методическая разработка на конкурс VIVAT НАУКАМ!
методическая разработка по английскому языку (10 класс)

ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ КАЗЕННОЕ ОБЩЕОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ

«САНКТ-ПЕТЕРБУРГСКИЙ КАДЕТСКИЙ КОРПУС

 СЛЕДСТВЕННОГО КОМИТЕТА РОССИЙСКОЙ ФЕДЕРАЦИИ»

Использование профессионально ориентированного подхода

во внеурочной деятельности в кадетских корпусах

Следственного комитета Российской Федерации

(на примере разработки адаптированного сценария детективного рассказа Роалда Дала «ЯГНЕНОК НА ЗАКЛАНИЕ»

 для театральной постановки в старших классах)

номинация - методическая разработка

внеклассного мероприятия по учебному предмету,

направление-филология,

предмет - английский язык,

старшие классы

Спирина Ирина Владимировна,

учитель английского языка

ФГКОУ «Санкт-Петербургский кадетский корпус Следственного комитета Российской Федерации»

191186, Санкт-Петербург,

Набережная реки Мойки, д.13,

Квалификационная категория: высшая

Стаж работы: 35 лет

Санкт-Петербург

2023

Содержание

• Введение:

- о роли изучения иностранных языков в кадетских корпусах Следственного комитета Российской Федерации;

-  профессионально ориентированный подход к обучению;

-  учебная мотивация как механизм для выполнения учебных задач         с. 3-5

• Цели и задачи методической разработки, планируемые результаты   с. 6
• Учебно-методический план и этапы подготовки спектакля                 с. 7
• Краткое содержание произведения                                                      с. 8-9
• Адаптированный текст произведения для изучения в классе        с. 10-14
• Адаптированный сценарий для инсценировки                               с. 15-20
• Список использованной литературы                                                     с. 21

Приложения (фоновая презентация и музыкальное сопровождение к сценической подготовке).

Введение

Предмет английский язык в кадетских корпусах Следственного комитета РФ занимает своё достойное место. Ведь кадет, как будущий офицер, должен получать не только общеучебные, специальные юридические знания, но и представлять современную картину меняющегося мира. Профессиональная составляющая должна присутствовать практически на каждом уроке иностранного языка. Это исходит из особенностей учебного заведения и требований федеральной программы.

Наличие специальных дисциплин в программах кадетских корпусов Следственного комитета (Введение в профессию следователя, Юридическая лингвистика и др.)  способствует получению начальных профессиональных знаний на пути к выбранной специальности.

Такой профессионально ориентированный подход к обучению предполагает развитие у кадет профессионального мышления, формирование способности применять теоретические знания и практические умения, полученные при изучении дисциплин общеобразовательного цикла, в конкретных профессиональных ситуациях.

Что касается предмета «Иностранный язык», то профессиональная направленность в обучении иностранному языку осуществляется посредством изучения профессиональной лексики и активизации ее в речевой деятельности. С этой целью преподаватель производит дополнительный отбор необходимого лексического материала с учетом профессиональной специализации при изучении практически любой изучаемой темы в линейке учебников Spotlight.

Эффективными в вопросе обучения профессиональной лексике на уроках английского языка показали себя такие приемы работы, как составление ментальных карт, глоссариев, визуальных схем основных понятий профессии, соотнесение терминов с их определениями или изображениями, заполнение пропуска в тексте профессиональной лексемой, подбор синонимов и антонимов, поиск устойчивых словосочетаний, содержащих профессиональный термин, их перевод, прослушивание диалогов и монологов, в которых употребляется профессиональная лексика, их заучивание или составление собственных, перевод профессиональных текстов и т. п. Такие упражнения и задания способствуют развитию мотивации на уроках, повышают интерес к изучению предмета.

Кадетский корпус воспитывает и обучает кадет в духе лучших традиций кадетского образования, дает не только военно-патриотическое воспитание и прекрасную физическую подготовку, но и широкое гуманитарное образование. Чтобы кадеты осознавали этот факт, современный учитель использует профессиональные приемы, одним их которых является создание личной мотивации.

