Theatertherapie Literaturdatenbank
Die Theatertherapie Literaturdatenbank bringt veröffentlichte Werke aus dem Bereich der Theatertherapie – Bücher, Fachartikel und Buchkapitel – an einem Ort zusammen. Sie hilft Forschenden und Praktiker*innen, wichtige Informationen schnell zu finden und zu nutzen.
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2017
D. Dokter,
"Interview with Dr Dorothy Langley",
Dramatherapy,
vol. 38,
no. 1,
pp. 43—47,
2017.
A. Seymour,
"Making meetings, memories that matter",
Drama Therapy Review,
vol. 3,
no. 1,
pp. 13—18,
2017.
DOI: 10.1386/dtr.3.1.13_7
L. Lea-Weston,
"On the Edge – from the Margins to the Mainstream: Developing Dramatherapy as a Practice and a Profession",
Dramatherapy,
vol. 38,
no. 1,
pp. 59—65,
2017.
S. Lassken,
"Persona non grata: A systematic review of de-roling in drama therapy",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 165—179,
2017.
Abstract:
This research examines the phenomenon of de-roling in drama therapy literature with respect to its purpose and application. A systematic review of the literature indicates that the purpose of de-roling relates to the following: transitioning away from an enactment, sharing and reflecting, letting go of a character or a negatively felt sensation, setting boundaries to create distance, and integrating to learn from and amalgamate character qualities. An exploration of the five outlined purposes reveals new ways to view de-roling therapeutically.
Abstract:
This research examines the phenomenon of de-roling in drama therapy literature with respect to its purpose and application. A systematic review of the literature indicates that the purpose of de-roling relates to the following: transitioning away from an enactment, sharing and reflecting, letting go of a character or a negatively felt sensation, setting boundaries to create distance, and integrating to learn from and amalgamate character qualities. An exploration of the five outlined purposes reveals new ways to view de-roling therapeutically.
C. Miller,
"Practice-Based Evidence: Therapist as Researcher, Using Outcome Measures",
Dramatherapy,
vol. 38,
no. 1,
pp. 4—15,
2017.
Abstract:
This article examines the nature of evidence in the arts therapies, and the benefits to clients and therapists of taking a practice-based evidence (PBE) approach to our work. PBE keeps the client at the centre of the work. It involves using assessment and outcome processes which are person-centred, and which can be designed around the client. It challenges the privileging of evidence-based practice (EBP) as providing the only standards for determining which treatments/therapies should be used with clients. It provides ways of gathering data which, cumulatively and singly, demonstrate the effectiveness of the arts therapies.
DOI: 10.1080/02630672.2017.1288263
Abstract:
This article examines the nature of evidence in the arts therapies, and the benefits to clients and therapists of taking a practice-based evidence (PBE) approach to our work. PBE keeps the client at the centre of the work. It involves using assessment and outcome processes which are person-centred, and which can be designed around the client. It challenges the privileging of evidence-based practice (EBP) as providing the only standards for determining which treatments/therapies should be used with clients. It provides ways of gathering data which, cumulatively and singly, demonstrate the effectiveness of the arts therapies.
N. L. Sajnani and
M. Gopalakrishna,
"Rasa: Exploring the influence of Indian performance theory in drama therapy",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 225—239,
2017.
Abstract:
The theory and practice of rasa, as prescribed by the Nāṭyasāstra and expressed within numerous performance art traditions, offers theoretical and practical possibilities for the field of drama therapy. The authors present the concept of rasa and related concepts, describe a workshop that explored two practices inspired by the rasa system, and include feedback from participants. Further research is needed on the use of rasic approaches to increase emotional literacy, affect regulation and empathy.
Abstract:
The theory and practice of rasa, as prescribed by the Nāṭyasāstra and expressed within numerous performance art traditions, offers theoretical and practical possibilities for the field of drama therapy. The authors present the concept of rasa and related concepts, describe a workshop that explored two practices inspired by the rasa system, and include feedback from participants. Further research is needed on the use of rasic approaches to increase emotional literacy, affect regulation and empathy.
J. D. Butler,
"Re-examining Landy’s four-part model of drama therapy education",
Drama Therapy Review,
vol. 3,
no. 1,
pp. 75—87,
2017.
