From short story to process drama: A Chinese and a Norwegian classroom approach

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2022-12-01 DOI:10.1386/atr_00069_1

Xu Jun, Stig A. Eriksson

引用次数: 1

Abstract

In this practice-oriented article, each author has found an example in their national contemporary literary legacy to be explored through educational drama approaches. One is a short story (and a one-act play version of the story) by Lao She, China; the other is a short story by Tor Åge Bringsværd, Norway. Both stories are about experiences on train journeys and the article presents ideas for how to use them in drama pedagogical settings. Each author contextualizes their drama approach in terms of current public curriculum policies relevant to aesthetic education and drama education in each country, and theory from the field literature.

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从短篇小说到过程戏剧：中国和挪威的课堂教学法

在这篇以实践为导向的文章中，每一位作者都在他们的国家当代文学遗产中找到了一个例子，可以通过教育戏剧的方法来探索。一个是中国老舍的短篇小说（以及故事的独幕剧版本）；另一篇是挪威TorÅge Bringsværd的短篇小说。这两个故事都是关于火车旅行的经历，文章提出了如何在戏剧教学环境中使用这些经历的想法。每一位作者都根据各国当前与美育和戏剧教育相关的公共课程政策，以及实地文献中的理论，将他们的戏剧方法置于情境中。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.