唐代戏剧形成与戏剧意识萌芽

确定戏剧的形成时间 ,既是戏剧史研究的基本课题 ,又是戏剧观念研究的历史起点。本文首先从理论确认和事实印证两个方面 ,论证“戏剧形成于唐代”说 ,即中国戏曲形成于唐代。其次分析唐代人们的戏剧意识。伴随戏剧的产生 ,戏剧观念开始萌芽。唐代人们产生了雏形的戏剧意识 :初步认识了戏剧文体并予以分类 ;体验戏剧的“悲感”与“乐感” ;用道德评价戏剧 ;借助诗文讽谏说构建戏剧讽谏说。唐代人的戏剧意识影响了后世的戏剧思想。     

The school theatre as a place of cultural learning: the case of Soviet Latvia (1960s–1980s)

Abstract

The goal of this article is to reveal how through school theatre activities under authoritarian rule, changes took place in pupil knowledge, skills, attitudes, and behaviour regarding culture, namely, how the process of cultural learning occurs. I use a historical case study, specifically the case of the Valmiera School Theatre, which was the leading theatre group, not only in Soviet Latvia, but also in the entire Soviet Union. My primary sources are eight unstructured interviews, 20 published memoirs, articles in the press, theatre programmes, and photographs. One part of Soviet pedagogy was aesthetic upbringing, which was implemented through state-funded collectives, including school theatre groups. By participating in theatre activities, students gained knowledge of cultural heritage (literature, theatre, art, etc.), the ability to perform and acquire skills in other practical fields, and developed an appreciation of culture as a value. I argue that cultural learning through theatre was demonstrated by the fact that the students transferred their knowledge, skills, and attitudes to a new context, namely, their places of work and public cultural activities (e.g. amateur theatres). This case study also reveals the specific role of school theatre in the process of cultural learning, as well as some sensitive issues in the relationship between knowledge-orientated or formal educational environments, and the informal creativity of school theatre.     

从尤耐斯库的三部作品看荒诞派戏剧的真实

"现实"和"真实"是两个不同的概念,前者强调客观"存在性",后者注重"内在性质"。作为20世纪现代派文学重要组成部分的荒诞派戏剧突破了传统戏剧的艺术表现手法,以平庸的故事情节、分解的语言和破碎的人物取代传统戏剧中跌宕起伏的故事情节、突出尖锐的戏剧冲突和完整的人物形象。总而言之,是以一种荒诞的手法表现荒诞的世界。对于荒诞派戏剧是否能体现现实世界,以及它所体现的现实是否具有真实性,一直存在着争议。尤奈斯库是荒诞派戏剧的代表人物,其三部作品《秃头歌女》、《椅子》、《犀牛》在表现生活、表现人物方面的确能以一种反传统的方式折射出当时社会环境和人的内心世界,较好地诠释了荒诞派戏剧真实观及具体表达手法,强调通过人物的言语动作表达作者自身对世界的看法,并让读者慢慢体会,力图进而将作者心中的真实转化为读者的真实理解。     

新四军戏剧活动探析——以安徽地区为例

抗战时期,新四军不仅重视武装斗争,也十分重视文化建设。新四军在安徽开展了丰富多彩的戏剧活动,组建了剧团,进行了广泛的演出,创作了大量剧本。新四军在安徽的戏剧活动具有抗战的时代性、环境的艰苦性、形式的多样性等特点。戏剧活动的开展,起到了动员群众,鼓舞士气,统战和团结友好人士的作用,丰富了军民的文化生活,保存和改造了民间艺术。     

Playlinks: a theatre-for-young audiences artist-in-the-classroom project

ABSTRACT

Playlinks, the project documented in this paper, contributed a theatre-based artist-in-the-classroom study to the Community Arts Zone initiative. Playlinks involved 248 elementary school classrooms in pre- and post-production workshops connected to live theatre that visited their schools. Data sources included researcher field notes, teacher evaluation forms, and interviews with both teachers and theatre personnel. Findings focus on teacher perceptions of three topics: (a) student engagement, (b) learning across cognitive and affective domains, and (c) benefits for teachers. The discussion section addresses implementation problems related to artist-in-the-classroom projects.     

家庭影院音响特性的调校

高保真音响效果不仅与音响系统及音源有关，还与听音场所的声学特性有关。本就家庭影院系统中易被忽视的房间声学特性及音箱的摆位进行阐述，以求在原有的AV设备的基础上，使家庭影院音响效果得以较大改善。     

Playing with power and privilege: Theatre games in teacher education

In preparing White teachers to educate a diverse society, teacher educators must help them see the veil which colors their views of the world and privileges them. This study explores the need for playing with power and privilege to deconstruct the concept of meritocracy and challenge the idea of one-ness, thereby fostering more conscious locations of White pre-service teachers. It proposes that Boalian theatre games can serve as powerful yet playful and innovative approaches for accessing values and beliefs shaping pre-service teachers’ views of the(ir) world, influencing their roles as teachers and the pedagogies in which they plan to engage.     

