Issue 1/2004 - ISSN 1470-9570

ARTICLES

Einleitung.

Manfred Schewe und Trina Scott, Cork (pages 1-6)

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Drama in the Margins? The Common European Framework of Reference and its Implications for Drama Pedagogy in the Foreign Language Classroom.

Barbara Schmenk , Bochum (pages 7-23)

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This article examines possible implications of the Common European Framework of Reference (CEF) for the fields of language learning and teaching, focusing on the potential role of drama pedagogy. The introductory part focuses on the role of drama pedagogy in language teaching, followed by a brief outline of the main objectives of the CEF and the standards it sets for language learning. The following section discusses some of the underlying assumptions of the CEF regarding language learning and teaching. I argue that the predominant focus in the CEF on pragmatic and strategic components of language learning and its ‘output-orientedness’ may pose a problem for language educators who conceive of language learning as a personal experience which cannot adequately be conceptualised in terms of scaled competences and strategic behaviours, and which may often lead to rather unforeseeable results. Subsequently, I discuss potential impacts of the CEF on the role of drama pedagogy in the foreign language classroom. Since the use of drama techniques may be considerably reduced and marginalised within a framework of standardised objectives and descriptors of language competences, I conclude that it is paramount for language educators to take subjective and aesthetic dimensions of language learning seriously. They should therefore be given a major role in the language classroom, and not consigned to the margins.

Szenisches Spiel im Unterricht "Deutsch als Fremdsprache".

Birgit Oelschläger, Berlin (pages 24-34)

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Ausgangspunkt der folgenden Überlegungen ist die These, dass Szenisches Spiel eine Unterrichtsmethode ist, die das Repertoire von DaF-Lehrern immens erweitern kann. Es wird argumentiert, dass Szenisches Spiel für verschiedene Zielgruppen und auf unterschiedlichen Sprachlernniveaus gewinnbringend eingesetzt werden kann; und zwar, soweit die zeitlichen und räumlichen Bedingungen dies zulassen, sowohl in Form von kürzeren als auch längeren Unterrichtseinheiten. Um dies möglichst praxisorientiert deutlich zu machen, werden fünf wichtige Unterrichtskriterien dargestellt und zum Szenischen Spiel in Beziehung gesetzt.

Dramagrammar in Theory and Practice.

Susanne Even, Worcester (pages 35-51)

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This article is composed of two separate, although overlapping, conference contributions, a paper and a workshop. Part I, the paper, introduces the concept of dramagrammar (drama in education for grammar teaching) and outlines its genesis in the context of third-level foreign language teaching in Britain and Ireland. Traditional problems of foreign language grammar teaching are described and solutions from dramagrammar are offered. A prototypical model of the dramagrammar lesson follows. Part II, the workshop, describes a practical dramagrammar session that took place at the conference. Moving from pantomime to dramatic play, workshop participants experienced dramagrammar as the inherently social activity that it is.

Persönlichkeit als Ressource. Rollenaushandlung und Gruppendynamik in theaterpädagogischen Prozessen.

Ruth Huber, Lissabon (pages 52-72)

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In diesem Artikel gehe ich der Frage nach, wie das psychisch vielfältig angelegte Rollenpotenzial jedes und jeder Einzelnen in der Theaterpädagogik entwickelt, fremdsprachlich verfügbar und von den Schauspielern im gemeinsam ausgearbeiteten Stück theaterwirksam ausgespielt werden kann. Dabei setze ich meine Erfahrungen mit Studierenden der Germanistik an der Faculdade de Letras de Lisboa (Portugal) in Bezug zu den mehrdimensionalen Modellen des Selbst, wie sie in der Selbstkonzeptforschung zur Anwendung gelangen. Für unsere Belange scheinen mir insbesondere die Bereiche der possible selves interessant, da sie energetisch hoch besetzt und theaterpädagogisch am produktivsten sind. Ich möchte zeigen, wie diese nicht ausgeschriebenen, nicht sozialisierten Rollenpersonen der inneren Bühne im Laufe eines individuellen und sozialen Konstruktionsprozesses von Identität und identitärer Fiktion gruppendynamisch vereinnahmt und dabei zum Teil umgemodelt werden, um dann im Stück regelrecht zur Welt zu kommen. Im Prozess der Aneignung des "étranger en nous"(Julia Kristéva) erscheint die Fremdsprache als eigentlich angemessenes Idiom, bringt sie doch das dem Alltags-Ich Fremde zur Sprache, ohne es seiner "étrangeté", seiner Fremdheit und Seltsamkeit zu entkleiden.

Comic Metatheater and Language Learning: Performing Ludwig Tieck's Der gestiefelte Kater.

