SCENARIO FORUM Online Research Colloquium


The Colloquium Series, supported by Irelands National Forum for the Enhancement of Teaching and Learning in Higher Education, was launched on 27 June 2020 and is a great opportunity for colleagues to showcase their research and enter into a dialogue with colleagues from different parts of the world.

COLLOQUIUM ORGANISATION TEAM: Susanne Even, Dragan Miladinović, Manfred Schewe, Fionn Woodhouse



We aim to  host one meeting per month as follows (subject to change):


January 2021: Erika Piazzoli & Elif Kir / Anna Santucci (see details below)

February 2021: Fionn Woodhouse / Stefanie Giebert

March/April (tbc): Special Guest Prof. John O'Toole, Foundation Chair of Arts Education/Univ. of Melbourne, previously Professor of Applied Theatre at Griffith Univ.

June 2021: Two Day Virtual Event with the provisional title

Square Eyes, sore back – Performative perspectives on remote/distance teaching/digital learning

We will do our best to document the Colloquium Series and will send you an update as soon as possible.



6th COLLOQUIUM - 30 January 2021 - 13:30 GMT/UTC +0 hours.

PART 1 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Erika Piazzoli, Trinity College Dublin

Elif Kır, Istanbul Medeniyet University

The Double-edged Sword of Storytelling: Ethical Concerns in Conducting Performative Language Practice with Refugees

Does performative practice always empower, or can it also disempower? How, and why is that? Piazzoli and Kir have asked this question, among others, to a number of international practitioners working in vulnerable settings, including refugees. In this paper, they offer a synthesis of the findings from eight interviews with experienced teacher/artists and L2 facilitators. A salient issue unearthed by the inquiry is that storytelling can be a double-edged sword, when performative practice involves refugees and asylum seeker populations.

The authors begin with an overview of different ethical principles that have emerged from the literature across best-practice case studies. They argue that working with refugees requires a critical questioning of social positionality and power, with an awareness of biases, privileges and frameworks (Canas, 2017). They highlight some of the ethical concerns when storytelling and drama are used to ‘replicate’ the past, rather than ‘create’ new possibilities, what Jeffers (2008) framed as reinforcing ‘narratives of victimhood’ through the arts. The analysis points to the interconnected relationship between vulnerability, agency and power, and to the subtle dynamics at play in a learning environment. In this sense, it is useful to reflect on whose stories are created, how they are portrayed, and what they represent.

Canas, T. 2015. Retrieved from:

Jeffers, A. (2008). Dirty truth: Personal narrative, victimhood and participatory theatre work with people seeking asylum. Research in Drama Education: The Journal of Applied Theatre and Performance. 13(2), 217–221.


PART 2 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 


Anna Santucci (details to follow)


5th COLLOQUIUM - 28 November 2020 - 13:30 GMT/UTC +0 hours.

If you wish to participate please register here: 

Please note that the first presentation is in English, the second in German.

 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

Laure Kloetzer and Ramiro Tau

Performing arts across disciplines in higher education: personal diaries as a tool for reflection

We will give an introduction to the ASCOPET research project which focuses on the specific teaching and learning dynamics in two university courses that make use of the performing arts to teach engineering and psychology (see In doing so we will focus on selected examples of the personal diaries that the students produced in the course of a teaching term. We will show that these diaries do not only give access to the student's point of view, but are also a key component of our pedagogical approach in that they support self-reflection and are therefore a critical piece of our pedagogical practice. We claim that diaries are an essential part of the performative act and will illustrate the transformations to which they give rise.


Laure Kloetzer

Laure Kloetzer is Assistant Professor in sociocultural psychology at the University of Neuchâtel, Switzerland. Her research focuses on how psychology can contribute to social change by applying developmental and participatory approaches that have been inspired by the seminal works of Vygotsky. She is also a science fiction writer. In her teaching she uses methods that are derived from the performing arts (and as a writer of science fiction also incorporates elements from science fiction). In a joint project with Dr Ramiro Tau, Prof. Simon Heinein and Dr Susanne Martin, she more recently has conducted research into the dynamics of using Performing Arts in Higher Education. The research findings emphasise the need to re-engage the body in higher education.


