Archiving and reporting on the arts is just as important as the execution of artistic practice by itself.

The archival and recording of theatrical work may not be a part of creating the actual work, but it makes sure that theatrical happenings live beyond their ephemerality.

Careful recording and detailed reflections are extensions of the creative process behind any performance, educational program or workshop, and can become valuable learning resources for the entire field.

At TEFO, we’ve always been thinking about how to fulfill our responsibility to develop ourselves as a networking and consulting organization for other practitioners in this field, and we hope that the principle of “Shared Knowledge” can continue carrying us forward in this work.

Thus, we are continually working to strengthen our online database’s ability to gather, organize and preserve applied theatre practice here in Hong Kong, so that our field’s research, records and archives can inspire present and future generations of applied theatre practitioners.

Please note that our English database is still under construction, and there may not be as much content as our Chinese database. For more resources, please visit the Chinese version of our website.

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Hong Kong Masters and PhD Theses Applied Theatre Theory Youth / Adolescents

Drama as method : recontextualizing project learning for HK secondary schools

This doctoral study is grounded in the work of cultural studies and its concern for pedagogy and education. The study investigated a local pedagogical issue— Independent Enquiry Study (IES)—a specific form of social inquiry in the core subject Liberal Studies (LS) in Hong Kong senior secondary schools. It took a designated IES classroom as the point of intervention and as the basis for exploring transformed pedagogical practices in Hong Kong secondary school education.

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Journal of Drama and Theatre Education in Asia (DaTEAsia) Applied Theatre Forms Applied Theatre Theory Drama Education

Human Acts of Imagination: Drama and the Culture of Education|DaTEAsia Vol. 9

The “subject” of educational drama and theatre is what it is to be human, our focus is on the self. The self of course is socially constructed and as drama and theatre are social art forms, the relationship between self and society and society in the self is at the core of what we do. Form and content is indivisible, meaning making is paramount. How we learn, the philosophy and pedagogy that underpins the art form of drama, and the culture of education that nurtures it is therefore critical to everything we do.

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TEFO Resource Hub TEFO Publications Journal of Drama and Theatre Education in Asia (DaTEAsia) Applied Theatre Forms Applied Theatre Theory Drama Education

Advance Teaching Methods and Materials for Performing Arts Junior High School Teacher Education in Taiwan: A Case Study (Chinese)|DaTEAsia Vol. 9

The research purpose is to explore how to apply Rasaboxes into the junior high school performing arts teacher education and professional development to build a competence-based instruction module. Rasaboxes originates from the Indian performance theory, particularly emphasizing on body experience and emotion expression. Integrated with the Western Performance Studies and Drama Therapy, it has been applied into acting training, counseling, and education.

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Applied Theatre Theory Journal of Drama and Theatre Education in Asia (DaTEAsia) Drama Education Applied Theatre Research

Drama as Pedagogy for English Language Education in Neoliberalist Hong Kong: Reflections from Students’ Learning English Through Drama|DaTEAsia Vol. 8

The authors have observed from related literature and their own front-line English teaching experiences that neoliberalism is posing adverse effects on English language Education (ELE), affecting English teaching and learning at the classroom level in Hong Kong. To address the adverse neoliberalist influence on ELE, this paper examines the relations between drama pedagogy and ELE in Hong Kong. It discusses findings from students’ experiences with learning English through drama as delivered by their teachers who experienced the drama pedagogy for the first time through an in-service teacher development programme organised by Hong Kong Arts School (HKAS, 2016). The discussion is informed by the Freirean notion of critical pedagogy and drama as “relational pedagogy”. At the end of the paper, the authors reflect on the possibilities of a dialogical and humanising approach to ELE for drama practitioners, English teachers and educators in Hong Kong.

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Applied Theatre Theory Journal of Drama and Theatre Education in Asia (DaTEAsia) Applied Theatre Research

The Praxes and Challenges in Cultivating Applied Theatre Practitioners in Taiwan: Using the Creative Applied Drama Practicum Curriculum as an Example | DaTEAsia Vol. 6

This article discusses the rationales behind the design and implementation of the creative applied drama practicum curriculum in the Department of Drama Creation and Application (DDCA) at National University of Tainan (NUTN) as a case of nurturing applied theatre practitioners. It examines what effects and impacts students’ practicum in the form of community practices have on both the students themselves and the communities involved. The paper also analyses how the political economy and the culture of Taiwan interplays with the development of applied drama. It draws extensively from notions of ethics of care, relational aesthetics, dialogical creative theories and service learning to investigate how the design and implementation of the course has put theories into practice. Through the sharing of the curriculum practices, the paper attempts to invite and inspire more creative applied drama practices in Asia and around the globe.

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Journal of Drama and Theatre Education in Asia (DaTEAsia) Applied Theatre Theory Applied Theatre Research

NYU Forum on Educational Theatre | DaTEAsia Vol. 6

NYU Forum on Educational Theatre is the 13th annual forum held by the Program in Educational Theatre, NYU Steinhardt. The Forum attracted over 120 delegates from North America and Asia-Pacific regions, and a small attendance of postgraduates. There were about 70 paper and narrative presentations, and 50 workshops and performances.

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