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, Erika Piazzoli, Manfred Schewe, Fionn Woodhouse


The Colloquium is a place to explore the global field of Performative Teaching, Learning and Research – in this context please also note the Scenario Correspondents initiative. The colloquium has a special focus on developing new practice and research – what area are practitioners exploring, where is there new interest developing, how can we build both practitioner support and research networks to develop and deepen the field? With that in mind we are especially interested in hosting presentations that are in the developmental phase, exploring new areas of practice or new approaches to current practice. The inclusion of discussion and feedback as an integral part of the colloquium allow a place for testing, exploration, insight and new learning for both the presenters and the participants. We would hope that the colloquium will act as a springboard to allow researchers to develop work for presentation in the Scenario Forum Journal, the Scenario Book Series or a future (in person) International Scenario Forum Conference.   

If you wish to participate in the Colloquium Series please register here: 

If you would like to present a paper at a future Colloquium please send an email to: 

We aim to document as many of the colloquium presentations as possible. For further details go to: 


Schedule for the Academic Year 2021/2022 

10th COLLOQUIUM – Saturday 25 September 2021

13:30 GMT/UTC +0 hours (13:30 CORK; 08:30 Bloomington; 14:30 Berlin; 20:30 Shanghai etc.)

You can register for this season of Scenario Forum Colloquia here:

PART I (13:30 - 14:30)

Kung Man Matthew Cheung

Drama and additional language development through a performative pedagogical lens

In this presentation, Dr Cheung will expound on some of the major findings from his PHD research. In this study, Dr Cheung used a phenomenological method to investigate performative pedagogy in four sites. The first was a kindergarten where English was taught to Chinese students using process drama be an experienced and a novice drama teacher. The second was a kindergarten where English was taught conventionally. The third was a middle school where English was taught using drama and the forth was a middle school where English was taught conventionally. The findings show that in the drama classes, language was used in more sophisticated ways than the non-drama classes. In the drama classes teachers spent less time performing than in the non-drama classes. Learners spent more time on-task and engaged, performing embodied learning for the teacher. Learners in the drama classes performed high affective states for sustained durations of time whereas in the non-drama classes, performances of high affect correlated with teacher performances of entertainment. Experienced drama teachers showed more nuance that the novice drama teacher, but the novice drama teacher had more engagement than the experienced ESL teachers. This study proposes that there are specific reasons why drama is effective for developing additional language ability and that these are not restricted to drama but may be understood as the principles of performative pedagogy whereby the interaction between teachers and students is seen as an embodied, interactional performance of meaning making.


Kung Man Matthew Cheung recently completed his PHD at Monash University in Australia. He began his teaching career in Australia in 1996 where he taught high school performing arts for Education Queensland. In 2003 he moved to Hong Kong and began using drama to help students develop their ability to use English. In 2017 he moved to Shanghai to conduct an in-depth study into why drama seemed to be more effective than conventional methods for developing language ability. He is now working as subject leader for the arts in YWIES Tongxiang in China.


PART II (14:30 – 15:30)

Susanne Even, Dragan Miladinović, Erika Piazzoli, Manfred Schewe, Fionn Woodhouse

The Scenario Project – planning ahead

Each member of the Scenario Team will speak for approx. five minutes to give colloquium participants an idea of our current research interests and how we envisage the Scenario Project to develop in the years to come. Following this presentation, colloquium participants will be invited to go into breakout rooms to discuss aspects of the presentations. We would appreciate any feedback regarding the current format of the colloquium and any suggestions that help us to plan ahead, for example, regarding topics for future symposia, themed/guest-edited issues of Scenario Journal, themed/guest-edited volumes in the Scenario book series? etc. 


Susanne Even is Clinical Professor and Language Program Coordinator in the Department of Germanic Studies at Indiana University (USA). Her specialty is performative pedagogy, a post-method approach to teaching and learning that takes inspiration from the performing arts. She holds a Ph.D. in German Language Teaching Research from University College Cork, and is co-editor of SCENARIO, the peer-reviewed, bilingual online journal for performative teaching, learning, research.

