Making a crisis out of a drama: the relationship between English and Drama within the English curriculum for ages 11–14

This paper critiques a recent initiative arising from the British Government's National Literacy Strategy for secondary schools. The initiative focuses on Drama within the English curriculum for 11–14‐year‐olds (Key Stage 3). Taking issue with the imposition on Drama of the objectives‐led curriculum model of the Key Stage 3 Framework for teaching English, I examine whether the ‘focus on Drama’ during 2003/04 has led to a higher profile for Drama within English and facilitated curriculum collaboration between English and Drama teachers, as claimed. The article draws on evidence from a small‐scale research project involving student teachers of English and Drama on teaching practice in London schools. I conclude that the KS3 Framework model of curriculum development and training does not promote collaboration in English and Drama teaching that is genuinely creative, and I identify some approaches which could offer an alternative.     

Book Reviews

Book reviewed: Sheila Paine, Artists Emerging: Sustaining Expression through Drawing Richard Hickman, Art and Design Teaching Integrated Arts in the Primary School: Dance, Drama, Music and the Visual Arts Ann Bloomfield with John Childs Naomi Horlock, (Ed.) Testing the Water: Young people and galleries Steven Heller and Marshall Arisman, (Eds.) The Education of an Illustrator Steven Heller and Elinor Pettit, Graphic Design Timeline Stuart Melling, (Ed.) Computers & Art     

New books

A List of Plays for High School and College Production. Prepared by the Committee on Plays for Secondary Schools and Colleges of the Drama League‐of America, and the Committee on Plays for Schools and Colleges of the National Council of Teachers of English. Chicago: The ‘ Drama League of America, 1916. Pp. 41. Paper, $0.25.

Teaching Literature in the Grammar Grades and High School. By Emma Miller Bolenitjs, A.M. Boston: Houghton Mifflin Co., 1915. Pp. 337. $1.25.

Practical Stage Directing for Amateurs. By Emerson Taylor. New York: Walton & Co., 1915. Pp. 193. $1.00.

The Natural Method of Voice Production in Speech and Song. By Floyd S. Muckey, M.D.C.M., New York: Scribner, 1915. Cloth, pp. 149. $1.00.

Public Speaking. By James Albert Winans. Ithaca, N.Y.: Sewell Publishing Co., 1915. Cloth, pp. xlii+476. $1.50.

Practical Argumentation. By George A. Pattee. New York: Century Co., 1915.

Oral English. By John M. Brewer. New York: Ginn & Co., 1916. Cloth, pp. 3960 $1.00.     

Given to theatrics: how to agree with your critic on the qualities of qualitative research

Editor's note:An article by Kathleen Gershman, “Surviving Through Time: A Life History of a High‐School Drama Production,” was published in volume 1, number 3 of QSE.The article was responded to in the next issue by John Bengston, an educational psychologist with an interest in drama and qualitative research. In his article, “What makes a study qualitative?,” Bengston draws a connection between the rigors demanded by theater productions and the demands of qualitative research. In the following article Gershman responds.     

Introduction to the Forum on the Violence of Rhetoric

Fundamentals of Debate. By Harry Franklin Covington. New York. Chas. Scribner's Son's, 1919. Pp. 291, Cloth.

Psycho‐Gymnastics and Society Drama. By Delbert M. Staley, A.M. Ph.D. and Helen C. Culver. Boston. Richard G. Badger, 1918. Cloth, pp. 94.

Winning Declamations. By Edwin DuBois Shurter. Lloyd Adams Noble. New York City, 1917. Cloth, pp. 303.     

以教育戏剧为载体的行动研究：教师自我发展过程案例研究

教育戏剧是一种以戏剧或剧场技巧从事教学的教学方法,在以教育戏剧为载体的行动研究中,通过对一名教师自我发展的典型案例研究发现,教师的自我认同危机是教师专业发展的障碍;教师自我认同危机来自于一个完全依赖于外界认同的自我结构;教育戏剧和行动研究,本质上都是一种社会探测的实验过程;教育戏剧和行动研究可以促进教师自我发展,对教师的自我认同危机起到疗育作用;在这个过程中,教师可以发展成为真正的具有主体自我的实践研究者.教师自我认同、成为具有主体自我的实践研究者是教师建立自信、拥有胜任感、焕发教学生机与活力的两个重要基础.     

