感谢华东师大艺术系硕士研究生徐进提供并整理该文资料－洪啸音乐教育工作站

学位授予单位 南京师范大学  

中文关键词 儿童戏剧;综合活动;戏剧经验;戏剧工作  

导师 屠美如  

论文级别 博士  

学科专业名称 学前儿童教育学  

中文摘要 本文从戏剧的魅力、戏剧与儿童的关系出发，针对中西方儿童戏剧教育“工具论”取向与“本质论”取向分离的现状，试图建构一种“通过戏剧”的综合的教育——幼儿园戏剧综合活动。本研究突显了儿童主动创造戏剧的特性，强调了“工具论”取向与“本质论”取向的融合，将幼儿园戏剧综合活动界定为一种围绕儿童戏剧经验的建构而生发的戏剧的、艺术的、学科的多层次的综合教育活动，并分析了它和角色游戏、表演游戏的联系与区别，表明了戏剧综合活动工作性和游戏性的兼具性。面对我国已有儿童戏剧教育建立在传统的主客二分的认识论、封闭灌输的教育观以及理性主义的知识观基础之上的现实，本研究从崭新的哲学观、教育观和知识观等理性层面观照幼儿园戏剧综合活动，为儿童与戏剧的共生共存寻找到有力的理论的支撑。通过“自下而上”的行动研究方法，我和教师共同作为研究者追踪儿童戏剧经验建构过程，把幼儿园戏剧综合活动过程确定为4个步骤：(1)主题来源；(2)生活体验；(3)戏剧工作；(4)模拟剧场演出，发现了儿童是从表演中依次分化出从舞台美术、音乐音响、剧本、导演、剧场等戏剧元素的，呈现出与成人戏剧创作截然不同的特性，却与人类戏剧艺术的发展演进具有一致性。通过反思教师和儿童在戏剧综合活动中的行为，我对教师定位、教师策略、教师成长以及教师和儿童的新型平等合作关系进行了深入分析，并从儿童身上所表现出来的发展变化看到了戏剧综合活动具有显在的和潜在的发展教育价值。  

英文摘要 Starting with the irresistible charm of drama to children under six years old, this thesis, arguing the two opposite approaches of "Instrumentalism" and"Essentialism" in children's drama education, is intended to introduce to preschools a drama-based comprehensive education model for children. The study, emphasizing children's dramatic creativity and the integrity of "Instrumentalism" and "Essentialism", defines drama-based comprehensive education as one that, centering on children's drama experience, involves the education of multi-layers of drama, art and many others. The analysis of the distinction and connection between this new education model and role-play and performance-play indicates its core-the overlapping and integrity of task and game in a series of drama activities. Different from the traditional approaches to children's drama education, such as the traditional epistemology of subject and object' s separation, close and inculcated view of education , and the rational view of knowledge, the study observes preschool education on a new view of philosophy, education and knowledge which establishes a theory of the co-existence of children and drama. The drama-based comprehensive education involves four procedures: (1) the sources of subjects;(2)life experience;(3)drama work;(4) imitated-theatre performance. As the researchers, the teachers and I found in the children's own creation and performance their sequential cognition of stage setting, music-sound effects, acting editions and theatre, which, though different from the adults', is in consistence with the progress of the art of human drama. From the reviews of teachers and children's action during the whole experiment, I further analyzed teacher's position, strategy and growth, and the new equal and cooperative relationship between teacher and children, and the findings convinced me of evident and potential values of this drama-based comprehensive education.  

DOI CNKI::CDMD:10319.2.2003.0546