In 2024, the creation and performance of traditional Chinese opera maintained a stable trajectory.The performances of over 20 opera showcases throughout the year have gradually moved towards platformization and institutionalization. The training models for opera talents have also progressed towards professionalization and normalization. Significant achievements have been made in the development of traditional Chinese opera as an academic discipline and the construction of three major systems, with Mei Lanfang studies emerging as a key growth area. In terms of opera repertoire creation and performance, small theaters have achieved substantial impact, traditional themes have been revitalized with new interpretations, and the adaptation of classic traditional theatrical pieces and excerpts has stood out as a highlight of the year. Industry hotspots for the year included the concept of "breaking boundaries in opera" and a focus on "artificial intelligence." The 20th anniversary of the debut of the youth version of The Peony Pavilion provided an opportunity to reflect on innovative development in opera. The "National Nanxi Showcase" fostered connections among ancient theatrical traditions, while the Kunqu opera community explored imperial court opera resources to develop new pathways for classic performances. Immersive performances, however, urgently require standardized and orderly development.

2009年,南音项目入选联合国非遗保护名录。南音上接唐宋,下承明清,保存了大量中国古代音乐的表演形制和乐种文化形态,它以曲牌的多样性、演唱方法的原生性,跨越了地区限制,不仅是我国闽台地区一种重要的曲艺样式,更是中华文明音乐发展的活态样本。南音在我国音乐史、曲艺史的发展过程中,有着重要的文化价值和举足轻重的音乐史料作用。在10余年的非遗保护传承工作中,南音的历史沿承、艺术本体、传承方式深刻地影响其表演生态。本文从南音音乐的地域形态、艺术形态、文化形态、观念形态等方面切入,深入探析南音艺术在音乐层面的艺术特质和历史沿承,并结合今天泉州、厦门、台北等地南音演出状况,从非遗传承的视角,分析和探求南音音乐文化在当代的价值功能和传播策略。

自1949年以来,昆曲新编和改编剧目频繁在全国各地上演,本文以青春版《牡丹亭》为例,借助拉斯韦尔的“5W”模式研究昆曲在国际舞台传播的原因和影响。海外观众对于青春版《牡丹亭》的欣赏要素着重分布在戏曲文本、服装扮相以及舞台效果这三方面。青春版《牡丹亭》在海外的演出不仅是昆曲的另一种诠释,也是中国传统戏曲文化在国际舞台上的绝佳展示,有着重要的传播价值。新一代昆曲的传播应尽量通过多种传播渠道包括现下流行的“短视频”等方式来满足公众的需求,以达到更好的传播效果。

In the era of digital intelligence, the digitalization of Xiqu (the traditional Chinese opera) has become an inevitable trend. As technological advancements give rise to new media and art form, digital Xiqu, featuring digial creation, performance and consumption, has emerged as a promising future development. As Xiqu faces marginalization, digital technologies have evolved from supportive tools to symbiotic partners, reshaping the art form. However, rapid technological advancements have sparked concerns regarding spatial forms, performance subjects, and live experiences. Wihle digitalization expands the creative boundaries of Xiqu, it diminishes audience imagination and challenges the agency of performers, leading to the rise of AI-driven generative algorithms replacing human creators. By transforming contemplative logic into immersive experiences, digital Xiqu deconstructs traditional Xiqu while signaling the art's future vitality. As a result, defining digtal Xiqu as a distinct art form that both fosters the inheritance of traditional Xiqu and supports its digital evolution has become a key focus in academic discussions.

董永传说作为中国四大民间传说之一,因其孝文化的思想内涵与教化功能,在中国民间广为流传,尤其是戏曲领域,搬演剧种众多,其中黄梅戏《天仙配》改编与搬演最为成功。该剧一改传统戏中农民木讷、麻木甚至可笑的丑角形象,以“生活爱情”代替“郎才女貌”,根据时代审美创作了“仙女爱农民”的时代传奇,并将他们的爱情演绎得真挚动人,为中国戏曲创造了一个新型的农民形象与舞台表演行当,无论在戏曲编剧史还是表演史上,均具有重要的地位与影响,对当下传统戏曲如何守正创新与老戏新唱,具有极强的借鉴与启迪价值。

