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At least 19 recordsLinked to original sources
PubMed1993

A drama of growth and recognition. Drama in therapy with abused children.

1. Psychodrama is a form of psychotherapy which uses drama as its main medium. 2. It has four main stages: warm-up, action, sharing and re-integration. Each stage has therapeutic elements in its own right. 3. Psychodrama is adaptable to a variety of settings and situations. 4. It has various forms, such as sociodrama and monodrama, and is separate from drama therapy, which centres on metaphor and its relationship with drama, although the two can often be used in partnership.

Child↗
PubMed1996

The use of drama and puppetry in occupational therapy during the 1920s and 1930s.

The occupational therapy literature was reviewed to determine how drama was used as a clinical modality in the 1920s and 1930s. It appears that the emergence of the Little Theater Movement in the early 1900s, which enabled amateurs to perform publicly, provided the impetus for occupational therapists to use drama as purposeful activity. The theatrical modes most frequently used were pageantry, puppetry, and comedic plays. Additionally, the collective nature of drama facilitated group-centered treatment. Noble, a psychiatrist at Sheppard and Enoch Pratt in Maryland, used drama for insight-oriented therapy and recommended that occupational therapists use drama for treatment of persons with mental illness. Drama in occupational therapy still exists in some psychiatric settings, although a new discipline known as drama therapy, which is a division of the creative arts therapies, has arisen. Although drama therapy addresses psychodynamic goals, drama also can be used in occupational therapy to promote competence, enhance self-concept, and improve socialization.

Drama↗
PubMed1994

Folk musical dramas portray population issues. Gurgaon.

The State Population Education Cell of the State Council of Educational Research and Training (SCERT) is now testing the use of folk musical dramas in promoting population messages. Being the language of the hearts, it is expected that about 50,000 students, teachers and members of the community will be oriented about the problems arising from rapid population growth through folk musical dramas. These musical dramas are innovative vehicles adopted under the Village Adoption and Population Education Laboratory Schools by the SCERT. It follows three phases. The first phase required poet teachers to develop three folk musical dramas on the themes of status of women and gender disparity, importance of small family and population growth and its impact on environment. The second phase saw the staging of these folk musical dramas in two adopted schools. The presentations were video taped and recorded into audio-video cassettes. For the last phase, another workshop will be organized to convene teacher poets to develop more folk musical dramas on the themes of adolescent problem, aging problem, mother and child care, delayed marriage, status of women and population growth and environment. The video cassettes produced previously will be used in the training of teachers, students and heads of schools on the development of folk musical dramas. After editing these dramas, they will be published in the form of booklets to promote wider dissemination to schools, which can stage these ready-made folk musical dramas during school celebrations and during the Population Education Week.

Asia↗
PubMed1999

An evaluation of the use of drama to communicate HIV/AIDS information.

This study evaluated the effectiveness of three dramas created to disseminate HIV/AIDS information. Predrama and postdrama interviews were conducted with a cohort of randomly selected audience members from ten separate performances in Tamil Nadu state, India (N = 93); an interview was also conducted with a postdrama--only comparison group (N = 99). The results showed that a significant increase in HIV/AIDS-related knowledge occurred as a result of watching the drama. Before the drama, audiences had relatively high levels of accurate knowledge about HIV/AIDS but lower knowledge levels of common HIV/AIDS misconceptions. The drama reduced these misconceptions. The drama also increased the level of reported intentions to treat HIV positive individuals more kindly. This research demonstrates that drama can be an effective medium for communicating HIV/AIDS information and can reduce knowledge gaps associated with low levels of formal education. Drama can also be used to convey socioemotive and sensitive material and could find wide applicability in many settings.

Acquired Immunodeficiency Syndrome↗
PubMed2003

Theatre and pedagogy: using drama in mental health nurse education.

Drama is a feature of all civilisations. It has long been used as an educative tool. In this paper, the authors advocate for the use of drama in mental health nurse education. An historical overview of the relationship between drama and education is offered. Through their own experiences the authors give examples of the use of drama in the classroom. Drama challenges the power position of the participants, teacher and student alike. A humanistic framework is offered that promotes empathic understanding between all those concerned, especially the client.

Drama↗
PubMed2003

Dementia -- involving patients and their caregivers in a drama programme: the caregivers' experiences.