Учебная мотивация – это процесс, который запускает, поддерживает и направляет усилия на выполнение учебных задач. Именно поэтому современные преподаватели пытаются найти новые методы и подходы в реализации урочной и внеурочной деятельности. Кадет будет успешно учиться лишь при наличии мотивации, которая вся состоит из положительных установок, ясной видимости целей, к которым нужно стремиться, четких мотивов достижения целей, настойчивости в достижении своей цели и самое главное – убеждённость в том, что получаемые знания пригодятся в дальнейшей жизни, службе или трудовой деятельности.

Положительная мотивация во внеурочной деятельности имеет свои отличительные особенности. Основная особенность заключается в том, что кадеты имеют возможность выбирать тематику предстоящих мероприятий самостоятельно, руководствуясь, прежде всего, своими интересами. Ведь интерес – это один из основных мотивов в урочной и внеурочной деятельности. И нельзя пренебрегать подростковыми интересами кадет при ее планировании.

Выбор автора произведений английской или американской литературы для ознакомительного чтения, обсуждения, представления на театральной сцене - важный момент. Писатель, произведение должны быть интересны не только учителю, но и его ученикам.

Для реализации внеурочной деятельности мною выбрано творчество известного мастера короткого рассказа Роалда Дала. Его имя известно каждому молодому и взрослому человеку в англоязычном мире, определенный интерес к его творчеству в нашей стране был и среди изучающих английский язык. «Абсолютно неожиданные истории» – сборник повестей в жанре детектива.

Роалд Дал главным образом детский писатель. Ведь именно он когда-то создал кровожадных зубастиков и колоритного Чарли – владельца шоколадной фабрики. Дал и сам очень колоритная личность. Его творчество невозможно описать в нескольких словах: это полудетектив, полушутка – на грани фантастики; сюжет здесь легко и совершенно естественно торжествует над языком. В сборник вошли шестнадцать «классических» историй с фирменным сюрпризом в конце. Познакомить кадет старшей школы с творчеством писателя и предложить инсценировку его самой популярной истории «Ягненок на заклание» было моей задачей как учителя английского языка.

Вниманию жюри предлагается учебно-методическая разработка для внеурочной деятельности – адаптация текста и сценарий для театральной постановки по мотивам произведения писателя «The Lamb to the Slaughter»

Разработка ориентирована на личность ученика: она расширяет лингвистический кругозор, учит наблюдать и сравнивать речевые явления родного и иностранного языка, помогает понять, что одна и та же мысль в разных языках выражается разными способами.

Основным и главным акцентом данной разработки является игровая и сценическая деятельность. Игра помогает максимально использовать благоприятные возможности данного возраста для овладения иностранным языком. В игре формируется речевое поведение, а также развивается память и мышление, воспитывается культура общения, что помогает формировать личностные качества кадет: интересы, волю, ценностные ориентации, эмоциональную и мотивационную сферы. Предлагаемая разработка направлена на закрепление базы знаний и для дальнейшего совершенствования иностранного языка.

В случае удачного опыта постановки работа в этом направлении может быть продолжена, ведь рассказов в книге неожиданных историй Роалда Дала шестнадцать - Дегустатор, Концы в воду, NUNC DIMITTIS, Четвертый комод Чиппендейла, Хозяйка пансиона, Эдвард–Завоеватель и др., и каждый представляет собой и занимательное чтение, и погружение в современный английский язык, и дает первый опыт знакомства с детективным расследованием.

                          Задачи методической разработки:

Познавательный аспект:

- познакомить кадет c жизнью Великобритании и ее менталитетом; с биографией одного из классиков подростковой литературы – Роалда Далом и сборником его произведений; проследить на примере произведения некоторые аспекты деятельности полицейских подразделений, а именно ведение расследования; сформировать универсальные лингвистические понятия, наблюдаемые в родном и иностранном языках; способствовать удовлетворению личных познавательных интересов.

Развивающий аспект:

- развивать мотивацию к дальнейшему овладению английским языком и культурой; развивать учебные умения и формировать у учащихся рациональные приемы овладения иностранным языком; приобщить  к новому социальному опыту за счет расширения спектра проигрываемых социальных ролей в спектакле; формировать готовность к общению на иностранном языке; развивать фонетику, технику речи, артикуляцию, интонации; развивать двигательные способности  через драматизацию; познакомить с основами актерского и сценического мастерства и научить свободно держаться на сцене.