Jean Genet' s theatre tends to read its rituals in an existentialist manner due to its absurdist theatrical qualities. By combining the use of rituals in Genet' s theatre with Genet' s experience of discipline at the Mettray, Genet' s rebellious rituals at the Mettray are inter-textualized with the defiant rituals of his theatre works. From the perspective of the anthropology of ritual, the characters in Genet' s theatre, as socially marginalized people, attempt to enter a state of liminality and break away from the original social structure through rituals in an attempt to find the power of resistance, but all of them end up with the failure of the rituals. The meaning of ritual in Genet's theatre is not illusory, repetitive and depressing as understood by absurdist theatre, but a ritual of personal development that can never be completed. Genet' s theatre presents not a universal human predicament but a dilemma for those on society' s margins. Thus, Genet' s ritual theatre distinguishes itself from other ritual theatres in a ‘liminoid’ way and has a significant place in the genealogy of ritual theatre.

By sorting out historical documents, cave murals, unearthed cultural relics, and contemporary Qiuci music and dance creations, it can be clarified that Qiuci music and dance have emerged and evolved through the exchange and integration of different cultures, reflecting the cultural symbol of pluralistic integration and the shared historical memory of various ethnic groups. The convergence and collision of four major civilizations laid the foundation for the diversity of Qiuci music and dance. As a symbol and emblem of Chinese culture, the contemporary revival and recreation of Qiuci music and dance embody the significance of the shared spiritual homeland of the Chinese nation.

Mao Dun's novels Spring Silkworms, The Lin Family Shop and Midnight are all classic works of modern Chinese literature. They were adapted into films and released in the 1930s, 1950s and 1980s respectively. These three film adaptations respectively represent the left-wing discourse, class discourse and humanitarian discourse. No matter how "faithful to the original" the adapted films are, they are not merely "reproductions of classics", but respond to, participate in, rewrite and construct social culture with different era cultures and rich film elements. This is a process of cultural reproduction, closely related to society, history, culture and memory.

The integration of artificial intelligence into screenwriting does not imply a weakening of the writer’s central role. This new model of human-machine collaboration in screenwriting is bound to give rise to new ways of thinking and creative habits. Therefore, it is essential to explore screenwriting theories and strategies under this new paradigm. Through practical research, it has been found that during the process of AI-assisted screenwriting, it is crucial to combine the strengths and limitations of large models, establish a structured creative mindset, and ensure that prompts are clear, specific, and standardized. Writers should also intervene at key stages such as basic conceptualization, character development, and act outlines, while cultivating the ability to identify and revise scripts. By doing so, the innovative development of artificial intelligence in the field of screenwriting can be better promoted.

川剧文献的整理是川剧艺术保护、传承、发展和研究的基石。自20世纪50年代以来,川剧文献整理在目录编制、剧本的校勘整理,音乐曲牌、舞台美术的发掘梳理,表演经验记录汇集以及志书集成编纂等方面,已取得一系列成果。然而,当下川剧文献整理仍面临诸多问题和存在种种不足。鉴于此,有必要继续对其展开全方位搜集和系统化整理,构建起完备的川剧文献资源体系,打造川剧文献资源数字服务平台,为川剧艺术保护、传承、发展和研究夯实根基,推动四川文化可持续发展。

壮剧《香樟树下》以双线叙事的结构,一方面演绎中国第一个村民委员会成立的过程,另一方面叙述当下农村社会的历史变迁,将历史与现实进行跨时空对话。贯穿全剧的香樟树既是舞台设计的主体部分,更是合寨村敢为人先的改革精神的象征。《香樟树下》对人物的塑造体现着时代精神与时代特点,主张“回到历史现场”刻画核心人物的内心矛盾。在突破历史与现实的隔阂中进行叙述,《香樟树下》给当今乡村治理、文化传承带来的意义也由此显现。

川剧作为首批入选国家级非物质文化遗产名录的地方戏曲,在当代传承与保护的进程中积极践行着创造性转化与创新性发展的路径。在流行歌曲的乐曲创作、歌词创作、表演艺术等维度中,川剧元素的融汇应用不仅为歌曲作品赋予了更为多元的主题思想、内容素材、音乐风格,同时也拓展了川剧在当代的传承场域与创新应用方式,并为其活态传承与创新应用发挥了积极作用。

