Educational drama, traditional Chinese culture and current government policies

IF 0.2 0 THEATER
Tor-Helge Allern, Sisi Zheng, Stig A. Eriksson
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引用次数: 0

Abstract

In this article, we present and discuss how traditional Chinese culture is connected to moral education (deyu), current governmental strategies in education and educational drama as an approach to moral education. We argue that the mixture in deyu of moral and ideological education in today’s China is nothing new, and totally consistent with China’s pre-revolutionary periods. Although current government strategies in education emphasize aesthetic subjects such as drama/theatre (Xiju), and include methods and conventions in educational drama, it is hard to perceive whether the policy is open to an explorative learning process, characteristic of educational drama, or rather implies a more classical approach, based on textbooks and memorization, or even pure learning techniques. Nevertheless, processual processes to drama seem to harmonize with ambitions in China’s current school reforms and to be relevant to moral education within a social framework.
教育戏剧、中国传统文化和当前政府政策
在本文中,我们提出并讨论了中国传统文化如何与道德教育(德育)、当前政府的教育策略以及作为道德教育途径的教育戏剧联系在一起。我们认为,在今天的中国,道德教育和思想教育的混合并不是什么新鲜事,完全符合中国革命前的时期。虽然目前政府的教育策略强调戏剧/戏剧(西剧)等美学学科,并包括教育戏剧的方法和惯例,但很难看出该政策是对教育戏剧特征的探索性学习过程开放,还是暗示了一种基于教科书和记忆的更经典的方法,甚至是纯粹的学习技巧。然而,戏剧的过程过程似乎与中国当前学校改革的雄心相协调,并与社会框架内的道德教育相关。
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
CiteScore
0.70
自引率
50.00%
发文量
6
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.
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