neck. It is rather unusual for a
boy to do ballet. There must be fewer boys who do ballet than girls.
Cette photo pourra être ultérieurement rapprochée de celle qui accompagne le texte Not for lads
(XL Extras, p. 26) : liberté et envol dans cette photo-ci, univers clos, enfermement dans la seconde photo.
REACT
Au-delà des réponses personnelles, il s’agit de permettre l’évocation d’attitudes traditionnelles et de
préjugés sexistes afin de pouvoir les remettre en cause si l’on considère que chaque individu doit pouvoir
faire librement des choix de vie. La réflexion suggérée ici sera utile dans le cadre de l’étude du texte
page 26 (Not for lads) et pour la rédaction des essais proposés page 19 (WRITING).
Si les expressions suivantes ne surgissent pas, les suggérer :
I would mind / I wouldn’t mind + V-ing
I would fear / I wouldn’t fear + nom ou groupe nominal / V-ing
Réponses personnelles. Voici toutefois quelques pistes possibles :
Prejudices, sexist attitudes can be deeply-rooted in our society, even if things are somewhat changing.
Most little girls are still given dolls for their birthdays or for Christmas, while little boys get electric
trains or footballs. So it is not always easy to opt for an activity which is traditionally considered a
“boy’s activity” when you are a girl and vice versa. For example, in the film Billy Elliot, Billy’s father
thinks that “real boys” should not do ballet, but that they should play football, box, or wrestle.
Personally, I wouldn’t mind doing an activity which is considered a “girl’s / boy’s activity”. When you
know what you want, you are not afraid to express yourself / you do not fear expressing yourself.
Everybody should have the right to create a path for themselves.
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II - YOU ARE BORN WITH IT, p. 12
Culture
Inné vs acquis
Lexique
Expression de l’opinion / argumentation ; vocations artistiques
Méthodologie
Rédaction d’une courte biographie (Workbook)
Louise Nevelson, sculpteur américain, évoque ici la question du talent (est-il inné ou acquis ?) de façon
quelque peu polémique. Il conviendra donc d’inciter les élèves à prendre la mesure des propos de
l’artiste.
Louise Nevelson (1899-1988) was born to Russian parents. She knew at a very early age that she
wanted to be an artist but she had to live in a very difficult world where women were excluded from
artistic circles. Through hardship and long years of struggle* she managed to become one of America’s
most important sculptresses of the 20th century.
* she had to separate from a husband who refused to recognize her artistic potential and expected her to fit into the
mould of an upper-middle class matron; she also had to escape far worse predicaments such as the Nazi threat.
Avant de lire le texte et de répondre à la question 4, un court travail d’inférence pourra être effectué
à partir du titre. Écrire celui-ci au tableau et demander aux élèves à quoi le pronom it peut renvoyer.
Noter les réponses proposées en les classant. La première lecture du texte permettra de confirmer ou
d’infirmer les hypothèses émises.
4. a. The three great artists mentioned are:
– Caruso, the great 19th century Italian tenor
– Beethoven, Germany’s late 18th century composer
– Picasso, the great 20th century abstract painter
Workbook : la rédaction d’une courte biographie de l’un de ce trois grands artistes est proposée
dans l’activité n° 1 p. 5 (travail donné de préférence à la maison).
b. Like Caruso, Beethoven and Picasso, Louise Nevelson says she was born with artistic gifts / with
talent and a desire to develop her natural / innate gifts. We are told that Caruso “came with a voice”
(l. 5-6), that Beethoven “came with music in his soul” (l. 6-7), and that Picasso “was drawing like an
angel in the crib” (l. 7-8).
5. According to Louise Nevelson, being an artist is both innate and acquired. Her theory is that you
are born with gifts / talent(s) given to you by nature (l. 4) but then you have to make the most of these
gifts; you have to cultivate / develop them not to waste them, and you have to fight for this (l. 24-26).
6. Louise Nevelson achieved what she had always wanted through hardship (l. 26). She also admits
that “it did take despair” (l. 25).
Les questions 6 et 7 étant étroitement liées, et afin d’éviter les redondances, on pourra demander aux
élèves quelles difficultés l’artiste américaine est susceptible d’avoir rencontrées pour mener à bien son
projet (It must have been hard for her to be accepted then recognized by other artists / Being a sculptress,
she must have had irregular income…). On donnera aux élèves quelques éléments biographiques à
propos de Louise Nevelson pour faciliter les réponses à la question 7.
7. When she says “The hardship gave me total freedom” (l. 26), she probably means that in order
to get what she wanted, she had to free herself from all sorts of constraints, including financial ones.
She also probably had to fight against prejudices. / She had to face many difficulties. / She had to
overcome many obstacles in order to gain her independence.
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REACT
Première question : renvoyer les élèves au titre (You’re born with it) et leur demander de citer les
expressions du texte qui reflètent la même idée : … when we come on this earth, many of us are readymade / Some of us… have genes that… / Nature gives you these gifts…, etc. (ce relevé a en principe
été fait lors de la réponse à la question 5 – le rappeler). Cette première question invite les élèves à
prendre position sur la théorie de Louise Nevelson. Certains réagiront certainement au caractère
polémique de ses propos, notamment lorsqu’elle déclare que certains êtres humains ne seraient que des
ébauches (unfinished business, l. 16-17).
Réponse possible :
Louise Nevelson seems to have a rather elitist representation of talent: she says you are born with it
and you know from earliest childhood whether you are an artist or not. I think that this is quite a
narrow conception of what “vocation” means. I think some people may discover they are really good
at painting or singing, or whatever at a later age. Your background (the place where you live, your
family), a stroke of luck* can also play an important part in an artistic career. But Louise Nevelson
acknowledges the fact that talent is not enough when she mentions “despair” and hardship”: she
implies that hard work and determination are also necessary, which to me is obvious.
* Billy Elliot is a good example of what can happen when you meet the right person by chance – in his case, a dance
teacher.
Les deux questions suivantes attendent des réponses plus personnelles.
Workbook : l’exercice n° 2 p. 6 (thème d’imitation) permet le réinvestissement de certains éléments
observés dans le texte.
WORKBOOK - Corrigés
2
p. 6
1. Talent is innate. You are either born with it or you never have any.
2. When you are born a musician, you remain a musician all your life.
3. When he was born, his parents did not know that he was going to be a young genius.
4. Freedom… What a nice thing! But there is no denying that it very often is difficult to
obtain / get.
5. Most people do not know why they are on earth. Do you?
6. From earliest childhood, I knew what I demanded of this world.
7. I never doubted his qualities. But he very often doubted mine.
III - STEVEN SPIELBERG’S EARLY CAREER, p. 13
Culture
Les débuts de Steven Spielberg
Lexique
Le cinéma
Le cinéaste Steven Spielberg est bien connu des élèves. Le texte proposé ici évoque ses débuts dans le
monde du cinéma.
Steven Spielberg (1946 - ) America’s famous film director and producer. Most of his films, be they
science fiction films or adventure films have been very successful. They include: Jaws (1975), Close
Encounters of the Third Kind (1977), E.T, the Extra-Terrestrial (1982), The Color Purple (1985),
Indiana Jones (1981, 84, 89), Schindler’s List and Jurassic Park (1993), Saving Private Ryan (1998),
Minority Report and Catch Me If You Can (2002).
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Word perfect, p. 24 : l’exercice n° 3 pourra être donné à faire à la maison avant l’étude du texte
“Steven Spielberg’s early career”. Il apportera en effet aux élèves une aide lexicale (resourcefulness /
will power / devotion / endurance…) pour répondre à la question 4.
1. Laisser la parole aux élèves. Noter leurs réponses au tableau. Compléter en fonction de leurs
suggestions.
2. Cette question sera l’occasion d’un petit entraînement au prélèvement d’informations : les élèves
balaient le texte (scanning) pour y prélever les chiffres listés.
When he was 5 years old he saw his first feature film*.
“
13
“
he won a short picture contest.
“
16
“
he produced “Firelight”.
“
21
“
he directed his first TV movie.
* a feature film: a full-length film with a story, as opposed to a short (film) or a documentary.
3. Steven Spielberg’s passion for the cinema dates back to his childhood. Since the age of five his
interest for the cinema / for film-making has never waned. He managed to make several short pictures
without getting into a film school, and eventually set up his own office in the back lots of Universal
Studios! This shows how determined and resourceful he was in his teenage years.
4. a. According to Steven Spielberg, having a good imagination is one of the necessary requirements
to be a successful film director (l. 21).
b. Steven Spielberg definitely has a good imagination. The number and variety of the films that he
directed or produced are good evidence of his creative mind / fertile imagination. Steven Spielberg’s
other qualities are his energy and endurance as expressed in the last two lines of the text (l. 23-24).
On pourra bien entendu demander aux élèves de compléter librement la liste des qualités requises
pour être un bon réalisateur (ex : communication skills – useful when dealing with moody actors!).
REACT
Cette activité suppose que le texte de Louise Nevelson ait été étudié en amont. Si ce n’est pas le cas,
s’arrêter à la question 4.
Louise Nevelson’s theory is that when we are born, we are already “programmed” for certain
performances: talent is in our genes – or not. But she also says that determination and hard work are
necessary to get what you want. This theory applies to Steven Spielberg in that he seems to have been
born with a passion for the cinema and a gift for film-making. He knew what he wanted to do and
never considered doing anything else. Thanks to his perseverance and endurance he managed to
make his dream come true and to become a successful film director.
Workbook : l’exercice n° 3 p. 6 (thème d’imitation) permet le réinvestissement de certains éléments
observés dans le texte.
3
p. 6
1. Having a good imagination does not necessarily turn you into a good director / make a
good director out of you. But it can help.
