SCENARIO FORUM-Conference 2017

We wish to thank the following units at University College Cork for their generous assistance:

  • College of Arts, Celtic Studies and Social Sciences
  • Centre of Advanced Studies in Languages and Cultures (CASiLaC), School of Languages, Literatures and Cultures
  • Department of German
  • School of Music and Theatre
  • Department of Drama and Theatre Studies
  • Office of the Vice-President for Teaching and Learning
  • UCC Conferencing Office

 We are also very grateful for additional generous support received from: 

  • Embassy of Austria in Ireland, Dublin
  • Austrian Exchange Service
  • Embassy of Germany in Ireland, Dublin
  • Goethe Institute, Dublin
  • German Academic Exchange Service, London
  • Bord Fáilte []

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:

Please note that some details (for example, times and venues) might still change.

Please check on a regular basis for updates. Thank you. 





Department of German, Main Campus, Alfred O’Rahilly Building, First Floor


Section A

Alfred O’Rahilly Building G.41

Section B

(Alfred O’Rahilly Building 1.45)

Section C

(Alfred O’Rahilly Building G.20)

Section D

(Alfred O’Rahilly Building G.38)

Section E

AOR  (tbc)


Jennifer Rogers

In What Ways Do Playwrights Experience Research As It Is Going Towards The Performative?

Dorothy Morrissey          Marc MacLochlainn

A teacher-artist partnership approach to performance as pedagogy in teacher education

Petra Bosenius

Assessing Performative Teaching and Learning English as a Foreign Language – the Task of Teachers, Learners, and Researchers

Chris Bolton

Slithery drama and a co-constructed search for meaning

Hanna Bingel-Jones (D)

Auf dem Weg zu einem räumlichen Lesen: Literaturwissenschaftliche und fremdsprachen-didaktische Überlegungen zu einer performativen Textwahrnehmung


Annie Ó Breacháin

Generating embodied data in educational research: opportunities and obstacles

Paula Murphy

Towards an Embodied Teacher Education; A Qualitative Study

Anne-Laure Dubrac Françoise Barbé-Petit

Performing language: gestures as tools for learning second languages

Konstantinos Trimmis

Performative Archaeology: Using Drama in order to understand and communicate cultural spaces.

Birte Brudermann

Dialogues in the garden of earthly delights


Silja Weber


Students' discursive space and the role of performance activities

Dirk Weißer


Performative spaces in advanced teacher training: Results, possibilities, and limitations of teacher/ theatre pedagogue collaboration

Marie Potapushkina-Delfosse

Acting, painting, dancing English at primary school

John Crutchfield


The Teaching Lab: An Immodest Proposal

Isobel Ní Riain


Role-play in Literature Lectures


WELCOME EVENT, followed by





PERFORMANCE I – ARTIG: Right here – right now!



Friday, 26 MAY 2017


Moving gently into the day with FELDENKRAIS (led by Susanne Leutenegger)







Granary  Studio


Drama Lab

Section E



Susanne Franz    Mechthild Hesse

Complexity, simplicity, density – Crossing Stones - from a complex lyrical novel to a play for teenagers

Peadar Donohoe

The Performative Potential of the Body to Enhance Learning about Bullying through the Use of Role-play

Stefan Blutner (D)

Mehrsprachigkeit performativ in Szene gesetzt – in einem interkulturellen Spoken-Word-Projekt

Fionn Woodhouse (I)  

Interpreting Impact – Workshop examining ‘What Remains?’  

Combined Papers: Mairead Ni Bhriain

Action-Orientation Language Learning: The use of performative practices and spaces in the development of creative pedagogies for learners of French

Orfhlaith Ni Bhriain

Performative teaching:  Dance pedagogy and the Academy

Francis Ward

Exploring virtual sites of learning: an analysis of the processes of transmission of  Irish Traditional Music




Jennifer Kitchen

The role of playfulness in ensemble-based approaches to teaching Shakespeare: The creation of ‘3rd spaces

Erika Piazzoli             Claire Kennedy

Embodying the voice in second language learning: The application of actors’ voice training methods to teachers and learners

Konstantina Kalogirou

Teaching Greek in the UK: A Drama in Education challenge in modern intercultural Europe

Francesca Antonacci

Roots in the sky. The Encounter of Tightrope and Education

Katalin Schober

Performing intercultural contacts in foreign language education: Camfranglais and language play


Simangele Mabena

Performing language between deaf and hearing elementary students in mainstream classrooms

Jiaoyin Mei

The training of the performer in education

Jeannette Böttcher

Towards a Cultura Franca: Contemporary American Civil and Human Rights Drama in the EFL Classroom

Lynn M. Kutch

Understanding German Immigration Through Intermediality

Leticia García Brea  Arthur Häring

Performative teaching in Spain focusing on German as a foreign language


Plenary Paper (in German)Alfred O'Rahilly Building (tbc)

Ulrike Hentschel: Theaterpädagogik in Deutschland: Entwicklungen, Prinzipien und Perspektiven




Chris Bolton

Slithery Drama and a co-constructed search for meaning


Alexander Riedmüller

Körper. Rhythmus. Sprache. – Body. Rhythm. Language

Renata Behrendt (D)

Performative Textlektüren zum Thema Integration


Gustave J. Weltsek 

De- and Re- Constructing the Self: Disassociation and Re-imagining the Mental Spaces of Performance



Brigitte Hahn-Michaeli (D)

Texte begehen – Texte verstehen





Stefanie Giebert

A day in the life of a vacuum cleaner or: is there a space for dramatising non-fictional texts?

Stéphane Soulaine

An enactive approach to the training of language teachers: the example of an interdisciplinary project combining movement, dance and drama

Alexandra Hensel

Künstlerisch-performatives Spiel im Seminarraum

Anke Stöver-Blahak Bärbel Jogschies

Expeditionen unter den Bierbauch – Explorations below the beer belly

Erin Noelliste          Joseph Noelliste

Mnemonic Spaces: Music in Foreign Language Learning




Granary Theatre 




Granary Theatre

Performance II –
John Crutchfield: A Brief history of metaphysics

 Performance III – Gaitkrash: Killing Stella





Warm Up for Early Risers


Section A


Section B

Drama Lab

Section C

Granary Studio

Section D

Granary Theatre

Section E



Claudia Bartholomeyczik (D)

Emotionalität und Sprachenlernen am Beispiel des performativen Zugangs zu Gedichten

Letizia Montroni          Noah Tuleja

Activities for beginning level FL students to incorporate body and gestures into oral communication

Inma Pavon

Writing with the body – A dance improvisation workshop

Birgit Maria Langeder (D)

Szenische Aufgabenstellungen für Filmsequenzanalysen und Forumtheater zur Stärkung von Empathie, Diskursfähigkeit Selbst- und Medienkompetenz

Francesca Gualandri Federico Gobbo

Singing and Drama: a Synergy for Culture Education




Erika Piazzoli              John Kubiak

Embodying language: A case study on students with intellectual disabilities learning and through visual arts through drama

Nataliia Dzhyma

‘Welcome back everyone!’ Training actors for the Theatre of Media Diplomacy through Drama

Raphaëlle Beecroft

Improvisational Theatre in the Foreign Language Classroom as a Means of Initiating, Eliciting and Assessing Oral Communication in Young Learners

Nina Kulovics

Utopische Räume im Klassenzimmer oder „Hinter dem Himmel schlafen die Märchen“

Ana R. Calero Valera

INNOVA-TEA: Drama und Innovation an der Universitat de València


Garret Scally

From Performance to the Periphery and Beyond: Group Devised Theatre for additional language acquisition

Eva Göksel

First Encounters with Drama in Education: Self-reflections of Student Teachers


Simona Bora

Performative didactics: Investigating learners’ attitudes towards dramatic approaches within the L2 compulsory curriculum

Bettina Christner

Empty Spaces of Learner-Centered Collaboration. Building a Classroom Community with Drama Pedagogy

Eucharia Donnery

Performative Spaces and Intercultural Communi-cative Competence (ICC): Meeting the Needs of Japanese University Students


Alexandra Zimmermann

Intercultural Spaces – Reading the coffee grinds … Staging the Intercultural Space in Product Orientated Drama Pedagogy

Susanne Even

Finding one’s space within a space: Performative Teacher Training

Dominik Unterthiner

“Gimme something odd”. Implementing Drama in Education in Teacher-Training Programmes –

A Workshop Report

Lee Campbell                  Fred Meller

Spoiling the Game: Anarchy or Normality

Christina Hansen           Kathrin Eveline Plank (D)

Vom Container zum l´espace vécu – Ein multiprofessionelles Lern.Raum-Konzept zur Gestaltung inklusiver Bildungsräume




Katrin Geneuss (D)


‚In der Haut möcht‘ ich stecken!’ – . Live-Rollenspiel als Lernform. Ein Workshop

Alison Pantesco


Bring Mozart (and our students) to Life!

Abigail Paul


Inclusive classroom communication through theatre

Lino Kleingarn/Alexander Riedmüller (D)

spielendDeutsch – Improvisationstheater zur Förderung des freien und authentischen Sprechens im Fremdsprachen-unterricht

Serafina Morrin


“Drama with Foreigners?” – Cultural and Linguistic-Habitual Enactments in a Welcome Class




Daniela Enya Idda Federico Gobbo

How to move the empty space: the collective invention of a body language



Jocelyn Swanson

Piensa rápido! Hot-seating for critical thinking


Jon Lee

The Black Box Game (Rough Classics Version)

Thomas Ritter/Farina Simbeck et al.

Performatives Erinnern im Rahmen des Projekts „Spurensuche“ (Performance and Project Presentation)

Susanne Horstmann (D)

Dramapädagogische Elemente im Fremdsprachenunterricht auf A1 Niveau



18:00 - 19:00

Granary Theatre


19:00 - 19.40

Granary Theatre


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





SUNDAY, 28 MAY 2017


Section A

ORB 1.56

Section B

ORB 1.32

Section C

ORB 1.45

Section D



Rosa Kindl (D)

Vermittlung zentraler kommunikativer Funktionen der Abtönungspartikeln ,dochʽ, ,dennʽ und ,jaʽ im DaF-Unterricht mithilfe der dramapädagogischen Methode

Anne Smith

“You are contagious”: the role of embodiment in moving learners from rehearsal in a workshop into action in the outside world


Janice Bland

Spaces awaiting performance – with Harry Potter and the Cursed Child

Glenn Loughran

A-voiding Education:  Exploring the ‘event’ in education through Artistic Research


Tamara Bučková (D)

„Kafkas Kosmos“– internationale Theaterperformanz als der von den Studierenden aus Prag und Hamburg gefundene Raum für die szenische Koexistenz mehrerer Sprachen und Kulturen

Gisela Vogt, Jenny Passon

From (“Open your book on ...”) page to stage – applying theatre methods to foster intercultural communicative competence in various teaching settings

Barbora Müller Dočkalová

Creating an English speaking town at primary school

Christiane Lütge, Thorsten Merse (D)

Digitale Räume – empty spaces? Potentiale performativer Praxen im Literaturunterricht




Ulrike Brisson   

From summative to performative assessment through project-based tasks beyond the classroom

Alexander Schott (D)

Auseinandersetzung mit dem Leben in DACH – ein Projekt, seine Raumperspektive und Anschlussmöglichkeiten für performatives Lehren und Lernen in Ghana

Fionn Woodhouse (II)

Interpreting Impact – Workshop examining ‘What Remains?’ (Continuation of Workshop)

Lane Sorensen

Inhabiting Scopus: A German instructor's joy in applying drama pedagogy to a public speaking course


Catherine Van Halsema


Virtually Possible: How online spaces are redefining the viability and value of foreign language education

Yasuko Shiozawa/Eucharia              Donnery

Performative Spaces: Embodying Homelessness from Visionary Spaces

Michael Nesdale


SLA Constructs and their implications for drama in L2 learning

Dominik Unterthiner (D)

Mehrsprachiges Lesetheater – Lesen mithilfe theatraler Techniken fördern


Final Plenary Session 

‌We are looking forward to welcoming the following keynote speakers:


Madonna Stinson

MADONNA STINSON, Senior Lecturer, Department of Education, Griffith University, Brisbane, Australia.

Dr Madonna Stinson 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:



Photo Wolfgang Halle

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:// 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:

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

E-mail:; Phone: +49 641 99 30 300

Francesca Antonacci, Giulia Schiavone (Italy)

Roots in the sky. The encounter of Tightrope and Education


Our research aims to investigate the possibility of contaminating Education and tightrope walking. Supporting the idea that education should favor the vital balance for each human being (Durand, 1963/2013; Jousse, 1974/1979) and considering tightrope walking as one of the best examples of balance research (Petit, 2014), the paper tries to analyze the tightrope walker's self-training. In fact, we have chosen to study this topic as a peculiar educational experience, considering balance as a permanently dynamic condition and a target for every educational process.

The tightrope walking experience is as intense as any other performing art. In this sense, the performer acts in a condition described as a flow (Csikszentmihalyi, 1990), a state in which people are completely engaged in what they are doing.

This experience must be supported by the cognitive faculty of imagination (Bachelard,1960/2008), because the tightrope walker is led by an insane dream, that of connecting something that is naturally detached.

Something in the performer's imagination must be true and real (Brooke, 2012), something has to generate a transformation, because his performance causes a change in the tightrope walker's life, since walking on the wire puts his life in real danger. The power of imagination has to guide his walking across the empty space, as he would be walking across life and death. In the same way, education has an impact at an important stage of life and has to be balanced in order to guide every human being.


Claudia Bartholomeyczik (Germany)

Emotionalität und Sprachenlernen am Beispiel des performativen Zugangs zu Gedichten


Die Bedeutung von Emotion/en und Emotionalität für das Fremdsprachenlernen stärker zu berücksichtigen, wird von der Forschung bereits seit Ende der 90 Jahre gefordert, erfährt aber erst stärkere Beachtung, seit korrelierende Ergebnisse von Neurowissenschaften und Neurolinguistik diesen Forderungen weiteres Gewicht verleihen. Eine umfassende Integration der Erkenntnisse über "Languages of Emotion" (cf. das Forschungsprogramm der FU Berlin 2007-2014) oder die kompetenzbildenden Durchmischungen von Kognition und Emotion (Rolff 2004) in die Fremdsprachendidaktik steht noch aus.

 Im Workshop wird der affektive Zugang zu Sprache und Mehrsprachigkeit durch verschiedene performative Zugänge zu Gedichten erprobt und reflektiert. Im Fokus stehen: › Lautphysiognomie (emotionaler Eigenwert einzelner Laute sowie der Zusammenhang zwischen Sprachklang und semantisch/emotionaler Bedeutung), › Verkörperung und › Sprachvergleich.

Anhand der Onlineplattform werden Gedichte in verschiedenen Sprachen auditiv und 0ptisch verglichen, experimentell gesprochen und auf ihre emotionale Wirkung befragt. Ausgehend von der beispielhaften gemeinsamen Inszenierung eines Gedichts werden in kleineren Gruppen Gedichte einsprachig sprachkünstlerisch erarbeitet und präsentiert. Dies wird vergleichen mit der weiteren Inszenierung eines Gedichtes (unterstützt von Kostüm/ Requisite) in mehreren Sprachen.

Herausgearbeitet werden soll im Anschluss, inwiefern diese verschiedenen Zugänge ein individualisiertes, autonomes Lernen aufgrund von 'momentaner emotionaler Bedeutsamkeit' befördern. Hinzu kommt die Reflexion der gemachten Nähe-/ Distanzerfahrungen und deren Bedeutung für Lernsetting und Lernatmosphäre.


Raphaëlle Beecroft (Germany)

Improvisational Theatre in the Foreign Language Classroom as a Means of Initiating, Eliciting and Assessing Oral Communication in Young Learners


With the German MFL syllabus, including assessment measures, becoming increasingly competence and output-based, teachers are being faced with the challenge of creating authentic, task-based language-use situations in the classroom which train (intercultural) communication skills both at affective-procedural and cognitive-linguistic levels whilst still meeting concrete day-to-day textbook-related and institutional requirements. The proposed paper will present a longitudinal (two-year) mixed-methods action-research study which explores the potentials of integrating improvisational theatre in the secondary EFL classroom as one possible way of meeting these needs by creating a different kind of classroom interaction to Input-Response-Feedback patterns, enabling learners to, on the one hand, express themselves freely and spontaneously according to their differing abilities and, on the other, to experience pragmalinguistic variability across languages (such as differing intonation contours) first hand.

