Conceptions of drama and theatre

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2022-12-01 DOI:10.1386/atr_00067_1

Tor-Helge Allern, Stig A. Eriksson

引用次数: 0

Abstract

The article presents and discusses etymological background, cultural adaptations and different perspectives to the key concepts in drama and theatre, starting from western and Chinese conceptions. Drama has at least three levels of meaning: (1) as an overarching concept for fictional and non-fictional cultural practices; (2) as an aesthetic learning practice within education; and (3) as a script made for theatre performances. The drama is thus a frame for the actions, and within this frame there might be other frames, marking different roles and perspectives. The meaning and potential for knowing in drama and theatre lie between those layers and differences. This idea is illustrated by a comparison between the British pioneers and partners Dorothy Heathcote and Gavin Bolton, and by exploring how divergent views on theatre and art lead to differences in perspective about a specific approach to educational drama, mantle of the expert.

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戏剧和戏剧的概念

本文从西方和中国的戏剧概念入手，介绍和讨论了戏剧和戏剧中关键概念的词源背景、文化适应以及不同的视角。戏剧至少有三个层次的意义：（1）作为虚构和非虚构文化实践的总体概念；（2）作为教育中的审美学习实践；以及（3）作为戏剧表演的剧本。因此，戏剧是行动的框架，在这个框架内可能还有其他框架，标志着不同的角色和视角。在戏剧和戏剧中，认识的意义和潜力在于这些层面和差异之间。英国先驱和合作伙伴多萝西·希思科特（Dorothy Heathcote）和加文·博尔顿（Gavin Bolton。

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.