The proceedings of the bilingual conference Dramapädagogik-Tage/Drama in Education Days 2018 in Konstanz, Germany, is the first independent publication following the yearly eponymous event. Since the conference series focuses “on best practice and research in the field of Drama and Theatre in Education specifically in second and foreign language teaching”2, the Scenario Journal has followed the conference since the beginning. The entire 2015/2 issue was dedicated to the first event in 2015 and edited by Stefanie Giebert, who is, together with Eva Göksel, the co-editor of the current proceedings. Reports on the conferences 2016 and 2017 were included in 2016/2 and 2017/1. The present book review continues this existing professional dialogue between Scenario and the Drama in Education Days. The publication consists of eleven articles in German and English, compiling reports on drama and theatre workshops as well as on projects for language education which were presented at the conference. Regarding the structure, there are four sections in the book: Foreword, Basics, Current Research and Practical Inspiration. In the foreword, which is included in English and German, the editors and conference organisers briefly introduce the authors and their articles. They also outline the genesis of the Drama in Education Days, ..

Miladinović, Dragan

Scenario A journal for performative teaching learning research

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ISSN 1649-8526DOI https://doi.org/10.33178/scenario.14.01Volume 2020 · Issue 1http://scenario.ucc.ieREVIEWGiebert, Stefanie & Göksel, Eva (eds.) (2019):Dramapädagogik-Tage 2018. Drama in EducationDays 2018Proceedings of the 4th Annual Conference on PerformativeLanguage Teaching and Learning 1Dragan Miladinović1. https://doi.org/10.33178/scenario.14.1.10 – Please note that the proceedings can be accessed at:https://dramapaedagogik.de/wp-content/uploads/proceedings2018/ final.pdf, last accessed: 8th June2020.The proceedings of the bilingual conference Dramapädagogik-Tage/Drama inEducation Days 2018 in Konstanz, Germany, is the first independent publicationfollowing the yearly eponymous event. Since the conference series focuses“on best practice and research in the field of Drama and Theatre in Educationspecifically in second and foreign language teaching”2, the Scenario Journalhas followed the conference since the beginning. The entire 2015/2 issue wasdedicated to the first event in 2015 and edited by Stefanie Giebert, who is,together with Eva Göksel, the co-editor of the current proceedings. Reportson the conferences 2016 and 2017 were included in 2016/2 and 2017/1.The present book review continues this existing professional dialogue betweenScenario and the Drama in Education Days.The publication consists of eleven articles in German and English, compilingreports on drama and theatre workshops as well as on projects for languageeducation which were presented at the conference. Regarding the structure,there are four sections in the book: Foreword, Basics, Current Research andPractical Inspiration. In the foreword, which is included in English and German,the editors and conference organisers briefly introduce the authors and theirarticles. They also outline the genesis of the Drama in Education Days, hintingthat their motivation to introduce this conference series in the German languageregion was the lack of and need for drama in education conferences. Thefact that the proceedings are available online and free of charge favours thedissemination and further discussion of the work presented in this publicationin the German language region but also beyond.The second section, Basics, consists of two articles in German which serveas the theoretical backdrop for the articles following in the practice-focused2 https://dramapaedagogik.de/en/drama-in-education-days-2019/, last accessed: 8thJune 2020.Copyright © 2020 the author[s]. This work is licensed under a Creative CommonsAttribution-NonCommercial-NoDerivatives 4.0 International License.https://doi.org/10.33178/scenario.14.1.10Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1section Practical Inspiration. First, Tanya Wittal-Düerkop discusses why dramain education should be implemented into the language classrooms and pointsto some fields of application. After giving a short introduction to drama ineducation and pleading in favour of its use for language teaching, the authorpresents a table of three fields of application: nonverbal exercises, guidedexercises, and open, independent exercises. For each of these, she providesa list of example exercises such as improvisations for open, independentlanguage exercises. The article offers lay readers a brief orientation and refersto basic works in the field, such as Schewe (1993), Tselikas (1999), andEven (2003), as well as to