In order to determine how we know drama therapy has worked, it is first necessary to define the role drama therapy plays in working with clients. Drama therapy “utilizes all the aspects of drama that are potentially healing…[as]…the creativity of drama is used to gain a greater understanding of self, as unconscious feelings, thoughts and issues come to the surface and are expressed through metaphor” (Langley: 2006, p. 13). It is the role of the drama therapist to “facilitate the client’s progress through an appropriate dramatic experience that will allow healing to take place (Langley: 2006, p. 14). In determining an appropriate dramatic experience, it is important to understand the needs of the particular client group and, when working with a group, to understand the specific dynamics of group-work in therapy. For the purposes of this blog I chose as my illustration a hypothetical group of children who have been victims of childhood abuse.
The group would run over ten weeks and there would be a maximum of five group members aged between eleven and twelve years old. It would be a closed group, where no new members would be able to join once the group had begun. The ten-week program would consist of dramatic experiences designed to allow healing to take place. Specific goals would be outlined, which could then be monitored by the drama therapist. This monitoring, combined with group feedback and follow-up by the drama therapist once the program is complete, would form further evidence as to whether or not the drama therapy had worked.
In order to determine how we know drama therapy has worked, it is first necessary to choose and design drama therapy activities that are appropriate for the particular client group we are working with. If we do not do this we may get a false result, simply because we have not understood the particulars of the group or facilitated activities that are suitable. When working with a group of children who have been victims of abuse it is very important to be “especially careful to create conditions of safety” (Jennings: 1995, p. 182). For this reason it is necessary to work with the group members in making contracts and having guidelines regarding how the group will run, as “boundary-making, for young people who do not have appropriate boundaries, is essential (Jennings: 1995, p. 182). The role of guidelines in a group is to “ensure that the group’s goals are achieved, good relationships among members are maintained, and the group adapts to changing conditions” (Johnson and Johnson: 2003, p. 12). It is also essential however, to have a sense of justice and fair play, so “sanctions should not be imposed without discussion and representation” (Jennings: 1995, p. 182). Once boundaries have been developed and agreed on by the group, and an atmosphere of equality has been established, group members will be able to work in an environment where they know their safety is of paramount importance.
A further and most important area of safety for a group of children who have been victims of abuse is that they should “not feel further abused within the group…[and]…this aim takes precedence over an individual’s need for a cathartic reaction” (Jennings: 1995, p. 182). In choosing appropriate drama therapy activities for the group it would be important for the drama therapist to be aware of this at all times and provide dramatic experiences that allow for sufficient distancing to keep group members safe. It is also necessary for the drama therapist to address occasions where a group member, or group members, act out in a way that is painful for other group members, and to allocate time to be spent in promoting self-healing following such an occasion (Jennings: 1995, p. 182).
Along with understanding the needs of the group in order to plan appropriate drama therapy activities, it is also necessary to understand the role of the group leader, or facilitator, in order to give the group the optimum opportunity for healing to occur. In their book Group Counseling: Strategies and Skills, Jacobs, Masson and Harvill (2006) state that they believe, “that the style or role of the leader will always depend on the purpose of the group…[and that]…the most effective group leaders show versatility” (p. 21). Particularly when working in drama therapy it is necessary for the group leader to be versatile, as the creative nature of the therapy requires a leader who is able to allow the creation of the drama to happen from within the group so that each person’s own process is not stilted or manipulated in any way.
As well as having good group leadership skills, it is also necessary to understand the dynamics of group-work so that the sessions can be planned according to the stage the group is up to in the process. A theorist by the name of Bruce W. Tuckman identified a sequential-stage theory of how groups evolve throughout the process of working together (Johnson and Johnson, 2003, p. 28). Tuckman identified “five stages: forming, storming, norming, performing and adjourning…[and that]…at each stage groups focus on specific issues, and this focus influences member’s behaviour” (Johnson and Johnson: 2003, p. 29). An understanding of these stages will impact on the choices made for each session when planning a program.
