The purpose of this research is to get a better understanding of the Creative Drama in education process. At the same time, we will assess the feasibility of promoting such method in kindergartens in Macau. We will further point out various difficulties we faced in our experiments of utilizing Creative Drama. In the end, the strategy and solution to overcome such difficulties will be proposed. This research applied the so-called “action research” method in which it focused on the behavior and reaction of eight senior students in the kindergarten over a period of three months. Such series were conducted twice and each time the documentation of the process includes video-taping, voice-recording and interviews. Those documentations can then be gathered, analyzed and discussed in great details. The major conclusions of this study are listed below: 1. The methods of creative drama education in the kindergarten a) the application of in body language in Creative Drama education: The primary step in Creative Drama education is mostly done in body movement. It is conducted in a group fashion to relieve a child from the anxiety of being a focal point in individual performance. This would enable the children to feel relaxed in creation, which results in self-satisfaction and self-confidence. The contents of body exercises include: motional exercises, fixed-location exercises, combinational exercises, mimicking exercises and regular motion. b) the application of mime art in Creative Drama education: The whole group of children follows the order of the instructor in doing mime art. They use their body language and facial expression to communicate emotions and actions. This will help the children to relate their imagination to their recognition. c) the application of story-telling in Creative Drama education: This method leverages the story-telling of some literature work. The children can gain language ability, social capability and art appreciation by way of role-play, conversation creation, props making and stage setting. The story-telling mainly involves in drama playing, conversation improvisation, props making and role play. 2. The design and application of Creative Drama One crucial point in designing such activity is that it should be based on the ability and experiences of the target participants. The simple activities can be arranged according to various interests of the children. And then they can be added up to either drama development or mime art playing. If we notice that there is some difficulty for a child to get involved, we should first find out the root cause of this symptom and then introduce additional activities accordingly. The examples of such supplementary activities are: assisting the children to perform detail observation of an object, or assisting the children to establish creation after systematic analysis. Two effective methods are “Teacher in Role play" and “Mantle of the Expert." These two education tactics can achieve multiple purposes: i) strengthening the interactions between the instructor and the participants; ii) inducing the discussion between participants; iii) triggers the reflections of the children; iv) assisting children to try to make decisions for themselves under safe and secured environment. This would help them to develop a multitude of capabilities and to establish critical appraisal. 3. The difficulty we faced in conducting the study of Creative Drama The process of doing Creative Drama involves body motion and role-playing, which requires certain amount of space. This may pose a problem since most classrooms in Macau have limited space. The solution is to move away the desks and chair in the classroom to maximize the available room. Another obstacle is the possibility of losing the children's attention along the way. This may be overcome by proactively paying attention to each participant’s individual mental picture. It is highly recommended to avoid conducting such activity when a child is extremely anxious or highly unstable. The duration of an activity depends on its own character and therefore there are no universal guidelines for that. Keywords: Creative Drama, Research in Action, Curriculum Integration, Drama Games, Dramatic play, Creativity.

本研究旨在了解創造些戲劇的教育理念，並探討在澳門幼稚園推行創造性戲 劇的可行性和方式。從實驗教學的過程中，所遭遇的困難進行反思，並尋求解决的策略與方法· 本研究採用行動研究法，以研究者所任教學校的八名高班學生為對象，進行 兩次行動為期三個多月的研究，並於每次教學時，將教學的過程進行現場錄影、錄音、訪談等方式，搜集多方面資料進行編碼，以便進行分析與討論。 在本研究得到主要結論如下: 一、幼稚園的創造性戲劇教學的運用方式 (一)創造性戲劇的肢體動作的運用 以最簡單的初階創造性戲劇多屬肢體動作為主，以集體方式進行，消除幼兒心理上的緊張情緒和表演的壓力，使幼兒在放鬆的心情下進行創作，較易產生樂趣和自信心。肢體動作教學內容包括:移動性動作、定點性動作、合併動作、模仿動作以及韻律動作。 (二)創造性戲劇的默劇的運用 全體幼兒可依教師的口令來進行，以肢體動作和表情傳達感覺，重於結合幼兒的想像和認知，強化幼兒肢體語言表達的能力、進行的方式。 (三)創造性戲劇的故事戲劇表演的運用 利用故事爲主軸，在欣賞文學作品的同時，亦可藉角色扮演、對白創作、道具製作、場境佈置等增強幼兒語言、藝術、社交等多方面的能力.故事戲劇表演主要涉及:戲劇化遊戲、對白創作、道具製作以及角色扮演。 二、創造性戲劇的設計與應用 在設計活動時，應以幼兒的已有經驗和能力作依據，把這些簡單的活動，配合幼兒的興趣，組合成一些戲劇遊戲作爲暖身活動，從而引導幼兒循序漸進地進 行默劇和故事戲劇的活動。當發現個別幼兒遇到困難時，應深入探討個別不同的問題，而安排一些輔作的活動，如引導幼兒進行一些實物的觀察，或進行有系統的分析等，幫助幼兒有效地進行創作。運用「老師入戲」和「專家外衣」的教學策略，可增強師生互動、引導幼兒進行討論、激發幼兒的思考，讓幼兒在安全的環境下，嘗試檢討自己决定的可行性。從而增強幼兒多方面的能力和發展幼兒的批判性思維。 三、本研究在創造性戲劇教學中所面對的困難 創造性戲劇教學活動的過程中會有肢體上的動作，以及進行扮演時，會包括走位，需要的場地可能會比較大，而澳門地區一般課室不會太大，但課室比較具 有安靜環境，容易令幼兒較為專心進行活動，有需要時可以搬開一些桌椅，增加可用空間。開展有關活動時，注意幼兒的精神情況，切忌在幼兒極度急躁不安情况下進行。活動所需的時間與活動性質有關，故需視實際情況而定，並沒有標準。因此本研究根據所得之結論提出建議，作爲幼教工作者，以及未來研究之參考。 關鍵詞:創造性戲劇、行動研究、課程統整、戲劇遊戲、創造力