Historical origin and practical significance of drama teaching

The integration of drama into teaching originated from two educational ideas of Rousseau, a French thinker during the Enlightenment: "learning in practice" and "learning in drama practice". Later, American educational thinker J Dewey's practical learning theory of "gradual teaching" and Hughes Maynes's creative teaching theory had a far-reaching influence in European and American countries. 1930, Winifred Ward, an American drama educator, compiled and published the book "Creative Drama Technology", and formally put forward the "Creative Drama Teaching Method". In Britain, teacher Finlay Johnson and educator Cadwell Cook first applied drama methods to the teaching of art courses. Therefore, drama teaching method began to develop in European and American countries. After 1950, Slade's tradition of children's drama education developed in Britain. In cooperation with Brain, he advocated children and teenagers' "participation in drama" and educational drama, and believed that the application of drama learning was a necessary part of personal growth and an educational model of personality growth. In 1960s, Dorothy Heskett and Bolton regarded drama as the best way to experience and reflect the experience, and emphasized that the cognition of drama was a way to reflect on a certain theme. They regard drama as a learning tool, and the teacher's role must be adjusted at any time according to the students' learning situation, thus establishing a "pretend" natural learning environment. Let learners improvise a certain aspect of life in hypothetical knowledge, and then let students solve problems and crises in drama activities. Bolton inherited Slade's and Wei's views on educational drama, and based on Heathcoat's teaching practice, established the teaching theory of educational drama, which was published in 1979. Under the influence of Heathcoat, Cecily O 'Neill developed a process drama, which focused on the learners' ability to express their emotional reactions bravely and put them into action, and then produced a spiral and intertwined dialectical process through performance and discussion. In addition to talking with others, the internal process of learners is also learning self-dialogue. This kind of open course gives students diversified development opportunities and leads learners to explore their own growth in society and environment through the process of continuous external dialogue with others and internal dialogue with themselves.

The development of drama teaching in China can be traced back to the beginning of last century. 19 15 In July, the "People's Education Research Association" established by the Ministry of Education at that time had three sections: novels, operas and speeches, with the aim of "studying people's education matters, improving society and popularizing education" (the articles of association of the People's Education Research Association were published by the Ministry of Education). Famous educators such as Tao Xingzhi and Lu Zuofu have made a useful attempt to cultivate students' personality and interpersonal skills by popularizing education through drama. On the occasion of the 40th anniversary of 1944 Nankai University, Zhang Boling concluded that Nankai University pays special attention to five points, such as physical education, science, group organization, moral cultivation, and national salvation, in order to achieve the goal of cultivating talents and saving the country. Among them, Zhang Boling intends to use some extracurricular activities to exercise students' "group organization" on the grounds that "China people are weak in unity and distracted because they can't cooperate and have no organizational ability". Among them, there is a new drama, which points out that Nankai advocates new drama, "the original purpose is only to practice speaking, improve society and do pure art research in the rear" (Review of Nankai School for 40 Years). This clarifies the nature of extracurricular activities and educational dramas advocated by Zhang Boling in Nankai, aiming at cultivating new talents who can serve the society in the future. These are all effective explorations of the educational function of drama, which have left us many practical references and valuable experiences.

Today, in the 2 1 century, the curriculum reform calls for new ways of education and learning, and it is of great practical significance to vigorously promote drama teaching in high school history teaching.