2. Although he had lots of imagination he never managed to write one scenario.
3. One day he jumped off a train to meet François Truffaut.
4. His career began in the late sixties.
5. He did not like heat, although he was born in Arizona.
6. One of his early short pictures landed him his first contract with Universal.
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IV - LISTEN: NORMA MILLER, p. 13
Culture
Harlem ; Norma Miller : danse et réussite
Lexique
Danse
Grammaire
Cause et conséquence
Prononciation
Rythme : accent de mot ; finales accentuées
Intonation : accent pivot de l’énoncé
Norma Miller (1919 - ) born in Harlem, she started her dance career at the age of 12, performing
and winning contests at Harlem’s famous Savoy Ballroom and Apollo Theater. She then joined the
famous Lindy Hop Team, Whitey’s Lindy Hoppers and performed around the globe. In 1941, she
formed her own group, The Norma Miller Jazz Dancers. She then turned to choreography. In 1992,
she was nominated for an Emmy for her choreography in the CBS movie, Stompin’ at the Savoy.
She is still very much involved in the dance world as a choreographer.
Il s’agit d’un court témoignage authentique qui présente de nombreuses caractéristiques de la langue
orale : hésitations, phrases interrompues, ruptures syntaxiques et répétitions. Il convient donc d’attirer
l’attention des élèves sur les indications dont ils disposent, telles que répétition de mots, rythme et
intonation.
Script de l’enregistrement
Norma Miller talks about her passion for dance
Part 1 My name is Norma Miller, and er… I’m a product of Harlem. I began my career, my dancing
years, in Harlem. I think I – I danced in every theatre in Harlem, in a dance contest.
Part 2 And my mother used to take me to these places. My mother realised – when I was dancing,
she knew I would never have – she’d never have any problems with me. So she always encouraged
my dancing because in those days you know we were er – we were a poor family. And er… my
mother – my mother had two girls. And how do you keep girls out of trouble, living in these kinds of
places? So my mother found out that [if she] put me in a dancing school, she could – she didn’t have
to worry about me. I’d be there all day, even when my classes were over, I’d still be there watching.
I saw all the great dancers that came along and I just followed what they did, and I just – dancing
was my entire life. I’ve never done anything else. Even till this day, I’ve never done anything else.
Les élèves écoutent une fois l’enregistrement dans son intégralité puis en deux parties successives que
l’on fait écouter à nouveau autant de fois que nécessaire.
NB : la seconde partie pourra être morcelée suivant les besoins.
Pour la question 1, les élèves ne devraient pas avoir de mal à repérer le mot Harlem, répété trois fois.
Dans le Workbook p. 7, l’exercice n° 4 aidera les élèves à mieux comprendre les informations fournies
dans ce premier passage grâce à un repérage des mots accentués.
Part 1
1. Norma Miller mentions Harlem three times. She mentions this place because it is where her whole
career as a dancer began.
Workbook : l’exercice n° 5 p. 7 aidera les élèves à percevoir le fait que le mot Harlem n’occupe pas
la même place dans le schéma intonatif des trois phrases. Il conviendra donc d’attirer leur attention sur
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ce phénomène. Norma Miller a conscience de tout ce qu’Harlem lui a apporté, d’où cette reprise mais
le nom Harlem ne porte l’accent pivot qu’à la première occurrence qui constitue l’information nouvelle.
Ensuite, l’information nouvelle change et donc, l’accent pivot se déplace (sur in, Norma Miller insiste
sur le fait que c’est bien là, à Harlem, que tout a commencé). Enfin, Harlem est étoffé dans le troisième
énoncé : Norma Miller précise le lieu où elle dansait dans Harlem (every theatre). On pourra demander
aux élèves de traduire ces trois phrases afin de leur faire percevoir le rôle joué par l’accent pivot en
anglais :
Proposition de traduction :
« Je suis un produit de Harlem. C’est là, à Harlem, que j’ai commencé ma carrière. Je pense que j’ai
bien dû danser dans tous les théâtres de Harlem, dans des concours de danse. »
À ce stade, un petit « brainstorming » sur Harlem permettra de préparer et de faciliter grandement
la compréhension de la partie 2. Écrire le mot Harlem au tableau et poser la question : What does
Harlem evoke to you? afin d’obtenir tout ou partie des réponses suivantes :
poor district – Manhattan – New York – black inhabitants – dangerous area – musical and cultural
movement in the 1920s
Harlem: residential and business section of upper Manhattan, New York City, that runs from 110th
Street to 162nd Street. It was originally a Dutch village. From around 1910 Harlem became the
destination of increasing African-American migration from the South. It soon became the largest
and most influential African-American community in the nation, who made it their cultural centre
during the Harlem Renaissance period.
The Harlem Renaissance: a movement in African-American culture in the 1920s which began in the
New York district of Harlem. Achievements were made in literature, music, art and the theatre.
Responding to the heady intellectual atmosphere of the time and place, writers and artists, many of
whom lived in Harlem, began to produce a wide variety of fine and highly original work dealing
with African-American life. Writers associated with the Harlem Renaissance include Langston Hughes,
Countee Cullen, Zora Neale Hurston, and musicans include Duke Ellington. The movement ended
with the Great Depression.
Part 2
Dire aux élèves de ne pas essayer de tout comprendre mais de s’aider du connu pour compenser
l’inconnu. Le mot poor devrait être facilement repéré. Le travail effectué préalablement sur Harlem aura
également permis de se préparer à l’idée de dangerosité.
2. Norma’s mother is mentioned four times. She used to take her daughter to dance contests and she
decided that Norma would attend a dancing school. Therefore, she can be considered as the one
who launched Norma Miller on what was to become a successful dancing career.
3. Norma Miller’s family was poor. Norma was brought up in Harlem and grew up there with her
mother and sister.
4. Key question: “And how do you keep girls out of trouble, living in these kinds of places?”
Norma Miller’s mother put her daughter in a dancing school to prevent her from being a victim of
the dangers of the neighborhood. To her mother, Norma was more secure attending a dancing lesson
than out in the dangerous streets of Harlem. Putting her daughter in a dancing school was a means
of keeping her out of trouble / of protecting her.
RECAP
Norma Miller started her dancing career in Harlem. Because she was poor and lived in a dangerous
district her mother put her in a dancing school “to keep her out of trouble”. There she developed her
talent for dancing and learned a lot by observing and imitating great dancers…
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4
p. 7
a. My name is Norma Miller, and I’m a product of Harlem. I began my career, my dancing
years, in Harlem. I think I danced in every theater in Harlem in a dance contest.
b. began; career
c. 1. Ces mots commencent tous par la syllabe be- et aucun d’entre eux n’est un nom.
2. Ces mots sont tous des noms terminés par une double voyelle.
d. dancing years; dance contest
L’accent de ces deux noms composés est situé sur le premier nom.
5
p. 7
__
a. My name is Norma Miller, and I’m a product of Harlem. I began my career, my dancing
_
_
years, in Harlem. I think I danced in every theater in Harlem in a dance contest.
V - ‘‘WHAT SORT OF FUTURE IS THAT?’’, p. 14
Lexique
Sentiments ; expression de l’opinion, de la suggestion, de la coercition
et du refus
Grammaire
Present Perfect ; modal + Perfect
Méthodologie
Écrire un dialogue
Vikram Seth
Vikram Seth was born in Calcutta in 1952. He was educated in India then he went to Oxford University
in England and Stanford University in California. In 1986, he published his first novel entitled The
Golden Gate. In 1993, the publication of A Suitable Boy – his second novel – earned him wide acclaim.
An Equal Music published in 1999 is Seth’s third novel.
An Equal Music: synopsis
While a music student in Vienna, violinist Michael Holme falls in love with pianist Julia McNicholl.
They play together in a trio, but when Michael has a nervous breakdown as a result of tension caused
by his stern and demanding violin teacher, he abruptly leaves Vienna – and Julia – without warning.
Some months pass and he tries to contact Julia again, unsucessfully. Ten years later, while he is still in
love with her, she attends a concert he is giving with his string quartet in London. She is married to an
American banker and they have a child. She still performs as a pianist, but an auto-immune disease
is gradually destroying her hearing. Unable to resist the power of their past, they start to see each
other again, but this time haunted by the shadow of Julia’s marriage and her tragic hearing loss. Julia
agrees to tour Vienna and Venice with Michael and for a brief, magical time, everything seems possible.
L’extrait choisi se situe au début du roman ; il met en scène le personnage principal, Michael, et ses
parents. Michael veut convaincre ces derniers de le laisser devenir musicien. Michael est confronté à
l’opposition de son père, de condition modeste, qui s’interroge sur l’avenir de son fils et refuse de soutenir
son projet.
Ce texte aborde le thème des vocations artistiques au travers d’une situation réaliste. Les élèves
devraient être sensibles aux difficultés rencontrées par ce jeune britannique, voire s’identifier à lui. Ce
premier texte pourra être mis en parallèle avec l’extrait de Billy Elliot proposé p. 26 : chacun des deux
textes contient en effet un dialogue passionné et polémique entre un père et son fils à propos des choix
d’orientation du fils.
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OUTLINE
Le travail proposé dans la rubrique OUTLINE peut être donné à faire à la maison en préparation d’une
étude du texte en classe. Si vous avez le temps de tout mener en classe, vous pouvez commencer par
une petite anticipation à partir du titre du texte et de l’illustration p. 15 :
– Look at the title of the text and the picture on p. 15. Who do you think is saying these words? To
whom? Why?
1.
plans for the future
social background
– He would like to
– Working class
– The family has struggled financially become a professional
violin player.
(“real sacrifices”, l. 3-4)
– The father owns a butcher’s shop in
a small street (l. 4.)
– No one in the family has ever been
to / attended university (l. 3-4).
parents’ reactions
– Incomprehension (Michael
= first one in the family to get
the chance to go to university,
but turns it down)
– Withdrawal of support,
bitterness, reproach,
disappointment.
On pourra attendre des élèves les productions suivantes :
The parents can’t understand their son’s attitude; they are disappointed by their son’s decision / they
feel very bitter about their son’s decision. They reproach him for betraying the sacrifices they have
made for him…
2. The narrator is called Michael (l. 33).
READ & REPLY
Une lecture silencieuse pourra être suivie d’une écoute de l’enregistrement du texte qui rendra les
réactions des parents de Michael d’autant plus perceptibles.
1. Michael and his parents are speaking about Michael’s future / about his wish to become a violin
player.
