Scenario: A Journal for Performative Teaching, Learning, Research. Vol. XI Issue 02

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    A passion for the arts
    (Department of German, University College Cork, 2017) Woodhouse, Fionn; Collins, Mandy; Miladinović, Dragan
    I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...
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    Journeying into the complexities and possibilities of performative pedagogical practice, research and analysis
    (Department of German, University College Cork, 2017) J. Weltsek, Gustave; Collins, Mandy; Miladinović, Dragan
    In the United States, there is an obsession with high stakes testing, and performative pedagogues are challenged to prove that their work is valuable to increased scores. Educators who work through performative pedagogies are also expected to articulate the ways the work encourages and supports socio-cultural growth. In this article, the author calls into question trying to validate performative pedagogies based upon what they produce and or do and rather explores the complexities and possibilities of our work made manifest within observable discourses. Data was collected over the course of a year from a process drama with 20 pre-school students. Three students’ stories provided the researcher the opportunity to articulate multiple ways in which student identities began to emerge. An articulation was made possible based upon how individual discourses were observable as students interpreted and acted upon the various social needs within both an institutionalized world of their school and the fictional world of a pioneer journey.
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    Kingsbury Brunetto, K. (2015). Performing the Art of Language Learning: Deepening the Language Learning Experience through Theatre and Drama. Blue Mounds, WI: Deep University Press.
    (Department of German, University College Cork, 2017) Morrin, Serafina; Collins, Mandy; Miladinović, Dragan
    In this book, Kingsbury Brunetto describes her research on the language learning experience through theatre. Doing so, she analyses interviews with undergraduate students, which she collected from two theatre-based language courses (French and Spanish as L2) at different survey dates. The focus lies on the use of language as a social act that demonstrates the multifaceted nature of theatre-based language learning. Language is not only seen as something shown in evident linguistic objects here; rather it is a result of activities in complex contexts. The author wants to find out how learners of a second language function within a theatre-based language learning environment. She tries to understand the complexity of language learning as a socially situated human activity by looking at the perspectives of the participants. The particular charm of the book is that it is structured like a theatre play. Kingsbury Brunetto refrains from classic terms such as "theoretical background" or "research method", and instead entitles the chapters analogously to the procedure for a theatre performance, such as "Playbill", "Before the Curtain Rises" or "The Critics’ Reviews". In the beginning, Kingsbury Brunetto presents her approach to this research by briefly sketching her own background and providing a short insight ...
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    Theaterpädagogische Elemente in Fremdsprachenunterricht integrieren – am Beispiel eines Kiswahili-Kurskonzepts
    (Department of German, University College Cork, 2017) Horstmann, Susanne; Collins, Mandy; Miladinović, Dragan
    Der Artikel beschäftigt sich mit der Frage, wie man Fremdsprachenunterricht so gestalten kann, dass die ursprünglich bei allen Menschen vorhandene Neugier und Lust am Lernen wieder geweckt wird, wie man Aspekte natürlichen ungesteuerten L2-Lernens auch im Fremdsprachenunterricht simulieren kann und wie Spielelemente auch mit spielungewohnten Gruppen so in den Unterricht integriert werden können, dass das Spiel ein wirkliches Spiel wird. Außerdem spielen die Reduktion von Sprechangst und die Förderung von Lernerautonomie insbesondere hinsichtlich bevorzugter Sprachlernwege eine Rolle. Dazu werden im vorgestellten Konzept sowohl Bewegung, Rhythmus, Melodie und Rollen- und Theaterspielelemente genutzt als auch Clownsprinzipien. Die Herangehensweise ist für das deutsche Bildungssystem unüblich und will einen Kontrapunkt zum Anspruch der Ver-Messbarkeit von allem setzen.
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    Assessing performative competence in German ELF-classrooms – The task of teachers and learners
    (Department of German, University College Cork, 2017) Bosenius, Petra; Collins, Mandy; Miladinović, Dragan
    When it comes to categorizing what pupils in a German English language classroom do when they are taking over roles and enacting scenes, a variety of terms is usually applied, e.g. acting-out, role-play, scenic play, drama-based education, scenic improvisation, to name but a few. Drama in English Language Teaching (ELT) enables pupils to change perspectives and put themselves into the shoes of other personae thereby learning English in a holistic and creative manner that equally appeals to all senses. The question arises how teachers (and learners) can assess drama activities in an EFL-context. In order for assessment formats to yield conclusive insights into the achievements to be gained in performative EFL-classrooms, the former have to be based upon a sound understanding of the essential elements the construct of performative competence comprises. Therefore, firstly a definition of performative competence will be presented and practical examples of drama activities related to different school levels within the German school system will be provided. Secondly, the teacher’s tasks during drama activities in the EFL-classroom will be discussed, and thirdly, the agents and goals of assessing drama activities in ELT will be outlined before one generic assessment sheet will be introduced and analysed in detail.