Abstract:
This article examines drama therapy pedagogy through Landy’s four-part model of educating drama therapists that looks at the education of the ‘self’ as well as teaching about populations, techniques and theory. Applying the lenses of constructivist, situated, psychodynamic and enactive theories of experiential learning it expands on Landy’s ideas, advocating for a more complex and dynamic view of learning, challenging the field to engage in more dialogue and exploration regarding theories of learning and pedagogy.
DOI: 10.1386/dtr.3.1.75_1
Abstract:
This article examines drama therapy pedagogy through Landy’s four-part model of educating drama therapists that looks at the education of the ‘self’ as well as teaching about populations, techniques and theory. Applying the lenses of constructivist, situated, psychodynamic and enactive theories of experiential learning it expands on Landy’s ideas, advocating for a more complex and dynamic view of learning, challenging the field to engage in more dialogue and exploration regarding theories of learning and pedagogy.
B. M. Williams,
"Role power: Using Role Theory in support of ethical practice",
Drama Therapy Review,
vol. 3,
no. 1,
pp. 131—148,
2017.
Abstract:
This article explores the need for a Relational-Roles Assessment Protocol that can be applied to clinical practice. Relationship is embedded in the work of therapy and this article proposes a self-assessment protocol that might be used in clinical practice and/or clinical supervision. The purpose of this protocol is to support ethical practice through deepening self and relational understanding within the therapeutic process.
Abstract:
This article explores the need for a Relational-Roles Assessment Protocol that can be applied to clinical practice. Relationship is embedded in the work of therapy and this article proposes a self-assessment protocol that might be used in clinical practice and/or clinical supervision. The purpose of this protocol is to support ethical practice through deepening self and relational understanding within the therapeutic process.
S. Cassidy,
A. Gumley and
S. Turnbull,
"Safety, play, enablement, and active involvement: Themes from a Grounded Theory study of practitioner and client experiences of change processes in Dramatherapy",
The Arts in Psychotherapy,
vol. 55,
pp. 174—185,
2017.
Abstract:
Objective This study aims to investigate how dramatherapists and dramatherapy clients experience change in therapy and whether change processes identified are consistent across dramatherapeutic approaches. Method Seven dramatherapists and seven dramatherapy clients were interviewed about their experiences of dramatherapy. Using a grounded theory method three core themes were constructed from the data. Results The resulting core categories – 1. working within a safe distance; 2. the client being allowed and allowing self to play and try out new ways of being and 3. being actively involved in therapy: creating something visible and having physical experiences using the body, capture the experience of change for both dramatherapists and clients in therapy. Key change mechanisms were also proposed, these included: developing new awareness and finding a language to communicate. Main conclusions A focus on developing new awareness and increased insight into self are important outcomes for therapy and need to be clearly communicated as such. Future research should include further exploration of the key themes identified and the client developing increased reflective functioning as a key change mechanism during dramatherapy.
DOI: 10.1016/j.aip.2017.05.007
Abstract:
Objective This study aims to investigate how dramatherapists and dramatherapy clients experience change in therapy and whether change processes identified are consistent across dramatherapeutic approaches. Method Seven dramatherapists and seven dramatherapy clients were interviewed about their experiences of dramatherapy. Using a grounded theory method three core themes were constructed from the data. Results The resulting core categories – 1. working within a safe distance; 2. the client being allowed and allowing self to play and try out new ways of being and 3. being actively involved in therapy: creating something visible and having physical experiences using the body, capture the experience of change for both dramatherapists and clients in therapy. Key change mechanisms were also proposed, these included: developing new awareness and finding a language to communicate. Main conclusions A focus on developing new awareness and increased insight into self are important outcomes for therapy and need to be clearly communicated as such. Future research should include further exploration of the key themes identified and the client developing increased reflective functioning as a key change mechanism during dramatherapy.
R. Berger,
"Shifting roles: A new art based creative supervision model",
The Arts in Psychotherapy,
vol. 55,
pp. 158—163,
2017.
