晚上福利在线观看

The Colloquium Series, supported by Irelands National Forum for the Enhancement of Teaching and Learning in Higher Education, was launched on 27 June 2020 and is a great opportunity for colleagues to showcase their research and enter into a dialogue with colleagues from different parts of the world.

COLLOQUIUM ORGANISATION TEAM: Susanne Even, Dragan Miladinovi膰, Erika Piazzoli, Manfred Schewe, Fionn Woodhouse

The Colloquium is a place to explore the global field of Performative Teaching, Learning and Research 鈥� in this context please also note the Scenario Correspondents initiative and the International Digital Glossary Project. The colloquium has a special focus on developing new practice and research 鈥� what area are practitioners exploring, where is there new interest developing, how can we build both practitioner support and research networks to develop and deepen the field? With that in mind we are especially interested in hosting presentations that are in the developmental phase, exploring new areas of practice or new approaches to current practice. The inclusion of discussion and feedback as an integral part of the colloquium allow a place for testing, exploration, insight and new learning for both the presenters and the participants. We would hope that the colloquium will act as a springboard to allow researchers to develop work for presentation in the Scenario Forum Journal, the Scenario Book Series or a future (in person) International Scenario Forum Conference.   

We aim to document as many of the colloquium presentations as possible. For further details go to: 

 

SCENARIO COLLOQUIUM PRESENTERS - We are always interested in sharing new and developing research, discussions, and approaches to Performative Teaching, Learning and Research via the Scenario Colloquium platform 鈥� if you would be interested in presenting at a future Colloquium please sign up here

Schedule 鈥� Programm 鈥� Programma 2026

We are excited to announce the 29th Scenario Colloquium at 13:00 UTC/GMT on Tuesday 27th January 2026: 

Schedule 鈥� Programm 鈥� Programma 2024/25

28th Scenario Forum Colloquium - 30th November 2024

Title: From the neck up: lessons on student teacher engagement and presence through and post pandemic

Presenter: Dr. Triona Stokes, University of Maynooth ().

Abstract: 

Bio:

 

 

Previous Colloquia

Schedule 鈥� Programm 鈥� Programma
2023

 

27th Scenario Forum Colloquium 鈥� November 25, 2023

Note that the presentation and discussion will be in English  
13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1  

EDEL FAHY

Igniting a spark?
How an Irish arts partnership supported primary teachers in their teaching of arts education

Abstract

In recent years, arts partnerships have gained increased popularity as a means of delivering arts education in schools. Creating opportunities for both teachers and artists alike, arts partnerships can enhance a shared sense of purpose, while also developing creative skills, knowledge and expertise. Although many studies on both a national and international level, have identified the successes and challenges of arts partnerships in schools (Kenny & Morrissey, 2021; Christophersen, 2013), a gap in how these partnerships can support teachers in their teaching of arts education, still exists. Therefore, this study sought to investigate whether an Irish arts partnership - the Creative Schools Initiative-Scoileanna 脥ld谩nacha (CS) - could potentially support teachers in their teaching of arts education. Drawing on data from interviews (n=20) and surveys (n=50), this study explored and analysed the perspectives of teachers, principals, CS co-ordinators and Creative Associates in eight primary schools. Key findings indicated that arts partnerships can provide rich opportunities for transformational learning to occur, through engagement in collaborative, creative practice, facilitating agency and empowering all stakeholders. However, to avoid arts partnerships becoming solely a support measure, the need for teacher professional development in future arts initiatives was reiterated throughout. Results from this study will inform creative policy and practice approaches to arts partnerships and could enable initiatives such as the CS, to further refine and develop its programme. Impacting schools, teachers and children, findings also highlight the significance of pre-service teacher training and continuous professional development for teachers in arts education on a national level.

Key words: Arts education; arts partnerships; transformational learning.

Biographical note

Dr Edel Fahy is a teacher educator in Music and Drama Education. She recently completed her PhD in Mary Immaculate College, Limerick, Ireland and also holds a MA in Film and Television from Dublin City University (DCU) and a MEd in Drama Education (DCU). Previous roles include working as a primary teacher; drama trainer with Primary Curriculum Support Programme; arts education advisor with Primary Professional Development Service; Head of Music in GEMS Wellington International School, Dubai; lecturer in Music Education (DCU); lecturer in Education (Hibernia College) and lecturer in Music and Drama Education (Maynooth University, Ireland). Edel has published in national and international journals and disseminated her work at many conferences. She is a member of the National Council of Curriculum and Assessment (NCCA) Arts Education development group and is an active committee member of the Association of Drama in Education in Ireland (ADEI). Edel is also a member of the Society of Music Education in Ireland (SMEI).

 

26th Scenario Forum Colloquium 鈥� October 28, 2023

Note that the presentation and discussion will be in English  
13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1  
Please register here:  

Manfred Schewe

Linguistic diversity in education (and beyond) 鈥� a performative perspective

The presentation builds on workshops the presenter gave last year in Germany and in Italy in which the Irish historical context served as a reference point for workshop activities, and on a paper that he earlier this year gave at a conference on 鈥楲anguage and Education Policy鈥�. 

He will argue that a performative engagement with the complex language situation that is specific to Ireland, can help to raise an awareness of the political dimension of language education, stimulate fruitful reflections on everyday experiences of linguistic (in)sensitivity and on the challenges that pedagogues are faced with in an increasingly multilingual teaching and learning environment.

With reference to the increasing linguistic diversity in Ireland, and in other countries, the presentation will end with a concrete proposal for a measure that should, ideally, be implemented in institutions and companies. 

Note that the presenter will intentionally express his personal views, to spark off a broader discussion on the promotion of linguistic diversity. To illustrate an argument, he will provide examples of his recent everyday experiences of (critical) intercultural incidents. 

Manfred Schewe is Professor Emeritus at 晚上福利在线观看 Cork (UCC) where he served as Head of a Language Department (German) and also as Head of Theatre. His teaching and interdisciplinary research activities focus on Applied Drama and Theatre and are closely connected to the Scenario Project which encompasses a trilingual (German-English-Italian) journal, a book series and a forum for international conferences, symposia and colloquia. He strongly believes that education can make a difference in this volatile world and play a key role in the building of democratic societies.

 

25th Scenario Forum Colloquium - 30 September 2023 

Note that the presentation and discussion will be in ITALIAN   

13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1

Please register here:   

 

Gilberto Scaramuzzo

L鈥檈stetica del docere

Quando 猫 che una lezione ci appare bella? Rispondere a questa domanda costringe ad addentrarsi nell鈥檈stetica del docere. Riconoscere che una lezione 猫 stata bella 猫 anche riconoscere che l鈥檈ssere umano che ha agito da docente 猫 stato bravo, 猫 stato un buon maestro. L鈥檕pera che un insegnante compie in un tempo e in uno spazio 猫 certamente un鈥檕pera complessa, forse simile a un lavoro teatrale di cui in qualche modo l鈥檌nsegnante 猫 sia autore, sia interprete, sia regista dinamico. L鈥檌ntervento tenter脿 di analizzare la dimensione estetica dell鈥檌nsegnare riconoscendolo come un鈥檃rte di natura dialogica. Quindi si proporr脿 di riflettere sulla relazione del docente con il soggetto di studio e di quella con gli studenti e le studentesse della classe. Nell鈥檌potesi che la bellezza di una lezione si misuri sugli effetti che essa provoca in chi vi partecipa, si ascolteranno le risposte di un gruppo di studenti universitari a cui 猫 stata posta la semplice domanda da cui siamo partiti: 鈥淨uand鈥櫭� che una lezione 猫 bella?鈥�.

The aesthetics of teaching 

When does a lesson seem beautiful to us? Answering this question leads us into the aesthetics of teaching. Recognising that a lesson has been 鈥榖eautiful鈥� also means acknowledging that the human being who acted as the teacher was skilful, was a good educator. The work that a teacher performs in a specific time and space is certainly a complex task, perhaps similar to a theatrical production in which the teacher is, in some way, both author, performer and dynamic director. This talk will attempt to analyse the aesthetic dimension of teaching, framing it as an art of a dialogical nature. It will ponder on the teacher's relationship with the subject matter and with the students. Assuming that the beauty of a lesson can be appraised by the effects it generates in those who participate, we will listen to the responses of a group of university students who were asked the simple question with which we started: "When is a lesson beautiful?"

BIODATA

Gilberto Scaramuzzo 猫 professore associato di Teorie moderne dell鈥檈ducazione e Pedagogia dell鈥檈spressione e direttore della Compagnia di Arti sceniche del Dipartimento di Scienze della formazione dell鈥橴niversit脿 Roma Tre. Insegna Pedagogia e Metodo mimico all鈥橝ccademia Nazionale di Danza. 脠 stato membro del Consiglio di amministrazione dell鈥橧stituto di studi pirandelliani e sul teatro contemporaneo, Visiting Professor al Dipartimento di Creativit脿 e Innovazione Educativa dell鈥橴niversit脿 di Valencia, Visiting Scholar al Dipartimento di Educazione dell鈥橴niversit脿 di Cambridge e Visiting Fellow al Homerton College dell鈥橴niversit脿 di Cambridge.

Gilberto Scaramuzzo is associate professor of Modern Education Theories and Pedagogy of Expression, and the director of the Performing Arts Company at the Department of Education, University of Roma Tre. He also teaches Pedagogy and Mime Method at the National Academy of Dance. He has been a member of the Board of Directors of the Institute of Pirandello Studies and Contemporary Theatre, as well as  Visiting Professor at the Department of Creativity and Educational Innovation, University of Valencia, Visiting Scholar at the Department of Education, University of Cambridge, and Visiting Fellow at Homerton College, University of Cambridge. 

