Scenario: A Journal of Performative Teaching, Learning, Research
Scenario, founded in 2007, is a fully peer-reviewed journal for Performative Teaching, Learning, Research. To reach the widest possible readership, Scenario publishes articles primarily in English as an international lingua franca. However, thanks to the expertise of co-editors and guest editors who represent these languages, authors are also given the opportunity to submit their contributions in German (since 2007), Italian (since 2023) and French (since 2025). Scenario primarily focuses on foreign/second language education and their associated literatures and cultures, but is open to perspectives on performative teaching, learning and research from other disciplines and fields of pedagogical practice. The journal is the main pillar of the Scenario Project which encompasses a book series and a forum for conferences, symposia and colloquia; for further details on events and initiatives that aim to promote international exchange and collaboration visit the Scenario Project homepage at: https://www.ucc.ie/en/scenario/ Scenario is an open-access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author (see copyright information). This is in accordance with the BOAI definition of open access. Scenario is committed to ensuring a fair and transparent editorial process. Details can be found in our Statement on Integrity and Transparency. In 2024 the Scenario Project received University College Cork's Research Award for Open Science, and the Irish Open Access Publishers (IOAP) Award for Outstanding Contribution to the Open Access Publishing Field in Ireland.
Performative approaches across the curriculum: A field report
Eva Göksel and Marcel Felder have facilitated the elective module ‘Learning through Play – Drama in Education and Applying Theatre in Schools’ at the University of Teacher Education Zurich since 2021. In this article, they open the doors to their course. Using a single student case study as an example, they demonstrate how an experiential drama in education course can empower student teachers to apply performative teaching and learning methods across different school subjects. Finally, the authors discuss the requirements for the integration of performative methods in teacher education, guided by the question: What do teachers need to effectively and confidently design their own performative teaching?
Window of Creative and Reflective Practice
Performative-oriented teaching and learning
interdisciplinary and creative education
Copyright (c) 2025 Eva Göksel, Marcel Felder https://creativecommons.org/licenses/by-nc/4.0
Review of Lesch, H. & Zierer, K. (2024). Gute Bildung sieht anders aus. Welche Schulen unsere Kinder jetzt brauchen [Good education looks different. What schools our children need now, transl. MS]
Copyright (c) 2025 Manfred Schewe https://creativecommons.org/licenses/by-nc/4.0
Rezension von Abendroth-Timmer, D. & Gerlach, D. (2021): Handlungsorientierung im Fremdsprachenunterricht: Eine Einführung. J. B. Metzler.
Handlungsorientierung im Fremdsprachenunterricht
Copyright (c) 2022 Georgina Frei https://creativecommons.org/licenses/by-nc/4.0
Giebert, Stefanie & Göksel, Eva (eds.) (2019): Dramapädagogik-Tage 2018. Drama in Education Days 2018
The proceedings of the bilingual conference Dramapädagogik-Tage/Drama in Education Days 2018 in Konstanz, Germany, is the first independent publication following the yearly eponymous event. Since the conference series focuses “on best practice and research in the field of Drama and Theatre in Education specifically in second and foreign language teaching”2, the Scenario Journal has followed the conference since the beginning. The entire 2015/2 issue was dedicated to the first event in 2015 and edited by Stefanie Giebert, who is, together with Eva Göksel, the co-editor of the current proceedings. Reports on the conferences 2016 and 2017 were included in 2016/2 and 2017/1. The present book review continues this existing professional dialogue between Scenario and the Drama in Education Days. The publication consists of eleven articles in German and English, compiling reports on drama and theatre workshops as well as on projects for language education which were presented at the conference. Regarding the structure, there are four sections in the book: Foreword, Basics, Current Research and Practical Inspiration. In the foreword, which is included in English and German, the editors and conference organisers briefly introduce the authors and their articles. They also outline the genesis of the Drama in Education Days, ...
