Theatertherapie Literaturdatenbank

L. A. Guli, M. Semrud-Clikeman, M. D. Lerner and N. Britton, "Social Competence Intervention Program (SCIP): A pilot study of a creative drama program for youth with social difficulties", The Arts in Psychotherapy, vol. 40, no. 1, pp. 37—44, 2013.

DOI: 10.1016/j.aip.2012.09.002

Datei : http://www.sciencedirect.com/science/article/pii/S0197455612001281

Abstract:
This study explored the effects of participation in the Social Competence Intervention Program (SCIP), an innovative creative drama-based group intervention, of children diagnosed with autism spectrum disorder (ASD), nonverbal learning disability (NLD) and/or attention deficit hyperactivity disorder (ADHD). Eighteen participants in SCIP were compared to a clinical control group of 16 on changes in measures of social perception, social competence, and naturalistic observed social behavior. Hierarchical multiple regression model was used for all primary quantitative analyses. Interviews were conducted post-treatment to provide qualitative data. The treatment group showed significant improvement in key domains of observed social behavior in a natural setting compared to the clinical control group. Parents and children in the SCIP condition reported multiple positive changes in social functioning. These findings provide preliminary support for the use of a creative drama program for children with social competence deficits related to social perception problems.

S. Pendzik, "The 6-Key Model and the Assessment of the Aesthetic Dimension in Dramatherapy", Dramatherapy, vol. 35, no. 2, pp. 90—98, 2013.

DOI: 10.1080/02630672.2013.822524

Abstract:
This article deals with the assessment of the aesthetic dimension in dramatherapy. It first describes the 6-Key Model, a dramatherapy-based assessment method grounded on the notion of dramatic reality, focussing in particular on the second (or quality) key, which embodies the aesthetic dimension. The paper examines the need for assessing this aspect in dramatherapy, discusses issues pertaining to the ethics and the therapeutic function of aesthetics in our field. Finally, the author calls for the development of alternative aesthetics guidelines, which would allow to evaluate this aspect of dramatherapy processes in ways that are more appropriate to our profession than those presented by traditional theatre or/and psychotherapy. The notions brought forth by community-based and applied theatre practitioners are presented as significant models to follow.

N. L. Sajnani, "The Body Politic: The relevance of an intersectional framework for therapeutic performance research in drama therapy", The Arts in Psychotherapy, vol. 40, no. 4, pp. 382—385, 2013.

DOI: 10.1016/j.aip.2013.05.001

Abstract:
Bringing feminism into conversation with drama therapy, this article explores the relevance of an intersectional framework for therapeutic performance research. The author analyzes the relationship between intersectionality, health, and performance ethnography and then discusses a past performance from an intersectional lens to highlight the potential psychological, social, and political health benefits of performance research. The author concludes with a discussion of the implications of this analysis for a socially engaged, therapeutic, performance research practice in drama therapy.

P. Carr, "What Happens Next?: How Ovarian Cancer Forces a Woman into a New Draft of Her Life Script", Dramatherapy, vol. 35, no. 3, pp. 149—161, 2013.

DOI: 10.1080/02630672.2013.863376

Abstract:
A diagnosis of ovarian cancer has an impact on many areas of a woman’s life which define her identity and life story. Women are forced to reconsider the future ‘scenes’ of their life scripts as they deal with the loss of fertility, a challenge to plans and existential threat. This paper considers this experience within the theoretical framework of the Self-Memory System. Alongside this theory, the author shares her use of dramatherapy tools applied to weekend residential courses run across the UK on four occasions to support women affected by ovarian cancer.

T. Chown, "When the Child Proof Cap has Been Left off the Medicine Bottle – Dramatherapy with Young People Affected by Parental Drug and Alcohol Problems", Dramatherapy, vol. 35, no. 3, pp. 174—185, 2013.

DOI: 10.1080/02630672.2013.863378

Abstract:
Young people affected by drug and alcohol use in their family face profound challenges. This paper looks at how young people are affected by their parents’ drug and alcohol problems and how dramatherapy can offer a space for them to engage with problems such as conflicted loyalties, neglect, abandonment, rage, isolation and premature responsibility. It draws on four years of experience offering individual and group dramatherapy to young people, and current approaches to the problem from psychology, social work, psychotherapy and the arts therapies. Each help to understand and illustrate the uses of a psychological and dramatic space to engage with the diverse problems parental drug and alcohol use create for a child.

