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FAIRYLAND

Fairytales and fairytale motifs in communicative foreign language learning in secondary schools.

Staging Foreign Language Learning is a Europeancooperation project for the development of conceptsand materials for the in-service training of foreignlanguage teachers.

The project is being carried out with the assistance ofthe Commission of the European Communities withinthe framework of the SOCRATES programme.*

This publication is printed on chlorine free paper.

*) This publication is the responsibility of its editor and does not necessarilyrepresent the views of the Commission.

Impressum

Published by

Niedersächsisches Landesinstitutfür Schulentwicklung und Bildung (NLI)

Keßlerstraße 5231134 Hildesheim

© 2003

Internet: www.niedersachsen-international.deE-Mail: [email protected]

Concept and materialsAnu Kilpinen, Silvia Lehtinen, Kaisu TapiovaaraUniversity of Helsinki, Continuing Education Centre, Kouvola, Finland

Valter Almeida, Ana Margarida Abrantes, Maria Filomena Capucho, Paula RebeloUniversidade Católica Portuguesa, Centro Regional das Beiras - Polo de Viseu, Portugal

Agnieszka Bialek, Berthold Haase, Adam Krasicki, Iwona Kretek, Izabela Marciniak, Ewa PominOsrodek Doskonalenia Nauczycieli Poznan, Poland

Lorna Leahy, Majellia Sheehan-Harris, Izabela Zielonka-RöllNorth Monastry Language Institute, Cork, Ireland

Rolf-Peter Berndt, Bodo Facklam, Burkhard Imeyer, Doris Herzog, Reinhard Jonczyk, Detlef Kohnen, MatthiasKrämer, Wolfgang Meyer, Markus Ritter, Albrecht Schultze, Niedersächsisches Landesinstitut fürSchulentwicklung und Bildung (NLI), Hildesheim, Germany

Project coordinatorRolf-Peter Berndt, NLI

Layout and photosThomas Göllner, Gerhard Klähn, Tanja Stolle, Reinhard Jonczyk, NLI

Editorial teamRolf-Peter Berndt, Kirsten Döbler, Bodo Facklam, Burkhard Imeyer, Doris Herzog, Reinhard Jonczyk, MatthiasKrämer, Wolfgang Meyer, Albrecht Schultze, NLI

ConsultantsRobert O'Dowd, Markus Ritter, Bernd Rüschoff, University Gesamthochschule EssenDavid Whybra, University HildesheimKazimiera Myczko, Izabela Marciniak, Adama Mickiewicza University, PoznanLeni Dam, Danish Pedagogic University, Copenhagen

Project teachers and project schoolsFinlandd Leena Säteri, Kouvolan yhteiskoulun lukio

Oili Ketomäki, Valkealan lukio

Irelandd Izabela Zielonka-Röll, North Monastery Secondary School, Cork

Polandd Anna Kotecka, Barbara Swider, Liceum Ogólnoksztalcace w SwarzedzuJerzy Królikowski, Lidia Skotarczak, Malgorzata Wiater, V Liceum Ogólnoksztalcace w PoznaniuRenata Kaczmarek, Jakub Macierzynski, Magdalena Zmudzinska, VIII Liceum Ogólnoksztalcace w Poznaniu

Portugall Luzia Sampaio, Colégio da Via Sacra, ViseuElisa Almeida - Escola Secundária Alves Martins - ViseuEscola C+S do Mundão - Viseu

Germanyy Doris Herzog, KGS SehndeReinhard Jonczyk, Werner-von-Siemens-Realschule HannoverAlbrecht Schultze, Wilhelm-Bracke-Gesamtschule BraunschweigKarl Starkebaum, Renataschule Hildesheim

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The Cast

The Cast

In this contribution we suggest using the fictitious world of Fairy Tales as a situational frame-work and the Fairy Tale heroes as communication partners for diverse communicative exercises,also combining different categories of language acts in various ways. This supplies the pupilswith an abundance of attractive communication exercises, which can be worked on in the lan-guage class either in isolation or connected together. Our teaching tool, the Scene Generator,serves as an aid in this venture.

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Blurb

Blurb

The EndThe End

1 Chapter 1: Liv ing Fairy Tales ........................................................... 62 Chapter 2: Fairy Tales and foreign language learning ................. 82.1 Fairy Tales, Legends etc. ... 72.2 Past and Present 82.3 Fairy Tales for young people, too? 92.4 Fairy Stories and foreign language teaching 103 Chapter 3: Didactic-methodological spectrum ............................... 123.1 New ways of enjoying Fairy Stories 133.2 Factors of linguistic communication 143.3 Aspects of the work with Fairy Stories 143.4 Fairy Stories and Staging Foreign Language Learning 173.5 The Generator of Scenes 28

4 Chapter 4: Requirements ................................................................ 394.1 Methodological requirements 394.2 Use of ICT 414.3 Measurable complexity of staged communication 415 Chapter 5: Two project examples from the classroom ................. 445.1 “News from Fairy Land” 455.2 “Murder in the Gingerbread House” 516 Chapter 6: The implementation of the teacher training............... 576.1 Preliminary comments 586.2 Overview of the modules. 586.3 The teacher training course “News from Fairy Land” 596.4 Module 1: Fairy Tale 606.5 Module 2: Factors of linguistic communication 686.6 Module 3: Creativity 696.7 Module 4: Staging 716.8 Module 5: Technical Skills 787 Chapter 7: Documentation and evaluation ................................... 827.1 Documentation 827.2 Evaluation 848 Structure of the teacher training course ....................................... 979 Appendix .......................................................................................... 999.1 Bibliography 999.2 Internet Links 1029.3 Staging Foreign Language Learning - the concept 103

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Contents

Contents

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Chapter 1: Living Fairy Tales

Chapter 1: Living Fairy Tales

Google Search for „fairy tale*“ - 622 000 hits

The SurLaLune Fairy Tales Site: Table of Contents - [ DieseSeite übersetzen ]The SurLaLune Fairy Tales Logo, A portal to the realm offairy taleand folklore studies featuring annotated fairy tales. GreatNews! ...Beschreibung: A portal to the realm of fairy tale and folk-lore studies featuring annotated fairy tales, illustrations,...Kategorie: Society > Folklore > Literature > Tales >Fairy Talesmembers.aol.com/surlalune/frytales/ - 5k - Im Archiv - Ähnliche Seiten

Fairy Tale Quiz - [ Diese Seite übersetzen ]The Fairy Tale Trivia Quiz is an on-line test of your knowledge of fairytales. Released in conjunction with the hilarious shareware ...familygames.com/features/quizzes/ftquiz.html - 10k - Im Archiv - Ähnliche Seiten

Folk and Fairy Tales: Web Site Links - [ Diese Seite übersetzen ]... Uther. Marvels & Tales: Journal of Fairy-Tale Studies, edited by DonaldHaase (Wayne State University). General presentations. Folklore ...www.pitt.edu/~dash/folklinks.html - 4k - Im Archiv - Ähnliche Seiten

Fairy Tale/Folk Tale Cyber Dictionary - [ Diese Seite übersetzen ]Fairy Tale and Folk Tale CyberDictionary 2002-2003 School Year. AlphabeticalListing of All Tales. Jigsaw Puzzles. Send a CyberDictionary Posty. ...www.op97.org/instruct/ftcyber/ - 6k - Im Archiv - Ähnliche Seiten

Fairy Tale Quest - A Webquest - [ Diese Seite übersetzen ]FAIRY TALE QUEST - A WEBQUEST. BY PAT GABIG. THE TASK: Pretend youare the editor of Happily Ever After Travel and Fairy Tale News ...www.plainfield.k12.in.us/hschool/webq/webq19/tales.htm - 9k - Im Archiv - Ähnliche Seiten

Grimm’s Fairy Tales - [ Diese Seite übersetzen ]Grimm’s Fairy Tales. This book contains 209 tales collected by the brothersGrimm. The exact print source is unknown. The etext appears ...Beschreibung: Complete text of 209 tales based on the translation by MargaretHunt, called Grimm’s Household Tales;...Kategorie: Society > Folklore > ... > Tales > FairyTales > Brothers Grimmwww.cs.cmu.edu/~spok/grimmtmp/ - 12k - 5 Apr. 2003 -Im Archiv - Ähnliche Seiten

2.1 Fairy Tales, legends ....

This course material for teachers’ training deals with fantasy worlds, characters, objects andevents which have never existed in reality but live most vividly in the consciousness of manypeople. Originally they are the stories which we have all heard at some time and which are

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Chapter 2: Fairy Talesand foreign language learning

Chapter 2: Fairy Tales and foreign language learning

present in our collective memory. As children we hardly made any distinction worth mentio-ning between the Fairy Tales of Little Red Riding Hood, the Legend of the Niebelungs or thestory of Batman.

It is not our task to compile a scientific classification, but to activate these worlds and utilisethem for foreign language learning. In doing so the strict divisions between the various gen-res become blurred. This can be disturbing for purists, but is no problem within our frame ofreference. It is obvious that there are distinctions which are recognised by trained teachers –but for our purposes, namely Staging Foreign Language Learning, they are irrelevant. We wantto use the potential of these fantasy worlds for teaching communication.

2.2 Past and Present

Oversimplified? Maybe – but not far from the truth. Fairy Tales were useful for entertainmentand education, even for therapy. In time Fairy Tales penetrated other realms, among others theworld of business and even that of politics. While in the former they were mainly to be foundin the advertising, in the latter they were frequently referred to in allegoric comparisons.Above all however they were told to children in school and at home, as they were given a higheducational value.

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“There was once a family, who wanted to spend their well-earned evening in an inte-resting way. However there was no television at that time, and the weather was muchtoo cold to stay outside. So father began to tell his family a Fairy Story, a story that wasnice and exciting, but which allowed the good ones to win…This did not only happen once, as all the members of the family enjoyed the evenings inwhich father began a story with ‘Once upon a time…’ once more. The parents were quickto notice that the children were influenced in a positive way, the vicar even reporting thatthe children had acted out the story with their friends. After some time the village teachercame to appreciate the stories; he collected them and used them in his lessons.Apart from that there were already clever business people, who had a good nose forquick profits. Soon there were shops, in which ‘Dwarves’ Wine’ and ‘Cinderella Shoes’were offered.

Definition “Märchen”

The word “Märchen” (Late Middle High German merechyn, diminutive of MiddleHigh German maere, Mär): 1. Story handed down by the people, in which supernaturalpowers and figures intervene in human life, and in which mostly good is rewarded andevil punished. The Fairy Tales of the Brothers Grimm; that sounds like a fairy tale, totell a Fairy Story. 2. (Coll.) unbelievable story, made up as an excuse: Don’t come tome with these Fairy Stories! From Duden, 2001.

Is that the case today, in a completely different world? Definitely, in our opinion. In spite of therevolutionary change in living conditions in the last hundred years Fairy Tales are still popularwith children and successfully used by teachers.

Is it not true that especially in our times they have an important contribution to make? Themedia today flood the world of children with confusing and fragmentary pictures and infor-mation, which can hardly be pieced together to make a comprehensible whole. Fairy Stories,however, offer complex patterns of life, in which simple structures and sound patterns of beha-viour hold sway. Fairy Stories offer sufficient material for the discussion of fundamental situa-tions of life and patterns of actions: happiness and unhappiness, love and hate, success andfailure, help and the refusal of help, reward and punishment, winning and losing and so on.

In a time in which psychological self-help books like “Awaken the Giant Within” (AnthonyRobbins, First Fireside Edition, 1992) are enjoying great popularity, Fairy Stories convey a similar-ly positive attitude to life: bad starting conditions can be changed for the better, the poor, thesick and deformed can also be successful, it is worth while changing one’s situation by means ofone’s own active efforts, in order to achieve one’s goals.

One proof of the considerable relevance of Fairy Stories right up to the present moment is the artFairy Story by Kai Durian “Kai out of the Box”, that within the framework of the re-education ofthe Germans after the Second World War was to make the “American Way of Life” accessible toGerman children and juveniles, as expressed in the 200 Fairy Tale-like novels of Horatio Alger.

2.3 Fairy Tales for young people, too?

The effect of the archetypes contained in Fairy Tales, of the simple patterns and pictures, can-not be challenged. As the readers grow older, however, it diminishes continuously, as thedistance from real life seems too large and the Fairy Stories themselves as part of a lost world.

Young people seek new, distinctive patterns of action for the confrontation with their world,however for many of them the memory of what they read as children seems fresh and vital.They like to see the old, familiar themes developed, modernised and combined in new con-texts. How else could we explain for example the success of Tolkien, of fantasy films, or thesuccess of “Romeo and Juliet” in the new film version by Buzz Luhrmann with LeonardoDiCaprio and the corresponding film versions for PCs.

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Worth knowing

The word “Märchen” (fairy tale) derives originally from the 15th century diminutiveform “Mär”, the Middle High German word for knowledge, report, tale. (Cf.Schweikle / Schweikle, Metzler Literatur Lexikon, Stuttgart 1990, P. 292)

In new contexts and in “new clothes” the old structures are suddenly attractive again, for thestructures of reality are in principle comparable to those of Fairy Tales, even if they are morecomplex and complicated. Masters and servants are not encountered as frequently as in FairyStories. We might speak today of decision-makers and those decided about, opinion makersand those who are subjected to them.

2.4 Fairy Stories and foreign language learning

Teachers who have access to young people know that Fairy Tales do not constitute a central,vital component of the imaginative world of European young people, because their knowled-ge is restricted to say 4 to 5 Fairy Tales at the most. On the other hand it can be assumed thata large number of young people possess a certain latent knowledge of basic structures, the-mes and sequences. We should use this potential. In this material we therefore recommendno simplistic work with prefabricated contents and forms but utilising these as a starting pointfor the concept of Staging Foreign Language Learning.

In the foreign language didactics of the last ten years it has been clearly established that effec-tive communication in the foreign language is of overriding importance. Pupils are not merelygraded for using linguistic structures without making mistakes, but according to the degree oftheir realising their communicative intentions through language.

For developing communicative competence practice is of the utmost importance (“learning bydoing”); one cannot be communicative without the immediate and comprehensive practise ofcommunication. In the school situation the possibilities for authentic communication are verylimited in class. Teaching which creates a pseudo-authentic language situation always remainsartificial. We are not only thinking of the scenes in which the teacher asks questions whilealready either knowing the answers or not really wanting to know them, such as:

Conscious of the fact that teaching situations always have a high degree of artificiality, we gearour approach to creating communicative situations and motivating pupils both factually and emo-tionally to be prepared to let themselves in for language activities. The problem here is trying toachieve the complexity of authentic communication in the real world: different communicationpartners use different language registers, the motives for communication are expressed by meansof different types of utterance relating to different situations, the participants of a language acthave a past which makes inroads into the conversation etc. So-called communication exerciseswhich deal with finding the way (to the town hall), asking the time the next bus leaves or simp-ly buying ice cream – no doubt necessary for beginners – lead to boredom and lasting demoti-

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What is your name?When are you going to the cinema again?

What was the weather like during our trip?

vation in lessons. It is more exciting if “worlds” are created in lessons which make it possible tocommunicate in complex connections (characters, places, events).

In almost all of the more recent teaching works there are more or less developed and detailedsuggestions for project-, presentation- and activity- orientated procedures. In our teacher-trai-ning material we are trying to increase the scope of such an approach, continuing the journeythat they have begun. While textbooks have had no choice but be tied to a certain schematism,creative projects can cross borders.

Admittedly there are textbookswhich latch on to the pupils’potential, without really exploit-ing it in the sense of the “stagingof communication”. There areunits beginning with exercisesordering the contents of FairyStories, followed by diffuse requi-rements of pupil discussions ofFairy Stories and other fictitioustexts, which then lead to more orless openly structured grammarexercises. This process representsa covertly deductive approachwhen the intended grammarexercise is placed in an arbitrarycontext (here: a Fairy Tale) inorder to “sweeten the pill”. Incontrast to this our approach isbased on communicative situati-ons, in which the pupil has theexperience, when coming togrips with them linguistically,that he must be able to mastercertain language and grammarphenomena to realise his com-municative intentions. The didac-tive treatment of the languagephenomenon follows throughthe factual necessity of using itimmediately in the context of thegiven situation.

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Source: Neue Osnabrücker Zeitung, 1.10.2002

Two Little Red RidingHoods, two grandmo-thers, two wolves andtwo narrators appearedin the performance ofthe Fairy Story at Heilig-Geist-School. The pupilstaking part in the lessonsin their mother tongue,played the roles of thewell-known figures ofthe Brothers Grimm inGerman and in Polish.

“Czwerwony Kapturek”, asLittle Red Riding Hood iscalled in Polish, does not dif-fer at all from the Germanversion. “The performanceshould show that the Germanand Polish cultures are close-ly related”, explains the tea-

Little Red Riding Hood in a double packPerformance of a Fairy Story in two languages

cher of Polish JoannaBlömker-Warzocha. This isalso reflected in literature,music, theatre and cuisine.“For us it is important to pre-serve the language and tobuild a bridge betweenPoland and Germany”, con-cludes Joanna Blömker-Warzocha.

About 60 pupils from the firstto the 13th class are learningPolish in Carolinum,Jellinghaus School andHeilig-Geist-School. “Theyshould avail of the extra tuiti-on to use the language theyknow from their homes” saysJoanna Blömker-Warzocha.Whoever is interested canregister under telephone

16866 or by e-mail under hei-lig-geist-schuleatweb.de.

The Fairy Story was alsounderstood by the manyadults and children who donot speak the Polish langua-ge. The two boys dressed asHerold recited the story inturn in German and Polish.Only the two wolves snoredmonolingually.

At the end of the performancethe theatre group consistingof children from the wholetown received a lot of applau-se. One little girl could not getenough and called “Little RedRiding Hood!” again andagain into the silence that fol-lowed the applause.

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Chapter 3: Didactic-methodological spectrum


3.1 New ways of enjoy ing Fairy Stories

Times have changed, though apparently the eternally timeless world of Fairy Stories lives on.But it has changed, just as we and our world have changed. In other words: the seven dwar-ves present themselves today in the Internet under www.zwergenwelt.net and Cinderella couldwrite to the complaints box of “Prima” about her problems with her mother-in-law.

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Dear Doctor Winter ,

I am 16 and have great prob lems wi th mystepmother . Most ly i t ’ s a mat ter o f pocketmoney, which I have not rece ived anymore since she moved in. My sisters-in-lawget enough to buy themselves super c lo -thes and jewel le ry. I don ’ t ge t enough for“Bravo” !

A lso the work a t home is unfa i r ly d is t r ibu-ted. I a lways get the most d i f f i cu l t tasks . Ihave to hoover, c lean and t idy up. I amdi r ty a l l the t ime, and then the o therslaugh a t me and ca l l me Cinderwench.My fa ther l i kes me, but he can ’ t ge t h isway aga ins t h is new wi fe . I p lay wi th theidea o f leav ing home, but where am I sup-posed to go? Apar t f rom my godmother Ihave no f r iends I cou ld turn to . I don ’ twant to be used l ike th is any more! Whatshould I do? Do you have a t ip for me?