newer publications (e.g. Haack 2018). When itcomes to clarity, and especially to the use of terminology, the article couldbe clearer, more consistent and perhaps more cautious, for instance whenreferring to drama in education (Dramapädagogik) as “Methode” instead of“Ansatz” (method vs. approach) (see e.g. Rösler 2019 for a discussion), or theuse of “Fremdsprachenunterricht” and “Zweitsprachenunterricht” (foreign andsecond language teaching) synonymously without further explanation.In the second article of this section, Natalia Dominguez Sapien pointsout misinterpretations of psychodramaturgie linguistique (PDL), a conceptintroduced by Dufeu (e.g. 2003, see also Dufeu in this issue). DominguezSapien points to the misunderstandings of PDL as psychodrama within thedrama in education community and rejects these equating comparisons. Toclarify, the author elaborates on the key characteristics of drama in educationand PDL, concluding with a commented list of main similarities and differencesbetween these two approaches. Some statements could be scrutinised fromthe perspective of drama in education proponents. Dominguez Sapien assertsthat in PDL “[t]he content of the lessons is not pre-defined, but spontaneouslydeveloped by the participants in the course of the course” (29, my translation)and implies that this is not the case in drama in education. But it is perhapsprecisely the spontaneity and unpredictability (see e.g. Even 2019 and in thisissue) where the strengths of drama in education lies – something that is alsoemphasised in contributions to this conference proceedings, for instance whenimprovisational elements are discussed (see e.g. article by Hietz & Unterthineror Giebert) or when the need of the teacher to “think on their feet” is expressed(see article by Göksel:106). It is important to note, however, that DominguezSapien is not concerned with disuniting the field, but, on the contrary, withemphasizing the commonalities. This is also reflected in the author’s remark thather commented list is neither complete nor unchangeable, as both approachesare constantly changing and evolving. Overall, the comparison is helpful toget a quick and clear representation of key elements of the two approaches.Furthermore, the entry stimulates reflection on the discourse in and on dramain education as well as performative teaching and learning in the broadersense. And, thus, the article provides material for an important discussion:What exactly do practitioners of performative teaching and learning, theatreand drama pedagogues, language teachers and researchers mean when they142Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1speak of drama pedagogy3, drama in education and performative teaching andlearning? And do they refer to the same concepts when they speak aboutthese terms in German, e.g. Dramapädagogik, Theaterpädagogik, or otherlanguages?In the third chapter, Current Research, the only contribution is by GeorginaDragović who briefly introduces her dissertation project. It is a longitudinalintervention study that was conducted at two Serbian primary schools in theschool year 2015/2016. One of the aims of working on this project was toaddress the often-cited gap in quantitative studies in performative teachingand learning research. The dissertation can therefore be seen as an importantcontribution to the field to fill this gap.Practical Inspiration, the fourth section of the book, takes the biggest partof the publication and is dedicated to project and practice reports as well asworkshop descriptions. It is divided thematically into the subchapters Languagethrough Sound and Movement, Focus on Grammar, and Focus on Literature. Incontrast to the first three contributions in the previous two sections, most ofthe articles in this part of the book only briefly touch on theory and focusstrongly on practice-related aspects, such as details on planning and teachingclasses, reflections and descriptions of projects as well as commented outlines ofworkshops. Nevertheless, the authors point readers to further readings shouldthey want to engage with the topics more intensely.The first subchapter starts with a text in German: Brigitte Hahn-Michaelidiscusses her experience as a German teacher at the University of Technion,Israel Institute of Technology, where she uses a performative approach for herweekly three hours of language teaching. She is convinced that this approachis not only more successful in comparison to the conventional chalk-and-talkteaching at the university, but through interaction and group work also givesstudents the chance to traverse potential political, cultural and lingual bordersbetween them. Hahn-Michaeli presents the reader with a set of exercises thatshe has successfully used in her context.The second entry is in English and written by Chris Mitchell and Mariekede