Theatertherapie Literaturdatenbank

B. A. Corbett, J. R. Gunther, D. Comins, J. Price, N. Ryan, D. Simon, C. W. Schupp and T. Rios, "Brief report: theatre as therapy for children with autism spectrum disorder", Journal of Autism and Developmental Disorders, vol. 41, no. 4, pp. 505—511, 2011.

DOI: 10.1007/s10803-010-1064-1

Abstract:
The pilot investigation evaluated a theatrical intervention program, Social Emotional NeuroScience Endocrinology (SENSE) Theatre, designed to improve socioemotional functioning and reduce stress in children with autism spectrum disorder (ASD). Eight children with ASD were paired with typically developing peers that served as expert models. Neuropsychological, biological (cortisol and oxytocin), and behavioral measures were assessed in a pretest-posttest design. The intervention was embedded in a full musical theatrical production. Participants showed some improvement in face identification and theory of mind skills. The intervention shows potential promise in improving the socioemotional functioning in children with ASD through the utilization of peers, video and behavioral modeling, and a community-based theatrical setting.

A. Reynolds, "Developmental Transformations: Improvisational Drama Therapy with Children in Acute Inpatient Psychiatry", Social Work With Groups, vol. 34, no. 3-4, pp. 296—309, 2011.

DOI: 10.1080/01609513.2011.558820

Abstract:
This article describes the use of Developmental Transformations drama therapy in groups within an acute psychiatric setting, exploring issues specific to group work with child psychiatric inpatients. Case material from a series of sessions is used to explore how group members can use the process for mutual support as well as to increase flexibility and capacity for creative expression. Connections are drawn between Developmental Transformations and social group work theories to illustrate parallels between the two practice methods.

S. Pitruzzella, "Drama and Healing in Ancient Greece: Demeter and Asklepios", Dramatherapy, vol. 33, no. 2, pp. 74—86, 2011.

DOI: 10.1080/02630672.2011.582777

Abstract:
This article focuses on two important rituals ofAncient Greece, which are of some interest for dramatherapists, as dramatic performances had a key role in them. We will examine them from a historical point ofview, then explore their mythic contents and how they were expressed in drama, trying to suggest cues that relate them to present day dramatherapy theory and practice.

J. Jaaniste, "Dramatherapy and Spirituality in Dementia Care", Dramatherapy, vol. 33, no. 1, pp. 16—27, 2011.

DOI: 10.1080/02630672.2011.558355

Abstract:
Dramatherapy lends itself seamlessly to a person-centred approach, particularly important for elderly people who are nearing the end of their lives. The dramatherapy group affords a holding environment where existential issues and key life questions can be worked with creatively. Although their expression may sometimes seem chaotic (as in dementia), elderly people are often the guardians or holders of much end-of-life wisdom. By means of story, metaphor, play and improvisation, cultural questions and answers can assist with celebration, reminiscence, pleasure and grieving, and ultimately the transition to a dignified and spiritually meaningful death. In this way, the spirituality of the person with dementia can be explored and accepted. Spirituality has informed theatre and drama throughout history, and the healing properties of the arts are referred to in the histories ofmany societies. In contemporary western culture, especially that of the last 50 years, there has been a growth ofconsciousness that creative activity can contribute to people’s health and well-being and that the area of spirituality is integral, and perhaps even central, to psycho-social health and a sense ofwell-being. In this paper, selected dramatherapy literature is reviewed, that supports the contention that the practice of these therapies is an effective means of assisting elderly people afflicted with moderate-to-severe dementia to value their ageing process. Arts therapies may assist them to cope with the grief and loss their ageing may entail, as they lose friends and physical and mental capacity, in a society where elderly people are marginalised. Case studies and theoretical examples are presented to show how group work can be structured so that issues of elderly people with dementia can be addressed in a creative way.

P. McArdle, R. Young, T. Quibell, D. Moseley, R. Johnson and A. LeCouteur, "Early intervention for at risk children: 3-year follow-up", European Child & Adolescent Psychiatry, vol. 20, no. 3, pp. 111—120, 2011.

