从小剧场艺术看课堂教改趋向

从小剧场艺术看课堂教改趋向山东张继平小剧场运动最初出现在１９世纪末的法国，欧洲第一个小剧场是法国戏剧家安托万创建的自由剧院。当时戏剧商业化倾向日益严重，一些立志改革的戏剧家进行了一系列不以赢利为目的的业余小型实验演出。这些演出并不在常规剧场，而是在诸...     

小剧场戏剧的概念和流变

小剧场戏剧的概念并不是一个十分清晰独立的概念,它是带有时代精神和特质的产物,一般是指相对传统的镜框舞台剧场(即大剧场)而言的一种小型室内剧场。在这种剧场中演出的戏剧在我国统称为小剧场戏剧,具有实验性、先锋性、探索性等特点。     

从小剧场看当代戏曲的探索——以小剧场京剧《浮生六记》和昆曲《陶然情》为例

小剧场戏曲在当代戏曲现代化和都市化的背景下悄然生长并初露峥嵘,依傍于都市的年轻化生存,它特有的剧场特性使得传统戏曲在观演关系、表演方式、美学追求等方面出现了新的变化.以小剧场京剧<浮生六记>和小剧场昆曲<陶然情>为例,分析这种变化的成因及其艺术探索.     

多看一些话剧,不枉来过东京

正要说东京有什么好玩儿的,有人会说美食、购物、动漫展,但要我说,那些都不算什么。东京是话剧爱好者的天堂,打开维基百科,搜索"小剧场"就会发现,在东京,有不少于60个小剧场。在国内读本科的时候,我就是话剧的铁杆粉丝,从人艺到蜂巢,从林兆华到孟京辉,《恋爱的犀牛》里的台词背得滚瓜烂熟,还专门去修了戏剧学。来到日本读研之后,我决定继续研究小剧场话剧,于是,我不是在剧场里,就是在去剧场的路上。借用电影《后会无期》里的一句话:多看一些话剧,不枉来过东京。     

大脑的秘密(上)

各位"铜丝"坐好了!成长小剧场的贺岁大片马上就要开演了!嘻嘻!我也要看!是什么内容啊?内容嘛,先不透露!看完就知道了!早在去年十月我们就放出了预告片,总之是部大制作!这次的剧场可是分两次播出呢!这可是成长小剧场第一次放映连续剧啊!一定很精彩了,赶快抢占有利座位!咳咳,下面我宣布,成长小剧场贺岁大片《大脑的秘密》正式开播!     

论宋代神庙剧场

神庙剧场是中国古代一个十分重要的剧场形式,也是保存至今最为完整的剧场形式。当剧场的其它形式随着时光的流逝而大多烟消云散之时,神庙剧场则因其宗教的庇护和独特的结构留下了大量的文物遗存。这是中国古代文化史、演出史上具有重要价值的历史遗迹,至今仍然有着独特的地位。在宋代,神庙剧场与勾栏剧场是两种最有影响的剧场形式,然而神     

读周贻白先生的《中国剧场史》——纪念先生华诞一百周年

周贻白先生不仅是海内外著名的戏剧史专家,也是第一位专门研究中国剧场史的学者。上个世纪三十年代初,当《清华中国文学月刊》、《国剧画报》等刊物,连续发表神庙戏台的文物图片和研究论文之时,先生即已累积了大量中国古代、近代的剧场史料,随后即出版了他的这部《中国剧场史》。书中处处表现了先生十分成熟的戏曲史观,首创之功是四方从同的。尤其是“剧场的形式”一章,概要而又清晰地勾画出了中国戏剧舞台产生和发展演进的历史轨迹;结合民族戏剧的出演需求和剧团组织讨论剧场的民族特征,也值得借鉴;关于神庙剧场的四种形式和茶楼戏园的深入考述,则为我们的继续研究奠定了良好基础。     

戏剧技巧在英语教学中的运用——基于读者剧场

在借鉴国内外英语教学中戏剧技巧使用的基础上,介绍了在英语课堂中如何使用读者剧场的教学形式,就具体的读者剧场形式的英语教学步骤和教学计划给出了具体例子。     

大脑的秘密?(下)

欢迎大家准时收看成长小剧场!看了上期的剧场,大家一定都心痒痒吧!神秘的外星博士,进入大脑的外星助手,死亡的脑细胞……(众读者:别说了!赶快放映啊!)好好好,话不多说,赶快来看《大脑的秘密》下集吧!我们的主角会怎群呢?喂喂!给我留个位置啊!     

乌力格尔曲艺小剧场的建设初探

近年来,曲艺小剧场在北京、天津等地非常流行,如郭德纲的德云社等,这一类小剧场在其定位上与当地的文化特色十分契合,所以,呼和浩特地区在开发小剧场时也应注意到地域文化对小剧场发展影响的重要性。作为内蒙古的首府城市,呼和浩特     

利用教学模拟情景剧促进大学教师发展——密歇根大学教学模拟情景剧项目介绍

教学模拟情景剧项目是由密歇根大学学习与教学研究中心运作的一个大学教师发展项目.它致力于将戏剧艺术应用于大学教师发展之中,通过互动短剧、传统剧目和启发性短剧的方式向观众呈现大学教师教学、工作和学术生活的各种情景,注重演出之后观众参与互动、思考和讨论.作为一种艺术形式,戏剧在大学教师发展中具有传统发展方式不具有的优势,它能够很好地适应如今学术背景下大学教师发展的需要.     