理查德·谢克纳于1970年代初提出环境戏剧理论,主张打破镜框式舞台的剧场幻觉,回归原始戏剧仪式,将空间与演员表演紧密结合,以观众参与的方式实现戏剧的实践性功能。环境戏剧“去文本化”、注重空间、强调观众参与和身体话语的演出形式打破了传统叙事重文本的结构模式,将环境、观众、身体参与纳入导演叙事,重新定义了空间、观众、演员身体在叙事中的作用,推动了以剧作家为核心的戏剧叙事向导演主导舞台叙事模式的变革,极大地拓展了导演叙事的思路和视角,赋予戏剧以新的生机与活力。

Victorian morality was deeply imbued with asceticism, characterized by conservative and rigid social rules and values that suppressed life and denied natural desires. In the comedy of manners The Importance of Being Earnest, Oscar Wilde employs playful techniques such as inversion, irony, and paradox to subvert the conservative ideologies of 19th-century British society, attempting to construct a moral genealogy that affirms the senses and life itself. Drawing on the German philosopher Nietzsche’s philosophy of life and theory of moral revaluation, this paper analyzes Wilde’s critique of ascetic morality in the play and delves into the ethical genealogy centered on life and aesthetics that the work constructs.

木刻本川戏《卖油郎独占花魁》对“卖油郎”故事进行了本土化改造:适应蜀人喜好增删剧情,情节聚焦在爱情故事上;增设“丑”以波折剧情,铺写离别以煽情场面,“情”“趣”并重;采用蜀地方言俗语,改写人物形象,融入蜀人之乐善好施、热情果决的人情风貌,是独具特色的地方剧本。

梅兰芳作为京剧艺术世界传播的实践者和先行者,在中国戏曲海外传播史上占有重要地位。从文化交流的视角审视梅兰芳对京剧艺术的现代化传承,回顾并反思梅兰芳京剧艺术在日本、美国和苏联的传播与接受,基于中国戏曲表演艺术理论审视梅兰芳京剧艺术与世界戏剧的交流互动,有助于增强中国传统戏曲的当代价值,对当下讲好中国故事也有重要的理论和实践意义。

新主流电影将主流意识形态与商业模式紧密结合,将宏大叙事与微观叙事相结合,已产生不少口碑与票房双丰收的成功案例。《狙击手》作为新主流电影代表作之一,表现出更为明显的叙事自觉:第一,采用以观众旨趣为导向的单一限定空间的高信息量、强叙事性的“硬核叙事”,将戏剧时空电影化呈现,给观众带来极致的叙事体验;第二,类型意识进一步加强,采用“双雄对决”的模式驱动类型叙事;第三,微观书写历史影像,凸显“人”的历史价值与意义,通过战争中的儿童影像重构历史记忆与建构影像认同。

Song Junhua is a Professor and Doctoral Supervisor in the Department of Chinese Language and Literature at Sun Yat-sen University. He serves as the Director of the China Intangible Cultural Heritage Research Center at Sun Yat-sen University, a Key Research Institute of Humanities and Social Sciences under the Ministry of Education, and holds the position of Chief Expert for the "Cultural Tourism Research Base" under the Ministry of Culture and Tourism. He is also the Editor-in-Chief of the journal Cultural Heritage and Vice President of the Chinese Nuo Drama Society. His primary research interests focus on the history of ancient Chinese drama and the theory and practice of intangible cultural heritage. His notable publications include Research on Ancient Chinese Theatre Costumes and Research on the Protection of Intangible Cultural Heritage. Additionally, he leads the National Social Science Fund Major Project titled "Improvement Design Research on the Representative List System and Representative Inheritor System of Intangible Cultural Heritage Projects.

《赵氏孤儿》是中国古典悲剧之一,具有较高的艺术价值。自纪君祥撰元杂剧《赵氏孤儿大报仇》后,有源源不断的改编作品涌上舞台和银幕。这些改编作品的叙事重心和悲剧主题都被重新思考,注入 “现代性”元素的新血液。无论是程婴救孤的动机变换,还是孤儿面对复仇选择时的犹豫,都从根本上触动着这个中国古典悲剧的核心。《赵氏孤儿》的改编历程也如同所有具有“现代性”的事物一样,留下一个省略号,为后来的发展留下了无限的发展时空。

20世纪初,梅兰芳以时装为主轴,创作出一连串时装新戏;同时,以梅兰芳和齐如山为首的“缀玉轩”还创作出一系列取材于古代故事的古装新戏。这些于20世纪初顺应时代变革在京剧表演上所做出的努力与尝试,对于反思新时期京剧发展在美学内涵上的探索具有启示意义:一方面京剧艺术在当代要展现美学新视野,注重经典性、现代性和主体性的融合;另一方面新剧创作须尊重传统,需要把现有的表演艺术、传统历史与记忆相结合,重新创作出适合于现代的传统京剧。

