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Journal articles on the topic 'Theater Theater Chinese drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Xiang, Yu, and Irina V. Monisova. "Russian symbolist drama and theater in the Chinese scientific context." RUDN Journal of Studies in Literature and Journalism 24, no. 2 (2019): 235–44. http://dx.doi.org/10.22363/2312-9220-2019-24-2-235-244.

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The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the

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2

Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko M

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3

Komilova, Shahnoza. "Themes Of Chinese Dramas (30-40 Years In The First Half Of Thetwentieth Century)." American Journal of Social Science and Education Innovations 02, no. 10 (2020): 189–94. http://dx.doi.org/10.37547/tajssei/volume02issue10-31.

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4

Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. S

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5

Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.

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6

Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.

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7

Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.

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8

Chuo, Mei-Hsiu. "Innovation Drama Teaching of “New Pinocchio” in Chinese Language Learning: Action Research." PAROLE: Journal of Linguistics and Education 9, no. 1 (2019): 24. http://dx.doi.org/10.14710/parole.v9i1.24-30.

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The prevalence of learning Chinese in the United States is very popular with the learning Chinese language throughout the world. This atmosphere is very encouraging for children in Chinese schools and improves their learning motivation. This research is action research and the purpose of this study is (1) to explore the current situation of teaching Chinese in the United States and to answer the research questions based on the reaction and self-reflection of young children, (2) to revise teaching materials and teaching methods during the research, (3) to utilize the innovation story theater mo

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9

Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ". World Science 3, № 3(43) (2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.

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    The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental read

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10

Conceison, Claire. "Theater and Society: An Anthology of Contemporary Chinese Drama, and: The Chinese Other, 1850-1925: An Anthology of Plays (review)." Asian Theatre Journal 17, no. 1 (2000): 135–38. http://dx.doi.org/10.1353/atj.2000.0002.

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11

Chen, Xiaomei. "A Stage of Their Own: The Problematics of Women's Theater in Post-Mao China." Journal of Asian Studies 56, no. 1 (1997): 3–25. http://dx.doi.org/10.2307/2646341.

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Hu shi's play of 1919, The Main Event of One's Life (Zhongshen dashi), introduced spoken drama (huaju) to the modern Chinese stage, in imitation of the plays in the Western Ibsenesque tradition. Ever since then, May Fourth male playwrights such as Guo Moruo, Ouyang Yuqian, Chen Dabei, and others, in forming a tradition countering that of the Confucian ruling ideology, have treated women's liberation and equality issues as important political and ideological strategies (Chen 1995, 137–55). Female playwrights such as Bai Wei also depicted loving mothers and courageous daughters waging a fierce s

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12

Hsieh, Hsiao-mei. "In the name of Shakespeare." Cultural China in Discursive Transformation 21, no. 2 (2011): 319–29. http://dx.doi.org/10.1075/japc.21.2.09hsi.

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, also known as classical Chinese opera or sung drama, had been the major entertainment in the traditional Chinese society. In Taiwan, Beijing opera as ‘National Drama’ had long enjoyed resources far more than other xiqu genres. However, with the rapid transformation of socioeconomic structure, xiqu experienced drastic decline in audience in the face of Western culture. The call for a “modernized” xiqu became imperative. Under such circumstances, the Contemporary Legend Theater company (CLT) came to the fore. It was founded by a Beijing opera practitioner Wu and his wife Lin, a modern dancer.

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13

Zhao, Xiaohuan. "Nuo Altar Theatre on a Liminal/Liminoid Continuum: Reflections on the Shamanic Origins of Chinese Theatre." TDR/The Drama Review 63, no. 2 (2019): 57–77. http://dx.doi.org/10.1162/dram_a_00835.

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The rite of exorcism known as nuo lies at the very heart of the relationship between ritual and drama in Chinese theatre history. Nuo altar theatre exemplifies the relationship between ritual and drama as dynamic and interactive, with ritual engendering theatre and theatre enriching ritual.

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14

Glosemeyer, Robin. "Yale Drama Theater." Journal of the Acoustical Society of America 115, no. 5 (2004): 2439. http://dx.doi.org/10.1121/1.4781766.

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15

Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.

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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.

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16

Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46, no. 2 (2017): 13. http://dx.doi.org/10.17811/rifie.46.2.2017.13-16.

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ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this met

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Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46 (July 25, 2017): 13. http://dx.doi.org/10.17811/rifie.46.2017.13-16.

