Theatertherapie Literaturdatenbank
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2024
A. Cook,
T. Constien,
S. T. Glick,
A. Aachen,
M. Dominiski and
A. Holkesvig,
"Drama therapy student research in North America: A narrative review",
GMS Journal of Arts Therapies,
vol. 6,
2024.
Abstract:
This study gathered available student theses focused on drama therapy in North America with an aim to highlight, organize, categorize, and increase accessibility to drama therapy master’s theses and dissertations, as well as to understand possible future trajectories of the field, based on student work. In a narrative review, 192 theses and dissertations submitted to four different schools between the years 2017–2022 were categorized into five domains: research method, drama therapy theory, intervention and integration focus, population, and setting. A broad variety of research interests were identified throughout the theses and dissertations. Students demonstrated an engagement with the extant knowledge base of drama therapy as well as an interest in the current trends of empirical drama therapy research. Furthermore, students’ theses expanded the field of drama therapy by applying drama therapy in novel settings or with seldom-researched populations, as well as creating new or expanded methods and theories of drama therapy. As such, students’ theses enrich the field as a whole and guide drama therapy research in new directions.
DOI: 10.3205/jat000035
Abstract:
This study gathered available student theses focused on drama therapy in North America with an aim to highlight, organize, categorize, and increase accessibility to drama therapy master’s theses and dissertations, as well as to understand possible future trajectories of the field, based on student work. In a narrative review, 192 theses and dissertations submitted to four different schools between the years 2017–2022 were categorized into five domains: research method, drama therapy theory, intervention and integration focus, population, and setting. A broad variety of research interests were identified throughout the theses and dissertations. Students demonstrated an engagement with the extant knowledge base of drama therapy as well as an interest in the current trends of empirical drama therapy research. Furthermore, students’ theses expanded the field of drama therapy by applying drama therapy in novel settings or with seldom-researched populations, as well as creating new or expanded methods and theories of drama therapy. As such, students’ theses enrich the field as a whole and guide drama therapy research in new directions.
C. McFann,
C. Doria,
K. Young,
T. Hitt and
A. Cook,
"Drama therapy, academia and dis/ability: Experiences of clinicians in training",
Drama Therapy Review,
vol. 10,
no. 1,
pp. 63—87,
2024.
Abstract:
The lived experience of dis/abled drama therapists and drama therapy students is understudied. This article examines the experiences of four dis/abled researcherparticipants via a phenomenological study, utilizing a critical dis/ability lens and an Emancipatory Educational Action Research framework. Through a series of interviews and a focus group, researcher-participants shared their experiences as dis/abled drama therapy students in training. Data were analysed using inductive qualitative analysis through an iterative process. The results revealed how the use of power within academic systems can both help and harm students. Uses of power and how they intersect with different aspects of being a dis/abled student and clinician in training are further explored. Suggestions for professors and others in positions of power are provided.
DOI: 10.1386/dtr_00146_1
Abstract:
The lived experience of dis/abled drama therapists and drama therapy students is understudied. This article examines the experiences of four dis/abled researcherparticipants via a phenomenological study, utilizing a critical dis/ability lens and an Emancipatory Educational Action Research framework. Through a series of interviews and a focus group, researcher-participants shared their experiences as dis/abled drama therapy students in training. Data were analysed using inductive qualitative analysis through an iterative process. The results revealed how the use of power within academic systems can both help and harm students. Uses of power and how they intersect with different aspects of being a dis/abled student and clinician in training are further explored. Suggestions for professors and others in positions of power are provided.
J. Pineda Cárdenas and
J. B. Zuluaga Valencia,
"Dramaterapia: Aproximación a la construcción de sentidos de vida en jóvenes universitarios",
Revista de Psicología,
vol. 42,
no. 1,
pp. 61—89,
2024.
Abstract:
What is it like to live without questioning the meaning of existence? This document proposes how something as common and chaotic as existential crises can find transformation and change through drama therapy. This therapeutic tool facilitates emotional expression through drama (acting, play, dramaturgy, masks, among other elements of theatrical art) and generates powerful introspection processes in participants through their self-awareness, through provocative questions posed by the drama therapist. The social symptoms of existential emptiness end up generating emotional difficulties that can even lead to the loss of life for those who experience them. For this reason, it is decided to work with young people, as they are the population most affected by this problem. In other words, drama therapy aims to propose a path that approaches the construction of the purpose for which young people want to guide their lives. It is mixed research with a phenomenological and quasi-experimental design of pretest -posttest using the Purpose In Life (PIL) instrument, developing nine drama therapy workshops as an intervention strategy with nine university students. The average scores of the pretest (91.8, 104, 120) increased after the workshops (111.4, 118, 123.50). The effectiveness of drama therapy is supported by multiple variables (teamwork, collective support, love, and the possibility of observation from the outside). Drama therapy as an intervention strategy is a different, little-researched, and innovative way of working on an emotional level, as it provides the possibility of taking action in the face of one's destiny and the way of seeing and acting in life.
DOI: 10.18800/psico.202401.003
Abstract:
What is it like to live without questioning the meaning of existence? This document proposes how something as common and chaotic as existential crises can find transformation and change through drama therapy. This therapeutic tool facilitates emotional expression through drama (acting, play, dramaturgy, masks, among other elements of theatrical art) and generates powerful introspection processes in participants through their self-awareness, through provocative questions posed by the drama therapist. The social symptoms of existential emptiness end up generating emotional difficulties that can even lead to the loss of life for those who experience them. For this reason, it is decided to work with young people, as they are the population most affected by this problem. In other words, drama therapy aims to propose a path that approaches the construction of the purpose for which young people want to guide their lives. It is mixed research with a phenomenological and quasi-experimental design of pretest -posttest using the Purpose In Life (PIL) instrument, developing nine drama therapy workshops as an intervention strategy with nine university students. The average scores of the pretest (91.8, 104, 120) increased after the workshops (111.4, 118, 123.50). The effectiveness of drama therapy is supported by multiple variables (teamwork, collective support, love, and the possibility of observation from the outside). Drama therapy as an intervention strategy is a different, little-researched, and innovative way of working on an emotional level, as it provides the possibility of taking action in the face of one's destiny and the way of seeing and acting in life.
C. Mayor and
B. M. Williams,
"Dreaming of an Abolitionist Drama Therapy",
The Arts in Psychotherapy,
pp. 102189,
2024.
