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PubMed1975

Producing Marat/Sade: theater in a psychiatric hospital.

When a drama group in a small private psychiatric hospital decided to present Marat/Sade, a play about inmates in an insane asylum, some patients and many staff members reacted negatively. However, the drama group carried out its usual rehearsal activities, including improvisations, theater games, and exercises to work out characters' backgrounds, motivations, and feelings. The set and costumes were designed through elaborate improvisations during rehearsals. The group had to overcome various problems in producing the play, but they were no worse than those encountered in previous productions. The director believes that a hospital theater must have the same high standards as a good theater in any setting and that patients' drama groups can handle any aspect of theater.

Attitude of Health Personnel↗
PubMed1979

Methodological problems in the psychoanalytic interpretation of literature: a review of studies on Sophocles' Antigone.

Through a critical review of several studies dealing with Sophocles' drama, the Antigone, I have explored some of the prominent methodological problems encountered in the psychoanalytic interpretation of literature. Foremost among these is the inherent difficulty that the interpretation of literature is unable to benefit from the process of the analytic situation. Divorced from the realities of the therapeutic process, the drama itself is often used to corroborate an author's theoretical bias or to advance some special interest, with consequent distortion or blurring of the text. Although data about the artist's life and sociocultural environment may be of crucial significance, it is the text itself that must be the ultimate object of study. Through a re-examination of the Antigone as an aesthetic totality I have sketched out what appears to be an alternative manner of approaching the drama, and suggested that works of art reach us on both unconscious and conscious levels. I have stressed the need to analyze our emotional response to a work as affording a valuable source of insight into the work itself. Throughout, I have drawn attention to the need for greater scholarly rigor and the value of interdisciplinary collaboration. An open recognition of the problems in the psychoanalytic study of literature should serve to minimize dilettantism and raise the level of scholarship.

Drama↗
PubMed1999

Constructing mental illness as dangerous: a pilot study.

OBJECTIVE: There is a dearth of studies examining how dangerousness is constructed in media depictions of mentally ill individuals who are frequently portrayed as acting violently. The aim of the present study was to identify the contribution of diverse technical, semiotic and discursive resources utilised in portraying a character with a mental illness in a prime-time drama as dangerous. METHOD: Discourse analytic techniques, involving systematic, repeated, critical viewings, were applied to a single program drawn from a sample of prime-time television drama episodes touching on mental illness. RESULTS: Nine devices (appearance, music and sound effects, lighting, language, intercutting, jump-cutting, point of view shots, horror conventions and intertextuality) were identified as contributing to the signified dangerousness of person receiving care in the community for a mental illness. CONCLUSIONS: These techniques combine in signifying mental illness and a person suffering from it as dangerous. The findings suggest that mental health professionals working to reduce the stigma of mental illness need to have a reasonably sophisticated understanding of the practices and priorities of television production if they are to collaborate effectively with producers to create dramas that convey more human and sympathetic understandings of mental illness or to combat the negative effects of such portrayals.

Dangerous Behavior↗
PubMed2006

Comparative cost-effectiveness of the components of a behavior change communication campaign on HIV/AIDS in North India.

Numerous studies show that exposure to entertainment-education-based mass media campaigns is associated with reduction in risk behaviors. Concurrently, there is a growing interest in comparing the cost-effectiveness of HIV prevention interventions taking into account infrastructural and programmatic costs. In such analyses, though few in number, mass media campaigns have fared well. Using data from a mass media communication campaign in the low HIV prevalence states of Uttar Pradesh, Rajasthan, and Delhi in Northern India, in this article we examine the following: (1) factors that mediate behavior change in different components of the campaign, comprising a TV drama, reality show for youth audiences, and TV spots; (2) the relative impact of campaign components on the behavioral outcome: condom use; and (3) the cost-effectiveness calculations arising from this analysis. Results suggest that recall of the TV spots and the TV drama influences behavior change and is strongly associated with interpersonal communication and positive gender attitudes. The TV drama, in spite of being the costliest, emerges as the most cost-effective component when considering the behavioral outcome of interest. The analysis of the comparative cost-effectiveness of individual campaign components provides insights into the planning of resources for communication interventions globally.

Acquired Immunodeficiency Syndrome↗
PubMed2005

Dementia: involving patients in storytelling--a caring intervention. A pilot study.