Abstract:
This article presents a new creative supervision model that integrates Landy’s theory of roles into arts-based supervision. It defines the arts therapist in terms of theatrical roles, and suggests how best to choose the therapist’s role and stance accordingly. This new approach provides the arts therapist and supervisor with another perspective to explore complexities and resistance in therapy, as well as ways to work through them. The model can underpin arts therapy supervision processes in general and the work of drama therapists in particular, and contribute to therapists who combine different art forms. Examples illustrate the implementation of the model, while highlighting the potential of creative supervision. It is argued that creative supervision can increase therapists’ awareness, provide valuable supervisory tools, cultivate belief, and prompt inspiration.
DOI: 10.1016/j.aip.2017.04.010
Datei : http://www.sciencedirect.com/science/article/pii/S0197455616301782
Abstract:
This article presents a new creative supervision model that integrates Landy’s theory of roles into arts-based supervision. It defines the arts therapist in terms of theatrical roles, and suggests how best to choose the therapist’s role and stance accordingly. This new approach provides the arts therapist and supervisor with another perspective to explore complexities and resistance in therapy, as well as ways to work through them. The model can underpin arts therapy supervision processes in general and the work of drama therapists in particular, and contribute to therapists who combine different art forms. Examples illustrate the implementation of the model, while highlighting the potential of creative supervision. It is argued that creative supervision can increase therapists’ awareness, provide valuable supervisory tools, cultivate belief, and prompt inspiration.
M. Beauregard,
R. Stone,
N. Trytan and
N. L. Sajnani,
"Systemic barriers in mental health care for LGBTQI and gender nonconforming drama therapists and clients",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 285—312,
2017.
Abstract:
Survey research was conducted to assess drama therapists’ attitudes and actions regarding lesbian, gay, bisexual, transgender, queer, intersex (LGBTQI) and gender nonconforming (GNC) communities. The article reports on institutional attitudes and actions as revealed through workplace documentation, available training and resources, and institutional environments experienced by drama therapists in training and in the field across the United States and Canada. Results indicate that drama therapists continue to work in predominantly heteronormative and cisgender normative spaces. They confront specific barriers to implementing supportive and affirming care for LGBTQI and GNC individuals which are especially pronounced in K-12 schools, geriatric centres and inpatient mental health settings. This also has a negative impact on LGBTQI and GNC identified drama therapists working in these environments. Mechanisms through which these realities are given a voice remain a priority and may be facilitated through ongoing research, continuing education and courageous advocacy.
Abstract:
Survey research was conducted to assess drama therapists’ attitudes and actions regarding lesbian, gay, bisexual, transgender, queer, intersex (LGBTQI) and gender nonconforming (GNC) communities. The article reports on institutional attitudes and actions as revealed through workplace documentation, available training and resources, and institutional environments experienced by drama therapists in training and in the field across the United States and Canada. Results indicate that drama therapists continue to work in predominantly heteronormative and cisgender normative spaces. They confront specific barriers to implementing supportive and affirming care for LGBTQI and GNC individuals which are especially pronounced in K-12 schools, geriatric centres and inpatient mental health settings. This also has a negative impact on LGBTQI and GNC identified drama therapists working in these environments. Mechanisms through which these realities are given a voice remain a priority and may be facilitated through ongoing research, continuing education and courageous advocacy.
L. Bassingthwaighte,
"Taking Dramatherapy into the outside Space ‒ the Benefits and Obstacles When Working with Children with SEMH Issues",
Dramatherapy,
vol. 38,
no. 1,
pp. 16—31,
2017.
Abstract:
This article explores the benefits and obstacles of using the outside environment for dramatherapy practice with particular reference to children with social emotional mental health (SEMH) issues. I explore the benefits and challenges that the outside environment can provide for children with SEMH issues and other client groups. Through the literature available at present, dramatherapists Steve Mitchell and Martin Cope have practised in this area, but most publications can be found in eco-psychology. The methodology for the study uses qualitative research methods, coding two interviews with dramatherapists who use the outside environment for practice and supported by the author's own casework with children with SEMH issues. In the discussion, obstacles and benefits of outdoor dramatherapy for children with SEMH issues are considered.
DOI: 10.1080/02630672.2017.1291846
Abstract:
This article explores the benefits and obstacles of using the outside environment for dramatherapy practice with particular reference to children with social emotional mental health (SEMH) issues. I explore the benefits and challenges that the outside environment can provide for children with SEMH issues and other client groups. Through the literature available at present, dramatherapists Steve Mitchell and Martin Cope have practised in this area, but most publications can be found in eco-psychology. The methodology for the study uses qualitative research methods, coding two interviews with dramatherapists who use the outside environment for practice and supported by the author's own casework with children with SEMH issues. In the discussion, obstacles and benefits of outdoor dramatherapy for children with SEMH issues are considered.