Ramiro Tau

Ramiro Tau is a researcher at the universities of Neuchâtel and Geneva, Switzerland, interested in developmental psychology, history of psychology and education. His current research focuses on aspects of teaching and learning in performing arts-based university courses.


TEIL 2 (Deutsch)
(etwa 50 min – 25minütige Präsentation, anschließende Diskussion in Kleingruppen (15 min), danach Diskussion im Plenum (10 min).

Susanne Martin, EPFL (Ecole Polytechnique Fédérale de Lausanne) Schweiz

Tanzende Universitäten?

Im ersten englischsprachigen Teil des Kolloquiums wurden das interdisziplinäre Forschungsprojekt ASCOPET sowie zwei Schweizer Hochschulkurse vorgestellt, in denen die darstellenden Künste von zentraler Bedeutung sind. Im zweiten deutschsprachigen Teil beschreibe ich meine Rolle als künstlerisch Forschende (artistic research / practice as research in the arts) in diesem Projekt. Als forschende Künstlerin gehe ich mit meinem Improvisationswissen, meinen choreographischen Arbeitsweisen und tanzpädagogischen Erfahrungen in die technische Universität und erforsche, wie mit Tanzimprovisation die Lehr-, Lern- und Forschungskultur verändert und weiterentwickelt werden kann. Die Besonderheiten der Tanzimprovisation liegen dabei in der Beachtung und Anerkennung der zusammenkommenden Körper, die in der vorherrschenden Wissenskultur weitestgehend ausgeblendet werden und in der bewegungsorientierten Anwendung der Improvisationsprinzipien Wahrnehmungsfähigkeit, Antwortfähigkeit, Spiel (sense-ability, response-ability, play).

Zurzeit beschäftige ich mich mit dem Format der Lecture-Performance, das mir erlaubt, mit einfachen Praxisübungen einen kollegialen Erfahrungs- und Reflexionsraum für eine erste Begegnung mit Tanzimprovisation zu eröffnen. Für das Online-Colloquium werde ich eine Arbeitszimmer-Zoom-kompatible Übung für uns vorbereiten.


Dr. Susanne Martin performt, erforscht und unterrichtet zeitgenössischen Tanz. Sie arbeitet international, kreiert Stücke kollaborativ oder solistisch. Sie beschäftigt sich mit Tanzimprovisation als choreographische Praxis und Bildungspraxis, mit Narrationen, Bildern und Praxen des Alter(n)s und mit Kontaktimprovisation als Praxis der Berührung und des Dialogs. Ihre Stücke waren u. a. auf folgenden Festivals eingeladen: Aerowaves (London), International Dance and Theatre Festival (Göteborg), Nottdance (Nottingham), Opera Estate Veneto (Bassano del Grappa), Tanec Praha (Prag).2017 erschien ihre Dissertation Dancing Age(ing) im transcript Verlag, in der sie das Potenzial improvisationsbasierten Tanzes untersucht, kritisch in unsere Alter(n)skultur zu intervenieren. Als künstlerisch Forschende arbeitet sie zur Zeit an der EPFL (Ecole Polytechnique Fédérale de Lausanne) in dem interdisziplinären Forschungsprojekt ASCOPET. 


For your information:

Volume 4 in the Scenario Book Series has just been published (in German).

Zur Information: Band 4 in der Scenario Buchserie ist gerade erschienen. 

Die Autorin, Alexandra Hensel, hatte ihre Publikation "Fremdsprachenunterricht als Ereignis" im Rahmen des Kolloquiums bereits kurz vorgestellt. Detailliertere Informationen finden sich hier:


4th COLLOQUIUM - 24 October 2020 - 13:30 GMT/UTC +0 hours.

