Drama und theater in der fremd- und zweitsprachenlehre: Blick zurück nach vorn

Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitsprachenlehre seit Mitte des 19. Jahrhunderts nach. Es wird davon ausgegangen, dass ‘Drama und Theater in der Fremd-/Zweitsprachenlehre’ sich nunmehr als eines der vielen Anwendungsfelder etabliert hat, die mit dem Fach- und Sammelbegriff ‘Applied Theatre’ erfasst werden. Der Begriff bezieht sich auf das breite Spektrum von Individuen, Gruppen und Institutionen, für die das Theater als Kunstform nicht reiner Selbstzweck ist, sondern zentraler Bezugspunkt und Inspirationsquelle für drama-/theaterbezogene Aktivitäten. Durch solche Aktivitäten sollen im jeweiligen Anwendungsfeld ganz bestimmte Ziele erreicht werden, im Falle des fremd- und zweitsprachlichen Unterrichts z.B. sprach-, literatur- und kulturbezogene Ziele. Dieser Beitrag versteht sich als kompakte Bündelung und insbesondere Aktualisierung von Überlegungen, die erstmalig in meinem Buch Fremdsprache inszenieren (1993) erschienen sind. Zur Ergänzung dieses kompakten Überblicks sei auf die umfangreiche Forschungsbibliographie auf der Homepage dieser Zeitschrift verwiesen. Zum Konzept ‘Applied Theatre’ vgl. z.B. Ackroyd 2000; Taylor 2003; Nicholson 2005

MUSICAL THEATER AND THE CLASSICAL VOICE: CROSSOVER SINGING IN THE TWENTIETH CENTURY

This dissertation explores the transformation of opera comique (as represented by the opera Carmen) and the impact of verismo style (as represented by the opera La Boheme) upon the development of operetta, American musical theater and the resultant change in vocal style. Late nineteenth-century operetta called for a classically trained soprano voice with a clear vibrato. High tessitura and legato were expected although the quality of the voice was usually lighter in timbre. The dissertation comprises four programs that explore the transformation of vocal and compositional style into the current vocal performance practice of American musical theater. The first two programs are operatic roles and the last two are recital presentations of nineteenth- and twentieth- century operetta and musical theater repertoire. Program one, Carmen, was presented on July 26, 2007 at the Marshall Performing Arts Center in Duluth, MN where I sang the role of Micaela. Program two, La Boheme, was presented on May 24,2008 at Randolph Road Theater in Silver Spring, MD where I sang the role of Musetta. Program three, presented on December 2, 2008 and program four, presented on May 10, 2009 were two recitals featuring operetta and musical theater repertoire. These programs were heard in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center in College Park, MD. Programs one and two are documented in a digital video format available on digital video disc. Programs three and four are documented in a digital audio format available on compact disc. All programs are accompanied by program notes also available in digital format.

'From Neo-Latin to Vernacular: Marvell's Bilingualism and Renaissance Pedagogy'

This chapter contextualises Marvell's Latin poetry in relation to seventeenth-century pedagogical theory and practice, with particular focus on bilingual textbooks, double translation methodology, and etymological alertness. An analysis of several Marvellian case-studies serves to highlight the influence of pedagogical bilingualism upon his poetic creativity.

Playful structure: a novel image of early years pedagogy for primary school classrooms

Playful structure is a new pedagogic image representing a more balanced and integrated perspective on early years pedagogy, aiming to blend apparent dichotomies and contradictions and to sustain and evolve play-based practice beyond Year 1. Playful structure invites teachers and children to initiate and maintain a degree of playfulness in the child’s whole learning experience, even when the learning intentions demand a supportive structure. Thus, playfulness becomes characteristic of the interaction between adult and the child and not just characteristic of child-initiated versus adult-initiated activities, or of play-time versus task-time. The paper is based on intensive observations and interviews with teachers in Northern Ireland who participated in a play-based and informal curriculum. This paper explains how playful structure rests on complementary processes of infusion of structure into play-based activities and infusion of playfulness into more structured activities, illustrated by cameos. ‘Infusion’ suggests the subtle blending process that allows apparent dichotomies and contradictions to be resolved in practice.

Why reinvent the wheel? A behaviour analyst's reflections on pedagogy for inclusion for students with intellectual and developmental disability

The number of children identified as having intellectual or developmental disability is rising worldwide and their education has been found wanting. It has been said that “they simply need better teaching.” At the same time, there is an increasing evidence base that pedagogy that is based on the discipline of behaviour analysis offers the best prospect for individuals diagnosed with autism spectrum disorders. On the basis of this evidence, it is proposed that behaviour analysis should be applied more broadly to improve teaching for all children with intellectual or developmental disability.

