Dramatherapy Literature Database
The Dramatherapy Literature Database brings together published works in the field of dramatherapy - books, journal articles, book chapters - in one place. It helps researchers and practitioners easily find and access key resources to support their work.
Learn more about development of the database, its inclusion and exclusion criteria.
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2014
R. J. Porter,
"Making Sense: Dramatherapy with Adults with Asperger's Syndrome",
Dramatherapy,
vol. 36,
no. 2-3,
pp. 81—93,
2014.
Abstract:
In search of effective treatment approaches, a service for adults with Asperger’s Syndrome funded two brief Dramatherapy pilots comprising individual Dramatherapy sessions for four individuals. This article records and reflects on the results of these pilots. By considering the diagnosis and reviewing the four interventions the article demonstrates that in order to work with the problems presented by Asperger’s Syndrome, work must begin with the person so as to release agency with which to approach the problem. Where this is not readily manageable for the individual, Dramatherapy’s rich resources become key to the client connecting with themselves, the therapy and their sense of agency.
DOI: 10.1080/02630672.2015.1018916
Abstract:
In search of effective treatment approaches, a service for adults with Asperger’s Syndrome funded two brief Dramatherapy pilots comprising individual Dramatherapy sessions for four individuals. This article records and reflects on the results of these pilots. By considering the diagnosis and reviewing the four interventions the article demonstrates that in order to work with the problems presented by Asperger’s Syndrome, work must begin with the person so as to release agency with which to approach the problem. Where this is not readily manageable for the individual, Dramatherapy’s rich resources become key to the client connecting with themselves, the therapy and their sense of agency.
R. Porter,
"Movement with Touch and Sound in the Sesame Approach: Bringing the Bones to the Flesh",
Dramatherapy,
vol. 36,
no. 1,
pp. 27—42,
2014.
Abstract:
Movement with Touch and Sound (MTS), a specific element of the Sesame approach to dramatherapy, is often said to be indescribable. This paper investigates the experience of a small but varied group of Sesame-trained dramatherapists. Similarities between interviewees’ descriptions tie together the data through corresponding themes. A thread throughout is the idea of paradox and how it makes it hard to pin the subject down. Despite its mercurial quality, key elements of MTS are found and techniques identified. This work attempts to bring together the flesh of change in contemporary practice with what remains unchanged in the essence of the subject – the socalled bones.
DOI: 10.1080/02630672.2014.926957
Abstract:
Movement with Touch and Sound (MTS), a specific element of the Sesame approach to dramatherapy, is often said to be indescribable. This paper investigates the experience of a small but varied group of Sesame-trained dramatherapists. Similarities between interviewees’ descriptions tie together the data through corresponding themes. A thread throughout is the idea of paradox and how it makes it hard to pin the subject down. Despite its mercurial quality, key elements of MTS are found and techniques identified. This work attempts to bring together the flesh of change in contemporary practice with what remains unchanged in the essence of the subject – the socalled bones.
M. Peleg,
R. Lev-Wiesel and
D. Yaniv,
"Reconstruction of self-identity of Holocaust child survivors who participated in “Testimony Theater”",
Psychological Trauma: Theory, Research, Practice, and Policy,
vol. 6,
no. 4,
pp. 411—419,
2014.
Abstract:
The current study is the first to examine the experience of Holocaust Child Survivors (HCSs) sharing their survival stories by performing with youths on one stage as part of the “Testimony Theater” project. Using qualitative data analysis, the findings indicate that the Holocaust experience is an essential element in forming the identity of HCSs. Arriving in the land of Israel, Holocaust survivors had a collective identity of “Holocaust Survivors” that left them with feelings of shame and inferiority, which hindered the establishment of their self-identity. However, when HCSs take the role of the teller through the “Testimony Theater” project, a transition from a collective identity to a self-identity occurs. This role enables HCSs to reconstruct their self-identity and find in it a positive, personal, and meaningful role. Consequently, we suggest that reconstruction of self-identity can occur when survivors take on a positive and empowering role, in the presence of others, within the context of an attentive, empathic, and nonjudgmental relationship.
DOI: 10.1037/a0033834
Abstract:
The current study is the first to examine the experience of Holocaust Child Survivors (HCSs) sharing their survival stories by performing with youths on one stage as part of the “Testimony Theater” project. Using qualitative data analysis, the findings indicate that the Holocaust experience is an essential element in forming the identity of HCSs. Arriving in the land of Israel, Holocaust survivors had a collective identity of “Holocaust Survivors” that left them with feelings of shame and inferiority, which hindered the establishment of their self-identity. However, when HCSs take the role of the teller through the “Testimony Theater” project, a transition from a collective identity to a self-identity occurs. This role enables HCSs to reconstruct their self-identity and find in it a positive, personal, and meaningful role. Consequently, we suggest that reconstruction of self-identity can occur when survivors take on a positive and empowering role, in the presence of others, within the context of an attentive, empathic, and nonjudgmental relationship.
N. Morris,
"Silenced in Childhood: A Survivor of Abuse Finds her Voice through Group Dramatherapy",
Dramatherapy,
vol. 36,
no. 1,
pp. 3—17,
2014.
