Assessment In Drama Therapy

This book is a comprehensive survey of the current state of assessment in the field of drama therapy. Drama therapy assessment methods must be embedded within the discipline's core philosophy, and thus drama therapy will not develop fully as an independent field until it can generate its own assessment criteria and methods. Specific topics include: (1) history of assessment in the field of drama therapy; (2) concepts and practices of assessment in drama therapy; (3) state of the art in drama therapy assessment; (4) Diagnostic Role Playing Test; (5) Drama Therapy Role Play Interview; (6) Six Pi.

This third edition of Current Approaches in Drama Therapy offers a revised and updated comprehensive compilation of the primary drama therapy methods and models that are being utilized and taught in the United States and Canada. Two new approaches have been added, Insight Improvisation by Joel Gluck, and the Miss Kendra Program by David Read Johnson, Nisha Sajnani, Christine Mayor, and Cat Davis, as well as an established but not previously recognized approach in the field, Autobiographical Therapeutic Performance, by Susana Pendzik. The book begins with an updated chapter on the development of the profession of drama therapy in North America, followed by a chapter on the current state of the field written by the editors and Jason Butler. Section II includes the 13 drama therapy approaches, and Section III includes the three related disciplines of Psychodrama and Sociodrama, Playback Theatre, and Theatre of the Oppressed that have been particularly influential to drama therapists. This highly informative and indispensable volume is structured for drama therapy training programs. It will continue to be useful as a basic text of drama therapy for both students and seasoned practitioners, including mental health professionals (such as counselors, clinical social workers, psychologists, creative arts therapists, occupational therapists), theater and drama teachers, school counselors, and organizational development consultants.

The third volume of Dramatherapy: Theory and Practice brings the reader up-to-date with the latest developments in the profession of dramatherapy and tackles key issues in contemporary social relationships. It shows how dramatherapy is evolving its own theory and methodology as well as specific models for supervision and assessment. Dramatherapy is now being used in a broad continuum of care and contributors give many examples of its practice in contexts of prevention, maintenance and cure. This new volume has twenty-nine international contributors and covers major new themes of gender, race and politics as well as incorporating the latest method, theoretical concepts and research.

A practical guide for therapeutic decision-making. The Drama Therapy Decision Tree unites therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session. The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system.

Dramatherapy is being increasingly practised in a range of therapeutic settings and is of growing interest to theatre practitioners and teachers. The Handbook of Dramatherapy brings together five authors who have considerable experience of clinical, artistic and educational work to provide an easy-to-read introduction to the major models of dramatherapy. The authors explain the differences between dramatherapy and psychodrama, discuss its relationship with theatre art, look at assessment and evaluation techniques, and argue the need for more appropriate methods of research for this increasingly popular form of therapeutic treatment. The Handbook of Dramatherapy provides a comprehensive basis for theory and practice and will be an invaluable resource for all students of dramatherapy and theatre.

Drama as Therapydescribes and defines dramatherapy, providing in one volume a definition of the core processes at work in dramatherapy, a clear description of how to structure sessions, a thorough review of techniques and a wide range of examples from clinical practice. At the heart of the book is a definition of the nine core processes which define how and why dramatherapy can offer the opportunity for change. Also included are step-by-step breakdowns of the ways of working with a broad range of clients. Dramatherapy's approach to role, play, mask, ritual, performance and script are all described. The book includes extensive historical material from the 1920s to the present day, covering work in the US, the UK, Russia and the Netherlands. It challenges previous accounts of dramatherapy's history with details of Evreinov's Theatrotherapy, Iljine's work in Russia and interviews with innovators in the field, including Peter Slade, Sue Jennings and Marion Lindquvist.

Using extensive examples from practice with a range of client groups, Dramatherapy and Autism confronts the assumption that people with autism are not able to function within the metaphorical realms of the imagination and creativity. It demonstrates that not only are people who function along the spectrum capable of engaging in creative exploration, but that through encountering these processes in the clinical context of dramatherapy, changes can be made that are life enhancing. Bringing in cutting-edge research and practice on dramatherapy, Dramatherapy and Autism aims to contribute to developing the theory and practice of creative arts therapies interventions with clients with autism. The book is part of the Dramatherapy: approaches, relationships, critical ideas series, in which leading practitioners and researchers in the field develop the knowledge base of this unique discipline, whilst contextualising and acknowledging its relationship with other arts and therapeutic practices. Dramatherapy and Autism will be of interest to a broad spectrum of readers, such as dramatherapists in practice and training, arts practitioners and academic researchers engaged in multidisciplinary enquiry.