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]
