By completing these earnestly and diligently, students’ skills and confidence in using disciplinary specific language, literary devices, and textual concepts in response to different texts is guaranteed to improve. To help students master the critical thinking, reading, and writing skills the Common Module demands, a variety of analytical, creative, discursive, and reflective activities have been included in this student book. Anthony’s ‘On Women’s Right to Vote’, Robert Frost’s ‘Stopping by Woods on a Snowy Evening’, Alfred Lord Tennyson’s ‘The Lady of Shalott’, George Orwell’s ‘The Sporting Spirit’ and Geraldine Brook’s ‘A Home in Fiction’, students will develop their knowledge of how texts provide insight into the emotions, behaviour, and motivations that form the core of human experiences. Well, I couldn’t be left out, could I? I stood up and yelled as loud as I could.Īnd Billy was up there smiling his head off, and then he did that jump again, one more time, even though he wasn’t supposed to, even though it bolloxed the music, just for us.The Billy Elliot Student Book is a study of Stephen Daldry’s film, Billy Elliot for the NSW Stage 6 English Year 12 Common Module: Texts and Human Experiences. By engaging in close reading of the film, alongside Susan B.
Everyone was looking round and smiling now. He stood up, cupped his hands, and hollered. People turned round, some of them frowning, some of them grinning. I nearly died – you don’t do that sort of thing in these places. ‘Eh up, Billy Elliot!’ It was Michael, shouting it out at the top of his voice. When he landed and he spun round to face the audience and I could see him smiling at us. It’s marvellous the way they look just for a second as if they’re never going to come down and no one – no one, no one, no one – does it as well as our Billy. I thought he was going to hang for ever in the air. I’d seen him do it a hundred times before but this time, on the stage, every eye in the house watching him, all the lights on him, he jumped like a bloody star. There’s coal behind everything in this country. I dug a lot of coal out of the ground to put Billy in here, just like my father and his father dug a lot of coal out of the ground to build places like this. ‘It’s you that’s put him here, after all,’ said Michael, and no one ever spoke a truer word. ‘You must be a very proud man, Mr Elliot,’ he said. Tony’d said it half a dozen times as he was growing up.
Tony whispered out of the side of his mouth, ‘Told yer.’ He did, too. ‘Oh, I wouldn’t have missed this for the world!’ ‘Michael? Is that you? What are you doing here?’ He had a purple cloth wrapped round his head and make-up on. ‘Look.’ He was pointing to the bloke sitting next to him. Brilliant, see? She was right, all those years ago. Even though he knows already in this case. I told him, ‘Will you tell Billy Elliot his family’s here?’ I get Tony to call over one of the ushers, even though the music is just about to begin. Outside above the entrance, in big letters, it says: Tony still in his donkey jacket and jeans, looking like a miner. These seats we were sitting in cost over a hundred pounds a go. They could build Everington inside here, it’s that big. I’m sitting in Covent Garden Opera House. I feel as though I own a bit of it now, that’s all. I’ve been down a few times now and those buildings seem to get bigger every time.