Dragan Miladinović is College Language Teacher at the Department of German, UCC, and Scenario Journal co-editor. He also works on his part-time PhD-research project in the area performative language teaching. Dragan’s research interest lies in performative language pedagogy and critical applied linguistics. Dragan on ResearchGate.

Erika Piazzoli is a lecturer in Arts Education at Trinity College Dublin. Her research interests are performative language teaching, aesthetic engagement and embodied research methods. She holds a PhD in drama education, focussed on process drama for second language acquisition. Her book Embodying Language in Action (2018) outlines her research and practice in the field. Her current work examines the connection between embodied research methods, performative language learning and belonging in the context of young refugees and migrants.

Manfred Schewe is Professor Emeritus at University College Cork (UCC) where he served as Head of a Language Department (German) and also as Head of Theatre. He holds the title UCC Teaching Fellow in recognition of his significant contribution to the scholarship of teaching and learning through the Scenario ProjectHis teaching and interdisciplinary research activities focus on Applied Drama and Theatre, especially on performative approaches to Language, Literature and Culture. He continues to examine research theses, give lectures and lead workshops for institutions and professional associations in different parts of the world. He recently edited the bilingual (English-German) Volume V in the Scenario Book Series entitled81 Sprüche zur Enthärtung unserer Welt – On the Softening of our World: 81 Sayings.

Fionn Woodhouse is a lecturer, researcher, and facilitator of drama/theatre with particular interest in youth participation and learning through practice. He lectures with the Department of Theatre, University College Cork on Applied Drama, Theatre Production, and Theatre Practice. Fionn is an active educational drama practitioner, having trained and worked with Graffiti Educational Theatre Company for over 15 years facilitating workshops with over 12000 young people in various educational and community settings.


11th COLLOQUIUM - Saturday 30 October 2021

13:30 GMT/UTC +0 hours (13:30 CORK; 14:30 Berlin/Vienna etc.)

You can register for this season of Scenario Forum Colloquia here:

PART I (13:30 - 14:30)

Garret Scally

‘Magpie-ing’ for performative teaching: ways we might imitate, steal, deface and take, take, take (and give, give, give)!!!

Over a century ago, T.S. Elliot’s counsel was that “One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.” (Elliot 1920: 114). He ‘lifted’ and adapted this notion from W. H. Davenport Adams who put it forward in 1892 (627-628). And it has been appropriated, since, by artists from Picasso to Igor Stravinsky, in word and deed. Steve Jobs even had a go.

I’ve done it myself. Haven’t we all?

That theatre practitioners use and adapt each other's work and ideas is the premise of the presentation and what I would like to discuss and explore is how artistic ideas and drama activities and concepts can mutate in unexpected ways, emerging from the to and fro of taking and letting go. This will be demonstrated in examples from my own practice and when I’ve imitated, stolen, defaced or made “something better, or at least something different”, and in instances where others have taken my ideas and made them anew. There will, also, be time for everyone attending to tell about their own experiences with ‘magpie-ing’. 


Davenport Adams, W. H. (June 1892). The Gentleman’s Magazine, Volume 272, Imitators and Plagiarists (Part 2 of 2). Chatto & Windus, Piccadilly, London.

Elliot, T.S. (1920). The Sacred Wood: Essays On Poetry and Criticism by T. S. Eliot, Section: Philip Massinger. Methuen & Company Ltd., London.


Garret Scally is a theatre practitioner-researcher who uses theatre in educational settings for additional language development and social purposes. Garret investigated the use of group devised theatre for additional language development on the Professional Doctorate in Applied Theatre programme at the University of Manchester and was awarded a PhD based on this work. Other research interests include breath and voice work, playfulness, belonging.


PART II (14:30 - 15:30)

Christelle Nicolas & Carolina E. Santo

“How to do Things with Research in the Arts”

Christelle Nicolas and Carolina E. Santo have collaborated twice in conducting practice-based workshops for art students in France (preparatory classes to school of art’s certification in Digne-les-Bains) and in Slovaquia (Bachelor and graduate students of the Academy of fine Arts in Bratislava). These workshops were opportunities to develop a pedagogy made as a collage of tools and practices taken from their respective backgrounds in art theory and scenography; and in coherence with their common interest in spatial theories, situated practices and site-specificity.

