本文論述的基礎為國家教育研究院2013年「亞太地區美感教育研究室」專案工作計畫下的子計畫二：美感教育實驗方案——聲音與身體（音樂／身體美學），其重點是「身體、聲音」於教室中的教學對美感教育可以發生的作用。作者以陪伴圈諮詢委員與觀察者的身分進入國小和國小附設幼稚園的班級參與觀課，觀看教學的當下，教師與學生之間的互動，在施與受之間的狀態，群體之間的流動變化，並於課後和教師們即時交流、對話、溝通，以理解教師們的教學在教案與實務之間的差異與轉化。 本文以巴西導演波瓦（Augusto Boal）說「世界就是劇場，每個人都是演員，也是觀眾，身在世界其中，最終為了改變世界」延伸，在「教室即劇場」的前提下，欲就下列三個面向的觀點來探討表演藝術教學應用於基礎的通識藝術教育階段的意義與價值，避免讓大眾誤以為表演藝術的學習只停留在「好玩」、「身體動一動」的階段： 第一個面向先談在教室中師生關係的轉化，若以「身體」作為學習主體時，主體性的自我與他者的的關係狀態應如何存在與轉變；第二個面向即當公共教育從行政角度轉向以「人」為本的公眾教育，師生互為主體亦互為客體的同時，師生共組的學習社群（learning community）應如何對話才能型塑共學文化，希望藉由過程哲學與身體現象學的觀點進行反思、分析與詮釋；第三個面向則為若「教室即劇場」，參與其中的學生們既是觀眾也是表演者，教師即導演，具有掌握場面調度的權利，教學過程中之教室中的文本、情境、美學是如何因應而生？此處將以劇場藝術的核心元素作為藝術教學平台構成的要素來省思。

This paper is based on a project which has been directed by National Academy for Educational Research on “Asia-Pacific Office for Aesthetic Education” since 2013. This research suggests the use of “body-voice” grounded aesthetics education in classroom teaching. The author observes how teachers are using body movement and vocal utterance to lead participants to interact, communicate, exchange ideas, and cooperate with each other. Through reflection on the viewpoints of “Process philosophy” and the “phenomenology of body”, three perspectives will be explored in this article: firstly, elements of the theatre are key points for teaching, i.e. class space is theatre and stage as well, and a teacher is a director who sets the mise-en-scène for the course. Secondly, if every “body” is a subject, how do we treat others also as subjects? The author suggests all the participants in this project should be understood in a context of intersubjectivity. Thirdly, the Learning community is constituted by the teacher and the students, with the teacher also learning from the class, and having a dialogue with the students to form a real learning community.