舞剧中灯光的语汇与延伸——以《永不消逝的电波》、《天路》为例

以《永不消逝的电波》、《天路》为例,谈舞剧中灯光语汇及其延展性。     

略论曹禺戏剧舞台指示的特殊性

戏剧作为跨媒介艺术,按“文本-演出”模式分段创作而成。舞台指示部分以其诞生于剧本创作阶段、改造于舞台演出阶段的特殊地位,成为维系戏剧艺术独立性的关键所在。本文概观并深入论述了舞台指示在曹禺剧中的特殊表现,进一步探讨其作用与历史审度,对研究戏剧作为完整统一的艺术体系提供了有益的范例。     

从乐感文化看关汉卿戏曲的美学特征

“乐感文化”是我国传统文化的特征之一,同时它又是一种重要的美学思想,在解析乐感文化内涵的基础上,尝试对其在关汉卿戏曲中的具体体现进行探究,从美学的角度为研究关汉卿和关剧提供参考。     

可汗忽必烈的世界——记大都会元代中国艺术展之实用美术

元代,忽必烈统一中国后,民族和社会进入到一个新的融合期。在艺术上,包括绘画、雕塑、金银器、丝织品、陶瓷、漆器和其他装饰艺术,都产生了新的形式和风格变化。这既归因于新的政治经济发展和社会文艺创作的环境,也和元代与其它国家地区间的交流相关,宗教性和世俗性开始在艺术表现突出。2010年秋季在纽约大都会博物馆展出的日用品、服装、建筑,从艺术形式和表现方法都体现了元代艺术的革新之处,对后世的实用美术产生了积极影响。     

Systematic review of young children's writing on screen: what do we know and what do we need to know

Writing is part and parcel of children's active meaning‐making on and with screens, but it has been relatively neglected in the literature focused on children's digital literacies. This study synthesises existing empirical evidence focused on young children's (aged between 2 and 8 years) writing on screen and identifies the relationships between dominant themes in published literature and contemporary theories of children's technology use. A systematic literature review that included studies from diverse disciplines yielded 21 papers. Constant comparative analysis generated five themes that indicate four key directions for future research. We call attention to researchers' theoretical framing to supplement mono‐disciplinary approaches and single levels of analysis. We suggest that future research should provide greater specification of the purpose of children's writing on screen and the different types of tools and applications supporting the activity. We also highlight the need for interdisciplinary approaches that would capture the composing stages involved in the writing process with and around screens. Finally, we point out possible age‐related differences in documenting and reporting the composing process in classrooms. Overall, limitations in the current evidence base highlight the need for research conducted from a critical perspective and focused more directly on multimodality.     

对课本剧走进语文教学的尝试

课本剧于无声处改革语文课堂教学,优化学习环境、学习方式、学习过程,弘扬课程改革精神,增强师生互动,重视学习过程,推崇学做整合。积极引导学生“读—思—编—演”课本剧,发挥“语—文—剧”的系统效应,是对课改新意和创意的大胆探索。     

新编历史剧·女性视角·探索意识

历史是个经久不衰的阐释本，20世纪我国对新编历史剧的认识经历了一个嬗变过程，类型、理念多姿多彩，形成多元共存的发展格局。在当代历史剧创作中，突现女性意识和探索意识是两个很重要的艺术现象，它们反映了戏剧现代明与社会进步的参差进程，以及历史化高度发达后的符号化趋势，而如何做到思想探求与形式的完美结合，使其新的艺术规范为世人接受，则是戏剧家们需要进一步努力的。     

论田汉战时戏剧思想及成就

中华民族在危难的时刻选择了与现实紧密联系的戏剧作为激励民族精神的文化栽体。抗战八年，中国的戏剧力量在抗日救亡的旗帜下得以最壮烈的释放。“戏剧与抗战”早已以一种共生的姿态贯穿田汉每一次可圈可点的戏剧活动与艺术实践当中。他不只是在民族危难时发出最后吼声的戏剧诗人，更是那个狂飙突进时代的剧坛先锋，当之无愧的梨园领袖。     

‘‘O Bottom,Thou Art Translated’’: Directing a Bilingual <Emphasis Type="Italic">Dream</Emphasis> in the Marshall Islands

A unique production of Shakespeares A Midsummer Nights Dream was staged in early 2004 by students of the Marshall Islands High School, Majuro, in the Central Pacific. The plays director, Andrew Garrod, describes the rehearsal process and performance of the play, in which the school students were supported by undergraduates from the Education Department of Dartmouth College, New Hampshire, spending a term teaching in the islands schools. The nature and worth of the learning experienced by the young actors, and their community, are considered in a context where Shakespeare and any kind of dramatic production are little known.     

中国现代戏剧教育的发展历程

戏剧教育既是整个戏剧艺术事业不可或缺的组成部分 ,又是艺术教育的重要内容 ,它对戏剧艺术的发展、对人的素质的提高具有重要意义。中国现代戏剧教育诞生于 2 0世纪初 ,经历了从无到有、从稚嫩到成熟、再到工具化的坎坷历程。中国现代戏剧教育为我国培养了大批戏剧人才 ,有力地推动了现代戏剧艺术的繁荣和戏剧运动的开展