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This hands-on manual offers a clear introduction to play and drama work for professionals working with adults at risk. Many adults feel nervous about drama and think that play is childish. Sue Jennings shows that by participating in play and drama people can make a difference to how they feel about themselves and the world around them. This book is suitable for professionals working with adults who are vulnerable for a number of different reasons: those who have addictions such as eating disorders, drug and alcohol abuse or a history of violent relationships; adults with mental ill health; individuals and families with behavioural difficulties; people in forensic settings; those with multiple disabilities; learning impaired adults; people with strokes and other physical impairment often as a result of accidental injury. Material is chosen sensitively to enable confidence and creativity building, and the development of communication skills. Photocopiable worksheets offer the professional activities that will encourage trust and collaboration; foster independence and choice, maximise people's learning potential and stimulate everyone's imagination and creativity. Ideas are given for improvisation and movement as well as masks and myths. Cross-cultural perspectives are discussed together with boundaries for clinical groups. The importance of the healing potential of artistic expression is addressed throughout.
Cover -- Title -- Copyright -- Dedication -- Contents -- Author's acknowledgements -- Introduction -- Chapter 1 Practical play and drama -- Chapter 2 Play and attachment -- Chapter 3 Sand play: sensory play and messy play -- Chapter 4 Movement, dance and games -- Chapter 5 Projective play and calming methods -- Chapter 6 Learning to fly and keeping safe -- Chapter 7 Dramatic play, roles and drama -- Chapter 8 Masks and puppets -- Appendix 1 Assessment -- Appendix 2 Play outdoors -- Appendix 3 Messy play recipes -- References and further reading
This bestselling book is now updated with new material and more tried-and-tested ideas, bringing it up-to-date with contemporary drama. 150 ideas for drama in one practical manual makes this a veritable treasure trove which will inspire everyone to run drama sessions creatively, enjoyably and effectively. This book features advice on setting up a group, defining and negotiating aims and objectives, and how to ensure a successful session. It contains activities which encourage memory, interaction, concentration, feedback, and many other skills. It also includes games, warm-ups and starters, improvisation role-play, visual dynamics, and closures.
How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)
Therapeutic Fairy Tales are a series of short, modern tales, dedicated to supporting young children through challenging situations of life and loss, covering diverse themes such as family breakdown, untreatable illness, and parental depression. Each short story is brought to life by engaging, gentle and colourful illustrations, and can be used by professionals and caregivers to support children’s mental and emotional health. This set also includes the Storybook Manual, which offers practical and creative ideas on how to use illustrated storybooks therapeutically. Exercises have been designed to encourage children’s imagination and creativity, develop confidence and emotional literacy as well as deepen engagement and understanding of storybooks. Books in the series include: Storybook Manual: An introduction to working with storybooks therapeutically and creatively, The Storm: For children growing through parent’s separation, The Island: For children with a parent living with depression, The Night Crossing: A lullaby for children on life’s last journey, Designed to be used with children aged six and above, each story has an accompanying online resource, offering therapeutic prompts and creative exercises to support the practitioner. These resources can also be adapted for wider use with siblings and other family members.
Part of a series of books by Speechmark, this volume is written for anyone running activity groups who needs a rich and varied source of inspiration.
This second edition is fully updated and addresses ways in which we can apply stories and storytelling with children who are troubled. Stories can empower children to take action and ask for help, including help with changes and life-plans. Stories provide a secure structure with endings and closure. The book develops the following topics: Stories for assessment Stories for understanding emotions Stories for exploring the senses Stories for managing loss Stories for ritual and drama There are new and revised stories, in particular addressing trauma and abuse. This book is written for all those people with the welfare of children as their priority.
Written for the wide range of practitioners working with young children, this book gives guidance on both the theory and the practical management of drama in the Early Years. The relationship between 'pretend play' and the cognitive and affective development of young children is emphasised, having much to inform us about the children in our care. Major themes are children's need to experience quality talk and their engagement in narrative through story-making. The authors have a wide range of experience in Early Years teaching and in teacher training. Through their work, they are aware of the importance of drama for the development of the young child. Parents and practitioners are encouraged to explore drama activities and examples are given of fantasy play taken from pre-school, nursery and infant settings. All those involved with Early Years can discover that engaging children in dramatic activity is both a natural form of behaviour and a powerful learning medium.