Using the Wunderkammer (Patricia Falguières) as an episteme allows us to observe research in the arts as a combinatory process of practices, analysis and theories that produce knowledge as they are constructed, de-constructed, and reconstructed. Our paper proposes to present the set of tools we have been assembling as a xenophora - model proposed by artist Hendrik Sturm - and experimenting in our five-days intensive workshops with art students across the disciplines of photography, architecture, sculpture, painting, inter-media and graphic design.

As we aim for the students’ emancipation, we propose a series of practical exercises and protocols capable of triggering autonomous processes of appropriation. The assimilation of knowledge is acquired through the student’s own means and ways across the following operations:

  1. Walking as a sensitive approach to space and place
  2. Fieldwork investigations in the public space through the practice of protocols
  3. The archaeology of the gaze
  4. Deconstructing speech and language
  5. Provoking serendipity through combinatory practices
  6. Translating from one expressive medium to another
  7. Modelizing epistemologies of knowledge through the arts and sciences.

These tools must be adapted to the students’ academic level but also to the specific aspects and qualities of the places and contexts in which the workshops are conducted (school, institution, level of students, city, history, geography, urbanism, architecture, etc.)


Austin, J.L. (1962) How to Do Things with Words: The William James Lectures delivered at Harvard University in 1955 (eds. J. O. Urmson and Marina Sbisà) Oxford: Clarendon Press. 

Falguières, Patricia. (2003) Les Chambres des Merveilles. Paris : Bayard.

Schechner, Richard. (2002) Performance Studies. An Introduction. Routledge.

Sturm, Hendrick. [last accessed 27/08/2021]


Christelle Nicolas and Carolina E. Santo met in June 2017 at the spring school for doctoral students  arts in the alps . Since then, they have been collaborating as practice-based scholars in publications, conferences and practical pedagogic workshops. 

Christelle Nicolas :

After completing her MA in art history, Christelle Nicolas worked in public institutions dedicated to contemporary art (museums and art centres) as a mediator, curator and coordinator of cultural projects. She taught art history and general culture in a public art school for amateurs, and for preparatory classes to school of art’s certification. She is currently a PhD candidate in art theory at the University of Arras, and works on the artists’ creative processes : “ Dealing with place: place as fieldwork, material, means, and subject matter of the contemporary artwork.” 

Carolina E. Santo:

Carolina E. Santo holds a practice-based PhD in scenography from the University of Vienna, Austria. She is qualified in theory of art and practice-based research. As a freelance theatre designer, her works include scenography installations, stage and costume designs for theatre and opera productions in Portugal, France and Switzerland. She has developed her artistic work outside of the theatre building as a ‘geoscenographer’, exploring scenography from chosen milieus. Walking has become an important part of her creative process.


12th COLLOQUIUM - Saturday 27 November 2021 

13:30 GMT/UTC +0 hours (13:30 CORK; 14:30 Berlin/Stuttgart etc.)

You can register for this season of Scenario Forum Colloquia here: 

We are delighted to welcome special guest Prof. Dr. Peter Lutzker, Freie Hochschule Stuttgart (Waldorf Teachers College) whose publication The Art of Foreign Language Teaching (2007) has had a strong impact in our field of research. In his presentation he will refer to the 2nd revised edition of the book in which he revisits the concept of the teacher as an artist in the light of our digital age (for further details see under abstract and biodata below).

The presentation (45 minutes) will be followed by a short break (5 min.), discussions in breakout rooms (20 minutes) and a plenary session (20 minutes).

Peter Lutzker

The Art of Foreign Language Teaching in a Digital Age                                                                                           

The Art of Foreign Language Teaching: Improvisation and Drama in Teacher Development and Language Learning was first published in 2007. After exploring the origins and development of the concept of teaching as an art, the focus in the first part was on a qualitative study of in-service teaching programs designed to enhance the artistry of foreign language teachers through theatre clowning workshops. In the second part, the focus was on an action research study based on the experiences of a 10th grade class during an EFL drama project which took place over five months at a Steiner/Waldorf School in Germany. In the end, the book tried to draw these two threads together in considering the unique developmental potentials of artistic processes in foreign language teaching and learning.  