If you wish to participate please register here:

PART 1 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion)

FIONA DALZIEL & DENADA DEDJA, University of Padova, Italy

Exploring language and heritage through drama: a case study of adult migrants in Italy

In this paper, we present a drama workshop conducted with adult migrants in Italy, in which participants expanded their vocabulary knowledge and developed their overall communicative competence by means of themes related to cultural heritage. The context of the five sessions described here is the Erasmus+ project, “VIA Culture: European Cultural Heritage for Vocabulary in Action”, involving partners in the UK, Greece, Serbia and Italy. The overarching aim is “to make use of cultural heritage assets to promote an innovative, experiential, interactive and creative way of teaching a L2” and to “create a welcoming learning environment that highlights inclusiveness, security, understanding, equality, and respect between the learners”. The first phase of implementation in Padova involved the exploration of the notion of cultural heritage with a class of adult migrants and the choice of a series of tangible and intangible heritage assets related to the city of Padova, which were deemed by the learners as being particularly meaningful. These assets then formed the basis for the following drama activities; during these, the participants took on the role of various experts, ranging from tour guides to gardeners at Padova’s Botanical Garden. Drawing on photographs, videos, focus group discussions and teachers’ logs, we will explore how the workshop fostered both ownership of the second language and a sense of community in the classroom. What also emerged was a fascinating multicultural perspective on cultural heritage and its preservation for future generations.

Fiona Dalzielis a lecturer in English Language and Translation at the University of Padova, Italy, where she teaches on the BA and MA programmes in Modern Languages and Cultural Mediation. Her research interests include: promoting learner autonomy; academic writing; and the use of drama in language learning, including that of adult migrants. She has been the coordinator of the Padova University English drama group for over 20 years. 

Denada Dedjais a teacher of Italian as a second language. In collaboration with the University of Padova, schools and many organizations in Italy, she has been experimenting with drama approaches in her classes of adult migrants, refugees and asylum seekers as well as newly-arrived students. Her teaching and research interests include:  intercultural and language mediation, the use of drama in language learning and social inclusion.


PART 2 (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion) 

JUDITH EBERHARTER, University of Leeds

Creative Solutions for Complex Topics

In this paper, I want to present three teaching methods to overcome differentiations between language modules and what are typically referred to as content modules – a common division that is influential in shaping attitudes towards language teaching encountered in higher education. Drawing on three examples that question this division and have been used to teach German at the University of Leeds, I argue that it is possible to convey complex content with creative methods. 

This conventional division is unnecessary and through teaching practices like those outlined in this paper, we can break down the boundaries between the academic styles of content classes, and creative methods conventionally associated with language classes. Teaching methods for language modules and what are commonly referred to as  content modules vary significantly: while creative and performative teaching styles are common practice in foreign language teaching, content modules are often taught according to knowledge based methods often because they are deemed to be appropriate for ‘academic’ topics. Student feedback also shows a clear division between these two types of modules, with language modules typically being described as more fun and with less pressure than content modules, frequently viewed as more challenging and competitive.

Following a holistic learning approach (Hare, 2010), I use Lego to think about the concept of Heimat and uprootedness after the Second World War. The use of Lego provides students with an opportunity to explore these topics in a hands-on, tactile and most importantly, creative way. The spatial element of Lego, combined with a cooperative task creates a learning environment that allows students to experience the physical components of those concepts without the pressure of knowledge-based approaches.

Along similar lines, when discussing censorship in the GDR I use creative writing techniques and a role play that allows the students to recode and decode lyrics. The analysis of the lyrics of bands the SED supported in order to prevent or at least minimalize the western influence on the GDR youth is a creative way to learn about censorship in the GDR. In a creative writing setting students can decode, recode and expand the lyrics of sanctioned Staatsrockbands (Gerard, 2015). Subsequently I use a Staatliches Rundfunkkomitee-scenario  for a debate on the SED-interference.

Gerrard, K. (2015), ‘Punk and the State of Youth in the GDR’, in: William Jay Risch, ed, Youth and Rock in the Soviet Bloc. Youth Cultures, Music and the State in Russia and Eastern Europe, Lexington Books.

