Introduction
Psychodrama and Drama therapy enable patients to establish contact with the threat of stepping into a given role. This gives the opportunity to learn how to control it, which leads to ...better expression of oneself and better communication with the environment. Those qualities are crucial in the treatment of mental disorders. Despite the variety of literature describing the methodology, clinical trials using these forms of therapy are relatively rare.
Objectives
To describe the current trends in psychodrama (PD) and drama (DT) research over the last 6 years.
Methods
We have implemented a systematic approach to literature review, consistent with the PRISMA declaration. We searched through major medical databases: PubMed, Web of Science, Scopus by Elsevier and Science Direct for peer-reviewed articles published between 2015 and 2020. We have included studies using all types of methodology: mixed, quantitative and qualitative and also case studies. The risk of bias was assessed for randomized clinical trials, consistent with the PRISMA declaration.
Results
Using our search strategy we have identified 24 publications with 454 participants. Most of the subjects were adults, only four studies focused on children. Overall, these studies looked at the effects of PD i DT on more than 25 different outcomes. Therefore theatre - based therapies research reports promising results across all methodologies. Although, most of the interventions have small groups of clients and are not randomized.
Conclusions
Current reports on the effectiveness of PD and DT still need to be verified on a larger group of patients.
Disclosure
No significant relationships.
It's best to work with the system, and right now – the system is war. 2003, civil war is raging in Liberia. At a rebel army base four young women are doing their best to survive the conditions of the ...war. Yet sometimes, the greatest threat comes not from the enemy's guns, but from the brutality of those on your own side. With the arrival of a new girl, who can read, and an old one, who can kill, how might this transform the future of this hard-bitten sisterhood?
Civil disobedience has a tattered history in the American story. Described by Martin Luther King Jr. as both moral reflection and political act, the performance of civil disobedience in the face of ...unjust laws is also, Patrice Rankine argues, a deeply artistic practice. Modern parallels to King's civil disobedience can be found in black theater, where the black body challenges the normative assumptions of classical texts and modes of creation. This is a theater of civil disobedience. Utilizing Aristotle's Poetics, Rankine ably invokes the six aspects of Aristotelian drama--character, story, thought, spectacle, song, and diction. He demonstrates the re-appropriation and rejection of these themes by black playwrights August Wilson, Adrienne Kennedy, and Eugene O'Neill. Aristotle and Black Drama frames the theater of civil disobedience to challenge the hostility that still exists between theater and black identity.
No medieval writer reveals more about early English drama than John Lydgate, Claire Sponsler contends. Best known for his enormously long narrative poemsThe Fall of PrincesandThe Troy Book, Lydgate ...also wrote numerous verses related to theatrical performances and ceremonies. This rich yet understudied body of material includes mummings for London guildsmen and sheriffs, texts for wall hangings that combined pictures and poetry, a Corpus Christi procession, and entertainments for the young Henry VI and his mother.InThe Queen's Dumbshows, Sponsler reclaims these writings to reveal what they have to tell us about performance practices in the late Middle Ages. Placing theatricality at the hub of fifteenth-century British culture, she rethinks what constituted drama in the period and explores the relationship between private forms of entertainment, such as household banquets, and more overtly public forms of political theater, such as royal entries and processions. She delineates the intersection of performance with other forms of representation such as feasts, pictorial displays, and tableaux, and parses the connections between the primarily visual and aural modes of performance and the reading of literary texts written on paper or parchment. In doing so, she has written a book of signal importance to scholars of medieval literature and culture, theater history, and visual studies.
