在國內兒童教育領域迅速發展的大背景下，兒童戲劇教育以「舶來品」的姿態已然成為了行業新熱點。從事兒童戲劇事業近40年的老伊以「舶來先生」的角度深入解讀了中國戲劇教育在轉「舶來化」為「本土化」的進程中所面臨的疑問與挑戰，引人深思.
伊維薩·西米奇
Ivica Šimić
戲劇導演 / 演員 / 作家 /
現任西安歐亞學院人文教育學院特聘教授 /
克羅埃西亞薩格勒布Mala Scena 劇院創始人 /
國際兒童及青少年戲劇聯(ASSITEJ International)前秘書長及榮譽成員 /
Challenges of understanding and translating the term Drama in the context of Drama Education in China
在中國Drama教育的環境中理解和翻譯術語Drama面臨的挑戰
Author: Ivica Šimić
Distinguished Professorat the School of Humanities and Education in Eurasia University, Xi'an, Shaanxi, China
作者：伊維薩西米奇，特聘教授，西安歐亞學院人文教育學院
Translator:Liu Lu
Teacher at at the School of Humanities and Education in Eurasia University,Xi'an,Shaanxi, China
譯者：劉璐，教師，西安歐亞學院人文教育學院
In this article, original meaning of the word drama is explained; the new meaning of the same word in the context of Drama Education, as taught by Anglo–Saxon paradigm is analysed; the problem of translation of the new terms and concepts into Chinese is identified and some solutions for resolving the problem are proposed.
該文章解釋了詞語drama的本源意義；在drama教育這個盎格魯撒克遜方式的語境下，該詞的新含義得到分析；該文章指出了新術語和新概念被翻譯成漢語時所面臨的問題，並提出了解決該問題的方法。
The article argue that the word 戲劇, with its many thousands years old semantic field is inadequate to translate the neologism drama that describes a new and different semantic field than its homonym drama (戲劇). The article emphasises the need for research in the field of dramatics that would identify the Chinese context in which it is practised. It calls for a constructive discussion of all the interested parties on the concepts practised in China and the terminology that will adequately describe these concepts.
文章認為詞語"戲劇"，這個原帶有幾千年以來語義的詞語無法全面的對應翻譯出新詞drama的含義，drama的意思帶有新含義且語義不同於同音異義詞「戲劇」。本文強調了針對中國環境中進行dramatics實踐研究的必要性。本文提出，需要該領域的所有踐行者對適用於中國環境中的概念和充分表達概念含義的術語進行建設性的討論。
Key words 關鍵詞:drama, drama education, dramatics, 戲劇
Drama Education is a relatively new phenomenon in China, although dramatics was practised almost instantly after WWII. The country itself witnessed fast development in the last 40 years especially in economy and communal living. Thanks to the governmental decision, performing arts, theatre and drama education in particular, are highly supported in the curriculums of educational institutions. Consequently, the process of inclusion of drama education in Chinese educational system on all levels got significant uplift. Simultaneously, a lot of different governmental associations and private companies have been established in order to educate generations of drama teachers who should satisfy the raising need for that kind of education of children and young people. Fast development, implementation of quickly learned skills and practical work on a daily basis were not adequately followed by theoretical founding, research and creation of concepts that would represent genuine needs of the Chinese children or the educational system respectively. A Chinese paradigm was not developed, but the Anglo–Saxon one has been copied and implemented instead, as if it is the one and only.
