．What
analyses should be made of today’s various arts education policies implemented
around the world? Which arguments are being used when shaping educational
policies that define the role given and time allotted to drama in school
systems?
．各種藝術教育政策，已經在世界各地付諸實施，針對這些政策，我們可以做哪些分析？在學校體制內的戲劇，有其「角色定位」及「時數分配」，相關教育政策在成型時，有哪些論述被使用、發生作用？
．What
strategies have countries worldwide developed to implement the priorities set
up by UNESCO during the Lisbon and the Seoul Conferences in 2006 and 2010? Is
Drama/Theatre and Education consistently being used by governments to support
democratic values?
．「聯合國教科文組織」在2006里斯本會議及2010首爾會議頒布了實踐的章程。為落實這些目標，各國已經發展了哪些策略？「戲劇/劇場與教育」是否恆為各國政府使用，以推展民主的價值？
．Which
educational framework has been set up to assist these policies? (Training
policies in developing networks of skilled artists and qualified teachers;
producing intellectual and educational tools to approach art works and
practices…)
．作為這些政策的配套措施，產生了哪些教育架構？(例如：促進「藝術家與教師合作」的訓練政策；配合藝術工作與實踐、所生產的「知識性與教育性工具」)
2. Is Drama/ Theatre and Education paving the way towards
transformative processes?「戲劇/劇場與教育實踐」可以如何促進改革？
Drama /
Theatre and Education around the world aims at triggering many transformative
processes: in young people themselves (the ability to listen and develop a
critical mind, expressiveness and creativity, autonomy…), within schools and school systems (by inventing new educational
transmission modes, encouraging open-mindedness towards the artistic world,
renewing the teaching of Arts and Humanities,…) and in drama itself (by staging
and performing plays for young audiences, creating new ways of working with
young people, renewing the interaction between art and society…).
世界各地關注「戲劇/劇場與教育」促使各項改革：於年輕人(培養富批判性及創造性的思考、表達與同理心…)、在學校與學校體系內(發明新的教學模式、鼓勵對於藝術的開明態度、革新人文領域的教學內容…)，以及在戲劇自身(針對年輕觀眾群而製作演出、創造與年輕人一起工作的新方法、更新藝術和社會之間的互動…)
．What
different kinds of Drama / Theatre and Education approaches will contribute to
high standard arts education made available for every young person?
．哪些「戲劇/劇場與教育」的方式有助於提高藝術教育的水準？
．What
role and status might artists and works of art have in education? Can any
effective transformation occur when no artistic production and no creative process
is under way?
．在教育的領域裡，藝術家與藝術工作可以扮演怎樣的角色？當沒有藝術創作或其它創造性活動時，「有效的革新」是否仍然可能？
．What
balance may be achieved between performance and stage work, and attending stage
productions and learning from them? What
balance should there be between making, performing and responding to Drama and
Theatre?
．在「表演」與「舞台呈現」之間，可以取得怎樣的平衡？「參與舞台呈現」與「從過程中學習」之間，平衡又該如何取得？創作、表演與回應之間，該如何平衡？
．Should
we create a common terminology for artists, teachers and researchers?
．我們是否應該為藝術家、教師和研究者創造可以通用的術語？
．How do
artists, teachers, educators, mediators and researchers work together, or in
partnerships?
．創作者、教師、教育人員、中介人、研究者，這些人可以怎樣合作共事？
．Does
research in the area of Drama / Theatre and Education bring an understanding in
these processes of transformation? How is that research organized, and who are
those who carry it out? (Practitioners, artists, scientists…)
．有哪些研究，讓我們更了解「戲劇/劇場與教育」是如何帶來革新影響？這些研究是如何規畫、執行的？研究者是哪些人？(實踐者、藝術家、科學家…)
3.
Is the physical anchoring of knowledge a revolution for educational systems?
醫學新知是不是對教育的一大革命？
In most
recent works, neurosciences seem to confirm artists’ and educators’ insights
about the prevailing roles of “feeling” and “acting” in the acquiring of
knowledge. Theatre and Education methods precisely put into practice the
learning processes where both the body and shared feelings are equally
involved.
藝術家與教育家常主張「感覺」和「行動」有助於知識的取得，當代許多大腦/神經科學的研究似乎支持、證實了這種看法。而透過「感覺」與「身體」來學習，正是「劇場/教育」行之有年的專擅領域。
．What
could neurosciences bring to Theatre and Education and to the training of
artists and educators? And
conversely, what can Theatre and Dram bring to neuroscience?對於「劇場/教育」以及「訓練藝術家和教育者」，腦神經科學可以有哪些貢獻？反之，劇場/戲劇又可以對腦神經科學作出什麼貢獻？
．What
funding policies have been set up towards an joint development of arts and
science?
關於「藝術」與「科學」的合作發展，已經有哪些政策？
．How
much space is given by school systems to the sensitive «poetic body», prone to
experiencing a wide range of emotions and able to create artistic words and
actions?
在學校體系內，有多少空間是給予發展「詩意的身體」(非寫實表演)，讓學生體驗各種情感、並創造藝術性的語言與行動？
．When
schools are far too often affected by the world’s conflicts and violence, what
new approaches to the “alien body” are being encouraged by drama?
．學校往往被世界的各種紛爭和暴力所影響，身體也從而「異化」。針對這些「異化的身體」，戲劇有沒有鼓勵、提供什麼解決之道？
．When
dealing with Drama / Theatre and Education, how are we meant to understand
notions such as «empathy » and «respect »?
．我們該如何理解，「戲劇/劇場與教育」領域中「同理心/同情共感」與「尊重」這些概念？
4.
Languages in Drama / Theatre and Education: confronting diversity?
「戲劇/劇場與教育」中的語言：彰顯了多元性、或融合了文化？
Languages,
as all other artistic means of expression, can also be a performing stage where
cultures both meet and share their similarities and differences. Theatre
languages, when performed, always sound intense…This dimension is crucial in
numerous educational projects.
語文是表達的工具，也是一個表演的舞台，各種文化在這裡相遇、碰撞。而劇場中的語文，當演出的時候，也總聽來字字珠璣。「語文」這個面向，在很多教學計畫中都非常重要。
．How can
Drama / Theatre and Education enhance the learning of foreign languages?
「戲劇/劇場與教育」能如何幫助外語的學習？
．What
attention and focus should be given to productions performed in their source
language and to their translations? What
is gained or lost when performances are in native languages or translated?
．戲劇演出時，對於其文本語言及翻譯，應當注意什麼？翻譯與否的得失何在？
．Should
a production or an artist be explored by using a sensitive or even physical
approach to language?
理解作品或藝術家時，非常仔細的閱讀、或甚至只從字面窮究其所使用的語言，是否恰當？
．IDEA
projects are set in a multi-linguistic framework: how does this help develop
attitudes of respect, empathy, and self-awareness as well as being aware of
others?
IDEA計畫被設定在多元語言及多元文化的架構裡：它有助於培養與他者之間，雙方彼此的尊重、同理、與自我意識嗎？而我們如何得知？
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