Between the aesthetic and the ethical: analysing the tension at the heart of Theatre in Education

Theatre in Education is a recognized form for exploring ethical issues in schools. Although the relationship between functional, didactic objectives and theatre artistry is recognized as complex and difficult, there has been little analytical work to elucidate its nature. This article takes the form of a case study intended to illuminate this tension by analysing a play that toured recently in secondary schools in Birmingham, UK. It concentrates on two aspects of this particular performance: its transgressive elements – the way in which it played with the boundaries of institutionalised values – and the features of its narrative that tended, in Eco's term, towards an aesthetic of openness. Rather than attempting to offer a clear‐cut theory, this article examines how these essentially theatrical elements of the performance meshed with the play's ethical agenda. I conclude that, despite the risks of transgressive play, it was the playful and open aspects of the enacted narrative that energized the students' moral engagement and subsequent reflection, and suggest that this has implications for moral pedagogy beyond the field of theatre.     

The Intertextual Method for Art Education Applied in Japanese Paper Theatre—a Study on Discovering Intercultural Differences

In art education we need methods for studying works of art and visual culture interculturally because there are many multicultural art classes and little consensus as to how to interpret art in different cultures. In this article my central aim was to apply the intertextual method that I developed in my doctoral thesis for Western art education to explore whether the method would also work from a non‐Western point of view. My hypothesis was that it is possible to find local and global differences that arise from selected texts and study them interculturally. As postmodernism calls attention to marginal areas, I applied my method to a form of visual culture that is not well known in the European art education context, the Japanese kamishibai which can be translated as Japanese paper theatre. Based on the results, my study will propose a method for understanding visual culture and the multiple relations ‐ local and global ‐ between different cultures. Japanese paper theatre also offers an interesting potential for using visual and verbal stories in the theory and practice of art education.     

Invisible theatre,ethics, and the adult educator

This article probes the ethics of one of the more controversial as well as exciting forms of adult education—the mode of theatre of the oppressed called ‘invisible theatre’. Looking at claims made by practitioners—Augusto Boal’s especially—and drawing on concrete theatre pieces, the author asks: What are invisible theatre’s claims to ethicality? How valid are the claims? Are the claims and practices compatible with adult education principles? And how might invisible theatre be conducted more ethically? The article demonstrates that despite invisible theatre’s highly ethical mandate, Boal’s defences of invisible theatre are wanting, the levels of deception and danger are problematic, and the standard practices and claims are incompatible with certain adult education principles and commitments, including the Freirian commitment to non‐manipulation. At the same time, it is shown, there is potential for invisible theatre praxis which is both effective and ethical, albeit changes are called for. Suggestions for improved practice include: invisible theatre troupes committing themselves to becoming ethically reflective practitioners, making minimal deception the new norm, reining in the level of conflict, exploring the ‘opaque’, and no longer taking as a given that invisible theatre should never be ‘outed’.     

中国现代戏剧创作与奥尼尔的启示

奥尼尔的影响几乎贯穿了整个中国现代戏剧发展的进程。洪深、曹禺和李龙云的部分创作实践体现了这种复杂的互动关系,同时也表明了奥尼尔对于中国现代戏剧创作的影响,更多的是一种启示,它为中国现代戏剧的进一步发展贡献了一块可供熔铸的基石。     

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。     

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.     

威廉斯剧作的诗意追求--评《玻璃动物园》

威廉斯在其成名作《玻璃动物园》中自觉地将传统与创新、现实主义与现代主义揉合在一起,成功地开创了一种抒情的、诗意的造型戏剧。本从该剧诗样的意象建构、表现主义与象征主义完美统一的舞台设计、以及富于联想和韵律化的语言等方面深入探讨了威廉斯剧作的诗化倾向,旨在揭示威廉斯不仅是一位当之无愧的戏剧改革家,而且是一位真正意义上的戏剧诗人。     

Learning Robotics in a Science Museum Theatre Play: Investigation of Learning Outcomes,Contexts and Experiences

Theatre is often introduced into science museums to enhance visitor experience. While learning in museums exhibitions received considerable research attention, learning from museum theatre has not. The goal of this exploratory study was to investigate the potential educational role of a science museum theatre play. The study aimed to investigate (1) cognitive learning outcomes of the play, (2) how these outcomes interact with different viewing contexts and (3) experiential learning outcomes through the theatrical experience. The play ‘Robot and I’, addressing principles in robotics, was commissioned by a science museum. Data consisted of 391 questionnaires and interviews with 47 children and 20 parents. Findings indicate that explicit but not implicit learning goals were decoded successfully. There was little synergy between learning outcomes of the play and an exhibition on robotics, demonstrating the effect of two different physical contexts. Interview data revealed that prior knowledge, experience and interest played a major role in children’s understanding of the play. Analysis of the theatrical experience showed that despite strong identification with the child protagonist, children often doubted the protagonist’s knowledge jeopardizing integration of scientific content. The study extends the empirical knowledge and theoretical thinking on museum theatre to better support claims of its virtues and respond to their criticism.