Description
This edited volume explores the singularity of embodiment and somatic approaches in the healing of trauma from a dramatherapy, theatre and performance perspective.
Collating voices from across the fields of dramatherapy, theatre and performance, this book examines how different interdisciplinary and intercultural approaches offer unique and unexplored perspectives on the body as a medium for the exploration, expression and resolution of chronic, acute and complex trauma as well as collective and intergenerational trauma. The diverse chapters highlight how the intersection between dramatherapy and body-based approaches in theatre and performance offers additional opportunities to explore and understand the creative, expressive and imaginative capacity of the body, and its application to the healing of trauma.
The book will be of particular interest to dramatherapists and other creative and expressive arts therapists. It will also appeal to counsellors, psychotherapists, psychologists and theatre scholars.
Table of Contents
Foreword by Cathy Malchiodi Introduction: Interdisciplinary Perspectives on Trauma and the Body Part 1: Theoretical Perspectives Chapter 1: The Imagined Body: Drama Therapy’s Unique Contribution to Trauma Treatment Chapter 2: The Emotional Body: A Somatic and Trauma-Informed Practice for Cultivating Expressive Capabilities for the Actor and the Individual Chapter 3: Playful and Poetic Embodiment for Indirect Processing of Trauma Using Masks: A Drama Therapy Framework Inspired by Lecoq’s Physical Theatre Pedagogy Chapter 4: Engaging the Body from a Distance: Online Dramatherapy with Traumatised Children Chapter 5: Therapy of Gesture: Integrating Psychophysical Approaches from Theatre and Therapy in the Healing of Trauma Chapter 6: Playing in multifaceted trauma: reflections on embodied drama therapy in South Africa Chapter 7: Integrating Dramatherapy with the NeuroAffective Relational Model™ (NARM) for Healing Developmental Trauma Part 2: Intersection Chapter 8: In the Shadow of Oppression: Nora Amin’s Theatre of Crime Part 3: Practice and Research Perspectives Chapter 9: The Girl at Snow Cottage: An Embodied Experience of Making Theatre in Individual Dramatherapy with an Adopted Child Chapter 10: Gesture in Actor Training and with Survivors of BPD Diagnosis: Finding Communication Towards Relational Thirdness Chapter 11: Hands: Their Rhythms, Gestures and the Portal They Offer in Therapy Chapter 12: The Voice and Anger: Experiences of Healing Through Performance Chapter 13: Embodied Theatre Practice Towards the Creation of New Meaning Chapter 14: The Harmless Ghost: A Mythopoetic Approach to Trauma Chapter 15: Healing the Intergenerational Trauma of Enslavement: The Enactment of Historical Documents with Afro-Colombian Youth
