Dramatherapy and Psychodrama with Looked-After Children and Young People

Abstract

This paper provides the results of a questionnaire constructed to solicit information about the creative structures that dramatherapists and psychodramatists are using in therapy with Looked-After children (LAC) and young people. After a brief account of the research itself the results are presented; this starts by defining the assessment and evaluation tools that are used by the practitioners. The particular needs of this client group are examined and what follows is the analysis and explanation of the creative ways in which the practitioners meet the needs of LAC and young people.

The Transformative Experience of Drama and Performance art with Survivors of Gender-Based Violence

“…In reviewing research literature regarding drama in therapeutic settings such as psychotherapy or clinical counselling, it is frequently referring to as either dramatherapy or psychodrama (Carbonell & Parteleno-Barehmi, 1999;Cheung, Alzate, & Nguyen, 2012;Dehnavi, Bajelan, Pardeh, Khodaviren, & Dehnavi, 2016;Dix, 2015;Dogan, 2010;Frisina, 2010;Jarman, 2014;Kirk, 2015;Mackenzie, 2013;Moore, Andersen-Warren, & Kirk, 2017;Oflaz, Meric, Yuksel, & Ozcan, 2011;Oon, 2010;Orkibi, Bar, & Eliakim, 2014;Rousseau, Benoit, Gauthier, Lacroix, Alain, Viger Rojas, & Bourassa, 2007;Testoni, Armenti, Ronconi, Verdi, Wieser, Bucuta, & Tarashoeva, 2015). Although drama therapy and psychodrama share common themes, there is one fundamental difference.…”

“…A methodological gap existing within research literature viewing drama techniques specifically through dramatherapy or psychodrama is that it is frequently rooted in medical, psychological, evidence-based research. Within these research studies, the impacts of drama are frequently measured on the changes within the individual, with minimal link to the social problem that is creating the issue the individual is experiencing (Carbonell & Parteleno-Barehmi, 1999;Cheung, Alzate, & Nguyen, 2012;Dehnavi, Bajelan, Pardeh, Khodaviren, & Dehnavi, 2016;Dix, 2015;Dogan, 2010;Frisina, 2010;Jarman, 2014;Kirk, 2015;Mackenzie, 2013;Moore, Andersen-Warren, & Kirk, 2017;Oflaz, Meric, Yuksel, & Ozcan, 2011;Oon, 2010;Orkibi, Bar, & Eliakim, 2014;Rousseau, Benoit, Gauthier, Lacroix, Alain, Viger Rojas, & Bourassa, 2007;Testoni, Armenti, Ronconi, Verdi, Wieser, Bucuta, & Tarashoeva, 2015).…”

“…A gap discovered in the literature is that few articles specifically focus on in-depth experiences of the unique process of drama and performance art with survivors of gender-based violence. The research presented on both dramatherapy and psychodrama frequently view the experiences of participants from an individualistic, western perspective, which influences how drama is understood (Carbonell & Parteleno-Barehmi, 1999;Cheung, Alzate, & Nguyen, 2012;Dehnavi, Bajelan, Pardeh, Khodaviren, & Dehnavi, 2016;Dix, 2015;Dogan, 2010;Frisina, 2010;Jarman, 2014;Kirk, 2015;Mackenzie, 2013;Moore, Andersen-Warren, & Kirk, 2017;Oflaz, Meric, Yuksel, & Ozcan, 2011;Oon, 2010;Orkibi, Bar, & Eliakim, 2014;Rousseau, Benoit, Gauthier, Lacroix, Alain, Viger Rojas, & Bourassa, 2007;Testoni, Armenti, Ronconi, Verdi, Wieser, Bucuta, & Tarashoeva, 2015). The reviewed research literature focusing on Theatre of The Oppressed frequently views the experiences of group participation in drama techniques, which does not provide rich details of the processes of drama (Brigell, 2010;Giesler, 2017;Midha, 2010;Saeed, 2015;Shawyer, 2011;Stahl, 2018).…”

The Transformative Experience Of Drama And Performance Art With Survivors Of Gender-Based Violence

“…A gap discovered in the literature is that few articles specifically focus on in-depth experiences of the unique process of drama and performance art with survivors of gender-based violence. The research presented on both dramatherapy and psychodrama frequently view the experiences of participants from an individualistic, western perspective, which influences how drama is understood (Carbonell & Parteleno-Barehmi, 1999;Cheung, Alzate, & Nguyen, 2012;Dehnavi, Bajelan, Pardeh, Khodaviren, & Dehnavi, 2016;Dix, 2015;Dogan, 2010;Frisina, 2010;Jarman, 2014;Kirk, 2015;Mackenzie, 2013;Moore, Andersen-Warren, & Kirk, 2017;Oflaz, Meric, Yuksel, & Ozcan, 2011;Oon, 2010;Orkibi, Bar, & Eliakim, 2014;Rousseau, Benoit, Gauthier, Lacroix, Alain, Viger Rojas, & Bourassa, 2007;Testoni, Armenti, Ronconi, Verdi, Wieser, Bucuta, & Tarashoeva, 2015). The reviewed research literature focusing on Theatre of The Oppressed frequently views the experiences of group participation in drama techniques, which does not provide rich details of the processes of drama (Brigell, 2010;Giesler, 2017;Midha, 2010;Saeed, 2015;Shawyer, 2011;Stahl, 2018).…”

Drama Therapy for Children and Adolescents with Psychosocial Problems: A Systemic Review on Effects, Means, Therapeutic Attitude, and Supposed Mechanisms of Change

“…In clinical practice, drama therapy is successfully applied by drama therapists using a variety of drama therapeutic approaches and theories based on good practice, theoretical insights, and intuition [ 30 , 49 , 52 ]. In a qualitative study, drama therapists reported several effects of drama therapy in children and adolescents, such as improvement of social skills, regulation of emotions, better child and adult relationship, increased assertiveness and self-expression, and more resilient responses to bereavement, separation, and loss [ 53 ]. These outcomes are important effects that may promote self-esteem that buffers the negative effect of stressful life events in adolescence [ 54 ].…”