AIMS AND OBJECTIVES: The aim of this study was to explore the potential therapeutic role of storytelling in patients with dementia and, if so, to formulate pedagogic implications for the field of nursing with the focus on dementia care. BACKGROUND: The present study is part of a larger project, Drama-Ger (Lepp et al. 2003: Journal of Clinical Nursing 12, 873-881), consisting of a cultural drama programme designed for patients with dementia and their caregivers. The programme consisted of two groups (A and B). Group A focused on dance, rhythm and songs, group B focused on storytelling and conversations. The present pilot study deals with group B. DESIGN: The study was an intervention study. METHODS: Six strategically selected patients, five women and one man, with intermediate and severe dementia, and their three female paid caregivers participated in the programme. They met on six occasions for 1.5 hours once a week for two months. The leader of the group, a Registered Nurse, who was also trained as a symbol pedagogue/teacher, told stories that were related to Erikson's development theory. She continuously kept a reflective diary which was qualitatively analysed. RESULTS: This pilot study clearly indicates that storytelling invited the patients to take part in associative conversations. The storytelling appeared to help them to remember and make associations with situations they had previously experienced in their lives. Erikson's stages of development could be traced in the conversations. The patients interacted with each other, their caregivers and the leader. CONCLUSIONS: A drama programme using storytelling appears to stimulate patients with dementia to communicate and interact with other people. Ten implications four statements about storytelling as a pedagogic tool and six statements to facilitate a pedagogic approach have been drawn from this study. RELEVANCE TO CLINICAL PRACTICE: The implications can be used as a guide when using storytelling for caring intervention with the focus on dementia care.

Aged↗
PubMed2000

Suffering from care as expressed in the narratives of former patients in somatic wards.

To illuminate patients' experiences of suffering from care, ten former patients in somatic wards narrated a desirable care episode (n = 39) and an undesirable care episode (n = 51). The interviews were analysed using a phenomenological hermeneutic method inspired by Ricoeur's philosophy. Four themes were found: having a good rest, suffering through, searching for autonomy and being cared for by attentive and committed staff. The findings were interpreted in light of Eriksson's description of suffering, which describes three kinds of suffering: 'suffering of life', 'suffering of illness' and 'suffering of caring'. Although not mentioned explicitly, it was evident that cases of suffering from care were indicated in the patients' narratives. The themes were related to the patients' states of health, their experience of the care situation and their descriptions of themselves, and could be understood as related to the acts of the 'drama of suffering' described by Eriksson. The study highlights the need for the patient to find a co-actor in the drama of suffering in order to prevent suffering from care, i.e. prevent hindrance to the patient in her/his struggle against the 'suffering of illness' and the 'suffering of life'. The patients must be seen as the directors of their own dramas of suffering.

Humans↗
PubMed1980

A survey of the abuse of medicines and illicit drugs by Finnish students.

The purpose of the investigation was to determine the extent of the abuse of medicines (sedatives, hypnotics, and analgesics) and illicit drugs (cannabis, LSD, and amphetamine) among Finnish students. The information was collected from a sample representing a population of approximately 6,400 Finnish students. The population was divided into three groups: university students, nursing students, and drama students. Abuse of medicines and illicit drugs was highest throughout among drama students. Illicit drugs were less widely abused among Finnish university students than among students in the United States. As in the United States, cannabis is the illicit drug most commonly taken by Finnish students. Five percent of Finnish university students had taken illicit drugs. Among Finnish drama students, the rate was 38%.

Female↗
PubMed1977

Desensitization to portrayals of real-life aggression as a function of exposure to television violence.

In two separate experiments, the hypothesis that exposure to violence in the context of television drama decreases subjects' emotional responsivity to portrayals of real-life aggression was tested. Subjects were shown either an excerpt from a violent police drama or a segment of an exciting but nonviolent volley-ball game before watching a videotaped scene of real aggression. Emotionality was measured by changes in skin resistance which was measured continuously throughout the session. In Experiment 1, subjects were 8- to 10-year-old children and the real aggression was a film of an argument and fight between two preschoolers. In Experiment 2, college students participated and reactions to real aggression were measured while subjects watched scenes from news films of the riots at the 1968 Democratic National Convention. With the exception of adult females, subjects who previously had viewed the aggression drama were less aroused by the scenes of real aggression than were subjects who had seen the control film. Further support for the hypothesis was provided by the finding that for most groups of subjects, the amount of television violence normally viewed was negatively related to responsivity while viewing aggression.

Adult↗
PubMed1993

[The son of man. Freud's Oedipus myth].

