Cross-disciplinary aesthetic literacy is becoming the built-in DNA of the new generation of teachers
Chen Yunwen, co-host of the Cross-Field Aesthetic Education Excellence Pilot Project
Since its launch in 2014, the cross-disciplinary beauty project has gone through processes such as "development", "deep cultivation", "promotion" and "transformation", and will enter the fifth phase of "diffusion" in 2024. Over the years, the seeds of cross-field aesthetics have not only spread in primary and secondary schools across the country, but many teachers in the art field and non-art subjects have worked together to create courses that combine knowledge and beauty. Starting from the third phase of the 2019 Since then, we have also invited professors who agree with the project concept to introduce a new perspective of cross-field aesthetics into the university’s teacher training courses, so that teacher trainees can start from experiencing, observing and learning the connotation of cross-field aesthetics courses, and gradually become able to participate in the courses The new force of education that embodies cross-field aesthetic literacy in design and teaching. In addition to the participation of professors majoring in art, they also work in different fields such as Chinese, social studies, mathematics, and information. They try to lead teachers in a cross-field structure guided by art and beauty. Pearson re-explores content knowledge and educational expertise.
My connection with the interdisciplinary aesthetic project began when I served as a course advisory committee member in the first term. I still remember my first visit to Beimen High School’s visual arts teacher Zhang Lizhong’s course that used scientific drawing to support biology studies. I was very surprised, but I also worried that the art field, which was originally at the edge of the school curriculum, would be in the cross-field process. , reduced to a teaching tool or strategy for other disciplines, further weakening its disciplinary status. I am very grateful to Professor Lin Xiaoyu, who has been the co-host from the beginning of the project, for clarifying my doubts at the time, allowing me to break away from the vision and individualism of the modern education subject view framework, and understand the cross-cultural education that starts from aesthetic experience and uses art as the intermediary. Field courses are actually an integrated curriculum that is humanistically oriented, reflects real experience, and supports the connection between school education and life. When teachers in different fields can discover beauty in their own subjects, they can even use art to elicit knowledge in teaching. With the beauty of beauty, it is possible for learners to, as the American educational philosopher Maxine Greene said, "lead to new viewing, listening, feeling and movement" in aesthetic experience, and gain "a cognitive, feeling, emotional, and imaginative whole." development" and "understand how your life relates to the world around you." Later, I was honored to become the co-host of the cross-field aesthetic project, and to accompany the project to explore and move forward, and thus get to know more teachers who are passionate about education and continue to work hard to promote better learning. During the exchanges, we share the concepts of relevant subjects and courses, the implementation process, results and reflections, expand each other's horizons, and gradually optimize the methods of course design and teaching. During this period, the drama-incorporated courses I developed for different units also benefited from the inspiration gained from participating in cross-disciplinary aesthetic projects, and their practical experience was turned into concrete cases that could be shared with cross-disciplinary aesthetic teachers.
I would like to thank Professor Shi Lanmei from the Department of History of the Normal University for inviting me for three consecutive years since 2022 to share my experience of "Using Drama to Inspire Historical Inquiry and Learning" with the teacher trainees studying "Introduction to the Social Field". The content of the lectures and course demonstrations seems to have made the teacher trainees curious and motivated to try the cross-field aesthetic courses. They have not yet entered the teaching scene and asked many interesting questions, reflecting the novice teachers' interest in integrating drama into history education courses. Imagination and reflection on design and teaching practice. I value each year very much and respond to it with caution. By juxtaposing the questions and answers from the three years, I can see that the teacher trainee students’ questions are becoming more and more in-depth and specific, and my replies may also have a positive impact on the cross-field cooperation of on-site teachers. Can be inspiring. I would like to share this article with you. It takes ten years to grow trees and a hundred years to cultivate people. Although the cross-field aesthetic project has only passed its first ten years, I optimistically believe that through the courses of on-site teachers in primary and secondary schools, as well as the professional guidance of teacher training and cooperative university professors, it will include "aesthetic thinking and awareness and reflection", "Design thinking and creative thinking", "artistic inquiry and life practice", "symbol recognition and context application", "digital media and network mastery", "artistic participation and social action", "cultural cross-domain and diverse interpretation" The cross-field aesthetic literacy, including , bringing learners a more comprehensive and innovative learning process that combines knowledge and aesthetics!