Abstract:
Despite long standing activist and academic calls for prison and police abolition and the need to consider how carceral logics are embedded in mental health practices, no known drama therapy scholarship currently focuses on these topics. We explain the problems with using policing, prisons, and punitive responses to systemic problems, articulating the ways in which these practices are deeply rooted in settler colonialism, anti-Black racism, ableism, capitalism, cis-heteronormativity, and other systems of oppression. We then offer an introduction to carceral logics and abolition, situating our work as not only about the absence of these punitive systems and ways of thinking, but also about imagining and building another kind of world. Approaches to behavioral escalation and suicidality are articulated as examples of sites of practice where drama therapists are often complicit in harmful practices and offer anti-carceral alternatives as harm reduction methods. We conclude with a call to action to drama therapists to engage in abolitionist practices in their work and to be part of the larger visioning process for a more just world.
DOI: 10.1016/j.aip.2024.102189
Abstract:
Despite long standing activist and academic calls for prison and police abolition and the need to consider how carceral logics are embedded in mental health practices, no known drama therapy scholarship currently focuses on these topics. We explain the problems with using policing, prisons, and punitive responses to systemic problems, articulating the ways in which these practices are deeply rooted in settler colonialism, anti-Black racism, ableism, capitalism, cis-heteronormativity, and other systems of oppression. We then offer an introduction to carceral logics and abolition, situating our work as not only about the absence of these punitive systems and ways of thinking, but also about imagining and building another kind of world. Approaches to behavioral escalation and suicidality are articulated as examples of sites of practice where drama therapists are often complicit in harmful practices and offer anti-carceral alternatives as harm reduction methods. We conclude with a call to action to drama therapists to engage in abolitionist practices in their work and to be part of the larger visioning process for a more just world.
O. Anichebe,
A. U. Anibueze,
V. Anum,
E. U. Ohaja,
C. A. Ezeugwu,
N. T. Obasi,
E. O. Onogwu and
V. C. Gever,
"Effectiveness of drama and music therapies as health communication interventions for reducing anxiety and posttraumatic disorders among children-victims of flood",
Complementary Therapies in Clinical Practice,
vol. 57,
pp. 101890,
2024.
Abstract:
This study examined the usefulness of drama and music therapies as communication strategies for reducing symptoms of post-traumatic stress disorder (PTSD) and generalised anxiety disorder (GAD) among school children (aged 10–16) who were victims of the 2022 floods in Nigeria. The researchers randomly assigned the children to control (n~=~122) drama therapy (n~=~120) and music therapy (n~=~120) groups. The result of the study revealed that after the intervention, school children in the drama and music therapies (unlike those in the control group) reported a significant reduction in their PTSD and GAD symptoms; the reduction achieved statistical significance (p~=~0.001, ηp2~=~0.48). Further results revealed a significant interactive effect of gender (p~=~0.001) with boys reporting a significant reduction more than girls. The results showed that drama therapy contributed more to reducing PTSD symptoms, while music therapy contributed more to reducing GAD symptoms. The difference did not achieve statistical significance (p~=~0.23). The researchers conclude that both drama and music therapies were associated with reduced symptoms, indicating the interventions may be beneficial therapies.
DOI: 10.1016/j.ctcp.2024.101890
Abstract:
This study examined the usefulness of drama and music therapies as communication strategies for reducing symptoms of post-traumatic stress disorder (PTSD) and generalised anxiety disorder (GAD) among school children (aged 10–16) who were victims of the 2022 floods in Nigeria. The researchers randomly assigned the children to control (n~=~122) drama therapy (n~=~120) and music therapy (n~=~120) groups. The result of the study revealed that after the intervention, school children in the drama and music therapies (unlike those in the control group) reported a significant reduction in their PTSD and GAD symptoms; the reduction achieved statistical significance (p~=~0.001, ηp2~=~0.48). Further results revealed a significant interactive effect of gender (p~=~0.001) with boys reporting a significant reduction more than girls. The results showed that drama therapy contributed more to reducing PTSD symptoms, while music therapy contributed more to reducing GAD symptoms. The difference did not achieve statistical significance (p~=~0.23). The researchers conclude that both drama and music therapies were associated with reduced symptoms, indicating the interventions may be beneficial therapies.
M. Rabinovich,
H. Zion-Mozes and
R. Tuval-Mashiach,
"Embodiment-based self-management for Israeli breast cancer survivors after mind-body therapy",
Psychology & Health,
pp. 1—18,
2024.
Abstract:
OBJECTIVE As advances in breast cancer treatment have bolstered survival rates, post-treatment self-management has become crucial for survivors' well-being. METHODS In the current qualitative research, conducted via content and form analysis of 12 in-depth interviews, the authors explored self-management strategies in the narratives of female breast cancer survivors who underwent mind-body therapy. RESULTS Three coping models emerged: (1) an illness-focused story overshadowing the body, (2) a coexistence of illness and body stories, and (3) an embodied illness-story. These self-management models showcase a developmental sequence, reflecting the evolution of coping mechanisms. CONCLUSION The study underscores embodiment's significance in fostering agency and well-being, particularly in a societal and medical context where body attention tends to be marginalized.
DOI: 10.1080/08870446.2024.2401817
Abstract:
OBJECTIVE As advances in breast cancer treatment have bolstered survival rates, post-treatment self-management has become crucial for survivors' well-being. METHODS In the current qualitative research, conducted via content and form analysis of 12 in-depth interviews, the authors explored self-management strategies in the narratives of female breast cancer survivors who underwent mind-body therapy. RESULTS Three coping models emerged: (1) an illness-focused story overshadowing the body, (2) a coexistence of illness and body stories, and (3) an embodied illness-story. These self-management models showcase a developmental sequence, reflecting the evolution of coping mechanisms. CONCLUSION The study underscores embodiment's significance in fostering agency and well-being, particularly in a societal and medical context where body attention tends to be marginalized.
J. S. Frydman and
A. Cook,
"Evaluating a research mentorship pilot program in the profession of drama therapy",
The Chronicle of Mentoring and Coaching,
vol. 7,
no. 1,
pp. 376—381,
2024.
