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.

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. * Incorporates method, theoretical concepts and latest research * Covers major new themes of gender, race and politics * 29 international contributors

Applied Shakespeare is attracting growing interest from practitioners and academics alike, all keen to understand the ways in which performing his works can offer opportunities for reflection, transformation, dialogue regarding social justice, and challenging of perceived limitations. This book adds a new dimension to the field by taking an interdisciplinary approach to topics which have traditionally been studied individually, examining the communication opportunities Shakespeare's work can offer for a range of marginalized people. It draws on a diverse range of projects from across the globe, many of which the author has facilitated or been directly involved with, including those with incarcerated people, people with mental health issues, learning disabilities and who have experienced homelessness. As this book evidences, Shakespeare can be used to alter the spatial constraints of people who feel imprisoned, whether literally or metaphorically, enabling them to speak and to be heard in ways which may previously have been elusive or unattainable. The book examines the use of trauma-informed principles to explore the ways in which consistency, longevity, trust and collaboration enable the development of resilience, positive autonomy and communication skills. It explores this phenomenon of creating space for people to find their own way of expressing themselves in a way that mainstream society can understand, whilst also challenging society to 'see better' and to hear better. This is not a process of social homogenisation but of encouraging positive interactions and removing the stigma of marginalization.

Dramatherapy is increasingly being used in schools and educational establishments as a way of supporting young people’s emotional needs. This book examines the space between drama education and Dramatherapy exploring the questions: Does a therapist teach? When does the role of the drama teacher border on that of therapist? How do these two professions see and understand each other and the roles they play? In Drama Education and Dramatherapy, Clive Holmwood draws on his experience as a Dramatherapist and examines the history of drama education and Dramatherapy, exploring the social, political, therapeutic and artistic influences that have impacted these two professions over the last century. He also discusses how these fields are intrinsically linked and examines the liminal qualities betwixt and between them. The book considers two specific case studies, from the therapist's and teacher's perspectives discussing what happens in the drama class and therapy space including how the dramatic form is understood, explored and expressed both educationally and therapeutically. The ‘them and us’ mentality, which often exists in two different professions that share a common origin is also explored. The book contemplates how teachers and Dramatherapists can work collaboratively in the future, bringing down barriers that exist between them and beginning a working dialogue that will ultimately and holistically support the children and young people they all work with. This book will be of interest to those involved in using drama in an educational or therapeutic context, including: drama teachers, arts therapists, teachers of arts therapy and researchers within wider arts, applied arts and educational faculties within colleges and universities.

This second edition takes the reader further into the heart of using drama for healing. Dr. Emunah offers an expanded understanding of her Integrative Five Phase model, a foundational approach that embraces the wide spectrum of possibilities within the playing field of drama therapy. Grounded by compassionate clinical examples, including ones that reach over time into deep-seated issues, the book offers tools for action-oriented treatment, embodied therapeutic interventions, and creatively engaging a wide variety of clients. This comprehensive text also contains over 120 techniques, categorized by phases in the session and treatment series, and subcategorized by therapeutic objective. Process-oriented drama therapy with group and individuals, as well as performance-oriented forms, are described in vivid detail. New to the second edition is an exploration of drama therapy outside of the clinical arena, including dramatic methods in family life and parenting, and drama therapy geared toward social change.

`The book is helpfully structured with its cental chapters broadly following the shape of a typical psychodrama session′ - Journal of Critical Psychology, Counselling & Psychology `As with all Paul Wilkins writings the book is thorough and well-researched, with a wealth of information arising from wide readership and personal communication.... My own view is that the book fulfils its aim as an introduction to psychodrama for the audience it addresses. It also is packed with information about areas which experienced psychodramatists and sociodramatists will wish to debate′ - British Psychodrama Association Journal The text unfolds in such a way that the central feature of psychodrama as an action therapy is spontaneously made manifest. The book is good for students of this method and would be a challenging refresher for practitioners in the field. All the special terms used by psychodramatists are defined in a succinct glossary so that the uninitiated will not be bewildered on first encountering "auxilliary egos", "surplus reality", "social atoms" or even the titillating idea of "act hunger"! The "Guide to further reading" and the section on psychodrama and the internet ensure that old-fashioned book- and journal-worms are as well catered for as cybersleuths′ -New Therapist This fascinating book introduces the rationale, theory and psychotherapeutic practice of psychodrama. It provides an insight into its origins, outlining its techniques and bringing to life the dynamic interrelationships that form the core of the practice. Following the theatrical process that lies at the heart of psychodrama, the book shows how the enactment of scenes from the past, present or future, real or imagined, can benefit the group of individuals involved, leading to unexpected insight and growth through creativity and spontaneity. Psychodramatic terms and processes are explained and illustrated using numerous examples from practice.

