Death of a Sa­les­man

Ar­thur Mil­ler. Death of a Sa­les­man. - teacher’s fa­vou­rite drama?

Lek­tü­re des Tex­tes

Text von den SuS be­reits vorab ge­le­sen.

Kurz­test zur Kon­trol­le der Vor­ablek­tü­re bzw. zur Si­che­rung des Hand­lungs­ab­laufs.

Lek­tü­re des Tex­tes
Text von den SuS be­reits vorab ge­le­sen.

1. An­la­ge eines Le­se­ta­ge­buchs (Port­fo­li­o­ar­beit).
2. Ein­stieg in die Lek­tü­re: touch –turn – talk. Post-its mit zen­tra­len Dra­men­zi­ta­ten wer­den von SuS vor­ge­le­sen und er­läu­tert, so dass die we­sent­li­chen In­hal­te des Dra­mas prä­sent sind.
3. Mind map: im­portant as­pects of DoS.
4. Ent­wurf einer über­ge­ord­ne­ten Auf­ga­be (TASK) zur Be­hand­lung des Dra­mas mit den SuS:

Why does Willy Loman com­mit sui­ci­de?

1. Ex­po­si­ti­on: Dra­men­form, Fi­gu­ren­kon­stel­la­ti­on, Ort, Zeit

1.   First stage di­rec­tion

Stil­les Lesen (p. 5) Ex­plain/check vocab.

What does the stage look like? Ent­wurf eines Ta­fel­an­schriebs: Zeich­nung der Bühne.

First cha­rac­te­riza­t­i­ons

What do we learn about Willy, His si­tua­ti­on, his life, his job, His re­la­ti­ons­hip to his sons?

Epic thea­t­re; com­pa­ri­son Brecht – Mil­ler (Leh­rer­vor­trag und ar­beits­tei­li­ge Grup­pen­ar­beit)

1. Free­ze frame/vi­su­el­ler Im­puls OHP: lend me your eyes

Ein S be­schreibt einem an­de­ren S, der das Bild nicht sehen kann, die Büh­nen­ver­hält­nis­se.
Ver­gleich der Er­geb­nis­se mit der Re­gie­an­wei­sung

2. Willy’s phy­si­cal and men­tal state

Sze­ni­sches Lesen pp. 8f. Ex­plain/check vocab. Crea­te a sum­ma­ry on the board: Ta­fel­an­schrieb: Willy’s re­a­sons for ke­eping up his old life as a sa­les­man – Linda’s re­ac­tions

1. Scan­ning: Take down ar­gu­ments why Willy thinks he can­not stay in New York. (Scan­ning me­thod kit Port­fo­lio/Ler­n­er­bio­gra­fie)
2. Give Linda’s ar­gu­ments for working in New York. Find more ar­gu­ments she could have added.
3. Ame­ri­can de­ba­te/good angel – bad angel: to work in N.Y. – not to work in N.Y.

3. The boys’ lives at pre­sent

Cha­rac­te­riza­t­i­on of the boys (äu­ße­re Cha­rak­te­ri­sie­rung/in­ne­re Cha­rak­te­ri­sie­rung):
Text über Tech­nik der in­ne­ren/äu­ße­ren Cha­rak­te­ri­sie­rung. (ar­beits­tei­li­ge Grup­pen­ar­beit)
Have a look at the stage di­rec­tion (p. 11)
Com­pa­re the boys. You are the di­rec­tor. How would you dress them?

SuS ord­nen Ex­zer­pte aus der Re­gie­an­wei­sung und Dia­log­tei­le Biff und Hap­pys ein­an­der zu (OHP).

Ver­gleich von Bil­dern ver­schie­de­ner Schau­spie­ler (Biff, Happy): ran­king

Sze­ni­sches Lesen

How do they look like? How do they talk to each other? Com­pa­re them. (p. 11) Take notes of what we find out.

Prä­sen­ta­ti­on Film­se­quenz zu die­ser Szene:

pre-view­ing ac­tivi­ty: Which words to stress/how to act/co­lours/at­mo­s­phe­re etc. / think -  pair - share
while-view­ing ac­tivi­ty: good ideas/what to im­pro­ve/com­pa­ri­son with ex­pec­ta­ti­ons
after-view­ing ac­tivi­ty: your fin­dings; fi­nish the fol­lo­wing sen­tence “I think we should know about the boys that....”

3. The boys, Biff and Happy

Close ana­ly­sis (pp. 10 – 11; 17 - 18)
Find the pas­sa­ge in which the whole scene shifts from Willy to some­bo­dy else. Ex­plain/check vocab.

Scram­bled text: What Linda and Willy  say to each other: SuS er­hal­ten Kärt­chen mit Aus­sa­gen, dies sie zu einem Dia­log zu­sam­men­set­zen (Part­ner­ar­beit)./SuS er­hal­ten Kärt­chen und su­chen Part­ner, der den dazu ge­hö­ren­den Dia­log­teil hat. Die SuS er­läu­tern im Ple­num ihren Dia­log­teil und brin­gen die ein­zel­nen Teile dann in eine chro­no­lo­gi­sche Rei­hen­fol­ge.

Find a ty­pi­cal sen­tence of Willy/of Linda. What does it tell about their roles? (pp. 10 – 11) Ex­plain/check vocab.

Blitz­licht: Aus­ga­be von state­ments: Who says what and why?

Com­pa­re the boys’ adult lives in the last years. What are their fu­ture plans? (pp. 13 -17) Un­der­li­ne im­portant pas­sa­ges. (sze­ni­sches Lesen) Ex­plain/check vocab.

Hot Chair (Biff, Happy)

Willy’s way of edu­ca­ting his sons in the past

Time­s­hift

What is hap­pe­ning on the stage? /Could the stage di­rec­tion (p. 18) be left out? (pp. 17 – 18 stil­les Lesen) Ex­plain/check vocab.

Willy as a fa­ther
What kind of fa­ther was Willy? (pp. 18 – 20) Ex­plain/check vocab. Ver­gleich mit Se­kun­där­text (Grup­pen­ar­beit)

dream jour­ney : Ima­gi­ne your are Biff. You... (L. be­schreibt Szene S. 17 - 18 – 20 aus Biffs Per­spek­ti­ve)
Ple­num: What have you seen, what does it tell you about those times ... Lo­ca­te the scene in the text.

Talk show: Linda, Biff, Happy, Howard, Ber­nard talk about their lives as child­ren.

Sum­ma­ry ex­po­si­ti­on – the Loman Fa­mi­ly: Willy, Linda, Biff, Happy

Ta­fel­an­schrieb (Er­geb­nis­si­che­rung Ex­po­si­ti­on)
 
HW: Ex­plain why the ex­po­si­ti­on of Mil­ler’s play is quite mo­dern as to its tech­ni­que and why it helps to un­der­stand the cha­rac­ters por­tray­ed in the play.

fish­bowl/Ku­gel­la­ger (merry-go-round): Sum­ma­ri­ze what you know about the as­pects men­tio­ned (vgl. oben., e.g. Willy’s edu­ca­ti­on)

HW ( Dos­sier Port­fo­lio): Make up a role card of Willy/Linda/Biff/Happy which will be com­ple­ted du­ring this unit. (ar­beits­tei­lig) talk show final les­son.

Film: Act I

SuS sehen Akt I im Film mit Hilfe eines Be­ob­ach­tungs­bo­gens, der an­schlie­ßend im Ple­num aus­ge­wer­tet wird.

Film se­quen­ti­ell wäh­rend der ge­sam­ten UE funk­tio­nal ge­nutzt.