儿童戏剧表演艺术教育新范型的探索——以台湾“校园儿童影戏”与浙江“婺剧进课堂”为比较研究  

Exploration of the New Mode of Children's Drama Education:A Comparative Study of "Children's Shadowplays on Campus" in Taiwan and "Wu Opera Goes into Classrooms" in Zhejiang

作　　者：邓琪瑛[1] 

机构地区：[1]浙江师范大学儿童文化研究院,浙江金华321004

出　　处：《教育学报》2011年第4期74-79,共6页Journal of Educational Studies

摘　　要："戏曲进课堂"活动是近年为教育界和民俗学界所关注的话题,虽然尚未形成热点议题,但由于生成背景与学童传承我国非物质文化遗产互相紧扣,所以格外凸显出两者交融后的特殊性与重要性。首先,它让两大泾渭分明的西方儿童戏剧教育理论产生了融合的契机;其次,以传统戏曲作为特定的艺术教育普及载体,不仅着重素质教育的培养与提升,也借此强化了本土戏曲艺术的永续发展;此外,它一改传统不人道的教育陋习,体现了以"儿童"为学习本位的进步精神,这在以往是不曾出现过的,故将之视为一种儿童戏剧表演艺术教育的"新范型"实不为过。"新范型"同时也是"戏曲进课堂"活动的实践成果,它必须经过长期的积累并能引发后续的学习扩散效应。因此对"新范型"的研究需要进行实地的田野考察,透过不同地区和剧种之间的相互比较,则更能彰显其特定的教育作用及各有所长的艺术审美价值。＂Operas Go into Classrooms＂ have attracted scholars＇ attention in the fields of education and folklore in recent years. Although it has not become a hot topic, its significance and particularity has been highlighted because the background where it was originated closely tied to children＇s inheritance of intangible cultural heritage. First, it brings the opportunity of combining two entirely different Western theories in children＇s drama education. Second, it uses traditional operas as a specific carrier to popularize art education. In this way, it has not only contributed to quality education but also strengthened the sus- tained development of local operas. Furthermore, different from the inhuman education in tradition, it is child-centered. In this sense, it＇s reasonable to be considered as a ＂new mode＂ of children＇s drama education. The ＂new mode＂ is also a result of ＂Operas Go into Classrooms＂ activities after a long-term accumulation and the activating of diffusing effect of subsequent learning. Thus, research on the ＂new mode＂ needs field investigation. By comparing local operas in different areas, their specific educational function and various aesthetic values can be revealed.

关 键 词：儿童戏剧 教育新范型 民俗艺术 戏曲进课堂 

分 类 号：G40-014[文化科学—教育学原理] G40-055[文化科学—教育学]