“Transformation – that is what the actor’s nature, consciously or unconsciously, longs for.”
– Michael Chekhov
轉化─是演員的本質有意識或無意識地所渴求的
麥可．契科夫
A 3 1/2-year part-time course三年帶狀課程
with David Anderson and Yuanrong Liao Anderson of Walking the dog Theater
由大衛．安德森與廖圓融帶領（Walking the dog劇團）
We are all on a path of transformation. We can take up this process consciously and actively through our will, which will awaken our feeling life and clarify our thinking, or we can let the situations of life force the necessary changes or growing upon us. Both options move us forward and both are happening already. This course offers an opportunity to make these inner processes conscious and to recognize that when we can creatively participate in these processes, a richness of life can open up for us. Our conversation with the spiritual or archetypal world can deepen. We begin to sense that where we are evolving, the world is evolving.
我們都在轉化的道路上。藉由意志，喚醒我們的情感生活並讓思緒清明，主動而且有意識地經歷這個過程；或者任由生命中的事件令必要的改變和成長發生。這兩種方式都讓我們前進，而且都已發生。這門課程能讓這個內在過程有機會浮上意識層面，同時也提有個機會讓人明白：若能以創意性的方式投入這個過程中，生命的精彩豐富便會為我們開啟，而與靈性或原型世界的交流得以深化。我們開始感知：世界也在我們進化之處進化著。
As human beings we play and act our daily lives using the elements of drama. These elements – movement, gesture, speech, atmosphere, space, image, language – shape our environment, our relationships, and the process of our becoming. They are the tools of our transformation and illuminate our path. How we use these elements determines the forces and energies that enter our lives and attend our work. In this course we will look at how we can become more aware and creative with these elements and forces, and how they might lead us toward a richer experience of being alive.
作為人類的我們會利用戲劇的元素來演繹日常生活。這些元素－肢體動作、姿態、演說、氛圍、空間、圖像、語言－形塑著我們的環境、關係和轉變過程。他們是轉化的工具並照亮我們的道途。人們運用這些元素的方式決定了進入生命和工作中的能量和力量。在課程中我們會談到如何覺察並且有創意地運用著這些元素和力量，以及他們是如何引領人們邁向豐富的鮮活體驗。
These elements have both outer and inner aspects. The drama work can help us to open up to these aspects, to understand the unique relationship between them, and to unite the inner and outer in our experience of life. The course is open to adults at any level of dramatic experience. It is an opportunity to clarify our perceptions and to deepen our understanding of how we express life and how life expresses itself through us.
這些元素有外在和內在層面。戲劇工作能協助我們拓展這些層面，瞭解彼此之間的獨特關係，並將內在和外在統整入我們的生命經驗裡。這門課是開放給成人，不限戲劇經驗。透過這個機會可以讓認知變得清晰並深入瞭解我們如何表達生命，而生命又是如何透過我們訴說著自己。
We are born with certain senses built into the body and they develop unconsciously. Other, more artistic senses – a sense of ease, form, beauty, wholeness, balance, meaning, connection, for example – might never develop unless we consciously create a context for these senses to work. This course will awaken and engage these artistic senses as well as our 12 senses.
人生來體內就有特定的感官無意識地發展著。若要其他較為藝術性的感官－諸如輕易感、形塑感、美感、整體感、平衡感、意義感、連結感等等－能夠發展，我們要有意識地創造範疇讓這些感官運作。這門課會喚醒並圍繞著這些藝術感官和十二感官進行。
Ideal for actors and creators of all kinds but also for anyone interested in developing a deeper experience of his or her human potential. This work has supported teachers in the art of teaching, business leaders in improving the impact and quality of their communication and their leadership, coaches in sharpening their perception of what is needed and strengthening their ability to facilitate team work, and those seeking practical tools for enriching their inner work, self-development, and meditation.
這門課適合給演員、各類的創作者，也適合任何有意想對自我潛能開發深層經驗的人。這個訓練已經協助了：教師的教學方式、事業領導人改善他們溝通的成效和品質和領導力、教練能夠敏銳地辨別局勢並加強建立團隊合作的能力；以及尋找實用工具來充實內在鍛鍊、自我發展和靜坐工夫(冥想)的人。
The course will explore the Michael Chekov Acting Technique and draw inspiration from Rudolf Steiner’s picture of the evolving human being.