以王佐良和巴恩斯的《雷雨》英译本为例看戏剧翻译的归化策略

剧本的翻译历来被认为非常棘手,它难在如何使译本即符合舞台表演的需要,又不失其作为文学作品而承载的文化传递作用。《雷雨》它不仅是曹禺先生话剧代表作,而且是中国现代话剧成熟的标志性作品,在艺术上有很高的成就。1958年,王佐良和巴恩斯合译的《雷雨》英译本出版,收到广泛好评。本文以此译本为例,研究归化和异化策略在戏剧翻译中的作用。     

台湾中小学表演艺术戏剧教学的解析

台湾地区现行学制内的戏剧教学是依《艺术教育法》（1997）,在《国民教育阶段九年一贯课程总纲纲要》（1998）、《国民教育阶段九年一贯课程纲要》（2003）中,正式纳入于国民教育“艺术与人文”学习领域之内;高级中学（含高职）则设于《普通高级中学艺术生活科课程纲要》（2008）“艺术生活”科内的“表演艺术”类课程中。这些法令确立了戏剧课程为新增的一门通识艺术教育。依表演艺术教学的法令规章与学理内涵的探讨可知,这种表演艺术的核心是在“表演学”（Acting）的学习。其教学以创作性戏剧、教育戏剧、教育剧场、儿童剧场、青少年剧场等方式实施,以避免表演艺术成为专业职业的训练导向之教学。在实施方面,建议对学校排课、师资、辅导员职责与奖励制度、课程系统化以及培养表演艺术高级人方面做考虑。     

《巾舞歌辞》与中国早期戏剧的剧本形态

创作了西汉时期的《巾舞歌辞》是我国现存在最早的戏剧剧本。《巾舞歌辞》存在的事实表明，我国有剧本可考的戏剧史应上溯到西汉时期。     

A Desperate Comedy: Hope and alienation in Samuel Beckett’s Waiting for Godot

Abstract

This article is both a personal response to Samuel Beckett’s Waiting for Godot and an examination of the concept within literature of making the strange familiar and making the familiar strange. It discusses the educative force and potential of Beckett’s strangers in a strange world by examining my own personal experiences with the play. At the same time the limitations of Beckett’s theatre are explored through the contrast with the work of Berthold Brecht, who sought to make the familiar strange as a method of political enquiry to facilitate the transformation of the capitalist state. Parallels are drawn between the possibilities of both theatre and education as tools for social transformation and change.     

Theatre for Development as a Model for Transformative Change in Nigeria

This study examines the role of theatre for development (TFD) as a model for social transformation in Nigeria, historicizing its relationship to community theatre while illuminating significant innovations in authorship and participation. In addition, the article explores TFD as a relational and performative process in which stakeholders participate directly—the notion of audience response is in fact central to the tremendous success of TFD in Nigeria. Based on a long history of successful programming, I argue that theatre for development is imperative in realizing the change necessary for holistic advancement of the Nigerian polity.     

Powerful devices: how teens' smartphones disrupt power in the theatre,classroom and beyond

During a series of high school English and Drama class trips to the theatre, so many students were online, the entire back row often glowed blue. Although much of the literature suggests that information and communication technologies are benign and neutral, this back-row collision of digital and live culture signals to teachers that technology is freighted with issues of power: questions of identity formation, consumerism, autonomy and freedom. This qualitative study of high school students at the conclusion of their four-play series suggests that cell phones shape the youth audience experience, that etiquette regarding the use of these powerful devices remains sharply contested, and that students apply a range of strategies to dealing with issues of power and agency around their use.     

Story of a Seed: educational theatre improves students’ comprehension of plant reproduction and attitudes to plants in primary science education

Background Although plant reproduction is a core subject in school science curricula, botanical topics are typically unpopular with students. Integrating the arts into science subject matter has the potential to increase student interest and understanding. Educational theatre has shown particular promise in this area.

Purpose The study examined how an interactive theatre performance, where professional actors deliver a performance but invite regular audience participation as a way to promote active learning, benefited both understanding of plant reproduction and attitudes towards plants. Perceptions of the play and the way in which specific elements influenced learning and emotions were examined in detail and placed in a theoretical context.

Sample Opportunity sampling was used to recruit participants from five public primary schools in Devon, UK. One hundred and forty-four students (aged 9–11 years) participated in the study.

