CONFERENCE ORGANISING TEAM

SCENARIO Journal Editors

Manfred Schewe, Susanne Even

(University College Cork, IRL; Indiana University, Bloomington, USA)

SCENARIO Journal Advisory Board members

Eucharia Donnery, Micha Fleiner, Dragan Miladinovic, Róisín O'Gorman, Erika Piazzoli

(Shonan Institute of Technology, JPN;Xiamen University, CHN; University College Cork, IRL; University College Cork, IRL; Trinity College Dublin, IRL)

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CONFERENCE PROGRAMME

Link to Dropbox - Programme

SPEAKERS

‌We are looking forward to welcoming the following speakers: 

WOLFGANG HALLET

Title of Keynote: The performativity of space and performative competence 

This paper intends to look at space as an educational paradigm from the perspective of spatial theories as developed in sociology and cultural geography. Most of these theories draw upon Henri Lefebvre’s contention in his work La production de l’espace (1974) that space does not exist in itself, but that it is always socially produced and permanently (re-) constituted in and through acts of social interaction. Therefore, spaces are performative in Austin’s (and Judith Butler’s) terms of performativity: They are re-iteratively made, refigured and modified in acts of use and interaction. According to such sociocultural theories, space is therefore not a physical container that is simply there to be used or that must be ‘filled’ somehow.

‘Refiguration’ as a socially productive activity (‘spacing’) must be understood rather literally since space is a result of the respective manifold interrelations between agents, objects and the specific ways in which they are arranged (Martina Löw’s concept of ‘relational space’). Moreover, ‘spacing’ is never only a physical (or: ‘real’) activity, but any space is always also imagined and symbolized while it is being used. This is why, drawing directly on Lefebvre, Edward Soja contends that spaces are always ‘real-and-imagined’, they are “simultaneously real and imagined, concrete and abstract, material and metaphorical.” (Soja 1996: 65)

‘Spacing’ is therefore also an act of imagination and signification, a semiotic act of understanding and of making meaning, and spaces have more or less conventionalized meanings that can be, and normally are, ‚read’ and decoded. This symbolic dimension constitutes the need to acquire the ‘language of space’ in cultural and social education in general and a ‘language for space’ in language learning, and in the foreign language classroom in particular. This paper will therefore also delineate the implications for ‘performing space’ and for ‘performing in space’ (spatial ‘theatricality’ sensu Fischer-Lichte) in language learning, and the role of discourse competence for the acquisition of performative competence in terms of symbolizing, negotiating and (re-)defining spatial meanings.

Wolfgang Hallet is Professor of Teaching English as a Foreign Language and member of the Executive Board of the International Graduate Centre for the Study of Culture and Head of its Teaching Centre at Justus Liebig University Giessen, Germany. He is co-editor of a series of handbooks on teaching literature and culture, of a handbook series on teaching foreign languages, of the Giessen Contributions to Foreign Language Research (Tübingen: Narr), the Giessen Contributions to the Study of Culture (Trier: WVT), of the international book series Concepts for the Study of Culture (CSC; Berlin & New York: de Gruyter) and a major German bi-monthly journal on Teaching English as a Foreign Language (Der fremdsprachliche Unterricht Englisch).

In foreign language teaching his research and publications, including several monographs, comprise study of culture-based theories of teaching culture, literature-related competencies and, most recently, genre learning. His concept of performative competence draws upon Victor Turner’s anthropological contention that generically, i.e. structurally and thematically, social interaction (’social drama’) is closely intertwined with the stage drama, and vice versa (see SCENARIO issue http:// research.ucc.ie/scenario/2010/01/hallet/02/de). Together with Carola Surkamp he recently edited a volume on Teaching Drama and Drama Pedagogy (2015, Trier: WVT). He has also researched and published on the spatial turn in literary studies, on the constitution of space in literary texts and on space and language learning.

