Thought, word and act linked together make an impression such as nothing else can make. In this direction lies the salvation of our schools. We all know how dull a text-book is; a history of English, a manual of grammar, even chemistry books are sometimes dull. But if the teacher uses his book as a suggestion, makes his history a story, sets his pupils to act it, in make-believe, before they know what they are doing, they are practising English composition and English grammar and learning English history.
In various publications and among others , he paid homage to the pioneering spirit of teachers in the 20 th century who helped to pave the way for drama as a teaching and learning method across the curriculum, and for the establishment of drama as an independent school subject. However, through his own writings e.
- Manfred Schewe.
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The web pages of the leading British professional association National Drama http: An initial step in this direction was made by DICE, an international Comenius Project, which aimed at evaluating the impact of drama-based teaching and learning in a range of different institutional contexts in the 12 participating countries. An insightful summary can be found under http: In the foreword, the editors, Stinson and Winston, take stock of developments in this field since the late s.
However, this stock-taking turns out to be rather insular and unfortunately completely ignores the dynamic developments in non-English speaking countries. In the s and 90s, communicative concepts of foreign and second language teaching and learning were thriving in Europe and worldwide. Taking heed of this development, advocates of drama in education, practitioners and foreign language teaching specialists become increasingly committed to the building of bridges between their respective disciplines. Nevertheless, a more systematic classification and conceptualisation of the new practice- and research area in the s and first decade of the 21 st century was developed largely outside Great Britain, mainly in German-speaking countries.
It is also pursued by those who are teaching and researching outside these countries but nevertheless actively contributing to the subject debate in German-speaking countries and helping to promote international exchange and dialogue in the area of drama pedagogy. Furthermore, research perspectives from a wider spectrum of other professional disciplines, including educational psychology, neuropsychology, social and individual psychology, psycholinguistics, sociology, anthropology, intelligence and creativity research are also being considered.
Manfred Schewe has produced a study Fremdsprache inszenieren 6 in which, for the first time, a foreign language teacher systematically conducts research into his own teaching over a number of years and makes the academic community aware of the innovative role British drama pedagogy can play within foreign language disciplines. He differentiates between different phases of the foreign language learning experience sensitisation, contextualisation and intensification and, on the basis of both longer teaching units as well as short exercises, shows that drama-based foreign language teaching can, in principle, be applied to the three core areas of a foreign language discipline i.
He supplies a range of examples, including drama-based exercises which can be used to teach vocabulary, pronunciation and to practise listening and reading comprehension. Subsequent years have seen further diversification in this new field of practice and research, initiated by research projects that concentrate on specific sub-areas of the foreign language discipline and include the development of specific theoretical frameworks for drama-based teaching and learning in these areas.
This is briefly outlined in the following examples. Her studies strive to generate principles and parameters for teaching grammar in the context of German as a Foreign Language, with special emphasis on bridging the gap between theoretical linguistic knowledge and the concrete realization of language.
She presents detailed lesson plans, e. VI or the subjunctive ch. VIII , based on four teaching phases awareness-raising, context-finding, linguistic phase, dramatic play and illustrates how German as a Foreign Language students can approach foreign language grammar in physical, aesthetic, social, emotional, and cognitive ways. This can be regarded as preparation for and sensitisation to real life situations which transcends national, cultural and linguistic boundaries. In relation to the area of culture, the collected volume, Body and Language.
In these aforementioned methodologies literary texts also used as a starting and reference point for language and culture learning. As far as the area of literature is concerned, it should be remembered that many centuries ago plays — mainly canonical texts — were staged in the non-native language s and that there has been a long tradition of school theatre groups and school play performances.
In the course of mostly extra-curricular rehearsals and productions, the participants gain lasting learning experiences in relation to language, literature and culture together with enhanced personal development and significant self awareness as has already been documented. Meanwhile, there is a wealth of studies on the drama-based method of teaching and learning literature. However, the systematisation of such approaches and their classification in order to form a coherent concept of the drama-based teaching and learning of literature is still to come.
