Contemos Huevos de Chocolate: Aprender A Contar Hasta 10 (Spanish Edition)

Lo que ocurre es que no todo el mundo es capaz de hacerlo. Se trata de productos de diversa naturaleza. En el punto 30 de su obra dice: Aun cuando los servicios iniciales no sean muy favorables frente a la compra directa del DVD en cuanto a contenidos y precios, puede esperarse una mejora de los servicios en el periodo , una vez comprobada la eicacia del nuevo canal.

En las conclusiones de un informe sobre Netlix, se dice: Subscribers have clearly em- braced the Netlix streaming service, fundamentally altering the Internet landscape. How much more can Netlix grow? Netlix is also poised to grow a great deal in the mobile space. On other platforms such as Windows Phone 7 and Android, oficial Netlix clients exist, but small market share from a new platform and DRM concerns respectively have held back widespread adoption so far. As these issues are resolved and smartphone and tablet ow- nership rates continue to climb, watching a Netlix video on your mobile device will be as common as doing so on your TV or computer.

For mobile operators this will mean a further surge in the amount of data used by customers on the mobile network; for ixed operators, it will mean increased trafic as many of these devices will rely on home WiFi and therefore the ixed access network to stream the content. Internet providers worldwide, regardless of access technolog y and degree of mobility, must plan for a future in which on- demand video whether provided by Netlix or another service is a large proportion, if not the majority of, last-mile trafic.

Marc Davis, en un ensayo publicado en recordaba que: Motion pictures gave us the ability to capture and construct sequences of moving images that enabled the creation of a new language of storytelling and visual experien- ce. Computation provides a method for constructing universal machines which, by manipulating representations of processes and objects, can create new processes and objects, and even new machines.

The deep integration of computation and mo- tion pictures has not yet occurred, but the implications of their deeper integration over the next 50 years will have profound technological, linguistic, and social effects. Como bien dice Fernando de Felipe: Y sus vecinos, al otro lado de la frontera. Han mutado, pero no son conscientes de ello. El motivo es el siguiente: Of course they will, and two-way national talk shows will be the least of it.

Gulf War Reenactments, etc. At telethon time, Jerry Lewis will be the happiest man in showbiz. Y, si puede intervenir, puede incidir de un modo u otro sobre el desarrollo de la historia: XX a explorar ese terreno. The World Wide Web another imitation of paper trivializes our original hypertext model with one-way ever-breaking links and no management of version or contents. Con el inicio del siglo XX, los escritores se adentran en nuevos territorios al explo- rar temas como: En la segunda mitad del siglo, los esfuerzos se renuevan con la obra de Burroughs, Cortazar, Pavic, los autores del nouveau roman Butor, Robe-Grillet y la literatura potencial del grupo Oulipo Calvino, Perec, Queneau En el segundo caso se juega con la forma del libro Su estudio, por lo tanto, puede ayudarnos a comprender el terreno en el que nos movemos.

La respuesta parece clara: It is an enlarged intimate supplement to his memory. Para consultar otras obras del mismo editor, visitar el sitio web de Eastgate Systems, la empresa productora: Estos textos retoman y simpliican la propuesta del Rayuela de Cortazar. El creador pro- pone recorridos, pero no obliga a seguirlos. Probable- mente los relatos transmedia les ayuden a encontrar una respuesta. Un ejemplo destacado es el de Peter Greenaway quien, desde sus inicios, se ha caracterizado por practicar diversas disciplinas.

Entre estos autores se encuentra Tsai Ming-liang. The thematics of time therefore cut across formal divisions. Cinematic modular narratives fall into a number of groups, generally taking one or more of the following forms: Al tiempo, se invitaba al espectador a hacer zapping entre los dos canales. Al- gunos de los proyectos que desarrollaron se pueden consultar on-line en los enlaces indicados. Si a eso le sumamos un cierto tipo de narraciones en las que la trama no es el valor fundamental ya que potencia otros, como la experiencia del usuario llegamos a un terreno en el que relato y juego se entrecruzan.

Sin embargo, a la hora de deinirlo y estudiarlo las cosas se complican. Como vemos, no son pocas. Sin embargo, el autor concluye que: Ne- vertheless the diversity exists, and it makes reconciliation dificult. En ellas suelen aparecer algunos criterios recurrentes. Pasemos al segundo punto: Desde esta perspectiva, de los elementos comunes que existen entre videojuegos y cine quiero destacar especialmente dos: El primero es un concepto ya utilizado en los estudios de cine y literatura.

Murray en su Hamlet en la holocubierta se remite a las aportaciones de D. Son dos conceptos distintos pero estrechamente relacionados. Marie-Laure Ryan, en Narrative as Virtual Reality, relexiona en profundidad so- bre estos temas If all technological problems are solved, this casting of the body as interfa- ce to the computer-simulated world should lead to a mutual reinforcement of the two experiences of immersion and interactivity. This ambition is analyzed as the literalization of phenomenological doctrine--especially of the views of Maurice Merleau-Ponty--concerning the mutual dependency of consciousness, embodied existence, and our sense of being-in-the-world.

One of the goals of this project is to rehabilitate immersive aesthetics from the con- tempt of postmodern theory. Chapter 3 reviews a number of theories that have dealt with this phenomenon: These theories will show that far from promoting passivity, as its opponents have argued, immersion necessitates an active engagement with the text and a demanding act of imagining. Poetics of immersion Three forms of textual immersion are distinguished and dis- cussed in two chapters.

Narrative techniques are evaluated in terms of their ability to promote these various types of immersion, and immersivity is shown to be more important to the effect of literary realism than the life-likeness of the ictional world. Even within the media conglome- rates, units compete aggressively rather than collaborate. Each industry sector has specialized talent, but the conglomerates lack a common language or vision to unify them. The current structure is hierarchical: We need a new model for co-creation-rather than adaptation-of content that crosses media. Como apuntan Lipovetsky y Serroy: Supported by the breakthrough animated television series Star Wars: The Clone Wars and robust initiatives to engage fans of the live-action Saga, the success continues across multiple licensed product categories - including toys, publishing, apparel, consumer electronics, housewares, and even the symphonic Star Wars experience, Star Wars In Concert.

Por poner un ejemplo: It was commercialised in the middle ages, became big business in the 19th century and an international industry in the 20th. Today it is the ubiquitous wallpaper of the postmodern era. As screenwriters, we struggle with our own success. This is not a big deal. It is one of a set of crises that aflict current cinema. The traditional concept of movies, a projected image in a dark room of viewers, feels increasingly old. Narrative will mutate and endure. Audio-visual entertainment is changing and narrative will change with it. It is not storytellers who created and deined the perfect shape or size to express their ideas but the industrial format or device where the story is experienced.

Gestar un mundo, conocer a tus personajes, desarro- llar una estrategia que permita crecer a tu historia, y al mismo tiempo, conocer a tus consumidores. No estoy seguro de que esto sea necesariamente negativo. Le Guin, junto a la novela estrictamente dicha, ha facilitado al lector anexos de todo tipo: Algunos mundos incluso han sobrevivido a sus creadores, como Dune http: Los trekkies se reunen regularmente en convenciones, perfectamente uniformados y maquillados. Y luego, por lo general, les proporciona una salida.

En ello reside la solidez de una novela, por una parte, y su debilidad, por otra. Por el contrario, las nuevas series siguen los pasos de uno o varios personajes y muestran lo que les ocurre. En series como House, ambos modelos narra- tivos se combinan: En palabras de Forster: Como nos recuerda Jenkins: We might, from there, make the following argument: A good character can sustain multiple narratives and thus lead to a successful movie franchise.

Tolkien, understood their art in terms of world-creation and developed rich environments which could, indeed, support a variety of different characters. For most of human history, it would be taken for granted that a great story would take many different forms, enshrined in stain glass windows or tapestries, told through printed words or sung by bards and poets, or enacted by traveling performers.

