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1 Research in Drama Education & Theatre Studies NO.10 December 2017

3 Contents Editor s Note Mei-Chun Lin 5 My Home, My Place - A Study on Developing Children s Sense of Place Based on Drama Courses Chun - Yu Wang Mei-Chun Lin 7-40 The Smashed Taiwan Project - Theatre in Education for the Young People Yun-Wen Chen National Salvation and Enlightenment: A Study on Childrens Plays During The Martial Law Period in Taiwan Hsi-Ju Chen Eugène Ionesco s Course in General Linguistics : An Anatomy of The Bald Soprano and The Lesson Chien-Hung Lan

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8 My Home, My Place - A Study on Developing Children s Sense of Place Based on Drama Courses Chun - Yu Wang Kidergarten Teacher, Affiliated Experimental Elementary School of National Chiayi University Mei-Chun Lin Professor, Department of Drama Creation and Application, National University of Tainan Abstract The study explored the process of practicing drama courses to develop children s sense of place in the kindergarten, involving both teaching challenges and children s learning performance. The action research method was adopted herein, and the objectives are 4- to 5-year-old children in the researcher s class. The study period lasted for 16 weeks and involved a forty-minute drama course each week. Data were collected and analyzed through classroom observations, interviews, reflective notes, and documents of the students. The result showed that the classroom environmental planning of the dramatic play center was the best start to inspire children about their family life experience. If the courses can emphasize the following elements of drama, Props - play accessories, Characters - family roles, an Setting - play space, and they can choose related dramatic strategies to construct an interactive atmosphere, then children can easily experience what diverse homes are like. During the process of shaping the sense of place in the kindergarten, introducing students family members into their dramatic play center can ease children s environmental anxiety, develop their place identity and belonging, and enhance their psychological safety and place attachment. In this way, children can learn naturally in a homelike learning atmosphere. From the above results, suggestions are provided for teachers, schools, and researches for further study in the future. Keywords: Place, the Sense of Place, Drama Course 8

9 RiDETS The Poetics of Space Norberg-Schulz1991 9

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39 RiDETS a G. Bachelard 1964 Bronfenbrenner, Urie.(1979). The Ecology of Human Development: Experiments by Nature and Design. Cambridge, MA: Harvard University Press. Cresswell, T. (2006) Sense of place. In Wharf B (ed) The Encyclopedia of Human Geography. pp London: Sage. Garvey, C. (1993). Diversity in the conversational repertoire: The case of conflicts and social pretending. Cognition And Instruction, 77(3 & 4), Gieryn, T. F. (2000). A space for place in sociology. Annual Review of Sociology, 26, 39

40 Johnston, R.J., Gregory, D., Pratt, G., & Watts, M. (2000). The Dictionary of Human Geography (fourth edition). Oxford: Blackwell. Maccoby, E. E. (1984). Socialization and Developmental Change. Child Development, 55, Massey, D. (1997). A Global Sense of Place. In T. Barnes & D. Gregory (eds.), Reading Human Geography. London: Arnold. Neelands, J. (1984). Making sense of drama: A guide to classroom practice. Oxford: Heinemann Educational Book. Norberg-Schulz, C. (1991), Genius loci: Towards a phenomenology of architecture, New York: Rizzoli. Relph, E. (1997). Sense of place. New Brunswick, NJ: Rutgers University Press. Seamon, D. (1979). A geography of the lifeworld: Movement, rest and encounter. New York: St. Martin's Press. Stokowski, P. A. (2002). Language of place and discourse of power: Constructing new senses of place. Journal of Leisure Research, 34(4), Williams, D. R., Patterson, M. E., Roggenbuck, J. W., & Watson, A. E. (1992). Beyond the commodity metaphor: Examining emotion and symbolic attachment to place. Leisure Sciences, 14,

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42 The Smashed Taiwan Project - Theatre in Education for the Young People Yun-Wen CHEN freelance drama practitioner PhD. in arts education and cultural studies, University of Warwick, U.K. Abstract The Smashed Taiwan Project was a theatre-in-education program devised by ThinkFeelMove and toured to fifteen senior high schools in Taiwan during April and May in Theatre-in-Education features a professional production bearing educational objectives and with interactive episodes. This program is targeted at young audiences and may probably offer them some artistic inspiration as an outcome. Accordingly, this essay begins with in-depth descriptions of the procedures of the performance along with the interactions among the facilitator, actor-teachers, and the audience. It then explores and evaluates the significance of the work in respect of theatre-in-education and youth theatre. Keywords:Theatre-in-Education, The Smashed Taiwan Project, Theatre for the Young People 42