2. a. Cette deuxième question sera l’occasion de revoir l’expression :
– de la suggestion : They suggest he (should) + V…
– de l’insistence : They insist on his + V-ing…
– de la persuasion : They try to talk him into / out of + V-ing…
– de l’objection : They object to his + V-ing…
Écrire au tableau les propositions des élèves.
mother
She suggests that he (should)
study music at university (l. 14)
father
He is furious about his son’s choice:
he tries to talk him into changing his mind (l. 32-38); he insists
on his son returning his violin to the school (l. 26-27); he
objects to his son becoming a full-time musician (l. 1-4); he
wonders what sort of future playing music will be for his son
(l. 38)
He worries about money:
he thinks that playing the fiddle will not enable his son to earn
a pension or to support his mother (l. 13); he wants to know
whether his son will receive a grant (l. 16-17); he reminds him
that he and his wife won’t be able to support him (l. 23-24)
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Il sera sans doute utile d’aider les élèves à décoder l’implicite contenu dans la phrase “Look at what’s
happened to us and the shop this last year.” (l. 23) :
– Line 23, Michael’s father says: “Look at what’s happened to us and the shop this last year.” What
does this sentence imply?
– Proposition de réponse : There must have been a slump in sales / in their business, which means that
the parents are poorer than ever / are in dire straits and won’t be able to finance their son’s music
studies if he does not get a grant.
b. En français, on utilise indifféremment les verbes paraître, avoir l’air, sembler pour décrire une
attitude physique ou le ton de la voix. Rappeler aux élèves que l’anglais fait la distinction :
ex : he looks furious & he sounds furious
The father is uncompromising and sounds furious. His tone is defiant / He sounds defiant. He is not
as lenient and protecting as his wife. She sounds more reserved and reacts / behaves differently.
Unlike her husband, she is gentle and tolerant / understanding.
On pourra aider les élèves à décoder l’implicite des lignes 9 à 11 :
– What is the effect of the mother’s remark (l. 10) on her husband? Why?
– Proposition de réponse: The fact that she corrects her husband and uses the “proper word” violinist
instead of violin player indicates that she rather values this profession and therefore sides with her
son.
3. a. Renvoyer à GB 16 p. 189 pour les emplois des modaux + Perfect.
Michael must have felt sad, guilty and very upset, thinking that he was letting his parents down. On
the other hand, becoming a violinist means working extremely hard, so Michael must have felt that
it was unfair of his parents to be so unsupportive. He is likely to have felt torn between his love for
his parents / his desire to please his parents and his passion for music. He certainly appreciates all
the sacrifices they have made for him. / No doubt he is grateful for what they’ve done for him. On
the other hand, didn’t his parents work so that he could be happy? Michael must have felt very
frustrated by the dilemma / situation.
b. The father is trying to appeal to his son’s feelings. He is trying to win him round to his point of view
by making him feel guilty: he and his wife have made countless sacrifices so that Michael could go
to university, and not to doing so means that their effort has been wasted / is meaningless / useless.
L’exercice n° 6 dans le Workbook p. 8 sera l’occasion de revoir le fonctionnement de REMEMBER et
REMIND et facilitera certaines productions :
RECAP
Réponse possible :
Michael’s parents disapproved of their son’s choice because they (his father particularly) thought there
was no future in music and they didn’t have the financial means to support him. They wanted their
son to go to university so much that they took it very badly when Michael told them he wanted to do
music. Michael’s father was extremely disappointed and furious, and he reminded his son of all the
sacrifices he and his wife had made for him.
4. Réponse attendue : c. He feels embarrassed but doesn’t give up.
Justification : faire remarquer aux élèves que le lecteur est renseigné sur l’état d’esprit de Michael de
différentes manières (propos, regards, attitude…) :
doesn’t give up
embarrassed
“But, dad, what’s the point… I don’t want to go. “I said, not looking at either of them.” (l. 25)
What I want to do is…” (l. 7-8)
“Anyway, I just want to play.” (l. 15)
“I’ll get a job. I’ll pay my own way.” (l. 25)
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moments of relative calm
moments of tension
– “… asked Dad slowly.” (l. 9)
– “He tried to speak more calmly.”
(l. 18)
– “He was less furious but even more
bewildered and aggrieved.” (l. 30-31)
– “He said slowly.” (l. 32)
– “… asked Dad slowly.” (l. 9) (suppressed anger,
growing tension)
– “He hit the roof.” (l. 11); “the bloody fiddle” (l. 11);
“It won’t get you a blooming pension.” (l. 16)
– “He shouted.” (l. 21)
– “My father’s eyes flashed fire and he went stomping
off.” (l. 29)
Proposition de synthèse :
On the whole, we can say that tension is building throughout this scene. However, the father calms
down twice:
– (l. 18) “He tried to speak more calmly. You’ve got to think ahead. How will you…?”: he is trying
to get Michael to listen to reason (n.) / to get Michael to reason (v.).
– (l. 30-31) “He was furious but… aggrieved”: the father has just met Mr Cobb (probably the head
of the school / the headmaster), and he is obviously impressed by what he’s been told about
Michael: he is extremely bright and could do very well at university. The father is calmer, less furious,
probably because this information gives more strength to Michael’s determination, it makes it even
more impressive: even though Michael could be a very bright scholar / academic, he chooses to
do music. This shows how strong his interest in music is. But the father is more bewildered and
aggrieved because he can appreciate even more now what a waste it will be if Michael doesn’t
go to university.
L’exercice n° 7 p. 9 du Workbook (thème d’imitation) permettra de réinvestir certains éléments
grammaticaux et lexicaux observés dans le texte.
REACT
Quelques suggestions :
On pourra partir des phrases “… when you’re fiddling away” (l. 24) et “you’ll end up…” (l. 37) qui
montrent toutes les représentations négatives du père vis-à-vis de l’instrument :
– What does the father fear?
– Réponse possible : He fears that his son will not have a proper job or a regular salary.
Autres éléments de réponse :
– look (un)favourably upon something or someone / view (un)favourably something or someone;
e.g. Parents look unfavourably upon artistic careers.
– would rather + V-ed; e.g. They’d rather their children had the security of a good job.
– (would) prefer + to + V; e.g. They would prefer their child to study medicine or law.
– face / have an uncertain future; e.g. Most parents don’t want their children to face / have an
uncertain future.
TRANSLATION
Renvoyer les élèves à la page méthodologique consacrée à la traduction (Can you translate into
French? p. 101) afin qu’ils se familiarisent avec les différents procédés de traduction.
Le passage à traduire ne présente pas de difficultés majeures. Demander cependant aux élèves de tenir
compte du niveau de langue (langue orale familière) dans leurs traductions. Leur suggérer de relever
les spécificités de la langue orale.
Ex : that Mr Cobb he told me (double sujet) / your mother and me, we’ve worked… (redondance de
sujets).
« Je suis allé au lycée, dit-il lentement en nous regardant tour à tour ma mère et moi, et ce Monsieur
Cobb il m’a dit, « votre Michael est très bon élève, vraiment très bon. Il pourrait faire des études de
langues, de droit ou d’histoire. Il pourrait rentrer à l’université et réussir s’il voulait. » Ça rime à quoi
tout ça ? Pourquoi tu veux pas y aller ? J’aimerais quand même bien comprendre. Ta mère et moi, on
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a trimé pour que tu t’en sortes mieux que nous, tout ça pour que tu te retrouves à jouer dans un pub
ou une boîte de nuit. Tu crois que c’est un avenir, ça ? »
WRITING
Trois sujets d’expression écrite sont proposés.
Le sujet 1 directement lié au texte permettra de s’entraîner à la rédaction d’un dialogue. Renvoyer les
élèves à la page méthodologique correspondante (Can you write a dialogue? p. 21). Leur demander
de se reporter à la rubrique Observons de cette page méthodologique.
1. Production possible :
I had just walked off stage after having been ‘encored’ several times for my violin performance
of Mozart’s violin concerto, when I came face to face with my father.
“Michael, well done son, that was amazing. Your Mum and me we’re really proud of you.”
“You liked it, did you? I was worried you wouldn’t.”
“What? Just because I wasn’t initially sure about your choice of career doesn’t mean I don’t
appreciate it now. We had some arguments, didn’t we?”
“We did. I seem to remember, you weren’t too keen on my becoming a violinist, to say the least.”
The argument that I had had with my parents came back to mind. My father laughed nervously.
His anger was gone for good now. He hadn’t believed I could ever do it, but now he did. He had
seen and heard for himself.
“Well, it’s different now. I can see that you were right after all. I remember that you stuck up for
yourself, despite everything I said to put you off. You weren’t having any of it.”
“I knew it was what I wanted to do. Right from the start, from the first time I touched the strings of
the violin I borrowed from school.”
“Well, you were right. What else can I say?”
My father grinned and I smiled back. After all, what was the point of saying anything else now?
Les sujets 2 et 3 sous forme de question faisant appel à l’expérience des élèves seront l’occasion de
s’entraîner à exprimer une opinion personnelle et à la justifier.
The choice of a career is so important and so personal, that even if my parents did not agree with it,
I think I would still go ahead with my own career plan.
I would not be talked into a career which did not correspond to what I wanted to do. Of course I
would listen to my parents’ advice and I would try to remain calm because I respect their point of
view and value their opinion; but as they might not know all that I aspire to do, I would stand firm.
My idea of a “good future” is for a person to be fulfilled in his / her work and personal life. I think
that it involves a certain amount of security, happiness and success.
“A good future” involves the idea of security in that it suggests that a person is financially independent
and that there are no big financial needs in his / her life. For me, it implies having the liberty to use
finances to meet personal needs, accomplish certain goals and to be able to look after others’ needs.
It also suggests the absence of great difficulties, especially in the area of work.
“A good future” implies not only having a job, but also doing something that you enjoy and are good
at. Because full-time work takes up so much of our lives, it is important to be devoting time to doing
something that we take pleasure in and that we think is meaningful. The definition of “a good future”
definitely includes “happiness” for me. The idea of a good future also suggests that you have a certain
amount of success in what you do. If this is not the case, then maybe you have made some wrong
decisions and might be better off doing something else.