J. D. Butler,
"The complex intersection of education and therapy in the drama therapy classroom",
The Arts in Psychotherapy,
vol. 53,
pp. 28—35,
2017.
Abstract:
Drama therapy education presents unique complexities for educators. Within the classroom, students engage with the techniques of their profession in order to learn how to utilize them with clients. However, because drama therapy is designed to work through metaphor, to subvert defenses and often to indirectly arrive at client issues, it is unavoidable that students in these classrooms will have experiences that evoke their own personal affective material. The presence of the students’ personal material can serve to deepen learning but it can also blur the line between education and therapy and detract from the intended lessons. This phenomenological study sought to answer the question: What is the lived experience of drama therapy students in these experiential learning processes that evoke and utilize their personal affective material?
DOI: 10.1016/j.aip.2017.01.010
Abstract:
Drama therapy education presents unique complexities for educators. Within the classroom, students engage with the techniques of their profession in order to learn how to utilize them with clients. However, because drama therapy is designed to work through metaphor, to subvert defenses and often to indirectly arrive at client issues, it is unavoidable that students in these classrooms will have experiences that evoke their own personal affective material. The presence of the students’ personal material can serve to deepen learning but it can also blur the line between education and therapy and detract from the intended lessons. This phenomenological study sought to answer the question: What is the lived experience of drama therapy students in these experiential learning processes that evoke and utilize their personal affective material?
S. Pitruzzella,
"The lost treasure of Paidia",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 211—223,
2017.
Abstract:
Play is one of the main roots of drama therapy, and many of drama therapy’s therapeutic features can be found in an embryonic way in children’s play. This article is an enquiry into the deeper nature of play. It starts from the fascinating attempts of Johan Huizinga and Roger Caillois to define play, and, with an aid from William Blake’s visionary philosophy, it tries to sound out its complexity, in order to arrive to the emergent concepts of attunement and intersubjectivity, which are relevant to play, but also to drama therapy’s theory and practice.
Abstract:
Play is one of the main roots of drama therapy, and many of drama therapy’s therapeutic features can be found in an embryonic way in children’s play. This article is an enquiry into the deeper nature of play. It starts from the fascinating attempts of Johan Huizinga and Roger Caillois to define play, and, with an aid from William Blake’s visionary philosophy, it tries to sound out its complexity, in order to arrive to the emergent concepts of attunement and intersubjectivity, which are relevant to play, but also to drama therapy’s theory and practice.
A. Onoe,
"The potential of drama therapy to transform perpetrators of mass killing",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 327—332,
2017.
J. Bergman,
"The roar of the 1960s and why we chose to work inside the system",
Drama Therapy Review,
vol. 3,
no. 2,
pp. 321—326,
2017.
2016
C. R. Armstrong,
M. Rozenberg,
M. A. Powell,
J. Honce,
L. Bronstein,
G. Gingras and
E. Han,
"A step toward empirical evidence: Operationalizing and uncovering drama therapy change processes",
The Arts in Psychotherapy,
vol. 49,
pp. 27—33,
2016.
Abstract:
Dramatic projection and embodiment are two drama therapy core processes theorized to account for client change in drama therapy (Jones, 2007). Experiencing is a psychotherapy process variable that has been consistently linked to outcome (e.g. Hendricks, 2002). This exploratory study looks at the development of definitions of dramatic projection and embodiment, and their relationships with experiencing. Data consisted of portions of the film Three Approaches to Drama Therapy (Landy, 2005). Projection, non-projection, embodiment, and non-embodiment segments of the film were identified and were rated with the observer-rated Experiencing Scale (EXP; Klein, Mathieu, Gendlin, & Keisler, 1969). Results suggest that dramatic projection and embodiment can be consistently identified, and that these processes may bring about higher levels of experiencing for clients.