儘管dramatics（演劇技術）在二戰後立刻投入實踐，但是drama教育在中國是一種相對新鮮的現象。在過去的四十年中，中國的經濟和公共生活經歷了快速發展。由於政府決策，教育機構將表演藝術、戲劇演出、特別是把drama 教育納入課綱中。因此，將drama 教育納入在中國教育體系各層面的進程得到了顯著的支持。同時，諸多政府協會及民營公司紛紛建立，以培訓drama老師並滿足兒童及青年對該種教育日益增長的需求。在快速發展、現學現用技巧及日常實踐中，欠缺足夠的理論基礎學習、研究、以及缺乏能夠滿足中國兒童及教育體系真實需求的概念。中國式方法未被開發，但是盎格魯撒克遜式的方法（Anglo–Saxon）反而被照搬實施，好像該方法是唯一的方法。
Along with the concepts, English terminology is applied and translated without critical reconsideration and evaluation. It was done without modifying and adjusting concepts and terms into Chinese cultural tradition and the genius of the Chinese people. Translation of terms and idioms from English are made formally and directly, without understanding the ideas and concepts behind the words.
伴隨眾多概念，英語術語在應用和翻譯的時候並未經過批判性的思索和考量，也未將這些概念或術語按照中國的文化傳統和中國人的情形進行調整。這些英語術語和習語是從字面形式上直接翻譯而來，並未理解詞語背後的意思和概念。
This paper problematizes the usage and translation of the term drama. Since it is used in a lot of different contexts and in many different syntagms and idioms, firstly the full meaning of the word is analyzed.
這篇論文提出了術語drama的使用和翻譯問題。由於該術語廣泛的應用於不同的情景和語境中，首先對該詞語的完整意思進行分析。
Etymology and the meaning of the word drama
語源和drama的意思
The English word drama is an old Greek word drama (δρᾶμα),meaning
I. deed,act
II. action represented on the stage
III. tragic event
It is derived from the word drao (δράω), meaning
I. todo, accomplish, esp. dosome great thing, good or bad
II. tobe active
III. tooffer sacrifice or perform mystical rites
英語詞語drama是一個古老希臘詞語 drama (δρᾶμα)，意思是
I. 行為，行動
II.舞臺上的行動
III. 悲劇事件
它來源於詞語 drao (δράω)，意思是
I.去做，完成，特別是做好或壞的事
II. 主動的
III. 犧牲或表演神秘的儀式
Aristotle introduced the word drama in the context of poetry when discussing the term imitation (mimesis) and the manners of imitation: 「… poet may imitate by narration (…) or he may present all his characters as living and moving before us (…) Hence, the name drama is given to such poems, as representing action.」
亞里斯多德在詩歌的語境中提到drama這個詞語，討論模仿(mimesis)及模仿的方式：「詩人可以通過敘事來模仿 (…)或者他可以像在我們面前生活或移動一樣展示他所有的角色(…) 因此，drama被賦於這樣的詩歌，作為代表行為。」
It is worth noticing that Aristotle defines drama from the perspective of an audience, as the spectator experience: in a drama, characters are "living and moving before us". The word drama, therefore, unambiguously belongs to the semantic field of theatrical art and is not separated from the audience watching or reading the action.
值得注意的是，亞里斯多德從觀眾的視角將drama定義為一種觀眾體驗：在drama中，角色在「我們面前生活和移動」。因此，drama這個詞語清晰的隸屬於戲劇藝術的語意範疇，而且沒有脫離觀眾觀看和解讀行動的含義。
"In English (as was the analogous case in many other European languages), the word play (...) was the standard term used to describe drama until William Shakespeare's time—just as its creator was a play-maker rather than a dramatist and the building was a play-house rather than a theatre. The use of drama in a more narrow sense to designate a specific type of play dates from the modern era. Drama in this sense refers to a play that is neither a comedy nor a tragedy (...)", but we can define it as: "... a mode of fictional representation through dialogue and performance. It is one of the literary genres, which is an imitation of some action. Drama is also a type of a play written for theater, television, radio, and film. In simple words, a drama is a composition in verse or prose presenting a story in pantomime or dialogue. It contains conflict of characters, particularly the ones who perform in front of audience on the stage."
