Theater And Training

The teaching methods of the traditional educational system of our country have long seldom experienced significant changes. They are basically characterized by one-way knowledge implantation with teachers giving instructions and students following them. Thus, students'independent and creative thinking abilities are restricted. However, as many courses and training methods in the training industry of contemporary China keep abreast with the market demand and address practical problems, there is much in them that traditional educational and teaching methods can make use of. One of them is experiential training, which evolves around students and sets situations and experiences in line with students'actual conditions and practical problems. It stresses their personal involvement and practice and allows them to experience in the course of action and to perceive in discussion and reflection. There exists a natural connection between that training method taken in the course of students'action and drama using actors'action as its basic technique of expression.The thesis, which targets experiential training, follows the thoughts and methods of contemporary drama theories and educational drama. It adopts some of the training courses as cases taught by the two nation-famous experiential training companies, that is, Genesis Education Development Co., Ltd and Tophuman Technology Co., Ltd. It has attempted a thorough analysis of the implications and types of experience on the basis of field investigation, personal experience and multiple interviews, distinguished and described the four inherent factors of the two basic models of experiential training and revealed the internal relations between experiential training and educational drama.The thesis consists of five chapters.Chapter 1 begins with interpreting the meaning of"experience", makes a comparative study between the"experience"in theatrical performance and that in experiential training, then aligns the evolution course and theoretical basis of experiential training and finally comes up with its two basic models, that is, rational experiential training and emotional experiential training.In Chapter 2, the author, by referring to some relevant books and papers published in Hong Kong, Taiwan and other countries and regions, works out the development course and major forms of the educational drama. It is in that process that he has discovered the four basic elements and principles shared by educational drama and experiential training and thereby established the four perspectives from which he views and studies experiential training.In Chapter 3 and 4, the author has given an deep description of the two models of experiential training from the four aspects and his reflection over those models at the end of each chapter.Chapter 5 functions as a"summary", where the author has made a comprehensive comparison between experiential training, educational drama and the two models of experiential training, attempted an understanding of the relations between experiential training and educational drama on a higher level and a full grasp of those two kinds of experience and experiential training models.