(A. f rom Bremen)

3.2 Factors of linguistic communication

The letter to Dr Winter is an example of a staged communication. The six criteria of theJakobson communication model1 are demonstrated here, which according to Jakobson play apart in every linguistic communication. They are:

The criteria named above are the basis for every communicative exercise in foreign languagelearning. Depending on which teaching aim is being focused on, one specific criterion of theJakobson Model will be the decisive starting point for the combination of subsequent criteria.

3.3 Aspects of the work with Fairy Stories

Fairy Stories are particularly well suited for the realisation of our approach for the following rea-sons noted hereafter.

———————————————————————————————————————————————————————————————————————————————————————————————

1 Roman Jackobson, linguist and philologist (*23.10.1896 in Moscow, † 18.07.1982 in Boston) was one of the most influantial representatives of structuralism. At first a Russian formalist, he later joined the Prague structu-

ralists in exile. He subsequently went to the USA and supported the original structural linguists to successfully develop interdisciplinary scientific methods of research.

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a. The sender: a person who makes a linguistic utterance (here: Cinderella)

b. The communicative intention: the intention that is expressed in language (here: complaining, reporting problems, asking for advice)

c. The situational framework: information about the relationships of the communication partners and the corresponding milieu (here: the contents of the Fairy Story)

d. The text type: the form of expression that the sender chooses(here: reader’s letter)

e. The linguistic register: the lexical, grammatical and stylistic means used by the sender to achieve a language aim (here: standard language, the suitable forms of address necessary for a reader’s letter)

f. The medium: the route the communication takes (here: the magazine)g. The recipient: the person or group the communication is delivered to (here: the

psychologist and counsellor of a youth magazine)

Our approach proposes using the fictitious world of Fairy Stories as the situationalframework and the figures as communication partners for diverse communicativeexercises, as well as combining other categories of language acts in various ways.An abundance of attractive communication exercises are produced for the pupils.These can be adapted for teaching either in isolation or connected. As a means ofassistance our tool, the Scene Generator can be of use.

Keyword: “familiar”

The contents of many Fairy Stories together with their heroes are almost always widely known.The plot can be brushed up quickly and easily and then used for teaching purposes.

Keyword: “intercultural”

In a multicultural class there will only be deviations in detail between the stories that individu-al pupils know. But even when there are radical differences they still offer the teacher an oppor-tunity for comparisons and therefore various forms of creative language work.

Keyword: “provocative”

During adolescence young people are looking for new answers to old questions and new solu-tions for familiar problems, questioning traditional values and hierarchies. For this they look forprovoking forms of expression to make themselves and their ideas noticed by the public. Thisneed for provocation which is explainable in a psychological adolescent context causes theyoung people to play with familiar forms of representation, to test them as regards to theirintended effect. Traditional Fairy Stories with their rigid sequences of action and forms of inter-pretation are an open invitation to develop, shorten, change, alienate them, turn them insideout or destroy their structure. A variety of completely new forms of representation can beinvented, that seem to be more appropriate. In this connection the literary traditions of satire,irony, parody, alienation, travesty and pastiche can be of value.

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The Disney media giant has been partly responsible for the dissemination of Fairy Storiesthroughout the world. This global circulation has negative aspects (the imaginative worldof children is reduced to uniformity, national themes and figures run the risk of atro-phying, as they cannot vie with the might of cinema competition etc.), but from the pointof view of our project it contributes positively to preserving the contents of Fairy Storiesin the consciousness of today’s children at least in a rudimentary form.

Keyword: “complex”

Communication acts take place in complex contexts. At first sight Fairy Tales only have simple plotswhich do not seem to point to more complex communication acts. On looking more closely,however, behind the apparently simple structure the reader discovers, a complex network of com-munication acts and backgrounds which he must explore through his individual imagination.

Examples

Keyword: “encouraging”

Young people do not like to speak about themselves in public. They often regard themselvescritically, self confidence is frequently lacking, although their external behaviour would oftensuggest the opposite. They are afraid of being laughed at: nothing is more unpleasant to themthan to be the target of derision in public, because they have admitted details about themsel-ves without thinking. This sensitivity, coupled with linguistic shortcomings, often has an inhi-biting effect on their readiness to speak in the foreign language class. Unpleasant subjects arenot brought up; they are repressed or aggressively compensated for. The role in fairy-storymaterial represents a kind of mask, behind which young people can conceal themselves with-out risk or personal responsibility.

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“The father took a wife…”: behind this succinct formula not only a family dramawith illness and death, widowing, adoption, heartlessness, preferential treatmentand / or rejection, but also a social phenomenon notorious at that time, namelythe difficulty in surviving economically as a rural family.

Similarly the popular formula “ …for ever after…” can be scrutinised more careful-ly: What happened to Sleeping Beauty afterwards? Did she have a happy marria-ge to the Prince? Didn’t the Prince go through the seven-year itch or a mid-life cri-sis? These more complex connections are revealed quickly and easily to the reader:therefore they can be used to stimulate speech in the language class.

The story of Cinderella offers for example the possibility of talking about unfair tre-atment in the family, without exposing one’s own situation.The staging of Fairy Stories or fragments of Fairy Stories in a foreign language hasbecome an established favourite even in younger classes; at the festival “ForeignLanguages and Theatre” in Poznan themes from Fairy Stories were very popular atall levels.

3.4 Fairy Stories and Staging Foreign Language Learning

The Scene Generator: a tool for the production of scenes for communicativeforeign language learning

Examples of staged communication like the one explained above “A letter to Dr. Winter from A.in Bremen” demonstrate a high degree of didactic-methodological complexity in foreign langu-age learning, which is determined by several variable components. Through the alteration andcombination of these components a large number of completely different communicative scenescan be produced, triggering off the production of foreign language on the widest scale.Beginning with the factors of linguistic communication already mentioned (see: 3.2, factors oflinguistic communication) we will now introduce a practicable arrangement of components(categories) of staged foreign language learning, that will be combined as examples later.

Our combination matrix consists of the categories:

Each of these five categories is to be put in concrete terms, from the point of view of contents,in several, clearly distinctive elements.

The following listed examples for the purpose of specifying the contents are in no way com-prehensive and can hardly ever be complete, as they can be extended and modified accordingto the teaching intention.

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1. Communication partner / situational framework

2. Communicative intentions (language acts)3. Text type / (language) products

4. Language register

5. Kind of presentation / medium

Our category “Communication Partner / situational framework” includes exampleswhich were named most frequently at relevant teacher training courses.The category “Language acts” contains a selection of relevant communicativeintentions, which Baldegger (1999) and others order into particular areas. A com-prehensive list can be found in the guidelines for foreign language teaching ingeneral education schools.

Our categories- Text types / products

- Language register and

- Presentation formsquote simple examples, which for the purposes of clarity are alphabetically ordered.

Communication partners and situational framework

Examples

Language acts and intentions

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Exchange of information- Naming- Describing something- Drawing attention

to something- Reporting- Announcing- Asking for information- Affirming and denying- Refusing to answer- Expressing a supposition- Expressing doubts

valuation / commentary– Expressing an opinion- Praising / positive evaluation- Criticising / negative evaluation- Reproaching / accusing- Apologising- Giving reasons- Justifying- Asking for an opinion- Agreeing- Contradicting- Retracting something- Expressing an interest- Expressing wishes

Communication partners Situational framework

Little Red Riding Hood/her mother Visit to the grandmother

Hunter/ police officer The wolf is killed

Cinderella / counsellor Problems at home

Cinderella / stepsisters Rivalry

Cinderella / Prince Love at first sight

Cinderella’s godmother / mail order co.Quelle Preparation for the ball

Emissaries of the Prince / the population of the country The fairest at the ball is sought

The King’s daughter / the Frog King The Princess has lost the golden ball

The beautiful Queen / representative of a cosmetic firm The Queen wants to be more beautiful than Snow White

Snow White and the Seven Dwarves Dividing up household chores

Hänsel and Gretel / a journalist Staying with the witch

Police officer and witnesses Investigation of the murder in the gingerbread house

TV programme “Court News” / viewers Sleeping Beauty is baptized

The emissary of the King / the population of the country Spinning is forbidden throughout the country

The three little pigs / an insurance clerk Regulating storm damage in the house

The Emperor / workman The Emperor needs new clothes for ceremonial

representation

The Princess on the pea / the hosts The Princess has slept badly

King Drosselbart / Puss in Boots Puss has a secret plan

The fisherman and his family / the golden fish Three wishes can be fulfilled

The Miller’s youngest son / his guests The magic table as a wonderful charm

for preparing a party

Language register

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Regulating action- Asking for help- Expressing wishes- Demanding- Ordering, buying- Giving an assignment- Instructing- Complaining- Warning- Threatening- Encouraging- Suggesting- Advising- Offering to do something- Rejecting an offer

Social conventions- Expressing greetings- Greeting back- Introducing oneself- Bidding farewell- Expressing thanks- Making compliments- Congratulating someone- Expressing condolences

Organising speech- Introducing a statement- Asking for comments- Concluding a statement

- Everyday language- Antiquated language- Official language- Biblical language- Dialectic language- Specialist terminology- Ceremonial address- Youth language- Media language- Poetical language- Language befitting a certain role- Slang

- Colloquial language- Quotations- Stage language- Journalistic jargon- Teenage jargon- Criminal jargon- Political correctness- Advertising- Sales talk- Reporting (sport)- Cursing

Text types / linguistic products

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- Announcement- Answer to a reader’s letter- Public announcement- Application- Letter- Cartoon (speech bubble)- Discussion- Shopping list- Invitation- Electronic letter- Narration- Fax- Photo story- Form- Instructions for use- Poem- Business letter- Conversation- Wedding announcement- Recipe- Declaration of love- Song text- Postcard- Sermon

- Rap text- Self-help book- Price catalogue- Speech- Commentary- Review- “Wanted” circular/notice- Debate- Proverb- Missing person bulletin- Talk show- Diary- Telephone conversation- Funeral oration- Questionnaire- Interrogation- Sales talk- Contract- Lecture or talk- Advertising brochure- Advertising slogan- Best wishes telegram- Spell

Forms of Presentation

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- Sung presentation with musical accompaniment

- Exhibition in the form of a wall- Display in the class / school hall

Corridor- Slide show- Radio play- Presentation on an Internet page- Poster- School newspaper- Scenic forms: sketches, role-plays,

Drama, play-reading (scenic arran-gement of textbook texts)

- Overhead projector with picturesor cut-outs

- Screen with projection of contours in back-lighting technique

- Theatre production in theschool hall

- Video film with various forms of presentation from action-centred film to video documentation

- Talk in front of the class- Event in the school hall- Scenic performance in the- Classroom or on the stage- Guided tour of town, firm fairy

story world- Feature, interview, discussion etc.

in the form of a radio or- TV programme- Sketch- Satirical weekly review- Dance, song (rap)

Example: Steps to generate a scene

The following steps demonstrate a possible procedure for making communicative scenes:

22


1. Following foreign language teaching guidelines pupils are to be able to expresstheir feelings in the foreign language. In the category “communicative intenti-ons” we find the sub-category “talking about feelings, expressing emotions”.

23


2. In the category “communication partners / situational framework” “Cinderella and the Prince” or “Snow White and the Seven Dwarfs” are offered. We decideon the Prince.

3. Following these decisions on 1) and 2), for the category “text type / language product” for example the aspect “declaration of love” is offered as an oral per-formance or “love letter” as a written product.

4. The decision on 3) limits the choice for the category “language register”: for thePrince’s declaration of love the “ceremonial address” would be appropriate , aswould the “use of poetic language forms: metaphors” the “use of proverbs andquotations” or the “use of antiquated language forms”.

5. From these selections a situation or scene can be developed, for which the fol-lowing description applies: “The Prince tries the shoe on Cinderella. It fits! Cinderella is his chosen one”. The assignment for the pupils: “You are the Prince.Declare to Cinderella your love for her. Use the form of the ceremonial address,as befits a Prince. Use, among others, old-fashioned and poetic forms of langu-age! Introduce the scene to the class in the form of a short sketch or role-play!”

6. It is to be observed that Cinderella, according to the description of her situationand role, is not active. In order to change this, she could raise objections or uttera polite refusal in colloquial language, e.g. dialectically tinged. If the Prince should speak a monologue she could request time to consider his proposal, in order to write her reply at a later date.

This example shows that, following a didactically conceived combination of the various cate-gories, a many-faceted scene can be developed, stimulating further productive impulses duringthe process of its development.

Reflections on the Combination of Categories

In the suggestion developed above the combination of elements started with the category“communicative intentions / language acts”. This didactic commitment determined all the fol-lowing decisions concerning the sensible choice of variables from the other categories.Decisions made not purely for didactic reasons lead to a different approach in the developmentof communicative scenes in foreign language learning:

Starting point: Category “Type of presentation”

If the teacher would like to have a large number of pupils speaking and acting, for example ata school party, he might well choose to put on a play, as this kind of presentation requiresmany active participants. This predetermines the following decisions:

However one can enter the combination of elements at a quite different point, as the followingexample shows.

Starting point: Category “Text type”

Further examples of exercises offer more possibilities for creating scenes.

24


From the category “communication partner / situational framework” “SleepingBeauty” would be preferable, as in the context of the Fairy Story a large number offairies, the royal household, the rabble, a Prince, the King and Queen as well as thevillage people are involved.

All the actors will carry out quite distinct language acts and performances in thecommunicative situation that is to be staged: Sleeping Beauty can express grief, thePrince confidence and the King, perhaps, despair.

1. Text type / language product: recipe2. Communication intention: formulating instructions, (not) understanding instruc-

tions, reacting, trying out

3. Communication partners: Snow White and the Seven Dwarfs

4. Situational framework: Snow White has to go away for the week end5. Language register: specialist terminology

6. Medium/presentation: leaflet with infos and schematic pictures / wall display

Starting point: exercises for pupils in communicative scenes

The following examples of exercises carried out by pupils in communicative scenes are productsof the combination of elements of the five categories:

Example: “Dr. Helpless’s complaints box”

Not only Cinderella has problems in the family,other figures from Fairy Stories are in the sameboat!In earlier times they would have looked intotheir crystal balls or asked a magician for advi-ce. Today there are qualified personnel, whohelp people in need.

This exercise is a matter of referring to familiar problems and conflicts, within the frameworkof language activities, which the pupils are normally not willing to express during lessons,unless this be in a concealed form, not readily recognisable for others. For this purpose the texttype “reader’s letter” is suggested. The combination of themes from Fairy Stories with pheno-mena from the world of the here and now (magazine/counselling) is successful in a way not tobe expected from the standard inquiry “How do you get on with your parents?”

Example: “A good buy”

Familiar figures from the world of Fairy Stories go shopping.

25


Exercise:

Imagine you are a figure from a FairyStory. Write to a magazine agony auntabout problems known to you (you arelovesick, have problems with yourparents, stress at school etc.). Don’t for-get that you are writing a letter: wordsof greeting, suitable composition etc.!

Exercise:

Prepare a shopping list for them. Givea few tips where they can best buy thevarious goods.

Alternative communication partners and situational framework:

The simple exercise “Naming products and quantities” gains in attractiveness from receiving aninteresting background. The focus here is on the vocabulary.

Example: “We will never forget her”

Snow White is dead – this is what the seven dwarfs think, at any rate. So there must be a fun-eral, with a suitable speech!

Burials or funeral orations are delicate subjects which however lose their emotional volatility inconnection with Fairy Stories, especially in the form of a parody. The linguistic aim of the exer-cise is the description of a person, talking about an individual and his character. Apart fromthis, teachers can practise articulation and pronunciation and reduce the fear of appearing inpublic.

Example: “Hot atmosphere despite cold and rain”

The ever-successful “Bremen Town Musicians” have given a concert in your town. What was it like?Were the musicians in good form? What did they perform? Did the organisation go off well?

This exercise actually deals with the text type “review”. A report of the concert of the BremenTown Musicians could be given as an alternative to reporting about a concert of a contempor-ary idol or depicting a performance of a fringe theatre group. Judging from experience it canbe expected that about 2/3 of the participants choose the “Fairy Story” subject.

26


Little Red Riding Hood is to bring her grandmother something tastySnow White makes a nourishing breakfast for the seven dwarfs, before they go towork.

Sleeping Beauty’s parents are busy organising the wedding.

Exercises:

Take the role of one of the dwarfs or the role of an onlooker.Write the text and hold the speech.

Describe Snow White and say what she has meant to you.

Don’t forget to name all her qualities and good deeds.

Exercise:Write a review for the local press

Example “Keep an eye on him!”

These exercises are dialogues, in which “convincing“, “advising“ and “arguing” are the pre-vailing elements in the category “language acts and intentions”.2

Example: “The Emperor ’s New Clothes”

The Emperor is looking for qualified tailors, who are to make him a new robe for the cominganniversary of his accession to the throne. Maybe he will choose your firm.

Exercise: Prepare a quotation and explain it to the treasurer of the Emperor, who keeps on rai-sing objections.

This example deals with text comprehension (the group must occupy itself with the content ofthe Fairy Story, in order to find out details about robes) and with good publicity in specific ter-minology.

———————————————————————————————————————————————————————————————————————————————————————————————

2 cf. 3.4. Language acts and intentions, p. 18

27


Exercise A:

Cinderella is going to get marriedsoon. Imagine you are her bosom pal.You want to warn her about variouspossible dangers of the unequal mar-riage with the Prince.Note down all possible misgivings anduse your notes in a telephone conver-sation with her.

Exercise B:You are Cinderella. Shortly before yourwedding to the Prince your friend callsyou and advises you against the mar-riage. But you are firmly convinced.Give arguments for your commitment.

3.5 The Generator of Scenes

The following chapter clarifies how elements of the traditional version of a Fairy Story can beused as a starting point for further communicative exercises which stand in a close relationshipto the everyday world of the pupils.

Looking at the table which follows one might have the impression that the individual compo-nents are arbitrarily combinable with each other, because in the world of fantasy everything isallowed and we do not want to be subjected to rigid rules during the composition of scenes.Some of the new scenes do not diverge far from the original plot, for example when the dwarfshold a funeral oration for Snow White; while on the other hand new characters are created: apolice officer interrogates the hunter and the psychologist of a magazine’s agony column coun-sels Cinderella.

Apart from this, combinations of Fairy Stories are also possible ( the Prince, on the look-out forthe beautiful girl that he has met at the ball, bumps into Snow White, who can’t get the shoeto fit…). The last two exercises in the table are formulated accordingly. From our experience,however, we would warn against the arbitrary mixing of elements, characters and plots fromdifferent Fairy Story worlds, this seldom forming the basis for meaningful communication,despite the fact that pupils delight in the absurdity of hotchpotch combinations.