Abstract:
This article follows the story of Bella, a woman in her mid-thirties. Haunted by memories of sexual child abuse, she suffers from Post-Traumatic Stress Disorder, depression and anxiety. Bella’s diagnosis is Borderline Personality Disorder, with a long history of serious self-harm and hospitalisation. Her creative journey began on a secure ward for women with BPD, where she attended my weekly Dramatherapy Group for seven months. We then worked together for a further 18 months at a secure step-down unit for women with challenging psychiatric disorders. Now living in the community, Bella is keen to share how Dramatherapy helped her towards recovery, together with 1:1 psychology, DBT and the support of a local church group. Her name and all location details have been disguised. Dramatherapy gave Bella the freedom to play like a child, whilst metaphor offered her a symbolic new language through which to understand and vocalise her feelings. Her journey is an emotional rollercoaster, revealing the potential for group Dramatherapy for adults who have survived the trauma of child abuse and are still fighting for freedom. Bella’s courage and determination are inspiring and excerpts of her poetry are interspersed throughout the article, together with references to relevant literature.
DOI: 10.1080/02630672.2014.926958
Abstract:
This article follows the story of Bella, a woman in her mid-thirties. Haunted by memories of sexual child abuse, she suffers from Post-Traumatic Stress Disorder, depression and anxiety. Bella’s diagnosis is Borderline Personality Disorder, with a long history of serious self-harm and hospitalisation. Her creative journey began on a secure ward for women with BPD, where she attended my weekly Dramatherapy Group for seven months. We then worked together for a further 18 months at a secure step-down unit for women with challenging psychiatric disorders. Now living in the community, Bella is keen to share how Dramatherapy helped her towards recovery, together with 1:1 psychology, DBT and the support of a local church group. Her name and all location details have been disguised. Dramatherapy gave Bella the freedom to play like a child, whilst metaphor offered her a symbolic new language through which to understand and vocalise her feelings. Her journey is an emotional rollercoaster, revealing the potential for group Dramatherapy for adults who have survived the trauma of child abuse and are still fighting for freedom. Bella’s courage and determination are inspiring and excerpts of her poetry are interspersed throughout the article, together with references to relevant literature.
H. Orkibi,
N. Bar and
I. Eliakim,
"The effect of drama-based group therapy on aspects of mental illness stigma",
The Arts in Psychotherapy,
vol. 41,
no. 5,
pp. 458—466,
2014.
Abstract:
This study examined the effect of drama-based group therapy on the self-esteem and self-stigma of five participants with mental illness and on the public stigma of seven university students without mental illness who participated in the same group. ABA single-case experimental design was utilized to systematically assess change across 14 time points. We used visual analysis to inspect change as well as hierarchical linear modeling that allows the aggregation of single-case results to the population level. To study the effect of the treatment, contrasts were examined, comparing scores at baseline, treatment, and follow-up. The findings for all measures indicated a significant difference between scores in the baseline phase compared with scores in both the intervention and the follow-up phases. Significant differences were not detected between scores in the intervention phase and the follow-up phase. Interpretations of findings are provided, followed by a discussion of possible change processes, limitations, and future directions.
DOI: 10.1016/j.aip.2014.08.006
File : http://www.sciencedirect.com/science/article/pii/S019745561400094X
Abstract:
This study examined the effect of drama-based group therapy on the self-esteem and self-stigma of five participants with mental illness and on the public stigma of seven university students without mental illness who participated in the same group. ABA single-case experimental design was utilized to systematically assess change across 14 time points. We used visual analysis to inspect change as well as hierarchical linear modeling that allows the aggregation of single-case results to the population level. To study the effect of the treatment, contrasts were examined, comparing scores at baseline, treatment, and follow-up. The findings for all measures indicated a significant difference between scores in the baseline phase compared with scores in both the intervention and the follow-up phases. Significant differences were not detected between scores in the intervention phase and the follow-up phase. Interpretations of findings are provided, followed by a discussion of possible change processes, limitations, and future directions.
S. Jarman,
"The effectiveness of drama therapy for children who have witnessed domestic abuse",
Mental Health Practice,
vol. 18,
no. 2,
pp. 19—24,
2014.
Abstract:
Witnessing domestic violence can have a devastating effect on children’s development. Interventions for such children have previously been based on adults’ understanding of what the child has witnessed, but hearing the child’s view is imperative to learning how any intervention is experienced. The aim of the research described here was to address the experiences of four traumatised boys, aged seven to nine, using the drama therapy model known as embodiment, projection and role (EPR). The findings indicate that the boys experienced the EPR model both positively and negatively, but flexibility within the methods of EPR was an important factor in enabling them to address their experiences safely and effectively.
Abstract:
Witnessing domestic violence can have a devastating effect on children’s development. Interventions for such children have previously been based on adults’ understanding of what the child has witnessed, but hearing the child’s view is imperative to learning how any intervention is experienced. The aim of the research described here was to address the experiences of four traumatised boys, aged seven to nine, using the drama therapy model known as embodiment, projection and role (EPR). The findings indicate that the boys experienced the EPR model both positively and negatively, but flexibility within the methods of EPR was an important factor in enabling them to address their experiences safely and effectively.