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Generally speaking, in what applies to all three sub-disciplines is that there is a compelling need for relevant research projects that will procure and produce convincing evidence for the effectiveness of drama-based teaching and learning methods in the next few years. The increasingly lively subject debate about drama-based teaching and learning led to the founding of the German-English online specialist journal, Scenario http: This journal is geared towards linguists, language teachers, drama and theatre teachers, professional theatre specialists as well as second and third level educationalists.
With its emphasis on the role of drama and theatre in teaching and learning foreign and second languages, as well as their corresponding literature s and culture s , it has opened up a platform for a systematic and continuous discourse and exchange about drama- and theatre pedagogy in the teaching and learning of foreign and second languages as well as in the areas of Drama and Theatre Studies, Psychodrama, Drama Therapy, Playback, Theatre, and Film. Although, in a certain way, drama and theatre pedagogy contradicts the present trend in the teaching and learning of foreign languages towards language for special purposes, measurable outcomes and cognitive learning, it has in the meantime become a respectable and widely used methodology for the most diverse pedagogical contexts compare Esselborn This online journal, which has been accompanied by a printed Scenario book edition since Schibri Verlag, Berlin for the promotion of intercultural dialogue in drama and theatre pedagogy, has been the driving force in the building of bridges between the arts and the field of foreign language teaching and learning over the past six years.
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Meanwhile, inspired by developments in the area of first language teaching and learning Scheller , Kunz , various foreign language disciplines are participating in the discussion and exchange of ideas about forms of drama- and theatre-based methods for the teaching and learning of language, literature and culture. The spectrum ranges from theoretically based methodologies such as referred to above, to hands-on tips and suggestions, e.
In order to stake out the by now quite impressively wide-ranging field of practice, it might be helpful to differentiate between small-scale and large-scale forms of drama-based teaching and learning. Performative activities which can be realised within the framework of a single class or a shorter teaching unit approx. Students and teachers are involved in challenging performative activities during which both the teachers conducting the class and the students take on and impersonate various roles, i.
Over the course of the classes or teaching units, there is a continuous output in the shape of tangible creations e. This requires the learner to act verbally and non-verbally in the respective preparation, re-enactment and reflection phases, which in turn allow the learner to make use of their linguistic and cultural abilities and knowledge in a variety of ways and also to systematically improve on them.
One talks about large-scale forms when the framework of the everyday classroom activity is expanded. Thus, for example, the staging of a production in a foreign language is a large form in the sense of a product-oriented project which is very time consuming and often stretches out over several weeks or months. It demands high motivation and enormous dedication from the participants and can only be realised as an extra-curricular activity.
Another large-scale form is the Theatre-in-Education-Project , which is mainly associated with the staging of a play especially created by semi-professional teacher-actors. Ideally, it is based on topics that come up in the foreign language classroom over the course of a school year. Before the staging takes place in the school, teachers normally receive specially adapted materials which they can use in order to prepare the students for the special event.
The performance in the school, although primarily orientated towards learning, is nevertheless of a quite high aesthetic standard and often constitutes a highly motivating learning experience for the pupils. In , Aita demonstrated, using the example of Austria, the enormous contribution made by Theatre in Education groups over the past decade to the development of the teaching and learning of foreign languages in schools.
In this context, we may note a project for foreign students at Hamburg University. Language camps are a further example of the large-scale form, where, over the course of a two week holiday, language learning activities, theatre-based performative activities and hobby related activities mingle, and where the multilingualism of the children is explicitly taken into consideration compare, for example, the description of the Hamburg theatre and language camp model by Sting and Kinze I would be lying smiling, absolutely conscious and just showing the inside of my body without any pain.
And when you open up like that to the world, you are creating a wound which has also sexual and erotic connotations. This would be another stage, the stage of self-mirroring and the mirror brought up to the world. Then, after everybody will have looked into my body, I will simply have it closed back The connotative meanings of her body are opened out to the audience in order that they may be decoded.
Striking a Balance Orlan sees her surgical operations as functioning as a kind of remote cosmology which is divorced from physical pain.
