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《陕西教育学院学报》2019,(3):6-10
教育戏剧与戏剧教育不同,教育戏剧是以教育而非演出为主要目的的戏剧,是作为教育手段的戏剧。在幼儿自发性戏剧游戏活动、以"戏剧"形式为主的即兴创作活动和以"剧场"形式为主的即兴创作活动这三种戏剧类型中,教育戏剧定位于以"戏剧"形式为主的即兴创作活动。教育戏剧在教学上的发展经历了"以人为中心"到"以问题为中心"再到"以科目为中心"的三个阶段。美国偏重戏剧的艺术价值,主要以创造性戏剧为主;而在英国偏重戏剧在教学上的工具价值,强调利用戏剧来统整教学及实现教学目标。教育戏剧在幼儿园的发展形成了两个类别四种形式:在以幼儿自发性戏剧游戏为主的类别中,包含了随机性的戏剧游戏和主题引导的戏剧游戏;在以教师安排的戏剧教育活动中,包含了议题性的戏剧教育活动和创造性的戏剧教育活动。 相似文献
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国立剧专以提高戏剧艺术、辅助社会教育为目标,以戏剧理论、舞台实践和社会教育万三维,逐步形成了“三维一体”的戏剧教育模式,为我国现代戏剧教育探索出了一条有益的发展之路。 相似文献
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杨梅 《北京教育(高教版)》2021,(2):53-53
学校围绕立德树人根本任务,始终坚持德育为核心,将美育贯穿于各育之中,把教育戏剧作为育人的重要载体,并以此带动教育教学改革,提升学生综合素养。学校以教育戏剧为载体,逐步形成了“戏剧+思政教育”新模式,建构了以“剧润童心”为核心的共同体育人模式,完善了教育戏剧课程体系。 相似文献
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教育戏剧是以戏剧的结构对生活和社会的高度模仿的艺术形式。将戏剧融入教育,其本质是教育,用戏剧的方式达到教育目的。儿童剧活动是让幼儿全身心浸润在戏剧活动中,是各种学习活动和游戏活动的整合,是一个推进幼儿整体发展的活动平台。我院开展了以儿童剧为载体的幼儿教育戏剧探索与实践活动,取得了一定成效。 相似文献
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教育戏剧是一种在学校课堂和活动中广泛应用的戏剧形式,是一种强调自主与合作的深度学习方式。它可以有效解决传统教学方式中以传授为主、以教师为主,难以激发学生认知兴趣等问题。作者综合了教育戏剧中的教育剧场和过程性戏剧的模式,深入研究了如何将教育戏剧与道德与法治以及语文学科整合,以期为素质教育改革提供一条培养学生综合素养的新途径。 相似文献
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教育戏剧,是将戏剧表演方法和戏剧表演元素应用在教育教学活动中,促进学生在实践中学习和成长的一种教学方法。教育戏剧并不以戏剧知识和表演技能的学习掌握为目的,而更注重增强学生语言表达能力、创新能力、沟通交往技能等。笔者针对视障学生的身心特点,就教育戏剧如何有效融入并推进语文课堂教学进行了一些思考和探索。 相似文献
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外文教育戏剧是教育戏剧的一种,具有综合性、人文性和创造性三大特点和语言与舞台两大要素;主要运用戏剧手段,以戏为项目、以舞台为场景、以演为学习活动实施外文教育,发展学生在理解与表达、创作与表演、鉴赏与迁移、交流与合作等方面的能力,以此促进学生语言文化素养、戏剧艺术素养和社会情感素养的提升。本文结合案例阐述外文教育戏剧课程的理念和建设。 相似文献
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教育戏剧是一种运用戏剧元素和戏剧方法培养全人的教育方式,以角色育人,以“人”育人是教育戏剧的基本育人主张。教育戏剧以角色l联结个人经验,丰富育人的形式;在戏剧情境中聚焦问题,拓宽育人的内容;协同创造,将教室变为剧场,拓展育人的工具。角色体验策略、角色互换策略、角色创造策略和自我反思策略促进了教育戏剧育人价值的学科转化。 相似文献
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<正>一、教育戏剧戏剧是一种集文学、表演、音乐、美术于一体的综合性艺术。传统的戏剧教育是戏剧专业人才教育,常以获得戏剧经验、掌握戏剧技能为宗旨。区别于传统戏剧与传统戏剧教育的"教育戏剧"(Drama in Education),起源于18世纪的法国,它将戏剧与剧场的技巧运用于教学之中,也称为应用戏剧教学法。教育戏剧突出和强化了戏剧的教育功能,注重把戏剧作为一种教育的工具和手段,通过戏剧的形式来传递教育内容, 相似文献
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Melanie Peter 《British Journal of Special Education》2003,30(1):21-27
Melanie Peter is a lecturer in early childhood studies and special needs at Suffolk College, Ipswich, and a freelance consultant in arts education and inclusive/special education. Her recent research has focused on the value of pretence, particularly for children with autistic spectrum disorders. In this article, based on a paper given to the conference 'Innovation, Research and Good Practice in the Education of Pupils with Severe, Profound and Multiple Learning Disabilities' at the University of London in April 2002, she presents an approach to developing drama with severely socially challenged children, underpinned by a rationale founded in the importance of early experiences of make–believe and narrative. In drama, children at early stages of learning can begin to explore and understand social narratives from the inside – a vital route to developing social competence. Melanie Peter concludes that while play–drama intervention is aimed especially at children with autistic spectrum disorders, it can also benefit a wider range of children with severe and complex learning needs and help them to participate more effectively in a social world. 相似文献
