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Comenius Polish lesson 3
 

Comenius Polish lesson 3

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    Comenius Polish lesson 3 Comenius Polish lesson 3 Document Transcript

    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. School subject: Polish Lesson plan created by:KatarzynaOlejnik Lesson subject: Pianist in the world of war terror-movie adaptation by Roman Polański about Holocaust Duration of the classes: 90 minutes (+135 minutes for movie projection) Grade: 12 (3rd grade of secondary school in Poland) Aim of the lesson: talking about world creation and the picture of human in Polański’s movie, comparing literary and movie story about holocaust Methodological solutions: − Kinds of work: individual, collective and group work − Methods of work: analysis of masterpiece, similarities and differences, work with text Teaching Materials: Book :Understand the text-understand the man’ s.5 R. PolańskiPianist, Stills from movie Pianist
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Lesson progress: 1. Lesson starts with the talk about movie storied about holocaust. Students point out the most important subjects from the holocaust movies (e.g. realistic picture of life during the extermination, a man in the situation of a choice, questions about the border of humanity, extreme of people’s attitudes- examples of heroism and bestiality). Teacher points out the specific of the pianist by R. Polański (looking at the nation extermination through the lens of individual tragedy, double autobiographism of a movie-personal experiences of a director and the author of a book being the base for the scenario, and next he tells the subject of a lesson and points out the aim of it 2. Before the projection teacher divides class into 6 groups and gives them the tasks. Three groups analyze subjects connected to the reality of war showed in the movie, other three groups- discuss the picture of a man showed in the piece. During the watching students take notes, and then present the results in front of everyone (every part is ended by making deductions in the talk with students) 3. The picture of hitler occupation in Polański’s piece: Group I- desire of escape from the occupied country (the stay caused by attachment to Poland and ignorance of the danger- picture of occupation based on the I world war, belief in help from the West), orders of occupant capital’s authority; banning Jews from going into the restaurants and parks, prohibition of having money, compulsion of wearing band with the David’s star, prohibition of going along with Aryans, injunction of moving to the ghetto (31,10,1940) group II – Closing (the wall separating ghetto from Aryan part of Warsaw), jamming half billion of people in the very small area, everyday fight for survival, common hunger, men in the extreme situations, slave work, the liquidation of ghetto – export of Jews to Treblinka group III – first look of Szpilman at the Aryan side of Warsaw (after spending two years in Ghetto)- almost Arcadian picture of the capital, people’s appearance, usual urban space, people running normal lives, cultivating pre-war passions.
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Deductions: faithful reproduction of war’s reality, contrast between the situation of Polish and Jews in spite of being in the same occupied country (holocaust as a one nation’s experience), showing the growing terror- from Jew’s displacement from the public area to the extermination The human picture in Polański’s piece of art group IV – bestiality of Germans as a community, seeing Jews as a subhuman race, humiliation, WilmHosenfeld- disinterested help given to Szpilman, post-war consequences of Nazism (Germans as prisoners of Russian camps) group IV – indifference of Polish as a community to the faith of Jews, the willingness of individuals to hide and help the Jews, in spite of death sentence, people of good will letting Szpilman surviving on the Aryan side: JaninaGodlewska and AndrzejBogucki, MarekGębczyński, Michał and DorotaDzikiewicz, examples of unethical behaviour. group VI –Jews community wanting to survive, resistance movement in Ghetto, example of collaboration with Germans, contrast between the life of ordinary people and the life of speculators. Deductions: avoidance of black and white results, the acceptance of applicable standards and ideology by the community, few examples of heroism, riot, resistance, unpredictability of human’s faith, injustice of history 4. The next part of the lesson is to compare means of expression characteristic for both forms of art- literature and movie. Students analyse the way of showing the Umschlagplatz’s picture in the fragment of Szpilman’s memories, and in the movie. W. SzpilmanPianist R. PolańskiPianist Means of expression, underlining subjectivity of Leading narrative (we were waiting, our) Camera along with Szpilman enters Umslagchtplatz (wiever watches reality by his eyes)
