This trilingual Canadian theatre clown is enamoured with the powers of the smallest mask in the world, the red nose. She shares her passion of the clown's poetic world when teaching at institutions such as the Academy of Waldorf Education in Mannheim and the Freie Hochschule Stuttgart; and when facilitating workshops with themes such as conflict, communication and team building with teachers and teens in Europe, China and Taiwan. Recent articles: Theater Clowning in L2 Teacher Learning (DOI: 10.5070/L214350976), Ein Platz für Leichtigkeit

https://dasgoetheanum.com/ein-platz-fuer-leichtigkeit/

Email: catherinebryden@playisseriousbusiness.info

 

Introduction

In an HLT article from 2005, Catherine Bryden explored her personal relationship to clowning and how the practice enabled her to accept and live with the wide range of responsibilities of being a teacher. With over two decades of theatre clowning experience under her belt, Bryden now examines the long term effects of the craft by interviewing teachers together with her colleague Angela Hopkins. The respondents, all regular participants in theatre clowning courses, describe how this particular art form has served them to be more fully present to themselves, more deeply intuitive and receive their students along with the emerging unknown future.
 

Theatre Clowning

Peter Lutzker’s book The Art of Foreign Language Teaching (2022) offers an in-depth description of this approach to theatre clowning which stems from Jacques Lecoq, Bataclown (France) and Nose to Nose (UK). Lutzker offers outlines and details of exercises, improvisation structures, and participant feedback. He also discusses the method with regards to personal development within the broader context of teacher education. Theatre clowning workshops are modules in many Steiner/Waldorf teacher training programs and are regularly offered in Steiner/Waldorf conferences; they vary in length from a weekend to a weeklong program. To offer a point of orientation, what follows is a brief description of theatre clowning workshops.

Every workshop starts with an opening circle, followed by movement with gentle warmups to connect participants to themselves, the room/space and the group. These are followed by games which include voice and physical exercises, (not acrobatics), to invite cooperative playfulness and curiosity. Improvisations start in larger groups, then proceed to pairs, to solos and ultimately move to  combinations of groups. Sharing reflections and exchanges highlight personal experiences, surprises, favourite moments, and questions or struggles arising from the improvisations. The atmosphere is based on mutual respect ensuring a safe and protective place to explore, play and think.

A primary intention of the exercises, games and improvisations is to expose participants to the clown’s perspective, which requires an awareness of one’s unique experience of the world and true feelings. The exercises draw attention to details, connection to oneself, and emotional responses. The theatre clown meets the world with an open-hearted, fresh, wise wisdom, an adult child or court jester. There are no scripts or set characters; these clowns have a fluid nature and freely adopt any personas. With an inner ‘yes’ or ‘yes, and…’, a clown welcomes challenges with deep curiosity and wonder. Problems and frustrations are celebrated for the gifts and surprises they offer. The clown dives into the depths of the sea or soars above the clouds, stepping away from linear time, turning a millisecond into eternity at whim. The clown lives in the now and forever and all that a moment has to offer is the playing field or stage for the clown.

The exercises and improvisational structures not only support participants to step into the state of the clown, but they also foster relationships to inner worlds, their partners, the objects they encounter, and events taking place. These connections often create a joyful sense of complicité between players and the audience. Everyone is part of the game, they are on board for the voyage into absurdity, becoming the chair as the clown becomes it. Raising questions such as: How does the world look from the perspective of an unused dark oak chair sitting in the corner of a famous library? How does it feel to watch the new chairs at the tables be used every day? When the doorknob speaks to the chair, what does she say?

During improvisations, when immersed in play, participants visibly trust deeper levels of logic and meaning. Dropping out of the head and rational thinking opens doors to imagination, images and metaphors. This inquisitive process is open and experimental. The group is a community of learners, the participants and facilitators are changed both by taking part in an improvisation and by watching others play, which is one of the reasons that structures in a workshop switch regularly between activity and reflection. Feedback is a core part of this artistic process, not intended as analysis, but rather as a process of inquiry which follows warmups, games, and improvisations. In addition, it plays a vital role in meaningfully ending a workshop. The facilitator prompts with open questions that create a safe space for personal contributions based on direct experiences. Naming feelings like discomfort, confusion, frustration, or joy, contributes to higher levels of awareness for the group process, to a trusting, open-hearted workspace.

