Drama Education in the Classroom "Space": The Different Theories of Plato and Aristotle

本文旨在探究柏拉圖與亞里斯多德關於戲劇教育之主張，並分析其異同之處，試圖推求此領域之理論核心。柏拉圖主張含有「道德意念」的劇本，才適合教導學生，並建議將「遊戲的形式」，列入學校的必修課程之中。然而，亞里斯多德反對他的「道德」觀點，認為劇作家可以運用他們的「無限意念」，使這兩個世界交融為一，觀眾因淨滌作用「修正」自己的過錯，期向「完美」。結合凱文•勃頓近來以「戲劇教育」概括各式「教室戲劇」的新主張，本文進一步分析認為，就「戲劇教育」而言，無限意念的創造者，非僅是教師，亦可為學生。藉由即興戲劇的方式，師生雙方在戲劇實作中相互學習，一同在教室空間裡運用「扮演」，相互學習知識（教育），也同時獲得「更高的快樂」（娛樂）。

關鍵字

即興創作；淨滌作用；教室戲劇；置中作用；戲劇教育

並列摘要

Teachers can use the techniques of dramatic representation to educate their students, Aristotle would argue, rather than using rote learning (or other form of instruction), for it is a ”purer” form of education. It is this kind of ”classroom drama” for which Gavin Bolton recently coined the umbrella term ”drama education.” Plato contended, alternately, that only the teaching of ”moral ideas” in a play is suitable instruction for pupils, and strongly suggested that only these ideas should comprise what he called ”the form of play” in the curriculum. He divided drama activities into two worlds: the audience's and the actor's, and believed that both of them influence each other through the process of ”metaxis.” Aristotle rejected Plato's ideas and instead conceived that the playwright should use their ”infinite ideas” to conflate the two worlds because people will through catharsis ”correct” their faults and tend toward ”perfection” regardless of whether the plays are moral or immoral. In ”drama education,” using the concept of improvisation, the ideas of the teachers as well as those of the students can be explored. By their use of ”representation” in the classroom ”space,” they will not only learn ”the knowledge” (instruction) but also gain ”the higher delight” (entertainment).