 

Schedule 鈥� Programm 2022/2023

24th Scenario Forum Colloquium - 24 June 2023

(Note that the presentation and discussion will be in German)   

13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1

Please register here:   

Barbara Schmenk

Performanz und Performativit盲t: Zur Sloganisierung zentraler Begriffe der Dramap盲dagogik

Die Vorteile und Potenziale der Dramap盲dagogik stehen inzwischen au脽er Frage. Ebenso steht allerdings au脽er Frage, dass es zahlreiche Faktoren gibt, die das performative Lernen im Unterricht erschweren und bisweilen unm枚glich machen. Nicht zuletzt die Performanzorientierung von Sprachunterricht erweist sich bisweilen als einer der entscheidenden Spiel- und Spa脽verderber. Was als Aufbruch zu neuen Ufern gedacht war, findet nicht selten sein j盲hes Ende an der Klassenzimmerwand, verstanden als institutionelle Grenze und Begrenzung, an der didaktisch-methodische Imaginationen zerschellen k枚nnen.

Der vorliegende Beitrag klopft die Konzepte der Performanz und des performativen Lernens vor diesen Hintergr眉nden hinsichtlich ihrer Potenziale und Grenzen ab. Performativit盲t und Performanz erweisen sich dabei als mehrdeutige und mithin widerspr眉chliche Begriffe, deren Wirken und Wirkung im Unterricht vielf盲ltige Formen annehmen kann und die reflektiert werden m眉ssen, damit (nicht nur) Lehrende Potenziale dramap盲dagogischer Arbeitsformen exakter einsch盲tzen und erfassen k枚nnen.

Biodata:

Barbara Schmenk ist Professorin f眉r Germanistik/Deutsch als Fremdsprache und Applied Linguistics an der University of Waterloo, Canada. Ihre Forschungsinteressen liegen in den Bereichen Fremdsprachendidaktik und Kulturwissenschaften. Ihre Publikationen umfassen Aufs盲tze und B眉cher zu Gender und Fremdsprachenlernen, Lernerautonomie, Dramap盲dagogik, Mehrsprachigkeit, Didaktik du Methodik des FSU, Sloganisierung im Fachdiskurs.

23rd Scenario Forum Colloquium - 27 May 2023  

13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1

Please register here:   

Rachael Jacobs

Creative Arts as a pathway to belonging, inclusion and justice: Language and arts programs from Australia that make a difference.

Decades of practice and research in performative teaching, learning and research demonstrates the effectiveness of arts practice in creating spaces for belonging, inclusion and justice. This presentation uses three projects from Australia as case studies that use dance and drama to build upon this research.

The first project is a language and educational transition program using drama and visual art as the main vehicles to promote a sense of belonging, build language capacity and aid migrant and refugee students鈥� transition to mainstream high school. An intergenerational aspect of this project also introduces possibilities to interrogate drama鈥檚 ability to develop context-driven learning in the home as well as the classroom. The second project is an anti-racism project in Australian schools that uses Indian Bollywood dancing as a medium to promote intercultural understanding, unpack power relationships and practice upstander and ally actions. The final project is a proposed experimental Bollywood dance and language development program being trialled with older adults in partnership with dementia prevention researchers.

All three projects are underpinned by the philosophy of creative justice (Jacobs and Finneran, 2023) which positions the concept of justice as a critical aim of creative practice. These case studies also explore the cultural aptitudes that are developed as a result of the intertwinement of linguistic and cultural skills within the affective interactional contexts created by performative engagements. In all three projects arts engagements were found to create brave spaces (Verduzco, 2018; Arao & Clemens, 2013) that brought about an action orientation towards justice in a way that process ways of working were not able to achieve when used in isolation.

22nd Scenario Forum Colloquium - 29 April 2023 

13.30 (Cork) / 14.30 (Berlin/Rome) / 8.30 (Bloomington/US) GMT+1

Please register here:   

Victoria del Valle

鈥淓mbodying foreign language & building language learning environments in the digital age鈥�

Advancements in technology for screen-based communication have a direct impact on foreign language teaching. Teachers need to consider digitally supported teaching tools, social networks, interactions in digital spaces, online knowledge transfer, and so on, when they design their lessons. When language learning takes place in virtual spaces, the role of the body as a physical medium needs to be reevaluated.

The presentation will provide insight into the ongoing research project on "Performative aspects of digitally supported foreign language teaching", based at the University of Paderborn, Department of Romance Studies. Given its special focus on teacher training, teachers were interviewed in order to identify what they consider to be performative aspects of digital lesson design. Based on the findings of this project, this presentation aims to showcase pedagogy modules that can serve as a source of inspiration for future language teachers who wish to create effective digital teaching & learning spaces.

Prof. Dr. Victoria del Valle researches and teaches at the University of Paderborn in the area of teaching French and Spanish. Her work focuses on foreign language literature and media pedagogy, aesthetic learning with foreign language(s) and performative foreign language teaching. She is the author of teaching material and handouts and editorial director of Hispanorama (Journal of the German Spanish Teachers' Association).

21st Scenario Forum Colloquium - 25 March 2023

Maria Fink

Alienness, Space, and Movement: Contemporary German Theatre of Migration and its Potential Utilization in the Classroom

My recently completed dissertation 鈥淪taging the Alien: Spatial Processes in Contemporary German Theatre of Migration鈥� investigates theatrical performances in Germany and Austria centering around migration and flight since the year 2000 and argues that theatre is phenomenologically and historically inscribed with notions of alienness. Further, I bring migration in conversation with theatrical space by highlighting the inherent connection between migratory movements and the movement of bodies within performance spaces. Through the analysis of four select performances by directors Christoph Schlingensief, Oliver Frlji膰, Yael Ronen, and Michael Thalheimer, I show how theatrical spaces are impacted by a thematic engagement with migration and alienness.

In my talk, I will first outline the findings of my dissertation and then focus on an especially prominent performance in this context: Christoph Schlingensief鈥檚 Please Love Austria: First Austrian Coalition Week (2000). Evoking the then-popular reality TV format Big Brother and responding to an increasingly xenophobic political sentiment in Austria, Schlingensief and his team erected a temporary housing structure composed of several containers in the city center of Vienna. Over the course of seven days the twelve participants, described as asylum seekers, were gradually voted out of their 鈥榟ouse鈥� and, as Schlingensief announced, deported from the country. The peculiar set-up of the performance 鈥� an assembly of containers surrounded by a construction fence on a central public square 鈥� is often mentioned and alluded to in Schlingensief scholarship, but rarely discussed in detail. I will illustrate that the container complex in its interaction with the public space played a significant role in creating a fundamental sense of uprootedness among spectators that led to impassioned reactions in front of and even within the performance space.  

During the breakout session following my presentation I would like colloquium participants to discuss what potential they see in Schlingensief鈥檚 performance for the classroom. How can Please Love Austria be utilized to think about a specific moment in Austrian political history? How can students today engage with the documents and materials available to us online and in print? How could Please Love Austria help us understand something about today鈥檚 refugee politics in Germany and Austria? Or, more generally, how do students experience the (familiar) spaces they navigate and what causes disruptions in their paths? Can we think of other performances that could be examined to teach students about themes such as migration and the interactions between migrants and locals?

Maria Fink is an English and German teacher at Bundesgymnasium Seekirchen in Austria. She holds a PhD in Germanic Studies from Indiana University Bloomington, the Certificate in Literary Translation (also from IU), and a teaching degree from the University of Salzburg. Always looking for ways to connect theory and practice, Maria鈥檚 research interests are contemporary theatre and performance, performative pedagogy, and literary translation.

20th Scenario Forum Colloquium - 28th January 2023 

Manfred Schewe & Florian Va脽en

Performative Arts: Drama & Theatre in Education 鈥� Towards the further development of an international glossary

At this colloquium we will present a project that involves the development of a digital glossary in the area of Performative Arts, Drama & Theatre in Education. With the bilingual (English-German/German-English) glossary we aim to create an awareness of the rich diversity of international performative practices, especially in the fields of 罢丑别补迟别谤辫盲诲补驳辞驳颈办 (theatre pedagogy) and Drama in Education/Theatre in Education. For a first draft of the ENGLISH-GERMAN glossary, published in November 2022, and for further details on this project go to: /en/scenario/scenarioforum/glossaryperformativeartsdramatheatreineducation/.[1]

We are aware that the German-English or the English-German translations are only an aid and cannot replace differentiated intercultural/transcultural reflections that can be facilitated at conferences, symposia and colloquia, but hope that our draft version might nevertheless serve as a useful starting and reference point for further research and practice.

This colloquium aims at facilitating intercultural/transcultural reflections on the key terminology in our fields of research and practice. We look forward to an exchange of views: How might this project be best developed further? Which forms of future collaboration might be possible?
We are delighted that Federica Vezzani and Giorgio Maria Di Nunzio, both based at Padua University and developers of the Web application , have already signalled their expert support; as well as Ute Handwerg and Leona Sch枚nholz, representatives of the BAG () who are currently exploring how in 2023 a user-friendly App for the glossary might be made available.
Please note that representatives of the team have expressed an interest in compiling a Spanish version of the glossary (Ana Calero, Sefa Contreras, Brigitte Jirku, Friedhelm Roth-Lange) and also representatives of the team working on an Italian version (coordinated by Serena Secco) will participate in the colloquium and offer their perspectives.

[1] Please note that The GERMAN-ENGLISH version will be made available as soon as possible at: . 

Biodata:

Manfred Schewe is Professor Emeritus at 晚上福利在线观看 Cork (Ireland), where he served as Head of the Department of German and also as Head of the Theatre Department. His teaching and interdisciplinary research activities focus on Applied Theatre, especially on performative approaches to language, literature and culture. As guest lecturer and workshop facilitator for associations and institutions worldwide, he continues to be a strong advocate of a performative teaching, learning and research culture.

Florian Va脽en is Professor Emeritus for modern German literature at the Deutsches Seminar of the Leibnitz Universit盲t Hannover, Germany. He chaired the Arbeitsstelle Theater/罢丑别补迟别谤辫盲诲补驳辞驳颈办 and the degree programme Darstellendes Spiel until 2009. He is co-founder and co-editor of the Journal for Theatre Pedagogy. Korrespondenzen. His research interests are in the area of drama and theatre, theatrality, theatre pedagogy, writing and imagery, literature and experiment, theory of laughter, satire and caricature, as well as the authors Bertolt Brecht and Heiner M眉ller.  