Since theatre clowning is not about being funny, nor about creating a character, attention is drawn to fun and play, not to pretending, nor performing. That said, from one workshop to another, facilitators draw participants’ attention to ways of being which support play and relationship. Suggestions or attention to recurring themes such as rhythm, eye contact, breathing, receiving, etc. are discussed to serve the next exercises or improvisations. This is not a linear process; it is thus possible to do several introductory workshops, because the approach is based on inquiry and far from predictable.

A clear difference between classic theatre and theatre clowning lies in the interactive relationship between the clown and the audience. Throughout exercises and improvisations, facilitators invite connections to participants’ unique, often illogical, emotional reality. Space is created to embrace participants’ full realm of feelings, giving priority to the heart over the head. Gentle facilitation shifts the focus away from the pressure to perform, from judgment, or criticism, towards attention to loving curiosity for what is going on. Participants laugh a lot, at just how touching it is to be human.

No previous knowledge of theatre or performance is required to step into the world of the clown; exercises and courses can be repeated as this approach is more of a practice than a technique to master. However, the more we clown, the more often we find ourselves feeling committed to and curious about our unique journey.

The Interviews [Please note that this series of interviews is an informal first step towards collecting information and is in no way complete].

The interviewee’s teaching experience within Waldorf education across Europe ranged from 3 to 35+ years and included a wide spectrum of ages and subjects: class teachers (class 1-8), class tutors (9-12), English, French, German, history, mathematics, eurythmy, drama, and ethics. They had all done 3 to 10 or more workshops, 5 of them over two decades, either in the context of teacher training programs or open workshops.

The research questions were kept simple and open, with no prompting or guidance. The 15 interviews were done over the phone, in person or online. One interviewer asked the questions while the other typed the responses. The hope was to invite impromptu contributions. Teachers were consciously chosen from a wide range of fields, age ranges and experience levels, all teaching in Waldorf education. In the following sections, we have grouped the responses into themes and selected sentences have been revised for clarity.

The following questions were asked: What do you teach? How long have you been teaching? What subjects and grades? How many clowning courses have you taken? What do you remember about your first course? What was it like to come back to clowning? How would you describe clowning? Has clowning influenced your teaching? How?

 

Memories of first clowning experiences

In response to the question: What do you remember about your first course? all teachers agreed that it presented a challenge, a stretch of their comfort zone, and equally a revelation. All of them were enthralled at a fresh way of relating to themselves, their teaching, and their students.

One participant reported waves of relief and laughter despite the challenges: “The very first impression was relief and loads of laughter. […] there was this impro where 4 people were doing the same thing crawling on the ground and it felt heavy, and I had the impulse to just stand up and everyone followed me. We talk about freedom and responsibilities, this was without words, what freedom means to me. It has something to do with my middle European communistic background of being taught to follow others.”

One participant described their first workshop as a ‘game changer’ in their life and said: “I really do remember. […] It was very challenging… when you said: forget the plan. I was asked to come on stage, forget our first idea, and second, and so on. It was the first time I realized the thought processes I had before any given moment. It was a huge game changer for me. After that I became aware of my ‘scheming’ in all situations. Now, I really do feel [more] comfortable […] with this method.”

A step into the utterly absurd world of being human came up several times in the feedback: “I remember it was a lot of fun and I came away really with the impression of having found something that opens up a lot of spaces that I hadn’t explored before. I knew I wanted to learn [and explore] more about what clowning was […]. The theoretical side was interesting too. I had the feeling I had regained something I had lost. As self consciousness evolves as an adult, it felt good to let go of some of that. Someone farted and [it] became an artistic moment. I realized when we clown, we go back to treating life as art once again, as it was when we [were] […] child[ren], in a different way. The fart was an amazing breathtaking moment! Artistically breathtaking!”