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王国钧 《大连教育学院学报》2011,27(2):27-29
校园心理剧是依据心理剧原理和技术解决校园心理问题的一种团体辅导形式。校园心理剧以其独特方式促进学生的心理成长,颠覆了传统的教育模式,成为国内学校心理健康教育的新亮点。 相似文献
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Kirk Robert Dorion 《International Journal of Science Education》2013,35(16):2247-2270
Over 20 years of research into the use of cross‐curricular drama in secondary science has indicated that this medium enables learning of affective, cognitive and procedural knowledge. To date, academic research has tended to frame successful drama pedagogy as resulting from a Drama‐in‐Education approach, incorporating extended role plays and simulations of social events. By contrast, research has rarely focused on the scope and context of drama which is devised and used by real people in real situations. Indications from non‐academic literature and informal education practice suggest that there is a gap in our knowledge between research and classroom practice. This study focused on teachers’ own drama activities in five science lessons taught across schools in Cambridge, Kent, and Hertfordshire. Their classes spanned the ages of 12–16 in the subjects of chemistry, biology, and physics. This study explored the drama forms, teaching objectives, and characteristics by which drama was perceived to enable learning in Science. The findings revealed that drama activities were used to convey a variety of topics that have not yet been recorded in academic literature, and revealed a greater scope for the teaching abstract scientific concepts through mime and role play. These activities were perceived to develop students’ visualisation through a range of modalities, which included embodied sensation and anthropomorphic metaphors. Some features reflected the development of thought experiment skills. A pedagogic model was produced based on different levels of interactive talk and multimodal communication. 相似文献
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This article describes the implementation of a module that utilizes drama students to teach social work students how to use active listening skills in an interview environment. The module was implemented during a semester‐long micro skills practice course taught to 13 undergraduate social work seniors in a western liberal arts university. Four drama students attending the same university served as clients. Clients evaluated the social work students' active listening skills at the end of the interview, and social work students completed self evaluations and evaluations on the module. Results indicated that the module was effective in helping students to learn interviewing skills and identify strengths and weakness regarding use of skills. Implications for social work education are discussed. 相似文献
