Читать книгу The Art of Foreign Language Teaching - Peter Lutzker - Страница 27

Ten years after the publication of Dillon and Travers’ book, L. Rubin’s book Artistry in Teaching (1985), documents a much wider-ranging attempt to connect essential elements of teacher training to artistic training; this time in the context of in-service programs for teachers. In considering the empirical research on the clowning courses which will be the focus of later chapters, Rubin’s study must be seen as the most comparable and relevant long-term research project. Hence, it will be necessary to examine his work in some detail.

Rubin’s approach is based on an understanding of teaching in which the essential skills which constitute artistic teaching are not seen as reflecting a particular methodology, but have to do with subtle and largely intangible factors which lead to knowing what is necessary at any given moment. This ‘feel’ for the right thing at the right time is seen as the benchmark of artistic teaching.112 An understanding of teaching as an art based on mastering such elusive qualities clearly raises the question of whether such skills can ever be clearly defined and/or learned. Rubin directly addresses the difficulties which his concept poses:

An interesting question therefore arises: even though the characteristics of artistic teaching are subtle and elusive, not easily dissected and defined, can they nevertheless be cultivated? That is, can an intuitive “feel” for what is right and wrong in teaching be developed? Parallels do exist in other forms of human endeavour. Great cooks, for example, “season to taste.” They rely principally on finely honed palates which have been acquired through many years of practice. Still, students of cuisine who aspire to excellence are somehow guided toward this sense of taste from apprenticeship with a master chef. Similarly, we speak of the “nose” developed by a wine connoisseur, the “ear” of a fine musician, the “eye” of a skilful artist, and the “hand” of a great sculptor. Can we, then, make it possible for teachers to master the delicate and subtle nuances of their craft? Little in the research literature on teacher training seems to be of any real help.113

In discussing the common attributes of those teachers whom he considers to be most artistic and successful, he sees an essential underlying skill in their ability to adapt effectively to a variety of situations. He is struck with their abilities to improvise creatively and to act upon inspiration as it occurs in classroom situations.114 In this context he sees the role of intuition and imagination in responding creatively to unforeseen developments as particularly decisive. At the same time, he makes clear that his understanding of artistic teaching leaves a wide range of possibilities for both disparate, personal styles as well as for the individual manner in which such capabilities are developed:

Artist teachers, consequently, differ from ordinary teachers in that they function with consummate skill. Some, blessed with natural gifts, rely principally on instinct. Others, less intuitive, cultivate equally impressive artistry through practice and effort.115

In the end he describes four general attitudes which he considers to reflect the common basis which such teachers share:

The teachers who eventually attained the highest level of artistry were characterized by four primary attributes: first, they made a great many teaching decisions intuitively; second, they had a strong grasp of their subject as well as a perceptive understanding of their students; third they were secure in their competence and expected to be successful; and fourth, they were exceedingly imaginative.116