When the number of students is fewer than two, the class discusses articles from newspapers. We especially use the PARAPHRASING PLUS technique, a process through which participants describe or rewrite sentences using different words and add their own comments.

For classes with up to six students, the ETA (Education Through Acting) process will be applied as follows:

MONDAY through WEDNESDAY:

Each participant presents a theme and plot from a movie or novel they have already seen or read. They will discuss the various themes presented, and then collectively choose one theme considered the most important or useful.

THURSDAY-FRIDAY:

Each student creates a plot to express the chosen theme. Through continuous discussion and modification of the stories presented, a new story will be created. The story must be well-structured with foreshadowing, impactful moments, revelations, and twists, as our aim is to create a high-quality creative work, not a simple joke.

The full process…? Go to our process.

Why is the ETA Process Effective?

The ETA (Education Through Acting) process distinguishes itself from traditional Educational Theatre methods by prioritizing artistic rigor and professional standards, ensuring both educational and artistic outcomes. Below is a breakdown of its key advantages:

1 Expert Leadership vs. Amateur Direction
* Educational Theatre: Typically led by educators without theatrical expertise, the process often devolves into casual joking and unfocused chatter. Participants lack guidance on structuring narratives, character development, or dramatic tension, resulting in simplistic, low-quality skits that fail to engage audiences meaningfully.
* ETA: Directed by theatre professionals, the focus is on creating commercially viable productions. The director ensures the show meets industry standards for pacing, emotional depth, and technical execution, allowing the final performance to evoke artistic empathy and resonate deeply with audiences.

2 Participant Agency and Artistic Ownership
* Educational Theatre: Students often adopt passive roles, relying on teachers for direction. This dependency stifles creativity and limits personal growth, as participants view themselves as learners rather than creators.
* ETA: Participants are treated as independent artists responsible for crafting their work. This shift in status fosters autonomy, accountability, and creative problem-solving, aligning with research showing that theatre education builds self-efficacy, collaboration, and resilience.

3 Balancing Superficial and Educational Goals
While schools may aim for practical outcomes like fundraising or promotion, ETA embeds deeper educational objectives:
* Artistic Empathy: High-quality productions allow audiences to connect emotionally with themes, reinforcing social awareness and ethical reflection.
* Skill Development: Participants gain advanced communication, critical thinking, and teamwork skills through structured storytelling (exposition, complication, crisis, climax, resolution) and professional-grade rehearsals.

4 Avoiding the “Childish Skit” Trap
ETA’s emphasis on narrative complexity—foreshadowing, twists, and character consistency—prevents the simplistic, joke-driven outcomes common in amateur theatre. By adhering to theatrical conventions (e.g., 10-minute scenes, logical plot progression), participants learn to craft stories with emotional weight and intellectual depth.

5 Measurable Outcomes
Studies show that theatre programs led by experts correlate with:
* Higher student engagement and academic performance
* Improved empathy and conflict-resolution skills
* Greater confidence in creative decision-making

Conclusion
ETA’s effectiveness lies in its dual focus: merging artistic excellence with transformative education. By treating participants as professionals and prioritizing a director’s expertise, it ensures that both the process and the final production achieve meaningful educational and communal goals, far surpassing the limitations of conventional school theatre methods.