In formulating his psychology of the unconscious, Freud makes constant reference to Sophocles' version of the Oedipus myth. The author provides detailed proof of the fundamental differences between the two versions, demonstrating that Freud's interpretation does violence to the source. Bollack marshals impressive evidence to substantiate his contention that from the early letters to Fliess all the way up to Moses and Monotheism Freud's sole concern was to point up the ubiquitous power of the unconscious (incestual desire, patricide) within the "holy" (nuclear) family, whereas Sophocles was preoccupied with an entirely different problem. In Bollack's view, Oedipus rex is the drama of the self-destruction of a royal family, a drama in which incest and murder have no very essential significance. Freud, by contrast, set out to de-mystify the fate that dogs the royal family from one generation to the next and to naturalise it into a form of unconscious behaviour--a tendency which Bollack sees as deriving from the tradition of the "drama of destiny", a genre prevalent in the 19th century.

Freudian Theory↗
PubMedDate not supplied

Health planning as context-dependent language play.

The concept of planning as context-dependent language play is proposed as a heuristic device to overcome shortcomings which are traced to the planner centered, means-end and prescriptive orientations of much of the existing literature on health planning. The model proposed suggests that planning should be analysed not simply in terms of the capacities and/or responsibilities that it claims to assign to planners, but also in the way that different planning discourses are mobilized, for strategic effect, by a range of other players in front-stage and back-stage settings. Within this conception, a planning exercise comes to be seen as an episode in dramas which have been running for extended periods of time. What distinguishes planning episodes from others in these dramas, is not simply the entry of players designated as planners, but also the discourses that both planners and other players mobilize as they attempt to structure and contest their relationships with one another. The implications of what this conception of planning holds for future research are then discussed.

Australia↗
PubMed1999

A Day in the Life of Dr K. or How I Learned to Stop Worrying and Love Lysozyme: a tragedy in six acts.

About the play: In modern drama, the agonizing nature of membrane protein work has not been adequately acknowledged. It is perhaps significant that the first attempt to bring this darker aspect of human existence into focus comes from a Scandinavian author, writing in the tradition of Ibsen and Strindberg but with a distinctly turn-of-the-millenium approach to the inner life of his characters: the despairing Dr K; the cynical Dr R with his post-modernistic life credo; the ambitious but unfeeling Dr C; the modern Ubermensch, Dr B. , with his almost Nietzschean view of human nature. This is a play that is brutally honest, yet full of empathy for the poor souls that get caught between the Scylla of unreachable scientific glory and the Charybdis of helpless mediocrity.James Glib-Burdock, drama critic for The Stratford Observer.

Drama↗
PubMed1988

Ritual, the state, and the transformation of emotional discourse in Iranian society.

This paper explores the social and cultural organization of Iranian emotional discourse and its transformation in post-revolutionary Iran. First, the Moharram dramas we participated in during field research are described, indicating how these performances organized a 'prototypical' view of the social order, the self, and the passions. Using Kapferer's distinction between "transcendental" and "transformative" rituals, we argue that these dramas were traditionally organized as "transcendental" rites. Second, data on grieving rituals and depressive illness among Iranians is introduced, focusing on the "transformative" qualities of mourning rites and suggesting an interpretation of depression as a failure of the "work of culture." Third, the appropriation of these symbolic forms of society, self, and the emotions by the current Iranian Islamic state and the role of the state in defining the meaning and legitimacy of emotions and their expression is analyzed.

Ceremonial Behavior↗
PubMed2005

Rethinking theatre in modern operating rooms.

Metaphor is a means through which a widely accepted meaning of a word is used in a different context to add understanding that would otherwise be difficult to conceive. Through etymological and metaphorical associations, we contend that aspects of "theatre" are still relevant in the modern operating rooms and that the use of dramaturgical metaphors can add another layer of understanding about the social reality in this setting. We begin by exploring the historical roots and derivation of the word theatre as it applied to anatomical dissection and surgery. Briefly, we touch on the work of Erving Goffman and examine how his work has been used by others to explore aspects of operating room nursing. Then, drawing on data from a postmodern ethnographic study that has been used to examine communication in operating room nursing, four dramaturgical metaphors are used to illustrate the argument. They are drama, the script and learning the lines, the show must go on, and changing between back stage and front stage. To conclude, the small amount of previously published literature on this topic is compared and contrasted, and the relevance of using dramaturgical metaphors to understand modern operating rooms is discussed. Being able to distinguish between the inherent drama in operating room work and the dramatic realisation of individuals who work within, can help operating room nurses to think differently about, and perhaps re-evaluate their social situation and how they function within it.