川剧电影历经近70年的发展,在戏曲写意性与电影写实性的矛盾冲突下不断探索与实践,在中国百年电影史上占有一席之地。本文通过梳理川剧电影的类型与改编手法,探寻川剧与电影碰撞后产生的“奇妙化学反应”,以期为川剧电影的创作提供理论依据。

插演,指在戏曲中插入一些伎艺性、功能性突出,与全剧情节关系并不紧密,自身可构成完整演出段落的现象。《六十种曲》反映了明后期传奇舞台演出的实际情况,主要有歌舞、莲花落、“拟院本”三类插演形式。这些插演段落多位于故事的起始和发展阶段,有较明显的标识,多由净、末、丑、贴等脚色表演,既可附于传奇中呈现,又能独立演出。明代文人传奇插演现象的产生源自戏曲成长于百戏之中的生存环境、祭祀祈禳与宴会筵席等场合的要求以及舞台调度和剧作风格的内在需要。

《老妇还乡》是瑞士德语剧作家弗里德里希·迪伦马特的代表作,该作以浓郁怪诞的艺术手法对公德、伦理及金钱观进行了深刻探讨,剧本后由剧作家徐棻联合玉溪市滇剧院改编为滇剧《贵妇还乡》。在保留原戏剧文本故事脉络的基础上,《贵妇还乡》对人物、情节、故事背景及舞台表现等进行了新的诠释,对西方经典剧作进行了本土化解读。经由对《贵妇还乡》的探讨,分析当代戏曲对西方经典戏剧的本土化转换过程,以探索地方戏曲的发展方向和路径。

At present, various traditional Chinese opera troupes, as key actors in the preservation of intangible cultural heritage, often face a dilemma in balancing "artistic innovation" and "adherence to tradition" when addressing the effective inheritance and development of opera art as well as the creation and production of repertoires. Striking an appropriate balance between these two aspects is not only a matter of conceptual understanding but also a methodological challenge. Based on current practices in the preservation of traditional Chinese opera, this paper argues that the inheritance and development of opera art should adhere to four principles: ensuring the dynamic transmission of opera on stage, fostering renowned performers within troupes, maintaining innovation while upholding core traditions in creation,and expanding the scope of dissemination.

Preserving tradition while innovating has become the cultural mission entrusted to Sichuan Opera in the new era. Innovating while inheriting, advancing while preserving, and maintaining the cultural roots of Sichuan Opera as a representative of traditional Chinese culture are the fundamental directions guiding the development and promotion of Sichuan Opera art in the new era. This article takes the performance of Burning Incense at the 6th Sichuan Opera Festival and the 2nd Sichuan Provincial Opera Festival as an example, focusing on the perspective of "new adaptations of old plays and refined performances of traditional works." By examining the overall musical style, analyzing the music arrangement of the play, and providing case studies of representative examples, this article explores how Sichuan Opera can achieve creative transformation and innovative development in the new era. It also offers practical and theoretical references for future practice.

梅兰芳多次出国演出中,昆曲剧目一直是演出重点之一,如《思凡》《断桥》《刺虎》等。这些昆曲剧目在历次国外演出中,和其京剧剧目一样,颇受欢迎,在日本的某些观众眼中,其所演昆曲更远超京剧,这种接受心态基于日本当时急于对本民族传统文化的“复活”和“保存”。梅兰芳海外演出昆曲,除了有冷热调剂、丰富舞台的功能之外,还有着为昆曲正名、促京昆两剧融合,以及推陈出新的目的在其中。梅兰芳的昆曲演出不仅对他自身的“梅派”艺术产生了重要作用,对国内京昆艺术的发展产生了深远影响,也对中国国际形象的塑造起到了积极的作用。

戏剧是综合性艺术,其表演形式丰富、时空高度集中、叙事性强,而且能够很好地调动观众情感,是博物馆教育阐释的有效手段。不同公众文化需求不同,博物馆为满足公众差异化需求,采用差异化的阐释方式,帮助公众更好地认识、理解博物馆。西方博物馆早在20世纪70年代就已经开始将戏剧元素应用到博物馆的阐释活动中。国内各博物馆也越来越多地探索戏剧这一博物馆文化传播的新形式。本文主要以故宫儿童剧《甪端》为例,分析博物馆儿童剧的艺术特点、发展方向及重要意义,聚焦戏剧艺术在博物馆社教领域的推广应用,希望能为博物馆儿童教育提供思考与借鉴。