But Twain understood what modern storytellers seem to have forgotten-a compelling sequel offers consumers a new perspective on the characters, rather than just more of the same. Son mundos en su potencialidad: A city such as London can be portrayed an ininite number of ways, with different tones that will affect the feel of the story world idea- listic, sinister, noir, historic, magical. Furthermore, I would suggest that even hyper-realistic stories have to bend some rules such as by compressing time to facilitate storytelling.

Por eso, la igura del guionista tal como se la conoce en el cine queda supeditada a la del Arquitecto de historias Story Architect The story world is therefore the narrative universe that allows to link, in a rich and coherent manner, the different stories of a common universe. En palabras de Aumont: Conjunto de todo lo que existe materialmente.

No modiica el sentido del original, simplemente abrevia la cita. En deter- minados eventos participativos considero que el usuario es co-creador o co-guionista del relato. The game enables the expe- rience, but it is not the experience. This is a hard concept for some people to grasp. The ancient Zen question adresses this directly: That means you start ten elementos y se inluencian mutuamente. The development loop has six key components: The goal is to get all six components working in harmony together — supporting and reinforcing each other. Writers may choose the story while producers may choose experience.

Although intuitively you may ind yourself doing both. La comunidad de seguidores alrededor de un relato no es algo nuevo. Del mismo modo, en el interior del metatexto se producen intertextos. El cambio no tiene valor por su volumen sino por su naturaleza, no es cuanti- tativo sino cualitativo: Son dos conceptos que a menudo aparecen unidos, aunque no se derivan uno del otro.

Yo, salvo en el caso de citas textuales, he preferido mantener el orden utilizado habitualmente en occidente nombre y apellido. The irst Japanese director to demand authentic sets and props was Mizoguchi Kenji, and the sets in his ilms are truly superb. I learned a great deal about ilmmaking from him, and the making of sets is among the most important.

If the plan of a house and the design of the rooms are done properly, the actors can move about in them naturally. For this reason, I have the sets made exactly like the real thing. It restricts the shooting, but encourages that feeling of authenticity. Mientras huye de unos perseguidores, conoce a una mujer que le ofrece su ayuda y le oculta en su casa. Immersion and Interactivity in Literature and Elec- tronic Media. Como popularmente suele decirse: Conjunto de motivaciones negativas. Estoy pensando en el Eneagrama de Gurdjieff.

El primer esquema es obra de Mike Monello, socio y director creativo de Camp Fire El segundo esquema corresponde a Mike Dicks, co-fundador de Descience Limi- ted. Sea como sea, y a pesar de lo que las apariencias indiquen, el temor resulta infun- dado. Pese a ello, la franquicia sigue en activo y generando nuevas ramiicaciones con sus propias extensiones, como es el caso de Fantastic Beasts and Where to Find Them. En el caso de Kurosawa, para ayudar a los actores a involucrarse en su papel. The Game no deja de ser una historia dentro de una historia, con sus correspondientes niveles inmersivos.

No se trata de lecturas paralelas: Each franchise entry needs to be self-contained enough to enable autonomous consumption. As Poke- mon does so well, any given product is a point of entry into the franchise as a whole.

1. Imperial 109.
2. ?
3. Der Aufstand: Juni 53 - Augenzeugen berichten (German Edition).
4. Varying Paramour.
5. The Juice Effect: The Top 40 Juices and Their Benefits to Your Health.
6. Christmas With My Prince.
7. Full text of "A Spanish Grammar".

Different media at- tract different market niches. Films and television pro- bably have the most diverse audiences, comics and games the narrowest. A good transmedia franchise attracts a wider au- dience by pitching the content differently in the different media. If each work offers fresh experiences, then a crossover market will expand the potential gross within any individual media. Hasta este punto, el grueso del texto se ha centrado en las narrativas transmedia. Esto se debe a un doble objetivo: Para ello me he adentrado en el terreno de las narrativas transmedia. De este repaso a los conceptos generales aportados por estas nuevas narrativas, cabe destacar: Es decir, que su naturaleza no sea real, sino un simple constructo intelectual que nos ayuda a crear y analizar el relato.

However, the great power of stories, the endurance of the form and the compulsion to tell them suggests that telling stories is not merely an entertainment, an optional extra which we can choose to engage with or not, but a fundamental aspect of being. We tell stories to construct, maintain and repair our reality. When we were conceived, when the sperm met the egg, we were not there, but there is a second self-conception which is our own. We conceive ourselves in our minds and then through the speech-act of our stories, we are born.

The telling of stories is more than an indivi- dual process, through our stories we form relations- hips; our family stories bind us to those with whom we have shared experiences and our collective sto- ries become our tribal, regional or national identity. These stories are performed and performative; they do not leave us unchanged but can in fact motivate us to ight and be willing to die for an ideal or a belief.

En ese camino suceden muchas cosas, y la obra crece, se reformula y se transforma. Recordemos que escribir cine no es escribir o, en cualquier caso, es escribir de un modo muy determinado que nada tiene que ver con la literatura y otras formas y usos de la escritura Pero no todas las circunstancias se resuelven en signo. Las cursivas son del autor. Thus it forgets and overlooks the differences, the other voices and the complex interactions inherent in the present. Un guionista debe saber lo que quiere decir con su historia antes de empezar a construirla.

Pasemos a la segunda igura que propongo, la del lector. Puede que no sea casual que Alonso de Santos presente un peril polivalente: Quiero detenerme un instante para hablar sobre su obra, en la que dice: Citando de nuevo a este autor: Sin embargo, parece que el problema no radica tanto en el lenguaje utilizado como en el uso que se da del mismo Eugene Vale nos advierte: Aunque alguien sienta dolor en un ojo la causa pue- de estar en un diente.

Me reiero al sentido, a la utilidad que tienen las historias. Como digo, Boyd, en su amplio y muy bien elaborado trabajo, explora ese terreno ampliamente. Al contrario que en las narrativas transmedia, donde la cantidad de piezas que la forman y su posible orden de lectura puede producir distintos signiicados. It helps us to understand ourselves, to think —emotionally, imaginatevely, relectively— about human behavior, and to step outside the immediate pressures and the automatic reactions of the moment.

Todo depende del tipo de histo- ria que quiera contar y de las relexiones que desee apuntar con ella. Antes de romper las re- glas minimalismo, antiestructura es preciso cono- cerlas primero. Nos exponemos al texto, aunque debemos ser capaces de interpretar el subtexto De eso precisamente tratan los relatos en los que el protagonista presenta esa disfuncionalidad, de denunciar la doble moral que rige nuestra sociedad. This inal hamonious image pulses with the tension between the knowable and the unknowable.

Por eso, Ray Carney, cuando habla del cine de John Cassavetes, dice: Estoy pensando, por ejemplo, en el Macbeth de Orson Welles. O al menos el discurso debe contener elementos suicientes para que el lector lo interprete co- rrectamente. Relections on the Works of Nikolai Leskov: This is because no event any longer comes to us without already being shot through with expla- nation. In other words, by now almost nothing that happens beneits storytelling; almost everything beneits information. Actually, it is half the art of storytelling to keep a story free from explanation as one reproduces it.

The most extraordinary things, marvelous things, are related with the greatest accuracy, but the psychological connec- tion of the events is not forced on the reader. It is left up to him to interpret things the way he understands them, and thus the narrative achieves an amplitude that information lacks.

No customer reviews

Ello no quiere decir que no pueda acotarlo, pero preiero seguir hablando de sub- texto y, como los dibujos en los que la igura se reconoce porque se ha ilustrado su contorno, evitar deiniciones que limiten y empobrezcan su sentido. La obra de autores como Edgar G. Este debate, de amplia resonancia en el tiempo, sigue abierto, teniendo defensores y retractores en ambos bandos. How is one to understand this correspondence between the il- mic image and the sentence?