Once the sessions have been planned and the work has begun it is then the role of the drama therapist to monitor participants and review the sessions from week to week. All therapy is a process and drama therapy is no exception. Each person who enters into therapy will progress at their own pace and their experience will be unique to them. For this reason, in order to know if the drama therapy has worked, it is important for the drama therapist to monitor individual participants as well as the group as a whole.
In relation to a hypothetical group of victims of childhood abuse, the first aspect of the group that should be monitored is the level of trust, as the “therapist’s first task is to work toward establishing a strong therapeutic relationship based on trust and respect (Weber and Haen, 2005: p. 142). The level of trust in the group between clients and therapist, and clients with each other, can be monitored through the use of trust exercises, such as one half of the group building an obstacle course in the room from furniture or large objects and the other half of the group being led verbally through it while closing their eyes. For victims of abuse closing their eyes may be difficult or threatening, so exercises such as this should be monitored closely by the drama therapist and not pursued if members of the group are uncomfortable doing them. The level of trust the group members have in each other, and in the therapist, will be identifiable in how well trust exercises are played by the group and how willing the group is to participate.
As the sessions progress another aspect that is important for the drama therapist to monitor are patterns that emerge in the clients’ work. A drama therapist should note, for instance, “when people tend to choose similar roles, whatever the story; for example, when someone always chooses to be the good helper, the drama therapist will find ways for roles to be expanded” (Jennings, 1998: p. 140). The monitoring of client’s choices, and planning sessions as a result, will help clients to explore the meaning behind certain choices they are making with the view of them gaining insight into what their choices represent for them. With a client-group of children however, this work may be done subconsciously. Children may not gain this level of insight, or be able to express it through words, however the work should expand on the theme or themes they have chosen in order for them to process the thoughts or feelings that are associated with their dramatic choices. The group’s interaction with their individual themes through the dramatic work will become a good indication as to whether the drama therapy has been successful as a medium for change and personal growth.
Along with monitoring individual progress, in order to know if the drama therapy has worked or not, it is also necessary for the drama therapist to monitor the group as a whole. A good indication of personal growth within the group is how much and how openly they are sharing with each other. Within groups, “clients generally have degrees of what it feels comfortable to disclose…[however]…confidentiality is a graded experience, and certain disclosures are possible with the client’s full agreement” (Jennings, 1998: p. 144). Of course, no client should ever feel pressured into disclosing, and any sharing done within the group should only be done by group members when or if they choose to share. Sharing as a group, however, is an important and valuable part of the process of drama therapy. When working with a group of children who have suffered abuse, sharing should be done within the context of the drama work which provides distancing, structure, a safe environment for each child and protects other group members from the possibility of being re-traumatized.
Along with monitoring the level of sharing within the group, a further indication of whether the drama therapy is working or not, is the level of willingness the group have to participate in the activities. The role of drama therapy is to facilitate healing and change through the use of dramatic techniques. If the drama therapist is sensitive to the group’s needs and the activities are appropriate for the group, they are more likely to be actively engaging with them. For instance, “many children who have experienced trauma and maltreatment develop a damaged and distorted sense of self…[however]…drama therapy interventions offer these children an opportunity to explore other, more positive aspects of themselves, to identify strengths, and to move beyond their past behaviors” (Weber and Haen, 2005: p. 145). If this healing is taking place for children in a drama therapy group and they are developing a more positive self-image and identifying strengths, it is more likely that they will want to continue participating.
In conjunction with monitoring how well the group is sharing together and how willing they are to participate in the activities, it is necessary to monitor the initial goals and objectives group members had at the beginning of the program. The goals and objectives for the ten weeks should have come from within the group itself, should involve individual goals and should be able to be measured in a very tangible way. It is important to measure these goals periodically throughout the program in order to monitor whether the drama therapy is facilitating real healing and change. With children, goals may be as straight-forward as not fighting as often with a sibling (which could be recorded by the child in a note book), taking the step to audition for the class-play or having two consecutive weeks at school without a detention. With the permission of the child, goals could be reinforced at home or at school to help support the child in achieving them.
