創意戲劇課程

ANG Chia-Yu
Chia-Yu is an experienced curriculum developer and teacher of Creative Drama for children and adults. He created and lectured at the Speech & Drama Program for kindergarten, primary and secondary school children at the Nanyang Academy of Fine Arts (NAFA),Singapore, where he served as Lecturer. He was also the chief designer of the Magical City Holiday Camp, a multi-performance arts camp for children, co-presented by City Radio FM95.8 and NAFA. In addition, Chia-Yu has developed curriculum for major institutions, including Communication Arts training for the staff of international hotel chains, Speech & Drama for the Young People's Performing Arts Ensemble and MediaCorp, and Cultural Intelligence for the Nanyang Business School MBA program. 
 
Besides curriculum design and teaching, Chia-Yu has also performed in productions in and beyond Singapore, including Good Woman of Szechuan (UCCS TheatreWorks, USA), Sunset Rise (Singapore Arts Festival 1999 & 3rd Chinese Drama Festival in Taipei), Love A La Zen (The Theatre Practice, Singapore), and so forth. As former Resident Artist at The Theatre Practice, Chia-Yu produced and directed numerous children's plays as part of the National Arts Council's Arts Education Program, including Calling the East Wind and 12 Imperial Edicts. Chia-Yu has been trained by international educators and artists, from Bruce Keller (Writing for Children), Dr. Zhang Shizong (Open Education),Debbi Fintak (Interacting with Shakespeare), Dr. Stan Lai (Creativity), to Kuo Pao Kun (Directing Workshop).
 
Dear Parents,
 
Very soon, following 16 hours of creative drama, your children will be appearing on stage to share their performance (approximately 6 to 8 minutes) with you. You may feel puzzled: How can my child appear on stage after only a few hours of training? Conversely, you might wonder: Why has it taken so long for my child to appear on stage? Whether you are among the former or latter, I hope I can make a brief introduction to the educational significance of creative drama through this letter.
 
(1) Using rehearsals to enhance students’ independent thinking.
Characteristics of independent thinking include: (a) An ability to rethink problems, that is, instead of taking problems at face value, to question problems and ask if they were the right place to begin with; (b) Metacognition, the ability to think about how one thinks and then to modify one’s mode of thought and practices. Drama rehearsals provide a non-judgemental, egalitarian space where students can trust and enter into independent thinking in open and carefree abandon. In addition, they may share their thoughts with others, unleash their creativity, offer new ideas, and implement them.
 
(2) Performance provides an open-minded, objective environment for assessment.
An ideal learning environment, in addition to centering on learners, knowledge, and community, should also center on assessment. Here, assessment refers to a qualitative assessment, and not assessment in the conventional sense of numerical grades. When children stand on stage, their strengths and weaknesses will inevitably be exposed to full view. Simultaneously, the children’s content of teaching in school and the manner of education at home will also be projected on stage. Yet, it is through this mirror imaging that school, parents, and students can enter into silent reflection. Through which, we learn more and deeply about one another.
 
As the saying goes, one minute on stage takes ten years of hard work off-stage. A mere 16 hours of training will not transform anybody into a superstar. However, with the educational goals of Wujiang Taihu International School in mind, 16 hours of creative drama aims to prepare a new platform for a child’s growth in body, mind, and spirit. So long as the three parties – students, teachers, and parents – can respect one another, interact sincerely, I believe we will improve together and see a better tomorrow to come.
 
Yours sincerely,
Chia-Yu Tang

 

唐嘉猷戲劇導師

嘉猷是創意戲劇實踐方面的資深課程編纂者和教師。身為前新加坡南洋藝術學院的講師,他設計並教導了為幼稚園、小學及中學學生開設的語言與戲劇計畫。他也是“魔奇城市假日營”的主編纂,該假日營是為兒童特別設計的多元表演藝術營,並由FM95.8城市頻道和南洋藝術學院聯合呈獻。除此之外,嘉猷也為數個主要組織編纂了課程,包括為國際連鎖酒店的職員設計溝通藝術的課程,為新加坡青少兒廣播演藝組和新傳媒設計語言與戲劇的課程,為新加坡南洋理工大學商學院的工商管理課程設計人文情報方面的教材。

除了課程編纂與教學,嘉猷也曾出演新加坡國內外的製作,包括《四川好女人》(美國UCCSTheatreWorks)、《夕陽無限》(1999年新加坡藝術節和臺北第三屆中文戲劇節)、《愛情觀自在》(新加坡實踐劇場)等。嘉猷曾在實踐劇場當駐團藝術家的時候,製作並執導了許多國家藝術理事會藝術教育計畫之下的兒童劇,包括《借東風》和《十二金牌》。嘉猷曾在國際教育家和藝術家之下受訓,其恩師包括布魯斯.凱勒先生(《給兒童的寫作》)、張世宗博士(《開放教育》)、黛比.費因塔克女士(《同莎斯比亞的互動》),以及賴聲川博士(《創意學》)和郭寶昆先生(《導演工作坊》)。

親愛的家長們:

很快的,在經過16個小時的創意戲劇課程之後,你們的孩子將站上舞臺,在你們的面前,分享他們的創作。此刻的您,或許滿臉疑惑-怎麼才上了幾個小時我的孩子就可以上臺了?;也或許您正信心滿滿-怎麼上了這麼久才讓我的小孩上臺?。不管您是前者,或是後者,希望我能借此短簽,讓您略微瞭解創意戲劇課程的意義。

1)利用演出的排練來增強學生獨立思考的能力。

獨立思考的最大特徵在於:甲)對問題重新思考-學生會選擇質疑問題,並且反問自己,處理問題的起點是否正確;乙)元認知-不斷地反思自己的思考,然後相應地調整思維和慣例。戲劇排練正好提供了一個無罪、平等的空間,讓學生們能夠無憂地、開放地進行獨立思考,甚至與其他人分享,發揮創造力,提供新的點子,並加以執行。

2)演出提供了一個開放、無私的評估環境。

理想的學習環境除了要以學生、知識和群體為中心外,還需以評估為中心。這裡所指的評估是品質評估,而非傳統的數量評估。當兒童在透明的舞臺上,他們的優缺點將毫無遮掩地暴露出來。相同的,導師教導的內容、父母教育的模式,都將透過兒童的表演,進行一場殘酷的挑戰。但是,也因為這樣的機會,讓三方(學生、導師和家長)默默地進行了一場深入心靈的溝通,讓彼此獲得更多的瞭解。

臺上一分鐘,台下十年功。短短16小時決無法將任何人轉變成一位舞臺巨星。但是,朝著培育身、心、靈健康的兒童目標的邁進,希望16小時能足以為此精神建立起另一個平臺。只要三方(學生、導師和家長)能夠尊重彼此、誠意交流,不只我們正在進步,更重要的是,我們一定可以見到更好的下一代。

祝 安好

戲劇導師唐嘉猷敬上