Drama Therapy as a Healing Approach - Research Paper Example

 Introduction Drama therapy is a different approach to healing. Through use of theatre and drama, a person is encouraged to become his own psychotherapist by acting out issues and problems that he has in life whereby he/she brings them to the forefront and is able to deal with them more efficiently.. The process involves becoming the teller of stories and acting out problems as well as becoming the audience to the same stories in order to take them in and understand the situation better. This is a method of self-reflection where a person deals with his obvious problems and often times comes to terms with issues he was not previously conscious of. Further explaining the workings of drama therapy, Sue Jennings (1997) writes, “Drama therapy is an eclectic discipline, one of its greatest strengths being its ability to draw inspiration from a wide range of source materials. Ordinary, everyday experiences, such as watching soap operas on television, and more esoteric pursuits, such as exploring ‘The Tibetan Book of the Dead’, ‘The Divine Comedy’ or the Tarot Pack, can equally be used to form the starting point of valuable dramatherapeutic activity… there is no area of human experience which lies outside its remit” (pg. 3). Drama Therapy therefore is effective because it draws from human experience and uses that as a remedy for whatever problems a person may have. According to the various experts on the subject, i.e. Stanislavski, Brecht, and Grotowski, who have worked intensively on the materials related to what is now referred as the drama therapy (Kedem-Tahar&Kellermann 1996). The implication of drama therapy causes the users to experience a positive change in their lives which is the main creativity of using the technique of drama therapy. As opposed to theatre, drama therapy does not involve people acting out to be someone else and following a set pattern of behaviors. The unique approach of drama therapy is that it leaves the crucial business of focusing on individual’s lives to the persons most intimately concerned. Drama is an expression of human imagination, if done as a group activity portraying each other’s reality and being a part of it never changes what happened but it helps every person involved emotionally and psychologically. Without an imaginative frame there can be no drama – and where the frame exists, imagination finds a place of healing (Johnson 1982). Approaches Johnson and Emunah (2009) have compiled various approaches in their works ‘The Current Approaches in Drama Therapy,’ which describes methods that can be used as tools for drama therapy. For the purpose of this paper two approaches will be analyzed i.e. ‘RoleTheory and the Role Method of Drama’ by RobertLandy, and ‘Narradrama: a Narative approach to Drama Therapy’ by Pamela Dunne (Johnson & Emunah, 2009). Robert Landy’s theory basically takes on the assumptions that all individuals are natural role players. They are programmed to take on the ideas, concepts and characters that they are presented them in their life. In order to come to some sense of balance most people are in a continual state of action whereby they try to come to an understanding of another person’s behavior in terms of their own. Landy further goes to assume that a person’s personality developed in terms of the various roles that it has been exposed to. It can easily be termed a compilation of traits that someone may have picked up from other personalities. According to Landy, the concept of ‘self’ is somewhat useless because that self is created out of conformity to other personalities (Landy, 1996) Landy’s approach revolves around eight main steps which include, “invoking the role, naming the role, playing out/working through the role, exploring alternative qualities in sub-roles, reflecting upon the role play: discovering role qualities, functions and styles inherent in the role, relating the fictional role to everyday life, integrating roles to create a fictional role system, and social modeling: discovering ways that clients’ behavior in role affects others in their social environments.” (Johnson &Emunah, 2009:77). One the other hand, Pameela Dunne’s approach revolves around story telling. ‘Narradrama’ puts forth that stories are important because they shape our experiences and events. The stories that we remember from our lives and keep repeating signify the things, people, places and happenings which we feel are worth remembering. A story is a person’s point of view of an event; it is how they see the world therefore their world view (Johnson & Emunah, 2009). It wouldn’t be a stretch to say that stories also go as far as to shape a person’s self-concept. Dunne further states, “Stories both describe and shape peoples’ lives. People tell stories in their internal dialogue and in social communication about themselves and others. Personal and relationship stories come in many forms. Some are tragic, comic, or romantic, others are mundane or repetitive. Some are startling, some inspire, others accurse or degrade. While no one story can hope to completely capture the complexity of lived experience, what we emphasize or omit has real effects on the teller and often on the listener” (Johnson &Emunah, 2009:173). Both of these approaches are effective in their own way when it comes to helping heal a person. Their uses and methods are explained in the paper further on. Nine Core Drama Therapy Processes In order to compare and contrast the two given approaches as per the ‘Nine Core Drama Therapy Processes’ put forth by Jones (1996) we must first understand what these processes are. The nine core drama therapy processes are techniques that can be used by a person to overcome his/her problems. These techniques range from self-reflection to imitation of symbols from one’s life. Each process is different from the other and each one has its own method which can be used in dramatherapy to help heal a