這個課程將會探索麥可．契科夫的戲劇技巧並擷取Rudolf Steiner對人類演化圖像的靈感想法
Michael Chekhov investigated the interplay between psychology and body, between the ‘tangible and intangible’. He developed simple and clear tools for the actor, based on the powers of Concentration and Imagination, Sensation, Quality, Archetype, Archetypal and Psychological Gesture, Imaginary Center, Imaginary Body, Radiating and Receiving, and Atmosphere. Going beyond personal experience and intellect, Chekhov’s exercises open doors to our own creative individuality and to a vibrant experience of the archetypal world. The course will also cover: qualities of movement, the relationship between outer physical movement and inner sensation, center and periphery, characterization, presence, improvisation and ensemble work, and Chekhov’s Nine Basic Exercises. The Chekhov technique leads the actor toward an objective understanding of the human condition.
麥可．契科夫研究了生理和心理、無形的和有形之間的交互作用。他發展了一套簡單而明確工具給演員，當中運用了集中、想像、感知、品質、原形、姿態、想像中心、身體想像、發散和接受，以及氛圍的力量。麥可．契科夫的練習超越了個人的體驗和智性思考，開啟了一扇門通往我們的創意本性和對原型世界的鮮明體驗。課程同樣也會探討：肢體動作的品質、外在肢體動作和內在感知間的關係、中心和周遭、人物刻畫、動作展現、即興創作、群體工作，以及麥可．契科夫九個基礎練習。該技巧能讓演員以客觀的角度瞭解人體狀況(人類條件)。
Rudolf Steiner’s artistic impulses have led to a renewal in many arts. The course will focus particularly on his contributions to speech, drama, and movement.
Rudolf Steiner的推動力已在許多藝術方面帶來復興。本課程會特別聚焦他對演講、戲劇和肢體動作帶來的影響。
Year I 第一年
Freeing the body and opening the soul / Preparing the actor
釋放身體並開展心魂／為「演員」做準備
In working with the body and voice, and the qualities that can be discovered with them, the first year will focus on awakening our own artistic path, not only as a means of self-expression but as a means for perceiving and understanding the unique context of our life. Movement, gesture, and speech will become means for revealing qualities and strengthening our awareness for how life moves in us. They will bring consciousness to our soul and body habits. The work will include storytelling, image, and poetry.
透過對身體和聲音的鍛鍊以及隨之發現的特質，第一年的焦點在喚醒我們自己的藝術途徑，不僅僅是作為一種自我表達的方式，更是認識和瞭解我們生命獨特範疇的手段。肢體動作、姿態和演說會是顯現特質的方式並讓人更醒覺生命是如何在我們之中移動。這會讓我們覺知心魂和身體的習慣。課程練習內容包括了說故事，圖像和詩歌。
Module 1: Introduction單元一：導論 (入門)
Strengthen the inner life and the outer expression of it強化內在生命並以外在形式呈現
Basic exercises will: develop a sensitivity to qualities and to the streams of life, and an ability to radiate and receive; enhance a sense of form and sensations of freedom, ease, stillness, and beauty; and awaken awareness for the movements, expressions, and processes of the inner life. This introductory training makes the body finer and more sensitive, the inner experiences clearer, and deepens the actor’s understanding for the potential and limitations of his or her instrument. In this week we will also begin to develop the ensemble – a sense of the group and its process together. We will recognize that our social process together – the substance that we build together as a group – will be one of our core teachers.
基礎練習包括：培養對品質和生命流的感受力和散發與接收的能力。加強形式感和對自由、輕易、寧靜和美的感知；喚醒對肢體動作、表達和內在生命過程的覺知。這個引導訓練讓身體變得更為細膩和靈敏，讓內在經驗更為明確，讓演員進一步瞭解他的身體這項工具的潛能和極限。在這一週我們也會開始發展整體的概念－群體感和群體的過程。我們會一起認出社會性的歷程－這是我們作為一個群體所建立的物質－這會是核心的教導之一。
Module 2: Storytelling and poetry單元二：說故事和詩歌藝術
Deepening the exercises will open up new layers of experience and expand our capacities. We will turn these capacities toward the art of storytelling and to the speaking of poetry. This will include work with image, imagination, sensation, concentration, and the power of inviting substance into the space. The group will also begin to recognize that the substance between them, which they consciously create together, can become a powerful creative force. We will sing. We will also grow in our understanding that through the act of speaking we become co-creators of ourselves and the world. We will continue to broaden the vocabulary of our inner languages through drama exercises and play.
