Research into therapists’ perceptions of therapeutic change using vignettes and aMSN messenger

This article describes a research approach to investigating the ways in which therapists understand the nature of therapeutic change. The research was based in qualitative, narrative approaches to in-depth analysis of vignettes provided by drama therapists. The article describes the approach to the generation of data through the internet by aMSN messenger. It reports on the approach taken to the analysis of data along with samples from the findings.     

Drama,intimacy, and vulnerability: the spiritual challenges of digital culture

The ever-increasing engagement of children and youth in social media and gaming activities online has created new challenges for scholars and practitioners of children’s spirituality. Bringing psychosocial and media studies research on the phenomena of adolescent ‘drama’ and morality, cyberbullying, and the vulnerable adolescent’s desire for intimacy and community into conversation with ideas about and practices for children’s spiritual nurture is essential work. Questions about the positive and negative influences of digital participation on moral imagination, levels of aggression and prosocial behaviours in social media communication, and the extent to which intimate relationships can be developed online are key concerns to be explored in this article.     

Improvisation as a Meta-Counseling Skill

Counselor education tends to see the development of basic counseling and communication skills as the foundation of clinical training. Improvisation has historically and primarily been connected to theater training and as a performance mechanism. By developing skills in spontaneity and the nature of narrative (or story) one becomes more able to be in-the-moment with a client or clients and thus less anxious and more able to meet the client where they are. As such, improvisation can really be seen as a meta-counseling skill—a skill that can form a firmer foundation for the learning of the basic counseling and communication micro-skills. This article outlines the core concepts of improvisational training for counselors and includes examples of improvisational games that can specifically help in preparing counselor trainees for their future clinical work.     

Foster Care Chronicles: Use of the Arts for Teens Aging Out of the Foster Care System

This article describes the use of narrative and drama therapies as creative therapeutic interventions to engage and assist vulnerable youth. Foster Care Chronicles was a collaboration between a state university social work program and a local department of social services in a child welfare unit. This 2-year exploratory project employed an innovative approach to work with foster care youth, all of whom were within 2 years of “aging out” of care. The project utilized narrative therapy and drama therapy in a group setting by building on youths’ individual and collective strengths in writing, speaking, and acting. As these youth assessed their participation in this program, their reflections addressed developing aspects of self-image, self-healing, self-efficacy, and lessons learned.     

Some observations on value and greatness in drama

This paper argues that value in drama partly results from the nature of the resistance in a scene, resistance used in its common, everyday meaning. A playwright's ability to imagine and present such resistance rests on several factors, including his sublimation of the fantasies that underpin his work. Such sublimation is evident in Chekhov's continuing reworking in his plays of a fantasy that found its initial embodiment for him in one of the central scenes in Hamlet. The increasingly higher value of the scenes Chekhov wrote as he repeatedly reworked Shakespeare's scene resulted from his increasing sublimation of the initial fantasy and is reflected in the ever more complex nature of the resistance found in Chekhov's scenes, resistance that, in turn, created an ever more life-like, three-dimensional central character in the scenes.     

Drama Education and Development of Self: Myth or Reality?

This study is an investigation into personal development and drama education where the constructs of self-concept, self-discrepancy and role-taking ability were considered in the light of an in-school role play-based drama program. The 123 subjects from 5 different classes drawn from provincial city and rural village schools with a mean age of 11.5 years were the participants in this investigation. The subjects were pre-tested using the Chandler Story Task on role-taking ability; the Self-Discrepancy Questionnaire for self-discrepancy; the Peabody Picture Vocabulary Test (Revised) for vocabulary, and the Piers-Harris Children’s Self-Concept Scales for self-concept. The subjects were then tested following the completion of a 10-week drama program. Results indicated a significant growth in role-taking ability, vocabulary and an improvement in self-concept. Further analysis revealed significant correlations between self-discrepancy, self-concept and vocabulary. Role-taking did not appear to be correlated with self-concept, self-discrepancy and vocabulary. Attention is drawn to the rural-provincial city differences with an “enriched” environment being suggested as an important determinant. The study supports the use of drama in schools as a means of personal and social development.     

Embodying the psychological attitude: types of consciousness in the transformation of culture

It is time to reclaim C.G. Jung’s vision of psychology as the foundational science upon which all sciences and institutions would be based, and as the discipline, theory, and practice necessary for fostering humanity’s overall psychocultural development. Jung identified eight distinct ‘types’ of consciousness through which humankind engages its emerging psychological attitude. Jung’s view of psychological development as hingeing on the differentiation of function-attitudes provides the means for understanding not only ourselves and each other, but our society as well. This paper offers an example of such an analysis by focusing on the current conflict within American political culture. The goal is as lofty as it is necessary: the operationalization of Jung’s vision of psychology as the powerful influencer of human cultural evolution that it has the potential to be. The immediate goal is to instigate the first step toward this vision of Jung’s ‘complex psychology’ by stimulating conversations among Jungians about how they can foster that vision, leading them towards taking up roles as ‘citizen therapists’, actively involved in their communities in cultivating greater empathy and the withdrawal of projections in the interest of furthering ‘collective consciousness’.     

The messianic temporality of theatre in I. L. Peretz’s At Night in the Old Marketplace

Theatre, as an art form that unfolds through time and moulds temporal experience, engages with its surrounding culture’s temporal imagination, the ways in which society conceives time, its movement, structures, and meaning. I. L. Peretz’s enigmatic and avant-garde Yiddish drama, At Night in the Old Marketplace, utilizes this potential of the theatre to tackle the question of messianic time and the ways in which it can be realized on the stage. By evoking Jewish traditions regarding the Messiah, religious nocturnal rituals, and the dynamics of Carnival, Peretz reconfigures messianic time as a radical, recurring yet fleeting, temporal experience. Theatrical temporality has affinities with messianic time because both are transitory and charged, condensed and ephemeral, and disjointed from the experience of time in everyday life. Rather than imagining messianic time as an eternal future to be awaited, Peretz’s play invites us to ponder in the theatre about the possibility of a messianically charged, albeit always fleeting, present.     

Hamlet: plea for a measure of normality

The author first considers issues in psychoanalytic interpretations of literary characters, especially the question of treating the character as fiction (the aesthetic illusion) or as a real person. The position he adopts is to interpret Hamlet as a potential person, created by Shakespeare and an expression of Shakespeare’s actual – and intuitive – view of man.

With a synopsis of the tragedy and the context of its creation as background, the author then reflects on questions concerning the play. How does Shakespeare present the characters? Is Hamlet’s madness pretended or real? Which conflicts does he handle in the course of the play? Has Oedipal dynamics a role as motivational factor in his mind?

Hamlet is irrational, impulsive, emotional, inhibited, brooding, suspicious, revengeful, condemning and much more. But, in the view of the author, he is all this in a human, ‘normal’ way. There is nothing convincingly pathological or constricted in his character. ‘Un-normal’ is his intelligence and his wit. Hamlet – an intelligent, reflected, resourceful prince in late Renaissance – who has wrestle with a madhouse of political intrigues, family murders and deceitful friends.

Hamlet in Shakespeare’s text – a fairly normal person in quite a mad world.