Enabling Social Work Students to Deal with the Consequences of Political Conflict: Engaging with Victim/Survivor Service Users and a ‘Pedagogy of Discomfort’

This paper describes the evaluation of an educational project, delivered in a Bachelor in Social Work degree (BSW) program in Northern Ireland. The project aimed to equip social work students to be more culturally competent in this divided society, with a central focus on including victim/survivor service users in social work training. A number of pedagogical approaches are noted, with particular consideration of Boler's ‘pedagogy of discomfort’ as a model that includes the multidimensional nature of the learning process when topics carry a high emotional tariff. The evaluation of the students' experience indicated that: there was strong support among students for the project; the unique contribution of service users was affirmed; and the project appeared to increase students' awareness and capacity to practice in a divided society. The evaluation of the trainers' experience highlighted key processes in the delivery of collaborative training. The authors argue that the lessons learned are broadly applicable to other forms of service user and carer involvement in social work training and in other societies in which health and social care professionals have to deal with the legacies of political conflict.

Towards a Pedagogy of Public Criminology

In light of recent debates on ‘public criminology’, this paper chooses to focus on teaching as a way of reaching more publics. The various characteristics of a more public and engaged discipline are discussed and applied specifically to the teaching of criminology, including the relative merits and demerits of reorienting teaching in this way. Following on from this discussion, the paper proceeds to outline some practical ways in which this vision can be realised. Given the many affinities betweenthe Burawoyan concept of public ‘-ologies’ and the scholarship of learning and teaching, an argument is advanced for teaching as one of the first steps towards the practice of a more public criminology.

Marie Sallé, Handel, Rameau and the development of narrative dance music:Bericht vom Internationalen Symposium an der Hochschule fur Musik und Theater Leipzig

Paradigmatic analysis reveals that these two composers developed distinct responses to creating narrative in dance music

Power, Pedagogy and Participation: ethics and pragmatics in research with young people

This article addresses issues of methodology and ethical reflexivity when attempting to investigate the opinions of young people. Drawing specifically on three studies of young people's understandings of citizenship and their views on topical issues, two from England and one from Lebanon, the authors present ways in which the ethical and practical challenges of such research can be met. While acknowledging the power relationship between researchers and informants, they suggest that what they call ‘pedagogical research approaches’ built on a participative methodology can open up a space where both parties benefit. They argue that, when working in schools, teacher educators can take advantage of this status to present themselves simultaneously as insiders and outsiders. The authors have devised what are intended to be non-exploitative research instruments that permit the gathering of useful qualitative data during a short encounter. They illustrate their approach with examples of classroom activities they have developed to provide simultaneously a valid learning experience and usable data.

Architecture as Pedagogy: Alive and Kicking

This workshop draws on an emerging collaborative body of research by Lovett, Morrow and McClean that aims to understand architecture and its processes as a form of pedagogical practice: a civic pedagogy.

Architectural education can be valued not only as a process that delivers architecture-specific skills and knowledges, but also as a process that transforms people into critically active contributors to society. We are keen to examine how and where those skills are developed in architectural education and trace their existence and/or application within practice. We intend to examine whether some architectural and spatial practices are intrinsically pedagogical in their nature and how the level of involvement of clients, users and communities can mimic the project-based learning of architectural education – in particularly in the context of ‘live project learning’

1. This workshop begins with a brief discussion paper from Morrow that sets out the arguments behind why and how architecture can be understood as pedagogy. It will do so by presenting firstly the relationship between architectural practice and pedagogy, drawing out both contemporary and historical examples of architecture and architects acting pedagogically. It will also consider some other forms of creative practice that explicitly frame themselves pedagogically, and focus on participatory approaches in architectural practice that overlap with inclusive and live pedagogies, concluding with a draft and tentative abstracted pedagogical framework for architectural practice.

2. Lovett will examine practices of architectural operation that have a pedagogical approach, or which recognise within themselves an educational subtext/current. He is most interested in a 'liveness' beyond the 'Architectural Education' of university institutions. The presentation will question the scope for both spatial empowerment / agency and a greater understanding and awareness of the value of good design when operating as architects with participant-clients younger than 18, older than 25 or across varied parts of society. Positing that the learning might be greatest when there are no prescribed 'Learning Outcomes' and that such work might depend on risk-taking and playfulness, the presentation will be a curated showcase drawing on his own ongoing work.

Both brief presentations will inform the basis of the workshop’s discussion which hopes to draw on participants views and expereinces to enrich the research process. The intention is that the overall workshop will lead to a call for contributors and respondents to a forthcoming publication on ‘Architecture as Pedagogy’.

Illuminating pedagogy through experiential knowledge

This report illuminates the author’s approach, centring on working alongside service users and carers in helping students understand difficult and challenging topics such as the impact of political conflict, social work values and international social work and offers guidance to colleagues in their attempts to meaningfully engage with experiential knowledge.