Copyright (c) 2020 the author(s) http://creativecommons.org/licenses/by-nc-nd/4.0
Performative Arts & Pedagogy: A British Perspective
The aim of this report is to provide an overview of the history and current state of ‘performative arts and pedagogy’ in the United Kingdom (UK) and, in doing so, identify key terms that have been dominant in the associated discourse. In compiling the report, there are clear challenges that need to be acknowledged. The first of these is the danger of making over-generalised statements without acknowledging the diversity of contexts, for example: different sectors (school, higher education, community), different phases of schooling (pre-school, primary, secondary), different countries within the sovereign state of the UK (England, Wales, Scotland, Northern Ireland). Any statement about drama practice in a country can easily mislead if it is assumed to apply equally in all contexts. One possible solution would be to avoid too much speculation and attempt to stick to empirical data, numbers of drama courses in schools and colleges, numbers of trained drama teachers, etc. However, even the reporting of facts involves some selection, and therefore has the potential for bias. Moreover, the avoidance of opinion and analysis can sacrifice insight for a form of bland neutrality. The dangers of over-generalisation in part determined the approach to the structure of this report, with ...
Copyright (c) 2019 the author(s) http://creativecommons.org/licenses/by-nc-nd/4.0
“Presence” as the echo of your silence: A reflection on the 3rd Scenario International Conference
I am standing on a mountain, receiving the swirl of a moist and strong wind around me. I let my hand out and touch the soil, reflecting on what brought me here. It is my first time in Ireland, yet the moment I touch the earth, I hear myself saying, "I am back." The words arrive so naturally, revealing a place beyond language, where time breathes in indescribable shapes. I came here for an international conference. After the conference, I left the city and followed the footsteps of a poet philosopher into the mountains. His name is John O'Donohue. Around twenty years ago, this Irish philosopher walked along the trails across these mountains, writing his way into the philosophical wonders of “presence” and “absence.”
Copyright (c) 2025 I-Chia Chiu https://creativecommons.org/licenses/by-nc/4.0
Review of Garde, U., & Severn, J.R. (Eds.) (2021). Theatre and internationalization. Perspectives from Australia, Germany, and beyond. Routledge.
Copyright (c) 2022 Elisa Serra Porteiro https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2025 Fionn Woodhouse, Manfred Schewe https://creativecommons.org/licenses/by-nc/4.0
Embodied spaces in performative language learning
This article examines how embodied sensory-affective spaces support the emergence of communication in English as a foreign language within a performative, translanguaging approach. Drawing on an enactive perspective, language is understood as a shared, situated and embodied experience, as well as psychosocial and linguistic. It is shaped by the dynamic interplay between bodies, material spaces, imagination, speech and the temporalities of classroom life. The study analyses data from the CELAVIE project, conducted in Grade 4 and 5 classrooms, combining qualitative materials (18 focus groups, 21 semi-structured interviews, and three explanatory teacher interviews) with quantitative measures of autonomous lexical production in pre- and post-tests. The findings show that transforming the classroom into a performative space—through physical openness, sensory comfort, creative exploration and embodied engagement—encourages students to speak more spontaneously, to draw on multiple languages, and to develop empathy, creativity, and confidence. Six interrelated dimensions of sensitive space emerged: sensitive space-time, intimate spaces, material spaces, performance spaces, physical engagement, and spaces for creativity and autonomy. Together, they reveal how performative practice supports the emergence of communicative behaviour by engaging students’ bodies, emotions, perceptions and imaginative capacities. The results highlight the potential of performative pedagogy to create inclusive learning environments where language becomes a lived, relational and creative experience.
Copyright (c) 2025 Sandrine Eschenauer, Jane Rony https://creativecommons.org/licenses/by-nc/4.0
Review of Berti, F. & Seitz, S. (2025). The primary school as a playful space. Theories and practices in an international perspective.
This volume, edited by Francesca Berti and Simone Seitz, offers an in-depth reflection on the role of play in primary school from an international perspective, drawing primarily on Italian, German, and Scottish contexts. Starting from the observation that play is widely recognised as a mode of learning in early childhood education, yet remains comparatively underexplored at the primary level, the contributions gathered in this volume aim to address both a theoretical and an empirical gap in educational research.