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ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this met

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18

Liu, Chun-Jo. "CHINESE THEATER." Ming Studies 1986, no. 1 (1986): 70–71. http://dx.doi.org/10.1179/014703786788760378.

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19

Sun, William Huizhu. "The Theatre of Purgation and the Theatre of Cultivation." TDR: The Drama Review 65, no. 2 (2021): 8–28. http://dx.doi.org/10.1017/s1054204321000058.

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In China, theatre studies has been dominated by Western discourse on serious drama, mostly the theatre of purgation. It is equally important, however, to study popular Western theatre genres, such as musicals, comedies, and relatively uplifting plays, especially in terms of their similarities with Chinese opera—an epitome of theatre of cultivation.

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20

Plowright, Poh Sim. "The Birdwoman and the Puppet King: a Study of Inversion in Chinese Theatre." New Theatre Quarterly 13, no. 50 (1997): 106–18. http://dx.doi.org/10.1017/s0266464x0001099x.

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Poh Sim Plowright recently spent six weeks in Quanzhou, in the Fujian Province of China, watching the puppeteers, actors, and audiences of her native Fujian theatre tradition. Here she was able to observe at first hand the principle of inversion that, she believes, underlies all Chinese theatre: and in the following article she argues that this principle is clearly illustrated by the string puppet and human theatres of Quanzhou, whose origins can be traced to the official ‘Pear Garden Theatre’ set up in the eighth century by the Tang Emperor, Ming Huang. Theatre in this part of South China is,

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21

Stenberg, Josh. "How far does the sound of a Pipa carry? Broadway adaptation of a Chinese classical drama." Studies in Musical Theatre 14, no. 2 (2020): 175–91. http://dx.doi.org/10.1386/smt_00031_1.

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The 1946 Broadway premiere of Lute Song represents a milestone in reception of the Chinese dramatic tradition in the United States. Despite its yellowface and ‘Oriental pageantry’, it must be situated at the beginnings of a more respectful relationship to China and Chinese people, as the American stage began to move beyond treatments of China dominated by racist vaudeville or fantastical fairy tales. Instead, Lute Song emerged from a classic text, the long drama Pipa ji ‐ even as its own casting and staging inherited some of the same problematic habits of representing Asia. Lute Song, one of s

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22

Hidaka, Takayuki, and Leo L. Beranek. "Drama Theater of the New National Theater (NNT), Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (2004): 2439. http://dx.doi.org/10.1121/1.4781835.

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23

Li, Yuan, and Tim Beaumont. "Dramatizing Chinese Intellectuals of the Republican Era in Face for Mr. Chiang Kai-shek: Encoding Nostalgia in a Comedy of Ideas." New Theatre Quarterly 37, no. 3 (2021): 281–94. http://dx.doi.org/10.1017/s0266464x2100018x.

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Face for Mr. Chiang Kai-shek, one of the most influential Chinese plays to have garnered attention in recent years, serves as a reminder of the importance of campus theatre in the formation and development of modern Chinese spoken drama from the early twentieth century onwards. As an old-fashioned high comedy that features witty dialogues and conveys philosophical and political ideas, it stands in opposition to such other forms of theatre in China today as the extravagant, propagandistic ‘main melody’ plays, as well as the experimental theatre of images. This article argues that the play’s foc

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24

Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.

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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The

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25

Conceison, Claire. "Chinese Theories of Theater and Performance from Confucius to the Present. Edited and translated by Faye Chunfang Fei. Foreword by Richard Schechner. Ann Arbor: The University of Michigan Press, 1999; 213 pp. $44.50 cloth." TDR/The Drama Review 44, no. 1 (2000): 187–92. http://dx.doi.org/10.1162/dram.2000.44.1.187.

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26

Žmak, Jasna. "Linguistics, poetics, theater and drama." Zbornik Akademije umetnosti, no. 7 (2019): 147–57. http://dx.doi.org/10.5937/zbakum1907147z.

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27

Eligator, Ronald T., David W. Kahn, and Nicholas Edwards. "Recent drama theater design experience." Journal of the Acoustical Society of America 128, no. 4 (2010): 2274. http://dx.doi.org/10.1121/1.3507953.

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28

LIU, SIYUAN. "‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s." Theatre Research International 42, no. 3 (2017): 265–85. http://dx.doi.org/10.1017/s030788331700058x.