Staff Page: http://www.uni-giessen.de/cms/hallet

Contact details: Justus Liebig University Giessen, Department of English, Otto-Behaghel-Strasse 10 B, D-34395 Giessen

E-mail: Wolfgang.Hallet@anglistik.uni-giessen.de; Phone: +49 641 99 30 300

MADONNA STINSON

Title of Keynote: Hope, pedagogies, and travelling towards shared understandings

The diversity of papers, presentations and workshops at this conference attests to the range of epistemologies that we, teaching-artists and researchers, hold as we work to bridge contexts within the areas of drama and second, and additional, language learning. In this presentation I consider the moral imperative of our work as teachers of second and additional languages. In doing so I draw Paolo Freire’s Pedagogy of Hope, Maxine Greene’s aesthetics, and Elliot Eisner’s theories of arts and learning.

I share learnings that have emerged from previous and current research in Singapore and Australia, together with the work of colleagues internationally, who use process drama and devising theatre as pedagogical frames within language teaching. From these reports of recent research I propose pedagogical characteristics and qualities that contribute positively to language learning. I envisage such pedagogical stances as hope-generating processes, which encourage learners to imagine and enact futures that contain possibilities beyond their current, often constraining, contexts and circumstances.

The presentation goes on to consider methodological implications of dual-handed research into drama and language teaching and learning. By dual-handed, I mean working as artist and teacher concurrently as we balance both artistry and teaching in the learning process. In conclusion I consider the challenges and possibilities of researching practice in ways that allow for nuanced understandings to emerge and to be communicated within and beyond the field. 

Madonna Stinson is a Senior Lecturer in the Department of Education, Griffith University, Brisbane, Australia. She is an experienced teacher and teacher educator, having worked across all sectors of schooling. She is a member of the internationally renowned Applied Theatre team at Griffith University, and is currently working on research projects that encompass age-effective pedagogies in the early years, and arts, community and curriculum partnerships in a Brisbane school with a high proportion of refugee students. She has written extensively on drama and education and is in demand as a keynote speaker and masterclass workshop leader. Madonna was awarded a Life Membership of Drama Queensland in 2014, for her contribution to drama education. She has worked in teacher education in Singapore, UK and Australia. 

As Director of Publications for Drama Australia, she is Managing Editor of NJ: the Drama Australia journal (a peer-reviewed journal published by Taylor and Francis), the Drama Australia Research Monographs, and on-line publication materials. In addition she is a member of the editorial boards of RIDE: the journal of Applied Theatre and Performance; DATE-Asia; and Pedagogies.

Staff Page:https://experts.griffith.edu.au/academic/m.stinson

 

ULRIKE HENTSCHEL

Title of Plenary Paper (in German):

Theaterpädagogik in Deutschland: Entwicklungen, Prinzipien und Perspektiven

Die Theaterpädagogik gibt es nicht. Wie in anderen anwendungsorientierten Disziplinen existieren auch innerhalb der Theaterpädagogik verschiedene Praktiken, Arbeitsfelder und theoretische Ansätze nebeneinander. Theorien und Praktiken der Theaterpädagogik sind selbstverständlich abhängig von der jeweils historischen und kulturellen Entwicklung und unterscheiden sich, je nachdem welche Vorstellungen vom Subjekt von der Kunst des Theaters und vom Verhältnis von  Pädagogik und Theatern zugrunde gelegt werden. 

Ich möchte in meinem Vortrag zunächst einen kurzen Blick auf die jüngere historische Entwicklung der Theaterpädagogik in Deutschland werfen. In einem zweiten Schritt  werde ich in systematischer Absicht nach unterschiedlichen Formen der Gestaltung des Verhältnisses von Theater und Pädagogik und der ihnen entsprechenden Praxis fragen. Drittens geht es mir darum einige aktuelle Entwicklungen aufzuzeigen und zu fragen, welche Perspektiven sich daraus für die (interkulturelle) Verständigung über Theaterpädagogik ergeben könnten. 