DOI: 10.1007/s00787-010-0148-y

Abstract:
Childhood behavioral and emotional symptoms are linked with distress and dysfunction that may persist into adulthood. Effective and practical early prevention could make a significant contribution to the well-being of individuals and the functioning of communities. School-based targeted interventions are relatively easy and inexpensive to deliver and have been shown to reduce symptoms in the short term. The current study evaluates the 2- and 3-year outcome of targeted school-based drama group therapy (DGT) as compared to teaching maths and English. It shows a rapid decline in teacher-observed behavioral symptoms following DGT. By a year post intervention, symptom rates following both interventions converged and remained low throughout follow-up. Drama group therapy is rapidly effective in reducing symptoms. However, the findings also suggest that despite differing content, school-based small-group interventions are likely to share some effective components.

L. Harkins, C. Pritchard, D. Haskayne, A. Watson and A. R. Beech, "Evaluation of Geese Theatre's Re-Connect program: addressing resettlement issues in prison", International Journal of Offender Therapy and Comparative Criminology, vol. 55, no. 4, pp. 546—566, 2011.

DOI: 10.1177/0306624X10370452

Abstract:
This study examined the impact of Geese Theatre's Re-Connect program on a sample of offenders who attended it. This program used theatre performance, experiential exercises, skills practice role-plays, and metaphors such as the masks to invite a group of offenders to consider and explore issues connected with their release and reconnecting with a life outside prison. Pre- and postprogram psychometric tests, behavior ratings, and interviews were completed to assess the effectiveness of the program. Significant changes were observed from pre- to posttreatment in terms of self-efficacy, motivation to change, and improved confidence in skills (i.e., social and friendship, occupational, family and intimacy, dealing with authority, alternatives to aggression or offending, and self-management and self-control skills). Improved behavior and engagement within the program was observed over the 3 days of the program. Interviews also revealed the positive impact the program had on the participants. This provides evidence supporting the short-term effectiveness of the Re-Connect program.

M. Swanepoel, "Meeting with the Metaphor: The Impact of the Dramatic Metaphor on the Therapeutic Relationship", Dramatherapy, vol. 33, no. 2, pp. 101—113, 2011.

DOI: 10.1080/02630672.2011.582778

Abstract:
This investigation focuses on the impact of the dramatic metaphor on the therapeutic relationship. It follows the hypothesis that the dramatic metaphor is unique in the sense that it can be made physical in the therapeutic space by offering clients an embodied experience of their own symbols and metaphors. It explores what this may implicate in the therapeutic process. Furthermore, it hopes to demonstrate how the dramatic metaphor facilitates a meaningful relationship between client and therapist. It is also being suggested that the dramatic metaphor can serve the therapeutic process as a channel for transference and countertransference. The investigation adopts a hermeneutic approach that attempts to synthesize selected literature on the subject and relate it to a piece ofclinical work. The case vignettes highlight work with two clients that took place over a period of six months in an adult mental health community centre.

G. S. Moran and U. Alon, "Playback theatre and recovery in mental health: Preliminary evidence", The Arts in Psychotherapy, vol. 38, no. 5, pp. 318—324, 2011.

DOI: 10.1016/j.aip.2011.09.002

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611000815

Abstract:
Playback theatre is a community-building improvisational theatre in which a personal story told by a group member is transformed into a theatre piece on the spot by other group members. Playback theatre combines artistic expression and social connection based on story-telling and empathic listening, thus bringing together modes thought to promote healing. Here, we explore the potential of playback theatre to promote recovery in the field of mental health. We conducted two playback courses for a total of 19 adults in a university-based program for recovery, and collected qualitative reports pre–post self-report measures for self-esteem, personal growth and recovery. We also developed a self-report measure named the playback impact scale that includes items related to creativity, confidence in performing, social connectedness and seeing one's life as full of stories. We find significant enhancement in the playback impact scale following a 10 week playback course. The qualitative reports indicate recurring themes of enhanced self-esteem, self-knowledge, as well as fun and relaxation, and enhanced sense of connection and empathy for others. These preliminary results suggest that playback theatre can serve as an effective practice for enhancing recovery processes from serious mental illness.