Koning, who describe their work at the University of Grenobles. Basedin the Innovalanguages-project4, they have established the group THEMPPO3 Is there – and if – what is the difference between drama pedagogy, drama in education andeven Dramapädagogik and Theaterpädagogik (theatre pedagogy)? Very often it comes to ter-minological difficulties when language borders are crossed. Schewe (2013, 18) points out thatdiscourses around these terms are potentially not only language-specific but also (research-)culture-specific and therefore suggests the use of performative „as an umbrella term to describe[. . . ] forms of foreign [and perhaps all] language teaching that derive from the performingarts“ (ibid.). For consistency with the book title of the present proceedings, I will use dramain education in English whenever Dramapädagogik was used in German. A project to be men-tioned in this context is the International Glossary Project, a working group of researchersand practitioners from Ireland, the UK, Austria, Germany, and Switzerland collaborating ona German/English glossary of central terms in the field of drama and theatre (in) education:https://doi.org/10.33178/scenario.13.1.84 https://www.univ-grenoble-alpes.fr/university/flagship-projects/idefi/innovalangues-innovation-in-language-learning-625785.kjsp, last accessed 9th June143Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1(THEMatique Prosodie et Production Orale) which, through (improv-) theatreworkshops, provides foreign language student teachers with innovative toolsto teach oral competence, and especially prosody. The authors offer a detaileddescription of their workshop concept which consists of a framework (TheAwareness, Focus, Energy, Emotion, and Liberation Frame of Reference “AFEELFOR”) with two praxes (The Silent Experience and the Engaged Body) andhope to “encourag[e] teachers to value playing and having fun with languagein order to achieve improved accuracy in oral expression” (60).The final article of this subchapter is a workshop description by AnkeStöver-Blahak. The article is written in German and starts with an outline of andcontinues with a short report on the workshop. According to Stöver-Blahak,it aimed at giving participants an insight into the author’s course on OralCommunication at the Centre of Applied Linguistics and Special Languages atthe Leibniz University Hanover. Stepping into the shoes of the students, theparticipants worked on poems, were recorded presenting them and receivedpeer-feedback. The approach adopted for the course allows students topractice not only their pronunciation of words but also highlights otheraspects of communication, such as body language and prosody, emphasisingthe performative character of public speaking. Stöver-Blahak briefly toucheson the concept of Ästhetische Kommunikation (aesthetic communication, mytranslation) which she adapts for her foreign language class. In L1-Germanclasses in German schools, this is a teaching technique to prepare poemsthrough speaking. It would have been desirable to read more details about thistechnique, however, given that this text is a workshop report, it might havegone beyond the scope of the text.The next subchapter of the conference proceedings focuses on grammar. Intheir article Staging Grammar, Kristina Hietz and Dominik Unterthiner giveexamples how through dramatic loops and miming, English grammar in asecondary school setting can be taught performatively. The samples the authorsshare with the reader could be adapted for other languages as well as othertarget groups and are useful for repetition of known and exploration of newgrammar topics.In her article Drama Elements in Teaching Academic Language – a Teacher‘sCritical Reflection, Stefanie Giebert reviews her experience of using dramain education in her teaching over four terms at college level in Germanywith specific focus on grammar and vocabulary. Written in English, thearticle convincingly reflects on pros and cons of applying drama in education,especially in a context where “traditional, direct instruction-heavy scienceclasses dominate students’ schedules and often also their thinking, [and]therefore, there is often a certain scepticism among some students and teachersin regards to all things ‘artsy’” (75). Besides the advantages for students thatGiebert witnessed anecdotally, such as encouragement to act/perform in thetarget language and increased engagement, she cites her own motivation toemploy performative teaching. Being involved in amateur drama for over 202020.144Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1years, she was able to find her own style of teaching by integrating her passioninto the classroom.The last German language contribution of the proceedings is written byNina Kulovics and Magdalena Zehetgruber. The authors present their