Search

Research and Practice on Optimisation of Curriculum Content in the Teaching Stage of Performance Creation

Author(s)

Heng Zhang, Chunyu Ouyang

Affiliation(s)

Qingdao Film Academy, Qingdao, Shandong, China

Abstract

In contemporary art education, teaching performance creation is vital for fostering students’ comprehensive quality and creativity. However, the current curriculum faces issues such as irrational course design, monotonous teaching methods, and lack of student engagement. This study aims to optimize course content in performance creation teaching to enhance educational outcomes. It reviews the current state and challenges of performance creation education globally, and proposes a systematic optimization plan grounded in pedagogical theories and practical needs. The plan includes revised course objectives, content design, teaching methods, and assessment strategies, emphasizing student-centered approaches, creativity, expressiveness, teamwork, and diversified teaching techniques to boost student interest and initiative. To evaluate the effectiveness of the optimized program, an experimental study was conducted in actual classrooms, using questionnaires, classroom observations, and student interviews for data collection. Quantitative and qualitative analyses reveal that the optimized content significantly improves students’ performance skills and creativity, while increasing their learning interest and participation. Teachers report that the new methods better stimulate students’ potential and enhance teaching outcomes. This study offers theoretical support and practical guidance for performance creation teaching reform and serves as a valuable reference for future educational research and practice.

Keywords

Teaching Creative Performance; Optimization of Course Content; Teaching Methods; Comprehensive Quality Training; Educational Reform; Student Creativity

References

[1]Yanqiu Guan. Research and Practice on International Talent Cultivation Mode of Film and Television Photography and Production in Undergraduate Colleges and Universities. Higher Education and Practice Vol. 1 No. 3, 2024, 98-102. [2]Miao Xiwen. The Role of Body Language in Drama Performance. Artistic View. 2021(11), 9-13. [3]Xiao Gong. A Study on Talent Cultivation Strategies for Film and Television Photography and Production Professionals Oriented to Sports Specialty Students in an Interdisciplinary Context, Higher Education and Practice Vol. 1 No. 3, 2024. 69-73. [4]Yan Gang. Differences and Similarities between Drama Performance and Drama Performance. Journal of the Central Academy of Drama. 1994(03), 43-45. [5]Zhang Wei. Grasping Character, Shaping Image--The Shaping of Characters in Drama Performance. Young Literati. 2014(03), 22-29. [6]Ma Shaofeng, Zhang Ping. The mobilisation of emotion and the use of techniques in the process of drama performance. Artist. 2017(08), 19-21. [7]Yu Yan. Brief analysis of language skills in drama performance. Tomorrow’s Style. 2018(22),26-30. [8]Li Guanhan. Exploration of body language in drama performance. Tomorrow’s Style. 2020(02), 18-21. Peng Jing. An Exploration on the Living of Drama Performance. Comedy World (Second Half). 2020(10), 14-15.