HEARING LISTENING

•IS THE ABILITY TO PERCEIVE •IS THE ABILITY TO

ACCURATELY RECEIVE AND
SOUND BY DETECTING
INTERPRET MESSAGES IN
VIBRATION THROUGH THE
THE COMMUNICATION
EAR.
PROCESS.
LISTENING

•IT IS ONE OF THE MOST ESSENTIAL SKILLS THAT

YOU USE THE MOST IN YOUR EVERYDAY LIFE.
LISTENING
•IT ENABLES US TO COMPLETELY UNDERSTAND
MATTERS WE HEAR AND COME UP WITH
APPROPRIATE FEEDBACK.
LISTENING

•IT IS THE ABILITY TO ACCURATELY RECEIVE

AND INTERPRET MESSAGES IN THE
COMMUNICATION PROCESS.
•TO LISTEN MORE EFFECTIVELY, WE NEED TO USE
TECHNIQUES OR STRATEGIES.
•THESE TECHNIQUES WHICH CONTRIBUTE DIRECTLY
TO THE COMPREHENSION AND RECALL OF A
LISTENING INPUT ARE CALLED LISTENING
STRATEGIES.
LISTENING STRATEGIES
•LISTENER-BASED STRATEGIES. Top-
•THE LISTENER USES Down
BACKGROUND KNOWLEDGE TO
MAKE SENSE OF WHAT HE/SHE IS
LISTENING TO.
LISTENING STRATEGIES
Top-
•HE/SHE ALREADY KNOWS A FAIR Down
AMOUNT OF INFORMATION
ABOUT THE TOPIC.
LISTENING STRATEGIES
Top-
•HE/SHE IS ABLE TO RELATE A Down
STORY OR INFORMATION INTO A
PREVIOUSLY ESTABLISHED
SCHEME (PRIOR KNOWLEDGE).
LISTENING STRATEGIES
•TEXT-BASED STRATEGIES
•THE LISTENER ATTEMPTS TO MAKE
SEND OF THE LANGUAGE SOUND BY
SOUND OR WORD BY WORD, WITH THE Bottom-
LESS USE OF BACKGROUND Up
KNOWLEDGE.
LISTENING STRATEGIES

•THE LISTENER RELIES ON THE

LANGUAGE IN THE MESSAGE
(SOUNDS, WORDS AND GRAMMAR) Bottom-
THAT CREATES THE MEANING. Up
 Top-Down
Bottom-
Up
•LISTENING FOR MAIN IDEA •LISTENING FOR SPECIFIC DETAILS
•MAKING PREDICTIONS •RECOGNIZING WORD-ORDER
•DRAWING INFERENCES PATTERNS
•SUMMARIZING •RECOGNIZING WORD SOUNDS
•TAKING DOWN NOTES •RECOGNIZING COGNATES
 Top-Down
SCENARIO 1
•MR. CRUZ, YOUR ENGLISH TEACHER, ASKED YOU TO
READ SOME INFORMATION ABOUT A CERTAIN TOPIC.
THEN, HE INSTRUCTED YOU TO LISTEN TO A RECORDED
MATERIAL TO FIND OUT WHETHER OR NOT THE SAME
POINTS ARE MENTIONED.
SCENARIO 2 Bottom-
Up

•A FRIEND TRIES TO EXPLAIN HOW YOU CAN GO ON A

TRIP TO PALAWAN FOR THE FIRST TIME. YOU MAKE
SURE YOU DO NOT MISS OUT ANY IMPORTANT
DETAILS AND INSTRUCTIONS ABOUT THE TRIP.
 SCENARIO 3 Bottom-
Up