練習的深化會開展新層次的體驗並將我們的能力擴張。我們將這些能力轉向說故事和詩歌朗誦。這方面包括和圖像、想像力、感知、注意力的訓練以及邀請物質進入空間這方面能力的訓練。團體也會開始辨認出他們之間有意識共同創造的物質會成為一股強有力的創造力量。我們會唱歌，也會進一步明瞭，言語讓我們成為自己和世界的共同創造者。我們會藉由戲劇練習和演出持續拓展內在語彙。
Year II第二年
Becoming a vessel / Calling upon imagination and inspiration
成為管道／呼請觀像和靈感 (喚醒想像力和靈感)
In the second year, the work will turn towards exploring how the awakened body and soul can become a vehicle for encountering “otherness” and archetypes – a more universal, less personal, experience of life through our body and soul, which can feel like meeting something bigger than us. We will look at ways to free the power of our imagination, an essential element in any creative process. The work will include elements of character building, scene work, and improvisation. We will also deepen our capacity to listen: to others, to what is speaking in the space we inhabit, and to what might arise in us as a necessary response. The ensemble work will begin to reveal how the substance between us can take us beyond what we could do before, both individually and as a group.
到了第二年的課程，課程訓練轉向探索覺醒後的身體和心靈如何能成為一種媒介，讓人遇見“異於我的其他品質”和原型－這是一種較為普世性、較少個人化、透過身體和心靈感受的生命經驗－這感覺像是遇見比我們更偉大的存有。我們會探討一些方法來釋放想像力量－這是在創造過程中的一項基本元素。我們的訓練會包括性格建立、情境訓練和即興創作。我們也會加強傾聽的能力：聆聽對方、聆聽我們居住的空間中的發聲者、聆聽那有如必要的回應在我們之內昇起。群體的工作會開始顯現出人我之間的物質如何能帶領我們超越過往，不論是個人，抑或是整體。
Module 3: Character and gesture, scenes from A Midsummer Night’s Dream單元三：角色性格和姿態，仲夏夜之夢的場景
A continual deepening of the exercises will show new possibilities for creative expression. Our work will turn toward tools for building character: imaginary centers, imaginary body, qualities of movement, the four elements and the four temperaments. These qualities live in us already; we will learn to make them more free and creative.
持續不斷地將練習增加深度可以為創意表達展現新的可能性。我們的訓練會轉向性格建立的工具：想像的中心，想像的身體，動作的品質，四個元素和四種氣質。這些特質已在我們之內，要學習的是讓這些特質更自由而且富有創造性。
We will distinguish the differences between actor and character, and develop the ability to step in and out of a full and alive character. This will also help us to make more conscious the “character” we play in life.
我們會區分演員和角色間的差異，並培養在完整而且鮮活角色中進出的能力。這也會讓我們更意識到在生命中扮演的“角色”。
We will explore gesture – the physical revelation of my relationship to the world and the invisible soul movement that colors everything a person does or says. Work with archetypal gesture and psychological gesture show us how form and qualities of movement conjure the life of feeling and will.
我們會探索姿態－這是一種肢體上的呈現，代表著自己跟世界的關係以及妝點著人們一切言行的隱性心靈運作。原型姿態和心理姿態的練習會讓我們看到動作的形式和品質如何讓情感和意志生活出現。
We will also begin to explore the realm of color, introduce improvisation, listening exercises, especially working with music, archetypal character, and our work with Speech will focus on the Greek gymnastic exercises: running, jumping, wrestling, javelin, and the discus.
我們也會開始探索色彩領域，導入即興創作，聆聽練習，特別是探討音樂、原型性格，而我們的演說訓練會聚焦在希臘體操：跑步、跳躍、角力、標槍和鐵餅。
Participants will continue their work on poetry and also begin work on dramatic monologues and scenes from Shakespeare’s A Midsummer Night’s Dream. Some groups have chosen to share their poems, singing, improv, and scenes before an audience during this module.