As important as it is for the drama therapist to actively monitor each aspect of the group, and the progress of each individual member, as much as possible, the most important input for measuring whether or not the drama therapy has worked comes from the group members themselves. It is important for the group to feel a sense of fairness and ownership in the process, which is assisted by getting group feedback throughout the sessions. This could be done as the closing ritual at the end of each session. With a group of children, the feedback could come from asking questions such as, “Which activity did you enjoy the most today?” or “Which activity do you think helped you the most?” This feedback can also form part of the drama therapist’s planning for future sessions, by asking children if they would want to do certain activities again, or other activities that are similar. Feedback from the group can also come in other creative ways, such as drawings, keeping a journal or picture journal, or developing a theatrical piece where each child can create a something of their own choosing to represent what they have learnt throughout the ten weeks. This could take whatever form the child thinks is most appropriate for them, such as movement, sound, role-play, improvisation, etcetera.
Along with the feedback from the group themselves, the drama therapist can also gauge the success of the drama therapy from observations made by family members or school counsellors or teachers, as long as it is done with the consent of each child and in strict confidence. This follow-up by the drama therapist can also be done weeks or even months after the end of the program, which will give a long-term indication of how well the drama therapy program has worked for each group-member.
In order to know whether drama therapy has worked, it is firstly necessary to understand the needs of the particular client group you are planning the sessions for. Without a proper understanding of the group’s needs, it is not possible to plan drama therapy activities that will be appropriate for the group, or be the most beneficial. Once the drama therapist feels confident that the activities are suitable, it will then be possible to determine whether they have been successful or not.
Along with planning suitable activities for the particular needs of a group, it is also necessary for the drama therapist to understand the dynamics of facilitating a group. When leading a group, it is necessary for the leader to be well-prepared for the sessions, set clear goals and guidelines for the group and have a good understanding of the stages of group process to know what to expect and plan for at each stage. When the sessions are planned accordingly and the group is facilitated well, the outcomes of the therapy will be much more accurate.
As the overall goal of drama therapy is to facilitate healing and change, the best way to really know if drama therapy has worked or not is to set specific goals that are tangible and can be monitored by the client and drama therapist. This then provides a way of measuring the healing and change that has taken place in a client and the client’s life. The group as a whole, and each individual client, should be monitored by the drama therapist, however the most accurate monitoring and observations will come from clients providing feedback following the individual sessions and the conclusion of the program.
A final important aspect of knowing whether or not drama therapy has worked, is follow-up by the drama therapist after a period of time following the end of the program. This follow-up will show whether or not the sessions have had any long-term benefit for the clients and will demonstrate whether the healing and changes were real for the client, or just temporary. The overall goal with any therapy, drama therapy included, should be to empower and equip the client to bring about genuine healing and change within themselves, with the goal of clients then being able to make positive changes in their lives that will last forever.
References
1. Brown, N. W. (2004) Psychoeducational Groups: Process and Practice (2nd Ed.). New York: Brunner-Routledge.
2. Jacobs, E. E., Masson, R. L., and Harvill, R. L. (2006) Group Counseling: Strategies and Skills (5th Ed.). Belmont: Thompson Brooks/Cole.
3. Jennings, S. (Ed.) (1995) Drama therapy With Children and Adolescents. East Sussex: Routledge.
4. Jennings, S. (1998) Introduction to Drama therapy: Theatre and Healing Ariadne’s Ball of Thread. London: Jessica Kingsley Publishers Ltd.
5. Johnson, D. W. and Johnson, F. P. (2003) Joining Together: Group Theory and Group Skills (8th Ed.). Boston: Allyn and Bacon.
6. Langley, D. (2006) An Introduction to Drama therapy. London: Sage Publications Ltd.
7. Weber, A. M. and Haen, C (Eds.) (2005) Clinical Applications of Drama Therapy in Child and Adolescent Treatment. New York: Brunner-Routledge.
