A computer-assisted learning/teaching model is conceived with the implications of the constructivist theory and an analogy between the traditional art form Shuanghuang and the teaching/learning environment. The virtual character of the model interacts, in the form of human behavior and speech supported by recognition biometrics, text-to-speech and artificial intelligence, with the learner and simulates, to the full extent, the process and effects of the art form. Some issues of pedagogical dimensions, knowledge and the role of the human teacher related to the model are discussed.There is a traditional art form in China called Shuanghuang, or a two-man act, where a man speaks or sings while hiding behind the other man who does the acting. They are both on the stage. The actor, who is unable to see the hiding man, faces the audience. Both the audience and the actor can hear clearly the words from the hiding man. The popularity and appeal lie in collaboration. The mute actor must not only lip-synch the words from the hiding man but also perform to match his facial expression and actions with explicit meaning and suggestions of the words so that it seems that he himself is acting and speaking or singing in the most beautiful harmony.Most of us do not know lip-reading and can not tell if the lip movements of the actor match the words and moreover, the subconscious drives us to listen rather than look as we do so when we see someone speaking and can hear what he speaks. The scenery and properties and costumes, which may distract the audience in visual impressions, are very simple or none. So, the two-man show always shifts successfully concentration of the audience from looking at the acting to listening to the words. They are always "deceived" and appreciating attentively and intriguingly episodes of life or passages of works or snatches of a conversation "enunciated" by the mute actor.Art is defined as a process in which skills are employed to discover ends through action (Eisner, 1985). A number of educators have compared education to an artistic event. Nancy King (1986) draws a useful analogy between the curriculum as an event and different kinds of theater experiences. Peter McLaren (1986, 114) calls teaching