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This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes. This book is a practical guide in four sections, not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session. The opening section guides readers through the foundational principles leading readers into Section Two, The Decision Tree, which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity, Equity, and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie, following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment. The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system. An online searchable database of drama therapy interventions provides descriptions, therapeutic outcomes addressed, and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities. The online resources can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work, particularly in terms of warm-ups, closure, and deroling.
This third edition of Current Approaches in Drama Therapy offers a revised and updated comprehensive compilation of the primary drama therapy methods and models that are being utilized and taught in the United States and Canada. Two new approaches have been added, Insight Improvisation by Joel Gluck, and the Miss Kendra Program by David Read Johnson, Nisha Sajnani, Christine Mayor, and Cat Davis, as well as an established but not previously recognized approach in the field, Autobiographical Therapeutic Performance, by Susana Pendzik. The book begins with an updated chapter on the development of the profession of drama therapy in North America, followed by a chapter on the current state of the field written by the editors and Jason Butler. Section II includes the 13 drama therapy approaches, and Section III includes the three related disciplines of Psychodrama and Sociodrama, Playback Theatre, and Theatre of the Oppressed that have been particularly influential to drama therapists. This highly informative and indispensable volume is structured for drama therapy training programs. It will continue to be useful as a basic text of drama therapy for both students and seasoned practitioners, including mental health professionals (such as counselors, clinical social workers, psychologists, creative arts therapists, occupational therapists), theater and drama teachers, school counselors, and organizational development consultants.
Provides a model for therapeutic decision-making, uniting drama therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes in a series of questions for early career drama therapists and other healing professionals. Fully revised and substantially expanded. 7 b&w illustrations.
A practical guide for therapeutic decision-making. The Drama Therapy Decision Tree unites therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session. The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system.
Ethnodramatherapy explores the integration of the performance ethnography method, known as ethnodrama, with the principles and practices of drama therapy to establish a sound theoretical formulation for ethnodramatherapy, and considers its use as art, as therapy, as research and as a vehicle for social justice. The book begins by defining ethnodramatherapy – an original synthesis created by the author through deep study and practice of Mienczakowski’s enthnodrama, combined with 35 years of his own practice and research in drama therapy, creative arts therapies and therapeutic theatre. The book describes the origins of ethnodramatherapy, along with its evolution and method. It then delves into applications of the practice highlighted by five case studies with different audiences in different settings. Subjects include adults with developmental disabilities, female adolescents in youth protection, caregivers for loved ones with mental illnesses and Chinese students exploring controversial issues of oppression in China. Complex ethical issues are reviewed and suggestions are made on how to deal with some of the challenging ethical situations that are likely to arise in the ethnodramatherapy process. What emerges is a powerful tool that harnesses theatrical art, ethnographic research and the clinical techniques of drama therapy to create a potential for emancipatory experience for both performers and audiences. This exciting and dynamic synthesis of drama therapy, performance ethnography, theatrical art and social activism will be of interest to the whole community of theatre practitioners and scholars who use theatre to effect individual and social change, including the disciplines of applied theatre, theatre education, experimental theatre, performance studies, and, of course, drama therapy, psychodrama and the other creative arts therapies.
First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
This book is a comprehensive survey of the current state of assessment in the field of drama therapy. Drama therapy assessment methods must be embedded within the discipline's core philosophy, and thus drama therapy will not develop fully as an independent field until it can generate its own assessment criteria and methods. Specific topics include: (1) history of assessment in the field of drama therapy; (2) concepts and practices of assessment in drama therapy; (3) state of the art in drama therapy assessment; (4) Diagnostic Role Playing Test; (5) Drama Therapy Role Play Interview; (6) Six Pi.
Drama therapy provides valuable opportunities for children on the autism spectrum to interact and connect with others in a fun, supportive environment. The innovative model of drama therapy described in this book is rooted in neuroscience, and designed specifically to develop social, emotional and expressive language skills in children with autism spectrum disorders (ASD). Lee R. Chasen provides an accessible explanation of the theoretical foundations, concepts and techniques that make up the approach, and describes in detail a thirty-session drama therapy program which uses creative and playful tools such as guided play, sociometry, puppetry, role-play, video modeling and improvisation. Scenarios drawn from his own practice provide useful insights into the practicalities of setting up and running such a program, as well as into how children's social, emotional and expressive language skills deepen through their immersion in this unique approach. This book will be of interest to drama and creative arts therapists, as well as teachers, school psychologists, counsellors and other professionals who work with children with autism spectrum disorders.
Incorporate drama and improvisation into your classroom to build confidence, support social-emotional learning, and engage every student in the curriculum. This book’s detailed and easy-to-implement chapters walk you through using drama to develop critical listening and communication skills, conflict resolution abilities, behavior regulation, and even grow new skills in math, literature, geography, and more! Each chapter builds on the skills learned in previous lessons, allowing you to increase the complexity as students progress. Designed for use with inclusive classrooms as well as dedicated special education programs, this guide features adaptable activities to include students at every ability level.
Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.