中学语文戏剧作品体验式教学研究
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摘要
中学语文戏剧作品教学备受冷落,处在边缘化的尴尬位置,知识本位教学和灌输教育依然盛行,学生学习兴趣不高,教学效率低。这与戏剧作品在中学语文教材中数量较少,中考和高考几乎不涉及不无关系。教师本身戏剧素养不高,对戏剧作品的教学价值认识不足,学生由于缺乏戏剧常识和科学的解读方法,接受水平低,也是导致戏剧作品教学相对落后的重要原因。但是戏剧作品在培养学生的联想、想象能力,增强学生的语言感受能力,提高学生审美能力,丰富、深化学生对历史、社会和人生的认识,使学生获得人文熏陶,继承传统文化等方面具有重要意义。教学理念变革和教学方式改进是戏剧作品教学改革的强烈呼唤和必然要求,也是戏剧作品教学改变落后面貌的必经之途。
体验是体验式教学的核心概念。尽管它在哲学、心理学、美学和教育学中有不同的释义,但还是拥有不少共同之处的,为否定教师话语霸权和知识权威,让学生在亲身体验的情感冲动中领悟知识内涵,实现精神觉醒,生成生命意义的体验式教学提供了理论基础。主体亲历、情感贯穿、内化生成和师生关系的平等互动是体验式教学的基本特征。
根植于文艺理论研究和学习理论价值导向重心转移这一大的理论背景,立足于戏剧作品中丰富的可体验性,把体验式教学引入中学语文戏剧作品教学是可行的,也是必要的。它既是新课程改革先进教学理念的内在诉求,也是中学语文戏剧作品教学走出低谷的现实需要。中学语文戏剧作品体验式教学就是在戏剧作品教学中通过创设一定的教学情境使学生主动亲历或“虚拟地亲历”剧本情境,体会激烈的矛盾冲突,触摸人物灵魂,理解文本的深层意旨,从而感受戏剧特别是悲剧的崇高,使学生在体验的过程、学习的同时,产生情感的共鸣、审美的体悟,获得道德的濡染、文化的熏陶、思想的启迪和精神的建构的一种戏剧教学思想和方式。
中学语文戏剧作品中实施体验式教学主要使用诵读策略、情境创设策略、表演策略、审美策略。而体验也并非一次性完成的,它必须贯穿于戏剧作品教学的始终,使学生置身其境,“以身体之,以心验之”,从整体感知到具体品味再到体悟升华,因体验起,以体验终,可谓一以贯之。
在实际操作中还需注意处理好体验式教学与传统教学的关系,明确教师的角色定位,根据三维教学目标改变旧的教学评价方式。
The teaching of Chinese drama works in middle school is always been ignored in a deserted place, where the knowledge and insert education is emphasized, which makes the students become less interested and the teaching get less efficient. This is because little drama material appears in the textbook and even little is concerned in the high school and university entrance examination .Another important reason is that the teachers themselves are lack of drama literacy and know little about the teaching value of the drama. The teaching is to educate the student’s ability of brainstorming, imagination and language feeling and to deepen the recognition of the history, society, life, so as to make them get the humanistic concerns and inherit the traditional culture well. The reform of the teaching idea and the improvement of teaching method are the destination and necessary process of the drama teaching reform.
Experience is the core concept of experiencing teaching. Although it has different definition in philosophy, psychology, authentic and pedagogy, it can deny the domination of teacher’s speaking and authority of knowledge. Through the cognition of knowledge while experiencing emotional conflicts, students will make spiritual awareness come true .At the same time, it provides theoretical basis for experiencing teaching! The main characteristics of experiencing teaching are experiences, emotions, creation and equality between teachers and students.
It’s feasible and necessary to introduce experiencing teaching to drama teaching in Chinese class of High School, rooted in a theoretical background whose literary theoretical research and the center of the values of concerned theories shift and the plentiful experiencing of drama works. It’s a realistic need for drama teaching improvement as well as a internal need for advancing teaching idea of New Teaching form. Experiencing teaching in high school drama teaching is to make students experience the play situation and fierce contradictory conflict through creating a certain teaching situation .Using this kind of teaching method ,the students can reach for the soul of the characters and understand the deep aim of writing so that they can experience the lofty of drama in patellar tragedy, develop emotional resonance and esthetic awareness and even obtain influence in virtue and culture, edification in mind and spiritual construction.
Experiencing teaching in middle school Chinese drama works are realized through reading strategy, situation–creating strategy, performing strategy and aesthetic strategy. The experience can’t be accomplished at one time. It must impenetrate the teaching of drama works. At the same time, students must be placed in the vivid situation, so as to experience it heart and soul. Students take it from holistic apperception to specific taste to experimenting apperception to experimenting as a whole.
In practical practice, we should also deal with the relationship between the experiencing teaching and traditional one, identify the teachers’role in it and change the old teaching evaluation mode according to the dimensional teaching object .
