Session Information
Contribution
In this paper, we will discuss impacts of enhancing the traditional didactic vocabulary with concepts inspired by dramaturgy to restructure foreign language teaching. We will claim that the didactics of foreign language - as well as also other didactics - is problematic because the concepts used has an insensitivity due to all the dynamic processes evolving in the classroom during a lesson. The language of the didactics develops a language about teaching, but as we see it, it lacks a focus on what's going on inside the education, as well as processes that could create "learning energy" during lessons. We believe that language has its own way of constituting reality (Derrida 1987, Carlson 1996). So what happens if we use a language developed for another purpose which focuses communication, processes and dynamics? We have chosen the language of theatre and drama - not only for exploring drama-methods in the classroom as such (O'Toole 1992, Bolton 1999, Stanislavski 1988). Our main purpose was to use the language of drama as a framework for understanding teaching and education as such. In this way we wanted a swift in the work of planning lessons - from what could be called "the art of prediction", to planning and making structures that could give room for the unexpected. Even more, we wanted to create a language of teaching that could enhance the coming foreign language teacher's horizon of possibility, to focus on what makes lessons dynamic and meaningful, with enthusiastic students as well as teachers. In Norway - as well as other countries in Europe, there has been a debate about how one could change the tradition in the didactics of foreign language to be more practical and communicative. There is a wish for a swift in didactic strategies for learning foreign languages. In our recently accomplished action research project involving students studying the didactics of foreign language, we arranged "training sessions" where the students were focusing concepts from dramaturgy such as striking, tension, mood, focus and roles (O'Toole 1992). Our aim was to test out a language allowing us to talk about the processes in dynamic (creative) teaching (Karlsen et.al. 2005). We will also show some practical examples of how education in French can be changed due to these concepts and discuss some preliminary experiences. The experiences from this project will be discussed with the impact of "disciplined improvisation" as Sawyer (2001, 2004) has phrased some of the efforts to see teaching as a creative performance. In this way we will ask if improvisation is the needed element of challenging the tradition of nominalism - the predictable and unambiguous and one-answer-seeking in teaching, either we use traditional didactic language or swift to a language inspired of the scene. We would like to discuss these major questions1. Could this dramatugical language contribute to an enhancment of the semiotics of teaching? Does this create better learning conditions for students - or is this only creating entertaining teachers?2. Is dramaturgical concepts easily transferred to the classroom? We would like to discuss the concepts we have chosen - and are open to suggestions of possible other concepts that could be used. Action research, combined with theoretically studies in dramaturgy and philosophy. Giving teachers and teacher students access to a "new" language inspired of dramaturgy, combined with practical exercises seems to create lessons with more "learning energy", and more communicatively active students. Indications on improved learning outcomes and a higher level of mastery in language skills. Bolton, G.: Acting in classroom drama. Birmingham, Trentham Books. Derrida, J.(1987): The Postcard. Chicago, The University of Chicago Press Carlson, M. (1996): Performance. London, Routledge. Karlsen, Ramberg, Langseth, Hestnes (2005): Dramaturgi og iscenesettelse som utgangspunkt for fremmedspråksundervisning. Trondheim, PPU-serien no. 25. O'Toole, J.(1992): The process of drama. London, Routledge. Sawyer, K.(2001): Creating conversations. Cresskill, Hampton Press Inc. Stanislavski, C.(1988): An actor prepares. London, Methuen.International
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