The long history of drama has repeatedly proved that no matter how superb the director's acting skills and dancing beauty are, the support of script literature can be lost. The decline of screenwriter's status and the lack of literariness are extremely dangerous to the development of drama art. Although action is the most fundamental feature of drama, the success of action innovation will make the performance shine beyond the charm of literature and make the whole theater full of emotional tension, but such charm and tension will not have high-level lasting charm without the support of script literature. Wang Zhongxian, the explorer of early drama, has realized that "there are perfect scripts in the world, and then there are new drama masters". At present, the phenomenon that there are few original dramas and scripts is scarce has aroused people's worries, which also makes the author look forward to the measures for cultivating screenwriters in colleges and universities. The birth of a truly outstanding playwright is a long process, and the cultivation of colleges and universities may only be two preparations for students to become playwrights.
The first preparation I want to talk about is a hot topic in the drama field recently, which is NTU's original school play "The Face of Jiang Gong". By the end of May, 20 13, the play had performed 65 times, and the box office also exceeded 1.5 million. At first, because the play didn't seem to cater to the market, many people asserted that it couldn't perform 10. In this regard, director Lv Xiaoping replied: "If there are only eight or nine people left in the theater, then we will perform eight or nine people." At that time, the author was moved by their persistent attitude. However, with the social recognition of Jiang, its creative team seems to be gradually satisfied with the praise of "inheriting the context of the May 4th Enlightenment" and "the best comedy in decades". Although the creative team sincerely admits such defects, it only leaves the rhetoric of "limited ability and inability to change" and then rushes to the next stop with great success. It has long been said that "Jiang Gong Face" has made "Nantah Face", but has it also destroyed Nantah's fine tradition of rigorous scholarship? Even though the screenwriter Jiang himself has always been low-key and plain, he can't see the slightest arrogance, but he reminds me of the professor's warning: "The distinction between screenwriters and screenwriters is not absolute, they will transform each other. As a novice screenwriter, he may imitate too many famous screenwriters, so his originality is not obvious, giving people the impression of "screenwriter". But if he is really talented and willing to work hard, he will grow into a playwright. On the contrary, a talented playwright, after his success, is easily influenced by the world's customs, prone to kitsch, quick success, loss of spirit and free creative mentality. At this time he will change from a playwright to a screenwriter. "
Cooling down the impetuous creation needs to start from the campus. If even the campus has been corroded by utilitarianism and drama education is eager for quick success, how can the future of drama art not be more worrying? Just imagine, can those students who are often written "desk" plays according to their heads before the real flowers of literature and art bloom in their hearts become real playwrights in the future? Colleges and universities should spend less time on commercial social practice, writing suitable works, reporting performances and awarding prizes, and pay more attention to literature itself, so as to cultivate students' personality preparation to become playwrights: pursuing artistic specialization indefinitely, taking the healthy development of drama art as their own responsibility, and consciously abandoning the negative influence of business first and entertainment first, which is conducive to the formation of a virtuous circle between drama education and drama ecology.
With the preparation of personality, the next step is academic preparation. The realm of a playwright determines the character of a play, and the academic preparation for becoming a playwright should include both inside information and poetry. Most details come from common sense, and poor knowledge often leads to poor thinking. Universities may wish to offer more courses such as social psychology, aesthetic history, contemporary philosophy and cultural anthropology. It can enrich the details of opera students more than directing acting classes. Most poems come from sensibility. Our students have been trained by exam-oriented education for a long time in primary and secondary schools, and generally lack creativity and imagination. If you only learn all kinds of screenwriter skills during the period of higher education, it is easy to be influenced by the formulaic and conceptual creative atmosphere of drama, or follow the trend to create popular themes, thus embarking on the road of screenwriter. There are no two identical leaves in the world. Don't be formulaic in drama creation, and don't follow suit. Traditional ideas and established paradigms have more or less influenced the dynamic role of the creative subject. Stanislavski put forward the method of "liberating nature" to train actors and restore their lost temperament. In the process of cultivating screenwriters, it is also necessary to advocate a kind of "liberation of nature" in literary thought: fully advocate the dynamic role of creative subjects, encourage students to bravely pursue self-realization in their works, and make the art form full of real originality.