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6
p. 8
b. en français :
1. Cette histoire me rappelle quelque chose de comparable qui m’est arrivé il y a longtemps.
2. Il se souvient du temps où ils allaient au cinéma une fois par semaine à Brooklyn.
3. Pense à m’appeler quand tu voudras que je vienne te chercher.
4. Elle se souvient d’avoir posé / Elle se rappelle Ø avoir posé ses clés sur la table de la cuisine,
mais à présent elle ne les retrouve plus / mais elle n’arrive plus à les retrouver.
5. Quelques minutes avant que le train ne quitte la gare de Victoria, il se souvint qu’il avait
oublié d’acheter un sandwich.
en anglais :
1. Michael remembers that his father was completely / totally / firmly / against his plan to
become a professional musician. (accepter également was opposed to his plan to become…)
2. His parents reminded him of all the sacrifices that they had made for him.
3. Michael remembers being saddened by his father’s objection.
4. Mr Cobb told Michael’s father not to forget to bring back the violin / to remember to bring
back the violin.
7
p. 9
1. What I wanted to do was to play the violin. But what my father wanted was for me to become
a butcher!
2. I had always dreamed of going to University. But music won me over.
3. Your father and I (have) worked hard to pay for your education you know. You are not giving
up / dropping out now.
4. You son is very talented / gifted, you know. You should let him try for two or three years.
5. You will have to get used to playing for five hours a day.
6. He does not know what he will do when he has given back his violin.
LE MOT DU LINGUISTE 왘 GRAMMAR PAGE p. 16
LOOK & EXPLAIN
1. what : un mot, plusieurs emplois
On pourrait dire de w h a t que c’est une boîte vide en attente de remplissage… Quels que soient les
emplois qu’on lui assigne, w h a t est toujours lié à une attente d’information.
Voici les occurrences de w h a t en emploi interrogatif dans le texte :
“But, Dad, what’s the point of filling out the forms?” (l. 7)
“What about doing music at university?” suggested my mother. (l. 14)
“So what is it?” (l. 35)
“What sort of future is that?” (l. 38)
Dans l’exemple a., that est pronom (la tradition dirait pronom démonstratif) ; il reprend la question
précédemment posée :
“Why don’t you want to do it?” (l. 35)
Quant à w h a t, il joue un rôle de pronom relatif : il remplace that (that = Why don’t you want to do it?)
et est complément de I want to know. Là où l’anglais emploie le seul w h a t (ou which), le français fait
appel à ce + que :
Voilà ce que je veux savoir. // C’est ça que je veux savoir.
Le père de Michael aurait également pu dire :
I want to know why you don’t want to do it.
Mais en mettant en avant la question :
Why don’t you want to do it?
il est beaucoup plus abrupt et met cette question en relief.
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Dans l’exemple b., ’s est bien entendu has. Mais ’s pour les élèves est souvent source de confusion
car il peut être le génitif, is, ou encore has. Traduction de b. :
Regarde ce qui nous est arrivé.
On traduit what par ce + que s’il est pronom objet, et ce qui s’il est pronom sujet. L’élève francophone
oublie souvent que face à deux mots la langue anglaise est plus économique et a recours à w h a t
seul.
2. Exprimer l’avenir… : énoncés au Présent / Present Perfect
Il s’agit ici de faire réfléchir les élèves sur un point un peu sensible. Là où le français a recours à des
formes grammaticales que la tradition a nommées futur simple et futur antérieur, la langue anglaise a
recours soit à un Présent – simple ou be + -ing – soit au Present Perfect. Les analyses qui ont fait de
will le futur de l’anglais sont impuissantes devant nos deux exemples; on ne peut en effet se contenter
de dire que will est le « futur » sauf quand… on veut parler de l’avenir – après when, after, as soon as,
etc.
En ayant recours à des formes appelées Présent, la langue anglaise nous dit en fait ceci : ce qui est
au Présent est considéré comme une chose acquise à 100 %. Pour le père de Michael, à ce stade,
une carrière de violoniste est la réalité de demain, ce que signale au fond le seul recours à when. Le
« piège à francophone » est donc de savoir que when you are fiddling away est à comprendre ici comme
une évocation de l’avenir, ce que nous indique le contexte mais pas ce seul énoncé.
Le deuxième énoncé présente le verbe g o avec le sens de mourir. Le fait même de partir / mourir
est considéré ici comme inéluctable – acquis dans l’avenir donc. Le Présent de have signale que l’on
est dans du « sûr à 100 % ». Cet énoncé tout entier fait référence à l’avenir.
Traductions :
• Tu crois que l’on pourra subvenir à tes besoins / t’entretenir / t’aider quand tu feras le zouave avec ton violon ?
• Comment feras-tu pour aider ta mère avec ton crin-crin / ton satané violon quand je ne serai plus là ?
Traductions + explication :
• Qu’est-ce que tu feras quand elle aura pris ton violon ?
She has taken code un antériorité par rapport à you / do – en clair : 1. elle prend ton violon ; 2. et
après que fais-tu ?
• Qu’est-ce que tu feras quand elle prendra ton violon ?
Les deux propositions sont concomitantes: you / do et she / takes your violin ont lieu au même moment.
3. Noms en -ing
-ing permet de transformer n’importe quel verbe en nom. Les élèves connaissent ceux du
dictionnaire : the washing, the cooking, etc. Ce qu’il est important de savoir c’est que l’on peut fabriquer
ainsi à la demande autant de noms que l’on veut. Le fait que V-ing ait un statut nominal explique
que dans :
You need examining.
ce n’est pas you qui examine, mais you a besoin d’un examen, d’où des traductions telles que :
Tu as besoin de TE FAIRE examiner.
Il ne faut pas parler du tout de sens passif ici. Que l’on dise :
I need a car
ou
I need examining
ne change rien. Need est suivi dans les deux cas d’un nom. Il se trouve que s’ il y a examen, c’est
quelqu’un d’autre qui le fera.
Donc :
• Your head needs looking at. (l. 22-23)
= le sujet your head a « besoin de quelque chose fait par quelqu’un d’autre », looking at étant un nom.
Ce garçon a besoin qu’on s’occupe de lui.
That boy needs looking after.
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That room wants to clean est absurde car a room n’est pas un agent humain capable d’agir !
En revanche This room wants cleaning est parfait = cette pièce a besoin d’être nettoyée.
Sur le même modèle on trouve :
He wants to shave.
Il veut se raser.
He wants shaving.
Il a besoin d’un bon rasage.
Le verbe want suivi d’un nom signifie alors que le sujet requiert / nécessite / a besoin de quelque
chose.
Quant à : Police want to stop drinking, on ne sait pas – et c’était sans doute voulu dans ce gros titre du
Daily Mail – si :
a. la police veut mettre fin à la consommation d’alcool.
ou
b. la police veut arrêter de boire.
• Where is playing going to get you? (l. 16)
Playing est bien entendu un nom – on peut le remplacer par un autre nom pour bien le faire
comprendre :
Where is the violin going to get you?
is fonctionne donc avec going…
Traductions :
• Et où ça va t’amener, de jouer du violon ?
• And where is watching TV eight hours a day going to get you?
LEARN & EXPLOIT
1 a. Your violin needs tuning.
b. Will speaking several languages help him succeed in life?
c. I think he needs talking to.
d. What about studying English at college for two or three years?
e. My father told me that violin concerto was worth listening to.
2 a. Michael knows exactly what he wants to do when he leaves school.
b. Michael knew his father would be angry when he returned from the school.
c. He did not know he had to return the violin before he left school.
d. His father expected him to get a grant as soon as he turned 18.
e. Stanley is worried his son Michael will not be able to support his mum after he has died.
3 a. What I want is to get a grant to go to college.
b. “Don’t you know what happened to him?”
“No, but that’s what I’d like you to tell me.”
c. Do you think your mother and I can support you when you have left school?
d. When you are a violinist you will undersatnd what working hard means.
VI - VISUAL ARTS, p. 17
Culture
L’art dans l’art ; citations d’œuvres célèbres autour du thème des arts ;
Roy Lichtenstein
Lexique
Peinture, musique et danse dans une œuvre picturale ; les traits, couleurs
et mouvements
Méthodologie
Étude d’un tableau
Expression
Compte rendu de l’étude d’un tableau
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Roy Lichtenstein
(Born in New York City in 1923) In 1939 he studied at the Art Students League in New York then at
the School of Fine Arts at Ohio State University. He served in the army from 1943 to 1946. In 1951,
the Carlebach gallery in New York organized a solo exhibition of his semi-abstract paintings of the
old West. From 1957 to 1960, Lichtenstein held a teaching position at the State University of New
York. By then, he had begun to include loosely drawn characters in his increasingly abstract canvases.
In 1961, he began to make paintings consisting exclusively of comic-strip figures which were seen
as comments on popular culture. Roy Lichtenstein was among those who helped to establish pop art
in the 1960s. From 1964 and into the next decade, he successively depicted stylized landscapes,
consumer-product packaging, adaptations of paintings by famous artists, geometric elements from
Art Deco design and parodies of the Abstract Expressionists’ style. They all underlined the
contradictions of representing three dimensions on a flat surface. The artist has also explored other
mediums such as polychromatic ceramic, aluminium, brass and serigraphs. He was the subject of a
major retrospective at the Guggenheim in 1994, three years before his death on 30 September
1997.
Several of the Arts are represented in this 1974 painting entitled Artist’s Studio, Dancers, including
dance, music and painting. The artist is influenced by the work of various well-known artists, particularly
Matisse’s Dance II (1919-1910), pictured below. In the foreground, the still life with lemons is redolent
of Matisse and Cézanne. His brushstroke is often thick and the outline well-defined: techniques which
are equally used in comic strips.
© Succession H. Matisse 2003
La Danse II, Matisse
On pourra renvoyer les élèves à l’exercice n° 1 p. 24 (Word perfect) pour qu’ils identifient les arts
évoqués dans le tableau de Lichtenstein.