The Chemistry of the Theatre - Performativity of Time (Electronic book text)
She views her operations as attempts to achieve reincarnation in this life, with all the religious and mystic undertones that this implies. The image of the wound itself obviously resonates with religious undertones. Wounds exude a mysterious, mystic quality. Yet this mysticism is not specifically grounded in Christian doctrine. The wounds themselves have been begotten from the perverse union of the body with technology. Wounds are simply signs which circulate in this new semio-gnosis. Despite her protests to the contrary, Orlan needs the body in her performances, and the body feels pain.
They may possess an ambivalent status, in their attribution as at once psychical and social, virtual and real, a matter of both representation and perception at the same time, yet it is not easy, perhaps even impossible, to relegate the body to some pre-subjective or even pre-objective state of being. I am reminded here of a kind of Husserlian something, the something of consciousness, the consciousness of, which we cannot extricate ourselves from. As I mentioned previously, the body feels, even lives, pain.
It is not so easy to abstract it from its materiality and root it in some conceptual or even pre-ontological discourse of semiotics. Indeed, the very question of semiotics, of language itself, presupposes the existence of the body, even if only as referential, material sign. The lifting of her face confronts spectators with the very real prospect that identity is pliable, even erasable.
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Although this frame of reference serves to unroot the face and body from concrete materiality and locate them in a mechanized abstraction, it serves to bring up the importance of the face as an overloaded system of signs which decode and even overcode the body. I would argue that it is this explicit overcoding which becomes traumatic when it exceeds its interpretative frame, leading to what Seltzer calls the failure of the mimetic power.
More generally, this return to the material body has very real implications for an aesthetic appreciation of theatrical events and performances. Rehm makes a compelling case for the lively engagement of spectators with Greek tragedy. His argument is worth quoting at some length: If a distanced, scientific, objective response were all that was intended in Greek tragedy, then we would expect a different kind of writing and a different mode of presentation.
The physical presence of the actor defined the earliest drama, and the actor remains the irremovable obstacle in the path of those who view Greek tragedy or the theatre in general as a sophisticated playground for mental conundrums, as opposed to a place of live, and lived, human experience Her performances cannot be summed up analytically via recourse to speculative thinking alone. Although post-structuralists like Deleuze and Kristeva insist on the body as a de- materialized entity, it is difficult to do away with the physical and biological realities of the body, the Western metaphysics of presence.
The body on stage, the performing body, is also a social body that is inscribed in its own historical and political moment. Additionally, there is a body that performs and a set of bodies that see and interpret the performance, either via recourse to empathy, identification or a kind of Brechtian distance from this performing body. Such subjective identification adds to the heightened theatrical effect.
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The very question of viewing is in and of itself a political act, and it is this act of viewing which informs and shapes a particular response to the aesthetic and theatrical event. This embodiment is achieved first through the assignment of ontological status and hermeneutic visibility to the body, and then through a re marking of this body as a social body which sees the theatrical event. Whatever the case may be, seeing the body literally and performatively in pieces is more traumatic than it is empowering.
Wilson also claims that Orlan refuses giving her spectators a cathartic experience: In her attempts to objectify the body — from the very moment, in fact, that she discards or renounces any notion of physical or psychical pain — Orlan transforms or reduces it into a semiotic function or abstract sign. Her project can be viewed as being based on a dichotomy between semiotics and phenomenology where substance — the very experience of existing in a body — gives way to semiotics and where the vital and living body becomes for Orlan a mere conceptual or abstract image that is open to representation.
I say phantasmatically because there is no way to avoid humanism — and paradoxically so — when positing the posthuman condition. For Orlan cannot escape the body. Limon's literary output includes four published novels and translations of plays by William Shakespeare, Thomas Middleton, Philip Massinger and Tom Stoppard. He also runs a theatre project in Gda?
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The Chemistry of the Theatre : Performativity of Time by Jerzy Limon (2010, Hardcover)
If you are a seller for this product, would you like to suggest updates through seller support? This innovative, theoretical work focuses on temporal issues in theatre and the 'chemistry' of theatre - the ways in which a variety of factors in performance combine to make up what we call 'theatre'. Discussing a range of canonical plays, from Shakespeare to Beckett, the book makes a unique contribution to theatre and performance studies. Read more Read less. Applicable only on ATM card, debit card or credit card orders.
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