在英語中（同樣的在其他歐洲語言中），詞語 play 被用作描述drama一直到莎士比亞時代—正如drama的創作者被稱為play-maker (劇本創作人）而不是dramatist（劇作家），並且場所被稱為play-house而不是theatre（劇場）。狹義上s使用詞語drama來指代一種play源於現代。Drama指既非喜劇又非悲劇的play，但是我們將它定義為：「…通過對話及表演的虛構性呈現方式。它是一種文學風格，是對某種行動的模仿。Drama也是一種寫給戲劇、影視、電臺的play (劇本）。簡單的來說，drama是一種詩篇或者散文構成，這種文本通過pantomime （啞劇）或對話的形式呈現故事。它包括了角色的衝突，特別是舞臺上呈現於觀眾面前的角色。」
In the online Merriam-Webster Dictionary that is used in this paper, the following definition of drama can be found:
該論文引用了在線Merriam-Webster詞典的釋義，drama的定義如下所示：
1. literature 文獻
a. a composition in verse or prose intended to portray life or character or to tell a story usually involving conflicts and emotions through action and dialogue and typically designed for theatrical performance : – play.
詩篇或散文構成，用於描繪生活或角色，通過行動和對話講述帶有衝突和情感的故事，典型的應用於戲劇演出（play）。
b. a movie or television production with characteristics (such as conflict) of a serious play; broadly : – a play, movie, or television production with a serious tone or subject.
帶有嚴肅劇特點的（例如衝突）電影或電視作品; 廣義： – 主題嚴肅的a play, 電影，電視作品。
2. a state狀況
a.a state, situation, or series of events involving interesting or intense conflict of forces (…) .
狀況，情況，帶有有趣緊張衝突的一系列事件。
b.dramatic state, effect, orquality (...)戲劇狀況，效果，質感。
In this definition, the word dramais also identified as a literary genre designed for theatrical performance(a play) or a state (affair,case, condition).
根據此定義，詞語drama也被定義為用於戲劇演出（a play) 或狀況（時間，案例，條件）的文學風格。
On the basis of the above it is clear that the word drama is exclusively related to theatrical art and belongs to its semantic field. English dictionaries do not recognise the meaning of the word drama that would exclude the audience in any sense. The same is the case with all the other European languages that use the same form, function and meaning of the word.
以上分析非常清楚的顯示詞語drama只用於和戲劇藝術相關的語義範疇。英語詞典並不認為詞語drama的含義不包含觀眾的意思。同樣的意思也適用於相同的形式、功能、含義的其他歐洲語言。
The Chinese language uses 戲劇 – xì jù – drama; play; theater to cover the same semantic field. For example:
–chá guǎn shì lǎo shě zuì yǒu dài biǎo xìng de xì jù zuò pǐn – phr.Lao She's most frequently performed dramatic work is 'The Tea House'.
–lín huī yīn de zuò pǐn shè jí le shī gē , sǎn wén , xiǎo shuō hé xìjù děng – phr. Lin Huiyin wrote poems,essays, short stories and plays.
中文使用戲劇– xì jù – drama;play;theatre 涵蓋了同樣的語義範疇。例如：
-<茶館>是老舍最有代表性的戲劇作品。
-林徽因的作品涉及了詩歌，散文，小說和戲劇等。
Meaning of the word drama in the context of Drama Education
詞語drama在drama 教育語境中的含義
In the terminology of Drama Education as taught by the British paradigm, the word drama appears in a wider and changed sense than the original one described above. However, it is a relatively new appearance.
術語drama教育作為一種英式方法，詞語drama以一種不同於上述本源描述的廣義含義出現。但是，這是一種相對新鮮的出現。
At the beginning of the 20th century, under the influence of John Dewey, Francis Parker and William Kilpatrick a new approach to working with children (now known as Progressive Education) was introduced to educators in USA. Theatre practitioners led by American professor Winifred Ward offered the usage of dramatics ("the study or practice of theatrical arts such as acting and stagecraft; dramatic behavior or expression") in the process of the education of children and proposed a new paradigm that was called Creative Dramatics. "And because dramatics is based upon a very strong natural interest, and because it has unusual possibilities for creative self–expression, its chance has come. (...) The term creative dramatics has grown up to distinguish this original dramatic work from the old formal study of ready–made plays. Educational dramatics is a more general term for what is usually the same type of work." By using the word dramatics, Winifred Ward clearly kept her work with children under the umbrella of theatrical arts. In the context of the education of children, she noted that "... dramatics should not take the place of any other subject..." in a school curriculum.