DOI: 10.1016/j.aip.2016.05.007
Datei : http://www.sciencedirect.com/science/article/pii/S0197455616300818
Abstract:
Dramatic projection and embodiment are two drama therapy core processes theorized to account for client change in drama therapy (Jones, 2007). Experiencing is a psychotherapy process variable that has been consistently linked to outcome (e.g. Hendricks, 2002). This exploratory study looks at the development of definitions of dramatic projection and embodiment, and their relationships with experiencing. Data consisted of portions of the film Three Approaches to Drama Therapy (Landy, 2005). Projection, non-projection, embodiment, and non-embodiment segments of the film were identified and were rated with the observer-rated Experiencing Scale (EXP; Klein, Mathieu, Gendlin, & Keisler, 1969). Results suggest that dramatic projection and embodiment can be consistently identified, and that these processes may bring about higher levels of experiencing for clients.
S. Bailey,
"Dissolving the stigma of disability through drama therapy: A case study of an integrated classroom approach to addressing stigmatization by pre-professional health care students",
Drama Therapy Review,
vol. 2,
no. 1,
pp. 65—78,
2016.
Abstract:
Stigma, a negative attribute projected onto an individual or group different from the ‘norm’, is a continuing problem for people with disabilities. Health care workers need to become aware of their own tendencies to stigmatize and challenge them during their education. This article presents a case study of an integrated classroom approach involving education about stigma, engagement in basic drama therapy sessions with people with disabilities, and reflection on experiences to achieve a positive attitude change.
DOI: 10.1386/dtr.2.1.65_1
Abstract:
Stigma, a negative attribute projected onto an individual or group different from the ‘norm’, is a continuing problem for people with disabilities. Health care workers need to become aware of their own tendencies to stigmatize and challenge them during their education. This article presents a case study of an integrated classroom approach involving education about stigma, engagement in basic drama therapy sessions with people with disabilities, and reflection on experiences to achieve a positive attitude change.
M. Beauregard,
R. Stone,
N. Trytan and
N. L. Sajnani,
"Drama therapists’ attitudes and actions regarding LGBTQI and gender nonconforming communities",
Drama Therapy Review,
vol. 2,
no. 1,
pp. 41—63,
2016.
Abstract:
Drawing on survey research conducted in music therapy, the purpose of this study was to identify the attitudes, strengths and limitations in the field of drama therapy with regard to working with lesbian, gay, bisexual, transgender, queer, intersex (LGBTQI) and gender nonconforming (GNC) communities and to identify implications for training, research and the practice of drama therapy. A total of 136 respondents met the inclusion criteria. Results indicate that the majority of drama therapists hold an open and affirming attitude towards gender diversity and sexual orientation. Yet, discrepancies remain concerning the training received, overall level of preparedness, and participation in supervision specific to working with LGBTQI and GNC clients. Ongoing training and supervision is needed to bridge the gap between affirming attitudes and actions.
DOI: 10.1386/dtr.2.1.41_1
Abstract:
Drawing on survey research conducted in music therapy, the purpose of this study was to identify the attitudes, strengths and limitations in the field of drama therapy with regard to working with lesbian, gay, bisexual, transgender, queer, intersex (LGBTQI) and gender nonconforming (GNC) communities and to identify implications for training, research and the practice of drama therapy. A total of 136 respondents met the inclusion criteria. Results indicate that the majority of drama therapists hold an open and affirming attitude towards gender diversity and sexual orientation. Yet, discrepancies remain concerning the training received, overall level of preparedness, and participation in supervision specific to working with LGBTQI and GNC clients. Ongoing training and supervision is needed to bridge the gap between affirming attitudes and actions.
A. Ali and
S. Wolfert,
"Theatre as a treatment for posttraumatic stress in military veterans: Exploring the psychotherapeutic potential of mimetic induction",
The Arts in Psychotherapy,
vol. 50,
pp. 58—65,
2016.
Abstract:
Current mainstream treatments for traumatic stress in military veterans are largely inadequate in meeting the needs of veterans who are reluctant to conform to conventional illness-based approaches, including medication. These approaches have been criticized for using rigid techniques that emphasize strict symptom-reduction without considering social and relational factors in veterans’ lives. There is thus a need for innovative treatment models for traumatic stress that acknowledge potential sources of resilience and healing in veterans’ existing communities. In particular, there is growing evidence that the arts can play an important role in supporting veterans’ recovery from trauma. Accordingly, this paper describes a strengths-based group psychotherapy model that uses theatre and specific techniques from classical actor training in combination with empirically-established trauma treatment techniques from cognitive processing therapy and narrative therapy to address posttraumatic stress in veterans. Three case examples of veterans are presented with a focus on the veterans’ experiences of mimetic induction, a process through which the narrative representation of fictional encounters simulates real-world encounters at a safe aesthetic distance and thereby fosters self-awareness and positive psychological transformation.