The study was made up of three phases; a pilot phase, a cooperation phase, in which teachers and researcher developed and implemented improvisational tasks on a weekly basis in lower secondary EFL lessons based both on the needs of the class and on syllabus/textbook demands, and an empowerment phase, in which teachers, observed and advised by the researcher, developed and implemented improvisational tasks independently, with the aim of integrating these sustainably into their everyday language teaching and assessment.

The paper will give an insight into the results of the study and will describe the challenges and potentials of the foreign language classroom as a setting for performative teaching.


Hanna Bingel-Jones (Germany/Ireland)

Auf dem Weg zu einem räumlichen Lesen: Literaturwissenschaftliche und fremdsprachendidaktische Überlegungen zu einer performativen Textwahrnehmung


Ausgangspunkt des Beitrags ist die Überlegung, dass Literatur nicht nur über Räume erzählt, sondern eigenständige Texträume schafft, in denen sich der Leser im Lektüreprozess orientieren muss. Der Text wird dabei als kognitiver und körperlicher Sprach- und Zeichenraum aufgefasst, der im Lektüreprozess ständig neu erzeugt und re-interpretiert wird. Dies wird besonders dann bewusst, wenn im Text lineare Erzählstrukturen unterlaufen werden und durch typografische Besonderheiten verstärkt die räumlich-visuellen Konfigurationen der Zeichen in den Blick rücken. Dimensionen der Verräumlichung werden auch durch intertextuelle Phänomene in den Text eingeführt, mittels derer die Textgrenzen überschritten werden und die Imagination auf vergangene Räume hin ausgeweitet wird.

Das Verständnis des Textes als performativer Sprach- und Zeichenraum eröffnet gewinnbringende Perspektiven für den universitären fremdsprachlichen Literaturunterricht, der neben der Vermittlung literaturwissenschaftlicher Inhalte zum Ziel hat, gewohnte Lesegewohnheiten zu hinterfragen und den differenzierten Umgang mit komplexer Bedeutungsbildung zu fördern. Die didaktische Reflexion des Textes als performativer Raum knüpft dabei an die Konzepte ,symbolische Kompetenz’ (Kramsch) und ‚Literarizität’ (Dobstadt/Riedner 2014) an, die in Auseinandersetzung mit poststrukturalistischer Sprachreflexion klassisch-hermeneutische Interpretationsmethoden hinterfragen und – ebenso wie im hier umrissenen Zugriff – den Fokus stattdessen auf ‚Deautomatisierung‘, ‚diskursive Vernetzung‘ und ‚mental mapping‘ (Ewert et al. 1011) richten. Welche Lehr- und Interpretationsmethoden eignen sich, um die sprachlichen, formbezogenen und intertextuellen Verräumlichungsstrategien des Textes zu erschließen und welche Ziele verknüpfen sich damit? Konkretisiert werden diese Fragen am Prosatext „Eine Dorfgeschichte“ von Katharina Hacker, der aufgrund seiner eigenwilligen Textgestaltung und dichten intertextuellen Verweisstruktur ein eindrückliches Fallbeispiel dafür liefert, wie Literatur mit unseren Vorstellungen vom (Text)Raum interagiert und diese erweitert.


Janice Bland (Norway)

Spaces awaiting performance – with Harry Potter and the Cursed Child

Literary texts are replete with empty spaces. These spaces are potential for involving children and youth in embodied response – embracing cognitive, affective, multisensory and sociological dimensions of learning. When the school curriculum offers only absences regarding multidimensional learning, these absenses can arguably likewise be interpreted as spaces full of learning potential. In this paper, I will explore opportunities for filling – as well as creating – spaces for critical, activated learning in the language classroom with interpretative drama processes, making use of Harry Potter and the Cursed Child byJack Thorne (2016), based on a story by J.K. Rowling & John Tiffany. Particular attention will be paid to ideological spaces, for as Nodelmann and Reimer assert ‘ideology works best by disappearing, so that people simply take their ideological assumptions for granted as the only, whole, and unquestionable truth’ (2003: 80). An ideology close to that of the reader appears invisible, and yet can be highly manipulative: ‘Ideologies can thus function most powerfully in books which reproduce beliefs and assumptions of which authors and readers are largely unaware’ (McCallum & Stephens 2011: 360). Children and young adults are to some extent constructed by their texts and by the invisible statements – that hover in the spaces between the lines – on gender, sexuality, race, ethnicity, social class and abilities. To what extent can generative drama processes and whole-body response afford necessary opportunities for examining ideology issues?


Stefan Blutner (Germany / UK)

Multilingualism performed! An intercultural spoken-word-project


Background: In the 21st century, learners find themselves in multilingual, complex and dynamic spaces. Their identities are formed and expressed in equally complex ways through social interactions with their families, co-students, teachers, communities, the internet, media and face to face. In "superdiverse" cities in particular they resort to linguistic repertoires which cannot be assigned to the construct of standardised national languages anymore.

The project idea: In a spoken-word-project, students shall be enabled to express their individual multilingualism creatively. Their cultural and linguistic backgrounds are acknowledged when they combine heritage languages, official languages, languages learnt at school and dialects, styles and hybridisations in the sense of the translanguaging approach. The learners' consciousness of language use increases, while they experience that their way of speaking and combining linguistic styles is not just legitimate but can also be artistic and committed. This creative task can lead to an enormous rise of language awareness, especially in the dimensions of affectivity and identity politics.

The workshop: The workshop takes up elements from the project: With the help of performative exercises the participants get to know each other and delve into social questions of multilingualism. Based on theory, we analyse spoken-word-performances and their potential for identity creation and transformation. Subsequently, ways in which students can be enabled to create their own multilingual performances will be presented. Eventually, there will be time for reflection or for making an attempt at our own small group performance.


Chris Bolton (UK)

Slithery drama and a co-constructed search for meaning


As a result of drama in education’s historical slithery nature and its contested purpose as a pedagogy, there is a creative challenge for drama teachers in England. This is particularly heightened for those who are new to the profession, in that whilst the purpose of drama in education is confusing, complex, rhizomatic, contradictory and liberating; a lack of experience, coupled with intensified risk aversive surveillance within English education (Page 2016), can lead to formulaic and mechanistic teaching, whereby ‘new’ drama teachers potentially focus on ‘performing’ the act of teaching drama based upon what they will be judged on. This enacted fantasy (Butler 1990) could lead to new drama teachers suffering “value schizophrenia” where their “commitment, judgement and authenticity in practice are sacrificed for impression and performance” (Ball 2003:221). How do drama teachers, new to the profession, manage this challenge and resist a formulaic approach? This paper investigates this central question through the use of a teaching and learning model that attempts to explore gaps between theory and practice, which has been developed through research. The model offers those new to drama teaching a way to structure and develop meaningful, content rich drama learning that uses personal stories, experiences and resources.


Simona Bora (UK)

Performative didactics: Investigating learners’ attitudes towards dramatic approaches within the L2 compulsory curriculum


Over recent years there has been a growing recognition of drama pedagogy as a compelling approach for enhancing not only students’ oral skills in terms of complexity, accuracy and fluency but, above all, their positive attitudes towards learning a foreign language. Yet, most studies undertaken were implemented within the University context (Miccoli 2003, Ronke 2005) or as extracurricular activity with students voluntarily enrolled, therefore potentially very well motivated from the outset. The encouraging results urged the necessity of extending dramatic approaches and the use of authentic plays to intra curricular settings (Belliveau 2013). Consequently, researching students’ attitudes towards the literary plays both as texts and as a full-scale production within a rigid compulsory class becomes imperative.

The present study, which employs a mixed-method approach, was conducted longitudinally with final year high-school Italian students. The experimental group (N=10) was exposed to two interventions conducted over a term each: a text-based approach in the first term followed by a process-oriented full-scale performance in the second term. Both qualitative and quantitative data were collected by implementing a questionnaire and a follow-up interview. Students’ attitudes in terms of interest, usefulness, difficulties, and enjoyment were examined. The findings display diverse but essentially highly favourable attitudes regarding the employment of drama text-based and performance-based approach in the L2 classroom.


Petra Bosenius (Germany)

Assessing Performative Teaching and Learning English as a Foreign Language – the Task of Teachers, Learners, and Researchers


Ever since the advent of Communicative Language Teaching in teaching and learning English as a foreign language in the 1970s the focus of pupils’ performance in English has been on their ‘getting their messages across’. Subsequently, not only the pupils’ realizing specific speech intentions but their ability to use English in complex communicative and intercultural situations has been at the centre of teaching and learning English in a school context. This is when drama in ELT gained momentum, as it enabled pupils to change perspectives and put themselves into the shoes of other personae thereby learning English in a holistic and creative manner that equally appealed to all senses.

In keeping with the latest curricular developments towards standardization the question arises how performative teaching and learning can be assessed by the teachers in charge, the learners concerned, and, last but not least, by researchers investigating into the efficiency of drama in ELT. This conference contribution aims at highlighting a selection of assessment formats to be employed by

  • teachers while observing their pupils involved in drama activities,
  • learners in order to assess their own performance,
  • learners so as to give feedback to their peers’ performance, as well as
  • researchers with a view to examining the practicality of particular performative modes of work in today’s EFL-classrooms.

Checklists, portfolios, and questionnaires will lie at the heart of the matter, and the audience will be kindly asked to engage in a critical discourse on the feasibility and inter-rater reliability of the formats under discussion.


Jeannette Böttcher (Germany)

Towards a Cultura Franca: Contemporary American Civil and Human Rights Drama in the EFL Classroom


In the discussions about drama-based language learning, the enhancement of personal qualities such as empathy, tolerance, and understanding of ‘the other’ are considered to constitute key elements of the experience created for the student-actors. In reviewing the elements drama shares with competence-oriented teaching approaches, it becomes apparent that drama-based language learning transcends the usual learning scopes in its practical relevance and its far-reaching contextual implications, which support students’ construction of new frames of reference.

With its focus on ‘doing things with words,’ this paper aims at introducing new approaches to the ever recurring topic of human and civil rights in our modern society. The play Night Blooms (2010) by Atlanta playwright Margaret Baldwin will be used to exemplify not only new methods in the foreign language classroom, but also to stress the importance of including human rights issues in our curricula. The play chosen is particularly well suited for this purpose: it invites learners to deepen their insight into the key topics of the Civil Rights Movement. Students are made to re-consider their stance on issues like racism, discrimination, privilege and justice. By incorporating more complex matters of multi-culturalism and diversity in the foreign language class, the move from a commonplace didactic to societal necessary learning goals can be accomplished. This paper is a mapping of the fields of modern output-oriented teaching, intercultural learning, and drama in the foreign language class.


Leticia García Brea, Arthur Häring (Spain)

Performative teaching in Spain focusing on German as a foreign language


In recent last years, performative teaching in second language learning has received increasing attention all over Spain. The Congress of “Glotodidáctica Teatral”, held in Madrid in 2015 and 2016, demonstrates this development. Furthermore, a recent series of youth theatre festivals, teacher training courses and private initiatives have started to support second language learning through drama. Most recently, the association “Aktzept” was founded to foster performative teaching in foreign languages. In Spain, a group of professional educators are paving the way towards an implementation of theatre pedagogy in formal education. This process is still very much at an early stage, but appears very promising. The tentative results feature increased learning motivation amongst students, heightened self-assurance in the use of a foreign language and improved pronunciation

Within this context, we would like to introduce two personal projects as examples of what has been achieved for German as a foreign language in our particular cultural context: Theatertaller (2009) and Toi,toi,toi Theater&Deutsch (2012).

Theatertaller is a private initiative promoting drama in second language learning in general and German language and culture education in particular. It includes a series of drama-based workshops in adult language education in Cataluña, theatre groups, theatre-projects and teacher training courses.

Toi,toi,toi Theater&Deutsch started at the Language Center of the University of León as a personal project to investigate the possibilities of teaching German through drama. Five years later, an amateur theatre group of German students was established that has presented workshops and papers in Spain, Italy, Germany Austria, and Ireland.


Ulrike Brisson (USA)

From summative to performative assessment through project-based tasks beyond the classroom.


How do I connect assessment with learning? Traditionally students have taken written exams and received a grade for it. But does the grade really reflect the learning outcomes especially in foreign languages when more than lexical and grammar skills are needed for future global citizens?

Worcester Polytechnic Institute has eliminated the traditional summative final examination in some of its upper-level German courses and replaced it with final projects such as videos, board games, children’s books. In these projects, students are presenting the learned material of their 7-week course in new and creative ways. For videos, students use various campus locations to enact their stories; in board games, the board becomes the space for competition, and interaction; in children’s books, the pages provide the space for artistic and linguistic creativity, and their presentations in class unfold as a performative act. These projects have far surpassed the traditional final examination: they reveal the learners’ comprehension of the cultural content, they enhance their lexical, grammar, and speaking skills, and challenge their performing and technical skills. Above all, rather than learning in isolation students experience the pleasure and challenges of collaboration outside the classroom. The results speak for the pedagogical value of non-traditional assessments by offering students opportunities in spaces of their choice to use language in a meaningful and joyful manner. Detailed assessment criteria for these final projects will be posed for discussion with the conference participants.


Birte Brudermann (Austria)

Dialogues in the garden of earthly delights


In the frame of a non-hierarchic, non-competitive space of trust, my projects "Dialogues inside the garden of earthly delights" and "Stranded" connected Austrian apprentices and young refugees with humanities scientists and art.

By making a film about Hieronymus Boschs' triptych „The garden of earthly delights“, apprentices and young refugees approached each other and could find out similarities and/or differences about each other. Through drifting into the complex visuality of this medieval oeuvre, young people with non-academic backgrounds, were invited to elaborate their (hidden) intellectuality.

"Stranded" – a 10-month-project which resulted into an exhibition (graphics, audio-features, animation-films) was a demand to speak open about current social, cultural and religious conflicts.

With those projects I break walls between society classes and provide an input against political and religious radicalisation. I don't make political art – but the process of it, is a political act which can touch – through art – people who have lost faith in professional politicians.

At Scenario Forum I want to speak about my way of working and share thoughts and experiences with other participants.


Tamara Bučková (Czech Republic)

„Kafkas Kosmos“ – internationale Theaterperformanz als der von den Studierenden aus Prag und Hamburg gefundene Raum für die szenische Koexistenz mehrerer Sprachen und Kulturen


Der Vortag stellt das Stück „Kafkas Kosmos“ als Resultat der Zusammenarbeit einer internationalen Gruppe der Studierenden aus Prag und Hamburg namens Kafka Company Prag Hamburg vor, für die die szenische Darstellung der Texte der Prager Deutschen Literatur zur Herausforderung wurde.

Die erste gemeinsame Theaterperformance zielte auf das Leben und Werk von Franz Kafka ab. Die Basis bildeten weniger bekannte Texte Kafkas, die auch unter dem Aspekt der Interkulturalität bearbeitet wurden, aufgrund der unterschiedlichen Herkunftsländer (insgesamt 13 Länder) der Gruppenmitglieder. Man arbeitete nicht nur mit klassischen Schauspiel-Verfahren, es wurden auch Elemente anderer Subgenres des Theaters eingebettet, wie szenischer Tanz oder Gesang. Der intermediale Aspekt wurde durch filmische Bilder aus Kafkas Prag unterstrichen.

Zentrale Themen der Kafka-Texte wie kulturelle Identität, Religion und das Judentum, Sehnsucht nach und zugleich Angst vor Liebe und Generationskonflikte wurden zuerst getrennt in beiden Metropolen einstudiert und erst in der Endphase verbunden.