Dice Paul Cronin, editor de los apuntes de Alexander Mackendrick: Cinema is not so much non-verbal as pre-verbal. Yet there exist systems of inscription that do not record and trans- mit speech. Geoffrey Sampson offers a taxonomy of writing systems that is helpful in thinking about what writing records, transmits, and enables to be constructed. In the irst two le- vels of his taxonomy he divides writing systems into semasio- graphic and glottographic. This distinction focuses on what a writing system represents: A este respecto cabe citar a Jean-Luc Godard, autor que ha destacado siempre por un pensamiento tan personal como controvertido: Paso a aclarar otro punto: Las estructuras al igual que ocurre con las intericies no son inocentes.

Esto mismo podemos formu- larlo de la siguiene manera: Aunque asigne dos secciones diferentes para los componentes constructivos y for- males no pretendo decir con ello que estos conceptos aparezcan o funcionen de modo independiente, muy al contrario. It presents the moods of our minds and hearts abs- tracted and placed in an intensiied isolation. The drama has not only laws of its own, but characteristics of its own; it is human life and character raised and placed on a new plane of existence, where other laws and other customs rule than those on this earth.

We cannot criticize this drama from the ordi- nary point of view of natural existence. This independence of drama, realized so long ago by Aristotle, must appear one of the strangest peculiarities of this particular type of literature, for the drama, more than the majority of other arts, would seem to take its very life from the actions and the thoughts of mortal men and women.

Lajos Egri lo expresa de una manera sencilla y hermosa cuando dice: No sin haber relexionado sobre su verdadera naturaleza y sentido. Dice William Thompson Price: So should a sermon entertain, and have art after its kind, too. A drama must certainly entertain, or it fails; but it is a shallow assumption that proclaims that as its only function. If to amuse were all, then we should have clowns only. A se- rious and entertaining drama cannot help but ins- truct.

It is a supplement to our life. Its potentialities are not to be doubted. Its molding inluence cannot be weighed, but it exists. We know that it can affect the moral and political life of a nation. It would be easy to give examples without recurring to the time when in Greece the drama was natio- nal. And, so, the drama acts on individuals, and results are hidden in the multitude of hearts. The slightest examination into principles of the drama proves that no successful and well-constructed drama can preach and teach at the public. It is not its way of handling the material, but the sermon and the lesson will be there just as truly.

Es un tema apasionante pero que se escapa a los intereses de esta tesis. Kuleshov, citado por Mackendrick, dice: But from the ilm it appeared that these people walked across a meadow and the pole appeared before their very eyes. Ahora bien, lo que caracteriza a estos espacios es que sus rasgos propios no pueden explicarse de una manera exclusivamente espacial. Implican relacio- nes no localizables. Son presentaciones directas del tiempo.

Ya no tenemos una imagen indirecta del tiempo que emana del movimiento, sino una imagen-tiempo directa de la que el movimiento deriva. Todo el cine pasara a ser un discurso indirecto libre operan- do sobre la realidad. Acordemos, pues, que existe un mundo, una realidad propia de cada narrativa. Una realidad irreal, si se quiere. De todos modos, el asunto no es algo tan novedoso: No son muchos los autores que, desde los entornos del audiovisual, se han aproxi- mado al tema. Otherwise, you walk in circles or wander aimlessly. However, most approaches tend to be, at their core, either medium-oriented looking at a parti- cular medium, and its form or narrative-oriented where the focus is on story, or content , or some combination of these.

While the irst approach considers the windows through which the world is seen, the second comes only a little closer by exami- ning stories set in the world, rather than the world itself. Over the years, however, Media Studies approaches have been drawing ever closer to the world as an object of study. Idea compartida con otros autores, como Christian Metz. Leguin incorpora a muchas de sus obras. Cautivo en una burbuja, Asmodeo, el diablo cojo, es liberado por un estudiante. Ponga- mos un ejemplo harto conocido: En realidad agrupa un conjunto heterodoxo de conocimientos que recoge desde el comentado funcionamiento diario del mundo en el que sucede la historia hasta toda la escala de creencias que se considere opor- tuno incorporar.

Otro elemento fundamental son los personajes que lo pueblan. Otra forma de expresar el show, no tell. I tend to feel uneasy when a student explains that there is really only one character. As we have seen, drama normally involves a conlict between people; therefore you need at least two characters. Of- ten it is more effective to have at least three because this gives the possibility of a triangular relationship, a bind involving a central igure who is pulled in opposite directions by two others.

Note that there are examples of characters in ilms who have dramatic scenes in which no other character is present, but these tend to be of the kind where the envi- ronment itselfs plays the role of antagonist, placing the protagonist in some circumstances that require a reaction from him or her. Si dos desean lo mismo It is but a step from the one to the other.

Esa mezcla es uno de los elementos a destacar a la hora de valorar la complejidad de los textos y de los personajes que aparecen en ellos. After all, it may turn ut to be the main highway to what you relaly wat to say! Some authorities said it was vital; others said the was no such thing. And why was it vital - if it was? Each textbook writer explained his own pet theory, but no one of them related it to the whole in such a way as to help the stu- dent.

The unifying force was missing. We believe that obligatory scene, tension, atmosphere, and the rest are superluous. They are the effects of something much more important. It is useless to tell a playwright that he needs an obligatory scene, or that his play lacks tension or complication, unless you can tell him how to achieve these things.

And a deinition is not the answer. There must be a force which will unify all parts, a force out of which they will grow as naturally as limbs grow from the body. We think we know what that force is: Efectivamente, este director convertido en docente reconoce la posibilidad de tra- bajar con un solo personaje. Las redondas son del autor. Citando a Donald Richie en referencia a los personajes de Ozu: En un momen- to determinado de la cinta 1: Si nunca sorprende, es plano. Si no convence, inge ser redondo pero es plano.

Judgment and assumptions are absent. The Amazon and the Gorgon; Athena: The Nurturer and the Overcontro- lling Mother; Hera: The Matriarch and the Scorned Woman; Hestia: The Mystic and the Betrayer; Isis: The Female Messiah and the Destroyer; Persephone: The Maiden and the Troubled Teen. The Businessman and the Traitor; Ares: The Protector and the Gladiator; Hades: The Recluse and the Warlock; Hermes: The Fool and the Derelict; Dionysus: The Male Messiah and the Punisher; Poseidon: The Artist and the Abuser; Zeus: The King and the Dictator.

Dicho en otras palabras, planos. Las diferentes interpretaciones, por lo tanto, no se contradicen sino que se suman. Conceptos que se nutren de una misma idea que orbita entorno al sufrimiento y la lucha, sustentados en la causalidad y el determinismo. Es un relato puramente descriptivo. Tomemos un ejemplo tan claro como conocido: Alguien de una trayectoria tan extensa como sembrada de aciertos. Me reiero al escritor, dramaturgo, guionista y director David Mamet El texto arranca con las siguientes palabras: The problem is this: Everyone in creation is screaming at us to make the show clear.

The audience will not tune in to watch information. No one would or will. The audience will only tune in and stay tuned to watch drama. Escuchemos otras voces que pueden aportar luz sobre el asunto. The drama is a conlict always. The problem is always to re- move an obstacle. Marx, Freud sin olvidar, en otro plano, a Darwin: Parece que para solucionar este problema debamos trascenderlo.

Para ilustrar esto no se me ocurre nada mejor que un trabajo de Tom Gauld, dibu- jante y guionista colaborador de varios medios digitales. Personalmente creo que Gauld no critica tanto la obligatoriedad de la presencia o ausencia de una trama en la historia, sino la necesidad de utilizarla como medida rectora: Rather, it relies on exposition and contrast to generate interest. This structure is known as kishotenketsu. The basics of the story—cha- racters, setting, etc. No major changes occur until the third act, in which a new, often surprising element is introduced.