Our examples are based on a limited selection of the best-known 6-7 Fairy Stories world-wide.This spectrum can be widened by course leaders and teachers according to circumstances andpredilections in different countries. First of all the degree of familiarity is crucial to selection, asthis is necessary for the imaginative stimulation of the pupils on which our work processdepends. Later, when contents, structures and procedures have been recognised in their typo-logy, other Fairy Stories can be included, to transfer these insights, if there is real interest, tounknown and more complex tales, for example to the works of Brentano, Andersen, Wild,Thurber and Garner. The wishes of the pupils should be taken into consideration here, startingwith titles like “The Lord of the Rings”, “Beauty and the Beast”, “Star Wars” or names like“Harry Potter” or “Luke Skywalker”. Our table offers a number of didactically meaningful com-binations in exemplary form and is conceived as a stimulus for further possibilities of combi-nation for the realisation of staging.

28


Gen

erat

or o

f Sce

nes

29

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

• N

amin

g ob

ject

sEv

eryd

ay la

ngua

geSh

oppi

ng li

stSh

oppi

ng li

st f

or t

he t

rip•

Giv

ing

quan

titie

sto

the

sup

erm

arke

t„W

ine

and

cake

“ /

Wal

l dis

play

• W

arni

ng a

bout

som

ethi

ngEv

eryd

ay la

ngua

geD

ialo

gue

Role

-pla

y•

Des

crib

ing

som

ethi

ng“L

ook

afte

r yo

urse

lf!“

• A

skin

g ab

out

som

ethi

ngO

ffic

ial l

angu

age

/In

terr

ogat

ion

/Ro

le-p

lay

/•

Repo

rtin

g ab

out

som

ethi

ngdi

alec

tical

ly t

inge

d la

ng.

min

utes

Not

es in

the

inte

rrog

atio

n

Off

erin

g / p

rais

ing

som

ethi

ng•

Ever

yday

lang

uage

Pric

e ca

talo

gue

Post

er•

spec

ialis

t te

rmin

olog

yEx

plai

ning

som

ethi

ngA

dver

tisin

g br

ochu

rePo

ster

Giv

ing

inst

ruct

ions

Sale

s ta

lkRo

le-p

lay

• C

ritic

isin

gC

ollo

quia

l lan

guag

eA

rgum

ent

Stag

ing

• A

ccus

ing

• Ex

pres

sing

dis

like

• G

ivin

g ad

vice

Yout

h la

ngua

ge /

Ans

wer

to

a re

ader

’s le

tter

Text

in t

he•

Giv

ing

inst

ruct

ions

collo

quia

l lan

guag

esc

hool

mag

azin

e

Expr

essi

ng f

eelin

gsQ

uota

tions

/D

ecla

ratio

n of

love

Mon

olog

ue w

ith s

ceni

cpo

etic

lang

uage

pres

enta

tion

• Re

port

ing

abou

t so

met

hing

Yout

h la

ngua

gePh

oto

stor

ySc

hool

new

spap

er•

Des

crib

ing

peop

le

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

Litt

le R

ed R

idin

g H

ood

and

her

mot

her

Vis

it t

o t

he

gra

nd

mo

ther

The

hunt

er a

nd a

pol

ice

offic

erTh

e w

olf

was

kill

ed

Litt

le R

ed R

idin

g H

ood’

s gr

andm

othe

r /

the

repr

esen

tativ

e of

a f

irm o

f bo

dygu

ards

Aft

er

the

exp

erie

nce

w

ith

th

e w

olf

,g

ran

dm

oth

er w

ants

mo

re s

ecu

rity

Cin

dere

lla a

nd h

er s

tepm

othe

rB

ad/

ten

se r

elat

ion

ship

Cin

dere

lla a

nd a

cou

nsel

lor

from

the

you

thw

elfa

re o

ffic

ePr

ob

lem

s at

ho

me

Cin

dere

lla a

nd t

he P

rince

Love

at

firs

t si

gh

t

30

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

Ask

ing

abou

t so

met

hing

Ever

yday

lang

uage

Tele

phon

e co

nver

astio

nRa

dio

play

Ord

erin

g so

met

hing

Con

veyi

ng a

mes

sage

Cer

emon

ious

add

ress

Ann

ounc

emen

tTh

e an

noun

cem

ent

of t

hePr

ince

/ m

onol

ogue

/ vi

deo

Abb

revi

atio

nsM

issi

ng p

erso

n bu

lletin

Adv

ertis

men

t se

ctio

n of

a ne

wsp

aper

Con

sulti

ngEv

eryd

ay la

ngua

geTa

lkFi

lmed

mon

olog

ue“C

rash

cou

rse

in m

anne

rsan

d st

ylin

g”

Expr

essi

ng w

ishe

sC

erem

onio

usG

reet

ings

tel

egra

mRe

adin

g ou

t th

e gr

eetin

gfo

rmul

atio

nsca

rds

and

tele

gram

s

• D

escr

ibin

g so

met

hing

Cer

emon

ial a

ddre

ssSp

eech

Spee

ch d

urin

g th

e•

Gre

etin

gsw

eddi

ng p

arty

• Ex

pres

sing

wis

hes

• N

amin

g pr

oduc

ts /

Ever

yday

lang

uage

/C

atal

ogue

of

prod

ucts

Stag

ing

with

ad

vert

isin

g so

met

hing

spec

ific

term

inol

ogy

writ

ten

mat

eria

ls•

Reco

mm

endi

ng s

omet

hing

Sale

s ta

lk•

Expr

essi

ng s

cept

icis

m•

Refu

se p

olite

lyEx

pres

sing

sad

ness

Writ

ten

requ

est

Ever

yday

lang

uage

Art

icle

in t

he a

gony

Form

ulat

ing

diss

atis

fact

ion

(for

adv

ice)

corn

er o

f a

yout

h pu

blic

atio

n

Cin

dere

lla’s

godm

othe

r /

Mai

l-ord

er f

irm Q

uelle

Prep

arat

ion

s fo

r th

e b

all

The

emis

sarie

s of

the

Prin

ce /

the

popu

latio

n of

the

cou

ntry

The

fair

est

of

the

bal

l is

sou

gh

t

Cin

dere

lla a

nd h

er g

odm

othe

rB

efo

re t

he

Prin

ce’s

bal

l

Cin

dere

lla a

nd t

he P

rince

The

wed

din

g p

arty

The

beau

tiful

que

en /

the

repr

esen

tativ

e of

a c

osm

etic

firm

The

Qu

een

wan

ts t

o b

e m

ore

bea

uti

ful

than

Sn

ow

Wh

ite

The

seve

n dw

arfs

and

a c

ouns

ello

rSi

nce

Snow

Whi

te h

as b

een

with

the

m, t

hedw

arfs

hav

e fo

und

out

that

siz

e m

atte

rs

31

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

• Fo

rmul

atin

g in

stru

ctio

nsEv

eryd

ay la

ngua

ge•

Reci

peRe

cipe

for

the

drin

k w

hich

• Fi

ling

a co

mpl

aint

• La

men

tatio

nm

akes

you

gro

w•

Expr

essi

ng s

urpr

ise,

prid

e•

Repo

rtin

g su

cces

s(w

ith p

hoto

s)Be

fore

/ af

ter

com

paris

on

• G

ivin

g in

stru

ctio

nsC

ollo

quia

l lan

guag

e“F

lat

shar

ing”

dis

cuss

ion

Stag

ing

• Re

min

ding

peo

ple

of t

heir

dutie

s•

Expr

essi

ng d

issa

tisfa

ctio

n•

Expr

essi

ng m

isgi

ving

sBi

blic

al la

ngua

geTV

ser

mon

Vid

eo t

ake

of•

Crit

icis

ing

and

quot

atio

ns“T

he S

unda

y se

rmon

“•

Brin

ging

in g

ood

exam

ples

• C

onve

ying

eth

ical

val

ues

• C

allin

g on

peo

ple

to t

urn

over

a ne

w le

afEx

pres

sing

grie

fC

erem

onia

l add

ress

Fune

ral o

ratio

nSc

enic

mon

olog

ue

Com

mun

icat

ing

som

ethi

ngA

bbre

viat

ions

Tele

gram

Form

s fil

led

out

Off

erin

g co

ndol

ence

sTe

legr

am

• A

skin

g ab

out

som

ethi

ngM

edia

lang

uage

/Ta

lk s

how

Fate

and

for

tune

/•

Repo

rtin

g ab

out

som

ethi

ngyo

uth

lang

uage

Aft

erno

on t

alk

show

/•

Des

crib

ing

som

ethi

ngV

ideo

tak

e

• A

ccus

ing

som

eone

Ever

yday

lang

uage

• D

iscu

ssio

nFo

rm /

Stag

ing

• Ex

plai

ning

som

ethi

ngof

ficia

l lan

guag

e•

Form

fill

ed in

• M

akin

g re

proa

ches

• C

ritic

isin

g so

meo

ne

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

The

tele

visi

on c

ook

/ 7 d

war

fsTh

e d

war

fs w

ant

to b

e b

igg

er

Snow

Whi

te a

nd t

he s

even

dw

arfs

Dis

trib

uti

on

of

ho

use

ho

ld c

ho

res

Vic

ar M

oth

and

spec

tato

rsSn

ow

Wh

ite

and

th

e se

ven

dw

arfs

livi

ng

un

der

on

e ro

of

The

seve

n dw

arfs

and

the

ir re

lativ

esSn

ow

Wh

ite

is d

ead

Han

sel a

nd G

rete

l / a

jour

nalis

tSt

ayin

g w

ith

th

e w

itch

Han

sel

and

Gre

tel’s

par

ents

/ Re

pres

enta

tive

of t

he y

outh

wel

fare

dep

t.Po

ssib

le w

ith

dra

wal

of

cust

od

y

32

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• D

escr

ibin

g so

met

hing

Spec

ific

term

inol

ogy

• C

ontr

act

Post

er•

Expl

aini

ng s

omet

hing

and

•

Dra

ft o

f a

com

men

ting

on s

omet

hing

grap

hic

sim

ulat

ion

• A

ccus

atio

nsC

ollo

quia

l lan

guag

eA

rgum

ent

Stag

ing

• Ex

pres

sing

dis

appo

intm

ent

• Ex

pres

sing

indi

gnat

ion

and

ange

r

Giv

ing

advi

ceSp

ecifi

c te

rmin

olog

y /

Hea

lth t

ips

Exce

rpt

from

am

edia

lang

uage

scho

ol m

agaz

ine

• Fo

rbid

ding

som

ethi

ngO

ffic

ial l

angu

age

The

rule

s of

the

hou

sePo

ster

• A

rran

ging

som

ethi

ng•

Ord

erin

g so

met

hing

Ever

yday

lang

uage

Fax

Fax

text

• In

quiri

es•

Expr

essi

ng w

ays

Spec

ific

term

inol

ogy

Inst

ruct

ions

for

use

Inst

ruct

ions

for

the

new

to u

se s

omet

hing

broo

m „

Hec

uba”

• Fo

rmul

atin

g in

stru

ctio

ns

Mak

ing

a re

port

of

som

ethi

ngO

ffic

ial l

angu

age

Inte

rrog

atio

nRo

le p

lay

• D

isse

min

ate

info

rmat

ion

Ever

yday

lang

uage

App

eal

Post

er a

ppea

ling

for

a•

Expr

ess

requ

ests

dona

tion

cam

paig

n

Han

sel a

nd G

rete

l / a

n ar

chite

ctR

eco

nst

ruct

ion

of

the

gin

ger

bre

ad h

ou

se

The

mot

her/

the

fat

her

of H

anse

l and

Gre

tel

Mar

ital

cri

sis

as a

res

ult

of

the

exp

uls

ion

of

the

child

ren

The

witc

h/ a

nut

ritio

n ex

pert

Effe

ctiv

e fa

tten

ing

up

of

the

two

ch

ildre

nH

anse

l and

Gre

tel /

clie

nts

The

ren

ova

ted

gin

ger

bre

ad h

ou

se h

asb

eco

me

a yo

uth

ho

stel

The

witc

h an

d a

broo

m-m

aker

.Th

e w

itch

has

bo

ug

ht

a n

ew b

roo

m f

or

flyi

ng

Polic

e of

ficer

and

witn

esse

sIn

vest

igat

ion

of

the

mu

rder

in

th

e g

in-

ger

bre

ad h

ou

se

Car

itas

(Cat

holic

w

elfa

re

org.

) or

an

Evan

gelic

al p

aris

h in

…A

po

or

gir

l (w

ith

mat

ches

) w

as f

ou

nd

dea

d in

th

e to

wn

cen

tre

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

33

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• C

ompl

aini

ngEv

eryd

ay la

ngua

geC

onve

rsat

ions

Role

-pla

y “C

onve

rsat

ion

• Ex

pres

sing

inte

ntio

nsin

the

inn“

Mak

ing

an a

nnou

ncem

ent

Med

ia la

ngua

geA

nnou

ncem

ent

App

eara

nce

of t

he “

BTM

”in

fro

nt o

f an

aud

ienc

e(t

each

ers,

par

ents

, fel

low

,•

Des

crib

ing

som

ethi

ngYo

uth

lang

uage

, sl

ang

Rap

text

• Ex

pres

sing

fee

lings

pupi

ls)

• D

escr

ibin

g ex

perie

nces

Col

loqu

ial l

angu

age

Dia

ryD

iary

of

the

band

lead

er•

Expr

essi

ng p

erso

nal f

eelin

gsof

the

„BT

M“

• Ex

pres

sing

wis

hes

Poet

ic la

ngua

ge /

Mag

ic s

pell

Scen

ic p

rese

ntat

ion

/•

Mak

ing

supp

ositi

ons

Quo

tatio

nsG

reet

ing

card

s

• Ex

pres

sing

app

rehe

nsio

nEv

eryd

ay la

ngua

gePr

ivat

e le

tter

Scen

ic p

rese

ntat

ion:

read

ing

• Re

port

ing

abou

t so

met

hing

out

a le

tter

/se

ekin

g ad

vice

• Ex

plai

ning

som

ethi

ngW

ritte

n la

ngua

geIn

terp

retin

g dr

eam

sEs

oter

ic b

ook

with

•

Expe

ssin

g su

ppos

ition

sin

terp

reta

tions

of

va

rious

drea

ms

• M

akin

g co

mm

ands

Off

ical

lang

uage

Publ

ic a

nnou

ncem

ent

Scen

ic p

rese

ntat

ion

/•

Con

veyi

ng a

mes

sage

info

rmat

ion

on t

he

adve

rtis

ing

colu

mn

• G

ivin

g ou

t in

vita

tions

Ever

yday

lang

uage

In

vita

tion

Invi

tatio

n an

d pr

ogra

m f

or•

Pres

entin

g th

e co

urse

of

even

tsth

e w

eddi

ng c

eleb

ratio

ns

The

owne

r of

the

don

key

/ his

nei

ghbo

urTh

e d

on

key

is u

nd

erac

hie

vin

g

The

Brem

en T

own

Mus

icia

ns /

the

ir au

dien

ceA

co

nce

rt o

f th

e B

rem

en T

ow

n M

usi

cian

s

The

Brem

en T

own

Mus

icia

nsA

mem

ber

of

the

ban

d k

eep

s a

dia

ry

The

Goo

d Fa

iry a

nd g

uest

sSl

eep

ing

Bea

uty

is

bap

tise

d

Slee

ping

Bea

uty’

s m

othe

r an

d so

meo

ne s

hekn

ows

- A

fter

th

e b

apti

sm

Slee

ping

Bea

uty

and

the

Fairy

Slee

pin

g

Bea

uty

h

as

wo

ken

u

p

afte

rsl

eep

ing

fo

r a

hu

nd

red

yea

rs

The

emis

sary

of

the

Kin

g / t

he p

eopl

eSp

inn

ing

is

forb

idd

enth

rou

gh

ou

t th

e co

un

try

Slee

ping

Bea

uty

and

the

Kin

g’s

son

Wed

din

g

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

34

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• Sp

eaki

ng u

p fo

r so

met

hing

The

lang

uage

of

An

appe

al f

or t

oler

ance

Cla

ss le

sson

s w

ith t

he•

Dra

win

g at

tent

ion

to s

omet

hing

teen

ager

san

d re

cipr

ocal

hel

pdu

cks

• D

escr

ibin

g da

nger

sM

edia

lang

uage

/Pr

ess

conf

eren

ces

The

Kin

g’s

• W

arni

ngla

ngua

ge a

ppro

pria

tepr

ess

conf

eren

ce•

Cal

ling

for

actio

nfo

r ro

les

• A

nsw

erin

g qu

estio

ns•

Crit

icis

ing

som

ethi

ngSh

orte

ned

form

s /

Spee

ch b

ubbl

es /

car

toon

Car

toon

gal

lery

• C

ompa

ring

som

ethi

ngPl

ayin

g w

ith la

ngua

ge•

Mak

ing

sugg

estio

ns f

or c

hang

e

• D

escr

ibin

g th

e st

ory

of a

life

Writ

ten

lang

uage

Bibl

iogr

aphy

/ r

epor

tA

rtic

le f

or t

he f

ront

pag

e•

Repo

rtin

g so

met

hing

of a

mag

azin

e:“P

eopl

e of

tod

ay”

Con

vinc

ing

som

eone

Arg

umen

tatio

n (in

the

Neg

otia

tion

Sket

chro

le o

f th

e D

evil’

sA

dvoc

ate)

• C

onvi

ncin

g so

meo

nePo

litic

ians

` lan

guag

eEl

ectio

n pr

omis

es /

slog

ans

Bann

ers

and

elec

tion

• Pr

aisi

ng s

omeo

nepl

acar

ds•

Giv

ing

reas

ons

for

som

ethi

ng

• Ex

pres

sing

wis

hes

Ever

yday

lang

uage

Des

crip

ition

of

obje

cts

List

of

wis

hes

to t

he•

Expr

essi

ng d

ream

sgo

lden

fis

h

The

Ugl

y D

uckl

ing

/ his

tea

cher

and

frie

nds

inth

e cl

ass

The

du

cklin

g is

dif

fere

nt

The

Kin

g an

d th

e pe

ople

The

drag

on t

hrea

tens

the

cou

ntry

(*se

e no

te )