A. Raviv,
"The Healing Performance: The Medical Clown as Compared to African! Kung and Azande Ritual Healers",
Dramatherapy,
vol. 36,
no. 1,
pp. 18—26,
2014.
Abstract:
The medical clown, the dramatherapist, the traditional healer and the witchdoctor each conduct a dramatic, theatrical healing performance with the objective of healing the ill in their community. Their healing ability lies in their capacity of being intermediaries between different worlds, between chaos and order, and between the factors which caused and accelerated the illness and healing and mental powers. Each healer, using his own unique practice embodied in the perception of reality in their community, facilitates accessibility to healing powers to benefit those who are ill. The current article compares and analyzes the healing performances.
DOI: 10.1080/02630672.2014.909865
Abstract:
The medical clown, the dramatherapist, the traditional healer and the witchdoctor each conduct a dramatic, theatrical healing performance with the objective of healing the ill in their community. Their healing ability lies in their capacity of being intermediaries between different worlds, between chaos and order, and between the factors which caused and accelerated the illness and healing and mental powers. Each healer, using his own unique practice embodied in the perception of reality in their community, facilitates accessibility to healing powers to benefit those who are ill. The current article compares and analyzes the healing performances.
S. Makanya,
"The missing links: A South African perspective on the theories of health in drama therapy",
The Arts in Psychotherapy,
vol. 41,
no. 3,
pp. 302—306,
2014.
Abstract:
This paper is the writer's first attempt to answer the question, “Is drama therapy for the South African”? The writer begins by arguing for a perspective in drama therapy that can fully accommodate the whole South African. It argues for an integration of the already existing traditional health and healing systems in South Africa, with the concepts proposed by drama therapy in its variations. The writer explores the notions of health in the South African context and defines them in relation to the definitions of health proposed by various drama therapy approaches. Other related concepts such as community and disease are defined, thus challenging drama therapy to seek a more holistic approach to health and healing such that the whole South African can be fully accommodated in drama therapy interventions. The writer uses literature from African scholars, philosophers, psychologists and medical doctors as well as from American and European researchers and drama therapists to aid her exploration.
DOI: 10.1016/j.aip.2014.04.007
Abstract:
This paper is the writer's first attempt to answer the question, “Is drama therapy for the South African”? The writer begins by arguing for a perspective in drama therapy that can fully accommodate the whole South African. It argues for an integration of the already existing traditional health and healing systems in South Africa, with the concepts proposed by drama therapy in its variations. The writer explores the notions of health in the South African context and defines them in relation to the definitions of health proposed by various drama therapy approaches. Other related concepts such as community and disease are defined, thus challenging drama therapy to seek a more holistic approach to health and healing such that the whole South African can be fully accommodated in drama therapy interventions. The writer uses literature from African scholars, philosophers, psychologists and medical doctors as well as from American and European researchers and drama therapists to aid her exploration.
E. J. Chapman,
"Using dramatic reality to reduce depressive symptoms: A qualitative study",
The Arts in Psychotherapy,
vol. 41,
no. 2,
pp. 137—144,
2014.
Abstract:
The research surrounding the use of the imaginative realm in treating patients with depression is limited. The aim of this study is to identify from the dramatherapists’ point of view, whether the imagination can be a useful intervention in the treatment of clients with depression. Semi-structured interviews were conducted with dramatherapists working for non-NHS organisations in England. Interpretative Phenomenological Analysis (IPA) was used to analyse the data. The findings highlight the dramatherapists’ perception of the imaginary realm and self, the imagination in depression and how autobiographical and future memory may influence depressive symptoms. The symptoms include social isolation, social anxiety, avoidance behaviours, low self-esteem, low motivation, negative mindset, suicidal ideation and low mood. The structure of the imaginary realm is questioned and new experiences are highlighted as being significant for enabling people with depression to build a more positive impression of the future inside and outside of therapy. The relevance of a diagnosis is also discussed in regards to its necessity and the difficulties it can cause for clients suffering from depression. In addition, there is some indication of how dramatic reality could be used to treat depression as a complimentary treatment to medicines in the future.
DOI: 10.1016/j.aip.2014.01.001
Abstract:
The research surrounding the use of the imaginative realm in treating patients with depression is limited. The aim of this study is to identify from the dramatherapists’ point of view, whether the imagination can be a useful intervention in the treatment of clients with depression. Semi-structured interviews were conducted with dramatherapists working for non-NHS organisations in England. Interpretative Phenomenological Analysis (IPA) was used to analyse the data. The findings highlight the dramatherapists’ perception of the imaginary realm and self, the imagination in depression and how autobiographical and future memory may influence depressive symptoms. The symptoms include social isolation, social anxiety, avoidance behaviours, low self-esteem, low motivation, negative mindset, suicidal ideation and low mood. The structure of the imaginary realm is questioned and new experiences are highlighted as being significant for enabling people with depression to build a more positive impression of the future inside and outside of therapy. The relevance of a diagnosis is also discussed in regards to its necessity and the difficulties it can cause for clients suffering from depression. In addition, there is some indication of how dramatic reality could be used to treat depression as a complimentary treatment to medicines in the future.