projectEDanUbeCATION, a name inspired by the leitmotifs education and the riverDanube. The project was based at the Université de Haute Alsace in Mulhouse,and conducted over two terms with German studies students, of whom themajority aspired a teaching position at primary or secondary level. The reportsummarises the experiences teachers and students made working in class, suchas oral and writing activities, a translation workshop with Swiss translatorMarion Graf, as well as activities outside the classroom. Those tasks consistedof smaller research projects on the Danube, tandems with students who areat universities located on the Danube (Vienna and Bratislava), dance andmusic workshops (including the waltz The Blue Danube), and excursions (tothe source of the Danube in Germany and the final one-week stay in Vienna).The report offers a vivid example of how to connect and intertwine learning oflanguage, literature and culture but also exemplifies that learning takes placemultimodally.Inthesamesection,EvaGökselelaboratesinBuilding Intercultural CompetenceThrough Process Drama on how to facilitate intercultural learning throughprocess drama. After an introduction to process drama, Göksel provides aninsight into planning and holding the process drama workshop at the conferencein 2018, which was inspired by Lensay Namioka’s short story They don’t meanit. Her reflection and description can be used as a blueprint for similar adaptionsfor other contexts and is therefore a valuable contribution to the fundus ofexamples. Nevertheless, she reminds the reader that facilitating a processdrama and a positive and supportive learning environment are challenges thatrequire rigid preparation as well as the teachers to think on their feet.The last article of the contribution is by Alison Koushki. She writes in Englishabout her personal journey to using drama in teaching a course on novels atthe American University of Kuwait. When this course was introduced in 2012,studentswereassignedchapters theyhadtoreadandprepare forclass. Althoughthe course went “reasonably” (109), the students experienced difficulties due tolong hours of English language instruction before this “one-hour daily side-lineenrichment activity in a conventional foundation academic reading-writingcourse” (ibid.). Inspired by the vivid and emotional beginning of The StrangeCase of Dr. Jekyll and Mr. Hyde, she describes how from 2012 onwards, thecourse developed. From a traditional reading and preparing a text at home forclass discussion, the course format changed so that students acted out parts ofthe text in class. Finally, Koushki developed a course dedicated to dramatizingliterature which led to a 90-minute performance of Dr. Jekyll and Mr. Hyde in2016.This collection showcases the shared experiences, positive and negative,of teachers in international settings while applying drama in education attheir institutions. Although the contributions are mostly based in a university145Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1context, the exercises, ideas, suggestions, and reflections could be adapted fora variety of other contexts, such as primary or secondary education and/oradult continuing education. The book offers a wealth of considerations for thepractical implementation of similar projects with insightful and encouragingperspectives. And, finally, the book tempts the reader to research the conferenceorganised by Giebert and Göksel, and to find out when the next Drama inEducation Days will take place.BibliographyDufeu, Bernard (2003): Wege zu einer Pädagogik des Seins. Einpsychodramaturgischer Ansatz zum Fremdsprachenerwerb. Mainz: ÉditionspsychodramaturgieEven, Susanne (2003): Drama Grammatik. Dramapädagogische Ansätze fürden Grammatikunterricht Deutsch als Fremdsprache. München: IudiciumEven, Susanne (2019): Doing a Manfred. Über die willkommeneUnvorhersehbarkeit von Lernprozessen. In: Even, Susanne et al., 57-68Even, Susanne; Miladinović, Dragan & Schmenk, Barbara (eds.) (2019):Lernbewegungen inszenieren: Performative Zugänge in der Sprach-, Literatur-und Kulturdidaktik. Festschrift für Manfred Schewe zum 65. Geburtstag.Tübingen: Narr/Francke/Attempto.Haack, Adrian (2018): Dramapädagogik, Selbstkompetenz undProfessionalisierung. Performative Identitätsarbeit im LehramtsstudiumEnglisch. Wiesbaden: J. B. Metzler,https://doi.org/10.1007/978-3-658-19951-7Rösler, Dietmar (2019): Performative Fremdsprachendidaktik als Leitprinzipdes Fremdsprachenlernens? In: Even, Susanne et al., 45-55Schewe, Manfred (1993): Fremdsprache inszenieren. Zur Fundierung einerdramapädagogischen Lehr- und Lernpraxis. Oldenburg: PädagogischesZentrum, available online: https://cora.ucc.ie/handle/10468/561Tselikas, Elektra I. (1999): Dramapädagogik im Sprachunterricht. Zürich:Orell Fuessli14610-Miladinovic-2020-01-en 2020-07-08T11:07:40+0100 15:37.228.237.145

Giebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018. Drama in Education Days 2018

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UCC Library and UCC researchers have made this item openly available.Please let us know how this has helped you. Thanks!Title Giebert, Stefanie and Göksel, Eva (eds.) (2019): Dramapädagogik-Tage2018. Drama in Education Days 2018. Conference Proceedings of the4th Annual Conference on Performative Language Teaching andLearningAuthor(s) Miladinović, DraganPublication date 2020Original citation Miladinović, D. (2020) 'Giebert, Stefanie and Göksel, Eva (eds.) (2019):Dramapädagogik-Tage 2018. Drama in Education Days 2018.Conference Proceedings of the 4th Annual Conference on PerformativeLanguage Teaching and Learning', Scenario: A Journal for PerformativeTeaching, Learning, Research, XIV(1), pp. 130-135. doi:10.33178/scenario.14.1.10Type of publication ReviewLink to publisher'sversionhttp://publish.ucc.ie/journals/scenario/2020/01/Miladinovic/10/enhttp://dx.doi.org/10.33178/scenario.14.1.10Access to the full text of the published version may require asubscription.Rights © 2020, the Author(s). This work is licensed under a CreativeCommons Attribution-NonCommercial-NoDerivatives 4.0International License.https://creativecommons.org/licenses/by-nc-nd/4.0/Item downloadedfromhttp://hdl.handle.net/10468/10216Downloaded on 2021-11-27T12:31:41ZISSN 1649-8526DOI https://doi.org/10.33178/scenario.14.01Volume 2020 · Issue 1http://scenario.ucc.ieREVIEWGiebert, Stefanie & Göksel, Eva (eds.) (2019):Dramapädagogik-Tage 2018. Drama in EducationDays 2018Proceedings of the 4th Annual Conference on PerformativeLanguage Teaching and Learning 1Dragan Miladinović1. https://doi.org/10.33178/scenario.14.1.10 – Please note that the proceedings can be accessed at:https://dramapaedagogik.de/wp-content/uploads/proceedings2018/ final.pdf, last accessed: 8th June2020.The proceedings of the bilingual conference Dramapädagogik-Tage/Drama inEducation Days 2018 in Konstanz, Germany, is the first independent publicationfollowing the yearly eponymous event. Since the conference series focuses“on best practice and research in the field of Drama and Theatre in Educationspecifically in second and foreign language teaching”2, the Scenario Journalhas followed the conference since the beginning. The entire 2015/2 issue wasdedicated to the first event in 2015 and edited by Stefanie Giebert, who is,together with Eva Göksel, the co-editor of the current proceedings. Reportson the conferences 2016 and 2017 were included in 2016/2 and 2017/1.The present book review continues this existing professional dialogue betweenScenario and the Drama in Education Days.The publication consists of eleven articles in German and English, compilingreports on drama and theatre workshops as well as on projects for languageeducation which were presented at the conference. Regarding the structure,there are four sections in the book: Foreword, Basics, Current Research andPractical Inspiration. In the foreword, which is included in English and German,the editors and conference organisers briefly introduce the authors and theirarticles. They also outline the genesis of the Drama in Education Days, hintingthat their motivation to introduce this conference series in the German languageregion was the lack of and need for drama in education conferences. Thefact that the proceedings are available online and free of charge favours thedissemination and further discussion of the work presented in this publicationin the German language region but also beyond.The second section, Basics, consists of two articles in German which serveas the theoretical backdrop for the articles following in the practice-focused2 https://dramapaedagogik.de/en/drama-in-education-days-2019/, last accessed: 8thJune 2020.Copyright © 2020 the author[s]. This work is licensed under a Creative CommonsAttribution-NonCommercial-NoDerivatives 4.0 International License.Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1section Practical Inspiration. First, Tanya Wittal-Düerkop discusses why dramain education should be implemented into the language classrooms and pointsto some fields of application. After giving a short introduction to drama ineducation and pleading in favour of its use for language teaching, the authorpresents a table of three fields of application: nonverbal exercises, guidedexercises, and open, independent exercises. For each of these, she providesa list of example exercises such as improvisations for open, independentlanguage exercises. The article offers lay readers a brief orientation and refersto basic works in the field, such as Schewe (1993), Tselikas (1999), andEven (2003), as well as to newer publications (e.g. Haack 2018). When itcomes to clarity, and especially to the use of terminology, the