Démarche :
1. Demander aux élèves de donner leurs premières impressions sur le tableau de Roy Lichtenstein.
2. Leur demander ensuite de décrire le tableau (en leur laissant le temps de s’approprier l’aide lexicale
fournie p. 17).
3. Distribuer aux élèves la courte biographie de Roy Lichtenstein en leur demandant de relever les
éléments qui peuvent éclairer l’œuvre soumise à leur réflexion (semi-abstract painting; adaptations of
paintings by well-known artists; regular use of comic-strip techniques – hatching…).
4. Faire récapituler les principales caractéristiques de cette œuvre.
5. L’œuvre de Matisse étant reproduite dans de nombreux livres d’art on pourra également demander
aux élèves de faire des recherches. Un travail comparatif pourra ainsi être effectué.
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Quelques suggestions :
This painting by Roy Lichtenstein entitled “Dancers” contains references to early 20th century painting.
For example, in the background we can recognize a famous painting by Matisse, called “Dancers II”.
In the foreground, the lemons remind us of a still life by Matisse or Cézanne.
However the style of Lichtenstein, characterized by the use of vivid colours in solid blocks, is quite
perceptible…
VII - I KNEW I COULD DO IT, p. 18
Lexique
Danse, passions…
Grammaire
Exprimer l’avenir : Présent / Present Perfect; l’expression de l’insistance,
de la suggestion et de l’objection
Méthodologie
Écrire un dialogue
Ce texte est le premier de deux textes extraits du livre de Melvin Burgess, Billy Elliot, écrit en 2001 à
partir du scénario du film.
Ce premier extrait, central dans l’histoire, raconte le premier contact du jeune Billy avec la danse et avec
Mrs Wilkinson (son professeur). Le deuxième extrait, p. 26 du manuel, retrace la confrontation entre
Billy et son père : ce dernier vient de découvrir que son fils fait de la danse classique sans son accord.
OUTLINE
Billy is in a dancing class. He is trying to do a spin (“Spin it, spin it!” l. 2; “So I did… like a prat”
l. 3-4). The person who is speaking to him is a woman (“she” l. 5), apparently a dance teacher (“she
came down on anyone who laughed” l. 5-6): she has authority and therefore must be the teacher).
READ & REPLY
1 a.
name (when given) or personal pronoun
Billy (l. 1) = I (l. 3…)
The girls / they (l. 4-5)
She (l. 5; 8)
Debbie (l. 12)
activity / job
learning ballet
learning ballet
the teacher
learning ballet
b. The focus of interest is Billy maybe because he is new in the class and he is the only boy. We see
this when the narrator says “the girls stared down at me. They didn’t dare laugh.” (l. 5)
We also see this in lines 11-13 : “I was sitting on a bench pulling me jumper on and that Debbie was
hanging around me again, watching like I was a TV set or something.”
2. The following adjectives best qualify Billy’s feelings after trying the spin :
– awkward but confident (“I ended up… like a prat” l. 4; “You have to be prepared… same as
anything” l. 7; “that spin – I knew I could do it” l. 10-11)
– tired (“knackered” l. 10)
– elated (“I felt great” l. 10)
3. a. Besides the fact that it’s probably the end of the class, what makes Billy wants to leave (“I started
packing my bag” l. 22) is Debbie showing off in front of him (l. 14-18) and then his not being able
to do the spin properly (l. 20-21).
b. Mrs Wilkinson reacts by telling Debbie to leave (“scram” l. 23).
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Workbook : le thème d’imitation (exercice n° 8 p. 9) permettra de réinvestir certains éléments
grammaticaux et lexicaux observés dans le texte.
REACT
Avant de répondre à ces questions, évoquer le point suivant : les élèves qui ont vu le film se souviennent
sans doute que Mrs Wilkinson est la mère de Debbie. Ceci explique l’échange des lignes 24 à 26 (“Mam”
= “mum” dans le nord de l’Angleterre).
It’s probably the first time Debbie has seen a boy in Mrs Wilkinson’s class, so she is impressed. / She
shows off because she is intrigued and wants to impress him. I think Mrs Wilkinson is hard on Billy
(“Come on, Billy, you’re not a girl, are you?”, l. 1) but at the same time she doesn’t want him to be
discouraged (she can see that Debbie is bothering him and so she sends her away). / She sounds
very strict but she doesn’t want to put him off. Maybe she has spotted talent in him…
Mrs Wilkinson does not want Debbie bothering Billy. Debbie is her daughter but apparently, she
maintains her distance during the class (“What did you call me?” “Miss. Sorry.”, l. 25-26).
4. Avant de répondre à cette question, demander aux élèves de lire le memo (p. 19) qui regroupe
quelques expressions qui leur seront utiles pour exprimer les hésitations du jeune Billy.
Billy doesn’t tell Mrs Wilkinson straight away whether or not he will be coming back to her class
– maybe because this first time was a bit difficult for him: not only is he the only boy in the class, but
he is also a complete beginner. Billy may also fear his father’s reaction when he learns that his son
has joined a ballet class instead of going to his boxing lessons.
5. a. On pourra renvoyer les élèves à la photo d’ouverture du chapitre, p. 11, qui illustre ce court
passage du texte. L’adjectif light-headed aura déjà été introduit lors de l’étude de la photo, p. 12.
Billy felt excited and elated / very happy on his way home: “I found myself dancing all the way home”
(l. 41-42); “I felt really light-headed. I went skittering and jumping all the way…” (l. 43)
b. On arriving home, Billy suddenly realised that he had committed himself to going back to the ballet
class. He wasn’t meant to do that, he was meant to go to his boxing lessons, so he was probably
worried that he had made the wrong decision, and was afraid of his father’s reaction (“It wasn’t till
I was standing in the kitchen with the ballet shoes in the hand and the boxing gloves around me neck
that I thought, What have I done?”, l. 44-45).
RECAP
Billy has put himself into an embarrassing and difficult / awkward situation because he has committed
himself to going to the ballet classes while he was meant to go to his boxing lessons. He likes it so
much that he has danced all the way home, through the streets. He feels both tired and great after
the ballet class, but when he gets home he begins to worry about the possible consequences.
REACT
Relire le synopsis fourni p. 19 du manuel pour faire relever : “working-class family” ; “miner’s son” ;
“But when his father… Billy must fight for…” (this indicates that the father was opposed to his son’s
project). Cette question sera l’occasion d’effectuer un rebrassage des expressions suivantes : be likely
to, be sure / certain to, be bound to…
As a miner, Billy’s father lives in a very masculine / male-dominated community / society. He is more
likely to spend his spare time going to the pub with his mates or going to boxing matches than going
to the ballet! Therefore, I expect him to react quite badly / he is bound to be shocked and furious
when he learns about Billy’s interest in ballet.
Cette question peut permettre une petite anticipation avant l’étude du texte p. 26, si vous souhaitez
travailler sur les deux extraits du livre Billy Elliot.
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TRANSLATION
Il pourra être intéressant de faire écouter aux élèves le passage concerné afin de leur permettre de
visualiser la scène avant de proposer une traduction. On attirera leur attention sur le fait que le passage
à traduire est un dialogue ; la langue orale est fidèlement transcrite, et les élèves devront respecter les
contraintes liées à la forme.
– Alors est-ce qu’on aura le plaisir de te voir la semaine prochaine ?
– J’sais pas. C’est juste que… ça me donne l’impression d’être une nana.
– Alors fais pas comme si t’en étais une. Cinquante pence.
Je lui ai tendu ma pièce. Elle a montré du doigt ma paire de chaussons de danse.
– Bon, si tu ne reviens pas, tu me les rends tout de suite.
J’ai hésité. La danse, c’était pas trop mon truc, mais je voulais apprendre à faire cette pirouette.
Je voulais la faire sur le ring. Ça leur apprendrait !
WRITING
Deux sujets sont proposés.
On peut tout à fait choisir de traiter à l’oral avec la classe le sujet 2 avant de donner le sujet 1 en travail
individuel, dans la mesure où la rédaction du dialogue proposée en 1 requiert un travail préalable de
compilation des préjugés possibles.
On trouvera par ailleurs des éléments de réponse dans le second extrait de Billy Elliot proposé p. 26 :
Not for lads (l. 20-41).
1. Pour traiter ce premier sujet, renvoyer les élèves à la page méthodologique (Can you write a
dialogue? p. 21). La démarche proposée dans la partie Observons de cette page peut être transposée
au texte p. 18.
Production possible :
– Boy 1: Who’s taken up dancing then?
– Billy: It’s great. Never felt better in my life. It’s like a sport. You have to concentrate hard and work
to get your body to do the right moves.
– Boy 2: What! You mean to twirl about, spin and lift your leg up?
– Billy: No there’s much more to it than that.
– Boy 3: What’s it like then, wearing tights?
– Boy 2: Are you going to grow your hair and start wearing a skirt next?
– Billy: Ah! Shut up, what would you know about it anyway?
– Boy 3: Don’t want to know anything. I’m just wondering what’s got into you.
– Billy: I just thought I’d try it and I liked it. What’s it to you?
– Boy 1: Billy’s a sissy!
– Billy: It’s not just a girl thing. There are loads of male dancers. And it’s physical. Much more than
you’d imagine. The jumps and spins the men do are much harder than the girls’. They need male
dancers to lift the girls. It’s hard, you know. Just because it looks easy, doesn’t mean it’s easy.
– Boy 2: Show us how you do a pirouette then!
– Billy: Yeah right!
– Boy 1: So is dancing better than boxing?
– Billy: It’s different. Neither is better than the other. It’s just that I like dancing better.
– Boy 3: Are you going to have some more lessons?
– Billy: Yeah, I’m going again. We’ll see whether I get any better at it.
2. Quelques pistes :
– Billy will have to face his friends’ insults / His friends will tease him with cutting / nasty remarks
and he will have to put up with them.
– His friends / his father will insist that ballet is for girls, not for boys.
– Billy’s father will think his son is a homosexual / a poof.
