Workshops

Current

8. September 2018

DaF/DaZ: Text, Sprache, Kreativität – Dramapädagogik im DaFDaZ-Unterricht www.akdaf.ch

14. Januar 2019

IfE (Institut für Erziehungswissenschaften): Texte, Sprechen, Spiel – Theater- und Sprechpädagogik im Literaturunterricht www.ife.uzh.ch

Archive

2018

January 21, 2018

ETAS AGM: Stories, voice and improvisation www.e-tas.ch

September 8, 2018

Text, Sprache, Kreativität: Arbeitskreis DaF/DaZ

November 3, 2018

Dramapädagogik im Fremdsprachenunterricht: Migros Klubschule Luzern

2017

30. June / 1. July 2017

Dramapädaogik-Tage Hochschule Konstanz: www.dramapaedagogik.de

23. September 2017

ETAS: www.e-tas.ch

2010

The American Dream: based on T.C. Boyle’s novel The Tortilla Curtain 

Institut für Gymnasialpädagopgik IGB

With T. C. Boyle’s novel The Tortilla Curtain as a stimulus, we will explore such issues as migration, identity, dreams, hopes and nightmares. The workshop will provide stimuli to help learners verbalize opinions and lead discussions while being in role or while reflecting on observed scenes. The drama activities will range from simple ways in which drama techniques can be introduced to more demanding tasks analysing some of the themes in Boyle’s novel.

2009

Creating Stories through Drama 

ETAS Ticino

TGIF – Thank God It’s Friday! From that starting-point, participants of the workshop will develop their own stories and explore varieties of them through drama. A number of drama techniques will be shown that help learners verbalize thoughts and ideas – hopefully with more ease! The drama work done in the group can be linked with writing tasks and short-story reading. This workshop is suitable for teachers of intermediate to advanced learners.

2008

Drama techniques in literature teaching 

Institut für Gymnasialpädagopgik IGB

Would Nick in Hemingway’s short story have joined his father to the Indian Camp if he had known what was going to be ahead of him? How satisfied was he with his father’s answers to his questions? – The end of the text is the beginning of the reader’s exploration. In our workshop, we will venture on a journey of interpretation via drama techniques: characters from short stories on the hot seat, being sent down a conscience alley, dead characters brought back to life, their thoughts tracked – to name but a few. Drama helps students to move away from pure intellectual analysis and approach issues for discussion via physical and emotional involvement. This sets linguistic resources free and helps to acquire new ones through kinaesthetic, visual and auditive learning. The workshop is suitable for teachers of lower intermediate to advanced classes. Age-range: teenagers and adults.

2008

A Day in the Caribbean! Drama work with fiction, non-fiction and visual input

For teenagers and adults

The Antiguan author Jamaica Kincaid portrays the tropic island of her youth in wonderfully critical fiction. Guidebooks reveal their image of the tropical paradise. In our workshop, we will interpret text and visual input via drama techniques: characters on the hot seat, being sent down a conscience alley, their thoughts tracked – to name but a few. Drama helps students to move away from pure intellectual analysis and approach issues for discussion via physical and emotional involvement. This sets linguistic resources free and helps to acquire new ones through kinaesthetic, visual and auditive learning. The workshop is suitable for teachers of lower intermediate to advanced classes. Age-range: teenagers and adults.

2008

Movement and language: drama workshop young learners

English Teacher’s Association of Switzerland ETAS

This workshop will help to define why drama is important for Young Learners’ language learning. It will also focus on how it encourages children in a non-threatening way to communicate both verbally and physically. It will provide ideas and an activity that teachers themselves can take home and put to use in their own classrooms. The workshop is suitable for teachers of very Young Learners and Young Learners: pre-school up to 6th class.

2008

Bild – Sprache – Text; dramapädagogische Sprachvermittlung

Gesamtschweizerische Tagung für Deutschlehrerinnen und Deutschlehrer Universität Bern

Visueller Input dient als Ausgangspunkt unseres Workshops. Wir bewegen uns von der non-verbalen zur verbalen Interpretation von Bildern. Es wird gezeigt, wie diese dramapädagogische Arbeit mit Schreiben erweitert werden kann (von einfachen Ergänzungen eines Dialogs bis zum Verfassen von längeren Texten). Die Inhalte des Kurses können für verschiedene Lern- und Altersstufen angepasst werden.

2008

A Forest of Stories – Working with Drama in the Classroom.

PH Thurgau

Drama is all about seeing the world from a number of different perspectives. Learning through drama takes place on visual, auditive, kinaesthetic, intellecutal and emotional levels and also involves the students’ creative abilities. Using stories from different countries in the world, we will explore such issues as friendship, death, materialism, parent-child relationships and traditions. Teachers will learn to use a number of different drama techniques to enable their students to experience, reflect, analyse, and talk about the issues above.