Der Vortrag reflektiert mittels kommentierter Filmausschnitte die Dokumentation der Entstehungsgeschichte des Stückes „Kafkas Kosmos“. Man zielt auch auf die Methodik, die nicht nur auf der szenischen Interpretation, sondern auch auf dem kreativen Schreiben und Filmaufnahmen basierte.

Das Stück wurde 2015 und 2016 in Hamburg, Prag und Brünn im Rahmen des internationalen studentischen Theaterfestivals Drehbühne 216 aufgeführt.

Die Studierenden des Lehrstuhls für Germanistik in Prag widmen sich dem mehrsprachigen Theater in ihrer Freizeit. Von der Hamburger Seite gesehen, wurde das Stück überwiegend von Studierenden aus dritten Ländern produziert, da die Performance im Rahmen der Erasmus+ Kurse einstudiert wurde.


Ana R. Calero Valera (Spain)

Drama und Innovation an der Universitat de València


Das Projekt INNOVA-TEA der Universität Valencia (Spanien), das seit 2015 läuft, integriert verschiedene methodologisch-didaktische Ansätze, deren gemeinsamer Nenner das Einsetzen von dramapädagogischen Techniken in den Lehrveranstaltungen ist. Im ersten Jahr wurde den Studierenden im Rahmen von sechs Fächern aus den Studiengängen „Moderne Sprachen und Literaturen: Hauptfach Deutsch“ und „Pädagogik“ das Modell der Lecture-Performance für die Gruppenarbeit angeboten. Dieses Jahr wird das Angebot in nunmehr dreizehn Fächern mit dem Format von Radio-Podcasts erweitert. Bei beiden Modellen werden Forschung und autonomes Lernen mit den Eigenmitteln der theatralischen Praxis und der IKT kombiniert. Diese Praxis trägt zur Festigung und zur Entwicklung von fachbezogenen Kompetenzen bei und potenziert die Kreativität, die Spontaneität sowie die Verantwortung, die Toleranz und die Empathie gegenüber dem Anderen.

Ziel dieses Beitrags ist die Präsentation des Projekts und einer Fallstudie, die im Rahmen des Faches „Estudios de Teatro“ (3. Studienjahr, Hauptfach Germanistik, Niveau B1-B2) mit lokalen und internationalen Studierenden durchgeführt wurde.


Lee Campbell, Fred Meller (UK)

Spoiling the Game: Anarchy or Normality


In the process of performative pedagogies, tutors move through a number of selves and identities as part of a never-ending transformational educational story.  Through the principles of framing play (Schechner 1990), tutor-student power relationships appear to become fluid and ever-changing and the processes through which teaching takes place is open and endless. The tutor’s power appears to be neutered, yet paradoxically and simultaneously the principles given by tutors as truth knowledge, are uncontested and demonstrate the power of expertise, hereby the ideologies of the Institution are upheld. Teaching is disrupted and suspended as a performative act through the role of the Trickster. Roland Barthes (Barthes, 1978) describes the imaginary contract between Students and Tutor and requires what he calls Pell Mell (from the French pêle mêle, meaning rushed, disorganized, reckless, headlong). Tutors deploy the tactics of disruption to deliberately suspend or interrupt teaching.

The first part of our presentation will see Meller set out a theoretical framework to debate the possibilities of performative pedagogy and disruption for challenging institutional orthodoxies, proposing the power of disruption as pedagogic strategy to not only provoke students’ participation but also to demonstrate how performative pedagogy can be effectively deployed to break implicit rules surrounding the exchange of power relation between student and tutor. Campbell will then respond by speaking about his focused usage of interruption in the learning environment.

Barthes, R., & Heath, S. (1978). Image-music-text. Macmillan

Schechner, R., & Appel, W. (1990). By means of performance: intercultural studies of theatre and ritual. CUP


Bettina Christner (USA)

Empty Spaces of Learner-Centered Collaboration. Building a Classroom Community with Drama Pedagogy


A noticeable shift in education has gone from teacher-centered to learner-centered learning in the last decade. The main building blocks of such approaches are problem solving tasks, critical inquiry, and reflection that would allow a greater level of autonomous learning. While these are useful concerns and techniques, there is a considerable tendency for teachers and researchers alike to focus on the individual learner in isolation from their learning environment and cohort. Through in and outside of class activities, performative teaching offers ways to fill those empty spaces of learner collaboration and to build a classroom community, in which learners become aware not only of their own learning, but also of that of their peers.

Performative teaching relies on both personal and collective reflection of learning processes as well as active and physical exploring and creating of spaces in a collaborative class effort. This combination of collective reflection and interaction allows learners to work and grow together as a learning community. This project investigates on a theoretical and practical level how implementing a drama pedagogy approach into foreign language teaching can create such learning communities through exercises of reflection and drama-based classroom activities that benefit the learner(s) in new ways. Learners who listen for and appreciate their peers’ contributions characterize such a learning community, where meaningful interaction can take place while the teacher appears less and less in the role of the ultimate authority figure of learning.


Barbora Müller Dočkalová (Czech Republic)

Creating an English speaking town at primary school


Inspired by the article ’Wir gründen eine Stadt!‘ – Chancen der Sprachstadt für den Englischunterricht by Carmen Bietz (2011)ˡ, I initiated a similar project for English learners aged six to nine. For one day, a part of their school building turned into a simulated English speaking town where they could buy things in shops, go to the cinema, eat at a restaurant and experience many other purposeful communication events. The planning and realization was done with two different groups of ELT methodology students at Charles University, Prague, in 2014 and 2016. The project was appreciated by both the university students and the children and it is going to be repeated again in 2018. In my presentation, I would like to address issues and share insights that have emerged in the process so far and that focus specifically on young language learners as the target group. I would also like to present the actual design of the town and its infrastructure (the improved version from 2016) as it might be of help to anyone who organizes a foreign language speaking town in the

context of primary school. 

ˡBietz, C.:“’Wir gründen eine Stadt!‘ – Chancen der Sprachstadt für den Englischunterricht“ In Küppers, A., Schmidt, T. & Walter, M. (Eds.) (2011): Inszenierungen im Fremdsprachenunterricht. Grundlagen, Formen, Perspektiven. Braunschweig: Diesterweg. 93-103.


Eucharia Donnery (Japan)

Performative Spaces and Intercultural Communicative Competence (ICC): Meeting the Needs of Japanese University Students


Intercultural communicative competence (ICC) aims to implement changes with respect to Byram’s five savoir factors: attitudes, knowledge, skills of interpretation and relating, skills of discovery, and education. In 2002, Byram further refined intercultural attitudes as “curiosity and openness, readiness to suspend disbelief about other cultures and belief about one’s own”, which he regarded the most important ICC component.

In the 21st century, the importance ICC at university level is not an abstract future concept, but a very real need for Japanese graduates entering the employment market, as Japanese businesses expand and outsource internationally. Since many employees are reluctant to be relocated abroad, employers actively seek out graduates who can clearly demonstrate ICC, who can understand and deal with non-Japanese on equal footing, who show flexibility in critical thinking skills and who are willing to be cultural bridges between different cultures.

Within the Department of Applied Computer Sciences at Shonan Institute of Technology (SIT), Japan, there is a deep commitment to developing personal and social student skills in the area of ICC, with performative elements of teaching and learning built into the courses of Intercultural Communication, Regional Studies, Sociology of Marketing, Performance Skills as well as Technical English Presentation Skills. This presentation describes how changes in ICC were achieved through research and performance in the 2016 Regional Studies course, which focused on the social issue of migration through BrExit, the US presidential election, international refugees, and Fukushima evacuees.

Byram, M. (1997).Teaching and assessing intercultural communicative competence. Clevedon: Multilingual Matters.


Peadar Donohoe (Ireland)

The Performative Potential of the Body to Enhance Learning about Bullying through the Use of Role-play


The researcher has created The Bullying Prevention Pack, a role-play centred resource, to be used by non-drama specialists.  The BPP employs bullying incident role-plays as its key learning activity for performance and discussion.  This is significant as teachers are often encouraged to use role-playing methods as part of anti-bullying interventions but research evidence of effectiveness is limited (Joronen et al., 2011).  Furthermore, in the Irish context, the use of kinaesthetic learning techniques, such as role-play, to embed knowledge are often under-valued and side-lined for more exam-focussed rote-learning (Donohoe, 2016; O’Sullivan, 2011).

In his doctoral study the researcher questioned if the BPP could be used effectively by the non-drama specialist teacher.  Initial results demonstrated that victimisation was reduced by more than 50% in the short term and 53% in the long term.  Other key findings included that bystanders were more willing to defend those targeted by bullying, levels of empathy were raised for those targeted and students came to believe in their teacher as an effective anti-bullying resource.

The workshop will focus on participants enjoying the role-play learning strategies – just as the children did – because: “in play a child is always above his average age, above his daily behaviour, in play it is as though he were a head taller than himself” (Vygotsky, 1978, p. 129).  There will also be a brief review of the qualitative and quantitative evidence gathered from teacher feedback, interviews, learner focus groups and surveys.


Anne-Laure Dubrac, Françoise Barbé-Petit (France)

Performing language: gestures as tools for learning second languages


In his book The Anthropology of Gesture (1974), Jousse defines Man as “an interactional mimic”. For the anthropologist, human beings are above all re-enactors who catalogue the gestures and interactions that they see and then re-use them, combining them in original ways when communicating with others.

Even though gestures are a meaningful learning and communicative tool, Western education has traditionally overlooked non-verbal cues. Numerous scholars continue to assert that only the brain matters, and that meaningful thoughts only arise within the confines of the brain.

How, then, can we introduce movement and rhythm into a field where learners are often discouraged from linking body and thought, where classroom decorum requires students to keep their minds active while their bodies inert?

Faced with this challenge, we hypothesized that cinema – being that it associates image, sound and movement – underlines the importance of body language in communication.

In order to study the ideal conditions for a learning/teaching system that integrates cinema into second language development, we implemented an experimental study with a group of second-year students. Our methodology was as follows: students were shown a film excerpt and were then asked to re-enact it, emphasizing gestural expressivity and spoken rhythm. We videotaped their interpretations of the passage, and later asked them to comment on their performances. The goal of this activity was to allow learners to observe their linguistic needs from an external perspective and subsequently consider whether embodiment helped them further their second language acquisition.


Nataliia Dzhyma (Ukraine)

“Welcome Back Everyone!” Training Actors for the Theatre of Media Diplomacy through Drama


The Theatre of Diplomacy in the media age has drastically changed and needs actors with advanced media-oriented diplomatic skills, ”on camera” personas, who could can connect with the audience through the camera lens. Therefore, media diplomacy training within the diplomatic profession is at the core of curricula in most diplomatic academies in the world.

Among those who want to take the path from the diplomat rank of Envoy Extraordinary and Plenipotentiary to the dynamic media promoter are students of diplomacy at the Institute of International Relations at Kyiv National University. “Welcome Back Everyone!” is a TV Anchoring Training course for EFL students who, through performative teaching and learning, develop advanced skills in body language, vocal pedagogy, public speaking, TV appearance, speaking for the camera, and media literacy.

This project (my second one after “Don’t Play the Visual, Play the Emotion” project in 2014) is based on the fusion of drama pedagogy and film, and teaches students how to empathize with screen characters by creating this person’s feelings, gestures, facial expressions, voice. The latest findings in the field of neuroscience give new scaffolding to my claim that drama activities based on visual demonstration are vital for language learning.

This paper shows the potential of using the TV news program (CNN) for teaching how to convert an “off camera” diplomat to an “on camera media diplomat’ through drama in the foreign language class and will be supported by video fragments from lessons at the Institute of International Relations at Kyiv National University.


Susanne Even (USA)

Performative Teacher Training: Finding one’s space within a space.


“Performative as a larger concept means a complete rethinking of education.“

This paper demonstrates an example of performative teacher training, taking place in the Department of Germanic Studies at Indiana University, Bloomington (USA). For a sizable language program with close to twenty language teachers (“associate instructors“), a structured framework is necessary to ensure comparability between classes and to provide consistent articulation between language levels. There are set course books, syllabi, exams, and written/oral assignment with grading rubrics, there are departmental rules and university rules and mandatory pedagogical training.

How can the spirit of the performative develop in such a structured framework with rules, regulations, requirements? This paper will outline the underlying principles of pedagogical training at IU that has, over the last ten years, increasingly featured performative elements (examples from pre-semester orientation, pedagogy courses, and ongoing mentoring will be provided). Needless to say, the associate instructors are introduced to drama pedagogy techniques for the classroom designed to facilitate learning experiences beyond the mere cognitive. However, performative teacher training is much more than being familiarized with activities, techniques, and lesson logistics. Teaching (and learning to teach) is an ongoing process in a space that requires presence of mind and body on the part of both teachers and learners. Hence, the underlying attitude to teaching (and learning) is one of encouragement, trust, and – yes! – imperfectionism, inviting associate instructors to gradually develop their individual teaching personalities and to teach on the basis of what actually happens in the space of a given classroom.


Susanne Franz, Mechthild Hesse (Germany)

Complexity, simplicity, density – Crossing Stones – from a complex lyrical novel to a play for teenagers


For 13 years the curriculum for English students at the University of Education (PH) Freiburg/Germany has been used to perform a piece of teenage fiction on stage. The curriculum of the PH allows university students to leave the confinement of the regular analysis-based classroom to try out their whole bodies to conquer “empty spaces” in living and interpreting literature holistically. So far about 200 university students have participated. The synergetic partnership of a theater professional and a university professor is the stable base of the work.

Until today 13 different plays have been staged for an audience of over 20.000 high school students of the area. To them the theatre experience opens new spaces and dimensions of “sensing” the foreign language.

The most recent performance “Crossing Stones” is at the center of the presentation. In the workshop the stages will be shown – from the complexity of Helen Frost’s lyrical novel to simplifying and adapting it to the stage to reach the final intensity and density of the play. In the workshop we will work on a short piece of the original novel text and change it into a dramatic scene. The participants are then invited to act it out. We will also present some video excerpts from one performance to show how the novel was finally staged. A discussion on this particular way of working with original prose literature will round up the workshop.


Katrin Geneuss (Germany)

In der Haut möcht' ich stecken. Live-Rollenspiel als Lernform. Ein Workshop


LARP (Live-Action-Role-Playing-Game) ist eine Form des Rollenspiels, in welcher die Spieler ihre Rollen physisch darstellen. Es gibt keine Zuschauer, und alle Anwesenden spielen einen im Voraus bestimmten und in groben Zügen beschriebenen Charakter. Die Interaktion mit anderen Spielern und der Text werden improvisiert, der Plot entsteht aus dem Spiel. Manchmal ist dieser schon vor Spielbeginn festgelegt – oder zumindest bestimmte Wendungen – und das Spiel wird von einem Spielleiter, der gleichzeitig Mitspieler ist, gelenkt. Integraler Bestandteil ist die Reflexion nach Abschluss des Spiels.

Unter Edu-LARP versteht man den Einsatz von Rollenspiel als eine Methode, um bestimmte Lernziele zu erreichen. Beispielsweise können die Förderung sozialer Kompetenz oder der Erwerb bestimmter physischer Fähigkeiten im Mittelpunkt stehen. Es ist auch möglich, fachdidaktische Inhalte in den Vordergrund zu stellen oder Haltungen zu eruieren. Edu-LARP kann in der Schule stattfinden, was in Schweden zum Beispiel nicht unüblich ist. In Deutschland wird LARP vornehmlich in Freizeiten und im außerschulischen Bildungsbereich eingesetzt.

In diesem Workshop lernen die TeilnehmerInnen diese Form des szenischen Spiels kennen. Nach einer kurzen theoretischen Einführung und einer Aufwärmphase bekommt jede/r ein „character sheet“. Dann spielen wir das Mini-LARP. An das cirka 40-minütige Spiel schließt sich eine Diskussion an, in welcher wir das Erlebte besprechen. Hierbei soll das Augenmerk insbesondere auf die physische Ebene gelenkt werden.


Stefanie Giebert (Germany)

A day in the life of a vacuum cleaner or: is there a space for dramatising non-fictional texts?