19th Scenario Forum Colloquium - 26th November 2022

Nicola Abraham / Eva G枚ksel 

Digital Storytelling: Making the Impossible Possible 

Since 2020, we have all had to adapt our in-person teaching practice across disciplines to happen online. This has been a daunting task, and it has added extra pressure on teachers who are less familiar with online technologies. However, it hasn鈥檛 stopped creative practice, in fact for some, it has enhanced the possibilities of creative and performative practice. In this colloquium we would like to share exciting innovations in creative teaching practice offering narratives about what may not only be replicated online but also enhanced through digital practice. We would like to celebrate the lateral thinking that has occurred and the opportunities that working in digital spaces has presented: It has allowed us to connect with our students, and maintain engagement and playfulness in learning processes.

With this colloquium, we would like to collate stories of both mistakes and learning and also best moments and breakthroughs with creative teaching online. We will put together a collection of narratives to capture stories of hope and innovation from the past two years to act not as an apology for the need to move online but rather as inspiration and a catalyst to inform future practice. Colloquium participants will be invited to share their most poignant ups and downs, with an option to be interviewed later for our podcast.  

So much has been gained from the move to online teaching and we cannot afford to lose this new knowledge. Lessons have been learnt, practice has been shared, and extraordinary things have been achieved. We are interested in capturing these extraordinary moments, as well as snapshots of the bump ride. Accessibility has been improved, engagement enhanced, and the creative potential of the digital platforms we have used has offered us opportunities not afforded by in-person spaces. This colloquium provides participants a chance to share their experiences and for the presenters to share their thoughts about why and how working with drama online really can be better.  

The interactive presentation (40 minutes) will be followed by discussions in breakout rooms (20 minutes) and a plenary session (20 minutes).

Biodata 

Dr Nicola Abraham is Senior Lecturer in Applied Theatre Practices at the Royal Central School of Speech and Drama. She has most recently been working on a range of digital applied theatre, film and virtual reality storytelling projects in NHS hospitals to develop new person-centred approaches to creating bespoke creative artefacts, including VR 360 videos, intergenerational augmented reality-based process dramas with primary school children and older adult patients living with dementia, and films to improve subjective wellbeing of patients in acute dialysis wards. She has published in Research in Drama Education: The Journal of Applied Theatre and Performance (RiDE), Applied Theatre Research, Contemporary Theatre Review and co-edited the 2nd Edition of The Applied Theatre Reader (2020), Supporting Patients Living with Dementia During a Pandemic: Digital Theatre and educational spaces (2022), Making Hospitals Better (forthcoming, 2022) and Applied Theatre with Urban Youth: Witnessing Change (forthcoming, 2023).

Schedule / Programm 2021/2022

 

16th Scenario Forum Colloquium - 28th May 2022 in German

Bitte hier f眉r dieses Kolloquium anmelden:  

Wir freuen uns sehr, Andreas Wirag als Gast zu begr眉脽en. Im Anschluss an seinen Vortrag (ca. 30 Minuten) k枚nnen die Teilnehmenden sich in virtuellen Kleingruppen (鈥歜reakout rooms鈥�) 眉产别谤 den Vortrag austauschen. Danach besteht die M枚glichkeit zur gemeinsamen Diskussion im Plenum. Maximale Dauer der Veranstaltung: 90 Minuten.

 

脺berlegungen zum Einsatz der wissenschaftlichen Methode in der Fremdsprachendidaktik und Dramap盲dagogik

Andreas Wirag

Die sog. wissenschaftliche Methode (scientific method) beruht auf einem Kreislauf der Erkenntnisgewinnung: Die Forscher*in stellt eine Annahme bzw. eine Reihe von Annahmen (鈥濼heorie鈥�) 眉产别谤 das zu erforschende Wissensfeld auf. Diese Annahme, die beansprucht, eine Gesetzm盲脽igkeit der unbelebten oder belebten (sozialen) Natur zu beschreiben, muss ihre G眉ltigkeit unter Beweis stellen, indem sie mit unabh盲ngig gewonnenen Beobachtungen (鈥濫videnz鈥�) 眉产别谤einstimmt. Steht die Annahme im Einklang mit empirisch erhobenen Daten, kann sie beibehalten werden (鈥濾erifikation鈥�). Steht die formulierte Annahme im Widerspruch zu unabh盲ngigen Daten, muss diese verworfen bzw. abge盲ndert werden (鈥濬alsifikation鈥�). Im Ergebnis der wissenschaftlichen Methode entstehen Annahmen, welche die tats盲chlichen Gesetzm盲脽igkeiten der unbelebten oder sozialen Wirklichkeit zunehmend besser beschreiben, sodass ein wachsender Erkenntnisgewinn gelingen kann (d.h. mehr Quantit盲t und mehr Qualit盲t bzw. fit-with-reality der Aussagen im beforschten Wissensfeld).

Obwohl die wissenschaftliche Methode in den Natur- und Lebenswissenschaften die Grundlage aller Forschungst盲tigkeiten darstellt, ist ihr Status in den Geistes- und Sozialwissenschaften, unter die auch Fremdsprachendidaktik und Dramap盲dagogik fallen, umstritten. Der Vortrag stellt die scientific method f眉r die Sozialwissenschaften vor und veranschaulicht ihren Einsatz in der Fremdsprachen- und Dramap盲dagogik-Forschung. Im Anschluss sind die Teilnehmer*innen eingeladen, ihre bisherigen Forschungserfahrungen mit dem vorgestellten Vorgehen zu vergleichen und einzuordnen.

Diese Youtube-Videos bringen das Vortragsanliegen in pointierter Weise auf den Punkt, sodass sie zur Vorbereitung w盲rmstens empfohlen werden: Richard Feynman (https://www.youtube.com/watch?v=EYPapE-3FRw) und Ricky Gervais (https://www.youtube.com/watch?v=KOi2AgNfQCg) zur wissenschaftlichen Methode.

 

Literatur

Diekmann, Andreas (2007): Empirische Sozialforschung: Grundlagen, Methoden, Anwendungen. Reinbek/Hamburg: Rowohlt.

Grotjahn, R眉diger; Brammerts, Helmut; Wolfrath, Brigitte (1983): Grundkurs Fremdsprachenunterricht als Gegenstand von Wissenschaft: Eine Einf眉hrung in wissenschaftstheoretische und methodologische Fragen. Bochum: Ruhr-Universit盲t.

 

Biodata

Dr. Andreas Wirag ist PostDoc-Mitarbeiter in der Englischfachdidaktik der Georg-August-Universit盲t G枚ttingen. Studium der F盲cher Englisch und Spanisch f眉r das Lehramt am Gymnasium an der Albert-Ludwigs-Universit盲t Freiburg i. Brsg. Auslandsaufenthalte in Spanien (Universidad de Granada) und England (Anglia Ruskin University). Referendariat und T盲tigkeit als Lehrkraft am Gymnasium und den Beruflichen Schulen. Promotion am DFG-Graduiertenkolleg 鈥濽nterrichtsprozesse鈥� (UpGrade) der Universit盲t Koblenz-Landau (2015-18). Danach PostDoc in der Englischfachdidaktik der Universit盲t G枚ttingen und im Drittmittelprojekt 鈥濨眉hne Frei鈥� (2018-22). Seit 2022 Mitarbeiter der Zentralen Wissenschaftlichen Einrichtung f眉r Lehrer*innenbildung (ZEWIL) und im Drittmittelprojekt 鈥濱nnovation plus鈥�.

 

 

15th Scenario Forum Colloquium with a special focus on Ukraine 

26 March 1.30 (Cork) / 2.30 (Berlin / 8.30 (Bloomington/US)

Given the harrowing war in Ukraine, the Scenario Team decided to dedicate this colloquium to "Tackling War and Peace in Performative Teaching and Learning".

The format will be as follows: 

- A brief introduction to the session

- Ukrainian language warm up

- Discussion in breakout rooms, based on short texts from Ukrainian literary sources. The focus will be on performative approaches to the selected literary texts.

- Presentation of group results in plenary

- Final discussion in plenary.

We look forward to our sharing of creative ideas. 

14th COLLOQUIUM - Saturday 26 February  2022 

Enactive teacher training through artistic practices

Joelle Aden

University Paris-Est Cr茅teil

Why should we be going performative in education? Extensive research in cognitive psychology and embodied cognition shows that learning is not a passive input of information and highlights the importance of experiencing and interacting with others and our environment as our primary way of learning.  Therefore, creativity and socio-emotional intelligence, especially empathy, are core skills that need to be developed from an early age. Arts-based practices have been shown to play a decisive role in the social and intellectual development of young people, however, they are very seldom used in French schools.

We think that teaching practices that directly draw on cognitive sciences are part of the problem: by presenting students鈥� specific needs (hyperactivity, neuro-atypical profile, attention disorders, demotivation, etc.) as a series of problems to be solved, they offer a targeted solution for each specific need. Within such a context, artistic practices are instrumentalised (theater is used to develop self-confidence, empathy, etc.). Such a mechanical approach makes us lose sight of the whole student鈥檚 unique mix of cognitive, affective and cultural parts. It also denies the poetic dimension of knowledge and raises the issue of how to train teachers.

Faced with this situation, in 2019 we put together a transdisciplinary research team (made up of artists, researchers and pedagogues) and set up a master鈥檚 degree, Art'Enact, based on the enaction paradigm (Varela). Aimed at teacher trainers, Art'Enact is a research-action project, based on the sharing of lived experience and collective artistic creation and aims to reconcile the arts and sciences. In this talk, I will present the basic principles of the project, I will give examples of transdisciplinary workshops and testimonies of former students on the transformation of their practices.