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
Questions and replies after sharing on April 29, 2022
Q1. When explaining historical events before the activity today, the speaker once said that because the students in the audience are from the history department, the explanation should be brief. I don’t know what kind of explanation and presentation the teacher will use for different objects and levels. Introduce it to them.
A:Although the lecture included interactive sessions, the focus was still on the sharing of some concepts and case introductions of integrating drama into history teaching, so documents that would require longer processing were not provided. In a truly "immersive" drama The documents that appear in the plot allow students to combine the acquisition of knowledge with the fun of improvisation in the process of using understanding and imagination to embody them. In addition, we can also first separate the "individualization" of historical events into a "universal" situation (for example: not directly entering the period of white terror, but restricting freedom of speech and thought, and eradicating dissidents) , allowing students to experience the conflicts and choices they may encounter in such a state, and then publish the information about the historical period they want to explore for further exploration.
Q2: I would like to ask the teacher how to arrange it if he wants to bring the content of the workshop format to the classroom. Because the content of the speech seems to be related to elementary school and extracurricular work, I am very curious whether this teaching method can be applied to elementary school students and how to arrange the curriculum more appropriately?
A:The necessary condition for a drama is not material elements such as costumes, makeup, props, etc., but the willingness of the participants to imagine together. Therefore, if you want to integrate drama into history teaching, the focus is on how to guide students into the drama situation and how to establish a connection between history and students. If we take the 45-minute period of a high school class as an example, the get out of class may be over soon after everyone has just entered the situation mentally. Therefore, it is recommended to arrange two consecutive sessions. In terms of 90 minutes, it is divided into three links: introduction (preparatory activities), experience (development activities), and reflection (comprehensive activities). In the introduction stage, the first step is to establish the connection between students and the situation. It can be some discussion or picture presentation about the overall view of the era/theme you want to explore. The experience stage is like the belly of the course, which is the core link that allows students to immerse themselves in the drama. By assigning tasks to the characters, students are guided from the long shot to the close shot, and in-depth analysis and presentation of the situations and choices of specific characters in that era. In the reflection stage, students are guided to establish connections between experience and knowledge, expand the depth of time, and explore the causes, processes, and impacts of social/political events of the era.
Q3. Integrating drama into teaching seems to require a lot of time. Will it be difficult to incorporate it into the daily curriculum?
A:The benefit of integrating drama into history teaching is to provide specific experience and emotional learning, and to open up space for historical reinterpretation. But it does take more time, and from the perspective of "providing information and knowledge", it is not an economical choice. As far as the curriculum is concerned, history teachers need to provide a certain level of learning content, and I don’t think every unit should incorporate drama teaching. It is recommended to select a few units from a semester-long course that are relatively complex or far removed from students’ modern experience that are difficult for them to understand, and allow them to gain deeper learning through dramatic role plays, situation simulations, and public hearing discussions. experience.
Q4. If there are not enough images or sound materials in the teaching content, how to design a course that requires sensory experience?
A:Since it is a "sensory experience" rather than a "historical reproduction", the focus is not on authenticity, but on the process of understanding and then imagining, embodying and obtaining actual feelings, so there is no need to be limited to the presence or absence of image or sound data. When presenting the characters and situations of the drama, the focus is on the credibility of the "attitude" rather than the details of the external image. The teacher's guidance should instead return to the understanding of human nature, interpersonal relationships, and social interaction.
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
Questions and replies after sharing on May 13, 2023
Q1. When cooperating with museum organizations, should students be informed in advance? (To avoid problems such as missing opportunities due to temporary leave)
A:There are many details of administrative communication in library-school cooperation. The general attendance situation in primary and secondary schools is different from that in universities. The focus of communication is not to harm the rights of students who are absent from class, but to arouse students' motivation through the fictional framework of drama and give them the initiative to explore and implement. The concept behind this course requires school teachers to jointly maintain this assumption of "believing it to be true".
When "Discovering Taiwan with Different Eyes" entered the class in the first week, the students knew that the teacher was from the museum. However, through the students' reasoning in the process, they "had" a visit to the Taiwan Museum in the second week to find out the truth. . When communicating with the teachers of the applying school in advance, ask them to give notice that there will be off-campus teaching activities on Parents Day, but the exact date and location will be reserved.
Q2. Hypothetical writing of hypothetical situations is subjective writing, and sometimes there are writings that are contrary to historical facts. How can we help students not to be misled when performing activities?