article couldbe clearer, more consistent and perhaps more cautious, for instance whenreferring to drama in education (Dramapädagogik) as “Methode” instead of“Ansatz” (method vs. approach) (see e.g. Rösler 2019 for a discussion), or theuse of “Fremdsprachenunterricht” and “Zweitsprachenunterricht” (foreign andsecond language teaching) synonymously without further explanation.In the second article of this section, Natalia Dominguez Sapien pointsout misinterpretations of psychodramaturgie linguistique (PDL), a conceptintroduced by Dufeu (e.g. 2003, see also Dufeu in this issue). DominguezSapien points to the misunderstandings of PDL as psychodrama within thedrama in education community and rejects these equating comparisons. Toclarify, the author elaborates on the key characteristics of drama in educationand PDL, concluding with a commented list of main similarities and differencesbetween these two approaches. Some statements could be scrutinised fromthe perspective of drama in education proponents. Dominguez Sapien assertsthat in PDL “[t]he content of the lessons is not pre-defined, but spontaneouslydeveloped by the participants in the course of the course” (29, my translation)and implies that this is not the case in drama in education. But it is perhapsprecisely the spontaneity and unpredictability (see e.g. Even 2019 and in thisissue) where the strengths of drama in education lies – something that is alsoemphasised in contributions to this conference proceedings, for instance whenimprovisational elements are discussed (see e.g. article by Hietz & Unterthineror Giebert) or when the need of the teacher to “think on their feet” is expressed(see article by Göksel:106). It is important to note, however, that DominguezSapien is not concerned with disuniting the field, but, on the contrary, withemphasizing the commonalities. This is also reflected in the author’s remark thather commented list is neither complete nor unchangeable, as both approachesare constantly changing and evolving. Overall, the comparison is helpful toget a quick and clear representation of key elements of the two approaches.Furthermore, the entry stimulates reflection on the discourse in and on dramain education as well as performative teaching and learning in the broadersense. And, thus, the article provides material for an important discussion:What exactly do practitioners of performative teaching and learning, theatreand drama pedagogues, language teachers and researchers mean when they142Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1speak of drama pedagogy3, drama in education and performative teaching andlearning? And do they refer to the same concepts when they speak aboutthese terms in German, e.g. Dramapädagogik, Theaterpädagogik, or otherlanguages?In the third chapter, Current Research, the only contribution is by GeorginaDragović who briefly introduces her dissertation project. It is a longitudinalintervention study that was conducted at two Serbian primary schools in theschool year 2015/2016. One of the aims of working on this project was toaddress the often-cited gap in quantitative studies in performative teachingand learning research. The dissertation can therefore be seen as an importantcontribution to the field to fill this gap.Practical Inspiration, the fourth section of the book, takes the biggest partof the publication and is dedicated to project and practice reports as well asworkshop descriptions. It is divided thematically into the subchapters Languagethrough Sound and Movement, Focus on Grammar, and Focus on Literature. Incontrast to the first three contributions in the previous two sections, most ofthe articles in this part of the book only briefly touch on theory and focusstrongly on practice-related aspects, such as details on planning and teachingclasses, reflections and descriptions of projects as well as commented outlines ofworkshops. Nevertheless, the authors point readers to further readings shouldthey want to engage with the topics more intensely.The first subchapter starts with a text in German: Brigitte Hahn-Michaelidiscusses her experience as a German teacher at the University of Technion,Israel Institute of Technology, where she uses a performative approach for herweekly three hours of language teaching. She is convinced that this approachis not only more successful in comparison to the conventional chalk-and-talkteaching at the university, but through interaction and group work also givesstudents the chance to traverse potential political, cultural and lingual bordersbetween them. Hahn-Michaeli presents the reader with a set of exercises thatshe has successfully used in her context.The second entry is in English and written by Chris Mitchell and Mariekede Koning, who describe their work at the University of Grenobles. Basedin the Innovalanguages-project4, they