The Art of Foreign Language Teaching

Name: The Art of Foreign Language Teaching | Improvisation and Drama in Teacher Development and Language Learning
Brand: Narr Francke Attempto Verlag
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Improvisation and Drama in Teacher Development and Language Learning

Peter Lutzker(Author)

Narr Francke Attempto Verlag

1st Edition

Published on 5. October 2007

486 pages

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Intro
Acknowledgements
Table of Contents
Part I: The Art of Foreign Language Teaching - Introduction
1. Concepts of Teaching
1.1 Introduction
1.2 The Models of Science and Business
1.3 The Model of Teaching as an Art
1.3.1 The Origins of Teaching as an Art: The Sophists
1.3.2 Socrates
1.3.3 Plato
1.3.4 European Humanism and the Art of Teaching
1.3.5 Schiller: Aesthetic Education
1.3.6 Developments in the 19th Century
1.3.7 The Teacher as Artist/Die Kunsterziehungsbewegung
1.3.8. The Teacher as Artist /Waldorf Education
1.3.9 Reform Movements/Overview
1.3.10 The Teacher as Artist/Later Developments in Germany
1.4 Anglo-American Traditions/William James
1.4.1 Art and Education/John Dewey
1.4.2 The Teacher as Researcher/Lawrence Stenhouse
1.4.3 The Scientific Basis of the Art of Teaching/ N.L.Gage
1.4.4 The Concept of Teaching as a Performing Art
1.4.5 Teaching as a Performing Art/Dillon and Travers
1.4.6 Summary
1.4.7 L. Rubin/Artistry in Teaching
1.4.8 Relevance for Teacher Training
1.4.9 Rubin's "Experiment"
1.4.10 Summary
1.4.11 Seymour Sarason/Teaching as a Performing Art
1.4.12 Summary
1.4.13 The Teacher as Artist/Developments in the 21st Century
1.4.14 Teaching as Improvisational Performance/R. K. Sawyer
1.4.15 Summary
1.5 Conclusions
2. In-Service Language Teacher Development:Goals and Concepts
2.1 In-Service Language Teacher Development
2.2 Summary
2.3 In-service Courses for Language Teachers/Rationaleand Forms
2.4 Expectations and Realities
2.5 Goal/s of Language Teacher Development
2.6 Affecting Teacher Change in In-service Courses
2.7 In-service Development and Burnout
2.8 Summary
2.9 Conclusions
3. Steiner Schools' In-Service Training forEnglish Teachers: The English Week
3.1 The English Week
3.2 The Concept of the English Week
3.3 Forms and Principles of the Drama Workshops
3.3.1 Description of the Courses
3.3.2 Parallels between the Courses
3.4 Literature in Performance: A Drama Workshop at theEnglish Week
4. An Empirical Study of Clowning Courseswith Vivian Gladwell/ Research Design
4.1 The Choice of the Clowning Courses
4.2 Research Goals
4.3 Qualitative Research Methods
4.4 Description of the Courses: Observation/Participation
4.4.1 Existing Descriptions of the Courses
4.5 Interviews
4.6 Research Inquiry/Data Triangulation
4.7 Research Inquiry/ 'Thick Description'
4.8 Internal Validity
4.8.1 Internal Validity: The Conceptual Framework of the Study
4.9 External Validity: The Representative Nature of theData
4.9.1 Waldorf and Non-Waldorf Teachers
4.9.2 The General Framework and the Courses
4.10 Summary
4.11 The Initial Hypothesis
5. Discovering the Clown Within: Backgroundto Clowning Courses with Vivian Gladwell
5.1 Background: Vivian Gladwell and Bataclown
5.2 Bataclown and Carl Rogers
5.3 Clowning in the Social Professions
5.4 Clowning and Deep Ecology
6. Clowning Workshops for LanguageTeachers with Vivian Gladwell