2008

Tausend mögliche Geschichten! – Bildinterpretationen via Drama.

Migros Clubschule Basel

Inhalte

  • Ausgangsmaterial: visueller Input
  • Verschiedene dramapädagogische Interpretatinen («still images»)
  • Weitere Interpretationsmöglichkeiten durch Verwendung von Sprache
  • Verbindung von dramapädagogischer Arbeit und Schreiben (von einfachen Äusserungen bis zum Verfassen längerer Texte)

Ziele

  • FremdsprachenlehrerInnen lernen einige grundlegende Techniken dramapädagogischer Arbeit kennen

Unterrichtsmaterial, das sofort angewendet oder problemlos für verschiedene Gruppen von Lernenden angepasst werden kann – hinsichtlich Schwierigkeitsgrad und Altersstufe

2008

Dipping under the water – drama techniques to explore the hidden chunk of the iceberg.

ETAS AGM

2007

The Empty Classroom – fill it with drama!

Institut für Lehrerbildung ILeB

Liven up your lessons by getting your students up from behind their desks. Let them move, act, improvise, use sound and language and let them learn new grammar and vocabulary in a playful and relaxed atmosphere. We will use texts and visual material as a stimulus and engage in tasks that involve speaking and writing.

2006

The Empty Classroom

National Drama International Conference «Drama for the Future»

Inspired by the way Peter Brook works, I want to illustrate how students of foreign languages with beginners’ to intermediate skills can create a drama production of artistic quality. Language, movement and props are reduced to a minimum, music and rhythm give the work artistic coherence. The students work with stories, either transforming (fairy)tales to modern times or creating their own story. Thus, the students’ receptive and productive skills are enhanced, they experience the foreign language with all their senses. The foreign language is embedded in the specific context of the story they create and thus, a maximum feeling of ownership for the new skills can be created. – The ideal surrounding to learn a language is a natural context. In the case of foreign language learning, such contexts must be created by the teacher. The only way to appeal to all forms of intelligences and to involve the learners with mind, body and soul is drama. Drama specialists in Switzerland include various drama techniques in their language and literature teaching. Others tackle larger projects that lead to performances of plays. My workshop illustrates how learners can use language naturally in the planning process of their drama project and how they can gain pride by creating a work of art with minimal linguistic skills.

2006

Drama in the classroom: warm-ups and games for grammar and vocabulary

ETAS Chur

Get your students up from behind their desks, let them move, act, improvise, use sound and language and let them learn new grammar and vocabulary in a playful and relaxed atmosphere. This workshop focuses on several linguistic structures and ways to dramatise them. Suitable for teachers of all levels, teenagers and adults.

2004

«The empty classroom» – Peter Brook’s philosophy in the classroom.

Weekend workshop drama in education Switzerland

  • Different warm-up activities helpful to create a group spirit.
  • Various drama techniques that can be used to introduce students to drama work.
  • Creating a story on the theme of colours
  • Dramatising the story
  • Teaching specific language structures through drama.

2004

«The Empty Classroom» – drama work based on Peter Brook’s approach of directing.

ETAS Conference Special Interest Groups

Get your students up from behind their desks, let them move, act, improvise, use sound and language and let them learn new grammar and vocabulary in a playful and relaxed atmosphere. This workshop will focus on several linguistic structures and ways to dramatise them. Suitable for teachers of all levels, teenagers and adults.

2004

«The Empty Classroom» – szenische Arbeit nach der Philosophie von Peter Brook

Institut für Lehrerbildung ILeB

2004

«The Empty Classroom» – drama work based on Peter Brook’s approach of directing.

ETAS AGM

2003

«The empty classroom» – Peter Brook’s philosophy in the classroom.

Weekend workshop drama in education Switzerland

The workshop mainly consists of practical work and involves quite a lot of physical activity. The whole weekend should be seen as a «give and take» among all the participants and me. We will share experiences in the group and discuss how the activities can be adapted to your particular teaching situation. All the activities are based on actual work carried out with my classes. The work on fairy-tales is suitable for first year students of English and above. The remaining activities can be applied to all levels of English.

Saturday afternoon

  • Different warm-up activities helpful to create a group spirit.
  • Various drama techniques that can be used to introduce students to drama work.
  • Peter Brook’s philosophy in the classroom: exploring fairy-tales through drama

Sunday

  • Work on fairy-tales
  • Teaching specific language structures through drama. Please send any requests about particular linguistic areas you would like to cover.
  • Evaluation, feedback

2003

Meeting the ghost, exploring The Canterville Ghost through drama techniques.

ETAS Conference Special Interest Groups

2003

Nationale und kulturelle Identität – mehrsprachige szenische Arbeit.

