教育劇場（Theatre-in-Education，簡稱TIE）一般皆為學校教學所用。九二一大地震造成台灣中部地區空前災難。教育部召集各相關團體及大專院校戲劇科系，研商赴災區學校演出事宜，期以心理輔導之戲劇演出輔慰學童受創的心靈。作者決採教育劇場的教學模式策劃完成災區心靈重建演出的目標。 台灣到目前為止，從未對大規模的兒童觀眾演出過教育劇場。作者決採實際的教育行動，從理論的應用來發展行動策略，以領導者立場，透過實施過程的描述，來分析歸納災區所實施的情況，並就倫理、邏輯、實用與審美等標準來檢視其效果。 作者以台灣藝術學院戲劇系學生所組成的演出團體，先作演出前的教育戲劇創作研習坊，創作出新的戲劇。它是以創作性戲劇的即興表演方式，加入了兒童劇場、戲劇治療、心理劇的技巧融合而成。至於災區的演出，因每所學校受損情況不同，演出方式必須要因地適宜，呈現時則必須掌握互動的原則。 此教育劇場所到學校的演出，竟然超乎預期地熱烈受歡迎。後續的反應與聯繫亦歷久不斷。作者從行動研究中檢視分析其主要因素，係因理論運用得當，內容題材適切，在活動進行中有詢問、角色扮演、替身等與觀眾互動的密切關係所致。因此，願藉此文所闡述之教育劇場創作及實作應用情況，與其教育行動的四項檢視標準，和大家分享其經驗與成果。

　　　　　There are different context and practical methods in Theatre-in-Education (TIE). While Earthquake of 921 (21, September, 1999) caused serious disaster in the middle part of Taiwan, Ministry of Education, the Dept. of Elementary Education invited many troupes into the afflicted schools. This project was expected to soothe the children who were probably still in fearsome or emotional depressed after this natural calamity. For responding and executed this request, I considered the objectives, directions, methods, and made a decision to adopt a kind of TIE performance to complete this project. In Taiwan, there is no such kind of the TIE performance for large number young people audience. As the group leader representing the National Taiwan College of Arts, Department of Drama, I decided to apply the TIE theories and practices in the performances, and from the ethical, logical, practical, and esthetic educational action research standards to exam the effects on the children. I assembled some of students in my department to form a volunteer troupe. In preparatory period, I set up a Drama-in-Education (DIE) workshop, and then led our group create the plays depending upon the subject of specific needs for the children. We applied some techniques of the improvisation, children’s theatre, creative drama, psychodrama and drama therapy to form our own production. Then, we created a play, “We Are Happy Learning Good Friends”. Since every school has its’ different damaged situation, whether the performing space was at indoors or outdoors, we not only could handle almost all the performing problems, but also made the quite good Theatre-in-Education (TIE) productions in the schools. We successfully griped the important principles in theatre participation especially between the audience and the actors. This TIE production was welcome than we expected in every school. While making a comprehensive survey on our production, it is that our performances had some good TIE theatre elements, such as: proper subject, questions and answers, role-playing, double, and audience participation. In this article I would like to share the TIE experience and the result of action research with all of us.