Anthropology, Cultural↗
PubMed2002

Staging breast cancer, rehearsing metastatic disease.

Social science researchers have fruitfully used a range of conceptualizations of "performance": as a metaphor for social life, a way of vivifying research findings, and a form of scholarly representation. In this article, the researchers consider performance in its hermeneutic sense, as a way of generating meaning. The drama Handle With Care? Living With Metastatic Breast Cancer was created by a research team, a theater troupe, and women with breast cancer. The researchers employ an interpretive phenomenologicalframework to explore interviews with women with breast cancer involved in creating Handle With Care? The performative context in which the drama developed allowed certain illness meanings to emerge, intensify, and shift. The article also considers ethical dilemmas surfaced by this project.

Breast Neoplasms↗
PubMed1992

Freud and the theatre.

Theatre historians credit Freud and his theories for being the prime impetus for the birth of the modern theatre. Freud's theatre-going activities varied throughout his life. In his younger days, he seemed to enjoy attending performances. In later life, he rarely went to the theatre except for an occasional Mozart opera or Shakespeare play. When writing about the drama, he tended to deal with it as a literary product rather than as a performed event. On only one occasion did he communicate to a friend that the healing cathartic effect of art might be greatest when viewing the drama. Although credited with being the "father" of the modern theatre, Freud was somewhat skeptical about its artistic merits and was certainly concerned about its emphasis on the irrational. However reluctant Freud was about modern dramaturgy, his ideas had a profound effect on playwrights, such as Schnitzler and O'Neill, and through them was instrumental in freeing the theatre from its Victorian moral straitjacket. Freud's ideas also served as the background for other psychoanalysts interested in the theatre, especially Otto Fenichel, who wrote the seminal paper on the actor's personality.

Character↗
PubMedDate not supplied

[Psychoanalysis and dramaturgic training].

This contribution introduces a training model for the psychoanalytic widening of dramaturgic interpretation from the Academy of theatrical Art at Ljubljana. This model centres upon the motivational processes in personality structures, thus enlarging the understanding of behavioral patterns and actions within drama. Such understanding is the basis for exercises in the interpretation of literary texts. The technique applied in these interpretations has been developed from the technique of dream interpretation and it aims at contributing to creative understanding and shaping of the topic, the characters, and the action in the drama.

Drama↗
PubMed1998

A parapraxis in Hamlet. A note on the aesthetic genius of William Shakespeare.

Shakespeare has placed a parapraxis in Hamlet's mouth in the soliloquy in Act I. Hamlet says, "But two months dead, nay not so much not two." The slip attributed to Hamlet is of course no slip at all when seen as an aesthetic contrivance of the bard's to suggest the tension between warring aspects of Hamlet's psychology. I argue that Shakespeare's artistic methodology, his aesthetic sleight of hand, so to speak, which layers this complex drama with meanings concealing other meanings, supports Freud's notion that an unconscious latent oedipal drama underlies the whole manifest content, imbuing it with subtle but substantial dramatic tension. The slip of the tongue is not only a window into the unconscious of Hamlet that sheds light on the hero's Oedipus complex and the complexities of his attempted resolutions, it is also an example of Shakespeare's aesthetic subtlety at its most refined.

Authorship↗
PubMed2000

Using entertainment television to build a context for prevention news stories.

UNLABELLED: OBJECTIVE. A nationally syndicated television news series called "Following ER" was developed to educate viewers about the health issues dramatized on "ER," NBC's award-winning medical drama. This study investigated the impact of this prime-time link on viewer attention, satisfaction, information recall, and perceptions about the uses and gratifications delivered by a news story. METHODS: A total of 458 municipal jurors participated in a randomized 2 ("ER" tie-in vs no tie-in) x 2 (familiar vs novel story topic) experiment. The four experimental news stories required by this design were developed using footage of previously aired local newscasts. RESULTS: In the case of the familiar topic story, the "ER" tie-in enhanced the attention and satisfaction of viewers. Participants reported that the prime-time link added value by elevating the importance and relevance of the commonplace topic. However, the "ER" tie-in did not generate any beneficial effects when paired with the novel topic story. CONCLUSIONS: Framing news stories about familiar health concerns in the context of television drama represents a viable strategy for legitimizing them as important and timely topics for public consumption and debate.

Adult↗