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Peter Lutzker. The Art of Foreign Language Teaching
Contents
Acknowledgements
Introduction to the 2nd Edition
i An Overview of Relevant Developments in Foreign Language Teacher Education and Language Learning
ii Performative-Artistic Approaches within Traditional Frameworks
Introduction to the 1st Edition
1 Concepts of Teaching
1.1 The Models of Science and Business
1.2 The Model of Teaching as an Art
1.2.1 The Origins of Teaching as an Art: The Sophists
1.2.2 Socrates
1.2.3 Plato
1.2.4 European Humanism and the Art of Teaching
1.2.5 Schiller: Aesthetic Education
1.2.6 Developments in the 19th and 20th Century
1.2.7 The Teacher as Artist – Die Kunsterziehungsbewegung
1.2.8 The Teacher as Artist – Waldorf Education
1.2.9 Reform Movements – Overview
1.2.10 The Teacher as Artist: Later Developments in Germany
1.3 Anglo-American Traditions – William James
1.3.1 Art and Education – John Dewey
1.3.2 The Teacher as Researcher – Lawrence Stenhouse
1.3.3 The Concept of Teaching as a Performing Art
1.3.4 Teaching as a Performing Art – Dillon and Travers
1.3.5 L. Rubin – Artistry in Teaching
1.3.6 Relevance for Teacher Training
1.3.7 Seymour Sarason – Teaching as a Performing Art
1.3.8 Teaching as Improvisational Performance – R. K. Sawyer
1.4 Conclusions
2 In-Service Language Teacher Development: Goals and Concepts
2.1 In-Service Courses for Language Teachers – Rationale and Forms
2.2 Expectations and Realities
2.3 Goals of Language Teacher Development
2.4 Affecting Teacher Change in In-Service Courses
2.5 In-Service Development and Burnout
2.6 Conclusions
3 Steiner Schools’ In-Service Training for English Teachers: The English Week
3.1 The Concept of the English Week
3.2 Forms and Principles of the Drama Workshops
3.3 Literature in Performance: A Drama Workshop at the English Week
4 An Empirical Study of Clowning Courses with Vivian Gladwell – Research Design. 4.1 The Choice of the Clowning Courses
4.2 Research Goals
4.3 Description of the Courses: Observation and Participation
4.4 Interviews
4.5 Research Inquiry and Data Triangulation
4.6 Research Inquiry – ‘Thick Description’
4.7 Internal Validity
4.8 External Validity: The Representative Nature of the Data
4.9 The Initial Hypothesis
5 Discovering the Clown Within: Background to 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 Language Teachers 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
6.3.4 Word Games: Creating Stories
6.3.5 The End of the Second Phase
6.4 The First Improvisations
6.4.1 An Introductory Exercise: Entering the Stage and Encountering an 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 Breakdown of Responses According to Gender
7.1.2 Breakdown of Responses According to Country
7.1.3 Summary
7.2 The Participants’ Responses. 7.2.1 Expectations
7.2.2 Warm-Ups and Games
7.2.3 The Element of Play
7.2.4 The First Improvisations: Fears and Release
7.2.5 “Nothing can go Wrong”
7.2.6 The Breakthroughs: “You become more alive…”
7.3 Personal Developments and their Consequences
7.3.1 Growth and Discovery
7.3.2 “Living in the Moment”
7.3.3 Empathy and Perception
7.3.4 The Embodiment of Language
7.3.5 Breaking Routines
8 Discussion of the Participants’ Responses. 8.1 Clowning in the Context of In-Service Teacher Development
8.2 Evaluating the Initial Hypothesis
8.3 Warm-Ups in Artistic Work and Clowning
8.3.1 The Intermediary ‘Space’ of Play
8.3.2 Motor Attitude and Behavior: 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
8.4 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 and Teaching
8.4.5 Sympathy and Caring in Clowning and Teaching
8.4.6 Developing Awareness in the Classroom: Perspectives in Teacher Education
8.5 Breaking Routines, Avoiding Burnout and ‘Learning to Forget’
8.5.1 The Practical Knowledge of Teachers (Erfahrungswissen) and Affecting 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
8.7 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 Maxine Greene and The Lincoln Center Institute
8.9 Learning the Art of Clowning and the Art of Teaching
8.9.1 Attaining Artistry in the Performing Arts
8.9.2 Artistry and Effectiveness in Teaching/Two Views of the World
8.10 Clowning, Teaching and the Hermeneutic Circle of Learning
9 Conclusions. 9.1 The Initial Hypothesis
9.2 The Meaning of the Clowning Courses for the Participants
9.2.1 The Sensory-Affective Dimension of Clowning
9.2.2 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
Part II: Dramatic Processes and Foreign Language Learning
10 Dramatic Processes and Language Teaching. 10.1 Historical Overview
10.2 Related Developments in the 20th Century: Creative Dramatics 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 to Theatre in Language Learning