Воспитательный аспект:

 - приобщать к общечеловеческим ценностям; способствовать воспитанию личностных качеств (умение работать в сотрудничестве с другими; коммуникабельность, уважение к себе и другим, личная и взаимная ответственность); прививать навыки самостоятельной работы

Ожидаемые результаты:

Вклад методической разработки в достижение личностных результатов в процессе обучения может выразиться в следующем:

- в формировании представлений об английском языке как средстве установления взаимопонимания с представителями других народов, в познании нового, как средстве адаптации в иноязычном окружении;

- знакомство с жизнью в англоязычных странах, с детским фольклором и доступными образцами детской художественной литературы;

- в развитии самостоятельности, целеустремлённости, эмоционально-нравственной отзывчивости, соблюдении норм речевого и неречевого этикета, что проявляется в соответствующем поведении, в моделируемых ситуациях для подготовки своей роли;

- в развитии навыков сотрудничества с учителем, другими взрослыми и сверстниками в разных ситуациях общения в процессе совместной деятельности.

Учебно-методический план

Этапы подготовки спектакля

Lamb to the Slaughter

by Roald Dahl

Ягненок на заклание

Роалд Дал

Действующие лица:

Автор

Патрик Малони, полицейский

Мэри Малони, его жена

Сэм, бакалейщик

Чарли, полицейский, друг Патрика

Джек, полицейский, друг Патрика

Судебный врач, детективы.

Краткое содержание

Мэри Мэлони, беременная домохозяйка, ожидает возвращения своего мужа Патрика домой с работы. Патрик-детектив в полицейском участке города. Когда он наконец приезжает, Мэри замечает, что он нехарактерно холоден с ней. Мэри мысленно объясняет поведение мужа усталостью. Пытаясь разговорить Патрика, Мэри наталкивается на отчуждение и непонимание. Набравшись храбрости, Патрик сообщает жене, что оставляет ее, обещая финансовую поддержку ей и будущему ребенку.

Словно в трансе, Мэри достает большой кусок баранины из морозильника в подвале, чтобы приготовить им ужин. Патрик, стоя спиной к Мэри, сердито просит ее не готовить ему ужин, так как он уходит. Пока он смотрит в окно, Мэри внезапно ударяет Патрика по затылку замороженной бараньей ногой, убивая его на месте.

Мэри понимает, что Патрик мертв, и начинает хладнокровно и практично думать о том, что делать. Думая о своем нерожденном ребенке, она решает скрыть убийство. Она готовит баранью ногу и помещает ее в духовку, чтобы уничтожить улики, затем продумывает своё алиби. Отрепетировав улыбку и диалоги с продавцом бакалейной лавки Сэмом перед зеркалом, она навещает бакалейщика и вежливо обсуждает с ним, что приготовить на ужин любимому мужу. По возвращении в дом, где Патрик лежит мертвый на полу, она изображает удивление и начинает рыдать, а затем вызывает полицию.

Когда прибывают полицейские (все они друзья ее мужа), они задают Мэри вопросы и осматривают место происшествия. Считая Мэри вне подозрений, полиция приходит к выводу, что Патрик был убит злоумышленником большим тупым предметом, вероятно, сделанным из металла. Пока мужчины обыскивают дом в поисках орудия убийства, Мэри отвлекает их разговорами. После того, как они безрезультатно обыскивают дом и окрестности, Мэри вспоминает, что баранья нога почти готова, и предлагает полицейским поужинать с ней. Она мягко настаивает, подчеркивая, что они уже отработали своё рабочее время и что в противном случае, если они откажутся, ужин пропадет; они колеблются, но в конце концов соглашаются. Во время еды Мэри сидит рядом, но не присоединяется к ним, а полицейские обсуждают возможное местонахождение орудия убийства. Один офицер с набитым мясом ртом говорит, что оно "вероятно, прямо у нас под носом". Мэри, услышав их мнения в соседней комнате, начинает тихонько смеяться.

Lamb to the Slaughter

by Roald Dahl

Адаптированный текст произведения для изучения в классах

The room was warm and clean, the curtains drawn, the two table lamps alight. Mary Maloney was waiting for her husband to come in from work. Now and again she would glance up at the clock, but without anxiety, merely to please herself with the thought that each minute gone by made it nearer the time when he would come. Her skin -for this was her sixth month with child-had acquired a wonderful translucent quality, the mouth was soft, and the eyes, with their new placid look, seemed larger darker than before.

When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the tires on the gravel outside, and the car door slamming, the footsteps passing the window, the key turning in the lock.