2013
R. Hougham,
"‘Rehearsing the Unrehearsed’: Reflections on the Concept of Presence in Dramatherapy and Performance Training",
Dramatherapy,
vol. 35,
no. 2,
pp. 99—107,
2013.
Abstract:
The phenomenon of therapeutic presence is notoriously difficult to articulate and may benefit from dialogue with the discipline ofperformance studies. This paper discusses how qualities of therapeutic presence can be contextualised as performative in nature. Qualities of presence in both the therapist and the performer are discussed, with specific reference to Eugenio Barba and the cultivation of presence in training both the actor and the therapist. The author then reflects on the piece ‘The Artist is Present’ by Marina Abramovic for its capacity to explore presence and intimacy within a performance piece.
DOI: 10.1080/02630672.2013.823787
Abstract:
The phenomenon of therapeutic presence is notoriously difficult to articulate and may benefit from dialogue with the discipline ofperformance studies. This paper discusses how qualities of therapeutic presence can be contextualised as performative in nature. Qualities of presence in both the therapist and the performer are discussed, with specific reference to Eugenio Barba and the cultivation of presence in training both the actor and the therapist. The author then reflects on the piece ‘The Artist is Present’ by Marina Abramovic for its capacity to explore presence and intimacy within a performance piece.
I. Pimpas,
"A Psychological Perspective to Dramatic Reality: A Path for Emotional Awareness in Autism",
Dramatherapy,
vol. 35,
no. 1,
pp. 57—63,
2013.
Abstract:
The aim of this case study is to present the preparation and the creation of a dramatic reality by a nine-year-old, verbal, autistic girl, which could enhance her emotional awareness and appropriate emotional responses by connecting feelings to their appropriate causes. Dramatic reality demands the ability to pretend and the use of symbols, which are considered to be impaired in autism. Emotional awareness, identification of one’s own emotions with the appropriate causal – explanatory framework is often hampered as well. This case study describes the use of dramatherapeutic methods in social skills training programs in autism
DOI: 10.1080/02630672.2013.774223
Abstract:
The aim of this case study is to present the preparation and the creation of a dramatic reality by a nine-year-old, verbal, autistic girl, which could enhance her emotional awareness and appropriate emotional responses by connecting feelings to their appropriate causes. Dramatic reality demands the ability to pretend and the use of symbols, which are considered to be impaired in autism. Emotional awareness, identification of one’s own emotions with the appropriate causal – explanatory framework is often hampered as well. This case study describes the use of dramatherapeutic methods in social skills training programs in autism
C. Wilmer-Barbrook,
"Adolescence, Asperger's and Acting: Can Dramatherapy Improve Social and Communication Skills for Young People with Asperger's Syndrome?",
Dramatherapy,
vol. 35,
no. 1,
pp. 43—56,
2013.
Abstract:
This article examines the structures and processes of a Dramatherapy group with young people with Asperger’s syndrome, and autistic spectrum disorder. It focuses on a narrative constructed around the story of one adolescent’s journey from being an isolated individual with severe social and communication difficulties, to a confident and communicative young man. Practice-based evidence of the broader group picture in the form of individual outcomes is presented through the assessment, evaluation and final outcomes of all the group participants.
DOI: 10.1080/02630672.2013.773130
Abstract:
This article examines the structures and processes of a Dramatherapy group with young people with Asperger’s syndrome, and autistic spectrum disorder. It focuses on a narrative constructed around the story of one adolescent’s journey from being an isolated individual with severe social and communication difficulties, to a confident and communicative young man. Practice-based evidence of the broader group picture in the form of individual outcomes is presented through the assessment, evaluation and final outcomes of all the group participants.
P. Jones,
"An analysis of the first articulation of drama therapy: Austin's ‘Principles of Drama-Therapy: A Handbook for Dramatists’ (1917)",
The Arts in Psychotherapy,
vol. 40,
no. 3,
pp. 352—357,
2013.
Abstract:
The article offers the field the first analysis of the earliest book on drama therapy: ‘Principles of Drama-Therapy: A Handbook for Dramatists’ (Austin, 1917). It reviews the nature of accounts of drama therapy's history in the literature, and includes an analysis of Austin's work in relation to the field's accounts of its own history and in creating dialog with contemporary concerns in drama therapy literature. The review argues that Austin's contribution to the theoretical origins of drama therapy offers a historical, theoretical perspective for contemporary concerns with performance and the nature of different aspects of theater process in relation to healing.
DOI: 10.1016/j.aip.2013.07.001
Abstract:
The article offers the field the first analysis of the earliest book on drama therapy: ‘Principles of Drama-Therapy: A Handbook for Dramatists’ (Austin, 1917). It reviews the nature of accounts of drama therapy's history in the literature, and includes an analysis of Austin's work in relation to the field's accounts of its own history and in creating dialog with contemporary concerns in drama therapy literature. The review argues that Austin's contribution to the theoretical origins of drama therapy offers a historical, theoretical perspective for contemporary concerns with performance and the nature of different aspects of theater process in relation to healing.