Copyright (c) 2025 Anne Clerc-Georgy https://creativecommons.org/licenses/by-nc/4.0
Embodied pedagogy in language acquisition
<span class="NormalTextRun SCXW21373390 BCX4" data-ccp-parastyle="Abstract_Sc" data-ccp-parastyle-defn="{"ObjectId":"ca8cd72b-1859-5037-ae70-8487e2cf4d9a|1","ClassId":1073872969,"Properties":[469777841,"Calibri",469777842,"Calibri",469777843,"Calibri",469777844,"Calibri",469769226,"Calibri",268442635,"24",469775450,"Abstract_Sc",201340122,"2",134234082,"true",134233614,"true",469778129,"AbstractSc",335572020,"1",134224901,"true",335559740,"240",201341983,"0",469777929,"Abstract_Sc Zchn",469775498,"Normal",469778324,"Normal"]}" data-ccp-parastyle-linked-defn="{"ObjectId":"d6349d79-bcbc-5eae-801c-7578ced769b4|1","ClassId":1073872969,"Properties":[469777841,"Calibri",469777842,"Calibri",469777843,"Calibri",469777844,"Calibri",469769226,"Calibri",268442635,"24",469775450,"Abstract_Sc Zchn",201340122,"1",134233614,"true",469778129,"AbstractScZchn",335572020,"1",134231262,"true",134224901,"true",335551547,"6153",469777929,"Abstract_Sc",469778324,"Default Paragraph Font"]}">This study report proposes and preliminarily validates an innovative pedagogical framework that integrates classical ballet movements into French grammar instruction for adult beginners. This framework is grounded in the theory of embodied cognition. The methodology effectively links ballet terminology to specific grammatical structures, providing students with comprehensible input that moves beyond purely cognitive processing. Survey results reveal highly positive student feedback, with salient keywords such as "novel," "fun," and "elegant" underscoring the method's success in enhancing engagement and fostering a motivating learning environment. More significantly, the core principle of this approach—the strategic re-embodiment of linguistic elements from a language's cultural matrix—could be extended to the teaching of Chinese characters. This is demonstratedthrough a "Body-Logogram" model, where learners kinaesthetically interpret Oracle Bone Scripts by using their bodies to sculpt pictographs and narrate compound ideographs. The study concludes that this embodied pedagogy offers a replicable and transferable teaching model, demonstratingthat the creative adaptation of movement principles can transcend conventional grammar instruction and open new avenues for multisensory language acquisition across diverse linguistic contexts.
Copyright (c) 2025 pu WANG https://creativecommons.org/licenses/by-nc/4.0
Commedia dell’arte et enseignement-apprentissage des langues
Commedia dell'arte is a dramatic art form rooted in the Italian theatrical tradition, with a strong cultural heritage and a high educational potential. It has enjoyed lasting international popularity in professional artistic circles and remains firmly embedded in the popular imagination of audiences, teachers and learners, regardless of their knowledge of the Italian language and culture. However, commedia dell'arte has also generated multiple stereotypes that teachers may choose to ignore, debunk, or use as a basis for enquiry and understanding in education. The flexibility and adaptability of Commedia dell'arte make it both a method and toolbox that can be useful for (critical) learning in a wide range of educational fields and contexts.
Copyright (c) 2025 Filippo Fonio https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2025 Fionn Woodhouse https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2025 Urs Widmer https://creativecommons.org/licenses/by-nc/4.0
Le tandem dans un atelier de théâtre au service d’une meilleure prononciation et d’une acceptation de soi en LVE
This article presents a peer tutoring initiative developed within a community theatre workshop; part of a practice-based research project supported by the DRAC of the Pays de la Loire region. The program pairs young French-speaking participants with allophone learners. The francophone tutors support their peers in learning French as a second language (FSL) through theatrical exercises. The study focuses on one specific pair working on improving the pronunciation and intelligibility of a Ukrainian-speaking student. Multimodal analysis of their interactions shows that the workshop goes beyond linguistic goals. It becomes a relational and affective space, echoing Grotowski’s (1971) vision of theatre as a “shared birth” and the “complete acceptance of one human being by another.” Anchored in the enactive paradigm (Varela, 1999), this research sees theatre not just as a tool for language acquisition, but as a “joint experience” (Aden, 2013) that embodies an “ethical know-how” (Varela, 1992). We hypothesize that the relational ecology created in such a theatrical context supports the learning of pronunciation prior to more technical corrective phonetics approaches (Nocaudie, Alazard-Guiu, Billières, 2019), ultimately enhancing the communicative abilities of young allophone learners.
Special Issue Window of Creative and Reflective Practice
Copyright (c) 2025 Maria Pavlovskaya https://creativecommons.org/licenses/by-nc/4.0
“Moving Words in Space” is an artistic and teaching practice based on a dialogue between dance improvisation and language learning. I have been developing this teaching approach with adults for the last twenty-five years, but I have also used it with children to teach English under the name “Jump’n Turn”. In this contribution, I retrace the developmental stages of “Moving Words in Space”, before describing how I use performance scores to introduce children to the English language through “Jump'n Turn”. To illustrate this process, I use “Scramble” (1970), an exercise and performance score originally created by the American dancer and choreographer Simone Forti. The tasks are extremely simple yet have a strong pedagogical potential. I explain how I guide young children through the activities so they can experience language fully through movement while performing a score that was created during the development of postmodern dance in the United States.