A cultural drama programme was designed for patients with dementia and was led by teachers trained in drama in education and storytelling. The focus was on dance, rhythm, song, storytelling and conversations. The aim of this study was to describe how a drama programme for patients with dementia and their caregivers was experienced by the caregivers. Twelve strategically selected patients, 10 women and two men, with moderate and severe dementia, and their seven female caregivers participated in the programme. Sessions were held for one and a half hour, weekly once for 2 months. A focus group interview was held with the caregivers 1 month after the programme had ended. The interview and analysis of data were carried out according to the principles of phenomenography. Two categories, 'interaction' and 'professional growth', and five subcategories emerged in the analysis. In these, the caregivers described how fellowship developed between the participants and how they shared joy and sorrow. The patients communicated with each other and the leaders, and the programme seemed to help the patients to remember and make associations with situations experienced earlier in their lives. The patients also showed knowledge and ability in things about which the caregivers were unaware until the time of the drama programme. In other daily life situations, the patients showed their feelings, both joy and sorrow, more openly, their self-confidence grew and they showed greater interest in their surroundings. The caregivers furthermore expressed that they felt confirmed in their roles as caregivers. The programme prompted them to reflect upon their roles as caregivers. In conclusion, a drama programme with cultural features seems to increase the quality of life in patients with dementia and strengthen the caregivers in their profession.

Aged↗
PubMed1998

As seen on TV: observational study of cardiopulmonary resuscitation in British television medical dramas.

OBJECTIVE: To determine the frequency and accuracy with which cardiopulmonary resuscitation is portrayed in British television medical dramas. DESIGN: Observational study. SUBJECTS: 64 episodes of three major British television medical dramas: Casualty, Cardiac Arrest, and Medics. MAIN OUTCOME MEASURES: Frequency of cardiopulmonary resuscitation shown on television; age, sex, and diagnosis of the patients undergoing resuscitation; rate of survival through resuscitation. RESULTS: Overall 52 patients had a cardiorespiratory arrest on screen and 3 had a respiratory arrest alone, all the arrests occurring in 40 of the 64 episodes. Of the 52 patients having cardiorespiratory arrest, 32 (62%) underwent an attempt at cardiopulmonary resuscitation; 8 attempts were successful. All 3 of the patients having respiratory arrests alone received ventilatory support and survived. On 48% of occasions, victims of cardiac arrest seemed to be less than 35 years old. CONCLUSIONS: Cardiorespiratory resuscitation is often depicted in British television medical dramas. Patients portrayed receiving resuscitation are likely to be in a younger age group than in real life. Though the reasons for resuscitation are more varied and more often associated with trauma than in reality, the overall success rate is nevertheless realistic. Widespread overoptimism of patients for survival after resuscitation cannot necessarily be blamed on British television medical dramas.

Cardiopulmonary Resuscitation↗
PubMed2000

Evaluation of a drama-in-education programme to increase AIDS awareness in South African high schools: a randomized community intervention trial.

A community intervention trial was undertaken in KwaZulu Natal, South Africa to evaluate the effectiveness of a high school drama-in-education programme. Seven pairs of secondary schools were randomized to receive either written information about HIV/AIDS or the drama programme. Questionnaire surveys of knowledge, attitude and behaviour were compared before and 6 months after the interventions. One thousand and eighty students participated in the first survey and 699 in the second. Improvements in knowledge (P=0.0002) and attitudes (P < 0.00001) about HIV/AIDS were demonstrated in pupils at schools receiving the drama programme when compared to pupils receiving written information alone. These changes were independent of age, gender, school or previous sexual experience. In schools receiving the drama programme, sexually active pupils reported an increase in condom use (P < 0.01). It is important to provide resources to sustain such programmes and to obtain stronger evidence of effect on behaviour by measuring changes in HIV incidence.

Acquired Immunodeficiency Syndrome↗
PubMed2003

[Smoking scenes in Japanese television dramas].