The

Kin

g an

d th

e cr

itics

The

ho

me

affa

irs

of

the

Kin

g a

re c

riti

cise

d

The

hone

st c

obbl

er /

new

spap

er r

eade

rTh

e n

atio

nal

her

o r

epo

rts

The

drag

on /

the

lead

er o

f ne

gotia

tions

Kid

nap

pin

g o

f th

e yo

un

g g

irl

The

cobb

ler

/ th

e pe

ople

The

des

ervi

ng

co

bb

ler

is t

o b

e K

ing

The

fishe

rman

and

his

fam

ily /

the

gold

en f

ishTh

ree

wis

hes

can

be

fulf

illed

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

35

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• C

hoos

ing

som

ethi

ngEv

eryd

ay la

ngua

geQ

uest

ionn

aire

Car

ryin

g ou

t a

• G

ivin

g re

ason

s fo

r ch

oice

ques

tionn

aire

usi

ng•

Form

ulat

ing

rule

ssc

enic

mea

ns

• G

ivin

g pi

eces

of

advi

ceW

ritte

n la

ngua

geFo

lk w

isdo

m /

prov

erb

Fina

ncia

l gui

de•

Form

ulat

ing

rule

s

• O

ffer

ing

som

ethi

ngM

edia

lang

uage

/Pr

ice

cata

logu

e /

The

com

plet

e ra

nge

of•

Adv

ertis

ing

som

ethi

ngO

ffic

ial L

angu

age

Wor

k co

ntra

ct /

prod

ucts

of

a te

xtile

firm

/•

Com

ing

to a

n ag

reem

ent

Adv

ertis

ing

mat

eria

lbr

ochu

re

Repo

rtin

g ab

out

som

ethi

ngM

edia

lang

uage

/Pa

ntom

ime

Live

tra

nsm

issi

on f

rom

Expr

essi

ng a

ston

ishm

ent

Com

men

tato

r’s la

ngua

geC

omm

enta

ryth

e ce

lebr

atio

ns

Ask

ing

som

eone

’s op

inio

n /

Med

ia la

ngua

ge /

Que

stio

nnai

re“S

houl

d th

e em

pero

rEx

pres

sing

an

opin

ion,

with

rea

sons

Col

loqu

ial l

angu

age

abdi

cate

?” S

imul

ated

inte

rvie

ws

in t

he s

tree

t -

vide

o sh

ootin

g

• A

skin

g fo

r so

met

hing

Ever

yday

lang

uage

Con

vers

atio

nRo

le-p

lay

• A

skin

g fo

r ad

vice

• C

ompl

aini

ngLa

ngua

ge a

ppro

pria

teC

onve

rsat

ion

Role

-pla

y•

Crit

icis

ing

som

ethi

ngto

a p

artic

ular

rol

e,yo

uth

lang

uage

The

fishe

rman

and

his

fam

ily /

his

neig

hbou

rsTh

e fi

sher

man

just

can

’t d

ecid

e

Han

s in

luck

/ an

adv

isor

Han

s d

oes

so

me

very

bad

bu

sin

ess

The

Empe

ror/

craf

tsm

anTh

e Em

per

or

nee

ds

new

clo

thes

TV p

rogr

amm

e “C

ourt

New

s”/ v

iew

ers

The

Emp

ero

r ta

kes

par

t in

th

e p

arad

e in

his

new

clo

thes

Jour

nalis

t /

pass

ers-

byTh

e Em

per

or’

s ap

pea

ran

ceis

ho

tly

dis

cuss

ed

The

sons

of

the

Kin

g/ a

n ol

d m

anTh

e K

ing

is

ill,

his

so

n s

eeks

th

e w

ater

of

life

The

Prin

cess

on

the

pea/

the

hos

tsTh

e Pr

ince

ss h

as s

lep

t b

adly

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

36

Cha

pter

3: D

idac

tic-m

etho

dolo

gica

l spe

ctru

m

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• Ex

pres

sing

wis

hes

Med

ia la

ngua

gePr

esen

tatio

n te

xt (a

s at

Cas

ting

• D

escr

ibin

g so

met

hing

Cas

ting

beau

ty c

onte

sts)

• In

trod

ucin

g on

esel

f

• M

akin

g ap

poin

tmen

tsEv

eryd

ay la

ngua

geC

onve

rsat

ion

/ hou

se r

ules

Wor

k co

ntra

ct a

s w

ritte

n•

Neg

otia

ting

subm

issi

on a

nd r

esul

t of

the

firm

• A

pply

ing

Off

icia

l lan

guag

e /

Cur

ricul

um v

itae

/A

pplic

atio

n fo

r a

posi

tion

/•

Intr

oduc

ing

ones

elf

the

lang

uage

of

the

appl

icat

ion

Inte

rvie

w w

ith t

he b

oss

• Ex

pres

sing

one

’s ex

pect

atio

nsBi

ble

(“Th

e Lo

st S

on”)

of t

he f

irm

• Ex

pres

sing

sup

posi

tions

Wea

ther

for

ecas

t,

Med

ia la

ngua

ge /

sett

ing

Wea

ther

for

cast

on

TV;

• N

amin

g w

eath

er p

heno

men

aco

nver

ting

to s

ceni

cD

escr

iptio

n of

the

set

ting

lang

uage

(beg

inni

ng o

fa

stor

y)

• G

reet

ing

Con

vent

iona

l writ

ten

Post

card

Gal

lery

of

post

card

s•

Giv

ing

asho

rt d

escr

iptio

n of

lang

uage

(Tex

t an

d gr

aphi

c de

sign

)so

met

hing

• N

amin

g so

met

hing

Ever

yday

lang

uage

Men

uG

uest

s ex

pres

s w

onde

r,•

Expr

essi

ng w

ishe

sex

clam

ator

y,de

light

...•

Ord

erin

g so

met

hing

exal

ted

lang

uage

• Re

port

ing

abou

t so

met

hing

Med

ia la

ngua

geLi

ve b

road

cast

Stag

ing

with

com

men

tary

/•

Mak

ing

a ru

nnin

g co

mm

enta

ryvi

deo

shoo

t

The

Prin

ce a

nd t

he Q

ueen

The

Prin

ce is

loo

kin

g f

or

a w

ife

Mrs

Hol

le a

nd h

er m

aid

The

mai

d h

as m

any

du

ties

The

mill

er’s

youn

gest

son

and

his

bro

ther

Aft

er t

he

dea

th o

f th

e fa

ther

th

e yo

un

-g

est

son

rec

eive

s n

o m

on

ey –

the

eld

est

son

has

was

ted

his

sh

are

of

the

inh

erit

ance

Ger

da a

nd a

TV

pre

sent

erG

erd

a w

ants

to

go

aw

ay in

to t

he

lan

d o

fth

e Ic

e Q

uee

n t

o lo

ok

for

her

fri

end

Ger

da a

nd h

er g

rand

mot

her

Ger

da

is in

th

e la

nd

of

the

Ice

Qu

een

The

youn

gest

son

of

the

Mill

er /

his

gues

tsTh

e m

agic

tab

le a

s a

wo

nd

erfu

l w

ay o

fp

rep

arin

g a

par

ty

TV p

rogr

amm

e “C

ourt

New

s” /

view

ers

Slee

pin

g B

eau

ty i

s b

apti

sed

37

Co

mm

un

icat

ion

par

tner

s /

Co

mm

un

icat

ive

inte

nti

on

s La

ng

uag

e re

gis

ter

Text

typ

e /

Pro

du

ct /

si

tuat

ion

al f

ram

ewo

rk(l

ang

uag

e ac

ts)

lan

gu

age

pro

du

ctfo

rm o

f p

rese

nta

tio

n

• Re

port

ing

abou

t so

met

hing

Ever

yday

lang

uage

Real

ity s

how

Vid

eo s

hoot

ing

• M

akin

g sm

all t

alk

• C

arry

ing

out

gam

e as

sign

men

ts

• D

escr

ibin

g so

meo

neO

ffic

ial l

angu

age

“Wan

ted”

pos

ter

Wal

l dis

play

/•

Ask

ing

for

Info

rmat

ion

blac

kboa

rd /

• A

ppea

ling

for

coop

erat

ion

Info

rmat

ion

colu

mn

• D

escr

ibin

g on

e’s

wis

hes

The

lang

uage

of

ads

Mar

riage

ann

ounc

emen

tC

onta

ct b

ox in

•

Expr

essi

ng t

hing

s ab

out

a pe

rson

“F

ive

min

utes

for

you

“on

e is

fon

d of

• A

skin

g ab

out

som

ethi

ngYo

uth

lang

uage

/•

Fan

club

box

Fan

club

box

in t

he y

outh

• A

skin

g fo

r so

met

hing

med

ia la

ngua

ge•

Inte

rvie

w /

Star

New

sm

agaz

ine

“Prim

a”•

Repo

rtin

g ab

out

som

ethi

ng•

“Wan

ted”

rea

der’s

lett

er•

Giv

ing

an e

xper

t’s o

pini

on

• D

escr

ibin

g so

met

hing

Ever

yday

lang

uage

/D

escr

iptio

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Those teachers who prefer frontal teaching or those who generally work closely with the con-tents and procedures suggested by textbooks can take different forms of exercises from theScene Generator. Attractive exercises can be generated by it, even for the practising of voca-bulary or the use of linguistic structures.

39

Chapter 4: Requirements


Examples:

Text production following a pattern (lexical/grammatical practice). Even for these simple purposes,far removed from the demands of staging, small exercises can be taken from the Scene Generator.

The following examples deal with grammatical sequences:

Staging language is more than this!Staging strives for the closest possi-ble realisation of authentic commu-nication. What is a sine qua non hereis the (mainly unassisted) productionof linguistic utterances in word (oralcontributions, to be documentedand used in lessons as soundtracksor recorded on video) and written (astexts), and the presentation of thesethrough the pupils, according to lin-guistic intention and text type inwritten or scenic form.

The teacher masters the techniquesof creative writing and scenic repre-sentation and conveys these syste-matically to his pupils in his tea-ching.

40


Word-fields on “weather” – “fear” – “feelings” – “landscape”

Object description: “witch” – “dragon” – “king” – etc.

Conditional sentences: “If I had beautiful clothes, I would be allowed to go to the ball”-“If I went to the ball…”

Sentences expressing wishes: “If only I wasn’t a small, ugly frog…”Past perfect: “After I had seen the Prince I was lost.” “After we (he and I)…”

Snow White is dead

We have gathered here today to take leave from our dear SnowWhite for the last time. We have shared joyful years with herand we now bitterly regret her premature death.

We first met her in our hut as we came back from work. Wehad never seen such beauty before and will never do so again.We could hardly believe that it was not a dream. Now we havethe same impression. We can hardly believe that this is not anightmare, but cruel reality. We cannot believe that she is dead.She was so kind, so helpful. The whole time she was with usshe worked in our small hut, prepared delicious food, some-thing that was always difficult for us. And most important, shemade the atmosphere in our little house warmer and friendlier.Her soul was so noble that she could hardly imagine that evilexists in the world. She was able to forget how her stepmotheronce treated her. She excused it so lightly, forgiving and forget-ting, that it led to tragedy.

4.2 Use of ICT

For the purposes of documentation and also for drawing up many a presentation, so-callednew technologies suggest themselves, as the creation of certain scenic language products ortheir presentation are hardly possible without computer processing or video editing.

However, the Scene Generator can be used in many different ways, even if the school is onlyminimally equipped, allowing the creation and presentation of language products which arecomplex and demanding as far as the process of learning foreign languages is concerned.

4.3 Measurable complex ity of staged communication

With the generator individual exercises for various teaching materials and aims were genera-ted, whose outcomes can subsequently be combined without difficulty to produce more wide-reaching projects, as the following reflections and examples show.

41


Example 1:The simplest way to combine individual exercises is to present scenes one after another as indi-cated above. These can be taken directly from our table in the column “communication part-ners and situational framework” with suggestions:

Texts connecting the chosen scenes to a simple thematic “project” (commentary, explanations,transitions), are recited by a speaker.

Example 2:A significantly more demanding method of combining single scenes is attained, if the stagingstarts from the criterion “text type”:

42


Thesim-plest

form ofcombination

of single exerci-ses is the successive

presentation of indivi-dual scenes (example 1).

A significantly more demandingmethod of combining single scenes isattained, when the staging starts fromthe criterion “text type” (example 2).

If the staging starts from the criterion “language register”,complex scenes are conceivable, in which different Fairy Stories

are combined (example 3).

Cinderella and her stepmother

Cinderella and a counsellorCinderella and the Prince

…(see table)

Three different text types are to be presented: telephone conversation, argument and declara-tion of love. All three can refer to one and the same Fairy Story. During the presentation of thescenes a speaker takes over the explanations which connect the scenes and thereby creates anew context:

Example 3:

If the staging starts with the criterion “language register”, the following scenes may be feasible,using different Fairy Stories. While presenting the scenes the speaker leads the audience throughthe sequence of presentations with suitable allusions to the different forms of language. In orderto underline the creativity of the pupils, he narrates the scenes that are to follow first in traditionalform/diction (narrator of Fairy Stories). In so doing he stays as closely as possible to the contents ofthe original, or he invents suitable passages in the diction of the Fairy Story.

43


Specific terminology: the representative of a cosmetic firm advises the stepmotherof Snow White.Youth language: Hansel and Gretel report about their experiences in a talk show.

Ceremonial address: The King presents the Prince in The Frog King with his king-dom and his daughter.

1. Telephone conversation: Cinderella orders new clothes by telephone from the mail-order company to go to the ball.

2. Argument: Cinderella argues with her stepmother about taking part in the ball,for which she is just purchasing her new clothes.

3. Declaration of love: the Prince confesses his love for her (at the ball) and praisesher beauty (because of the new clothes?).

44

Chapter 5: Two project examples from the classroom


5.1 News from Fairy Land

The principles of the project

Not only children like to be enchanted – our examples show that Fairy Stories in all their diver-sity can be used successfully in language teaching with young people from the age of 15 to 19years. As young people in contrast to children are capable of abstract thought processes, alter-native possibilities to work with different Fairy Story themes present themselves.

At the beginning of 2002 a number of German teachers in Poznan / Poland discussed their tea-ching experiences during a specialist conference. The results of the discussion provided theimpulse for the planning of the project “News from Fairy Land” in the Adam MickiewiczLyceum. The fundamental idea was that all the classes in one year of the school were to parti-cipate; an important precondition was that all the German teachers who taught in the classeswanted to take part. The suggestion of a common teaching project was well received by boththe teachers and the pupils. From the beginning a friendly work climate and an atmospherefree from fear was created, to make active and creative cooperation possible for all.

The participants in the project came from classes with an extended German programme, whichmeans from classes with five lessons of German a week, and from classes with only twoGerman lessons a week, resulting in obvious differences in the mastery of the German langu-age. For this reason the various classes of about 30 pupils, with respect to the differences inthe number of German lessons and language competence, received tasks of varying difficulty.In this way it was also possible to involve the pupils in the planning and production. It shouldalso be mentioned that all of the classes had already had concrete experience with teachingprojects, which were useful for this work.

45


Aims

The following teaching aims were pursued:

Contents

The project had the following subject matter:

46


Action- and product-oriented teamwork

The checking of young people’s knowledge of various Fairy StoriesThe creative use of Fairy Stories, which offer interesting linguistic material and serveas a basis for learning foreign language

Imaginative and creative intervention in familiar Fairy Tale themes, and their trans-fer into the modern media world

The analysis and use of media language

The preparation and production of audiovisual recordings for a TV programme“News from Fairy Land” in the course of one month: deciding on the script and thesituational framework for the shooting and technical processing.

Recognition and recording of characteristic features of media languagePresentation of the outcomes at a parents’ meeting and during the training fair ofthe Further Education Institute ODN, with preparation in the form of informationplacards and invitations.

Material and media

The video and sound recordings were made by members of the Media Club, who for the mostpart were in the classes taking part in the project. The following materials and media were used:

Realisation of the project

The work lasted a month and proceeded ingroups in all classes at the same time, wherebythe distribution of tasks was influenced by thenumber of German lessons: the classes withfewer German lessons had easier assignments toprepare. The texts staged by the individual clas-ses were recorded and used for a TV magazine“News from Fairy Land”.

From the rich selection of available TV program-mes and programme types in the German TVlandscape, the individual groups chose those,with which they wanted to work the most. Theywere advised by the teachers, whereby the mostimportant factor was to take into considerationthe different levels of the groups of learners.

47


PC, camera, video recorder, cassette recorder, paper, transparencies

After many necessary discussions and a vehement argument a theme from the very popularFairy Story “Snow White” was chosen, that offers many creative working possibilities, for exam-ple the “magic mirror” that always tells the truth. The original idea lay in the fact that an adver-tising spot could be filmed for this valuable Fairy Tale mirror. Then someone made the proposalthat this little mirror could function as the leitmotif for the advertising of another product. Thissuggestion met with everyone’s approval. Small groups were formed whose task it was tochoose a product they wanted to advertise in the spot.

48


Group 1: Class 2a 5 Crime series “Scene of Crime”

Group 2: Class 2a 5 News

Group 3: Class 2b 2 Advertising spot

Group 4: Class 2b 2 Talk show

Group 5: Class 2c 2 TV Tips “My grandmother recommends”

Group 6: Class 2c 2 Political forum

Group 7: Class 2d 2 (Daily) soap opera

Group 8: Class 2d 2 Quiz show

Group Number of German Type of programmelessons per week

The following overview shows the course the work took in the single lessons:

Lesson 1

Lesson 2

49


Analysis of press andTV advertising, pay-ing special conside-ration to the charac-teristics of medialanguage

Compiling a list ofthe typical featuresof a professionalcommercial

Analysis of the means ofexpression used in the com-mercial (language style, turnsof phrase, symbols, figurativemeaning)

Analysis of the means ofexpression used in the com-mercial (language style, turnsof phrase, symbols, figurativemeaning)

Video recordings of commerci-als

Advertising in the press

Paper

Coloured markers

Contents Linguistic and Media and materialspedagogic focus

Writing a screenplayfor an advertisingspot

Creative writing

Formulating suitable and cat-chy slogans

Developing a feeling for language:puns and unusual collocations

Making the pupils sensitive tothe figurative meaning of thelanguage

Packing paper

Coloured markers


Lesson 3

In the third lesson the pupils work out a detailed production plan together and discuss theimplementation and allocation of the individual tasks. The starting point of the discussion wasclear distribution of the assignments, for which all participants in the project were to take res-ponsibility.

It had to be decided first and foremost:

Lesson 4

50


Scenic production ofthe drafted screen-plays

Pronunciation training

Connection of verbal andnon-verbal communication

Use of facial play, gestures andother signals of body language

Overcoming the fear of actingin front of a running camera

Requisites


Who plays which role?Who procures the necessary requisites?

Who decides on the appropriate locations? Who takes over the transport of peo-ple, equipment and requisites?Who procures the required costumes?

Who takes over the technical processing of the recordings?

Who is responsible for make-up?

Lesson 5

5.2 “Murder in the Gingerbread House”

The second example is based on the attempt to make the foreign language learning interestingfor 15-18-year-old pupils by taking into consideration the psychological development charac-teristics of this target group.