The third act is the core of the plot, and it may be thought of as a kind of structural non sequitur. Un elemento que en el haiku entra en el segundo verso, y en el Kishotenketsu en el tercer acto. The events of the irst, second and third acts need not harm one another. Although the fourth act uniies the work, by no means must it do violence to the irst three acts; rather, it is free merely to draw a conclusion from their juxtaposition, as Derrida does when he interprets one narrative through the lens of another. A world understood from the kishotenketsu perspective need never contain the worst violence that Derrida fears, which would make his call for deconstruction—the prevention of si- lence through the annihiliation of structure—unnecessary.

That is, a three-act plot involves a competition of contrary forces—such as good and evil, desire and obstacle or fate and free will—, in which one ultima- tely triumphs over the other. This pattern is more obvious in a save-the-world epic than in, for example, a psychological dra- ma; but it animates both. Kishotenketsu, on the other hand, is an exercise in exposition and contrast.

It is characterized by ostensibly directionless develop- ment and sudden twists. While this method allows for conlict, such events are incidental rather than structurally endemic to the plot. It is not conlict and competition but exposition, difference and surprise that gene- rate interest. Y sobre las que sin duda volveremos en los siguientes apartados.

They shape all writing and narrative thought. Tomo las dos primeras acepciones que aparecen en el Oxford Dictionaries, porque me parecen lo suicientemente acertadas como para ilustrar lo que quiero decir y el uso que le demando a este cocepto. Soy consciente de que el concepto se puede tachar de excesivamente amplio o ambiguo. How should it, if it is the name of the imperfection through whose defeat the perfect types acquire their value? En mi experiencia como docente y consultor me he encontrado en multitud de ocasiones con la cara de desconcierto de mis interlocutores cuando les preguntaba sobre el tema de su obra.

Y, en caso de que la respuesta sea airma- tiva: Mi planteamiento frente a estas cuestiones es el siguiente: Recordemos la frase atribuida a Nicholas Ray: Some Like It Hot. Caso igualmente conocido, aunque menos afortunado, es el de Godard. Y de nuevo volvemos a la pobreza del discurso hollywoodiense De nuevo resuenan cosas dichas en otros apartados, como el relativo a personajes. No es una palabra o un concepto. Y no lo son precisamente porque no expresan un posicionamiento frente al con- cepto enunciado.

Si el primer concepto se contrapone al de complicado, el segundo lo hace al de complejo. Como digo, lo mismo puede suceder en la obra a nivel global, y es precisamente eso lo que deiende Egri cuando dice: A proposition stated or assumed as leading to a conclusion. Others, especially men of the theater, have had different words for the same thing: El director nos dice: It deals with ongoing situations that have no beginning, middle or end.

There may be more than one way to phrase the premise, but however it is phrased the thought must be the same. And it must be a premise worded so that anyone can understand it as the author intended to be understood. An unclear premise is as bad as no premise at all. What is wrong, then? Until he takes sides, there is no play. Only when he champions one side of the issue does the premise spring to life. Does egotism lead to loss of friends? Which side will you take? We, the readers or spectators of your play, do not necessarily agree with your conviction.

Through your play you must therefore prove to us the validity of your contention. De nuevo debo insitir en que el tema es necesario, pero no suiciente, tal y como demuestra Egri. Quiero dejar constancia de dos de ellos. Adapta los hechos del relato a la forma en que los debe expresar. Por citar un ejemplo ilustrativo: Al respecto, Linda J. The total narrative consists of all the situations and events pertinent to the ilm but includes many that are not show on screen.

Read Me a Rhyme in Spanish and English Leame Una Rima En Espanol E Ingles - PDF Free Download

Gran parte de la estrategia narrativa de la obra de Mamet se articula alrededor de este principio. Uno de los ilms en que este recurso se ha empleado con mayor acierto es 21 Grams. Prin- cipio es lo que no sigue necesariamente a otra cosa, sino que otra cosa le sigue por naturaleza en el ser o en el devenir. El cine como medio, tal y como he expuesto en la primera parte, es necesariamente lineal. Dicho de otro modo: Este es un argumento con misterio, forma que admite un desarrollo superior. Suspende el orden temporal y se distancia de la historia tanto como lo permiten sus limitaciones.

Consideremos la muerte de la reina. Si es una historia preguntaremos: Y un argumento exige inteligencia y memoria. En cualquier caso, nunca la justiica, dando por supuesto que todo discurso es suscep- tible de dividirse en partes menores y ello es suiciente. Por razones formales del discurso que desarrollo he decidido incluir este segundo concepto en otro apartado. Tobias, otro texto harto conocido. El mismo autor se pregunta respecto a la cantidad de tramas existentes, y ofrece cuatro respuestas diferentes La respuesta B sesenta y nueve era una idea de Ru- dyard Kipling.

El ejercicio es especialmente interesante por las conexiones ocultas que exponen: Researchers used complex data-mining to locate words linked to positive or negative emotion in each story to reveal the set of arcs. So words can be a measure of the emotional valence of the text and how it changes from moment to moment. So measuring the shape of the story arc is simply a question of assessing the emotional polarity of a story at each instant and how it changes. Sin embargo, es muy discutible la necesidad de un happy ending, al menos a nivel emocional.

El estudio de las 1. Esta conigu- racion resume tanto el proceso que se ha de recorrer para alcanzarla como el saber que comunicamos al otro sobre lo que pretendemos narrar, el sentido. Forma opuesta a informe; al observar esa forma dotamos de sentido contenido comprensible a lo que tenemos enfrente Tal y como comenta Hilary P. Dannenberg y con resonancias a lo dicho sobre narrativas transmedia debemos tener presente estas dos operaciones: Moreover, the reading of narrative is fuelled by two different aspects of plot.

First, there is the in- tranarrative coniguration of events and characters, which is an ontologically unstable matrix of possibili- LYNCH, E. Complex Storytelling in Contemporary Cinema. Los guiones, no lo olvidemos, son artefactos narrativos con muy pocos lectores, pero muy especializados y con periles y necesidades muy distintos. Retengamos lo dicho para retomarlo cuando trate de actos y bloques de las partes del discurso. Finales, principios y otras arbitrariedades Hablar de inales es hacerlo de principios.

Hablar de inales implica necesariamen- te hablar de tiempo. Para ampliar el tema ver Barthes, R. De nuevo volvemos a lo ya apuntado; las personas necesitamos elaborar un rela- to que explique justiique todo lo que ocurre: Frank Kermode lo resume del siguiente modo: Este dato resulta especialmente intere- sante para comprender ciertas construcciones temporales en la narrativa oriental.

But another kinf of time is at hand, a kairos in which so- mething not wholly temporal becomes manifest in time, and so is always potentially here and now. Parece que, efectivamente, la control the use of time. In a Hollywood movie, if there are more than ten seconds of silence, people freak out. Sin embargo me parece precipitado asociar necesariamente kairos tiempo de signiicado pleno a la trama y sus funciones.

Para profundizar sobre estos asuntos ver el siguiente apartado de la tesis. Al respecto, dos citas breves aunque signiicativas: Una es la diferencia entre historia y relato. Concebir la estructura como algo funcional nos permite explorar nuevos caminos, algo epecial- mente relevante en las narrativas transmedia. El cine como forma narrativa es lineal, aunque el contenido del discurso que expone puede no serlo. Estoy pensando en trabajos como Uncle Boonmee Dejo anotada la diferencia: Volvamos por un momento al ejemplo de Koyaanisqatsi: John there is a tendency to conceive of the end as happening at every moment; this is the moment when the modern concept of crisis was born—St.