DOI: 10.1016/j.aip.2016.06.004
Datei : http://www.sciencedirect.com/science/article/pii/S0197455616301137
Abstract:
Current mainstream treatments for traumatic stress in military veterans are largely inadequate in meeting the needs of veterans who are reluctant to conform to conventional illness-based approaches, including medication. These approaches have been criticized for using rigid techniques that emphasize strict symptom-reduction without considering social and relational factors in veterans’ lives. There is thus a need for innovative treatment models for traumatic stress that acknowledge potential sources of resilience and healing in veterans’ existing communities. In particular, there is growing evidence that the arts can play an important role in supporting veterans’ recovery from trauma. Accordingly, this paper describes a strengths-based group psychotherapy model that uses theatre and specific techniques from classical actor training in combination with empirically-established trauma treatment techniques from cognitive processing therapy and narrative therapy to address posttraumatic stress in veterans. Three case examples of veterans are presented with a focus on the veterans’ experiences of mimetic induction, a process through which the narrative representation of fictional encounters simulates real-world encounters at a safe aesthetic distance and thereby fosters self-awareness and positive psychological transformation.
D. Bird and
K. Tozer,
"Towards a drama therapy pedagogy: An a/r/tographic study using dramatic improvisation",
Drama Therapy Review,
vol. 2,
no. 2,
pp. 273—284,
2016.
Abstract:
This article explores the role of the art form in both research and teaching practice for the delivery of an MA drama therapy program in the United Kingdom. A/r/tography as the chosen research methodology makes central the artistic process to inform teaching and research through ongoing reflexivity using dramatic improvisation. Seven phases (renderings) illustrate the development towards formulating a drama therapy pedagogy. The authors explore disseminating the research through performance as another form of praxis.
Abstract:
This article explores the role of the art form in both research and teaching practice for the delivery of an MA drama therapy program in the United Kingdom. A/r/tography as the chosen research methodology makes central the artistic process to inform teaching and research through ongoing reflexivity using dramatic improvisation. Seven phases (renderings) illustrate the development towards formulating a drama therapy pedagogy. The authors explore disseminating the research through performance as another form of praxis.
2014
J. Hobeck,
"Dramatherapy with Parents and Children in Parallel Groups: Developing an Approach for Healthier Family Dynamics",
Dramatherapy,
vol. 36,
no. 2-3,
pp. 104—120,
2014.
Abstract:
This article is based on my inquiry into the use of dramatherapy in parallel groups (parent and child) to explore difficult family dynamics within a child and family psychiatric setting. The aim of this work is to develop a new approach, which synthesizes ideas from attachment theory and systemicoriented approaches, together with dramatherapeutic core processes as a way for clients to identify, explore and express difficult internal material and processes, to work towards greater self-awareness and healthier family dynamics.
DOI: 10.1080/02630672.2015.1014389
Abstract:
This article is based on my inquiry into the use of dramatherapy in parallel groups (parent and child) to explore difficult family dynamics within a child and family psychiatric setting. The aim of this work is to develop a new approach, which synthesizes ideas from attachment theory and systemicoriented approaches, together with dramatherapeutic core processes as a way for clients to identify, explore and express difficult internal material and processes, to work towards greater self-awareness and healthier family dynamics.
C. Haen,
"Examining roles in children's group therapy: Applying a dramaturgical role instrument to group process",
The Arts in Psychotherapy,
vol. 41,
no. 5,
pp. 554—562,
2014.
Abstract:
In this group process study of two children's verbal psychotherapy groups in an outpatient clinic, group roles were examined through the development and application of a novel dramaturgical coding instrument and the use of trained raters to analyze videotaped scenes of interaction. Exploratory data analysis was conducted that compared individual members within groups, group-level data between groups, and members who showed clinical change with those who did not. The results suggest the potential utility, for researchers and therapists, of applying dramaturgical roles to group process.
