Theatertherapie Literaturdatenbank

C. Haen and A. M. Weber, "Beyond retribution: Working through revenge fantasies with traumatized young people", The Arts in Psychotherapy, vol. 36, no. 2, pp. 84—93, 2009.

DOI: 10.1016/j.aip.2009.01.005

Datei : http://www.sciencedirect.com/science/article/pii/S0197455609000203

Abstract:
This article examines one segment of trauma-specific treatment: the process of working through revenge fantasies with traumatized children and adolescents. The authors, both drama therapists, summarize theories about the etiology of the wish for revenge, examine the sociopolitical context of its occurrence, and expand upon the theory of identification with the aggressor to include the dynamic of role reversal with the perpetrator. They explore theories of affect regulation, mentalization, and creative enactment as a framework for offering suggestions for facilitating both the expression and containment of revenge fantasies in therapy. The authors offer three case examples of working through revenge fantasies within individual and group therapy modalities.

A. Seymour, "Brecht in Italy", Dramatherapy, vol. 31, no. 1, pp. 15—20, 2009.

DOI: 10.1080/02630672.2009.9689764

Abstract:
This paper describes a Dramatherapy training workshop in Northern Italy. It is based on a Theatre Model of Dramatherapy, illustrating how the theories and practices of theatre itself can be at the core of Dramatherapy practice. This workshop was based on Bertolt Brecht’s theatre using extracts from the play text The Caucasian Chalk Circle and drawing on Brecht’s theories of acting, epic theatre, gestus and political aesthetics in the service of the Dramatherapeutic process.

C. Miller, "Colonialism and Dramatherapy in FIJI", Dramatherapy, vol. 31, no. 2, pp. 3—8, 2009.

DOI: 10.1080/02630672.2009.9689770

D. R. Johnson, "Commentary: Examining underlying paradigms in the creative arts therapies of trauma", The Arts in Psychotherapy, vol. 36, no. 2, pp. 114—120, 2009.

DOI: 10.1016/j.aip.2009.01.011

Datei : http://www.sciencedirect.com/science/article/pii/S0197455609000264

V. Chandrasegaram, "Cultural Diversity in Dramatherapy in the Malaysian Context", Dramatherapy, vol. 31, no. 2, pp. 9—13, 2009.

DOI: 10.1080/02630672.2009.9689771

Abstract:
This paper discusses the practice of dramatherapy in the past 4 years in the Malaysian context. Malaysia is a culturally diverse country. There are three different ethnicities in Malaysia: Malays, Chinese and Indians. The most common religions practiced in Malaysia include Islam, Buddhism, Christianity, and Hinduism. In the past decades there have been migrations from other Asian countries, as well as an increase in foreign students and expatriates. This paper discusses the different perceptions and reactions of clients of these various ethnic, cultural and religious backgrounds. The author discusses the reactions of the employing organization, when she used Hindu mythology in a country where the official religion is Islam. Some of her work with international students, who bring a different set of cultural issues and richness to dramatherapy, is also explored. The author is Malaysian, trained as a dramatherapist in the UK, then returned to establish dramatherapy practice in her birth country.

D. Dokter and L. C. Winn, "Evaluating Dramatherapy. EBP and PBE: A Research Project", Dramatherapy, vol. 31, no. 1, pp. 3—9, 2009.

DOI: 10.1080/02630672.2009.9689762

T. Bruck, "How Dramatherapy is Informed by the Therapist's Own Background and History", Dramatherapy, vol. 31, no. 2, pp. 25—26, 2009.

DOI: 10.1080/02630672.2009.9689774

Abstract:
This article developed from a talk given at the conference “Who’s that behind you? The Cultural Background of the Dramatherapist and its impact on the Therapeutic Relationship”. Understanding one’s own culture and that of your clients is of utmost importance. It gives the work a context and an understanding with regard to particular issues that might arise. A case study has been used to illustrate the importance of the relationship. In my belief, it is the therapeutic relationship that holds the importance and the authenticity of this. Culture is one aspect of this re1ationship.A pseudonym has been used to observe client confidentiality.