References 

• Aden, J. (2021). 鈥淲hat can theatre contribute to plurilingual education?鈥�. In E. Piccardo, A. Germain-Rutherford & Lawrence (eds.). The Routledge Handbook of Plurilingual Language Education. Multilingual Matters.
• Aden, J. & Eschenauer, S. (2020). 鈥淭ranslanguaging: An Enactive-Performative Approach to Language Education鈥�. In Emilee Moore, Jessica Bradley, James Simpson (eds.). Translanguaging as transformation: The collaborative construction of new linguistic realities, Clevedon, Multilingual Matters.
• Aden J. & Preller, C. (2020). Towards an aesthetic and performative approach to transcultural mediation. Horizons - Nouvelle s茅rie 2020/5, pp. 182-202.
• Aden J. & Pavlovskaya, M. (2018). 鈥淭ranslanguaging and Language Creativity in Drama Staging鈥�. In Translanguaging as Everyday Practice, G. Mazzaferro (ed.). Spinger, coll. Multilingual Education
• Aden J. (2017). 鈥淒eveloping empathy through theatre: a transcultural perspective in Second Language Education鈥�. In M. Schewe & J. Crutchfield (dir.), Going Performative in Intercultural Education. International contexts 鈥� theoretical perspectives 鈥� models of practice ( 59-81). Clevedon: Multilingual Matters.
• Varela, F., Thompson, E., Rosch, E. (1991). The Embodied Mind: Cognitive Science and Human Experience, The MIT Pre revised edition, 2017.

Biodata

Joelle Aden is full professor at the Social Science & humanities Department of Paris-Est Cr茅teil University where she leads the research group. Her research and doctoral theses under her supervision explore the links between language education and the arts in the enactive paradigm (Varela). With her team, she has developed The Art鈥橢nact Master鈥檚 degree designed for artists, teachers, and facilitators to develop professional training skills based on recent research redefining the junction between art, science and cognition.

 

13. KOLLOQUIUM - Samstag 29. Januar 2022 

Ulrike Hentschel

Making-of. Eine produktionsorientierte Perspektive auf 盲sthetische Bildungsprozesse in der 罢丑别补迟别谤辫盲诲补驳辞驳颈办.

Der Beitrag geht davon aus, dass k眉nstlerischer Praxis ein eigenes Erfahrungs- und Erkenntnispotential zukommt, das sich von einer Erkenntnis 眉产别谤 oder durch Kunst unterscheidet. Diese kunstphilosophische Annahme soll im Verlauf der Argumentation bildungstheoretisch gewendet werden. Aus der Perspektive der 罢丑别补迟别谤辫盲诲补驳辞驳颈办 stellt sich damit die Frage nach den Bildungsprozessen, die sich innerhalb eines theatralen Produktionsprozesses f眉r die Beteiligten er枚ffnen. Als exemplarischer Ort, an dem solche Erfahrungen sichtbar und beschreibbar werden k枚nnen, soll das 鈥濵aking-of鈥� thematisiert werden. Damit sind die verschiedenen k眉nstlerischen Praktiken gemeint, die das eigene Vorgehen reflektieren, indem sie es zum Material der weiteren Arbeit werden lassen und schlie脽lich in geeigneter Weise auf der B眉hne ver枚ffentlichen.

Am Beispiel einer theaterp盲dagogischen Arbeit mit jugendlichen Spieler*innen und Spielern soll diese Form des Making-of veranschaulicht und im Hinblick auf seine m枚glichen bildenden Wirkungen f眉r die beteiligten Akteure diskutiert werden.

Biodata

Ulrike Hentschel, Dr. phil., war von 2001 bis 2019 Professorin f眉r 罢丑别补迟别谤辫盲诲补驳辞驳颈办 und Darstellendes Spiel an der Universit盲t der K眉nste Berlin. Von 2012 bis 2018 war sie Mitglied des DFG-Graduiertenkollegs 鈥濪as Wissen der K眉nste鈥�. Sie studierte Erziehungswissenschaft, Sozialwissenschaften und 罢丑别补迟别谤辫盲诲补驳辞驳颈办 in Bochum und Berlin. Arbeitsschwerpunkte: 脛sthetische Bildung, zeitgen枚ssisches Theater und 罢丑别补迟别谤辫盲诲补驳辞驳颈办, Theater und Schule, Geschichte der 罢丑别补迟别谤辫盲诲补驳辞驳颈办. Sie ist Mitherausgeberin der 鈥瀂eitschrift f眉r 罢丑别补迟别谤辫盲诲补驳辞驳颈办. Korrespondenzen鈥�.

12th COLLOQUIUM - Saturday 27 November 2021 

Peter Lutzker

The Art of Foreign Language Teaching in a Digital Age                                                                                           

The Art of Foreign Language Teaching: Improvisation and Drama in Teacher Development and Language Learning was first published in 2007. After exploring the origins and development of the concept of teaching as an art, the focus in the first part was on a qualitative study of in-service teaching programs designed to enhance the artistry of foreign language teachers through theatre clowning workshops. In the second part, the focus was on an action research study based on the experiences of a 10^th grade class during an EFL drama project which took place over five months at a Steiner/Waldorf School in Germany. In the end, the book tried to draw these two threads together in considering the unique developmental potentials of artistic processes in foreign language teaching and learning.  

In the fourteen years since this book was published, the increasing role of digitalization has profoundly transformed all of our lives. The so -called 鈥渋Generation,鈥� referring to those who were coming of age in 2007 when the first iPhone was introduced, have grown up in a vastly different world than previous generations. Digital technology has also increasingly had far-ranging effects on teaching and learning. In fact, the 鈥渕odernization of education鈥� has often come to be equated with the 鈥渄igitalization of education.鈥� The worldwide shift to online learning due to the Covid 19 pandemic has undoubtedly accelerated this process.

In conjunction with a 2^nd revised edition of my book, I want to revisit the concept of the teacher as an artist in the light of our digital age. What does artistry in language teaching mean today? What role can drama and artistic processes play in language learning when 鈥淚nstant Translators鈥� and Deepl offer increasingly sophisticated technological alternatives? What can be learned about the future role of artistry in teaching from the experiences of students and teachers with digital learning during the pandemic?

BIODATA

Peter Lutzker studied music, literature, linguistics and the didactics of foreign language teaching in the United States and Germany. After first working as an orchestra musician, he then taught music and English at Steiner/Waldorf Schools in Germany for 25 years. During this period, he also taught pre-service and in-service courses for EFL teachers in Germany and other European countries. In 2010 he became a Professor for Waldorf/Steiner Education at the Freie Hochschule Stuttgart (Waldorf Teachers College). He has also been an Honorary Professor at the National Tsing Hua University in Taiwan. He has published widely in German and English on the sensory perception of language, drama and literature in language learning, creative writing and developing artistry in teaching. 

11th COLLOQUIUM - Saturday 30 October 2021

 

PART I (13:30 - 14:30)

Garret Scally

鈥楳agpie-ing鈥� for performative teaching: ways we might imitate, steal, deface and take, take, take (and give, give, give)!!!

Over a century ago, T.S. Elliot鈥檚 counsel was that 鈥淥ne of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.鈥� (Elliot 1920: 114). He 鈥榣ifted鈥� and adapted this notion from W. H. Davenport Adams who put it forward in 1892 (627-628). And it has been appropriated, since, by artists from Picasso to Igor Stravinsky, in word and deed. Steve Jobs even had a go.

I鈥檝e done it myself. Haven鈥檛 we all?

That theatre practitioners use and adapt each other's work and ideas is the premise of the presentation and what I would like to discuss and explore is how artistic ideas and drama activities and concepts can mutate in unexpected ways, emerging from the to and fro of taking and letting go. This will be demonstrated in examples from my own practice and when I鈥檝e imitated, stolen, defaced or made 鈥渟omething better, or at least something different鈥�, and in instances where others have taken my ideas and made them anew. There will, also, be time for everyone attending to tell about their own experiences with 鈥榤agpie-ing鈥�. 

References:

Davenport Adams, W. H. (June 1892). The Gentleman鈥檚 Magazine, Volume 272, Imitators and Plagiarists (Part 2 of 2). Chatto & Windus, Piccadilly, London.

Elliot, T.S. (1920). The Sacred Wood: Essays On Poetry and Criticism by T. S. Eliot, Section: Philip Massinger. Methuen & Company Ltd., London.

BIODATA:

Garret Scally is a theatre practitioner-researcher who uses theatre in educational settings for additional language development and social purposes. Garret investigated the use of group devised theatre for additional language development on the Professional Doctorate in Applied Theatre programme at the University of Manchester and was awarded a PhD based on this work. Other research interests include breath and voice work, playfulness, belonging.

 

PART II (14:30 - 15:30)

Christelle Nicolas & Carolina E. Santo

鈥淗ow to do Things with Research in the Arts鈥�

Christelle Nicolas and Carolina E. Santo have collaborated twice in conducting practice-based workshops for art students in France (preparatory classes to school of art鈥檚 certification in Digne-les-Bains) and in Slovaquia (Bachelor and graduate students of the Academy of fine Arts in Bratislava). These workshops were opportunities to develop a pedagogy made as a collage of tools and practices taken from their respective backgrounds in art theory and scenography; and in coherence with their common interest in spatial theories, situated practices and site-specificity.

Using the Wunderkammer (Patricia Falgui猫res) as an episteme allows us to observe research in the arts as a combinatory process of practices, analysis and theories that produce knowledge as they are constructed, de-constructed, and reconstructed. Our paper proposes to present the set of tools we have been assembling as a xenophora - model proposed by artist Hendrik Sturm - and experimenting in our five-days intensive workshops with art students across the disciplines of photography, architecture, sculpture, painting, inter-media and graphic design.

As we aim for the students鈥� emancipation, we propose a series of practical exercises and protocols capable of triggering autonomous processes of appropriation. The assimilation of knowledge is acquired through the student鈥檚 own means and ways across the following operations:

1. Walking as a sensitive approach to space and place
2. Fieldwork investigations in the public space through the practice of protocols
3. The archaeology of the gaze
4. Deconstructing speech and language
5. Provoking serendipity through combinatory practices
6. Translating from one expressive medium to another
7. Modelizing epistemologies of knowledge through the arts and sciences.

These tools must be adapted to the students鈥� academic level but also to the specific aspects and qualities of the places and contexts in which the workshops are conducted (school, institution, level of students, city, history, geography, urbanism, architecture, etc.)

References

Austin, J.L. (1962) How to Do Things with Words: The William James Lectures delivered at Harvard University in 1955 (eds. J. O. Urmson and Marina Sbis脿) Oxford: Clarendon Press. 

Falgui猫res, Patricia. (2003) Les Chambres des Merveilles. Paris : Bayard.

Schechner, Richard. (2002) Performance Studies. An Introduction. Routledge.

