The Drama Spiral: A Decision-Making Model for Safe, Ethical, and Flexible Practice when Incorporating Personal Stories in Applied Theatre and Performance

Baim, Clark

doi:10.1007/978-3-319-63242-1_4

Cited by 14 publications

(12 citation statements)

References 33 publications

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“…Each of the 21 items in the SRQR Fig. 1 The Drama Spiral (Baim 2017) was used, ensuring transparency of the process and authors' adherence to methodological rigour.…”

Section: Methodsmentioning

confidence: 99%

“…The Drama Spiral ("The Spiral") was developed to support theatre practitioners who work with people in a safe and ethical way by providing a unique decision-making tool (Baim 2017). A brief summary of The Spiral is provided here; however, readers can access the detailed accounts of the emergence, development, and application of The Spiral, in Baim (2018) and Baim (2017). Essentially, The Spiral provides a map or guide to which theatre practitioners can plot activities and sessions appropriate to the needs and readiness of participants.…”

Section: The Drama Spiralmentioning

confidence: 99%

“…This first domain offers theatre practitioners a means by which they can safely support people in recovery to engage in community drama. The domain includes processes of contracting with stakeholders, forming groups, identifying people's needs and aims, establishing boundaries, and agreeing to a plan of action (Baim 2017). Geese practitioners work with a range of stakeholders to encourage people in recovery to engage in community drama.…”

Section: The Process Of Identificationmentioning

confidence: 99%

“…Through the trust developed by Geese practitioners, Lewis can now perform, whereas before, he "couldn't even speak in a group when I first started there, I was that self-conscious." Lewis' response is understandable; the power of storytelling can heal and help people communicate their experiences, regardless of how challenging these may be (Baim 2017). However, exposing any vulnerability requires practitioners to make decisions about safe emotional distance.…”

Section: Readiness Level Of the Groupmentioning

confidence: 99%

“…Instead, this paper uniquely examines the psychosocial impact of theatre practitioners on people in recovery, as the role of this practitioner group is rarely examined, particularly with this population. To provide a framework in which this notion can be scrutinised, The Drama Spiral, developed by Baim (2017), was used to analyse and chart the perspectives of those in recovery from addiction and engaged in a community-drama project over a period of 3 years. To date, the Drama Spiral has not been utilised in this way; as such, this study provides a unique perspective with which to examine theatre practice through the lived experiences of people in recovery and engaged in community drama.…”

mentioning

confidence: 99%

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“I’d Probably Be Dead Now”: Evaluating the Impact of Theatre Practitioners Working on a Recovery-Based Community Drama Project

Kewley

Hout

2020

Int J Ment Health Addiction

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Aside from the often-fatal consequences of substance abuse, people recovering from addiction suffer greater adverse childhood experiences, trauma in adulthood, and inequalities than non-addicts. As a result, psychological, emotional, and developmental barriers can prevent effective recovery, leaving people traumatised, vulnerable, and doubly stigmatised. The challenge, therefore, is for recovery practitioners to deliver responses that not only treat biological problems resulting from addiction but also address psychological, social, and cultural needs. One group of professionals providing holistic approaches to people in recovery are arts-based practitioners. This paper derives from a 3-year longitudinal study using Interpretative Phenomenological Analysis, to examine the psychosocial impact of one community-based drama project called Staging Recovery. The study found the work of theatre practitioners not only provided recovery participants safe spaces to explore sensitive and difficult recovery themes but the use of theatre techniques and ethically driven practice exposed participants to high-quality, social, cultural, and human capital.

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“…Each of the 21 items in the SRQR Fig. 1 The Drama Spiral (Baim 2017) was used, ensuring transparency of the process and authors' adherence to methodological rigour.…”

Section: Methodsmentioning

confidence: 99%

Section: The Drama Spiralmentioning

confidence: 99%

Section: The Process Of Identificationmentioning

confidence: 99%

Section: Readiness Level Of the Groupmentioning

confidence: 99%

mentioning

confidence: 99%

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