Hare, J. (2010). Holistic education: An interpretation for teachers in the EB programmes. Available online from[29.11. 2019]


Judith Eberharter MA joined the University of Leeds in 2016 as OeAD-Lektorin (Teaching Fellow in German). In this position she organised and hosted several events like the Austrian Shorts, the writeAUT literature competition, the Impro-Theatre Workshop Durham-Leeds and the poetry slam Leeds-Hull. She studied applied Linguistics in Salzburg and Rome.  After an internship at the Ovidius University in Constanta/Romania Ms Eberharter returned to Innsbruck where she worked several years with NGOs teaching German as a Second Language and literacy classes, focusing especially on the development of materials for adult learning.




The 3rd Scenario Forum Online Colloquium is scheduled for 26 September 2020 - 13:30 GMT/UTC +0 hours. If you wish to attend please sign up here:
You will then receive further details, including the access code, on the morning of Fri 25 September.

Should you have missed the 2nd Colloquium please note that recorded material will be made available as soon as possible. Should you need any further information please contact 


ENGLISH LANGUAGE PART (approx. 50 min, consisting of 25 min presentation, followed by 15 minute discussion in breakout groups and 10 minute plenary discussion)


Resiliency and its Discontents: Performing the Apocalypse

Through playful conversation and theory-driven inquiry, this presentation will unpack the suitcase of resiliency in our contemporary moment. Driven by recent experiences in pre-primary, primary, and secondary classrooms in the United States, Weltsek and Hammoor wonder: How are we actually being responsive (and responsible) to children in this age of apocalypse? Using notions of performative pedagogy and embodiment as a foil to teaching resilience, this presentation explores ways of seeing, thinking, experiencing, and being beyond adult predilections in the opacity of the Anthropocene. 


Gustave Weltsek, Indiana University Assistant Professor of Arts Education, teaches courses in creative pedagogies, performative inquiry, drama, and theater education.  His research examines how critical performative pedagogy (Weltsek et al. 2014) functions as a space for de-coloniality. Publications appear in; SCENARIO, Youth Theatre Journal, and Arts Education Policy Review. He is the Chair of Research and Publications for the American Alliance for Theatre and Education (AATE), and received the 2013 AATE research award.

Clare Hammoor, PhD, is a collaborative theatre-maker committed to justice and joy with experience teaching, directing, and devising in universities, public and private schools, professional theaters, and prisons. Clare is fascinated by object-oriented ontologies, playing with things, and interdisciplinary collaboration. Currently the Director of Inquiry and Instruction at Compositive Primary, Clare works to develop inquiry through multimodal explorations. Clare comes from Blue School in Manhattan where he was the Theatre Specialist and Director. Clare has taught at New York University and University of Denver among other institutions and given lectures across the US. He has led classes and workshops internationally and his writing appears in articles, chapters, and journal editorships. Clare's passion for joy and justice has also led him to teach university courses and direct theatre in prisons over the past decade. 

GERMAN LANGUAGE PART– 50 Minuten: Vortrag (25), Diskussion in Kleingruppen (15), Diskussion im Plenum (10)


Performativität in der Fremdsprachendidaktik. Zur Korrelation zwischen performativem Lernen und Bildungssprache

Innerhalb der Vermittlung bildungssprachlicher Inhalte (wie etwa der Fertigkeiten Argumentieren, Abwägen, Erörtern, Hinterfragen) und innerhalb der Konzipierung akademischer Texte ist das Modell schriftlicher und mündlicher Konzeptionalität von Koch/Österreicher ein wichtiger Bezugspunkt der Deskription solcher Texte. In einem etwas erweiterten Kontext ist ebenso die Sprechakttheorie in der Prägung von Austin und Searle und die Beschreibung performativer Sprechakte relevant. Insgesamt spricht viel für eine Erhärtung der These, dass es eine Korrelation zwischen performativem Lernen, kreativen Schreibaufträgen und ganzheitlichen Ansätzen einerseits und der Vermittlung von Bildungssprache andererseits gibt. Lernende, die kreativ und performativ lernen, erhalten im Idealfall – unter Berücksichtigung des Lerntyps – breitere Reflexionsmöglichkeiten ihrer akademischen Textkompetenz, bzw. etwas salopp ausgedrückt: Wer Gedichte schreiben kann und performativ lernt, kann wahrscheinlich auch bessere Hausarbeiten schreiben und bessere Referate halten.