A. E. Greaves, P. M. Camic, M. Maltby, K. Richardson and L. Mylläri, "A multiple single case design study of group therapeutic puppetry with people with severe mental illness", The Arts in Psychotherapy, vol. 39, no. 4, pp. 251—261, 2012.

DOI: 10.1016/j.aip.2012.03.002

Abstract:
Therapeutic puppetry is the use of puppets to aid emotional healing. There is no published research investigating the effectiveness of therapeutic puppetry with people with severe mental illness (SMI). A pilot investigation of group therapeutic puppetry with people with SMI tested the hypotheses that this intervention results in improvements in mental wellbeing, self-esteem, and body connection. It also investigated mechanisms of change, and service user acceptability and experience. In this mixed methodology study, five single ABA design case studies were utilised, with time series data analysed using simulation modelling analysis. Qualitative data was collected via participant observation and participant interviews and analysed using thematic analysis. Three participants experienced statistically and clinically significant changes in either positive or negative directions during the intervention, with all participants describing therapeutic puppetry as powerful and beneficial. The authors conclude that therapeutic puppetry is a potentially powerful medium which could be utilised by various mental health professionals. Furthermore, service users find therapeutic puppetry acceptable and beneficial despite it being an occasionally difficult and intense experience.

C. Rousseau, F. Armand, A. Laurin-Lamothe, M. Gauthier and R. Saboundjian, "A pilot project of school-based intervention integrating drama and language awareness", Child and Adolescent Mental Health, vol. 17, no. 3, pp. 187—190, 2012.

DOI: 10.1111/j.1475-3588.2011.00629.x

Abstract:
BACKGROUND To help immigrant and refugee adolescents experiencing a severe academic delay cope with adversity, a school-based intervention combining drama workshops and language awareness activities was piloted in two classrooms. METHOD A qualitative analysis of participant observations was performed and the Strength and Difficulty Questionnaire and its Impairment Supplement was administered before and after the intervention. The observations were carried out in two Montreal high schools serving an underprivileged neighbourhood of immigrants, involving two classrooms of underschooled adolescents (n = 27) and two classes of similarly underschooled adolescents chosen among other teachers interested in the intervention, who accepted to participate as a comparison group (n = 28). RESULTS The adolescents shared their experiences of adversity and felt empowered by the workshops. Self-reported impairment decreased in the intervention groups. CONCLUSION The protective effect of creative language activities for immigrant and refugee youth should be further investigated.

P. Jones, "Approaches to the Futures of Research (Based on the Conference Keynote, British Association of Dramatherapists Conference 2011, Measure for Measures, Researching, Re-Viewing and Re-Framing Dramatherapy in Practice)", Dramatherapy, vol. 34, no. 2, pp. 63—82, 2012.

DOI: 10.1080/02630672.2012.704189

Abstract:
This article, delivered in two parts, identifies and examines factors affecting the development of dramatherapy research. Drawing on qualitative research with Dramatherapists in a number of countries, it identifies three related challenges as a way of responding to the question, ‘What is the next developmental phase of dramatherapy research?’ The three challenges are: ‘impact’; ‘reviewing dramatherapy’s relationship with qualitative and quantitative methodologies’; and ‘in depth: increasing the field’s research capacity’.

P. Jones, "Approaches to the Futures of Research Part 2 (Based on the Conference Keynote, British Association of Dramatherapists Conference 2011, Measure for Measures, Researching, Re-Viewing and Re-Framing Dramatherapy in Practice)", Dramatherapy, vol. 34, no. 3, pp. 116—138, 2012.

DOI: 10.1080/02630672.2012.737630

Abstract:
This article, delivered in two parts, identifies and examines factors affecting the development of dramatherapy research. Drawing on qualitative research with Dramatherapists in a number of countries, it identifies three related challenges as a way ofresponding to the question, ‘What is the next developmental phase of dramatherapy research?’ This second article addresses these three challenges: ‘impact’; ‘reviewing dramatherapy’s relationship with qualitative and quantitative methodologies’ and ‘in depth: increasing the field’s research capacity’. The article ends with ‘An ABC ofDramatherapy Research Culture’ as a suggested basic definition of what a good future research culture for dramatherapy could be.