Los principios y inales son instantes elegidos en un lujo de tiempo continuo. Debo recordar que el principio de mi tesis es, ante todo, integrador. La igura 10 en su parte inferior es un buen ejemplo de lo comentado. La segunda idea es que existen narraciones cuyo esqueleto aquello que articula y justiica el relato se basa en el deseo de un personaje. De ello se derivan otras dos ideas de gran fuerza. Por citar un ejemplo harto evidente: No hay necesidad de comulgar con los principios de Brecht al cien por cien ni de pretender aplicarlos a rajatabla al mundo del audiovisual para valorar que sus ideas tienen concomitancias con el discurso que estoy elaborando.

Rescato de esta lista algunos puntos relevantes, como son: Aceptar el planteamiento que propongo a partir de Brecht supone abrazar la com- plejidad y rendirse a unas nuevas leyes constructivas. Cowgill, autora de Secrets of Screen- play Structure. Si la cito en este momento es porque Cowgill viene avalada por J. Cowgill y Linda Aronson. Cuando habla de los Ensemble Films asegura: Still, a core must be created to take the place of the main plot and to bring the mini-plots into a overall realtionship. Pdf descargable , no ve un problema insalvable que estos ilms se sostengan sobre otras estructuras, y establece estos tres tipos de argumentos: Dramatic narratives, by contrast, focus on evolving networks of human relations.

The epistemic narrative, driven by the desire to know. Me remito a las citadas obras de Altman como un simple ejemplo, aunque suiciente. This new arregment of events makes the telling of the story more surprising, compelling and unpredicta- ble than if it was told in a straight, linear fashion. Whether they focus on exposing a character Citizen Kane, The Conformist, Annie Hall or an event Ras- homon, Reservoir Dogs , their approaches can be radica- lly different. Just as with ensemble ilms, there are no set rules for constructing a nonlinear plot. Audiences still undestand by making cause-effect connections between the scenes in order to assign meaning.

Information must be conveyed in a clear and inteligible manner, which means that each beat or segment of information must realte to what comes before and what follows , even as the scene trans- cends a chronologivcla order of time. Dramtic unity in great nonlineal ilms is achieved by the inter- section of two key ingredients: Danneberg, aunque su estudio se centre en la literatura y no el audiovisual. Divergence, conversely, concerns the bifurcation or bran- ching of narrative paths and thereby creates an open pattern of diversiication and multiplicity.

Coincidence in narrative iction is a plot pattern with fundamentally convergent tendencies because it creates relationships that interlink characters across the space and time of the narrative world. Diver- gence, in the general form of the open ending i. Successfully Breaking the Rules Lo mismo es aplicable al trabajo de Dannenberg: Dancyger y Rush dicen: It is a moralistic form of storytelling with the basic pre- mise that good motives triumph, that the world is understan- dable, consistent, manageable, and responsive to goodness and truth.

As a result, external events are rarely arbitrary; instead, they are earned. The following examples are not meant to indicate preexisting categories or a deinitive list, but rather to demonstrate some of the options open to the scriptwriter. The problem is how then to represent a world whose organization seems elusive at best.

One way to do this is by making structure obvious. In practice, most alternative screenplays use both tendencies. Pasemos al segundo concepto presentado en este libro. Also important in the evolution of the non-linear ilm is the work of Jean-Luc Godard. Since , Godard has been using familiar genres—the gangster ilm, the war ilm, the melodrama, the musical—as his narrative base. The open-ended quality of these ilms moves us away from their characters toward the voice of their writers.

Grifith es otro asunto. The same can be said for cause and effect. There is a randomness to the experience of the non-linear ilm. As a result, there is no dramatic arc. In its stead, we have a series of scenes or situations that are explored. The organization of those scenes will not necessarily be progressively linked.

Consequently, our involvement will come from character rather than from plot, from the intensity of the individual scene rather than from the organization of progressive scenes. This puts much more emphasis on exploration than on exposition, on feeling and mood rather than on external events. A este respecto, precisamente, Dancyer y Rush dicen: In contrast, ensemble and non-linear models always struggle with pace, connection, meaning and closure.

Product details

This ilm is chronological, has a long central development section and involves only one protagonist and one point of view. It covers a brief time span, gets off to a very quick start and always builds directly and suspensefully to a inal climax. In this case you need one of the parallel narra- tive forms. They solve these problems by creating pace and connec- tion artiicially, through splitting up, rearran- ging and sometimes multiplying or truncating three-act stories.

This gives them the powerful ope- ning, rising suspense, climax and closure the strong be- ginning, suspenseful middle and gripping end that they would otherwise lack. By using parallel narrative techniques we can create screenplays that would never work in three-act structu- re, even screenplays like 21 Grams and The Hours that work excellently without what we would call a proper middle, using stories with second acts so trunca- ted they scarcely exist. Creo que con lo expuesto hasta este momento el lector puede hacerse una idea suiciente del planteamiento propuesto por Aronson.

Un ejemplo evidente es el que ofrece sobre Memento o Pulp Fiction. Veamos esta idea expuesta con mayor detalle en el siguiente caso. Retomando el hilo de mi discurso: La primera, ya mencionada de pasada, es Me and you and Memento and Fargo de J. Como apunta Murphy, a menudo ni ellos mismos se entienden y pone como ejemplo a Eddy, el protagonista de Stranger Than Paradise.

Todo ello nos remite a lo dicho al hablar de Kishotenketsu argumento sin conlicto. Dicho sea de paso: De nuevo, nadie parte de cero. Personajes, Trama, Tiempo y Sentido. No es que no ocurra nada: It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each the length of a reel about ten minutes. The sequence approach mimics that early style. The story is broken up into eight minute sequences. Eckler detalla que las diversas secuencias tienen un orden determinado: Por ejemplo, Paz Alicia Garciadiego, guionista habitual y esposa del director Arturo Ripstein, hace algo similar.

El tratamiento dialogado, por lo tanto, es consecuencia de los ensayos, y no a la inversa. En este punto no pretendo haber aportado algo nuevo. Hay una idea que aparece en todas las lecturas citadas bajo diferentes nombres: De momen- to preiero imaginarlo como piezas independientes que pueden constituir una red. Lo he dicho y lo repito: Otra manera de formularlo es contraponer la inalidad al proceso: Part of the pleasure for the viewer of Slacker involves trying to anticipate how a particular scene might evolve or how the various scenes eventually might connect.

Rossellini, Ozu o Cassavetes son algunos de los directores imprescindibles en este estudio. The Books The books suggested here can be substituted for others, and at the end of each program idea there is a list of additional titles. For those of us who read to children, we understand how important it is to know and love the book. Examine each book carefully. Some of the suggested titles are board books and some have movable parts, such as flaps to lift and tabs to pull.

New books are always being published that you will want to examine as well. Review the bibliography for an annotation of each book. I have made every attempt to note when a book is a board book or has distinct features like movable parts. In some cases, I have suggested books written in Spanish by Latino authors that do not have English translations.

Use your library collection to find similar books in English. You are the best judge as to which books from your English collection you will want to use during storytime. The Rhymes and the Songs I have included a separate discography listing resources that contain CD collections with many of the rhymes and songs you will find throughout this book.

If you do not know the tunes, you may want to purchase the CDs and learn some of them. Another suggestion is to partner with a teacher or day-care provider who speaks Spanish and is familiar with many of these selections. Some of the translations you will find within this book are not literal translations. You will also find that some do not make sense in English. They may also not make sense in Spanish, but they are traditional rhymes and songs loved and cherished by generations of children.

Latino, Hispanic, or Other For the purpose of continuity, I have used the term Latino to describe the customers who are of Latin American heritage. You will have to decide which term your community accepts. There are many countries that have been placed into this category and include people of different countries and regions, including Spain, Puerto Rico, Central America, South America, Mexico, the Caribbean, and more. In parts of Texas, one might find a large percentage of people from Mexico.

