【作者】 黄丽萍；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2011， 博士

【摘要】 戏剧教育在港约已发展了十个年头,教育当局未为戏剧课程出版有关指引,倘学校要设置相关的正规课程,一方面可参考海外较成熟的戏剧课程,一方面可参考教育当局出版的艺术课程指引,并按学校需要而编写有关课程。但事实上,学校戏剧教师到底教什么、怎样教、如何教,乃视乎教师所接受的培训而各施各法,因此,香港的初中戏剧课程各具特色,百花齐放。但无论如何,戏剧教育作为艺术教育一科,它的本质是美育,必须有其美育的导向,以提升学生的审美能力,建立他们正确的审美观念和健康的审美趣味。因此,笔者透过此论文分析当前的初中戏剧课程的美育导向,并就美育的基本三个层次：感美、立美、创作,作出有关课程的建议,以使香港的戏剧教育有效地提升学生的审美能力。笔者按着课程的内容、课时,及其连续性去拣选了三间中学的戏剧课程作研究对象,透过文献数据分析法及现场访问调查法去了解现时的戏剧课程,并从文化、美学、戏剧规律这三个方向去分析有关课程的美育导向。第一章是绪论,内容主要说明研究背景、选题意义、香港初中戏剧课程的美育问题,及研究方法。笔者以美育的基本层次：感美、立美、创美,配合着莫礼时提出的课程五个元素,及Rhode所提出的创作四个基本元素(4P)去剖析现时初中戏剧课程的美育导向。第二章是从香港文化看现时课程的感美教育部分,笔者发现香港文化有着不同层次,影响着人们对戏剧的看法,对戏剧教育的看法,然而又借着世界教育潮流,教育当局进行了教育改革,又改变了教育对戏剧的观念,开始引入戏剧课程为正规课程,唯各学校开办的目标不同,影响着校本戏剧课程感美教育的发展。第三章是从美的范畴看现时课程的立美教育,笔者参考了各美学家对美的看法,定出悲、喜为戏剧艺术最突出的两大美的观念,然后再细看悲剧性、荒诞、崇高、丑陋、滑稽、幽默各美的概念,从而分析现时课程中有没有此等美的元素,并对戏剧课程提出立美教育的建议。第四章是以三大戏剧表演体系来审视学校的创美教育,包括史坦尼斯拉夫斯基、布莱希特和梅兰芳,笔者发现三间焦点学校明显地倾向使用史氏体系来训练学生,唯文化不同,训练对象不同,学校宜作出适度的调节,并宜参考布氏和梅氏的戏剧理论去设计课程,以提升学生的创美能力。第五章是结论,笔者分别从香港文化的结构、从美的范畴、从戏剧表演体系三方面,就着香港现时的初中戏剧课程的感美教育、立美教育、创美教育三部分作总结,并按推行美育导向的戏剧课程提出资源和支持建议,最后再在美育导向上建议香港初中戏剧课程,以求有效地提升学生的审美能力。更多还原

【Abstract】 Drama has been introduced as a subject into the Hong Kong school system for ten years, however, until now, the Hong Kong Education Bureau (EdB) has not yet published a specific curriculum guide for the subject. When a school wants to construct her school-based Drama curriculum at the junior secondary level, she may refer to the more sophisticated curriculums oversea, or looking for guidance from the Arts Education Key Learning Area Curriculum Guide (PI-S3) (Curriculum Development Council,2002), a curriculum guide for all art subjects. As a result, the components of Drama curriculum, including the learning content and the pedagogy, depend very much on the quality of the drama teachers and thus varies greatly from school to school. Drama is a subject in the Arts Education Key Learning Area and should include the aesthetic dimension in the curriculum, so as to enhance the aesthetic sensitivity of the students. In this connection, the researcher would like to analyze the aesthetic dimension of the Drama curriculum at the junior secondary level in Hong Kong, and make suggestions on the three dimensions of aesthetic education in this dissertation, namely, sensitivity, standardizability and creativity, so as to enhance the aesthetic abilities of our students.The researcher has chosen three drama curriculums at the junior secondary level of three schools after referring to the learning content, learning hours and the continuity of the curriculum. The researcher would analyze the curriculums in the perspectives of culture, aesthetics and theatre. The research methods used are Literature Analysis and Case Studies. Chapter one is an introduction to this dissertation, including the background and the significance of the research, the problems about aesthetic education encountered by the Drama curriculum in schools at the junior secondary level. The researcher is looking into the problems from the perspectives of the three dimensions of Aesthetic Education proposed by Prof. Zhang YL, the curriculum model proposed by Prof. Paul Morris, and the 4P model of creativity proposed by Rhode. Chapter two focuses on analyzing the sensitivity dimension of Aesthetic Education of the Drama curriculum from the perspective of Hong Kong Culture. Riding the worldwide trend, the EdB has launched the education Reform and has put Drama into the school formal curriculum, however, the curriculums’aims varies from school to school. Furthermore, the researcher notes that Hong Kong cultures has many layers, each layer casts its specific influence on the concepts of people on Drama and Drama Education. Chapter three focuses on the standardizability dimension of Aesthetic Education in Drama by referring to the theories of the renowned Aesthetic educators. The researcher recognizes that sadness and happiness are the two outstanding features of dramatic art. Sadness can be further divided tragic, absurd and lofty; and happiness can be divided into ugly, comical and humor. The researcher looks for these elements in the Drama curriculums and then make suggestions on aesthestic education on it. In chapter four, the researcher looks into the creativity dimension of Aesthetic Education in Drama by referring to the drama conventions of Konstantine Stanislavsky, Bertolt Brecht and Mei Lanfang. The researcher notes that schools emphasize too much on Stanislavsky, and the researcher recommends the schools should pay more attention to the other two conventions, so as to enhance the aesthetic sensitivities of the students. Chapter five is the conclusion. After looking into the three aspects of the cultural structure, aesthetic paradigm, and drama conventions, the researcher makes conclusion for the aesthetic education of Hong Kong schools at the junior secondary level. The researcher also gives suggestions for the resources allocation for the implementation of the drama curriculum with aesthetic dimension. Finally, the researcher makes suggestions for enhancing the aesthetic sensitivity of students through effective drama curriculum at the junior secondary level.更多还原