Sturm, Hendrick.   [last accessed 27/08/2021]

BIODATA:

Christelle Nicolas and Carolina E. Santo met in June 2017 at the spring school for doctoral students  . Since then, they have been collaborating as practice-based scholars in publications, conferences and practical pedagogic workshops. 

Christelle Nicolas :

After completing her MA in art history, Christelle Nicolas worked in public institutions dedicated to contemporary art (museums and art centres) as a mediator, curator and coordinator of cultural projects. She taught art history and general culture in a public art school for amateurs, and for preparatory classes to school of art鈥檚 certification. She is currently a PhD candidate in art theory at the University of Arras, and works on the artists鈥� creative processes : 鈥� Dealing with place: place as fieldwork, material, means, and subject matter of the contemporary artwork.鈥� 

Carolina E. Santo:

holds a practice-based PhD in scenography from the University of Vienna, Austria. She is qualified in theory of art and practice-based research. As a freelance theatre designer, her works include scenography installations, stage and costume designs for theatre and opera productions in Portugal, France and Switzerland. She has developed her artistic work outside of the theatre building as a 鈥榞eoscenographer鈥�, exploring scenography from chosen milieus. Walking has become an important part of her creative process. 

10th COLLOQUIUM 鈥� Saturday 25 September 2021

 

PART I (13:30 - 14:30)

Kung Man Matthew Cheung

Drama and additional language development through a performative pedagogical lens

In this presentation, Dr Cheung will expound on some of the major findings from his PHD research. In this study, Dr Cheung used a phenomenological method to investigate performative pedagogy in four sites. The first was a kindergarten where English was taught to Chinese students using process drama be an experienced and a novice drama teacher. The second was a kindergarten where English was taught conventionally. The third was a middle school where English was taught using drama and the forth was a middle school where English was taught conventionally. The findings show that in the drama classes, language was used in more sophisticated ways than the non-drama classes. In the drama classes teachers spent less time performing than in the non-drama classes. Learners spent more time on-task and engaged, performing embodied learning for the teacher. Learners in the drama classes performed high affective states for sustained durations of time whereas in the non-drama classes, performances of high affect correlated with teacher performances of entertainment. Experienced drama teachers showed more nuance that the novice drama teacher, but the novice drama teacher had more engagement than the experienced ESL teachers. This study proposes that there are specific reasons why drama is effective for developing additional language ability and that these are not restricted to drama but may be understood as the principles of performative pedagogy whereby the interaction between teachers and students is seen as an embodied, interactional performance of meaning making.

BIODATA:

Kung Man Matthew Cheung recently completed his PHD at Monash University in Australia. He began his teaching career in Australia in 1996 where he taught high school performing arts for Education Queensland. In 2003 he moved to Hong Kong and began using drama to help students develop their ability to use English. In 2017 he moved to Shanghai to conduct an in-depth study into why drama seemed to be more effective than conventional methods for developing language ability. He is now working as subject leader for the arts in YWIES Tongxiang in China.

 

PART II (14:30 鈥� 15:30)

Susanne Even, Dragan Miladinovi膰, Erika Piazzoli, Manfred Schewe, Fionn Woodhouse

The Scenario Project 鈥� planning ahead

Each member of the Scenario Team will speak for approx. five minutes to give colloquium participants an idea of our current research interests and how we envisage the Scenario Project to develop in the years to come. Following this presentation, colloquium participants will be invited to go into breakout rooms to discuss aspects of the presentations. We would appreciate any feedback regarding the current format of the colloquium and any suggestions that help us to plan ahead, for example, regarding topics for future symposia, themed/guest-edited issues of Scenario Journal, themed/guest-edited volumes in the Scenario book series? etc. 

BIODATA:

Susanne Even is Clinical Professor and Language Program Coordinator in the Department of Germanic Studies at Indiana University (USA). Her specialty is performative pedagogy, a post-method approach to teaching and learning that takes inspiration from the performing arts. She holds a Ph.D. in German Language Teaching Research from 晚上福利在线观看 Cork, and is co-editor of SCENARIO, the peer-reviewed, bilingual online journal for performative teaching, learning, research.

Dragan Miladinovi膰 is College Language Teacher at the Department of German, UCC, and Scenario Journal co-editor. He also works on his part-time PhD-research project in the area performative language teaching. Dragan鈥檚 research interest lies in performative language pedagogy and critical applied linguistics. 

Erika Piazzoli is a lecturer in Arts Education at Trinity College Dublin. Her research interests are performative language teaching, aesthetic engagement and embodied research methods. She holds a PhD in drama education, focussed on process drama for second language acquisition. Her book Embodying Language in Action (2018) outlines her research and practice in the field. Her current work examines the connection between embodied research methods, performative language learning and belonging in the context of young refugees and migrants.

Manfred Schewe is Professor Emeritus at 晚上福利在线观看 Cork (UCC) where he served as Head of a Language Department (German) and also as Head of Theatre. He holds the title UCC Teaching Fellow in recognition of his significant contribution to the scholarship of teaching and learning through the Scenario Project. His teaching and interdisciplinary research activities focus on Applied Drama and Theatre, especially on performative approaches to Language, Literature and Culture. He continues to examine research theses, give lectures and lead workshops for institutions and professional associations in different parts of the world. He recently edited the bilingual (English-German) Volume V in the Scenario Book Series entitled: .

Fionn Woodhouse is a lecturer, researcher, and facilitator of drama/theatre with particular interest in youth participation and learning through practice. He lectures with the Department of Theatre, 晚上福利在线观看 Cork on Applied Drama, Theatre Production, and Theatre Practice. Fionn is an active educational drama practitioner, having trained and worked with Graffiti Educational Theatre Company for over 15 years facilitating workshops with over 12000 young people in various educational and community settings. 

Previous Colloquia

Academic year 2020/2021

Note that several presentations  have been documented. For details go to:  

9th COLLOQUIUM - Saturday 29 May 2021

 

PART I (12:00 - 13:00)

Victoria Campbell & Zoe Hogan 

Playing in the Liminal Space: Literacy learning through Drama in the adult language classroom

Play is a universal human experience. Often regarded as the unique purview of children, an emerging body of research points to the importance of playfulness in adulthood, and how this attitude improves cognitive, emotional, social and psychological functioning, enabling adults to approach situations with an open mind, confront difficulties and accept failure (Guitard, Ferland & Dutil, 2005; Yarnal & Qian, 2011).

This colloquium focuses on the reflections of two Teaching Artists working on Connected, a Sydney Theatre Company drama and literacy program for adults with refugee backgrounds. Through improvisational responses participants engage in a learning style that promotes playfulness, which subsequently generates a sense of pleasure and joy, and in doing so, has an intrinsic value beyond the specific language learning outcomes. Conceptualising the drama room as a liminal space (Campbell, 2009, 2013; Turner, 1974), we will also reflect on Guitard et al.鈥檚 (2005) five components of playfulness in adults: creativity, curiosity, pleasure, sense of humour, and spontaneity in relation to the adult language learning context. 

References

Campbell, V. (2009). Tales from the liminal classroom: Preservice teachers and oral storytelling. Sydney: University of Sydney.

Campbell, V. (2013). The Selkie Project: teachers storying, storying teachers. Sydney: University of Sydney.

Guitard, P., Ferland, F. & Dutil, E. (2005). Toward a better understanding of playfulness in adults. OTJR: Occupation, Participation and Health, 25(1), 9-22.

Turner, V. (1974). Drama fields and metaphors: Symbolic action in human society. New York: Cornell University Press.

Yarnal, C. & Qian, X. (2011). Older-Adult Playfulness: An Innovative Construct and Measurement for Healthy Aging Research. American Journal of Play, 4(1), 52鈥�79.

 

BIODATA

Dr Victoria Campbell

Victoria has been a storyteller and drama educator for more than 20 years. Her interest in oral storytelling and narrative performance led to sustained research in this area resulting in the completion of both a MEd (2008) and PhD (2013) at The University of Sydney. She is passionate about the power of drama and storytelling to motivate and engage people in multiple contexts. She is currently a Lecturer at The University of Sydney (School of Education and Social Work). She is also a teaching artist for the Sydney Theatre Company鈥檚 School Drama and Connected programs. 鈥� Contact: victoria.campbell@sydney.edu.au

Zoe Hogan

Zoe Hogan is a PhD student at The University of Sydney and Acting Director of Education and Community Partnerships at Sydney Theatre Company, where her teaching has encompassed primary schools, intensive English centres, juvenile justice centres and adult learning contexts. Zoe holds a MA in Theatre and Global Development from University of Leeds, where she received the Charles Barber Prize. She is the recipient of The Lloyd Martin Travelling Scholarship for Emerging Arts Leaders from Sydney Opera House. 鈥� Contact: zhogan@sydneytheatre.com.au

                                              _________________________________________________

PART II (13:00 鈥� 14:00)

Stefanie Giebert 

鈥淚t鈥檚 the reason why I teach鈥� 鈥� language teachers and performative teaching methods

In much research on performative language teaching and learning the focus has so far mostly been on the learners 鈥� but how do performative methods affect teachers? Studies have been conducted with student teachers (e.g. Sepp盲nen 2019) or with teachers who were confronted with performative methods as part of professional development (Stinson 2009), but in my study I wanted to find out about the following: what motivates language teachers to use performative teaching and learning methods in language classes? How are the teachers themselves affected by using performative methods? Which aspects do teachers perceive as especially rewarding or as most stressful?

From an interdisciplinary perspective I see connections to the relatively new field of language teacher psychology (z.B. Kostoulas & Mercer, 2018) which is concerned e.g. with emotions, motivations, identity formation and resiliency of language teachers. First results of my combined questionnaire and interview study show that emotional aspects and personal teaching beliefs seem to be the most important factors that lead teachers to choose performative methods. Most common stress factors seem to be negative attitudes of learners and environment and infrastructural problems.

References

Kostoulas, Achilleas & Sarah Mercer, (Hgg). Language Teacher Psychology. Multilingual Matters, 2018.