S. Blain, S. Kingsnorth, L. Stephens and P. McKeever, "Determining the effects of therapeutic clowning on nurses in a children's rehabilitation hospital", Arts & Health, vol. 4, no. 1, pp. 26—38, 2012.

DOI: 10.1080/17533015.2011.561359

Abstract:
Objective: This pilot study aimed to determine the effects of therapeutic clowns for hospitalized children on their nurses. Methods: Semi-structured interviews with 13 nurses explored perceptions of the clowns. Measures of physiological arousal, emotion and anxiety were also obtained from nine of these 13 nurses under two conditions – the presence or absence of therapeutic clowns on the unit. Results: Physiologically, the automatic nervous system signals of eight of the nine nurses exhibited consistent changes in patterns of responding when the clowns were present. Emotionally, nurses' reports of negative mood states were also reduced; no changes in anxiety were found. Qualitative data corroborated these findings and suggest that although therapeutic clowns expressly work with children, they also have a relational impact. Conclusions: Clowning seems to improve communication, role negotiation and the meaning of the unit as a social and physical place. A recommendation for mixed method research designs is offered to determine varied effects of arts-based interventions on stakeholders within health care settings.

Z. Grinberg, S. Pendzik, R. Kowalsky and Y. “. Goshen, "Drama therapy role theory as a context for understanding medical clowning", The Arts in Psychotherapy, vol. 39, no. 1, pp. 42—51, 2012.

DOI: 10.1016/j.aip.2011.11.006

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611001195

Abstract:
Most research in the field of medical clowning looks at humor as the main explanation of the beneficial impact that medical clowns have on hospitalized patients. The present paper attempts to challenge this idea by applying drama therapy role theory to the work of medical clowns. First, both ‘clown’ and ‘patient’ are defined and comprehended from a role perspective. Then, using primarily Landy’s role method and ideas, the authors analyze clinical examples from the actual work of “Sancho” (a medical clown from the Dream Doctor’s Project) by means of role theory. The paper illustrates that besides the typical clown tools and techniques, the medical clown uses role strategies as therapeutic interventions in the interaction with patients. Thus an innovative context for conceptualizing medical clowning is provided, which expands the scope of therapeutic clowning and the use of drama therapy role theory as well.

E. F. Bruun, "Dramatherapy with Homeless Clients: The Necessary Theatre", Dramatherapy, vol. 34, no. 3, pp. 139—149, 2012.

DOI: 10.1080/02630672.2012.737629

Abstract:
The article presents a dramatherapy intervention with homeless clients. It introduces the concept of ‘the necessary theatre’ as a theatrical frame to encapsulate the healing potential of drama and arts practice. The term, first introduced by Peter Brook, refers to the ‘blessed moments’ of shared artistic experience by actors and witnesses in attuned presence and level of energetic presence. During the dramatherapy work with the homeless clients it became clear that the aim of the intervention was to contribute to creating conditions for such moments to occur and happen as events. The article argues that the case study with this ‘vulnerable’ client group created useful knowledge and innovative practice concerning epistemological dilemmas for arts practice as therapy. The case study reinforced the tradition of arts therapy that insists on working from within the artistic media, such as the Jungian Sesame approach to drama and movement therapy that acknowledges each individual’s healthy and creative drive for self-regulation and agency.

D. Hermoso Lloret, G. Cervantes Ortega, J. M. Blanch and P. Ochoa Pacheco, "Escenoterapia para la prevención de la violencia ocupacional: [Drama therapy for the prevention of workplace violence]", Archivos de prevencion de riesgos laborales, vol. 15, no. 2, pp. 79—85, 2012.