20世紀初期，受 John Dewey, Francis Parker and William Kilpatrick的影響，一種新型的與兒童工作的方法被引入美國教育（Progressive Education)。以Winifred Ward為主導的戲劇踐行者們提出dramatics(「戲劇藝術的研究或實踐，例如表演，編導，戲劇行為或表達」）並應用於教育孩子的過程，同時提出一種新的方法叫做CreativeDramatics （創造性戲劇）。」由於dramatics基於強烈的天然興趣，並且它所帶來非同一般的的創造性自我表達，它的機會來到了。CreativeDramatics （創造性戲劇）有別於源自基於ready-made（現有劇本演出）的舊式戲劇工作。Educational dramatics（教育戲劇）是更廣義的術語，通常是一種工作。」通過使用詞語dramatics, Winifred Ward清楚的將她與孩子們的工作納入到戲劇藝術的傘下。在教育孩子的語境中，她說到「…dramatics不應該取代學校課程中的任意一個科目…」
After WWII, and particularly in the 1950's and 1960’s, mainly British practitioners changed the term Creative Dramatics into Creative Drama, and gradually into Drama. Dramatics became drama, but not in the original meaning related to the art of theatre, but with a new meaning separated from it. Brian Way, one of the fathers of Drama–In–Education (DIE) defined this as follows: 「Theatre is largely concerned with communication between actors and an audience; drama is largely concerned with experience by participants, irrespective of any function of communication to an audience」. That way a new word with a new sematic field was introduced. Although it sounds and although it is written like the old word, it is emancipated from the semantic field of the word theatre and from its constitutional segment – audience. Since then, in the linguistic terms, the word drama started behaving as a neologism, and became a homonym with the word drama.
二戰後，特別是1950年代和1960年代，主要是英國的實踐家將術語Creative Dramatics 變 Creative Drama，慢慢的變成了Drama。Dramatics變成 drama，但並不是關聯它最初的原意戲劇藝術，而是賦予了新的含義遠離了戲劇藝術。Brian Way，Drama–In–Education (DIE教育戲劇) 開創者之一這樣定義：「theatre（戲劇演出）主要關乎演員和觀眾的溝通；drama主要關乎參與者的體驗，不管和觀眾溝通的任何功能」。這樣以來，一種攜帶新定義的新詞語被引入了。儘管從聽起來和書寫方式兩方面與以前的詞語一樣，但是它掙脫了詞語theatre（戲劇演出）的語義及戲劇的必要元素– 觀眾。從那時起，從語言學的角度來說，詞語drama成為了一個新詞，並且成為詞語drama戲劇的同音異詞。
In the further development of the term, neologism drama overtook the semantic field of the word theatre and the word theatre (including the word drama) became the sub–category of the neologism drama. This reversal happened in the English language practically unnoticed. In non-English speaking countries, including China, this change in language didn’t happen at all. In Germany, for example, the term Theaterpädagogik (Theatre Pedagogy) has been in use, describing teaching about theatrical art, including drama, in its genuine meaning. In most non-English speaking countries, the word drama still has its original meaning (it resists accepting the neologism drama) and is part of the semantic field of theatrical art. Consequently, the British concept of Drama Education is widely accepted and taught only in English speaking countries (Anglo–Saxon world) and few countries in Europe (Norway, Finland in particular).