Sepp盲nen, Sirke, u. a. 鈥濼heater Improvisation Promoting Interpersonal Confidence of Student Teachers: A Controlled Intervention Study鈥�. The European Journal of Social & Behavioural Sciences, 24/1, 01/2019, S. 2770鈥�88.

Stinson, Madonna. 鈥樷�淒rama Is like Reversing Everything鈥�: Intervention Research as Teacher Professional Development鈥�. Research in Drama Education: The Journal of Applied Theatre and Performance, vol. 14, no. 2, May 2009, pp. 225鈥�43. Crossref, doi:. 

BIODATA

Stefanie Giebert studied English, Sociology and Psychology, completed her PhD in English literature in 2009. She teaches German as a foreign language and English as a foreign language at Konstanz University of Applied Sciences. She founded and managed the Business English Theatre Project at Reutlingen University for six years. Her teaching and research interests include dramatising non-fictional texts, improvisational theatre and teaching languages for special purposes (with drama). She co-organises the 鈥淒rama in Education Days鈥�. Contact: sgiebert@dramapaedagogik.de   |  

 

8th COLLOQUIUM

Saturday, 24 April 2021 - 11:00 GMT/UTC+0 hours.

We are delighted to welcome special guest John O'Toole who has made an outstanding contribution to our field of research (for further details see under biodata below). As John is based in Australia, please note that this colloquium will not take place in the usual time slot, but two and a half hours earlier at 11 a.m. Irish time / 8 p.m. Australian time.

John O'Toole

Stand Up for Literature 鈥� dramatic approaches in the secondary classroom

A 60minute presentation, followed by discussion.

You can register at:  

John will explain how a live, experiential and dramatic pedagogy can bring all literature to life 鈥� not just dramatic texts, but also lyric and narrative poetry, novels and myths and legends. Standing up (literally and dramatically) can help students engage with texts that are difficult or alien to their own experience; through drama they learn to manage and relish the language, explore the themes in depth and analyse and reflect on the meaning and impact of the texts. He will use examples from his recent eponymous book, co-written with Julie Dunn, to illustrate his techniques, from Shakespeare and Greek classics to contemporary novels and modern verse.

 

BIODATA

John O鈥橳oole, former Foundation Chair of Arts Education at the University of Melbourne, spent twelve years as a teacher of English and Literature, and he has then spent the last forty in exploring drama and developing dramatic pedagogy. He has written over twenty textbooks and research texts, besides plays and theatre-in-education, and was Lead Writer for the Arts and for Drama in the Australian Curriculum. In 2012 he was awarded the Order of Australia (AM) for services to drama.

  

7th COLLOQUIUM - 27 February 2021 

(approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Serena Cecco & Sabina Fata

Enacted Virtual tours as language booster 

Working as a language mediator means being a communications expert with excellent linguistic skills and a great capacity for interacting well with others. To ensure a positive outcome for each interpreting assignment, the interpreter must be well-organised, thoroughly prepared and ready to deal with unforeseen events. Therefore, interpreting students need to experience real-life situations, such as those offered for example by a mock guided tour, which gives them the opportunity to put their language and interpreting skills, but also their enacting into practice.

Second year students at Campus CIELS, Italy 鈥� Bachelor鈥檚 Degree in Interpreting and Translation Studies 鈥� were invited to organise and participate in a tour of the city of Padua, where they acted as editors, guides, interpreters, terminologists, photographers, video editors, visitors. Due to the COVID-19 pandemic lockdown, the mock guided tour had to be carried out online in a virtual setting, the students had to organise all necessary steps online: organisational tasks, preparation work, rehearsals, coordination, the tour itself, reflective tasks, and feedback from the lecturers.

This presentation will report on the different phases of the activity (preparation, enactment and feedback), the digital tools employed, and the possible application in language learning.

BIODATA

Serena Cecco is an interpreter and translator, language consultant and language trainer for private companies. She has been professor of Interpreting and Translation since 2006 in BA and MA courses: she teaches consecutive, simultaneous and dialogue interpreting (English-Italian) at Advanced School for Language Mediation of CIELS University, and dialogue interpreting (English-Italian) at Ca Foscari University, Campus Treviso. She has developed the workshop Interpret 鈥� AZIONE in cooperation with a professional improviser to explore innovative methods to train interpreters. She has been an amateur improviser since 2010

Sabina Fata is a translator, interpreter, lecturer and trainer with a passion for technology. As a translation technology expert, she has been teaching computer-aided translation and terminology management to professional translators for 20 years. From 2011 to 2020 she has been teaching German Translation and Interpreting in BA and MA courses, with a focus on real-life situations and technologies. At present she is Lecturer for German Translation and Information and Terminology Mining at Campus CIELS Master鈥檚 degree course in Padua.

Bibliography

Bahad谋r, 艦ebnem. (2008a). 鈥濪as Theater des Dolmetschens: Beobachten, teilnehmen, proben, darstellen, ver盲ndern鈥�. In: Bischoff, Alexander. Meyer, Bernd (Eds.): curare Zeitschrift f眉r Medizinethnologie. Vol. 31: Nr. 2-3. 鈥濻pezialheft: Die fremden Sprachen, die fremden Kranken: Dolmetschen im medizinischen Kontext鈥�, pp. 176-186.

Cecco, Serena and Masiero, Andrea. 2019. 鈥淚mproving Language and Interpreting Skills: A Teaching Experience鈥�. Scenario XIII(1).

Cirillo, Letizia & Niemants, Natacha (Eds.). (2016). Teaching Dialogue Interpreting. Amsterdam/Philadelphia: John Benjamins Publishing Company.

ECDL. 2020. 鈥淧erception and Reality. Measuring Digital Skills Gaps in Europe, India and Singapore鈥�. ECDL. [last accessed 16/10/2020]

Gavioli, Laura. 2018. 鈥淒o Authentic Data Mean Authentic Learning? On the Use of Authentic Samples and (In)authentic Activities in Teaching and Learning Dialogue Interpreting". inTRAlinea Special Issue: Translation and Interpreting for Language Learners (TAIL).

Herring, Rachel and Swabey, Laurie. 2017. Experiential Learning in Interpreter Education, paper developed under grant H160C160001 from the Department of Education, Rehabilitation Services Administration, Saint Catherine University, , [last accessed 30th July 2020].

Kautz, Urlich. (2000) Handbuch Didaktik des 脺bersetzers und Dolmetschens. Munich: Iudicium Verlag.

Sewell, Claire, Reflective Practice Workshop Handout, Office of Scholarly Communication, University of Cambridge, , [last accessed 30th July 2020].

 

PART 2 (14.30 - 15.30 GMT/UTC +0 hours)  

In this part we will try out a new format: a rehearsed reading.

Colloquium participants who contributed the project

On the Softening of Our World 鈥� 81 Sayings / 81 Spr眉che zur Enth盲rtung unserer Welt

will read their texts and give colloquium participants a taste of the kind of creative texts to be published in a Volume edited by Manfred Schewe in the Scenario Book Series (Volume 5).

For details on the book 鈥� a creative response to the Covid 19-crisis 鈥� go to:

For reviews of the book go to: 

Colleagues who will read their texts include Nils Bernstein, Anna Costantino, Nataliya Dzhyma, Susanne Even, Eva G枚ksel, Dagmar H枚fferer, B盲rbel Jogschies, Jody Nelson, Jenna Nilson, Erika Piazzoli, Barbara Schmenk, Anke St枚ver-Blahak, Elisabeth Vergeiner 

  

6th COLLOQUIUM - 30 January 2021 

 

PART 1 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Erika Piazzoli, Trinity College Dublin

Elif K谋r, Istanbul Medeniyet University

The Double-edged Sword of Storytelling:
Ethical Concerns in Conducting Performative Language Practice with Refugees

Does performative practice always empower, or can it also disempower? How, and why is that? Piazzoli and Kir have asked this question, among others, to a number of international practitioners working in vulnerable settings, including refugees. In this paper, they offer a synthesis of the findings from eight interviews with experienced teacher/artists and L2 facilitators. A salient issue unearthed by the inquiry is that storytelling can be a double-edged sword, when performative practice involves refugees and asylum seeker populations.

The authors begin with an overview of different ethical principles that have emerged from the literature across best-practice case studies. They argue that working with refugees requires a critical questioning of social positionality and power, with an awareness of biases, privileges and frameworks (Canas, 2017). They highlight some of the ethical concerns when storytelling and drama are used to 鈥榬eplicate鈥� the past, rather than 鈥榗reate鈥� new possibilities, what Jeffers (2008) framed as reinforcing 鈥榥arratives of victimhood鈥� through the arts. The analysis points to the interconnected relationship between vulnerability, agency and power, and to the subtle dynamics at play in a learning environment. In this sense, it is useful to reflect on whose stories are created, how they are portrayed, and what they represent.

Canas, T. 2015. Retrieved from:

Jeffers, A. (2008). Dirty truth: Personal narrative, victimhood and participatory theatre work with people seeking asylum. Research in Drama Education: The Journal of Applied Theatre and Performance. 13(2), 217鈥�221.

BIODATA

Erika Piazzoli is a lecturer in Arts Education, practitioner and researcher at Trinity College Dublin, School of Education. She gained her Ph.D. in Drama Education at Griffith University (Brisbane, Australia) where she worked as a tutor, lecturer and research assistant from 2008 to 2015. Currently she teaches Drama in Education and Language Education within the Master in Education (M.Ed.) programme, and Arts Education within the Professional Master of Education programme, at Trinity College Dublin. She coordinates the Sorgente project, a government-funded research on belonging and performative practice with refugees, asylum seekers and migrants. Her latest book, Embodying Language in Action, explores embodiment in performative language teaching, learning and research.    

Elif K谋r Cullen gained her PhD in Applied Linguistics, Ankara University, with a comparative research of language teacher education in T眉rkiye and Germany. She was a Fulbright scholar at The University of Pennsylvania in 2005/2006; visiting researcher at Humboldt University Berlin in 2009/2010; and postdoctoral research fellow at Trinity College Dublin between 2017 and 2019. She has been taking professional Drama in Education Courses and Creative Drama Training since 2005, both in her home country and abroad. She has offered several drama workshops in different countries.  Her interests include language, culture and using creative drama as a method in education. K谋r Cullen is currently assistant professor at Istanbul Medeniyet University, Faculty of Education.  

