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1.
创意产业化背景下,高职影视表演专业是培养表演基本功扎实和较强的角色塑造能力,具有相应文化素质和较强学习能力的高端技能型演艺人才。要在当前创意产业化的进程中把握时代性的机遇,在专业实践教学中取得突破性的进展,高职影视表演专业人才的培养和教育必须从战略的高度重视学生的基本素质和专业技能,以适应影视产业不断发展对表演人才的要求。 相似文献
2.
曹雨 《中国校外教育(理论)》2010,(8)
在影视表演中,形体教学占据着越来越重要的地位.全面提高学生运用形体动作表达人物情感、刻画人物形象的能力,可以更好地服务于影视表演专业.影视表演专业的教师在形体课教学过程中,通过结合戏剧影视表演专业课的特点,对学生制定科学、合理、系统的形体表演教学内容,进而通过严格规范的形体训练,使学生掌握良好的形体技能技巧和表现方法,从而提高学生表演素质,充分挖掘学生的形体可塑性和表现力,为学生在今后的影视表演中塑造古今中外不同人物形象打下坚实的基础. 相似文献
3.
党的"十九大"以来,我国政府大力发展高等职业教育的战略决策,为社会经济发展和实现高等教育大众化做出了重要的贡献。政府提出了高职教育人才培养模式适时转型的一系列指导思想,确立了高职教育要培养高级应用型人才的教学目标这一高职院校的人才培养目标。为了更好地培养出色的表演应用型人才,浙江艺术职业学院戏剧影视表演专业提出了"163"教学模式,相对于以往的培养模式,"163"教学模式既注重基础性理论知识的传授,更侧重实践知识的要求,强化学生的实际表演工作能力,为社会培养实用型人才,进而让我专业与社会上广大企业之间的联系更加紧密。 相似文献
4.
高职院校影视表演专业由于办学层次、社会知名度和社会资源等方面的制约,相对于知名艺术院校和本科以上层次的表演类学生的就业压力和就业难度更大.因此,高职影视表演专业作为培养影视人才的"梦工厂",既要把好招生的"进口关",又要把好培养和就业的"出口关",构建"以提升就业力为核心"的就业保障体系. 相似文献
5.
张启峰 《黄河之声(科教创新)》2018,(9)
高职院校在进行教育改革的过程中,专业人才培养目标的转变影响着教学模式,并提出要以新时代背景为教学方向,对音乐表演专业人才进行职业化培养。从而突破传统教学模式带来的局限性,培养更多具有综合实践能力的音乐人才。因此高职院校教学模式的职业化创新,已经成为新时代背景下人才培养的新课题。本文通过对音乐表演专业的人才培养模式存在的不足进行分析,进一步在创新人才培养模式;强化人才培养的职业化教学;使音乐表演专业学生的职业化水平与社会需求相符。 相似文献
6.
文章阐述影视欣赏是高职学生学习、生活的一个重要部分．在提高高职学生的影视审美能力的同时,也提升其职业素养和职业能力。文章从高职教育理念和影视课程特点出发,提出了按职业和艺术素养培育的高职影视艺术课程设计方案。 相似文献
7.
高职院校教育以学生实践能力培养为重点,其人才培养目标为综合技能应用型人才,高职院校特点及人才培养目标要求高职院校教师在具备良好专业理论知识与教学能力的基础上,还应具备较强的专业实践能力与专业技能。在分析培养高职院校教师专业实践能力重要性与必要性的基础上,探讨高职教师专业实践能力培养具体内容,在分析当前高职教师专业实践能力培养现状的基础上,研究高职教师专业实践能力提高的具体途径。 相似文献
8.
杨桦 《佳木斯教育学院学报》2012,(4):198-198
影视鉴赏选修课是高职院校多元化选修课体系的重要组成部分,以向各专业影视艺术初学者和爱好者普及专业知识,提高综合素质为目的,是众多选修课中深受选课同学喜欢的一门课程。创新能力是高技能人才应具备的重要能力之一,在高职院校影视鉴赏选修课中,如何针对学生特点培养学生的创新能力,服务学生职业能力与综合素质的提高,是本门课程的基本任务之一。本文将从以下几方面对本问题加以论述。 相似文献
9.
董洋 《黄河之声(科教创新)》2019,(11)
在戏剧影视表演专业中,包括表演、形体、台词、声乐等多项内容,其中声乐教学是一门十分重要的教学科目。为了提升声乐教学的效率和质量,教师可以采用启发式教学法,通过启发式教学法来提升学生的基础能力,增加学生的学习兴趣。本文主要就启发式教学在戏剧影视表演专业声乐教学中的应用进行了分析和阐述。 相似文献
10.
针对高职人才培养和高职学生的特点,探讨在高职院校建立专业协会、构建自主学习中心的必要性和实施途径,为培养和提高学生自主学习能力提供参考。 相似文献
11.
The present study aimed at assessing Hong Kong young children’s gains in creativity and their teachers’ application of arts education after a one-year artists-teachers collaborative arts education project that involves various art forms (i.e. drama, visual arts and integrated). Participants included 790 young children, 217 parents and 65 teachers in seven kindergartens and nurseries. Measures included the Test for Creative Thinking–Drawing Production, Story-Telling Test (STT), the subscales of parent-rated creativity, communication and motivational characteristics, and the adapted Scale of Application of Arts in the Classroom. Among the three art forms, children in the visual arts group demonstrated highest gains in verbal creativity as evaluated by the STT. Based on parents’ report, there were significant differences in children’s communication characteristics across the three art forms. Significant differences across art forms were also found in teachers’ confidence in teaching arts to 3–4?years old and their perception of arts for arts sake. Both teachers and students take advantage of the professional and artistic input and guidance of practising artists in arts appreciation and production. Implications and limitations were discussed. 相似文献
12.
