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DRAMATHERAPY IN SRI LANKA RAVINDRA RANASINHA Dip. in Educational drama, Certificate in Counseling,

DRAMATHERAPY IN SRI LANKA RAVINDRA RANASINHA Dip. in Educational drama, Certificate in Counseling, B.A. in Dramatherapy, Teacher in Drama, Counselor and Consultant Drama Therapist, SRI LANKA. INTRODUCTION. WHAT IS DRAMA ?. “ DRAMA IS IMITATION OF ACTION.” - Aristotle “DRAMA IS

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DRAMATHERAPY IN SRI LANKA RAVINDRA RANASINHA Dip. in Educational drama, Certificate in Counseling,

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  1. DRAMATHERAPY IN SRI LANKA RAVINDRA RANASINHA Dip. in Educational drama, Certificate in Counseling, B.A. in Dramatherapy, Teacher in Drama, Counselor and Consultant Drama Therapist, SRI LANKA.

  2. INTRODUCTION

  3. WHAT IS DRAMA ? “DRAMA IS IMITATION OF ACTION.” - Aristotle “DRAMA IS THE REPRESENTATION OF CONDITIONS.” - Bharatamuni

  4. 300 B.C. ARISTOTLE • Catharsis • ‘Pity and Fear’ “Drama is not primarily for education or entertainment, but to release harmful emotions which will eventually lead to harmony and healing in the community.” - Augusto Boal

  5. CONSTANTIN STANISLAVSKY “Drama is creating and conveying an inner life, a sense of being, fresh each time. It is nothing but making the imaginary world real on stage.” (1863-1938)

  6. Stanislavski’s tool for actors: ‘Emotional Memory’. • This did not provide a therapeutic language for Stanislavski but a technique to build a make-believe world on stage.

  7. (1839 - 1916) • Stanislavsky’s psychological understanding was purely based on TheoduleRibot’s writings. • He extracted the theories of sense memory and emotional recall from Ribot.

  8. PSYCHOANALYSIS • EMOTIONAL MEMORY conjured up with Freud. • Freud’s technique of free association involves asking patients to report on any thoughts or memories that sprung to their minds. Similarly,Stanislavski’s asks actors to recall memories and feel the emotions linked to them.

  9. Catharsis as a tool for a greater social CHANGE. • Brecht (Epic Theatre) • Boal (Theatre of the Oppressed)

  10. Stanislavski’s MAGIC ‘IF’ • a strong empathic tool to support the drama therapist.

  11. HAVE YOU EVER CRIED OR FELT SORRY FOR A CHARACTER?

  12. The premotor cortex is an area of motor cortexlying within the frontal lobe of the brain just anterior to the primary motor cortex. • When a person smiles, MIRROR NEURONS are activated in the premotor cortex of whoever sees the smile; just as when a person cries, mirror neurons are activated in whoever sees or hears the crying. - Goleman, (2006).

  13. Vittorio Gallese, explaining on empathic connection we make with others, states that it is a direct form of experiential understanding of others. The Magic IF of Stanislavski is used by Gallese to explain the ‘as IF’ experience that mirror neurons provide.

  14. Neuroscientist Antonio Damasio as ifworld evokes both emotional and bodily responses.

  15. MIRROR! MIRROR!

  16. DRAMA – watched or participated in – is embodied, three dimensional, sensory experience which encompasses listening, speaking, seeing, moving, thinking, feeling, inventing, and replaying in turns or simultaneously.

  17. DRAMATIC STRUCTURES HEALING HEART, MIND AND BODY.

  18. AIMS OF DRAMATHERAPY • exploring • healing or alleviating/removing • improving/increasing Shifting re-positioning

  19. SCULPT

  20. CONDUCTING DRAMATHERAPY SESSIONS • CHECK-IN • WARM-UP • DE-ROLE - Sally Bailey

  21. COMMON TECHNIQUES IN DRAMATHERAPY • METAPHOR • THEMATIC ACTING • DISTANCING • MAGIC ‘IF’ • ROLE PLAY

  22. DISTANCING OVER-DISTANCING AND UNDER-DISTANCING The key for a successful dramatherapy approach is the distance that is measured through the gravity of the emotional level of the client, which tells the therapist of the mode of practice.

  23. DISTANCING TOOLS • storytelling, puppets, objects, masks, sculpting, art, cartooning, fabrics, life-size dolls, objects, video, ritual, life scripts, phototherapy, narradrama, and many other projective tools are utilized including the techniques of psychodrama, especially, role-reversal.