隨著這個術語的進一步發展，新詞drama取代了詞語theatre（戲劇演出）的語義，詞語theatre（戲劇演出）成為新詞drama 的亞類子範疇。這種顛倒的現象悄悄地發生在英語語言中。在非英語為母語的國家，包括中國，語言中的這種改變完全沒有發生。例如，德語中使用Theaterpädagogik (Theatre Pedagogy戲劇教育學)一詞，以其真正的含義描述關於戲劇藝術的教學，包括drama。在大部分非英語為母語的國家，詞語drama仍保留其最初的含義（拒絕接受drama的新含義），隸屬於戲劇藝術中的一部分。結果，英式概念Drama教育被廣泛接納並且只在英語為母語的國家(Anglo–Saxon world盎格魯撒克遜世界)和歐洲少數國家（特別是挪威，芬蘭）使用。
Neologism drama and the concept of Drama Education in Chinese context
中國環境下的新詞drama 和drama教育的概念
In the Chinese everyday practice of Drama Education , the neologism drama is translated with the word 戲劇 that is the old word with its several thousand years old semantic field. It is used formally, transferring directly the English parallel without setting up a new linguistic and conceptual environment. That is, in a way, a betrayal of the Chinese language and the linguistic profession, but also of the rich and powerful Chinese theatre history. It is a capitulation to the English language and culture. In the overall process of globalization, the process of the linguistic hegemony of the English language has been at work. Indigenous cultures and languages have been disappearing under this aggressive influence of the English language and culture in general. China, enjoying one of the greatest world cultures, the only one with the continuity of many thousand years, should not surrender to this process. Chinese language, Chinese words should be respected and maintained in order to preserve and represent the Chinese genius and spirit. Tom Stoppard, British dramatist wrote:
在中國日常Drama 教育的實踐中，新詞drama被翻譯成「戲劇」，這個譯詞是帶有幾千年前含義的老詞語。這個譯詞只是形式上的使用，直接從英語詞彙對應翻譯而來，並未考量新的語言和概念環境。因此，如此翻譯並未真正全面的理解drama的新含義，忽視了漢語對應詞的本身含義，並且也是對中國戲劇史的缺乏尊重。這是對英語語言和文化的投降。在全球化的整個進程中，英語的語言霸權一直存在。整體上來說，本土語言和本土文化在英語語言和文化的強勢影響下逐漸消失。中國擁有世界上最偉大的文化之一，其文化發展綿延千年從未間斷，不應該向該進程投降。為了留住中國人的精神，漢語和漢字應該受到尊重和保護。Tom Stoppard, 英國劇作家寫到:
「Words... They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good any more... I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little or make a poem which children will speak for you when you're dead.」
「詞語…是純真的，中性的，精準，代表這樣，描述那樣，意味其他，所以如果你使用好語言，你可以跨越誤解和混亂搭建起溝通的橋梁。反之，則不好…我不認為作者是神聖的，詞語才是。它們值得被尊重。如果你用對的方式使用了對的詞語，你可以推動一點世界或者作一首詩，孩子會在你去世的時候為你誦讀。」
Indeed. However, even in an expert’s literature, due to an imprecise definition of the term drama, unclear idea of a concept and incorrect usage of the word, examples of sentences with vague and ambiguous meaning can be found: "A drama becomes a drama only when it is performed." Simple logical and semantic analyses would prove that this statement is based on the untruthful premises, using the unclear terms and therefore invalid. It means nothing. Following this example, it is not hard to imagine a sentence like: – when doing a drama from a drama, using drama is the best way to make a drama, because a drama becomes a drama only when it is drama. How such a sentence can be translated into Chinese and be understood?
誠然如此。但是，即使是在專家的文獻中，由於缺少對術語drama精準的定義，概念不清及對詞語的錯誤使用，類似如下語義含混的句子比比皆是：
「A drama becomes a drama only when it is performed」。簡單的邏輯及語義分析證明 這種陳述是基於不真實的前提條件，使用了不清楚的術語因此不合理。它不意味任何意思。參照這個例子，不難想像這樣的句子：
– when doing a drama from a drama, using drama is the best way to make adrama, because a drama becomes a drama only when it is drama.