体验是体验式教学的核心概念。尽管它在哲学、心理学、美学和教育学中有不同的释义,但还是拥有不少共同之处的,为否定教师话语霸权和知识权威,让学生在亲身体验的情感冲动中领悟知识内涵,实现精神觉醒,生成生命意义的体验式教学提供了理论基础。主体亲历、情感贯穿、内化生成和师生关系的平等互动是体验式教学的基本特征。
根植于文艺理论研究和学习理论价值导向重心转移这一大的理论背景,立足于戏剧作品中丰富的可体验性,把体验式教学引入中学语文戏剧作品教学是可行的,也是必要的。它既是新课程改革先进教学理念的内在诉求,也是中学语文戏剧作品教学走出低谷的现实需要。中学语文戏剧作品体验式教学就是在戏剧作品教学中通过创设一定的教学情境使学生主动亲历或“虚拟地亲历”剧本情境,体会激烈的矛盾冲突,触摸人物灵魂,理解文本的深层意旨,从而感受戏剧特别是悲剧的崇高,使学生在体验的过程、学习的同时,产生情感的共鸣、审美的体悟,获得道德的濡染、文化的熏陶、思想的启迪和精神的建构的一种戏剧教学思想和方式。
中学语文戏剧作品中实施体验式教学主要使用诵读策略、情境创设策略、表演策略、审美策略。而体验也并非一次性完成的,它必须贯穿于戏剧作品教学的始终,使学生置身其境,“以身体之,以心验之”,从整体感知到具体品味再到体悟升华,因体验起,以体验终,可谓一以贯之。
在实际操作中还需注意处理好体验式教学与传统教学的关系,明确教师的角色定位,根据三维教学目标改变旧的教学评价方式。
The teaching of Chinese drama works in middle school is always been ignored in a deserted place, where the knowledge and insert education is emphasized, which makes the students become less interested and the teaching get less efficient. This is because little drama material appears in the textbook and even little is concerned in the high school and university entrance examination .Another important reason is that the teachers themselves are lack of drama literacy and know little about the teaching value of the drama. The teaching is to educate the student’s ability of brainstorming, imagination and language feeling and to deepen the recognition of the history, society, life, so as to make them get the humanistic concerns and inherit the traditional culture well. The reform of the teaching idea and the improvement of teaching method are the destination and necessary process of the drama teaching reform.
Experience is the core concept of experiencing teaching. Although it has different definition in philosophy, psychology, authentic and pedagogy, it can deny the domination of teacher’s speaking and authority of knowledge. Through the cognition of knowledge while experiencing emotional conflicts, students will make spiritual awareness come true .At the same time, it provides theoretical basis for experiencing teaching! The main characteristics of experiencing teaching are experiences, emotions, creation and equality between teachers and students.
It’s feasible and necessary to introduce experiencing teaching to drama teaching in Chinese class of High School, rooted in a theoretical background whose literary theoretical research and the center of the values of concerned theories shift and the plentiful experiencing of drama works. It’s a realistic need for drama teaching improvement as well as a internal need for advancing teaching idea of New Teaching form. Experiencing teaching in high school drama teaching is to make students experience the play situation and fierce contradictory conflict through creating a certain teaching situation .Using this kind of teaching method ,the students can reach for the soul of the characters and understand the deep aim of writing so that they can experience the lofty of drama in patellar tragedy, develop emotional resonance and esthetic awareness and even obtain influence in virtue and culture, edification in mind and spiritual construction.
Experiencing teaching in middle school Chinese drama works are realized through reading strategy, situation–creating strategy, performing strategy and aesthetic strategy. The experience can’t be accomplished at one time. It must impenetrate the teaching of drama works. At the same time, students must be placed in the vivid situation, so as to experience it heart and soul. Students take it from holistic apperception to specific taste to experimenting apperception to experimenting as a whole.
In practical practice, we should also deal with the relationship between the experiencing teaching and traditional one, identify the teachers’role in it and change the old teaching evaluation mode according to the dimensional teaching object .
引文
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[10]王一川.意义的瞬间生成[M].济南:山东文艺出版社,1988年:4.
[11]王一川.审美体验论[M].天津:百花文艺出版社,1992第6期。
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[23]陈德耀.“舞台感”:戏剧教学的重要特征———《三块钱国币》听课札记[J].语文教学之友,2008(3).
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[25]汪玉芹.试论体验式教学策略在中学戏剧教学中的应用[J].云南教育, 2009(1).
[26]转引自汪玉芹.中学戏剧实践体验式教学策略[J].福建基础教育研究, 2009(4).
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[28]傅念飞.课本剧在高中语文教学中的作用[D].重庆:西南大学,2008:11.
[29]陈德耀.“舞台感”:戏剧教学的重要特征———《三块钱国币》听课札记[J].语文教学之友,2008(3).
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[31]王一川.审美体验论[M].天津:百花文艺出版社,1992:10.
[32]恩格斯.致斐?拉萨尔,马克思恩格斯全集(第4卷)[M].北京:人民出版社,1972:344.
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