Abstract:
Within the field of drama therapy, a robust empirical research base is currently lacking. As a response, the research committee of the North American Drama Therapy Association conceived of and developed a research mentorship pilot program intended to connect early-career drama therapy professionals with seasoned drama therapy researchers to promote the production of scholarship. The pilot program featured two potential mentorship routes: research (i.e., focus on the development of basic research skills) or publication (i.e., move completed research through the publication stages). Of the five mentor partnerships two were research-focused, and three were publication-focused. A pre-post qualitative survey design gathered initial expectations among all participants and follow-up reflections on perceptions of success/challenges. Thematic analysis of pre-surveys showed that participants had hopeful expectations, a willingness to learn, concerns about time and resource availability, and a motivating desire to make community connections. Post-survey responses suggested that mentees felt supported by mentors, there were issues with time management and lack of access to academic resources, mentees possessed insufficient foundational research knowledge, and community connections were established. Implications for a more formalized and larger-scale program that accounts for these findings are discussed.
Abstract:
Within the field of drama therapy, a robust empirical research base is currently lacking. As a response, the research committee of the North American Drama Therapy Association conceived of and developed a research mentorship pilot program intended to connect early-career drama therapy professionals with seasoned drama therapy researchers to promote the production of scholarship. The pilot program featured two potential mentorship routes: research (i.e., focus on the development of basic research skills) or publication (i.e., move completed research through the publication stages). Of the five mentor partnerships two were research-focused, and three were publication-focused. A pre-post qualitative survey design gathered initial expectations among all participants and follow-up reflections on perceptions of success/challenges. Thematic analysis of pre-surveys showed that participants had hopeful expectations, a willingness to learn, concerns about time and resource availability, and a motivating desire to make community connections. Post-survey responses suggested that mentees felt supported by mentors, there were issues with time management and lack of access to academic resources, mentees possessed insufficient foundational research knowledge, and community connections were established. Implications for a more formalized and larger-scale program that accounts for these findings are discussed.
T. Prentki,
"Global therapy: Advocating for a dramatherapeutic approach to formal education",
Dramatherapy,
vol. 45,
no. 1,
pp. 9—23,
2024.
Abstract:
This article addresses the question of how we might set about building a kinder, more empathic world to counter the violence and inequality that characterizes so much of contemporary experience. Given that the school figures so prominently in the lives of most young people, the core suggestion is to align teaching much more closely with approaches traditionally associated with dramatherapy. For this to happen, schooling needs to be replaced by education where the experience of the learner is central to the process of learning and where dialogue is the principal means of transmission. Drawing upon the pedagogical imperatives of Paulo Freire, this approach to education is in tune with recent discoveries concerning the neurological structure of the human brain, which have demonstrated that we are wired for empathy. However, empathy alone is value neutral. An educational experience needs to offer opportunities to practise critical empathy, following the theatre aesthetics of Bertolt Brecht. Stories are at the heart of this experience since they are the most powerful vehicles for the practice of empathy and distance. We are a storytelling species and, through the stories we tell, we can develop our capacity for kindness without which it is impossible to imagine a better world.
DOI: 10.1386/dj_00002_1
Datei : https://intellectdiscover.com/content/journals/10.1386/dj_00002_1
Abstract:
This article addresses the question of how we might set about building a kinder, more empathic world to counter the violence and inequality that characterizes so much of contemporary experience. Given that the school figures so prominently in the lives of most young people, the core suggestion is to align teaching much more closely with approaches traditionally associated with dramatherapy. For this to happen, schooling needs to be replaced by education where the experience of the learner is central to the process of learning and where dialogue is the principal means of transmission. Drawing upon the pedagogical imperatives of Paulo Freire, this approach to education is in tune with recent discoveries concerning the neurological structure of the human brain, which have demonstrated that we are wired for empathy. However, empathy alone is value neutral. An educational experience needs to offer opportunities to practise critical empathy, following the theatre aesthetics of Bertolt Brecht. Stories are at the heart of this experience since they are the most powerful vehicles for the practice of empathy and distance. We are a storytelling species and, through the stories we tell, we can develop our capacity for kindness without which it is impossible to imagine a better world.
E. Broek,
"I'm Great! I'm no good….: A case illustration of drama therapeutic work with a male offender of domestic violence in a forensic outpatient setting",
Journal of Clinical Psychology,
pp. 1—18,
2024.
Abstract:
Treating perpetrators of aggressive behavior, like verbal aggression, intimidation, and bullying behavior resulting in aggressive incidents with others, is difficult. This group is often diagnosed with personality disorders and when legal measures applied, they are more often treated in a forensic setting for their problems. This article presents the case of a 54-year-old man, diagnosed with Borderline personality disorder, narcissistic and antisocial traits, mild depressive symptoms, and loss and grief, who has voluntarily had treatment in a forensic outpatient center to reduce aggression and change destructive patterns in relationships. Hating, judging, and self-defeating were the main reasons why the patient found himself ending up in the same situation repeatedly. The client received individual drama therapy sessions. The drama therapeutic approach included schema therapeutic elements, such as schema mode work with cards, as well as roleplay, imagery (with rescripting), improvisation, and psycho drama elements. As a result of drama therapy, the client reported less (active) aggression, less aggression in his relationships (partners/children/friends), but also an increased level of loneliness, and mild depressive symptoms. The client was more in touch with his vulnerability and was able to behave in a more adequate healthy way in relationships. Although self-esteem was still building up, there was a decrease of aggression and less conflict-seeking behavior as a result. Risk assessment tools (FARE-2~& HONOS) and Schema therapy scales (YSQ and SMI) were used pre- and posttreatment confirming the improvements. This case promotes the use of dramatherapy in forensic outpatient care to be valuable in lowering risk recidivism and changing deeply rooted behavioral patterns.
DOI: 10.1002/jclp.23674
Abstract:
Treating perpetrators of aggressive behavior, like verbal aggression, intimidation, and bullying behavior resulting in aggressive incidents with others, is difficult. This group is often diagnosed with personality disorders and when legal measures applied, they are more often treated in a forensic setting for their problems. This article presents the case of a 54-year-old man, diagnosed with Borderline personality disorder, narcissistic and antisocial traits, mild depressive symptoms, and loss and grief, who has voluntarily had treatment in a forensic outpatient center to reduce aggression and change destructive patterns in relationships. Hating, judging, and self-defeating were the main reasons why the patient found himself ending up in the same situation repeatedly. The client received individual drama therapy sessions. The drama therapeutic approach included schema therapeutic elements, such as schema mode work with cards, as well as roleplay, imagery (with rescripting), improvisation, and psycho drama elements. As a result of drama therapy, the client reported less (active) aggression, less aggression in his relationships (partners/children/friends), but also an increased level of loneliness, and mild depressive symptoms. The client was more in touch with his vulnerability and was able to behave in a more adequate healthy way in relationships. Although self-esteem was still building up, there was a decrease of aggression and less conflict-seeking behavior as a result. Risk assessment tools (FARE-2~& HONOS) and Schema therapy scales (YSQ and SMI) were used pre- and posttreatment confirming the improvements. This case promotes the use of dramatherapy in forensic outpatient care to be valuable in lowering risk recidivism and changing deeply rooted behavioral patterns.