– Billy will be repeatedly told that men do boxing, not dancing / that he will never rise to fame…
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8
p. 9
1. Come on Billy! You’re not a sissy, are you?
2. It is just a matter of practice. When you have left school you will be as good as a professional.
3. What did you call me? Don’t you dare repeat it!
4. By the way, if you are still coming tomorrow don’t forget to bring the money.
5. “I’m knackered!.” “You haven’t done anything at all today though! / all day though!”
LE MOT DU LINGUISTE 왘 GRAMMAR PAGE p. 20
LOOK & EXPLAIN
1. So I did… So did I…
• So I did. (l. 3)
Did reprend go like a rocket = spin.
S o signifie ici : donc.
Traduction : « Et donc, c’est ce j’ai fait. »
So did I = moi aussi, quel que soit le contexte. Dans le contexte de notre document, on pourrait
trouver :
All the girls felt great. And so did I.
Ce qui oppose fondamentalement So I did et So did I, c’est que dans le deuxième exemple, il y a une
comparaison avec quelqu’un d’autre (cf. moi aussi).
2. which
• And then we went to barre, which was a lot better… (l. 8)
Which reprend ici “we went to barre”. L’étiquette « pronom » pourra surprendre dans la mesure où
c’est une proposition qui est reprise.
Traduction :
Puis nous sommes passés à la barre, et ça s’est bien mieux passé.
3. that prononcé /ðæt/
NB: Comme l’indique la prononciation, on s’intéresse ici à that démonstratif et non à that connecteur
prononcé alors /ðət/ : voir GB 73 ; 75.
Occurrences de that prononcé /ðət/
adjectif
pronom
adverbe
That spin – I knew I could do it (l. 10)
that Debbie was hanging around me (l. 12)
I could do that OK
(l. 9)
That’d show’em!
(l. 37)
I wanted to learn how to do that spin (l. 36)
well, I didn’t care for it all that much (l. 35)
Tout recours à that signifie que l’énonciateur prend son interlocuteur – direct ou indirect (i.e. un
lecteur) – à témoin et considère qu’il partage avec lui une connaissance commune. Il n’y a JAMAIS
la moindre notion d’éloignement exprimée avec that.
Que l’on dise alors that spin… ; that Debbie, etc. signifie que le narrateur considère que le lecteur est
au courant, sait de quoi / de qui il est question. C’est évident dans le cas de that spin. Pour that Debbie,
il ne faut tout simplement pas oublier que le roman a commencé AVANT le passage que nous avons
sélectionné. Dès lors on comprend pourquoi on a that Debbie.
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4. down
Down évoque la plupart du temps l’idée d’aller vers le bas, d’être en bas (dans le dressage des chiens,
on met ces derniers « au down » en bon français !). On oppose alors down à up. Le texte nous offre
les énoncés 1, 3 et 4 ci-dessous avec ce sens :
1. The girls stared down at me (l. 4-5)
2. She came down on anyone who laughed. (l. 5-6)
3. I sat down and started packing my bag. (l. 22)
4. Debbie cleared off and Miss looked down at me. (l. 28)
L’énoncé n° 2 ci-dessus conserve à sa façon le même sens de down que précédemment. On songera
au français : « tomber sur quelqu’un », où « tomber » rend compte de down.
Traduction possible :
Tout ceux qui se mettaient à rire, elle leur tombait dessus.
5. jusqu’à : till / until ? to ?
Till et until peuvent tous les deux être traduits par jusqu’à. Il existe d’autres façons de les traduire,
principalement en contexte négatif. Il s’agit ici de rappeler que ces deux mots existent face à to qui
est aussi traduit par jusqu’à.
• I didn’t realise how much I liked it until I found myself dancing all the way home (l. 41-42)
Ce n’est qu’après m’être retrouvé dans la rue à danser jusqu’à chez moi que j’ai compris combien ça me plaisait.
• and it wasn’t till I was standing in the kitchen […] that I thought, What have I done? (l. 43-45)
Et c’est seulement une fois dans la cuisine que je me suis dit « Qu’est-ce que j’ai fait ? » / « Qu’est-ce qui m’a pris ? »
Till / until traduisent un « jusqu’à » temporel, tandis que to est lié à l’espace.
• L’école est obligatoire jusqu’à seize ans.
School attendance is compulsory till 16.
• Il a couru jusqu’à la gare.
He ran to the station.
Remarque pour le professeur : till et until ne sont pas interchangeables, mais il ne peut être question
au lycée de se lancer dans une étude de ces deux mots grammaticaux. Pour une analyse détaillée,
se reporter à :
Les Clés de la grammaire anglaise, Henri Adamczewski et Jean-Pierre Gabilan, Armand Colin, 1993.
LEARN & EXPLOIT
1 a. Mrs Wilkinson asked Debbie to leave and so she did.
b. Debbie likes to spin as often as she can and so does Billy.
c. She must have told Billy to spin it… and he did so.
2 a. He danced all the way home.
b. He hoped to see her again until the day he learned that she had left without saying goodbye to him.
c. The girls stared at him till he got up / he got back to his feet.
d. Billy walked to the door, then decided to keep the dancing shoes.
3 a. Here comes Debbie… Hum, that nose!
b. Mrs Wilkinson asked him for the 50 pence, which made him not give up dancing.
c. Mrs Wilkinson had invented a new method, which turned her into a rich woman.
d. “If you’re coming back you can keep the shoes”, she said. And so he did / And that is what he did.
e. She will not dare phone him… after the way she came down on him yesterday morning!
f. Billy did not like boxing all that much, but he did not dare tell his father.
g. He span and span till dawn and when he got back home he was knackered.
h. It is tougher / harder than it looks, which is not surprising.
i. “What did you call me? Just try again if you dare!”
j. Billy handed her the money and asked her : “What is the name of that girl who was staring at me?”
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VIII – CAN YOU… WRITE A DIALOGUE? p. 21
1. Observons
a. Il s’agit de faire prendre conscience aux élèves (en vue d’améliorer leur propre production) du fait
que les paroles qui apparaissent entre guillemets ne sont pas toujours suffisantes pour informer le lecteur
sur l’état d’esprit du personnage qui les prononce. Les verbes qui introduisent ces paroles apportent de
précieuses indications sur le ton utilisé, sur les expressions du visage ou les gestes.
La seule question du père de Michael, l. 9, ne suffirait pas pour comprendre dans quel état d’esprit le
père se trouve. La même question aurait pu être posée sur un ton amusé ou moqueur. C’est l’adverbe
“slowly” (qui traduit un étonnement) et surtout “He hit the roof” (l. 11) qui nous renseignent sur la façon
dont le père accueille la nouvelle. De même “Discretionary” (l. 21) pourrait être dit sur un ton simplement
étonné ; c’est la précision qui suit (“he shouted”) qui indique la colère du père. De même pour “his eyes
flashed fire and he went stomping off” (l. 29).
Grâce aux verbes “interposed” (l. 10), “suggested” (l. 14), la mère de Michael nous apparaît comme
une personne réservée et compréhensive.
La précision “I said, not looking at either of them” (l. 25) nous indique la gêne de Michael, sa volonté
de ne pas croiser le regard de ses parents.
La langue utilisée par le père de Michael est une langue familière qui présente les spécificités de l’oral
comme l’indiquent les extraits suivants : “that Mr Cobb, he told me” (double sujet), “your mother and
me, we’ve worked…” (“we” au lieu de “I” + sujet redondant).
b. Outre les extraits relevés précédemment, le recours entre autres à une langue elliptique (“You want
to be a violin player?” l. 9 ; “Discretionary!” l. 21…) donne au lecteur l’illusion d’entendre une langue
orale. Une nouvelle écoute de l’enregistrement du texte pourra être profitable.
Le texte intitulé Three months to go, Unité 4, p. 78 est un dialogue constitué d’énoncés tronqués. On
pourra renvoyer les élèves à la GRAMMAR PAGE p. 80 (LOOK & EXPLAIN, point n° 1 et LEARN & EXPLOIT, ex.
n° 1)
c. À l’intérieur des guillemets, le Présent sera souvent utilisé. En revanche, avant ou après les guillemets,
c’est le Prétérit qui sera le plus souvent utilisé. Attention cependant : le Prétérit n’est pas le temps exclusif
du récit comme le montre le texte They are going to be taught a lesson (Chapitre 4, XL EXTRAS, p. 87) où
le récit est mené au Présent.
2. Appliquons
a. Les élèves lisent le contenu des trois tableaux (verbes et adverbes). On pourra leur demander d’avoir
recours au mime pour expliquer le sens de certains verbes (murmur, threaten, nod, frown,…)
Rappeler aux élèves la nécessité d’avoir recours à des adverbes.
b. Les élèves trouveront l’aide nécessaire dans le Workbook, exercice n° 9 p. 10.
9
p. 10
Situation 1: Michael expresses his anger and resentment.
a. Verbes envisageables : shout; yell; threaten, insist; maintain; object; declare; complain.
b. Adverbes envisageables :
(He said…) angrily / bitterly / crossly /desperately / furiously / impatiently…
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c. 1. “I may not be a Mozart but I might become pretty good, if only you’d give me a chance,”
declared Michael.
2. “That Mr Cobb doesn’t know the first thing about me: he’s never heard me play and he
certainly has no idea about my potential,” Michael replied angrily.
3. “Mrs Formby is a great teacher and she only encouraged me; I made up my own mind that
this was what I wanted to do,” insisted Michael.
Situation 2:
a. “You know how musical Michael is, don’t you think maybe you should listen to what he’s
trying to tell you?” she said tenderly.
“You’re just making excuses because you don’t want Michael to go down this track,” she
objected.
“Michael has enormous potential and his teacher knows that better than you. You must trust
him”, she insisted.
“You know deep down that you only want Michael to be happy. Stop worrying and let him
pursue what he wants to do,” she said with a smile.
b. “I’m listening, only he’s not talking sense. He doesn’t know what’s good for him,” he answered
back angrily.
“Don’t tell me what I’m doing. I’m speaking plain sense to him,” he insisted.
“Just because he’s musical doesn’t mean he should go and become a musician,” he shouted.
“You’re too close to him. You have no idea what’s good for him,” he said impatiently.