這樣的句子怎麼能被翻譯成中文或者被理解呢？
To respectfully translate the neologism drama and drama education into the Chinese linguistic, cultural and educational context, the approach should be the same as when any other neologism is concerned. "Correct translation from English for specific purposes into other languages is crucial in various industries and legal systems. Inaccurate translations can lead to 'translation asymmetry' or conceptual misunderstandings, which can lead to miscommunication."
如果以尊重的方式按照中國語言、文化、教育的環境來翻譯新詞drama和drama教育，方法應該與其他新詞翻譯一樣。「因為某種目的把英語正確的翻譯為其他語言，在各行業和法律體系中至關重要。不精準的翻譯會導致 『翻譯不對稱』或概念性誤解，這會導致溝通不暢。」
In other words: "No one pours new wine into old wineskins. Otherwise, the new wine will burst the skins; the wine will run out and the wineskins will be ruined. No, new wine must be poured into new wineskins. And no one after drinking old wine wants the new, for they say, 'The old is better.'"
換句話說：「沒人將新酒倒入舊酒桶。否則，新酒滿溢，酒桶也會破裂。不，新舊必須要放進新的酒桶。喝過老酒的人不會想要新酒，因為他們會說，『老的才是好的。』「
The word drama is a new word in Chinese linguistic environment and the idiom Drama Education describes a new, exclusively Anglo–Saxon paradigm. For the new words and new concepts an adequate translation should be created that would clearly describe the semantic fields of the translated words. The neologism drama cannot be translated with the word 戲劇 because in the Chinese language the homonym 戲劇 does not exist. For the same reason we cannot translate Drama Education with 戲劇教育. In order to find the proper translation of the terms, a research should be made not only on the wording, but also on the concepts that stand behind the words.
詞語drama是在中國語言環境下的一個新詞，術語drama教育描述了一種新的、唯一排它的盎格魯撒克遜式的方法。對於新詞語和新概念，應該創造充分的翻譯以體現被翻譯詞語的語義。新詞drama不應被翻譯成「戲劇」，因為漢語裡的同音異義詞戲劇並不能對應其含義。同樣的原因，drama education也不能被翻譯成「戲劇教育」。為了找到這些術語的合理翻譯，進一步的研究不僅應關注於用詞，而且要關注於詞語背後的概念。
In order to build up realistic, scientifically supported theoretical foundations for the practice and development of drama education in China, the existing paradigms and concepts should be critically analysed, the terminology in use should be revised and a new, genuine Chinese paradigm of dramatics should be developed. The production of a glossary of terms that would precisely describe and translate English terms into the Chinese language appears as the necessity of Drama Education practice in China.
出於為中國drama教育的實踐和發展建立現實的、科學支持下的理論基礎的目的，應該對現有的方法和概念進行批判性的分析，正在使用的術語應該被修訂，新的、真正的dramatics的中國方法應該被開發。生成能夠精準的將英語術語翻譯成中文的術語詞庫在中國的drama教育實踐中顯得尤為必要。
Aristotle: Poetics, Aristotle Karpathos Collection, Kindle edition 2016
Ward, Winifred: Creative Dramatics, D. Appleton–Century Company, New York – London1930
Way, Brian: Development Through Drama, Humanity Books, an imprint of PrometheusBooks, London 1967
Stoppard, Tom: The Real Thing, Faber and Faber, London 1982
Winston, Joe; Tandy, Miles: Beginning Drama4-11 (David Fulton Books) (Kindle Location 147). Taylor and Francis. KindleEdition.