These young people find themselves in a phase of their lives typified by physical and psycho-logical. They examine their own attitudes and their relationships to other people, they rebelagainst the given world order, not seldom against rules established by authorities. They decideon their actions through individual thinking and through personal judgments, and the worldaround them is often reflected very critically. They are conscious of the relativity of personal opi-nions, which often leads to their rejection of stereotyped ideas and the inclination to provoca-tion. In judging if something is good or bad they go by their own standards, without confor-mity.

51


Making the videotakes

Using language in a serioussituation

Video camera

Video recorder

Digital camera


Children fatally set f

ire to old lady (58)

Two children caught stealing

in the gingerbread house

Brutal juveniles

Hansel and Gretel taken to court

for the murder of an elderly lady

The teacher reports…

In this project I undertook the attempt to have my pupils tackleproblems of conflicting values through the medium of theGerman language. Pupils of this age like to reveal differing valuejudgments and discuss their discrepancies with each other, with-out taking the problems personally.

As many young people are simply ashamed to express their own,often unpopular opinions in front of their contemporaries, I triedto deploy the discussion of moral principles to the world of Fairy

Stories, so that it became possible, through the alleged distance from reality coupled withthe simultaneous familiarity of the situation and the figures, to slip into various fictitiousroles, hiding one’s own identity behind the mask of a Fairy Story figure, speaking and actingin his or her name.

The impulse for this project was given by my experience ofthe readiness of my pupils to judge the behaviour , the wayof life, the opinions and convictions of other people; in sodoing it often came to vigorous, emotionally loaded dis-cussions in the German lessons because of the divided opi-nions. I felt my pupils were mature enough to make judg-ments about good and evil in accordance with their cons-cience and concepts of values and at the same time to beactive in the foreign language. We decided to put on aFairy Tale trial within the framework of our project.

In the course of the implementation of this project we alsomade it our aim to learn the vocabulary of the court, to getto know the standard procedures in a German court, usingand staging the foreign language as a concrete communicative function, practically trying it

out through activity and enjoying dealing with the language.Our first task was to find a Fairy Story whose content couldbe suitable as a basis for a court hearing. It had to be a storyin which the figures act in a morally suspicious way, althoughthe causes and motives for their wicked deeds should not betoo obvious. After reading a number of tales we decided on“Hansel and Gretel”, which in our opinion leaves a lot ofroom for thought about the motives for human actions, whilealso enabling us to question in a controversial and provocati-ve way the stereotyped range of criteria for judging humanbeings which is anchored in our mentality, thus making thework in the project even more attractive.

52


Leading questions should be, among others:

For the distribution of roles I used a work-sheet, that was used several times in thecourse of practical activities; it containedfirstly essential information about the sha-ping of each role, recorded the names ofthe players and finally served as a basis forthe evaluation of the individual phases ofthe hearing.

53


Were Hansel and Gretel so innocent?

Didn’t the witch have the right to call the two children to account?

54


Worksheet for the court hearing

Witnesses(Prepare their statements)

Judge(Is in charge of the hearing)

Defender(Lays down the line of defence,interrogates the accused andthe witnesses, holds the finalspeech for the defence)

Public Prosecutor(Lays down the line of theprosecution, interrogates theaccused and the witnesses, holdsthe final speech for theprosecution)

The accused(Prepare their statements)

Court observer(Analyses, prepares reports)

Lay assessors(Make notes, discuss)

Court stenographer(Writes down the courseof the hearing)

Journalists(Write notes, carry outinterviews)

As further material we compiled a list of turns of phrase containing the indispensable voca-bulary with regard to court language. This vocabulary list was drawn up by all the pupils takingpart in the project; they were able to make use of electronic or printed dictionaries and watchvarious films, film series or broadcasts set in a courtroom. It was quite useful for the choice ofmaterial that I knew a number of series; so I could advise my pupils well.

Finally I would like to say that it was always important for my pupils that they were awarethat the result of shared work depends on all the participants and that they are all impor-tant links in the chain.

55


Vocabulary list “In the Courtroom”

To open the hearing To defend the accused

Your Lordship (Your Honour) The jury

To summon (subpoena) Perjury

To appear before the court To swear in a witness

To make a statement To raise an objection

To stand before the court Objection overruled!

To adjourn for (further) Objection granted!

consultation

To pass sentence To submit evidence

To pass judgment / To make an entry in the records

To pronounce a verdict

To demand a prison sentence To demand to view the files

(records)

To propose a prison sentence The speech for the prosecution

To apply for a suspended sentence The dock

To appeal for To hold the speech

a sentence to be suspended for the prosecution

To appoint as a witness To make a plea

To name a witness To declare guilty/innocent

To interrogate, To acquit

To cross-examine someone

To file an appeal To impose a prison sentence

To lodge an appeal

The following important assignments outside the actual foreign language learning were divi-ded up:

The project not only improved the group’s knowledge of German, we also had a lot of funtogether and became a better community.

56


Who takes over the task of setting up a courtroom in one of the classrooms (set-ting up benches, procuring requisites and a cassette recorder, together with a videorecorder and television)?Who procures the necessary pieces of evidence (photos, cassettes, video recordingsand other objects which can serve as evidence?

Who provides us with costumes?

Who is responsible for makeup?Who is responsible for video recording? (Documentation)

57

Chapter 6: The implementation of the teacher training


6.1 Preliminary comments

his chapter does not deal with a teacher training coursewhich inevitably leads the teachers to the project News fromFairy Land or Murder in the Gingerbread House (see Chapter5). It is more important that the participants are ready to usethe whole range of possibilities offered by Fairy Stories in for-eign language learning at secondary schools, in particular thematrix Scene Generator.

In today’s schools the ability of the teacher to organise lear-ning processes, to moderate and to motivate the pupils towork independently counts more and more. In this way thescene is set for real communication in foreign language lear-ning, in other words the boards are being nailed together forStaging Foreign Language Learning.

This modern teaching needs teachers who guide the events in the classroom, without limitingthe pupils to small steps; it needs teachers who help pupils to be creative. The first thing to dois to mobilise and develop the creativity of the teachers. Even when he or she does not claimto be especially creative – creativity can be trained. Teachertraining cannot simply sell finished products, but must aimat developing the right attitude. It must give the teacher thetools to go on developing himself: help to self help.

Fairy Stories can be a bridge for teachers to return to theworld of children, in which spontaneity, fantasy andlightheartedness rule the roost. Once this approach to FairyStories as a bridge to the world of children has been accep-ted, it becomes possible for teachers to begin schooling crea-tivity and giving up accustomed daily roles, or at least que-stioning them. At the other side of the bridge they will finda magic well from which they can draw, in order to maketheir teaching stimulating and communicative.

6.2 Overv iew of the modules

For a teacher training course under the title News from Fairy Land several modules are indi-spensable, allowing the theme fairy tale to be seen from a new angle and helping to point theway to new teaching activities.

As one of the main aims of this teacher training course (as is the case for lessons later) is thecreative and independent use of existing material, no strict order is to be suggested for theorganisation of the course. The entry point can be determined by the intention of the courseleader or by the wishes and needs of the participants. The material can be varied as the targetgroup requires or the schedule of available time permits.

58


6.3 The teacher training course “News from Fairy Land”

The course is planned for five days. The five units should be brought together into a one weekcourse. The target group consists of secondary school teachers who have always gone beyondthe limitations of textbooks and created their exercises and materials themselves, but alsothose who have followed the textbook routine up to now and would like to go new ways intheir teaching.

Inv itation: “Let it be known to all the teachers of the Kingdom…”

As potential course participants possibly imagine another course of the conventional kind, ofwhich they have gone through several before during their teaching career, when they read thetitle, this course should make it clear from the beginning that we are embarking on new workprocesses and that it is a prerequisite that the participants are ready to let themselves go. Theinvitation should clearly emphasise the staging of foreign languages in secondary schools as athematic focal point.

59


Contents

It is not the history of the text type “Fairy Story” and the possibili-ties of interpretation that are at the centre of this project, but asharpening of the consciousness of the teachers for the potentialthat Fairy Stories offer for breaking new ground in foreign langua-ge learning. For this purpose, however, it is first necessary to con-vey some specialised background.

The aim of the project is to make the communication in teachingmore attractive, more varied and more efficient. For this we need toreflect about the most important factors of linguistic communicati-on and their role in language acts.

The creativity of teachers and pupils cannot be achieved immedia-tely. However it is possible to practise and to develop it throughfocused procedures.

The overriding concept of all the “Staging” materials entails prac-tical activity, scenic development and staging in foreign languagelearning. The teachers must learn basic techniques, with the help ofwhich the pupils (and the teachers themselves, too) can express andpresent themselves openly without shyness.

Modern teaching technology should be used in producing outco-mes, presenting them and documenting the work. The teachersshould be encouraged to use all the technical means available, or atleast to try them out.

Module

Fairy Story

Factors of linguisticcommunication

Creativ ity

Staging

Equipment

The techniques of scenic role play have not been able to take root in all countries. The fact that duringteacher training one has to lie on the floor, take off one’s shoes or recite a text on one’s knees is scur-rilous or embarrassing for many colleagues. They should not be exposed to such a shock. The invita-tion should already contain information about the planned contents and practice techniques.Welcoming package

Most young people know Fairy Stories; the teachers can have forgotten some of the details. A wel-coming package – the German versions of 8-10 well-known Fairy Stories – forms the basis for thework in the seminar. (One variation: the participants each receive 2-3 different Fairy Stories. In thisway there is an information gap which can positively influence the work of the course participants.)

6.4 Module 1: Fairy Tale

Introduction: “With music and candlelight”

Thinking back to the happy Fairy Tale hours of childhood, one often remembers the atmosphere, thevoices of those reading. Young people are perhaps more familiar with Fairy Tale cassettes and videos.

Be that as it may, it is worth while creating an atmosphere in the seminar room which conveyspeace and security for a time. A few requisites, a lamp stand or candles and suitable music helpthe participants to let their thoughts stray in the world of fantasy. Requisites also create a fami-liar atmosphere which helps people to share their experiences. The course leader reads out aFairy Tale text with the appropriate prosody. And directly after the formula “…and they livedhappily ever after…” a spontaneous conversation begins.

Making acquaintances: “I am the Prince”

The excursion into the world of Fairy Tales is continued: requisites are taken out of the “magicchest” brought along by the course leader and used at the introductions of the individual par-ticipants. The choice of the requisite and the role connected to it must be explained to theothers.

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We, Didacticus 1st, King of Linguania, guardian of the true methodsand defender of Occidental didactics, ruler over the United FairyCountries, Command Our pedagogical vassals to respond, preparedand equipped with all manner of materials, and to appear at a five-day tournament in Poznan.

We summon the said vassals to this pedagogical joust to show newmethods and put them to the test together. We await Our retinue pun-ctually on the 20th day of November at the ninth cock.

It would be desirable if the chosen roleswere adequately represented in language,contents and gesture. The participants arenot limited in their selection of biographicaldetails presented in this way.

However the course leader can decidewhether he should call on the participantsonly to move within the framework of theFairy Story indicated by the requisite,whether he should allow unrelated biogra-phical details to be recounted or whether amixture of these forms should be favoured.

The following authentic examples of a training course are a mixture of references to Fairy Talesand biographical details of the participants. One should be careful that the references to bio-graphical details and the everyday world should not take the lion’s share.

“Journey through the Fairy Wood” (Activation of factual knowledge)

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I am the Prince because I have been looking foryears for a Princess that I could awaken to life.But I cannot find her anywhere. Perhaps she’llcome to a training course some day. (Witek)I am the wicked wolf. That is what my pupilsthink, at least. But does the teacher have away out? (Wojtek)I admit that I spend a lot of time in front of themirror and before I am ready in the morning it lasts rather a long time. That comes backon my husband, especially. So I am the Queen, the stepmother of Snow White. (Aneta)

Actually I am Little Red Riding Hood, as I am always beingsent somewhere by my wife: maybe not to grandmotheror to the stepmother, which would be even worse, butsimply to the business… (Robert)I am the hunter, because I am really the hunter. Wellperhaps not quite, but I was often the interpreter whenGerman groups came to us to hunt.Now I know for the first time why I have so many pro-blems sleeping. I am the Princess on the pea. Everythingdisturbs me. (Magda)As I am a part time musician I will simply say that I am one

of the Bremen Town Musicians. I would like to be as successful as they are. (Marek)In this group I can only be the grandmother of Little Red Riding Hood. I hope thatI can do the tasks here half as well as the younger colleagues. (Irena)

The aim of the game is exclusively to activate factual knowledge (brushing up our knowledgeof Fairy Tale figures and themes, relationships between the Fairy Tale heroes, specific Fairy Talevocabulary), and as such is not a part of the concept of “Staging” propagated by us in foreignlanguage learning.

In the seminar room task stations are built up, (tables with prepared requisites and works-heets), at which the participants, divided up into groups, carry out tasks in any order.These stations each have a different focus and one is required to carry out different activities.During these the contents of many Fairy Tales and themes are recalled in a playful manner.

The work at the stations is followed by presentations, which allows the elements of staging toemerge again.

Game at different task stations: “Journey through Fairy Wood”

1st station:You would like to work as a babysitter in the “Goat” family, whose children have played themain roles in the filming of “The Wolf and the seven little kids”. In order to get the job you haveto prove that you know and can tell Fairy Tales very well. So please do the exercises..

1. Complete

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Who said this: “Grandmother, what big eyes you have?” a) Snow Whiteb) Sleeping Beautyc) Cinderellad) Little Red Riding Hood

“Queen, you are the fairest here, but ……………..over the Which fairy tale?mountains with the seven dwarfs is a thousandtimes fairer than you.”Who is meant by the magic mirror? a) Beauty

b) Ice Queenc) Snow Whited) Gretel

2. Assign the themes below to the given figures

3. Which figures come from one and the same tale?

a) Hanselb) Gretelc) Cinderellad) Little Red Riding Hoode) Snow Whitef) The Wolfg) The Seven Dwarfsh) The Godmother, a good fairy

4. Who is the odd man out?

a) Gingerbread House – going to school – children – hungryb) Going on winter holidays – skating – Ice Queen – looking for the brotherc) Looking for a genuine Princess – a pea – to sleep well – pillowsd) Beauty – a rose – jealous sister – a golden carriage

2nd station

You are in Fairy Wood with Prince “Washboard Stomach”, who is actually called Amadeus, ata ball. After the party you want to be driven home again safely in a carriage.

- Ring up the carriage driver. Describe the way to the castle, so that he can pick you up.- Try to take as many bases as possible into consideration (like e.g. the little magic

fountain, the thorny hedge, the second path on the left hand side behind the Gingerbread House, past Dracula’s Castle, near the Stone of Truth etc.)

- In order to be safe, fax a small sketch to the Carriage firm.

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A thorny hedge – a spindle – a pair of boots – a golden shoe – a hundred-year sleep – a gingerbread house –a witch – a basket with wine and cake – a flower – a pea – a mirror – a castle – a good fairy – a mill – adonkey – a bed full of mattresses and pillows – a carriage – doves – midnight – broom

Hansel Sleeping Puss in Little Red Cinderella The Prin- Beautyand Gretel Beauty Boots Riding cess and and the

Hood the Pea Beast

Tips

3rd station

It is election time in Fairy Land. There are candidates, male and female, who want to convincethe electorate of their particular suitability for public office: Cinderella’s stepsister, the Wolf,Puss in Boots, the youngest of the Seven Dwarfs and Red Riding Hood. You belong to the teamof one of these candidates. Organise his/her election campaign!

Tasks- Write the speeches- Prepare the TV appearances with interviews or as talk shows- Think about slogans for your candidate etc.

For the protagonists it is advisable to have requisites ready, which are typical for the corresponding roles (hats, masks, scarves, etc.)

Examples of slogans- Trust Snow White – choose list 5!- Our man in Brussels: King Drosselbart!- The world belongs to Mrs Holle!- More rights for frogs!

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In the presentation phase the conversations of the course participants will be pre-sented with suitable requisites (telephone receivers). The sketches of the journeywill be overhead projector transparencies and will be presented in this way.

The dialogue partner “Carriage driver” is slow on the uptake or the telephone lineis bad, so that he must keep asking back. Thus a more balanced dialogue is pro-duced in which both partners have roughly equal shares.

Tips

4th station

Produce an excerpt from a fairy tale in the form of a pantomime. Ask one or several participants togive a running commentary on the performance, without explicitly naming the Fairy Tale figures.

Let other participants find the name of the fairy tale, guess the figures and name and com-ment on the single sequences of action before and after the excerpt.Choose suitable requisites for the presentation.

Hinweise

Identification of Fairy Tale themes in everyday advertising

The participants should be made aware that Fairy Tales are of great contemporary significancein our everyday world, quite apart from the world of children. This knowledge should helpreduce the shyness young people feel when they occupy themselves with the theme “FairyTales” in the world of adults.

The speaker shows two commercials in which Fairy Tale themes are immediately recognisable:for example the wicked wolf who eats muesli with great enjoyment at grandmother’s, or SnowWhite, who wants to convince her dwarfs of a particular make of yoghurt, etc.

Following this the participants give more examples, in which Fairy Tales, their themes or allusi-ons to them are to be found.

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The election slogans are hung on the wall and form the background for the spee-ches. The watching participants react to the speeches as spectators with hecklingand interruptions.

The course leader should take part. In this way he encourages spontaneous anddetailed utterances from the participants. However he should not dominate.

Transfer from Fairy Tale themes and stereotypes

With the example of another commercial the participants are shown how Fairy Tale themeshave a causal effect on modern advertising in its content and sequence of events, without thefigures being recognisable to the superficial observer as Fairy Tale figures or stereotypes, yetappealing to his more or less existing repertoire.

In the following discussion attention is drawn to the archetypal and symbolic meaning of fairy-tales. Other examples are also sought (soap operas etc.).

Tips

“I’ll tell you a Fairy Story”(making the pedagogical potential of Fairy Stories the subject of discussion)

The exchange of opinions led by the speaker deals first with memories of one’s own childhoodand perhaps of experiences with one’s own children; and pedagogical reflections from one’sown practice and from reading.

Furthermore attention can be drawn in this connection to the use of Fairy Tales in language tea-ching as a medium for unforced language acts. Pupils identify easily with figures from Fairy Talesand under their masks they also express their own personal problems.

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In a Pepsi advertising spot (“Apartment 10d” with Michael J. Fox), there are no wit-ches and no dwarfs. The persons appearing in it wear fashionable clothes. FairyTalepatterns can however be recognised in the storyline: the young man in jeans is pre-pared for the lady of his heart to overcome all difficulties to reach the grail (Pepsi-machine) and recover the Water of Life (can of Pepsi) for her. On the way he mustfight against dragons (cars in an abyss of houses) and Black Knights (motorbikerockers) etc…

It is certainly possible subsequently to write a soap opera, of the type that is soamply represented on TV (“Good Times, Bad Times”, “Neighbours” etc), using FairyTale figures, themes and patterns of action, which is set in the present and possib-ly in a teenager milieu. (The acted scenes are recorded on video).

