‘Being in the State of Crossing’: Drama Education and Transnational Space 「越界」:戲劇教育與超國界空間
Abstract
One of the results of globalisation is that increasing numbers of students from different cultural and linguistic backgrounds come together to learn in one space. This article theorises an ethical approach to this challenge for drama educators, drawing principally on theories of transnational fiction (Stephen Clingman)(1), cosmopolitan ethics (Kwame Anthony Appiah)(2) and cultural understandings of space (Doreen Massey)(3). The central metaphor of drama as a means for ‘navigating boundaries’, it argues, is more politically apt if less ‘sexy’ than Giroux’s more commonly cited metaphor of ‘border crossing’. The relationship between this theory and an ethical drama praxis is illustrated by examples drawn from work carried out by two Asian postgraduate students currently studying at the University of Warwick.
Keywords: Chinese Stories; Cosmopolitanism; Navigating Boundaries; Space / Place; Transnationalism
在全球一體化的衝擊下,在任何一個國家,任何一所學府,不難見 到來自不同文化、口操不同語言的人聚首一堂,並肩學習。面對這 新的教學挑戰,戲劇教育工作者又該如何應對呢?本論文探討一個 富倫理價值取向的教育劇場。其論點主要源於 Stephen Clingman 的「超時空地域的小說觀」、Kwame Anthony Appiah 的「世界主 義倫理觀」及 Doreen Massey 的「從文明角度看地緣經濟觀」。 作者隱喻戲劇為「遊走界域」的工具,這比喻雖然不及 Giroux 的 「跨越邊界」那般簡潔、明快,但從政治現實看來卻更是貼題。論 文又引申兩名華威大學亞裔研究生的成果,以其研究個案為例,引 證這以倫理為本的戲劇教育理念如何實踐於現今的倫理劇目。
關鍵詞:中國的故事、世界主義、遊走界域、時空地域、超國界主義
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