The American Dream: based on T.C. Boyle\u2019s novel The Tortilla Curtain\u00a0<\/strong><\/h5>\nInstitut f\u00fcr Gymnasialp\u00e4dagopgik IGB<\/em><\/p>\nWith T. C. Boyle\u2019s 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\u2019s novel.<\/p>\n
2009<\/h3>\nCreating Stories through Drama\u00a0<\/strong><\/h5>\nETAS Ticino<\/em><\/p>\nTGIF \u2013 Thank God It\u2019s 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 \u2013 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.<\/p>\n
2008<\/h3>\nDrama techniques in literature teaching\u00a0<\/strong><\/h5>\nInstitut f\u00fcr Gymnasialp\u00e4dagopgik IGB<\/em><\/p>\nWould Nick in Hemingway\u2019s 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\u2019s answers to his questions? \u2013 The end of the text is the beginning of the reader\u2019s 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 \u2013 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.<\/p>\n
2008<\/h3>\nA Day in the Caribbean! Drama work with fiction, non-fiction and visual input<\/h5>\n
For teenagers and adults<\/em><\/p>\nThe 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 \u2013 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.<\/p>\n
2008<\/h3>\nMovement and language: drama workshop young learners<\/h5>\n
English Teacher\u2019s Association of Switzerland ETAS<\/em><\/p>\nThis workshop will help to define why drama is important for Young Learners\u2019 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.<\/p>\n
2008<\/h3>\nBild \u2013 Sprache \u2013 Text; dramap\u00e4dagogische Sprachvermittlung<\/h5>\n
Gesamtschweizerische Tagung f\u00fcr Deutschlehrerinnen und Deutschlehrer Universit\u00e4t Bern<\/em><\/p>\nVisueller Input dient als Ausgangspunkt unseres Workshops. Wir bewegen uns von der non-verbalen zur verbalen Interpretation von Bildern. Es wird gezeigt, wie diese dramap\u00e4dagogische Arbeit mit Schreiben erweitert werden kann (von einfachen Erg\u00e4nzungen eines Dialogs bis zum Verfassen von l\u00e4ngeren Texten). Die Inhalte des Kurses k\u00f6nnen f\u00fcr verschiedene Lern- und Altersstufen angepasst werden.<\/p>\n
2008<\/h3>\nA Forest of Stories \u2013\u00a0Working with Drama in the Classroom.<\/h5>\n
PH Thurgau<\/em><\/p>\nDrama 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.<\/p>\n
2008<\/h3>\nTausend m\u00f6gliche Geschichten! \u2013 Bildinterpretationen via Drama.<\/h5>\n
Migros Clubschule Basel<\/em><\/p>\nInhalte<\/p>\n
\n- Ausgangsmaterial: visueller Input<\/li>\n
- Verschiedene dramap\u00e4dagogische Interpretatinen (\u00abstill images\u00bb)<\/li>\n
- Weitere Interpretationsm\u00f6glichkeiten durch Verwendung von Sprache<\/li>\n
- Verbindung von dramap\u00e4dagogischer Arbeit und Schreiben (von einfachen \u00c4usserungen bis zum Verfassen l\u00e4ngerer Texte)<\/li>\n<\/ul>\n
Ziele<\/p>\n
\n- FremdsprachenlehrerInnen lernen einige grundlegende Techniken dramap\u00e4dagogischer Arbeit kennen<\/li>\n<\/ul>\n
Unterrichtsmaterial, das sofort angewendet oder problemlos f\u00fcr verschiedene Gruppen von Lernenden angepasst werden kann \u2013 hinsichtlich Schwierigkeitsgrad und Altersstufe<\/p>\n
2008<\/h3>\nDipping under the water \u2013 drama techniques to explore the hidden chunk of the iceberg.<\/h5>\n
ETAS AGM<\/em><\/p>\n2007<\/h3>\nThe Empty Classroom \u2013 fill it with drama!<\/h5>\n
Institut f\u00fcr Lehrerbildung ILeB<\/em><\/p>\nLiven 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.<\/p>\n
2006<\/h3>\nThe Empty Classroom<\/h5>\n
National Drama International Conference \u00abDrama for the Future\u00bb<\/em><\/p>\nInspired by the way Peter Brook works, I want to illustrate how students of foreign languages with beginners\u2019 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\u2019 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. \u2013 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.<\/p>\n