How strongly children are affected by the telling of Fairy Tales was shown by the auto-biographical contribution of one of the participants: his elder sister used to read him thetale “Die Sterntaler”, during which he regularly burst into tears, which was what thesister wanted to achieve, as “he looked so sweet when he cried”.

“Once upon a time…” (enjoy ing modernised Fairy Tales)

Let it be noted finally, that Fairy Tales were once entertainment literature for adults, too. Theystill play this role today. Apart from the plots that are still to be found in soap operas, there arebooks in which Fairy Tale themes are competed, alienated and newly combined for purposes ofentertainment.

(Examples: Mazenauer & Perrig, 1998; Tatar, 1990)

Perhaps extracts from these will be used as an opportunity for playing with these alienatedtales.

Examples

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Archaeologists have found the baking oven of the witches: conversation at the dig.If all the Fairy Tale heroes lived in one country in our times, what would their livesbe like? Who would rule, who would have a successful career? Who would be outof work and who would be poor? How would the figures spend their free time?Who would like whom? Etc…

6.5 Module 2: Factors of linguistic communication

Plenary session

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1. The speaker works out the factors of linguistic communication (see Chapter 3) andclarifies the five categories-a) Communication partners / situational frameworkb) Communicative intentions (language acts)c) Language registerd) Text typee) Product / Forms of presentation,- which will be decisive for the subsequent work in groups, with the help of examples. He presents a few examples of the combinative possibilities of the factors (see table).

2. The meeting is divided into at least 5 or more groups, each group working on onecategory. Competitive groups are useful here, as a greater abundance of material will be achieved. Each group tries to work out more elements in the form of key words which are written on index cards. (Material: felt pen, write clearly!). This exer-cise is to sharpen participants’ consciousness of the problems. It is not to be expec-ted that the participants will achieve the completeness of the examples that is avai-lable to the course leader (see the table for the Scene Generator).

3. The participants lay the written index cards of their group according to category on the floor (in the order named above 1-5) and explain their results to the meeting.

4. The participants try to form their first combination of elements by choosing an ele-ment from Category 1 (“Cinderella and her stepmother”). Category 2 (text type) offers them e.g. the possibility of a quarrel (“argumentative conversation”). Here thecategory offers the register “colloquial language”, however the register “Youth Language” would also be feasible. As product and form of presentation the element“staging” will probably be chosen from Category 5, with the aim of a performance in front of the class, which could later be integrated into a video film, presenting a youth oriented satirical version of the Cinderella theme.

5. The combinative possibilities which have been discovered are fixed on to a display board (wall / wallpaper) and function as the exemplary structure of the continuing work.

6. New groups are formed, with the provision that each of the new groups contains atleast one “expert” from the previous groups. It is now the task of the groups to findas many combinations as possible, as described above, and to check their didactic relevance for an intended teaching plan. The results will be recorded in a suitable way (boards) introduced to the plenary meeting and evaluated.

7. One suitable possibility will be chosen by each group from all the combinations that have been developed; these are to be adapted in accordance with the “ Staging” concept and finally presented to the plenary meeting.

6.6 Module 3: Creativ ity

Expansion of the traditional concept of a Fairy Tale

Most people are convinced that creativity is a question of a natural gift. Creativity, however,depends much more on mental energy and inner willingness than on congenital talent. Aboveall creativity can be trained. In this connection it can happen that the participants have diffi-culty in spontaneously developing meaningful combinations in the previous module, as theypossibly do not have sufficient knowledge of a comprehensive number of Fairy Tales or thatthey are not used to breaking out of the conventional ideas that accompany these tales.

Digression

In this case the course leader should suggest a digression in which, beginning with the con-ventional structures already mentioned, selected Fairy Tale figures, situations and plots are con-sciously altered, so that new multilayered ranges of vision are achieved, extending the tradi-tional concepts of Fairy Tales creatively.

Examples

The participants can be required for example to alter the traditional “Hansel and Gretel pictu-re” in many different ways.

An alienated situation is produced; the picture has a new title, context and content.

Moreover a familiar Fairy Tale text (for example: “Little Red Riding Hood…”) can be altered, sothat the following new and unconventional titles seem apposite:

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Insertion of speech bubbles with unconventional contents and register,Insertion of unconventional objects (Hansel holds a personal stereo in his hand).

“You should listen to your mother!”

“Let little girls be warned!”

“Watch out, Little Red Riding Hood!”“Little girl and the Beast”.

“It will all be different when the next wolf comes”

“A terrible adventure on a beautiful day”“Actually it was all quite different”, the Wolf maintains

“As a young girl you can’t do anything these days any more…”“Chatting with the Wolf” (can really be done in the chat room)

From these titles more language products can be created, containing a wealth of different newnarrative perspectives, sequences of action and language forms.

The creative use of the Scene Generator

Creativity is released quickly and simply through the Scene Generator with its wide range ofcombinations. The option of varied or arbitrary points of entry into a scene has proved itsworth.

The following two examples illustrate the range of possibilities offered by the Scene Generator.These can be further developed by the participants. From them they recognise the function ofthe Scene Generator and are urged to generate scenes of their own.

Example 1: “Telegram from Fairy Land”Entry via: Text type

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The possible language acts (conveying congratulations, informing someone aboutimportant events), the communication partners and situational framework (SleepingBeauty and her impending wedding, 7 Dwarfs and Snow White’s death…) the langu-age register (infinitives, abbreviations) are assigned to the text type.

Example 2: “The Problems of Hansel and Gretel”Entry via: Communication partners and situational framework:

6.7 Module 4: Staging

In modern foreign language learning the tendency is emerging, along with the familiar “clas-sical teaching methods”, to go back to the so-called alternative methods which appeal to theemotions, fantasy, openness and creative potential of the learners. The drama approach alsobelongs to these methods, building upon man’s natural aptitude for playacting, on his powerof imagination and creative expressiveness. During the learning process significantly moreroom is given to the individual activity of the pupils, with their needs, interests and personalexperiences.

The acquisition of foreign language is often marked by shyness, inhibitions and reserve, whichrestrict effective learning and limit linguistic expression. Therefore we are trying to replace therigid teaching procedures designed to drum knowledge into the pupil’s cranium by strategieswhich support emotional and social learning. Drama pedagogy creates learning opportunitiesin fictitious contexts with the aim of overcoming that fear which is associated with using theforeign language and restricts the willingness to act spontaneously.

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The witch is dead but for Hansel and Gretel grass hasn’t grown over the story yet.They are questioned by the police

- Intention: to ask about the past

- Text type / product: interrogation- Language register: official language

- Form of presentation: role play with video recordingThey cannot find their parents

- Intention: expressing grief

- Text type / product: missing person bulletin- Language register: the expression of feelings in the language of tabloids

- Presentation: bulletin on the display screen in the classroom

They have become media stars and a commercial about gingerbread is to be filmedwith them

- Intention: praising something, describing something, advertising something

- Text type / product: advertising slogan- Language register: advertising language

- Form of presentation: TV, video

Drama-orientated foreign language learning generally facilitates team-work, the learning processis achieved through the group and in the group. All the members of the group become active,thanks to staging techniques which are at the same time communication techniques.

In the drama method the focus is on the training of free, spontaneous speaking. Facial play, gestu-res and intonation are components of spontaneous speaking. These skills can only be expressedthrough the body and can only be learnt through the body. In drama teaching not only linguisticcorrectness is trained; one has the chance to let the body participate in the learning process.

Language competence is considered as the ability to express oneself freely in unpredictablelanguage situations. The use of language is not predictable in its sequences. The particularappeal of free communication lies in the only partially calculable (language) reaction of a con-versation partner. In drama pedagogy the active competence necessary for this is imparted byimprovisation training.

The advantages of dramatic activities in foreign language learning are described by Alan Maleyas follows:

We fill up the room additionally with familiar figures and places that we have known sincechildhood. Good entertainment is guaranteed! Various categories of exercises belonging to thedrama-oriented approach are carried out with the participants. A comprehensive list of exerci-ses is made available.

ExercisesWarming–up

The exercises in this phase have little to do with language. They concern the introduction of theparticipants in an easy-going atmosphere.

“The Way to the Treasure”Aims: Relaxing, reducing inhibitions

Procedure:1. Everyone goes to and fro across the room, individual speed2. Everyone aims for a point on the floor, on the wall or on the ceiling3. Having reached that point, he aims for another point4. Meetings and collisions are to be avoided5. Each concentrates on his own point

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“Drama is like the naughty child who climbs the high walls and ignores the “No Trespassing”sign. It does not allow us to define our territory so exclusively: it forces us to take life as ourstarting point not language…The language teacher will be wise to take advantage of this toenliven his or her work. Once students have discovered that there is another world, much clo-ser and more real than that of Mr Brown, Herr Schmidt, and M. Dupont, with their waxworkwives and children, the problem of ‘how to keep their interest’ will gradually disappear. And,strangest of all, this other world does not need to be conjured up with expensive equipment– all that is needed is a roomful of human beings.” (Alan Maley and Alan Duff : DramaTechniques in Language Learning, Cambridge University Press, reprinted 2001, p.15.)

“At the Prince’s court”Aims: The participants are to get used to the room and the group

Procedure:1. Cards with the names of Fairy Tale figures are fastened to the backs of participants2. All of them walk through the room, noting the identity of the other participants3. At a signal from the course leader they stop, turn to the nearest person and begin to talk4. First a friendly neutral greeting takes place5. The aim of the conversation is to find out one’s own identity through the reaction of

one’s partner.

“Groping in the dark”Aims: Reducing shyness because of physical contact

Procedure:1. The participants stand in two rows facing each other2. The people standing opposite each other take each other’s hands and shut their eyes.

By touching and feeling the hands they try to notice as many details as possible3. The participants let the hands go and walk slowly around the room, so that they are

scattered round the room in a short time.4. At the command of the course leader each participant feels the hands of the nearest

person and tries to find the hands of his first partner again. If he thinks he has found him, they both stand still. Otherwise the search goes on.

5. At the end the course leader makes a sign (e.g. claps or whistles twice), at which the participants can open their eyes and can see if they have found the right person.

6. In the course of this exercise nobody is allowed to speak at all. The communication takes place exclusively through bodily contact.

“Treasure Trove”Aims: Developing the ability to express oneself through pantomime

Procedure:1. The participants are divided into two groups. One person plays the role of the supervi-

sor, who stands at the front in the middle.2. The guardians of the treasure sit on each side . They have been chosen by their groups.

The groups sit in circles at the other end of the room opposite the guardians. On the floor there are large sheets of paper.

3. The guardians receive cards with Fairy Tale words on them: magic wand, the golden shoe, spindle, the flying carpet, crown, magic mirror, gingerbread, broom, carriage, magic potion, treasure chest, poisoned apple, frog, castle, sceptre, witches’ almanac, mermaid, Prince, dwarf, witch, good fairy, the wicked wolf, the golden fish.

4. At an arranged signal one of the members of each group runs to his guardian, memo-rises the word on one of the cards and runs back to his group. His task is to draw theconcept in such a way that the group can name the word.

5. Only when the group has guessed the word is it the next participant’s turn. The groupwins that has found out all the words and written them down.

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“At the Ball”Aims: Integration into the group, relaxation, fun playing

Procedure:1. All stand around freely in the room2. Everyone moves rhythmically to music3. The movement is combined with a sound, a tone4. All stand in a circle5. One person takes up a rhythmic movement and turns to the right, the next player takes

over the movement and passes it on to the next

“Magic Mirror”Aims: Cooperation with and sensitizing the partner

Procedure:1. The participants form pairs2. The partners sit down opposite each other, one beginning to make hand movements,

the other mirroring these3. The pairs extend the movements to the whole body, stand up, turn round, lie down on

the floor4. The exercises are continued with additional musical accompaniment5. Short presentation of the pairs6. Change partners at a signal

“Fantasy journey into Fairy Wood”Aims: Developing concentration and imagination, relaxation

Procedure:1. The participants find space in the room, sit comfortably on the floor and follow the

instructions of the organiser2. They shut their eyes3. They concentrate on breathing4. They listen to the voice of the organiser, who leads them on their fantasy journey5. At the end they wake up slowly, sit down and return to reality

“Little Red Riding Hood – Again”Aims: Developing the powers of expression and imagination

Procedure:1. The organiser tells a story2. All move in such a way to illustrate the story that the position of their bodies relates to

the con-tents of the story3. The participants allow themselves to be inspired by the pitch, the intonation and the

background music4. The story needs to have no end

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An example

“Scenic improvisation”Aims: Pantomimic presentation

Procedure:1. The participants form small groups of 3-5. The course leader puts a table in the middle

of the room and next to it a chair on its side. That is the symbolic final picture. The taskof the participants is to think up Fairy Tale situations which could have led to this pictu-re. It can be something funny, something terrible, supernatural, mysterious…

2. The plot of the story which has been put together is written down by the group in theform of notes and then played in the form of a pantomime. As these stories could havebeen played anywhere in the world of Fairy Tales, the group must be clear about whois playing a part and where. If they wish they can for example go into the corridor to play their scene through.

3. Then the groups are asked to act about out the scenes as a pantomime. The other par-ticipants should express their assumptions about where this action takes place, whichFairy Tale figure are being shown and what has happened.

“Speech and Speaking”

The News from Fairy LandAims: To reduce the fear of speaking loudly in the foreign language

Procedure:1. The participants form three groups, who stand in three rows. Those standing outside

are allowed no eye-contact2. The first group thinks of a relatively short quotation from a Fairy Tale that they must

shout or whisper to the third group3. The group standing in the middle tries by any means possible to prevent this by screa-

ming, singing, imitating noises

braymoo

screamshout

yellwhistle

bellowgrunt

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Grandmother is ill again. You are on your way to her on foot. You go through the wood. Itis afternoon. It is hot. Damp. Oppressive. You are sweating. The path is getting narrowerand narrower. You have to climb over creepers and tree roots Suddenly you stop and listen.You are afraid and a storm is brewing. You hear it thundering over you. You begin to hurry.The path is getting more and more impassable. Suddenly you’ve lost it. You take your bushknife and cut your way free. It begins to rain. A cloudburst. You sink to the ground…

“Cinderella is working hard”Aims: Trying out verbal and non-verbal communication, connecting movement and language,

reducing speaking inhibitions

Procedure:1. The participants stand in a circle2. All of them mime an action which has been agreed upon (like ironing, for example)3. One person in the circle asks his/her neighbour, “Cinderella, what are you doing?”

without stopping working4. While the neighbour goes on ironing, the second person could answer: “I’m peeling

potatoes”5. That is the sign that everyone mimes “peeling”. This is continued round the whole circle

“Role-play, acted dialogues and improvisation exercises”

Cinderella washes up – empathetic conversationAims: Trying out free speaking, developing drama-technical abilities

Procedure:1. The participants observe an empathetic conversation between the organiser and a par-

ticipant, during which the course leader goes into the role played by the participant, e.g.Cinderella

2. The organiser begins by asking what Cinderella is doing, how she feels doing it and what she has gone through. “Cinderella” answers.

3. A dialogue evolves from these questions and answers which is no longer channelled.

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(Cinderella stands in the kitchen and washes up.)Course leader: “What are you up to?”Cinderella: “Washing up, as usual.”Course leader: “Not much fun, is it?”Cinderella: “You’ve said it. I’ve been working all day and

done the shopping as well. Some time or other it would be nice to have a bit of peaceand quiet.”

Course leader: “Bit edgy, huh?”Cinderella: “I’m holding out. Dad’s coming back soon.

Maybe he’ll think of bringing me back some-thing!”

Course leader: “And tomorrow?”Cinderella: “It’ll be tough. I’m supposed to clear up the whole pad for the weekend.”Course leader: “You have to?”Cinderella: “Yeah, my stepmother has guests coming. Anyway she freaks out if I

don’t do anything.”Course leader: “Just for that?”Cinderella: “No. Because of her daughter. Not many men give her a second look.

And up to now she’s rejected all of them that did!”

“Pantomimic Role-Play”Aims: A scene is evolved from a text

Procedure:1. The participants receive cards with their roles and specific exercises

Examples

2. The person playing the role of the mother of Hansel and Gretel does not know who isplaying the role of the husband

3. The participants have time to reflect how they are going to play their roles with facial play and gestures

4. In this activity all the participants are linguistically involved to a high degree, as they helpeach other and give advice. They learn the meaning of body language in communicati-ve situations and which signals are sent consciously or unconsciously

“Come With Us”Aims: A text is spontaneously evolved into a scene, developing the ability to play a role, impro-

ving cooperation in the group, reducing inhibitions

Procedure:1. The participants form pairs and receive a text. It is their task to invent a scene

out of the text2. All the scenes are presented one after another3. The groups are brought together and play a scene with two sets of cues

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Imagine you are the wicked Wolf, who has just eaten Little Red Riding Hood’s grand-mother with great gusto. As you haven’t quite satiated your great appetite, you have laindown in grandmother’s bed, put on her clothes and you are now waiting for her grand-daughter , who will also provide an appetising morsel. Try to convince the naïve LittleRed Riding Hood that you are the real grandmother and not a cross-dressing greedybeast.

You can understand all Little Red Riding Hood’s questions, but you can only make your-

Imagine you are the cunning, heartless uncaring mother of Hansel and Gretel, who is try-ing to close a gap in the family budget by driving away her two children. Your husband,who is clearly a wimp, refuses to leave the little ones alone in the dark forest.Try to convince this softie of your plan. You must challenge the counter-arguments ofyour husband emphatically.

You can understand the arguments of your husband, but you can only make yourselfunderstood with the help of gestures.

Examples of cues

In a round of discussion at the end of the day (or of this Module) the experiences are collec-ted. The participants speak of their feelings, what was easy and what was difficult.

6.8 Module 5: Technical Skills

With regard to the exercises developed with the Scene Generator the following skills have priority:

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Variation 1A: „So you do…“

B: „I can’t do it…“A: „That doesn’t work!“

B: „Please …“

Variation 2

A: „Well…“

B: „But the…“A: „Wonderful…“

B: „OK…“

Variation 3

A: „Oh…“

B: „That’s too far…“A: „We can’t do that…“

B: „Please…“

Variation 4A: „It’s all the same…“

B: „Of course, no problem…“A: „As always…“

B: „Watch out…“

Variation 5

A: „Look…“

B: „But that’s…“A: „I can’t do that...

B: „Help…“

Variation 6

A: „Where is the…“

B: „It’s down there…“A: „That there …“

B: „Come on…“

Creating and adapting a textProcuring picture material (scanning, photographing) and processing it

Preparing video recordings

It is presupposed in this course that the participants possess basic skills such as computer text pro-cessing, data management (saving, printing etc.). Otherwise an additional module will be added.

The procuring and adaptation of picture material /graphics as well as practical aids for the pro-duction of videos are at the centre of the following exercises. Each exercise also has a lingui-stic aspect and can therefore be used in foreign language learning. The linguistic (situational)framework is in the context of the world of Fairy Stories.