-Hullo darling!

-Hullo.

She took his coat and hung it in the closet. For her, this was always a blissful time of day. She knew he didn’t want to speak much and she, on her side, was content to sit quietly, enjoying his company after the long hours alone in the house. She loved to luxuriate in the presence of this man. She loved him for the way he sat loosely in a chair, for the way he came in a door, or moved slowly across the room with long strides. She loved everything about him.

-Tired darling?

-Yes, I’m tired.

 He paused a moment, leaning forward in the chair

“I’ll get it!” she cried, jumping up.

“Sit down,” he said.

 “Darling, shall I get your slippers?”

“No.”

She watched him nervously.

“I think it’s a shame,” she said, “that when a policeman gets to be as senior as you, they keep him walking about on his feet all day long.”

He didn’t answer, so she bent her head again and went on with her sewing.

“Darling,” she said. “Would you like me to get you some cheese? I haven’t made any supper because it’s Thursday.”

“No,” he said.

“If you’re too tired to eat out,” she went on, “it’s still not too late. There’s plenty of meat and stuff in the freezer, and you can have it right here and not even move out of the chair.”

Her eyes waited on him for an answer, a smile, a little nod, but he made no sign.

“Anyway,” she went on, “I’ll get you some cheese and crackers first.”

“I don’t want it,” he said.

She moved uneasily in her chair, the large eyes still watching his face. “But you must eat! I’ll fix it anyway, and then you can have it or not, as you like.”

She stood up and placed her sewing on the table by the lamp.

“Sit down,” he said. “Just for a minute, sit down.”

It wasn’t till then that she began to get frightened.

“Go on,” he said. “Sit down.”

“Listen,” he said. “I’ve got something to tell you.”

“What is it, darling? What’s the matter?”

He had now become absolutely motionless.

“This is going to be a bit of a shock to you, I’m afraid,” he said. “But I’ve thought about it a good deal and I’ve decided the only thing to do is tell you right away. I hope you won’t blame me too much.”

And he told her. It didn’t take long, four or five minutes. He told her he was going to leave her, her and their baby…

“So there it is,” he added. “And I know it’s kind of a bad time to be telling you, but there simply wasn’t any other way. Of course I’ll give you money and see you’re looked after. But there needn’t really be any fuss. I hope not anyway. It wouldn’t be very good for my job.”

Her first instinct was not to believe any of it, to reject it all.

“I’ll get the supper,” she managed to whisper, and this time he didn’t stop her.

When she walked across the room she couldn’t feel her feet touching the floor.

She couldn’t feel anything at all- except a slight nausea and a desire to vomit. Everything was automatic now-down the steps to the cellar, the light switch, the deep freeze, the hand inside the cabinet taking hold of the first object it met. She lifted it out, and looked at it. It was wrapped in paper, so she took off the paper and looked at it again. A leg of lamb. She carried it upstairs, holding the thin bone-end of it with both her hands, and as she went through the living-room, she saw him standing over by the window with his back to her, and she stopped.

“For God’s sake,” he said, hearing her, but not turning round. “Don’t make

supper for me. I’m going out.”

At that point, Mary Maloney simply walked up behind him and without any pause she swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head. She might just as well have hit him with a steel club.Then he crashed to the carpet.

All right, she told herself. So I’ve killed him.

It was extraordinary, now, how clear her mind became all of a sudden. She began thinking very fast. As the wife of a detective, she knew quite well what the penalty would be. That was fine. It made no difference to her. In fact, it would be a relief. On the other hand, what about the child? What were the laws about murderers with unborn children? Did they kill them both-mother and child? Or did they wait until the tenth month? What did they do? Mary Maloney didn’t know. And she certainly wasn’t prepared to take a chance. She carried the meat into the kitchen, placed it in a pan, turned the oven on and put it inside. Then she washed her hands and ran upstairs to the bedroom.  She sat down before the mirror and tried a smile.

“Hullo Sam,” she said brightly, aloud.

The voice sounded peculiar.

“I want some potatoes please, Sam. Yes, and I think a can of peas.”

That was better. Both the smile and the voice were coming out better now. She rehearsed it several times more. Then she ran downstairs, took her coat, went out the back door, down the garden, and into the street. It wasn’t six o’clock yet and the lights were still on in the grocery shop.

