Theatertherapie Literaturdatenbank

P. Jones, "The active self: Drama therapy and philosophy", The Arts in Psychotherapy, vol. 35, no. 3, pp. 224—231, 2008.

DOI: 10.1016/j.aip.2008.02.006

Abstract:
This article examines the relationship between drama therapy and philosophy. It outlines key debates concerning the relationship between self, personhood and philosophy. Specific themes pertinent to drama therapy are reviewed. The themes concern concepts of self and subject, the self in relation to action and role, and the concept of the embodied self. The article shows how drama therapy's active methods, including role play, group improvisation and play-based work, all could be said to have an innate connection to such philosophies of the self. The article identifies ways of examining the relationship between therapists’ discourse and their philosophical positions on selfhood. The implicit philosophy contained within drama therapists’ accounts of practice is analysed, revealing how it relates to the ways therapist and clients engage with the process and content of the therapy. The article demonstrates how such discourse analysis of accounts of therapy can reveal how clinical practice is built upon philosophical assumptions about the situation the client presents in therapy, the context that their “problem” or needs are seen within, the nature of the therapist's intervention and the notion of what greater fulfilment for the client can be. The article shows that this approach to analysing discourse deepens and illuminates how practice and the process of therapeutic change is understood.

R. J. Landy, "The Dramatic World View Revisited: Reflections on the Roles Taken and Played by Young Children and Adolescents", Dramatherapy, vol. 30, no. 2, pp. 3—13, 2008.

DOI: 10.1080/02630672.2008.9689745

Abstract:
In this article, the author revisits an earlier paper published in 1995, “The Dramatic World View: Reflections on the Roles Taken and Played by Young Children,” which surveyed the ways and means that children acquire and play out roles in their early development. The paper was based on Landy's role theory in dramatherapy and on the observation of his two young children from eight months to four years old. The author adds his reflections upon his children twelve years later based on his observation of their projective drawings and stories. These observations lead to a discussion of role-taking and role-playing processes in the continuing development of individuals from childhood through adolescence. Throughout the article, the author examines the continuity and change of roles as manifested in the developing child's expressive activities.

R. Heymann-Krenge, "The Engendered Spectator and the Transformation of Clients' Themes", Dramatherapy, vol. 29, no. 3, pp. 9—16, 2008.

DOI: 10.1080/02630672.2008.9689730

Abstract:
This article suggests an analysis to check how clients’ personal themes are transformed during a dramatherapeutic process when the therapist aims to awaken the client’s engendered inner spectator.

C. Hubbard, "The Expressive Body: Finding Another Language", Dramatherapy, vol. 30, no. 1, pp. 6—13, 2008.

DOI: 10.1080/02630672.2008.9689739

S. Jennings, "The Loneliness of the Long Distance Therapist", Dramatherapy, vol. 30, no. 1, pp. 3—5, 2008.

DOI: 10.1080/02630672.2008.9689738

S. Pendzik, "Using the 6-Key Model as an intervention tool in drama therapy", The Arts in Psychotherapy, vol. 35, no. 5, pp. 349—354, 2008.

DOI: 10.1016/j.aip.2008.09.001

Abstract:
The 6-Key Model is an integrative, drama therapy-based method of assessment and intervention. The model is anchored in the notion of dramatic reality—which it views as a genuine therapeutic force and a paramount tool for intervention in drama therapy. Each key is connected to a different aspect of dramatic reality (including form, content, and occurrences outside dramatic reality). The model provides the therapist with a systematic means for mapping drama therapy processes and structuring the therapeutic work. By presenting an overall picture of the situation, the model signals at specific keys where therapeutic interventions would be most effective. This paper presents the basics of the 6-Key Model, focusing on its use as a tool for intervention in drama therapy. The article offers concrete ideas for intervention in each key, and a case example.

A. Gorst, "Awakening from the Dream of Thought: Research into Dramatherapy and Dementia", Dramatherapy, vol. 29, no. 2, pp. 10—16, 2007.

DOI: 10.1080/02630672.2007.9689720

J. Moore and F. Peacock, "Being before Doing: Life Story Work for Children with Attachment Difficulties", Dramatherapy, vol. 29, no. 1, pp. 19—21, 2007.

DOI: 10.1080/02630672.2007.9689712

V. Petratou, "Bringing Drama to Dialogue – The Use of Dramatherapy Methods in Cognitive Analytic Therapy", Dramatherapy, vol. 29, no. 1, pp. 10—15, 2007.