K. Maliszewska,
"Infantilization as a form of injustice: Reflections on the Polish educational field survey on the theatre made by persons with disabilities",
Drama Therapy Review,
vol. 10,
no. 1,
pp. 19—37,
2024.
Abstract:
The article is a study of theatrical work of adult persons with disabilities based on educational field survey conducted in Poland in the years 2017–19 (with later editorial work in the report). In the survey, five non-professional theatrical groups participated, whose work concentrates on creating space for the oppressed and deprived of voice and including the excluded into the local community. The article deals with the problem of infantilization (institutional, social and environmental) as a form of social injustice and presents the essence of the existential theatre by showing valued theatrical practices.
DOI: 10.1386/dtr_00144_1
Abstract:
The article is a study of theatrical work of adult persons with disabilities based on educational field survey conducted in Poland in the years 2017–19 (with later editorial work in the report). In the survey, five non-professional theatrical groups participated, whose work concentrates on creating space for the oppressed and deprived of voice and including the excluded into the local community. The article deals with the problem of infantilization (institutional, social and environmental) as a form of social injustice and presents the essence of the existential theatre by showing valued theatrical practices.
S. Vaisvaser,
J. L. King,
H. Orkibi and
H. Aleem,
"Neurodynamics of Relational Aesthetic Engagement in Creative Arts Therapies",
Review of General Psychology,
2024.
Abstract:
Aesthetic experiences, emerging saliently in the arts, play a pivotal role in transformative learning and creative processes that elicit physiological, affective, and cognitive responses associated with mental health indices. Interactions between subjects and aesthetic objects (e.g., visual artwork, music, and moving bodies) often entail elements of surprise and uncertainty that drive the inference of the hidden causes in the subject’s internal and external environment. These generate dynamics that align with the action-oriented Predictive Processing framework of brain function. Creative Arts Therapies (CATs) harness these dynamics by cultivating relational engagement using the arts modalities, prompting affective and cognitive processing. In this manuscript, we offer a review and conceptual analysis of recent empirical findings and theoretical premises that underpin aesthetic experiences and their relation to the psychotherapeutic use of the arts with a broad spectrum of populations and mental health conditions. We present a neuroscience-based approach to aesthetic intra- and inter-personal experiences, integrating therapeutic change factors of externalization-concretization, embodiment, and symbolization with functional network configurations, and interpersonal brain-to-brain coupling, to support predictive processing, learning, and creativity. Present and future interdisciplinary collaborations are underlined to elucidate the neurodynamic mechanisms driving psychological transformations, bridging neuroaesthetics and CATs.
DOI: 10.1177/10892680241260840
Abstract:
Aesthetic experiences, emerging saliently in the arts, play a pivotal role in transformative learning and creative processes that elicit physiological, affective, and cognitive responses associated with mental health indices. Interactions between subjects and aesthetic objects (e.g., visual artwork, music, and moving bodies) often entail elements of surprise and uncertainty that drive the inference of the hidden causes in the subject’s internal and external environment. These generate dynamics that align with the action-oriented Predictive Processing framework of brain function. Creative Arts Therapies (CATs) harness these dynamics by cultivating relational engagement using the arts modalities, prompting affective and cognitive processing. In this manuscript, we offer a review and conceptual analysis of recent empirical findings and theoretical premises that underpin aesthetic experiences and their relation to the psychotherapeutic use of the arts with a broad spectrum of populations and mental health conditions. We present a neuroscience-based approach to aesthetic intra- and inter-personal experiences, integrating therapeutic change factors of externalization-concretization, embodiment, and symbolization with functional network configurations, and interpersonal brain-to-brain coupling, to support predictive processing, learning, and creativity. Present and future interdisciplinary collaborations are underlined to elucidate the neurodynamic mechanisms driving psychological transformations, bridging neuroaesthetics and CATs.
T. Constien,
"Open dramatherapy: Embracing Open Science in the further development of our field",
Dramatherapy,
vol. 45,
no. 1,
pp. 125—135,
2024.
Abstract:
This issue of Dramatherapy (DJ) is its first published as Diamond Open Access, which promises to stimulate engagement and encourage further research in dramatherapy. It also connects our field to the progressively advancing Open Science revolution, which seeks to reduce barriers to research and support collaboration in and around academia. This brief commentary seeks to review Open Science practices within the field of dramatherapy and envisions how its community may benefit from further implementation of Open Science principles. It also notes some of the challenges of an Open Science approach. In closing, it names three recommendations for students, practitioners and researchers of dramatherapy that may facilitate approaches of Open Science within our field and promote scholarship and collaboration.
DOI: 10.1386/dj_00009_1
Datei : https://intellectdiscover.com/content/journals/10.1386/dj_00009_1
Abstract:
This issue of Dramatherapy (DJ) is its first published as Diamond Open Access, which promises to stimulate engagement and encourage further research in dramatherapy. It also connects our field to the progressively advancing Open Science revolution, which seeks to reduce barriers to research and support collaboration in and around academia. This brief commentary seeks to review Open Science practices within the field of dramatherapy and envisions how its community may benefit from further implementation of Open Science principles. It also notes some of the challenges of an Open Science approach. In closing, it names three recommendations for students, practitioners and researchers of dramatherapy that may facilitate approaches of Open Science within our field and promote scholarship and collaboration.
A. Cook,
J. Griffiths,
A. Townend and
S. Lilley,
"Patterns in theory-based drama therapy publications: A snapshot of peer reviewed literature from 2000-2022",
The Arts in Psychotherapy,
vol. 88,
pp. 102144,
2024.
Abstract:
In recent years, the North American Drama Therapy Association (NADTA) has been working to establish and disseminate research to the drama therapy and wider creative arts therapies communities. Much of the research has focused on empirical studies within drama therapy. The NADTA formed a subcommittee aimed at identifying, investigating, categorizing, and disseminating theoretical research articles in an effort to continue to grow the profession of drama therapy as well as to explore the question: what theories are present in current drama therapy scholarship? As there is already an NADTA empirical spreadsheet established, and following the research trajectory logic that theoretical scholarship precedes empirical research, an eventual aim of this research initiative is also to connect the theory publications to the empirical publications, leading toward a fuller understanding of the drama therapy field. The research study reported here is the initial step of this path. In this initiative, theoretical scholarship was defined and inclusion and exclusion criteria was established. After locating and investigating articles from the years 2000-2022, 121 articles were included. An analysis of year of publication, author, journal, and category were conducted. The categories identified were: 1) established and emerging theories and 2) integrated theories, with 24 identified subcategories within these two main categories. A discussion of the patterns is presented.
