Dramatic Psychological Storytelling
This page intentionally left blank
Dramatic Psychological Storytelling Using the Expressive Arts and Psychotheatrics Rob Allen and Nina Krebs
Rob Allen and Nina Krebs 2007 Softcover reprint of the hardcover 1st edition 2007 978-0-230-50681-7 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2007 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-35303-3 DOI 10.1057/9780230800557 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. A catalogue record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 16 15 14 13 12 11 10 09 08 07 ISBN 978-0-230-80055-7 (ebook)
Roslyn Medaris, wife and soul-mate Carey Allen, son and comrade Rob Allen To the memory of a most amazing storyteller, Mary Geoghegan Bolton. Nina Krebs
This page intentionally left blank
Contents Acknowledgements Preface viii ix Part I Conceptual Foundations 1 Chapter 1 Introduction: Destination or Journey 3 Chapter 2 Intersubjective Meaning 10 Chapter 3 Expressive Arts 20 Chapter 4 Dramatic Psychological Storytelling 31 Part II The Seven Expressive Arts 43 Chapter 5 Narrative 45 Chapter 6 Film 54 Chapter 7 Theatre 63 Chapter 8 Music 73 Chapter 9 Visual Art 82 Chapter 10 Dance and Kinaesthetics 93 Chapter 11 Ritual and Epic 102 Part III Psychotheatrics 117 Chapter 12 Imaginal Psychotheatrics 119 Chapter 13 Playwright Psychotheatrics 131 Chapter 14 Montage Psychotheatrics 142 Part IV Applications 155 Chapter 15 Clinical and Counselling 157 Chapter 16 Human Resources 176 Chapter 17 Education and Awareness 193 Chapter 18 Facilitator Skills 205 Notes 216 Bibliography 236 Name Index 243 Subject Index 246 vii
Acknowledgements Roslyn Medaris has been an essential part of the process. Not only was she willing to test the Dramatic Psychological Storytelling process in her own work situation, her honest feedback and contributions along the way have been invaluable. Carey Allen added his performance and playwrighting skills to make an outstanding contribution to the DPS process. Trish Ludgate contributed major editorial intelligence. Dave Krebs cleared space for work time and travel, essential aspects of any creative process. Graduate students from Charles Sturt University Australia have researched the DPS model and have all contributed to its understanding and use. Their careful work lends not only broad experience with the process, but the academic credibility that is essential to assure professionals who will use DPS that it is valid and reliable. In addition, special thanks to all the professionals who have shared their knowledge after attending our workshops and conference presentations and also those who are now actively involved in the DPS process we appreciate your support and contributions. Thank you! YOU!!!! Contributors Carey Allen Loraine Anderson Bill Blaikie Cherie Borosh Anna Bray Mixhuca Cervantes-McBride Brigette Conway-Dobson Karen Lattouf Roslyn Medaris Tamlyn Philips Tandi Pickard Amanda Rouhliadeff Julie Simon Carol Tutchener Jo (Joan) Willis www.dramaticpsychologicalstorytelling.com viii
Preface Guideposts: Dramatic Psychological Storytelling Meaning comes into our lives, not so much because we search it out, but because we recognise it when it emerges, or even more often, through hindsight. An intentional journey increases the possibilities. When truth and intention meet, we gain new ground in enriching our existence. Dramatic Psychological Storytelling (DPS) is significantly different from other change processes because it involves dramatic expression using the expressive arts in a psychological intersubjective orientation as well as meaning reflection or making through enactment storytelling. Workshops designed to test DPS generated high energy and rich interaction, with many participants describing their experience as moving and profound. What had been theory became practice with good results. As more people engage DPS, questions will arise that require creative responses. A website will include questions, critiques and contributions from around the world creating the connection that DPS promotes: dialogue and exploration of the expressive arts to reflect and create meaning in Clinical and Counselling, Human Resources and Educational settings. Research will be made available utilising DPS, including numerous theses, with many more now in progress and all this will be available on the website: www.dramaticpsychologicalstorytelling.com Part I: the first three chapters lay the conceptual foundations as they relate to DPS. This includes the steps necessary in a search for meaning that involves new perspectives in psychology, the rediscovery of storytelling and the unique Dramatic Enactment of the Expressive Arts. This ancient but radical combination results in a dynamic and productive union. The spotlight is then focused on the relevance of the Expressive Arts and the action method Psychotheatrics for dynamic intersubjective exploration and the establishment of Meaning. Chapter Four offers a detailed explanation of the DPS model. Part II: explores the relevance of the seven Expressive Arts Narrative, Film, Theatre, Music, Visual Art, Dance and Kinaesthetics, ix
x Preface and Ritual and Epic and their direct application to DPS. Entering DPS through one s personal connection with the Expressive Arts, rather than a more traditional conservative approach, provides a creative openness to one s own story in a social context, as well as to new experiences. Each of the chapters in this section describes the application of a particular art type for DPS and includes an interview with an authority in the field directly linking this art type to DPS. In addition, a demonstrative case using DPS with that art type is provided. Part III: provides details for application of the seven Expressive Arts with the three action methods Psychotheatrics: Imaginal for groups; Playwright for individuals and couples; and Montage for individual transformation in a collective setting. Part IV: describes practical applications of DPS in Clinical and Counselling, Human Resources and Educational settings. Discussion for individuals engaged in their personal search for meaning is also included. Each chapter contains case studies and examples that apply to that particular domain. This section also addresses the need for competent facilitator skills providing specific information and steps necessary for effective practice.