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.

In this paper, drawing on Bakhtin's carnival theory, I argue that teachers can play a transgressive role - similar to that of the carnival fool - by taking on a story role and by interacting with the children in the drama convention of Teacher-in-Role. The carnival notion of 'decrowning-crowning' allows me to understand how the teachers disguise and share their power in the drama classroom. Based on a lesson conducted in a Hong Kong kindergarten, I investigate how the teachers and the children's acting bodies, exaggerated emotions and transgressive props can materialise 'decrowning-crowning' actions. In the process, the teachers decrown themselves of their own authority, parody the given story and at the same time, crown the children to laugh, feel, respond and act freely. However, the mainstream ideology and educational culture prevailing in Hong Kong can regress in the process and serve to restrict, if not counterfeit, the decrowning-crowning process.
[Copyright © 2017 Pedagogy, Culture & Society.]

Drawing on Bakhtin’s notion of creative understanding, this paper aims to investigate children’s creative learning of drama education in a group of preschoolers aged 4–5 in a Hong Kong kindergarten. The research was designed originally to offer a case study to identify the emergence of creative learning during and after drama lessons, and investigate its relation to teaching. The field observations, however, noticed the contrary effect brought by a product-oriented and a teacher-centred approach of teaching. These approaches had strongly undermined the stimulus to imaginative and playful participation that drama education is able to generate purportedly. Not only had they restricted dialogic encounters in the lessons but also the feasibility of identifying children’s creative response emerging from within. These observations led to a shift of the study focus to the method and data of draw-and-tell, which was used to enable children to creatively re-imagine and retell their drama experiences as a concluding reflection. The findings were analysed in three categories, namely Characterization, Re-conceptualization and Transformation to illustrate children’s capacity and techniques of restorying drama experiences with their interest, knowledge, language and culture. The research process as well as the results of the study reveal a complex interplay between teaching, learning and researching affirming that a particular type of creative learning of drama education is not only shaped by a particular form of teaching, but also the research method.
[Copyright © 2016 Published by Elsevier B.V.]

This article documents the authors' reflections on a teacher professional development programme conducted in 38 Hong Kong primary schools on the teaching of English through Process Drama. The authors draw upon the views of school principals, subject panel head teachers, English teachers, students and parents in focus group interviews to examine the learning and teaching experiences at the heart of the Programme. These reflections focus on how Process Drama can enhance second language acquisition by accommodating more affective factors in learning, by stressing creativity and by shifting the didactic discourse in the classroom to one that is more authentic and less threatening and which encourages increased amounts of student talk. The authors describe how, based on the focus group interview data, a piece of Verbatim Theatre was created and used as a stimulus to elicit deeper reflective responses to the Programme. They also reflect upon the level of understanding of Process Drama's complex pedagogy and artistry demonstrated by those teachers new to it and consider what further research might help the long-term implementation of drama in Hong Kong classrooms.
[Copyright of Roeper Review is the property of Routledge. Full article may be available at the publisher's website:
http://dx.doi.org/10.1080/13569783.2011.617099]