DOI: 10.1016/j.aip.2024.102144
Abstract:
In recent years, the North American Drama Therapy Association (NADTA) has been working to establish and disseminate research to the drama therapy and wider creative arts therapies communities. Much of the research has focused on empirical studies within drama therapy. The NADTA formed a subcommittee aimed at identifying, investigating, categorizing, and disseminating theoretical research articles in an effort to continue to grow the profession of drama therapy as well as to explore the question: what theories are present in current drama therapy scholarship? As there is already an NADTA empirical spreadsheet established, and following the research trajectory logic that theoretical scholarship precedes empirical research, an eventual aim of this research initiative is also to connect the theory publications to the empirical publications, leading toward a fuller understanding of the drama therapy field. The research study reported here is the initial step of this path. In this initiative, theoretical scholarship was defined and inclusion and exclusion criteria was established. After locating and investigating articles from the years 2000-2022, 121 articles were included. An analysis of year of publication, author, journal, and category were conducted. The categories identified were: 1) established and emerging theories and 2) integrated theories, with 24 identified subcategories within these two main categories. A discussion of the patterns is presented.
E. Gruijter,
H. Wouters and
S. Haeyen,
"Perceived effects of Drama Therapy in people diagnosed with Personality Disorders: A qualitative study",
The Arts in Psychotherapy,
vol. 87,
pp. 102117,
2024.
Abstract:
Arts and psychomotor therapies are often part of the multidisciplinary treatment for people diagnosed with Personality Disorders (PDs). Drama therapy is aimed at promoting emotion regulation and strengthening of interpersonal skills. The added value of drama therapy has not been sufficiently examined and available studies only provide indirect client reports. Hence, we focus on what people with PDs perceive as effects of drama therapy. This qualitative study followed the Grounded Theory Approach utilising indepth, semi-structured interviews in a natural drama therapy context. Interviews were held with 19 people diagnosed with PDs, who were purposefully sampled. They were recruited from five treatment centres, with five drama therapists involved. Interviews were transcribed verbatim and analysed using a three-step approach: open, axial, and selective coding. Open coding resulted in 93 codes. In the coding process, four overarching themes came to the fore: allowing playfulness and its inherent benefits, connecting the inner and outer emotional world, understanding of maladaptive coping styles, and intrapersonal and interpersonal behavior change. The perceived effects as reported by people diagnosed with PDs provide information about what drama therapy means to them, in their daily lives and which aspects of the treatment were most valuable to them. This study contributes to the necessary underpinning of drama therapy.
DOI: 10.1016/j.aip.2024.102117
Datei : https://www.sciencedirect.com/science/article/pii/S0197455624000029
Abstract:
Arts and psychomotor therapies are often part of the multidisciplinary treatment for people diagnosed with Personality Disorders (PDs). Drama therapy is aimed at promoting emotion regulation and strengthening of interpersonal skills. The added value of drama therapy has not been sufficiently examined and available studies only provide indirect client reports. Hence, we focus on what people with PDs perceive as effects of drama therapy. This qualitative study followed the Grounded Theory Approach utilising indepth, semi-structured interviews in a natural drama therapy context. Interviews were held with 19 people diagnosed with PDs, who were purposefully sampled. They were recruited from five treatment centres, with five drama therapists involved. Interviews were transcribed verbatim and analysed using a three-step approach: open, axial, and selective coding. Open coding resulted in 93 codes. In the coding process, four overarching themes came to the fore: allowing playfulness and its inherent benefits, connecting the inner and outer emotional world, understanding of maladaptive coping styles, and intrapersonal and interpersonal behavior change. The perceived effects as reported by people diagnosed with PDs provide information about what drama therapy means to them, in their daily lives and which aspects of the treatment were most valuable to them. This study contributes to the necessary underpinning of drama therapy.
R. Feniger-Schaal,
T. Constien and
H. Orkibi,
"Playfulness in times of extreme adverse conditions: A theoretical model and case illustrations",
Humanities and Social Sciences Communications,
vol. 11,
no. 1,
2024.
Abstract:
The act of play has long been recognized as a fundamental aspect of human development. Playfulness, in turn, is considered a variable reflecting individual differences regarding the disposition to engage in play. To gain insight into playfulness’s potential contribution to health and well-being, this paper will explore its role during times of extreme adversity, proposing a theoretical model to understand playfulness as a coping mechanism in such conditions. Our Playfulness as a Coping Strategy model suggests that playfulness comprises various dimensions that serve as intrinsic resources for navigating adversity. In this context, we refer to playfulness as a self-initiated state, whereby individuals reclaim their autonomy to enter a space that opposes or contradicts the extremely adverse condition they are in. The model frames the use of playfulness in extremely adverse conditions, and demonstrates the model with two case illustrations of videos from soldiers in war, both from Ukraine and Israel. By doing that, we shed light on how playfulness can be cultivated as a protective factor promoting psychological adaptation. Furthermore, we outline future directions for research on playfulness as a change factor (i.e., active ingredient) in the creative arts therapies and other interventions, paving the way for elucidating its role in fostering well-being and health.
DOI: 10.1057/s41599-024-03936-z
Abstract:
The act of play has long been recognized as a fundamental aspect of human development. Playfulness, in turn, is considered a variable reflecting individual differences regarding the disposition to engage in play. To gain insight into playfulness’s potential contribution to health and well-being, this paper will explore its role during times of extreme adversity, proposing a theoretical model to understand playfulness as a coping mechanism in such conditions. Our Playfulness as a Coping Strategy model suggests that playfulness comprises various dimensions that serve as intrinsic resources for navigating adversity. In this context, we refer to playfulness as a self-initiated state, whereby individuals reclaim their autonomy to enter a space that opposes or contradicts the extremely adverse condition they are in. The model frames the use of playfulness in extremely adverse conditions, and demonstrates the model with two case illustrations of videos from soldiers in war, both from Ukraine and Israel. By doing that, we shed light on how playfulness can be cultivated as a protective factor promoting psychological adaptation. Furthermore, we outline future directions for research on playfulness as a change factor (i.e., active ingredient) in the creative arts therapies and other interventions, paving the way for elucidating its role in fostering well-being and health.
