GeoQuest Project is the design of a new teaching and learning technology based on Computer Class Role Playing Games （RPG） to teach Earth Science in a STEAM educational approach. It ensures interdisciplinarity, multi...GeoQuest Project is the design of a new teaching and learning technology based on Computer Class Role Playing Games （RPG） to teach Earth Science in a STEAM educational approach. It ensures interdisciplinarity, multilinguai approach （CLIL compliance） and interactive activities in classrooms. This educational game uses students＇ personal tablets and smartphones to interact with the game, with a system more comprehensible and funny for young people compared to traditional methodologies. Students are bringing ＂in situation＂ by the adventure, so teachers can get a rigorous assessment of their skills. The Game includes several adventure paths, suitable for different age students. They are focused on scientific topics, humanities, hands-on activities in interdisciplinary way. If used conditions do not allow practical or laboratorial activities provided by the game, players can see some videos to understand the activities. Experimental results were outstanding： the RPG appreciation is in agreement with the experiments outcome. This work experience gets excellent feedbacks by teachers, in terms of efficacy of this new teaching methodology and of results achieving.展开更多
This communication proposes to study some language processes, similar in literature and videogames： parapraxis and the choice of a pseudo. It will aim to show how the use of a word reveals the intimacy of the subject...This communication proposes to study some language processes, similar in literature and videogames： parapraxis and the choice of a pseudo. It will aim to show how the use of a word reveals the intimacy of the subject, just like the autobiographical novel, which gives information about the writer. We would therefore have the presages of a self-writing in the creation, naming and storytelling of the avatar of a videogame player. From the example of a young player of the MMORPG （Massively Multiplayer Online Role Playing Games） networking game Dofus, who we met in consultation, we will see how his avatar ＂Deadlop＂ comes from parapraxis and enables the narration of his emotional intimacy. The unconscious elements that led to the creation of the pseudo enabled him to tell his story and grasp some unexplained facets of himself.展开更多
The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the o...The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.展开更多
The Second Chinese Theatre Festival took place in the winter of 2005 in Paris, France. The event, organized by China Cultural Center in Paris, has seen six local opera troupes from Hebei, Jiangsu, Jilin, Fujian and Gu...The Second Chinese Theatre Festival took place in the winter of 2005 in Paris, France. The event, organized by China Cultural Center in Paris, has seen six local opera troupes from Hebei, Jiangsu, Jilin, Fujian and Guangdong provinces, showing to Parisians scores of traditional programs of Chinese operas. Chinese theatric art is not novel to French people. Over past decades in the history of modern China, Chinese opera masters, in particular, Peking opera singers, visited Paris many times and made traditional Chinese opera known to French people. For example, when visiting Paris half the century ago, master Cheng Yanqiu gave lectures on Peking opera, the first Chinese opera genre that was introduced to French people.展开更多
Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents...Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂展开更多
Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate commun...Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate communication with scenery, lighting and costumes etc., as the performance depends primarily on the text and narrator for successful expression. This study views the most important techniques to create a well-made story at both text and performance levels. The researcher begins differentiating storytelling, imitation and characterization, as this understanding assists the objective of this study, which is to determine specific techniques to achieve successful communication with an audience. This research highlights elements which distort story structure; including immersion in narrative without incident description, identified as the most dangerous element due to description being essential to create suspense.1 Text condensation is also crucial. A good writer uses his pen more for deletion than addition. Repeated reading and deletion to condense the story to its optimal is vital. Also included are techniques for good text rhythm in addition to production of captivating beginnings. Further techniques to raise audience attention in text and event building, as well as to determine conflict and types, narrator language use and the structure of the diagnostic viewer, finally, mastering story ending techniques are provided. At performance level, this research provides techniques in creativity prologue, good story rhythm, body language and eye contact together with prop （object） use; all of which enable the narrator to capture and retain audience attention throughout. This research concludes with recommendations on how to achieve a good storytelling performance.展开更多
Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direct...Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.展开更多
The virtual technique in Chinese drama makes the aesthetic feeling of the audiences enriched in enjoying the art of stage performance to their heart＇s content when the reality of life is reflected by drama. Also, the...The virtual technique in Chinese drama makes the aesthetic feeling of the audiences enriched in enjoying the art of stage performance to their heart＇s content when the reality of life is reflected by drama. Also, the position of the animation art has been promoted by the expression and extension of the drama art spirit and expression technique in the creation of film and television animations to be greatly improved. In this paper, the characteristics of the virtual technique in drama are briefly introduced, and also the influence of the virtual technique on the creation offihn and television animations is analyzed.展开更多
Holo Taiwan Residents Opera Troupe has produced a series of intercultural performances in Taiwan Residents Opera since the troupe adapted Nikolai Vasilievich Gogol＇s （1809-1852） The Government Inspector in 1996. In...Holo Taiwan Residents Opera Troupe has produced a series of intercultural performances in Taiwan Residents Opera since the troupe adapted Nikolai Vasilievich Gogol＇s （1809-1852） The Government Inspector in 1996. In fact, there is a huge controversy over these intercultural performances which fuse western drama with traditional Taiwan Residents performing art because such a kind of theatrical hybridity lacks the spirit of the original and damages the aesthetics of native performing art practice. In 2002, Holo adapted William Shakespeare＇s Hamlet into a six-hour-long performance, Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）, which the troupe tried to explore new source for traditional Taiwan Residents Opera and expected to bring something new to Taiwan Residents audience. However, The Prince＇s Vengeful Plan is considered ＂cultural collage＂ as well as an unsuccessful intercultural performance. Besides, The Prince＇s Vengeful Plan is accused to blaspheme Shakespeare because the performance merely maintains the frame of the original and distorts the spirit of the original. According to Rustom Bharucha, the most problematic aspect of intercultural performance is ＂de-historicizing tendency＂, and such a condition explains why Holo＇s The Prince＇s Vengeful Plan cannot transcend the original. In order to detect the problems of intercultural adaptation in Holo＇s The Prince Vengeful Plan, we cover the related issues in three aspects： （1） to discuss the development of Taiwan Residents Opera in Taiwan; （2） to explore the cultural conflicts when the text of the source culture is adapted into the performance of the target culture; and （3） to see how and why the spirit and aesthetics of Shakespeare＇s verses in Hamlet are distorted in Holo＇s theatrical adaptation. After that, we expect to conclude the impossibility of adapting Shakespeare＇s play into traditional Taiwan Residents Opera in the case of Holo＇s The Prince＇s Vengeful Plan.展开更多
This paper studies the continuous prisoner's dilemma games (CPDG) on Barabasi-Albert (BA) networks.In the model,each agent on a vertex of the networks makes an investment and interacts with all of his neighboring ...This paper studies the continuous prisoner's dilemma games (CPDG) on Barabasi-Albert (BA) networks.In the model,each agent on a vertex of the networks makes an investment and interacts with all of his neighboring agents.Making an investment is costly,but which benefits its neighboring agents,where benefit and cost depend on the level of investment made.The payoff of each agent is given by the sum of payoffs it receives in its interactions with all its neighbors.Not only payoff,individual's guilty emotion in the games has also been considered.The negative guilty emotion produced in comparing with its neighbors can reduce the utility of individuals directly.We assume that the reduction amount depends on the individual's degree and a baseline level parameter.The group's cooperative level is characterized by the average investment of the population.Each player makes his investment in the next step based on a convex combination of the investment of his best neighbors in the last step,his best history strategies in the latest steps which number is controlled by a memory length parameter,and a uniformly distributed random number.Simulation results show that this degree-dependent guilt mechanism can promote the evolution of cooperation dramatically comparing with degree-independent guilt or no guilt cases.Imitation,memory,uncertainty coefficients and network structure also play determinant roles in the cooperation level of the population.All our results may shed some new light on studying the evolution of cooperation based on network reciprocity mechanisms.展开更多
