Introducing drama therapy during a pandemic: A clinical commentary

2020 ◽  
Vol 7 (2) ◽  
pp. 299-308
Author(s):  
Nadine Bernard ◽  
Barbara McKechnie ◽  
Kate Birsa ◽  
Kaitlyn Carranza ◽  
Erin Gaydos ◽  
...  
Keyword(s):  
Drama Therapy

To Jurassic Park via Australia: A case study showing how dramatherapy enabled the creation and maintenance of embodied metaphors to support recovery from early psychosis

Dramatherapy ◽  
2020 ◽  
Vol 41 (1) ◽  
pp. 37-49
Author(s):  
Louise Combes ◽  
Lauren A Bradley
Keyword(s):  
Alcohol Misuse ◽  
Behavioural Therapy ◽  
Drama Therapy ◽  
Supported Accommodation ◽  
Life Challenges ◽  
Cognitive Behavioural ◽  
Communication Difficulties ◽  
Residential Rehabilitation ◽  
Early Intervention In Psychosis

This case study shows how Dramatherapy can engage clients with communication difficulties, which exclude them from standard mental health pathways in early intervention in psychosis services. Deliberately prioritising the client’s newfound modes of expression to shape the narrative within, it is evident Dramatherapy processes; embodiment, projection and role enabled this client to create and then inhabit his own playful metaphors. These metaphors continued to facilitate every-day life challenges. During his Dramatherapy relationship, the client within this case study transitioned from supported accommodation to his own property, progressed to residential rehabilitation for alcohol misuse and finally engaged in cognitive behavioural therapy. From feedback interviews we know he continued to create and use his own protective metaphors 10 months after drama therapy ended. He returned to education as part of his plan to seek appropriate employment and was discharged to his GP.

FC14-01 - Internal losses and the creation of “Nowhere land”: psychodynamic themes of adults with ADHD discovered during drama-therapy

2011 ◽  
Vol 26 (S2) ◽  
pp. 1893-1893
Author(s):  
I. Manor ◽  
G. Yazpan
Keyword(s):  
Drama Therapy ◽  
Transitional Space ◽  
Men And Women ◽  
The Past ◽  
Chronic Disorder ◽  
Pharmacological Aspect ◽  
Inner Self ◽  
Socioeconomic Strata ◽  
The Creation ◽  
First Time

ADHD is a well-known, chronic disorder that persists in adulthood. During the past 20 years its existence in adults is becoming clearer, yet its dynamic aspects are rarely discussed. The treatment of adults is vital, as much as that of children; however the literature discussing it, especially its non-pharmacological aspect, is scarce.We describe the results of our treatment with drama-therapy of two groups of adults with ADHD. These groups included 11 adults (from both groups), men and women, from most socioeconomic strata, aged ≥ 60 yrs., who were diagnosed as suffering from ADHD and were treated for it for the first time in their life. Drama-therapy was selected as we believed it to be a useful method with associative, distracted ADHD patients, since it enabled the use of transitional space through non-verbal images and acts.This presentation discusses the basic themes with which patients began therapy. Interestingly, all patients, however different, shared the same themes that were built on self doubt and the pre-presumption of disappointment. The impairment related to ADHD, that was felt, but not understood, led to a strong experience of heavy losses, which we tried to define separately: of a clear path, of control, of the inner perception of borders and of the loss of an integrative inner self. All these losses were accumulated in the transitional space in a place we named “Nowhere land”.We would like to present these themes of losses and of becoming lost and to discuss their meaning.

scholarly journals Engines of alternative objectivity: Re-articulating the nature and value of participatory mental health organisations with the Hearing Voices Movement and Stepping Out Theatre Company

2015 ◽  
Vol 22 (3) ◽  
pp. 205-222 ◽  
Author(s):  
Claire Blencowe ◽  
Julian Brigstocke ◽  
Tehseen Noorani
Keyword(s):  
Mental Health ◽  
Material Culture ◽  
Science Studies ◽  
Drama Therapy ◽  
Biomedical Science ◽  
Sociology Of Culture ◽  
Hearing Voices ◽  
Production Values ◽  
Theatre Company ◽  
High Production