DOI: 10.1080/02630672.2007.9689710

D. R. Johnson, "British Influences on Developmental Transformations", Dramatherapy, vol. 29, no. 2, pp. 3—9, 2007.

DOI: 10.1080/02630672.2007.9689719

C. Rousseau, M. Benoit, M. Gauthier, L. Lacroix, N. Alain, M. V. Rojas, A. Moran and D. Bourassa, "Classroom drama therapy program for immigrant and refugee adolescents: a pilot study", Clinical Child Psychology and Psychiatry, vol. 12, no. 3, pp. 451—465, 2007.

DOI: 10.1177/1359104507078477

Abstract:
This evaluative study assesses the effects of a school drama therapy program for immigrant and refugee adolescents designed to prevent emotional and behavioral problems and to enhance school performance. The 9-week program involved 136 newcomers, aged 12 to 18, attending integration classes in a multiethnic school. Pretest and posttest data were collected from the students and their teachers. The self-report and teacher's forms of the Strengths and Difficulties Questionnaire were used to assess emotional and behavioral symptoms. At the end of the program, although there were no reported improvement in self-esteem or emotional and behavioral symptoms, the adolescents in the experimental group reported lower mean levels of impairment by symptoms than those in the control group, when baseline data were controlled for. Their performance in mathematics also increased significantly compared to that of their control peers. The findings suggest that the workshops may have an impact on social adjustment of recently arrived immigrants and refugees. This drama therapy program appears to be a promising way of working preventively and in a nonstigmatizing manner with adolescents who have been exposed to diverse forms of adversity, among which are war and violence.

D. Bonin and M. Müller, "Competencies in arts therapies: A rating of importance, training and performance by practitioners and referring professionals in Switzerland", The Arts in Psychotherapy, vol. 34, no. 1, pp. 11—21, 2007.

DOI: 10.1016/j.aip.2006.09.002

Datei : http://www.sciencedirect.com/science/article/pii/S0197455606000876

Abstract:
This survey was conducted in developing a final specialized examination for all arts therapists in Switzerland by the Council of Swiss Arts Therapy Associations (CSATA). Forty-eight generic key competencies (GKC) were sent to all 1235 arts therapists in five different disciplines in Switzerland (response 47.5%) and to 384 referring professionals and employers (RPE) listed by therapists (response 42%). The mean importance of GKC was rated high (4 points of 5) by practitioners and RPE. Different opinions on importance of GKC in disciplines included artistic ability and psychotherapeutic relative to medical orientation. The training of competencies was rated lower by practitioners (3.48 points) and different in the eight competence categories and five disciplines. Areas of weak training were identified. The performance of GKC was rated by referring professionals equally to its importance (mean +0.3 points) and showed a good understanding of competencies by RPE. Judging of performance was difficult for RPE in more than 20% of items. The results provide criteria for detailed outcome assessments and the advancement of a final examination for arts therapists in Switzerland.

R. Ruddy and K. Dent-Brown, "Drama therapy for schizophrenia or schizophrenia-like illnesses", The Cochrane Database of Systematic Reviews, no. 1, pp. CD005378, 2007.

Abstract:
BACKGROUND Medication is the mainstay of treatment for schizophrenia or schizophrenia-like illnesses, but many people continue to experience symptoms in spite of medication (Johnstone 1998). In addition to medication, creative therapies, such as drama therapy may prove beneficial. Drama therapy is a form of treatment that encourages spontaneity and creativity. It can promote emotional expression, but does not necessarily require the participant to have insight into their condition or psychological-mindset. OBJECTIVES To review the effects of drama therapy and related approaches as an adjunctive treatment for schizophrenia compared with standard care and other psychosocial interventions. SEARCH STRATEGY We searched the Cochrane Schizophrenia Group's Register (October 2006), hand searched reference lists, hand searched Dramatherapy (the journal of the British Association of Dramatherapists) and Arts in Psychotherapy and contacted relevant authors. SELECTION CRITERIA We included all randomised controlled trials that compared drama therapy, psychodrama and related approaches with standard care or other psychosocial interventions for schizophrenia. DATA COLLECTION AND ANALYSIS We reliably selected, quality assessed and extracted data from the studies. We excluded data where more than 50% of participants in any group were lost to follow up. For continuous outcomes we calculated a weighted mean difference and its 95% confidence interval. For binary outcomes we calculated a fixed effects risk ratio (RR), its 95% confidence interval (CI) and a number needed to treat (NNT). MAIN RESULTS The search identified 183 references but only five studies (total n=210) met the inclusion criteria. All of the studies were on inpatient populations and compared the intervention with standard inpatient care. One study had drama therapy as the intervention, one had role-playing, one had a social drama group and two used psychodrama. Two of the included studies were Chinese and it is difficult to know whether psychodrama and indeed inpatient psychiatric care in China is comparable with the drama interventions and inpatient care in the other included studies. There were no significant findings about the value of drama interventions for keeping inpatients engaged in treatment. Due to poor reporting very little data from the five studies could be used and there were no conclusive findings about the harms or benefits of drama therapy for inpatients with schizophrenia. AUTHORS' CONCLUSIONS Randomised studies are possible in this field. The use of drama therapy for schizophrenia and schizophrenia-like illnesses should continue to be under evaluation as its benefits, or harms, are unclear.

