The Handbook of Dramatherapy

Offering Space for Choice and Voice: Participant Assent as a Creative Workshop Informed by Dramatherapy Practice

“…Utilising our tools as creative arts therapists could play a significant role in bridging the gap between social justice theory and effective research practice to engage populations previously excluded from research dialogue (Hadley, 2013) in ways that enable a more authentic self-representation (Snow & D'Amico, 2009). As creative arts therapists we are used to engaging with diverse populations in ways which address the need for multimodal means of expression (Jennings et al, 1994;Chesner, 1995) to enhance both participant understanding and their potential to implement personal change. Creative approaches to research can demonstrate "how playing with participants, data and representation creates opportunities for humane, profound, and pragmatic research processes" (Ellingson, 2015, p.424).…”

Environmental remediation and monitoring of cadmium

“…Similar fluorescence changes, including changes in intensity and shifts in wavelengths, are usually observed when Zn 2+ and Cd 2+ are coordinated with fluorescent sensors [sensors (5) to (11)] [57].…”

The politics, science, and art of receptivity

“…41 The politics, science, and art of receptivity Second, the fictional mode allowed participants at all stages to not only observe but also imagine themselves differently, in what Boal calls 'subjunctive theatre': 'a mirror which we can penetrate to modify our image', changing 'the vision of the world as it is into a world as it could be'. 42 Judith Butler notes the difference between theatrical and social performance in much the same terms, stating that 'performances in non-theatrical contexts are governed by more clearly punitive and regulatory social conventions' because they lack performance's theatrical conventions that 'delimit the purely imaginary character of the act'.…”