Ulrike Hentschel studierte Erziehungswissenschaft, Sozialwissenschaften und Theaterpädagogik in Bochum und Berlin. Seit 2001 ist sie Professorin für Theaterpädagogik und Darstellendes Spiel an der Universität der Künste Berlin. Sie ist Mitherausgeberin der „Zeitschrift für Theaterpädagogik. Korrespondenzen“. Buchpublikationen: Theaterspielen als ästhetische Bildung. 3. Auflage, Milow 2010, gemeinsam mit Reimar Stielow: Fragen. Jahrbuch 5 der Hochschule für Bildende Künste Braunschweig. Köln 2002; gemeinsam mit Hans-Martin Ritter: Entwicklungen und Perspektiven der Spiel- und Theaterpädagogik. Milow 2003; gemeinsam mit Marianne Streisand/ Bernd Ruping/ Andreas Poppe: Generationen im Gespräch. Archäologie der Theaterpädagogik I. Milow 2005; gemeinsam mit Gundel Mattenklott: Erzählen. Narrative Spuren in den Künsten. Milow 2009; gemeinsam mit Ursula Brandstätter und Ana Dimke: Szenenwechsel. Vermittlung von Bildender Kunst, Musik und Theater. Milow 2010. Forschungsschwerpunkte: Ästhetische Bildung, zeitgenössisches Theater und Theaterpädagogik, Theater und Schule, Geschichte der Theaterpädagogik.

uhen@udk-berlin.de

PERFORMANCES

ARTIG

Conference delegates will have an opportunity to see ImproTheatre. 

We are looking forward to welcoming VIENNA-based Improtheatre group ARTIG back to Cork. 

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RIGHT HERE - RIGHT NOW!

Just imagine you can be whoever you want to be, you can live wherever you want to live and every single moment is the beginning of a great adventure! Welcome to the exciting world of improvisational theatre.

Improvisational theatre, also known as improv, is a form of theatre where all of what is performed is created at the moment. The dialogue, the action, the story and the characters are created collaboratively by the players or in interaction between audience and players. The three performers, Lino Kleingarn and Alexander Riedmüller, as members of the Viennese theatre collective „artig“, and their guest musician David Füllekruss will show you what spontaneity really means! More information:www.artiges.org and www.facebook.com/artig.impro 

GAITKRASH

Furthermore Cork-based theatre company GAITKRASH, in association with Drama & Theatre Studies, UCC invites conference delegates to a work-in-progress sharing of a stage adaptation of Marlen Haushofer's Killing Stella (Wir töten Stella, 1958).

Killing Stella is the latest collaborative piece from GAITKRASH theatre company, known for their experimental performance work at the intersection between sound, image and text. Anna, who perceives herself to be trapped in an oppressive, patriarchal and hierarchical world, confesses to her role in colluding in the abuse of Stella, a young woman she takes into her home. The story is told through a tapestry of choreography, musical composition and text. A stage adaptation of Marlen Haushofer’s novella Wir töten Stella (Austria, 1958), the piece makes a bold statement about the dangers of collusion in domestic settings and exposes the superficiality of idealized versions of home and family.

The performance will be followed by a 30-minute Q and A with the team and the audience.

Collaborative Team:

Bernadette Cronin: performance/translation/adaptation (GAITKRASH/UCC)

Eimear Reidy: cello/musical composition/adaptation (freelance artist)

Marie Kelly: dramaturgy (UCC/freelance theatre practitioner and casting director)

Regina Crowley: artistic direction (GAITKRASH/CIT)

Mick O’Shea: design consultancy (GAITKRASH/Domestic Godless/The Quiet Club)

Inma Pavon: photography/choreography

Patricia Klich: videography (freelance artist)

 Bernadette Cronin 

A Brief History of Metaphysics - Solo Performance by John Crutchfield

This is an original, movement-based solo performance which premiered as part of the 2012 Asheville Fringe Arts Festival (in Asheville, North Carolina, USA), but which has not yet had a European premiere. Working in the physical comedy tradition of Bustor Keaton and other performing artists of the vaudeville and silent film era, the piece uses the motif of a student sitting at an institutional “desk-chair” to explore the contentious relationship between body, mind, language and materiality. The performance lasts approximately fifteen minutes. Although the piece makes no propositional claims about the themes it raises, it could serve as an entertaining catalyst for the discussion of those themes in relation to performative foreign language teaching and learning.