Bible, New Testament, BibleHub, http://biblehub.com ; Last visit March 16, 2018
The Online Liddell-Scott-JonesGreek-English Lexicon:http://stephanus.tlg.uci.edu/lsj/#eid=29193&context=lsj&action=hw-list-click
http://stephanus.tlg.uci.edu/lsj/#eid=29254&context=lsj&action=from-search
Last view March 16, 2018
Wikipedia
https://en.wikipedia.org/wiki/Drama ; Last visit March 16, 2018
https://en.wikipedia.org/wiki/Neologism#cite_note-24 ; Last visit March 16,2018
Literary Devices, Definition and Examplesof Literary Terms; https://literarydevices.net/drama Last visit March 16,2018
Merriam-Webster Dictionary;https://www.merriam-webster.com/dictionary/drama ;
Last visit March 16, 2018
MDBG English to Chinese Dictionary, https://www.mdbg.net/chinese/dictionary?page=worddict&wdrst=0&wdqb=%E6%88%8F%E5%89%A7; Last visit March 16, 2018
Chinese – English Dictionary,https://www.trainchinese.com/v2/wordDetails.php?rAp=0&wordId=12607&tcLanguage=en; Last visit March 16, 2018
New World Encyclopedia,http://www.newworldencyclopedia.org/entry/Progressive_education ; Last visitMarch 16, 2018
老伊簡介：
教育經歷
薩格勒布戲劇藝術學院戲劇表演專業，克羅埃西亞
薩格勒布大學文學及語音學專業，克羅埃西亞
導演生涯
伊維薩·西米奇擔任戲劇導演所在的國家及地區包括，克羅埃西亞、中國（陝西，臺灣，香港）、美國、俄羅斯、斯洛維尼亞、亞塞拜然、羅馬尼亞和德國。他的代表作《Parachutists飛翔的引力》於2006年上演，該劇享譽全球並在世界各地巡演，包括雪梨歌劇院、東京Koen-ji藝術中心、英國倫敦巴比肯藝術中心、美國華盛頓甘迺迪藝術中心、布宜諾斯艾利斯、愛丁堡、首爾、大阪等。
伊維薩·西米奇作為導演參與過的國際項目包括
Ø Borges項目
國際戲劇協會 (International Theatre Institute) 國際跨文化項目，馬尼拉，菲律賓，2006
Ø iFdentity項目
國際戲劇協會 (International Theatre Institute) 國際跨文化項目，馬德裡，西班牙，2008
Ø Patchwork家庭項目
兒童及青少年戲劇戲劇國際跨文化項目，參與的藝術家分別來自香港、臺灣、日本、韓國、俄羅斯、奧地利和克羅埃西亞，並共同製作參演青年戲劇《超級英雄》，2010~2013
國際文化工作
Ø 伊維薩·西米奇擔任國際青少年及兒童戲劇聯盟(ASSITEJ )前秘書長，2008~2014，該戲劇聯盟為國際最大的兒童及青少年戲劇組織，他被該組織授予榮譽成員。
Ø 國際青少年及兒童戲劇聯盟（ASSITEJ）執行委員會成員，1999到2008。
Ø Epicenter劇院創辦人，該劇院是中歐及東南歐兒童及青少年戲劇中心。
Ø 創立了國際兒童及青少年戲劇節Milk ToothFestival，藝術總監及藝術節策劃，1998~2004。
出版、研討會及工作坊