In New York, a large percentage might be Puerto Rican. Sources Many of the rhymes, songs, fingerplays, and tongue twisters included herein are well loved in Latin American countries. Some are part of oral tradition, and parents teach them to their children. Others I learned at library workshops and conference programs. Some of the games and songs were those that my mother played as a child and taught me, while I learned some through my interaction with numerous agencies that serve Spanish-speaking children.

Some I made up and have used with young children and are similar to those I learned. I contacted a few people for guidance regarding public domain and fair use. My intent is to provide those who work with children with a guide for planning and implementing a bilingual storytime.

I wish you much success as you take a step toward storytimes in two languages. An infant lap-sit program engages parent and baby to bond with books and to begin their library experience in a safe environment. Every baby deserves a good first start, and every proud parent will tell you that his or her baby is brilliant. They all are, and you can share in their brilliant development. A bilingual program just for babies and their parents provides twice the fun and is the beginning of a learning time in two languages.

You can make the most of this time by starting with a simple rhyme or song to be repeated in both languages. You will be the best judge as to which language to introduce first. You can also choose to start all of your bilingual storytimes the same way. Repetition is very important for babies because they are beginning their language development. It is OK to repeat a rhyme several times or to read the same book several weeks in a row.

If funds are available, multiple copies of the board books you will be sharing are best distributed to parents so that they and their baby can follow along with you. Babies have a short attention span, so a simple program with plenty of variety lasting ten to fifteen minutes may be what you plan for. After the stories, rhymes, songs, and fingerplays you can bring out a few toys for social time with babies.

It is always a good idea to have books within grasp just ready to be checked out. Place a few musical CDs on your table with the books, and make time to engage the parents by offering any one of the following: Here are a few ideas: Very well, thank you. In Spanish, a rhyme is called a rima. The donkey knows more than you. Once the parents try the rhyme on the right foot or hand, baby will be ready to try it out on the left. So try it again. Book Margarita Robleda is a well-known author and singer from Mexico who has written many books for young children. Here is one of her alphabet books.

Jugando con las vocales. Fingerplay This silly fingerplay is a play on the vowels. You will notice that the burro is a character here, too. Start with the thumb and end with the pinkie. You can ask the parents to repeat after you as you start on one hand in Spanish and then on the other hand in English.

In Spanish, a fingerplay is called a juego con los dedos. A, el burro se va. E, el burro se fue. A, there goes the donkey. E, there went the donkey. I, the donkey is here. O, the donkey choked. U, you are the donkey. These are the five vowels. Book Are you ready for another book? You will be the best person to know when to stop.

Rhyme Now try this final rhyme. It is a rhyme about the laughing vowels. Vowels The A laughs like this: The E laughs like this: But the I laughs longest Because it looks like me: The O laughs like this: Because the donkey knows more than you. You might have these and other alphabet books for parents to choose from, and if you announce this before they leave, the books are sure to go with them. Closing Song Your program is now ending, so it is time for a closing tune. You can use the same tune you started with and just change a few words.

With rhymes and songs, With rhymes and songs, And stories too, And stories too. Make this a fun activity for baby and parent in two languages. Here are a few bilingual animals and what they sound like: La vaca dice muu. El perrito dice guau guau. The cow says moo. The puppy says bowwow. The duckling says quack, quack.

The sheep says baa, baa. The turkey says gobble, gobble. The rooster says cock-a-doodle-doo. Book Show your first book and start with the cover, introducing the title of the book, the author, and the illustrator. If you have a healthy budget or generous customers, you may be able to purchase plastic yellow ducks, one for each of your babies. This edition is a board book. It is available in separate English and Spanish editions and is about five little ducks that manage to get lost so that their mama has to go out and find them.

Rhyme Try this nonsense rhyme about a duck with eyes on the back of his head! The Duck There is a cross-eyed duck Who always seems to fall; Well, poor duck, His eyes are on the back of his head! Book The next book to share, available in a bilingual edition, is about a kitten that never seems to come when called. Rhyme Here is a traditional rhyme. Encourage parents to gently bounce baby on their lap. Tomorrow is fiesta And the next day too. Book Try this big board book with your group. You might remember Piggies by Audrey Wood, and now the book is available in a perfect format for babies and toddlers.

The Little Pigs This one bought an egg. This one started the fire. This one brought the salt. This one cooked it, And this naughty fat one ate it. Clapping Rhyme You can try one of these clapping rhymes: With ears made of cloth And paws made of straw. Additional Books Here are a few more books about animals that you can substitute or have available for parents to check out. Una merienda de hielo. Put, Klaartje van der. Star Bright Books, Mama looks for wheat, Then she looks for corn, Then she feeds them dinner, And she keeps them warm. They reach out to one another.

Books about babies will be fun to share. Opening Activity Start your program with your welcome song, welcome rhyme, or welcome fingerplay. Go from thumb to pinkie and then hug baby. This tiny one is my little brother. This one is my mother. This tall one is my father. This one is my sister. And this little pretty one is me! Book This first book is a wordless book that shows a baby opposite a picture of an animal in a similar position or with a similar look.

It is sure to bring laughs from the parents! Although wordless, you can fill in with words in Spanish and then in English. Ask the parents to join in as well. Rhyme This nursery rhyme is a favorite with babies. Wash my socks And my nightie. There are several musical versions; you can go to the discography to look for Spanish music CDs for children. Tickle Rhyme Here is a tickle rhyme. What did he bring me? With tickles all around.

Book All babies are beautiful and they love to be hugged and kissed. Here is a book available in Spanish and English all about babies and hugs and kisses. Parents should rock baby on their laps back and forth. Next, make twinkling motions with your hands opening and closing rapidly. Beautiful things were born. Additional Books The following titles are books about babies and can be easily substituted with others.

The first two titles below are available in Spanish only. The books by Elya and Wheeler are not bilingual but have Spanish words throughout. Lee and Low Books, Closing Activity End your program with your good-bye song or rhyme. Place them on a table and have small stand-up signs with the names of the fruits and vegetables in Spanish and in English. Opening Activity Begin your program with your welcome song or rhyme. Here are just a few fruits and vegetables, and you may want to ask the parents for suggestions: Clapping Rhyme Here is a clapping rhyme about potatoes.

Potatoes Potatoes, potatoes for Daddy. Potatoes, potatoes for Mommy. The nice little hot ones for Daddy. The burnt little toasted ones for Mommy. Potatoes, potatoes for Daddy. The nice little hot ones for Mommy. The burnt little toasted ones for Daddy. Rhyme Ask parents to bounce baby gently and recite this rhyme. Por una manzana Because of the apple Que se le ha perdido. That he cannot find. Vamos a la huerta.

There we will pick two. One will be for baby, One will be for God. Book This book is available only in Spanish. Ana Cristina wants a cookie, and a surprise awaits her. After you read the story in Spanish, you can retell it in English. You can even ask parents to join in and help tell the story. Una sorpresa para Ana Cristina. Additional Books These two books are available only in Spanish. Look for other titles in English. Closing Activity End with your good-bye song or rhyme.

Motion Rhyme After your welcome song or rhyme, try this motion rhyme. Encourage parents to make the motions with their babies. Las manitas Little Hands Abrir y cerrar, abrir y cerrar. Open and shut, open and shut. Do your hands like this. Abrir y cerrar, abrir y cerrar. Now put them behind you. Up, up, up, Higher up to the sky And when they can climb no higher They give a little clap. Vocabulary Activity In preparation for this program, you may want to have an assortment of colorful shapes.

Hold one up at a time and call out the shapes in Spanish and then in English. Then, share this first book about shapes, which is available in Spanish and English. My Very First Look at Shapes. Mi primera mirada a las formas. Song Here is a song to sing. Cabeza, hombros, piernas y pies Cabeza, hombros, piernas y pies, Piernas y pies. Cabeza, hombros, piernas y pies, Piernas y pies. Ojos, orejas, boca y nariz, Cabeza, hombros, piernas y pies, Piernas y pies. Head, shoulders, knees, and toes Head, shoulders, knees, and toes, Knees and toes.