For (non-specialist)* learners of foreign languages at the tertiary/university level, textbooks and curricula usually do not envision a lot of exposure to literary texts. Rather the aim is to provide language skills for professional and academic purposes, which mostly excludes the aesthetic component. But is there not dramatic tension even in texts (and textbook units) about ‘globalisation’, ‘healthy eating’ or ‘planned obsolescence’? In this workshop I would like to explore a dramatic approach to such seemingly undramatic texts and topics. Using drama conventions such as tableaux, choral speaking, writing in role, etc.. The first half of the workshop will demonstrate how to apply these ‘tools’ of Drama in Education to an example from a textbook/non-fictional text in English (or German, depending on participants’ wishes). For the second part, participants are invited to bring an excerpt from their own textbook or from a non-fictional text they would like to work on in small groups and present at the end of the workshop. My hope is that a discussion about the applicability of this approach and hoped-for results (increased fluency, focus on structures/words, learner/teacher motivation, fun, discovery of unexpected talents in students?) might be started – and possibly be continued after the workshop.

*= referring here to students who are not studying for a degree in foreign languages or teaching languages


Eva Göksel (Switzerland)

First Encounters with Drama in Education: Student Teacher Self-reflections


Reflection is a key part of drama work: It offers participants a chance to connect personal experiences gained in a fictional context with other aspects of their lives. While self-reflection is important for learners, it is an equally useful tool for teachers. This paper focuses on the reflections of a group of Swiss student teachers encountering drama in education (DiE) for the first time. The group voluntarily attended after-hours DiE training sessions, led by an experienced teacher-trainer. The goal was to familiarize the student teachers with structured drama, improvisation, and basic drama conventions (Neelands & Goode, 2015), in order to experiment with DiE in their own practice, and to reflect on the process throughout.

Drama work involves creating a safe space for participants and then pushing the boundaries of the group’s comfort zone within that safe space. As in Vygotsky’s zone of proximal development (1978), the learner is expected to grow intellectually and empathically as s/he matures throughout the drama experience. A video-ethnographic approach was chosen to follow the group’s progress (Heath, 2007 & Knoblauch et al. 2006). The student teachers reflected on their vision of DiE in their own teaching and training. Later they were filmed during their practicum and reflected upon those experiences.

This project is part of a larger undertaking, aiming to explore the professional development of a group of Swiss and a group of Czech student teachers as they reflect upon, and experiment with, DiE in theory and practice.


Francesca Gualandri & Federico Gobbo (Italy / The Netherlands)

Singing and Drama: a Synergy for Culture Education

Workshop (with a presentation)

Singing is an action that naturally strengthens the embodiment of the vocal performance, especially if compared to the spoken voice. In our experience, professionals – as teachers, educators, trainers, managers, psychologists – who usually use the spoken voice can improve their performance when learning to sing. Moreover, singing can be a key asset for the improvement of the performance of other arts-based forms of research, such as dancing (where the body is used, but normally without singing voice) or writing (where the word is used, but in a written, and therefore “mute”). Drama is a natural complement of singing education. Learners engage themselves during the learning process using archetypical personas in order to acknowledge their emotional states and so express them freely, overcoming difficulties concerning the interpersonal communication due to personality traits. For example, a shy, reserved person can be asked to sing as if she were a vain person walking in the street after buying a fancy dress. The voice teacher brings learners out of their comfort zone, in a “scaffolding” zone, similar to Vygotsky's Zone of Proximal Development. For example, if the public is perceived as intimidating by the performer, it will be reframed as adoring, thanks to the activation of the 'as if'. The singing voice becomes a tool to expand the perception of the performer's physical space, and this stands even if the voice is used 'only' in speech, out of the learning process.


Brigitte Hahn-Michaeli (Israel)

Texte begehen – Texte verstehen


Wie der Einsatz von dramapädagogischen Elementen bei der Arbeit mit Texten im Fremdsprachenunterricht in multikulturellen und multilinguistischen Klassen eine kreative und aktive Auseinandersetzung mit der Fremdsprache fördern kann.

In dem Workshop sollen Unterrichtsskizzen vorgestellt werden, in denen unterschiedliche Textsorten (Literarische Texte, Lyrik, Zeitungstexte) durch den Einsatz von Dramatechniken aktiv erarbeitet werden. Indem wir „Texte begehen“ findet eine körperliche Begegnung im Raum mit der Sprache statt. Bei dieser Form des ganzheitlichen, interaktiven Lernens wird nicht nur die Begegnung mit dem literarischen Text ermöglicht und zur Reflektion angeregt, es findet gleichzeitig eine intensive interkulturelle Auseinandersetzung in der Lerngruppe statt. Praktische Übungen für die Einführungs/ Aufwärmphase, die Texterarbeitung und die individuellen Textinterpretation, Ideen zur Rollenarbeit und für den schriftliche Ausdruck sollen Anregungen geben und zeigen, wie diese Vermittlungsmethode einen alternativen Zugang zu der traditionellen Form des Literaturunterrichts ermöglich und zu nachhaltigem Textverständnis führt.


Christina Hansen, Kathrin Eveline Plank (Germany)

Vom Container zum l´espace vécu – Ein multiprofessionelles Lern.Raum-Konzept zur Gestaltung inklusiver Bildungsräume


Raum entsteht durch gesellschaftliche, kollektive Prozesse.“ (Rothfuß, E.,2012: 65).

Die performative Interpretation von Raum hat sich von einer mechanistischen Auffassung entfernt. Raum wird nicht länger nur als objektive Gegebenheit, sondern als von Akteur_innen erzeugt, gestaltet und inszeniert begriffen. Erst das Handeln in und mit Raum macht diesen zum l ́espace vécu (Lefebvre, 1974). Der kontinuierlich produzierte Raum wirkt sich wiederum auf das Denken und Agieren in ihm aus. Raum verändert und wird verändert, kann Zutritt erleichtern oder erschweren, Bewegungen ermöglichen oder verhindern, die Sinne ansprechen oder unterdrücken.

Die Partizipation am gemeinsamen Raum bedarf der „Kunst der Artikulation“, um sich den Raum flexibel anzueignen und des Einbezugs pädagogischer Maßnahmen, die neuen gesellschaftlichen Rahmenbedingungen ihren Entwicklungsraum geben. Bedürfnisse der Nutzer_innen müssen vorausgeahnt und in architektonische wie städteplanerische Entwurfsprozesse eingespeist werden. Damit diese „Vorausahnung“ manifester und Bildungsraum nicht als „Container für Apparate und Körper(...)“ (Sesink, 2007: 18) gedacht und umgesetzt wird, ist ein multiprofessioneller Dialog notwendig.

Im Beitrag stellen wir ein interdisziplinäres Hochschulprojekt vor, das Architektur, Erziehungswissenschaft, Geographie und Kulturwissenschaft für die Gestaltung inklusiver Bildungsräume verbindet.

Seit dem Wintersemester 2014/15 arbeiten Wissenschaftler_innen und Studierende der Universität Passau und der OTH Regensburg gemeinsam mit pädagogischen Akteur_innen aus Schule und Sozialverbänden an sozialen Strategien und nachhaltigen Strukturen für inklusive Bildungslandschaften. Dabei werden Bezüge zur performativen und architektonisch-geometrischen Raumperspektive hergestellt.

Ziel des Projekts ist es, domänenübergreifender Einblicke in die Gestaltung des (inklusiven) Sozialraums zu generieren, um das das Entdecken inhaltlicher Synergien und das Entwickeln gemeinsamer Strategien und Umsetzungskonzepte im gemeinsamen Lebens- und Bildungsraum zu ermöglichen.


Alexandra Hensel (Germany)

Künstlerisch-performatives Spiel im Seminarraum


Durchgeführt werden soll ein 90-minütiger Workshop, in dem die TeilnehmerInnen einen Einblick in einen künstlerisch orientierten performativen Fremdsprachenunterricht, speziell für Deutsch als Fremdsprache, der in einem Seminarraum erfolgt, erhalten sollen.

Die Übungen reichen von ersten Körper- und Stimmaufwärmübungen sowie Raumerkundungen bis zu kleinen Gruppen-Präsentationen. Mit einer jeweils anschließenden Reflexion, sollen einige Übungen sowie die Präsentationen genauer beleuchtet werden.

Insgesamt soll die Unterstützung der sprachlichen Entwicklung durch einen künstlerisch orientierten performativen Fremdsprachenunterricht sowie die “Bespielung“ eines Seminarraumes bewusst gemacht werden.


Susanne Horstmann (Germany)

Dramapädagogische Elemente im Fremdsprachenunterricht auf A1 Niveau


Dramapädagogische Elemente im Fremdspracheunterricht auf A1 Niveau.
Welche theatralen Elemente und Prinzipien sind besonders für das Sprachenlernen geeignet? Um diese Frage zu beantworten, habe ich verschiedene Techniken in einem Anfängersprachkurs Kiswahili getestet. Im Kurs etabliert wurden die theatralen Prinzipien Wahrnehmen, Mimesis, Zufall, Miteinander-Spielen und Fehlerfreundlichkeit, insbesondere letzteres auch über einen Basisworkshop Clown. U.a. wurden die folgenden Techniken sowohl zur Etablierung der Prinzipien als auch zum Spracherwerb eingesetzt:  

  • Aufwärmspiele
  • Bewegung
  • Rhythmus/Melodie
  • Wortschatzarbeit/Arbeit mit Chunks über Aktivitäten wie feste Ballbahn und Wasserträger
  • Szenenentwicklung aus von den Lernenden geschriebenen Texten.

In einem 90-Minuten Workshop möchte ich demonstrieren, wie diese und einige weitere Elemente miteinander kombiniert werden können, um einen lernerorientierten ganzheitlichen Unterricht durchzuführen, der den Lernenden ermöglicht, eine aktivere und letztlich auch autonomere Rolle einzunehmen als dies üblicherweise im Fremdsprachenunterricht der Fall ist.

Ausgewählte Literatur:

  • Hippe, Lorenz (2011): Und was kommt jetzt? Szenisches Schreiben in der theaterpädagogischen Praxis. Weinheim: Deutscher Theaterverlag.
  • Koeppel, Rolf (2010): Deutsch als Fremdsprache: Spracherwerblich reflektierte Unterrichtspraxis. Baltmannsweiler: Schneider-Verlag.
  • Sambanis, Michaela (2013): Fremdsprachenunterricht und Neurowissenschaften. Tübingen, Narr.


Daniela Enya Idda & Federico Gobbo (Italy / The Netherlands)

How to move the empty space: the collective invention of a body language


This workshop offers the opportunity to the participants to increase their self-awareness through body communication. In fact, they are invited to communicate in silence through a pseudo-sign language made on the fly, without any use of speech. In our experience, moving into a physical space implies per se a relation between the Self and the Other, the latter being both human beings and other animate and inanimate entities. Participants are lead by the proponents in this collective invented language with the help of ambient music. The semiotics of proxemics of the empty space becomes meaning through an innovative aesthetic and artistic experience. We argue that our workshop follows Peter Brook's advice on the need “to stage true rituals, but for rituals that could make theatre-going an experience that feeds our lives” (from: the Holy Theatre, The Empty Space, 1968). Here, the “signed” semantics and pragmatics shared by the collective intelligence of the participants are not driven by the ratio, rather by intuition, involving serendipity – as the American Natives used to say: “you cut a tree and a star falls”. The aim of our workshop is to stretch the boundaries of the imaginary in order to embrace the Unknown, across language diversity, using non-verbal intercultural communication.


Konstantina Kalogirou (Greece)

Teaching Greek in the UK: A Drama in Education challenge in modern intercultural Europe.


Modern Europe is facing the challenge of language education in intercultural communities. This paper presents the example of teaching Greek as a second language to a class with some students having been born and educated in Greece before having migrated to the UK, and with others having been born and exclusively educated in the UK. These mixed and varied backgrounds of students increase the demand of teaching approaches that embrace differences in language levels, fluency and competence and offer an interesting and engaging learning process. As an answer to this teaching challenge, a drama-based approach, Vocabulary Acquisition via Drama (VAD), has been implemented at the Greek Language School of Wales. The results were promising, with the vast majority of students achieving significant results in vocabulary retention. This approach is organized in three parts, replicating the preparation that actors follow before a play. Having the Greek Language School of Wales as a case study, the paper explores if the adaptation of educational drama can be used as a norm for teaching vocabulary in any intercultural setting in Europe, but also globally.


Rosa Kindl (Germany)

Die Vermittlung zentraler kommunikativer Funktionen der Abtönungspartikeln 'ja', 'doch' und 'denn' mithilfe der dramapädagogischen Methode


In der Fachwelt sowie in Sprachenschulen ist ein steigendes Interesse an performativen fremdsprachlichen Unterrichtsformen zu beobachten. Trotzdem besteht bezüglich der um die Jahrtausendwende entwickelten dramagrammatischen Lehrmethode noch erheblicher Bedarf an Folgestudien.

Das von Susanne Even begründete dramagrammatische Konzept vermittelt grammatische Themen mithilfe theaterpädagogischer Techniken, wobei Szenen zunächst improvisiert und dann in Kleingruppen inszeniert und schließlich präsentiert werden. Als grammatisches Thema bieten sich die Abtönungspartikeln (bzw. Modalpartikeln) an. Denn ihre Funktion ist mit den herkömmlichen Methoden des standardisierten DaF-Unterrichts nur schwer zu vermitteln. Daher werden sie dort nach wie vor vernachlässigt.

Emotion und Intonation spielen bei der Verwendung von Abtönungspartikeln eine wichtige Rolle. Die auf Ganzheitlichkeit ausgerichteten theaterpädagogischen Unterrichtsmethoden scheinen also bei der Vermittlung der Kommunikationsfunktionen von Abtönungspartikeln von Vorteil zu sein; nicht nur, weil es den Lernenden leichter fallen sollte, diese Funktionen mit den entsprechenden Emotionen zu verbinden, wenn sie den kommunikativen Situationskontext am eigenen Leib erfahren, sondern auch, weil davon auszugehen ist, dass sich die so gewonnenen Eindrücke fester im Langzeitgedächtnis verankern.

 Ob diese Annahmen einer praktischen Überprüfung standhalten, wurde anhand eines Unterrichtskonzepts empirisch untersucht, das sich an den von Even festgelegten Phasen orientiert und im Rahmen eines 2-tägigen Workshops mit 10 bzw. 8 internationalen DeutschlernerInnen mit Sprachniveau B2 durchgeführt.

Hierbei konnte sowohl ein guter kurzfristiger als auch ein guter langfristiger Lernerfolg festgestellt werden. Das am Ende des Workshops gesammelte Feedback fiel durchweg positiv aus, bis auf eine Ausnahme. Auch konnte beobachtet werden, dass Lernende aus unterschiedlichen Kulturkreisen gleichermaßen von dem Workshop profitieren konnten.


Jennifer Kitchen (UK)

The role of playfulness in ensemble-based approaches to teaching Shakespeare: The creation of ‘3rd spaces’


My doctoral research has followed a small selection of schools taking part in the Shakespeare Schools Festival (SSF) project, which supports schools to undertake an ensemble approach to rehearsing and performing Shakespeare.

Through a focus on playfulness – understood as a mode of social discourse – my interpretation of the case study data demonstrated playfulness was a central discursive device which allowed both teachers and students to challenge and subvert the normative expectations and regulations of the classroom space, and thus create a ‘3rd space’ in which a widened variety of creative, educational and social possibilities were opened up.

Drawing on notions of liminality, carnivalesque and other theories of spatially transformative playful cultural practices, and specifically from Thomson et al’s Signature Pedagogies report (Thomson et al. 2012) I argue it is the increased opportunities for playfulness afforded by ensemble-based projects such as SSF which represent the creative, educational and social value of such approaches; allowing for participants to autonomously create their own ‘3rd spaces’, which allow resistance to normative school and other institutional power structures.

Thomson P, Hall C, Jones K, Sefton-Green J (2012) The Signature Pedagogies Project: Final Report. London


Lino Kleingarn, Alexander Riedmüller (Austria, Germany)

spielendDeutsch – Improvisationstheater zur Förderung des freien und authentischen Sprechens im Fremdsprachenunterricht


Das von der Wiener Theatergruppe „artig“ entwickelte Workshopformat spielendDeutsch hat seine Wurzeln im Improvisationstheater nach Keith Johnstone und ist speziell für den DaF/DaZ-Unterricht konzipiert.