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71 RiDETS 2011a 2011b J. Somers /01/ G. Bolton D. Davis TIE Bhabha, H. K. (1994). The location of culture. New York: Routledge. Boal, A. (1995). The rainbow of desire The Boal method of theatre and therapy, trans. A. Jackson. London and New York: Routledge. Collingwood Learning (2014). About Collingwood Learning creative education, training and media. 2016/8/31 retrieved from Collingwood Learning (2015). About the Smashed Project. 2016/8/31 retrieved from http ://smashedproject.org/about/ Jackson, A. (2007). Theatre, education and the making of meanings Art or instrument. UK: Manchester. (2013). Education or theatre? The development of TIE in Britain. In A. Jackson, & C. 71

72 Vine (Eds.) Learning through theatre: The changing face of theatre in education (pp ). NewYork: Routledge. Linds, W. (2006). Metaxis: dancing (in) the in-between. In Cohen-Cruz, J. & Schutzman, M. (Eds.) A Boal companion, (pp ). New York and London: Rutledge. Nicholson, H. (2009). Activism and education: The theatre-in-education movement. In Theatre and education (pp.22-28). Basingstoke: Palsgrave Macmillan. O Toole, J. (1976). Theatre in education. London: Hodder and Stoughton. Schechner, R. (1988). Performance theory. New York: Routledge. Turner, V. (1974). Liminal to Liminoid. In Play, Flow, Ritual: An Essay in Comparative Symbology. Rice Institute Pamphlet - Rice University Studies, 60, no /8/31 retrieved from 72

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76 National Salvation and Enlightenment: A Study on Children s Plays During The Martial Law Period in Taiwan Hsi-ju Chen Assistant Professor, Department of Drama Creation and Application, National University of Tainan Abstract The peak period of children s drama play writing in Taiwan dates from the declaration of Martial Law subsequent to the R.O.C. government s relocation to Taiwan in 1949 until the lifting of Martial Law in An initial estimate showed that nearly one hundred children s drama plays got published after being approved in drama competitions, which brought into being the first wave of Children s Drama Movement in Taiwan. During this time period, children s drama plays featured the double mission of national salvation and enlightenment. The former means that children s drama should serve the national needs in light of social and political circumstances; while the latter stressed that it should also be endowed with a cultural purpose for the benefit of children s growth. The two orientations, one for complying with the fate of submission to the nation (political, antagonistic, ideological, and ethnic) and the other for fulfilling the proper needs of culture, art, and education (individual and universal), interlaced for nearly 40 years and contributed to the unique aesthetic development of children s drama in Taiwan. This paper takes Chinese Children s Dramas as the research context and traces the development history of children s drama during the period of the Republic of China. It further engages in observation of the two perspectives of drama literature and drama theme, in order to explore the origin where Taiwanese children s drama was bred and created and to construct the development features of children s drama during turbulent times. Aside from reconstructing the artistic and cultural values, this paper also synchronously reveals the unique historic features with the dual missions related to art and culture that intertwined during this period. Keywords: Children s play, Children s Drama Movement,Children s Drama in Taiwan, Martial Law, Chinese Children s Dramas 76

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98 Gabriel A. Almond (1956). Comparative Political System, Journal of Politics, Vol.18., p396. Gabriel A. Almond (1993). Comparative Politics: A theoretical framework.ny: HarperCollins College Div. Richard W. Wilson (1970). Learning to Be Chinese: The Political Socialization of Children in Taiwan. Cambridge, The MIT Press. Weiner, Myron, & Huntington, Samuel P. (Eds.). (1987). Understanding political development. Boston: Little, Brown. 98

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106 Eugène Ionesco s Course in General Linguistics : An Anatomy of The Bald Soprano and The Lesson Lan Chien-Hung National Taitung University Graduate Institute of Children s Literature Assistant Professor Abstract While translating The Lesson, Hung Hung indicated that this drama evokes my everlasting fear of schooling from young age to adult in realistic level. A class of language course meant to kill. It is believed that many people share such a feeling and could even be prominent today. Why does language kill? This article traces the language crisis in the 19 th century through Saussure s linguistics to the attack of Dadaism on language and concludes with Ionesco s The Bald Soprano and The Lesson, which placed language in the core and were surrounded by language teaching during the postwar 1950s. From this, the author sought to investigate the change of semiotic concepts and their internal political connections. Viewed through Ionesco s experience of French and Romanian languages during his exile, the author analyzed the hidden absurd drama of Course in General Linguistics in these two plays of language teaching, which also reflected an anti-fascist s concept. By explicating the meaning of the language courses, which have lasted for half a century and endured through warfare, the author tried to explore the possibility of language/literature teaching in democracy. Keywords:Eugène Ionesco, language teaching, the killing nature of language, emancipation of the signified, anti-fascism 106

