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。

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。

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。

The play Two Capitals, Fifteen Days, directed by Zhao Miao, reconstructs Ma Boyong's historical novel through a transmedia narrative approach. By deeply exploring the theme of growth this production emphasizes a significant transformation from the written text of the novel to the live performance on stage, thereby highlighting the aesthetic essence of Chinese culture. Integrating such media as Chinese opera and film, it reflects the modern significane of transmedia narrative in the dramatic adaptation of literature. It demontrates a tendency towards multimedia deveopment of theatrical performance to meet the aesthetic needs of contemporary audience in terms of adaptation tactics, stage presentation and thematic exploration, all crossmedia narrative thinking strategies. This tendency towards multimedia integration can have positive significance for the development of modern drama.

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.

选取《暖红室汇刻西厢记》《西厢记演剧》和《审音鉴古录》三个版本中的《游殿》一折进行对比,体现了横向对比的适配性。该对比方法以三个版本分别为“案头之本”“场上之本”“场上实录”的性质判定为视角,分析文本空间在三个版本之间的递变,聚焦于文本空间的发展,并且发现文本空间在“案头”与“场上”的衔接过程中的作用。

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。

Throughout the 120-year developmental trajectory of Chinese cinema, realism has consistently served as the spiritual backbone and foundational value of its creative practices. Across distinct historical periods, Chinese cinematic realism has demonstrated distinctive temporal characteristics: the 1930s exhibited a profound concern for the underprivileged; the 1940s transformed into visual narratives of national salvation; the post-1949 era elevated realism into collectivist hymns celebrating the new epoch; the reform and opening-up period shifted toward highlighting and breakthroughs in individual life values; and the new century has expanded into innovative explorations of pluralistic symbiosis. The lineage of realist spirit has continually adjusted its themes and perspectives in tandem with societal progression and temporal shifts. It not only documents the journey of social and epochal transformations through visual narratives but also persistently responds to the deep-seated needs of the populace for authentic representation.

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.

In the 20th century, sinologists C. K. Arlington, J. I. Crump Jr., and Elizabeth Wichmann-Walczak significantly contributed to the international dissemination of Chinese Xiqu (Traditional Chinese Opera). Each sinologist employed cross-cultural interpretive translation strategies, with their interpretations differing in focus according to their specific goals. The global spread of Chinese Xiqu unfolded in three stages: the reconstruction of its knowledge, the construction of its values, and its panoramic presentation. These stages offer valuable insights for contemporary efforts to promote Chinese culture abroad, emphasizing mutual learning among civilizations, the balance of integrity and innovation, and the unity of knowledge and action. Cross-cultural interpretive strategies are key to creating a new framework for Chinese culture’s global reach.

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.

Since its publication, the novel Dust Settles has been adapted into various artistic forms, including TV dramas, Sichuan opera, dance dramas, operas, and stage plays, all of which have been widely appreciated by audiences. This article analyzes the artistic effects presented in different stage adaptations of Dust Settlesand explores the decoding-encoding activities of various adaptors in relation to the original work. Through this, it discusses the cross-media narrative process from novel to drama.

The dragon and phoenix hold symbolic significance in traditional Chinese culture and have formed a distinctive dragon-phoenix culture. As a form of imagery, dragon-phoenix culture is deeply expressed in the art of dance. The appeal of Dragon Dance and Phoenix Singing at Sunrise, directed by Yang Liping, lies not only in their aesthetic value as dance art, but also in the cultural ideologies they embody, their historical contexts, and audience reception. These works possess broad discursivity and constructive features, making them multidimensional cultural spaces that integrate value concepts, aesthetic orientations, and cultural intentions. With the help of spatial theory, exploring the spatial layers behind these artistic works and establishing generative relationships can broaden the analytical perspective. This approach allows the prism of art to refract the threefold cultural spaces of spatial practice, spatial representation, and representational space. In doing so, outstanding artistic works become agents for the innovative transformation and development of fine traditional Chinese culture.

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.

Both Ouyang Yuqian and Wei Minglun wrote plays titled Pan Jinlian, separated by 60 years, each with distinct characteristics. Ouyang Yuqian’s play uses the image of Pan Jinlian to expose and critique the patriarchal society’s centuries-old moral order, which legitimizes and rationalizes the persecution and humiliation of women. Wei Minglun’s play, on the other hand, uses Pan Jinlian as a narrative thread to analyze and evaluate women from ancient to modern times, both in China and abroad, within the context of moral discourse. Both works reexamine the long-stigmatized figure of Pan Jinlian—who has been pinned to the pillar of moral shame and erotic infamy—from their respective cultural and intellectual perspectives. However, Ouyang Yuqian’s Pan Jinlian has not enjoyed the same “luck” as Wei Minglun's work, which emerged a full cycle later. For a long time, Ouyang's play has been misunderstood and misinterpreted, failing to be recognized for its lament over the fate of women oppressed and harmed in a patriarchal society. This lament is heavy and profound. Ouyang’s focus is on “humanity,” on “women,” and on the vibrant lives overshadowed by traditional morality and feudal culture.