Bei der Theaterform des Improvisationstheaters gehen die SchauspielerInnen ohne vorgefertigten Text oder ein Drehbuch auf die Bühne. Die improvisierten Szenen, Geschichten oder Stücke werden von allen AkteurInnen gemeinsam im vollen Vertrauen auf ihre Phantasie und ihre SpielpartnerInnen im Moment erschaffen. Diese Theaterform erweist sich als besonders geeignet für den DaF/DaZ-Unterricht. Sie ermutigt die SpielerInnen sich in frei gewählten Rollen im freien Sprechen auszuprobieren und ermöglicht dadurch eine weitestgehend wie auch selbstbestimmte Kommunikation im Unterrichtszusammenhang. Dabei werden wesentliche Aspekte des Spracherwerbs mitberücksichtigt und die Lernenden profitieren von einer größtmöglichen Lernautonomie.

Im Workshop erhalten die Teilnehmenden einen ersten Einblick in die Arbeitsweise von des Konzepts spielendDeutsch sowie einige Aufgaben und Spiele, die im eigenen Unterricht angewandt werden können. Spielfreude und Neugier eine andere Art des (Sprach-)Unterrichts zu erleben sind dafür die beiden einzigen Voraussetzungen für die Teilnahme.


Nina Kulovics (France)

Utopische Räume im Klassenzimmer oder „Hinter dem Himmel schlafen die Märchen“

Interactive Paper

Ziel dieses partizipativen Vortrags ist es, den TeilnehmerInnen über theoretische und praktische Denkanstöße die Möglichkeit zu geben, sich in die Haut eines Fremdsprachenlernenden hineinzuversetzen, bevor man sie in ein performatives Projekt einbezieht.

Das vorliegende Projekt  besteht darin, in den Fächern Deutsch oder Französisch als Fremdsprache verstärkt Märchen und Legenden über physische und mentale Räume hinweg einzusetzen und über deutsch-französische Märchenversionen und -ursprünge von den Gebrüdern Grimm bis zu Charles Perrault inter- und transkulturelle Räume zu schaffen. Dies wird konkret in Form eines Austausches zwischen Bildungsinstitutionen im Elsass und Baden-Württemberg geschehen, wobei Studierende und GymnasiastInnen im Unterricht darauf vorbereitet werden, Märchen an Grundschulen oder Kindergärten performativ anzuwenden.

Ausgehend von diesem laufenden Unterrichtsprojekt stellt der Vortrag in einem ersten Teil das grenzüberschreitende und schulformübergreifende Projekt Märchen und Legenden im deutschsprachigen Raum – eine gemeinsame Spurensuche dem Plenum vor und zugleich zur Diskussion. Dabei werden Rahmen, TeilnehmerInnen, Ziele, Mittel und Ergebnisse erörtert, bevor in einem zweiten Teil sowohl körpergebundene wie schriftliche Übungen praktisch erprobt werden, die Lehrende mit unterschiedlichen Lerngruppen anwenden können.

Der partizipative Vortrag wird durch eine abschließende Plenardiskussion abgerundet, wobei herausgearbeitet werden soll

  • wie Märchen im interdisziplinären, kooperativen und performativ ausgerichteten Fremdsprachenunterricht körper- und gefühlsbetont gewinnbringend eingesetzt werden können,
  • welche Strategien von SchülerInnen/Studierenden und LehrerInnen bei der Durchführung angewandt werden können (Beispiel: Märchenkiste).

.Das Projekt ist getragen und gefördert vom DARILV, dem Referat für internationale Beziehungen und Fremdsprachen der Schulaufsichtsbehörde des Elsass, und NovaTris, dem Zentrum für grenzüberschreitende Kompetenzen der UHA Mulhouse.


Lynn M. Kutch (USA)

Understanding German Immigration Through Intermediality


The shift of many comics and graphic novels to the film or stage medium not only delivers the works to a larger audience, but also reveals the potential for the interaction of expressive media to stimulate critical thinking. In this presentation, I will demonstrate ways that instructors can combine the comics and theater media platforms in order to increase understanding of abstract cultural issues. Specifically, I will show how instructors and learners can collaboratively gain a more thorough understanding of aspects of German immigration using Paula Bulling’s Im Land der Frühaufsteher.

My approach prioritizes setting different media in dialogue with one another (intermediality) while incorporating drama-in-education techniques in order to move students toward an enhanced knowledge of a significant German cultural topic. Physically imitating the illustrated poses creates a material association that could lead to a critical understanding of the, for example, stiff and distant interactions between immigrants and the host culture. Another very important aspect of this novel concerns point of view, or a kind of “secondary witnessing” of the events, as the storyteller is a photographer who is documenting the refugees’ stories. The heavily nuanced topic of German immigration is one that should be presented as such. Transcribing Bulling’s text and then using the illustrations as a guide for blocking is one way that instructors can help students make connections between embodied spaces and mental spaces on which they can reflect and form interpretations for themselves.


Birgit Maria Langeder (Austria)

Szenische Aufgabenstellungen für Filmsequenzanalysen und Forumtheater zur Stärkung von Empathie, Diskursfähigkeit Selbst- und Medienkompetenz


Literarische und filmische Figuren laden zur Identifikation ein und halten uns den Spiegel vor, durch ihre Darstellungen erleben wir alternative Interpretationsspiel-räume. Damit kann unser Fühlen, Denken, Sprechen und Handeln neue Perspektiven gewinnen. Eine Bewusstheit dafür entfaltet sich zuerst individuell, indem Eindrücke mit Erinnerungen abgeglichen werden um zu neuen, sinnvollen Bedeutungen zu verschmelzen, wofür Emotionen ausschlaggebend sind und gleichermaßen das Tor zum Bewusstwerdungsprozesses öffnen (Damasio:2002). Denn Vom Sehen zum Verstehen zu gelangen ist vor allem ein emotionaler Prozess. Körperliche Darstellungen fördern ganzheitliche Wahrnehmungen und der Zusammenhang von Mimik, Gestik und Worten wird offensichtlich. Damit kann sich ein Blickwechsel vom ICH zum DU und hin zum WIR vollziehen. Denn die Bühne ist immer noch der Ort, wo brennende Fragen am unausweichlichsten Öffentlichkeit finden. Forumtheater (Boal, 1979) ist ein Format, um verschiedene Interessen darzustellen und zu diskutieren. Aus Literatur und Filmesequenzen entwickelte, szenische Aufgabenstellungen bieten eine Basis für differenzierte Argumentationslinien. Gruppendynamische Rezeptionsgespräche im leeren Raum (Brook:1995) schaffen geteilte Einsichten und damit eine Sensibilisierung für alternative Wahrnehmungen. Damit kann Toleranz für abweichende Ansichten bei allen Beteiligten entstehen und aktiv zur Demokratiebildung beigetragen werden. Von der kollektiven Auseinandersetzung mit Filmfiguren wird Medienkompetenz gefördert, denn audiovisuellen Medien kommt eine erhebliche Machtposition zu. Mediale Analysen zeigen Ausschnitte von Realitäten, die sie aufgrund von selektierten Inhalten produzieren. Diese Schlaglichter gilt es bewusst wahrzunehmen und kritisch zu hinterfragen. Durch bewusste Aneignung von Medienrealität kann das Verständnis für andere Sub-Kulturen geweckt sowie Selbstkompetenz mit dem Reflektieren von Haltungen gestärkt werden.


Glenn Loughran (Ireland)

A-voiding Education: Exploring the ‘event’ in education through Artistic Research


The recent shift in artistic practice towards education re-considers the visual arts as an experimental space for imagining a non-state, non-institutional link between pedagogy and artistic practice. This paper explores two key theoretical positions within these changes: the theory of ‘human capital’ and the theory of the ‘event’. Working against a ‘pedagogy of human capital’ and towards a theory of ‘evental education’, this enquiry develops an artistic research methodology called the ‘axiom of equality’ through a large-scale artistic project: the Hedgeschoolproject (2006-2012). Inspired by the educational orientation of the historical Irish Hedge School and informed by participatory art practices, the Hedgeschoolproject functioned as an iterative series of ‘performative schools’ organized within ‘void’ spaces that engaged disadvantaged or marginalised learners in a participant-led education. This process was inspired by the eighteenth-century French educator Joseph Jacotot, according to whom ‘equality is not a goal to be attained but a point of departure, a supposition to be maintained in all circumstances’. The Hedgeschoolproject affirmed the idea of equality as a practice that is performed at the beginning of a pedagogical process, rather than as an end goal. Engaging with the emancipatory ‘trace’ of the Hedge school movement, the Hedgeschoolproject re-signified the Hedge school idea as an exploration of the principles upon which an ‘evental education’ could be based. The characteristic features that distinguish such an education are subversive in their support of a ‘weak’ ideology of education based on ‘encounters and events’ against ‘strong’ forms of education that prioritize ‘efficiency and accountability’.


Simangele Mabena (Canada)

Performing language between deaf and hearing elementary students in mainstream classrooms


Deaf education has undergone many changes in recent history. Depending on the deaf student’s hearing loss, many students are integrated into mainstream schools, taught the same curriculum as their hearing peers by general education teachers and receive special education services from an itinerant teacher who provides instruction and consultation for deaf students (Luckner & Ayantoye 2013, Luckner 2006)). As the global trend towards the integration of diverse student populations increases, so has co-teaching between a general education teacher and an itinerant teacher (Kluwin, 1999). In such contexts, both teachers are tasked with collaboratively teaching the students from diverse cultures in a language that is uncommon between them.

In Canada, various languages are employed in Deaf education and this paper aims to propose the incorporation of visual theatre in Deaf education in the elementary phase. The performance of hearing and Deaf culture in mainstream classrooms through the performing arts acts as a translation between cultures (Sandal & Auslander, 2008).Visual theatre then challenges established linguistic and cultural power relations, as the “system of nonverbal signs” have power to mutually renegotiate “speakers” in diverse classrooms (Brueggemann, 2008). Although Friend et al (2010) note that co-teaching in specific subjects in special education is currently under researched, this paper proposes to explore the incorporation of alternative aesthetics as interlocutors within intercultural language classrooms.


Jiaoyin Mei (China)

The training of the performer in education


This paper aims to explore the gaps between theoretical considerations and practical applications of performative education. Specifically, the objective is to describe the process of performer training according to Jerzy Grotowski (2002) and outline the connection between this training and performative education through the epistemology of Transactional Constructivism (2002). The practice of performer training is based on the relationship between stimulus, impulse, and response. This paper will outline the connection between performer training and John Dewey’s educational concept of “learning by experience”, in which ‘experience’ refers to the transactions between human beings and their environment. Dewey’s Transactional Constructivism will be explored in order to understand the connection between theory and practice of performative education. This epistemology implies that a stimulus always means a change in the environment, which is connected to a change in activity of the organism: stimulus and response are not external to the action, because they are always part of the transaction between organism and environment, which determines the process of the experience.

This paper offers an innovative contribution, from both a practical and theoretical perspective, on the benefits of the application of a professional training to a universal performative education.


Letizia Montroni, Noah Tuleja (USA)

Activities for beginning level FL students to incorporate body and gestures into oral communication


This workshop provides participants with a set of activities applicable to any foreign language classroom, starting from the very first semester of language learning. Activities are based in Western actor training techniques and follow a scaffolding structure, combining basic acting sequences and beginning language skills. While Italian will be considered as the “target language” of the classroom, for the purposes of this workshop, no prior knowledge of the language is required.

By the end of this workshop participants will be able to:

1. Lead students to incorporate body in oral communication efficiently.

2. Develop clarity and expressivity in oral communication through language and body.

3. Use target language fillers in a natural way, according to participants’ personal interpretation of a provided discourse.

Participants will be actively taking part in activities, working in pairs or small groups, in order to experience this transformative process first hand. Activities might require the use of props provided by the workshop organizers. The last part of the workshop will be dedicated to a question and answer session, in order to offer advice on how to guide workshop activities in the classroom. Comfortable clothing is recommended.


Dorothy Morrissey, Marc MacLochlainn (Ireland)

A teacher-artist partnership approach to performance as pedagogy in teacher education


This paper explores the use of performance as pedagogy in an elective module in performance studies in the final year of a BEd programme, The module sought to trouble the notion of a fixed teacher identity and was underpinned by the premise that all human activities are composed of repeatable behaviours and can thus be cast as performances. Behaviours, however, can be combined in an endless variety of ways and in an endless variety of contexts; rendering every performance different from every other. So performance offers possibilities for intervening in, as well as for describing, human activities. These possibilities were harnessed throughout the module.

In the module, students performed personal narratives of their experiences in oral form, in play script format and in theatrical form. In so doing, they forged connections between their individual narratives and the broader cultural narratives in which they are embedded. They identified how the behaviours associated with being teachers (women, men) precede, exceed and are separate from the individuals performing them. And they explored how specific behaviours are maintained through repetition and regulation (implicit and explicit); through performativity.  

Throughout the module, students engaged in an ongoing process of peer (and tutor) feedback. In this way, a community of dialogue was fostered. And, as students co-performed (as students and as theatre makers) with each other and their tutors, taken-for-granted notions of teaching/teachers and other activities/identity categories were troubled.


Serafina Morrin (Germany)

“Drama with Foreigners?” – Cultural and Linguistic-Habitual Enactments in a Welcome Class


The influx of refugee children into Berlin recently has caused the schools to become even more heterogeneous. In response to this, the German Federal State of Berlin provides so-called "welcome classes" for school-goers with no knowledge of German.

The paper considers findings from a current study of a "welcome class", consisting mainly of 12-year-old children. Taking ethnographic video recordings as the research method, cultural and linguistic-habitual enactments are examined. With theatre-based methods used to create scenes, images and dialogues.

The research focuses on the question of which linguistic and cultural representations of identity models are recognisable by means of performative methods.

A theatre-based approach explores the physicality of the participants, as well as the character of their actions. In this regard, identity is not understood as an assumed entity, but rather the result of social practices of identification. It emerges performatively, as it portrays a reciprocal construction through its embodiments.

Based on these assumptions, a weekly drama workshop was conducted in a "welcome class" between September and December 2016. The video footage was evaluated using the documentary method. This approach avoids limiting the interpretation to the spoken word, and permits reconstruction of the participants’ orientation framework, as well as their specific habitus. In this way, tacit knowledge becomes explicit, while any recognisable cultural and social phenomena can be reconstructed in terms of their creation.

The research seeks to reveal a potential typography when dealing with cultural and linguistic representations of identity, one which could also be applicable in teacher training.


Serafina Morrin (Germany)

Exploratory Theatre as a Performative Approach to Tacit Knowledge


The workshop provides practical applications related to the paper: "Drama with Foreigners?" – Cultural and Linguistic-Habitual Enactments in a Welcome Class.

It frequently occurs in a German school context that explicit knowledge is overrated, yet that which can be tested is often just the tip of the iceberg. How can incorporated knowledge be studied? How can access to the self, when understood as a mimetic identity, be gained?

In this workshop, exercises are presented which help to demonstrate regularities of bodily performances and their shaping of reality. They show how biographical theatre is capable of illuminating cultural experience spaces, and how the telling of a story reveals shared orientations on which it is based. By creating image-sculptures and finding gestures, the aim is to illustrate how concepts of identity can be discerned by means of mimetic internalisation and how the human body assimilates the world. Using theatre scenes, the corporality of the self-identity and of the we-identity become evident. With bodily, linguistic and material spaces becoming graspable by encouraging the participants to enact their everyday experiences and subjectivities.

The workshop demonstrates, on the one hand, how drama can be applied as exploratory theatre while, on the other hand, it offers playful and creative options to educationalists for reflecting on their own perceptions of language, culture and identity.

