Scenario: A Journal for Performative Teaching, Learning, Research. Vol. 18 Issue 1

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https://hdl.handle.net/10468/16623

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    Teaching as a performative art
    (Department of German, University College Cork, 2024) Godfrey, James
    This paper reports on diagnostic workshops conducted at a teacher training centre in Istanbul focusing on how Applied Theatre methods can support English Language Teacher Education in the areas of self-awareness and self-reflection. The workshops provided 12 participant English Language teachers experience of Applied Theatre methods and techniques to elicit feedback on their pedagogic value and efficacy in teaching. Through dialogue and reflection, participants identified the performative and meta-performative skills they valued from the workshops. While Applied Theatre methods have a proven track record in many contexts, they are rarely utilized in teacher development programmes. Feedback from the workshops revealed that Applied Theatre methods, notably Forum Theatre, provide embodied, participant-led, solution-oriented, multiple voiced opportunities for reflection and dialogue on critical incidents teachers’ face. In addition, participants highlighted performative skills pertaining to developing awareness of self, others and setting that are disregarded in current competence-based teacher education programmes. Participants also uncovered meta-performative skills reflecting on why teachers act in the way that they do. The workshops provide an initial template to create teacher development programmes incorporating Forum Theatre and other Applied Theatre techniques.
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    Ästhetische Gestaltung des unaufhaltbaren Wandels. Ein Bericht über die Podiumsdiskussion „Zum Stellenwert des ästhetischen Lernens in der Fremdsprachendidaktik“
    (Department of German, University College Cork, 2024) Jahnke, Irmelinn
    This report presents the key ideas discussed during the online panel discussion on the topic of ‘The importance of aesthetic learning in foreign language didactics’. The discussion took place as part of the event series ‘Ten years of aesthetic learning - one look back, two ahead’ (18 to 26 January 2024), which was held both in person and online. Under the moderation of Dr Nils Bernstein and Charlotte Lerchner, a consensus was reached among all participants: The integration of emotional experience through the arts leads to sustainable learning success in holistic foreign language teaching. As a student of linguistics and an employee of the Language Centre at the University of Hamburg, I was given the opportunity to take part in this panel discussion as an audience member and to write this report from this perspective.
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    The time when the new light is born
    (Department of German, University College Cork, 2024) Mattioli, Irene
    The subject of this report is the paratheatrical laboratory In the Act of Creating: Meeting with the Lentisk, led by Ewa Benesz. The contribution provides insight into this work, focusing on the key elements that characterise it as both an individual and collective artistic process. Benesz is one of the most important representatives of paratheatre, a participatory artistic practice initiated in 1969 by Jerzy Grotowski as part of the activities of the Wrocław Laboratory Theatre. In the article, I offer my own testimony of theworkshop held at Ca’Colmello in Italy in January 2020, focusing on the analogy between the transformation of the lentisk plant and the inner process of the performer. Each paratheatrical encounter is unique and unrepeatable: through improvised actions, the participants give life to an extemporary theatrical creation in the absence of an audience. The purpose of the report is to provide an account of the work that highlights its particular dramaturgical dimension, which is not fixed and is capable of generating, welcoming, and integrating the proposals of both group and individual performers.
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    The here and clown
    (Department of German, University College Cork, 2024) van Wyk, Klara; National Institute for the Humanities and Social Sciences
    his practise-as-research paper applies Cormac Power’s three categories of presence (2006) to contemporary clown training and performance in the theatre with specific reference to a recently devised performance that used clown principles to open up challenging discussions around shame, race and Afrikaner Identity. Through my perspective as a South African educator, clown practitioner and postdoctoral fellow, I propose that the contemporary clown’s failed efforts to sustain the audience's belief in their persona is what paradoxically leads to the clown’s success by drawing attention to presence as a multibodied phenomenon. Failure, a key principle of clowning, is an effective performance strategy that relies on the performer's awareness of their presence as a dynamic exchange to establish and maintain connection with an audience through listening and reacting to audience appreciation (laughter) or lack thereof (silence). Through critical reflection of the clown as both a state of presence and a performative strategy, this paper highlights the valuable role that the clown’s insider-outsider position plays in bringing about awareness and learning in both theatrical and pedagogic contexts.