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The Art of Foreign Language Teaching : Improvisation and Drama in Teacher Development and Language Learning / Peter Lutzker
- Format:
- Book
- Author/Creator:
- Lutzker, Peter, Author.
- Language:
- English
- Subjects (All):
- foreign language teaching.
- foreign language learning.
- didactics.
- digitalization of education.
- education.
- standardization education.
- Teacher Development.
- Language Learning.
- Improvisation.
- Dram.
- Language Teaching as an Art.
- The Arts in Teacher Education.
- Drama in Foreign Language Learning.
- performative approach.
- Waldorf education.
- Focusing.
- Sprachwissenschaft.
- Englisch.
- Edition.
- Linguistik.
- Test.
- Drama.
- Standard.
- Journal.
- Education.
- WHO.
- Tide.
- Stevick.
- Curran.
- Maley.
- Mario.
- control-Obsessed.
- Lutzker.
- Waldorf.
- Alan.
- Teacher.
- Dufeu.
- Humanising.
- digitalization.
- Rinvolucri.
- shelves.
- General.
- thinker.
- test-Oriented.
- humanistic.
- Majo.
- Local Subjects:
- foreign language teaching.
- foreign language learning.
- didactics.
- digitalization of education.
- education.
- standardization education.
- Teacher Development.
- Language Learning.
- Improvisation.
- Dram.
- Language Teaching as an Art.
- The Arts in Teacher Education.
- Drama in Foreign Language Learning.
- performative approach.
- Waldorf education.
- Focusing.
- Sprachwissenschaft.
- Englisch.
- Edition.
- Linguistik.
- Test.
- Drama.
- Standard.
- Journal.
- Education.
- WHO.
- Tide.
- Stevick.
- Curran.
- Maley.
- Mario.
- control-Obsessed.
- Lutzker.
- Waldorf.
- Alan.
- Teacher.
- Dufeu.
- Humanising.
- digitalization.
- Rinvolucri.
- shelves.
- General.
- thinker.
- test-Oriented.
- humanistic.
- Majo.
- Physical Description:
- 1 online resource (569 pages)
- Edition:
- 2nd ed.
- Place of Publication:
- Tübingen Narr Francke Attempto Verlag 2022
- Biography/History:
- Prof. Dr. Peter Lutzker ist seit mehr als drei Jahrzehnten international tätig in der Fremdsprachenlehrerausbildung.
- Summary:
- The first edition of this work became a standard reference work in the general context of humanistic approaches to foreign language teaching and learning. This new edition gives a brief overview of further developments in relevant fields and discusses the importance of the concept of teaching as an art in light of the increasing standardization and digitalization of education. Reviews of the 1st edition I believe that the book will become a standard reference point for all those who, against the current tide of 'scientific', objectives-based, test-oriented, control-obsessed, sterile approaches to language teaching, continue to believe that language teaching is indeed an art, and a joyful art at that. Prof. Dr. Alan Maley in English Language Teaching Journal Peter Lutzker is a major educational thinker and has spent half an earthly span living towards this major book. (...) I have placed Peter's book on my shelves next to those of Rogers, Curran, Dufeu and Stevick. Mario Rinvolucri in Humanising Language Teaching
- Contents:
- Intro
- Contents
- Acknowledgements
- Introduction to the 2nd Edition
- i Relevant Developments in Foreign Language Teacher Education and Language Learning
- ii Performative-Artistic Approaches within Traditional Frameworks
- Introduction to the 1st Edition
- Part I: Teaching as an Art
- 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 LanguageLearning
- 10 Dramatic Processes and Language Teaching
- 10.1 Historical Overview
- 10.2 Related Developments in the 20th Century: 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.
- Notes:
- [2., neu bearbeitete und ergänzte Auflage]
- Includes bibliographical references.
- Other Format:
- Print version: Lutzker, Peter The Art of Foreign Language Teaching
- ISBN:
- 3-8233-9501-7
- Publisher Number:
- 9783823395010
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