There has been a gradual change of the relation in which narration stands to drama. In this process, narration in drama has undergone a series of transformations in terms of significance, appeal and functionality. It ...There has been a gradual change of the relation in which narration stands to drama. In this process, narration in drama has undergone a series of transformations in terms of significance, appeal and functionality. It has turned, from a suppressed intrusion into dramatic verisimilitude, to a subordinate attendant on plays of reason and passion and then to an epic element in a modernistic turn, and has contemporarily come onto central stage and assumed a particular theatricality of its own. Such an evolving framework corresponds to philosophical and aesthetical developments over time and integrates into an ever-renewing semiotics of drama. Recent developments in Narratology of the theatre provide an inspiring context for understanding this evolution, as they shed light on the generic nature, communi- cational facets and discursive power of dramatic narratives.展开更多
文摘GeoQuest Project is the design of a new teaching and learning technology based on Computer Class Role Playing Games （RPG） to teach Earth Science in a STEAM educational approach. It ensures interdisciplinarity, multilinguai approach （CLIL compliance） and interactive activities in classrooms. This educational game uses students＇ personal tablets and smartphones to interact with the game, with a system more comprehensible and funny for young people compared to traditional methodologies. Students are bringing ＂in situation＂ by the adventure, so teachers can get a rigorous assessment of their skills. The Game includes several adventure paths, suitable for different age students. They are focused on scientific topics, humanities, hands-on activities in interdisciplinary way. If used conditions do not allow practical or laboratorial activities provided by the game, players can see some videos to understand the activities. Experimental results were outstanding： the RPG appreciation is in agreement with the experiments outcome. This work experience gets excellent feedbacks by teachers, in terms of efficacy of this new teaching methodology and of results achieving.
文摘This communication proposes to study some language processes, similar in literature and videogames： parapraxis and the choice of a pseudo. It will aim to show how the use of a word reveals the intimacy of the subject, just like the autobiographical novel, which gives information about the writer. We would therefore have the presages of a self-writing in the creation, naming and storytelling of the avatar of a videogame player. From the example of a young player of the MMORPG （Massively Multiplayer Online Role Playing Games） networking game Dofus, who we met in consultation, we will see how his avatar ＂Deadlop＂ comes from parapraxis and enables the narration of his emotional intimacy. The unconscious elements that led to the creation of the pseudo enabled him to tell his story and grasp some unexplained facets of himself.
文摘The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.
文摘The Second Chinese Theatre Festival took place in the winter of 2005 in Paris, France. The event, organized by China Cultural Center in Paris, has seen six local opera troupes from Hebei, Jiangsu, Jilin, Fujian and Guangdong provinces, showing to Parisians scores of traditional programs of Chinese operas. Chinese theatric art is not novel to French people. Over past decades in the history of modern China, Chinese opera masters, in particular, Peking opera singers, visited Paris many times and made traditional Chinese opera known to French people. For example, when visiting Paris half the century ago, master Cheng Yanqiu gave lectures on Peking opera, the first Chinese opera genre that was introduced to French people.
文摘Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂
文摘Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate communication with scenery, lighting and costumes etc., as the performance depends primarily on the text and narrator for successful expression. This study views the most important techniques to create a well-made story at both text and performance levels. The researcher begins differentiating storytelling, imitation and characterization, as this understanding assists the objective of this study, which is to determine specific techniques to achieve successful communication with an audience. This research highlights elements which distort story structure; including immersion in narrative without incident description, identified as the most dangerous element due to description being essential to create suspense.1 Text condensation is also crucial. A good writer uses his pen more for deletion than addition. Repeated reading and deletion to condense the story to its optimal is vital. Also included are techniques for good text rhythm in addition to production of captivating beginnings. Further techniques to raise audience attention in text and event building, as well as to determine conflict and types, narrator language use and the structure of the diagnostic viewer, finally, mastering story ending techniques are provided. At performance level, this research provides techniques in creativity prologue, good story rhythm, body language and eye contact together with prop （object） use; all of which enable the narrator to capture and retain audience attention throughout. This research concludes with recommendations on how to achieve a good storytelling performance.
文摘Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.