BACKGROUND: Exposure to smoking scenes in movies and TV dramas has been known to be a trigger for young people starting habitual smoking, but it has not been clarified to what extent youth is routinely exposed to smoking scenes in television programs in Japan. OBJECTIVE: To clarify the status quo of smoking scenes and smoking-related items in serial TV dramas targeting young audience in Japan. METHOD: Seven TV dramas targeting a young audience broadcast between July and September, 2001 were analyzed. A total of 63 hours of TV programs were divided into units of three minutes (a total of 1,264 units). All the units were reviewed for smoking scenes, description of social contexts related to smoking behavior, existence of smoking and smoking-related items. FINDINGS: Among the 1,264 three-minute units, 129 (10.2%) contained smoking behavior, and 258 (20.4%) depicted smoking environment with presence of smoking-related items. Smokers were male actors (126 units, 97.7%), aged 20-40 years (118 units, 91.5%), leading actors (72 units, 55.8%), and were smoking alone (80 units, 62.0%). Smoking places mainly took place in indoor settings (56 units, 43.4%). Ashtrays were the most frequently observed smoking-related items (8.1% of the total units). The smoking scenes with actions other than smoking itself accounted for 70 units (54.3% of the smoking scenes). As for the actions other than smoking, working (28 units, 21.7%) and eating (17 units, 13.2%) were commonly observed. Regarding smoking scenes without any other actions, 32 units (24.8%) were observed in the beginning or ending telops, and 27 units (20.9%) showed a person smoking without doing anything else. There were only 3 units (0.2%) which were against smoking behavior. Approximately 30% of the Japanese serial television drama scenes featured tobacco use in story plots. As the general features of the smoking scenes, most of them do not necessarily require smoking in the story. Furthermore, there was little consideration about separation of designated smoking areas.

Adult↗
PubMed1997

Use of drama in teaching the human side of veterinary practice.

OBJECTIVE: To describe a teaching experiment in which fifth year veterinary students were given the opportunity, using dramatic scenarios, to consider ways of dealing with emotive issues relevant to veterinary practice, that demand good communication skills. DESIGN: Workshops were devised using dramatised scenarios of several critical incidents in practice, including euthanasia. A clinical psychologist and several veterinary practitioners participated in discussions. Both live performances and video scenarios were presented to fifth year veterinary students and were followed by group discussions. Each workshop was evaluated and modifications were made where necessary. RESULTS: The teaching format involving drama was well received. The combination of drama and discussion was more effective than a formal talk and discussion, provoking animated participation and maintaining audience attention. The majority of students considered that comments and advice from attending veterinarians were the most useful part of the workshops in preparing them for veterinary practice. The large audience (up to 45 attendees) was considered to be desirable for enhancing discussion. Requests for more similar sessions were made by students. CONCLUSION: Drama was found to be a satisfactory modality in teaching communication skills in preparing veterinary students for practice.

Animals↗
PubMed1994

Effects of a TV drama series upon public impressions about psychiatrists.

A survey was conducted among a nationally representative sample of over 2,800 UK television viewers to examine audience reactions towards a drama series about psychiatry. Whilst the majority of respondents agreed that the drama Shrinks was good entertainment and gave a realistic view of the field of psychiatry, those who reportedly had a close association with a mentally ill person were less likely to find the characterisations of the patients and psychiatrists credible. Despite the misgivings of practising psychiatrists and clinical psychologists, however, no evidence was found to support the idea that watching the drama resulted in misconceptions about the real world of psychiatric medicine.

Adolescent↗
PubMed1989

The medi-drama as an instrument to teach doctor-patient relationships.

This paper reviews an experience of the Curriculum Development Group of the College of Family Physicians of Canada in describing the doctor-patient relationship and its value in the clinical process. It proposes the use of a medi-drama or multi-scene script encompassing a broad range of bio-psycho-social-ethical issues as a practical tool to teach the doctor-patient relationship. Principles for conducting a medi-drama are presented, as are the advantages of this experiential teaching modality. An example of a specific script developed along the theme of Adult Children of Ageing Parents is described, and an evaluation of its usefulness in teaching the doctor-patient relationship is presented from feedback from seven different family medicine residency or faculty development groups. Finally, examples of the breadth of topics that can be generated from a single medi-drama are presented.

Curriculum↗
PubMed1989

A preliminary investigation using drama in community AIDS education.

