＂戏曲进课堂＂活动的开展有其双重的现实意义。一是作为中国传统文化瑰宝的＂戏曲＂,其艺术综合特性对＂全人教育＂的落实有一定的促进作用;二是在作为学习主体的＂儿童＂和作为载体的＂戏曲＂之间,构筑了一道极为重要的桥梁。这不仅有助于实现一部分由学童对传统戏曲的继承,同时也可能催生出另一种新形态的校园戏曲表演艺术。对两者而言,都是一种双赢的局面。然而在施行的过程中,也有诸多问题产生。通过对实地的考察和文献的综合研究,对目前所发生的三大问题分别进行了梳理并提出了相应的解决之道。首先提出＂三适性＂（适时,适人,适地）法则是顺利开展活动的通则;其次提出该活动是一种＂双体互渗＂（双体系指＂儿童＂和＂戏曲＂）的有机操作模式;再者对该活动要能大幅铺摊并落实必须正视对＂主干教师＂的培养,由此提出了两个培育途径以供参考。最后以观照历史和继往开来作结,为该活动的推展打下一剂强心针。%The project Operas Entering to Classrooms has its dual practical significances.On the one hand,the comprehensive artistic quality of Opera,a highlight of traditional Chinese culture,has certain favorable effects on the implementation of "holistic education." On the other hand,is an important bridge is built between Children and Opera.This helps partly realize children's inheritance of traditional operas and spawn another new form of campus operas as well.It is a win-win situation to both of them.However,problems exist in the process.The present study,through fieldwork investigation and comprehensive reviews of literature,is to respectively make an analysis of 3 existing problems for corresponding solutions.Firstly,a "3-level adaptability" rule(time,people and place) is proposed,which is a promise to the successful promotion of the project.Secondly,it puts forward that the project is operated in the organic mode of Interactive Binary Systems.(Binary Systems refer to Children and Opera).Thirdly,it is suggested that key teachers should be trained and 2 ways of training are provided.The conclusion,based on both historical reviews and future perspectives,is just an encouragement to the project.
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