J. Lewis and
S. Banerjee,
"An Investigation of the Therapeutic Potential of Stories in Dramatherapy with Young People with Autistic Spectrum Disorder",
Dramatherapy,
vol. 35,
no. 1,
pp. 29—42,
2013.
Abstract:
Stories are vehicles for understanding, expressing and communicating concepts important to individual and cultural identity. In autistic spectrum disorder (ASD) pretence and the ability to act ‘as if’ is impaired. Might Dramatherapy, through stories, have potential, not only to teach, practise and improve social skills and functioning but also offer an imaginative frame to enable processing of personal psychological material? A 10 session Dramatherapy group was evaluated in a special school. ‘Theory of Mind’ tests were completed. Qualitative methodology was used to structure the investigation. Three students with ASD were recruited. In the group, all engaged in imaginative play and used imaginative structures in stories. All completed the group and completed the Theory of Mind tests correctly. All in the group were able to use stories in the Dramatherapy group. These data refute the hypotheses of an absolute inability to pretend and ability to use story, inherent in some constructions of autism. All clients were able to use their imagination through story and all underwent a journey. This study suggests that Dramatherapy using stories presents a real and exciting set of possibilities for engaging young people with ASD in a positive therapy, likely to benefit their emotional, psychological and social development.
DOI: 10.1080/02630672.2013.772456
Abstract:
Stories are vehicles for understanding, expressing and communicating concepts important to individual and cultural identity. In autistic spectrum disorder (ASD) pretence and the ability to act ‘as if’ is impaired. Might Dramatherapy, through stories, have potential, not only to teach, practise and improve social skills and functioning but also offer an imaginative frame to enable processing of personal psychological material? A 10 session Dramatherapy group was evaluated in a special school. ‘Theory of Mind’ tests were completed. Qualitative methodology was used to structure the investigation. Three students with ASD were recruited. In the group, all engaged in imaginative play and used imaginative structures in stories. All completed the group and completed the Theory of Mind tests correctly. All in the group were able to use stories in the Dramatherapy group. These data refute the hypotheses of an absolute inability to pretend and ability to use story, inherent in some constructions of autism. All clients were able to use their imagination through story and all underwent a journey. This study suggests that Dramatherapy using stories presents a real and exciting set of possibilities for engaging young people with ASD in a positive therapy, likely to benefit their emotional, psychological and social development.
M. Hodermarska,
"Autism as Performance",
Dramatherapy,
vol. 35,
no. 1,
pp. 64—76,
2013.
Abstract:
A personal reflection upon how the author's older son has utilized drama as a form of self-therapy to raise and examine questions about his identity.
DOI: 10.1080/02630672.2013.773129
Abstract:
A personal reflection upon how the author's older son has utilized drama as a form of self-therapy to raise and examine questions about his identity.
P. Sextou and
C. Monk,
"Bedside theatre performance and its effects on hospitalised children's well-being",
Arts & Health,
vol. 5,
no. 1,
pp. 81—88,
2013.
Abstract:
This article reports on practice-based pilot research being undertaken at Birmingham Children's Hospital in England on the impact of bedside theatre performance on hospitalised children's well-being. It discusses the process of creating theatre for sick children, connecting with the hospital and working within the hospital tight routines, dealing with ethics, working with theatre artists and performing to children bedside. It also reports on evidence collected by questionnaire and interviews about the perceived benefits of bedside theatre by children and their parent/carers. This emphasis on the process is appropriate for theatre practitioners, arts therapists and clinical staff who work with hospitalised children.
DOI: 10.1080/17533015.2012.712979
Abstract:
This article reports on practice-based pilot research being undertaken at Birmingham Children's Hospital in England on the impact of bedside theatre performance on hospitalised children's well-being. It discusses the process of creating theatre for sick children, connecting with the hospital and working within the hospital tight routines, dealing with ethics, working with theatre artists and performing to children bedside. It also reports on evidence collected by questionnaire and interviews about the perceived benefits of bedside theatre by children and their parent/carers. This emphasis on the process is appropriate for theatre practitioners, arts therapists and clinical staff who work with hospitalised children.
E. Godfrey and
D. Haythorne,
"Benefits of Dramatherapy for Autism Spectrum Disorder: A Qualitative Analysis of Feedback from Parents and Teachers of Clients Attending Roundabout Dramatherapy Sessions in Schools",
Dramatherapy,
vol. 35,
no. 1,
pp. 20—28,
2013.
Abstract:
Objective: To investigate parent/carer and teacher feedback on dramatherapy provided by Roundabout dramatherapists for children and young people with Autism Spectrum Disorder (ASD) in schools. Design: A qualitative study of written feedback from parents/carers collected after treatment had finished. Methods. Fortytwo comments on dramatherapy were analysed using Interpretative Phenomenological Analysis (IPA). Results: Five themes emerged from the data and were reported using verbatim quotes under the following headings: Feelings: a safe place to explore; Peers: being included and making friends; Social skills: role play provides a short cut to learning about and practising social skills; Structure: predict ability lessens anxiety; and Families: supporting the whole system. There were no negative comments about the dramatherapy treatment recorded on the feedback forms. Conclusion: The findings revealed overwhelming support from parents/carers and teachers for the use of dramatherapy for children and young people with ASD. These results are encouraging and indicate that further study of dramatherapy treatment is warranted in order to build the evidence base for such interventions in this client group.