Copyright (c) 2025 Agnès Benoit https://creativecommons.org/licenses/by-nc/4.0
Le corps à la croisée des LVE et de l’EPS
This article explores the connections between language teaching and physical education (PE). First, we consider such notions as the “sensing body”, “the learning body”, “embodiment” and intercorporeality (physical interconnectedness), all of which are integral to the learning experience in PE. We then discuss ways in which PE can foster a strong sense of physical interconnectedness through sensory-motor experience, and an awareness of the bodily dimension of interpersonal relations. We close with a case study of collaborative work between a PE instructor and a language teacher who invite year 9 pupils to engage physically with works by the Mexican painter and poet Frida Kahlo.
Copyright (c) 2025 Sarah Pochon , Sandrine Beulaigne https://creativecommons.org/licenses/by-nc/4.0
« La langue » : créer encore et en corps
French as foreignized tongue: an unlearning kit to create with/in the body. As soon as you consider learning a language as an act of creation, you have to change the way you teach. It is not enough to step away from a normative approach and even to tolerate or praise diversity: differences are to be seen as constitutive and modifying, transformative (Authier-Revuz, 2004). Speaking and writing tend towards what is yet to be and hence, fundamentally, misunderstandings (Servais, 2009). Shifting to a heterolingual paradigm (Grutman, 1997 ; Sakai, 1997 ; Suchet, 2014) has led me to translate French into frenches and to estrange FLE as a foreignized tongue (Suchet, 2021). Still, inherited positions and codes remain, especially when teaching. This is why I developed an unlearning kit together with designers Alice Ferré and Élise (Les tables des matières) and graphist Pierre Tandille. In this text, I would like to focus on how the experience of activating this kit reveals the fundamental implications of the body in relationship to “the language”.
Copyright (c) 2025 Myriam Suchet https://creativecommons.org/licenses/by-nc/4.0
Using theatrical masks to transform second language-learning for engineering students
This article describes how a transdisciplinary module for engineering students, based on masked theatre workshops set within an enactive pedagogical framework (Trocmé-Fabre, 2022; Varela, 1999) combines a sensorimotor and reflexive (bottom-up and top-down) approach to English language learning and translanguaging (Aden, 2014). Through a process of devising and performing a masked play, students at a top engineering school in France can develop specific human-centric skills to help them mediate, collaborate and co-create within increasingly complex professional situations involving diverse perspectives. Grounded in Varela’s paradigm of enaction (Varela & al., 1993), and the mask pedagogy of Lecoq (1997, 2002) and Gaulier (2024), the students undertake a phenomenological, embodied exploration using first neutral then expressive masks. As well as covering the face, or identity (Lakoff & Johnson, 1980, p 37), masks disrupt habitual modes of sensorimotor perception, as visual input is dramatically reduced and other modes of perception increase to compensate, thereby altering relations to self, others and the environment (Preller, 2022). Masks are potent catalysts for transformation and creative freedom, as evidenced by their importance in actor-training and performance (Freixe, 2024; Lecoq, 1997; Mnouchkine, 2000). With non-actors – here, engineering students learning a second language - I aim to show how three key features of mask-work enable a creative approach to languaging, meaning-making and knowledge-building.
Copyright (c) 2025 Caroline Preller https://creativecommons.org/licenses/by-nc/4.0
Introduction: les langues a l’ecole des arts de la scene
Introduction to the French language special issue
Copyright (c) 2025 Joelle Aden, Jean-Remi Lapaire https://creativecommons.org/licenses/by-nc/4.0
Principes et processus de l’improvisation théâtrale dans une perspective énactive-performative de l’enseignement-apprentissage de l’anglais à l’université
Abstract This article presents the potential of theatrical improvisation for the teaching and learning of English at university from an enactive-performative perspective (Aden & Eschenauer, 2020a). Considering cognition as an emergent and embodied process, linked to action and interaction, this theoretical framework sheds light on the relevance of the founding principles of improvisation, as developed by Viola Spolin (1906-1994) and Keith Johnstone (1933-2023). The study shows how the process of improvisation, governed by rules such as “Yes, and...” and a focus on a common goal, encourages the development of oral fluency, as well as the contextualised appropriation of grammar, lexicon, phonology and pragmatic skills. It has also been shown that this practice reduces language anxiety by establishing a secure framework (Zondag, 2021), boosts motivation and self-confidence, and develops cross-curricular skills such as creativity and collaboration. Based on classroom observations at the University of Bordeaux, the article uses concrete examples to illustrate how language takes shape in interaction and how constraints can become levers for creativity.
