Scenario: A Journal for Performative Teaching, Learning, Research. Vol. V Issue 01

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https://hdl.handle.net/10468/12914

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    Foreword
    (Department of German, University College Cork, 2011) Schewe, Manfred; Even, Susanne; Schewe, Manfred; Even, Susanne
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    Momo
    (Department of German, University College Cork, 2011) Ende, Michael; Schewe, Manfred; Even, Susanne
    Momo’s story is that of a small girl who confronts the time-thieves; grey gentlemen who rob humankind of their time and therefore of their quality of life. The fact that the human beings are unconsciously making their loss of time possible should serve as a lesson to us all. – Momo is singularly equipped for the battle: she possesses incredible listening skills, so that “suddenly clever things occurred even to stupid people. […] She could listen so that people at a loss all of a sudden knew exactly what they wanted. Or that shy people suddenly felt free and courageous…” (translation Susanne Even). And other childrens’ games take off in unforeseen directions when she is around; they become happenings, dramatic experiences. The little stray Momo lives in an old, derelict amphitheatre, and this is where this story begins…
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    Rewriting the ‘Duchess of Malfi’
    (Department of German, University College Cork, 2011) Dalziel, Fiona; Santucci, Anna; Spedo, Giampaolo; Schewe, Manfred; Even, Susanne
    This article addresses issues of text adaptation in full-scale ESL drama production. After choosing to present Webster’s The Duchess of Malfi, participants in the English Drama Workshop at Padua University set about the task of adapting the play in order to make it more suitable for a group of non-native speakers of English acting in front of an audience made up predominantly of non-native speakers. Substantial changes were made during the adaptation process: as well as cutting and simplifying the text, certain characters were eliminated while others were doubled (or rather tripled) and one scene was totally rewritten. When implementing these changes, the group had to take account of both the student-actors’ linguistic competence and the size and composition of the cast, most of the members of which were female. It is argued that text adaptation in ESL drama is not only a way of creating a more appropriate product, but also greatly enriches the process leading up to the performance. The students gained deeper insights into the text and were also able to achieve a strong sense of ownership of the final production. This article addresses issues of text adaptation in full-scale ESL drama production. After choosing to present Webster’s The Duchess of Malfi, participants in the English Drama Workshop at Padua University set about the task of adapting the play in order to make it more suitable for a group of non-native speakers of English acting in front of an audience made up predominantly of non-native speakers. Substantial changes were made during the adaptation process: as well as cutting and simplifying the text, certain characters were eliminated while others were doubled (or rather tripled) and one scene was totally rewritten. When implementing these changes, the group had to take account of both the student-actors’ linguistic competence and the size and composition of the cast, most of the members of which were female. It is argued that text adaptation in ESL drama is not only a way of creating a more appropriate product, but also greatly enriches the process leading up to the performance. The students gained deeper insights into the text and were also able to achieve a strong sense of ownership of the final production.
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    Shakespeare and shareholders
    (Department of German, University College Cork, 2011) Giebert, Stefanie; Schewe, Manfred; Even, Susanne
    This article describes a project that attempts to teach business English to an interdisciplinary group of university students by means of producing a play, the script of which has been specifically prepared to include business-related situations and vocabulary. The project mainly aims at improving students' oral competence by giving them the opportunity to use (business) English in fictional but meaningful situations and by using it as the working language throughout the whole project. The project mainly involves students who major either in business or in modern languages. In the project students who might not have been interested in literature and theatre are introduced to it through a connection with work-related topics whereas students who might not have been interested in business get a glimpse of it by approaching it through drama. Both groups can improve their proficiency in English, their 'everyday English' as well as their business English. The article describes the motivation behind the project, the project's structure and the benefits for the students but also reflects on aspects that could be improved. This article describes a project that attempts to teach business English to an interdisciplinary group of university students by means of producing a play, the script of which has been specifically prepared to include business-related situations and vocabulary. The project mainly aims at improving students' oral competence by giving them the opportunity to use (business) English in fictional but meaningful situations and by using it as the working language throughout the whole project. The project mainly involves students who major either in business or in modern languages. In the project students who might not have been interested in literature and theatre are introduced to it through a connection with work-related topics whereas students who might not have been interested in business get a glimpse of it by approaching it through drama. Both groups can improve their proficiency in English, their 'everyday English' as well as their business English. The article describes the motivation behind the project, the project's structure and the benefits for the students but also reflects on aspects that could be improved.
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    Zur Theaterpädagogik in der Bundesrepublik Deutschland
    (Department of German, University College Cork, 2011) Koch, Gerd; Schewe, Manfred; Even, Susanne
    Der folgende Text war die Grundlage für einen Vortrag, den ich am 5. April 2008 in der Staatsbibliothek in Ankara hielt – vor einem vorzüglich interessierten Publikum, dem ich herzlich danke! Die akademischen Titel im Beitrag werden bewusst genannt, um anzuzeigen, dass Theaterpädagogik durchaus kompetent mitredet im Konzert universitärer Fächer. Kultur- und Bildungspolitik ist in Deutschland Sache der einzelnen Bundesländer. Das wirkt sich auch auf die mit dem Lernort Schule verbundene Theaterpädagogik aus. Ich werde im Folgenden einen Überblick über das Gesamtgeschehen und über die neuere Geschichte der Theaterpädagogik in Deutschland geben. Dazu werde ich beispielhaft und egoistisch (und das heißt auch: ungerecht) verfahren. Ich werde die Entwicklung der „Zeitschrift für Theaterpädagogik“ zur Richtschnur nehmen. Der folgende Text war die Grundlage für einen Vortrag, den ich am 5. April 2008 in der Staatsbibliothek in Ankara hielt – vor einem vorzüglich interessierten Publikum, dem ich herzlich danke! Die akademischen Titel im Beitrag werden bewusst genannt, um anzuzeigen, dass Theaterpädagogik durchaus kompetent mitredet im Konzert universitärer Fächer. Kultur- und Bildungspolitik ist in Deutschland Sache der einzelnen Bundesländer. Das wirkt sich auch auf die mit dem Lernort Schule verbundene Theaterpädagogik aus. Ich werde im Folgenden einen Überblick über das Gesamtgeschehen und über die neuere Geschichte der Theaterpädagogik in Deutschland geben. Dazu werde ich beispielhaft und egoistisch (und das heißt auch: ungerecht) verfahren. Ich werde die Entwicklung der „Zeitschrift für Theaterpädagogik“ zur Richtschnur nehmen.