John Crutchfield

Spurensuche

At the beginning of the school year 2015/2016, 35 students from the Ernst-Mach Grammar School and Haar Comprehensive School near Munich, went back in time on a trip into the dark days of National Socialism in their hometown. The goal of the journey was to investigate the atrocities committed at that time, whilst also considering their own behavior from a contemporary perspective and was encapsulated in the question:

What sort of person do you want to be?

On the basis of on-location enquiries, appraisal of official historical documents, conversations with survivors and, as a result of discussions within the students’ own familial discourse, a documentary performance emerged. This consisted of almost exclusively of original quotations from that time.

In the chronology of the historical documentation of the Nazi period, the events that took place in Haar include details of the fate of various victims of euthanasia. An important feature of the performance is due to its close regional association with the Healing- and Care-Center Eglfing-Haar, where many of the crimes were committed.

This play looks, in different contexts, at the question of who and what was worthy of continuing to live and the audience is confronted in an active way with these issues. The members of the public, in the framework of very special staging, are continually confronted with new situations, which demand thought, consideration and conclusion.

SPURENSUCHE represents a theatrical commemoration of the victims of the Nazi euthanasia crimes, and has been awarded a prize for original on-stage tribute.  

On the 25th of January 2017, at the invitation of the Government Secretary for the Disabled in Germany, the play was performed in the Kleisthaus in Berlin, the headquarters of that institution, this day being the National Remembrance Day for all victims of Nazi crimes.

Direction: Thomas Ritter and Farina Simbeck

Actors: 35 from the Ernst-Mach Grammar and Haar Comprehensive School

Lighting, Staging and all other technical aspects: 10 students from Ernst-Mach Grammar School

Sponsorship: BÜRGERSTIFTUNG HAAR

PANEL DISCUSSIONS

PANEL DISCUSSIONS

PANEL I (Thursday 25 May, 17.00 – Devere Hall)

Towards the creation of (more) performative spaces in education

Perspectives from Architecture (Sarah Mulrooney, School of Architecture, UCC/CIT), Dance (Maria Sinnecker, Dance Theatre Project Cork), Drama and Theatre Studies (Roisin O’Gorman, UCC), Education (Peadar Donohoe (Cyclone Rep Theatre Company/CIT Cork School of Music), Music (Triona Ni Shiochain, UCC), Visual Art (Tadhg Crowley, UCC, Glucksman Gallery,) – Chair: Manfred Schewe, UCC

PANEL II (Saturday 27 May, 19.00 – Room 3, River Lee Hotel)

Performative Arts and Pedagogy: Towards the Development of an International Glossary

On the Panel: John Crutchfield (Freie Universität, Berlin), Susanne Even (Indiana University, Bloomington) Erika Piazzoli (Trinity College Dublin), Madonna Stinson (Griffith University, Brisbane), Gustave Weltsek (Indiana University, Bloomington) – Chair: Manfred Schewe, UCC

ABSTRACTS

Link to Dropbox - Abstracts

BIODATA

Link to Dropbox - Biodata

REGISTRATION

Please note that you can avail of different pay options; the conference fee includes teas/coffees, lunches and also performative events. 

Further details regarding credit card payment are available at:

http://www.uccconferencing.ie/product/performative-spaces-in-language-literature-and-culture-education-2nd-international-scenario-forum-conference-marking-10-years-of-scenario-journal/

ACCOMMODATION

We advise that you book your accommodation in Cork as soon as possible. For accommodation near the University Campus 

Lancaster Lodge [http://www.lancasterlodge.com/]

4 O'Donovan Rossa Rd, The Lough, Cork

Tel. +353 21 4271460

You will find further  useful tips on the following University Website: 

https://www.uccconferencing.ie

TRAVEL ARRANGEMENTS / DIRECTIONS

** Please note: Some Airlines currently seem to offer special deals ** 

UCC is located in the western part of Cork city, 1 km from the city centre. The main parts of UCC’s campus are along Western Road and College Road. Please note that car parking facilities at UCC are limited.

