Using process drama in museum theatre educational projects to reconstruct postcolonial cultural identities in Hong Kong, Singapore and Taiwan

Using process drama in museum theatre educational projects to reconstruct postcolonial cultural identities in Hong Kong, Singapore and Taiwan

• Wang, Wan Jung Dept. of Drama Creation and Application, National University of Tainan, Taiwan

Research in Drama Education: The Journal of Applied Theatre and Performance, 19(1), 39-50, 2014

Routledge

2014

• G 課程與教學:個別教學範疇
  • GF 人文學科及藝術
    • GFC 教學方法與效果
• P 香港教育各層面與外地之比較
  • PB 香港教育各層面與外地之比較
• A 人的成長與發展
  • AC 社化；自我概念；自尊、身份認同、感性、情緒、羣性與德性的發展

Education Museums Narratives Performing Arts Education Postcolonialism Cultural Identity Drama Taiwan Hong Kong Singapore

• Hong Kong
• Singapore
• Taiwan

• 1980s
• 1990-1997.6
• 1997.7 onwards

• 中學教育
• 專上教育

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programmes to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher-facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and rediscovered historical fragments, often neglected and even forgotten in the past. I argue that these process drama projects help the youngsters to reconstruct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programmes and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions.
[Copyright of Research in Drama Education: The Journal of Applied Theatre and Performance is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/13569783.2013.872433]

• 英文

期刊論文

• 13569783

• 10.1080/13569783.2013.872433

https://bibliography.lib.eduhk.hk/tc/bibs/37d2dc36

2014-06-30