have established the group THEMPPO3 Is there – and if – what is the difference between drama pedagogy, drama in education andeven Dramapädagogik and Theaterpädagogik (theatre pedagogy)? Very often it comes to ter-minological difficulties when language borders are crossed. Schewe (2013, 18) points out thatdiscourses around these terms are potentially not only language-specific but also (research-)culture-specific and therefore suggests the use of performative „as an umbrella term to describe[. . . ] forms of foreign [and perhaps all] language teaching that derive from the performingarts“ (ibid.). For consistency with the book title of the present proceedings, I will use dramain education in English whenever Dramapädagogik was used in German. A project to be men-tioned in this context is the International Glossary Project, a working group of researchersand practitioners from Ireland, the UK, Austria, Germany, and Switzerland collaborating ona German/English glossary of central terms in the field of drama and theatre (in) education:https://doi.org/10.33178/scenario.13.1.84 https://www.univ-grenoble-alpes.fr/university/flagship-projects/idefi/innovalangues-innovation-in-language-learning-625785.kjsp, last accessed 9th June143Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1(THEMatique Prosodie et Production Orale) which, through (improv-) theatreworkshops, provides foreign language student teachers with innovative toolsto teach oral competence, and especially prosody. The authors offer a detaileddescription of their workshop concept which consists of a framework (TheAwareness, Focus, Energy, Emotion, and Liberation Frame of Reference “AFEELFOR”) with two praxes (The Silent Experience and the Engaged Body) andhope to “encourag[e] teachers to value playing and having fun with languagein order to achieve improved accuracy in oral expression” (60).The final article of this subchapter is a workshop description by AnkeStöver-Blahak. The article is written in German and starts with an outline of andcontinues with a short report on the workshop. According to Stöver-Blahak,it aimed at giving participants an insight into the author’s course on OralCommunication at the Centre of Applied Linguistics and Special Languages atthe Leibniz University Hanover. Stepping into the shoes of the students, theparticipants worked on poems, were recorded presenting them and receivedpeer-feedback. The approach adopted for the course allows students topractice not only their pronunciation of words but also highlights otheraspects of communication, such as body language and prosody, emphasisingthe performative character of public speaking. Stöver-Blahak briefly toucheson the concept of Ästhetische Kommunikation (aesthetic communication, mytranslation) which she adapts for her foreign language class. In L1-Germanclasses in German schools, this is a teaching technique to prepare poemsthrough speaking. It would have been desirable to read more details about thistechnique, however, given that this text is a workshop report, it might havegone beyond the scope of the text.The next subchapter of the conference proceedings focuses on grammar. Intheir article Staging Grammar, Kristina Hietz and Dominik Unterthiner giveexamples how through dramatic loops and miming, English grammar in asecondary school setting can be taught performatively. The samples the authorsshare with the reader could be adapted for other languages as well as othertarget groups and are useful for repetition of known and exploration of newgrammar topics.In her article Drama Elements in Teaching Academic Language – a Teacher‘sCritical Reflection, Stefanie Giebert reviews her experience of using dramain education in her teaching over four terms at college level in Germanywith specific focus on grammar and vocabulary. Written in English, thearticle convincingly reflects on pros and cons of applying drama in education,especially in a context where “traditional, direct instruction-heavy scienceclasses dominate students’ schedules and often also their thinking, [and]therefore, there is often a certain scepticism among some students and teachersin regards to all things ‘artsy’” (75). Besides the advantages for students thatGiebert witnessed anecdotally, such as encouragement to act/perform in thetarget language and increased engagement, she cites her own motivation toemploy performative teaching. Being involved in amateur drama for over 202020.144Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1years, she was able to find her own style of teaching by integrating her passioninto the classroom.The last German language contribution of the proceedings is written byNina Kulovics and Magdalena Zehetgruber. The authors present their projectEDanUbeCATION, a name inspired by the leitmotifs education and the riverDanube. The project was