“…A popular technique, such as role play, exposes participants to a range of experiences (such as social interaction) in which they can learn and develop a multitude of skills. Similarly, with regards to psychoeducation, dramatherapy techniques such as embodiment (Dokter, 2016), breath work (Andersen-Warren et al, 2000) and emotional expression (Dix, 2015) all support participants in this way. Whilst existing research on the arts therapies (most commonly for adults) has identified learning as a key feature, this may be particularly important for dramatherapy with children and young people.…”
Section: Potential Active Ingredients Of Dramatherapy: Benchmarking A...mentioning
confidence: 97%
“…In dramatherapy practice, and primarily informed by Winnicott's (1971) work on play, fun is often incorporated into sessions. Exercises such as games (Andersen-Warren et al, 2000), puppets (Moula, 2021) and sand trays (Cassidy et al, 2017) are just a few methods used by dramatherapists to facilitate this. Similarly, participants in this synthesis experienced being creative in dramatherapy as a pleasurable and positive experience.…”
Section: Potential Active Ingredients Of Dramatherapy: Benchmarking A...mentioning
A developing evidence base suggests that dramatherapy, a creative form of psychotherapy, is a useful treatment for child and adolescent emotional disorders. However, little is known regarding the therapeutic benefits (“active ingredients”) of this intervention. A systematic search and meta-synthesis of secondary qualitative data reflecting participants’ perceptions of active ingredients of dramatherapy for symptoms of emotional disorders (anxiety, depression and trauma-related stress) was conducted. Six analytical themes emerged from eight studies. Dramatherapy as a learning (1) and social (2) experience and dramatherapy as a positive intervention (3) which supports self-expression (4) and emotion regulation (5) were identified as active ingredients. The skill and professionalism of dramatherapists (6) were also identified. This study is limited as the data available were not collected for the primary purpose of identifying active ingredients, more focused investigations may reveal different findings. In addition, studies contributed unequal amounts of data thus, findings may be skewed. The findings of this synthesis were benchmarked against other interventions commonly offered to children and young people with emotional distress. Three active ingredients (dramatherapy is fun, dramatherapy builds confidence, participants process difficulties through drama) were deemed unique to dramatherapy. Further research could employ mediation analysis to determine therapeutic mechanisms of change of this intervention.
“…A popular technique, such as role play, exposes participants to a range of experiences (such as social interaction) in which they can learn and develop a multitude of skills. Similarly, with regards to psychoeducation, dramatherapy techniques such as embodiment (Dokter, 2016), breath work (Andersen-Warren et al, 2000) and emotional expression (Dix, 2015) all support participants in this way. Whilst existing research on the arts therapies (most commonly for adults) has identified learning as a key feature, this may be particularly important for dramatherapy with children and young people.…”
Section: Potential Active Ingredients Of Dramatherapy: Benchmarking A...mentioning
confidence: 97%
“…In dramatherapy practice, and primarily informed by Winnicott's (1971) work on play, fun is often incorporated into sessions. Exercises such as games (Andersen-Warren et al, 2000), puppets (Moula, 2021) and sand trays (Cassidy et al, 2017) are just a few methods used by dramatherapists to facilitate this. Similarly, participants in this synthesis experienced being creative in dramatherapy as a pleasurable and positive experience.…”
Section: Potential Active Ingredients Of Dramatherapy: Benchmarking A...mentioning
A developing evidence base suggests that dramatherapy, a creative form of psychotherapy, is a useful treatment for child and adolescent emotional disorders. However, little is known regarding the therapeutic benefits (“active ingredients”) of this intervention. A systematic search and meta-synthesis of secondary qualitative data reflecting participants’ perceptions of active ingredients of dramatherapy for symptoms of emotional disorders (anxiety, depression and trauma-related stress) was conducted. Six analytical themes emerged from eight studies. Dramatherapy as a learning (1) and social (2) experience and dramatherapy as a positive intervention (3) which supports self-expression (4) and emotion regulation (5) were identified as active ingredients. The skill and professionalism of dramatherapists (6) were also identified. This study is limited as the data available were not collected for the primary purpose of identifying active ingredients, more focused investigations may reveal different findings. In addition, studies contributed unequal amounts of data thus, findings may be skewed. The findings of this synthesis were benchmarked against other interventions commonly offered to children and young people with emotional distress. Three active ingredients (dramatherapy is fun, dramatherapy builds confidence, participants process difficulties through drama) were deemed unique to dramatherapy. Further research could employ mediation analysis to determine therapeutic mechanisms of change of this intervention.
“…Through the use of humour and engaging with comedy techniques in the theatre, the young people were able to explore and share their personal stories in a safe and distanced way. By using comedy and humour ‘we take revenge on fear itself, by controlling it with laughter’ (Andersen‐Warren and Grainger, , p. 24), and the young people on the project were able to make manageable that which is frightening and has the potential to be overwhelming. Through both watching and performing physical comedy the young people experienced‘catharsis, a sense of emotional equilibrium, a homeostatic response which gives rise to a freedom to take the world of the play personally instead of keeping it at arm's length – the courage, in fact, to suspend our disbelief and share ’ (Andersen‐Warren and Grainger, , p. 25).…”
Section: Reflectionmentioning
confidence: 99%
“…‘catharsis, a sense of emotional equilibrium, a homeostatic response which gives rise to a freedom to take the world of the play personally instead of keeping it at arm's length – the courage, in fact, to suspend our disbelief and share ’ (Andersen‐Warren and Grainger, , p. 25).…”
Section: Reflectionmentioning
confidence: 99%
“…The use of theatre and drama in creative projects with adolescents with additional needs is an area in which much work has taken place in recent years. However, use of the comedic areas of theatre and drama for growth and emotional expression with adolescents with additional needs is one area where little research exists (Andersen‐Warren and Grainger, ; Carr, ). In this article the author will share her experience of working with a group of young people who came together from all over the world to share their experiences of transition through the use of comedic theatre techniques.…”
This article explores an eight‐month community theatre project with young people for whom English is a second language. Working as a creative practitioner facilitating young people to explore their personal stories of transition to the UK, the dramatherapist discovered comedy to be an important and poignant vehicle for expression of the emotional and psychological material associated with transition. In this article the author explores her experience of working with a group of young people who came together from all over the world to share their experiences of transition through the use of comedic theatre techniques.
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