•YOUR MOTHER GAVE YOU A CALL AND YOU WERE ASKED TO

BUY SOME ITEMS AT THE GROCERY STORE. SINCE YOU WERE
NOT FAMILIAR WITH THE ITEMS SHE CITED, YOU MADE SURE
TO REMEMBER SPECIFIC DETAILS SHE MENTIONED.
 Top-Down
SCENARIO 4
•INONE OF YOUR CLASSES, YOUR TEACHER
ASKED YOU TO LISTEN TO A PRE-RECORDED
CONVERSATION AND IDENTIFY WHERE THE
CONVERSATION TOOK PLACE.
 Top-Down
SCENARIO 5
•WHILE LISTENING TO A LECTURE, YOU SAW ONE OF
YOUR CLASSMATES TAKING DOWN IMPORTANT
NOTES. THIS CLASSMATE OF YOURS ALSO MADE A
WORD MAP TO CONNECT THOSE WORDS AND
PHRASES THAT HE/SHE LISTED.
TO SUM UP:
•WHILE HAVING YOUR RECESS, YOUR CLASSMATE TELLS
YOU A STORY ABOUT HIS /HER RECENT VACATION, WHICH
WAS AN EXCITING ONE. YOU ATTENTIVELY LISTEN AND
GIVE REACTIONS AT APPROPRIATE MOMENTS, PERHAPS
TO SHOW THAT YOU CAN RELATE TO WHAT IS BEING TOLD.
TO SUM UP:
•THAT SAME DAY, A FRIEND CALLS TO INVITE YOU TO A
CELEBRATION AT HIS/HER HOUSE THE FOLLOWING WEEKEND.
AS YOU HAVE NEVER BEEN TO HIS/HER HOUSE BEFORE, HE/SHE
GIVES YOU DIRECTIONS. YOU LISTEN CAREFULLY AND PAY
ATTENTION TO THESE SPECIFIC DETAILS.
•HOW YOU LISTENED TO THE VACATION STORY
COULD BE CHARACTERIZED AS TOP-DOWN
LISTENING SINCE YOU MADE USE OF YOUR
BACKGROUND KNOWLEDGE IN UNDERSTANDING
THE MEANING OF THE MESSAGE.
•INCONTRAST, WHEN LISTENING TO DIRECTIONS
GOING TO A FRIEND’S PLACE, COMPREHENSION IS
ACHIEVED BY DIVIDING AND DECODING THE WORDS
AND THE SOUND SIGNALS BIT BY BIT. THIS IS AN
EXAMPLE OF BOTTOM-UP LISTENING.
LISTENING STRATEGIES
•METACOGNITION MEANS “THINKING
ABOUT THINKING” Metacog-
nitive
•AWARENESS OF ONE’S OWN
Listening
ACTIONS AND THEIR EFFECTS
•POSING INTERNAL QUESTIONS TO
FIND INFORMATION AND MEANING
LISTENING STRATEGIES
•POSING INTERNAL QUESTIONS TO FIND
INFORMATION AND MEANING Metacog-
➢ WHAT THEY WANT TO LISTEN? nitive
➢WHAT EXISTING KNOWLEDGE THEY Listening
CAN USE TO HELP THEM IN
UNDERSTANDING THE TEXT THAT THEY
ARE LISTENING.
LISTENING STRATEGIES
•POSING INTERNAL QUESTIONS TO Metacog-
FIND INFORMATION AND MEANING nitive
➢ WHAT THEY NEED TO FOCUS ON? Listening
➢WHAT TIME FRAME THEY HAVE TO
ACHIEVE COMPREHENSION?
LISTENING STRATEGIES

Metacog-
nitive
•DEVELOPING MENTAL MAPS,
Listening
PICTURES, OR PLANS
LISTENING STRATEGIES
•MONITORING PLANS THROUGHOUT A
PROCESS AND REVISING PLANS WHEN Metacog-
THEY DO NOT WORK nitive
➢HOW WELL THEY’RE RETAINING Listening
INFORMATION
➢WHETHER THEY NEED TO SEEK
GUIDANCE
LISTENING STRATEGIES