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In the late 1950s and early 1960s in Shanghai, the remnant ofwenmingxi(civilized drama), China's first form of Western-style spoken drama, which had flourished in the 1900s and 1910s as a hybrid of Western spoken theatre and indigenous performance, experienced a brief resurrection and ultimate demise under the name oftongsu huaju(popular spoken drama). Considered until then as popular entertainment inferior to the officially recognized form of modern theatre,huaju(spoken drama), that adhered to Western realistic dramaturgy and performance,tongsu huajustaged a six-play festival in January 1957

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29

Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.

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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences

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30

Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse

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31

Liu, Siyuan. "Performing Gender at the Beginning of Modern Chinese Theatre." TDR/The Drama Review 53, no. 2 (2009): 35–50. http://dx.doi.org/10.1162/dram.2009.53.2.35.

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In the early twentieth century, female impersonators in Japan's first Western-style theatre, shinpa (new school drama), employed gender performance conventions based on kabuki onnagata and European melodramatic techniques. Shinpa performers influenced the performance of gender in early Chinese spoken drama. Chinese student actors emulated shinpa conventions in Tokyo and popularized them in Shanghai in the 1910s, where they were accepted as being accurate enactments of modern women.

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32

Senici, Emanuele, Gilles De Van, and Gilda Roberts. "Verdi's Theater: Creating Drama through Music." Modern Language Review 96, no. 1 (2001): 223. http://dx.doi.org/10.2307/3735796.

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33

Barnett, David, and Jeanette Malkin. "Memory-Theater and Post-Modern Drama." German Quarterly 73, no. 2 (2000): 230. http://dx.doi.org/10.2307/407974.

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34

Matthias, Bettina. "Thomas Müller (2008). Dramapädagogik und Deutsch als Fremdsprache. Eine Bestandsaufnahme. Saarbrücken. VDM Verlag." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (2009): 71–73. http://dx.doi.org/10.33178/scenario.3.2.6.

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Over the past decade, theater-and drama-related activities in the foreign language classroom have enjoyed increasing popularity. More and more foreign language programs have added theater-based literature classes to their course offerings, and theater- and drama-pedagogical workshops, offered through organizations such as the Goethe Institute or the Alliance Française, have helped teachers and students access this creative approach to foreign language instruction. Publications based on “eher subjektive Eindrücke und Erfahrungen” (9) abound; but, so far, a synthesizing account of these methods’

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35

Fei, Faye Chunfang. "Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre." New Theatre Quarterly 22, no. 3 (2006): 235–48. http://dx.doi.org/10.1017/s0266464x06000443.

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The folllowing article is a revised and edited version of a keynote address given by Faye Chunfang Fei at the Michael Chekhov Symposium, ‘Theatre of the Future?’, in November 2005 – held at Dartington Hall, where the actor and director Huang Zuolin worked under Chekhov’s guidance in 1936, an experience which helped to shape his lifelong work in uniting the best in western theatrical traditions with those of his native China. Faye Chunfang Fei traces this formative influence, along with those of Stanislavsky, of Brechtian Epic Theatre, and of traditional and modern Chinese forms, in shaping som

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36

Bašović, Almir. "Bosnian Drama and Theater: Some Literary and Theatrical Aspects." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 15–24. http://dx.doi.org/10.51558/2490-3647.2021.6.3.15.

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This text is an introduction to the thematic block of the journal Social Sciences and Humanities Studies on the literary and theatrical aspects of Bosnian drama and theater. It recalls the presence of theatrical and sub-theatrical phenomena on the territory of Bosnia and Herzegovina in antiquity, and then lists the specifics of Bosnian culture in the Middle Ages, from which arises a specific relationship to drama and theater. The attitude of Islamic culture towards theater and drama significantly influenced the status that drama has even after the departure of the Ottoman Empire from Bosnia an

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37

Shiau, Yan Chyuan, Ron Chen, and Cheng Wei Dan. "Renovation and Maintenance of Theater Dimmer Systems: Case Study on the Experimental Theater of the National Drama Theater." Applied Mechanics and Materials 174-177 (May 2012): 2036–41. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2036.