In the fourteen years since this book was published, the increasing role of digitalization has profoundly transformed all of our lives. The so -called “iGeneration,” referring to those who were coming of age in 2007 when the first iPhone was introduced, have grown up in a vastly different world than previous generations. Digital technology has also increasingly had far-ranging effects on teaching and learning. In fact, the “modernization of education” has often come to be equated with the “digitalization of education.” The worldwide shift to online learning due to the Covid 19 pandemic has undoubtedly accelerated this process.

In conjunction with a 2nd revised edition of my book, I want to revisit the concept of the teacher as an artist in the light of our digital age. What does artistry in language teaching mean today? What role can drama and artistic processes play in language learning when “Instant Translators” and Deepl offer increasingly sophisticated technological alternatives? What can be learned about the future role of artistry in teaching from the experiences of students and teachers with digital learning during the pandemic?


Peter Lutzker studied music, literature, linguistics and the didactics of foreign language teaching in the United States and Germany. After first working as an orchestra musician, he then taught music and English at Steiner/Waldorf Schools in Germany for 25 years. During this period, he also taught pre-service and in-service courses for EFL teachers in Germany and other European countries. In 2010 he became a Professor for Waldorf/Steiner Education at the Freie Hochschule Stuttgart (Waldorf Teachers College). He has also been an Honorary Professor at the National Tsing Hua University in Taiwan. He has published widely in German and English on the sensory perception of language, drama and literature in language learning, creative writing and developing artistry in teaching.

Previous Colloquia

Academic year 2020/2021

Note that several presentations  have been documented. For details go to: 

9th COLLOQUIUM - Saturday 29 May 2021

12:00 GMT/UTC +0 hours.

(12:00 CORK; 13:00 Berlin; 21:00 Sydney etc.)

You can now register for this event at:

PART I (12:00 - 13:00)

Victoria Campbell & Zoe Hogan 

Playing in the Liminal Space: Literacy learning through Drama in the adult language classroom

Play is a universal human experience. Often regarded as the unique purview of children, an emerging body of research points to the importance of playfulness in adulthood, and how this attitude improves cognitive, emotional, social and psychological functioning, enabling adults to approach situations with an open mind, confront difficulties and accept failure (Guitard, Ferland & Dutil, 2005; Yarnal & Qian, 2011).

This colloquium focuses on the reflections of two Teaching Artists working on Connected, a Sydney Theatre Company drama and literacy program for adults with refugee backgrounds. Through improvisational responses participants engage in a learning style that promotes playfulness, which subsequently generates a sense of pleasure and joy, and in doing so, has an intrinsic value beyond the specific language learning outcomes. Conceptualising the drama room as a liminal space (Campbell, 2009, 2013; Turner, 1974), we will also reflect on Guitard et al.’s (2005) five components of playfulness in adults: creativity, curiosity, pleasure, sense of humour, and spontaneity in relation to the adult language learning context. 


Campbell, V. (2009). Tales from the liminal classroom: Preservice teachers and oral storytelling. Sydney: University of Sydney.

Campbell, V. (2013). The Selkie Project: teachers storying, storying teachers. Sydney: University of Sydney.

Guitard, P., Ferland, F. & Dutil, E. (2005). Toward a better understanding of playfulness in adults. OTJR: Occupation, Participation and Health, 25(1), 9-22.

Turner, V. (1974). Drama fields and metaphors: Symbolic action in human society. New York: Cornell University Press.

Yarnal, C. & Qian, X. (2011). Older-Adult Playfulness: An Innovative Construct and Measurement for Healthy Aging Research. American Journal of Play, 4(1), 52–79.



