he work should not be done mechanically. Pupils should speak on the situation. As a result of this work pupils master the structure of the pattern dialogue (not only the contents), i. e., they can use it as a model for making up dialogues of their own, that is why pattern dialogues should be carefully selected.
The first two stages aim at storing up patterns in pupils 'memory for expressing themselves in different situations, of course within the topics and linguistic material the syllabus sets for each form.
3. Pupils make up dialogues of their own. They are given a picture or a verbal situation to talk about. This is possible provided pupils have a stock of patterns, a certain number of phrases for starting a conversation, joining in, etc. They should use those lead-response units they have learned in connection with the situation suggested for a conversation.
At the third stage the choice of stimuli is of great importance, as very often pupils cannot think what to say, though they know how to say this or that. Therefore audio-visual aids should be extensively utilized.
Rule for the teacher : In teaching dialogue use pattern dialogues; make sure that your pupils go through the three stages from receptive through reproductive to creative, supply them with the subject to talk about.
In teaching speaking the problem is what form of speech to begin with, and what should be the relationship between monologue and dialogue. This problem may be solved in different ways. Some methodologists give preference to dialogic speech in teaching beginners, and they suggest that pupils learn first how to ask and answer questions which is mostly characteristic of a dialogue, and how to make up a short dialogue following a model. Others prefer monologic speech as a starting point. Pupils are taught how to make statements, how to combine several sentences into one utterance in connection with an object or a situation offered. [7]
These approaches to the problem are reflected in school textbooks now in use. A. D. Starkov and R. R. Dixon in their textbooks prefer to begin with dialogic speech. They start by teaching pupils how to ask various types of questions. For example:
The book is on the desk. p> The book isn't under the desk. p> Is the book on the desk? Yes, it is. (No, it isn't.) p> Is the book on the desk or under it? It's on the desk. p> Where's the book? It's on the desk. (Fifth Form English. Teacher's Book.) p> S. K. Folomkina and E. I. Kaar give preference to developing pupils 'monologic speech. For example:
I see a pen.
I see a desk.
Pete sees a desk and a pen.
As to the relationship between monologue and dialogue, it should vary from stage to stage in teaching speaking in schools. In the junior stage (5-6 forms) dialogic speech, the time which allows the teacher to introduce new material and consolidate it in conversation, must prevail. In the intermediate stage (7-8 forms) dialogue and monologue must be on an equal footing.
In the senior stage (9-10 forms) monologic speech must prevail since pupils take part in discussion and, therefore, express their thoughts in connection with a problem or retell a text read or heard. To sum it up both forms of speech (monologue and dialogue) should be developed side by side with preference for the one which is more important for pupils 'progress in learning a foreign language at a certain stage.
Conclusion
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Having made our work we come to conclusion, that auding or listening and comprehension are difficult for learners because they should discriminate speech sounds quickly, retain them while hearing a word, a phrase, or a sentence and recognize this as a sense unit. Pupils can easily and naturally do this in their own language and they cannot do this in a foreign language when they start learning the language. Pupils are very slow in grasping what they hear because they are conscious of the linguistic forms they perceive by the ear. This results in misunderstanding or a complete failure of understanding.
When auding a foreign language pupils should be very attentive and think hard. They should strain their memory and will power to keep the sequence of sounds they hear and to decode it. Not all the pupils can cope with the difficulties entailed. The teacher should help them by making this work easier and more interesting.
Speech is a process of communication by means of language. Oral exercises are quite indispensable to developing speech. However, they only prepare pupils for speaking and cannot be considered to be "speech" as some teachers are apt to think and who are often satisfied with oral exercises which pupils perform following the model; they seldom use stimuli for developing pupils 'auding and speaking in the target langu...