參加者會繼續練習詩歌並開始進入莎士比亞劇仲夏夜之夢的戲劇獨白和場景。在這個單元裡有些群組會選擇在觀眾面前分享詩、歌唱、即興表演和戲劇橋段。
Module 4: Improvisation and work with Hamlet單元四：即興表演和哈姆雷特
The artist’s highest aim is free and complete expression. Improvisation work will open up the well of spontaneous imagination and creativity. It develops a flexibility and openness for the soul to meet and encounter situations with creativity and the ability to surprise ourselves; to dare the unrehearsed and the unexpected; to brave the unknown; to awaken a new sense of freedom and inner richness. We will take our acting work into speeches and scenes from Shakespeare’s Hamlet.
藝術家最崇高的目標是自由而完整的表達。即興表演的鍛鍊會開啟這道自發性的想像和創意泉源。它為心靈開發了彈性和開放，以致能帶著創意以及令人驚豔的能力面對局勢、挑戰自己不用彩排，也毋須事前規劃，勇敢朝未知前去；喚醒新的自由感和內在的富足。我們會把莎士比亞的哈姆雷特中的演說和場景用作為演出的訓練。
We will continue to deepen our work with Speech, looking at Steiner’s six basic gestures, to explore the relationship between inner and outer movement and expression – how they radiate an experience of our presence, and to work with the basic exercises of the Michael Chekhov acting technique.
我們會持續深入的演說訓練，討論Steiner六個基礎姿態，探索在動作與表達中，內在與外在之間的關係－這些如何散發我們臨在的體驗。我們也會進行麥可．契科夫演出技巧的基礎練習。
We will explore Goethean conversation (the art of conversation), other modes of listening, and will introduce new inner exercises.
我們將探索哥德式的對話（對話的藝術），其他傾聽的技巧和介紹新的內功心法(內在練習)。
Year III and IV第三年和第四年
Serving the world / Performance服務世界／表演
The third year will put these new and developing capacities into practice, into action. These capacities will become tools for further transformation of ourselves, our relationships, and the life around us. They can also serve as a “path to the spirit,” whether to the spirit of a play, a character, or to the deeper intentions that shape our lives.
在第三年要將新的和培養中的技能實際應用，化為行動。這些技能會成為進一步轉化自我、關係和周遭生命的利器，同時也是通往靈性的道路，不管是通往戲劇、角色的靈性還是通往形塑生命的深層意向。
The last modules will draw together all the work, with a new focus on ensemble work (selfless co-creating or oneness with others), team-building, characters, and atmospheres. Although these elements will have been part of previous weeks, the final weeks will put all the elements into practice as we prepare for creating a play together. Participants will develop and share personal performance projects and/or a group project or play before an audience. Although performing publicly is not required, each person will be involved in a project that demonstrates his or her progress in the course. Most groups choose to rehearse and create a play together by the final two modules. This allows all of what we have practiced to come into play through the most social art of all the arts: drama!
最後一個單元會統整所有的訓練，新的工作焦點放在群體合作（無私地共同創造或是與他人合一）、團隊重建、性格和氛圍。雖然這些元素會是前幾週已有的部分，在最後幾週會把這些帶入實務，因為我們要共同準備籌劃演出。參加者要安排在觀眾前個人發表和／或群體演出。雖然沒有規定要公開展演，但每個人都會參與這個展現他課程成果的計畫。大部分的群組選擇在最後兩個單元中編劇和彩排。這也就讓所有我們練習過的實際應用，透過所有藝術當中最富社交性的一項：戲劇！
Module 5: Ensemble work, atmospheres, image, clowning 單元五：群體工作、氛圍、圖像和小丑
We will recognize that the capacities we develop not only support our individual growth but serve the development of the whole. The ensemble will now become a working group or organ of perception, able to create together. Speech, poetry and monologue or scene work, and Chekhov exercises, will also continue. We will expand our exploration of the realm of image – to see how images live in us and in our space and how we might cultivate more freedom in the images we attract or inhabit. We will look at all 6 subsidiary, “protective” or hygienic exercises, continue developing our 12 senses, including a sense of taste, work with the neutral mask, and introduce elements of clowning. Clowning is a state of playfulness that allows us a connection to what makes us vulnerable and receptive. We will also explore more Goethean conversation and the “World Café” social technology.