10.3.4 Drama in EFL School Classrooms
10.4 Research on Drama-Based Approaches to Foreign Language Learning
11 Research Methods. 11.1 Case Studies in Educational Research
11.1.1 Case Studies and the Teacher as Researcher
11.1.2 Relevant Distinctions between Practitioner Research and this Study
11.2 Research Design for the Study of the Class Play/The Conceptual Framework
11.3 The Initial Hypothesis
11.3.1 Research Questions
11.4 Relevant Methodological Considerations
11.5 Collecting “Thick” Research Data – Research Inquiries
11.5.1 Interviews with Groups of Pupils
11.5.2 Parent’s Perspectives
11.5.3 Teacher’s Perspectives
11.5.4 Field Notes – Teacher’s Log
11.5.5 Videos of Rehearsals and Performances
11.6 Data Triangulation and 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: My Relation to the Class and the Background of the Class
12.3 The Planning of the School Year 2004–2005 and the Choice of the Play
12.4 Choosing the Roles/Casting
12.5 Setting up the Rehearsal Timetable
12.6 Added Responsibilities
13 The Pupils’ Perspectives: A Cross-Sectional Examination 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 and Exploring the Role
13.3.2 Pupils’ Comments on the Rehearsals
13.3.3 The Development of Language Capabilities
13.3.4 Complaints and The Rehearsal Organization and Schedule
13.4 Discussion of the Second Research Inquiry
13.5 In the Middle of the Rehearsal Process: Research Inquiry 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 the Entire 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 Jorinde (Mrs. van Daan in Act I)
Conclusions
14.2 Lieselotte (Mrs. Frank in Act II)
Conclusions
14.3 Fabian (Mr. Krahler in Act I)
Conclusions
14.4 Martin B (Mr. Frank in Act I)
Conclusions
14.5 Amelie (Anne Frank in Act I)
Conclusions
15 Rehearsing and Performing a Play in a Foreign Language: Discussion
15.1 Adolescence as a ‘Critical Period’
15.2 Parallel Developments in the Critical Period
15.3 Adolescence as a ‘Critical Period’: Further Perspectives
15.4 A Search for Meaning: Artistic Processes in Adolescence
15.5 The Role and Significance of the Warm-Ups
15.6 Rehearsing in a Foreign Language: The Sensory and Imaginative Experience of Language
15.7 Entering into the Role: Finding the ‘Target’
15.8 The Atmosphere of the Rehearsals
15.9 The Zone of Proximal Development
15.10 Establishing a Community of Learners
15.11 Rehearsals as an Intuitive Mode of Learning
15.12 Multiple Intelligences and Drama in Foreign Language Learning
15.13 Performance and the Externalization of Learning
16 Rehearsing and Performing the Class Play: Conclusions
16.1 Educational Drama and Learning
16.2 The Education of Emotions
16.3 Individualized Learning and the Development of Attentiveness (Aufmerksamkeit), Commitment, (Verbindlichkeit) and Certainty (Evidenzerfahrung)
16.3.1 The Development of Attentiveness and Perception
16.3.2 The Role of Commitment (Verbindlichkeit) in Self-Directed Learning
16.3.3 The Pre-Decisional Phase
16.3.4 The Pre-Action Phase
16.3.5 The Phase of Direct Action
16.3.6 The Post-Action Phase
16.3.7 Commitment and Education
16.3.8 The Experience of Certainty [Evidenzerfahrung]
16.3.9 Evidenzerfahrung in Learning Processes
16.3.10 Evidenzerfahrung in Drama
16.3.11 Evidenzerfahrung and Flow
16.3.12 Individualized Learning through Performance – Conclusions
16.4 Drama, Transformation and Personal Knowledge
16.4.1 Educational Drama and Transformation
16.4.2 Personal and Tacit Knowledge
16.4.3 Drama and Tacit Knowledge
16.4.4 Tacit Knowledge and Motor Attitude
16.5 Art and Experience in the Critical Period of Adolescence
17 The Art of Foreign Language Teaching and Artistic Processes in Foreign Language Learning. 17.1 Educational Research and Educational Change
17.2 Attunement and Receptivity
17.3 Knowledge in Action
17.4 Intuitive Processes – Giving and Receiving
17.5 Testing Competences or Personal Experience and Growth
17.6 Literature and Foreign Language Learning
18 Teaching as an Art in a Digital Age643. 18.1 Education after the Covid-19 Pandemic
18.2 PISA: The Paradigms of Standardization, Internationalization and Economization of Education
18.3 New Perspectives and Alternative Paradigms. 18.3.1 John Hattie and the Role of the Teacher in Successful Learning
18.3.2 Hartmut Rosa and Resonance in Education
18.3.3 Resonance, Attunement and Bodily Experience
18.3.4 Max van Manen and Pedagogical Tact
18.4 Digital Learning and the Future of Education
18.4.1 The Role of a Pedagogical Atmosphere
18.4.2 The “Pedagogical Moment” and Online Learning
18.4.3 The Effects of Covid-19 on Children, Adolescents and College Students
18.5 Seeing and Being Seen
Bibliography
Footnotes