Copyright (c) 2025 Florian Rèche https://creativecommons.org/licenses/by-nc/4.0
<span class="NormalTextRun SCXW95076805 BCX4" data-ccp-parastyle="Abstract_Sc" data-ccp-parastyle-defn="{"ObjectId":"ca8cd72b-1859-5037-ae70-8487e2cf4d9a|1","ClassId":1073872969,"Properties":[469777841,"Calibri",469777842,"Calibri",469777843,"Calibri",469777844,"Calibri",469769226,"Calibri",268442635,"24",469775450,"Abstract_Sc",201340122,"2",134234082,"true",134233614,"true",469778129,"AbstractSc",335572020,"1",134224901,"true",335559740,"240",201341983,"0",469777929,"Abstract_Sc Zchn",469775498,"Normal0",469778324,"Normal0"]}" data-ccp-parastyle-linked-defn="{"ObjectId":"d6349d79-bcbc-5eae-801c-7578ced769b4|1","ClassId":1073872969,"Properties":[469777841,"Calibri",469777842,"Calibri",469777843,"Calibri",469777844,"Calibri",469769226,"Calibri",268442635,"24",469775450,"Abstract_Sc Zchn",201340122,"1",134233614,"true",469778129,"AbstractScZchn",335572020,"1",134231262,"true",134224901,"true",335551547,"6153",469777929,"Abstract_Sc",469778324,"Default Paragraph Font"]}">Fourth grade students at Buckley School (9–10 years old) create solo, autobiographical performances as part of their year-long theatre curriculum. This paper highlights some of the games/exercises students play as they create this performance, discusses how students and teacher work together to provide formative evaluations of the students’ evolving work, outlines how the performances are shared, and thinks through some of the issues about the relationship between identity and vulnerability that arise as everyone in the classroom tackles this assignment. The paper uses pseudonyms for all students’ names. The performances the paper describes are all imagined works inspired by performances students have created.
Copyright (c) 2025 Steven Totland https://creativecommons.org/licenses/by-nc/4.0
This qualitative case study examines the educational potential that unfolds when Bertolt Brecht's didactic plays (Der Jasager/Der Neinsager) are used in German as a foreign language lessons in Senegal not as literary artefacts, but as a starting point for performative teaching and learning. Based on a qualitative triangulation of interviews (n=9), surveys (n=60) and participant observations at four Senegalese schools, the article analyses the transcultural negotiation processes of the participating students. The results show that the performative appropriation of the play created transcultural spaces of resonance in which the young people turned the historical text into a mirror of their own lives. In addition to linguistic and intercultural competence, the process strengthened the participants' self-efficacy and critical thinking in particular. The study concludes that theatre pedagogy-based approaches are a powerful tool for cultural self-assurance and educational innovation in postcolonial educational spaces.
Copyright (c) 2025 Joerg Hartmann https://creativecommons.org/licenses/by-nc/4.0
Mechanisms of co-presence in repetitive drama studio performances
When working with older children (ages 9-12) in a drama studio environment (extracurricular theatre and drama education with performative outcomes), keeping everyone present is both an exciting and challenging task. The process towards a performance can encompass several techniques and methods during the creative process, as well as on stage, in three core areas: 1. Impro and Process Drama; 2. Mentoring; 3. Language and Literature. Presence and co-presence occur as a result of focus, accepting, and building which are characteristic of improvisational theatre and process drama techniques that are used to keep students engaged and on task. Students address issues from an autobiographical and collaborative perspective, allowing them to play a part through improvised personal responses. The mentoring is present both outside and inside the play as mentors guide their students, assume some of the roles, and provide a meaningful framework and direction of the play. Fairy tales and well-known literary texts can be used as starting points; they are adapted and transformed on the spot. This results in a creative, spontaneous, and natural use of language that keeps the players present and alert throughout. This paper presents the examples from the Zagreb Youth Theatre (ZKM) Drama Studio's final production "A Bunch of Forest Fairies" (June 2023) which contains elements of Impro, process drama (uncharacteristically performed on stage), inside and outside mentoring (super mentoring), and fairy tale elements that are transformed in a new socio-cultural context. Such an approach enables the players to perform the same play repetitively with the same intensity and presence as the first time, allowing them to re-explore relationships, expressions, and texts in a new and meaningful way.