DOI: 10.1080/02630672.2013.773131
Abstract:
Objective: To investigate parent/carer and teacher feedback on dramatherapy provided by Roundabout dramatherapists for children and young people with Autism Spectrum Disorder (ASD) in schools. Design: A qualitative study of written feedback from parents/carers collected after treatment had finished. Methods. Fortytwo comments on dramatherapy were analysed using Interpretative Phenomenological Analysis (IPA). Results: Five themes emerged from the data and were reported using verbatim quotes under the following headings: Feelings: a safe place to explore; Peers: being included and making friends; Social skills: role play provides a short cut to learning about and practising social skills; Structure: predict ability lessens anxiety; and Families: supporting the whole system. There were no negative comments about the dramatherapy treatment recorded on the feedback forms. Conclusion: The findings revealed overwhelming support from parents/carers and teachers for the use of dramatherapy for children and young people with ASD. These results are encouraging and indicate that further study of dramatherapy treatment is warranted in order to build the evidence base for such interventions in this client group.
Y. Silverman,
F. Smith and
M. Burns,
"Coming together in pain and joy: A multicultural and arts-based suicide awareness project",
The Arts in Psychotherapy,
vol. 40,
no. 2,
pp. 216—223,
2013.
Abstract:
The issue of suicide is still taboo in many cultures and the silence surrounding this problem is often destructive. Those affected by suicide have few opportunities to express their pain and their communities are left feeling helpless. The creative arts therapies have been used to address the emotions surrounding suicide, however few projects have studied the use of the arts to promote suicide awareness. Furthermore, there is a lack of multicultural research in this area. This article describes a two-day arts-based symposium that brought together members from diverse cultural communities including Inuit, Mohawk, Jewish, Christian, Baha’i, South-Asian Canadian, Senior and LGBTQ (Lesbian, Gay, Bisexual, Trans-gendered, Queer) communities. Through drama, music, art-making and writing, participants explored this difficult subject, expressed complex feelings and shared their perspectives. An instrumental case study design was employed for this research project. The objectives were to gather information on participants’ experience of exploring the issue of suicide within an arts-based approach and to determine if cross-cultural themes would emerge. The findings indicate that using the arts helped to facilitate dialogue and communication and specific cross-cultural themes did emerge.
DOI: 10.1016/j.aip.2013.02.003
File : http://www.sciencedirect.com/science/article/pii/S0197455613000737
Abstract:
The issue of suicide is still taboo in many cultures and the silence surrounding this problem is often destructive. Those affected by suicide have few opportunities to express their pain and their communities are left feeling helpless. The creative arts therapies have been used to address the emotions surrounding suicide, however few projects have studied the use of the arts to promote suicide awareness. Furthermore, there is a lack of multicultural research in this area. This article describes a two-day arts-based symposium that brought together members from diverse cultural communities including Inuit, Mohawk, Jewish, Christian, Baha’i, South-Asian Canadian, Senior and LGBTQ (Lesbian, Gay, Bisexual, Trans-gendered, Queer) communities. Through drama, music, art-making and writing, participants explored this difficult subject, expressed complex feelings and shared their perspectives. An instrumental case study design was employed for this research project. The objectives were to gather information on participants’ experience of exploring the issue of suicide within an arts-based approach and to determine if cross-cultural themes would emerge. The findings indicate that using the arts helped to facilitate dialogue and communication and specific cross-cultural themes did emerge.
A. Pellicciari,
F. Rossi,
L. Iero,
E. Di Pietro,
A. Verrotti and
E. Franzoni,
"Drama therapy and eating disorders: a historical perspective and an overview of a Bolognese project for adolescents",
Journal of Alternative and Complementary Medicine,
vol. 19,
no. 7,
pp. 607—612,
2013.
Abstract:
OBJECTIVES The authors present a description of a theater workshop (\textquotedblMetamorphosis Project\textquotedbl), developed at the Bologna Eating Disorders Center. DESIGN The workshops are aimed at young, hospitalized patients, and are largely based on the principles of drama therapy. In this article, this therapeutic modality is introduced by a discussion of the theoretical basis for the use of theater in psychiatry from the points of view of several preeminent psychiatrists, including Freud, Winnicott, Klein, and Moreno. RESULTS Three (3) clinical reports are presented. The satisfaction rate among the first groups of participants was 93%. CONCLUSIONS It is suggested that theater can be useful in decreasing defense mechanisms, allowing a patient-focused approach, mitigating specific symptoms, and improving the quality of life during the hospital stay.
