Dramatherapy, according to the British Association of Dramatherapists, is the use of drama, story-making, music, movement and art to work with any issue that has presented itself.
“Dramatherapists are both clinicians and artists that draw on their knowledge of theatre and therapy to use as a medium for psychological therapy,” the BADt explains.
Experienced dramatherapist Katy Weston, who holds a master’s degree in dramatherapy, works for Chroma – the UK’s only national provider of the creative arts therapies.
Her specific interests include working alongside people with disordered eating patterns, attachment and family group work and working with people with disabilities and injuries.
She spoke to Neuro Rehab Times this week about her first-hand experience using dramatherapy to treat traumatic brain injuries.
NRT: What does it mean to have a traumatic brain injury?
KW: I see and observe it’s frustrating for the person to whom an injury has happened and can be sad and worrying for those who love that person.
The young person I work with is determined and focused as is every family member or work colleague to regain as much independence and ability as possible.
They roller coast from amazing highs to incredibly sad lows and then have much time in between those two places.
What is dramatherapy to you?
Dramatherapy aims to explore the client’s material, the root of their suffering, through the safe distance of play, drama, drawing, story, sculpting and other appropriate creative techniques.
Dramatherapists are both artists and clinicians and draw on their trainings in theatre or drama and therapy to create methods to engage clients in effecting psychological, emotional and social changes.
The therapy gives equal validity to body and mind within the dramatic context.
Stories, myths, play texts, puppetry, masks and improvisation are examples of the range of artistic interventions a dramatherapist may employ.
These will enable the client to explore difficult and painful life experiences through an indirect approach.
What other complementary methods do you use?
I also bring into my work the Sherborne Developmental Movement, which is a method of working in which the movement is securely based in normal developmental movement experiences.
It was developed by Veronica Sherborne in the later part of the twentieth century.
It’s an inclusive approach to teaching and working with movement and one that is well grounded in Laban’s movement analysis.
I enjoy using this with my work, as for the young person I work with, they have limited control and games and action are beautiful ways to explore and learn.
I also bring in Theraplay into my work with the client. This is usually with parents or carers to strengthen bonds between them.
In this instance, I use the activities as an adult-directed, structured play group that incorporates playful, cooperative and nurturing activities that enhance the emotional well-being of young people and develops relationship, trust and connection with their carers.
Learning is experiential so instead of talking about positive social behaviour, we do positive social interaction.
What are the benefits of dramatherapy?
It is about being creative, offering choice and exercising agency, developing a voice, confidence, trust, play and exploration of situations of all kinds; joyful, tricky, challenging, worrying and so on and doing it in a safe and healthy, contained way.
I have not come across any downsides, as, if something isn’t working or we can’t find a language to share, we can change the direction, activity, style.
Thoroughly client-led, we work with what energy, material, ideas, themes and direction we follow and travel alongside.
How have patients responded to the therapy?
I always have another member of staff present due to complex disability and needs of the young person I work with.
Their feedback is that the young person is thoroughly heard, their voice is heard and honoured and that they have full agency and control over the direction of the sessions.
The client themselves attends, engages and is focused even when fatigued and in other situations they would withdraw and lose attention or maybe even suggest they need the bathroom for a phantom need.
We have breakthroughs regularly for example when there is choice offered and decision made.
When an offering is given and the young person chooses to revisit an idea from before, when they explore a difficulty or a worry and then share they have been able to let go of it.
All are precious moments of connection, trust, respect and collaboration.
What do you see as the future of this treatment?
I hope it will be more and more utilised and accepted as an arts therapy similarly to art and music therapy.
I bring art and music into my dramatherapy as well as body work and breathing, mindfulness and play.
I think one of the greatest things (and most important) about dramatherapy is the flexibility and creativity of the work.