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109 RiDETS Eugène Ionesco Samuel BeckettArthur Adamov La Cantatrice chauvela Leçon Guillaume Apollinaire calligramme 109

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116 ᚡናআ! Ԗ ᅿ ቫ ޑ ൿቃ Ǵ Γ౾ ǵᡋ ค ޑق Ш Ǵ ၸ ᅿ ӧ Ǵӷ ค ݤ ٩ᒘѸ ک ԶᏉᆫଆ ޑ ᇟ ق ύණวр Ƕ ჴШ ډ ЄགྷύǶѸ ᢜ Јඵಞᄍ ک ഋ ᄍ ޑٯ ᕅᏛǴ ೭ᕅǴߔЗΑ ॺך ѐ ډ ೭ Ш ޑ ќᅿѭ߄य़ ό ޑ Ш Ƕ ȐЇ Ծ PerisanuǴ2003ȑ ㆹᾹ 䴻㚱溆䃉㱽㶭㤂忁㭝娙㗗婯婾㴭㕗㞗Ṿ冒幓㗗䁷䇦䧮勚Ḯ炰䃉䔹炻忁㗗㴭㕗㞗㹗㈧娵㔯怢岰ˤ䦵炷1969 炸炻䔞Ṿ朊伭楔 Ṇ㔯䓴炻伭楔 Ṇ㔯炷România literara炸暄娴ᶲ炻ṿ 䘥㈧娵烉 ˬㆹ ㆹḇ㗗炻ㆹˮ䁷䇦䧮勚婒叿ˤ 11炷冒 Perisanu炻2003炸忁㊃娵炻㴭㕗㞗ẍ䁷䇦䧮勚䘬炷 Urmuze炸䍑 Ḯ㔯忲炻媏枛㱽㔯䘬 murmurer 炷 ˬỶ婆 ˣ ˬ 倚婒娙炸 ㆸ urmuzer 炷ˬ䁷䇦䧮勚婒炸 ˤ恋㗗䁷䇦䧮勚德忶㴭㕗㞗倚婒叿ˤ 㴭㕗㞗冒军䳪炻悥㗗㝸䧖暁婆侭炻㗗儡婆侭烉㱽婆ᶳ㗗伭楔婆倚婒娙ˤ 倮ˣˬ 婆烉侣嬗冯䓇ㆸ 忁ᶨ溆ḇ䚜䎦㴭㕗㞗䘬 ἄ 炻Perisanu 㴭㕗㞗烉㱽婆伭楔 Ṇ婆炻婆妨䘬怠㑯喅埻堐䎦 ᶨ㔯忚埴Ḯ媠侫炻㴭㕗㞗ἄ⑩ 炻姙暁婆慵䔲㗗Ḻ䚠侣嬗䘬䎦尉ˤᶵ忶䣁㕤侣嬗㚫忶㕤ℿ攟䘬䶋㓭炻䃉㱽㬌ᶨᶨ ˤ12Ữ㗗炻 ẍ 䥧柕檀枛忁悐㴭㕗㞗䘬ㆸ ἄ Ἦ䚳㱽婆伭楔 Ṇ婆䚠Ḻ慵䔲䉨ンˤ 㚨朆㗗ẍ㱽㔯 ἄ䘬炻侴㗗ẍ伭楔 Ṇ㔯㚠䘬炻㗪攻溆㗗 1948 㬌㚨炻䔞㗪Ṿ䯵䯵䃉 ˤ㚨䘬㗗庽檮劙婆炷Englezeşte fără profesor 伭楔 Ṇ㔯炻L Anglais sans peine 㱽嬗炸炷Perisanu炻2005炸13炻㔯䁢 Moi aussi, j urmuze炰忁墉 ᶨἳˤ 㴭㕗㞗伭楔 Ṇ㔯䘬䇰㛔 ἧ䓐ḯ伭楔 Ṇ䘬媢婆炻 Nu te uita la curci 炻䚜侣嬗䁢㱽㔯㗗 Arrête de regarder les dindons 炷 ˬᶵ天ℵ䚗叿恋ṃ䀓暆䚳Ḯ 炸炻媢婆䘬シ㗗婒炻 ˬᶵ天㴒屣Ἀ䘬㗪攻炷 ne perds pas ton temps 炸 ˤ忁伭楔 Ṇ媢婆 Ḯ㱽㔯䇰䘬䥧柕檀枛墉朊塓侣嬗ㆸˬᶵ天嬲ㆸḮ䀓暆炷 Ne soyons pas dindons 炸炻忁㗗朊シ佑炻㱽㔯 ˬ䀓暆㚱埊噳䘬シ炻 ẍ炻シ嬗ㆸḯ烉 ˬ 埊Ḯ炰 ˤ 炷Perisanu炻2005炸 ˬ 䥧柕檀枛㬌ᶨシ ḳß㗗䘬ἳ 㟰ἳˤ 㗗䓙ᶨ漋ẍ伭楔 Ṇ㔯㚠䘬㛔攳䘬ˤ 炷"L'aventure de La Cantatrice chauve est exceptionnelle dans l'histoire du théâtre. Elle 116