based at the Université de Haute Alsace in Mulhouse,and conducted over two terms with German studies students, of whom themajority aspired a teaching position at primary or secondary level. The reportsummarises the experiences teachers and students made working in class, suchas oral and writing activities, a translation workshop with Swiss translatorMarion Graf, as well as activities outside the classroom. Those tasks consistedof smaller research projects on the Danube, tandems with students who areat universities located on the Danube (Vienna and Bratislava), dance andmusic workshops (including the waltz The Blue Danube), and excursions (tothe source of the Danube in Germany and the final one-week stay in Vienna).The report offers a vivid example of how to connect and intertwine learning oflanguage, literature and culture but also exemplifies that learning takes placemultimodally.Inthesamesection,EvaGökselelaboratesinBuilding Intercultural CompetenceThrough Process Drama on how to facilitate intercultural learning throughprocess drama. After an introduction to process drama, Göksel provides aninsight into planning and holding the process drama workshop at the conferencein 2018, which was inspired by Lensay Namioka’s short story They don’t meanit. Her reflection and description can be used as a blueprint for similar adaptionsfor other contexts and is therefore a valuable contribution to the fundus ofexamples. Nevertheless, she reminds the reader that facilitating a processdrama and a positive and supportive learning environment are challenges thatrequire rigid preparation as well as the teachers to think on their feet.The last article of the contribution is by Alison Koushki. She writes in Englishabout her personal journey to using drama in teaching a course on novels atthe American University of Kuwait. When this course was introduced in 2012,studentswereassignedchapters theyhadtoreadandprepare forclass. Althoughthe course went “reasonably” (109), the students experienced difficulties due tolong hours of English language instruction before this “one-hour daily side-lineenrichment activity in a conventional foundation academic reading-writingcourse” (ibid.). Inspired by the vivid and emotional beginning of The StrangeCase of Dr. Jekyll and Mr. Hyde, she describes how from 2012 onwards, thecourse developed. From a traditional reading and preparing a text at home forclass discussion, the course format changed so that students acted out parts ofthe text in class. Finally, Koushki developed a course dedicated to dramatizingliterature which led to a 90-minute performance of Dr. Jekyll and Mr. Hyde in2016.This collection showcases the shared experiences, positive and negative,of teachers in international settings while applying drama in education attheir institutions. Although the contributions are mostly based in a university145Dragan MiladinovićGiebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018.Drama in Education Days 2018ScenarioVolume 2020 · Issue 1context, the exercises, ideas, suggestions, and reflections could be adapted fora variety of other contexts, such as primary or secondary education and/oradult continuing education. The book offers a wealth of considerations for thepractical implementation of similar projects with insightful and encouragingperspectives. And, finally, the book tempts the reader to research the conferenceorganised by Giebert and Göksel, and to find out when the next Drama inEducation Days will take place.BibliographyDufeu, Bernard (2003): Wege zu einer Pädagogik des Seins. Einpsychodramaturgischer Ansatz zum Fremdsprachenerwerb. Mainz: ÉditionspsychodramaturgieEven, Susanne (2003): Drama Grammatik. Dramapädagogische Ansätze fürden Grammatikunterricht Deutsch als Fremdsprache. München: IudiciumEven, Susanne (2019): Doing a Manfred. Über die willkommeneUnvorhersehbarkeit von Lernprozessen. In: Even, Susanne et al., 57-68Even, Susanne; Miladinović, Dragan & Schmenk, Barbara (eds.) (2019):Lernbewegungen inszenieren: Performative Zugänge in der Sprach-, Literatur-und Kulturdidaktik. Festschrift für Manfred Schewe zum 65. Geburtstag.Tübingen: Narr/Francke/Attempto.Haack, Adrian (2018): Dramapädagogik, Selbstkompetenz undProfessionalisierung. Performative Identitätsarbeit im LehramtsstudiumEnglisch. Wiesbaden: J. B. Metzler,https://doi.org/10.1007/978-3-658-19951-7Rösler, Dietmar (2019): Performative Fremdsprachendidaktik als Leitprinzipdes Fremdsprachenlernens? In: Even, Susanne et al., 45-55Schewe, Manfred (1993): Fremdsprache inszenieren. Zur Fundierung einerdramapädagogischen Lehr- und Lernpraxis. Oldenburg: PädagogischesZentrum, available online: https://cora.ucc.ie/handle/10468/561Tselikas, Elektra I. (1999): Dramapädagogik im Sprachunterricht. Zürich:Orell Fuessli14610-Miladinovic-2020-01-en 2020-07-08T11:07:40+0100 15:37.228.237.145