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。

《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。

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.

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.

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.

As a crucial component of dramatic structure, the “chorus” serves as an indispensable element in Ancient Greek tragedies. It not only embodies the universality of theatrical art but also reflects the uniqueness and complexity rooted in specific cultural contexts. Centered on the three major Greek tragedies, this paper traces the origin and evolutionary trajectory of the “chorus” from a diachronic perspective, while conducting a synchronic analysis to compare its variations in theatrical function and aesthetic intent. Furthermore, the paper explores the practical application of the “chorus” on contemporary theater stages, highlighting its significant role in the expression of human emotions and the construction of dramatic essence.

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。

“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。

Bayu Dance is a distinctive art form that emerged and developed in Yushui region of ancient Ba County, shaped by the local people’s production practices and daily life. Drawing upon cultural ecology theory, this paper examines the influence of the natural and social environment on the formation and evolution of Bayu Dance. By analyzing the interplay between the cultural-ecological environment and the dance form, the study highlights the unique cultural characteristics of Bayu Dance. Additionally, the paper explores how the cultural-ecological environment has influenced and shaped Bayu Dance, emphasizing the close relationship between the environment and the development of its cultural identity.

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.

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。

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。

Unlike the Sixth Generation directors who focus on writing about personal life experiences, the "New Generation" directors have demonstrated diverse aesthetic tendencies from the outset of their careers, balancing between commercial and personal artistic choices to establish their auteur identity. Wei Shujun, a young director within this creative group, gained significant attention after his short film Yanbian Boy won the Special Mention Award in the Short Film Competition at the Cannes Film Festival. In his subsequent works, Wei deeply integrates "meta-cinema" elements into his film texts, utilizing self-referentiality to analyze the film industry itself, thus forming a distinctive creative style. By examining Wei Shujun's body of work, the inheritance and evolution of "meta-cinema" elements have become central to the construction of his auteur identity.

The evolution of the model opera The Legend of the Red Lantern went through three stages. The first stage was the film There Will be Followers, produced by Changchun Film Studio based on the movie script of There Will be Followers of Revolution. The second stage saw the nearly simultaneous adaptation of the Peking opera There Will be Followers of Revolution by Harbin Peking Opera Troupe and the Shanghai Aihua Hu Opera Troupe's The Legend of the Red Lantern. The third stage involved the banning of the aforementioned two operas and the continuous revision and eventual standardization of the model opera The Legend of the Red Lantern. The evolution of The Legend of the Red Lantern not only reflects the political discipline of revolutionary modern drama from the secular to the sacred but also marks the beginning of a decade-long era of model opera creation in China’s cultural and artistic circles.

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。

As a unique genre of Chinese cinema, opera films present a compelling blend of cinematic storytelling and dramatic elements rooted in traditional opera. This genre's transmedia aesthetics distinctly enables contemporary audiences to actively engage and empathize with the "characters" portrayed by "renowned performers;" in cross-media narratives, viewers experience interactive participation, which fosters an understanding and construction of a multifaceted "story world;" through cross-media integration, the viewers can perceive the characteristics of "new realistic aesthetics" in opera films, enriching their aesthetic experience characterized by the spectacle, nationalism, and operatic qualities in the "theatrical cinema."

The infinite loop structure emerged in films during the 1940s and, after decades of development, has secured its place in cinema. This article begins with the historical evolution of the infinite loop structure and analyzes its common patterns and key creative principles from three perspectives: time-space settings, narrative techniques, and visual design. Additionally, it explores the core themes often found in films utilizing the infinite loop structure and their potential for further development.

In October 1985, the musical Les Misérables premiered at the Barbican Arts Centre in a period marked by rising unemployment and widening economic inequality in the UK. As a story centered on the struggles of the poor, one might expect the production to have sparked intense socio-political responses, but this was far from the case. In contrast, 19th-century melodrama, often compared to Les Misérables, has been regarded as representative of the post-revolutionary spirit of its time. This discrepancy lies not only in their content but also in the vastly different organizational and production systems of the theatre in the two periods. Using an approach rooted in theatre studies, this article examines the tradition of 19th-century melodrama alongside the mega-musical Les Misérables, aiming to uncover the differing mechanisms through which they generate socio-political effects.

During the Anti-Japanese War, while spoken drama contributed to the war effort with its "artistic advantages", it also objectively explored the systematic construction of the Chinese national community consciousness, and revealed the cultural logic underpinning its narrative. This cultural logic was fundamental to the formation and existence of the Chinese national consciousness and is key to understanding its relationship with the theory and creation of wartime spoken drama. Specifically, the implicit or explicit reflections and elaborations, as well as the self-preservation and resistance in spoken drama during the Anti-Japanese War, were not only rooted in the essence of the Chinese nation but also exhibited characteristics of modern thought, moving "from nation to world" and "from Chinese people to humanity". The logic and methods of national community narrative contained within them not only strengthened the cultural composition of the wartime Chinese national community consciousness but also provided important historical experience for the contemporary construction of this consciousness.

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。