The best results of suggestopedia are not due to any technique (guided relaxation, guided fantasies, breathing exercises, etc.) as a number of authors fabricated but to a holistic knowledge of the psychophysiological mechanisms of personal reserve. On the basis of extremely productive research studies, we arrived till present to the following conclusions for the absolutely required knowledge that should be assimilated by the teachers in the course of their methodical training:

The education of the students is performed in four phases. Not in three as was the practice through the years.

The phases are: introduction (not a deciphering as it was practiced through the years); concert session (passive and active); elaboration; and production (this is a thoroughly new phase, not only a brief moment during the elaborations as it was earlier).

Follows a very brief description of the alterations within the phases:

1. The introduction is not anymore a lexical & grammatical analysis of the text as it was in the process of deciphering; the teacher does not play as if on a scene; now he/she is a good wise old fellow whose interesting exposй could change under the impact of the students taking part in the conversation but the teacher skilfully follows the lexis and grammar planned for the lesson so that nobody should perceive it as “directed”. In order to avoid conscious analysis in the course of the slow “didactic” narration, the teacher should speak relatively quickly but he/she should frequently repeat the phrases – naturally, as if incidentally, or simply habitually. In the introduction to the first lesson, the teacher commences with the end of the material printed in the textbook and goes through to the beginning. Thus students could immediately speak while imitating teacher’s patterns. He/she begins with his/her name and profession, with search for players, etc. Students would be able to tell immediately their names, professions, where they come from, what transport means they prefer, which language they speak, etc. It would be a good idea to present the same information in the third person singular in respect to the members of the group: what is the name of any of them, his/her profession, what languages he/she speaks, where he/she comes from, what transport means he/she prefers, etc. These topics are elaborated during the qualification courses for teachers.

2. In order to avoid possible feeling of passivity and manipulation during the active concert session, students stand up twice and read 1 or 2 pages together with the teacher. Thus they again act as co-creators. In moments when the music is very soft and pleasant, the teacher interrupts reading for 2 or 3 minutes and let the group only listen. This is repeated once or twice.

The passive concert session is calmer and should not be hurried over or shortened except for very rare special cases.

3. The teacher acts more like a consultant during the elaborations.

4. In the production phase, every student speaks without interruptions for correcting, and the aim is a spontaneous turnover of monologistic speech in dialogistic – the students should began to ask questions to the speaker in the language they are studying.
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