Im Vortrag werden – für Fachfremde eventuell nicht sofort einleuchtende, für DramapädagogInnen naheliegende – Möglichkeiten der Verknüpfung aufgezeigt und an (Text-)Beispielen illustriert. Diese wurden sowohl in Seminaren zu Musik und Literatur oder Slam Poetry in deutschsprachigen Ländern als auch in Seminaren zur Zertifikatsvorbereitung und zu wissenschaftlichem Arbeiten für internationale Studierende erarbeitet. Es werden einerseits schriftliche Texte betrachtet und kreative Arbeitsaufträge beleuchtet als auch Performance-Beispiele vom Referenten gezeigt, die ursprünglich von Studierenden erstellt und aufgeführt wurden.

Kurzbiografie: Nils Bernstein studierte u.a. Germanistik und DaF in Mainz und promovierte in Wuppertal. Nach DAAD Stationen als Sprachassistent in Chile und DAAD-Lektor in Mexiko ist er seit 2013 an der Universität Hamburg tätig. Neben der Koordination des kompetenzorientierten Testbereiches und der Vermittlung bildungssprachlicher Fertigkeiten für internationale Studierende interessiert er sich besonders für ästhetisches Lernen und ganzheitliche Ansätze in der Fremdsprachendidaktik. Kürzlich illustrierte er bei einem Science Slam mittels Rammstein-Karaoke die Verknüpfung seiner Interessensgebiete.


2nd Colloquium – 22 August 2020

AT 13:30 hrs Standard Irish Time (= 14:30 mainland Europe; 08:30 US/East Coast (New York); 05:30 US/West Coast; 19:00 India; 22.30 Japan; 22:15 Eastern Australia (Perth); 23:30 Western Australia (Syndney).

Registration for 2nd online meeting now open.

If you wish to attend please sign up here:


English Language Part:

This part will consist of two presentations (20 minutes each). After the second presentation participants will have an opportunity to meet in breakout groups to discuss the presenations (10 minutes).

• Silja Weber (Columbia University, New York): Performance, Pitfalls, and Possibilities: Inclusion and Equity in the Classroom

• Anne Smith (Founder of the Creative English Programme, UK): ‘Now I can help my child’: fostering community, school readiness and parental engagement through performativity in preschool education

German Language Part:

This part will consist of two presentations (10 minutes each). 

• Norma Wucherpfennig (Universidade Estadual de Campinas, Brazil): Performatives Lernen – eine ‚brasilianische Praxisperspektive‘

• Alexandra Hensel (Universität Göttingen, Deutschland): Kurze Vorstellung von: Fremdsprachenunterricht als Ereignis – Zur Fundierung einer performativ-ästhetischen Lehr- und Lernpraxis. (Band IV, Scenario Buchreihe)


1st Colloquium - 27th June 2020

This is to give you advance notice that the first 2 hr online meeting will take place on JUNE 27TH AT 13:30 hrs Standard Irish Time (= 14:30 mainland Europe; 08:30 US/East Coast (New York); 05:30 US/West Coast; 19:00 India; 22.30 Japan; 22:15 Eastern Australia (Perth); 23:30 Western Australia (Syndney).


Part I (60 min)

- Members of the Scenario Team introduce themselves and give general information about the Colloquium (5 min)

- Fionn Woodhouse: Focus on Zoom-related technical matters (10 min)

- Manfred Schewe: 'Performative' in a nutshell (10 min)

- Susanne Even: Teaching performatively: presence and unpredictability (10 min)

- Discussion (25 min)


Part II (60 min)

- Christina Goodnight: Perfect Disguises: Building an Evidence Base for Improvisational Drama Activities (20 min)

- 15 min Breakout Groups

- 15 min Plenary Discussion

- 10 min Wrapping up




Department of German & Department of Theatre – University College Cork

Scenario Editorial Office, Department of German, Alfred O'Rahilly Building, Main Campus, University College Cork,