  24. A SCULPT MADE USING OBJECTS.

  25. Overdistancing technique is for a metaphoric elaboration of what the client could visualize of himself right ‘here’ and ‘now’. This way the client would not relate overtly to their own lives. It is a process to bring the issue to the open.

  26. The overdistancing would gradually be passed and the client would take an underdistanced position to make the shift in his current position as the object of the story. In under-distanced forms of drama therapy, clients view themselves more directly and personally in the drama. This is an effective process of reliving, re-experiencing a past event.

  27. CULTURE AS THERAPY “The merger between art and healing dates back at least 20,000 years to “the dramatic healing rituals of shamanistic cultures.” • Renée Emunah (Director -DramatherapyProgramme, California Institute of Integral Studies)

  28. BUDDHISTIC RELIGIOSITY • PIRITH • BO TREE

  29. FOLK BELIEFS • EVIL EYE AND EVIL MOUTH • DREAMS • ANIMALS, SNAKES AND BIRDS

  30. MYTHIC PERFORMANCE • GODS • DEMONS • SPIRITS • SYMBOLS

  31. Purification with the help of water, blood, fire, change of clothes and sacrifice.

  32. Crying, weeping, drumming, or ecstatic dance become Cathartic. • “re-living emotional trauma to relieve emotional suffering”. - Josef Breuer

  33. “Thought is the basis of all emotions and purging of all desires, lust, ideas, beliefs, views and concepts from the heart and mind of the contemplatoris the basis of being relieved of the temptations in this phenomenal world.” – Gotama Buddha

  34. Healing RITUALS Gam Madu, Devol Madu, bali, thovil

  35. CULTURAL DEFENCE Psychological defence mechanism, genetically determined and unconsciously operative, which allays anxiety and enables partial gratification and where the mechanism is provided in the form of institutions, custom, traditions, rituals, sanctions, prohibitions, folkways and symbolisms; and is available for the use of all members of the society in appropriate situations.

  36. Carl Jung’s Analytical Psychology underpinning dramatherapy: • psyche is a self-regulating system (like the body), it strives to maintain a balance between opposing qualities whilst also seeking its own development/wholeness.  Dramatherapy works with this concept. It speaks well to the person within each individual rather than focusing only on pathology.

  37. Jung believed that Self comprises the whole of the psyche, including all its potential.  It is the organizing genius behind the personality and it seeks wholeness, this Jung called individuation. Self accesses an infinitely wide range of experience, indeed to the very depths of which all human beings are capable.  A Dramatherapy session is a conversation with the Self.

  38. Jung, believed on archetypes.  There are archetypal figures, such as mother, father, child, and archetypal events such as birth and death.  These find their expression within the psyche. The dramatherapy works with the archetypes, especially when myths are used.

  39. According to Jung, to become more conscious one had to be able to bear conflict, for life is full of opposites both externally and within the psyche.  Then out of this something new and creative can grow – a symbol which honours both sides of the conflict.

  40. Jung believed that the symbol is not something that can be fully explained or rationalised, but it contains the qualities of both; the unconscious and the conscious worlds.  They are the agents of change and transformation which bring about psychological development and leads to wholeness. 

  41. Jung also believed that the whole of an individual’s experience should be respected and included, and this included the ‘shadow’ aspects as well as spiritual longings and experiences.  Dramatherapy also honours the whole of the individual, inviting people to do as much or as little as they feel able, and value all input from the individual.

  42. BENEFITS OF DRAMATHERAPY • Clients experience stratification and fulfillment of the use of their body in dramatic action and play.

  43. Within settings such as the therapeutic theatre, clients may be liberated of emotional stressors, anxiety, fear, pain, and so on.

  44. Clients gradually improve their ability to experience holistically through imagination, play, and expression.

  45. Dramatic play in therapy promotes processing themes, such as trust, openness, loneliness, assertiveness, control, dependency and rejection.

  46. Drama therapy creates and promotes relationships through the exploration of clients’ inner-world and hidden areas of their personality.

  47. MY CURRENT PRACTICE I have been using Dramatherapy with a variety of populations & addressed issues arising from: • Psychiatric disorders • Developmental disorders • Cognitive disabilities • Issues including: trauma, grief, anxiety, & depression

  48. POST TRAUMATIC STRESS DISORDER PTSD This is sever anxiety (a state of constantly being alarmed and fearful) develops after experiencing a traumatic event (such as rape, natural disaster, war), learning about a violent or unexpected death of a family member, or even being a witness or bystander to violent incidents.

  49. ANXIETY & DEPRESSION

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