The workshop is intended for all those who are interested in aspects of performative research, or who would simply like to explore performative approaches to acquiring linguistic and cultural practices


Paula Murphy (Ireland)

Towards an Embodied Teacher Education; A Qualitative Study


Issues of identity, purpose and mission have become central to a perspective that encourages a holistic approach to teacher education (Korthagen 2004; 2011). While the literature points towards an increased emphasis on the relationship between the personal and professional towards this end, the notion of educating the general student teacher towards a more embodied form of self-awareness would seem as of yet relatively aspirational. As part of a longer term research process, this study seeks to contribute to evidence of an emerging interest in the role and practice of embodiment within the field of teacher education.

The background to this study is my personal and professional engagement with the area of somatic movement education and therapy. I have recently completed the Origins accreditation process (ISMETA) at the Gorse Hill Centre in Greystones under the direction of Joan Davis, pioneering dancer, body-mind-centering practitioner and psychotherapist,. The premise of this intensive and highly experiential accreditation process is that the deeper the integration of mind, body and spirit on the part of the practitioner, the greater the potential for wholeness and well-being in those he/she engages with in the world.

Within the context of the B.Ed4 minor specialism in Drama at DCU (Oct – Dec 2015), this study examines student teachers’ experiences of facilitating a school-based drama project in light of their participation in a programme based on somatic movement education. It draws upon various forms of reflection to highlight the relevance of embodiment to the present moment dimension of the art of teaching.


Michael Nesdale (Spain)

SLA constructs and their implications for drama in L2 learning


The ultimate goal of second language acquisition research is to contribute to the development of a theory of second language acquisition (SLA). This can provide the researcher with questions and ways of determining the phenomenon to be explained (Lantolf 1996). In this paper, we ask how drama may create the conditions for second language learning and acquisition. Once identified, they will allow us to observe, codify and assess performative teaching and learning in terms of their contribution to the acquisition of a second or foreign language. SLA constructs will be discussed explaining acquisition in the context of drama, both from a cognitive and a sociocultural tradition. Cognitive constructs include L2 input which in drama comes via text, the director’s input, actor interaction, and rehearsal; noticing of new forms in the input that can potentially become intake for learning (Schmidt 1995); the development of declarative and procedural knowledge (Bruning 2004) and automatization by means of performative routines; focus on meaning coupled with attention to form that drama promotes; outputand its potential for language learning (Swain 1985); interaction (Long 1996) as fostered by performance; and affective factors (Gardener & MacIntyre 1993) such as confidence, motivation and anxiety in the context of drama performance. Regarding sociocultural constructs, issues of co-construction, mediation, interaction, scaffoldingin relation to drama are also analyzed and discussed. Finally, we address the concepts of identity (Norton 2013) and learner autonomy (Pring 1984) will be addressed, emphasizing the language learning potential of drama on the basis of these constructs.


Isobel Ní Riain (Ireland)

Role-play in Literature Lectures


This paper is based on a piece of qualitative research that I carried out in the Modern Irish Dept., UCC, in 2015. My research focuses on my use of role-play with 18 second year students as part of a storytelling module (GA2019). Role-play is usually associated with language teaching rather than literature in the field of Irish teaching methodology. My research question was: what learning do students associate with role-play? I drew on the works of the following theorists in my research: David Perkins (Teaching for Understanding); Dorothy Heathcote (Drama Education); Cecily O’Neill and Jonothan Neelands (Drama Education); Carmel O’Sullivan (Education Theory); Manfred Schewe (Performative Teaching and Learning); Stephen Krashen (Second Language Theory); Barbara M. Gayle et al (Scholarship of Teaching and Learning); Blatchford et al (2003). It was clear from the students’ answers in questionnaires and a focus group I did with my students early on in the course that they were very ambivalent regarding the learning associated with role-play. On asking the students to write about what constitutes learning, I found that their attitude towards the learning associated with role-play changed completely. The student voice was key from the outset in my research. Students are constantly assessed (Baxter Magolda, 2000), but they are rarely asked to assess their own learning. My students concluded that they had learned many different things from role-play; however, there was no consensus as to what they thought one could learn from it.


Erin Noelliste, Joseph Noelliste ()USA

Mnemonic Spaces: Music in Foreign Language Learning


Since antiquity, philosophers such as Plato and Aristotle used mnemonic devices to enhance memorization. Mnemonics proliferated throughout the Middle Ages with the method of Loci, Rhetorica ad Herrenium, and the Guidonian Hand. Memory enhancement seems less central to modern pedagogical practices; however, recent scholars have studied the influence of music in enhancing memorization in foreign language education (see, for example, Purnell-Webb & Speelman 2008, Good et. al 2015, among others). This workshop uses musical examples and basic mnemonic song writing strategies to demonstrate how music fortifies the retention of grammatical principles. Musical expertise is not required. In fact, non-musicians are particularly encouraged to participate. A free CD of examples will be given to each participant. The workshop will be organized as follows:

Presentation (25 min)

  • Explore the history, theory, and technique supporting mnemonics in education.
  • Showcase numerous examples of music fortifying German grammar.

Workshop (65 min)

  • In groups, participants brainstorm and discuss their experiences with mnemonics.
  • Participants share their experiences and are encouraged to ‘perform’ these with the group.
  • Participants populate a list of ideas for new mnemonic musical devices. We discuss the list in plenum, and the presenters lead the session in the collaborative composition of a new song.
  • In new groups, participants create their own mnemonic device by applying the principles outlined in the workshop.
  • The session concludes with the presentation of new songs and wrap-up.


Annie Ó Breacháin (Ireland)

Generating embodied data in educational research: opportunities and obstacles


This session will report on the use of drama to generate data in a phenomenological inquiry into the child-teacher relationship in an upper primary school context. I intend to demonstrate both the enriching and challenging aspects of including an embodied element to the generation of data in educational research using concrete examples from the phenomenological study.

Some of the enriching aspects of embodied data generation such as the immediacy and accessibility of embodied descriptions for children with literacy difficulties will be discussed. I will share how something that I initially perceived as a challenge, namely the need to photograph embodied data, proved highly valuable in the case of the work with the children in the study whereby photographs of the embodied work served as an ‘effective joint referent’ (Westcott and Littleton 2005) in the conversational interviews that followed.

I will address the challenge of generating embodied data with children and teachers including the necessary induction or ‘training’ that preceded the generation of data. I will also share how teachers’ perceptions of what constitutes research and their lack of confidence in their own body knowledge prevented embodied data generation on their part. I will point to the minority status of embodied data in educational research, even in qualitative studies, and how its acceptance is hinged on it being used is often ‘in addition to’ more traditional forms of data generation. Finally, I will highlight the ephemeral nature of embodied data and the challenges that this poses for subsequent analysis and reporting.


Alison Pantesco (USA)

Bring Mozart (and our students) to Life!

Workshop (bilingual)

This workshop utilizes the performative tools of karaoke, rap, mime and drama in the classroom for German learners. These tools strengthen the enthusiasm of the language learner while expanding vocabulary, and practicing correct pronunciation and grammar in context. German, the target language, becomes something „living“ for students, regardless of their musical or dramatic talents. Observably less stressed, students appear to internalize the language structures they are performing.

Using culturally authentic resources, including music from Mozart das Musical, the presenter will guide attendees, through their participation, to actively engage their students using karaoke, rap, mime and drama in their encounter with the life of Wolfgang Amadeus Mozart. The tools provided in this session provide a valuable supplement to a classroom reader about his life, or may independently function as a lively and effective manner to promote active learning in the intermediate classroom at both the secondary and college levels. Brief video(s) demonstrating students engaged in this method will also illustrate applicability and success for these learners.

Music, rap, mime and drama capably free the learner from the virtual and often stressed life of high technology, helping concentration while stimulating both short and long-term memory and contributing to imprinting learning. Students using the performative approach described here, for example, may report to the instructor that they “really get it” as opposed to merely completing an assignment. Language, so learned while performing within the traditional classroom space, and with minimal props, appears to stick, embed – and it is fun.


Abigail Paul (USA/Germany)

Inclusive classroom communication through theatre


This workshop hopes to work towards a more inclusive learning environment which accounts for differences in learning styles and levels of confidence. The workshop is based on theory from improvisational theatre – making your partner look good (collaboration), reducing fear of judgment, active listening, and spontaneity to build confidence and create stronger trust between students and teachers and among classmates. Classroom teachers across all subjects will be introduced to specific techniques (e.g. story exchange, opinion lines, or communal monologues) that have the potential to foster an inclusive learning environment, particularly for shyer students. Participants will try out the activities, games and exercises, and their feedback will be taken up throughout workshop.

This workshop will cover techniques adapted from the world of theatre, both verbal and non-verbal, that will help reluctant students connect to topics and other students in a way they will find safe, which is particularly useful in a language classroom, but is adaptable to all learning situations. Additionally, it provides teachers with tools for all students to have more fun, listen better and be more focused by offering student-centered and active learning methods. The goal of the workshop is to share tools and strategies with teachers that help in reaching shyer students by breeding a cooperative culture in the classroom, where 'failure' is seen as healthy, and with an emphasis on small groups and collaborative activities.


Inma Pavon (Ireland)

Writing with the body – A dance improvisation workshop


This movement-based workshop will revolve around the body as an integral part of learning. How can the role of the body be accentuated in learning processes and what effects does embodiment have on learning outcomes?

The body can be applied to the act of writing learning processes, and therefore make learning an embodied process. Through this experience, a physical memory of gestural writings will be imprinted and kept within our corporeal spaces, to be used in future activities.

This methodology has been applied by Cloud Gate Dance Theatre, a Chinese dance company, whose piece Cursive was completely devised and choreographed on the basis of this particular creative way of practice. A short video documentary of the making of Cursive will be shown prior to the practical workshop.

The workshop will feature simple dance improvisation tasks based on the idea of writing using the body. Participants, as part of the creative process, will create their own choreographies. We will share among the group the ‘choreographies’ devised during the workshop and hear each participant’s embodied experience findings. At the end, participants exchange ideas that might have emerged from this way of teaching, and discuss how this methodology could be applied to other fields of interest.

This workshop does not require dance experience. Everyone is welcome and comfortable clothing is advisable for this session.


Erika Piazzoli, Claire Kennedy (Ireland)

Embodying the voice in second language learning: The application of actors' voice training methods to teachers and learners


This paper describes an Australian research project aimed at investigating the design of an actor voice training programme and its implementation to second language (L2) teachers and learners. The voice techniques were drawn from various traditions in the voice studies literature, including the Linklater method of “freeing the natural voice” (Linklater, 1976). The project saw a group of L2 teachers participating in a voice training workshop, conducted by an accredited Linklater Instructor, which culminated in the design of a ‘voice nurturing’ programme for undergraduate language students at an Australian university. This was piloted in an intermediate-level Italian course, in the form of 8 brief weekly workshops, conducted at the start of scheduled language tutorials and featuring a series of relaxation techniques and voice exercises to assist students in embodying the voice in second language learning.

Data collection methods included pre- and post-intervention questionnaires; interviews with the teaching team; teachers’ reflection notes; and a focus group with the students. The data was analyzed using NVIVO 10 qualitative software. The findings suggest that, after the 8-week intervention programme, the participants were able to shift their vocal awareness and reported some benefits in oral production. The project was conceived within a view of language learning and teaching that can be described as ‘performative’, in the sense of being informed by experiential, drama-based strategies, the benefits of which have been increasingly identified in the last two decades.


Erika Piazzoli, John Kubiak (Ireland)

Embodying language: A case study on students with intellectual disabilities learning and through visual arts through drama


In this paper we present a mixed methods research project, conducted at Trinity College Dublin, involving a group of Irish students learning Italian (FL) and visual arts through drama pedagogy. The students, adult learners with a range of intellectual disabilities, including Autism and Down syndrome, are enrolled in the Arts, Science and Inclusive Applied Practice (ASIAP) Programme, a two year course run by the Trinity Centre for People with Intellectual Disabilities. The research project focused on exploring the following research question: What effects does embodiment have on the language learning process of adult students with an intellectual disability?

In order to address this question, in the context of the ASIAP programme, we combined the syllabi of two first year modules: Exploring Art and Italian for Beginners. We aimed to address the research question by collecting qualitative and quantitative data from three angles: 1) students’ experiences of arts-based embodied learning through collaborative reflection and focus groups; 2) language assessment items collected through embodied strategies, i.e., action/language games, at different stages of the intervention, and 3) instructors’ reflections of delivering curricula through arts-based embodied approaches. Preliminary findings suggest that embodied arts-based approaches, combined with collaborative reflection, can be beneficial for facilitating the language acquisition process of adult students with intellectual disabilities.


Marie Potapushkina-Delfosse (France)

Acting, painting, dancing English at primary school


The main theoretical basis of my action research is the embodiment of cognition and language described by Marcel Jousse in his Anthropology of gesture (1974). From Jousse’s perspective, each human behaviour has a gestural origin. Historically, language evolved from corporage (expression of the body as a whole) to manuélage (manual gesticulation) to laryngo-buccal language, a gesticulatory reduction motivated by a desire to save energy. In their early years, children learn and practice the oral form of their mother tongue through a process of holistic corporage that is not always encouraged in traditional Western systems of education.

The goal of my research is the preservation and development of the corporeal component in language education. In 2014-15, I taught oral English to 7-8-year-old French-speaking beginners through artistic gesture, introducing my pupils to a new laryngo-buccal language (English) through corporage (theatre and dance) and manuélage (painting). For theatrical activities, I adapted Lecoq’steaching method to the age and needs of my pupils. For dance, I cooperated with the company Mobillis Immobilis, who shared with my class their experience of eurhythmy (movement art created by R. Steiner). For painting, I used Kandinsky’s theory of color dynamics.

During the year of experimentation, I collected video recordings of my class. The analysis of this corpus shows that learning a language through artistic mediation produces very satisfactory results in terms of phonological quality, memorization, autonomy, and creativity. When interviewed, pupils expressed their awareness of having used gesture and emotion as cognitive and mnemonic tools.


Alexander Riedmüller (Germany)

Körper. Rhythmus. Sprache. – Body. Rhythm. Language.


Rhythmus ist das grundlegende Element allen Lebens. Er findet sich auch in allen Kunstformen, in der Musik genauso wie im Tanz oder im Theater. Auch Sprache lässt sich durch rhythmisch-musikalische Phänomene wie Melodie, Akzente, Tonhöhenunterschiede, Tempo, Tonfall oder Rhythmus beschreiben. Bei der Arbeit im oder mit Rhythmus spielt außerdem die Interdependenz von Musik und Bewegung eine herausragende Rolle: Bewegungen werden auf Musik (z.B. Spielrhythmen) abgestimmt bzw. Rhythmen (oder Klänge) durch Bewegungen erst möglich gemacht. Durch die Arbeitsweise der Rhythmik – auch Musik- und Bewegungspädagogik genannt – , die mit Musik, Bewegung und Sprache integriert arbeitet, können deshalb gut Lernprozesse angestoßen werden, die gleichzeitig mehrere Sinneskanäle ansprechen und somit nachhaltiges Lernen fördern.

Auch das Lernen einer Fremdsprache kann durch verschiedene rhythmische Übungen gefördert werden. Das rhythmische Sprechen von Texten, das Abstimmen von Bewegungsabläufen in der Gruppe und deren Verbalisierung, rhythmische Reaktionsspiele, das Erfinden von Sprechstücken, das Spiel mit dem Sprachrhythmus der Fremdsprache oder deren Einbettung in rhythmische Klatsch- oder Bewegungsspiele sind nur einige Beispiele dafür.

Der Workshop ist für alle gedacht, die das Phänomen des Rhythmus im Sprach- oder sonstigen Gruppenunterricht einsetzen wollen. Spezielle musikalische Grundkenntnisse oder „Rhythmusgefühl“ sind zur Teilnahme ausdrücklich NICHT erforderlich. Er ist offen für alle an der Thematik Interessierten.

Es werden verschiedene leicht anwendbare Spiele vorgestellt, die Lust auf das Ausprobieren im eigenen Unterricht machen sollen. Außerdem werden den Teilnehmenden Grundstrukturen vorgestellt, die sie selbst nach den Bedürfnissen ihres Unterrichts ausbauen können.