Head, shoulders, knees, and toes, Knees and toes. Eyes, ears, mouth, and nose, Head, shoulders, knees, and toes, Knees and toes. Additional Books Another book to share might include any of the following: Un libro sobre formas. Sagebrush Education Resources, Rhyme Try this traditional rhyme slowly at first. Then try it again just a little bit faster, and one more time even faster. Tengo manita Tengo manita. No tengo manita, Porque la tengo Desconchabadita. Here Is My Hand Here is my hand. It is not at all uncommon for the oldest child, often the oldest daughter, to take on the responsibility of caring for aging parents.

Opening Activity Begin with your welcome song or rhyme. Vocabulary Activity Next, talk about family members and identify them in Spanish and English. Fingerplay Here is a fingerplay. Start with the thumb. Vivimos en nuestro hogar. My loving mother, My good father, Our sweet, charming baby, My tall and formal brother, And me, at home sitting pretty.

We live together in our house. Y los queremos todos. The Family This is mama. This is tall brother. We love one another very much. Book If your audience of babies seems ready for another story, here is one to share. Rhyme You can recite this rhyme next. Bring along a clock. El reloj El reloj de abuelo suena tic toc, tic toc. Additional Books You might have an assortment of books on hand, including these: What Time Is It? Babies are always ready to learn.

Opening Activity Start your program with your opening song or rhyme. Take time with each page and point to each number. La gallina La gallina popujada Puso un huevo en la cebada. Puso uno, puso dos, Puso tres, puso cuatro, Puso cinco, puso seis, Puso siete, puso ocho. The Hen The fat little hen Laid an egg in the barley field.

One, two, Three, four, Five, six, Seven, eight. Book You can share this book: Pen-one, Pen-two Pen-one, pen-two, pen-three, Pen-four, pen-five, pen-six, Pen-seven, pen-eight, pen-nine, Penguin. Book Here is a simple book on numbers available in Spanish and in English: My Very First Look at Numbers. He is a character for babies to meet. In this one, Pinocchio wants you to count from one to eight. Uno, dos, tres, cuatro, cinco, One, two, three, four, five, Seis, siete, ocho.

Additional Books These are a few more suggested titles: Contamos 10 en el mar. Un cuento para contar. Opening Activity Begin with your opening song or rhyme and then share a book. Book Brown, Margaret Wise. Goodnight Moon 1, 2, 3: Un libro para contar. Be sure to have parents tickle babies on their tummies on the last line: The Moon Here comes the moon, Eating prickly-pear fruit, Throwing peels into the pond. Book Try this sweet story by the award-winning author and poet Pat Mora: Song Sing this traditional Latin American song using hand motions with baby.

He washes his little hands With water and with soap. He washes his face With water and with soap. Se peina con un peine Muy duro de marfil. He combs his hair with a comb, A strong comb made of ivory. Book Next, read this story: Roaring Brook Press, Song Ask parents to rock their babies while you sing this lullaby: Your eyes are twinkling Like the bright little sun; Sleep, my child, Sleep, my love. Rhyme Ask parents to sit baby on their lap facing them and to repeat this traditional lullaby rhyme to a steady rhythm with you: Tiene ganas de dormir.

Tiene un ojito cerrado Y otro no lo puede abrir. This Child Is Sleepy This child is sleepy. He wants to go to bed. Additional Books These are a few other books to use: Atheneum Books for Young Readers, Toddlers are exploring their world, and everything belongs to them. The key to storytime for this age group includes variety with songs, fingerplays, and nursery rhymes mixed in between stories. Select books with large, colorful pictures and minimal text. Be ready for interruptions. You should plan for the program to last between fifteen and twenty minutes for this group. A bilingual program for children gives you an opportunity to have fun with these inquisitive minds.

At this stage, toddlers can clap their hands, stomp their feet, jump, and even run from you. They learn fast and will soon be counting with you in two languages. Start your toddler program with a song or a rhyme that becomes something familiar to them that they will always connect with the library. Pulgarcito Where Is Thumbkin? Here I come to greet you.

Place a few musical CDs on your table with the books and make time to engage the parents by offering any one of the following: Invite parents to participate with their children. Clapping Rhyme Now try this traditional clapping rhyme about chocolate. Chocolate is spelled the same in Spanish but instead of two syllables, there are four. Clap your hands to a steady rhythm and do a call-and-response with this song. You can purchase a molinillo, which is a Mexican kitchen tool for whipping chocolate.

It is a long stick, and you dip the larger circular end into the pot and rub your hands together with the top part between your two hands. Chocolate, chocolate, Beat and beat the chocolate. Book Here is a bilingual ABC book featuring animals that introduce the different letters of the alphabet: Rhyme Next, try this number rhyme: Uno, dos, tres, cuatro, cinco, Seis, siete, ocho, nueve y diez.

Count to ten The dogs over here, The cats over there. One, two, three, four, five, Six, seven, eight, nine, and ten. Los deditos My Fingers Tengo diez deditos. I have ten fingers. Diez deditos tengo yo. Ten fingers have I. Count them out with me. And one more makes ten.

Diez, nueve, ocho, Siete, seis, cinco, Cuatro, tres, dos, uno. Ten, nine, eight, seven, six, five, Four, three, two, one. Additional Books Here is a list of titles that you can have available for parents to check out: Animales from A to Z. Palomar de Miguel, Juan. Mis primeras letras de palabras mexicanas. Be sure to send home a flier with the titles of the books you read, the words to the songs and rhymes, and a list of reading tips. This might intrigue your toddlers. They can each take a turn and investigate.

Use your imagination and try something new. Perhaps you have the budget to purchase a case of bottled water in small toddler-size bottles that you can hand out with rules about drinking water in the library as they are leaving. Opening Rhyme Begin your program with your welcome rhyme in Spanish and English. Book Start with this book, which is available in Spanish and English and is based on a true story about ten rubber ducks that are scattered in different directions during a storm.

Read Me a Rhyme in Spanish and English Leame Una Rima En Espanol E Ingles

Motion Rhyme Next, recite this traditional rhyme and be sure to encourage your toddlers to make swimming motions. Nadaban y nadaban, Y no se mojaban. Swimming Swimming and swimming, The ducklings go by. Swimming and swimming, They always stay dry. Book Follow with this story: Motion Rhyme Now, engage your group in this motion rhyme about fish that swim and fish that fly. Ask your toddlers to pretend that they are the little fish as they act out the swimming and flying motions. Los pececitos Los pececitos nadan en el agua.

The Little Fish The little fish swim in the water. They swim, swim, swim. They fly, fly, fly. They are tiny, tiny, tiny. Book This bilingual story is about the ocean: Song You can follow this up with a song about a little boat: Pasaron una, dos, tres, cuatro, cinco, Seis, siete semanas. One, two, three, four, five, Six, seven weeks went by. Additional Books Here are some titles of books you can have for parents to check out after your program: Closing Rhyme End your program with a closing rhyme or song. Rhyme Recite this traditional rhyme: Whistle, whistle Many colors: Where are you going, Pretty one?

Book Next, share this book, available in Spanish and in English: Fingerplay Try this fingerplay and start with the pinkie. Point to one finger at a time. El rojo, tan flojo. El blanco va al banco. El verde se pierde. White goes to the bank. Orange is all wet. Repeat, a little faster. Rhyme Here is a very simple traditional rhyme: At school and in the garden With Martin In the garden. Additional Books Add these titles to your display of books for parents to check out: Penguin Young Readers Group, Un libro sobre colores.

My Very First Look at Colors. Mi primera mirada a los colores. You can have pictures of animals that the toddlers can identify. Here are a few of the animals you might find on the farm. La granja Vengan a ver mi granja que es hermosa. Vengan a ver mi granja que es hermosa. The Farm Come and see my farm, for it is beautiful. Come and see my farm, for it is beautiful. The duckling goes like this, quack, quack. Chorus Oh, come, my friends, Oh, come, my friends, Oh, come to see my farm. Repeat the song, inserting the following animals: The chick goes like this, peep, peep.

