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

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https://hdl.handle.net/10468/12978

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    Foreword
    (Department of German, University College Cork, 2009) Schewe, Manfred; Even, Susanne; Schewe, Manfred; Even, Susanne
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    Heaven – Theaterpädagogisch Vor- und nachbereitet
    (Department of German, University College Cork, 2009) Jogschies, Bärbel; Krohn, Doris; Schewe, Manfred; Even, Susanne
    Das Berliner Maxim Gorki Theater bietet wie viele deutsche Theater für Zuschauergruppen und Schulklassen theaterpädagogische Workshops an, die das Publikum auf den Theaterbesuch vorbereiten und in die Inszenierungen einführen. Diese Workshops enthalten interaktive Spiele und Übungen, die die Absichten der Theatermacher nachempfinden lassen und das Verständnis für die spezielle Theaterarbeit erhöhen. Die Autorinnen glauben, dass sich diese spielerischen Interaktionen für den Fremdsprachenunterricht eignen. Exemplarisch wird im Teil I von der Theaterpädagogin Bärbel Jogschies ein solcher Workshop beschrieben. Im Teil II reflektiert die Deutsch als Fremdsprache-Dozentin Doris Krohn über die Wirkungen, die dieser Workshop und der daran anschließende Theaterbesuch auf die Teilnehmer hatten. Nicht zuletzt ist der Artikel ein Kulturtipp, eine Leseempfehlung und eine Liebeserklärung an das moderne deutsche Theater. Das Berliner Maxim Gorki Theater bietet wie viele deutsche Theater für Zuschauergruppen und Schulklassen theaterpädagogische Workshops an, die das Publikum auf den Theaterbesuch vorbereiten und in die Inszenierungen einführen. Diese Workshops enthalten interaktive Spiele und Übungen, die die Absichten der Theatermacher nachempfinden lassen und das Verständnis für die spezielle Theaterarbeit erhöhen. Die Autorinnen glauben, dass sich diese spielerischen Interaktionen für den Fremdsprachenunterricht eignen. Exemplarisch wird im Teil I von der Theaterpädagogin Bärbel Jogschies ein solcher Workshop beschrieben. Im Teil II reflektiert die Deutsch als Fremdsprache-Dozentin Doris Krohn über die Wirkungen, die dieser Workshop und der daran anschließende Theaterbesuch auf die Teilnehmer hatten. Nicht zuletzt ist der Artikel ein Kulturtipp, eine Leseempfehlung und eine Liebeserklärung an das moderne deutsche Theater.
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    Green Henry
    (Department of German, University College Cork, 2009) Keller, Gottfried; Schewe, Manfred; Even, Susanne
    The path to literature, e.g. to the works of Schiller, is not necessarily the same for everybody. This insight can be found in literature itself, and needs to be realized more strongly through methodological-imaginative action. The following excerpt from Gottfried Keller’s Green Henry contains the narrator’s memories of his father and friends:
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    Towards a pedagogy of strangeness
    (Department of German, University College Cork, 2009) Frimberger, Katja; Schewe, Manfred; Even, Susanne
    Engagement in depth with a foreign language is a challenging experience. Within the experience, and at a crucial interface – where familiar perspectives are questioned, deconstructed and re-considered – lies an area that I term ‘strangeness’. The word strange has a range of meanings; “outside of”, “alien”, “different”, “unusual”, “exceptional to a degree that excites wonder or astonishment” (OED 1989). The strangeness that resonates within a foreign language reflects several of these definitions; it is multi-faceted, unpredictable, even sometimes unfathomable, but ultimately, I hope to show that it has exciting, life-enriching potential that, like the latter definition above, will elicit wonder and astonishment. This article proposes a ‘pedagogy of strangeness’ in foreign language education that aims to provide some ideas and praxis to help students unlock more of the enriching potential that the study of the subject holds. The term ‘predictable strangeness’ is used critically to describe the conventional approach to teaching language and culture. The idea of ‘unpredictable strangeness’ is employed to elucidate the subtleties that lie especially within an ethnographic approach to foreign language teaching. Theatre and drama concepts that substantially employ strangeness within their work will be shown to have particular relevance to my article. Engagement in depth with a foreign language is a challenging experience. Within the experience, and at a crucial interface – where familiar perspectives are questioned, deconstructed and re-considered – lies an area that I term ‘strangeness’. The word strange has a range of meanings; “outside of”, “alien”, “different”, “unusual”, “exceptional to a degree that excites wonder or astonishment” (OED 1989). The strangeness that resonates within a foreign language reflects several of these definitions; it is multi-faceted, unpredictable, even sometimes unfathomable, but ultimately, I hope to show that it has exciting, life-enriching potential that, like the latter definition above, will elicit wonder and astonishment. This article proposes a ‘pedagogy of strangeness’ in foreign language education that aims to provide some ideas and praxis to help students unlock more of the enriching potential that the study of the subject holds. The term ‘predictable strangeness’ is used critically to describe the conventional approach to teaching language and culture. The idea of ‘unpredictable strangeness’ is employed to elucidate the subtleties that lie especially within an ethnographic approach to foreign language teaching. Theatre and drama concepts that substantially employ strangeness within their work will be shown to have particular relevance to my article.
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    Testing the waters: Drama in the Japanese university EFL classroom
    (Department of German, University College Cork, 2009) Donnery, Eucharia; Schewe, Manfred; Even, Susanne
    This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.