Copyright (c) 2024 https://creativecommons.org/licenses/by-nc/4.0
Review of Tau, R., Kloetzer, L., & Henein, S. (2024). Barefoot academic teaching: Performing arts as a pedagogical tool in higher education (Edition Scenario Vol. VII). Schibri.
In the true spirit of improvisation, this book is an across the board “yes”! It places embodied teaching and learning at the centre of the university curriculum and as such,it should appeal to readers with a strong interest in the role of the arts in academia: students, researchers, administrators, performers, and teachers/lecturers alike, because it thoughtfully encompasses voices from almost each of these groups.
In this contribution, we report and reflect on the 2024 edition of the PAInt summer school and DiE days providing readers with some insights into our experience as participants. The event took place in Padua, Italy, and focused on inclusive practices in performative approaches to language and (inter)cultural learning, bringing together educators, researchers, and students to explore how drama fosters language competence, inclusion, and celebrates diversity.
Copyright (c) 2025 Giordana F. Bido, Nicolò Salmaso https://creativecommons.org/licenses/by-nc/4.0
This paper introduces a practice-based drama framework developed in response to the evolving educational landscape in Ireland. Recent curricular reforms, including the redeveloped Primary Arts Curriculum (NCCA, 2025), have repositioned drama as a distinct art form while continuing to value its capacity for integration across learning areas. Drawing on the findings of Teachers Talking Drama (McEntee & Finneran, 2025) and grounded in qualitative research with primary teachers, the proposed framework addresses long-standing challenges around teacher confidence, clarity, and enactment. It offers a flexible, accessible model built on three interdependent pillars: drama as collaborative process, drama as a transdisciplinary tool, and drama as artistic practice. In doing so, it responds to teachers’ desire for concrete strategies that are context-responsive and aligned with curriculum aims. The framework aims to reposition drama not as a marginal or enrichment activity, but as a foundational methodology that supports expressive, critical, and inclusive learning across the primary school.<span class="EOP SCXW50793714 BCX4" data-ccp-props="{"201341983":0,"335559740":360,"335572071":0,"335572072":0,"335572073":4278190080,"335572075":0,"335572076":0,"335572077":4278190080,"335572079":0,"335572080":0,"335572081":4278190080,"335572083":0,"335572084":0,"335572085":4278190080,"335572087":0,"335572088":0,"335572089":4278190080,"469789798":"nil","469789802":"nil","469789806":"nil","469789810":"nil","469789814":"nil"}">
Copyright (c) 2025 Laura McEntee https://creativecommons.org/licenses/by-nc/4.0
This article describes the practice of the association Asinitas in Rome, which accompanies language learning paths for foreigners (migrants, refugees and asylum seekers) with theater workshops. Beginning with the workshop “The Human Voice” conducted with the Bartolini-Baronio company, the aim is to highlight the potential of theater for: the construction of a multilingual context that enhances the multilingual repertoire of each; the development of expressive capacity through attention to the co-verbal aspects of communication that include the body, space, voice with its prosodic characteristics; individual biographical narration that becomes collective dramaturgy consolidating the construction of a community capable of opening a window of dialogue with the city. The article aims to offer insights into how these aspects can be particularly significant in the context of migration for the acquisition of individual and social presence, the enhancement of linguistic-expressive skills, the construction of meaningful social ties, and the reworking of the migration experience itself.
Copyright (c) 2025 Cecilia Bartoli, Luca Lotano https://creativecommons.org/licenses/by-nc/4.0
This is not a study, but a research note on academic writing practices in our field, whose purpose it is to serve as a foundation for discussion. It provides a brief introduction into researcher reflexivity, my own positioning towards the topic, and a numerical thematic overview of authorial presence (pronouns, third-person terms, and their semantic functions) in data-based research articles published in the Scenario journal over the last ten years. I do not draw conclusions, but from the angle of researcher reflexivity, I submit questions with respect to clarity of premises and ethics, for possible consideration by future authors in our field.
Copyright (c) 2025 Silja Weber https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2024 The Editors https://creativecommons.org/licenses/by-nc/4.0