 

Coming back to clowning

Each participant returned to clowning, because this approach had touched them in their first encounters in different ways. Many experienced new challenges saying that the initial excitement and flow was no longer there, that the process began to feel like work, and they had new struggles. The honeymoon was over. Others said they would do it every week if they could. It was easy to come back to. Another teacher shared: “Coming back, I wanted to play more with uncertainty. It is the beautiful part of this work. And it was fun.” Another reflected: “It was easier because I was older. I was less self-conscious, and I had lived with this idea of being open to the moment, and trust that I will know what to do.” Many reported having to think less about the concepts behind this approach to clowning, so they were able to feel it more. Other comments included: “Maybe the easiest way is to say it was a feeling of coming home. A bit nervous, but joy most of the time; I found every workshop different. […] Coming on stage and not having ideas became easier and easier […]; I love it. I cannot remember a moment when I was bored; the fun factor is when you are just who you are, this is what is funny. […] It is a taste of going back to childhood and playing with everything, every situation, with no purpose, no goal, no need to be good..” Another teacher wrote: “From the first course that I did, I realized that if I try to do something funny, that it is not funny at all.” In theatre clowning, who we are as a person guides our clown, so we have a vested interest in exploring and deepening our relationships to ourselves and connections with others. Many teachers expressed experiences and shifts in these directions:

“ A clowning experience is about depth and connection with others.”

“Clowning is a way of self-awareness. It is a way to discover yourself […], shar[e] […] yourself, but not getting lost. You are still in contact with the audience. You have to be open to deep emotions and share them.”

“I think, I am a language teacher, so I use words. ‘I, YOU, and US.’ I touch the innermost part of myself, and we touch the innermost part of another person. I was surprised at what makes me laugh. This was a big lesson.”

 

The art of clowning – through the teachers’ experiences

What  follows are the teachers’ descriptions of clowning itself. In short:

“The art of vulnerability!”

“The art of being human!”

“The art of being alive.”

Our tools at hand are ourselves, in an improvisation a clown is waiting with expectancy for what is going to happen. One participant said the following about stepping on stage: “Who knows what is going to happen now! Kind of scary, but we need more of this. More intensity. Life is so often… here are my plans, I am going through the motions. And suddenly, whoooosh…I am back in this world of colour, sense, possibility, your heart is beating, your skin is prickling, and you are alive!”

Making life matter: The practice of clowning continually confirms and affirms who we are, our presence as an individual on the planet. However, our day-to-day activities can dull our experiences. Clowning has been described as a way of waking up the child in our adult selves and diving into the present moment:

“Suddenly, the moment matters again! Before, the moment was just a stepping stone to somewhere else. Suddenly, you are not on your way to somewhere else. Then life is ART. It is not just an empty road to somewhere else. Life is wonderful!”

“You say play is serious business, it is like being a child but still having the consciousness of an adult. I love being with children. I feel very at home in clowning. All the good sides of being a child and being an adult all mixed up. It made me think of Schiller i.e., we are alive when we are playing.”

“Clowning is a way to practice presence and being present, with whatever happens, however challenging it is. Learning to trust one’s natural response to changing situations without having to rely on a recipe or plan. Real time responsiveness. It is good stuff, let’s face it. Allowing oneself to be playful and learning, practicing playfulness.”

“I always mention it is opening yourself to sort of different worlds, the clown has an openness, naïveté, and the experience is for me a chance […] to experiment to be different than in normal life. The playfulness. You can be who you are, my clown is the part of me who is open, who is curious, who embraces life, who is with the things that are around, who is playful, who can stay with one thing and then change; it is always unexpected.”

“The way I engage the present moment is dependant on my plans and intentions, so I am not getting the full-blooded moment. I am then getting the moment mediated and I miss a lot of stuff. In clowning, we get rid of all that. The future intentions are gone, and we are confronted with the full moment. Really, the reality of the present moment is all you have. Clowning forces you to be closer to the world, makes it richer, it is […] more interesting […]. You get to treat the moment as a moment and treat it as it is, even enjoy it for what it is.”

In Teaching: The Joy of Profession, Christof Wiechert wonders what if teachers could see the art of teaching as a challenge for themselves, their personal growth, instead of a set of prescriptions to follow (Wiechert, 2012). People who choose to come back to the practice of clowning, clearly welcome such challenges, particularly in areas such as letting themselves be vulnerable, being seen as being vulnerable and letting go: “Playing in vulnerability, openness, curiosity, daring to go and explore. Being human, the simplicity of being human. This space to go places where otherwise maybe I wouldn’t dare to go, places within myself where this playful imaginative person can come out and have fun with other people.” Another expressed: “After a while, I noticed the difference between me as an actress and me as a clown. As an actress, I played someone else. I tried to be good being someone else. As clown, I had to show myself, with joy, sadness, anger. For me, a huge part of this is a letting go of control when I am doing something with someone.” Being fully present in the audience is just as important as being in an improvisation: “I remember how it was for me as the audience…. People were so lost, so insecure and it showed so much of themselves, and their eyes were sparkling.”

