ABSTRACT Southeast Asia’s location as a crossroads between East and South Asia, marks it as a region deeply entrenched in difference, with a history of complex identities. Apart from indigenous cultures that have survived the tides of change, there are several deeply embedded cultural influences from near and far that constitute what is local. Education that engages with this complexity mustnegotiate the borderlines of culture that contribute to how Southeast Asian nations apprehend themselves, and in relation to each other. In this article, I propose a critical approach to “regionalist” education in Southeast Asia by engaging with issues of culture in teaching and learning contemporary theatre. I deploy Henry Giroux’s border pedagogy as a working frame to grapple with difference in Southeast Asia, with particular reference to his view that borders are expressions of power that need to be interrogated through pedagogies of difference. I then describe and analyse how the learning process and assessment tasks created for an undergraduate module on Contemporary Theatre in Southeast Asia at a teacher-education institution in Singapore offer students a space to work with pedagogies of “difference” and “discomfort” and reconfigure the boundaries of their identities and communities as potentially local, regional and global.

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通过戏剧吸引差异：东南亚的边界教学法

摘要东南亚地处东亚和南亚之间的十字路口，标志着该地区深深植根于差异之中，拥有悠久的历史。除了在变化的潮流中幸存下来的土著文化之外，还有来自深远各地的几处深层文化影响力构成了当地文化。参与这种复杂性的教育必须协商文化的边界，这些边界有助于东南亚国家理解自己以及彼此之间的关系。在本文中，我通过在教学和学习当代戏剧中涉及文化问题，提出了一种在东南亚进行“区域主义”教育的关键方法。我将亨利·吉鲁（Henry Giroux）的边界教学法作为工作框架，以应对东南亚的差异，尤其要提到他的观点，即边界是权力的表达，需要通过差异的教学法加以质疑。然后，我将描述并分析在新加坡一家师范教育机构为东南亚当代戏剧的本科课程模块创建的学习过程和评估任务，该课程如何为学生提供处理“差异”和“不适”教学法的空间，并重新配置该课程。他们的身份和社区的边界（可能是本地，区域和全球）。