Morgan Koerner, Seattle (pages 73-83)

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This paper argues that comic metatheater is a genre particularly suited for communicative language learning in project-oriented foreign-language theater courses. My argument draws on experience in teaching an undergraduate seminar at the University of Washington in Spring 2003; this course (German 304: Performing a German Play) resulted in two performances of Ludwig Tieck’s Der gestiefelte Kater. Examples from both the structure of Tieck’s play and my students’ rehearsals and performances illuminate the ludic context that made it possible for students to embrace both language learning and amateur acting as a pleasurable comedy of errors. The paper highlights the emphasis placed on improvisation and hyberbolic acting in course assignments. In the final section of the paper, I discuss the play in the context of cultural and literary-historical learning and examine the pedagogical significance of assignments given to students to update the play’s satire of popular culture. The paper’s evaluation of the different phases of the course, from interpretation and editing to production and staging of the play, culminates in an argument for a playful and improvisational approach to project-oriented foreign-language theater.

Exploring Peer Learning in the Drama Classroom with Neuro Linguistic Programming and Reciprocal Teaching.Der gestiefelte Kater.

Peadar Donohue, Cork (pages 84-109)

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This paper charts my classroom use of Neuro Linguistic Programming (NLP) communication techniques and subsequent adaptation of Reciprocal Teaching (RT) tools to encourage deeper reading in the classroom. I share a detailed account of my action research in the Advanced Acting section of The Gaiety School of Acting, Cork, from January 2003 – May 2003. Significantly, the RT tools are dialogical and language based and, therefore, relevant to foreign language learning where they provide a cognitive scaffold for students’ talk, thinking and actions. With the NLP and RT learning tools the students consciously engaged metacognition: thinking about thinking. In applying the metacognitive strategies of NLP and RT, their assumptions and hypotheses regarding text were challenged and this aided them in a transition from apprentices to self-regulated performers.

Drama and Intercultural Education.

Michael Fleming, Durham (pages 110-123)

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The following paper was given as a key note speech at an International Conference at National University of Ireland, University College Cork: Drama and Theatre in the Teaching and Learning of Language, Literature and Culture. An overview is provided of the different ways in which drama can support intercultural education, in particular in the way it helps people to examine their own practices and assumptions that are often taken for granted. The concept of interculturalism can be widened to include all sorts of human encounters, not just those across national boundaries; there is a sense in which any encounter with an ‘other’, ‘stranger’ or new social group may be seen as a form of interculturalism. In order to give language its proper respect we need to examine it in rich, meaningful contexts to explore its nuances, ambiguities and complexities. Drama as an art form works paradoxically; it highlights complexity in situations and reveals their cultural dimensions though a process of selection and simplification. Drama has a particular role to play because it engages feelings but also helps participants to decentre and view human encounters in a fresh way. In a dramatic representation human motivation and intention can be simplified and examined more explicitly.

Drama and Authentic Movement as Intercultural Communication Skill.

Marie Louise Blankemeyer, Copenhagen (pages 124-133)

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The following article describes a workshop held at the international conference "Drama and Theatre in the Teaching and Learning of Language, Literature and Culture" at University College Cork, Ireland. Furthermore, it gives some background information about Authentic Movement and its leading practitioners, as well as outlining how it is practised. Finally, the article considers how the principles of Authentic Movement can be applied to intercultural communication.

The Muses' Itinerary: Drama in Foreign Language Teaching. A bibliography.

Udo O.H. Jung, Bayreuth (pages 134-146)

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This is the third instalment of an international and multilingual bibliography on play acting (and writing) in FLT. It is argued that FL teachers should begin using pantomime and role play, puppet shows and educational drama (in the widest sense of the word) from a very early stage. As they grow up, students develop empathy and language skills when they slip into various roles, they also learn to avoid anomie and national stereotypes (it is hoped). Play acting makes students whole. The bibliographical entries stem from international (journal and book) sources, thus inviting the FL teacher to overstep the usual barriers of target language and home country.

REVIEWS

Drama Grammatik. Dramapädagogische Ansätze für den Grammatikunterricht Deutsch als Fremdsprache.

(2003) Von Susanne Even. Rezensiert von Barbara Schmenk, Bochum (pages 147-150)

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Im Haus der Sprache wohnen. Wahrnehmung und Theater im Fremdsprachenunterricht.

(2003) Von Ruth Huber. Rezensiert von Michaela Reinhardt, Vercelli (pages 151-155)

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Body and Language - Intercultural Learning Through Drama.

Series Advances in Foreign and Second Language Pedagogy (Vol. 3) (2002) Von Gerd Bräuer. Rezensiert von Susanne Even, Worcester (pages 156-159)

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