我們會發現，培養而來的技能不只支持個人成長，也對整體成長有助益。群體現在變成一個能夠共同創造的工作群組或是認知感官。演說、詩歌、獨白或是情境和麥可．契科夫的練習仍然繼續。我們的探索將拓展到圖像的領域─去發現圖像是如何活在人們內心和空間中，而人們又如何能在吸引來的或是在既有的圖像中培育灌溉更多的自由。我們會談到六個附屬或“保護性”的練習，繼續發展十二感官，包括味覺，利用中性面具作練習，並且介紹小丑。小丑是一種歡愉的狀態，讓我們能夠連結使我們脆弱和接納的那一部分。我們也會探究更多歌德的對話，和 “世界咖啡”社交技能。
Module 6 and 7: Creating together單元六和七：共同創造
Our process together was given a specific commitment of time, and now that time is near fulfillment. This means that, whatever learning we were seeking through this work, consciously or unconsciously, will find a new level of understanding or completion in us. Will it feel like a turning point, a new stage of development, a new capacity developed, or will it be more subtle than that?
我們的群體過程被賦予了特定的時間承諾，而現在這個時間已將近完結。這代表著，不論我們經由這個鍛鍊，有意識或無意識地要追尋的是什麼樣的學習，我們會在內在找到一種新層次的體會或完結。這會感覺像是轉捩點、發展上的新階段、培養來的新能力，或是比這些來得更加微妙？
We have always been engaged in a social process, which has given us opportunities for practicing our work, but now our social process will be directed toward a shared intention – the creation of a theater production for an audience. We will continue to develop the substance of our ensemble and sense our strengths and growing points as a group. We will each take up responsibilities that serve this common intention, including the development of a character(s) that the play needs. This application of all the work allows the exercises to penetrate more deeply into our will and our daily life, supporting us to transform our habits, our relationships, and our capacity to serve.
我們永遠都和社交過程脫離不了關係，這給了我們練習的機會，但這次這個過程將被導向於共享的意念之中－創造一個給觀眾的劇場作品。我們會持續發展團體的元素並一起感受團體的長處和可以提昇的地方。每個人會對共同的意向負起責任，包括演出的角色規劃。應用這些訓練會讓練習更深入意志和日常生活，協助我們轉變習慣、關係和服務能力。
We will, through the process, recognize the presence of what we have learned together and how we have grown. We will also learn to perceive what form (movement in space and action) and spatial relationships are needed for the spirit of the play to express itself most clearly and beautifully. Our ‘sense of the whole’ will expand to include bigger and bigger contexts. We will also take more and more specific steps with speech, movement, and the art of performance, as we take more and more responsibility for our presence, for what we bring into any space we enter.
藉由過程，我們將發現共同學到的功課和成長經歷。我們也會學習認出最能讓演出的精神清晰和美妙地展現出來所需要的形式（空間中的肢體動作和行動）。我們的整體感會擴展而涵括更大的範疇。隨著我們更能夠對於自身的臨在、對進入空間時所帶來的一切負起責任，在演說、肢體動作和演出形式裡，我們的步伐將更為明確。
“Suit the action to the word, the word to the action, with this special observance, that you o’erstep not the modesty of nature… The purpose of playing is to hold, as ‘twere, the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.”
– William Shakespeare, Hamlet, Act III Scene 2
“動作之於台詞，台詞之於動作，都要恰到好處，要特別留意這一點，不可超越人性的中道。演戲的目的不過是好像把一面鏡子舉起來照映人性，使美德顯示她的本相，醜態露出她的原形，時代的形形色色一齊呈現在我們眼前。”
威廉．莎士比亞，哈姆雷特，第三幕第二場
Every human being is an evolving picture of creative intentions每個人都是創造性意向中一幅不斷演化的圖像
Theater was born in Greece with the intention to reveal truths about humanity and the gods and to remind the human being who we are, why we are here, and how we can begin to take responsibility for our own destiny and the destiny of the world. Through our study of the actor’s art we can train our instrument, inviting our body and soul to become a means for expressing the highest intentions of our creative self.
劇場誕生於希臘，本意是要顯現人性和神性的真理並讓人類記起他們是誰，為何會在此以及如何開始對自己和世界的命運負責任。透過研究演員的演出作品，我們得以鍛鍊自己的才能，邀請身體和心靈成為一個管道，表達出創造自性的最高意圖。
Today, more than ever, theater is based on relationship: the relationships between the actors (and other production artists), between the characters we play, between the players and the audience, and between ourselves and the intangible realms that work with us. In all of these relationships we can find gesture, atmosphere, movement, qualities, and an invisible language of life. The art of acting reflects to us our habits, our connection to each other, and helps us toward a more conscious path in these relationships.