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Drama is a relatively unexplored tool in academic science education. This paper addresses in what way the use of drama may allow science students to deepen their understanding of recent developments in the emerging and controversial field of neuro-enhancement, by means of a case study approach. First, we emphasise the congruency between drama and science, notably the dramatic dimension of experimental research. Subsequently, we draw on educational literature to elaborate the potential of using drama as a teaching modality, specifically focusing on the ethical and moral dimensions of future techno-scientific innovations. Our case study consisted of a drama experiment as a module in a philosophy course on human enhancement. Twenty-two students from various science disciplines performed multiple roles, as authors, actors, audience and reviewers. Qualitative data were collected on the educational process and student performance during the course, i.e. observations and video recordings of class discussions, group work and plays, interviews and questionnaires. Our drama experiment proved to be effective in enabling students to explore and relate to a future life world affected by enhancement technologies. It allowed them to deepen their awareness of social and ethical implications of neuro-technologies and of the different viewpoints people may have on this issue in academic, professional or everyday settings. Moreover, drama allowed them to develop a reflexive position of their own in the neuro-enhancement debate by enacting a moral dilemma in front of an audience. Our results confirm the potential of drama as a tool for exploring techno-scientific futures in science education. 相似文献
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关于推动教育戏剧发展的若干思考 总被引：1，自引：0，他引：1
教育戏剧(Drama In Education,DIE)注重把戏剧作为一种教育的工具和手段,突出和强化了戏剧的教育功能.在学校推广教育戏剧既有利于改进教学方法、丰富教育手段,又有利于学生综合素质和各种能力的培养.推广教育戏剧与加强戏剧教育是紧密相关的,两者之间是相辅相成的.而戏剧教育的普及和教育戏剧的推广,又与各种演出实践活动是紧密结合在一起的,因此大力推动校园戏剧的繁荣发展,无疑是一个十分重要的环节. 相似文献
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Jack Shu 《Asia Pacific Journal of Education》2010,30(1):105-120
This paper is a situated biographical reflection on the author's Hong Kong teaching experience written using a narrative inquiry approach, describing attempts to generate innovative pedagogical practices. The journey explores how autocratic, traditional Chinese cultural expectations in Hong Kong education have nurtured a commonsense belief in “discipline first and then teach”. This teacher/researcher adopted alternative approaches to authority through the use of developmental drama which made teacher image and teacher–student power relationships an object of talk and study. The aim of this paper is to bring together theories and pedagogical models based on the sociology of education, social psychology and drama pedagogy in an effort to change how we teach marginalized students in one distinctive Chinese cultural context. 相似文献
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王姝 《宁波大学学报(教育科学版)》2018,(4):53-058
在艺术学升门、戏剧与影视学升为一级学科的大好形势下,戏剧教育迎来了它的黄金期。但表面的繁荣下,掩盖着学科发展路径、学科理路的混乱与不平衡。细析“戏剧与影视学”下属二级学科的性质与戏剧教育的现状,提出“准专业教育”的层面,并以“创意”为核心重组戏剧学科结构与教学目标。 相似文献
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韩传喜 《连云港教育学院学报》2008,(3):67-71
由于戏剧艺术本身的独特性,使其与社会政治之间产生了一种难以割离的天然联系,对此,无论是欧洲戏剧史还是中国话剧史,都提供了有力的解释。作为一种艺术样式,戏剧在发挥政治参与和社会批判功能之时,如何将政治移情与审美转换合理调配,既发挥其社会功用,承载一定的政治符码、社会担当,又不至于解构艺术底线,呈现出文化意味和审美品格,是摆在我们面前的一个重要命题。面对四川大地震,作为社会良心的文艺工作者积极应对,以坚实的艺术实践对这一公共性社会事件及其呈现出来的民族精神和集体人格进行了表现,人艺的新话剧《生·活》在艺术如何面对社会生活,如何处理政治移情与审美转换之关系等层面为我们提供了诸多启示。 相似文献