By Salvo Pitruzzella
Introduction to Dramatherapy provides a theoretical framework for the perform of dramatherapy, and examines the connection among the 'self' and the 'other'; the knowledge of which, the writer argues, is essential to harnessing the total power of dramatherapy as a therapeutic medium.
In half 1, the person is brought when it comes to the dramatic metaphor, targeting the important factor of id and the mediation among the interior and exterior worlds. partly 2 the weather that make up dramatic truth, particularly play, narrative and position, are tested, and within the ultimate half we witness the worth of dramatherapy in perform in perform in a variety of medical settings.
This isn't easily a 'how to do dramatherapy' booklet - it offers an important beginning within the idea of the topic that would be of significant curiosity to these learning or working towards dramatherapy.
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SOCIAL REPRESENTATIONS There are a great many men, but many more faces, because every man has quite a lot of them. There are people who wear a face for years, and it is natural that they wear it out; it becomes dirty, it thins out at the folds, it loses its shape as a travel-worn glove. They are simple, thrifty people; they don’t change their face, they don’t even clean it. ‘It is still good,’ they say, and who can convince them of the contrary? Of course, one might ask what they do with the others, since they have a whole stock of them.
The permission to stand in It is important for this discussion to underline the fact that the myth of Oedipus, with its themes of masks and unmasking, taking another’s place and authority, was passed down to us not just through narrative but particularly through the theatre. Its themes deal specifically with human relationships, on which the theatre as an activity of the human community is founded. Writes Wilshire: Oedipus stands in illicitly for the authority. If to stand in for an authority licitly is to be authorized, to stand in illicitly must be condemned and defiled.
Mask and truth Although unaware, Oedipus breaks a rule crucial for the survival of humanity itself: he has turned a metaphor into an act of reality. All of us may have had a moment of discouragement at some time in our lives when we have expressed the strong desire to die. But from expressing such a thought to the act of suicide itself there is a great distance. ‘I feel like dying’ or ‘I could kill you’ belong to the same metaphoric world of ‘I am in heaven’ or ‘I am bursting with joy’, in which the meaning of the words is not to be understood in the literal sense, but as a synthetic allusion to another deeper meaning.