Thomas Ritter, Farina Simbeck (Germany)

Performatives Erinnern im Rahmen der Doku-Performance „Spurensuche“


Das theatrale Projekt „Spurensuche“ (Premiere 26.4.2016) beschäftigt(e) sich mit Euthanasie-Verbrechen in der Heil- und Pflegeanstalt Eglfing Haar bei München. Zwischen 1939 und 1945 starben dort etwa 1800 Patienten an Unterernährung, 332 Kinder wurden gezielt getötet, mehr als 2000 wurden in Tötungsanstalten geschickt.

Der Auseinandersetzung hiermit wurden eigene Erfahrungen der über 30 beteiligten SchülerInnen gegenübergestellt und theatral-handelnd bearbeitet. Die Mitwirkenden entschieden sich für eine stark performativ ausgerichtete Darstellung. In die Aufführung wurden deswegen immer wieder Brechungen und Aktionen integriert. Die zur Verfügung stehenden Opfer-Biographien wurden erzählend und handelnd, allerdings immer ästhetisch gebrochen, auf die Bühne gebracht. Als Aktionen wurden Papierrollen beschriftet, das Publikum wurde zum „Sich-in-eine-Ecke-Begeben“ aufgerufen, am Ende wurde eine einengende Wand als Geste der Befreiung lärmend zum Einsturz gebracht. Auch die direkte Miteinbeziehung des Zuschauers, der sich teilweise bewegen kann oder muss, verhindert rein passives Zusehen, aber auch ein ausschließliches ‚bemitleiden‘. Der spezifische Bühnenraum generiert innere Zustände und ließ die Zuschauer sich selbst in Macht- wie auch Ohnmachtspositionen erleben. Um den SchülerInnen eine Lern-, insbesondere eine ästhetische Erfahrung zu ermöglichen, wurde versucht, den Raum zwischen dem, was dargestellt wurde und dem, was letztlich als theatraler Akt auf der Bühne zu sehen war, deutlich auszuweiten. Das Spurensuche-Projekt wird momentan an unterschiedlichen Institutionen und Schulen in ganz Deutschland gezeigt.

In unserem Vortrag, der durch szenische Ausschnitte mit den SchauspielerInnen und Videoausschnitte begleitet wird, führen wir einzelne Thesen zum Gedanken eines performativ-theatralen Erinnern näher aus. Weitere Informationen zum Spurensuche-Projekt (u.a. auch Video-Mitschnitt):


Jennifer Rogers (Ireland)

In What Ways Do Playwrights Experience Research As It Is Going Towards The Performative?


Over the past two decades there has been a significant increase in practice-led research, particularly in the area of teaching, learning and research. Carmel O’ Sullivan (2009) writes on the methods and benefits of using role-play as a research tool for assessing the professional development of teachers. Both Scenario and RiDE are strong examples of academic journals that focus on practice that draws on drama and theatre.

The biodiversity of arts-based research is rich in intellectual nutrients, which are described in aesthetic terms by artist/researcher Janneke Wesseling as experience, event, affect, and connectedness. In her article “Performative Research” (2016), Hanne Seitz argues that the traditional scientific research method lacks a “process of realisation.” Scientific research takes pre-determined expectations, frames them with proven theories, and tests them with instruments which are “theories materialised.” The outcome is an analysis of how close the tests came to the pre-determined expectations (or not). Consequently, there is a gap, and a lot of knowledge generated or “realised” through practice-led research is lost, because it does not fit the scientific method. Seitz, along with other scholars, claims there is an urgent need to establish a new research methodology that generates “embodied knowledge” and thus accounts for the emerging field of Performative Research.

In an effort to help close this gap, one question might be: In what ways do playwrights experience research as it is going towards the performative? The proposed paper will present on my findings with consideration to the theories and concepts mentioned above.


Garret Scally (UK)

From Performance to the Periphery and Beyond: Group Devised Theatre for additional language acquisition


Based on a group devised theatre project – a four-month-long theatre workshop series for adult English learners in Mulhouse, France – this paper discusses how the scenes for a performance were created and the effect this had on additional language development. Along with discussion on the role of creative, collective collaboration in this process, it also signals the importance of the periphery by looking at the amorphous development of this group devised theatre project from initial exercises through devising the scenes themselves to the concluding performance and even the post-performance participant-led workshops with the audience. Discussion of some peripheral moments is backgrounded by Lave and Wenger’s work on ‘communities of practice’ which produced the idea that non-participation can paradoxically enable participation and form an important part of identifying with others in a group. This in turn was applied by Bonny Norton and Carolyn McKinney to the formation of second language learners’ own identity alongside their investment in a learning environment. During the devising process, there were peripheral moments of creative practice alongside breaks and lunch together or meetings outside the scheduled workshops and rehearsals where participants came to know each other on a more personal basis using the target language. These were instances that were not intended or planned as part of the main devised theatre project and yet were significant moments in creating language learner autonomy and moving towards an emancipatory learning experience via artistic democracy, counter-balancing the learner’s awe of the ‘ideal speaker’.


Katalin Schober (Germany)

Performing intercultural contacts in foreign language education: Camfranglais and language play


Camfranglais, commonly defined as a hybrid language used by young Cameroonian speakers, has become increasingly fashionable since its beginnings dating back to the 1970s. Indeed, this mixture of French, English, and Pidgin English, which incorporates lexemes from indigenous languages of Cameroon as well, is used in particular in the urban areas or in popular culture. Its linguistic openness turns this hybrid language form into a congenial site of developing intercultural awareness, not only among native speakers, but also among learners of French (or English) as a foreign language.

This paper is to focus on its uses in the foreign language classroom, particularly in French lessons in a German school: high school students of French were asked to decode and to productively engage with the Camfranglais song “Si tu vois ma go” by the musician Koppo in a unit that dealt with issues of Francophone cultures. The goals were at least twofold: first of all, to encourage the students to creatively use tokens of Camfranglais, in fact to ask them to perform intercultural encounters; and secondly, to foster their linguistic and cultural understanding with regard to questions pertaining to contact phenomena.


Alexander Schott (Germany)

Auseinandersetzung mit dem Leben in DACH - ein Projekt, seine Raumperspektive und Anschlussmöglichkeiten für performatives Lehren und Lernen in Ghana


Der Vortrag ist im Bereich Deutsch als Fremdsprache verortet. Anhand erster Ergebnisse einer Aktions­for­schungs­studie in A2-Intensivkursen in Ghana werden ein Unterrichtsprojekt vorgestellt und Bezüge zum metho­disch-didaktischen Potenzial performativer Räume in dieser Situation her­gestellt. Weiter präsen­tiert der Vortragende Möglichkeiten und Grenzen perfor­mativen Lehrens und Lernens in Ghana aus seiner Per­spek­tive.
Seit 2014 hat Alexander Schott in Ghana zwei Unterrichts­projekte durch­geführt. Ausgangspunkt ist, dass Lerner­Innen in Ghana Deutschkurse oft deshalb besuchen, weil sie einen Langzeit­auf­ent­halt im deutsch­­­­­sprach­igen Raum anstreben. Wie die lokale Praxis zeigt, ist es für Lerner­Innen in der Situation jedoch oft schwer, konkrete Vor­stellungen bezüg­lich ein­es solchen Aufenthaltes zu entwickeln.
Hier setzt das Unterrichtsprojekt an. Die LernerInnen ent­wickeln schrei­bend Geschichten von fik­tiven Charakteren, die in einem deutsch­­sprach­igen Land leben. Als End­produkt prä­sen­tieren sie ein Buch. Begleitet wird das Projekt von Material­­angeboten sowie Recher­chen. So findet eine imagi­native Auseinandersetzung mit dem deutsch­sprachigen Raum statt und die LernerInnen treten in einen Dialog miteinander und anderen. An diese Fragen anknüpfende methodisch-didaktische Potenziale für per­for­ma­tives Lehren und Lernen werden im Vortrag thematisiert. Von besonderem Interesse sind hierbei Fragen nach der Realisierung von Teil­habe für Lerner­Innen und der Bedeutung von Imagination für die (per­formative) Auseinandersetzung mit kultur­be­zo­gen­en Fragen.
Auch wird im Vortrag Bezug auf performative Räume in der konkreten Situation genommen. Dies gilt insbesondere für physische, mentale und interkulturelle Räume, aber auch für Forschungs- und Definitions­räume. Ein Überblick über die Bedingungen für performatives Lehren und Ler­nen und Deutschunterricht in Ghana wird im Anschluss gegeben. Dabei werden auch die Stimmen von anderen regional Lehrenden berück­sich­tigt.


Yasuko Shiozawa, Eucharia Donnery (Japan)

Performative Spaces: Embodying Homelessness from Visionary Spaces


This presentation describes a three-day summer drama-workshop that took place from August 1st-3rd, 2016. Participants of the workshop were 30 English as a foreign language (EFL) college students.

The aims of the short-program were threefold:

  • to analyze student evaluations about using drama for learning English and their
  • experiences before and after the workshop
  • to override cultural reticence to strangers, an often neglected but important issue in Japanese society
  • to critically analyze and gain deeper understanding of homelessness through personalization of objective world events

Students were actively encouraged to speak in English to the best of their abilities, although actual analytical discourses and creative preparations took place in Japanese. As the latter was entirely learner centered, this became an integral part of the team-building process.

Because the overall theme of the workshop was homelessness, the case-studies that the students read were framed through various contemporaneous contexts: the difficult journeys of refugees en route to Europe, adaption issues of refugees living in the UK, empty cans to earn some money to feed himself in Japan, and "industrial trainees" brought semi-legally to Japan.

Through working performatively, the students could personalize abstract and difficult themes to engage meaningfully with others, as well as to promote teambuilding and friendship. In this paper, presenters report on positive outcomes and challenges in the inclusion of drama into EFL education.


Anne Smith (UK)

“You are contagious”: the role of embodiment in moving learners from rehearsal in a workshop into action in the outside world


The body plays an integral role in the learning process.  A kinaesthetic approach is particularly important in a community setting where learners may be illiterate in their first language. Creative English is a national, community-based applied theatre programme in the UK, which teaches adult migrants the English they need for everyday situations such as talking to doctors and landlords. It works with those with low levels of English, including those who may have no prior experience of formal education. In routine monitoring of the programme, it was observed that there was a difference in the extent to which learners in certain groups had used their English in the wider community, which appeared to correlate with differences in how the drama had been facilitated. A comparative study between two Lancashire-based groups was completed as a result, collecting data through semi-structured interviews and observation of workshop sessions.

This paper will reflect on findings from this study, particularly the use of the facilitator’s body in the space and how that can encourage or limit increases in learner confidence. It will identify kinaesthetic approaches to facilitating a learner in role, which help to lower the affective filter, and support learner progression in a mixed ability group. It will examine the role the body plays in accelerating the creation of a supportive group dynamic, and where it can support and interfere with the likelihood of applying the language and confidence developed in real life.


Lane Sorensen (USA)

Inhabiting Scopus: a German instructor's experience applying drama pedagogy to a public speaking course


In light of recent divisiveness in national and international politics, we as educators seek ways both old and new to bridge connections between our fellow human beings. My journey as a German instructor who currently teaches a required public speaking course has led me to one of these methods as old as democracy itself: scopus. This is the concept of moving from one perspective to another, not merely with the aim of reaching another perspective, but to inhabit it (Arthos: 2016). It is this act of inhabiting another position that brings one into a new mental space. Scopus fits well into drama pedagogy, where the classroom can be a stage and its students and faculty the cast of characters.

This paper is a pedagogical reflection of activities involving scopus that get students out of their chairs in order to act out frames of mind that might embody perspectives drastically different from their own. Importantly, the speeches given in this public speaking course are not on superficial occurrences in popular culture or lighter matters such as learning how to play guitar, but on modern public controversies, such as the Black Lives Matter movement, abortion, etc. In other words, issues for which many might hold a definite – at times inflexible – bias. Yet this inflexibility can be addressed and alleviated by performative activities, such as acting out a Grimm’s fairy tale from the villain’s perspective or roleplaying with 'alienating' vs. 'invitational' argumentation strategies. This is the performative approach to scopus.


Stéphane Soulaine (France)

 An enactive approach to the training of language teachers: the example of an interdisciplinary project combining movement, dance and drama

Paper/Workshop combination

My paper focuses on the practice of dance and drama in the context of English as a Second Language, especially on the pairing of body and language dynamics. It will focus on an experiment (2014-15) conducted with two groups of Masters Degree students, and also primary and secondary school students in France. My research project which was carried out from 2015-2016 is based on an enactive approach which draws on two theoretical frameworks: English didactics (phonology) and Laban’s theory of movement. The aim is to look at how a physical approach to the study of ESL facilitates the learning of the rhythm of the language, and enables students to interact more easily with each other. The central hypothesis is that by tapping into the rhythms the learner has incorporated since birth, the acquisition of English and the ability to interact can be facilitated. During the three-month experiment the students were invited to take part in a series of workshops which combined movement, drama, and language.

In the workshop part “Self-Portrait … but not my own”, participants will produce a short performance combining movement, drama and foreign languages. A pattern of activities (a scenario of actions), will lead from non-verbal rhythmic activities towards the expression of oneself in interaction with other participants. Developing the capacity of interacting with peers is indeed one of the major skills that learners have to acquire. Interacting in the field of ESL involves a variety of personal aspects of one’s identity: intercultural, linguistic, corporal and emotional.


Anke Stöver-Blahak, Bärbel Jogschies (Germany)

Explorations below the beer belly – Expedition unter den Bierbauch

Workshop (bilingual)

Dieser Workshop basiert auf Erfahrungen einer Kooperation des Schauspielhauses Hannover mit dem Fachsprachenzentrum der Leibniz Universität. Sprachlerngruppen aus internationalen Studierenden der Niveaustufe B2 lernen die deutsche Sprache, ein Stück deutschsprachige Theaterliteratur und viel über andere Kulturen, indem sie miteinander im Klassenraum – aber auch im Theater und in einer eigenen Aufführung – ganzheitlich und performativ arbeiten. Im WiSe 2016/17 war die Grundlage ANDORRA von Max Frisch in der Bearbeitung des Schauspielhauses.

Durch das Spiel auf der Folie eines deutschsprachigen Theaterstücks können dieTeilnehmerInnen, ebenso wie die internationalen Sprachlernenden in Hannover, erfahren, wie wirkmächtig kulturelle Identitäten sind, was passiert, wenn Gruppen sich gegeneinander abgrenzen. Dabei wird zunächst an die Unterschiedlichkeit der internationalen TeilnehmerInnnen angeknüpft, die dann aber im Spiel mit den fiktiven Kulturen transzendiert wird.


Jocelyn Swanson (USA)

Piensa rápido! Hot-seating for critical thinking


Hot-seating is an improvisational theatre technique wherein participants “in role” pause while acting out a scene and must answer questions posed to them by audience members. This paper examines how hot-seating and other theatre-based pedagogical strategies enhance Second Language Acquisition (SLA) by fostering proficiency as well as critical thinking skills, drawing on both published research and personal experience. As theatrical plays contain different context than poetry and prose, they offer a unique opportunity for students to further acquire their target language (L2). Kurtz (2011), MacDonald (2011), Perone (2011), and Paul (2015) have shown that including techniques like improvisation and hot-seating helps promote improved speaking and thinking in the L2 among students in advanced courses. Critical thinking is fostered by taking the play from reading to performance, which engages students in fine-grained analysis of the implications and connotations of the play's language. Hot-seating requires students to think critically by taking on the mindset of a character. Including these components has the potential to transform students’ critical thinking skills and language proficiency, although it must be integrated tactfully. The benefits from this approach are invaluable to students’ academic, as well as linguistic, careers.

Provided with the presentation for each participant will be a one-page excerpt of the story “The Woman Who Came at 6” by Gabriel García Márquez. Following the theoretical part of the presentation, audience members will be invited to participate in a hands-on example of a hot-seating activity. 


Konstantinos Trimmis (UK)

Performative Archaeology: Using Drama in order to understand and communicate cultural spaces.