 

Influence on teaching and in the classroom

Every teacher felt they had changed. The following feedback also reflects what many others wrote: “My colleagues might be able to answer this question better than me. I got a lot of responses from my colleagues that I have changed. […] I think I have discovered another way of being with others, with children and being more myself…I have also noticed how I have started [using] the [improvisation exercises] as part of the artistic work with my pupils.” A further example relating to how we teach who we are: “It has had a huge impact on me personally, which necessarily has an impact on my teaching. I can’t teach without myself.”

All were keenly aware of how and where clowning fit and served their teaching process: “… there is planning at home and then there is delivering the plan. Clowning helps with the delivering bit. That is pretty much all clowning. You have your plan that you try to carry through to the best of your ability, but at the same time you are not teaching to an empty room. Teaching is about delivering the plan to the people in the room at the time. Clowning helps with interpersonal dynamics and relations: it gives you the confidence to say: ‘Ok, this is not interesting or getting anyone’s attention’, so I am going to do something else. We practice this in clowning which makes it possible in the classroom.” 

The following reflections address the process of learning to be a teacher and trusting this unfolding:

“When I started in (school), I often felt as if I was doing something wrong, because my ideas were spontaneous and appeared unstructured. When I started clowning, I had more confidence to follow those feelings. I built up confidence that structures will appear, they evolve on their own. The idea of self-organisation. In a group, a structure will build itself without someone else imposing it on the people [in] the situation.”

“Every teacher needs to do clowning! […] the fear of losing control […] disappears.”

The importance of imagination for a teacher-student relationship was regularly present in the participants’ answers: “What I really like is that you can always imagine something, not always a whole story, sometimes just parts and images. Extremely important in these times when students’ imagination is being stimulated from outside. [It is] important that we live images that come from inside. Very important for teaching. When you are giving a lesson, the students can always imagine things when the teacher is living with images. Especially important for language teachers.”

 

Relationship between clown and teacher

The unique aspect of action and interaction in theatre clowning touches upon the intersection of a teacher’s personal and public life outlined in Parker J. Palmer’s The Courage to Teach (Palmer, 1997, p. 17). Clowning is personal, as is teaching. Both teacher and student are involved in a continuous process of changing and becoming. Who we are as a person cannot be ignored and has the potential to be the starting point for creating a rich learning environment for both. When we clown, we explore our deepest selves, we celebrate our individuality, with all our fears and foibles. Above all, we practice fully relating to the world with everything that compounds us. We exercise relaxing into who we are and letting go of the tensions related to how we think we should be. We step out of a role and into authenticity. The feedback from the interviewees confirms that this is a rich and rewarding way of stepping out of an outdated role of ‘teacher’ and idea of teaching.

Play and playfulness open new possibilities for connection and communication. In his book Free Play, Stephen Nachmanovich speaks about the connections made through play and says “[…] play is the free spirit of exploration, doing and being for its own pure joy” (Nachmanovitch, 1999, p.43). Clowning could be described as doing and being with others, for the pure pleasure of being yourself in the presence of others. When Nachmanovitch speaks of play and improvisation in music, he observes a mysterious kind of information that flows back and forth between two people who are playing together. In the play, signals are shared, faster than sight or sound. “I play with my partner; we listen to each other; we mirror each other; we connect with what we hear. He doesn’t know where I’m going, I don’t know where he’s going, yet we anticipate, sense, lead, and follow each other” (Ibid., p.94). The teachers regularly spoke of nonverbal communication. Here is an example: “Another area I explored was nonverbal communication, when a student did something that I would rather they not do, I could share my feelings in my mimic, in my facial expressions to the class and then something happens. The other students notice that something is going on. I could use much less words and the connection and effect are much deeper; I am connecting with the child. When I am telling them what to do, there is no connection. Nonverbal exchanges open up much deeper levels of communication.”

Nachmanovitch regularly comes back to how play is a matter of context, it is not what we do, but how; how we receive a moment, another person, our own feelings. This aspect also came up in the interviews: “Being able to take their (students) world in as well. In the basic mirroring, where one person leads and the other follows, we lose touch with who is leading, and something happens. This is a quality of playing in between the spaces and wondering where on earth did that come from?!” Another teacher shared: “The clown is always with me in the class. To be open, to be aware, not to judge a situation too quickly. Teaching is like being in scene 1. To see something or a situation that I already know (here: a cloth) and to be open to new impressions, new experiences, and feelings.”