在闫非和彭大魔的新作《抓娃娃》中,虚幻与现实交织构成了影片的叙事基础。影片通过双层世界的互动,成功地将观众的视线引向现实,对当代社会中的教育压力和家庭期望进行了深刻的批判。同时,影片也揭示了在数字化和信息化时代,权力如何通过技术手段对个体进行无形的控制和操纵。《抓娃娃》深刻地反映了现代社会中个体的生存状态,以及在社会控制和期望下个体如何寻求自我解放和真实自我的途径。

Longxu Gou serves as a quintessential example of Lao She's "narrative of the underclass" and stands as a key work representing the Beijing People's Art Theatre's exploration of poetic realism in acting. Jiao Juyin's direction exemplifies the theatre's early efforts to pursue poetic expression within realistic drama, emphasizing the importance of fostering actors' "poetic creativity" while adhering to the principle of "life truth" in stage presentations. In Gu Wei's revival of Longxu Gou, he upheld the poetic realist tradition while introducing innovative changes in ensemble construction, thematic expression, and stage presentation. The reinterpretations by Jiao Juyin and Gu Wei not only highlight the Beijing People's Art Theatre's exploration and revisit of poetic realism but also reflect the broader adoption of the Stanislavski system within Chinese drama.

徐棻是推动传统川剧现代化进程的优秀剧作家之一,有关人的思索贯穿了徐棻戏剧创作的始终。2015年诞生的《花自飘零水自流》是《庆云宫》母本传说的故事新编,徐棻将其视为自己的封笔之作。作为创作生涯的句点,《花自飘零水自流》一定程度上体现出剧作家数十年来创作思想和艺术风格的集成。本文以作品中人性不断自我背反与超越为出发点,着重关注女性角色作为独立的“人”如何达成其主体意识的觉醒,探究剧作在人物新塑、结构排布、主旨立意和舞台呈现等方面的独到之处,以期在现代化视角下对川剧的新创做一些补充。

新时期,以魏明伦、徐棻等为代表的川剧剧作家们持续探索与改革,创作出了一批具有现代意识的“探索性川剧”,凭借其高度的理论自觉、开阔的国际视野,积极发掘与改造传统川剧中的传统要素,对内容与形式等进行全面探索,丰富了川剧舞台的表现形式,走出了一条自觉、开放的探索路径。这批作品承继了20世纪以来“川剧现代化”的改良理想,进一步扩宽了川剧舞台上“人”的精神维度,重新确立了川剧的艺术审美精神,以传统为基石,用民族自信拓展传统川剧美学意蕴的同时,用现代意识重新激活川剧,推动观念由传统到现代转型,为川剧振兴奠定了坚实的基础。

美国现代舞台设计之父罗伯特·琼斯追求的“诗性的写意舞台”与中国戏曲的“假定性舞台”有着不谋而合的美学内涵。从南戏《琵琶记》到百老汇英语音乐剧《琵琶吟》,设计师自觉地减少对物质性手段的依赖,通过象征性的简洁布景、“隐形”检场和少量虚拟性戏曲动作等综合手段的辅助,成功实现戏剧时空的“半自由”转换。琼斯的舞美设计呈现诗性写意和物质写实杂糅的风格,有其非凡创新之处,却也难逃情节发展被一流舞美淹没的困境。总的来说,《琵琶吟》体现了西方戏剧实践者尝试将写意戏曲元素融入西方现实舞台的大胆创新和实验精神。

Amid the deep integration of cultural digitization and cultural technology, it is essential to examine the morphological evolution and theoretical foundations of performance digitization. Cross-media innovation within stage art marks the beginning of performance digitization. The introduction of stage projection led to the emergence of two distinct performance types: the "visual spatial narrative" that creates a cohesive theatrical space and avant-garde new media theatre. The transition from recorded broadcasts to online theatre signifies the evolution of mediated performances. The internet and mobile devices, as the "second theater," are transforming traditional theater, blurring the separation between audience and performance into a fluid, symbiotic space. As media evolution advances, the multi-dimensional construction of digital performing arts heralds the return of live performances, embedding the crucial audience-performer experience into new, dynamic scenarios that enhance the artistic value of performances.