伊維薩·西米奇在國際雜誌和書籍中出版了諸多關於兒童及青少年戲劇的內容及參與戲劇教育、講故事及兒童戲劇國際研討會、工作坊。
獲得獎項
伊維薩·西米奇因其藝術及文化工作上的貢獻獲得了克羅埃西亞以及世界上的諸多獎項。
伊維薩·西米奇導演作品列表
1. 1986年《想像的花》，克羅埃西亞
2. 1989年《真實的事》，克羅埃西亞
3. 1991年《窈窕淑女》音樂劇，美國
4. 1992年《幻想》，克羅埃西亞
5. 1993年《暗夜低語》，克羅埃西亞
6. 1994年《來自克羅埃西亞的三個公主》，美國
7. 1994年《一個男孩的家庭相冊》，克羅埃西亞
8. 1994年《豌豆公主》，克羅埃西亞
9. 1995年《奧麗安娜》，克羅埃西亞
10. 1995年《侏儒怪》兒童歌劇，克羅埃西亞
11. 1997年《晚上的秘密或小丑》，克羅埃西亞
12. 1997年《超過摩根》，克羅埃西亞
13. 1999年《小小的自己》，克羅埃西亞
14. 1999年《狐狸的寓言》，克羅埃西亞
15. 1999年《你好，怪物》，克羅埃西亞
16. 1999年《鸛鳥和狐狸》，克羅埃西亞
17. 2000年《豌豆公主》，斯洛維尼亞
18. 2000年《奧菲利亞的影子劇院》，克羅埃西亞
19. 2000年《魔法森林的秘密》，克羅埃西亞
20. 2000年《老鼠》，克羅埃西亞
21. 2001年《帕西法爾》，克羅埃西亞
22. 2001年《比斯盾和兒子們》，克羅埃西亞
23. 2002年《麗內的選美皇后》，克羅埃西亞
24. 2002年《金角鹿的故事》，克羅埃西亞
25. 2002年《暴風雨》，克羅埃西亞
26. 2002年《佩皮先生和亞瑟》，克羅埃西亞
27. 2002年《雲的故事》，克羅埃西亞
28. 2002年《亨利五世》，克羅埃西亞
29. 2003年《輪子的故事》，克羅埃西亞
30. 2003年《藍色房間》，克羅埃西亞
31. 2003年《席哈喏》，克羅埃西亞
32. 2004年《證據》，克羅埃西亞
33. 2004年《人生*3》，克羅埃西亞
34. 2005年《從前有條龍》，克羅埃西亞
35. 2005年《伊菲革涅亞》，克羅埃西亞
36. 2005年《謙卑的男孩》，克羅埃西亞
37. 2006年《回家的路》，克羅埃西亞
38. 2006年《隱形的萊昂納多》，克羅埃西亞
39. 2006年《Parachutists飛翔的引力》，克羅埃西亞
40. 2006年《Antun Tun》，克羅埃西亞
41. 2006年《死胡同》，克羅埃西亞
42. 2007年《白色小丑》，克羅埃西亞
43. 2007年《未成年人的禁忌》，克羅埃西亞
44. 2007年《水的記憶》，克羅埃西亞
45. 2007年《A國王》，克羅埃西亞
46. 2007年《你是誰》，克羅埃西亞
47. 2008年《Baukach還是恐懼》，克羅埃西亞
48. 2008年《搖滾樂之約》，克羅埃西亞
49. 2008年《關於Ante》，克羅埃西亞
50. 2009年《Scoliozee d'Artrozee》，克羅埃西亞
51. 2009年《秘密的旋轉木馬》，克羅埃西亞
52. 2009年《Kow Rosmarie》，克羅埃西亞
53. 2010年《石頭》，斯洛維尼亞
54. 2010年《榮譽》，克羅埃西亞
55. 2010年《光的故事》，克羅埃西亞
56. 2011年《Parachutists飛翔的引力》中國臺灣版
57. 2011年《石頭》，克羅埃西亞
58. 2011年《粉色夢幻書》，克羅埃西亞
59. 2012年《暴風雨》，臺灣
60. 2012《Parachutists飛翔的引力》中國香港版
61. 2013年《針孔姑娘》，克羅埃西亞
62. 2013年《Parachutists飛翔的引力》俄羅斯版
63. 2013年《Buratino的歷險》，亞塞拜然
64. 2014年《誰害怕汪汪》，羅馬尼亞
65. 2014年《Parachutists飛翔的引力》，羅馬尼亞
66. 2014年《四季》，克羅埃西亞
67. 2014年《奧菲利亞的影子劇院》，墨西哥
68. 2014年《真實的事》復排，克羅埃西亞
69. 2015年《小女巫》，克羅埃西亞
70. 2015年《萊蒂斯和獨活草》，克羅埃西亞
老伊（Ivica Šimić）聯絡方式
電 話：+86-187-2936-1373
電子郵件：iivica@me.com