B. A. Bornmann and A. M. Crossman, "Playback Theatre: Effects on students’ views of aggression and empathy within a forensic context", The Arts in Psychotherapy, vol. 38, no. 3, pp. 164—168, 2011.

DOI: 10.1016/j.aip.2011.04.004

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611000414

Abstract:
The objectives of this study were twofold: to better understand urban children and adolescents’ views of aggression and empathy and how those views may change when exposed to a Playback Theatre intervention; and to measure students’ understanding of the criminal justice/court system through the impact of instructive material on their comprehension levels. In an urban middle school, fifth and eighth grade students were randomly assigned (within age and gender) to experience a Playback Theatre intervention (N=24) or to a video intervention control group (N=23). All of the students received instruction on the basics of the criminal justice system. Also, students in both groups received pre- and post-intervention testing, including a comprehension test of the criminal justice/court system, an aggression questionnaire and an empathy scale. Students in both groups showed a significant increase in comprehension levels of the criminal justice/court system between assessments. Also, students’ ratings of tolerance for aggression were significantly reduced after exposure to Playback Theatre, however, students’ empathy scores were not significantly affected. The intervention of Playback Theatre yielded qualitative responses from students indicating that better perspective taking might be the mechanism underlying the effects of the Playback Theatre experience.

S. Mann Shaw and D. Gammage, "The Drama of Shame", Dramatherapy, vol. 33, no. 3, pp. 131—143, 2011.

DOI: 10.1080/02630672.2011.621261

Abstract:
This paper gives an account of three training workshops using dramatherapy techniques and subsequent conversations with participants on the phenomenon of shame. It gives an overview of shame from a psychological, socio-cultural, psychotherapeutic and dramatherapeutic perspective before giving a reflective account ofthe workshop experience. Although not intended to be a piece of formal research, our journey was rooted in a phenomenological enquiry: exploring the group’s subjective experience and the meaning we create from this. The authors premise is that shame is experienced when early relationships are disrupted and become mis-attuned and that dramatherapy has a unique role to play in the exploration and recovery from the shame-based experience.

J. Jacques, "The Impact of a Theatre Performance on Mental Health Service Delivery in the Context of User Involvement", Dramatherapy, vol. 33, no. 2, pp. 87—100, 2011.

DOI: 10.1080/02630672.2011.588025

Abstract:
This paper gives an account of a collaborative project between staff and service users of a statutory day service which, in the context of mental health service user involvement, aimed at examining the impact of a theatre performance devised and performed by mental health service users on improving care practice and mental health service delivery. The paper will consider the background of the project as well as giving a detailed account of the project itselfand a reflection on the outcomes. In the context ofdramatherapy, it opens possibilities for the use of performance as a platform for dialogue, and the identification and implementation ofstrategies for change at a collective level.

E. Natan, "The Voice of Dramatherapy: Fragments of Voice Work with a Group of Dramatherapists According to the Sesame Approach", Dramatherapy, vol. 33, no. 1, pp. 28—44, 2011.

DOI: 10.1080/02630672.2011.558356

Abstract:
The integration of voice as part of dramatherapy, following the model of the Sesame approach to Drama and Movement Therapy, can help clients express themselves and form communication with others creatively. This paper presents an experimental voice group which I led with a group of dramatherapists in order to encourage them to enable the voice to become a more essential component of their dramatherapeutic practice. The paper describes the sessions the voice group has undergone, including brief introductions which present the central vocal theme of each session. These themes include breathing, the authentic voice, the child archetype, voice and feeling, stories, the hunter archetype and chants and songs. The author gives some practical suggestions for voice activities that can be embedded in therapeutic intervention. Finally, this article presents the participants’ impressions of the voice work, derived from a questionnaire they filled in. According to their feedback, this article concludes that more voice should be integrated in dramatherapy as a therapeutic tool. The author supplies different methods that may be used in order to encourage dramatherapists and their clients to integrate voice more naturally with movement, drama, story, play and touch, the main elements of the Sesame approach to dramatherapy.