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135 RiDETS un être fort 33 Hadengue-Dezae ; Un enfant est un audacieux pionnier. pionnier l'avant-garde

136 2008Émile Benveniste Hans Richter 1999Benedict Anderson 1999Jonathan Culler 1995Jacques Attalic 2008 Barthes, Rolland Ferdinand De Saussure Henri Béhar,. Michel Carassou Eugène Ionesco 2004 Rolland Barthes 2001Eugène Ionesco 2005 Barthes, Rolland 136

137 RiDETS Abirached, Robert.(1994). La crise du personnage dans le théâtre moderne. Paris : Gallimard. Antonin Artaud, Antonin.(1976). Œvres complétes Supplément tome I. Paris : Gallimard. Antonin Artaud, Antonin.(1980). Œvres complétes tome VIII. Paris: Gallimard. Benveniste,Émile.(1966). Problèmes de linguistique générale, 1. Paris : Gallimard. Benveniste, Émile.(1974). Problèmes de linguistique générale, II. Paris : Gallimard. Barthes, Rolland.(1981). Le grain de la Voix, Entretiens Paris : Seuil. Barthes, Rolland.(1982). L'obvie et l'obtus, Essais critiques III. Paris : Seuil. Brecht, Bertold.(1989). Ecrits sur le théâtre, I. Paris : L'Arche. Buot, François. (2002). Tristan Tzara L homme qui inventa la Révolution Dada biographie (2006/9/12) Corvin, Michel.(1994). Lire la Comédie. Paris : Dunod. Deleuze, Gilles.(1993). Critique et clinique. Paris : Minuit. Hadengue-Dezae, Véronique. (1999). Qu'est-ce qu'un enfant? LA REVUE DES LIVRES POUR ENFANTS N 185 FEVRIER 1999/25 INSTANCE=JOIE&EIDMPA=PUBLICATION_4145 (2006/9/26) Ionesco, Eugène.(1954). La Cantatrice chauve, suivi de La Leçon. Paris : Gallimard. Ionesco, Eugène.(1966). Notes et contre-notes. Paris : Gallimard. Marie-France, Ionesco.(2004). Portrait de l'écrivain dans le siècle Eugène Ionesco Paris : Gallimard. Perisanu, Mariana.(2003). Ionesco, Le Franco-Roumain, choix linguistique et expression artistique /10/11 Perisanu, Mariana.(2005). Ecrivains français d origine roumaine et leur rapport à la langue /123-b21-mariana-perisanu.html(2013/10/11) 137

138 Perisanu, Mariana.(2006). Ionesco : du Non de Bucarest à "l avant-garde de cire" au théâtre de la Huchette on-de-bucarest-a-lavant-garde-de-cire-par-mariana-perisanu/ Roman, Aurélia.(2009). Autour de la traduction inédite en français des Élégies roumaines d Eugène Ionesco : texte et contexte de traduction pour appréhender le théâtre Ruy-Vidal, François. (2008). François Ruy-Vidal nous parle des contes de Ionesco" ( ) Schein, Didier. (1996). La trilogie roumaine de Paris, Ionesco, Cioran, Eliade 138

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<B2C43130B4C120B4C1A55A2E706466>

<B2C43130B4C120B4C1A55A2E706466> Research in Drama Education & Theatre Studies 2017 12 10 NO.10 December 2017 Contents Editor s Note Mei-Chun Lin 5 My Home, My Place - A Study on Developing Children s Sense of Place Based on Drama Courses