For this reason, the author thinks that reading plays and watching plays should be the main courses for junior students. On the one hand, students can watch a large number of Chinese and foreign classic dramas and current international experimental dramas, and let them appreciate and summarize them carefully. On the other hand, they can stimulate students' narrative desire and guide their writing practice with their own experiences. After students have their own drama concepts, mastered certain writing skills, and have some literary and even philosophical connotations, they will learn the rules and skills of drama. The teacher will lead the students to consider the characters, plot, structure, rhythm and other aspects in the exercise one by one, and help them analyze whether the skills in the exercise are properly used. Finally, the students will judge which skills should be taken and which should be abandoned. However, as far as the theme and connotation of drama are concerned, teachers should help students analyze whether the exercise conforms to the artistic vision, humanistic spirit and philosophical character, because this is the key to whether a drama can radiate lasting light. At present, there is a common phenomenon in the performances of many commercial dramas and campus dramas, that is, the excitement of the audience sometimes stays on online jokes, love and even swearing, which requires our drama and drama education to undertake or provide more, and then gradually form a benign interaction between watching and performing.
Let perceptual courses replace rational paradigm, let literature and philosophy form the basis of drama education, and let aesthetics and sensibility achieve poetic feelings of drama. With the growth of a generation of talented screenwriters with profound knowledge and flying thoughts, we believe that in tomorrow's drama stage, there will be few people with formula concepts, few people with high platform education and rational suffocation, and few stage violence that forcibly amuses the audience. We will have a quiet theater full of humanistic feelings, philosophical meditation and deep breathing of the soul.
Yang
Source: Newspaper 2065438+June 26th, 2003.
Why should children receive drama education? What can drama education bring to children?
1. As a means of children's development, what value does drama have for children's development?
What kind of drama education can make drama really become a means of children's development? It can be said that drama, as a means of children's development, is the first concern of educators. American children's drama scholars put forward "creative drama" in the 1920s and 1930s, aiming at achieving the educational purpose of promoting children's development through children's "playing drama". Creative drama is defined as "an impromptu, non-performing and process-centered drama form, in which participants imagine, act and reflect on real or imagined human experience under the guidance of a guide." American scholar Eleanor? Chase? York especially summed up the development value of creative drama to children, including creativity, sensitivity, fluency, flexibility, imagination, emotional stability, social cooperation ability, moral attitude, physical balance and coordination ability, and communication ability. Take creativity as an example. In creative drama activities, children should completely put themselves into an idea and freely express their innermost thoughts, feelings and beliefs, so that their creativity can be fully developed. Later, Katherine MacKay, an American children's drama scholar, further emphasized that creative drama is to cultivate children's critical thinking and creative expression through drama, that is, to pay attention to all kinds of contradictions, conflicts and problems faced by children in drama. For example, in a creative drama theme activity of "Birds in Winter", the teacher designed a scene in advance: an injured bird met a selfish tree and a friendly tree, and the children imagined the next story. Children dressed as injured birds try to find help in the face of pain, cold and hunger, and they also have their own ideas in the face of injured birds' trees. Creative drama is precisely through children's attempts at various solutions in drama performance that children are prompted to think about various relationships and problems between people, people and society, and people and nature in "performance", thus enriching children's experience. Although the form of drama creation is drama, its educational purpose is not to create drama works, but to cultivate children's critical thinking and creative expression through drama. Creative drama pays more attention to the process than the result, focusing on the essence of drama "thinking about life", that is, through drama, an art that can face life directly, let children learn to think and learn to live. The emergence of therapeutic drama in the field of children's drama education has more effectively proved the psychotherapy value of drama, especially for special children with psychological barriers. Dr. Molino in Vienna specializes in drama as an auxiliary means of medical treatment. He uses drama to give psychological counseling to children in 19 1 1. He asked the children to play a game of "impromptu drama": first, determine a story, such as "Little Red Riding Hood" in Grimm's fairy tale, and let the children play a role. They don't have to recite lines, but make up dialogues spontaneously according to the needs of the role. The instructor will give some hints or guidance at any time to make a psychological analysis of the child's activities. Dr. Moreno found that for those children actors, his emotional intoxication occurred during the first performance. With the increase of performances, this sense of intoxication will become weaker and weaker, aggressive children will become more peaceful, and timid and nervous children will become more and more brave. The psychotherapy value of drama has another biggest advantage. It allows children to experience it repeatedly in hypothetical drama situations, which not only avoids all kinds of negative effects brought by real mistakes, but also releases and vents emotions, killing two birds with one stone. As a means to promote children's development, drama can play its unique value in children's cognitive, social and emotional development dimensions, and has all-round, multi-level and three-dimensional educational value.
Second, as a medium of teaching, what is the value of drama to teaching?