A:First of all, who has the final say in the so-called "historical facts"? Without returning to the historical scene, writing about historical events is likely to be like a blind man touching an elephant, each saying what he knows, but not the whole truth. It may also be rewritten due to different positions or priorities...
If history is not dramatized, but explored in an immersive way, the advantage of using drama in history teaching is that it can guide students by switching from a third-person omniscient narrative to a first-person perspective or a second-person dialogue. Combining emotion and cognition, explore different people/positions/views in the context of past events. In this model, imaginary situations and spokespersons help catalyze students' personal feelings about historical events, and the depth of students' inquiry and reflection depends on the teacher's choice of "event-related people," "viewpoints," or "time points." ”, as well as supplementary information or guided discussions before and after.
Usually, after students present their presentation, I will provide the version of history that is currently known to most people for reference. The "gaps" that are inconsistent between the two, or why some people's views are absent or amplified/hidden, are instead The historical inquiry method provides excellent learning opportunities: not only caring about who/where/what who happened where? How did it happen? Why does it happen? Also concerned about: whose point of view/version is this so-called "historical fact"? How said? why why do you say that?
Q3. I feel that the activities and teaching strategies shared by many teachers in the second half of today require the guidance of professional teachers and are not easy to implement in ordinary classrooms. I would like to ask if there are any simpler methods or strategies to use?
A:Integrating drama into history teaching, in-depth exploration, digestion and transformation of historical events, the establishment and maintenance of dramatic imagination, guidance and response in the process, indeed require professionalism and experience. The most basic elements of history and drama are people, time, and space. For novice teachers, the general directions that are easier to get started include:
*Try to convert the direct sentences of historical narratives into interrogative sentences and substitute different subjects: "What might be possible if..."
*Encourage students to discuss and visualize or bodyify information or ideas; in addition to text and images, body x spatial distance can also be used to deduce the relationship between the parties involved.
* From the person, time or place, capture the key links of the historical event from the cause, process to impact, let each group take on different scenarios, present them simultaneously or according to the timeline, and discuss them in depth.
Q4. Thank you for your hard work. There are many excellent teaching cases shared in today’s speech. What I want to ask is, if the students cannot resonate with specific topics (such as the history of indigenous peoples), what kind of bridge can be provided?
A:Building bridges for students is indeed something that any educator should keep in mind, especially if you want students to be engaged in the learning process. Broadly speaking, teachers should try to find a "brotherhood" that is close to students' knowledge/experience/interests from the knowledge they want to teach, so that students can use the known to explore the unknown.
History is the manifestation of human experience and its eternal return. If the unit is about Sakiraiya "disappearing" after the Tagu Lake incident, maybe before getting to the point, you can ask the students if they have ever been unable to publicly admit their identity. The experience of speaking your own language and having to live under someone else's roof, imagine what impact that might have on your life? Games are also often used in drama teaching to break down learners' defenses, as shown in "The Wind Rises." Qilai Plains" allows participants to transfer from the somatosensory experience of the game to historical events.
Q5. How to grasp the essence of history and the content distribution of drama, and how to prevent students from putting the cart before the horse too much in the process of designing lesson plans, and still be able to learn the essence of history?
A:Here, drama serves history teaching as an activation teaching strategy. The vividness of drama is indeed helpful for students to have a deeper understanding of more complex historical events, or to explore important unresolved moments, but it may not be suitable for each unit or the most beneficial teaching method for a specific unit. If students are required to perform historical performances, Spending a lot of time writing scripts and rehearsing, it is even more distracting. It is recommended to use the history unit as the basis and intersperse the "3." suggestions at appropriate times to allow students to present their interpretation of the event through group discussion and simple preparation (improvisation) within 10 minutes. The focus of teaching is on the discussion that follows the dramatic transformation of information.
Q6. When drama activities are carried out, it not only stops at telling historical facts, but also opens up students' imagination. Is it possible that when students are allowed to learn experiences and outputs, they deviate from the actual timing and historical facts?
A:When integrating drama into history teaching, it is recommended to adopt the unit structure of "Introduction - Drama Experience - Reflection". In the introduction stage, the teacher can first provide background information or ask important questions; in the drama experience stage, students' imagination is opened up, which is intended to evoke the "emotion" of history learning. ; In the reflection stage, in addition to guiding students to give feedback and discuss on the previous stage, the teacher also has the responsibility to connect the aforementioned experience with history and add a correct and complete context to meet the learning objectives.