6.1 The General Structure of the Workshops
6.2 The Warm-Ups
6.2.1 The Opening Warm-Ups
6.2.2 Breath
6.2.3 Massage
6.2.4 The Warm-Ups as an Inner and Group Process
6.3 Games and Play
6.3.1 Games of Imitation and Mirroring
6.3.2 Games of Playful Confusion
6.3.3 Games of Listening and Perceiving
6.3.5 Word Games/Creating Stories
6.3.6 The End of the Second Phase
6.4 The First Improvisations
6.4.1 An Introductory Exercise: Entering the Stage and Encounteringan Object
6.4.2 The Solo-Improvisation
6.4.3 Feedback Sessions after the Improvisations
6.4.4 Partner Improvisations
6.4.5 Exercises in Groups of Three or More
6.5 The End of the Workshops
7 Responses to the Research Inquiry
7.1 Feedback Responses/ Breakdown According to Course
7.1.1 English Week Responses
7.1.2 The English Fortnights at Emerson College, England
7.1.3. Witten Intensive Weekend Jan, 2005
7.1.4 The Baltic Seminar Helsinki, 2003
7.1.5 Unsolicited Responses
7.1.6 Breakdown of Responses according to Gender
7.1.7 Breakdown of Responses according to Country
7.1.8 Teaching Experience
7.1.9 Lower, Middle and Upper School Teachers
7.1.10 Summary
7.2 The Participants' Responses: Expectations
7.2.1 Beginnings/The Warm-Ups and Games
7.2.2 The Element of Play
7.3 The First Improvisations: Fears and Release
7.4 "Nothing can go Wrong"
7.5 The Breakthroughs: "You become more alive."
7.6 Personal Development/s and their Consequences
7.7 Growth and Discovery
7.8 "Living in the Moment"
7.9 Empathy and Perception
7.10 The Embodiment of Language
7.11 Breaking Routines
8. Discussion of the Participants' Responses
8.1 Clowning in the Context of In-service TeacherDevelopment
8.2 The Participants' Responses/Evaluating the OriginalHypothesis
8.3 Warm-Ups in Artistic Work and Clowning
8.3.1 The Intermediary 'Space' of Play
8.3.2 Motor Attitude and Behaviour/Judgements of the Muscles
8.3.3 Proprioception and Communication
8.3.4 Consequences for In-Service Development
8.3.5 Related Developments in In-service Language Teacher Training
8.3.6 Summary
8.4 The Improvisations /Experiencing the 'Empty Space'
8.4.1 Genuineness in Clowning and Teaching
8.4.2 Genuineness and Teacher Change
8.4.3 The Art of Improvisation and the 'Here and Now'
8.4.4 Developing Receptivity and Acceptance in Clowning andTeaching
8.4.5 Sympathy and Caring in Clowning and Teaching
8.4.6 Developing Awareness in the Classroom: Perspectives inTeacher Education
8.4.7 Summary
8.5 Breaking Routines, Avoiding Burnout and 'Learning toForget'
8.5.1 The Practical Knowledge of Teachers (Erfahrungswissen) andAffecting Teacher Change
8.5.2 Affecting Change and Confronting Insecurities
8.6 In-Service Development in a Hermeneutic Context
8.6.1 Parallels to the Clowning Workshops/The Role of Stillness
8.6.2 'Not Knowing' in Clowning and Hermeneutics
8.6.3 Contrasts and Distinctions between the Courses
8.6.4 Summary
8.7 Parker Palmer's Courage to Teach Retreats
8.7.1 Parallels to the Clowning Workshops/Personal Knowledge and'Objective' Knowledge
8.7.2 Contrasts and Parallels
8.8 Learning the Art of Clowning and the Art of Teaching
8.8.1 Attaining Artistry in the Performing Arts
8.8.2 Artistry and Effectiveness in Teaching/Two Views of the World
8.9 Clowning, Teaching and the Hermeneutic Circle ofLearning
9. Part I: Conclusions
9.1. The Original Hypothesis