Through two case studies, the Hearing Voices Movement and Stepping Out Theatre Company, we demonstrate how successful participatory organisations can be seen as ‘engines of alternative objectivity’ rather than as the subjective other to objective, biomedical science. With the term ‘alternative objectivity’, we point to collectivisations of experience that are different to biomedical science but are nonetheless forms of objectivity. Taking inspiration from feminist theory, science studies and sociology of culture, we argue that participatory mental health organisations generate their own forms of objectivity through novel modes of collectivising experience. The Hearing Voices Movement cultivates an ‘activist science’ that generates an alternative objective knowledge through a commitment to experimentation, controlling, testing, recording and sharing experience. Stepping Out distinguishes itself from drama therapy by cultivating an alternative objective culture through its embrace of high production values, material culture, aesthetic standards. A crucial aspect of participatory practice is overcoming alienation, enabling people to get outside of themselves, encounter material worlds and join forces with others.

scholarly journals El teatro como ejercicio terapéutico en Todos somos el rey Lear, de Guillermo Schmidhuber

2021 ◽  
Vol 12 (19) ◽  
pp. 44-61
Author(s):  
Lourdes Betanzos
Keyword(s):  
William Shakespeare ◽  
Therapeutic Process ◽  
Drama Therapy ◽  
King Lear ◽  
Therapeutic Exercise ◽  
Jean Baudrillard ◽  
The Creation ◽  
Psychological Concepts

En Todos somos el rey Lear, escrita en 1979 y publicada en 1982, el dramaturgo mexicano Guillermo Schmidhuber de la Mora plantea clara intertextualidad con William Shakespeare. El presente estudio es una exploración de cómo Schmidhuber teatraliza la creación de hiperrealidad como proceso terapéutico no sólo para ciertos personajes de la obra, sino también para el público e, incluso, para el dramaturgo mismo. Con esta finalidad se emplean los conceptos de Jean Baudrillard sobre la hiperrealidad y el simulacro, las afirmaciones del mismo Schmidhuber sobre la dramaturgia, así como también los conceptos psicológicos de Phil Jones sobre la drama-terapia y los efectos transformativos de este ejercicio teatral. Por medio de este proceso que resulta terapéutico, los personajes Millonario verdadero y Álvaro intentan enmendar los conflictos vitales que inquietan a ambos, a la par que el autor mismo negocia su identidad como dramaturgo.Theather as therapeutic exercise in We are all King Lear from Guillermo SchmidhuberAbstractIn We are all King Lear, written in 1979 and published in 1982, the Mexican playwright Guillermo Schmidhuber de la Mora clearly lays out an intertextuality exercise in front of William Shakespeare’s work. This study is an exploration of how Schmidhuber dramatizes the creation of hyperreality as a therapeutic process not only for certain characters of the play, but also for the audience and even for the playwright himself. To carry out this exploration, the paper applies Baudrillard’s concepts of hyperreality and simulation, as well as some affirmations from Schmidhuber himself about dramaturgy, and some of Phil Jones’ psychological concepts regarding drama therapy and its transformative effects as a theatrical exercise. Through this therapeutic process, the characters Real Millionaire and Álvaro attempt to rectify the vital conflicts that unsettle them both, while the author himself negotiates his identity as a playwright.Recibido: 05 de octubre de 2020Aceptado: 01 de febrero de 2021

Attachment, distancing, and the working alliance in drama therapy

2016 ◽  
Vol 2 (2) ◽  
pp. 239-255 ◽  
Author(s):  
Alisha M. Henson ◽  
Marilyn Fitzpatrick
Keyword(s):  
Working Alliance ◽  
Drama Therapy
Sign in / Sign up

Export Citation Format

Share Document