M. S. Townsend, "Dramatherapy: Taking in the Broader Picture", Dramatherapy, vol. 29, no. 1, pp. 16—18, 2007.

DOI: 10.1080/02630672.2007.9689711

R. G. Roten, "DSM-IV and the taxonomy of roles: How can the taxonomy of roles complement the DSM-IV to create a more holistic diagnostic tool?", The Arts in Psychotherapy, vol. 34, no. 1, pp. 53—68, 2007.

DOI: 10.1016/j.aip.2006.08.003

Datei : http://www.sciencedirect.com/science/article/pii/S0197455606000803

Abstract:
As the expanding field of drama therapy continues to develop alongside conventional psychiatry, there is a growing movement to improve assessment and diagnosis beyond the existing medical model. As such, this article presents an alternative approach that endeavors to blend a conceptualization of role theory with traditional psychopathology. This article attempts to combine the Taxonomy of Roles and the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV-TR; American Psychiatric Association, 2000) in order to make diagnostic classification less stigmatizing for the client. The point of view presented is that by identifying role qualities inherent in all human beings, treatment staff, families, and society can begin to view the mentally ill in relation to themselves, rather than as some ambiguous “other.” As the client recognizes, identifies with, and learns to relate to a broader repertoire of roles (beyond “sick person”), he or she is better prepared to engage in therapy. Barriers to treatment begin to crumble. Using the case presentation of one client in a continuing day treatment program, this paper explores a strengths-based approach to diagnosis that reflects – and treats – the whole person.

V. Chandrasegaram, "Pioneering Dramatherapy in Malaysia", Dramatherapy, vol. 29, no. 2, pp. 18—21, 2007.

DOI: 10.1080/02630672.2007.9689722

W. Stahler, "Pray erformance: A drama therapy approach with female prisoners recovering from addiction", Journal of Creativity in Mental Health, vol. 2, no. 1, pp. 3—12, 2007.

DOI: 10.1300/J456v02n01_02

Abstract:
Female prisoners in recovery may anticipate defeat when projecting possibilities for their future hopes and dreams. These clients often identify with and attach to the role of prisoner and addict. This article describes a 12-week group treatment program, titled by the author as “Prayerformance.” In this work, female prisoners in recovery have an opportunity to connect spiritually and psychologically by using techniques like role play, improvisation, spontaneity training, storytelling, character development, mask work, and movement.

R. J. Landy and A. Hadari, "Stories of Destruction and Renewal: A Drama Therapy Experience", Journal of Humanistic Psychology, vol. 47, no. 3, pp. 413—421, 2007.

DOI: 10.1177/0022167807302180

Abstract:
In a full-day workshop, the authors invited the participants to create personal and/or political stories around the theme of destruction. These stories were explored by the full group through methods derived from drama therapy, expressive therapies, and Gestalt therapy. Several stories were dramatized, as they captured the theme of the workshop. All group members reflected on the stories, and then all were asked to re-vision their stories from the point of view of renewal. Again, representative stories of renewal were dra1matized. Finally, all group members reflected on the process of working toward the possibility of holding together balancing their tendencies toward destruction and creation. In doing so, the group attempted to come to some understanding of the concept of renewal from both political and personal perspectives. Participants from a variety of political and cultural perspectives were welcomed

A. Leeder and C. Wimmer, "Voices of Pride", Women & Therapy, vol. 29, no. 3-4, pp. 195—213, 2007.

DOI: 10.1300/J015v29n03_11

Abstract:
This paper demonstrates how drama therapy assists incarcerated women in freeing themselves from internalized oppressive beliefs. In the context of a drug and alcohol treatment program for incarcerated women, the authors assist the women in building three distinct bridges to healing: a new relationship to one’s self, to other women, and to the community. Writing exercises, performance techniques, and group drama therapy empower women to express their diverse voices. As the women risk sharing their personal stories and journeys of recovery, they begin to actively envision a different future for themselves. The participants discover talents that offer them an opportunity to experience themselves in a different light, no longer bound by the stigma of being in prison.