S. Pendzik and A. Raviv, "Therapeutic clowning and drama therapy: A family resemblance", The Arts in Psychotherapy, vol. 38, no. 4, pp. 267—275, 2011.

DOI: 10.1016/j.aip.2011.08.005

Abstract:
This paper compares therapeutic clowning and drama therapy, starting with a brief survey of the development of medical clowning as a profession, a definition of the field, and a claim to its ancient link with drama therapy. It then proceeds to analyze four vignettes describing the work of a medical clown in a hospital, and examining them through the lens of drama therapy concepts and theory. The paper shows that the clown's working techniques can be conceptualized using drama therapeutic models and theory, and that using this approach as a method of analysis can serve to enhance the body of knowledge of the rapidly growing profession of therapeutic clowning.

N. Morris, "Unspoken Depths: Dramatherapy and Dementia", Dramatherapy, vol. 33, no. 3, pp. 144—157, 2011.

DOI: 10.1080/02630672.2011.621262

Abstract:
In the dual role of therapist and researcher, working in an NHS Day Hospital with a small group of clients with moderate dementia, my question was simple, yet perplexing: What could I learn from the paradox between the joyful energy ofmy Dramatherapy group and the intense sadness and confusion that seemed to exist on the periphery? A qualitative, heuristic approach was the most appropriate in respect of ethics and practicality. By using vignettes – in which client names were changed – as opposed to detailed case studies, I required neither written nor ongoing verbal consent – though spoke informally about it with my clients and their carers throughout the process. I followed the six stages of heuristic research described by Clark Moustakas and gathered data using the tools and techniques recommended. I created a personal log book and collated my official session notes on 20 clients seen between January and October 2009. Through the analysis of data, key themes arose: Fear and Stigma, Anger, and Self-Identity. This article may be most relevant to those working creatively with this client group, who find themselves confronted by a paradox of emotions, forced to confront personal fears and limitations. Whilst the need for further research is evident, my small and subjective study meets the minimal requirements of BADth’s EPB/PBE guidelines (Dokter and Winn) and could compliment larger-scale studies using both quantitative and qualitative methods.

P. Holloway and H. Seebohm, "When Worlds Elide: Culture, Dialogue and Identity in Multi-Professional Settings", Dramatherapy, vol. 33, no. 1, pp. 4—15, 2011.

DOI: 10.1080/02630672.2010.549634

Abstract:
Dramatherapists work in a variety of multi-disciplinary contexts, often where other more dominant professional perspectives prevail. This paper considers the cultural politics of such contexts through the ideas of Antonio Gramsci and Raymond Williams. The authors discuss core dramatherapy ideas and more radical theatrical ideas to explore how dramatherapists may maintain and develop their own distinct identity within the multi-professional setting, and make a distinctive contribution to the multi-disciplinary team.

J. Moore, "A Story to Tell: Use of Story and Drama in Work with Substitute Families", Dramatherapy, vol. 31, no. 3, pp. 3—9, 2010.

DOI: 10.1080/02630672.2010.9689781

Abstract:
This paper discusses the use of a dramatic narrative approach with adoptive and foster families, involving the parents in enactment of their child's life history for the purpose of changing unhelpful patterns in working towards enhanced mutuality. Research on outcomes finds adoption to be mainly successful, however the likelihood of disruption increases with age from approx 20% at age 7 to 50% at age 11, identifying therapeutic support as of critical importance (Dance 2005). The families (mainly White English) referred for this Dramatherapeutic intervention, characteristically struggle with some form of cultural divide, the parents (often in professional employment) having different life experience and expectations to those of the children, many of whom expect their placement to be temporary, being already accustomed to many changes and associated losses experienced as rejection. For black children, being of different race and appearance adds yet another dimension. The article will evaluate the use of ‘water games’, clay and doll's house play and a candle ceremony as part metaphor/part physical life drama structures for exploration.

A. Seymour, "Brecht's Anti-Naturalism in the Service of Dramatherapy", Dramatherapy, vol. 32, no. 1, pp. 3—7, 2010.

DOI: 10.1080/21571430.2010.11675761

Abstract:
This paper gives an account of work that took place in Sicily with a group of clients from a mental health day centre. The Dramatherapy process in set in the context of performance work using Bertolt Brecht's The Caucasian Chalk Circle and the paper explores the significance of theatrical genre and its therapeutic possibilities for both practice and analysis.

