Editorial

Abstract

Nowadays there is a surging trend of using the terms “applied theatre” or “applied drama” as an addition to or replacement of “drama education” both overseas and in Hong Kong. As O’Connor (2009) describes, applied theatre is an umbrella term that defines theatre which operates beyond the traditional scope of western theatre forms. One feature of applied theatre is the blurring of boundaries between actors and spectators so that all participants become active theatre-makers, which differentiates it from conventional theatre making and performing (O’Connor, 2009). Besides participation that leads to effective practice, the narrative quality and the concern about social justice are also important features of applied drama (Nicholson, 2005).