K. L. Sanyal,
"Playing with, through and around absence: A clinical commentary on cross-cultural encounter in individual Developmental Transformations (DvT) sessions with refugee children",
Drama Therapy Review,
vol. 10,
no. 2,
pp. 173—180,
2024.
Abstract:
Refugees are a growing critical clinical population globally. There is a need for more research and discussion on how drama therapy can be used with refugees, particularly as many interventions will take place in the country of re-settlement where the therapist and client may come from different cultural backgrounds. This clinical commentary discusses the author’s experience of cross-cultural encounter in Developmental Transformations (DvT) individual session with refugee children ages 8–13, and the drama therapist’s embodied experience of cultural difference that emerged within the DvT session. The clinical commentary includes a fictionalized vignette of a DvT play session with a refugee child from Afghanistan, as well as vignettes from the author’s own supervisory DvT sessions.
DOI: 10.1386/dtr_00155_7
Abstract:
Refugees are a growing critical clinical population globally. There is a need for more research and discussion on how drama therapy can be used with refugees, particularly as many interventions will take place in the country of re-settlement where the therapist and client may come from different cultural backgrounds. This clinical commentary discusses the author’s experience of cross-cultural encounter in Developmental Transformations (DvT) individual session with refugee children ages 8–13, and the drama therapist’s embodied experience of cultural difference that emerged within the DvT session. The clinical commentary includes a fictionalized vignette of a DvT play session with a refugee child from Afghanistan, as well as vignettes from the author’s own supervisory DvT sessions.
A. Gonzalez,
M. P. Lima,
L. Preto and
P. Martins,
"Psychotherapeutic Playback Theatre, Well-Being, and Psychological Distress: An Impact Study",
International Journal of Environmental Research and Public Health,
vol. 21,
no. 10,
pp. 1288,
2024.
Abstract:
Psychotherapeutic Playback Theatre (PPT) is a new format inspired by Playback Theatre and various therapies, aimed at studying its impact on participants' Well-being and Psychological Distress in an expressive-based group psychotherapy setting. After training 30 psychotherapists and creating an implementation handbook, 20 therapists were assisted in conducting 12 weekly sessions lasting two to three hours with therapeutic groups. Nine groups, totaling 50 participants, were assessed before and after the program using questionnaires evaluating Psychological Distress and Well-being, which included six subscales: Autonomy, Environmental Mastery, Personal Growth, Positive Relations with Others, Purpose in Life, and Self-Acceptance. A control group of 50 participants was assessed similarly. While no significant differences were found in the control group, the PPT group showed a decrease in Psychological Distress and an improvement in Well-being across all subscales except Self-Acceptance. These results suggest that participation in PPT sessions is associated with positive psycho-emotional effects on participants.
Abstract:
Psychotherapeutic Playback Theatre (PPT) is a new format inspired by Playback Theatre and various therapies, aimed at studying its impact on participants' Well-being and Psychological Distress in an expressive-based group psychotherapy setting. After training 30 psychotherapists and creating an implementation handbook, 20 therapists were assisted in conducting 12 weekly sessions lasting two to three hours with therapeutic groups. Nine groups, totaling 50 participants, were assessed before and after the program using questionnaires evaluating Psychological Distress and Well-being, which included six subscales: Autonomy, Environmental Mastery, Personal Growth, Positive Relations with Others, Purpose in Life, and Self-Acceptance. A control group of 50 participants was assessed similarly. While no significant differences were found in the control group, the PPT group showed a decrease in Psychological Distress and an improvement in Well-being across all subscales except Self-Acceptance. These results suggest that participation in PPT sessions is associated with positive psycho-emotional effects on participants.
A. Rabbitt,
"Slumgullion: A neuroqueer long-distance hiker’s questions about landscapes in drama therapeutic relationality",
Drama Therapy Review,
vol. 10,
no. 1,
pp. 39—62,
2024.
Abstract:
I thru-hiked the Appalachian Trail in 2016. In this episodic essay, I offer descriptions of personal encounters to contemplate specific lands and drama therapeutic landscapes. I am taking curious, meandering footsteps towards a neuroqueer, posthuman ecological drama therapy praxis. Sesame drama therapy often relies on imagination to offer itself to the conscious world, but ecosomatic experience can offer a ‘co-construct[ed]’ subjectivity, reframing Merleau-Ponty’s ‘flesh’ as a ‘relation of reversibility’ between ‘the seer and the seen’, the external and the internal – an ecological dynamic in which several liberatory frameworks take~root.
DOI: 10.1386/dtr_00145_1
Abstract:
I thru-hiked the Appalachian Trail in 2016. In this episodic essay, I offer descriptions of personal encounters to contemplate specific lands and drama therapeutic landscapes. I am taking curious, meandering footsteps towards a neuroqueer, posthuman ecological drama therapy praxis. Sesame drama therapy often relies on imagination to offer itself to the conscious world, but ecosomatic experience can offer a ‘co-construct[ed]’ subjectivity, reframing Merleau-Ponty’s ‘flesh’ as a ‘relation of reversibility’ between ‘the seer and the seen’, the external and the internal – an ecological dynamic in which several liberatory frameworks take~root.
T. Elkarif,
H. Orkibi and
S. Keisari,
"Tele-drama therapy for community dwelling older adults with constricted life-space mobility: a randomized controlled trial",
The Journal of Positive Psychology,
pp. 1—16,
2024.
Abstract:
Older adults with constricted life-space mobility (limited range of movement and activity within one’s environment) face an increased risk of social isolation and poor psychological well-being. Developing accessible interventions tailored for this population is crucial. This randomized controlled trial examined the effect of a 12-week tele-drama therapy intervention on psychological well-being and the relationships between in-session therapeutic change factors and outcomes. A total of 111 older adults, aged 63–102, with constricted life-space mobility participated in this study, delivered via Uniper Care, a social club aimed at promoting active aging through accessible technology designed with and for older adults (ClinicalTrials.gov: NCT06419881). The intervention effectively improved social connectedness, personal growth, and general well-being, while also decreasing depressive symptoms. Individual differences influenced participants’ experiences of the therapeutic and creative process. These findings can help refine the theories and practice of tele-drama therapy interventions.