Exercises for the processing of picture material

Found after 100 years…The whole country has fallen into a hundred-year deep sleep. Time has stopped. After a hun-dred years visitors come and find old photos.

- How are their reactions- What do they learn about our time?- What are they surprised about?- What do they like?- What don’t they like?

Prepare suitable photos and write commentaries about them, from the perspective of the per-son finding them after a hundred years.

This exercise, although not following the principle of the Scene Generator, provides an oppor-tunity of using the contents of Fairy Stories in lessons. Here it is the starting point for practisingtechnical skills like “scanning” and “digital processing”.

The indiv idual steps:

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1. The participants are asked to bring their photos (family photos/holiday snaps) with them

2. The photos are scanned and they provide the input for the “digital processing”exercises

3. With the help of software the basic options are introduced and practised

4. (Importing/turning photos; cutting photos; changing contrast/sharpness and brightness; using special effects)

5. The outcome of the exercise consists of our photos, now artificially aged. Therefore we pay special attention to the programme function “aging”

6. The printed photos are fixed to the pinboard. The whole group write possible commentaries. Possible variation: texts and pictures are brought together in a “Word” document.

Result

The Shoe Doesn’t Fit!

The fairest at the ball is being searched for all round the country.Cinderella`s stepsisters hope that they are meant.

- Prepare a sequence from the photo novel “The Fairest is being searched for” in which it is clear that the stepsistersare not the ones sought

- Express the feelings tension – disappointment – anger clearly

- Act out the scenes, photograph them, and make a photostory with 4-6 photos, each with speech bubbles and connectingtext

This exercise can be used in teaching: here it is a matter of digital photography, practising digi-tal processing and finally the creative shaping of text and picture material. The experience gai-ned during the Module “Scenic Roleplay” is particularly helpful for the scenic arrangement ofphotos.

The steps

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New Old

1. The storyline is developed in groups. (In this exercise we only have to deal withan excerpt from the story, however it must be well thought out, just a few pic-tures and a little text expressing a lot.)

2. Scenes are arranged and photos taken. (The shooting is preceded by instructionshow to use the digital camera)

3. The pictures are adapted and ordered to form a mini-story.4. Speech and thought bubbles, together with the commentary about the photos,

are written by groups.

5. The various ways to execute the same task are compared and discussed.

24 Hours Later…

As the audience want to know the details of the “Little Red Riding Hood” case, this theme alsoappears in the TV programme “Scene of Horror”. The reporter is at the scene of crime with hiscamera; he shows the scene and explains the background.

- Make a short film- Compile an interesting TV report out of the material- Prepare the commentary for dubbing over

Any detailed training in the use of a video camera and the digital processing of video takeswould be outside the parameters of this course. Participants who are interested can takeopportunities offered by external suppliers. And a teacher does not lose his authority when heasks competent pupils for help. This exercise can also be a small teaching project.

The steps

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1.Writing a screenplay (script)

2.Divide up the roles (actors and technicians)3.Make the video (after instructions how to use the camera)

4.Recording the soundtrack

5.Dubbing over

7.1 Documentation

Under ‘documentation’ we understand the recording, collecting, ordering, long-term saving andpublishing of language outcomes, which were produced during teacher training by the participantsas the results of their work, together with a summarising account of the sequence of events.

82

Chapter 7: Documentation and Evaluation


The language products of the course are generally submitted in the following formats:

The collection of language products ideally takes place systematically through the whole cour-se. The ordering and structuring of the complete material depends on its intended use for acertain public and on the type of publication. For the use of the documentation with respectto the evaluation of the course a suitable structure is to be recommended, for example accor-ding to the course modules.

For the choice of the kind of publication we recommend the criteria durability and access,depending on technical preconditions (PC, AV equipment), as well as checking the cost, timeand energy involved in the production.

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- Texts

- Pictures (photos) adaptedwith text or used in reference to texts

- Oral utterances

- Scenic Presentation

- Further: wall displays and similar forms of presentation

- Internet-sites

- Paper / printout

- Electronic documents ondigital data carrier (diskette,CD-ROM, hard disk – HDD)

- Recording on aaudio-medium likeaudio cassette (analogue)CD-ROM, MD (digital)

- Static: photos- Dynamic: recording on

AV-medium through video camera (anal/dig)

- Static as photos- Dynamic: recording on AV-

medium throughvideo camera (anal/dig)

-texts-pictures (adapted with text)

Language product Form of documentation

Printed publications with digital or analogue data carriers like audio- video cassettes, CD-ROMSor also web sites in the Net or on CD-ROM are feasible.

7.2 Evaluation

The evaluation of teacher training is a fixed component of every measure and basically servesas quality control.

The evaluation should be carried out by the participants with the appropriate time and energyand should be statistically classifiable. For these reasons an evaluation procedure by means ofquestion sheets is to be recommended, leaving room for a scale of graded answers apart fromfreely formulated entries.

Evaluation before the learning process (context evaluation)

The participants receive the following form before the beginning of the course, complete it,and send it back to the organisers one or two weeks before the course starts. The latter recei-ve important information about the participants and their prior knowledge of course themesand the processes involved.

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Questionnaire for context evaluation

Name of participant: _________________________________________

Course number: _________________________________________

01 I have never heard of the concept of Staging used in connection with foreignlanguage teaching and can not imagine what it means

02 I haven’t heard of the concept of Staging before, but can imagine what it means.

My interpretation of it is as follows:

03 I have already taken part in a training course on scenic role-playin foreign language learning

04 I have already performed small scenes or role-play with my pupilsin foreign language learning

05 I use role-play systematically and continuously in my teaching

06 I have taken part in a course on creative writing in foreign language learning

07 I have already used techniques of creative writing with my pupils.

08 I employ creative writing techniques systematically in my foreign language teaching09 My pupils have experience of group work as a project-oriented form of work (grou-

ping according to themes/ pupil ability, clarifying of responsibilities, outcome-orien-ted work targets, exchange of information, reciprocal help…)

10 My pupils have experience of individual work orientated towards a project theme (self-organisation, compiling a protocol of results, portfolio…)

11 My pupils have experience with or skills in presentation, for example free speaking in the target language in front of an audience / adequate presentation of matters of fact in the target language from the point of view of vocabulary and register in the form of a talk, feature, sketch etc.

12 My pupils work with tapes, cassettes etc., to record and play back their ownlanguage productions

13 I know how to use a video camera and adapt films

14 I use a video camera to record language productionsin my foreign language teaching

15 I have a computer of my own and possess basic skillslike word and picture processing

16 I also work with my students at the computer in my teaching of foreign languages

17 I have experiences in using the Internet.

18 I can use the Internet in the school together with my students

19 I can produce a Web page myself

20 In my school a stage is available for larger presentations

21 Equipment like spotlights, loudspeakers and so on is available

22 I have experience in the use of language teaching systems like “language labs”

Nr Questions YES NO

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Evaluation after the learning process (course evaluation)

The course evaluation aims at the following three areas:

The participants fill out the following forms after the course has been completed. The answersto the questions contain important information about the learning process during the course,thus serving the quality control of future courses.

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1. Contents of the modules 1-6: gains in knowledge / progress in competence

2. Language learning activity during the course3. Project material

Questionnaire: course evaluation1. Contents of the modules: gains in knowledge/ progress in competence


Course number: _________________________________________

Please answer the following questions by putting a cross against the grade which applies from1-5, adding detailed comments

———————————————————————————————————————————————————————————————————————————————————————————————

1= highest value - 5= lowest value

87


15 I have brushed up my knowledge of communication partners/ situational framework

16 I have extended my knowledge of communication partners/situational framework

17 I have brushed up my knowledge of communicative intentions (language acts)

18 I have extended my knowledge of communicative intentions (language acts)

19 I have brushed up my knowledge of language registers

20 I have extended my knowledge of language registers

21 I have brushed up my knowledge of Text types/language products

22 I have extended my knowledge of Text types/language products

23 I have brushed up my knowledge of Forms of presentation/techniques

24 I have extended my knowledge of Forms of presentation/techniques

Nr Module 2: factors of language communication 1 2 3 4 5

Nr Module 1:Fairy Tales (basic principles) 1 2 3 4 5

11 I have brushed up my knowledge of the contents of the selected Fairy Tales.

12 I have extended my knowledge of the contents of the selected Fairy Tales

13 Fairy Tales I have got to know for the first time:

14 I knew all the Fairy Tales that were selected. I have learnt nothing new.

25 The alienation/adaptation of Fairy Tale contents has extended my concept of Fairy Tales

26 The alienation/adaptation of Fairy Tale contents has great potential for the learningof foreign languages

27 I will also use the alienation/adaptation of Fairy Tale contentsin my foreign language teaching

28 Creating communicative scenes with the Scene Generator has great potentialfor foreign language learning

Nr Module 3: Creativ ity ; Extending traditional ideas of Fairy Tales / 1 2 3 4 5Scene Generator

29 I am going to use the presentation of communicative scenes with the Scene Generatorin my foreign language teaching

30 The alienation/adaptation of Fairy Tale contents is not relevant or practicablefor my foreign language teaching

31 Referring back to 30: for the following reasons:

32 Creating communicative scenes with the Scene Generator is not relevant or practicable for my foreign language teaching

33 Referring back to 32: for the following reasons:

Nr Module 3: Creativ ity ; Extending traditional ideas of Fairy Tales / 1 2 3 4 5Scene Generator

88


34 I have brushed up my knowledge about Staging/presentation through speaking freely in front of an audience

35 I have extended my knowledge about Staging/presentation through speaking freely in front of an audience

36 The module taught me nothing new

37 I consider the knowledge I have gained about Staging/presentation through speakingfreely in front of an audience meaningful for my foreign language teaching

38 I consider the knowledge I have gained about Staging/presentation through speakingfreely in front of an audience also practicable for my foreign language teaching

39 In my foreign language teaching I will not use Staging/presentation through speakingfreely in front of an audience

40 For these reasons:

Nr Module 4: Staging 1 2 3 4 5

47 I have brushed up my knowledge about “Production – presentation of communicative scenes

48 I have extended my knowledge about “Production – presentation of communicative scenes

49 The module taught me nothing new

50 I consider the knowledge I have gained about “Production – presentation ofcommunicative scenes” relevant to my foreign language teaching.

51 I consider the knowledge I have gained about “Production – presentation ofcommunicative scenes” also practicable in my foreign language teaching

52 I will not use procedures from “Production – presentation of communicative scenes”in my foreign language teaching in future


41 I have brushed up my knowledge of “Picture processing/video production”

42 I have extended my knowledge of “Picture processing/video production

43 The module taught me nothing new.

44 I consider the knowledge I have gained about “Picture processing/video production relevant for my foreign language teaching

45 I consider the knowledge I have gained about “Picture processing/video production also practicable in my foreignlanguage teaching


Nr Module 5: Equipment: Picture processing, v ideo production 1 2 3 4 5

Nr Module 6: From the production to the presentation of communicative scenes 1 2 3 4 5

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2. Activities for the learning of language during the course


Course number: _________________________________________

Please answer the following questions by crossing the appropriate grade (1-5)* or giving detai-led information.

———————————————————————————————————————————————————————————————————————————————————————————————

* 1= highest value - 5= lowest value

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1 I read texts from printed publications in the target language to inform myself

2 I read Fairy Tales in the target language and tried to understand them

4 Using the target language I searched for specific information in textbooks,works of reference and in the Internet

5 I worked with reference books and encyclopedias on CD-ROM

Nr Text reception 1 2 3 4 5

20 I made everyday notes (in the target language)

21 I altered existing texts or continued them

Nr Text production 1 2 3 4 5

6 I kept a “vocabulary book” or a word file

7 I looked up the meaning, pronunciation and spelling of new words

8 I wrote down new words and turns of phrase, learned their meaning(s),spelling and pronunciation and used them in other contexts in the target language

9 I corrected texts I had written myself (also reciprocally with others)

10 I collected texts and materials on one theme and presented them to others

11 I worked with others in teams and groups

12 I tried out my language skills in direct contact with “native speakers”

Nr Exercises, other work forms 1 2 3 4 5

13 I took up contact with others, introduced myself, bade farewell

14 I carried out personal conversations with other participants in the target language,made arrangements, discussed common projects

15 I drafted scenes for acting, played and performed them

16 I presented elements of speeches with suitable prosody in front of an audience (other participants)

17 I spoke about texts and discussed their effectiveness (in the target language)

18 I discussed teaching procedures using specific terminology in the target language

19 I took part actively in discussions and debates in plenary sessions using the target language

Nr Oral communication 1 2 3 4 5

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22 I described or characterised myself or other people (including Fairy Tale figures)in the target language

23 I expressed my own opinions and thoughts in writing in the target language

24 I wrote or drafted small scenes, stories, statements myself in the target language

Nr Text production 1 2 3 4 5

25 I listened to recordings in the target language and tried to understand them

26 I listened repeatedly to audio recordings and tried to understand them in orderto fulfil a precise exercise, set of questions or assignment

Nr Listening comprehension of audio material 1 2 3 4 5

27 My family and I – how we live

28 Free time, hobbies, sport, music, films, parties, cultural features and traditions

29 School, education, further education

30 Friendship, partnership

31 Shopping, spending habits, preferences

32 Relationships between the generations, their specific ways of life

33 Travelling, holidays, traffic, use of means of transportation

34 Press, media, media habits

35 Nature, ecology, technical progress

36 The world of work, the professions, job finding and changing, professional biography, transition to retirement

37 Living with others in a linguistically, culturally and ethnically diverse society

38 Aspects of European communal life

Nr Further themes, contents, areas of life 1 2 3 4 5

3. Evaluating the Project Material

Title of the Project:Produced by:Please fill in the following questionnaire by ticking the appropriate boxes* or adding com-ments.

———————————————————————————————————————————————————————————————————————————————————————————————

* 0 = lowest value, 5 = highest value

92


1 Is it exemplary?

Comments

2 Is it covered by national curricula?

How? (State Nationality)

3 Is it innovative?

Give examples

4 Is it concrete and reproducible?

If not, give ideas for improvement

Nr I. The general layout and content 0 1 2 3 4 5

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5 Is the layout user-friendly?

If not, give ideas for improvement

6 Is a European value added?

How?

7 Is there a potential for transfer?

In which way?

8 Other aspects as regards the general layout and contents which should be included?

Nr II. Staging competencies included – and to which extent? 0 1 2 3 4 5

1 Acting

Comments:

2 Stage directing

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Nr II. Staging competencies included – and to which extent? 0 1 2 3 4 5

Comments:

8 Other Staging competencies included?

1 Is it easy to organize for the teacher?

If not, give ideas for improvement:

2 Are instructions learner-friendly?

Comments:

3 Do the activities give scope for differentiation? Different levels? Different teacher/learnertypes?

Comments:

4 To what extent are the activities open, – is it possible to incorporate the users’ (teachers’and learners’) own needs/ideas?

Nr III. Its use in the classroom 0 1 2 3 4 5

95


Give examples:

5 Do the activities give scope for learner autonomy? Is it possible for the teacher to let go?Is it possible for the learners to take over?

Comments:

6 To what extent does the material/the activities lead to co-operation and negotiation?

Comments:

7 To what extent is awareness of own learning catered for?

Give examples:

8 Is the learning environment learner-centred rather than teacher-centred?

Give examples:


96


9 Other aspects of the material used in class:

Further ideas for questions/areas to be included in the evaluation of the projects:


97

Chapter 8: Structure of the teacher training course


Course numberTheme News from Fairy Land: Fairy Tales and Fairy Tale themes in

communicative foreign language learning for secondary schoolsVenue …Date …Organiser …Speakers …

MONDAYKeyword: morning 1. “Music and candlelight” - greeting,“The Fairy Tale” introduction of the theme

2.“I am the Prince” – introduction of theparticipants

3.“Journey through Fairy Wood” –activating factual knowledge of “Fairy Tales”

afternoon 1. “Only just a fairy tale?” – identifying fairytales and Fairy Tale themes in variouswalks of life (advertising, pop culture…)

2. “A tale to thee I’ll tell…” – the pedagogicpotential of Fairy Tales

3..“Once upon a time…”- parodies andimitations of Fairy Tales

TUESDAYKeyword morning 1. “Focusing on communication” – factors of “Linguistic language communicationCommunication“ afternoon 1. The Scene Generator – creative use of

language; exploring the themes of Fairy Tales forcommunicative language teaching

WEDNESDAYKeyword morning 1. “The way to the treasure” – warming-upStaging exercises and training the expressiveness of the body

2. News from Fairy Land – the suitableuse of language in various types of textand presentation

afternoon 1. “Cinderella & Co.” – role-play, actedconversations and improvisation exercises

THURSDAYKeyword morning 1. “Found after 100 years…” – digital word and „Technical Skills“ picture processing

afternoon 1. “24 hours later…” - video recording and adaptation

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FRIDAYKeyword morning 1. “Get out of the Land of Milk and Honey” – creating“Own“ one’s own mini-projects according to the “Generator-

principle”, using technical means and scenic formsafternoon 1. “Knights’ tournament at the King’s court”:

Presentation of the participants’ outcomes2. “Finally”: evaluation, formalities

99

Chapter 9: Appendix

1Märchen

9.1 Bibliography

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wenn sie nicht gestorben sind…. Perspektiven auf das Märchen, Frankfurt/Main, 1982, S. 39 –70Bettelheim, Bruno, Kinder brauchen Märchen, Stuttgart 1977Bloch, Ernst, Das Prinzip Hoffnung, Frankfurt/Main, 1959Bolte, Johannes u. Polivka, Georg, Anmerkungen zu den Kinder- und Hausmärchen der Brüder

Grimm. Erster Band, Hildesheim 1963Brackert, Helmut (Hrsg.), Das große deutsche Märchenbuch, Königstein 1997Brackert, Helmut (Hrsg.), Und wenn sie nicht gestorben sind…. Perspektiven auf das Märchen,Frankfurt/Main, 1982Brackert, Helmut, „Hänsel und Gretel oder Möglichkeiten und Grenzen der Märchendeu-

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Brandi, Marie-Luise, Bild als Sprechanlass – Sprechende Photos, Paris / München: Goethe Institut, 1988

Brandi, Marie-Luise, Video im Deutschunterricht, München 1996Brednich, Rolf Wilhelm u. Bausinger, Hermann (Hrsg.), Enzyklopädie des Märchens : Handwör-

terbuch zur historischen und vergleichenden Erzählfor-schung; begr. von Kurt Ranke, Berlin [u.a.]: de Gruyter, 1977Bühler, Charlotte und Bilz, Josephine, Das Märchen und die Phantasie des Kindes, München ^

1971Caspari, Daniela, Literarische Texte im Fremdsprachenunterricht. Kreative Verfahren, Berlin

1993Claussen, Claus, „Wer erzählt und warum?“; in: Die Grundschulzeitschrift, Heft 134, 14. Jg., 2000, S. 19–22Dinges, Ottilie, „Die Sterntaler – oder brauchen Kinder noch Märchen?“; in: Das gute Jugend-

buch, Jg. 24, 1974, Heft 3Doderer, Klaus [Hrsg.], Über Märchen für Kinder von heute : Essays zu ihrem Wandel und ihrer

Funktion , Weinheim [u.a.]: Beltz, 1983Dolle, Bernd, „Märchen und Erziehung. Versuch einer historischen Skizze zur didaktischen

Verwendung Grimmscher Märchen (am Beispiel „Aschenputtel“)“; in: Brackert, Helmut (Hrsg.), Und wenn sie nicht gestorben sind…. Perspektiven auf das Märchen, Frankfurt/Main, 1982, S. 165–192

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Frankfurt am Main: Haag und Herchen, 1985Tatar, Maria, Von Blaubärten und Rotkäppchen: Grimms grimmige Märchen. Aus dem Engli-

schen von Anke Vogel, Salzburg [u.a.]: Residenz-Verl., 1990Uther, Hans-Jörg (Hrsg.), Märchen in unserer Zeit: zu Erscheinungsformen eines populären

Erzählgenres, Kongr.: Kolloquium, Mölln : 1989.04.06-07, München: Diederichs, 1990Vladimir Propp, Morphologie des Märchens. Hrsg. v. K. Eimermacher, München 1972Wallrabenstein, Karin, „Der Märchenbaukasten“; in: Die Grundschulzeitschrift, Heft 134, 14. Jg., 2000, S. 46 – 47Wallrabenstein, Wulff u. Wichert, Ingrid, „Zeit für Märchen“; in: Die Grundschulzeitschrift, Heft 134, 14. Jg., 2000, S. 6 – 10Wardetzky, K. / Zitzlsperger, H., (Hrsg.), Märchen in Erziehung und Unterricht heute. Bd. 1

Rheine 1997, Bd. 2 Hohengehren 1997Weißling, H. und Yareham, Bob, Video-Ideen für den Englischunterricht, Berlin 2001Willenberg, Heiner, „Positionen der Märchentheorie“; in: Die Grundschulzeit-schrift, Heft 134,

14. Jg., 2000, S. 18 – 19Zitzlsperger, Helga, Kinder spielen Märchen: schöpferisches Ausgestalten und Nacherleben, Weinheim [u.a.]: Beltz, 1980.