Q7. When the teacher finally answered the questions shared in the last lecture, he talked about the introduction stage, but I think this is the most difficult part. How to get students to put down themselves, put down their mobile phones, and get into the role?
A:Drama is based on shared imagination, and the introduction stage includes allowing participants to suspend their doubts (suspension of disbelief) and establishing context (context-building). When teaching pure drama, I will spend time establishing a class contract at the beginning of the semester so that everyone can establish a sense of identity and security in the course. I also often use different ways to start drama (such as using music corresponding to the situation to create an atmosphere , prepare objects that respond to situations/characters or use brainstorming methods to arouse motivations...). I don’t have a standard answer, but you can try to imagine from the perspective of a student, what kind of method will arouse your curiosity, or make you have to put down your phone? (For example: setting a task that needs to be completed by an individual)
Q8. Regarding the relationship between narrative, drama and history at the beginning of the class, I think that although each group has different views, they all have their own reasons. I would like to ask the teacher if you have a more clear or concise explanation.
A:I also feel that the arguments made by each group of students are reasonable and can be established.
For me (you may disagree), humans are storytellers and are accustomed to using narratives to sort out their experiences. Narratives may be passed down through different means such as oral tradition, writing or body. The medium used in oral transmission is language. The content, tone, and tone of the transmission often vary from person to person, maintaining a certain degree of openness. The text retains the "original", which on the one hand fixes the content and on the other hand facilitates versioning. Compare and contrast; bodily narrative mobilizes the most expressive media and is most conducive to "reproducing" events. No matter which one it is, the content of the narrative must go through a selection process, and what we hear is not equivalent to the full picture of experience.
History is one of the forms of narrative. In addition to mainly written records, it usually also tends to be a grand narrative from a macro perspective; oral history is a contemporary supplement to the holes of grand narratives. Drama "performs" rather than "tells" events in the present tense and dialogue; when drawing from historical materials, it is like breaking down the big narrative into small narratives for the protagonists, and the media used are different, and there are bound to be many Increases and decreases.
Q9. I am very grateful to the teacher for sharing this week. I would like to ask if the teacher can share the briefing used today, because it mentions a lot of actual teaching situations, and some of them seem to be useful for future reference.
A:The content of the briefing does not include the complete context and theoretical basis behind it. If you are interested in drama teaching, please refer to it.https://independent.academia.edu/YunwenChen
The content shared includes cases such as "Yang Kui", "Mori Chou Nosuke", "Qilai Plain" and other articles shared in class.
Attached is the Taiwan Museum case link "Cultural Experience Course Teacher's Manual: Discovering Taiwan through Another Eye (e-book)":https://reurl.cc/Egpmnn; "Drama leads the way, experience culture in museums":https://ed.arte.gov.tw/uploadfile/periodical/4193_郭元興.pdf
Q10. Are there any scruples about the content of post-war history, especially political history? Personally, I think that the process of interpretation through drama may require more preparation in advance, and the scope of the students' performance results must be limited first, such as having fun when interpreting the painful experience of the person involved.
A:History allows people to learn from the past and learn about the past, and I believe that "seeking truth" is a very core value of history education. In an authoritarian country/era, it is understandable to have concerns about the teaching of political history, but in a liberal and democratic country/era, if self-censorship is used, will it also obscure/limit students' horizons towards history? 5/12 mentioned that my high school history teacher (and her husband) were "suspicious elements" who were highly monitored by the "Ren Er Chamber" during the martial law period. During that era, she added documents to help us understand that they are different from Cheng Wang The defeatist's unilateral narrative provides other viewpoints and allows us to retain the freedom to think independently and make value choices (she said: "Choose what you love, love what you choose"). I believe you can also come up with good ways to make history teaching a meaningful and inspiring career!
You can notice the "ethical" perspective of the drama's interpretation of history, which is very mature and cautious. When using drama in history teaching, the creation of situational atmosphere does require attention and reminder. However, drama is based on the body and summons more physical and emotional experiences than language. If the whole class is immersed in pain, although it is impressive, it may ignore the subsequent impact on the learners' body and mind. Therefore, I usually intersperse some "lighter" situations in the process and inject some opportunities for comic relief; let students interpret from the perspective of the third person instead of the first person; or use language-free dialogue , but it is presented as a still image (still image) that highlights the modality of the parties through body posture and expression.