Play requires presence. In the classroom, this means making space and accepting what is taking place, which may not correspond to the initial planning of the teacher, nor her hopes or wishes for the direction of the class. Here are a few examples of this awareness from the responses:

“I was an English teacher for 14 years. When you are present in front of a class, you feel who you are and what you have to offer, and what you can receive from the pupils. Really feeling both of those flows.”

“[…] teaching is really about being in the moment.”

“In the work with the students and [my] teaching, I […] [learn[t] to [develop] a sense of what comes next; trust the sense in myself of what to go for in the moment.”

“I prepare my class, then I look at who the students are on this particular day. I learnt how to be open to change, to meet the moment.”

“I have certainly become more confident. More relaxed, more comfortable with events that happen, being with my students and not worrying about a plan. I am more concerned with what is going on with the pupils now. It is so much healthier for all of us.”

One teacher described how the lightness of play and joy affected her relationship to the students and their ability to be present: “I see how full of joy I am to play. I played with class 9, and I felt good to be connected, to play with them, to be one of them, at the same time I could lead them. I can be part of what is going on and have enough distance to lead. I practiced this in clowning.” This process requires an ability to be open to uncertainty. As a participant voiced: “Clowning is a real space to explore uncertainties and unpredictability. We are not used to cultivating this. It is not the mainstream way to go through life. Most subtle and most impactful, my relationship to me, myself, my experiences to my world and what is going on around me. Clowning made my experience richer and made me less interested in fixing things, in solving problems, being more curious about what just happens, the unknown that happens in every class. Rather than letting this cramp me up, I can let it be an invitation to actual real authentic contact with the children around me. […] My inner way of being [becoming] an inner attitude.”

When we draw awareness to the impact of our choice in the here and now, we experience what Max van Manen calls reflection in action, a possibility of coming to terms with a situation or problem in the moment (van Manen, 2016, p. 50). He calls this reflection-in-action and says it involves a moment of detachment. In clowning the practice of ‘stop, look, breathe’ is a pause, a disconnection from the situation, with a reconnection to oneself enabling a choice to be made in the moment.

Teaching can feel overwhelming. Well prepared student teachers realize at some point that there is a quality of unpredictability to teaching and begin to feel the weight and confusion of having to make important decisions tactfully, intuitively, and sensitively, both for individuals and for the whole group. Van Manen sums up the challenge:

“The nature of teaching is even more demanding than that of stage acting because teaching is not a rehearsed performance but rather a dynamic personal and interpersonal, active and interactive process; unlike stage actors, teachers can never be sure of their next lines. The practice of teaching requires the improvisational tact of instantly knowing how to act in ever-changing situations, a sense of timing, immediately knowing what to do, what to say, how to say it, how to present something, how to hold back, how to create the right tone, how to turn a text, what to do and when with a piece of technology or media (van Manen, 2016, p.187).”

Spontaneous conscious interaction can be practiced. Clowning is a practice of being fully in the moment and interacting, with the possibility of slowing down the “rush” of pedagogical situations. The clown practices taking time to fully receive the situation, to look, to breathe, to assess, maybe to smile, reflect on how they are feeling, then making a conscious choice to act or not. The clown plays with the elasticity of a situation, feels into the deeper layers, the feeling layers behind a student’s explosion, sees the student, the situation, acknowledges the feelings of the group, and makes a choice. The red paint has been splashed on the white wall in a fit of frustration in class 8.

“Aha…” Teacher looks at the wall, the student, the other students, back at the wall and says with a loving smile: “Hmmm…modern art. Lots of feelings involved.”

To the student: “Wow. You look frustrated. Want to take a breather? 2 minutes of fresh air and we can have a think together about what to do next? Really. Go outside. Take 10 deep breaths and come back. You didn’t hurt anybody. We have time.”   

To the class: “Could we all take a minute to stand up and see how we feel? I know I need a few minutes to breathe.”

The clown loves every moment, never questions the validity of the moment, never judges it. The clown welcomes every choice, even if they don’t like it, they say yes to it. An inner gesture of YES to crisis, chaos, surprises, celebrating how they are part of life.

