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。     

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’.     

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.     

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.     

中西传统戏剧结构之特性剖析——古希腊悲剧与元杂剧戏剧本体特性的差异

古希腊悲剧和元杂剧皆为中西方戏剧的传统代表,它们有着各自的艺术特性,尤其表现在不同的戏剧结构特点上。古希腊悲剧多为锁闭式结构,而中国元杂剧则以开放式结构为代表。这两种戏剧结构的形成与中西方戏剧本体特性有着紧密的联系。本文从主题思想、时空观念以及表演方式三方面入手,对中西传统戏剧结构差异性进行剖析。     

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。     

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.     

UCLA COMMUNITY COLLEGE BIBLIOGRAPHY

The research reported in this article explored the extent of self‐censorship in community college theatre programs across the country. What part of the college administration plays in such censorship is also examined. Censorship does exist in community college theatre. Much of the censorship is self‐imposed. Directors avoid plays that are controversial. The audience is protected from harm. Profanity, racial slurs, and negative religious references are cut. When cuts are not made, disclaimers are often published in programs or placed in the lobby or both. Further research opportunities suggested by this study lie in examinations of how theatre departments deal with copyright issues when cutting objectionable material from plays. Defining the responsibility of the community college theatre program to the community is another area of research that needs to be addressed. Little censorship occurs from external sources. Finally, how the responsibilities of the college and the theatre to truth can be resolved with the presence of censorship in academic theatre is an area yet to be adequately explored.     

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。     

Evolution of the anatomical theatre in Padova

The anatomical theatre played a pivotal role in the evolution of medical education, allowing students to directly observe and participate in the process of dissection. Due to the increase of training programs in clinical anatomy, the Institute of Human Anatomy at the University of Padova has renovated its dissecting room. The main guidelines in planning a new anatomical theatre included: (1), the placement of the teacher and students on the same level in a horizontal anatomical theatre where it is possible to see (theatre) and to perform (dissecting room); (2), in the past, dissection activities were concentrated at the center of the theatre, while in the new anatomical theatre, such activities have been moved to the periphery through projection on surrounding screens—thus, students occupy the center of the theatre between the demonstration table, where the dissection can be seen in real time, and the wall screens, where particular aspects are magnified; (3), three groups of tables are placed with one in front with two lateral flanking tables in regards to the demonstration table, in a semicircular arrangement, and not attached to the floor, which makes the room multifunctional for surgical education, medical students and physician's continued professional development courses; (4), a learning station to introduce the students to the subject of the laboratory; (5), cooperation between anatomists and architects in order to combine the practical needs of a dissection laboratory with new technologies; (6), involvement of the students, representing the clients' needs; and (7), creation of a dissecting room of wide measurements with large windows, since a well‐illuminated space could reduce the potentially negative psychological impact of the dissection laboratory on student morale. Anat Sci Educ 7: 487–493. © 2014 American Association of Anatomists.     

评价苏珊·巴斯内特关于戏剧翻译的论述

苏珊.巴斯内特就戏剧翻译进行了深入探讨,相关论述见于论文《仍然陷足于迷宫:对翻译与戏剧的再思考》(收于《文化构建——文学翻译论集》)。在对戏剧及戏剧翻译中长久以来存在的一些意见分歧的重新思考中,苏珊.巴斯内特反思戏剧翻译者的角色认知,从剧本创作和戏剧表演的本质出发试图为戏剧翻译找到绕出迷宫的途径。     

Intimate partner violence prevention: using interactive drama for intimate relationship education with young people in Samoa

ABSTRACT

Globally, young people experience physical, sexual and emotion abuse within their intimate relationships. There is a need to explore creative, participatory sexual and relationship education that provides spaces for critical reflection regarding gender norms and approaches within intimate relationships. This study explores an interactive theatre intervention aimed at uncovering and analysing social and cultural influences affecting experiences and approaches within intimate relationships among young people in Samoa. Focus groups were conducted with the audience before and after a public, interactive theatre production. Focus groups aimed to capture shifts in understandings and perceptions as well as overall experiences related to participating in the production. Post production, participants showed a deepened of understandings related to social and cultural factors influencing approaches and actions within intimate relationships. Participants engaged in dialogue around new possible approaches to initiating and maintaining intimate relationships free from violence. Embodied learning opportunities appeared to contribute to feelings of empowerment to try out new responses in everyday life. Study findings highlight a role for drama in intimate relationship education and advocate for the inclusion of intersectionality informed approaches that uncover diversity within a group and acknowledge interactions between individuals’ social position(s) within complex social and cultural contexts.     

香港后现代戏剧的探索与困惑

后现代主义是1980年代以来香港最活跃也最引人注目的戏剧实验。解构／拼贴戏剧对传统戏剧及文学文本的重新结构或诠释，和意象戏剧的反戏剧、反文本、反语言，都有其独特的艺术探索与创造，但也潜含着诸多困惑。     

清时期晋商推动的太原府庭院与祠堂剧场

在清代的太原府,晋商对戏曲贡献的一个重要方面就是剧场建设,包括其家宅内的庭院剧场,家族共有的祠堂剧场,及对公共剧场主要是神庙剧场的支持。     

《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。     

Disabled students in the performing arts – are we setting them up to succeed?

Professional training opportunities for students with physical and learning disabilities in the performing arts are conceived and developed in the context of government policy initiatives for inclusion and models of disability that aim to ensure that educational provision is of a kind which does not stigmatise individuals or devalue their performance. In this paper, we consider three partnership programmes linking two theatre companies and one dance company with schools that provide high-level mainstream training. The programmes were planned to offer paths to progression for disabled students, and we examine what the programmes have taught us about the characteristics of inclusive practice in drama and dance training that can set disabled students up to succeed.     

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。     

Re/searching speaking and listening across difference: Exploring feminist coalition politics through participatory theatre

This article documents insights that emerged from a feminist community-based research project utilizing popular theatre principles and techniques to explore the politics of feminist coalitions. The embodied and relational aspects of speaking and listening across difference are examined, as are the contributions theatre can make to working creatively with conflict.     

Developing social skills in autistic children through ‘Relaxed Performances’

Families living with autism often feel unable to attend social and cultural events, largely due to the fear of their child attracting negative or even aggressive reactions from others. The ‘joint attention’ that is part of the theatre experience, however, may be a powerful factor in the development of social and communication skills for such children. ‘Relaxed performances’ offer an opportunity for them to access and engage with theatre by making special arrangements designed to reduce tensions associated with visits to public places. Aspects of the production such as the use of lighting and sound effects which may trigger adverse reactions are also adjusted. This paper reports on how one local theatre drew on the findings of a national project to mount a ‘relaxed performance’ of their annual pantomime. It discusses the theatre's preparations and presents evidence of the impact the event had on local children with autism and their families. The success of both the national project and this local one marks a new beginning for improved access to the theatre for an audience that has hitherto felt largely excluded.