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

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https://hdl.handle.net/10468/12695

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    Foreword
    (Department of German, University College Cork, 2016) Schewe, Manfred; Even, Susanne; Schewe, Manfred; Even, Susanne
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    Creative English: balancing creative and functional language needs for adult refugees, asylum seekers and migrants
    (Department of German, University College Cork, 2016) Smith, Anne; Schewe, Manfred; Even, Susanne
    This article argues that play and creativity are cornerstones of a person-centred approach to adult second language education. However, when learners are refugees, asylum seekers or migrants already living in the country where the language is spoken, it is important that language learning also addresses their functional needs. Creative English is an applied theatre programme for adults in the UK that balances these functional and creative needs while developing confidence in English language communication skills. Drawing on participant-led, practice-based research which resulted in the development of Creative English, this article purports the benefits of an approach that combines playful emotional engagement with pragmatic subject matter. Creative English is based on improvisation. It reduces inhibitions and creates a state highly conducive to learning and taking the risk to communicate in a second language. It also offers the opportunity to rehearse language in everyday life situations. When learners’ perceived needs are met, Maslow’s hierarchy of needs can then be inverted, as creativity allows opportunity to address needs in terms of self-esteem and belonging.
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    Ohne Panzerhemd der Gewohnheiten
    (Department of German, University College Cork, 2016) Hein-Khatib, Simone; Schewe, Manfred; Even, Susanne
    Während ich über Stimmen und ihre Wirkung auf mich nachdenke, fällt mir auf, dass ich mich vor allem an Stimmen erinnere, die Arabisch oder Tschechisch sprechen. „Der Oktober neigt sich dem Ende zu. Es ist Freitag, am frühen Abend. Pavel und ich sind auf dem Weg von Sušice nach Ústí nad Labem – knapp 250 km vom Fuße des Böhmerwaldes in den Nordwesten Tschechiens. Die Hügel, Wälder und Sträucherreihen, die am Autofenster vorbeiziehen, sind in der Abenddämmerung nur mehr schemenhaft zu erkennen. Meine Gedanken hängen im Karussell des Ungelösten und Unerledigten fest. Pavel stellt das Navigationsgerät an, das er vor kurzem von seinem Vater geschenkt bekommen hat. Er spielt mir einige Stimmen vor, weibliche und männliche, manche sprechen Tschechisch, andere klingen, als ob Deutschsprachige tschechische Wörter ablesen, ohne je zuvor mit der tschechischen Lautung in Berührung gekommen zu sein. Bei keiner der Stimmen kann ich mir ein menschliches Gesicht dazu vorstellen. Am unerträglichsten sind die monotonen Computerstimmen. Dann erklingt plötzlich eine Stimme, die nichts mit den vorherigen gemein hat. Sie spricht das gleiche begrenzte Repertoire an Einzelwörtern und Wendungen wie die Stimmen zuvor: „doprava“ (nach rechts), „za tři sta metrů sjeďte“ (fahren Sie nach dreihundert Metern ab), „teď sjeďte“ (fahren ...
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    Of empathy, imagination and good gloves
    (Department of German, University College Cork, 2016) Schildmeier, Marvin; Schewe, Manfred; Even, Susanne
    From the moment I first stepped in the door to our seminar room I was aware that I was a foreigner here. That was not just due to the fact that I had set out from my familiar Hannover on an Erasmus semester at University College Cork, but rather particularly due to the fact that in choosing the course Drama and Theatre of the 20th and 21st Century, I set foot in hitherto untested territory. As far as theatre and the performing arts were concerned, I was, in fact, a blank page. My stage experience was limited to playing Joseph in the Christmas nativity play, the canon of plays which I had read to those which were a part of the core curriculum in secondary school. I was a foreigner. The mental image of going up on stage made me feel uneasy and at moments when eyes were focused on me, I had the feeling that I could no longer properly control my body language. However, as you must sometimes set yourself new challenges, and as I thought that there could be no better point in time for such a peek outside the box than a semester abroad, in which ...
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    Performative script analysis for additional language classrooms
    (Department of German, University College Cork, 2016) Reid, Robin; Schewe, Manfred; Even, Susanne
    This paper discusses a variation of theatrical rehearsal practice that I adapted for a university level English for Academic Purposes (EAP) English course on which I taught and is also based, in part, on a workshop presentation I gave at the 2013 WATESOL conference in Wellington, New Zealand. The activity and its procedures, which are described in this paper, originated in my experiences and training as an undergraduate in theatre studies and also draws from my subsequent career in the performing arts. While the practice of script analysis is definitely not a new invention, being, as it is, one of the most fundamental activities that modern actors undertake in preparing for rehearsal, I feel this particular procedural variation of the practice is novel for second or additional (L2) language classrooms. I had wanted to experiment with scripted performance in my classrooms for some time, so I designed this activity to be feasible for students without any experience with the performing arts.This paper is arranged as follows: Firstly, I provide a brief background and rationale for the activity. Next, I explain in detail the procedures of the task. Lastly, I will briefly discuss students’ post-task feedback collected from an exploratory study ...