对于“宗教戏剧”概念的思考

在如何对我国古代有着强烈宗教色彩的戏剧进行界定和命名这一问题上,目前学术界主要存在着三种意见:"仪式戏剧"、"祭祀戏剧"和"宗教戏剧".无论是"仪式戏剧"还是"祭祀戏剧",在界定这类戏剧时都失之偏颇:强调了其宗教祭祀仪式功能而忽视了它们对于宗教义理和信仰的宣扬;强化了其宗教意义而在一定程度上抹杀了它们的艺术本质.而"宗教戏剧"概念,则避免这两方面的不足,既能正确地把握这类戏剧的艺术本质,又能全面地反映出它们所具有的宗教色彩.     

明清杂剧对元杂剧之继承与扬弃

明清两代是元以后杂剧发展史上的重要阶段,明清杂剧虽然从总体上比不过元杂剧,但由于明清剧作家们的不断努力,在内容主题和艺术形式上进行大胆的改革和突破,从而为杂剧的进步发展做出了贡献。     

Leaders: Latent danger for democracy even in education

The Art of Technical Writing: A Manual for Scientists, Engineers, and Students. Eugene Ehrlich and Daniel Murphy. New York: Thomas Y. Crowell Company, Apollo Edition, 1969. 182 pp. $1.95 paper.

A Primer on Food, Agriculture, and Public Policy. Earl O. Heady. New York: Random House, Inc., 1967. 169 pp. $4.95.

Professional Education for Ministry. Edward E. Thornton. Nashville: Abingdon Press, 1970. 301 pp. $7.50.

Psychology and the Superior Athlete, Bryant J. Cratty and Miroslav Vanek. New York: The Macmillan Company, 1970. 212 pp. $6.95 cloth.

The Slow Learner, edited by Joseph S. Roucek. New York: Philosophical Library, Inc., 1969. vi &; 373 pp. $10.00.

Storytelling and Creative Drama. Dewey W. Chambers. Dubuque, Iowa: William C. Brown, Publishers 1970. 92 pp.

Turmoil and Transition: Higher Education and Student Politics in India. Philip G. Altbach, editor. New York: Basic Books, Inc., Publishers, 1968. 277 pp. $7.50 cloth.     

教育戏剧——基础教育的明日之星

教育戏剧是以教育为主要目的的带有戏剧与剧场性质的教学方法与教育模式。教育戏剧发源于英美,在西方和我国港台地区的基础教育中已经得到长足的发展与广泛的应用。我国大陆的教育戏剧刚刚起步,其当前发展最现实的切入点应是面向中小学教师的戏剧教学法的培训以及面向师范生的“教育戏剧课”。     

戏剧隐喻论析

戏剧处于艺术的最高层,属于综合艺术,它综合了文学、音乐、舞蹈、美术、工艺等多种艺术.戏剧在综合中体现出其隐喻特性,因此,戏剧是隐喻的艺术.具体来说,戏剧的隐喻主要表现在冲突、动作、空间、视觉等方面.     

“样板戏”繁富丰厚的语言风格特征

作为“化大革命”时期独特的舆论工具，“样板戏”话语被要求具有宣传鼓动的社会功能。而以言辞的丰满为特征的繁富丰厚风格手段正好切合了“样板戏”话语表达的需要，因此被大量运用在“样板戏”话语里。     

论北曲对魏良辅改良昆腔之影响

治曲者向从南曲层面考察魏良辅的昆腔改良,而对北曲对改良之影响关注不够。本文由魏良辅习唱北曲的经历出发,对比探析了北曲与魏良辅改良之昆腔在曲律、曲唱、曲论的共同点,指出北曲从分宫别调、考究字声、曲唱技法和经验、协调弦管等四个方面,对改良产生了具体的影响,而融北入南正是促成昆腔质变的重要因素之一。     