DOI: 10.1080/17439760.2024.2427581
Abstract:
Older adults with constricted life-space mobility (limited range of movement and activity within one’s environment) face an increased risk of social isolation and poor psychological well-being. Developing accessible interventions tailored for this population is crucial. This randomized controlled trial examined the effect of a 12-week tele-drama therapy intervention on psychological well-being and the relationships between in-session therapeutic change factors and outcomes. A total of 111 older adults, aged 63–102, with constricted life-space mobility participated in this study, delivered via Uniper Care, a social club aimed at promoting active aging through accessible technology designed with and for older adults (ClinicalTrials.gov: NCT06419881). The intervention effectively improved social connectedness, personal growth, and general well-being, while also decreasing depressive symptoms. Individual differences influenced participants’ experiences of the therapeutic and creative process. These findings can help refine the theories and practice of tele-drama therapy interventions.
N. Ncanana,
"The Awakening: Makudlalwe. How play awakens the inner child in black Indigenous African adults",
South African Journal of Arts Therapies,
vol. 2,
no. 2,
pp. 40—60,
2024.
Abstract:
The concept of the inner child represents the emotional and experiential core of individuals, often shaped by early life experiences. This article focuses on research which explored the significance of play in awakening this inner child in black Indigenous African adults, particularly in the context of Drama Therapy. By utilizing methods such as neuro-dramatic play and guided play, this study seeks to understand how play can serve as a therapeutic tool to reconnect individuals with their past, promote healing, and enhance personal growth. The colonized African child growing up under post-colonial times may have the experience and memory of being deprived of play due to colonial factors that include Apartheid, land displacement, and but not limited to slave labour. A way to activate memories is through using the body as a vessel that allows the flow of experience to take place. This is why play is an important element of the research that informs this article as it assists one to understand how play can contribute to traveling to and navigating that space in time, using the body. The article aims to explore how play can awaken the inner child in black Indigenous African adults, contributing to the understanding of play within the context of Drama Therapy. I argue that the exploration of play can foster connections within communities and promote emotional healing, particularly in a post-apartheid South African context where historical traumas and socio-economic disparities persist. The study ultimately seeks to contribute to the field of Drama Therapy by emphasizing play as a vital process for self-discovery and emotional well-being. ~
DOI: 10.36615/svkbvr28
Abstract:
The concept of the inner child represents the emotional and experiential core of individuals, often shaped by early life experiences. This article focuses on research which explored the significance of play in awakening this inner child in black Indigenous African adults, particularly in the context of Drama Therapy. By utilizing methods such as neuro-dramatic play and guided play, this study seeks to understand how play can serve as a therapeutic tool to reconnect individuals with their past, promote healing, and enhance personal growth. The colonized African child growing up under post-colonial times may have the experience and memory of being deprived of play due to colonial factors that include Apartheid, land displacement, and but not limited to slave labour. A way to activate memories is through using the body as a vessel that allows the flow of experience to take place. This is why play is an important element of the research that informs this article as it assists one to understand how play can contribute to traveling to and navigating that space in time, using the body. The article aims to explore how play can awaken the inner child in black Indigenous African adults, contributing to the understanding of play within the context of Drama Therapy. I argue that the exploration of play can foster connections within communities and promote emotional healing, particularly in a post-apartheid South African context where historical traumas and socio-economic disparities persist. The study ultimately seeks to contribute to the field of Drama Therapy by emphasizing play as a vital process for self-discovery and emotional well-being. ~
M. Willemsen,
A. Abbing,
S. Haeyen,
M. Witte and
S. Hooren,
"The creative arts therapists on the continuum of practice within Arts in Health in the Netherlands",
Dramatherapy,
vol. 45,
no. 1,
pp. 117—124,
2024.
Abstract:
Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
DOI: 10.1386/dj_00008_1
Datei : https://intellectdiscover.com/content/journals/10.1386/dj_00008_1
Abstract:
Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
S. H. Sharkiya,
M. Z. Malak and
A. Shehadeh,
"The Effect of Drama Therapy on Depressive Symptoms and Quality of Life among Older Adults in Residential Care Facilities: A Systematic Review",
The Arts in Psychotherapy,
pp. 102222,
2024.
Abstract:
Older adults in residential facilities suffer greater loneliness and social isolation. Therefore, depressive symptoms and low quality of life (QoL) are common among them. As a result of several disadvantages associated with pharmacological interventions for depression, the focus is shifting to non-pharmacological interventions. Drama therapy is one of these interventions, which entails activities like storytelling, improvisation, and role-playing. Thus, this systematic review aimed to evaluate the effect of drama therapy on depressive symptoms and the quality of life of older people in residential facilities. A systematic review of the literature was performed. Studies published between 2000 and 2023 were searched on PubMed, Web of Science, Scopus, and Google Scholar. The findings included two randomized controlled trials (RCTs) and three controlled clinical trials (CCT) that were eventually selected for meeting the eligibility criteria. A narrative synthesis revealed that three studies of moderate methodological rigor showed drama therapy and related therapeutic interventions with shared aspects with drama therapy (e.g., life review therapy with a narrative component) had moderate to large effect sizes on reducing depressive symptoms, compared to care as usual. One study that used reminiscence therapy with some overlap with aspects of drama therapy showed no significant improvement on depressive symptoms. There were mixed findings on quality of life, with two studies supporting the positive impact of drama therapy on quality of life, and one contradicting this. Although there is confirmative evidence of the positive effect of drama therapy on depressive symptoms, the evidence regarding its effect on quality of life remains inconclusive. Future research should expand sample sizes and address the blinding of participants and outcome assessors.
DOI: 10.1016/j.aip.2024.102222
Abstract:
Older adults in residential facilities suffer greater loneliness and social isolation. Therefore, depressive symptoms and low quality of life (QoL) are common among them. As a result of several disadvantages associated with pharmacological interventions for depression, the focus is shifting to non-pharmacological interventions. Drama therapy is one of these interventions, which entails activities like storytelling, improvisation, and role-playing. Thus, this systematic review aimed to evaluate the effect of drama therapy on depressive symptoms and the quality of life of older people in residential facilities. A systematic review of the literature was performed. Studies published between 2000 and 2023 were searched on PubMed, Web of Science, Scopus, and Google Scholar. The findings included two randomized controlled trials (RCTs) and three controlled clinical trials (CCT) that were eventually selected for meeting the eligibility criteria. A narrative synthesis revealed that three studies of moderate methodological rigor showed drama therapy and related therapeutic interventions with shared aspects with drama therapy (e.g., life review therapy with a narrative component) had moderate to large effect sizes on reducing depressive symptoms, compared to care as usual. One study that used reminiscence therapy with some overlap with aspects of drama therapy showed no significant improvement on depressive symptoms. There were mixed findings on quality of life, with two studies supporting the positive impact of drama therapy on quality of life, and one contradicting this. Although there is confirmative evidence of the positive effect of drama therapy on depressive symptoms, the evidence regarding its effect on quality of life remains inconclusive. Future research should expand sample sizes and address the blinding of participants and outcome assessors.