10
p. 11
Cet exercice attirera l’attention des élèves sur l’importance de la ponctuation dans un texte :
“Have a seat, Michael,” Mr Cobb said.
I sat down and waited for him to say something.
“Why don’t you want to go to college?” he simply asked.
I knew he would ask me that.
“So, you are determined to do music?” he said.
“Yes, Sir, I guess I am,” I replied.
“I had a conversation with your dad the other day. Your parents are nice people, aren’t they?
They’ve worked hard.”
I could feel a lecture coming on and I didn’t feel like listening to it. I knew what Mr Cobb
was aiming at, but how could I possibly give up music?
“I have never intended to hurt them,” I said apologetically. “All I want to do is study music.”
Mr Cobb stood up and started walking around the room.
“When I was your age, I wanted to become an actor. My parents objected. I have often
regretted not doing as I wished.”
After a while he looked at me and said: “Fine, Michael. I will have another word with your
father”.
IX - UNDERSTANDING… artistic vocations, p. 22-23
Les activités proposées dans le Workbook et regroupées sous la rubrique UNDERSTANDING permettent aux
élèves de réinvestir idées et moyens d’expression et de mettre en perspective leurs connaissances culturelles.
11
p. 12-13
LISTEN: Jamie Bell recounts…
Avant de commencer cette activité de compréhension orale, on demandera aux élèves de
lire les informations fournies dans le manuel p. 22 – doc. 1 .
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Script de l’enregistrement :
Part 1 I said to my Mum “I can do better than that”, so she said, “fine, I’ll get you a pair of
tap shoes and you can go on Saturday.”
Part 2 When it first got out though that I was dancing, the lads at school were a bit, “Oh,
you shouldn’t be doing that Jamie. It’s – it’s not right, it’s for girls. You should be doing –
you should be playing football. You should be hanging around with us, not going to dance
classes.”
Part 3 Hum, with Billy it’s more – it’s more violent, I think. His dad really does take it out of
him. He really pushes him against the door and stuff, he doesn’t like it at all…
Il s’agit, comme pour tous les autres documents LISTEN proposés dans la méthode, d’un document
authentique. L’accent de Jamie Bell risque de déstabiliser les élèves. Pas d’affolement ! Le
questionnement proposé tient compte de cette difficulté et aide les élèves à s’appuyer sur
l’intonation, le fond sonore, les mots-clés…
Les activités proposées, au moyen de consignes explicites, constituent à la fois une aide et un
entraînement.
Se préparer
a. They did not understand his choice and probably made fun of him (“… the criticisms of his
friends”, doc. 1 p. 22).
b. The girl was not good at it, she could not follow the beat of the music.
c. He probably thought he could do better than her / he must have thought he could do better
than her.
Cette question vise bien sûr à aider les élèves à repérer par la suite “I could do better than that”,
difficile à comprendre.
Écouter
Écoute intégrale
Jamie Bell has a regional accent. It is probably a Northumberland accent (we are told in
doc. 1 p. 22 that he is from that region of England).
On pourra pointer sur la carte de la Grande-Bretagne en début de manuel la région du
Northumberland : dans le nord-est de l’Angleterre, à la frontière écossaise.
Écoute morcelée
Part 1
a. Cette première question sous forme de QCM devrait permettre à la majorité des élèves de
repérer le mot entendu : mum
NB : le nan a été introduit volontairement car les élèves le retrouveront dans le texte p. 26.
b. L’amorce de réponse et surtout l’anticipation proposée dans la question (c) précédente
devraient faciliter l’écoute et la compréhension.
I can do better than that.
c. L’objectif de cette question est de faire prendre conscience aux élèves qu’il faut exploiter
toutes les informations fournies. En l’occurrence, la petite introduction au document p. 22 du
manuel permet de donner la justification suivante: “Yes, I expected him to say that because
we are told that his passion for dancing started when he saw a girl who couldn’t do it.”
d. “Fine”.
L’objectif de cette question est de montrer aux élèves qu’il suffit de comprendre ici le mot fine
pour comprendre, globalement, la réaction de la mère.
Part 2
a. The other people mentioned are his school friends. The key words which helped me are:
school, football (éventuellement hanging around with us).
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b. Les élèves devraient repérer les passages suivants : “not right… for girls” ; “playing football”
– ce qui permettra de proposer, par exemple, la réponse suivante :
They were critical of his choice, they said it wasn’t right for a boy to go to dance classes.
Part 3
a. Nous avons choisi de donner le script de cette partie de l’enregistrement aux élèves car il
nous semblait particulièrement difficile, tant au niveau lexical que syntaxique. D’autre part, la
rapidité avec laquelle Jamie Bell s’exprime peut constituer une réelle entrave à la compréhension.
On précisera aux élèves le sens des expressions “take it out from him” et “push him against
the door”.
b. Jamie is comparing his mother’s attitude with that of Billy Elliot’s father.
Rendre compte
In this recording, Jamie Bell recalls how he started taking dance classes. One day, after seeing
a tap-dancing competition, he decided he wanted to dance, too. Unlike Billy Elliot’s father,
Jamie’s mother encouraged him to develop his passion and bought him a pair of tap-dancing
shoes. When his friends discovered Jamie’s passion for dance, they tried to talk him out of it
but they could not make him change his mind.
12
p. 13
Avant toute chose, on pourra écrire au tableau le nom de Ken Loach et demander aux élèves
ce que ce nom leur évoque (“film-director” aura été vu p. 13 du manuel, à propos de Steven
Spielberg). Les titres de films suivants seront peut-être cités : Kes (1969), Family Life (1971),
Riff-Raff (1991), Raining Stones (1993), Ladybird Ladybird (1994), Land And Freedom (1995),
Carla’s Song (1996), My Name Is Joe (1998), The Navigators (2001), Sweet Sixteen (2003).
Demander ensuite aux élèves de lire le texte p. 22 – doc. 2 avant de faire l’exercice.
a. Ken Loach is considered as one of the most politically engaged British film-makers. All his
films dwell on forgotten and underprivileged lives. In 1966, his TV drama Cathy Come Home
galvanized support for new legislation on homelessness. His latest movie Sweet Sixteen is an
uncompromising look at teenage life in Scotland. During the Thatcher era, Ken Loach couldn’t
persuade anyone to fund his films and was almost silenced. It is only through dogged persistence
that he managed to reemerge in the 1990s to his fans’ delight.
b. Ken Loach is a famous British film director, who focuses on portraying people from
underprivileged backgrounds. His latest film about a teenager in Scotland is called Sweet
Sixteen. Ken Loach really became successful in the 1990s.
13
a.
1.
2.
3.
p. 14
Réponses possibles :
Like Lucian Freud, Emma Thompson grew up in an artistic family.
Both Emma Thompson and Lucian Freud pursued their dream.
They both have had a lot of success. / They both have been very successful.
b. Réponse possible :
The woman with the cat was probably somebody that Lucian Freud knew. She is looking at
something intently. She has pale skin, wide-set pale brown eyes and dark shoulder-length hair.
The strange thing is that she is holding a small cat with her hand around its neck. The cat and
the woman look a little alike. My interpretation of the scene is that the cat represents how the
woman feels. She has a strange look on her face, as if she is quite troubled by something. It
could be that she feels oppressed by something or that she is emotionally or mentally distressed.
On pourra apporter aux élèves l’éclairage suivant : This woman is in fact Lucian Freud’s first
wife, Kitty Garman. The title of the painting is: “Girl with a kitten” (1947). “Kitty” is a diminutive
for “kitten”.
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Page 36
p. 14
Proposition de réponse pour le sujet suivant :
Art is the only way to run away without leaving home.
Art can be a form of escapism. It is possible to be transported in our minds and emotions
through the reading of a book, the watching of a film or by gazing at a picture. We can leave
our ordinary circumstances and escape into a more pleasant or carefree world. Maybe this is
what is meant by the author of the quotation “art is the only way to run away without leaving
home”.
Si l’on a choisi de suivre le projet de séquence n° 2 (p. 9 de ce guide), la petite activité suivante
permettra de compléter l’éventail de portraits d’artistes déjà vus dans le chapitre et de s’exercer à
l’expression écrite par la rédaction de courtes biographies :
Here is a list of famous artists whose talents were revealed at a very early age:
Steven Spielberg, Louise Nevelson, Laurence Olivier, Harundhati Roy, Simon Rattle, Norma Miller,
Glenn Gould, Shirley Temple, Itzhak Perlman.
Say who they are / who they were (profession, nationality, achievements). This chapter provides information
about some of them. If you need extra help, go to your School Resource Centre or search on the Internet.
X - WORD PERFECT, p. 24
Réponses possibles :
1.
activity
artist
sculptor
painter
FINE ARTS
architect
playwright
actor/actress
film producer
cinema
(several possibilities) film director
PERFORMING
actor/actress
ARTS
ballerina/
ballet
(several possibilities) ballet dancer
choreographer
composer
music
(several possibilities) musician
poet
poetry
playwright
drama
LITERATURE
(several possibilities)
sculpture
painting
architecture
theatre
(several possibilities)
novels
novelist
sculpt
paint
design buildings
write plays
act
produce films
direct films
act
ballet dancing
choreograph
compose music
play a musical instrument professionally
write poetry
write plays
write novels
NB : attention au sens de comedian qui signifie « un comique » et non « un comédien ».
2. a. 1. She developed a passion for theatre.
2. His art really appeals to me.
3. Whatever the price, she will fulfil her dream.
4. He aspired to become a writer.
5. You will soon rise to fame. Such were the words she had always longed to hear.
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b. 1. consuming passion
une passion dévorante
2. genuine passion
une véritable passion
3. lifelong passion
une passion de toute une vie
3. a.
4. great passion
une grande passion
5. burning passion
une passion ardente
6. real passion
une passion réelle
physical
psychological
both
endurance, determination, resourcefulness, perseverance,
strength, talent, skill,
vitality
creativity, will power, conviction, devotion / dedication courage
b. determination A determined
resourcefulness A resourceful
perseverance A persevering / perseverant
creativity A creative
courage A courageous
strength A strong
talent A talented
c. Réponses personnelles.
