This paper aims at describing and explaining how drama pedagogy is appropriated in Chinese language classrooms in Hong Kong. Drawing on the theories of dialogue and appropriation of Mikhail Bakhtin, the research shows that the dialogicality of drama in Hong Kong's classrooms is conditional, and therefore deviant from the conventional as conceptualised and described in the major literature. A spectrum of the appropriation of drama pedagogy in language classrooms in Hong Kong is developed and discussed. At one end of the spectrum, there is still the domination of the teacher's monologic input of official knowledge and skills; at the other end, destabilisation of the centrality of the text and the authoritarian role of the teacher is identified suggesting alteration in the classroom communication routine, and even the opening of the drama world. This spectrum illustrates how the teachers waver between persisting with monologue and embracing dialogue, the result of which is the development of a hybrid approach to appropriate drama pedagogy.
[Copyright of Pedagogy, Culture & Society is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/14681366.2010.505717]

Drawing on Mikhail Bakhtin's Carnival theory, this article focuses on specific outcomes of a research project the author undertook in Hong Kong, where drama pedagogy has been recently introduced into the official curriculum. It investigates the ways in which laughter, noise, jokes, frolic and popular literacies commonly appear in classrooms where teachers apply drama pedagogy. On considering the ways in which these phenomena remain unacknowledged and ignored by both teacher(s) and researcher( s), the author highlights the potentials of playful resistance and transgressivity afforded to students by drama pedagogy. The suggestion is that Carnival theory not only illuminates such phenomena but also challenges the emphases and assumptions of conventional epistemology and classroom discourse and offers a model to help us re-learn the unpredictability, plurality and openness to the production and distribution of knowledge that drama pedagogy can engender.
[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/10.1080/13569781003700078]