Chapter 1
Facilitating Play with Non-Players
A Developmental Perspective – Eleanor C. Irwin
Dramatherapy = using drama to nurse, serve and cure.
Most of the drama therapist work toward the general goal:
1. Facilitating imaginative play at the highest possible level,
2. Strengthening self control and affect regulation;
3. Helping individuals put feelings and behaviours into words.
Not all children and adults can play – they are called non-players who cannot be spontaneous, symbolise thoughts, feelings, and engage with others in an imaginative way (social).
Inability to play is the result of congenital, environmental or developmental difficulties.
Doing Dramatherapy to children which is non-player will be better understood through an examination of attachment theory, research into the development of object relations and affect regulation.
These will help the drama therapist navigate navigate worrisome therapeutic paths more clearly, comfortably, especially those dangerous areas which may get stuck in transference/counter transference.
Dramatherapy offer s valuable help tin diagnosis and treatment, this is where individuals will tell or pour out their personal or make up stories. They will become their script playwrights, actors, directors, set or scene designers. In it the therapist will see the children’s fantasies, preoccupations and defences unfolding.
Drama therapy stimulates language and cognitive development. In the drama, the child is asked to express, elaborate ideas, sustain attention, focus on themes and sub themes, negotiate with other on their needs and wishes. It also encouraged the child to use language to control and understand his affective life.
This chapter as I see it,
Encourage drama therapist to not let go and to continue to work with individuals both players and non-players which were the hardest and time consuming group to give therapy to. But nevertheless, these non-players in fact needed the patient, sensitivity attempts from the therapist to understand and help, using her/his empathic way. Only by this way that the barriers created will be knocked down and trust will be build instead and the healing process will emerge. In order to success in this, a drama therapist also needs to familiarise on the theories of child development and also the attachment patterns.
Applying Sculting Work
14 years ago
Thanks for sharing this review of Chapter 1. I find what you picked up in your reflection useful for me too. In my working with adults who share with me their stories, I begin to see how early years of attachment patterns with significant others have affected them in their present relationship with family members,friends, colleagues and authority. I am also conscious of my own attachment patterns too.
ReplyDeleteMe too, I was wondering about my own attachment patterns, sorry to say I can't trace it as I am an adopted child. It only that I am into 'playtherapy' that attachment matters alot to a person. In my younger days, I have very low self esteem, I just wonder...... what happen in my childhood? But I thank the person above, I was well taken care of by my present mother.
ReplyDeleteThanks for sharing your story. Every person is a mystery, and our story will unfold itself in situations and events, in dreams and in journal writing/reflection and workshop like this, for our own growth and integration as we remain open to what speaks deep within our heart and the courage to look at it and own it as our (his)story. To become free...and to be who we truly are...gracious and unique
ReplyDeleteMy apologies for my earlier comment on your chapter review...did not realise it was in two parts. This part provide a more comprehensive review. How would you apply this contribution in your clinical work? Is attachment universal or only limited to children with their natural birth mothers? How does that relate to the object realtions model of say Winnicott?
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