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Les engels van 45 minuten voor HBO en Beroepsopleiding.

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the expert

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Introduction

We're all born storytellers. Stories are how we have shared knowledge and information since the dawn of humanity. Our brains are shaped by storytelling. Still, not everyone can aspire to be the next Hemingway from the get go. But don't be afraid: stories can be designed! The storytelling canvas helps you to do just that!

Overview

How To Use the Storytelling Canvas

We created the storytelling canvas to make it easier to construct a story that people care to listen to. The PowerPoint presentations you give probably lack the emotional depth and impact you want to build in a story. However, the stories we design can be told through the medium of PowerPoint!

Like the other tools in this book, the story canvas allows you to collectively design stories that resonate: by harnessing visual, engaging, insightful, controlled, and inspiring elements.

Tool Overview

Step-by-step guide

1 Before you start

What do you want to achieve with your story? Why do you want to tell it?

2 What do you want to achieve?

What you'll need to understand when designing your story is that there must be a goal. What do you want your audience to know, feel, or do afterwards? Your goal needs to be quite selective: you can make only a few points in your story!

3 Who are in the audience?

In addition to knowing what you want to achieve, you need to understand who your audience is. What do they care about? Why should they listen to your story? Different audiences need different stories; one size does not fit all! You might even use the right side of the value proposition canvas or a persona canvas to map the audience. Test your assumptions: while designing and telling the story, revisit your persona, and update it with what you learned.

Tip! If you are pitching to an investor, the customers of your product are not necessarily the audience of your story. Your investor has a totally different set of needs than your customer.

4 Map the audience's before and after state.

In order to be meaningful, your story should change your audience in some way. Their beliefs, emotions, or knowledge should be transformed by the time you are finished.

First, ask yourself: How does your audience feel about your goal before they heard your story? Do they care about it already? And then, think about what you'd like them to think about once you're through? Trying to define it from the audience's perspective is key.

5 Create the story

Try to come up with arguments that may change their minds, and make sure you have a list of rational, emotional, and ethical points. What is your "proof"? Do you have examples? Anecdotes? Find the ones that will resonate with your audience.

There are different key ingredients that you can use to plot your audience's journey through the story. With your team, spend time to come up with a good number of these. Don't bother about the order yet, just try to find as many as you can.

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We're all born storytellers. Stories are how we have shared knowledge and information since the dawn of humanity. Our brains are shaped by storytelling. Still, not everyone can aspire to be the next Hemingway from the get go. But don't be afraid: stories can be designed!

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Start the simple way.

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Circling is an important skill for a teacher who is using comprehensible input in… | Spanish teaching resources, Spanish lesson plans, High school spanish classroom

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Circling is an important skill for a teacher who is using comprehensible input in their classes! It's a big part of every day, whether you are using stories or not. If you're just getting started using CI or TPRS strategies in your classes, you're going to need to learn how to circle! #spanishclass #comprehensibleinput #ci #secondaryspanish

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Karen Lichtman, Northern Illinois University

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Karen Lichtman, Northern Illinois University

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Karen Lichtman reviewed 34 papers, including 16 quantitative studies which specifically compared TPRS to other language teaching methods

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Conclusie:
Herhaling van woorden binnen context levert betere woordverwerving op; het aantal herhalingen moet hoog zijn. Extensief lezen in een opgebouwd programma van readers is dus een aanbeveling. Woordkennis omvat meer dan alleen de betekenis. Het is daarom aan te bevelen die andere aspecten in de toetsing op te nemen waardoor ze als leerdoelen erkend worden.

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In deze publicatie, bedoeld voor docenten mvt in basis- en voortgezet onderwijs en lerarenopleiders, wordt aan de hand van de theorie en met praktijkvoorbeelden uitgelegd hoe je als docent 'scaffolding' kunt inzetten. In de publicatie wordt de volgende definitie van 'scaffolding' gehanteerd: het repertoire aan didactisch handelen dat een docent/expert kan inzetten om een leerling/novice in staat te stellen uiteindelijk autonoom/zelfstandig een (taal)taak uit te voeren. De leraar (de expert) bouwt een ''steigertje'' waarop de leerling (de novice) even kan gaan staan om zijn hoger gelegen doel te bereiken (Vygotski). De publicatie eindigt met de volgende vaststelling: het leerzaamst is het gesprek waarin de docent zich een behulpzame, nieuwsgierige gesprekspartner betoont en samen met de leerling op zoek gaat naar de juiste ondersteuning op het juiste moment.