Since 1970s, Drama has been proved a valuable vehicle that can communicate difficult and complex ideas in audiences that are unfamiliar with this particular context and knowledge. The adaptability that Drama offers as well, has created a variety of applied Drama “sub-disciplines” (e.g. Drama in Education, Sociological Drama, Drama in Prisons) where Drama is used in order not only to engage the audience with new knowledge but to assist the audience in order to self-understand and re-acknowledge existing embodied information. This paper aims to explore what a Performative turn in archaeology can offer, not only to help audiences to gain insight into cultural heritage, encourage their imagination and boost their engagement in learning about historic cultures and practices but also as a tool for interpretation and understanding archaeological evidence. The paper is built on two stages; first it evaluates previous applications of Process Drama in museum education, in experimental archaeology and in the engagement of unfamiliar audiences with archaeological context. Second, it explores theoretical ideas that can be implemented in order to achieve a better understanding for use of space in the context of the use of caves in the Neolithic Balkans and in the post-medieval Kythera island in Greece. Finally, this paper aims to leave a note for the future, that Drama can be a tool for archaeology and Performative Archaeology can be a new sub-discipline for drama facilitators.


Dominik Unterthiner (Austria)

Mehrsprachiges Lesetheater – Lesen mithilfe theatraler Techniken fördern

Paper and Präsentation

Zu den zentralen Einsatzgebieten von theaterpädagogischen Übungen im Fremdsprachenunterricht zählen u. a. die Förderung performativer Kompetenzen und damit einhergehend insbesondere der produktiven Sprachfertigkeiten von Schüler/innen. Dramapädagogische Techniken können aber auch gewinnbringend zur Förderung rezeptiver Fertigkeiten eingesetzt werden, so beispielsweise beim Training der Leseflüssigkeit. In diesem Beitrag wird vor diesem Hintergrund das Erasmus+-Projekt „Mehrsprachiges Lesetheater zur Förderung von Leseflüssigkeit und Lesemotivation“ vorgestellt. Ziel des Projekts ist es, nach den Prinzipien des Design-based-Research-Ansatzes ein praktikables und sprachübergreifendes Unterrichtsdesign zu entwickeln, das Schüler/innen beim Auf- und Ausbau der basalen Lesekompetenzen unterstützt. Diese basalen Fertigkeiten bilden die Voraussetzung dafür, auch hierarchiehöhere Leseprozesse wie das sinnerfassende Lesen zu bewältigen. Die Zielgruppe des Projekts sind Schüler/innen der 6. bis 8. Schulstufe. Das Kernstück des Unterrichtsdesigns sind mehrsprachige Lesetheater, die von Schüler/innen im Sprachunterricht erarbeitet und abschließend lesend aufgeführt werden. In den Übungsphasen lesen die Schüler/innen ein und denselben Text mehrfach (halb-)laut vor. Durch dieses wiederholte laute Lesen wird ähnlich wie bei anderen Lautleseverfahren die Leseflüssigkeit der Schüler/innen verbessert. Darüber hinaus kann durch den Einsatz von Lesetheatern im Unterricht die Lern- und Lesemotivation erhöht werden, wodurch MELT einen weiteren zentralen Ansatzpunkt der Leseförderung berücksichtigt. Theaterpädagogische Übungen, die vor und während den Übungsphasen eingesetzt werden, sind ein integraler Bestandteil des Designs. Der gezielte Einsatz von Warm-Ups, die Auseinandersetzung mit den Rollen mithilfe von Sprechtechniken sowie die szenische Gestaltung literarischer Texte ermöglichen den Schüler/innen im Sinne eines handlungsorientieren Unterrichts einen ganzheitlichen Zugang zu Sprache und Literatur. Im Vortrag werden die einzelnen MELT-Designkomponenten vorgestellt – mit Fokus auf den Einsatz theaterpädagogischer Übungen.


Catherine Van Halsema (USA)

Virtually Possible: How online spaces are redefining the viability and value of foreign language education


This paper will seek to contrast the performance of teaching and learning within the rapidly growing commercial industry of digitally-mediated foreign language education with the performance of teaching and learning within the gradually diminishing industry of foreign language programs in American universities. Drawing on Jean-François Lyotard’s theories of language, teaching, and performativity in the context of a technology-centered society, as well as Monica Prendergast’s and others’ conceptions of the ‘teacher as performer,’ this paper will explore how digital spaces have shaped and will shape the performance of foreign language education.

The online classroom, whether within commercial industry or the university, forces diverse interpretations of ‘performance’ and ‘teaching.’ Technology-based distance learning has enabled foreign language teachers from all over the globe to market their skills and to connect one-on-one with students willing to pay a premium for quality foreign language instruction. Within universities, the shift toward online teaching seems to have been motivated by increasing market pressure on university-based foreign language programs to remain relevant and current.

Ever more commercial companies are taking advantage of online teaching—specifically its ability to deliver a quality service in real-time—and turning it into a billion-dollar industry. University programs that fail to take advantage of new technologies and to create digital spaces for their students run the risk of being unable to compete with STEM fields for funding. Offering online courses is one way to actively legitimize, in Lyotard’s terms, university foreign language programs’ seat at the table.


Silja Weber (USA)

Students' discursive space and the role of performance activities


It is fascinating to study learning contexts that represent the creative cutting edge. However, many university foreign language classrooms are too constrained to assume that they can implement a framework of performance-based learning, even when class dynamics would favor it. Most classrooms do implement an interactive pedagogy, even if it is not performance based. However, innovative pedagogy proponents often compare their work to teacher-centered pedagogical contexts, so that claiming benefits for their innovations is almost a foregone conclusion. These observations imply that it would be interesting to look at classrooms that are "ordinary": interactive and engaging, occasionally including role plays and other dramatic formats, but not highly innovative or performance-based. Where do these classrooms offer students the seeds of discursive initiative and agency, and how do occasional performative activities contribute?

This paper presents data from just such a third year German classroom at a US university. It was video recorded on days when drama activities occurred as well as when there was interaction, but no drama. Video data were transcribed and Goffman's concept of participation frameworks was used to investigate interaction in whole-group activities, particularly where students can be seen to engage in topic management, participant ratification, and the manipulation and layering of different types of footing. The focus is on the specific qualities of discursive contexts that make space for student agency, and the role performance sequences may play in defining and expanding them.


Dirk Weißer (Germany)

Performative spaces in advanced teacher training: Results, possibilities, and limitations of teacher / theatre pedagogue collaboration


Entlang der Erfahrungen und Ergebnisse aus ESF-Projekten die die Kreisvolkshochschule Ammerland hier in der Region seit 20111,2,3 gemeinsam mit dem Verein JugendKulturArbeit e.V. umgesetzt hat bzw. aktuell umsetzt, möchte ich auf das in diesen Projekten u.a. erprobte Modell des Tandems aus Lehrkraft und Theaterpädagoge/-in eingehen.

Ziel des Einsatzes von Tandems im Regelunterricht über einen längeren Zeitraum ist es den methodisch-didaktischen Werkzeugkoffer der Lehrkräfte zu erweitern. Durch ‚mimetische Multiplikation‘ im Rahmen der Tandempraxis werden die Lehrkräfte sukzessive darauf vorbereitet Unterricht und Classroom-Management mit diesen Methoden zu ergänzen und die Anerkennungsbilanz ihrer Schüler zu steigern. Insbesondere sollen damit Lern- und Partizipationsräume für Schüler eröffnet werden, die aufgrund ihres Habitus weniger erfolgreich an die erwünschten Praktiken der Institution Schule andocken können.

Aber: die Projektwirklichkeit in den Schulen zeigt auch, dass die Akzeptanz gegenüber dem Potential kultureller Bildungsformate seitens der Schulen bzw. Lehrkräfte nicht vorausgesetzt werden kann.

Trotz der Forderung nach handlungsorientiertem Unterricht – festgeschrieben in Rahmenlehrplänen und Curricula – und der ‚Verwandtschaft‘ der Begriffe ‚Performanz‘ und ‚Handlungsorientierung‘, fällt es Lehrkräften im Rahmen der Projekte zunächst schwer bspw. der Theaterpädagogik eine echte bildende Dimension oder einen Mehrwert für die Erreichung schulischer Lernziele zuzuschreiben. Offenbar finden die zahlreichen Forderungen nach Handlungsorientierung keine ausreichend praktische Entsprechung im Rahmen der Lehreraus- und -fortbildung.

Vor diesem Hintergrund wird es als wichtig und lohnenswert angesehen sich den Bedingungen des Gelingens einer interdisziplinären Zusammenarbeit zwischen Experten für Schulunterunterricht und Experten für kulturelle Bildung zu nähern.

1Link: Infos zum Projekt Auftritt

2Link: Infos zum Projekt Ammerland inklusiv

3Link: Kooperationspartner Jugendkulturarbeit e.V.


Gustave J. Weltsek III (USA)

De- and Re-Constructing the Self: Disassociation and Re-imagining the Mental Spaces of Performance Pedagogy


This interactive presentation introduces the concept of “dissociation” as a performative pedagogical teaching and research paradigm in language, literature and culture education. Dissociation — an existential space where learning occurs in the process of rupture, questions what it means for students to “let go of everything” and leap into the unknown of drama to later reconnect with their socialized selves. Raising questions of identity, autonomy and self-worth through firsthand accounts of drama education explorations with youth, I lay out drama research in processes of disjuncture, joy and play.

Using the lens of “Mental Spaces” this presentation takes up the challenge to explore; What new spaces in the mind emerge from working performatively in education? Beginning from the question; “What do we not know?”, participants interact within moments of rupture in drama work. We will collectively wonder: How is the unknown experienced through theatre and drama? How is the “self” constructed and performed? How may this construction affect language learning? Finally, we will wonder: is it possible to imagine a living and breathing communal drama process?

Launching from Butler (Identity Theory), Boal (Theatre for Social Equity and Justice), and Medina and Weltsek (Critical Performative Pedagogy), participants will play with drama strategies as explorative leaps into the unknown. Throughout this play, existing data is shared and new data collected from inside the process to support a communal, artistic deconstruction/reconstruction in dialogic real-time. This workshop uses drama strategies to examines the Mental Spaces of drama to imagine a performative pedagogy of autonomy, power, and hope.


Alexandra Zimmermann (Canada)

Reading the coffee grinds …Staging the Intercultural Space in Product Orientated Drama Pedagogy


It is “the physio-intellectual spaces where learning actually happens” (Gerd Bräuer 2002: x). This refers not only to language learning, but of course just as much to intercultural learning: Ann Axtmann “suggests to create a new place through play where the ‘native’ and the ‘foreigner’ meet and mingle.” (Gerd Bräuer 2002: xii).

A case of intercultural learning will be presented from a multilingual and multicultural theatre night at Wilfrid Laurier University, Canada, using the example of a skit performed by 1st year students of Arabic. Participants from completely different cultural backgrounds underwent an intense intercultural learning process by discussing the script and rehearsing for performance till “the culture [was] being worn by the players” (Julia Rothwell 2011: 579). The cultural learning process of the rehearsals was then reflected in a meta-cultural episode on stage: the ‘native’ expert had to teach the linguistically deficient and culturally ignorant ‘foreigner’ how to tip over a coffee cup properly in order to prepare the coffee grinds for fortune telling.

Staging the ‘other’ in public is however not limited to acting and delivering the dramatic text. It is facilitated by an overall theme-orientated production concept and draws from a multitude of theatrical means of expression like costumes, props, set, music and choreography which can be turned into powerful teaching tools and mediators between the ‘self’ and the ‘other’, thus educating participants and audiences equally.



Conference delegates will have an opportunity to see ImproTheatre. 

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

artig - performative teaching and learning


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 and 


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.

Colllaborative Team:

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

Eimear Kelly: 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: sound consultancy (GAITKRASH/Domestic Godless/The Quiet Club)

Patricia Klich: videography (freelance artist)

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.

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


Lancaster Lodge []

Lancaster Quay Western Road, Cork

Tel. +353 21 425 11 25



Western Road, Cork

By Phone:   +353 21 425 2700


Anam Cara B&B []

31 Palace View Western Rd, Cork

Tel. 00353858645216


Audley House []

Cork City B&B, Western Road, Cork
Tel: +353 (0)21 4274292


Garnish House []

Western Road, Cork City

Tel. +353 (0)21 4275111


Shandon Bells B&B []

Western Road, Cork

Tel. +353 (0)21 4276242


Fernroyd House []


Crawford House []

Western Road, Cork
Tel: +353 (0)21 427 9000


Blue Dolphin House B&B Accommodation []
3 College View Terrace,
Western Road (Opposite UCC), Cork City

Tel: +353 87 6489284

Redclyffe House []

Western Road, Cork

Tel. +353 214273220


Acton Lodge []

Western Road, Cork City

Tel. 00353214344161


The Kingsley []

Victoria Cross, Cork

Tel. +353(0) 21 480 0500

Achill Guest House []

Western Road, Cork City
Tel. +353 (0)21 4279447


Blarney Stone []

Western Road, Cork City

Tel. +353 (0)21-427-0083

4 O'Donovan Rossa Rd, The Lough, Cork

Tel. +353 21 4271460



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


** 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)



From the city centre (Patrick Street/Grand Parade), take Washington Street to the west. Pass the old Court House (on your right) and later the River Lee Hotel (on your left). At the next traffic lights, enter the UCC College Gates.

  • To walk from the city centre to UCC takes 15-20 minutes.



Cork Bus Station is located at Parnell Place in the city centre. The bus station is served by all Bus Eireann local and intercity services.



Cork Airport is 8 km south of Cork city centre (Airport to UCC, 131kB). There are several flights a day from London-Heathrow or Amsterdam (both AerLingus) and London Stanstead or Gatwick (RyanAir). Note also direct flights to Cork from Munich, Paris, Barcelona and other European cities. For a full list of scheduled flights to Cork click here

  • Bus connections to/from the Cork airport are provided by Bus Eireann (route No 226 to Cork Bus Station).
  • A taxi journey to UCC will take 10–20 minutes and will cost about €12–18.

Dublin Airport is Ireland's biggest airport. It offers a wider range of direct flight connections, such as Berlin - Dublin. There is a convenient and hourly bus connection from Dublin Airport directly to Cork city centre, offered by Aircoach. Buses leave directly from Dublin Airport. Tickets can be purchased at the bus station, but are cheaper if booked online. An alternative to Aircoach is The commute takes about 3h. 

Kerry Airport offers a direct flight connection to Frankfurt-Hahn. You may also wish to check flights from various European cities to Shannon Airport.

For connections between Kerry Airport and Cork City or Shannon Airport and Cork City please check the website of Bus Eireann






- From City Centre (Grand Parade)
  • take Washington Street/Western Road towards the west
  • pass the River Lee Hotel (on your left)
  • at the next traffic lights, turn left
  • drive up O’Donovan’s Road and turn right on to College Road. UCC’s visitor car park is immediately on your left (entrance from Perrott Avenue)
  • UCC’s main vehicle entrance is 200m on your right

A second visitor car park can be accessed by continuing straight along Western Road to the next traffic lights (Gaol Cross) and turning left. Perrot’s Inch car park is 50m on your left, before the small bridge.

- From Limerick (N20)

  • Follow the N20 into Cork until you cross the River Lee (Cork Opera House is in front of you)
  • Turn right onto the quays and pass two more bridges to your right (You’ll see the Gate Cinema on your left)
  • Take the first road to the left (Grattan Street)
  • At the third traffic lights turn right into Washington Street.

- For all other routes

From the South Ring Road (N40) to Wilton/Sarsfield Road Roundabout, follow signs for Cork University Hospital/City Centre.

  • Pass the Wilton roundabout, exiting at Wilton Road.
  • Turn right at the next traffic lights (Dennehy’s Cross) and keep left at the next roundabout for College Road.
  • For Western Road continue down Wilton Road,  follow the right bend and cross the bridge. The UCC Western Gateway Building is on your right. At Gaol Cross turn right, Perrott’s Inch car park is on your left.

Cork City and Main Approach Routes (66kB)




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 – 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

Selected papers will be published in SCENARIO Journal ( and/or the SCENARIO Book Series (

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).

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