person. Dramatic projection: this has to do with taking on the role of the person that one’s experiencing difficulties with in order to alter one’s perception and outlook of a situation. Therapeutic performance process: this is a process through which a person realizes their hidden needs through dramatic action. They get to know themselves better by bringing out their inner selves through expression to their therapist or the audience. Dramatherapeutic empathy and distancing: according to Langley, dramatherapeutic empathy and distancing “is the process of playing a character or taking on a role in drama [which] allows the clients to identify with that role. The unreality of the drama creates a distance between fact and fiction that facilitates objectivity with respect to own situations.” (2006:23). Personification and impersonation: here’s a person expresses an extremely important element of their life through means of a toy, a role, a character or an object etc. Interactive audience and witnessing: this is where a person becomes both the performer and the audience. “There is an element in drama where one can see oneself whilst acting a part. It is important to be able to view oneself as well as to be viewed by the audience. It is also part of the group process to be witness to others’ expression of their own issues.” (Langley, 2006:23). Embodiment: this is a technique through which a person uses his own body as a prop for expressing his feelings. A person uses his movements to convey his feelings and improve his understanding of his life and situation. Playing: by having a good time and enjoying themselves a person maybe able to work through some of their issues. “It has already been stated that the basis of dramatic activity is play and this is an important component. The sense of playfulness can be revealing when clients discover the truthfulness of reality hiding in the playful activity.” (Brooke, 2006:225). Life-drama connection: this involves taking the things that happen in real life i.e. experiences, events etc. and relating them to drama. The phrase ‘art imitates life’ is extremely true as most drama is created based on life experiences. A person can learn a lot about themselves and how their life is function through this. Transformation: here a person uses objects as symbols of things from his/her own life. These objects are then used to depict scenarios where those symbols are transformed into a version of the person’s life where things are more adaptable (Emunah, 1994). Comparison between the two approaches While both the approaches have evident use of the ‘Dramatic Projection’ core process, Narradrama has a more emphasized use of the ‘Dramatic Projection’ core process as one of the main techniques as compared to the ‘Role theory and role method of drama’ for example the methods of Role-Playing and Improvisation within Narradrama require the client to take on the role of someone he/she knows and has issue with; for example if a person is trying to work through a turbulent relationship with their father then they would assume the role of their father. This helps the client understand the other person’s perspective while he also is able to reason with his own. The ‘Role theory and Role Method of Drama’ approach creates a role, counter role and a guide in order to work. Of the nine core processes it does not make use of ‘Dramatic projection’ directly as the guide is the one that takes on the roles of other people but not the client, who can only assume varying roles that relate to himself. Although one main difference between the two is that while the guide is only a catalyst through which the client explores himself, Narradrama allows the same catalyst to become more than just a platform as this person can also give advice and offer solutions. The ‘Role theory and Role Method of Drama’ makes effective use of the ‘Therapeutic performance’ process by creating a protagonist and an antagonist to help the client realize his failures and how to deal with them. The antagonist is also known as the counter role. The counter role is often the part of the person that goes ignored and avoided in the process of one trying to achieve other things. This process is used more efficiently by Landy in his ‘Role theory and Role Method of Drama’ as compared to Narradrama. While Narradrama’s use of ‘Therapeutic performance’ often results in the client figuring out his hidden needs and desires through its various techniques, it is not primarily focused on hidden needs but evident emotional needs that have to be taken care of. One of the techniques of Narradrama is ‘Remembering conversation,’ where ‘Dramatherapeutic empathy and distancing’ are actively used by the therapist to help the client identify with the role of another person and to understand their point of view. The therapist questions the client as though he is the person whose role he’s assumed. The stories that are created through the narrations can be altered and re-written as the client sees fit and as his therapist advises. This approach is evident in Landy’s approach as well. The counter role is the role that the client must identify with in order to come to terms with his issues. By creating an unreal character i.e. the counter role the client is able to use this fictional role to come to terms with his real life (Jennings, 1998). Contrasting the two approaches “In drama therapy the self continues to be revealed through the roles played as well as the interrelationship between the roles” (Johsnson&Emuneh, 2009, p.177). A person’s ideas and view of their own life changes as they continue to narrate their stories. Often times they begin to see new perspectives, even those of other people whose roles they have taken on. ‘Personification and impersonation' is not effectively used by Landy; a guide can become a symbolic part of the person’s life and help him sort through his issues. This is best illustrated through a case given forth by Landy