In the western drama teaching, drama can be used as a medium for teachers to teach and children to learn, which is the connotation of drama as a teaching medium at two levels. Dorothy, a British children's drama scholar? As the founder of "drama teaching" school, Hector strongly regards drama as the medium of teaching, that is, she uses drama to enrich children's perception in education and teaching, so that they can discover reality through imagination and explore the profound significance hidden under the behavior appearance. For example, in the theme of "medieval costumes", the teacher first put the children in a medieval church scene, and the children dressed as medieval knights, and then continued to explore the learning theme. Although role-playing appears in drama teaching, its purpose is not to create a script or play a role, but to deeply experience the learning theme. Dorothy. Haizikuote defines the goal of drama teaching as providing a stage for reflection and analysis of life experiences, and verifying these experiences through performances, so that children can know themselves and society in drama activities. Generally speaking, improvisation is the best form, and performance and reflection are equally important, each accounting for half of the activity time. In addition, in drama activities, teachers can play a certain role and participate in the drama performance, which is called "teachers entering the drama". When it is necessary to clarify the performance ideas, teachers can interrupt the performance at any time, discuss with children how to perform, and then continue to improvise, which is called "teacher drama". At this point, drama teaching is completely different from creative drama. In creative drama, teachers generally don't interrupt children's improvisation. Cecil? Ernie is also an important representative of drama teaching school. She believes that the most important task of "drama teaching" is to create a drama situation for people to share, that is, to explore and test ideas, problems, various relationships and interesting fields in a fictional world, hoping that children can experience happiness, perceive the world and be satisfied, and gradually consciously master pretend play and share the feelings and cognition of others. Role-playing is an important concept in drama teaching. Children can discover their potential in role-playing and gradually change their prejudice against the world around them. In drama, teachers are not looking for answers, but helping children find their own problems. Therefore, the teacher does not enter the play for a more perfect performance, but explores a fictional world with students with enthusiasm, imagination and sincerity. From the perspective of drama as a teaching medium, the application of drama in the classroom can not only meet the needs of teachers' effective teaching, but also attract children's interest in learning and desire to explore to the greatest extent.
Thirdly, drama as an art form.
Drama is an art form, which is the essential attribute of drama. However, drama, as an art form, has entered western children's education (non-drama major) because of its artistic characteristics, especially because drama, as a theater art, has been paid more and more attention, thus forming "theater education". Theater education is a genre of British drama education, and its representative figure is Brian? Vi theater education is different from the traditional children's theater: children's audience can also participate in stage performances as participants; Drama changes with children's creation, but it does not deviate from the original drama scenes and roles; Generally speaking, the text of the drama has been revised to meet the needs of children's participation; Its purpose is not to entertain, but to encourage children to think and feel various emotions. Here, the artistry of drama is highlighted, just as we see that the theater has become an educational space, and children are both audiences and actors. Brian? In the book The Development of Drama, Wei discusses his theory and practice of drama education-combining formal drama with creative drama to develop participatory drama, that is, opening to children's audience and making them participants. First of all, the number of children in the audience is limited to 10 at most, sitting in a circle; Secondly, actors should master the skills of inviting the audience to perform, know how to invite, how to cooperate with the participants, how to send the participants back to their seats and so on. In participating in the theater, children's audience can give advice to the actors at any time, and even perform on stage. Of course, this requires the consent of the main actors and participants. The younger the child, the more natural it is to participate in the performance. In participatory drama, when the audience becomes participants, the difference between creative drama and children's drama disappears. In drama education, because drama is an art, the main elements of drama-actors, audiences, scripts, theaters and so on. It also entered the field of vision of children's drama education. Children are no longer "participants" in drama creation or drama teaching, but develop from "participants" into actors, audiences, directors, playwrights, stage designers and critics. , and strive to be original. In addition, the performance rules and production rules of the theater have also become the content of children's drama education. From the perspective of drama as an art, drama endows children's drama education with the characteristics of aesthetic art. While paying attention to the development of children's creative ability in drama art, children's participation, initiative and creativity are fully considered. Through the above three dimensions, we are amazed at the excavation and utilization of the value of drama education in western children's drama education: drama can promote children's development; Drama is one of the best means to improve teaching effect; Drama can also cultivate the aesthetic ability of children's drama art, which is enough to show that drama has brought broad and rich value to western education. In addition, if we discuss these three dimensions from the perspectives of "instrumental theory" and "essential theory" of children's drama education, we can easily find that drama, as a means of children's development, and drama as a medium of teaching, is an "instrumental theory" orientation, which focuses on promoting children's all-round development and improving teaching effect through drama; As an art form, drama is an essentialist orientation, and this orientation of children's drama education sees the artistic characteristics of drama and attaches importance to improving the aesthetic ability of children's drama art. Of course, at present, western children's drama education has shown a trend of integration of "instrumental theory" and "essentialism". For example, today's "creative drama" adds various elements of drama to impromptu performance, which enhances the artistry of performance, not only emphasizes children's critical thinking and creativity, but also satisfies children's desire for dramatic art creation. However, the western children's drama education still lacks the understanding and utilization of the educational characteristics of drama art elements and the growth of children's drama experience, which leads to the formalization of the integration of instrumental value and essential value, which is also the key to the breakthrough of children's drama education in China. In short, in the profound significance of emphasizing the integration of the two orientations of "instrumental theory" and "essence theory" in children's drama education, we can see that the educational value of drama at all levels presents a trend of integration, which also points out the direction for the development of children's drama education in China.