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Many performing venues in Taiwan are historical. After long-time use, both the structure and equipment system of these venues have aged, thus causing critical impact on the stage, lighting, and sound effects. Based on the case of the Experimental Theater at the National Theater, this study investigated what should be noticed when renovating the theater lighting system, in order to provide an innovation guide for the management. This study also gathered the relevant information for maintaining the theater lighting system, in order to provide a reference for maintenance personnel to ensure the u

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38

Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (2018): 99. http://dx.doi.org/10.3390/h7040099.

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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusse

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39

Schechner, Richard. "One Hand, Many Fingers." TDR/The Drama Review 48, no. 3 (2004): 174–79. http://dx.doi.org/10.1162/1054204041667668.

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Schechner's working visit to Taipei, Hong Kong, and Shanghai proved to be a journey among three very different kinds of Chinese communities with very different political and artistic practices—from social drama to traditional theatre.

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40

Đuričić, Mila. "The film and the theater of panpsychism in 'Letters About the Theater' of L.N. Andreyev." Reci Beograd 12, no. 13 (2020): 56–70. http://dx.doi.org/10.5937/reci2013056d.

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In our research, we saw that Andreyev's assumptions were fulfilled - the film perfected the technique of depicting the action and the scene. The truth theater has replaced the incomprehensible naturalist theater with the new viewer. Enchanted theater is what makes everyone involved in a play - the writer, the stage, the theater and the audience. New Age viewers have to play offstage. In order for viewers to participate in a play, it must be responsive to new challenges - a more developed intellect, which gives the theater a representation of "intellectual experiences", or as Andreyev puts it:

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41

Liu, Siyuan. "“The Brightest Sun, The Darkest Shadow”: Ideology and the Study of Chinese Theatre in the West during the Cold War." Theatre Survey 54, no. 1 (2013): 27–50. http://dx.doi.org/10.1017/s0040557412000403.

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This is the new Communist drama, and the picture is frequently artless and sterile, without depth, without truth, and without reality.—Walter and Ruth Meserve, 1970Peking opera now is a mixture of drama, music, dance, acrobatics, poetry, propaganda and revolutionary history, with indefatigable heroes (more adroit than James Bond, and with a purpose he never dreamed of) and fabulously wicked villains—the whole socking out a message of exemplary struggle and courage.—Lois Wheeler Snow, 1972The study of Asian theatre as an academic field independent of English and Asian Studies arose in the West,

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42

Chaudhuri, Una, and W. B. Worthen. "Modern Drama and the Rhetoric of Theater." TDR (1988-) 40, no. 1 (1996): 179. http://dx.doi.org/10.2307/1146518.

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43

Kobialka, Michal, and E. J. Czerwinski. "Contemporary Polish Theater and Drama (1956-1984)." Slavic and East European Journal 33, no. 4 (1989): 633. http://dx.doi.org/10.2307/308306.

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44

Carpenter, Bogdana, and E. J. Czerwinski. "Contemporary Polish Theater and Drama (1956-1984)." World Literature Today 64, no. 1 (1990): 151. http://dx.doi.org/10.2307/40145987.

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45

Baranov, B. A. "Architectural-artistic image of Chelyabinsk Drama Theater." IOP Conference Series: Materials Science and Engineering 451 (December 14, 2018): 012171. http://dx.doi.org/10.1088/1742-6596/451/1/012171.

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46

Baranov, B. A. "Architectural-artistic image of Chelyabinsk Drama Theater." IOP Conference Series: Materials Science and Engineering 451 (December 14, 2018): 012171. http://dx.doi.org/10.1088/1757-899x/451/1/012171.

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47

Enache, Lorette. "Part II. Drama / Choreography5. Theater Dance Atelier." Review of Artistic Education 13, no. 1 (2017): 125–29. http://dx.doi.org/10.1515/rae-2017-0016.

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Abstract The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expres

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48

Molette, Carlton. "Ritual Drama in the Contemporary Black Theater." Black Scholar 25, no. 2 (1995): 24–29. http://dx.doi.org/10.1080/00064246.1995.11430716.

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49

Fernández-Aguayo, Sara, and Margarita Pino-Juste. "Drama therapy and theater as an intervention tool: Bibliometric analysis of programs based on drama therapy and theater." Arts in Psychotherapy 59 (July 2018): 83–93. http://dx.doi.org/10.1016/j.aip.2018.04.001.

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Schewe, Manfred. "Drama und Theater in der Fremd- und Zweitsprachenlehre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (2007): 142–53. http://dx.doi.org/10.33178/scenario.1.1.8.

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Abstract:

Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitspra

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