Q11. I would like to ask whether the lecturer has used other materials, such as movies and TV shows, to assist students in bringing students into the situation, besides telling stories themselves?
A:I usually don’t introduce situations from movies and TV, mainly because movies and TV have already done all the elements, plus there are usually entertainment business considerations. Once a certain impression is formed, it will easily limit the learners’ understanding of the situation and the situation. The imagination of the characters; and imagination is the first step for learners to establish a connection between themselves and the story and then create meaning. If you want to use film and television to bring into the theme, it is recommended to lead students to discuss and deconstruct from "this is just an interpretation perspective" and "find faults", and then reconstruct the situation together.
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
Questions and replies after sharing on November 15, 2024
1. Teaching related
Q1. How does drama course arouse students' learning motivation? Beyond this, are there other ways that could also be applied or incorporated into history teaching?
A:Drama is a comprehensive art that contains many different elements. When used in teaching, the teacher can choose the ones based on their own abilities and time, space and other conditions. In addition to using the "objects/files/documents" examples in this lecture and setting up puzzle-solving situations to gradually bring out the larger context, you can also select key figures and their interpersonal networks in historical events to understand human nature from the perspective of , to explore the gaps that have not been explained in historical writing, you can also use the role play of "process drama" and the experience of "body sense in space" (please refer to the case of "Uchimotoro Process Drama Camp" led by teacher Su Qingyuan:https://youtu.be/N20NaDUQu-I?feature=shared) and reflection to explore the causes and consequences of historical events.
Q2. For middle school students, how to integrate drama into history education and convince middle school students that this way of learning is meaningful?
A:First of all, it should be noted that drama is only one of the teaching strategies in history education. It helps learners connect with history from an emotional perspective and develop the ability to interpret and re-evaluate history from multiple perspectives. However, when teaching in schools Under the constraints of numbers and schedule pressure, it is impossible to focus on drama in every unit. If you are well prepared, the processes from "setting up the situation", "experiencing the process" to "reflecting and discussing" are interlocking to create "feeling" and (as far as the learner is concerned) "meaningful" learning. Spend time persuading.
Q3. How do teachers consider and design drama integration courses that meet the difficulty level of middle school students?
A:As with any learning area, learning tasks that are too easy or too difficult can cause learners to be less motivated to participate. When drama is used as a teaching strategy to serve history education, the so-called "difficulty" should not lie in the adjustment of drama skills, but in designing the complexity of situations in which learners can engage from the depth and breadth of historical inquiry and learning. In the relatively young learning stage, all learners may be different individuals in the same group (please refer to Xu Ruifang's setting of learners entering the play in "Opening the City Gate in 1895":https://www.govbooks.com.tw/books/1821 ). At the middle school level, I think that in addition to allowing learners to assume different roles and allowing different positions to be expressed and confronted with each other, what is more important is the questioning, reflection and literature review during and after the drama experience (please refer to Rhapsody Theater's "Extraordinary Appeal" 》:https://www.fantasytheatre.tw/works/?p=23), allowing learners to discover what is “not taken for granted” and remain curious or doubtful about phenomena and history. In other words, the use of drama in teaching is not to answer questions or strengthen historical memory, but to ask questions and inspire.
Q4. When drama presents historical figures, how does it handle the characters’ multiple identities and positions in just one or two lessons?
A:Drama is not a panacea, and teaching cannot be all-encompassing. Smart choices are the key, and the choice of course goes back to the teaching objectives of the unit. Drama as a pedagogy values the process of inquiry that engages the classroom as a learning community in which one is physically and emotionally involved. It is necessary for teachers to conduct sufficient research and analysis before class. A large amount of information is not given to learners at once, but is divided into processes according to the "psychological distance" between learners and the situation/role, and is gradually added so that they do not have to worry about what they see later. Rather, it is like historical characters "living in the present and not knowing the future", thinking about and making choices about the situation; the drama does not necessarily need to always advance along the timeline, it may stay at the same point in time and explore different characters in sequence/ position situation. Simply put, the part of integrating drama into teaching in the classroom can focus on conflict points where history may diverge/turn.
Q5. In the teaching process that combines drama and history, how to promote students' emotional resonance with historical events based on their interests, and then trigger their reflection on the connection between current society and history?