DOI: 10.12961/aprl.2012.15.2.03

Abstract:
OBJECTIVE To achieve, through a training and preventive intervention, a significant change in the emotional experience of a group of health care professionals at risk of exposure to workplace violence. METHOD 143 Catalonian health professionals participated in a training course on occupational risk prevention that incorporated theatrical staging techniques and psychotherapeutic strategies, focused on the interpretation of emotional experiences associated with violence in the workplace. They participated voluntarily in the program and were selectedaccording to type of healthcare delivered and professional diversity. A pre- and post-course questionnaire was administered. RESULTS Ninety-two percent of respondents claimed to have witnessed, and 85% had personally experienced, a violent episode in the previous five years. The comparison of mean scores before and after the training intervention revealed anincrease in the positive assessment of the effectiveness of one's own performance and communication skills (p< 0.001), and induced emotional experiences in line with a greater peace of mind (p< 0.005) and less anxiety (p< 0.005) with respect to the violent incident. CONCLUSIONS Staging experiential stressful situations can be a useful learning tool for managing emotions, which increases the perceived degree of one's ability to manage communication, teamwork and professional stress itself. OBJETIVO: Lograr, mediante una intervención formadora y preventiva, un cambio significativo en la experiencia emocional de un grupo de profesionales de la salud expuestos a situaciones de riesgo de violencia ocupacional. MÉTODO: 143 profesionales de la salud catalanes participaron en un curso de prevención de riesgos laborales cuyo contenido se basó en la articulación de técnicas de escenificación teatral y de estrategias psicoterapéuticas y se centró en la interpretación de episodios de violencia en el lugar de trabajo. Su participación en el programa fue voluntaria y fueron seleccionados atendiendo a los criterios de tipo de asistencia prestada y de diversidad profesional. Antes y después del programa les fue aplicado un cuestionario. RESULTADOS: El 92% de los participantes declaró haber presenciado y el 85% haber vivido personalmente algún episodio violento en los últimos cinco años. La comparación de las puntuaciones medias de antes y después indica que la intervención incrementa la valoración positiva de la eficacia de la propia actuación y de las propias competencias de comunicación (p< 0,001) e induce vivencias emocionales en la línea de unamayor tranquilidad (p< 0,005) y unamenor ansiedad (p< 0,005) con respecto al incidente violento. CONCLUSIONES: La escenificación vivencial de las situaciones estresantes es un instrumento útil para el aprendizaje de la gestión de las emociones, que incrementa el grado percibido de la propia capacidad de manejo de la comunicación y del trabajo en equipo y del propio estrés profesional.

R. J. Landy, M. Hodermarska, D. Mowers and D. Perrin, "Performance as art-based research in drama therapy supervision", Journal of Applied Arts & Health, vol. 3, no. 1, pp. 49—58, 2012.

DOI: 10.1386/jaah.3.1.49_1

Abstract:
In this article, the authors discuss the use of art-based research, specifically performance ethnographic and autoethnographic processes, within clinical supervision of drama therapists. Performance ethnography will be discussed as it is utilized for case conceptualization, treatment planning and supervision of clinical treatment. Core, overlapping concepts from performance ethnography and drama therapeutic theory, such as verbatim dialogue and metaphor, validation and mutuality, embodiment and faithful rendering, will be discussed and demonstrated through case examples. The article concludes with a vision of the art-based researcher/supervisor as not only a participant-observer, but also a performer, one who is perpetually challenged by playing multiple roles.

J. D. Butler, "Playing with madness: Developmental Transformations and the treatment of schizophrenia", The Arts in Psychotherapy, vol. 39, no. 2, pp. 87—94, 2012.

DOI: 10.1016/j.aip.2012.01.002

Datei : http://www.sciencedirect.com/science/article/pii/S0197455612000032

Abstract:
This article explores the possible application of the Developmental Transformations form of drama therapy to the treatment of schizophrenia. Developmental Transformations is an embodied approach to psychotherapy that involves the therapist and client engaging in free flowing improvisation. Within this paper, the symptoms of schizophrenia are reviewed as well as common treatment methods and protocol in working with both the positive and negative symptoms of the illness. These are then compared to Developmental Transformations and its approach to illness and healing. In particular, schizophrenia is looked at through a Developmental Transformations lens, seeing it as a disorder of embodiment, encounter and transformations. Through these connections it is then suggested that Developmental Transformations has the potential to be an effective intervention in the treatment of the illness. Finally, a sample session outline is presented applying the principles explored.

C. Mayor, "Playing with race: A theoretical framework and approach for creative arts therapists", The Arts in Psychotherapy, vol. 39, no. 3, pp. 214—219, 2012.