M. Hodermarska, "Perfume: A meditation on the countertransferential drama with babies who smell bad", The Arts in Psychotherapy, vol. 36, no. 1, pp. 39—46, 2009.

DOI: 10.1016/j.aip.2008.10.003

Abstract:
A Mother's role is to create intimacy and smell is an elemental aspect of intimacy in life and in therapy. Mother and child, therapist and client, metaphorically and literally breathe each other in. Regardless of its effect on us, smell is part of the “mutual perfume” or sensory road map of presence with another human being. Weaving [Suskind, P. (1986/2001). Perfume: The story of a murderer. (J. E. Woods, Trans.). New York: Vintage Books/Random House Inc.] the novel Perfume: The Story of A Murderer through case examples from her drama therapy practice, the author explores her subjective countertransference and undertakes an aesthetic examination of abandonment and attunement in the therapy as experienced through and evoked by smell. This essay examines Role as a form of therapeutic agency (with particular focus upon the therapist in the role of surrogate mother) that can lead the therapist and client from presence with each other out onto the stage of potential therapeutic change.

H. Forde, "River: Cultural Experiences as a Trinidadian Dramatherapist with an Evolving Practice in the UK", Dramatherapy, vol. 31, no. 2, pp. 19—24, 2009.

DOI: 10.1080/02630672.2009.9689773

Abstract:
This is a continuation of a flow which seemed to start four years ago when writing the Critical Review of my MA titled - ‘Carnival Fever, Sesame and the Client’. In the Review, some reflections included parallels between my cultural experiences as a Trinidadian and my developing Dramatherapy practice here in the UK. In particular, I focused on Trinidad Carnival as a National Festival, its potential for healing and the implications this cultural awareness might have for me as a Dramatherapist in clinical settings. Anthony Stevens partially describes the symbol of the River as ‘sacred and worshipped as deities, particularly as masculine river gods who fertilise the lands through which they pass’ (Stevens 1998:lll). As a cultural counter-point this description, the Yoruban Orisha - Oshun - is also a river deity who is known for healing the sick, fertility, prosperity and her fierce temper. So with a backdrop of what might be regarded as cultural opposites, this article will contain some of the themes covered in the Critical Review and continue the flow with a Case Study from my current practice. In this process of writing, the symbol of a river has surfaced - possibly because it was explored within the therapeutic space in the Case Study to be discussed. As with any River - especially one containing elements of cultural identity relevant to the therapeutic relationship - it might be good to start at the source, the first point to which we sail on the former SlaveTriangle..

S. Pitruzzella, "The Audience Role in Theatre and Dramatherapy", Dramatherapy, vol. 31, no. 1, pp. 10—14, 2009.

DOI: 10.1080/02630672.2009.9689763

A. Anari, P. Dadsetan and B. S. Sedghpour, "The Effectiveness of Drama Therapy on Decreasing of the Symptoms of Social Anxiety Disorder in Children", European Psychiatry, vol. 24, no. S1, 2009.

DOI: 10.1016/S0924-9338(09)70747-3

Abstract:
The effectiveness of Drama therapy on decreasing of the symptoms of Social Anxiety Disorder (Performance Anxiety, Performance Avoidance, Social Anxiety & Social Performance Subtests) in 10-11 years old children was investigated in this study. 2 schools were randomly selected from elementary schools of Tehran city. First, Validation the Liebowitz Social Anxiety Scale for Children and Adolescents (Liebowitz, Klein & Masia-Warner, 2003) is done in one of that school; Then, in two schools, from 300 children ages 10-11, 32 children whose had received the highest scores on the Liebowitz Social Anxiety Scale for Children and Adolescents (LSAS-CA) were selected. Subjects were divided into control and experimental groups. Experimental group received Drama therapy intervention for 6 weeks, twice a week sessions lasting two hours. The results were analyzed using covariance and indicated the children in experimental group reported a significant decrease in symptoms of Social Anxiety Disorder (Performance Anxiety, Performance Avoidance, Social Anxiety & Social Performance Subtests) as compared to the control group. In addition, in 3 month follow up, results had stabilized in experimental group as compared to the control group. The emerged findings can have clinical application in prevention and treatment of social anxiety disorder in children.