Why should drama education be popularized in China? Why do China students need drama education? Drama is unique to China people and an ancient tradition left by our ancestors. In particular, "Kunqu Opera" belongs to the "living fossil" of drama. If we study drama, we will gradually understand some China allusions, historical stories, gorgeous changes in costumes and artistic reappearance.
The development of research art will be related to the national conditions, and sometimes it will confirm each other.
A few years ago, some literary and art groups rehearsed short stories and allusions such as "He's Jasper" and "Apologize with a humble apology", which was helpful for students to understand drama and history in drama entertainment.
Why do western primary and secondary schools attach importance to drama education? I think this is a measure for the state to manage the inheritance of drama culture.
A nation can't live without its own representative drama, and a country can't live without its own drama.
The development and inheritance of drama should be paid attention to by the state, and it cannot die out on its own. Drama is the representative level of a country and a nation's traditional culture. It is natural that drama is valued by the state.
Whether drama education has phased teaching objectives, the differences between them are as follows:
1. The relationship between educational aims and educational goals is both universal and specific.
The purpose of education is the general requirement of what kind of talents the country trains, which reflects the general demand of social members for education.
2. The educational goal is the requirement of the teaching field to realize the educational goal, which reflects the needs of the teaching subject.
3. The educational goal guides the educational goal, and the educational goal must obey the educational goal.
Usually, the purpose of education should be transformed into the goal of education, so that the needs of society can be concretized into the needs of teaching subjects.
As for board games, drama education is science? Science bar
What is the literariness of drama and what is the literariness of drama works? From the speeches of these people of insight in the drama field, we can already feel that they are not only referring to the poetic concept of the whole drama text, but also the profound ideological connotation that drama must have. In the final analysis, the literariness of drama works lies in our drama works, and we should pay more attention to and express people's emotional world.
Zheng Huaixing's Tears in the New Pavilion, which attracted widespread attention a few years ago, is such a masterpiece that reveals the soul track of the characters and expresses people's emotional world. Zheng Huaixing's brushwork always penetrates into the complete world of the spiritual development of the characters through the dense net woven by the complicated relationship between the characters and the intricate contradictions and entanglements. Therefore, the audience no longer simply get the impression of events from appreciation, but get the spiritual experience of life from the emotional development of the characters, as Zheng Huaixing himself said: "Revealing the laws of historical development, summing up the experience of ups and downs in past dynasties, and letting people learn from history, these should be the by-products of historical drama creation." I want to explore the mystery of human mind and express my recognized human feelings by describing the inner activities of historical figures. "
Today, people still pay attention to Zheng Huaixing's creation. Fu Ling's article "Zheng Huaixing: Heart as the Universe" in the fourth issue of "New Plays" in 2002 accurately summarized his creation: "Zheng Huaixing always experienced and perceived the ancients with his heart and began to write at the same time. He believes that although history and reality are far apart, human nature is the same and there are laws to follow. The mind is like a universe, providing a vast and boundless world for creation. This is the biggest difference between playwrights and historians. They always pay attention to the inner world of the characters, not the events themselves.
Zheng Huaixing's historical plays are of great significance for us to reflect the spirit of the times, the author's individual consciousness and the pursuit of poetic beauty, especially the literariness of the plays.
Professor Zhang Xi 'an, director of the drama department of the Central Academy of Drama, published an article entitled "Script Creation Should Face the Suffering of Life Spirit" in the Monthly Script, pointing out: "Only pay attention to people's living conditions, but not to people's spiritual world. This creative idea violates the essential law of drama art, "the creation of excellent artists is based on showing the personal spiritual world." In fact, the above topics have been thoroughly discussed by our drama masters. For example, Cao Yu once said, "Writing a play is mainly about writing people-revealing the inner world of the characters." Jiao Juyin also said: "Don't forget to put people first and pay attention to national expression and poetry." (Quoted from Beijing People's Art Theatre, Beijing People's Art, No.4, 2000, Zheng's message to the new century) In short, it is really what a playwright should do to pay attention to the literariness of dramatic works, understand the spiritual world of all the objects described, and think and express his unique soul.