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.
Intercultural theatre approach in applied theatre: A multi-case study approach in Las Ranas and TYPT: 05
Identity is to be different from other people but that self-definition is not recognized by others all the time. Globalization and the standardization of the diversity of culture in terms of a ‘melting pot’ is a cause from concern. This research aims to explore how intercultural theatre approaches can be used in applied theatre in the community, in a diversity of cultural settings by two case studies, Case study 1 – Las Ranas in Spiral and Case study 2 – TYPT: 05 in Talawa. The research data was collected by four methods: participant and non-participant observation, semi-structured interview and questionnaire. The result will show that the participants responded positively during working with diverse cultures. There were no insurmountable obstacles or barriers between each participant with regard to cultural and language differences. While no one tradition can link all those differences, and an intercultural theatre approach could provide diverse cultures with a platform for developing an individual’s potential. That fulfills the objective of applied theatre that it raises up the awareness, and empowers the participants. In conclusion, there is an interrelationship between an intercultural theatre approach and applied theatre.
“Teaching” Children to Play Theatre Games: A Collaborative Inquiry with a Student Teacher | DaTEAsia Vol. 4
In Hong Kong, early childhood educators have progressively emphasized the importance of play. However, it happens that play has long been seen not to be taught explicitly, or other it just to be taught to fulfill academic goals. Moreover, the promotion of play is also further hindered by socio-cultural factors and other general constraints in town. The authors, the teaching practicum supervisor (A1) and her student teacher (A2), believe that education reform should begin with teachers’ self-improvement, reflection and exploration of their classroom teaching practice. This paper has reported their collaborative inquiry on teaching strategies for children to play theatre games. The authors have borrowed the theories of movement instruction to tackle the children’s discipline problems arisen in the theatre games classroom. After reviewing and practicing the revised strategies, the authors, in turn, offer solutions to improve theatre game instruction in a new light by two strategies, namely decomposition of rules of games and the use of structured classroom discourse. As regard the student teacher, this collaborative inquiry has promoted improvement in relation to designing, demonstrating and skills guiding children to play theatre games, and other relevant teaching theories. At the same time, the author (A1) has been placed at a better position to comprehend the problems faced by novice and frontline teachers when using theatre games, from which she has further examined the content and methods of her teacher training.
Celebrating Playfulness in Theatre – and Reflections on the Development of Theatre Education in Hong Kong｜DaTEAsia Vol. 1
Confucius said ‘let us play with the arts.’ This notion of playfulness can well be construed as in the very nature of Chinese aesthetics. Furthermore, to make students enjoy learning through playing, to entice them to participate actively, is the primary responsibility of any teacher.
Playing has never been considered taboo in Confucianism; Dutch scholar Johan Huizinga has even suggested that the art of playing predates cultural activities. That children naturally learn from playing and that the Chinese have long used the classical theatre to develop collective ethical values are testimonies to the educational value of playfulness.