E. F. Bruun, "The Quest for the Heart-Shaped Diamonds: Dilemmas Arising from Teaching Drama as Therapy", Dramatherapy, vol. 30, no. 3, pp. 9—12, 2009.

DOI: 10.1080/02630672.2009.9689754

P. Jones, "Therapists’ understandings of embodiment in dramatherapy: Findings from a research approach using vignettes and aMSN messenger research conversations", Body, Movement and Dance in Psychotherapy, vol. 4, no. 2, pp. 95—106, 2009.

DOI: 10.1080/17432970802476321

Abstract:
This paper reports on research with 25 dramatherapists into the use of the concept of core processes (Jones, 1996) in their understanding of their practice. This paper focuses upon the findings of research relating to the process of embodiment (Jones, 1996, 2005). The approach taken involved the use of vignettes and the development of research conversations using aMSN messenger. The paper includes excerpts from vignettes and discusses the findings: looking at how therapists see the process of embodiment in their practice. In conclusion, the author will reflect on the findings in relation to embodiment.

R. Mechaeil, A. Graybow and P. Cobham, "Towards a Purposeful Ending: A Study Exploring the Impact of Dramatherapy on the Quality of Life of People Suffering from Dementia", Dramatherapy, vol. 31, no. 2, pp. 27—34, 2009.

DOI: 10.1080/02630672.2009.9689775

Abstract:
The aim of this study was to explore the effects of Dramatherapy on people suffering from dementia. The work was a small scale quantitative study carried out over 12 weeks comparing the experience of a Dramatherapy group with an activity group. The subjects lived in the same care home and were randomly assigned to the groups. Audits assessing quality of life measures were carried out at regular intervals. The study found that the clients receiving Dramatherapy showed significant improvements in quantitative measures of attentiveness and engagement compared with those taking part in the activity group. The results identified a cumulative benefit which suggests increasingly positive outcomes for longer term Dramatherapy.

Y. Min, "Who's that behind You? What Do We Knowingly Or Unknowingly Bring from Our Heritage that Colours the Way We Interpret and Practise Dramatherapy?", Dramatherapy, vol. 31, no. 2, pp. 14—18, 2009.

DOI: 10.1080/02630672.2009.9689772

Abstract:
The current article reflects on how cultural influences can impact on the work of someone who has never been wholly immersed in their own culture. It considers this from the position of a Dramatherapist currently working with young people with mental health difficulties. It touches on the areas of formative experiences and how they may be assimilated or rejected to produce ‘cultural templates’ that we may choose to adopt. It concludes with the idea that ‘our culture’ is composed of the many things we personally choose to adhere to and therefore it is much more of an individual statement than is generally accepted. This article is a redrafting of the keynote workshop presentation made for the BADth Equal Opportunities Subcommittee Workshop Day on April 25th 2009.

J. Blacker, A. Watson and A. R. Beech, "A combined drama-based and CBT approach to working with self-reported anger aggression", Criminal Behaviour and Mental Health, vol. 18, no. 2, pp. 129—137, 2008.

DOI: 10.1002/cbm.686

Abstract:
BACKGROUND A drama-based programme, called 'Insult to Injury', was designed to explore the processes of anger, aggression and violence. The aim of the programme was to enable offenders to identify and generate strategies and skills for dealing with potentially volatile situations, and to provide a safe and supportive environment in which to practice and evaluate these strategies. AIMS An active drama-based approach combined with cognitive-behavioural techniques was used to explore issues such as masculinity, power and control, pride and shame and victim awareness. Reductions in anger were hypothesized. METHOD A single group pre/post design assessed the levels of anger before and after the course. RESULTS Sixty-two adult male offenders from six prison establishments in the UK took part in the nine-day course. As hypothesised, significant reductions in anger were found in pre- to post-course assessment. CONCLUSIONS These results suggest that a drama-based approach may be a promising adjunct to traditional anger management programmes for violent offenders.