Beeker, A., Canton, J., & Trimbos, B. (2008). Scaffolding. Technieken om MVT-leerlingen hoger te laten reiken. Enschede: SLO.

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Scaffolding. Technieken om MVT leerlingen hoger te laten reiken

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In deze publicatie, bedoeld voor docenten mvt in basis- en voortgezet onderwijs en lerarenopleiders, wordt aan de hand van de theorie en met praktijkvoorbeelden uitgelegd hoe je als docent 'scaffolding' kunt inzetten. In de publicatie wordt de volgende definitie van 'scaffolding' gehanteerd: het repertoire aan didactisch handelen dat een docent/expert kan inzetten om een leerling/novice in staat te stellen uiteindelijk autonoom/zelfstandig een (taal)taak uit te voeren.

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Involve your students and create your own story without script.

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You've got a new comprehension-based curriculum, and you'd be 100% sold if it weren't for that storyasking part. You've got a script, but what the heck do you do with it?

Many teachers have asked the same question before. Storyasking is an invented word meant to differentiate creating a story from telling a story. If you've been to a TPRS training in the past, you have likely seen a demonstration.

STORYASKING WITHOUT A SCRIPT

Without a script, the teacher asks questions to choose a character, determine a problem, and try to solve it-adding in as many interesting details as possible along the way. Script-less storyasking could look something like this:

Teacher: Class, someone has a problem. Who has a problem?

Teacher: Liza has a problem, yes. What problem does she have?

Random student: She is grounded!

Teacher: Yes, she is grounded. Why is she grounded?

Random student: She got a tattoo!

Teacher: Yes, she got a tattoo! What tattoo did she get?

Teacher: Oh no, I don't think so, Liza doesn't like dogs.

Random student: The letters BLS!

Teacher: Yes, how strange! She got a tattoo of the letters BLS....

And so you see, now the class has created a story:

Liza is grounded because she got a tattoo. Her tattoo says, "BLS"...

Storyasking without a script is really wonderful and quite simple. Many teachers prefer to do TPRS without scripts, whether it be in the form of traditional TPRS stories in which there is a character trying to solve a problem or in the form of a One Word Image.

Other teachers, however, prefer to ask a story based on a script. Click here to read a detailed tutorial that I wrote quite a few years ago. If you have already read it and are looking to clarify your understanding of the process and see concrete examples, read on!

STORYASKING WITH A SCRIPT

With a script, the teacher asks questions to fill in missing details from a pre-determined plot frame. A script might look like this:

There is a _________. He walks to ________. He sees ________. He also sees ________. He feels _______ because ________. He decides to __________.

Another way that you might see the script is like this, with examples filled in so that you have an idea about the kinds of details you could possibly look for when asking the story with your class:

There is an alligator. It walks to McDonalds. It sees a person. It also sees a hamburger. He feels sad because he is a vegetarian and he is hungry. He decides to start his own restaurant.

Regardless of which format the script took, the storyasking in class would look the same:

Teacher: Class, someone is walking. Who is walking?

Random student: Emerson

Teacher: Yes, Emerson is walking. To where is Emerson walking?

Random student: To the pool!

Teacher: Yes, to the pool! He is walking to the pool. He is walking to the pool, and he sees someone. Who does he see?

Random student: Pikachu!

Teacher: Yes, he sees Pikachu! Wait, Pikachu is not real; how is it possible that he sees Pikachu?

Random student: Pokemon Go!

Teacher: Oh yes, he is walking and he is playing Pokemon Go. He sees Pikachu through his phone because he is playing Pokemon Go. He sees Pikachu, and he sees something else.

Teacher: Yes, he sees Jared! First, he sees Pikachu; then, he sees Jared. How does he feel when he sees Pikachu?...

In this way, the class creates this story:

Emerson is walking to the pool. He is walking and playing Pokemon Go. He sees Pikachu and feels excited. He is excited because he wants to trap Pikachu! Then he sees Jared. When he sees Jared, he feels nervous! He feels nervous because Jared also plays Pokemon Go. Jared is going to see Pikachu. Jared is going to want to trap Pikachu....

Notice how this class-created story about Emerson and Pikachu has nothing to do with an alligator, as was the subject of the original story script. The plot frame is the same, but the class-created content as solicited by the teacher's questions makes it feel as though the two stories have nothing in common.

