Where do drama teacher’s come from? Initial investigations into the formation of professional identity

The article reports on research into what may have influenced trainees on four post-graduate teacher training courses in England to become specialist drama teachers rather than pursue careers in the world of professional entertainment. It goes on to explore how the trainees regarded an understanding of performance, and an ability to both use and demonstrate performance techniques, as integral to their professional role. The subsequent discussion examines how a drama teacher’s professional identity may be seen as being made up of the three inter-connected elements, self, role and character. While all teaching may be regarded as a performing art, this paper suggests that, for the drama specialist, an understanding of what constitutes ‘performance’ has a particular importance. A conclusion drawn from the research is that recognising the place of performance in their practice may result in experienced teachers of drama regarding themselves as artists whose art is teaching drama.

‘Superteachers’, saints and solitaires: an investigation into advanced skills teachers of drama

This paper reports on a survey conducted in 2010 among ASTs who identified themselves as being specialists in, or having responsibility for, the subject of drama. The survey endeavoured to explore the professional backgrounds and experiences of these ASTs and gain insights into what they enjoyed about the role. It was especially concerned to address the following questions: 1. What general skills do ASTs in drama think they need to possess? 2. What subject specific knowledge and skills do they feel are needed to satisfy the demands of their role? In addition, insights were sought into what training and support had been afforded them, how they regarded themselves and were regarded by others in the role.

Self, role and character: developing a professional identity as a drama teacher

The paper reports on research into what may have influenced trainees on four post-graduate teacher training courses in England to become specialist drama teachers rather than pursue careers in the world of professional entertainment. In doing so it raises questions regarding the value of considering teaching as a performing art. The paper goes on to explore how drama trainees regard an understanding of performance, and an ability to both use and demonstrate performance techniques, as integral to their role as subject specialists. The subsequent discussion examines how a drama teacher’s professional identity may be seen as being made up of the three inter-connected elements, self, role and character. Thus, while all teaching may be considered to involve some elements of performativity , this paper suggests that, for the drama specialist, an understanding of what constitutes ‘performance’ has a particular importance. One conclusion drawn from the research is that recognising the place of performance in their practice may result in experienced teachers of drama regarding themselves as artists whose art is teaching drama; another is that recognising the different ways in which adopting a role may involve performance could be of value to all teachers and teacher educators.

Drama, disability and education

This book explores the question, what can society learn about disability through the way it is portrayed in TV, films and plays? The text examines and analyses the way disability is portrayed in drama, and how that portrayal may be interpreted by young audiences. Investigating how disabilities have been represented on stage in the past, this book discusses what may be inferred from plays which feature disabled characters through a variety of critical approaches. The book provides an annotated chronology that traces the history of plays that have featured disabled characters. It analyses how disability is used as a dramatic metaphor and considers the ethics of dramatising a disabled character. Critical accounts of units of work in mainstream school seeking to raise disability awareness through engagement with practical drama and dramatic texts are given along with detailed discussions of the issues underpinning two previously unpublished playscripts written for young audiences and description and evaluation of a drama project in a special school. In tackling questions and issues that have not, hitherto, been well covered, Drama, Disability and Education will be of enormous interest to drama students, teachers, researchers and pedagogues who work with disabled people or are concerned with raising awareness and understanding of disability.

The theme that dare not speak its name: Geopolitik, geopolitics and German foreign policy since unification

The purpose of this chapter is to trace the emergence of a new security imaginary in the foreign policy discourse in Germany during the 1990s and to determine whether it constitutes a return of Geopolitik in German foreign policy making. Does the re- appearance of geopolitical terms and expressions in the official and the academic discourses in post-unification Germany indicate such a shift? The essay will argue that the claims about a return of Geopolitik cannot be sustained. To the extent that the rhetoric of German government officials changes during the 1990s, this does not produce a coherent geopolitical security imaginary that stands diametrically opposed to the definition of political and institutional spaces of the Bonner Republik.

The use of drama to teach social skills in a special school setting for students with autism.

For children with autism, social challenges may be both part of the disability and a barrier to accessing education. This paper reports on a project which used drama to address such challenges by drawing on the social skills of non-autistic peers in a special school setting. The paper demonstrates how drama’s flexibility may be harnessed in order to help students support each other’s development of creative and communicative skills. Focusing on two children in particular, specific examples are given to illustrate how they participated in group work, made imaginative contributions to verbal and physical representations, and engaged with abstract ideas. The project’s outcomes suggest, given a concrete structure and an invitation to collaborate, drama can be a powerful learning medium for children with ASD. The conclusion reflects on the diverse meaning of inclusive practice which can be achieved within specialist settings.

(In)Complete acquisition of Turkish among Turkish German bilinguals in Germany and Turkey: an analysis of complex embeddings in narratives

Although most researchers recognise that the language repertoire of bilinguals canmvary, few studies have tried to address variation in bilingual competence in any detail. This study aims to take a first step towards further understanding the way in which bilingual competencies can vary at the level of syntax by comparing the use of syntactic embeddings among three different groups of Turkish�German bilinguals. The approach of the present paper is new in that different groups of bilinguals are compared with each other, and not only with monolingual speakers, as is common in most studies in the field. The analysis focuses on differences in the use of embeddings in Turkish, which are generally considered to be one of the more complex aspects of Turkish grammar. The study shows that young Turkish� German bilingual adults who were born and raised in Germany use fewer, and less complex embeddings than Turkish�German bilingual returnees who had lived in Turkey for eight years at the time of recording. The present study provides new insights in the nature of bilingual competence, as well as a new perspective on syntactic change in immigrant Turkish as spoken in Europe.