H. Orkibi, "Creative arts therapies students’ professional identity and career commitment: A brief pilot study report", The Arts in Psychotherapy, vol. 37, no. 3, pp. 228—232, 2010.

DOI: 10.1016/j.aip.2010.04.008

Datei : http://www.sciencedirect.com/science/article/pii/S0197455610000596

Abstract:
This quantitative pilot study identified, characterized, and provided preliminary insights into profession-related variables of first-year creative arts therapies graduate students in Israel. The 68 student participants studied in four program sub-groups: art therapy, drama therapy, dance movement therapy, and practicing creative arts therapists in the master's program. The profession-related variables investigated were students’ vocational identity and career commitment, need for training and occupational information, and environmental and personal barriers to career decision-making. Results indicated a moderate-positive correlation between students’ professional identity and career commitment. Also, the vocational identity mean score of dance movement therapy students was statistically significantly higher than that of students from the other sub-groups. The author suggests an interpretation for the results and concludes with a proposal for a future mixed-methods longitudinal study to gain more in-depth insights into the professional development of creative arts therapies students throughout their training.

R. J. Landy, "Drama as a means of preventing post-traumatic stress following trauma within a community", Journal of Applied Arts & Health, vol. 1, no. 1, pp. 7—18, 2010.

DOI: 10.1386/jaah.1.1.7/1

Abstract:
Drama persists as a natural form of healing and has existed as a ritual healing process for thousands of years. Developmentally, children naturally use dramatic play to master difficult moments in their lives. Historically and cross-culturally, individuals and communities have sought out the performative qualities of shamans to contact the spirit world and apply its healing medicines to various forms of personal and communal ills. When confronted by unexpected trauma, people can also turn to an applied form of drama to contain their fears and forestall debilitating symptoms of post-traumatic stress. This paper discusses an applied use of drama, that of drama therapy, in preventing the onslaught of symptoms following the terrorist attack on the World Trade Towers in New York City on September 11, 2001. The author discusses one drama therapy approach called Standing Tall, which transformed the roles and stories created by 9-year-old children who witnessed the attacks into a theatrical performance. Through the dramatic process and the subsequent performance, the children were able to begin to make sense of the events they observed and share their roles and stories with their community, leading to a mutual sense of support and hope.

S. Hung, "Exploring the Recovery Process of Former Taiwanese Comfort Women through Drama Therapy", Asian Journal of Women's Studies, vol. 16, no. 2, pp. 60—83, 2010.

DOI: 10.1080/12259276.2010.11666088

Abstract:
During World War II, some women from Taiwan, herein referred to as “comfort women,” were forced to go to the battlefield, not to fight, but to be used as sex slaves for the pleasure of Japanese soldiers. These women endured sexual abuse, in addition to other forms of mistreatment and left survivors with serious lifelong physical and psychological traumas. This study utilizes the framework of drama therapy and a hermeneutical research approach to examine the effects of drama therapy on women who have endured psychological and emotional abuse. It briefly examines the historical background of the issue and the role of drama therapy. Although the comfort women were victims of sexual abuse in a special historical situation, the focus of this work is not the historical aspect. Rather, it attempts to explore the role of drama therapy in the process of recovery from trauma. In this connection, this work does not discuss details of the complicated historical and other issues arising from these women's experiences. Instead, it focuses on the psychotherapeutic aspects of their treatment and recovery, especially during their old age. Essentially, drama therapy is employed to create space for respondents to express their feelings about their experiences. Its process entails three stages, namely, warm-up, self-dialogue with the “past self,” and a healing stage. Through these stages, respondents were able to grieve for themselves, accept the trauma through self-dialogue with their “past selves’ and develop the ability to self-heal, a first step towards recovery.

S. Bardsley, "Moving, speaking and imagining, from passivity to action: Dramatherapy work for adults with psychiatric disorders", Journal of Humanities Therapy, vol. 1, pp. 157—175, 2010.