J. Jaaniste, "A New Beginning – A Dramatherapy Group for Participants with Co-Occurring Mental Illness and Substance Abuse in a Mental Health Setting", Dramatherapy, vol. 30, no. 2, pp. 17—22, 2008.

DOI: 10.1080/02630672.2008.9689747

Abstract:
Rehabilitation for people with dual diagnosis (co-existing mental illness and substance dependence) has existed in many forms over the past thirty years and has become more urgently needed over time. Treatment for this population inevitably requires a team effort (Schwartz & Lehman, 1998). These people are difficult to engage in treatment and it takes time to unravel the interacting effects of substance abuse and their mental illness. Social relationships may also be problematic, particularly once the person has decided to discontinue drug or alcohol abuse. Often such clients find it easier to communicate socially with people who have similar problems (Hatfield, 1993). Improvements in self-esteem and reduced intake of drugs and alcohol are rarely monitored in the one community psychiatric facility, as in this study. The method of treatment in this case was to run a small group for participants over an extended period with support from multidisciplinary teams, using a Dutch model for drug and alcohol rehabilitation. By targeting psychiatric relapse prevention and people’s life stories, using a biographical developmental framework and dramatherapy interventions, the intention was to achieve outcomes of higher self esteem and reduced intake of recreational drugs. In fact the pre and post measures chosen did not show significant variance. For all participants, including those who were already abstinent, changes in lifestyle and achievement of life goals were sought. As a result, there was reported enjoyment of mutual support, sharing and understanding of individual life stories, together with strategies to increase resilience. Further research is needed to identify how best to measure outcomes.

E. Parkinson, "Developmental transformations with Alzheimer's patients in a residential care facility", The Arts in Psychotherapy, vol. 35, no. 3, pp. 209—216, 2008.

DOI: 10.1016/j.aip.2008.02.007

Abstract:
Developmental transformations (DVT) is presented as an effective therapeutic modality for individual and group work with Alzheimer's patients. Effectiveness is defined for this population and validation therapy is outlined as an established paradigm for working with demented individuals. DVT is presented, including basic premises and previous literature on its effectiveness with non-demented elderly. Theoretical connections between validation therapy and DVT are explored, as are areas in which DVT moves beyond validation to access areas of remaining competency for the demented and to elicit the symbolic expression of psychological and existential issues. Adaptations for using this method specifically with Alzheimer's patients are described, limitations are acknowledged and areas for further exploration are proposed. Case material is presented throughout.

J. Jaaniste, "Dramatherapy with Adolescents and Parents", Dramatherapy, vol. 29, no. 3, pp. 19—20, 2008.

DOI: 10.1080/02630672.2008.9689732

S. Pendzik, "Dramatic Resonances: A technique of intervention in drama therapy, supervision, and training", The Arts in Psychotherapy, vol. 35, no. 3, pp. 217—223, 2008.

DOI: 10.1016/j.aip.2008.02.004

Datei : http://www.sciencedirect.com/science/article/pii/S0197455608000221

Abstract:
Dramatic Resonances is an advanced drama therapy technique that can be applied as an intervention in therapy, supervision, and training. Mostly used in group settings, the method is based on the creative responses that participants offer from within dramatic reality to an input posed from outside dramatic reality. The input may be a member’s personal experience (memory, dream, etc.) or a non-personal narrative (tale, text, etc.). The approach has a strong ritualistic style and integrates elements from various sources—including the shamanic tradition and the Playback mode. This article describes the technique of Dramatic Resonances, its rationale and therapeutic value, while setting it in theoretical context.