“点景”元素在中国传统山水画中发挥着重要的主导作用。根据“点景”元素的图像指示功能,可将其分为三大类型:“车马”与“舟船”属于交通出行的工具,在画面中代表了有路的可行性;“屋亭”与“桥梁”暗示了人居的景象,具有空间方位上的可居性指示;“人物”则代表了画家的身份出场,是一种“可游性”的高级暗示,直接关乎画面主题叙事的走向。从隋唐至宋元,“点景”元素的自身形象开始由“宫观”“车马”“石桥”转为了“虚亭”“孤舟”“野桥”的简洁朴素形象,“人物”也由多人行旅转为了单人的闲望姿态。其图像演变的背后,实际代表了画家的一套符号意指,暗含了士人对隐逸观念的文化继承与审美追求,是庄子“游”的哲学思想在山水画中的图像实践。

高甲戏《大河谣》以极强的现实性主题打通古今为臣之道,引导习惯“清官好官”的观众重新思考何为贤臣良相;同时又以西方剧作法铺排事件、塑造人物,以复杂人物承载的反思性主题为观众提供审美愉悦,从而在旧题材和强烈的现实担当的结合中,呈现了主旋律题材戏曲创作的优长。

道光七年(1827),清宫演剧机构南府改制为昇平署,诸多学者对其原因进行研究,主要有“财政影响说”和“时局关联说”两种观点,二者皆有道理,但仍有继续探讨的必要。笔者认为,南府改制更直接的原因在于消除宫禁安全隐患。一方面,南府、景山外学规模大,人数多,与外界接触亦多,直接影响皇城安全,致使外学人员被逐年革退;另一方面,内学管理混乱,伶人出逃、官物丢失等问题始终存在,致使内廷演剧机构不得不进一步缩减人员,终使南府完成从“府”到“署”的改革。

跨文化视角下的戏曲舞台美术研究关注的是东西方演剧文化交往中所发生的视觉转译现象,戏曲视觉的跨文化转译样态可以直观地展现出中西交往中中国戏曲界的跨文化态度以及对中西演剧艺术本体的认识程度。在从中外文化比较到跨文化实践的转向中,跨文化戏曲的舞台美术是重要研究对象。同时,对跨文化“舞台视觉”问题的理论研究与方法论梳理的补充也直接影响了戏曲海外传播战略目标与戏曲“走进去”传播理想的实现。

在现存的诸多古老戏曲剧种中,江西的广昌孟戏是一门较为特殊的表演形式,它起源于14—15世纪。作为一种极为珍贵的古老剧种遗存,孟戏用高腔演唱,并附有明代初期海盐腔的艺术特征。由于其剧种的特殊性、音乐的原生态样式以及活态化的民间演出形式,对广昌孟戏民俗学、音乐史以及戏曲史研究有一定的史料价值和意义。本文从广昌孟戏的民间背景、音乐呈现、曲牌体式等角度出发,探求在非遗传承视阈下该剧种的艺术价值及传承策略。

非物质文化遗产与学校戏剧教育关系密切,特别是中国加入《保护非物质文化遗产公约》之后,非遗保护逐渐融入学校戏剧教育之中,并不断寻求着开放、包容、对话的阐释空间。然而,学校在开设相关特色课程、建设传承教育实践基地、加强专业教育建设时,面临着课程模式、师资队伍以及政府政策等诸多方面的现实问题。在学校戏剧教育的未来发展中,我们需要关注“非遗文化保护传承”和“学生能力培养”两个维度,通过文化精神的传承、传播与认同,推动学校戏剧教育理念创新,助力非物质文化遗产与学校戏剧教育的协同发展。

教育戏剧是运用戏剧与剧场之技巧从事于学校课堂的一种教学方法,不仅包含丰富的美育价值,而且还具有鲜明的跨学科特性,可为跨学科美育赋能。教育戏剧赋能跨学科美育的基本逻辑在于其与美育本质互通、目标契合等,学理价值包括从离身学习进入具身学习、从情境缺位进入情境建构、从结果取向进入过程取向三个方面,实践进路即选择适宜剧本进行跨学科学习,围绕学习场域进行审美知识建构,让渡话语权力赋能学生即兴表达,基于身体参与促进学生认知发展。