Dr Victoria Campbell

Victoria has been a storyteller and drama educator for more than 20 years. Her interest in oral storytelling and narrative performance led to sustained research in this area resulting in the completion of both a MEd (2008) and PhD (2013) at The University of Sydney. She is passionate about the power of drama and storytelling to motivate and engage people in multiple contexts. She is currently a Lecturer at The University of Sydney (School of Education and Social Work). She is also a teaching artist for the Sydney Theatre Company’s School Drama and Connected programs. – Contact:

Zoe Hogan

Zoe Hogan is a PhD student at The University of Sydney and Acting Director of Education and Community Partnerships at Sydney Theatre Company, where her teaching has encompassed primary schools, intensive English centres, juvenile justice centres and adult learning contexts. Zoe holds a MA in Theatre and Global Development from University of Leeds, where she received the Charles Barber Prize. She is the recipient of The Lloyd Martin Travelling Scholarship for Emerging Arts Leaders from Sydney Opera House. – Contact:


PART II (13:00 – 14:00)

Stefanie Giebert 

“It’s the reason why I teach” – language teachers and performative teaching methods

In much research on performative language teaching and learning the focus has so far mostly been on the learners – but how do performative methods affect teachers? Studies have been conducted with student teachers (e.g. Seppänen 2019) or with teachers who were confronted with performative methods as part of professional development (Stinson 2009), but in my study I wanted to find out about the following: what motivates language teachers to use performative teaching and learning methods in language classes? How are the teachers themselves affected by using performative methods? Which aspects do teachers perceive as especially rewarding or as most stressful?

From an interdisciplinary perspective I see connections to the relatively new field of language teacher psychology (z.B. Kostoulas & Mercer, 2018) which is concerned e.g. with emotions, motivations, identity formation and resiliency of language teachers. First results of my combined questionnaire and interview study show that emotional aspects and personal teaching beliefs seem to be the most important factors that lead teachers to choose performative methods. Most common stress factors seem to be negative attitudes of learners and environment and infrastructural problems.


Kostoulas, Achilleas & Sarah Mercer, (Hgg). Language Teacher Psychology. Multilingual Matters, 2018.

Seppänen, Sirke, u. a. „Theater Improvisation Promoting Interpersonal Confidence of Student Teachers: A Controlled Intervention Study“. The European Journal of Social & Behavioural Sciences, 24/1, 01/2019, S. 2770–88.

Stinson, Madonna. ‘“Drama Is like Reversing Everything”: Intervention Research as Teacher Professional Development’. Research in Drama Education: The Journal of Applied Theatre and Performance, vol. 14, no. 2, May 2009, pp. 225–43. Crossref, doi:10.1080/13569780902868820


Stefanie Giebert studied English, Sociology and Psychology, completed her PhD in English literature in 2009. She teaches German as a foreign language and English as a foreign language at Konstanz University of Applied Sciences. She founded and managed the Business English Theatre Project at Reutlingen University for six years. Her teaching and research interests include dramatising non-fictional texts, improvisational theatre and teaching languages for special purposes (with drama). She co-organises the “Drama in Education Days”. Contact:   |



Saturday, 24 April 2021 - 11:00 GMT/UTC+0 hours.

We are delighted to welcome special guest John O'Toole who has made an outstanding contribution to our field of research (for further details see under biodata below). As John is based in Australia, please note that this colloquium will not take place in the usual time slot, but two and a half hours earlier at 11 a.m. Irish time / 8 p.m. Australian time.

John O'Toole

Stand Up for Literature – dramatic approaches in the secondary classroom

A 60minute presentation, followed by discussion.

You can register at:

John will explain how a live, experiential and dramatic pedagogy can bring all literature to life – not just dramatic texts, but also lyric and narrative poetry, novels and myths and legends. Standing up (literally and dramatically) can help students engage with texts that are difficult or alien to their own experience; through drama they learn to manage and relish the language, explore the themes in depth and analyse and reflect on the meaning and impact of the texts. He will use examples from his recent eponymous book, co-written with Julie Dunn, to illustrate his techniques, from Shakespeare and Greek classics to contemporary novels and modern verse.



John O’Toole, former Foundation Chair of Arts Education at the University of Melbourne, spent twelve years as a teacher of English and Literature, and he has then spent the last forty in exploring drama and developing dramatic pedagogy. He has written over twenty textbooks and research texts, besides plays and theatre-in-education, and was Lead Writer for the Arts and for Drama in the Australian Curriculum. In 2012 he was awarded the Order of Australia (AM) for services to drama.


7th COLLOQUIUM - 27 February 2021 - 13:30 GMT/UTC +0 hours.