Design and methods A mixed methods approach was adopted. Quantitative analysis of pre- and post-intervention knowledge tests involved t-tests and repeated measures ANCOVA. Qualitative analysis of semi-structured interviews made use of an emerging theme analysis with a priori categories.

Results Pre- and post-intervention tests indicated an increase in both knowledge of plant reproduction and positive attitudes towards plants. Follow-up interviews identified elements that were particularly beneficial for learning and enjoyment, including the thematic singing, humour, novelty of the play, visual elements and participatory art activities.

Conclusions This case study demonstrates the potential that an interactive theatre production offers for enhancing appreciation and interest in school science while improving knowledge.     

回归传统——论中国当代先锋戏剧对中国传统戏曲的借鉴陈吉德

中国当代先锋戏剧对中国传统戏曲非常重视,并且从假定性、剧场性和综合性三方面向其吸取丰富的营养,但是这种回归传统的做法并不是复古,而是站在戏剧观念现代化的高度重新审视传统。     

中国大陆小剧场戏剧热潮的终结

进入21世纪后中国大陆出现了一定规模的商业性小剧场话剧,它们打着小剧场戏剧的旗号吸引了大批的城市青年观众尤其是白领阶层。诸如此类的小剧场戏剧都有比较成功的商业操作,但是从探索一种新的小剧场美学或者说解救戏剧危机的角度而言它们无所作为。本文将立足于21世纪初小剧场戏剧阵营里不再具有实验性的主导性商业化小剧场戏剧来说明中国大陆的小剧场戏剧作为一种大规模的现象已经终结。     

Primary schoolchildren's experiences of participatory theatre in a heritage site

There is a growing need for articulation of the theoretical framework underpinning performance as a learning medium in heritage sites and for an in-depth insight into the children's experiences therein. The aim of this paper is to explore some of the themes that emerged from researching participatory theatre in a historic house as experienced by two primary school groups. The methodology drawing upon the principles of participatory research with children and a constructivist theoretical framework employed interviews, observations and drawings as data generation methods to explore the children's individual and collective experiences. The research findings underline the interplay between the events' theatrical and interpretive format and advocate the significance of children's co-authorship of such events.     

Physical Theatre Education: Beyond Knowledge Transfer

Teaching physical theatre successfully relies on a reverence for the human soul in order to cultivate risk-forward embodiment while demanding technical precision. In an effort to illuminate such praxis, this article documents and analyzes the experiences of novice physical theatre performers guided by master teaching artist and performer, Dr. Nancy Smithner.     

Atom Surprise: Using Theatre in Primary Science Education

Early exposure to science may have a lifelong effect on children’s attitudes towards science and their motivation to learn science in later life. Out-of-class environments can play a significant role in creating favourable attitudes, while contributing to conceptual learning. Educational science theatre is one form of an out-of-class environment, which has received little research attention. This study aims to describe affective and cognitive learning outcomes of watching such a play and to point to connections between theatrical elements and specific outcomes. “Atom Surprise” is a play portraying several concepts on the topic of matter. A mixed methods approach was adopted to investigate the knowledge and attitudes of children (grades 1–6) from two different school settings who watched the play. Data were gathered using questionnaires and in-depth interviews. Analysis suggested that in both schools children’s knowledge on the topic of matter increased after the play with younger children gaining more conceptual knowledge than their older peers. In the public school girls showed greater gains in conceptual knowledge than boys. No significant changes in students’ general attitudes towards science were found, however, students demonstrated positive changes towards science learning. Theatrical elements that seemed to be important in children’s recollection of the play were the narrative, props and stage effects, and characters. In the children’s memory, science was intertwined with the theatrical elements. Nonetheless, children could distinguish well between scientific facts and the fictive narrative.     

Young people’s perceptions of the ‘Love Hurts’ programme: Is theatre an effective means of addressing teenage relationship abuse?

Domestic abuse prevention education programmes have been found to be effective in bringing about attitudinal and behavioural change. However, there is limited research on theatre-based interventions developed in the UK. This study aimed to assess pupils’ responses to a theatre production called ‘Love Hurts’. A mixed-methods approach, which incorporated an online survey and focus groups, was used to understand the pupils’ perceptions of the play. The survey was completed by 294 pupils aged 11–19 years in five schools. Four focus groups were conducted in two of the schools involved. The pupils were generally very positive about the play, girls more so than boys. One of the strengths was that the young people reported being able to relate to the situations, and they found the use of theatre very engaging. They seemed to respond well to the use of a positive male role in the play, but reported that more could be done to highlight that women can be abusive too. Another theme was around the issue of trust, with some young people reporting feeling cautious about entering relationships following the play. The findings suggest that the young people responded well to the messages conveyed and felt that theatre was an effective means of addressing the issue. However, care is needed as to how to address the issues of gender and trust.