Abstract:
OBJECTIVES The authors present a description of a theater workshop (\textquotedblMetamorphosis Project\textquotedbl), developed at the Bologna Eating Disorders Center. DESIGN The workshops are aimed at young, hospitalized patients, and are largely based on the principles of drama therapy. In this article, this therapeutic modality is introduced by a discussion of the theoretical basis for the use of theater in psychiatry from the points of view of several preeminent psychiatrists, including Freud, Winnicott, Klein, and Moreno. RESULTS Three (3) clinical reports are presented. The satisfaction rate among the first groups of participants was 93%. CONCLUSIONS It is suggested that theater can be useful in decreasing defense mechanisms, allowing a patient-focused approach, mitigating specific symptoms, and improving the quality of life during the hospital stay.
R. Feniger-Schaal,
N. Koren-Karie and
M. Bareket,
"Dramatherapy focusing on maternal insightfulness: A preliminary report",
The Arts in Psychotherapy,
vol. 40,
no. 2,
pp. 185—191,
2013.
Abstract:
This study aimed to enlist the child development studies literature and Dramatherapy practice to create an intervention program for mothers of children at risk due to inadequate parental care. Thus, we created a manualized treatment of Dramatherapy focusing on maternal insightfulness. Maternal insightfulness refers to the capacity to see things from the child's point of view, and is considered as a crucial step for therapeutic change in the context of mother–child relationship. We created a 10-week Dramatherapy group intervention focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity and acceptance, and we used dramatic means to explore and experience these components of maternal insightfulness. We used the insightfulness assessment interview (IA) pre- and post-intervention to evaluate the changes that occurred. In this preliminary report we describe the intervention and illustrate with a specific example the positive changes that occurred following it.
DOI: 10.1016/j.aip.2012.12.003
File : http://www.sciencedirect.com/science/article/pii/S0197455612001608
Abstract:
This study aimed to enlist the child development studies literature and Dramatherapy practice to create an intervention program for mothers of children at risk due to inadequate parental care. Thus, we created a manualized treatment of Dramatherapy focusing on maternal insightfulness. Maternal insightfulness refers to the capacity to see things from the child's point of view, and is considered as a crucial step for therapeutic change in the context of mother–child relationship. We created a 10-week Dramatherapy group intervention focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity and acceptance, and we used dramatic means to explore and experience these components of maternal insightfulness. We used the insightfulness assessment interview (IA) pre- and post-intervention to evaluate the changes that occurred. In this preliminary report we describe the intervention and illustrate with a specific example the positive changes that occurred following it.
M. Andersen-Warren,
"Dramatherapy with Children and Young People who Have Autistic Spectrum Disorders: An Examination of Dramatherapists’ Practices",
Dramatherapy,
vol. 35,
no. 1,
pp. 3—19,
2013.
Abstract:
In this article the author examines responses to a questionnaire circulated to dramatherapists designed to elicit information about whether dramatherapy can be an effective intervention for children and young people with autistic spectrum disorders and allied mental health and psychological difficulties. The author outlines the process of analysing the data and the construction of resultant themes that inform dramatherapy practice, including the structures, content and process.
DOI: 10.1080/02630672.2013.773132
Abstract:
In this article the author examines responses to a questionnaire circulated to dramatherapists designed to elicit information about whether dramatherapy can be an effective intervention for children and young people with autistic spectrum disorders and allied mental health and psychological difficulties. The author outlines the process of analysing the data and the construction of resultant themes that inform dramatherapy practice, including the structures, content and process.
S. Rajabi,
F. Nemati and
M. Narimani,
"Improving the quality of Farsi speech and the academic performance of Azeri-Farsi bilingual students through attending drama therapy sessions",
The Arts in Psychotherapy,
vol. 40,
no. 5,
pp. 478—485,
2013.
Abstract:
This paper investigates the effects of drama therapy on enhancing the linguistic performance and academic achievement of Azeri-Farsi bilinguals who speak Farsi as a second language. To that end, thirty-seven male bilingual students of Azeri and Farsi (age: 9.32 ?? 1.12 years) were randomly assigned to an experimental group (N = 18) and a placebo group (N = 19). The experimental group participated in 90-min drama therapy sessions twice or thrice a week for three weeks. During this period, the members of the placebo group were engaged in effortless activities. The MANCOVA results revealed the positive effect of drama therapy on the Mean Length of Utterances and the Speed of Speech in bilingual students, but it showed no effect on the Number of Utterances, Type-Token Ratio, and the Academic Average. In conclusion, we will discuss the possible factors that mediate such effects and indicate a number of directions for future research.
DOI: 10.1016/j.aip.2013.06.003
Abstract:
This paper investigates the effects of drama therapy on enhancing the linguistic performance and academic achievement of Azeri-Farsi bilinguals who speak Farsi as a second language. To that end, thirty-seven male bilingual students of Azeri and Farsi (age: 9.32 ?? 1.12 years) were randomly assigned to an experimental group (N = 18) and a placebo group (N = 19). The experimental group participated in 90-min drama therapy sessions twice or thrice a week for three weeks. During this period, the members of the placebo group were engaged in effortless activities. The MANCOVA results revealed the positive effect of drama therapy on the Mean Length of Utterances and the Speed of Speech in bilingual students, but it showed no effect on the Number of Utterances, Type-Token Ratio, and the Academic Average. In conclusion, we will discuss the possible factors that mediate such effects and indicate a number of directions for future research.