9.2 The Meaning of the Clowning Courses for theParticipants
9.2.1 The Sensory/Affective Dimension of Clowning
9.2.2 Clowning/Play and Regeneration
9.2.3 Clowning and Acceptance
9.2.4 Attentiveness and Receptivity
9.2.5 Personal Growth and Development
9.2.6 The Parts and the Whole
9.3 Areas of Future Research
Part II: The Art of Foreign Language Teaching - Introduction
10. Dramatic Processes and Language Teaching
10.1 Historical Overview
10.2 Related Developments in the 20th Century: CreativeDramatics and Drama in Education
10. 3 Drama in Modern Foreign Language Teaching
10.3.1 Dramatic Techniques: Maley and Duff
10.3.2 Towards a Pedagogy of Being: The Work of Bernard Dufeu
10.3.3 Im Haus der Sprache Wohnen: Ruth Huber's Approach toTheatre in Language Learning
10.3.4 Drama in EFL School Classrooms
10.4 Research on Drama-Based Approaches to ForeignLanguage Learning
11. Research Methods
11.1 Case Study Research
11.1.1 Case Studies in Educational Research
11.1.2 Case Studies and the Teacher as Researcher
11.1.3 Relevant Distinctions between Practitioner Research and thisStudy
11.2 Internal Validity in Case Study Research
11.3 External Validity in Case Study Research
11.4 Research Design for the Study of the Class Play/TheConceptual Framework
11.5 The Initial Hypothesis
11.5.1 Research Questions
11.6 Relevant Methodological Considerations
11.7 Collecting "Thick" Research Data/Research Inquiries
11.7.1 Interviews with Groups of Pupils
11.7.2 Parent's Perspectives
11.7.3 Teacher's Perspectives
11.7.4. Field Notes/Teacher's Log
11.7.5 Videos of Rehearsals/Performances
11.8 Data Triangulation/Method Triangulation
12. The Class Play in the 10th Grade 2004-2005:Framework and Circumstances
12.1 Class Plays in the Düsseldorf Steiner School
12.2 The Tenth Grade Play in the Year 2004-2005: MyRelation to the Class/Background of the Class
12.3 The Planning of the School Year 2004-2005/Choice ofthe Play
12.4 Choosing the Roles/Casting
12.5 Setting up the Rehearsal Timetable
12.6 Added Responsibilities
13. The Pupils' Perspectives: A Cross-SectionalExamination of the Research Inquiries
13.1 The Pupils' Expectations
13.1.1 The Success of the Play
13.1.2 Enjoying Work and Avoiding Stress
13.1.3 Working Together and Coming Together
13.1.4 Pupils' Concerns
13.1.5 Personal Development and Goals
13.2 Discussion of the Initial Research Inquiry
13.3 The First Rehearsal Phase/Second Research Inquiry
13.3.1. Learning the Text/Exploring the Role
13.3.2 Pupils' Comments on the Rehearsals
13.3.4 The Development of Language Capabilities
13.3.5 Complaints/The Rehearsal Organization and Schedule
13.4 Discussion of the Second Research Inquiry
13.5 In the Middle of the Rehearsal Process/ResearchInquiry 3
13.5.1 The Difficulties of "Having to Imagine Everything"
13.5.2 Advice to the Director
13.5.3 Entering into their Roles
13.5.4 Rehearsals with Students as Directors
13.5.5 The Rehearsal Organization
13.5.6 Reflections on Their Own Work
13.6 Discussion of the Third Research Inquiry
13.7 The Final Phases/ Fourth Research Inquiry
13.7.1 "I particularly enjoyed the last weeks of rehearsals"
13.7.2 Becoming the Character
13.7.3 The Ups and Downs
13.8 Discussion of the Final Phase
13.9 The Performances/The Final Research Inquiry
13.9.1 Dealing with Stage Fright
13.9.2 The Experience of Performance