元杂剧基本的戏剧构造方式——元杂剧文本结构研究之二

本文首先从情节要素入手,探讨元杂剧对情节的处理,说明元杂剧实际是“抒情戏剧”,一般不注重精心组织情节,细致展开矛盾冲突。其次通过对元杂剧戏剧高潮的分析,指出元杂剧文本的戏剧高潮实际是一种情感高潮,并形成其以情感为主、情节为辅的双线结构。     

Drama as an Experiential Technique in Learning How to Cope with Dying Patients and their Families

This paper discusses a teaching experiment in which participation and observation of a drama helped first year nursing students to consider ways of dealing with death and dying. Workshops included dramatised scenarios of critical incidents demonstrating different peoples' experiences of the death of a fictional patient in hospital. Two nurse teachers performed a two-part drama about the experiences of a patient just diagnosed with terminal cancer. Live performances were presented to large groups of students and followed by small group discussions. Drama as a teaching method was well received, and the combination of drama and group discussion was considered very effective by students, who requested more similar sessions. Drama appears highly satisfactory for achieving learning in the affective domain, and can be added to teaching methods for improving communication skills and coping strategies with nursing students who will be caring for the dying. However, further research is necessary.     

简析吉川幸次郎《元杂剧研究》之精神史特色

日本汉学家吉川幸次郎的《元杂剧研究》是一部从精神史的角度研究元杂剧的力著。吉川拓展了杂剧的研究领域,透过听众和作者的社会背景模式分析了元杂剧产生和发展的重要原因,将其提高到精神史的层次,分析了元代的社会风气和时代精神的变迁。从语言学和杂剧的结构入手分析杂剧,认为元代的社会风气及汉人的时代精神决定杂剧的特征及发展更是吉川研究的特色。     

戏剧隐喻论析

戏剧处于艺术的最高层,属于综合艺术,它综合了文学、音乐、舞蹈、美术、工艺等多种艺术。戏剧在综合中体现出其隐喻特性,因此,戏剧是隐喻的艺术。具体来说,戏剧的隐喻主要表现在冲突、动作、空间、视觉等方面。     

如何文明,怎样现代?——以“文明戏”为中心的民初上海都市文化探析

本文从“文明”一词意义的嬗变切入,以“文明戏”为个案来探讨现代性和都市文化的问题。作为一种探索现代化方式的文明戏,是非成败该如何估量？新文化运动者为了打造自己的现代性而刻意把文明戏建构成“封建余孽”,自己却陷入另外一种文明陷阱当中。在宏大叙事背后．女性文化和大众文化却融汇形成一个文化空间,疏离于宏大叙事却又无言对抗,成为一种隐约的政治表述。     

浅论当代大众文化语境下的戏剧教育

在当代大众文化的语境之下,一面是戏剧教育的贫弱现状,而另一面则是戏剧发展和素质教育对"戏剧教育"的热切需求,这些都在呼唤着"戏剧教育"的加强和普及。在复兴戏剧教育的道路上,我们唯有:坚持素质教育的总方向,推动戏剧走入中小学课堂;加强高校的戏剧通识教育,促进戏剧文化传承与推广;借助编演实践,推进课程改革,促进项目教学;支持校园戏剧,塑造学生角色意识,才能够重新找回戏剧艺术和戏剧教育的辉煌。     

民间性与文人化——论《南词叙录》对戏曲兴衰内部规律的洞悉

《南词叙录》立足于坚实的史料,对南戏的产生进行了准确的论述,对南戏在宋、元、明三代的发展历程也有着清晰的记录。更难为可贵的是在上两者的基础上,《南词叙录》通过对南戏产生于发展的洞悉,精确的概括了＂俗＂这个＂民间性＂力量与＂文＂这个＂文人化＂力量对南戏发展的影响。而＂文既不可,俗又不可＂的结论是对戏曲发展内部规律的深刻洞悉。