As Max van Manen describes, knowing what to do occurs in the very act of doing something. This type of knowing requires a subtle ability to be receptive to what is taking place, not what we might like to have happen. Teachers reported being “able to take the impulse from the kids, keep it in movement and try new things.” They explained that “Clowning helps with discussions, not push something in a particular way, not hoping for a particular direction, to be flexible and open to what is actually going on. It is about the kids and the teacher being there to support them to develop their own powers of judgement, ‘Urteilsfähigkeit’. The teacher needs to be open to new directions.” Another called this: “Embracing mistakes. These moments when I can feel [opportunities] in the room and go with it. It is as if […] everything is going wrong, everything is … horrible. Then there is this moment when we (the clowns) […] go in a different direction. The [mistakes] we make together mak[e] [for] the best learning experience[s]. I must do less and it goes well. I can be with all the energy that is there, not go against it, not swim in the river against the current, just turn around and go with the flow.” One teacher wished to create AHA learning experiences for their students, a space where they can make mistakes and be free. They said: “Having had this feeling made it possible to slowly learn how to give this to other people. [A] relaxed observation [and] gentle encouragement when [I am] with a class, so [my students] can be [who] they [truly] are.”

The feedback and experiences from the teachers in these interviews shed insight on how the practice of theatre clowning can serve the teacher in personal development and in the classroom. The clown and clowning create opportunities which support a deep dive into curiosity, reflection in action, playing in the moment, embracing uncertainty, celebrating surprises of all shapes and forms, swimming in presence, while looking through a compassionate lens of the absurd humbling challenges of being fully human. Theatre clowning is clearly an art form that moves and inspires teachers to be more themselves, to share more of themselves with their students. It ignites the fires of curiosity and joy in face of the challenges a classroom can offer. One participant shared a response from a business coach regarding the topic of planning: “Are you suggesting we fly by the seat of our pants?” Response: “I am suggesting that your pants have wings.”

 

References

Brown, B. (2013). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent and lead. Portfolio Penguin.

Bryden, C. & Rawson, M. (in press). Performative L2 teaching in Steiner/Waldorf schools in Europe and Asia: The role of theatre clowning and scaffolded reflection. L2 Magazine.

Finlay, L. (2008). Reflecting on ‘reflective practice’. Practice based Professional Learning Paper 52, The Open University.

Lutzker, P. (2022). The art of foreign language teaching: Improvisation and drama in teacher development and language learning. Narr/Francke. https://doi.org/10.24053/9783823395010

Nachmanovitch, S. (1990). Free play: Improvisation in life and art. Tarcher/Putna.

Palmer, P. & Zajonc, A. (2010). The heart of higher education: A call to renewal. Jossey-Bass.

Palmer, P. (1997). The heart of a teacher: Identity and integrity in teaching. Essay Excerpts. https://doi.org/10.1080/00091389709602343

Rawson, M. (2020). A theory of Waldorf teacher education. Part 1: learning dispositions. RoSE -Research on Steiner Education, 11(2), pp. 1-22.

Rawson, M. (2020). A theory of Waldorf teacher education. Part 2: the role of study and artistic exercise. RoSE - Research on Steiner Education, 11(2), pp. 23-36.

Rawson, M. (2021). Using artistic, phenomenological, and hermeneutic reflective practices in Waldorf (Steiner) teacher education. DOI:10.6869/THJER.202006_37(1).0004  

Steiner, R. (2020). Becoming the archangel Michael’s companions: Rudolf Steiner’s challenge to the younger generation. CW 217. Steiner Books.

Sterling, S. (2011). Sustainable education: Re-visioning learning and change. Schumacher Society/Green Books.

Rogers, C. (1995). A way of being. Houghton Mifflin.

van Manen, M. (1991). Can teaching be taught? Or are real teachers found or made? [Speech Text], Department of Secondary Education, University of Alberta.

van Manen, M. (2008). Pedagogical sensitivity and teachers’ practical knowing-in-action. Peking University Education Review, (1), pp. 2-20.

van Manen, M. (2016). Pedagogical tact: Knowing what to do when you don’t know what to do. Routledge. https://doi.org/10.4324/9781315422855

Wiechert, C. (2012). Teaching: The Joy of profession. Verlag am Goetheanum.

 

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