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TEFOzine

【Lesson Plan】English Teaching Plan: Look Out!|TEFOZine #9

The lesson plan serves two learning objectives. One is to enhance the language capacity of students and the other is to nourish the creativity of students. The lesson makes uses of the two strategies “Idea Association through Image” and “Forced Connections” which brings student through the creative process in creating a scene with basic information on who, where and what.

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TEFOzine

【 Lesson Plan 】How to Make Your Students C.L.A.P.? |TEFOZine #8

The following lesson plan takes advantage of this and uses drama conventions to extend the reading experience of kindergarten children, Not just literacy skills can be developed so as their problem solving skills, creativity and concept of the world. At the end of the theme, children present what they have leamt through multi-media arts including visual art, drama and even cooking!

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TEFOzine

Devised Theatre – A Trend? Or Just How People Usually Do Theatre|TEFOZine #6

Devised theatre has become so prevalent nowadays among theatre productions as well as in drama education in Hong Kong. The term ‘Devising’ is no longer rare or unheard of by theatre professionals and theatre goers.

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TEFOzine

【 Lesson Plan 】 A Lesson Plan on Learning English through Drama – “The Giant Who Threw Tantrums”|TEFOZine #4

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

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TEFOzine

Localizing Western Experiences of TiE / AiE Through Educational and Artistic Craft | TEFOZine #4

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.

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TEFOzine

【 Research 】Performance, Learning, Heritage – How Well Do They Mix?| TEFOZine #3

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.

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