{"title":"当代戏剧课程设计的“创意产业","authors":"B. Haseman","doi":"10.1080/17508480209556408","DOIUrl":null,"url":null,"abstract":"Drama teachers have always operated within paradigms of thought that have shaped and animated notions of'best practice'. At one time or another over the past forty years, the ideas of progressivism, interdisciplinarity, aesthetic education and critical pedagogy have been deployed to argue the theory and practice of drama in education. The movement from one paradigm to the next has seldom been painless, for the act of breaking free from reassuring category formulations involves intellectual and emotional anxiety. And in 2002, we are not immune from such paradigm shifts and the displacements they cause. Manuel Castells charts our present moment:","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"7 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"The ‘Creative Industry’ of Designing a Contemporary Drama Curriculum\",\"authors\":\"B. Haseman\",\"doi\":\"10.1080/17508480209556408\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Drama teachers have always operated within paradigms of thought that have shaped and animated notions of'best practice'. At one time or another over the past forty years, the ideas of progressivism, interdisciplinarity, aesthetic education and critical pedagogy have been deployed to argue the theory and practice of drama in education. The movement from one paradigm to the next has seldom been painless, for the act of breaking free from reassuring category formulations involves intellectual and emotional anxiety. And in 2002, we are not immune from such paradigm shifts and the displacements they cause. Manuel Castells charts our present moment:\",\"PeriodicalId\":347655,\"journal\":{\"name\":\"Melbourne Studies in Education\",\"volume\":\"7 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2002-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Melbourne Studies in Education\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17508480209556408\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Melbourne Studies in Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17508480209556408","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The ‘Creative Industry’ of Designing a Contemporary Drama Curriculum
Drama teachers have always operated within paradigms of thought that have shaped and animated notions of'best practice'. At one time or another over the past forty years, the ideas of progressivism, interdisciplinarity, aesthetic education and critical pedagogy have been deployed to argue the theory and practice of drama in education. The movement from one paradigm to the next has seldom been painless, for the act of breaking free from reassuring category formulations involves intellectual and emotional anxiety. And in 2002, we are not immune from such paradigm shifts and the displacements they cause. Manuel Castells charts our present moment:
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