J. Kanter,
"The expansion bias: Loss in Landy’s role theory and method",
Drama Therapy Review,
vol. 10,
no. 2,
pp. 129—142,
2024.
Abstract:
Since its inception, Landy’s role theory has posited that expansion of the client’s role system is indicative of greater well-being. But this expansion bias bypasses a fundamental human experience, that of loss. This article draws on theoretical writings in cultural and performance studies, as well as a case study in role methods, to consider the loss of roles and the contraction of the role system as potentially positive outcomes for trauma survivors.
DOI: 10.1386/dtr_00152_1
Abstract:
Since its inception, Landy’s role theory has posited that expansion of the client’s role system is indicative of greater well-being. But this expansion bias bypasses a fundamental human experience, that of loss. This article draws on theoretical writings in cultural and performance studies, as well as a case study in role methods, to consider the loss of roles and the contraction of the role system as potentially positive outcomes for trauma survivors.
E. Keiller,
T. Hutchinson,
D. Ougrin,
C. E. Carr and
J. Y. F. Lau,
"The experience of school-based dramatherapists: understanding the barriers and facilitators of UK school-based dramatherapy to inform better implementation",
The Arts in Psychotherapy,
vol. 89,
pp. 102168,
2024.
Abstract:
Approximately 50% of UK dramatherapists deliver their work in schools. Despite this, little is currently known about the way in which school settings affect the dramatherapy that is delivered within them. This qualitative investigation utilised semi-structured interviews (N~=~12) and reflexive thematic analysis to identify the facilitators and barriers of providing dramatherapy in school settings. In addition, the unique experiences of working as a dramatherapist in a school setting were also investigated. Amongst others, the facilitators identified included school as an accessible and safe place for therapy to occur. In addition, the structure provided by the school’s daily and annual timetable, and the support of other school-based professionals and organisations were also identified. The barriers identified related to funding challenges, inappropriate referrals, schools seeking quick results and a lack of access to suitable spaces for therapy to occur. Regarding their experiences of employment, many dramatherapists spoke of working in multiple schools and, whilst some enjoyed the flexibility this offered, many found it challenging to become part of the school community and experienced a sense of isolation whilst working. Feeling like they are lower paid than clinical counterparts, such as colleagues in Child and Adolescent Mental Health Services (CAMHS), was also raised by those interviewed. These findings suggest that resource investment and investment into teachers’ and other school-based professionals’ knowledge of dramatherapy is warranted. In addition, dramatherapists who work in schools may benefit from community building. Future research, which explores the experience of dramatherapists in other settings is also encouraged.
DOI: 10.1016/j.aip.2024.102168
Abstract:
Approximately 50% of UK dramatherapists deliver their work in schools. Despite this, little is currently known about the way in which school settings affect the dramatherapy that is delivered within them. This qualitative investigation utilised semi-structured interviews (N~=~12) and reflexive thematic analysis to identify the facilitators and barriers of providing dramatherapy in school settings. In addition, the unique experiences of working as a dramatherapist in a school setting were also investigated. Amongst others, the facilitators identified included school as an accessible and safe place for therapy to occur. In addition, the structure provided by the school’s daily and annual timetable, and the support of other school-based professionals and organisations were also identified. The barriers identified related to funding challenges, inappropriate referrals, schools seeking quick results and a lack of access to suitable spaces for therapy to occur. Regarding their experiences of employment, many dramatherapists spoke of working in multiple schools and, whilst some enjoyed the flexibility this offered, many found it challenging to become part of the school community and experienced a sense of isolation whilst working. Feeling like they are lower paid than clinical counterparts, such as colleagues in Child and Adolescent Mental Health Services (CAMHS), was also raised by those interviewed. These findings suggest that resource investment and investment into teachers’ and other school-based professionals’ knowledge of dramatherapy is warranted. In addition, dramatherapists who work in schools may benefit from community building. Future research, which explores the experience of dramatherapists in other settings is also encouraged.
L. H. Kreidie,
S. Sakhi,
F. Wardani,
I. AlSabah and
K. Anbar,
"The Impact of Dramatherapy on the Mental Health of Socioeconomically Disadvantaged and Refugee Women in Lebanon",
Journal of Social Service Research,
pp. 1—17,
2024.
Abstract:
The need for Mental Health and Psychosocial Support (MHPSS) is ever-present for vulnerable populations in the Arab World. High rates of psychological disorders including post-traumatic stress disorder (PTSD), depression and anxiety have been observed in the refugee and socioeconomically disadvantaged female population within Lebanon. MHPSS services are lacking and in need of reform to provide better services to disadvantaged populations. This study aims to examine the psychological impact of dramatherapy intervention (DTI) on the previously mentioned population. To evaluate the psychological effects of DTI, this study utilizes a quantitative and repeated measure design. Six scales were used to measure PTSD, depression, and anxiety prior to and after participation in a 3-month long, 12-session dramatherapy program. Eight DTI programs were implemented across Lebanon between October 2020 and August 2022. The participants of this study consisted of adult socioeconomically disadvantaged and refugee women who took part in DTI programs implemented by Intisar Foundation.
DOI: 10.1080/01488376.2024.2349236
Abstract:
The need for Mental Health and Psychosocial Support (MHPSS) is ever-present for vulnerable populations in the Arab World. High rates of psychological disorders including post-traumatic stress disorder (PTSD), depression and anxiety have been observed in the refugee and socioeconomically disadvantaged female population within Lebanon. MHPSS services are lacking and in need of reform to provide better services to disadvantaged populations. This study aims to examine the psychological impact of dramatherapy intervention (DTI) on the previously mentioned population. To evaluate the psychological effects of DTI, this study utilizes a quantitative and repeated measure design. Six scales were used to measure PTSD, depression, and anxiety prior to and after participation in a 3-month long, 12-session dramatherapy program. Eight DTI programs were implemented across Lebanon between October 2020 and August 2022. The participants of this study consisted of adult socioeconomically disadvantaged and refugee women who took part in DTI programs implemented by Intisar Foundation.