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. relationship Means of expression used to authenticate the relation accuracy of information, the richness of details relation of behaviour of certain people quoting other Jews the appearance of people(eg,Orthodox Jewishdress, navy bluepoliceuniforms) recreatingthe topographyof the city (ghetto was sealedwith barbed wireandwalls ofbuildings, showed by the outer, cold eye ofthe camera) Means of expression used to show the war’s terror the reality of description close to behavioural techniques, focusing on human actions and reactions (People ran to and from in search of water) emotionless description (body of a young woman and two girls with completely mangled skulls, clear traces of blood and brain chips) naturalism and turpizm of description (on [...] places of dried blood were strolling big, black flies, decomposing bodies were swelling in the heat), referring to the senses image of corpses lying by the wall (unnatural poses, mutilated bodies, blood stains) showing the crowd of people, the camera spots out certain figures - shows individual tragedy (for example, a young Jewish woman begging for a drop of water for her son, grieving mother who suffocated her child) depressing passivity, resignation of population (shown in the expression of human faces)
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 5 The final stage of the lesson is to talk about the fate of Szpilman presented in the film. The teacher asks for an interpretation of the book (points out that the first memories, published in 1946, bore the title of Death). Students state that the profession largely determines the fate of the hero, and certainly defines its identity. The teacher hands out the worksheet on the most important music scenes in the film. Students work individually, the teacher checks the answers with the whole class. Sample solutions: Scene Description of the situation of the characters Interpretation Warsaw’s bombing lastwarbroadcastliveon Polish Radio initiallydistant, thenincreasingthe sounds ofbombing Szpilman - smartly dressed, smiling, calm, collected, does not interrupt the game despite the bombing, the first meeting with Dorothy (delight for the girl, ready to flirt) presentation of the Szpilman’s portrait as a musician (camera first shows his hands on the piano keys, then the face) contrast between the attitude of the hero and the terror of war (self- confidence, the belief that he can cope with the new situation) Jews’ restaurant in Ghetto traders require a break in the show (check the authenticity of coins, and the music drowns out the sound of gold) Szpilman: still a well-dressed, but rare portrait of the displayed calculated ghetto (traders, speculators, prostitutes) conditions of life in the ghetto, forcing the hero to specific selling out,
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. the face of sadness and anxiety, visibility armbands with the Star of David on his shoulder, not playing Chopin's music, but the pre-war stunner I arranged to meet her at nine (pop music) compromise (serves people whose attitudes are not accepted), humiliation art Szpilman money more important than music (art) New hiding place second hiding on the Aryan side (German district, nicely furnished apartment) dusty piano, long unused Szpilman: skinny, red eyes, fear of loneliness, with reverence touch keyboard and stool, plays without touching the keys contact the hero of the old world, which - apparently - irretrievably lost inability to realize his passion (the need to maintain peace) - a longing for music silent concert as a way to overcome fear and loneliness Warsaw’s hospital Warsaw Uprising demolished hospital Szpilman: dirty, unshaven, dressed in rags, sitting in a chair and hitting in the keys that do not exist showing theformationofa civilianperspective,hiding escape from reality, the instantaneous releaseofterrorwarandthe needs ofthe body Meeting in the ruins of Warsaw landscape of the post-uprising Warsaw (ruins, dark, frightening silence) Szpilman: trapped, focused on obtaining food (can of pickles), recovertheir identity(I am / was apianist), inner strengthonlyat the time ofthe game,when the musicstops- againseehoundedhero
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. playing for the request of Hosenfeld (dirty hands in rags on keyboards, plays timidly at first, then with the old virtuosity) Hosenfeld: Aryan model (well- built blond man in uniform), the culture of speech the reconciliation oftwo representatives fromnations in conflict contrastbetween the expectedbehaviourandhis reactionHosenfeld contrast between thesituation of a concert(spiritualcivilizationof Europe)and thedestructionof waroutside (barbarism) Post-war audition the first post-war Polish Radio broadcast (transmitted from Raszyn near Warsaw) Szpilman: elegantly dressed, calm, happy, touched, playing the same song as during the time of the September bombing of Warsaw emotions Szpilman providing to the people observing him (Lednicki) composition braces (opening scene reconstruction work - the camera once again shows his hand first Szpilman, the hero of the second profile shown to show the war path travelled by) return to pre-war world aware of the evil that was accomplished (crying after the loss of loved ones)
    • This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. The lesson plan was translated by KatarzynaSkiba, a student of the 3rd grade of middle school.