“Hullo Sam,” she said brightly, smiling at the man behind the counter.

“Why, good evening, Mrs. Maloney. How’re you?”

“I want some potatoes please, Sam. Yes, and I think a can of peas.”

The man turned and reached up behind him on the shelf for the peas.

“Patrick’s decided he’s tired and doesn’t want to eat out tonight,” she told him. “We usually go out Thursdays, you know, and now he’s caught me

without any vegetables in the house.”

“Then how about meat, Mrs. Maloney?”

“No, I’ve got meat, thanks. I got a nice leg of lamb from the freezer.

“Oh.”

 “I don’t know much about cooking it frozen, Sam, but I’m taking a chance on it this time. You think it’ll be all right?”

“Personally,” the grocer said, “I don’t believe it makes any difference. You want these Idaho potatoes?”

“Oh yes, that’ll be fine. Two of those.”

“Anything else?” The grocer cocked his head on one side, looking at her pleasantly. “How about afterwards? What you going to give him for afterwards?”

“Well-what would you suggest, Sam?”

The man glanced around his shop. “How about a nice big slice of cheesecake? I know he likes that.”

“Perfect,” she said. “He loves it.”

And when it was all wrapped and she had paid, she put on her brightest smile and said, “Thank you, Sam. Goodnight.”

“Goodnight, Mrs. Maloney. And thank you.”

She hurried back home to her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as possible because the poor man was tired; and if, when she entered the house, she happened to find anything unusual, or tragic, or terrible. She was just at home with the vegetables. Mrs. Patrick Maloney going home with the vegetables on Thursday evening to cook supper for her husband. That’s the way, she told herself. Do everything right and natural. Keep things absolutely natural and there’ll be no need for any acting at all. Then she entered the kitchen by the back door, she was smiling.

“Patrick!” she called. “How are you, darling?”

She put the parcel down on the table and went through into the living room; and when she saw him lying there on the floor and it really was a shock and she began to cry. It was easy. No acting was necessary. A few minutes later she got up and went to the phone. She knew the number of the police station, and when the man at the other end answered, she cried to him, “Quick! Come quick! Patrick’s dead!”

“Who’s speaking?”

“Mrs. Maloney. Mrs. Patrick Maloney.”

“You mean Patrick Maloney’s dead?”

“I think so,” she sobbed. “He’s lying on the floor and I think he’s dead.”

“Be right over,” the man said.

The car came very quickly, and when she opened the front door, two policemen walked in. She knew them both.

“Is he dead?” she cried.

“I’m afraid he is. What happened?”

Briefly, she told her story about going out to the grocer and coming back to find him on the floor. While she was talking, crying and talking, the policeman discovered a small patch of blood on the dead man’s head. He showed it to O’Malley who got up at once and hurried to the phone. Soon, other men began to come into the house. First a doctor, then two detectives, one of whom she knew by name. Later, a police photographer arrived and took pictures, and a man who knew about fingerprints. There was a great deal of whispering and muttering beside the corpse, and the detectives kept asking her a lot of questions. But they always treated her kindly. She told her story again, this time right from the beginning, when Patrick had come in, and she was sewing, and he was tired, so tired he hadn’t wanted to go out for supper. She told how she’d put the meat in the oven -”it’s there now, cooking”- and how she’d stepped out to the grocer for vegetables, and came back to find him lying on the floor.

Which grocer?” one of the detectives asked.

She told him, and he turned and whispered something to the other detective who immediately went outside into the street. In fifteen minutes he was back with a page of notes, and there was more whispering, and through her sobbing she heard a few of the whispered phrases-”...acted quite normal...very cheerful...wanted to give him a good supper... peas...cheesecake...impossible that she...” After a while, the photographer and the doctor departed and two other men came in and took the corpse away on a stretcher. Then the fingerprint man went away. The two detectives remained, and so did the two policemen. They were exceptionally nice to her. Soon they left her there while they went about their business, searching the

house. Occasionally one of the detectives asked her another question.

 Her husband, he told her, had been killed by a blow on the back of the head administered with a heavy blunt instrument, almost certainly a large piece of metal. They were looking for the weapon. The murderer may have taken it with him, but on the other hand he may have thrown it away or hidden it somewhere.

“It’s the old story,” he said. “Get the weapon, and you’ve got the man.”