4. 1. exhibition
2. performance
3. stage
5. a. French
critique (nom, opinion)
critique (nom, personne)
critique (adj)
éloge / faire l’éloge
appréciation
4. rehearsal
5. contest
6. audience
A
English
A
A
A
A
A
critique
critic
critical
praise
appraisal
b. 1. critical; 2. critics; 3. praised; 4. critique; 5. appraisal
6. Réponses possibles :
A. audition (to) act, actor, actress, audience, architecture, art, award
B. ballet, ballet dancer, ballerina
C. circus, cinema, costume, critic, creativity, contest, choreograph, concert, comedy
D. dancer, dance, dress, determination, drama
E. endurance, exhibition, enthusiasm
F. film, fiddle, fame, fantasy
G. great, gift
H. hero, heroine
I. improvisation, improvise, influence
J. juggler
K. Kafka, Kandinsky
L. liberal-arts, Lichtenstein
M. mime, music, musical, museum
N. novel, novelist
O. opera, Oscar
P. performance, paint, painter, première, poetry, prize, praise, photography, play, playwright
Q. quality, Quatrocento
R. rehearsal
S. stage, sculpture, skill, Shakespeare, symphony, short story, sonnet
T. theatre, talent, tribute
U. understudy
V. visual arts, video, violin
W. world-wide (recognition), writer, wings (in the wings = dans les coulisses)
X. xylophone /zaləfəυn/
Y. young talent
Z. zealous
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XI - REVIEW AND PRACTISE, p. 25
SPEAKING
Pour aborder cette activité, il est nécessaire d’avoir étudié au préalable le texte “Not for lads” p. 26.
Demander aux élèves d’effectuer une lecture silencieuse des deux témoignages et des questions 2 a,
b et c. Les questions a et b permettront de vérifier l’aptitude des élèves à comparer (renvoyer les élèves
aux pages 224 à 226, et GB 71).
L’activité peut être menée en groupe ou individuellement. Dans les deux cas, une prise de notes sera
nécessaire.
2. a. Similarities between Tom Davis and Billy Elliot: they both have a natural talent for ballet; they
were discovered at a fairly young age and their teachers immediately spotted their potential; they
are both from working-class backgrounds, but go on to achieve success in the field of ballet.
b. The difference between their fathers is that Billy Elliot’s father is firmly against Billy doing ballet, to
begin with. Discovering how talented Billy is makes him change his mind later. On the contrary, Tom’s
father is very proud of his son’s achievements right from the start.
c. First of all, Tom’s dance teacher means that Tom came on this earth with a gift, he was “born with
it”, as Louise Nevelson would say (“On day one, he stood like a ballet dancer… this child is born to
dance.”). But you don’t become a great ballet dancer overnight. It takes a lot of hard work and great
determination. Many mental qualities are involved. So Tom’s dance teacher probably means that, in
addition to his gift, Tom has those mental qualities. This is all extremely promising and shows that he
has the potential to become a great ballet dancer.
ROLE PLAY: ARGUE YOUR CASE!
2. Arguments :
student
I’ve always wanted to act. I’ll be unhappy if
I stop.
An actor has told me that I can become a
professional actress if I work at it. Stopping
acting classes would be the worst thing.
parents
You spend too much time acting.
Your marks suffer from it.
Acting is an awful career, few people really
succeed.
3. Proposition de réponse :
S = student ; F = Father ; M = Mother
M: Your Father and I are concerned that you’re spending too much time acting and that your marks
are suffering at school. We’d like you to stop your drama classes and focus on your other subjects.
S: There’s no way I’m stopping my acting. It’s what I’ve always wanted to do. I’ll be unhappy if I give
up.
F: We need to talk seriously about this. You can’t continue in this way. You’re trying to do too much.
S: My marks aren’t all suffering. I’ve got As in my arts subjects, it’s just in science and maths that I’m
struggling.
F: Well maybe if you applied yourself a little more to them instead of wasting your time acting, you
might see some improvement.
S: I won’t ever be good at science but I’m very good at acting. An actor even told me I could become
a professional actor.
M: I’m not sure that’s really what’s best for you. Acting is an awful career. You have to work all the
time and earn very little. It’s a hard life.
F: If your marks improve that’s another thing, but I’m not happy about you filling your head with a
load of empty nonsense about becoming an actress. I don’t see that happening ever.
S: That’s not fair. If I stop going to classes I won’t stand a chance of becoming good at it.
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WRITING
1. Les élèves lisent l’extrait de Newsweek. Faire prélever les informations utiles pour la rédaction de
la lettre (jazz saxophonist / good enough to enter any music conservatory / wants a liberal-arts
education*)
* liberal-arts education = general education
2. Les élèves pourront se reporter à la page d’aide méthodologique Can you write a letter? p. 143
ainsi qu’à l’exercice n° 8 p. 78 du Workbook.
XII - XL EXTRAS
DOCUMENT 1: “NOT FOR LADS”, p. 26
Réactions affectives
Lexique
Ce deuxième extrait de Billy Elliot correspond à un temps fort de l’histoire. Il s’agit de la confrontation
entre Billy et son père, alors que ce dernier vient de découvrir que son fils fait de la danse classique. Il
sera intéressant :
• d’attirer l’attention des élèves sur la photo qui sert de support à l’activité n° 1,
• de les renvoyer à la photo d’ouverture afin de les comparer (position de Billy dans les deux photos
et ce qu’elles révèlent sur son état d’esprit).
L’exploitation de ce texte vous est proposée p. 15-16 du Workbook.
p. 15
1. This is apparently a scene of confrontation between Billy and his father. The boy has just
been having a dancing session but his stretched arms also give the impression that he is trying
to fly away.
Mr. Elliot is physically impressive; the position of his body suggests that he might hit Billy. Two
elements in the room can be considered as symbolic of the situation: the yellow line on the floor
may symbolize the boundaries that Billy was hitherto bound to and has now stepped over and
the wire netting on the wall could suggest that Billy has felt trapped, as in a net and that he is
now escaping.
2.
Character n° 3:
Billy’s grandmother
Character n° 2:
Billy / his father
Character n° 3:
Billy / his father
}
Justification: “me nan was sitting on
a chair by the window”
(l. 11)
“… he pointed at a chair behind the table…
Then he sat down opposite me.” (l. 4-5)
3. Billy’s grandmother is only witness to the confrontation (“… eating a pork pie and watching
us like we were on the telly.”, l. 12).
4. The conflict is about the issue of Billy doing ballet.
5.
Character 1 (= Billy)
“It’s perfectly normal.” (l. 15)
“I don’t see what’s wrong with it, that’s all.” (l. 28)
“It’s just dancing. That’s all. What’s wrong with that?” (l. 33)
“All right, I knew what he meant. At least, I used to know. Ballet isn’t what boys do…
Well, once I’ve done, it is what we do…” (l. 34-40)
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Character 2 (= Billy’s father)
“For your nan. For girls… Not for lads. Lads do football or boxing or wrestling…”
(l. 20-21)
“You know perfectly well what’s wrong with it.” (l. 29)
Character 3 (= Billy’s grandmother)
“I used to go to ballet.” (l. 18)
On pourra reformuler les réponses de la façon suivante :
Billy’s father thinks that it is totally unacceptable for Billy to be going to ballet as he is a boy and
dancing is for girls. Billy keeps saying that he does not see what is wrong with a boy doing ballet.
6. Expressions that show that the tension between the two characters is growing:
He didn’t say a word all the way back. That’s how he does, he makes you sweat. All the way
home, down Union Street, up the High Street, along Macefield Road. Not a word. The bastard.
Back home he pointed at a chair behind the table, staring at me all the while he was taking
his coat off. Then he sat down opposite me. And he still hadn’t said a word. See? The longer
he goes without saying anything, the worse trouble you’re in. This time I was wondering if he
was every gonna speak to me again.
I knew what he wanted. He wanted me to say sorry. Well, I wasn’t going to. He could wait
for ever. It was stupid! What had I done wrong?
“Ballet,” he said at last.
“So, what’s wrong with ballet?” I said. Me nan was sitting on a chair by the window eating
a pork pie and watching us like we were on the telly. I looked at her. It was easier than having
to look at him. I could see him turning red again out of the corner of my eye.
“What’s wrong with ballet? Look at me, Billy. Are you trying to wind me up?”
“t’s perfectly normal,” I said, turning to face him.
“Normal?” I was scared. He’d gone all white around the lips.
7. Football, boxing, being hard, going on strike, standing up for yourself, sticking it out with
your mates, hanging in together, mining and the union.
8. “Why wouldn’t dancing be part of a man’s world?” – Billy has grown up in a man’s world
where certain activities such as boxing are considered manly and where ballet isn’t normally
associated with men and with virility: “Ballet isn’t what boys do. It’s not football and boxing
and being hard” (l. 34-35). But then, Billy doesn’t see why the fact that boys don’t usually do
ballet would mean that it is “not for lads” altogether: “Why isn’t it what we [= boys] do? Just
because no one’s ever done it before, that’s all. Well, once I’ve done it, it is what we do, because
I’m one of us too.” (l. 39-40). He means that if he, a boy, does ballet, then ballet is for boys.
DOCUMENT 2: “WE ARE THE WAY WE WANT TO BE”, p. 27
Jennifer Johnston was born in Dublin in 1930, the daughter of Denis Johnston, novelist playwright
and war correspondant, and Shelah Richards,a well-known actress. She attended Trinity College,
Dublin. Her work includes The Captains and the Kings (1972); The Gates (1973); How many Miles
(1974); Shadows of our Skin (1977); The Old Jest (1979); The Christmas Tree (1981); The Railway
Station (1984); Fool’s Sanctuary (1987); The Invisible Worm (1991); all novels. Her plays include
The Nightingale and not the Lark (1988).
The Christmas Tree (1981) is a meditation on creativity centred on gender issues. It is narrated by
the dying Constance Keating. Constance has lived alienated from her family and from Ireland. Now
she has returned home to spend her last Christmas with her family.
Voir sujet type bac et corrigés p. 280 et p. 292 de ce guide.
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1great expectations

Transcription

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