2006<\/h3>\nDrama in the classroom: warm-ups and games for grammar and vocabulary<\/h5>\n
ETAS Chur<\/em><\/p>\nGet 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.<\/p>\n
2004<\/h3>\n\u00abThe empty classroom\u00bb \u2013 Peter Brook’s philosophy in the classroom.<\/h5>\n
Weekend workshop drama in education Switzerland<\/em><\/p>\n\n- Different warm-up activities helpful to create a group spirit.<\/li>\n
- Various drama techniques that can be used to introduce students to drama work.<\/li>\n
- Creating a story on the theme of colours<\/li>\n
- Dramatising the story<\/li>\n
- Teaching specific language structures through drama.<\/li>\n<\/ul>\n
2004<\/h3>\n\u00abThe Empty Classroom\u00bb \u2013 drama work based on Peter Brook\u2019s approach of directing.<\/h5>\n
ETAS Conference Special Interest Groups<\/em><\/p>\nGet 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.<\/p>\n
2004<\/h3>\n\u00abThe Empty Classroom\u00bb \u2013 szenische Arbeit nach der Philosophie von Peter Brook<\/h5>\n
Institut f\u00fcr Lehrerbildung ILeB<\/em><\/p>\n2004<\/h3>\n\u00abThe Empty Classroom\u00bb \u2013 drama work based on Peter Brook\u2019s approach of directing.<\/h5>\n
ETAS AGM<\/em><\/p>\n2003<\/h3>\n\u00abThe empty classroom\u00bb \u2013 Peter Brook’s philosophy in the classroom.<\/h5>\n
Weekend workshop drama in education Switzerland<\/em><\/p>\nThe workshop mainly consists of practical work and involves quite a lot of physical activity. The whole weekend should be seen as a \u00abgive and take\u00bb 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.<\/p>\n
Saturday afternoon<\/p>\n
\n- Different warm-up activities helpful to create a group spirit.<\/li>\n
- Various drama techniques that can be used to introduce students to drama work.<\/li>\n
- Peter Brook\u2019s philosophy in the classroom: exploring fairy-tales through drama<\/li>\n<\/ul>\n
Sunday<\/p>\n
\n- Work on fairy-tales<\/li>\n
- Teaching specific language structures through drama. Please send any requests about particular linguistic areas you would like to cover.<\/li>\n
- Evaluation, feedback<\/li>\n<\/ul>\n
2003<\/h3>\nMeeting the ghost, exploring The Canterville Ghost through drama techniques.<\/h5>\n
ETAS Conference Special Interest Groups<\/em><\/p>\n2003<\/h3>\nNationale und kulturelle Identit\u00e4t \u2013 mehrsprachige szenische Arbeit.<\/h5>\n
Kongress Unterrichtsentwicklung WBZ\/SIBP<\/em><\/p>\nSzenische Arbeit in verschiedenen Sprachen zum Thema \u00abnationale und kulturelle Identit\u00e4t\u00bb<\/p>\n
Emmentaler, Toblerone, p\u00fcnktliche Z\u00fcge, wissensdurstige Jugendliche, die in die Heimat ihrer Eltern geschickt werden, non EU-citizens, Vielsprachigkeit … Was ist die Schweiz? Wer verk\u00f6rpert und definiert sie? \u2014 Aus dem Erfahrungshintergrund der TeilnehmerInnen werden wir mit dem Blick von aussen und innen Antworten auf diese Fragen suchen.<\/p>\n
Ziele\u2028<\/strong><\/p>\n\n- Im Spiel die sozialen und kulturellen Eigenheiten eines Landes erkunden.<\/li>\n
- Sprache als verbales Verst\u00e4ndigungsmittel mit der Non-Verbalit\u00e4t der K\u00f6rpersprache vereinen.<\/li>\n
- Sozio-kulturelle Codes als Verst\u00e4ndigungsmittel einsetzen.<\/li>\n<\/ul>\n
Inhalte\u2028<\/strong><\/p>\n\u00dcber die k\u00f6rperliche Erfahrung in der szenischen Arbeit erleben und reflektieren die TeilnehmerInnen die Thematik nationaler Identit\u00e4t. Durch verschiedene dramap\u00e4dagogische Methoden nehmen sie die Rolle ihrer eigenen Sch\u00fclerInnen\/KursteilnehmerInnen ein.<\/p>\n
Methoden\u2028<\/strong><\/p>\n\n- Gemeinsam entwickelte szenische Arbeit.<\/li>\n
- Vielsprachige Arbeit in Gruppen, Deutsch und Englisch als gemeinsame Verst\u00e4ndigungssprachen.<\/li>\n
