Global-Centric剧院

“戏剧课”——传统上被视为不严肃、无足轻重的课程非学术. 但是，任何认同这些刻板印象的人都应该看看戏剧艺术副教授罗宾·里斯的戏剧208:多元文化中的戏剧课程. You’re as likely to hear “Aristotle” as “Ibsen” in class, 就像讨论契诃夫的自然主义一样 万尼亚舅舅.

用戏剧的视角，里斯想让她的学生接触到他们可能不知道的文化. “在我们的大部分表演和戏剧课程中，我们都在使用斯坦尼斯拉夫斯基/欧洲戏剧方法,她解释道. “Sometimes they’ll get Asian forms, but in this class we’re looking at Afrocentric, Latin-centric, 日本, 中国人, GLBTQA剧院. 目的是让学生作为观众和参与者了解戏剧是非常丰富的, 非常不同的, 非常有趣的.”

学习其他文化的戏剧可以影响学生的观点，但里斯的目标更远大——不仅影响他们对其他文化的认识，而且影响他们如何将这种认识融入到自己的表演中. 她指出, when students are performing, “即使剧本是用欧洲风格写成的，学生们也可以引入其他文化. This gives the student training in a whole ideology.”

The Latin-centric section of the curriculum focuses on commedia, 一种始于19世纪的戏剧形式，是“拉丁美洲戏剧的重要组成部分”,里斯解释道. “这是让人意想不到的, like a clown or damsel in distress or slave, characters that actors would perfect over time.” Reese describes the form as “colorful, inclusive of the audience. 在最可悲、最悲伤的时刻，有一种音乐性，一种小丑的感觉.“笑声、悲伤，甚至强烈的政治声明都可以交织在一起. As a video example, Reese shows her class a performance of 洛杉矶Vendidos 作者:Campesino剧院(农场工人剧院——一个在1965年凯撒·查韦斯的联合农场工人工会葡萄罢工期间成立的戏剧团体).

对于不熟悉演员工作的人(除了成品), 观察里斯课堂的最后一部分可以是一个学习经验. 学生们有机会练习他们刚刚学习的表演方法. It begins with Reese telling her students to “warm up your bodies!” before they turn to the day’s theme. 对于以拉丁语为中心的班级来说，这意味着表演出喜剧的七种主要情绪——快乐, 悲伤的, 困惑, 惊讶, 愤怒的, 担心, 和爱. Reese shouts instructions: “Happy! Let’s not be happy at a 3! 让我们在8点快乐!” “10” brings screams and jumping around. “伤心!” 2 is a 悲伤的 face, 7 is crying, and at 11 they collapse in wailing. 动作, the sounds go on through the other emotions, 然后里斯让学生们稍微混合一下:“带着其中一种情绪进入，然后把它换成别的情绪, bring that one to full height and exit.” The students react with enthusiasm. “Clowning is an exaggeration,” Reese says, and her students prove it.

In another class segment, students are introduced to 中国人剧院. “What created the rise of 剧院 in Europe’s medieval period?里斯问道。. “循环中. Theatre began in the churches to get people to understand the Bible, 出生, 生活, 和耶稣之死. Then we get to the mystery plays, Easter.” What does all this have to do with 中国人剧院? 中国最早的剧院是宗教性质的，比欧洲剧院早300年.” In addition to being prolific, the 中国人 were also careful to preserve their work, Reese notes; there are only three extant Greek plays while 中国人 extant plays number 400. “(中国戏剧)很丰富，我认为我们可以从中受益.”

里斯承认，在为这门课做研究之前，她并不了解中国戏剧的历史，她提出了中国戏剧与欧洲戏剧之间关系的问题. “Did we steal 剧院 from the 中国人? 中国戏剧在1200年发展起来，有很多很多人扮演他们的角色.她指出，直到17世纪，欧洲戏剧才包括家庭故事, but they were being performed “long before that in China. The 中国人 were doing it hundreds of years before Europe.”

京剧

来源:十大网投平台信誉排行榜

Like Latin-centric 剧院, 中国戏剧运用鲜艳的色彩和夸张的动作和声音. Reese shows the class a video from the 京剧她解释道:“叙述固然重要，但叙述的表达方式也很重要. There’s 运动 the entire time—it’s exhausting.” For the last segment of the class, 然后, the students get to act out the theatrical styles they have seen. First they sing the children’s song, “Twinkle Twinkle Little Star” quietly, 大声, playing with their voices for effect. 当他们只用面部表情与另一个人交流时，房间里很安静, 没有对话, mimicking some of what they had seen in the video.

Not everyone in this class is a 剧院 major. 丹内特·雅恩是十大网投平台信誉排行榜阿尔图纳分校的新生，主修天文学教育. 她上学期上了里斯的“戏剧基础”课，非常喜欢，所以她回来上了这门课. 雅恩承认，戏剧课“给了你一种表达的方式，让你走出自己的舒适区”——在声乐练习中，她平时柔和的声音超过了其他学生，这一点她表现得非常清楚. 这门特殊的课程也吸引了她，因为它的文化方面——“这是一个探索世界的好机会. 我喜欢亚洲文化.”

亚伦·詹姆斯(Aaron James)的观点更为传统——他是一名死硬的戏剧专业学生. “我学的是教育专业，我改变了，因为我看不到自己还能做什么.” He has been involved in 剧院 since high school, 甚至在遇见里斯之前，和她的一个学生一起工作了两年.” Professor Reese is now a major influence on his 生活 because, 他说, “she makes sure her students get where they want to be.他的理想是在研究生院学习戏剧:“这就像其他职业一样。. You just have to go for it. You understand how hard it’s going to be and you still do it.”

课程结束时, 学生们四处走动, 手势, 笑, 移动, even as they put the mats away. 里斯观察到:“你通常不会让学生在下课后继续上课.” But the energy in the room is still high, the students comparing notes on their actions and reactions. As it should be with college courses, 无论这是否是他们的专业，这堂课上的课程都会伴随着这些学生.

208年剧院, Theatre in Diverse Culture, 是一门以表演为导向的课程，探索不同文化的民族的历史和当代戏剧作品. During a two-week study of African 剧院 this semester, students immersed themselves in the culture's voice, 运动, 和讲故事.