Please click here for a UCC campus map (via google)

BY FOOT (OR BIKE)

CALL FOR PAPERS

Call for Papers

Performative Spaces in Language, Literature and Culture Education

2nd International SCENARIO Forum Conference marking

10 Years SCENARIO – Journal for Performative Teaching, Learning, Research

University College Cork, Ireland – May 25-28, 2017

The 2017 SCENARIO Forum conference responds to increasing signs of a performative shift in education and explores potential PERFORMATIVE SPACES in language, literature and culture-related pedagogical contexts. We invite contributions with a focus on (but not limited to) the following topics:

• Embodied spaces. How can the role of the body be accentuated more as an integral part of the learning process? What effects does embodiment have on learning outcomes?
• Physical spaces. What are the challenges and possibilities of existing physical spaces (classrooms/seminar rooms/lecture halls etc.) and how can performative teaching approaches impact and possibly transform those spaces?
• Mental spaces. What new spaces in the mind emerge from working performatively in education? How can those spaces be perceived, described, and reflected upon?
• Empty spaces. Which specific areas in education could particularly benefit from performative approaches to teaching and learning? If “empty space” is “any space in which theatre takes place” (Peter Brook), how can empty spaces become rooms for artistic/aesthetic experiences in language, literature, and culture education?
• Intercultural spaces. How can different cultures, languages and language learning backgrounds be productively integrated into performative teaching and learning? To what extent do performative approaches go beyond existing practice in the area of intercultural education?
• Curricular spaces. In what way have performative teaching and learning cultures already shaped existent curricula? What are the desiderata?
• Research spaces. What gaps exist between theoretical considerations and practical applications of performative teaching and learning, and how can these gaps become viable spaces for performative research? In what ways has research into performative teaching and learning already made an impact on research methodologies? How can performative teaching and learning be observed, codified, and/or assessed?
• Definitional spaces: What terminological challenges and transcultural considerations need to be focused on in the development of an international glossary of terms?
• Visionary spaces. After 10 years of SCENARIO: To what extent has the way towards a performative teaching and learning culture been paved? What has been achieved in particular cultural contexts? What developments are desirable/expected over the next ten years?

We welcome contributions from teachers, scholars, as well as artists and practitioners in related arts-based disciplines and professional fields of practice, including Education, Drama and Theatre, Film/ New Media, Music, Dance, Visual Art. The organisers are open to a variety of presentational forms, including 25-minute papers, 90-minute workshops, short films, and performance pieces.

Please send your proposal (max. 300 words in English or German) together with a short bio (max. 50 words) by January 31, 2017 to scenario@ucc.ie – to register for the conference click here.

Prospective contributors will be informed as soon as possible, by February 15, 2017 at the latest. Regularly updated information, including conference registration, can be accessed at http://www.ucc.ie/en/scenario/scenarioforum/scenarioforum-conference2017/. 

Selected papers will be published in SCENARIO Journal (http://scenario.ucc.ie) and/or the SCENARIO Book Series (http://www.ucc.ie/en/scenario/scenariobooks/).

The conference is organised by the Department of German, University College Cork, in close collaboration with the CASiLaC research cluster Culture as Performance – Performance as Culture in UCC’s School of Languages, Literatures and Cultures and the Centre for Interdisciplinary Research in Performance Practices.

Organising Team: Eucharia Donnery (Shonan Institute of Technology, Japan), Susanne Even (Indiana University, Bloomington, USA), Micha Fleiner (Xiamen University, China), Dragan Miladinovic (University College Cork), Roisin O'Gorman (University College Cork), Erika Piazzoli (Trinity College Dublin), Manfred Schewe (University College Cork).