Stage to self

您是否注意到，孩子在人前发言时会不自觉地紧张？

是否担心他在面对未来无数“未知”时，缺乏从容应对的底气与创造力？

我们深知，那些无法通过试卷衡量的能力——自信、共情与创造力，恰恰是决定孩子未来能走多远的关键。

关于戏剧课，最大的误区莫过于认为它只是为了培养演员。而Daniel老师的经历则揭示，他从戏剧中收获的，远非表演技能，而是影响他一生的核心素养。今天一起走进Daniel老师的世界！

戏剧导演艺术硕士，毕业于蒙特维表演艺术学院，英国最负盛名的戏剧学校之一。

曾在香港和英国多家教育及艺术机构任教，专注于通过戏剧创作培养青少年的表达能力、团队协作与创造力。教学以“激发创造力、培养自信心”为核心，引导孩子释放天性，而非机械灌输技巧，助力青少年在艺术中建立自我认同。

曾执导舞台剧《Bones》，获得2023年The Stage Debut Awards最佳新人导演提名，并创立融合戏剧与运动的工作坊制剧团Redefine。

从怯场到自信表达

戏剧启蒙

Youth Theatre isn't just about inspiring future actors; it's also about giving young people the social skills they'll use for life.

From a young age, my parents always encouraged me to go to drama groups. They recognized the transformative power of drama as a gateway to developing essential life skills. They believed it would help me build confidence, enhance communication skills, and grow empathy—qualities that would benefit me throughout my life and prepare me for whatever challenges lay ahead.

At first, waking up early on a Saturday morning to go to a cold studio to read Shakespeare felt like stepping into the complete unknown. There was a mix of uncertainty and anticipation: would I fit in, could I remember everything, and did I belong here? My heart raced as I stood before the group, unsure of myself.

Little did I know that, as the weeks passed, my confidence would grow. With every new scene or improvisation, I slowly found my voice. Each small success, from memorizing lines to receiving praise from the group, became a stepping stone to greater confidence.

I started to respond more openly to my classmates and found moments of real joy within the lessons. I began to discover surprising aspects of myself: empathy, drive, and an ability to collaborate. I was super shy at first, but when you're doing drama, it's your moment to come out of yourself. I became a completely different person.

英文戏剧不是培养“未来的演员”，而是培养孩子终身受用的“社交技能”。

从小，父母就鼓励我参加戏剧社团。他们相信戏剧能培养自信、沟通力与共情力，这些品质将陪伴我一生，帮助我面对各种未知的挑战。起初，每个周六早起去寒冷的排练室读莎士比亚，对我来说既陌生又紧张：我能融入吗？能记住台词吗？我真的属于这里吗？第一次站在大家面前，我的内心充满了忐忑。

然而，随着时间推移，每一次排练、每一次即兴表演，我的自信慢慢积累起来。记住台词、获得掌声、与伙伴们合作完成场景——这些小小的成功，成了自信成长的阶梯。逐渐地，我在表演中找到了乐趣，也发现了隐藏的自己：懂得共情、有责任心、善于合作。曾经害羞的我，在戏剧中学会了“走出自己”，那一刻，我变得更加勇敢、鲜活。

在协作与共情中学会成长

超越表演本身

The long-lasting memories of drama come from the performances I took part in, from playing Jack in Into the Woods to Gavroche in Les Misérables.

Every rehearsal, every nervous step before the curtain rises, builds courage. That's the beauty of theatre—it empowers young people to "become more themselves" while working as part of something bigger.

The introduction to drama might feel like a whirlwind of emotional highs and lows; navigating obstacles, celebrating successes, and building friendships through shared creative discovery. But their confidence and self-knowledge echo far beyond the final bow.

我最难忘的记忆都来自于那些让我心跳加速的舞台瞬间——从《魔法黑森林》中的 Jack 到《悲惨世界》里的 Gavroche。每一次排练、每一个幕布升起前的紧张瞬间，都在锻炼我的勇气。戏剧让孩子“成为更真实的自己”，同时学会团队协作、理解与倾听。它不仅是表演，更是一段情绪探索、友谊建立与创造力激发的成长旅程。这些收获，远远超越谢幕的瞬间。

在探索与创新中看见戏剧的可能

从热爱出发

As a teenager, I joined the Key Theatre Academy, a youth theatre company led by Chris Key, the associate director of Les Misérables.

Here, I discovered my passion for theatre directing. I was given the opportunity to shadow Chris during rehearsals of Les Misérables in London's West End. This once-in-a-lifetime opportunity allowed me to recognize the importance of all aspects of theatre, not just performance.

At the age of 17, I started directing my own productions in local theatres in my hometown of Shrewsbury. My experience in youth theatre groups equipped me with essential leadership, adaptability, and practical skills needed to bring a production from script to stage.

I then went on to train at Mountview Academy of Theatre Arts with a Master’s in Theatre Directing. My debut professional production, Bones, premiered at the Park Theatre and earned me a nomination for Best Debut Director at The Stage Debut Awards 2023.

My directing credits also include The Witches at the Shouson Theatre in Hong Kong and the immersive Murder Ballad at Albert's Shed in Shrewsbury, both of which required innovative approaches to storytelling.