13.10 Discussion
13.11 Final Research Inquiry: The Pupils' Reflections on theEntire Process
13.11.1 The Effects on Language Abilities
13.11.2 Overcoming Doubts
13.11.3 Acting their Roles.
13.11.4 Assuming Responsibilities
13.11.5 A New Sense of Community
13.11.6 Overview of the Final Research Inquiry
13.12 The Growth of Language Capabilities
13.13 Becoming the Character
13.14 The Content of The Diary of Anne Frank
13.15 The Development of Artistic Discipline
13.16 Final Remarks
14. Five In-Depth Studies
14.1 Introduction
I4.2 Jorinde (Mrs. van Daan in Act I)
14.3 Jorinde's Responses to the ResearchInquiries/Discussion of the Responses
14.4 Conclusions
14.5 Lieselotte (Mrs. Frank in Act II)
14.6 Lieselotte's Responses to the Research Inquiries/Discussion of the Responses
14.7 Conclusions
14.8 Fabian (Mr. Krahler in Act I)
14.9 Fabian's Responses to the Inquiries/Discussion of theResponses
14.10 Conclusions
14.11 Martin B (Mr. Frank in Act I)
14.12 Martin's Responses to the ResearchInquiries/Discussion of the Responses
14.13 Conclusions
14.14 Amelie (Anne Frank in Act I)
14.15 Amelie's Responses to the ResearchInquiries/Discussion of the Responses
14.16 Conclusions
15. Rehearsing and Performing a Play in aForeign Language in the 10th Grade:Discussion
15.1 Introduction
15.2 Adolescence as a 'Critical Period'
15.2.1 Parallel Developments in the Critical Period
15.2.2 Adolescence as a 'Critical Period': Further Perspectives
15.3 A Search for Meaning: Artistic Processes inAdolescence
15.4 The Role and Significance of the Warm-Ups
15.5 Rehearsing in a Foreign Language: The Sensory andImaginative Experience of Language
15.6 Entering into the Role/Finding the 'Target'
15.7 The Atmosphere of the Rehearsals
15.8 The Zone of Proximal Development
15.9 Establishing a Community of Learners
15.10 Rehearsals as an Intuitive Mode of Learning
15.11 Multiple Intelligences and Drama in Foreign LanguageLearning
15.12 Performance and the Externalization of Learning
16. Rehearsing and Performing the Class Play:Conclusions
16.1 Introduction
16.2 Educational Drama and Learning
16.3 The Education of Emotions
16.4 Individualized Learning and the Development ofAttentiveness (Aufmerksamkeit), Commitment,(Verbindlichkeit) and Certainty (Evidenzerfahrung)
16.4.1 The Development of Attentiveness and Perception
16.4.2 The Role of Commitment (Verbindlichkeit) in Self-DirectedLearning
16.4.3 The Pre-Decisional Phase
16.4.4 The Pre-Action Phase
16.4.5 The Phase of Direct Action
16.4.6 The Post-Action Phase
16.4.7 Commitment and Education
16.4.8 The Experience of Certainty [Evidenzerfahrung]
16.4.9 Evidenzerfahrung in Learning Processes
16.4.10 Evidenzerfahrung in Drama
16.4.11 Evidenzerfahrung and Flow
16.4.12 Individualized Learning through Performance Drama -Conclusions
16.5 Drama, Transformation and Personal Knowledge
16.5.1 Educational Drama and Transformation
16.5.2 Personal and Tacit Knowledge
16.5.3 Drama and Tacit Knowledge
16.5.4 Tacit Knowledge and Motor Attitude
16.6 Art and Experience in the Critical Period ofAdolescence
17 The Art of Foreign Language Teaching
17.1 Educational Research and Educational Change
17.2 Attunement and Development
17.3 Testing Competences/Personal Experience and Growth
17.4 Foreign Language Learning and Literature
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