D. Milioni, "Embodiment and Metaphor in Dramatherapy: A Discursive Approach to the Extra-Discursive", Dramatherapy, vol. 29, no. 3, pp. 3—8, 2008.

DOI: 10.1080/02630672.2008.9689729

I. Moneta and C. Rousseau, "Emotional expression and regulation in a school-based drama workshop for immigrant adolescents with behavioral and learning difficulties", The Arts in Psychotherapy, vol. 35, no. 5, pp. 329—340, 2008.

DOI: 10.1016/j.aip.2008.07.001

Datei : http://www.sciencedirect.com/science/article/pii/S0197455608000634

Abstract:
The construct of emotion regulation (ER) has received considerable emphasis in developmental psychology, with growing interest in the possible association of dysfunctional ER with various forms of child and adolescent psychopathology. However, the empirical study of emotions often entails their abstraction from the immediate context – particularly, from interpersonal and social variables having a pivotal role in the origin and modulation of emotive processes. In this study we used a school-based drama intervention with special class, immigrant adolescents with behavioral difficulties as a real-life context for the study of forms of emotional expression (EE) and strategies of ER using qualitative methods of analysis. Our findings suggest some impairment in EE and ER in this study sample. In addition, we observed difficulties accessing a range of emotions appropriate to a variety of circumstances, anger being the predominantly expressed negative emotion. Hypotheses drawing on issues of immigration and marginalization were raised to explain this finding. In general, the drama process seemed to help emotional expression and awareness and to foster a transformation of emotive processes in the sense of a “collective ER.” The importance of teacher awareness of students’ dominant emotional state and its potential impact on learning was emphasized.

P. Jones, "Research into the core processes of drama therapy: Vignettes and conversations", The Arts in Psychotherapy, vol. 35, no. 4, pp. 271—279, 2008.

DOI: 10.1016/j.aip.2008.06.004

Abstract:
This article describes research undertaken to examine drama therapists’ use of the concept of “core processes” [Jones, P. (1996). Drama as therapy: Theatre as living. London, England: Routledge] to analyse change within their clinical practice. The research was based in qualitative, narrative approaches to in-depth analysis of vignettes provided by drama therapists. The method involved the use of the Internet through aMSN messenger. The article defines the research vignette, the processes used to analyse vignettes and the use of aMSN messenger, placing the research project as a whole, and each of these elements within a context of research literature. It present samples from the findings and reviews the use of vignettes and research conversation. The results show how the research approach identified how the core processes were seen by therapists in their understanding of change within their work. It reveals discoveries made by the drama therapists about the core processes of embodiment, role, distancing and witnessing through their vignettes and analysis of change within their practice.

A. Anari, P. Dadsetan and B. S. Sedghpour, "Social Anxiety Disorders and Drama-Therapy", Journal of Iranian Psychologists, vol. 5, no. 14, pp. 115—123, 2008.

Abstract:
This study investigated the effectiveness of drama-therapy in reducing the symptoms of social anxiety disorder - including performance anxiety, performance avoidance, social anxiety, and social avoidance. 220 children (10-11 years old), enrolled in two elementary schools in Tehran, completed the Liebowitz Social Anxiety Scale for Children and Adolescents (LSAS-CA; Masia-Warner, Klein, & Liebowitz, 2003). 32 children receiving the highest scores on the LSAS-CA were selected and randomly assigned to an experimental (N = 16) and a control group (N = 16). For six weeks, the experimental group received two 2-hour sessions of drama therapy. The control group received none. The results showed a significant reduction of the symptoms among children in the experimental group as compared to the control group. A three-month follow-up replicated the findings. Clinical implications for the prevention and treatment of social anxiety disorders among children are discussed.

S. Jennings, "Stages of Living: Health and Healing through Dramatic Reality", Dramatherapy, vol. 30, no. 2, pp. 14—16, 2008.

DOI: 10.1080/02630672.2008.9689746