D. Gammage, "‘From Bowlby to Buddha’ – An Initial Exploration of the Meaning of Attachment and Non-Attachment and Their Implication for Dramatherapy", Dramatherapy, vol. 28, no. 2, pp. 8—14, 2006.

DOI: 10.1080/02630672.2006.9689691

D. Barry, "Dramatherapy for Women with Postnatal Depression", Dramatherapy, vol. 28, no. 3, pp. 3—9, 2006.

DOI: 10.1080/02630672.2006-2007.9689701

A. Gesser-Edelsburg, N. Guttman and M. Israelashvili, "Educational drama and the dilemma of ‘false catharsis’: lessons for theory and practice from a study of anti-drug plays in Israel", Research in Drama Education: The Journal of Applied Theatre and Performance, vol. 11, no. 3, pp. 293—311, 2006.

DOI: 10.1080/13569780600900651

Abstract:
This study, initiated and funded by The Israel Anti-Drug Authority, investigated adolescents’ reactions to professionally produced anti-drug plays, performed in 27 schools across Israel. The study included observations and the analyses of 20 professionally produced anti-drug plays performed during the school year and interviews with theatre personnel. The analysis of the plays’ narratives revealed that most plays had a melodramatic narrative based on a ‘true story’ and most depicted the downfall of a protagonist who became addicted to drugs. By the very choice of a closed, melodramatic structure, that precludes alternatives and a deep discussion of issues, these plays created an undivided hero, devoid of conflicts and ambivalence, who has no personal responsibility for his actions and the people around him and moves in a narrow private world that does not relate to the values and norms surrounding the issue of drugs.

R. Hougham, "Numinosity, Symbol and Ritual in the Sesame Approach", Dramatherapy, vol. 28, no. 2, pp. 3—7, 2006.

DOI: 10.1080/02630672.2006.9689690

S. Pendzik, "On dramatic reality and its therapeutic function in drama therapy", The Arts in Psychotherapy, vol. 33, no. 4, pp. 271—280, 2006.

DOI: 10.1016/j.aip.2006.03.001

Abstract:
Dramatic reality is a core concept in drama therapy, and perhaps also the most genuine feature of the field. All drama therapists draw on dramatic reality in some form, both in their clinical practice and in their theoretical thinking. This paper explores the concept of dramatic reality in drama therapy from a philosophical angle, in a way that is unattached to a particular model or a specific approach: first, the article defines the concept's scope and boundaries, with reference to its modes as informed by Schechner's notion of performance activities; then it describes the main features and properties of dramatic reality, while looking at their implications in a therapeutic setting. Finally, it points out the four main tasks that drama therapists are called on to perform in connection with dramatic reality.

T. Pyman and S. Rugg, "Participating in a community theatre production: A dramatherapeutic perspective", International Journal of Therapy and Rehabilitation, vol. 13, no. 12, pp. 562—571, 2006.

DOI: 10.12968/ijtr.2006.13.12.22473

Abstract:
This phenomenological study was conducted with eight members of a community theatre group who recreated an old time music hall performance in January 2004. The study explored participants’ experiences of taking part in this chosen leisure activity, focusing on any personal enrichment that might ensue. While personal enrichment is a term often used in dramatherapy, and in community theatre, few studies have investigated a potential link.Data were collected from semi-structured interviews conducted with a purposive sample of members of both the cast and the production team. Respondents’ perceptions of their community theatre experience proved to be multi-faceted, relating to personal development and/or learning, challenge, compromise and co-operation, individual and/or collective validation, increased awareness of community identity, developing creativity and a sense of empowerment and/or escape. Participants also reported a range of tangible individual benefits from their experiences. These included friendship, improved confidence, a feeling of being valued, increased self-esteem, enjoyment, the opportunity to be ‘someone else’ and encouragement to learn new skills. Participants’ experiences fostered their personal and collective creativity in many ways. Many of these findings have implications for drama used for therapeutic purposes. In conclusion, this study explored participants’ experience and music hall experience. The results showed that, far from being a simple staging of old songs in a recreated historical setting, those who took part saw their experience as one of myriad opportunities, developing their knowledge, skills and attitudes, and enriching their lives