himself where he transformed into a guide and his clients deceased father as the same time and helped him work through unresolved issues that he had had with his father (Johnson &Emunah, 2009:69). However, this is no use of objects or toys in this process unlike the actual definition of the personification and impersonation process which makes use of inanimate objects along with roles and characters to help resolve issues. Narradrama on the other hand had a more vivid use of this core process as it makes use of all available tools to bring issues out from within a client in front of the audience. The ‘Interactive audience and witnessing’ process is best described in Landy’s own words about one of the techniques of his approach “The structure of the role system is dynamic. When one role is called into the foreground, others fade into the background. One way of viewing the structure is as a staged scene in a play. When one actor speaks, the others on stage need to listen and react appropriately. Some remain silent and unseen, playing out their roles as supports and extras” (Johnson &Emunah, 2009:71). In contrast the Narradrama is more about exhibiting feelings and thoughts to several people or participants in a group as opposed to becoming one’s own self as the audience. In short while Landy’s approach requires a person’s insides to be exhibited to himself, Narradrama requires an exhibition in front of a group. Landy’s approach is more private. Landy’s approach focuses more on the mental state and thoughts of the client and therefore doesn’t make any real use of the ‘Embodiment’ process. In the same manner, there is only a slight use of ‘Playing’ as often times this approach is more about trying to understand a person’s personality and character more effectively. It depends on what scenario the client is running through or trying to work out, it may end him in a situation where he may be able to understand himself better but the likelihood of him employing these techniques is close to nonexistent. In contrast to this the Narradrama approach is about expressing through narration and stories, and it does not fails to use the ‘Embodiment’ process from the nine core processes. It does make exceptional use of both the ‘Embodiment’ and ‘Playing’ core processes as the client is required to commit to all kinds of activities the most prominent of which – in terms of playing – is the ‘Affirmation Dance’ which he/she has to create in order to make a statement about themselves. Their movement needs to be highly expressive of their thoughts and feelings (Marineau, 1989). Narradrama involves another technique which dramatizes certain situations from a person’s life and opens them to unique outcomes. It makes direct use of the ‘Life-drama connection’ process. This opens the client up to more choices and helps them realize that there is more than one possibility. It similarly uses ‘Transformation’ to give new meaning to old symbols in a person’s life; a person is encouraged to create a life story picture book and as they move on they keep adding and altering that book. On the other hand Landy’s approach is more about pulling out real memories and experiences and does not make much use of the connections between ‘Life and drama’. One technique i.e. ‘story’ does focus on creating drama surrounding a person’s life experience but it is not always appropriate to use. It focuses more on recreating events that have already taken place in one’s life. With the same token it fails to make use of ‘Transformation’. Hypothetical Clinical Case The given case entails the problems of a single female named M, aged 22, who has recently moved to another city in order to pursue a Master’s degree. Previously M lived with her family in a metropolitanarea; she had a full life which involved a part-time job, her undergraduate education at the local university and a very active social life. Presently, M lives alone in a rented apartment in a suburban area which is a completely new city where she knows very few people. Her friends and family contact her several times a week but she cannot physically spend time with any of them anymore. M previously came from a very open place where most norms, beliefs, ideals, behaviors etc. were extremely diverse; her new home on the other hand is in a place where there isn’t a lot of diversity. In her new surroundings M feels like an outcast and finds it very hard to make friends. Her ideals and values are seen as too open minded and most people do not agree with almost everything she has to say. She feels lonely because she has no one to talk to when she returns home to an empty apartment. Her parents and siblings are no longer in the house and it makes her extremely depressed. When she thinks about getting away from her loneliness she realizes she has no friends to go out with or talk to. In her older town if she ever got bored she could easily go to one of her friend’s house but in the new city she knows no one and hence can go nowhere. This extreme isolation has affected her mood and outlook on life greatly and as a result her grades are also suffering. M doesn’t understand what is going wrong in her life and she begins to see herself as a complete failure i.e. she has no friends, she lives alone, no one wants to spend time with her, her grades are suffering and she’s developed a false sense of insecurity that the people she previously used to spend time with no longer need her or want her around. The reason she believes her older friends do not need her maybe because before she used to drop by their houses and go out with them a lot more than she kept in touch over the phone because they were all in short proximity to her, now they may call her once a week which she finds extremely insufficient compared to seeing them several times a week. M has become suicidal and thinks that her death would not make much of a difference because the people she left behind don’t seem to need her and the people