Let me give you another example! This is from Unit 2 of the SOMOS Level 2 Curriculum, the class-favorite story La muchacha y la ardilla.
Click here to read the complete story script.
LA MUCACHA Y LA ARDILLA SCRIPT: EXCERPT

As you're asking the story, think of it like this:

To get your class to create their own version of the story, ask these questions:

1. Alguien caminaba. ¿Quién caminaba?

2. ¿Adónde caminaba?

3. ¿Por qué caminaba a [x]?

4. ¿Por qué tenía que regresar a casa después de caminar a [x]?

5. ¿Qué animal vio?

6. ¿Qué pensó cuando vio el animal?

7. ¿Qué hizo después de agarrar el animal?

8. [Repeat 5-7]...

Asking this series of questions will result in an original story that mirrors the one from the story script, but that has its own details and flair. Here are some examples of stories that real classes have created through this process:

CLASS STORY VERSION 1:

To see just how different a class story might end up, here is a class story that Tree Yorque, a teacher that uses this unit, created through a storyasking session with her class:

"Santiago y la araña"

Había un muchacho que se llamaba Santiago. Él caminaba en los pasadizos. Él quería escapar porque su familia lo estaba buscando.

Él vio que había una cosa interesante en los pasadizos. Había un cuarto con muchos perritos de maíz en el suelo. Para llegar a una puerta, él tenía que comer los perritos, pero había un problema: diez perritos eran venenosos. Él tenía que bailar con los perritos para saber si tenían veneno o no. Santiago pensó, "quizás tengo hambre más tarde. Voy a llevármelos." Él se acercó a los perritos, los comió y con unos, se los llevó.

Después, él vio que había otro objeto interesante en la distancia. Era una tabla ouija. Él se acercó a la tabla. Usó un perrito con la tabla, y la tabla le dijo, "Vete a la derecha." Santiago pensó, "ésta tabla es especial. Voy a llevármela." Él agarró la tabla y la puso en su bolso de hombres y se la llevó.

Él vio que había otra cosa en la distancia. Había una araña azul y era necesario cantar para moverla. Él se acercó a la araña y dijo, "Quiero montarla." Él se la llevó.

Él miró a su reloj y pensó, "tengo hambre y tengo frío." Él usó la seda de la araña para hacer una chaqueta. Después, él llamó a los espíritus de la tabla ouija para que ellos sacaran el veneno de los perritos, menos uno venenoso.

Santiago comió los perritos y cantó "la canción de béisbol" (de Anabella). Por eso, la araña se lo llevó fuera de los pasadizos. Santiago vio a su familia, pero de repente, la araña la comió a todos, incluso a Santiago. La araña buscó el último perrito caliente, lo comió, y murió del veneno.

FIN

CLASS STORY VERSION 2:

Another teacher that has used this story for a few years now is Carrie Toth. You may know Carrie as the author of some of my favorite novels from Fluency Matters, as the face behind the Somewhere to Share blog and TpT store, or as the 2015 ACTFL Teacher of the Year Finalist. Carrie just shared some photos on Twitter from her class storyasking session with La muchacha y la ardilla, and I asked her if I could share her experience here!

Carrie has been doing TPRS style stories with and without scripts for many years now, and so she has found a balance of control that works for her. Here is how Carrie described the planning and execution of the storyasking session:

So when I use the scripts, I want to stay true to the vocabulary but I feel like I can let go of the script and let the class lead. I knew that to get reps of the structures, she'd still have to go different places and find different animals. I wanted her to end up eating one, wearing one, and getting home with the GPS on the last one's phone. That's all I had planned.

First class, I chose a girl who I knew was a great actress. They named her Chica bc her mom was not creative. 🙂 She went to places that were inside jokes in that class and found a fox, a whale, and finally a magical unicorn.

Second class, the girl was named Carrie Toth. She was famous, smart and really talented (all them, honestly). They went to the moon, to Alaska, and Panamá, Panamá ;-). They had a chick from los pollitos dicen, a whale and a Koala bear who constantly hugged things.

Final class went to places that were inside jokes as well. Theirs was a boy named Donut.He found a chupacabra, a cucuy (can you tell Somos 1 is really popping up lol) and a Pikachu. (I made a super fast pokeball and we caught the Pikachu after a demo by me of how to approach in secret) (reps of se acerca/acercó).

In fact, Carrie is so hard core that she gave herself rug burn demonstrating the Pikachu catch!

NEED MORE HELP?

The SOMOS Curriculum Collaboration group is a great place to get answers to your questions. In particular, look for a recent LIVE video by SOMOS Mentor Elicia Cárdenas (of The Deskless Classroom) to help you find your storyasking personae! You will also find other examples of class created stories based on the story scripts from the SOMOS Curriculum located in the Collaboration Drive, which is connected to that group.

