Unlike the traditional language learning classroom, Process drama can create a much more enriching experience which is close to the authentic communication in life.

In this paper I will share my experiences as an educator and program designer coming from a classically trained Western theater background and how I have applied this training to ten years of educational work in the South China region.

As being afraid of making mistakes and shy of speaking English in front of others, most Hong Kong students are not willing to open their mouths during English lessons. Hence, speaking is their weakest aspect in language learning. Also, writing is one of the least welcome tasks as students always complain that they have no ideas to write and actually in my opinion, they don' t have any authentic reasons to write.

This paper summarizes and reflects upon a research project, based in Manchester, that has investigated an area of performance practice that has been developing and expanding in a remarkable variety of ways over the past two decades and yet is still relatively unrecognised and certainly under-researched. Often referred to as 'museum theatre' or 'live interpretation' or 'living history' (Bridal 2004, Hughes 1998 , Roth 1998), none of which adequately captures the characteristics or varieties of the medium, it is also a contested practice and the debate about its value and relevance are often heated.

"Crime of the 21st Century"; a brief introduction of the new play by Edward Bond acts as a leaping stone to bring forward the discussion of, how ARTS can intervene with and assist the evolution of education for the present time which ultimately determines the future on mankind.