年轻时，我加入了由《悲惨世界》副导演 Chris Key 领导的 Key Theatre Academy，并有机会跟随他在伦敦西区的排练中学习。这段经历让我第一次意识到，戏剧的魅力不仅在台前，更在幕后：导演、舞台设计、团队管理，每一个环节都不可或缺。

17岁时，我在家乡开始执导自己的剧作，从剧本到舞台，从构思到执行，我学会了领导团队、解决问题，也真正理解了导演的意义。后来，我进入伦敦Mountview戏剧艺术学院攻读戏剧导演硕士，首部职业作品《Bones》在Park Theatre首演，并获得The Stage Debut Awards 2023“最佳新导演”提名。

我还执导过香港寿臣剧院的《女巫》和在英国什鲁斯伯里市的Albert's Shed场馆上演的的沉浸式音乐剧《谋杀歌谣》（Murder Ballad），不断探索叙事与舞台呈现的新可能。

激活每个孩子的表达力与想象力

独特的戏剧课堂

My passion for theatre led me to transfer my skills in theatre directing into teaching.

I've been fortunate enough to teach at various theatre companies and schools in both the UK and Hong Kong. I focus on creating fun and engaging workshops that teach practical theatre skills while also building a supportive environment in which children can express themselves.

Within the class, I utilize my experience and training to bring a fresh perspective to creating theatre, making the classes feel relevant to the students. Through a method of building blocks, I break tasks down into manageable, more achievable“bite-size chunks.”

My process involves using physical theatre techniques that emphasize movement and embodiment, helping students connect deeply with the text and their characters.

Recently, a group of students tackled a scene from Frankenstein. Initially, they read the scene with little emotion, but as they began to embody their characters—experimenting with gestures and facial expressions—their performance came alive.

Witnessing the transformation in my students as they lift the text off the paper is immensely rewarding. I've seen hesitant students grow into confident storytellers, and I've watched them form strong connections through their shared creative experiences.

戏剧不仅改变了我，同时我也希望通过戏剧去改变其他孩子。我曾在英国与香港多家剧团和学校任教，设计有趣、互动性强的工作坊，让学生在轻松氛围中学习合作、表达自我。

在课堂中，我结合自己的导演经验，我将戏剧学习拆解成可操作的小环节，让不同能力的孩子都能按自己的节奏成长；同时运用形体戏剧技巧（Physical Theatre），通过动作与身体表达帮助学生深入理解角色与文本。

PS：“ Physical Theatre”（形体戏剧）是一种以身体动作为核心表达媒介的表演艺术。 对于儿童而言，这种教育方式能有效促进其身体动觉、情感认知与社会协作能力的全面发展。

例如，我们曾用“文本生活化（Living the Text）”的练习，把《弗兰肯斯坦》的片段通过表情、姿势与动作演绎出来。文字在学生手中“活”了起来，故事变得生动、具体。

PS：“Living the Text”（活化文本/文本生活化）是戏剧教育中一个非常核心且有效的教学方法。它不是简单的“朗读”或“背诵”，而是引导学生运用身体、声音、情感和想象力，将平面的文字立起来，变成可感、可知、可体验的立体表演。简单来说，就是 “让纸上的角色活过来，让学生成为他/她”。

看到孩子们从腼腆到自信、从模仿到创造，是我最骄傲的时刻。戏剧是一种探索与反思、挑战与共创的过程，它让孩子学会理解、倾听，也让他们更了解自己。

让孩子看到更大的世界

坚信戏剧的力量

I have extensive experience teaching drama to young people in schools and colleges.

In my previous role as a drama practitioner at the Primary Shakespeare Company, I developed interactive storytelling techniques, created drama workshops, and built a toolkit of drama activities.

Most recently, as Associate Director at The Big House, a charity that transforms the lives of care leavers and at-risk young people through performance, I designed and ran workshops within London PRUs (Pupil Referral Units) and led The Get In Programme.

My focus was on igniting creative imagination and encouraging positive emotional expression. Over the last year, I moved to Hong Kong to work with a variety of theatre companies and schools, allowing me to immerse myself in its vibrant arts culture.

I believe in the power of theatre to empower young people and shape the future.

For me, "youth" isn't about age, but about a spirit of freedom and possibility. Theatre has the power to change lives, and I'm committed to creating a space where children can feel safe, supported, and inspired to express themselves.

I'm confident that I have the skills and experience to make a positive impact.

我有丰富的青少年戏剧教学经验，曾在多所学校与机构任教。我曾在英国小学莎士比亚协会（Primary Shakespeare Company）担任戏剧导师，开发互动式故事讲述法，设计戏剧活动体系。之后，在伦敦 The Big House 担任副导演，通过戏剧改变寄养及高危青少年的生活。我负责设计并带领学生重返教育计划（PRUs）的工作坊，以及“The Get In Programme”项目，重点在于激发创造力和积极情绪表达。过去一年，我来到香港，与多家剧团和学校合作，深入体验这里充满活力的艺术文化。

我坚信戏剧的力量——它能赋能年轻人，塑造未来。对我而言，“青少年”不仅是年龄的定义，更是一种自由、探索和可能的精神。戏剧可以改变人生，而我希望为孩子们创造一个安全、支持、充满启发的空间，让他们勇敢表达自我

我有信心，也有能力，让更多孩子在戏剧中找到属于自己的自信、表达力与成长的力量。

Daniel老师的故事，远不止于一位演员或导演的成长传记，更是一个关于戏剧如何作为一股强大的塑造力量，深入一个孩子的内心，重塑其性格、思维与未来的生动例证。

他的经历揭示，真正的戏剧教育，其核心并非培养演员，而是培养更完整、更自信的人。它通过“扮演”与“创造”的过程，赋予孩子们一种宝贵的“第二视角”——既能深入角色内心去理解共情，也能跳出自我来审视角色的动机。这种在“入戏”与“出戏”之间切换的能力，恰恰是未来世界最需要的换位思考与创造性解决问题的核心素养。

我们诚挚地邀请您，与Daniel老师一同，为孩子推开戏剧这扇大门。在这里，他们收获的将不是短暂的掌声，而是能够伴随一生的自信、从容与创造力。