文摘The virtual technique in Chinese drama makes the aesthetic feeling of the audiences enriched in enjoying the art of stage performance to their heart＇s content when the reality of life is reflected by drama. Also, the position of the animation art has been promoted by the expression and extension of the drama art spirit and expression technique in the creation of film and television animations to be greatly improved. In this paper, the characteristics of the virtual technique in drama are briefly introduced, and also the influence of the virtual technique on the creation offihn and television animations is analyzed.
文摘Holo Taiwan Residents Opera Troupe has produced a series of intercultural performances in Taiwan Residents Opera since the troupe adapted Nikolai Vasilievich Gogol＇s （1809-1852） The Government Inspector in 1996. In fact, there is a huge controversy over these intercultural performances which fuse western drama with traditional Taiwan Residents performing art because such a kind of theatrical hybridity lacks the spirit of the original and damages the aesthetics of native performing art practice. In 2002, Holo adapted William Shakespeare＇s Hamlet into a six-hour-long performance, Tai Tzu Fu Chou （The Prince＇s Vengeful Plan）, which the troupe tried to explore new source for traditional Taiwan Residents Opera and expected to bring something new to Taiwan Residents audience. However, The Prince＇s Vengeful Plan is considered ＂cultural collage＂ as well as an unsuccessful intercultural performance. Besides, The Prince＇s Vengeful Plan is accused to blaspheme Shakespeare because the performance merely maintains the frame of the original and distorts the spirit of the original. According to Rustom Bharucha, the most problematic aspect of intercultural performance is ＂de-historicizing tendency＂, and such a condition explains why Holo＇s The Prince＇s Vengeful Plan cannot transcend the original. In order to detect the problems of intercultural adaptation in Holo＇s The Prince Vengeful Plan, we cover the related issues in three aspects： （1） to discuss the development of Taiwan Residents Opera in Taiwan; （2） to explore the cultural conflicts when the text of the source culture is adapted into the performance of the target culture; and （3） to see how and why the spirit and aesthetics of Shakespeare＇s verses in Hamlet are distorted in Holo＇s theatrical adaptation. After that, we expect to conclude the impossibility of adapting Shakespeare＇s play into traditional Taiwan Residents Opera in the case of Holo＇s The Prince＇s Vengeful Plan.
基金Supported by the National Natural Science Foundation of China under Grant Nos.71071119 and 60574071supported by Hubei Province Key Laboratory of Systems Science in Metallurgical Process (Wuhan University of Science and Technology)
文摘This paper studies the continuous prisoner's dilemma games (CPDG) on Barabasi-Albert (BA) networks.In the model,each agent on a vertex of the networks makes an investment and interacts with all of his neighboring agents.Making an investment is costly,but which benefits its neighboring agents,where benefit and cost depend on the level of investment made.The payoff of each agent is given by the sum of payoffs it receives in its interactions with all its neighbors.Not only payoff,individual's guilty emotion in the games has also been considered.The negative guilty emotion produced in comparing with its neighbors can reduce the utility of individuals directly.We assume that the reduction amount depends on the individual's degree and a baseline level parameter.The group's cooperative level is characterized by the average investment of the population.Each player makes his investment in the next step based on a convex combination of the investment of his best neighbors in the last step,his best history strategies in the latest steps which number is controlled by a memory length parameter,and a uniformly distributed random number.Simulation results show that this degree-dependent guilt mechanism can promote the evolution of cooperation dramatically comparing with degree-independent guilt or no guilt cases.Imitation,memory,uncertainty coefficients and network structure also play determinant roles in the cooperation level of the population.All our results may shed some new light on studying the evolution of cooperation based on network reciprocity mechanisms.
文摘There has been a gradual change of the relation in which narration stands to drama. In this process, narration in drama has undergone a series of transformations in terms of significance, appeal and functionality. It has turned, from a suppressed intrusion into dramatic verisimilitude, to a subordinate attendant on plays of reason and passion and then to an epic element in a modernistic turn, and has contemporarily come onto central stage and assumed a particular theatricality of its own. Such an evolving framework corresponds to philosophical and aesthetical developments over time and integrates into an ever-renewing semiotics of drama. Recent developments in Narratology of the theatre provide an inspiring context for understanding this evolution, as they shed light on the generic nature, communi- cational facets and discursive power of dramatic narratives.