 

PART 2 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Anna Santucci & Rachel Walshe, University of Rhode Island 

Resisting from Within by Performing as Teachers and Learners: A Higher Education Dilemma 

鈥淚n the absence of a truly communist society in which a

communist pedagogy might indeed be emancipated from its subjugation to wage

labor and the labor theory of value, the virtue of a polytechnical education lies in its

potential to release human creativity from the restraints of the division of labor. The

virtue of theatre, as a mode of polytechincal education, is that it is an artistic

practice that can be practiced, collectively, by amateurs, rather than produced by

professionals for the consumption of others鈥� (Ridout 2013, 83-84).

Can performance practice protect some space for learners as such 鈥減assionate amateurs鈥� (Ridout 2013) within our higher education institutions, especially in contexts that have historically thrived thanks to a robust consumer model that highly monetizes curricula? How do we navigate the obstacles faced when attempting to resist capitalist models of education from within? Is any disruption of the 鈥渂anking鈥� concept of education (Freire, 1968) and its operations even possible when our daily scholarship and practice are constantly surrounded by and getting absorbed into transactional systems? 

Santucci and Walshe believe that interdisciplinary teacher education grounded in performance practice can provide holistic professional development experiences with the potential to resist the capitalist framing of preparation for productivity, focusing on personal growth rather than narrowly postulated skills- and objective-driven trajectories. Yet such potential can be hard to realize鈥�

In 鈥淧erforming as Teachers and Learners鈥�, an initiative recently launched at the presenters鈥� university, members from the schools of Theatre, Business, Education, and the Office for the Advancement of Teaching and Learning joined forces in a pilot project that aims to support the professional development of educators within the institution (mainly PhD and MA students, for now) by nurturing their growth as authentic, passionate, and interculturally responsible academic agents. This presentation will discuss the evolution of this initiative and the challenges faced along the ongoing journey in seeking to realize its goals. Participants will also be invited to reflect on performance practice as a site of resistance within their own educational contexts, share lessons learned, and brainstorm possible future strategies.

Freire, Paulo. (1968) 1970. Pedagogy of the Oppressed.

Ridout, Nicholas. 2013. Passionate Amateurs: Theatre, Communism, and Love. Univ of Michigan Press.

BIODATA

Anna Santucci 鈥�&苍产蝉辫;

Rachel Walshe 鈥�&苍产蝉辫;

  

5th COLLOQUIUM - 28 November 2020 

Please note that the first presentation is in English, the second in German.

PART 1 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Laure Kloetzer and Ramiro Tau

Performing arts across disciplines in higher education: personal diaries as a tool for reflection

We will give an introduction to the ASCOPET research project which focuses on the specific teaching and learning dynamics in two university courses that make use of the performing arts to teach engineering and psychology (see https://www.epfl.ch/labs/instantlab/ascopet/). In doing so we will focus on selected examples of the personal diaries that the students produced in the course of a teaching term. We will show that these diaries do not only give access to the student's point of view, but are also a key component of our pedagogical approach in that they support self-reflection and are therefore a critical piece of our pedagogical practice. We claim that diaries are an essential part of the performative act and will illustrate the transformations to which they give rise.

BIODATA

Laure Kloetzer

Laure Kloetzer is Assistant Professor in sociocultural psychology at the University of Neuch芒tel, Switzerland. Her research focuses on how psychology can contribute to social change by applying developmental and participatory approaches that have been inspired by the seminal works of Vygotsky. She is also a science fiction writer. In her teaching she uses methods that are derived from the performing arts (and as a writer of science fiction also incorporates elements from science fiction). In a joint project with Dr Ramiro Tau, Prof. Simon Heinein and Dr Susanne Martin, she more recently has conducted research into the dynamics of using Performing Arts in Higher Education. The research findings emphasise the need to re-engage the body in higher education.

Email: laure.kloetzer@unine.ch

Ramiro Tau

Ramiro Tau is a researcher at the universities of Neuch芒tel and Geneva, Switzerland, interested in developmental psychology, history of psychology and education. His current research focuses on aspects of teaching and learning in performing arts-based university courses.

Email: Ramiro.Tau@unige.ch
 

TEIL 2 (Deutsch)
(etwa 50 min 鈥� 25min眉tige Pr盲sentation, anschlie脽ende Diskussion in Kleingruppen (15 min), danach Diskussion im Plenum (10 min).

Susanne Martin, EPFL (Ecole Polytechnique F茅d茅rale de Lausanne) Schweiz

Tanzende Universit盲ten?

Im ersten englischsprachigen Teil des Kolloquiums wurden das interdisziplin盲re Forschungsprojekt ASCOPET sowie zwei Schweizer Hochschulkurse vorgestellt, in denen die darstellenden K眉nste von zentraler Bedeutung sind. Im zweiten deutschsprachigen Teil beschreibe ich meine Rolle als k眉nstlerisch Forschende (artistic research / practice as research in the arts) in diesem Projekt. Als forschende K眉nstlerin gehe ich mit meinem Improvisationswissen, meinen choreographischen Arbeitsweisen und tanzp盲dagogischen Erfahrungen in die technische Universit盲t und erforsche, wie mit Tanzimprovisation die Lehr-, Lern- und Forschungskultur ver盲ndert und weiterentwickelt werden kann. Die Besonderheiten der Tanzimprovisation liegen dabei in der Beachtung und Anerkennung der zusammenkommenden K枚rper, die in der vorherrschenden Wissenskultur weitestgehend ausgeblendet werden und in der bewegungsorientierten Anwendung der Improvisationsprinzipien Wahrnehmungsf盲higkeit, Antwortf盲higkeit, Spiel (sense-ability, response-ability, play).

Zurzeit besch盲ftige ich mich mit dem Format der Lecture-Performance, das mir erlaubt, mit einfachen Praxis眉bungen einen kollegialen Erfahrungs- und Reflexionsraum f眉r eine erste Begegnung mit Tanzimprovisation zu er枚ffnen. F眉r das Online-Colloquium werde ich eine Arbeitszimmer-Zoom-kompatible 脺bung f眉r uns vorbereiten.

BIODATA 

Dr. Susanne Martin performt, erforscht und unterrichtet zeitgen枚ssischen Tanz. Sie arbeitet international, kreiert St眉cke kollaborativ oder solistisch. Sie besch盲ftigt sich mit Tanzimprovisation als choreographische Praxis und Bildungspraxis, mit Narrationen, Bildern und Praxen des Alter(n)s und mit Kontaktimprovisation als Praxis der Ber眉hrung und des Dialogs. Ihre St眉cke waren u. a. auf folgenden Festivals eingeladen: Aerowaves (London), International Dance and Theatre Festival (G枚teborg), Nottdance (Nottingham), Opera Estate Veneto (Bassano del Grappa), Tanec Praha (Prag).2017 erschien ihre Dissertation Dancing Age(ing) im transcript Verlag, in der sie das Potenzial improvisationsbasierten Tanzes untersucht, kritisch in unsere Alter(n)skultur zu intervenieren. Als k眉nstlerisch Forschende arbeitet sie zur Zeit an der EPFL (Ecole Polytechnique F茅d茅rale de Lausanne) in dem interdisziplin盲ren Forschungsprojekt ASCOPET. 

Email:   

For your information:

Volume 4 in the Scenario Book Series has just been published (in German).

Zur Information: Band 4 in der Scenario Buchserie ist gerade erschienen. 

Die Autorin, Alexandra Hensel, hatte ihre Publikation "Fremdsprachenunterricht als Ereignis" im Rahmen des Kolloquiums bereits kurz vorgestellt. Detailliertere Informationen finden sich hier:

 

4th COLLOQUIUM - 24 October 2020 

 

PART 1 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion)

FIONA DALZIEL & DENADA DEDJA, University of Padova, Italy

Exploring language and heritage through drama: a case study of adult migrants in Italy

In this paper, we present a drama workshop conducted with adult migrants in Italy, in which participants expanded their vocabulary knowledge and developed their overall communicative competence by means of themes related to cultural heritage. The context of the five sessions described here is the Erasmus+ project, 鈥淰IA Culture: European Cultural Heritage for Vocabulary in Action鈥�, involving partners in the UK, Greece, Serbia and Italy. The overarching aim is 鈥渢o make use of cultural heritage assets to promote an innovative, experiential, interactive and creative way of teaching a L2鈥� and to 鈥渃reate a welcoming learning environment that highlights inclusiveness, security, understanding, equality, and respect between the learners鈥�. The first phase of implementation in Padova involved the exploration of the notion of cultural heritage with a class of adult migrants and the choice of a series of tangible and intangible heritage assets related to the city of Padova, which were deemed by the learners as being particularly meaningful. These assets then formed the basis for the following drama activities; during these, the participants took on the role of various experts, ranging from tour guides to gardeners at Padova鈥檚 Botanical Garden. Drawing on photographs, videos, focus group discussions and teachers鈥� logs, we will explore how the workshop fostered both ownership of the second language and a sense of community in the classroom. What also emerged was a fascinating multicultural perspective on cultural heritage and its preservation for future generations.

BIODATA

Fiona Dalzielis a lecturer in English Language and Translation at the University of Padova, Italy, where she teaches on the BA and MA programmes in Modern Languages and Cultural Mediation. Her research interests include: promoting learner autonomy; academic writing; and the use of drama in language learning, including that of adult migrants. She has been the coordinator of the Padova University English drama group for over 20 years. 

Denada Dedjais a teacher of Italian as a second language. In collaboration with the University of Padova, schools and many organizations in Italy, she has been experimenting with drama approaches in her classes of adult migrants, refugees and asylum seekers as well as newly-arrived students. Her teaching and research interests include:  intercultural and language mediation, the use of drama in language learning and social inclusion.

  

PART 2 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

JUDITH EBERHARTER, University of Leeds

Creative Solutions for Complex Topics

In this paper, I want to present three teaching methods to overcome differentiations between language modules and what are typically referred to as content modules 鈥� a common division that is influential in shaping attitudes towards language teaching encountered in higher education. Drawing on three examples that question this division and have been used to teach German at the University of Leeds, I argue that it is possible to convey complex content with creative methods. 