DOI: 10.1016/j.aip.2011.12.008

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611001298

Abstract:
Our assumptions about race and the process of othering are crucial in the therapeutic relationship, with power, privilege, and personal and collective trauma impacting the encounter. In spite of this, race is seldom formally discussed in the creative arts therapies. This literature review suggests that the existing writing often problematically includes essentialist discourse, color-blind statements, unqualified suggestions that the arts transcend difference, or “how to” instructions for working with particular racialized groups. Drawing on critical race theory and performance studies, this article offers theory for understanding race as roles that are produced and performed, embodied and created in the encounter. By engaging with these roles, we may disrupt rigid notions of race, provide an ethical component of the therapeutic relationship, and work towards social change. Analysis of the “Developmental Transformations” (DvT) section of the Three Approaches to Drama Therapy (New York University, 2005) video is included as illustration of the potential, complexity, and limitations of playing with race.

N. L. Sajnani, "Response/ability: Imagining a critical race feminist paradigm for the creative arts therapies", The Arts in Psychotherapy, vol. 39, no. 3, pp. 186—191, 2012.

DOI: 10.1016/j.aip.2011.12.009

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611001304

Abstract:
This article examines the emergence of a critical race feminist paradigm and considers its relevance for the creative arts therapies. The diverse paradigms from which creative arts therapists articulate their practice are reviewed. The author's influences within feminist scholarship are presented as they relate to the practice of psychotherapy and to the creative arts therapies.

H. Orkibi, "Students’ artistic experience before and during graduate training", The Arts in Psychotherapy, vol. 39, no. 5, pp. 428—435, 2012.

DOI: 10.1016/j.aip.2012.06.007

Datei : http://www.sciencedirect.com/science/article/pii/S0197455612001050

Abstract:
This qualitative study investigated creative arts therapies students’ relationship with the arts during a pre-training phase beginning student phase, and advanced student phase. Thematic analysis was used to identify themes and patterns within the data. Major findings suggest that during the pre-training phase, art therapy students, followed by dance movement therapy students, had more extensive learning and practical experience in their art form than drama therapy students. Also during this phase, art therapy students use their art form for self-care more often than did dance movement therapy students, and there were no indications of drama being used for self-care by drama therapy students. During training, most students refrained from personal art making outside of training due to lack of time and money; students’ conception of their art form changed from aesthetic product to expressive process; and in-training exposure to different modalities as well as professional socialization in practicum cultivated students’ individual and collective professional identity. Policy and practice implications are suggested and recommendations for further research are offered.

R. Berger and M. Tiry, "The enchanting forest and the healing sand—Nature therapy with people coping with psychiatric difficulties", The Arts in Psychotherapy, vol. 39, no. 5, pp. 412—416, 2012.

DOI: 10.1016/j.aip.2012.03.009

Datei : http://www.sciencedirect.com/science/article/pii/S0197455612000330

Abstract:
This article will introduce ways in which the connection with nature, and non-verbal and creative work in nature, can empower adults coping with emotional and psychiatric difficulties. Relating to two sessions from a short-term Nature Therapy intervention group program in Israel, it will present Nature Therapy’s key elements and highlight possible connections with Drama and Art Therapy. The article will focus on creative and non-verbal processes and highlight their potential to support therapeutic processes originating in the right hemisphere – imagination, emotions and body.

L. Zografou, "The Gifts of Research – Playing with Phenomenology", Dramatherapy, vol. 34, no. 2, pp. 83—91, 2012.

DOI: 10.1080/02630672.2012.708563

Abstract:
In this paper I try to dispel some ofthe fears encountered by novice researchers embarking on qualitative research and phenomenological inquiry in particular. I outline key principles of theory and methodology and highlight the difficulties as well as the gifts afforded to a phenomenological researcher, with some emphasis on the applicability of phenomenological research to the arts therapies.

N. L. Sajnani, "The Implicated Witness: Towards a Relational Aesthetic in Dramatherapy", Dramatherapy, vol. 34, no. 1, pp. 6—21, 2012.

DOI: 10.1080/02630672.2012.657944

Abstract:
Dramatherapists often draw on biographical performance to facilitate individual and social change, often within the public sphere. This paper considers the cultural politics of biographical performance through the ideas of Michel Foucault, Antonio Gramsci, and the practices of Bertolt Brecht, Antonin Artaud, Augusto Boal, Susan Bennett, and Julie Salverson amongst other applied theatre and dramatherapy practitioners. The author discusses the concept of witnessing and proposes a relational aesthetic in dramatherapy to explore how dramatherapists may create socially effective and affective performances that bring audiences into greater proximity to each other, to the issues staged, and to those performing.