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"I don't understand how to ask a story." - The Comprehensible Classroom

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You've got a new comprehension-based curriculum, and you'd be 100% sold if it weren't for that storyasking part. You've got a script, but what the heck do you do with it? Many teachers have asked the same question before. Storyasking is an invented word meant to differentiate creating a story from telling a story.

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example

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TPRS is de afkorting van ' Teaching Proficiency through Reading and Storytelling ' ofwel: taalvaardigheid onderwijzen door lezen en door samen verhalen te maken in de doeltaal. Het is een methodiek die uitgaat van begrijpelijke input, betekenisvolle communicatie en bewustwording van (grammaticale) taalstructuren.

TPRStorytelling gebruikt verhalen als middel om woorden in context te leren en in het lange termijn-geheugen op te slaan. Vocabulaire en grammaticale structuren worden ongemerkt ingesleten doordat de leerlingen luisteren naar en meewerken aan humoristische en persoonlijke verhalen. De docent kan met de technieken van TPRS voorzien in een doorlopende stroom begrijpelijke en interessante input in de doeltaal waardoor de leerlingen de taal werkelijk verwerven.

Wat is het doel van TPRS?
TPRStorytelling streeft naar natuurlijke taalverwerving bij leerlingen die zich uit in een vloeiende beheersing van de doeltaal. Dit houdt in: het begrijpen en kunnen gebruiken van de doeltaal zonder te haperen, uiteraard steeds op het eigen niveau van de leerling.
TPRS stelt zich dit niet alleen ten doel maar verwezenlijkt het ook. De leerlingen leren beter en vloeiender spreken en schrijven dan veel docenten ooit voor mogelijk hadden gehouden. Hoe dit kan? Door eindeloos veel input in de doeltaal te horen, die altijd voor iedere leerling:
-begrijpelijk,
-persoonlijk interessant
-en betekenisvol is.

Hoe is TPRS ontstaan?
Blaine Ray een Amerikaanse docent Spaans ontwikkelde deze methodiek in 1990 vanuit de door James Asher bedachte methode TPR. Na een periode met TPR gewerkt te hebben, merkte Ray dat de mogelijkheden ervan begrensd waren. Dit loste hij op door verhalen te gaan vertellen, een bekende techniek voor versterking van het lange termijn geheugen. De naam TPRStorytelling was geboren.
In de loop van de jaren heeft hij in samenwerking met vele andere docenten zijn methodiek verbeterd en verfijnd. Het aandeel TPR in Ray's methodiek nam zodanig af, dat de afkorting TPRS een andere betekenis kreeg.

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TPRS is de afkorting van ' Teaching Proficiency through Reading and Storytelling ' ofwel: taalvaardigheid onderwijzen door lezen en door samen verhalen te maken in de doeltaal. Het is een methodiek die uitgaat van begrijpelijke input, betekenisvolle communicatie en bewustwording van (grammaticale) taalstructuren.

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TPRS Books offers worldwide TPRS® training for teachers who want to promote foreign language fluency in their classrooms. Explore this page for free resource materials.

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General information

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Teaching Proficiency Through Reading And Storytelling

TPRS® or Teaching Proficiency through Reading and Storytelling® was created by Blaine Ray, a Spanish teacher, in the late 1980s. It is a language teaching method based on the idea that the brain needs enormous amounts of Comprehensible Input (CI) to acquire a new language. In addition, teachers and students interact and create opportunities for students to speak and try out their new language, resulting in rapid gains in fluency. In fact, recently some TPRS online classes have students reaching the intermediate-mid level in just 60-100 hours where typically this takes 400-600 hours. TPRS focuses on using interactive, co-created oral stories, readings and novels that contain the most commonly-used words and phrases in Spanish, French, German, or other foreign languages to help students get familiar with a new language easily and quickly.

When developing TPRS®, Ray was influenced by the work of Dr. Stephen Krashen and Dr. James Asher. Ray began by combining Dr. Asher's teaching method called Total Physical Response and Dr. Krashen's CI-based language acquisition strategies. The result was a teaching method that focuses on the importance of teacher-student interaction, the use of CI and stories to keep the learner's interest to become fluent in a new language.