Part 1: Presentation of Research     /     Part 2: A Rehearsed Reading

PART 1 (13.30 - 14.30 GMT/UTC +0 hours) 

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

Serena Cecco & Sabina Fata

Enacted Virtual tours as language booster 

Working as a language mediator means being a communications expert with excellent linguistic skills and a great capacity for interacting well with others. To ensure a positive outcome for each interpreting assignment, the interpreter must be well-organised, thoroughly prepared and ready to deal with unforeseen events. Therefore, interpreting students need to experience real-life situations, such as those offered for example by a mock guided tour, which gives them the opportunity to put their language and interpreting skills, but also their enacting into practice.

Second year students at Campus CIELS, Italy – Bachelor’s Degree in Interpreting and Translation Studies – were invited to organise and participate in a tour of the city of Padua, where they acted as editors, guides, interpreters, terminologists, photographers, video editors, visitors. Due to the COVID-19 pandemic lockdown, the mock guided tour had to be carried out online in a virtual setting, the students had to organise all necessary steps online: organisational tasks, preparation work, rehearsals, coordination, the tour itself, reflective tasks, and feedback from the lecturers.

This presentation will report on the different phases of the activity (preparation, enactment and feedback), the digital tools employed, and the possible application in language learning.


Serena Cecco is an interpreter and translator, language consultant and language trainer for private companies. She has been professor of Interpreting and Translation since 2006 in BA and MA courses: she teaches consecutive, simultaneous and dialogue interpreting (English-Italian) at Advanced School for Language Mediation of CIELS University, and dialogue interpreting (English-Italian) at Ca Foscari University, Campus Treviso. She has developed the workshop Interpret – AZIONE in cooperation with a professional improviser to explore innovative methods to train interpreters. She has been an amateur improviser since 2010

Sabina Fata is a translator, interpreter, lecturer and trainer with a passion for technology. As a translation technology expert, she has been teaching computer-aided translation and terminology management to professional translators for 20 years. From 2011 to 2020 she has been teaching German Translation and Interpreting in BA and MA courses, with a focus on real-life situations and technologies. At present she is Lecturer for German Translation and Information and Terminology Mining at Campus CIELS Master’s degree course in Padua.


Bahadır, Şebnem. (2008a). „Das Theater des Dolmetschens: Beobachten, teilnehmen, proben, darstellen, verändern”. In: Bischoff, Alexander. Meyer, Bernd (Eds.): curare Zeitschrift für Medizinethnologie. Vol. 31: Nr. 2-3. „Spezialheft: Die fremden Sprachen, die fremden Kranken: Dolmetschen im medizinischen Kontext“, pp. 176-186.

Cecco, Serena and Masiero, Andrea. 2019. “Improving Language and Interpreting Skills: A Teaching Experience”. Scenario XIII(1).

Cirillo, Letizia & Niemants, Natacha (Eds.). (2016). Teaching Dialogue Interpreting. Amsterdam/Philadelphia: John Benjamins Publishing Company.

ECDL. 2020. “Perception and Reality. Measuring Digital Skills Gaps in Europe, India and Singapore”. ECDL.[last accessed 16/10/2020]

Gavioli, Laura. 2018. “Do Authentic Data Mean Authentic Learning? On the Use of Authentic Samples and (In)authentic Activities in Teaching and Learning Dialogue Interpreting". inTRAlinea Special Issue: Translation and Interpreting for Language Learners (TAIL).

Herring, Rachel and Swabey, Laurie. 2017. Experiential Learning in Interpreter Education, paper developed under grant H160C160001 from the Department of Education, Rehabilitation Services Administration, Saint Catherine University,, [last accessed 30th July 2020].

Kautz, Urlich. (2000) Handbuch Didaktik des Übersetzers und Dolmetschens. Munich: Iudicium Verlag.

Sewell, Claire, Reflective Practice Workshop Handout, Office of Scholarly Communication, University of Cambridge,, [last accessed 30th July 2020].


PART 2 (14.30 - 15.30 GMT/UTC +0 hours)  

In this part we will try out a new format: a rehearsed reading.