A:Drama is an art that values "moment empathy" and "living", and planning only accounts for part of the impact of courses. The real key lies in the teacher's ability to respond and ask questions at the teaching site. If the teacher has a positive impact on the learners and on History, lack of curiosity about the real world, even if drama is used as a teaching tool, it will be a "dead" course. I think if teachers only serve the interests of learners or subject goals, they will easily feel confused or frustrated. What is more important is to ask what the meaning of history education is to them and what role they want to play in history education. The clarification of the why values, beliefs and what meanings of history education precedes the inquiry into how teaching methods. That is to say, first go back to yourself and ask how historical events trigger your own emotional resonance and reflection on current society/history, and then turn to design courses that can inspire learners.
2. Student participation
Q1. If the drama performance itself can increase students' motivation, but how to control the course goals without causing deviation?
A:Drama teaching is about giving freedom of inquiry and expression within a framework/restriction. It is possible for teachers to set clear situational constraints when designing courses, give clear task objectives when teaching, and rigorously and sensitively guide learners to focus and control time. It does take experience, though.
Q2. I would like to ask the teacher if he has ever encountered students with poor willingness to participate or poor cooperation when teaching drama? How to avoid or face this situation?
A:The imagination of drama is based on "temporary removal of doubts/mutual belief", and the spirit behind it is freedom and voluntariness. Therefore, drama teaching attaches great importance to the establishment of a class contract for joint participation in drama through collective negotiation. When drama is integrated into history education, there may not be so much time to coordinate a class contract, but just as the location/distance of people participating in historical events is different, different ways of participation can be envisioned/provided for learners, such as: someone becomes a historical figure in the play, Some are reporters from the same time and space, some are historians, and some maintain real identities. When the goal of receiving history education is not to strengthen a single point of view/value, but to open up diverse thinking and debate, and allow learners to participate in different ways and express feelings and ideas, perhaps there is no need to worry so much about the issue of coordination.
Q3. Case sharing in the classroom not only has historical significance, but is also easy for students to resonate and think about. However, if you want to know about controversial historical events or activities that may cause students to experience pain, , how to control the depth of the drama?
A:Drama calls for emotions, and "identity" and "distance" are indeed things that must be considered and chosen again and again when designing any participatory drama; if the participants do not identify enough, the emotions will not come out, and if the distance is not enough, there may be an emotional hangover. The general principle is to remember that teachers who use drama do not want to manipulate learners' emotions. Drama is only a means to history education, not an end. They should be sensitive to the learners' state and advance or call "stop" when appropriate. "Distance" may be achieved through a brief consideration of emotions (for example, using a freeze-frame method to focus instead of engaging in more sensory situational skits), the interruption of the situation (stopping before the conflict outbreak point), and the choice of person's point of view (the third person, rather than first person) and other different ways.
3. Challenges
Q1. I would like to ask if the lecturer has encountered any difficulties in the design process or execution of the class?
A:The entry point of drama and the management of teaching time are always challenges. I once faced the dilemma of design failure when faced with unfamiliar groups or because learners’ prior knowledge/experience was too different. The learning from experience is that you don’t need to overcrowd the course. Only by leaving appropriate blank space can you have enough room to grasp the current situation, allowing learners to enter the situation step by step with a reasonable teaching rhythm, triggering imagination, emotion and thinking resonance.
Q2. If the teacher does not have a background in drama, will there be any implementation restrictions if he wants to combine drama with history teaching? Any suggestions for this problem?
If teachers themselves do not have a professional background in drama, will there be any limitations in implementation if they want to combine drama with history teaching? Any suggestions for this problem?
A:Everyone can change tricks, and those with rich knowledge/experience will definitely be able to create more tricks in course design, and their ability to adapt to situations will be better. If you are interested in the application of drama in teaching, you can not only refer to relevant publications and master's and doctoral theses, but also pay attention to someSchool(For example: Department of Drama Creation and Applied Studies, Tainan University https://drama.nutn.edu.tw),troupe(For example: Silele Theater/Yue Cui Fang https://funlearningworkshop.weebly.com/),center(For example: Arts and Life Subject Center https://Arts and Life Subject Center/ Taiwan Applied Drama Development Center https://www.catt.org.tw/ ) Managed learning/sharing activities, self-learning and improvement.
