论20世纪中国“红色戏剧”

在20世纪中国戏剧史上,党领导下兴起的"红色戏剧"是一个重要的戏剧现象.它经历了苏区红色戏剧、抗日战争时期红色戏剧和新中国红色戏剧三个阶段,对我国戏剧艺术发展、对革命斗争乃至对党内政治斗争都产生了极其深远的影响.     

基于概念合成理论的矿冶戏剧认知诗学分析——以《钢铁夫人》为例

从认知诗学的角度,探讨概念合成理论对矿冶文学戏剧《钢铁夫人》在词汇层、语义层以及语篇层的意义的建构和理解,揭示话剧理解的认知过程,使读者能清楚地了解该话剧情节的发展过程以及剧目之间内在的联系网络.验证了概念合成理论对话剧理解的解释力,旨在为中国本土的文学作品研究提供了新的理论支持,为研究黄石矿冶文学作品提供一种新的方法.     

民族戏剧学研究的深度延伸——评黎羌教授新著《民族戏剧文化大视野》

陕西师范大学文学院黎羌教授是一位长年从事中西戏剧文化比较、中国少数民族戏剧与民族戏剧学研究的专家,十余年来他撰写的《中西戏剧文化交流史》《民族戏剧学》《丝绸之路戏剧文化研究》等书,在民族学、戏剧学学界享有盛誉。新近由陕西师范大学出版总社出版发行的《民族戏剧文化大视野》是他在上述著作基础上形成的更为优秀经典的学术专著,为当今方兴未艾的民族戏剧学研究提供了强有力学科理论支撑。     

冒襄研究述评

＂明末四公子＂之一的冒襄是明末清初文坛上的风云人物。襄少负才名,能诗擅文,及其成年,则积极投身于复社活动,并起到重要作用。入清之后,冒襄隐居不仕,以拒不降清之气节名动海内,然学界直至上世纪八十年代才对其始有关注。在相关研究中,学者们较为关注的问题主要集中在五个方面：生平交游、戏剧活动、水绘园唱和、冒董爱情以及《影梅庵忆语》。     

从明清《牡丹亭》评点看“情”的嬗变

“情”的阐发是明清戏曲批评家热衰谈论的重要话题.笔者以明清关于《牡丹亭》的评点为中心,通过考察“情”在明清两代的嬗变,揭示了汤显祖所标举的“情”在明清士人那里经历的三重变奏,而这种变奏既与明清时代思潮的潜变相表里,又与文人士大夫的思想观念、精神气质的不同倾向密切相关.     

Side-by-Side on Stage - Music and Drama Form a Bridge between Acting Students and People with Dementia in an Intergenerational Group Work

ABSTRACT

This article presents an intergenerational music and drama therapy groups comprised of twelve people with dementia residing in a nursing home and twelve acting students from the community.

The qualitative research aimed to explore the students’ attitudes towards elderly people, and to understand the role of creative arts therapies in facilitating intergenerational relationships. Qualitative content analysis of students’ weekly reports and questionnaires revealed the gradual process of connection between the students and people with dementia. Engaging in a creative act helped the students to discover the strengths and abilities of people with dementia and to see beyond the disease.     

Decrypting cultural nuances: using drama techniques from the theatre of the oppressed to strengthen cross cultural communication in social work students

ABSTRACT

Despite widening participation in social work education in the UK, social work students from black and minority ethnic (BME) backgrounds can find that they have less positive experiences on social work courses than their counterparts. This can happen when courses do not equip students to navigate the subtle rules of communication with service users that are premised on dominant UK values. As a consequence BME students can be assessed as having poor interpersonal skills and poor skills in engaging service users. However, the issue is often more one of cultural differences and high expectations of cultural integration than one of incompetence.

This paper reports on a drama workshop using techniques from the Theatre of the Oppressed to foster awareness of the complexities of cross cultural communication that BME students may face. The workshop facilitates insight into the nuances of culturally informed values that differ from dominant UK values.

Drawing on student workshop evaluations, the authors highlight the positive use of techniques from the Theatre of the Oppressed as a pro-active pedagogical approach to equipping BME students with insight and skill to circumnavigate cross cultural communication in practice and develop awareness of empowering strategies to combat negative paradigms about BME cultures.     

深度阅读视域下幼儿园故事剧课程活动实施策略——以中班故事剧《今天运气怎么这么好》为例

摘 要:借鉴深度阅读理念，以故事剧《今天运气怎么这么好》为例，将实施深度阅读的“三个流程、三个关键词、两种能力”融合于故事剧课程活动的建构，改变传统故事学习、故事表演中重形式轻实质、重表面轻内在的弊端。整个过程凸显幼儿与故事、与环境、与成人的充分互动，重视教师的支持作用，让教师成为指导幼儿深度阅读活动的关键因素，陪伴幼儿深度卷入阅读世界，共同留下精彩足迹。     

百年中国古代戏剧研究的检讨与展望

百年来的中国古代戏剧研究,主要集中在史的研究、文学的研究、表演的研究等方面。戏剧本体构成研究少,缺乏整体理论系统的建立,以致中国戏剧研究这个学科还未真正站立起来。目前进行戏剧理论建构所面临的困境是:本土的古代戏剧论著理论基础薄弱,无助于戏剧理论的建立;而西方的戏剧理论是对西方戏剧创作的总结,并不适于中国古代戏剧创作的实际。研究与实例证明,戏剧与讲唱文艺是密不可分的,从与讲唱文艺的关系入手,建立本民族的戏剧理论,或是可行的。     

传统艺术精神的阐释者:邓以蛰艺术美学思想的现代构架

在中国传统艺术理论的基础上,邓以蛰汲取西方美学思想和艺术理论,以审美自主主义为出发点,建构了极具特色的书画美学体系,并对中国的戏剧理论作出了新的阐释,从而为中国传统艺术精神的现代转换作出了富有开创性的尝试。