This conventional division is unnecessary and through teaching practices like those outlined in this paper, we can break down the boundaries between the academic styles of content classes, and creative methods conventionally associated with language classes. Teaching methods for language modules and what are commonly referred to as  content modules vary significantly: while creative and performative teaching styles are common practice in foreign language teaching, content modules are often taught according to knowledge based methods often because they are deemed to be appropriate for 鈥榓cademic鈥� topics. Student feedback also shows a clear division between these two types of modules, with language modules typically being described as more fun and with less pressure than content modules, frequently viewed as more challenging and competitive.

Following a holistic learning approach (Hare, 2010), I use Lego to think about the concept of Heimat and uprootedness after the Second World War. The use of Lego provides students with an opportunity to explore these topics in a hands-on, tactile and most importantly, creative way. The spatial element of Lego, combined with a cooperative task creates a learning environment that allows students to experience the physical components of those concepts without the pressure of knowledge-based approaches.

Along similar lines, when discussing censorship in the GDR I use creative writing techniques and a role play that allows the students to recode and decode lyrics. The analysis of the lyrics of bands the SED supported in order to prevent or at least minimalize the western influence on the GDR youth is a creative way to learn about censorship in the GDR. In a creative writing setting students can decode, recode and expand the lyrics of sanctioned Staatsrockbands (Gerard, 2015). Subsequently I use a Staatliches Rundfunkkomitee-scenario  for a debate on the SED-interference.

Gerrard, K. (2015), 鈥楶unk and the State of Youth in the GDR鈥�, in: William Jay Risch, ed, Youth and Rock in the Soviet Bloc. Youth Cultures, Music and the State in Russia and Eastern Europe, Lexington Books.

Hare, J. (2010). Holistic education: An interpretation for teachers in the EB programmes. Available online from [29.11. 2019]

BIODATA

Judith Eberharter MA joined the University of Leeds in 2016 as OeAD-Lektorin (Teaching Fellow in German). In this position she organised and hosted several events like the Austrian Shorts, the writeAUT literature competition, the Impro-Theatre Workshop Durham-Leeds and the poetry slam Leeds-Hull. She studied applied Linguistics in Salzburg and Rome.  After an internship at the Ovidius University in Constanta/Romania Ms Eberharter returned to Innsbruck where she worked several years with NGOs teaching German as a Second Language and literacy classes, focusing especially on the development of materials for adult learning.

 

3rd SCENARIO FORUM ONLINE RESEARCH COLLOQUIUM - September 26, 2020

Should you have missed the 2nd Colloquium please note that recorded material will be made available as soon as possible. Should you need any further information please contact scenario@ucc.ie 

 
SCHEDULE FOR THE 3rd COLLOQUIUM: 

ENGLISH LANGUAGE PART (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion)

GUSTAVE WELTSEK & CLARE HAMOOR (Bloomington/USA)

Resiliency and its Discontents: Performing the Apocalypse

Through playful conversation and theory-driven inquiry, this presentation will unpack the suitcase of resiliency in our contemporary moment. Driven by recent experiences in pre-primary, primary, and secondary classrooms in the United States, Weltsek and Hammoor wonder: How are we actually being responsive (and responsible) to children in this age of apocalypse? Using notions of performative pedagogy and embodiment as a foil to teaching resilience, this presentation explores ways of seeing, thinking, experiencing, and being beyond adult predilections in the opacity of the Anthropocene. 

BIODATA

Gustave Weltsek, Indiana University Assistant Professor of Arts Education, teaches courses in creative pedagogies, performative inquiry, drama, and theater education.  His research examines how critical performative pedagogy (Weltsek et al. 2014) functions as a space for de-coloniality. Publications appear in; SCENARIO, Youth Theatre Journal, and Arts Education Policy Review. He is the Chair of Research and Publications for the American Alliance for Theatre and Education (AATE), and received the 2013 AATE research award.

Clare Hammoor, PhD, is a collaborative theatre-maker committed to justice and joy with experience teaching, directing, and devising in universities, public and private schools, professional theaters, and prisons. Clare is fascinated by object-oriented ontologies, playing with things, and interdisciplinary collaboration. Currently the Director of Inquiry and Instruction at Compositive Primary, Clare works to develop inquiry through multimodal explorations. Clare comes from Blue School in Manhattan where he was the Theatre Specialist and Director. Clare has taught at New York University and University of Denver among other institutions and given lectures across the US. He has led classes and workshops internationally and his writing appears in articles, chapters, and journal editorships. Clare's passion for joy and justice has also led him to teach university courses and direct theatre in prisons over the past decade. 

GERMAN LANGUAGE PART鈥� 50 Minuten: Vortrag (25), Diskussion in Kleingruppen (15), Diskussion im Plenum (10)

NILS BERNSTEIN (Hamburg/D)

Performativit盲t in der Fremdsprachendidaktik. Zur Korrelation zwischen performativem Lernen und Bildungssprache

Innerhalb der Vermittlung bildungssprachlicher Inhalte (wie etwa der Fertigkeiten Argumentieren, Abw盲gen, Er枚rtern, Hinterfragen) und innerhalb der Konzipierung akademischer Texte ist das Modell schriftlicher und m眉ndlicher Konzeptionalit盲t von Koch/脰sterreicher ein wichtiger Bezugspunkt der Deskription solcher Texte. In einem etwas erweiterten Kontext ist ebenso die Sprechakttheorie in der Pr盲gung von Austin und Searle und die Beschreibung performativer Sprechakte relevant. Insgesamt spricht viel f眉r eine Erh盲rtung der These, dass es eine Korrelation zwischen performativem Lernen, kreativen Schreibauftr盲gen und ganzheitlichen Ans盲tzen einerseits und der Vermittlung von Bildungssprache andererseits gibt. Lernende, die kreativ und performativ lernen, erhalten im Idealfall 鈥� unter Ber眉cksichtigung des Lerntyps 鈥� breitere Reflexionsm枚glichkeiten ihrer akademischen Textkompetenz, bzw. etwas salopp ausgedr眉ckt: Wer Gedichte schreiben kann und performativ lernt, kann wahrscheinlich auch bessere Hausarbeiten schreiben und bessere Referate halten.

Im Vortrag werden 鈥� f眉r Fachfremde eventuell nicht sofort einleuchtende, f眉r Dramap盲dagogInnen naheliegende 鈥� M枚glichkeiten der Verkn眉pfung aufgezeigt und an (Text-)Beispielen illustriert. Diese wurden sowohl in Seminaren zu Musik und Literatur oder Slam Poetry in deutschsprachigen L盲ndern als auch in Seminaren zur Zertifikatsvorbereitung und zu wissenschaftlichem Arbeiten f眉r internationale Studierende erarbeitet. Es werden einerseits schriftliche Texte betrachtet und kreative Arbeitsauftr盲ge beleuchtet als auch Performance-Beispiele vom Referenten gezeigt, die urspr眉nglich von Studierenden erstellt und aufgef眉hrt wurden.

KURZBIOGRAFIE

Nils Bernstein studierte u.a. Germanistik und DaF in Mainz und promovierte in Wuppertal. Nach DAAD Stationen als Sprachassistent in Chile und DAAD-Lektor in Mexiko ist er seit 2013 an der Universit盲t Hamburg t盲tig. Neben der Koordination des kompetenzorientierten Testbereiches und der Vermittlung bildungssprachlicher Fertigkeiten f眉r internationale Studierende interessiert er sich besonders f眉r 盲sthetisches Lernen und ganzheitliche Ans盲tze in der Fremdsprachendidaktik. K眉rzlich illustrierte er bei einem Science Slam mittels Rammstein-Karaoke die Verkn眉pfung seiner Interessensgebiete.

  

2nd Colloquium 鈥� 22 August 2020

AT 13:30 hrs Standard Irish Time (= 14:30 mainland Europe; 08:30 US/East Coast (New York); 05:30 US/West Coast; 19:00 India; 22.30 Japan; 22:15 Eastern Australia (Perth); 23:30 Western Australia (Syndney).

Registration for 2nd online meeting now open.

If you wish to attend please sign up here: 

Schedule:

English Language Part:

This part will consist of two presentations (20 minutes each). After the second presentation participants will have an opportunity to meet in breakout groups to discuss the presenations (10 minutes).

鈥� Silja Weber (Columbia University, New York): Performance, Pitfalls, and Possibilities: Inclusion and Equity in the Classroom

鈥� Anne Smith (Founder of the Creative English Programme, UK): 鈥楴ow I can help my child鈥�: fostering community, school readiness and parental engagement through performativity in preschool education

German Language Part:

This part will consist of two presentations (10 minutes each). 

鈥� Norma Wucherpfennig (Universidade Estadual de Campinas, Brazil): Performatives Lernen 鈥� eine 鈥歜rasilianische Praxisperspektive鈥�

鈥� Alexandra Hensel (Universit盲t G枚ttingen, Deutschland): Kurze Vorstellung von: Fremdsprachenunterricht als Ereignis 鈥� Zur Fundierung einer performativ-盲sthetischen Lehr- und Lernpraxis. (Band IV, Scenario Buchreihe)

 

1st Colloquium - 27th June 2020

This is to give you advance notice that the first 2 hr online meeting will take place on JUNE 27TH AT 13:30 hrs Standard Irish Time (= 14:30 mainland Europe; 08:30 US/East Coast (New York); 05:30 US/West Coast; 19:00 India; 22.30 Japan; 22:15 Eastern Australia (Perth); 23:30 Western Australia (Syndney).

Schedule:

Part I (60 min)

- Members of the Scenario Team introduce themselves and give general information about the Colloquium (5 min)

- Fionn Woodhouse: Focus on Zoom-related technical matters (10 min)

- Manfred Schewe: 'Performative' in a nutshell (10 min)

- Susanne Even: Teaching performatively: presence and unpredictability (10 min)

- Discussion (25 min)

 

Part II (60 min)

- Christina Goodnight: Perfect Disguises: Building an Evidence Base for Improvisational Drama Activities (20 min)

- 15 min Breakout Groups

- 15 min Plenary Discussion

- 10 min Wrapping up