Kongress Unterrichtsentwicklung WBZ/SIBP

Szenische Arbeit in verschiedenen Sprachen zum Thema «nationale und kulturelle Identität»

Emmentaler, Toblerone, pünktliche Züge, wissensdurstige Jugendliche, die in die Heimat ihrer Eltern geschickt werden, non EU-citizens, Vielsprachigkeit … Was ist die Schweiz? Wer verkörpert und definiert sie? — Aus dem Erfahrungshintergrund der TeilnehmerInnen werden wir mit dem Blick von aussen und innen Antworten auf diese Fragen suchen.

Ziele

  • Im Spiel die sozialen und kulturellen Eigenheiten eines Landes erkunden.
  • Sprache als verbales Verständigungsmittel mit der Non-Verbalität der Körpersprache vereinen.
  • Sozio-kulturelle Codes als Verständigungsmittel einsetzen.

Inhalte

Über die körperliche Erfahrung in der szenischen Arbeit erleben und reflektieren die TeilnehmerInnen die Thematik nationaler Identität. Durch verschiedene dramapädagogische Methoden nehmen sie die Rolle ihrer eigenen SchülerInnen/KursteilnehmerInnen ein.

Methoden

  • Gemeinsam entwickelte szenische Arbeit.
  • Vielsprachige Arbeit in Gruppen, Deutsch und Englisch als gemeinsame Verständigungssprachen.
  • Diskussion und Evaluation

Bemerkungen

Der Kurs wird auf Deutsch und Englisch unterrichtet. TeilnehmerInnen können für die szenische Arbeit Deutsch, Französisch, Italienisch, Spanisch oder Englisch sprechen. Deutsch und Englisch als Verständigungssprachen erforderlich.

2003

Szenische Arbeit in verschiedenen Sprachen zum Thema «nationale und kulturelle Identität»

Institut für Lehrerbildung ILeB

2002

Drama and Writing; Weekend-workshop for teachers and advanced learners.

drama in education Switzerland

Aim

Make you familiar with some of the ideas behind «drama in education» as opposed to the drama work necessary for the performance of a play.

Programme

The workshop will mainly consist of practical work and involves quite a lot of physical activity. The whole weekend should be seen as a «give and take» among all the participants and me. We will share experiences in the group and discuss how the activities can be adapted to your particular teaching situation. Basically, the activities will be useful for students of intermediate to advanced levels of English.

  • Different warm-up activities helpful to create a group spirit.
  • Drama techniques that can be used to introduce students to drama work. We will practise positions and combine individual images with movement and words. Some of the techniques will be still images, link depiction and thought tracking.
  • Drama and writing: Drama work based on Headway New Intermediate, unit 8 (conditionals). Topic: Money and the prospect of gaining (and losing) sudden wealth.

2002

Drama Project Conditionals

ETAS AGM

2002

Drama strategies to use in warmers and with a short story.

ETAS Conference Special Interest Groups

«You somehow forget that you’re at school.» — This is the feedback from one of my students after a double-lesson of drama teaching. Drama strategies applied to language teaching help students explore a text, novel or topic through physical activity. Students and teacher work in and out of role and develop a better understanding for an issue that is of relevance to the class, for characters in a story or for their own situation in life. As the drama is developed, the students are given choices to influence the work process and must take over responsibility for their decisions. Thus, the focus clearly shifts away from the teacher as the only person in charge for the proceedings within the classroom.In our workshop, we will do several warm-up activities in order to create a good group spirit. Once back in the classroom, they will help you get your students up from behind their desks. The short story River by the Greek author Antonis Samarakis will serve as a stimulus to become familiar with a number of drama strategies that can be applied to promote speaking and writing. «After the lessons this afternoon, I feel relaxed and enthusiastic about the proceedings next week. Successful drama teaching means to me that I can work without feeling the tension of having to keep the students on task constantly. My students and I can discover qualities about each other that are locked up during most of our time in class.» (from my diary).

2002

Language made alive through drama Every teacher knows the struggle of making the material from the coursebook become alive, the difficulty of reaching the students on a creative and emotional level and yet giving them the feeling that they progress in their language skills. Drama techniques used in language teaching can help provide the necessary context to create a stress-free learning environment for successful language acquisition.

2002

Drama work based on John Steinbeck’s novel Of Mice and Men.

Weekend workshop drama in education Switzerland

2001

Drama methods to create natural contexts for communication.

ETAS workshop Uster

You don’t have to have any acting skills to participate. You won’t learn these skills at the workshop, either, nor those of a director of a school play. My motto is TRICKS AND TREATS — year round — and accordingly, you will go home with a bag full of treats, ready to do the trick! Regardless what area of the language you teach, drama will help the students loosen up and move in a stress-free environment. Whether your teaching goal is an area of grammar, reinforcing vocabulary, interpreting a poem, short story, novel or play, associating with people from foreign cultures … the list is endless and drama can provide an answer.

2001

Drama and Dance

Weekend workshop drama in education Switzerland

Handouts