Although it was first developed by Ray, TPRS® has evolved through the years, thanks to thousands of educators who contributed to improving this language teaching method. Here at TPRS Books, we're committed to continuing the work of these educators by providing workshops and resources to more teachers across the globe who want to learn TPRS® and share the gift of language to their students. We travel across the globe for our teachers' language workshops. Each event is filled with training sessions and presentations from our talented team of instructors.

It sounds like a lot of language!!

The teacher starts with the outline of a story and asks the class large numbers of questions that a) ensure that the class understands the language and b) add personalized, interesting, and comprehensible details to the story.

Classes read stories created in class, stories created by other classes, summaries and stories written by the teacher, stories written by individual students, ads and articles from magazines/newspapers, children's books and short novels written for TPRS® classrooms.

The teacher starts with the outline of a story and asks the class large numbers of questions that a) ensure that the class understands the language and b) add personalized, interesting, and comprehensible details to the story.

Classes read stories created in class, stories created by other classes, summaries and stories written by the teacher, stories written by individual students, ads and articles from magazines/newspapers, children's books and short novels written for TPRS® classrooms.

The teacher starts with the outline of a story and asks the class large numbers of questions that a) ensure that the class understands the language and b) add personalized, interesting, and comprehensible details to the story.

Classes read stories created in class, stories created by other classes, summaries and stories written by the teacher, stories written by individual students, ads and articles from magazines/newspapers, children's books and short novels written for TPRS® classrooms.

There are various strategies that make up the essence of Teaching Proficiency through Reading and Storytelling. The first main 3 parts are located to the right while other strategies in Read and Discuss include:

- Relate the situation, characters, and plot to students.
- Ask if they have ever been in such a situation.
- Capitalize on the cultural information in the story.
- Use the story to teach life lessons.
- Act out a scene from a novel.
- Discuss character development, choices and values.

First, the instructor "Establishes meaning." This involves the introduction of the story via translation, TPR, or even gestures in a variety of ways. In this area there is a conscientious limitation of the input, specifically the grammatical features and the vocabulary.

The second part of the lesson is called "Ask a story." In asking a story, students are involved in the creation and interaction of the story. Students are able to provide part of the language being used while the instructor maintains control of the content.

Another aspect essential to the TPRS® method, "Read and Discuss." In this step students read and translate the story, mostly language that is based on oral storytelling activities. The purpose of translating is to make sure that students understand each paragraph. This translation is also implemented to explain grammar so that grammar is tied to meaning, not tied to a grammar rule.

In TPRS®, acquisition of the target language is anchored in stories that students hear, read, write, tell, and retell in class with the guidance of the teacher. There is tremendous focus on first comprehending a story and building confidence with it before actually writing or telling it, the approach puts input at the core of the curriculum. And because of active student involvement with the input, this method follows basic ideas about the role of input in acquisition and learner engagement with the input. There are many layers and aspects to TPRS®. It is a living method that is constantly changing. It will continue to evolve and change as we are led by the results of student learning.

In TPRS®, there are no "experts," simply teacher language trainees who build a better relationship with students by personalizing stories. Every story is delightfully bizarre (to hold the interest of our students) and personalized (so that our stories speak to the students).

We are always seeking better results in student learning and proficiency as it pertains to classroom teaching. We base our assessments of the teacher how thoroughly the students have internalized the language.

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Teaching Proficiency Through Reading And Storytelling TPRS® or Teaching Proficiency through Reading and Storytelling® was created by Blaine Ray, a Spanish teacher, in the late 1980s. It is a language teaching method based on the idea that the brain needs enormous amounts of Comprehensible Input (CI) to acquire a new language.

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Another example in French

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If you are absolutely new to TPRS, you can learn the basics - enough to get started - in a day or a weekend. (I've even read of some teachers who took a 3-hour seminar, and dove in just on that - depends on your personality and skill set, I guess!) Below, I've listed 5 'planks' on the bridge to becoming a TPRS teacher and gathered resources for each step. At each plank, pick the resource or resources that interests you most and have at it. To keep everything organized, each plank has its own article, accessible on the sidebar.

Summary of the 5 Planks:

1. Get a feel for TPRS. Watch a video of a TPRS class, preferably in a languageyou don't know. That way you will get a good sense of what TPRS is and how students learn in a TPRS class.

2. Understand the basics. Several experienced TPRS teachers have written or posted videos explaining the basics of TPRS.

3. Get some training. If you can, attend a workshop. If not, watch a video series and/or read a book about the specific procedures. TPRS is not hard, but there are a few principles and techniques - inviting students into the process, circling, slowing down, pointing, teaching to the eyes - that you want to absorb before you jump in.