P. P. Oon, "Playing with Gladys: A case study integrating drama therapy with behavioural interventions for the treatment of selective mutism", Clinical Child Psychology and Psychiatry, vol. 15, no. 2, pp. 215—230, 2010.

DOI: 10.1177/1359104509352892

Abstract:
This case study examines an integrative approach combining drama therapy and the behavioural skill \textquotedblshaping\textquotedbl, as offered to Gladys, a 5-year-old girl diagnosed with selective mutism. This study found that shaping, when implemented in the context of play, with play as the primary reinforcer, elicited from Gladys vocalization and eventually speech within a very short time. Her vocalizations allowed her to enter dramatic play, which in turn propelled spontaneous speech. This article looks at how the three elements of dramatherapy - the playspace, role-playing and dramatic projection - brought about therapeutic changes for Gladys. Aside from spontaneous speech, Gladys also developed positive self-esteem and a heightened sense of spontaneity. Subsequently, these two qualities helped her generalize her speech to new settings on her own. Gladys's newly harnessed spontaneity further helped her become more sociable and resilient.This study advances the possibility of integrating a behavioural skill with drama therapy for the therapeutic benefits of a child with an anxiety-related condition like selective mutism.

D. K. Wright, "The Continual State of Becoming – Each in his Own Way", Dramatherapy, vol. 32, no. 2, pp. 3—8, 2010.

DOI: 10.1080/21571430.2010.11675768

Abstract:
This paper, in two parts, conceptualises an holistic individual-centred drama methodology informed and inspired by the writings of dramatist Luigi Pirandello, theatre practitioner and theoretician Nikolai Evreinov, arts educators Peter Slade and Malcolm Ross, philosophers Jean-Paul Sartre and Martin Buber, psychiatrists C.G. Jung and D.W. Winnicott and voice pioneers Alfred Wolfsohn and Roy Hart. It presents the theoretical framework of a research practice that emphasises ‘each in his own way’ and explores the notion of choice in the continual state of becoming of each individual and the reflexive relationship between life and artistic processes. The thesis is that the practice produces knowledge and an insight that enables individuals to see themselves as both fixed and not fixed. It gives them the opportunity of liminal experiences while exploring their ‘other selves’ in the potential space and choosing self-transformation through creative imagination and creative imaginative action.

H. Orkibi, "The experience of acting: A synthesis of concepts and a clinical vignette", Journal of Applied Arts & Health, vol. 1, no. 2, pp. 193—203, 2010.

DOI: 10.1386/jaah.1.2.193_1

Abstract:
This article illuminates the experience of acting through a synthesis of concepts from therapy, arts, and philosophy. Through the lens of performance theory, the author first addresses the difference between acting in the context of formal theatrical acting and acting in the context of drama-based psychotherapy. By applying Sartrean concepts the author characterizes the experience of witnessing in the case of tangible and permanent works of art versus witnessing in the case of embodied and ephemeral performing arts. A distinction between two contrasting modes of dramatic presence, being-in-drama and being-for-drama, is provided. Drawing on Moreno (1953), Landy (1983), Boal (1995), and Bolton (1984), the author argues that these two opposing modes of dramatic presence coexist simultaneously in the experience of aesthetic-dramatic distance, conceptualized here as being-via-drama. Finally, a clinical vignette is provided to illustrate the experience of acting in drama-based psychotherapy.

D. Bird, "The Power of a New Story: The Bigger Picture", Dramatherapy, vol. 31, no. 3, pp. 10—14, 2010.

DOI: 10.1080/02630672.2010.9689782

Abstract:
This paper looks at the power of professionals and carers' beliefs systems and how these can cause ‘problem saturation’ for a teenage girl, in addressing her difficulty with managing her anger. The study illustrates how the client was able to utilise the concept of externalisation in Narrative Therapy to revise her unhelpful and problem saturated story. By using the Dramatherapy notions of embodiment, story and role, a re-authored narrative was created to help the client to separate and distance herself from the dominant story. Through the dramatisation of a fairytale, the client was able to author a new story that enabled her to have a different perception of herself and increase her range of self-expression.