DOI: 10.1016/j.aip.2014.08.001
Datei : http://www.sciencedirect.com/science/article/pii/S019745561400077X
Abstract:
In this group process study of two children's verbal psychotherapy groups in an outpatient clinic, group roles were examined through the development and application of a novel dramaturgical coding instrument and the use of trained raters to analyze videotaped scenes of interaction. Exploratory data analysis was conducted that compared individual members within groups, group-level data between groups, and members who showed clinical change with those who did not. The results suggest the potential utility, for researchers and therapists, of applying dramaturgical roles to group process.
M. E. Smith and
D. Bird,
"Fairy tales, landscapes and metaphor in supervision: An exploratory study",
Counselling and Psychotherapy Research,
vol. 14,
no. 1,
pp. 2—9,
2014.
Abstract:
Objective: Supervision is an important requirement for most health professionals and finding innovative and creative forms of ensuring safe and ethical practice are helpful to practitioners. This paper explores the use of fairy tales, mental landscapes and metaphors to illuminate the therapeutic and supervisory relationship. A therapy case study was used as reference. Design: The design was based on a grounded theory methodology and qualitative‐based collaborative meetings between professionals. Both researchers/participants were from different therapeutic backgrounds; drama therapy and integrative counselling. Findings: Two main themes emerged relating to the therapeutic process: (1) Using Archetypal themes in fairy tales to enhance the clarity of the therapeutic landscape; and (2) The facilitation of the sense system through the use of small objects to reconceptualise the therapeutic dynamic. Conclusion: The use of metaphor and small objects to explore retrospective therapeutic encounters can enhance the role of supervision by broadening the cognitive landscape of the therapist. Implications for the therapist/client and supervisor relationships are considered.
DOI: 10.1080/14733145.2013.779732
Abstract:
Objective: Supervision is an important requirement for most health professionals and finding innovative and creative forms of ensuring safe and ethical practice are helpful to practitioners. This paper explores the use of fairy tales, mental landscapes and metaphors to illuminate the therapeutic and supervisory relationship. A therapy case study was used as reference. Design: The design was based on a grounded theory methodology and qualitative‐based collaborative meetings between professionals. Both researchers/participants were from different therapeutic backgrounds; drama therapy and integrative counselling. Findings: Two main themes emerged relating to the therapeutic process: (1) Using Archetypal themes in fairy tales to enhance the clarity of the therapeutic landscape; and (2) The facilitation of the sense system through the use of small objects to reconceptualise the therapeutic dynamic. Conclusion: The use of metaphor and small objects to explore retrospective therapeutic encounters can enhance the role of supervision by broadening the cognitive landscape of the therapist. Implications for the therapist/client and supervisor relationships are considered.
R. Redhouse,
"Life-story; meaning making through dramatherapy in a palliative care context",
Dramatherapy,
vol. 36,
no. 2-3,
pp. 66—80,
2014.
Abstract:
This article discusses an in-depth case study exploring the use of dramatherapy in the creation of an individual life-story within a palliative care context. Fundamental to an evaluation of the project is the understanding that ‘end of life’ is a life phase which presents particular challenges to therapist and client. The therapists’ goal of helping their client reach a more integrated sense of themselves is challenged by the awareness of imminent death, and a tension between openly discussing and/or colluding in the denial of this fact. My experience of working as part of an arts therapies team within the multi-disciplinary team of an adult hospice has convinced me of the contribution dramatherapy has to make to end of life care. Dramatherapy is a natural ally in the creation of life-stories, with its emphasis on story, roles and audience.
DOI: 10.1080/02630672.2014.996239
Abstract:
This article discusses an in-depth case study exploring the use of dramatherapy in the creation of an individual life-story within a palliative care context. Fundamental to an evaluation of the project is the understanding that ‘end of life’ is a life phase which presents particular challenges to therapist and client. The therapists’ goal of helping their client reach a more integrated sense of themselves is challenged by the awareness of imminent death, and a tension between openly discussing and/or colluding in the denial of this fact. My experience of working as part of an arts therapies team within the multi-disciplinary team of an adult hospice has convinced me of the contribution dramatherapy has to make to end of life care. Dramatherapy is a natural ally in the creation of life-stories, with its emphasis on story, roles and audience.