This investigation assessed the impact of drama on AIDS-related knowledge and beliefs of selected individuals in a university community. Subjects were 136 members of the audience attending two performances of "As Is," the award-winning drama by William Hoffman depicting the illness and inevitable death of a homosexual man with AIDS. The investigation used a pretest-posttest design in which subjects completed a survey instrument before and immediately after the performance. No changes in AIDS-related beliefs were detected as a result of the play. However, knowledge decreased slightly. A linear multiple regression analysis determined variables that contributed significantly to variation in pretest knowledge about AIDS. Pretest knowledge scores were high, particularly in terms of modes of transmission. However, some confusion was evident concerning the concept of casual contact. Though subject responses on a pretest tolerance index generally indicated tolerant beliefs toward people with AIDS, substantial concerns were evident among a minority of subjects. More definitive research is needed to examine the impact of drama as a medium for affecting knowledge and beliefs about AIDS and other complex, emotion-laden health education issues.

Acquired Immunodeficiency Syndrome↗
PubMed1977

Play, fantasy, and symbols: drama with emotionally disturbed children.

This paper discusses the developmental continuum of play and its relationship to drama. The functions of drama therapy as a form of child psychotherapy are illustrated through case material, focusing on wish fulfillment, psychic integration, reenactment of past traumatic experiences, transformation from passivity to activity, separation of fantasy and reality, fusion with the idealized or hated parent, defense and mastery. The value of drama therapy is not only in the abreaction it provides, but in the chance to articulate the fantasies through play, experience the working through of the conflicts, and connect the past to the present.

Abreaction↗
PubMed1992

Routine, ceremony, or drama: an exploratory field study of the primary care clinical encounter.

BACKGROUND: Practicing family physicians often find family systems theory and the biopsychosocial model attractive, but have difficulties applying them in a busy office practice. METHODS: Two family physicians in a four-person group practice were identified as "exemplars" at managing daily office practice. A collaborative, qualitative methodology was used to explore their strategy. A series of semistructured key informant interviews with the two physicians and the head nurse identified themes later clarified using ethnoscience interviewing techniques. The resultant clinical encounter typology and decision-making taxonomy were evaluated using participant observation and key informant review. The final results were compared with the literature on physician-patient relationships. RESULTS: Three clinical encounter types were identified. "Routines" were simple, single, and brief visits in which a contractual style and the biomedical model were used. "Ceremonies" were linked rituals that invoked a covenantal style. "Dramas" were a series of visits concerning situations of conflict and emotion and included psychosocial problems. The family was often convened for dramas. Determination of the presenting concern, the trigger for coming, the patient request, the illness prototype, and the type of communication allowed recognition of the clinical encounter type. CONCLUSIONS: Identifying a clinical encounter as a routine, ceremony, or drama may help family physicians integrate family systems concepts into their busy office practices. These findings have numerous implications for future research, clinical practice, and teaching.

Adult↗
PubMed1995

Therapeutic drama activity for the cognitively impaired elderly in a nursing home.

The use of drama as a nightly activity for the cognitively impaired elderly patients at the Sakubara skilled nursing home commenced in 1989. Although it was started for the pleasure of the patients, and not for a therapeutic purpose, positive behavioral changes were observed. The therapeutic effects of the activity were measured and reported. Based on our 7-year experience and research, the definition, goals, structure, and conceptual framework of therapeutic drama activity were developed; the skills used in this activity and its cultural background are discussed. Finally, the philosophical background of the nursing home that promotes the therapeutic effects is presented.

Aged↗
PubMed2001

Evaluation of a primary school drug drama project: methodological issues and key findings.

This paper describes the impact evaluation of a primary school drug drama project developed by a health promotion service and a theatre's education department in England. The project targeted 10-11 year olds in 41 schools with an interactive drama production and workshop day on attitudes, choices, decisions and risks of alcohol, tobacco and illegal drug use. Parents were also involved in parents' evenings and watching children's performances. The research consisted of both process evaluation, consultation with pupils, teachers, parents, actors and health promotion staff on the project itself, and impact evaluation which looked at potential changes in children's knowledge, attitudes and decision-making skills. This paper reports findings of the impact evaluation, from six of the schools participating in the project. The impact evaluation consisted of pre- and post-project testing using a 'draw and write' and a problem-solving exercise. These findings suggest that the project had a significant impact on the children's knowledge of names of specific illegal drugs, and on their awareness that alcohol and cigarettes were also drugs, and secondly encouraged the children to think in less stereotypical terms about drugs and drug users. The problem-solving exercise, involving decision-making scenarios, showed small but positive trends between pre- and post-project solutions in more than half of the response categories. Methodological difficulties relating to evaluating such a project are discussed.

Child↗