戏剧性思维:识别和拥有我们的创作过程*

IF 1
Susan E. Davis
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引用次数: 2

摘要

促进创造力和创造性思维的过程和教学方法通常被描述为基于问题的学习和研究性学习。“通用”设计过程,如“设计思维”,也被认为是创造性过程的共同特征。然而,这些模式大多源于平面设计和视觉艺术传统,那么这些模式是否真的考虑到了通过戏剧培养创造力的具体优势和机会呢?作为剧作家或戏剧教师参与创作过程意味着什么?对戏剧形式和过程的考虑如何塑造经验并对视觉和想象过程产生影响?本文以我们在国家首都召开的会议和对我们的原住民具有重要意义的一年为例,调查了戏剧中创造性思维/行为过程的关注和考虑。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dramatic thinking: identifying and owning our creative process*
Abstract The processes and pedagogies for promoting creativity and creative thinking are often described as problem-based and inquiry learning. ‘Generic’ design processes such as ‘design thinking’ are also proposed as being somehow common to creative process. However, most of these models arose from graphic design and visual arts traditions, so do these models actually take account of the specific strengths and opportunities for cultivating creativity through drama? What does it mean to engage in a creative process as a dramatist or a dramatic pedagogue? How does a consideration of dramatic form and process shape experience and impact on the visioning and imagining processes? This paper investigates the concerns and considerations of the creative thinking/doing process in drama with reference to examples of relevance from the situating of our conference in the nation’s capital and on a year of great significance for our First Nations people.
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