- Diskussion und Evaluation<\/li>\n<\/ul>\n
Bemerkungen<\/p>\n
Der Kurs wird auf Deutsch und Englisch unterrichtet. TeilnehmerInnen k\u00f6nnen f\u00fcr die szenische Arbeit Deutsch, Franz\u00f6sisch, Italienisch, Spanisch oder Englisch sprechen. Deutsch und Englisch als Verst\u00e4ndigungssprachen erforderlich.<\/p>\n
2003<\/h3>\nSzenische Arbeit in verschiedenen Sprachen zum Thema \u00abnationale und kulturelle Identit\u00e4t\u00bb<\/h5>\n
Institut f\u00fcr Lehrerbildung ILeB<\/em><\/p>\n2002<\/h3>\nDrama and Writing; Weekend-workshop for teachers and advanced learners.<\/h5>\n
drama in education Switzerland<\/em><\/p>\nAim<\/p>\n
Make you familiar with some of the ideas behind \u00abdrama in education\u00bb as opposed to the drama work necessary for the performance of a play.<\/p>\n
Programme<\/p>\n
The workshop will mainly consist of practical work and involves quite a lot of physical activity. The whole weekend should be seen as a \u00abgive and take\u00bb 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.<\/p>\n
\n- Different warm-up activities helpful to create a group spirit.<\/li>\n
- 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.<\/li>\n
- Drama and writing: Drama work based on Headway New Intermediate, unit 8 (conditionals). Topic: Money and the prospect of gaining (and losing) sudden wealth.<\/li>\n<\/ul>\n
2002<\/h3>\nDrama Project Conditionals<\/h5>\n
ETAS AGM<\/em><\/p>\n2002<\/h3>\nDrama strategies to use in warmers and with a short story.<\/h5>\n
ETAS Conference Special Interest Groups<\/em><\/p>\n\u00abYou somehow forget that you\u2019re at school.\u00bb \u2014 This is the feedback from one of my students after a double-lesson of drama teaching.\u00a0Drama 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. \u00abAfter 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.\u00bb (from my diary).<\/p>\n
2002<\/h3>\n
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.<\/p>\n
2002<\/h3>\nDrama work based on John Steinbeck’s novel Of Mice and Men.<\/h5>\n
Weekend workshop drama in education Switzerland<\/em><\/p>\n2001<\/h3>\nDrama methods to create natural contexts for communication.<\/h5>\n
ETAS workshop Uster<\/em><\/p>\nYou 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 \u2014 year round \u2014 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.<\/p>\n
2001<\/h3>\nDrama and Dance<\/h5>\n
Weekend workshop drama in education Switzerland<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"2022 January 17, 2022 IfE (Institut f\u00fcr Erziehungswissenschaften): Texte, Sprechen, Spiel – Theater- und Sprechp\u00e4dagogik im Literaturunterricht May 10, 2022 IfE (Institut f\u00fcr Erziehungswissenschaften): Spielen statt vorspeielen September 19-21, 2022 Drama and creative writing: retreat in Ftan 2021 January 16, 2021 IfE (Institut f\u00fcr Erziehungswissenschaften): Texte, Sprechen, Spiel – Theater- und Sprechp\u00e4dagogik im Literaturunterricht 2020 […]<\/p>\n","protected":false},"author":1,"featured_media":13,"parent":2,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-69","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/pages\/69","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/comments?post=69"}],"version-history":[{"count":14,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/pages\/69\/revisions"}],"predecessor-version":[{"id":1710,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/pages\/69\/revisions\/1710"}],"up":[{"embeddable":true,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/pages\/2"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/media\/13"}],"wp:attachment":[{"href":"https:\/\/drama-in-education.ch\/en\/wp-json\/wp\/v2\/media?parent=69"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}