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9.2 Internet Links

Fairy Tale Links

The SurLaLune Fairy Tales Site: Table of Contentsmembers.aol.com/surlalune/frytales/

Marvels & Tales: Journal of Fairy-Tale Studieswww.langlab.wayne.edu/MarvelsHome/Marvels_Tales.html

Fairy Tale Quizfamilygames.com/features/quizzes/ftquiz.html

Folk and Fairy Tales: Web Site Linkswww.pitt.edu/~dash/folklinks.html - 4k

Fairy Tale/Folk Tale Cyber Dictionarywww.op97.org/instruct/ftcyber/

Fairy Tale Quest - A Webquestwww.plainfield.k12.in.us/hschool/webq/webq19/tales.htm

Hans Christian Andersen: Fairy Tales and Storieshca.gilead.org.il/

Fairy Tale Unithome.att.net/~cattonn/fairy.html

Grimm’s Fairy Taleswww.cs.cmu.edu/~spok/grimmtmp/

Disney’s Fairy Tale Weddingshttp:/ /www.disneyweddingsjapan.com/en/ index.html

The German Fairytale Road Projectwww.bayswaterps.vic.edu.au/lote/maerchen/project.htm

Fairy Tale Meal Web Questwww.esc20.k12.tx.us/etprojects/formats/webquests/ fall99/pfeiffer/rbnfwq/Default.htm

Stories, Folklore, and Fairy Tales Theme Pagewww.cln.org/themes/fairytales.html

Grimm Brothers @ nationalgeographic.comwww.nationalgeographic.com/grimm/

Lesson Exchange: Fairy Tale Unit (Elementary, Reading/Writing)teachers.net/lessons/posts/923.html

Fairy Costumes - Fairy Tale Costumes - Wonder Woman Costumewww.threewisheslingerie.com/fairy.asp

KidsFunCanada.com - Games, Learning, and Fun from Fairy Tale ...www.kidsfuncanada.com/index.php?lang=en

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9.1 Staging Foreign Language Learning - the concept

Introduction: The Reform of Foreign Language Learning

The change in communicative languagedidactics has, however, caused lexicaland syntactic language elements to beassembled in unreal dialogues which aretypically read out loud by learners sha-ring the parts and sometimes puttogether in small role-plays. Simulatedeveryday situations are important forbeginners and are ordered according toa catalogue of aims which refer to com-municative functions (functions andnotions). They are complemented by fill-in and put-together exercises in the formof rote learning and are meant to lead topupil transfer capability. Listening com-prehension and body language, e.g. total physical response, (cf. Asher, 1981), could well be men-tioned at this point as closely related to the didactic approach for beginners.

In secondary classes, expository texts on culture or combinations of visuals and texts are used andoral language practice is complemented by formal and so-called creative writing tasks, which areunfortunately too often judged by their grammatical and orthographical correctness.

The reality of such language learning and teaching in school, which has been observed throug-hout Europe, can only support the dominance of teacher-centredness – teaching from thefront. Occasional phases of partner and group work serve the aim of guaranteeing the formalresults of learning processes, so that a creative and autonomous dimension simply can notdevelop among the pupils.

Kohonen (1987), Bleyhl (2000), Balboni (1998) and many others have, indeed, heavily criticisedthe linearity of language material and the one-sidedness of an imaginary grammatical pro-gression as found in textbooks, for example, and have proved scientifically that it does not pro-duce results. Language acquisition research has confirmed this criticism – followingPienemann’s teachability hypothesis (1998) and taking into account the dichotomy of acquisi-tion and learning as propounded by Krashen (1989). In practice, however, not much has chan-ged as a result of this and other research nor has the recommendation of hands-on conse-quences borne fruit.

That is all the more surprising, because in adult education the linearity of teacher-centred lear-ning processes has long been overcome and changes have been made to the examinationregulations involving a myriad of different learning forms and cooperative language activitiesaccording to learner-types. In Denmark and Austria, for example, language learning has beenreformed in elementary and secondary education.

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A European facee - from a photo-workshop of the ECP pro-ject school Garbsen Comprehensive

Learner-centredness and the use of experience and knowledge about the world have reinfor-ced pupil activity beyond doubt, and, in combination with better language acquisition proces-ses, all these factors have provided a good basis for vocational training and further academicwork. No longer do linguistic progression, dialogues based on background studies, nor factualtexts take a dominating position. On the contrary, pupils have learnt to use the breadth of theirexperience, their ways of perceiving the world, their approaches and personal inclinations tohandle content and language activity. They put forward their suggestions and make clear theirexpectations. Hunfeld threw down the challenge in 1994 that the addition of different com-petencies through a richness of material and language activities would create a perfectly nor-mal majority process of comprehensive language power growth and a diversity of methods. Hischallenge has awoken a wide interest in the narrative and histrionic components of foreign lan-guage learning and teaching from primary school onwards. The „Guidelines for German as aSecond Language” in the whole Italian-speaking school system are one example. Workshops,handbooks, content and forms of expression are all dealt with, and narrative and dramatictexts are worked on creatively to the full.

These more programmatic thoughts have drawn attention in Europe to the tradition which see-med to have been buried by linguistic dominance in foreign language learning, by examinati-on regulations and by curricula with a learning objectives orientation, that is the tradition ofdidactics as the dramaturgy of the learning situation in class (Hausmann, 1952) and the sta-ging of foreign language learning (Schewe, 1993).

Staging as a didactic and methodological extension of the curriculum

The amount of suggestions made by the partners in the project Staging Foreign LanguageLearning show how great the need is to pick up an old tradition, exchange experiences and todevelop language learning further. The opportunities for expression through staging communi-cation using literary, situative and imaginative contexts have been tried and proven over manyyears. The minute a text or a scene has been chosen for a performance, it has already been sub-ject to interpretation and so there will be consequences for the motives, the tensions, the expe-rience included, symbolic images and the action – just the way the director of a play works andthinks. The choice of theme and the presentation are meant to make clear to the audience justwhat is meant to be expressed – even using minimal language. The directing and the develop-ment and filling out of roles include repeating many scenes, trying different people in differentroles and experimenting with all sorts of circumstances – that is what staging means.

The knowledge of lexis, grammar and style is used at all levels of competence, at times impli-citly and at times consciously, in full compliance with the content and language standards defi-ned by official guidelines.

The histrionic dimension of planning, action and evaluation sharpens the openness for inten-tionality and finality and makes us aware of norms in human communication. Hidden as wellas open motives and intentions soon become evident, too. This consciousness is not just a pre-condition for appreciating literature – it is the very way of access – for literature in all its varia-tions in different media. Every text idea, every text document can be literally seen as such, butalso as an auditory image, as a video image or as a multimedia presentation, and, last but notleast, as a photo story or a satire.

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All these possibilities offer the opportunity for interesting co-operation between the partnersin the participating countries, whether it be on the Internet, at theatre festivals or in the sumof all the interpretations and staging ideas on a particular topic.

The suggestions, which have been tried out, have lent impulses to cultural understanding andto successful foreign language learning in an inter-disciplinary approach. The figure of Punch,for example, which can be traced back to Celtic-Gallic symbolism and to Mystery plays invarious cultures (even to Metternich’s motives for forbidding language in puppet plays and tothe resulting role of the simple policeman) is an opening to intercultural and ethnographicwork, when comparing similar characters in the tradition of hand puppet theatre.

Foreign Language Learning and Foreign Language Teachingbetween renaissance and innovation

A survey of the prevailing national conditions and of the evident, comparable problems to besolved in FLL and FLT led to the establishment of the following didactic and curricular essenti-als. The over-reaching aim was to promote a bonus for all European language work, not justfor the languages of the project - results and products were and are to be transferable.

The project Staging Foreign Language Learning does not have the absolute aim of completereform in language didactics but should be considered as an attempt to steadily promote inno-vative and creative methods and ideas, and so extend the curriculum – supported by audio-visual material, multimedia and electronic communication. The ideas and concepts for teachereducation and in-service training will have an influence over and beyond the frontiers of theparticipating countries.

As the quality of teaching is often decisively influenced by good material which fits in with thelearners’ needs and interests, the project included the development of classroom materials inaccordance with LINGUA 2 which guaranteed the quality and the sustainability of StagingForeign Language Learning. The development of concepts for in-service training without thesimultaneous development of appropriate teaching and learning materials will not, in the opi-nion of the project partners, exploit the full potential of the European Union and will leave avital challenge unanswered.

From the sage on the stage to the guide on the side illustrates the challenge that foreign lan-guage teachers now have to accept. Learner, process and product-orientation are the keywordsin foreign language learning. New forms of classroom work are needed to effectively transformthese notions into action, because individual learner needs are now taken far more intoaccount than ever before and are leading to a new understanding of the teacher’s role.

Instead of traditional classroom talk and direct face-to-face communication, the staging of lear-ning processes and of language work will come to the forefront phase by phase. New com-munications technologies have made it possible to break through the confines of the clas-sroom, motivation and learning have entered a new dimension.

Language learning has thus taken on the character of a workshop activity through staging andthe computer and is leaving the well-trodden paths of traditional teaching.

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Reference can be made, in conclusion, to the work of Legutke (1998, 2000, Key concept: Theclassroom as a world of learning – and beyond) who has shown that the classroom has nowbecome a workshop for communication, offering opportunities for language practice, a roomfor staging, indeed a stage.

Staging Foreign Language Learning - an attempt at a definition

The concept of staging wasintensively discussed in the pre-paratory stages of the projectwith regard to its appropriaten-ess as a didactic and methodo-logical category. Non-nativespeakers especially often assu-med a too close relationship tothe stage, drama and theatre.

Of course, this area is part of the project, but our definition of staging, as in authentic Englishuse, is broader and goes much further. Research in a selection of dictionaries and in authenticcontexts shows us the meaning of staging as seen in the project.

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Just considering the verbs occurring in the context of stage/staging reveals the understandingof the pupils’ and teachers’ active role which characterizes our project.

The project intends to find out what opportunities there are, against the background of thisproject philosophy, for the mise-en-scene, for involving media and generally putting projectstogether in a sensible combination.

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act arrange carry out contrive do engineer exhibitfake give lay on plan organize perform

orchestrate play present produce put on trump on

Basically staging means for us Staging successful learning processes involving lear-ners and teachers in the form of creative, process-, product- and communication-oriented work- and learning scenarios – in a motivating environment which is inpart enriched by technology.

A change of paradigm: from teaching to learning

The traditional classroom metamorphoses into a language workshop containing a stage, anatelier, a communications centre, a teaching section and a linguistic research centre, comple-mented by external places of learning. This language workshop is a rich learning environmentwhich is enhanced by the Internet to become a meeting place for own and other cultures.Doing things with languages thus becomes more target-oriented and more authentic – the for-eign language is experienced as a real instrument for intercultural communication.

Teachers’ and pupils’ roles also change radically. The more passive sides of the pupils’ role likelistening, answering the teachers’ questions, copying down from the board or doing exercisesindividually retreat into the background. Instead active and creative sides of the pupils are cal-led upon – like writing texts to be exchanged with partners outside the classroom walls, desi-gning tasks and exercises for fellow-pupils, searching for information, processing that infor-mation, presenting results etc.. The teacher becomes an adviser and a facilitator, creating anoptimal learning environment and giving the pupils individual support.

Regarding scenic approaches, these changed learning situations are described dramatically byKao and O’Neill (1998):

“The usefulness of every kind of drama in second language teaching lies in the fact that it pro-vides contexts for multiple language encounters and encourages authentic dialogue betweenteachers and students. As a result the usual classroom interactions are profoundly and pro-ductively altered.“

Ten essentials for a didactic concept

The partners in the project had formulated the following didactic assumptions to carry outtheir work.

1 The project method (Dewey 1962) is ideally speaking typical of staging foreign languagematerial in the foreign language, and it fulfills all the present demands made by languageexperts regarding learner-orientation, content-orientation, process-, action- and productorientation – and all that in the planning phases, the completion of the task and in the finalevaluation or tying up of loose ends. Despite this, the partners in the project have agreedto make the in-service modules flexible (i.e. teaching ideas, concepts and projects will bepracticable under less than perfect conditions, for example, within normal lesson times).This became necessary because of the differences in school organisation, guidelines andcurricula

.2 Project work is done in groups, so the present call for the individualisation of learning pro-

cesses and clear distinction of achievement levels must remain unanswered, although, ofcourse, group results must be defined as the sum, at least, of individual efforts. The issueof formal evaluation of achievement in some countries and systems is the subject of rese-arch within the project and has as yet to be settled. First findings and suggestions can befound in Blume, Jandra and Ross (nm 53/2, 2000), where the evaluation of role-play, of sce-nic interpretations of fictional texts, the achievement in creative writing and the productionof multimedia presentations are discussed.

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The combination of learner autonomy with the social dimension of group work in stagingwas one of the research tasks in the project …although Burow (1999) has provocativelycommented that creativity is only possible in the plural.

3 Wagenschein’s assumption (1968) that “what is good for girls is also good for boys” was acriterion in developing the modules. In the area of performing and because of the agestructure of our target group, the first year of the project has shown that creative, perfor-mance-oriented and theatrical-educational approaches generally appeal more to girls andmotivate them to go on with the work. The aim of the project was therefore to design andincrease the offers of material such that boys will take up those offers.

The same is true of learner types. The project partners started from the assumption that sta-ging helps to compensate for a lack of the ability to see things in an abstract way whenlearning languages. The one-sidedness of a cognitive orientation can be compensated bythe “learning with all the senses” approach. Pestalozzi’s idea of “learning with head, heartand hands” is the point of departure for our efforts.

4 Basically the concepts being developed in the project for in-service use are not orientedtowards perfection in grammar and pronunciation, as many traditional university seminarsstill expect, they are rather intended to spread foreign language use functionally for a grea-ter number of learners than hitherto. So the target group is not, say, a third of Germanupper school pupils, nor their Irish, Finnish and Polish counterparts, but all pupils participa-ting in foreign language learning and their teachers. Zydatiß (1998) has formulated this inhis paper on ‘Teaching for Tomorrow’, where he refers to the monoculture of aims and con-tent in the past, and emphasises the changed needs of society and of the individual in thefuture.

5 Our synopsis of foreign language learning in the project partner countries has shown thatthe presentations we are promoting to enhance learning and school culture and, of cour-se, the competencies behind them remain the exception. Work results are kept in exercisebooks and rarely leave the classroom. In times of the Internet this attitude to communica-tion is diametrically opposite to the opening-up of society and will certainly not help edu-cational systems in Europe to grow together. In addition, evaluation of presentations in theproject led to improvements which will bear fruit in the later phases of marketing and dis-tribution.

6 Above and beyond the individual examples, the modules were designed to be a media andmethods mix. There is more innovative potential in the combination with electronic mediaand language learning and use should basically be media-intensive. A variety of media isnot only important for content and methods diversity, but brings reality from the target lan-guages and cultures into the classroom, thus making intercultural experience and compari-sons possible. Authentic media use should therefore always take priority over didacticisedattempts (Gienow and Hellwig, 1998).

7 On the other hand, ‘classic’ methodological components can now be seen as offering ‘com-pensatory’ possibilities when virtual learning and the media tend to dominate..

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8 The levels and forms of the modules encompass seminars, courses and workshops whichinclude practical trials in pilot schools involving the pupils directly. The modules are bottom-up, intended for direct application in foreign language work in schools, i.e. teachers will beempowered to integrate the materials they have become acquainted with directly in theirown teaching – it is our aim to open a direct path from in-service training to the foreignlanguage classroom. That is why exemplary lesson suggestions, at least, are a part of thein-service modules.

9 The motto teachers train other teachers or teachers learn from other teachers are a part ofthe philosophy of our project. The new modules are therefore primarily aimed at teachersprepared to be cascaders or at those who are already involved in this work. In the meetingswhich led to the formulation of the project application it was decided that practice-orien-ted in-service institutions would play the main role in developing the appropriate materials,while universities would play a consultancy role.

10 The opening-up of the classroom, resp. of in-service training, indicates the inclusion ofextra-school learning, in other words of ‘living language links’. Besides being a pedagogueand a subject specialist the teacher is expected to be a director, an actor, a stage designer,a make-up artist, a costume expert, a lighting expert, a props manager, a prompter, a soundengineer, a DTP expert, a photographer, a text composer, a graphics expert etc. and thatmeans as much active, extra-mural help and co-operation as possible.

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STAGING FOREIGN LANGUAGE LEARNINGMaterials for the in-service training of foreign language teachers

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