R. Hougham, "The matrix, group processes and dramatherapy", The Arts in Psychotherapy, vol. 39, no. 1, pp. 60—65, 2012.

DOI: 10.1016/j.aip.2011.11.007

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611001201

Abstract:
There is a paucity of published work on how group process informs the teaching and practice of dramatherapy. This article investigates ideas on groups and group therapy from the fields of analytical psychology and group analysis, and goes on to develop these in the context and practice of dramatherapy. First, the phenomenon of regression in groups from Foulkesian and Jungian perspectives is addressed, highlighting contrasting theories on the potential and pitfalls of group experience. The idea of the ‘matrix’ as a multi-layered intersubjective field in the group (Foulkes) and/or the entirety of the unconscious (Jung) is explored, offering a background for discussion on the nature of interpersonal and intrapsychic connections. Sesame drama and movement therapy is referred to as an approach which introduces cultural symbols through fairy tale and myth, and offers the chance to explore these through dramatherapy methods. The moment when a group creates a ‘montage’ from images from a story offers an example of a ‘constellation’ of the group matrix, which can lead to different modes of expression. The article finishes by returning to broader questions of group therapy as set out by Jung, and examining these in light of the ritual enactment of myth.

F. Landers, "Urban Play: Imaginatively responsible behavior as an alternative to neoliberalism", The Arts in Psychotherapy, vol. 39, no. 3, pp. 201—205, 2012.

DOI: 10.1016/j.aip.2011.12.006

Datei : http://www.sciencedirect.com/science/article/pii/S0197455611001274

Abstract:
Urban Play is a budding form of social activism in which groups of friends engage in improvised play with each other and with strangers in public places. This work may contribute to social justice by helping participants discover opportunities for change. If neoliberalism encourages the pursuit of narrowly defined self-interests, neoliberal institutions may be maintained by the fear that these interests are threatened. By allowing participants to define the actions that are uniquely possible among them, play appears to offer an alternative to neoliberalism. What has been learned so far from playing in public also suggests a fresh perspective on Developmental Transformations, the form of drama therapy that inspired Urban Play.

L. R. Cherney, A. K. Oehring, K. Whipple and T. I. Rubenstein, "\textquotedblWaiting on the words\textquotedbl: procedures and outcomes of a drama class for individuals with aphasia", Seminars in speech and language, vol. 32, no. 3, pp. 229—242, 2011.

DOI: 10.1055/s-0031-1286177

Abstract:
Drama therapy offers an authentic medium through which people with aphasia can interact and share their experiences. We describe the rationale and procedures of a drama class, informed by the principles and practices of drama therapy, in which individuals with chronic aphasia conceptualized, wrote, and produced a play addressing their experiences of having, living with, and coping with the effects of aphasia. Sessions were cofacilitated by a speech-language pathologist and a drama therapist. We describe the drama activities and techniques in each of four distinct stages of a drama therapy process through which the group transitioned. We also summarize patient-reported outcomes of a representational group of seven participants. Subscales of the Burden of Stroke Scale and the Communication Confidence Rating Scale for Aphasia were administered before and after participation in the 18-week class. Means, standard deviations, and effect sizes were computed. Results indicated perceived improvements in both communication and mood.

H. Smeijsters, J. Kil, H. Kurstjens, J. Welten and G. Willemars, "Arts therapies for young offenders in secure care—A practice-based research", The Arts in Psychotherapy, vol. 38, no. 1, pp. 41—51, 2011.

DOI: 10.1016/j.aip.2010.10.005

Datei : http://www.sciencedirect.com/science/article/pii/S0197455610001292

Abstract:
This article describes the results of the first phase of a research project to develop, implement, evaluate, and improve arts therapies interventions for young offenders in secure care. By means of a naturalistic/constructivistic research methodology in combination with grounded therapy methodology, practice-based evidence has been generated. Core problems of young offenders that are connected to delinquency have been described and arts therapies interventions have been developed that can be used to change these core problems. Core problems are problems with self-image, with expressing and discharging emotions, the inability to resolve interpersonal problems and finally, negative cognitions. In co-creation with practitioners, interventions have been developed for drama therapy, music therapy, art therapy and dance-movement therapy. A treatment theory has been developed that explains the working of arts therapies by means of the first author’s theory of analogy. This theory explains arts therapies by means of the equality between forms of expression in art and the core self consciousness as described by Damasio and the vitality affects within the core self as described by Stern.