共同体验、共同理解：主体间性是戏剧教育中的一个关键现象

IF 0.2 0 THEATER Applied Theatre Research Pub Date : 2018-11-01 DOI:10.1386/ATR.6.2.155_1

Tuija Leena Viirret

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引用次数: 2

摘要

本文是对戏剧教育背景下主体间性的哲学反思；它借鉴了这个概念最新的神经科学基础，以及Merleau-Ponti、Buber和Hussell的观点。其目的是加深我们对戏剧教育学习过程中互动机制的理解。在戏剧的互动流中，核心条件是共同的体验和共同的理解。主体间性包括这两者。本研究将主体间性视为一种与生俱来的能力和现象性的现实，认为主体间性是戏剧教育互动中的一个关键现象。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Shared experiencing, shared understandings: Intersubjectivity as a key phenomenon in drama education

This article is a philosophical reflection on intersubjectivity in the context of drama education; it draws on the concept’s most recent neuroscientific basis as well as the perspectives of Merleau-Ponty, Buber and Husserl. Its purpose is to deepen our understanding of the mechanisms of interaction in learning processes in drama education. In the stream of interaction in drama, the central conditions are shared experiencing and shared understandings. Intersubjectivity encompasses both of these. This study views intersubjectivity as an innate capacity and a phenomenal reality, suggesting that intersubjectivity is a key phenomenon in the interaction of drama education.

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.