戲劇教學不但可以提升外語學習的興趣與效率，營造團隊合作的班級氣氛，更可以增進教師學生之間的知能互動與瞭解。法語系戲劇教學以「文本分析」作為課程的主軸，透過角色、對話及戲劇指示的理解，進行肢體、遊戲、聲音、空間的整合，完成舞台表演視覺藝術。從文本研讀到舞台呈現的實作過程中，學生從團體中學習培養獨立思考的能力與個人化的表現力，正是培育「創意」最重要的特質。「創意」愈來愈成為未來發展必備的一種競爭力，但學校卻無法有效教導；戲劇活動是啟發創意最有效的方式，因為「創意」是一種行為態度，而不是死的學問。「戲劇」包含五種創意教學方法：即興表演活動、人物與角色扮演活動、老師引導學生入戲活動、即興創作活動、故事劇場活動。戲劇教學不一定能夠真正教導「創意」，但在教學過程中，創意方法的應用，如何設計出以學生為導向的教案，激發學生創意潛能，好讓學生的創作力很自然地被引導出來。
Using drama in foreign language classroom is considered efficient to motivate students to practice the target langauge thus enable them to learn better in reading, writing, listening, and speaking. Moverever, a drama is accomplised in a teamwork from students under the teacher's guidance and supervision. Feedback from student members and the teacher provides stimuli to trigger students cogntivie competence to respond and produce their own langauge for the purpose of communication. This teaching project employs the techniques of text and discourse analysis to enahnce students' reading strategies to comprehend the script and drama text spoken by different roles. After comprehension, students rewrite the text in their own sentences regarding their knowledge on lexicon, syntax, and semantics. They will act the play on stage after systematically practicing on pronunciation, intonation, and rhythem. Altogether the stage acting entails diversity, integration and interaction in terms of teaching and learing behaviors. The perfomance thus provides students opportunities to independentaly think and solve various problems on their own. It helps build up their confidnece when they are using the target langauge in their everyday life later on. These activities fulfill the requirements of creativiety which distinguishes one from mediocrity. Creativity is not about routines which can be done through technical aspects. However, creativity concerns not only intelligence and cultural taste, but also interest, fun, and practical needs. Most important of all, creativity is one's own work, not copy or immitation from others. Likewise, creativity matters inspiration and attitude, not mechanical drilling or mimicing. Fortunately, students' innate ability can be brought about if they are guided properly by the teacher, who is a faciliator, not a trainer, throughout the entire project. The stage performance prepared by this teaching syllabus inclues five components: brainstorming and improvision, roles and role acting, virtulization and imagination, immersion, plots and stage properties. This paper explains how the teacher incorporates these five components in her teaching plan to invovle students' mental work to act on stage. They perform so naturally and confidentaly that speaking is not to memorize the artist's language, but the students' own spoken language through imagination, passion, verbal and non-verbal presentation in public so as to in theater. A hybrid of such various components in students' stage peformance focuses on student's versality and their own experiences. This is why no other TL activities than this innovative syllabus can so efficiently encourage students-their motivation and their potential.