Search PubMed⌕ Search

SEARCH · Search PubMed

Results for “DRAMA”

Search indexed PubMed citations on genomics, clinical trials, systematic reviews and public health. Explore titles, authors and supplied subject terms, then open the PubMed record.

Quote a phrase for an exact phrase match. Source license links do not imply unrestricted reuse.

At least 973 records · Page 54Linked to original sources

The actor-director and patient-therapist relationships: a process comparison.

The relationship between the actor and director, like that between the patient and psychotherapist, relies on intense emotional involvement. Both demand sensitivity, reciprocity, and a deep understanding of human behavior. Because dramatic action is created through continuous conflict between characters, actors must explore not only their actions, but also the reactions of those with whom they are in relationship. The process of therapy is equally interdependent. Through the relationship, therapists provide a context in which their patients can work through their conflicts. As in the rehearsal process, actions are explored in a supportive environment. This paper has presented a process comparison of the actor-director and patient-therapist relationships by proposing that both are art forms that rely on the skill of a trusted facilitator. Some of the techniques explored include: empathic attunement, emotional recall, transference, overcoming performance obstacles, improvisation, risk-taking, the pleasure principle, and creating a sense of family through new object relations. Like therapists, directors never forget that their work cannot be performed alone; it depends on interaction with the most delicate of phenomena: the human soul.

Communication↗

Increasing hospital-community contact through a theater program in a psychiatric hospital.

In 1973 the activities therapy department at the Yale Psychiatric Institute began to organize and present plays before public audiences to help increase contact between patients and community members. Both patients and staff were anxious about opening the performances to the public; however, the first two plays were quite successful, and no serious disruptions occurred. When a third play was in rehearsal, the cast decided that it should be performed outside the hospital. the primary purpose of rehearsals, as well as separate weekly meetings with the director, was to provide a group identity that help the cast deal with their fears and anxieties. The outside performance, at a state hospital a hundred miles away, was well received and gave the cast a sense of achievement and increased self-esteem.

Connecticut↗

The impossibility of forgiveness: shame fantasies as instigators of vengefulness in Euripides' Medea.

Unforgivability in Euripides' Medea is explored in the context of intrapsychic forces favoring disruption and narcissistic withdrawal and precluding the influence of forces favoring repair of bonds, not necessarily to the betrayer, but to the social and moral order. The forces underlying disruption and withdrawal operate to such an extent that forgiveness and cooperation with the social order become impossible. Euripides' literary insights are explored with the purpose of deepening and extending the psychoanalytic understanding of shame, shame fantasies, projective identification, and vengefulness as they bear on the problem of forgiveness. Three types of shame fantasy are pertinent to the transformation of Medea's mental state from one of anguished and disjointed shame to diabolical vengefulness: anticipatory paranoid shame, the projective identification of shame, and withdrawal as a defense against shame.

Drama↗

The kidnapping of W. S. Gilbert.

Gilbert's probable screen memory of having been kidnapped, along with his persistent preoccupations with babyhood, remembering and forgetting, stress the intensity of his struggle against remembering the painful experiences from his childhood. His creative efforts function as an obsessional defense; they divert his attention from the experiences themselves to a fascination with the process of remembering and forgetting, while the painful affects are reversed into playful, good-natured humor. The results are some of his most treasured anecdotes. Watson (1918) quotes Gilbert's story of the amateur burglar who badly bungled an attempted robbery and ended up being arrested and jailed under the most humiliating circumstances. For years afterward, every time he though of the incident, he felt wretchedly uncomfortable, and he tried vainly to drive the occurrence from his mind. The story concludes with a statement which, remarks Watson, only Gilbert could have written: "Gradually one detail after another slipped from my recollection, and one lovely morning last May I found to my intense delight that I had absolutely forgotten all about it" (p. 94).

Drama↗

Oedipus and the sphinx: triumph and catastrophe.

The downfall of Oedipus in Sophocles' most famous play, Oedipus Tyrannus, is the reversal of his triumphant entry into the city of Thebes 17 years earlier. The oracle at Delphi has told the Thebans that the plague will end only when the murderer of Laius is identified and punished. The unconscious collusion between Oedipus and the Thebans to ignore the unsolved murder breaks down. Told by Teiresias that he is the culprit, Oedipus begins a desperate effort to find evidence to refute this accusation. When other witnesses come forward, his cause is lost. The effect of Oedipus's collusive interaction with the Thebans is balanced in Sophocles' account by the story of the riddle of the Sphinx. The Sphinx is a goddess of discontinuity. She represents the unconscious forces at work both in Oedipus's personal fantasies and in the collective fantasies of the Thebans. The tragedy results from the interaction of these fantasies in the government of the polis. Sophocles' play thus exemplifies the intricate intertwining of the child's innate wishes and the reaction they evoke from the environment during the oedipal period. The neurotic patient's illusion of sexual triumph over his or her father or mother as a child can be best understood through the interaction of these factors.

Defense Mechanisms↗

[The use of theatre in the psychosocial readaptation of patients with mental disorders: participants' perspectives].

BACKGROUND: Therapy using theatrical activity was proposed to six clients with severe and persistent mental health problems. The purpose of this study was to determine what meaning the participants attributed to this experience and which aspects of the therapy they considered influential for their progress. METHOD: A formal approach, based on the opinions of the actors, was used in order to optimize the quality of the interventions. The application was as closely linked as possible to a real theatrical experience. An analysis of the qualitative data collected from a questionnaire and a semi-structured interview of three subjects selected from a purposive sampling was done by way of successive cycles of data reduction. RESULTS AND PRACTICE IMPLICATIONS: The participants valued the flexibility and versatility of the theatrical experience. They perceived the presence of the public as essential to enhancing their experience of pleasure and personal competency. Therapy using theatrical activity appears to be relevant in the field of psychosocial rehabilitation.

Adult↗

Did Lady Macbeth have a mind diseas'd'? ( a medico-legal enigma).

The character of Lady Macbeth has often been presented as evil and demonic. In this contribution, an attempt is made to show her in a somewhat different light; in doing so, some implications for forensic-psychiatric practice are suggested. 'Cann'st thou not minister to a mind diseas'd ..?' (Macbeth, to his wife's physician: V:i: 40)1

Adult↗

Dua Dua Theatre: an experiment in health education.

This is an account of an attempt to use theatre as a tool to alleviate health problems. The advantages of using a trained theatre group, and the benefits to audiences and to performers are discussed in the context of two plays devised and presented to community (primary) schools within a province of Papua New Guinea. No formal evaluation has been attempted, but audience involvement and participation has been enthusiastic.

Accident Prevention↗