Later, one of the detectives came up and sat beside her. Did she know, he asked, of anything in the house that could’ve been used as the weapon? Would she mind having a look around to see if anything was missing-a very big spanner, for example, or a heavy metal vase. They didn’t have any heavy metal vases, she said.

“Or a big spanner?”

She didn’t think they had a big spanner. But there might be some things

like that in the garage. The search went on. She knew that there were other policemen in the garden all around the house. She could hear their footsteps on the gravel outside, and sometimes she saw a flash of a torch through a chink in the

curtains. It began to get late.

 “Look, Mrs. Maloney. You know that oven of yours is still on, and the meat is still inside.”

“Oh dear me!” she cried. “So it is!”

 “I better turn it off for you, hadn’t I?”

“Will you do that, Jack. Thank you so much.”

When the sergeant returned the second time, she looked at him with her large, dark tearful eyes. “Jack Noonan,” she said.

“Yes?”

“Would you do me a small favor--you and these others?”

“We can try, Mrs. Maloney.”

“Well,” she said. “Here you all are, and good friends of dear Patrick’s too, and helping to catch the man who killed him. You must be terrible hungry by now because it’s long past your suppertime, and I know Patrick would never forgive me, God bless his soul, if I allowed you to remain in his house without offering you hospitality. Why don’t you eat up that lamb that’s in the oven. It’ll be cooked just right by now.”

“Wouldn’t dream of it,” Sergeant Noonan said.

“Please,” she begged. “Please eat it!

There was the hesitating among the four policemen, but they were clearly hungry, and in the end they were persuaded to go into the kitchen and help themselves. The woman stayed where she was, listening to them speaking among themselves, their voices thick and sloppy because their mouths were full of meat.

“Have some more, Charlie?”

“No. Better not finish it.”

“She wants us to finish it. She said so. Be doing her a favor.”

“Okay then. Give me some more.”

“That’s a hell of a big club that the guy must’ve used to hit poor Patrick,” one of them was saying. “The doc says his skull was smashed all to pieces just like from a sledgehammer.”

“That’s why it ought to be easy to find.”

“Exactly what I say.”

“Whoever done it, they’re not going to be carrying a thing like that around with them longer than they need.”

One of them belched.

“Personally, I think it’s right here in the house.”

“Probably right under our very noses. What do you think, Jack?”

And in the other room, Mary Maloney giggled.

        Адаптированный сценарий произведения для инсценировки

Сцена 1

Вечер. Мэри ждет мужа с работы

Слова автора:

(во время чтения отрывков от имени автора участники выполняют действия по тексту, фоном к постановке от сцены к сцене идет презентация для визуального восприятия действий на сцене)

The room was warm and clean, the curtains drawn, the two table lamps alight. Mary Maloney was waiting for her husband to come in from work. Now and again she would glance up at the clock, but without anxiety, merely to please herself with the thought that each minute gone by made it nearer the time when he would come. Her skin -for this was her sixth month with child-had acquired a wonderful translucent quality, the mouth was soft, and the eyes, with their new placid look, seemed larger darker than before. When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the tires on the gravel outside, and the car door slamming, the footsteps passing the window, the key turning in the lock.

-Hullo darling!

-Hullo.

Слова автора:

She took his coat and hung it in the closet. For her, this was always a blissful time of day. She knew he didn’t want to speak much and she, on her side, was content to sit quietly, enjoying his company after the long hours alone in the house. She loved to luxuriate in the presence of this man. She loved him for the way he sat loosely in a chair, for the way he came in a door, or moved slowly across the room with long strides. She loved everything about him.

Сцена 2

Непростой разговор

-Tired darling?

-Yes, I’m tired. Sit down

-Darling, shall I get your slippers?

-No

 -I think it’s a shame, that when a policeman gets to be as senior as you, they keep him walking about on his feet all day long. Darling, Would you like me to get you some cheese? I haven’t made any supper because it’s Thursday.”

-No,”

-If you’re too tired to eat out, it’s still not too late. There’s plenty of meat and stuff in the freezer, and you can have it right here and not even move out of the chair.

Anyway, I’ll get you some cheese and crackers first.”

-I don’t want it!

-But you must eat! I’ll fix it anyway, and then you can have it or not, as you like

-Sit down. Just for a minute, sit down.

Go on. Sit down. Listen, I’ve got something to tell you.”

-What is it, darling? What’s the matter?