4. Choose a curriculum, or decide to adapt a curriculum you may already have to this method.

5. Hone your skills. Every so often, watch or read a little bit more. Add another idea or trick to your repertoire. TPRS teachers are very generous on the web about sharing their experiences, and there are many, many helpful websites. You will probably collect your favorite websites to check in on.

Plank 1

Plank 1: Get a feel for TPRS. Watch a video of a TPRS class, preferably in a language you don't know. That way you will get a good sense of what TPRS is and how students learn in a TPRS class.

Here are some great videos of TPRS classes in different languages. I've watched many TPRS videos, and these are some of the best. You will see that each teacher has their own slightly different style but all are effective. Most of these teachers have more videos, websites, books and workshops, so you can always look for more from them. Take your pick, and enjoy.

French 1: Ben Slavic has a whole series of videos that go along with his books about how to do TPRS. This is video #1 in a series of videos. Ben introduces three phrases, and then story-asks to such an extent that the class provides every detail. Also subtitled with explanations. This is the video that initially cemented my interest in TPRS. (Concert in the basement of 7-11.) 63 minutes.

https://www.youtube.com/watch?v=zEd7q9UWrLY

French 1: Michelle Kindte is teaching beginners. Kindte herself has 3 years of experience with TPRS. You will see she introduces about 7 structures before the story, sticks to her script without inviting lots of student ideas for the story, uses very simple props, students remain engaged. (Bellybuttons on the moon.) 21 minutes.

https://www.youtube.com/watch?v=zxxJNDxQrZ4

French overview: A short edited view of Blaine Ray teaching TPRS right off the airplane. No prep, no props, solicits lots of student ideas. The subtitles explain what he is doing, so this a good quick overview. Get ready to laugh, even if you don't know French! This is only an edited overview, however, so make sure you watch another, longer video as well. 5 minutes.

https://www.youtube.com/watch?v=9DRblDN2sXY

Spanish 2: Blaine Ray teaches a story "La Besadora del Año." This is a very helpful video because again, he walks into the class for the first time and engages the whole class. You don't see him introduce phrases beforehand, but you do see how Blaine goes back and forth between present and past, without the students realizing they are practicing different tenses. This video also has subtitles to explain exactly what Blaine is doing and why. 41 minutes.

https://www.youtube.com/watch?v=IyQaAMWwwEw

Spanish 1: Alina Filipescu and her students really get into this story with lots of props and ideas and laughter. She does establish meaning before the story and stays in the present tense. (Elephants invade a fast food hangout called Curry in a Hurry.) 23 minutes.

https://www.youtube.com/watch?v=Pg9ZYtDekY0

Spanish super-beginner: Blaine Ray teaches a Spanish class in China to students who have never had any Spanish. He is teaching teachers the TPRS method, so explains the class ground rules very clearly. 15 minutes.

https://www.youtube.com/watch?v=ITje7eHFC_o

Spanish 1: Students are in Week 10. Adriana Ramirez has her own system of using TPRS: 3 days of story building, 1 day of student skits, 1 day of reading, 1 day of quizzing. On a screen she projects all the structures for a three day story at once, and points to them as the story progresses. She begins with very careful review questioning, and sticks closely to her script, but still elicits some subtle humor. First in a series of 6 videos. (Faulty alarm clock.) 18 minutes.

https://www.youtube.com/watch?v=tOxcBvb7vAU

Mandarin 1: First day, by Terry Waltz. Chinese also has tones so requires even more repetitions. Makes me want to learn Chinese! The first few weeks of a class may not involve full-blown stories, just actions and conversation. (Who is cool?)

https://www.youtube.com/watch?v=D9jKfHRZQfs (28 minutes)

But it is difficult to see the Terry's whiteboard, so also watch:

https://www.youtube.com/watch?v=QBtzzvi4oMw (23 minutes)

Russian 1: Day 1. You can really see the benefits of going slowly, and making sure the students comprehend everything with this difficult language. It is easy to see the beginning structures on the board, the pointing and the circling. (Personalized Q and A). 62 minutes.

https://www.youtube.com/watch?v=AtgHO1V4uDE

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I'm Ready to Learn the TPRS Method! Where Do I Start? Five Planks on the Bridge to TPRS - Plank 1 - Crooked Trails Learning

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Overview and Plank 1 If you are absolutely new to TPRS, you can learn the basics - enough to get started - in a day or a weekend. (I've even read of some teachers who took a 3-hour seminar, and dove in just on that - depends on your personality and skill set, I guess!)