戲劇教育自1980到1990年代輸入臺灣和香港的幼兒教育，作為一個課程改革的方法，過去多數研究集中在教學的實踐，很少以社會文化對照的角度分析這個來自西方的教育模式在地化過程。本文以「全球在地化」的理論，運用視像人種誌的研究方法，透過臺港兩地教學案例，探索與描述兩地幼兒機構進行戲劇教育全球在地化的實踐。研究結果發現，在戲劇教育模式、課程定位及教學方法等面向，臺灣具有調和、主軸及兒童本位的特點，而香港則是單一、邊陲與劇藝的特性。究其因多半和社會文化背景、教育體制、教師培訓和戲劇教育推動方式等方面的差異有關。另外，兩地戲劇教育研究員也從對話中找到可互相參考的全球在地化策略，做為未來亞洲國家發展戲劇教育在地化的借鏡。As a pedagogy for curriculum innovation, drama education was introduced to Taiwan and Hong Kong early childhood education in the period between 1980 and 1990. Previous studies have mostly focused on the use of drama education, but rarely looked into the localization of this western teaching mode from a socio-cultural perspective. Based on the theories of glocalization, this paper examined lesson samples from Taiwan and Hong Kong by visual ethnography to explore and describe the processes and modes of glocalization of drama education in the two regions. The results showed that with respect to the drama education approaches, curriculum positions and teaching methods, Taiwan implements drama education with a mixture of various approaches and views it as a child-centered, core practice, while Hong Kong uses it in a relatively homogeneous, peripheral and theatrical manner. This discrepancy mostly resulted from different colonization backgrounds, education policies, teacher trainings and ways of promoting drama education. In addition, through dialogues the researchers of drama education from these two regions have made reference to each other's strategies of glocalizing drama education, with which they may provide suggestions for the attempt to localize drama education in other Asian countries. Copyright © 2018 中華民國課程與教學學會.

「繪本融合習式方法」為香港幼兒教育日漸普及的一種教育戲劇的教學方式。本文根據讀者回應理論，建立「創意空隙」（creative gaps）的概念框架，提出六種不同面向及程度的創意空隙，以評估教學案中能給予幼兒重新想像、探索和重述故事的機會與可能性。作者提出，教師在設計教案時，應發掘繪本的創意空隙，以選配和編排適當的戲劇習式。本文藉研究幼兒教師與戲劇導師共同設計的20個教案，探討這模式在香港的實踐狀況。結果顯示，教學設計雖未能完全擺脫文本的束縛以開放地讓幼兒參與，但當中的創意空隙能引導幼兒進行多方面故事探索和重新想像。不過，以現實生活經驗來重創故事，討論當中的品德情意與社會議題的表現，卻未見顯著。本研究建議師資訓練多強調有關繪本和創意空隙的分析與應用的知識和技巧。The use of Conventions Approach with picture books has become a popular teaching mode of Drama-in-Education in the early childhood education in Hong Kong. Drawing on the reader-response theories, the author constructs a conceptual framework called ＂creative gaps.＂ This framework includes six aspects and gradations of creative gaps which aims to evaluate the opportunities and possibilities given to children to re-imagine, explore and retell the story in a drama lesson. The author argues that teachers should identify the creative gaps of the picture book when assigning and arranging appropriate drama conventions to teach. Through analyzing 20 teaching plans co-written by preschool teachers and drama artists, the author examines the practice of this drama teaching approach collected from eight preschools in Hong Kong. The results reveal that although the teachers could not totally break through the confinement of the original text for open participation, the creative gaps identified in their teaching plans could support young children to re-imagine and explore the story in various ways. Still, attempts were made to facilitate the children to re-create the story through everyday experiences and to discuss the social and moral messages in the story. In the end, the author suggests that teacher training should put more emphasis on the knowledge and skills about analyzing and applying picture books and creative gaps. Copyright © 2017 Author.

在香港，遊戲愈來愈受到幼兒教育工作者的重視。不過，人們一直以為遊戲不必教授，又或用來滿足學術的目的，加上社會文化與客觀條件的限制等種種問題，都令遊戲推行遇上阻礙。作者認為教育改革須從教師改善自身教學，反思和探究課堂教學實踐開始。本文報告一位實習教師（作者二）與其指導教師（作者一），就跟幼兒玩劇場遊戲的學策略，協作進行的反思探究。兩位作者借用了幼兒動作教學的理論來解決劇場遊戲帶來的課堂秩序問題，經反思及實踐後，提出分解遊戲規則和運用有序的課堂語言兩個策略為解難方法。這次協同探究能讓作者二在設計、講解和帶領幼兒玩劇場遊戲的技巧，以至相關教學理論方面都有所增長。至於作者一則更明白生手及前線教師使用劇場遊戲的困難，有助檢討師訓內容與方法。
[© 2013 Hong Kong Drama/Theatre and Education Forum Limited, Hong Kong.]