-This is going to be a bit of a shock to you, I’m afraid. But I’ve thought about it a good deal and I’ve decided the only thing to do is tell you right away. I hope you won’t blame me too much.”

Слова автора:

And he told her. It didn’t take long, four or five minutes. He told her he was going to leave her, her and their baby…

-So there it is. And I know it’s kind of a bad time to be telling you, but there simply wasn’t any other way. Of course I’ll give you money and see you’re looked after. But there needn’t really be any fuss. I hope not anyway. It wouldn’t be very good for my job.”

-I’ll get the supper…

Слова автора:

When she walked across the room she couldn’t feel her feet touching the floor. She couldn’t feel anything at all- except a slight nausea and a desire to vomit. Everything was automatic now-down the steps to the cellar, the light switch, the deep freeze, the hand inside the cabinet taking hold of the first object it met. She lifted it out, and looked at it. It was wrapped in paper, so she took off the paper and looked at it again. A leg of lamb. She carried it upstairs, holding the thin bone-end of it with both her hands, and as she went through the living-room, she saw him standing over by the window with his back to her, and she stopped.

-For God’s sake. Don’t make supper for me. I’m going out.

Сцена 3

Преступление

Слова автора:

At that point, Mary Maloney simply walked up behind him and without any pause she swung the big frozen leg of lamb high in the air  and brought it down as hard as she could on the back of his head. She might just as well have hit him with a steel club. Then he crashed to the carpet.

-All right. So I’ve killed him.

Сцена 4

Алиби

Слова автора:

It was extraordinary, now, how clear her mind became all of a sudden. She began thinking very fast. As the wife of a detective, she knew quite well what the penalty would be. That was fine. It made no difference to her. In fact, it would be a relief. On the other hand, what about the child? What were the laws about murderers with unborn children? Did they kill them both-mother and child? Or did they wait until the tenth month? What did they do? Mary Maloney didn’t know. And she certainly wasn’t prepared to take a chance. She carried the meat into the kitchen, placed it in a pan, turned the oven on and put it inside. Then she washed her hands and ran upstairs to the bedroom.  She sat down before the mirror and tried a smile.

-Hullo Sam! I want some potatoes please, Sam. Yes, and I think a can of peas.

Сцена 5

У бакалейщика

 -Hullo Sam!

-Why, good evening, Mrs. Maloney. How’re you?

-I want some potatoes please, Sam. Yes, and I think a can of peas. Patrick’s decided he’s tired and doesn’t want to eat out tonight. We usually go out Thursdays, you know, and now he’s caught me without any vegetables in the house.

-Then how about meat, Mrs. Maloney?

-No, I’ve got meat, thanks. I got a nice leg of lamb from the freezer.

-Oh

-I don’t know much about cooking it frozen, Sam, but I’m taking a chance on it this time. You think it’ll be all right?

-Personally, I don’t believe it makes any difference. You want these Idaho potatoes?

-Oh yes, that’ll be fine. Two of those.

-Anything else? How about afterwards? What you going to give him for afterwards?

-Well-what would you suggest, Sam?

-How about a nice big slice of cheesecake? I know he likes that.

-Perfect. He loves it. Thank you, Sam. Goodnight.

-Goodnight, Mrs. Maloney. And thank you.

Слова автора:

She hurried back home to her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as possible because the poor man was tired; and if, when she entered the house, she happened to find anything unusual, or tragic, or terrible. She was just at home with the vegetables. Mrs. Patrick Maloney going home with the vegetables on Thursday evening to cook supper for her husband.

-That’s the way. Do everything right and natural. Keep things absolutely natural and there’ll be no need for any acting at all. Patrick! How are you, darling?”

Сцена 6

Вызов полиции

Слова автора:

She put the parcel down on the table and went through into the living room; and when she saw him lying there on the floor and it really was a shock and she began to cry. It was easy. No acting was necessary.

-Quick! Come quick! Patrick’s dead!

-Who’s speaking?

-Mrs. Maloney. Mrs. Patrick Maloney.

-You mean Patrick Maloney’s dead?

-I think so. He’s lying on the floor and I think he’s dead.

-Be right over.

Слова автора:

The car came very quickly, and when she opened the front door, two policemen walked in. She knew them both.

-Is he dead?

-I’m afraid he is. What happened?