This book builds a fresh perspective on therapeutic narratives of intimate life. Focusing on the question of how popular psychology organises everyday experiences of intimacy, its argument is grounded in qualitative research in Trinidad in the Anglophone Caribbean. Against the backdrop of Trinidad’s colonial and postcolonial history, the authors map the development of therapeutic institutions and popular therapeutic practices and explore how transnationally mobile, commercial forms of popular psychology, mostly originating in the Global North, have taken root in Trinidadian society through online social networks, self-help books, and other media. In this sense, the book adds to social research on the transnational spread of a digital attention economy and its participation in the proliferation of popular psychological discourse. Drawing on in-depth interviews with self-help readers, the book considers how popular psychology organises their everyday experiences of intimate life. It argues that the proliferation of self-help media contributes to the psychologisation of intimate relationships and obscures the social dimensions of intimacy in terms of gender, race, ethnicity, and other social structures and inequalities. At the same time, the book draws on anthropological arguments about the colonisation of consciousness in the Global South to interpret the insertion of transnationally mobile popular psychology into Trinidadian society. An innovative contribution to scholarship on therapeutic cultures, which explores the widely under-researched dissemination of popular psychology in the Global South, the book adds to a sociological understanding of the ways in which therapeutic narratives of self and intimate relationships come to be incorporated into everyday experience. As such, it will appeal to scholars of cultural studies, anthropology, and the sociology of gender, sexuality, families, and personal life.

Fear can have significant and complex effects on the lives of those working in health and social care, yet it is rarely discussed or investigated. Drawing on powerful first-hand accounts, this book explores the fears experienced when working in child protection, mental health, and with marginalized groups of people, and suggests how these fears can be understood and managed. The author provides helpful suggestions for good practice and training and describes the vital roles of supervision, management and workplace culture in helping practitioners cope with their distress. He also looks at how family members, colleagues and the police can provide support and discusses the benefits of recognizing and confronting openly the repercussions of fear, as well as celebrating its potentially positive and life-enhancing impact on practice. Offering innovative new ways of thinking about and coping with fear, this book is essential reading for health and social care professionals, trainers, and managers who need to be aware of issues surrounding fear and anxiety within their organizations.

Dramatherapy uses the healing aspects of drama and theatre as part of the therapeutic process and is increasingly required to supply evidence of its effectiveness. This book aims to provide an evidence base for practice with destructive clients, and raise the profile of dramatherapy as a distinct therapeutic intervention in this field. Dramatherapy and Destructiveness discusses working with those suffering from conduct disorders, mood disorders, schizophrenia and personality disorders. Divided into three parts, topics of discussion include: theory and research underpinning the understanding of working with destructiveness in-depth case studies of dramatherapy with a wide range of clients analysis and evaluation of the evidence base for dramatherapy with these clients guidelines for best practice Dramatherapy and Destructiveness covers a wide range of client groups, settings, methods and therapeutic approaches. As well as being an invaluable resource for dramatherapists, this book will be of interest to other therapists, health professionals, social workers, teachers and artists.

The first overarching work on dramatherapy intercultural practice and research, this book explores the therapeutic encounter between therapists and participants as an intercultural space, highlighting how attending to cultural differences informs care. Drawing on international voices of practitioners and participants, each chapter seeks to explore how social and political struggles, such as rising global conservatism, nationalism, climate crisis, increasing displacement and the coronavirus pandemic, are experienced in dramatherapy. Main themes covered include the development of intercultural good practice guidelines, therapist transparency – especially through self-disclosure and transference issues for the therapist – and the negotiation of power relationships across identity differences. The book concludes with a section on recommendations for training, supervision and practice. A resource from which new practice and research can emerge, this book will be valuable to dramatherapy educators, practitioners and students, specifically those interested in intercultural practice.