相較於過往，今日的劇場更是建基於情感之上。演員之間（與其他創作藝術家之間）的關係、演出角色間的關係、演員和群眾間的關係、人們自己和與其共同工作的無形場域間的關係。在這所有的關係中我們能找到姿態、氛圍、動作、品質，以及隱含的生命語言。演戲的形式反映出我們的習慣、人我間的連結，也協助我們在關係上往更清醒的路途前進。
This course seeks to help participants develop capacities that can serve their life, their work, and the needs of the world. These capacities clarify our impulses, helping us to distinguish between personal desire and the task that is asked of us, illuminate our habits, enrich our social interactions, bring openness, energy, and flexibility to the soul, and lead us toward a greater freedom in how we move, gesture, and speak ourselves into the world. This rouses a deep sensation for how the world moves, gestures, and speaks through us.
這門課試圖協助參加者培養有助於生活、工作和滿足外界需要的能力。這些能力會讓前進的動力變得明確；協助我們分辨出是個人私慾還是受派任務；指出我們的習性；讓社交互動更加豐富；為心靈帶來開放、能量和彈性；引領我們在動作、姿態以及對世界發聲時有著更寬廣的自由。這會喚醒人更深一層地感受世界如何透過我們展現它的動作姿態和發聲。
The ultimate design of this course will be shaped by the needs and the process of the group involved.
課程最終的規劃會由參與其中的群體的需求和過程來決定。
“Drama is a creation of the spirit… When the whole human being places himself in word and gesture at the service of this creation, then this becomes a path to the spirit.”
- Rudolf Steiner
戲劇是靈性的創作。當人們將自己完全置身於文字和姿態裡來為這項創作服務，那麼這就會變成一條通往靈性的道路－Rudolf Steiner
What will the three-year course give? 這三年課程提供的是什麼？
Depending on the commitment to the work and the process together, the work will:
- develop inner capacities for meeting the challenges of life and creating progressive directions for it
- strengthen the soul life and refine our experience for how life expresses itself through us
- give us tools for our own process of transformation and a recognition of the inner and outer movements and gestures that we create and that are created around us
- deepen a recognition of our impact on the world, the world’s impact on us, and the sense of meaning and connection that can grow between the world and us
依據對工作投入程度的和群體動能，課程訓練會提供的是：
- 培養內在面對生命挑戰的能力並開創前進的方向。
- 強化心靈，對生命是如何透過我們呈現著的體會愈加細膩。
- 提供個人轉化工具，辨認內在和外在、自身和外界所創造出的動作、姿態。
- 進一步認出我們對世界產生的影響、世界對我們的影響，意義感以及建立與世界的連結。
Participants will notice subtle and not-so-subtle changes in their experience of themselves and the world. They will find a deeper sense of empathy and understanding. They may notice changes in their relationships, in the sense of meaning in their lives, a sense of connection to something greater than themselves, and a deeper sense of freedom in how they create their lives.
參加者會留意到自己和對世界的體驗上產生巧妙和些微的轉變。他們會找到更深層次的同感和體悟。他們會發現關係上的改變，從生命的意義上來說就是察覺與某種超越他們的力量的連結，和在生命的創造過程中深深地感受到自由。
Participants will also develop abilities to express themselves, a freedom in the quality of their speaking and their voice, and performance skills – body and soul flexibility, expression that is more connected to their intention and more connected to the whole. Participants will also learn how drama work can be brought in a healthy and supportive way to the development of children and how it can serve a larger picture of human development. Participants will become more fluent in the Michael Chekhov technique and the arts of speech and movement. It is possible that the ensemble could continue to work together as a performance or working group after the completion of the course.
參加者也會培養自我表達的能力、在說話和聲音品質上展現自由，以及演出技巧－這是指身體和心靈的彈性，在表達上更能跟自己的企圖心連結，更與整體連結。參加者也將會學到如何把戲劇工作以健康和支持性的方式帶入孩童發展裡；戲劇如何能有益於人類發展中的宏觀圖像。參加者也會更洗練地運用麥可．契科夫的技巧以及演說和肢體動作的藝術。在課程結束後，團體成員有機會以表演團體的方式能繼續一起工作。
