{"title":"Educational drama, traditional Chinese culture and current government policies","authors":"Tor-Helge Allern, Sisi Zheng, Stig A. Eriksson","doi":"10.1386/atr_00065_1","DOIUrl":null,"url":null,"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.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Applied Theatre Research","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/atr_00065_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
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.
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.