Developmental Transformations

In this discovery-oriented psychotherapy research study, hypotheses on the nature of therapeutic play in Developmental Transformations drama therapy sessions, and the possible relationship between this therapeutic play and violent behavior, are generated through the application of Gilles Deleuze and Felix Guattari's concept of deterritorialization to the analysis of three videotaped sessions from a single case. Developmental Transformations is a form of drama therapy in which client and therapist improvise scenes together incorporating movements, sounds, pretend objects, and roles. One of the hypotheses generated by the study is that interruptions in the repetition of patterns of play, whether initiated by the client or the therapist, may enhance the therapeutic relationship by approaching, but not exceeding, the client and therapist's unique threshold at the boundary of their mutual agreement to engage in play behavior together. Another hypothesis is that the resulting alternation between repetition and transformation of patterns of play during sessions may act as an essential ingredient that has the potential to deter violent behavior, which would hypothetically lack this alternation. This study may contribute hypotheses for later testing in studies of a possible deterrent effect of therapeutic play on violent behavior. -

""ÍNDICE

Sobre cartografías antropológicas.

De lo universal a lo particular………………………………………………..............….7

Primera operativa de conexión/desconexión: otras marcas….18

Segunda operativa de desconexión/conexión (volver)….……..29

Tercera operativa de desconexión/conexión…...........……….52


Conectores (a)......………………………………………………………………….…..61

Conectores (b)………………………………………….…………………………......................................................79

Conectores (c)………………………………………………………………………97

Final con imágenes curativas y linealizadas…................….114

Otros ensayos

Un adiós a Pierre Bourdieu...............................................127


Turismo: entre Lo Mismo y Lo Otro………………………………………...............................131

La narrativa de Paul Ricoeur………………………………………………................138

Deleuze en la frontera…………………………………………………………...146

Bibliografía………………………………………………………..149""

In the context of my research on Mahima Dharma, I came across many incidents of healing. I was, again and again, told by Mahima Dharmees how they miraculously got cured from snake bites, sick-ness and divers diseases. It became quite dear that healing was not only a side aspect of this religious movement but a fundamental part. The following note is investigating this interesting phenomenon.

In the process of learning mathematics, students practice various forms of thinking activities aimed to substantially contribute to the development of their different cognitive structures. In this paper, the subject matter is a "cognitive obstacle", a phenomenon that occurs in the procedures of solving mathematical tasks. Each task in mathematics teaching should potentially be designed so that it contains requests that should be performed. Based on that, a cognitive obstacle that students face at the thought plan is created, as well as a cognitive challenge. In the process of "overcoming a cognitive obstacle" in solving the assigned task in mathematics teaching, it is necessary for a student to make an adequate cognitive effort and to optimally engage reference part of the actual cognitive capacity. The process takes place through exercising different thinking activities (thinking operations), using the previous knowledge and experience in solving certain groups of tasks. A system of cognitive obstacles should be grounded in the teaching mathematics, in order to enable an adequate level of thought activization of students and the development of various mathematical cognitive micro-structures (abilities, skills, knowledge, etc.). It also enables students to develop and improve their capacity of mathematical thinking.

Un atelier avec Aya Blandine N'guessan sur le thème de Partir (la perte d'un être cher) -Arriver (réussir à dépasser ce problème dans la créativité) ou Revenir (se recentrer sur soi par une métempsychose théâtrale) en créant une sorte de conte autobiographique, comme une ligne d'actions pour transcender ses peurs et se rééquilibrer au travers de la création dans tous ses états! Cela concrètement serait constitué d'un échange après le spectacle des jeunes d'ArtDrala (http://www.artdrala.eu/), où dans un premier temps on lirait des passages du livre (en instance de traduction pour une édition sino-anglo-francophone:http://www.restlesstravellerspublishing.com/ tag/hong-kong/) des textes Aya Blandine N'guessan; jeune écrivaine et étudiante ivoirienne de l' Académie Sherbrooke campus Dakar. Dans un second temps, on demanderait à ces jeunes et aux spectateurs intéressés de raconter un événement lié au départ physique ou moral d'un être cher et de le replacer dans la part créatrice d'un conte qui positive et transforme (dans la définition donnée par Dan Baron Cohen http://www.latin-american.cam.ac.uk/events/Dansbook.html) le départ pour qu'à l'arrivée cela soit une création et un par elle, dans le retour à IDEA Paris 2013

This study explores whether a client with a history of violence who
actively represents acts of violence within the imaginative conditions of the playspace in the developmental transformations method of drama therapy will experience less of an impulse to commit acts of violence in the real world. Violence is theorized as an attempt to treat others as objects, thus distancing oneself from one's own victimization. Conditions of the playspace contributing to a reduction in violence may include: (a) a "constraint against harm" within which clients may safely act on violent impulses, (b) intersubjectivity in the act of improvising the play together, and (c) the transformation of roles, scenes, and levels of meaning. The two clients were Vietnam combat veterans with diagnoses of Post Traumatic Stress Disorder and histories of violence during and after service in Vietnam.

The Routledge International Handbook of Dramatherapy is destined to be a valuable resource for students, professionals and those who are curious about the field of dramatherapy, as it is spelled in the United Kingdom, or drama therapy as it is spelled in the United States. Presenting diverse practices from all over the world, the handbook’s 34 chapters, particularly those that provide descriptions or examples of drama therapy in action, collectively articulate an emergent method by which drama therapists help their clients transform what Warren Nebe, director of a drama therapy training program in post-apartheid South Africa, refers to as the ‘glass jars’ in our lives (349). Inside the jar, a moth emerges from a cocoon, but cannot fully grow its wings because the size and shape of the jar are fixed. This handbook is important because it inspires us in our work of transforming glass jars, be they personal identities, cultural spaces or structures in a drama therapy session, altering the jars’ dimensions and contours to support processes of becoming.