Colloquium participants who contributed the project

On the Softening of Our World – 81 Sayings / 81 Sprüche zur Enthärtung unserer Welt

will read their texts and give colloquium participants a taste of the kind of creative texts to be published in a Volume edited by Manfred Schewe in the Scenario Book Series (Volume 5).

For details on the book – a creative response to the Covid 19-crisis – go to:

For reviews of the book go to:

Colleagues who will read their texts include Nils Bernstein, Anna Costantino, Nataliya Dzhyma, Susanne Even, Eva Göksel, Dagmar Höfferer, Bärbel Jogschies, Jody Nelson, Jenna Nilson, Erika Piazzoli, Barbara Schmenk, Anke Stöver-Blahak, Elisabeth Vergeiner 


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


If you wish to attend 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) 

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.


Erika Piazzoli is a lecturer in Arts Education, practitioner and researcher at Trinity College Dublin, School of Education. She gained her Ph.D. in Drama Education at Griffith University (Brisbane, Australia) where she worked as a tutor, lecturer and research assistant from 2008 to 2015. Currently she teaches Drama in Education and Language Education within the Master in Education (M.Ed.) programme, and Arts Education within the Professional Master of Education programme, at Trinity College Dublin. She coordinates the Sorgente project, a government-funded research on belonging and performative practice with refugees, asylum seekers and migrants. Her latest book, Embodying Language in Action, explores embodiment in performative language teaching, learning and research.    

Elif Kır Cullen gained her PhD in Applied Linguistics, Ankara University, with a comparative research of language teacher education in Türkiye and Germany. She was a Fulbright scholar at The University of Pennsylvania in 2005/2006; visiting researcher at Humboldt University Berlin in 2009/2010; and postdoctoral research fellow at Trinity College Dublin between 2017 and 2019. She has been taking professional Drama in Education Courses and Creative Drama Training since 2005, both in her home country and abroad. She has offered several drama workshops in different countries.  Her interests include language, culture and using creative drama as a method in education. Kır Cullen is currently assistant professor at Istanbul Medeniyet University, Faculty of Education.  


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 & Rachel Walshe, University of Rhode Island 

Resisting from Within by Performing as Teachers and Learners: A Higher Education Dilemma 

“In the absence of a truly communist society in which a

communist pedagogy might indeed be emancipated from its subjugation to wage

labor and the labor theory of value, the virtue of a polytechnical education lies in its

potential to release human creativity from the restraints of the division of labor. The

virtue of theatre, as a mode of polytechincal education, is that it is an artistic

practice that can be practiced, collectively, by amateurs, rather than produced by

professionals for the consumption of others” (Ridout 2013, 83-84).

Can performance practice protect some space for learners as such “passionate amateurs” (Ridout 2013) within our higher education institutions, especially in contexts that have historically thrived thanks to a robust consumer model that highly monetizes curricula? How do we navigate the obstacles faced when attempting to resist capitalist models of education from within? Is any disruption of the “banking” concept of education (Freire, 1968) and its operations even possible when our daily scholarship and practice are constantly surrounded by and getting absorbed into transactional systems? 

Santucci and Walshe believe that interdisciplinary teacher education grounded in performance practice can provide holistic professional development experiences with the potential to resist the capitalist framing of preparation for productivity, focusing on personal growth rather than narrowly postulated skills- and objective-driven trajectories. Yet such potential can be hard to realize…

In “Performing as Teachers and Learners”, an initiative recently launched at the presenters’ university, members from the schools of Theatre, Business, Education, and the Office for the Advancement of Teaching and Learning joined forces in a pilot project that aims to support the professional development of educators within the institution (mainly PhD and MA students, for now) by nurturing their growth as authentic, passionate, and interculturally responsible academic agents. This presentation will discuss the evolution of this initiative and the challenges faced along the ongoing journey in seeking to realize its goals. Participants will also be invited to reflect on performance practice as a site of resistance within their own educational contexts, share lessons learned, and brainstorm possible future strategies.

Freire, Paulo. (1968) 1970. Pedagogy of the Oppressed.

Ridout, Nicholas. 2013. Passionate Amateurs: Theatre, Communism, and Love. Univ of Michigan Press.


Anna Santucci –

Rachel Walshe –


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.


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,