观念、方法与取向——余上沅与熊佛西民国时期戏剧教育思想之比较  

Concepts,Methods,and Orientations:A Comparative Study of the Drama Education Ideas of Yu Shangyuan and Xiong Foxi During the Republic of China Era

作　　者：袁联波[1] YUAN Lian-bo(College of Literature and Journalism and Communication,Chengdu University,Chengdu,Sichuan 610106)

机构地区：[1]成都大学文学与新闻传播学院,四川成都610106

出　　处：《艺术百家》2024年第2期62-68,共7页Hundred Schools In Arts

基　　金：2022年度国家社科基金后期资助项目“国立剧专与现代话剧教育研究”(项目编号:22FYSB037)阶段性成果之一。

摘　　要：作为民国时期中国最有影响力的两位戏剧教育家,余上沅与熊佛西尽管早年经历相似,但戏剧观念及戏剧教育观念却有较为明显的差异。余上沅的戏剧教育观念更具连续性,熊佛西的戏剧教育观念则更具发展性。两人都兼顾办刊与办学,注重培养学生的研究素质。在教育实践中,对于话剧中国化问题,余上沅更偏重借鉴戏曲艺术,而熊佛西则似乎更偏爱吸收民间戏剧形式。抗战促使二人的戏剧功能观发生转变,并直接或间接地影响了他们的戏剧教育观念。在主持四川省立戏剧教育实验学校期间,熊佛西凭借军事化管理将该校同一般意义上的戏剧学校区分开来。余上沅则选择了话剧科和高职科的分类培养方式,从而既坚守了戏剧的艺术性,也实现了戏剧的抗战宣传职能。As two of the most influential drama educators during the Republic of China era in China,Yu Shangyuan and Xiong Foxi,despite sharing similar early experiences,showcase significant disparities in their drama concepts and educational ideologies.Yu Shangyuan's approach to drama education exhibits a more consistent trajectory,while Xiong Foxi's ideology is marked by a developmental perspective.Both Yu Shangyuan and Xiong Foxi were involved in publishing and academia,emphasizing the cultivation of students'analytical prowess.Regarding the localization of drama within educational settings,Yu Shangyuan leaned towards drawing from traditional opera arts,whereas Xiong Foxi showed a penchant for integrating folk drama forms.The wartime experiences had a transformative impact on both educators'views of drama's societal function,consequently influencing their educational philosophies.During his leadership at the Sichuan Provincial Experimental Drama School,Xiong Foxi utilized a militarized approach to distinguish the institution from conventional drama schools.Conversely,Yu Shangyuan's division of drama and vocational courses preserved the artistry of drama while fulfilling its role in wartime propaganda efforts.

关 键 词：余上沅 熊佛西 民国时期 戏剧教育思想 观念与取向 

分 类 号：J82[艺术—戏剧戏曲]