Слова автора:

Briefly, she told her story about going out to the grocer and coming back to find him on the floor. While she was talking, crying and talking, the policeman discovered a small patch of blood on the dead man’s head. He showed it to O’Malley who got up at once and hurried to the phone. Soon, other men began to come into the house. First a doctor, then two detectives, one of whom she knew by name. Later, a police photographer arrived and took pictures, and a man who knew about fingerprints. There was a great deal of whispering and muttering beside the corpse, and the detectives kept asking her a lot of questions. But they always treated her kindly. She told her story again, this time right from the beginning, when Patrick had come in, and she was sewing, and he was tired, so tired he hadn’t wanted to go out for supper. She told how she’d put the meat in the oven-”it’s there now, cooking”- and how she’d stepped out to the grocer for vegetables, and came back to find him lying on the floor.

-Which grocer?

-At Sam’s

Слова автора:

She told him, and he turned and whispered something to the other detective who immediately went outside into the street. In fifteen minutes he was back with a page of notes, and there was more whispering, and through her sobbing she heard a few of the whispered phrases-”...acted quite normal...very cheerful...wanted to give him a good supper... peas...cheesecake...impossible that she...”

After a while, the photographer and the doctor departed and two other men came in and took the corpse away on a stretcher. Then the fingerprint man went away. The two detectives remained, and so did the two policemen. They were exceptionally nice to her. Soon they left her there while they went about their business, searching the house. Occasionally one of the detectives asked her another question. Her husband, he told her, had been killed by a blow on the back of the head administered with a heavy blunt instrument, almost certainly a large piece of metal. They were looking for the weapon. The murderer may have taken it with him, but on the other hand he may have thrown it away or hidden it somewhere.

-It’s the old story. Get the weapon, and you’ve got the man.

Mary! Do you know if anything in the house could have been used as a weapon? A very big spanner, for example, or a heavy metal vase?

-No. We don’t have any heavy metal vases.

 -Or a big spanner?

-I don’t think we have a big spanner. But there might be some things like that in the garage.

-Look, Mrs. Maloney. You know that oven of yours is still on, and the meat is still inside.”

-Oh dear me! So it is!

-I better turn it off for you, hadn’t I?

-Will you do that, Jack. Thank you so much. Jack Noonan!

-Yes?

-Would you do me a small favor--you and these others?

-We can try, Mrs. Maloney.

-Well, here you all are, and good friends of dear Patrick’s too, and helping to catch the man who killed him. You must be terrible hungry by now because it’s long past your suppertime, and I know Patrick would never forgive me, God bless his soul, if I allowed you to remain in his house without offering you  hospitality. Why don’t you eat up that lamb that’s in the oven. It’ll be cooked just right by now.

-Wouldn’t dream of it

-Please, please eat it!

Cлова автора:

There was the hesitating among the four policemen, but they were clearly hungry, and in the end they were persuaded to go into the kitchen and help themselves. The woman stayed where she was, listening to them speaking among themselves, their voices thick and sloppy because their mouths were full of meat.

-Have some more, Charlie?

-No. Better not finish it.

-She wants us to finish it. She said so. Be doing her a favor.

-Okay then. Give me some more.

-That’s a hell of a big club that the guy must’ve used to hit poor Patrick.

The doc says his skull was smashed all to pieces just like from a sledgehammer.

-That’s why it ought to be easy to find.

-Exactly what I say.”

-Whoever done it, they’re not going to be carrying a thing like that around with them longer than they need.

 -Personally, I think it’s right here in the house.”

“Probably right under our very noses. What do you think, Jack?

Слова автора

And in the other room, Mary Maloney giggled.

                              Список использованной литературы:

ЛитМир. Электронная Библиотека. Дал Роальд. Агнец на заклание.

Образцов П.И., Иванова О.Ю. Профессионально-ориентированное обучение иностранному языку. Орел: ОГУ, 2015.

Гальскова Н.Д. Современная методика обучения иностранному языку: Пособие для учителя. М: АРКТИ-Глосса, 2020.

Образцов П.И., Ахулкова А.И., Черниченко О.Ф. Проектирование и конструирование профессионально-ориентированной технологии обучения. Орел, 2017.

Рыбкина А.А. Педагогические условия формирования профессиональных умений курсантов учебных заведений МВД в процессе обучения иностранному языку. Саратов: Саратов. юрид. ин-т МВД России, 2019.