she has in her life now definitely don’t want her. M started out her time in the new town thinking she would make a lot of friends because she always found it easy to get along with people, she was an A grade student and was hoping to do well at her university; her expectations of the town were shattered which has left her feeling so low and depressed. Application of the Role Theory and Role Method of Drama in M’s case The Role Theory could be used to help Mimmensely. Through use of the role, the counterrole and the guide, M can realize many things about her situation that may have eluded her in the past. Landy puts forth through this theory that the 'self’ is a culmination of shared experiences and roles. M can realize through the characterization of her role that perhaps she’s being slightly antisocial i.e. by expecting the people around her to act and react exactly like the ones she left behind she isn’t giving them much of a chance. When she feels shut out she has to realize that she may be the one shutting herself out. She can assume the role of the city girl and set up the counter role of her suburban self. The guide can help her realize that there is life beyond her university and she can branch out to more people through clubs, events and other avenues. Through ‘distancing’ M can distance herself from her emotional identification and view her situation in a much clearer manner than before. Application of the Narradrama in M’s case M can start by using the ‘Role-playing and improvisation’ technique with her therapist. This technique entails stepping into another person’s shoes for a while. She can take on the roles of the people that she has been trying to befriend unsuccessfully. In doing so she may be able to understand the lattes reluctance to let her become a part of their inner circles and come to terms with the fact that she needs to respect their differences instead of resenting them. Role play can easily help her expand her understanding of the other person’s point of view. Here it is imperative to compare Landy’s ‘Role theory and role method of drama’ approach with Narradrama’s role play technique – both are highly similar as Landy’s approach requires a person to take on a role and a counter role while the therapist takes on the role of the guide. The difference between the two lies in the fact that while Narradrama’s ‘Role play’ technique requires a person to take on the role of someone they have a problem with, ‘Role theory and role method of drama’ only permits the subject to take on varying roles of himself, the role of the people he has conflict or issues with can only be assumed by the guide (Blatner, 2000). Coming back to Narradrama, another technique that can be used is ‘Internalized Other Interviewing and Active role Interviewing’ which is well suited for M. Here she is meant to once again assume the role of another person in her life while the therapist asks her questions on how M has affected that person’s life. This would be suited for M to revisit her friends and family through these roles. Through this technique she will be able to see her value and importance in their lives by recalling the good times that she shared with them (Gersie, 1996). These two techniques can help M kill one bird with two stones i.e. her increasing loneliness stems from the fact that she cannot find friends on top of which she believes her older friends do not care about her; these techniques will help her see the people around her in a much clearer way and it may also give her ideas on how to act and react around them, while the other technique will shun all ideas of being worthless and useless from her mind when she remembers the precious moments she’s lived with her family and friends. By telling and retelling the stories of her life, M can finally get out of her depression and learn how to deal with her situation better. Conclusion The above analysis gives an in depth understanding of the dramatic therapy methods and approaches and how they can be applied to the different cases of healing required by the clients. Drama therapy is gaining its fame as it is becoming successful for people with time. Experts are constantly researching on the use of drama therapy in clinics and hospitals so that the clients can be healed with the ailments they are suffering due to mental stress and depression by having some disturbing experiences in their life or by facing oppression on a constant basis. Extensive research has been conducted and documented for people to read about the different aspects of drama therapy and how it has proved beneficial for the people to heal themselves from the sufferings which they were facing. References D.R. Johnson & R. Emunah (Eds). (2009). Current approaches in drama therapy (2nd ed.). Springfield, IL: Charles C. Thomas Emunah, R. (1997). Drama therapy and psychodrama: An integrated model. International Journal of Action Methods, 50(3), 108-134. Jones, P. (1996). Drama as Therapy: Theatre as living. London: Routledge Kedem-Tahar, E., & Kellerman, P. F. (1996). Psychodrama and drama therapy: A comparison. Arts in Psychotherapy, 23(1), 27-36. Marineau, R. (1989). Jacob Levy Moreno, 1889–1974, father of psychodrama, sociodrama,and group sociometry. New York: Routledge. Gersie, A. (1996). Dramatic Approaches to Brief Therapy. London and Bristol, Pennsylvania: Jessica Kingsley Publishers.  Brooke, S L. (2006) Creative arts therapies manual: a guide to the history, theoretical approaches, assessment, and work with special populations of art, play, dance, music, drama, and poetry therapie: Charles C Thomas Publishers Langley, D M. (2006) An introduction to dramatherapy: Creative therapies in practice: SAGE Jennings, S. (1998).Introduction to Drama Therapy. London: Jessica Kingsley.  Jennings, S. (1997) Dramatherapy: theory and practice 3, Volume 3: Routledge Blatner, A. (2000) Foundations of psychodrama: history, theory, and practice: Springer Publishing Company Read More