The calf goes like this, moo, moo. The piglet goes like this, oink, oink. The donkey goes like this, hee-haw, hee-haw. The rooster goes like this, cock-adoodle-doo. Book Here is another book to use with your group of toddlers: Song Here is a traditional song to sing. You can ask parents to sit their toddler on their lap and recite it as a bouncing rhyme. Where I was born. Tengo tres ovejas En una manada. I have, I have, I have, you have nothing.

I have three sheep In my herd. Una me da leche, Otra me da lana, Otra mantequilla Para la semana. One gives me milk, One gives me wool, One gives me butter That lasts me all week. El paseo de Rosie. Before each stanza, practice walking first like a duck, then like a chicken, and then like a lamb. The Little Animals After Mrs.

Duck Run the little ducklings; This way and that way, Quack, quack, quack. Chicken The little chicks follow; This way and that way, Cheep, cheep, cheep. Sheep Go the little lambs; This way and that way, Baa, baa, baa. Additional Books Here are books for your display table.

Be sure you tell parents that the books are ready to be checked out to share with their toddlers. Moo, Baa, La La La. Simon and Schuster, El gran granero rojo. Mis amigos de la granja. Animales de la granja. Book If you have older toddlers, you might want to try reading each page of this book. If you have younger toddlers, read select lines of text. It is a good story to learn and then tell, and it has big, beautiful illustrations. Martina Josefina Catalina Cucaracha. Martina, the Beautiful Cockroach: Martina, una cucarachita muy linda.

Song Next, sing this popular song about a thirsty cockroach: La cucaracha La cucaracha, la cucaracha, Ya no puede caminar. Porque le falta, porque le falta, Limonada que tomar The Cockroach The cockroach, the cockroach Can no longer walk around. Because he needs some, because he needs some, Lemonade to drink Book Butterflies are beautiful, and you might want to show pictures of butterflies before you read one of the following stories. The first title, about a young boy named Olmo, is available only in Spanish. Read it in Spanish and then have the toddlers and their parents tell you the story in English.

Olmo y la mariposa azul. Make a spiderweb on the floor using masking tape. Be sure to dance during the third line and then you can start walking backward until you ask your toddlers to take a seat. Vino el viento y la hizo bailar. Vino la tormenta y la hizo bajar. Along came the wind, which made her dance. Along came a storm, so she had to go back. Book If you can, bring in an ant farm and let your toddlers see ants at work, then read this story: Motion Rhyme Here is a motion rhyme. Sing this several times using hand motions. Down came the rain And washed the spider out.

Out came the sun and Dried up all the rain. And the itsy bitsy spider Went up the spout again. The itsy bitsy ant The itsy bitsy ant Went up the waterspout. Down came the rain And washed the little ant out. And the itsy bitsy ant Went up the spout again. Additional Books Here are a few books to add to your stack. You can make substitutions for any of these or have them available for your storytime customers: The Very Busy Spider. The Very Hungry Caterpillar.

La oruga muy hambrienta. The Itsy Bitsy Spider. Un grillo en mi cocina. Vocabulary Activity Talk about opposites and give some examples. Rhyme Here is a simple rhyme to share with the group: Book Next, share this book: Vocabulary Activity Talk to the toddlers again about opposites. Here are more examples to show. Call-and-Response Rhyme Try this rhyme as a call-and-response: I say new, you say old. I say up, you say down. I say cold, you say hot. Additional Books Here are a few more books about opposites that you can display for parents to check out: Gareth Stevens Publishing, Vocabulary Activity Talk about the five senses—sight, hearing, touch, smell, and taste.

Book Start with the following book available in Spanish and in English: Blue Sky Press, Book This next book is about taste. Although it is available only in Spanish, you can read through it once and then have your toddlers and parents help you by telling you what they see on each page in English. El sentido del gusto. Rhyme Now ask your group of toddlers to point to their mouth, nose, eyes, ears, and head when you say each one and then to repeat after you with this simple rhyme. Una boca para comer, Una nariz para oler.

One mouth to eat, One nose to smell, Two eyes to see, Two ears to hear, And one head to sleep. Book If your group is doing well with attention and participation, share a third book. You will be the best to decide on when to stop. What Can Pinky Hear? Mis manitas My Little Hands Tengo dos manitas. I have two little hands. Two very special little hands.

Y pueden abrazarse And they can give each other a hug Como dos amigas. Just like two friends. Additional Books The following books can be shared with parents as you encourage them to check them out: El sentido de la vista. Vocabulary Activity You can talk about different types of transportation. You can borrow a few toys like a car, a boat, a bicycle, and an airplane, or you can show pictures of these items. Identify each item in Spanish and in English.

I have combined his version with one I learned. Sing this song and do all the motions with your toddlers: The wheels on the bus go Round and round, All through the town. The people on the bus go Up and down. The wipers on the bus go Swish, swish, swish. Las monedas del camion hacen The money on the bus goes Clinc, clinc, clinc. The doors on the bus go Open and shut. The wheels on the bus go. Book Next, you can share this bilingual book: How Will We Get to the Beach?

Song Sing this song or recite it as a call-and-response rhyme: Book Another book that you might share is this one about Teresa and her shiny new car, a gift from her grandpa: Rhyme This is a traditional nonsense rhyme that rhymes in Spanish but certainly loses the rhyme in the English translation: He who went to Aragon Lost the whole sofa. Bear on a Bike. Hoy vamos de viaje. Teo descubre los medios de transporte. Grupo Editorial Ceac, Teo encuentra los errores: Un paseo en barco. Teo se va de viaje. Vamos a la granja de la abuela.

You are certain to have kids who fall into each of these categories. They love attention and give attention. They are able to sit still for a longer period of time. Twenty to thirty minutes is a good amount of time to plan for your program. Again, plenty of variety will hold their interest. Repetition is good, and it is OK to read the same books two or three times during the same program with the same group.

You may want to read a book to the group first. Next, take one page at a time and ask questions. For the third reading, have the children tell you the story sequence. These are all good basic skills. Fingerplays are easier, and you might want to encourage parents to help their children with the finger motions.

Plan an opening activity that the children will grasp easily, and they will always be ready when they enter your storytime area. Here is one that will be familiar: Then your face will really show it. Let the preschoolers know that animals sound different depending on where they live. La gallina dice cara cara, cara cara. La oveja dice behhh, behhh. The donkey says hee-haw, hee-haw. The hen says cluck, cluck. The chick says peep, peep. The rooster says cock-adoodle-doo. A Spanish and English edition is available. Borreguita and the Coyote. Borreguita y el coyote. Rhyme You can recite this silly traditional rhyme with the group, and then you can distribute musical instruments and kids can pretend to be the lobitos.

Has five baby wolves. Behind the big rock. All day long, And the others play The symphony. Nacho, Tito, and Miguel. Song You can engage your group in this song about ten little pigs, which is adapted from the traditional song about ten little puppies. You will find that song later on in this book. You might want to engage your group of preschoolers to tell you what animal to sing about. Instead of pigs, you might sing about kittens, cows, or horses.

Ten Little Pigs I had ten little pigs. One got lost in the snow; Now I only have nine. Of the nine I had left, One ate a biscuit; Now I only have eight. Of the eight I had left, One left to find a toy; Now I only have seven. Of the seven I had left, One burned his feet; Now I only have six. Of the six I had left, One jumped away; Now I only have five. Of the five I had left, One marched off to the theater; Now I only have four. Of the four I had left, One turned backward; Now I only have three. Of the three I had left, One left to buy rice; Now I only have two. Of the two I had left, One died of starvation; Now I only have one.