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This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment. FULL TEXT AVAILABLE FROM OFFICIAL URL LINK BELOW.
Japanese translation of ‘Rotoshop in context: computer rotoscoping and animation aesthetics.’ Animation Journal 12 (2004): 32-52.
Published in English and German
Shakespeare in Styria annually gathers together an international group of young actors and musicians in the Styrian Alps to perform and produce multiple events around the central core of a Shakespearean play.
In July 2011 they will be performing a new production of Twelfth Night directed by Sean Aita.
Related paper presented at Lubuskie Lato Filmowe, Lagow, Poland, June 2010; also at Polish Cinema in an International Context, Manchester 3-5 December 2009.
This article asks why several Czech and Slovak directors of the 1960s employed what might be referred to as a non-establishing-shot technique. To state that the employment of this technique was a reaction to Socialist Realism and to a Socialist society leaves unanswered the question of ‘how’ this reaction against the collectivization of the characters and the stories carried out under the aesthetics of Socialist Realism was expressed. More significantly, it was a reaction against the forced collectivization of society under the Communist regime. The absence of the establishing shot was a means of returning individuality, uniqueness and differences to characters. It was a way of stating that a society is formed by the sum of its parts, that is, its individual members. This article deals mainly with the Slovak side of the New Wave, hitherto neglected by western scholars. It asks why and how five directors (Stefan Uher, Peter Solan, Juraj Jakubisko, Dušan Hanák and Alain Robbe-Grillet) made use of the non-establishing-shot technique; how they developed the technique; and in what ways they used it in a different manner to their Czech counterparts.