Ning Luo Tao Guan Jinling Wang 《The International Journal of Art & Design Education》2023,42(2):312-326
This study investigated visual arts college students’ perceptions of the gender stereotyping of creativity and the influence of this stereotyping on creative self-efficacy. The sample consisted of 1198 Chinese visual arts college students. The results showed that (a) both male and female students identified stereotypically masculine traits as more important to creativity than stereotypically feminine traits are, (b) male students demonstrated higher creative self-efficacy than their female counterparts did, and (c) students’ gender significantly moderated the effect of the gender stereotyping of creativity on creative self-efficacy. Specifically, the gender stereotyping of creativity had a positive effect on male students and a negative effect on female students. These findings revealed that gender stereotypes dominate concepts of creativity in Chinese art education and may hinder female students’ development of creative self-efficacy, resulting in gendered inequality in the visual arts field. The implications of these findings for visual arts education in China are discussed. 相似文献
13.
通识教育是发源于欧洲的一种高等教育思想。英国高校的通识教育在其发展历程中逐步完善,最终形成了以崇尚人文主义传统的教育理念、专业教育通识化的课程设置、师生交互式的个性化教学实践形式为一体的通识教育样式。聚焦于当前我国高等教育的发展现状,通识教育已成为全面提升大学生综合素养不可或缺的一个重要选择。英国高校通识教育对我国的启示是,构建符合我国优秀文化传统的通识教育理念;建立专业教育与通识教育相融合的课程体系;提升高校教师通识教育能力;实行智力训练和能力培养的教育方法。 相似文献
14.
人文素养是文科高职生综合素质的基本要求。因此,构建文科高职大学语文课程要实现对"人"的关注,课程目标要实现专业技能与人文素养的同步培养,课程内容要追求经典、高雅和具有理想的文字作品。在构建文科高职大学语文课程实践中,应凝练课程教育理念,丰富学生职业化的文化内涵;精选经典教学内容,契合时代形成共鸣;教师主导,深度挖掘文学作品的内涵;以学生为主题,创新教学方法。 相似文献
15.
《教育部关于加强高职高专教育人才培养工作的意见》(〔2000〕2号)明确提出:高职高专教育要实现校企"共育人才"的目标,依据这一目标,结合高职文科专业的特点,提出了"校内实训—校企合作—职业鉴定—顶岗就业"这一文科生职业能力培养的模式,力图降低文科生职业能力培养的无序性和模糊性,从而实现高职高专培养高等技术应用性专门人才的目标。 相似文献
16.
Linda Knight 《The International Journal of Art & Design Education》2010,29(3):236-243
It is a common acceptance that contemporary schoolchildren live in a world that is intensely visual and commercially motivated, where what is imagined and what is experienced intermingle. Because of this, contemporary education should encourage a child to make reference to, and connection with their ‘out‐of‐school’ life. The core critical underpinnings of curriculum‐based arts appreciation and theory hinge on educators and students taking a historical look at the ways artists have engaged with, and made comment upon, their contemporary societies. My article uses this premise to argue for the need to persist with pushing for critique of/through the visual, that it be delivered as an active process via the arts classroom rather than as visual literacy, here regarded as a more passive process for interpreting and understanding visual material. The article asserts that visual arts lessons are best placed to provide fully students with such critique because they help students to develop a ‘critical eye’, an interpretive lens often used by artists to view, analyse and independently navigate and respond to contemporary society. 相似文献
17.
Research in visual arts education is often focused on philosophical issues or broad concerns related to approaches to curriculum. In focusing on the everyday work of teaching, this article addresses a gap in the literature to report on collaborative research exploring the experiences of secondary visual arts teachers in regional New South Wales, Australia. Drawing on qualitative data gathered through a process of educational connoisseurship and educational criticism, discussion focuses on visual arts teaching as a particular professional practice that is complex, intricate, emergent and adaptive. In drawing on themes emerging from the research, examples of unplanned aspects of teachers’ work that disrupt linear logics about teaching practice are examined. The article concludes by raising issues for further consideration and research. 相似文献
18.
Melissa Bremmer Emiel Heijnen Sanne Kersten 《The International Journal of Art & Design Education》2021,40(1):82-98
Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of ‘teacher as conceptual artist’. In short, Lucero proposes that a teacher’s practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, ‘elicitation‐interviews’ were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom. 相似文献
19.
高职院校开展专业特色发展下的学生创业教育,能够推动高职院校专业学科的教学创新和应用创新,同时专业发展下的创业教育能够推动学生专业能力和创业能力的发展,以满足社会发展需求和企业人才需求。专业特色引导下的创业教育进一步推动了高职院校教育教学的应用化,以现实社会发展需求促进高职院校教育的创新发展,同时也创新了人才培养的方式,以更加明确的现实导向推动学生的创业实践和发展。 相似文献
20.
关于全日制专业学位研究生特色化培养的思考 总被引：1，自引：0，他引：1
我国全日制专业学位研究生教育迅速发展,基本形成了完整的人才培养学科体系。全日制专业学位研究生教育应突出职业素养培育、强化全程职业教育、重视多元主体办学、追求学生对口择业,办出专业学位研究生教育特色。然而,目前我国全日制专业学位研究生教育存在着政府"一刀切"推进、社会认同度不高、高校认识与准备不足、导师主动性不强、人才培养体系设计不完善等诸多问题,无法彰显全日制专业学位研究生教育特色。加强全日制专业学位研究生特色化培养,必须政府、高校、社会、导师等共同努力,允许高校差异化发展,构建多元主体合作共赢机制,构建"两段式、三结合"的人才培养模式,构建全日制专业学位研究生教育质量保障体系。 相似文献