A. Barak,
"Playback Theatre and Narrative Therapy: Introducing a New Model",
Dramatherapy,
vol. 35,
no. 2,
pp. 108—119,
2013.
Abstract:
This article explores a new synthesis between Playback Theatre and Michael White’s narrative therapy. Through an exploration of the two methods the article elaborates how such integration can be achieved and how it can contribute to the process of narrative re-authoring. The discussion also includes the limitations and possible drawbacks of such integration, for both playback theatre and narrative therapy. Finally, a structured therapeutic model integrating White’s approach to narrative change with Playback Theatre techniques is detailed.
DOI: 10.1080/02630672.2013.821865
Abstract:
This article explores a new synthesis between Playback Theatre and Michael White’s narrative therapy. Through an exploration of the two methods the article elaborates how such integration can be achieved and how it can contribute to the process of narrative re-authoring. The discussion also includes the limitations and possible drawbacks of such integration, for both playback theatre and narrative therapy. Finally, a structured therapeutic model integrating White’s approach to narrative change with Playback Theatre techniques is detailed.
L. Moller,
"Project “For Colored Girls:” Breaking the shackles of role deprivation through prison theatre",
The Arts in Psychotherapy,
vol. 40,
no. 1,
pp. 61—70,
2013.
Abstract:
A prison theatre workshop at Bayview Correctional Facility (BCF) in Manhattan combines improvisational techniques, play rehearsal, and performance. Ten women participate for eight weeks as cast and crew in a production of For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf by African American playwright Ntozake Shange. The characters reflect different types of women in critical situations, breaking the long held silence marginalized women feel due to oppression. Written in poetic verse, scenes dramatize rites of passage, sisterhood and female sexuality, abandonment, poverty, abuse, rape, and unrequited love providing many archetypal roles that resonate with the actors and prison audience. This article is a descriptive account using both narrative and journal entries written contemporaneously during the production, focusing on the obstacles of mounting a theatrical production within a prison setting and on the challenges of working with female offenders. Archetypical roles from Robert Landy's extensive work in drama therapy are referenced to reflect the function and diversity of role types in the drama and to illustrate how the artistic work expands the diminished life roles of women in prison. Thoughts on Agusto Boal's theory regarding invitational theatre, within the setting of a prison, are discussed.
DOI: 10.1016/j.aip.2012.09.007
File : http://www.sciencedirect.com/science/article/pii/S0197455612001335
Abstract:
A prison theatre workshop at Bayview Correctional Facility (BCF) in Manhattan combines improvisational techniques, play rehearsal, and performance. Ten women participate for eight weeks as cast and crew in a production of For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf by African American playwright Ntozake Shange. The characters reflect different types of women in critical situations, breaking the long held silence marginalized women feel due to oppression. Written in poetic verse, scenes dramatize rites of passage, sisterhood and female sexuality, abandonment, poverty, abuse, rape, and unrequited love providing many archetypal roles that resonate with the actors and prison audience. This article is a descriptive account using both narrative and journal entries written contemporaneously during the production, focusing on the obstacles of mounting a theatrical production within a prison setting and on the challenges of working with female offenders. Archetypical roles from Robert Landy's extensive work in drama therapy are referenced to reflect the function and diversity of role types in the drama and to illustrate how the artistic work expands the diminished life roles of women in prison. Thoughts on Agusto Boal's theory regarding invitational theatre, within the setting of a prison, are discussed.
D. Evans,
"Role Playing a Squiggle: An Adaption of Winnicott's Squiggle Game for Dramatherapy",
Dramatherapy,
vol. 35,
no. 2,
pp. 120—130,
2013.
Abstract:
Children are often the vehicle for psychological material that does not belong to them, ghost traumas or ways of being that are not theirs, but are projected into their lives by parents and past generations. This ??research in action’ summarises some work on a case of a 10-year-old girl where the creativity and playful aspect of the therapist were essential tools for finding the true potential of the patient in treatment. In this particular case Winnicott’s squiggle game was used and the concept furthered with various techniques of enactments, story building, and poetry. The aim was to open up the potential self of the patient by regressing to an earlier stage of play. Although some hesitate to use their own associations for fear oftrampling on the image enactments and stories ofthe patient, the spontaneity and playful self of the therapist is, nevertheless, often the key to unlocking the true potential. This way ofworking may be helpful for children or adults that appear cut off from a deeper connection with life.
DOI: 10.1080/02630672.2013.823788
Abstract:
Children are often the vehicle for psychological material that does not belong to them, ghost traumas or ways of being that are not theirs, but are projected into their lives by parents and past generations. This ??research in action’ summarises some work on a case of a 10-year-old girl where the creativity and playful aspect of the therapist were essential tools for finding the true potential of the patient in treatment. In this particular case Winnicott’s squiggle game was used and the concept furthered with various techniques of enactments, story building, and poetry. The aim was to open up the potential self of the patient by regressing to an earlier stage of play. Although some hesitate to use their own associations for fear oftrampling on the image enactments and stories ofthe patient, the spontaneity and playful self of the therapist is, nevertheless, often the key to unlocking the true potential. This way ofworking may be helpful for children or adults that appear cut off from a deeper connection with life.