•SELF-EVALUATING A COMPLETED Metacog-

nitive
PLAN
Listening
➢WHAT THEY LEARNED COULD HELP
THEM IN OTHER AREAS?
LISTENING STRATEGIES

Metacog-
nitive
•PROMOTES “DEEP LEARNING” Listening
UNDERSTANDING THE TOPIC
TOP-DOWN STRATEGY BOTTOM-UP STRATEGY METACOGNITVE STRATEGY
WHAT IS PRE-PRODUCTION?
•PRE-PRODUCTION IS THE STAGE IN WHICH YOU PREPARE
YOUR PROJECT FOR THE SHOOT.
•PRODUCTION IS THE PHASE IN WHICH ALL THE SEQUENCES
ARE SHOT.
•POSTPRODUCTION IS THE ASSIMILATION OF ALL THE
SEQUENCES SHOT INTO THE FINAL FILM.
•THE PRE-PRODUCTION PHASE OF A PLAY IS WHERE ALL
THE PLANNING TAKES PLACE BEFORE THE ACTUAL STAGE
PERFORMANCE
1. PRODUCER
•IT IS THE ONE IN-CHARGE OF A THEATRE
PRODUCTION.
•HE/SHEMANAGES THE OVERALL FINANCIAL AND
MANAGERIAL FUNCTIONS OF A PRODUCTION.
2. DIRECTOR
•IT IS THE ONE WHO OVERSEES THE ENTIRE PROCESS
OF STAGING A PRODUCTION.
•THEIR GOAL IS TO BRING OUT THE BEST
PERFORMANCE FROM THE ACTORS AND TELL THE
STORY OF THE PLAY IN A COMPELLING WAY.
3. PLAYWRIGHT

•IT IS THE ONE WHO WRITES PLAYS.

•A PLAYWRITER IS A PROLIFIC WRITER AS WELL AS
AN EXEMPLARY STORYTELLER.
4. SCENIC DESIGNER

•IT IS THE ONE WHO DESIGNS SETS AND SCENERIES

THAT AIM TO FULLY IMMERSE THE VIEWER IN
PRODUCTION.
•SCENIC DESIGNERS USE BACKGROUNDS, PROPS
AND STRUCTURES TO CREATE THESE SCENES
5. LIGHTING DESIGNER
•IT IS THE ONE WHO WORKS WITH THE DIRECTOR,
CHOREOGRAPHER, SET DESIGNER, COSTUME DESIGNER,
AND SOUND DESIGNER TO CREATE THE ATMOSPHERE
AND TIME OF DAY OF THE PRODUCTION IN RESPONSE TO
THE TEXT.
6. COSTUME DESIGNER

•IT IS THE ONE WHO DESIGNS COSTUMES FOR A FILM,

STAGE PRODUCTION, OR TELEVISION.
7. SOUND DESIGNER
•IT IS THE ONE WHO PRACTICES THE ART OF SOUND
DESIGN.
•THE SOUND DESIGNER WILL INITIALLY WORK WITH
THE DIRECTOR AND THE CREATIVE TEAM TO ENSURE
THAT SOUND SUPPORTS AND ENHANCES THE
PRODUCTION’S STORYTELLING.
7. SOUND DESIGNER
•THESOUND DESIGN MAY REPRESENT EVERYTHING
FROM SPECIFIC NOISES CREATED BY ACTIONS ON
STAGE, SOUNDS THAT CONVEY THE SHOW’S SETTING
AND TIME, AND MUSIC AND SOUNDSCAPES THAT
BUILD ATMOSPHERE, MOOD AND THE CHARACTERS’
EMOTIONS.
8. PROPERTY MASTER
•IT IS THE ONE WHO IS RESPONSIBLE FOR
PURCHASING, ACQUIRING, MANUFACTURING,
PROPERLY PLACING, AND/OR OVERSEEING ANY PROPS
NEEDED FOR PRODUCTION.
9. PRODUCTION MANAGER
•IT IS THE ONE WHO IS RESPONSIBLE FOR REALIZING
THE VISIONS OF THE PRODUCER AND THE DIRECTOR
OR CHOREOGRAPHER WITHIN THE CONSTRAINTS OF
TECHNICAL POSSIBILITY.
10. TECHNICAL DIRECTOR

•IT IS USUALLY A SENIOR TECHNICAL PERSON AND IS

USUALLY POSSESSES THE EXPERTISE IN THAT
INDUSTRY.
10. TECHNICAL DIRECTOR
•RESPONSIBLE FOR OPERATING, PROTECTING, AND
MAINTAINING THE THEATER’S TECHNICAL ASSETS.
•MANAGING AND OVERSEEING THE DIFFERENT
TECHNICAL DEPARTMENTS, INCLUDING SET, LIGHTING,
COSTUMES, PROPS, SOUND, AND EFFECTS.
10. TECHNICAL DIRECTOR

•THEY SERVE A DUAL ROLE, ACTING SOMETIMES AS

TECHNICAL EXPERTS AND ADVISORS, AND OTHERS AS
PROJECT COORDINATORS.
11. CHOREOGRAPHER

•IT IS THE ONE WHO CREATES CHOREOGRAPHIES.