Drama Therapy for Children

Dramatic reality is a core concept in drama therapy, and perhaps also the most genuine feature of the field. All drama therapists draw on dramatic reality in some form, both in their clinical practice and in their theoretical thinking. This paper explores the concept of dramatic reality in drama therapy from a philosophical angle, in a way that is unattached to a particular model or a specific approach: first, the article defines the concept's scope and boundaries, with reference to its modes as informed by Schechner's notion of performance activities; then it describes the main features and properties of dramatic reality, while looking at their implications in a therapeutic setting. Finally, it points out the four main tasks that drama therapists are called on to perform in connection with dramatic reality.

This paper compares therapeutic clowning and drama therapy, starting with a brief survey of the development of medical clowning as a profession, a definition of the field, and a claim to its ancient link with drama therapy. It then proceeds to analyze four vignettes describing the work of a medical clown in a hospital, and examining them through the lens of drama therapy concepts and theory. The paper shows that the clown's working techniques can be conceptualized using drama therapeutic models and theory, and that using this approach as a method of analysis can serve to enhance the body of knowledge of the rapidly growing profession of therapeutic clowning.

The 6-Key Model is an integrative, drama therapy-based, method of assessment and intervention. The model is anchored in the notion of dramatic reality – which it views as a genuine therapeutic force and a paramount tool for intervention in drama therapy. Each key is connected to a different aspect of dramatic reality (including form, contents, and occurrences outside dramatic reality). The model provides the therapist with a systematic means for mapping drama therapy processes and structuring the therapeutic work. By presenting an overall picture of the situation, the model signals at specific keys where therapeutic interventions would be most effective. This paper presents the basics of the 6-Key Model, focusing on its use as a tool for intervention in drama therapy. The article offers concrete ideas for intervention in each key, and a case example.

The 6-Key Model is an integrative, drama therapy-based method of assessment and intervention. The model is anchored in the notion of dramatic reality-which it views as a genuine therapeutic force and a paramount tool for intervention in drama therapy. Each key is connected to a different aspect of dramatic reality (including form, content, and occurrences outside dramatic reality). The model provides the therapist with a systematic means for mapping drama therapy processes and structuring the therapeutic work. By presenting an overall picture of the situation, the model signals at specific keys where therapeutic interventions would be most effective. This paper presents the basics of the 6-Key Model, focusing on its use as a tool for intervention in drama therapy. The article offers concrete ideas for intervention in each key, and a case example.

The 6-Key Model is an integrative, drama therapy-based method of assessment and intervention. The model is anchored in the notion of dramatic reality-which it views as a genuine therapeutic force and a paramount tool for intervention in drama therapy. Each key is connected to a different aspect of dramatic reality (including form, content, and occurrences outside dramatic reality). The model provides the therapist with a systematic means for mapping drama therapy processes and structuring the therapeutic work. By presenting an overall picture of the situation, the model signals at specific keys where therapeutic interventions would be most effective. This paper presents the basics of the 6-Key Model, focusing on its use as a tool for intervention in drama therapy. The article offers concrete ideas for intervention in each key, and a case example.

This paper outlines some of the basics of creating inclusive, barrier-free theatre for people of all abilities. The first section addresses the arts as a birthright, that is, the need that everyone has for participation in the arts, emphasizing inclusion. The second section addresses the removal of attitudinal barriers that teachers and directors with no previous experience working with people with disabilities may need. The third section addresses foundational strategies and accommodations that open participation in dramatic activities and theatre performance to everyone.

This paper compares therapeutic clowning and drama therapy, starting with a brief survey of the development of medical clowning as a profession, a definition of the field, and a claim to its ancient link with drama therapy. It then proceeds to analyze four vignettes describing the work of a medical clown in a hospital, and examining them through the lens of drama therapy concepts and theory. The paper shows that the clown's working techniques can be conceptualized using drama therapeutic models and theory, and that using this approach as a method of analysis can serve to enhance the body of knowledge of the rapidly growing profession of therapeutic clowning.

Dramatic reality is a core concept in drama therapy, and perhaps also the most genuine feature of the field. All drama therapists draw on dramatic reality in some form, both in their clinical practice and in their theoretical thinking. This paper explores the concept of dramatic reality in drama therapy from a philosophical angle, in a way that is unattached to a particular model or a specific approach: first, the article defines the concept's scope and boundaries, with reference to its modes as informed by Schechner's notion of performance activities; then it describes the main features and properties of dramatic reality, while looking at their implications in a therapeutic setting. Finally, it points out the four main tasks that drama therapists are called on to perform in connection with dramatic reality.

Dramatic reality is a core concept in drama therapy, and perhaps also the most genuine feature of the field. All drama therapists draw on dramatic reality in some form, both in their clinical practice and in their theoretical thinking. This paper explores the concept of dramatic reality in drama therapy from a philosophical angle, in a way that is unattached to a particular model or a specific approach: first, the article defines the concept's scope and boundaries, with reference to its modes as informed by Schechner's notion of performance activities; then it describes the main features and properties of dramatic reality, while looking at their implications in a therapeutic setting. Finally, it points out the four main tasks that drama therapists are called on to perform in connection with dramatic reality.