Drama therapy began in England and America. Considered the pioneers of drama therapy, Peter Slade, Brian Way, Viola Spolin, and Richard Courtney laid the groundwork for moving creative drama from the classroom into other settings[1]. These creative people started their work in the 1960s. Before, therapy of any kind was almost unheard of. Through their work, three more people, Melanie Klien, Virginia Axline, and Margaret Lowenfield, helped paved the way for using drama and play as form on therapy. They further used dramatic play as a variant of play therapy and incorporated dramatic elements of role-play, storytelling, and doll play into child psychotherapy[2]. Clearly, this work has been extremely influential on the therapy concept we know of today.

Traditionally, children with emotional and physical problems, particularly those who suffer from child abuse and neglect, are made to face the inadequacies of the system. Years ago, therapy was only offered to them in the form of counselors and psychotherapists. However, now the options for children are very different.

Children are a sensitive group for therapy. The emotions that they are feeling are new to them and they may not know how to handle it. In Renee Emunahs article on Drama Therapy[3], she says that the model of drama therapy provides a gradual, paced progression from playful dramatic work facilitates interaction and a sense of liberation for real-life constraints to psychodramatic work that deepens ones examination and transformation to personal, emotional life issues. It is that play that makes drama therapy so useful to children. Straight talking may be emotionally draining on a child and they may show signs of resistance. In drama therapy, the children are so engrossed in play, that it is only until they start showing signs of a break-through that they realize that are making emotionally progress. However, resistance can become an issue even in drama therapy. But, there is a way to break through it that it far more creative than in psychotherapy. Children are able to use that resistance in a different sort of playto realize why exactly they are holding back these emotions: acting-out clients may enactin the context of a dramatic gamerebelliousness or hostility, and thereby immediately experience an acknowledgement of who they are and how they feel, at the same time that they experience success at the activity[4]. These games become a safe haven for children. No matter how silly or private they feel a problem is, they can act it out and create a safe distance between themselves and that problem. It is important to note that this distance does not remain in tact though. After a significant time in drama therapy, they are able to realize what is emotionally wrong in their life and want to change. In child abuse cases, that may take longer. Children often act out what has happened to them and how they are feeling. They are more scared than other clients and require more one-on-one attention and role-playing with their therapist. Amanda Gafter-Ricks notes that children who suffer abuse are emotionally withdrawn. But, after time is spent with them, they become more out-going[5].

There are many different types of techniques that professionals use in drama therapy. The first, and more popular, choice is role-playing. Extremely challenging cases (such as child abuse), are often done in a one-on-one setting, with only the therapist and the child in the room. The role-playing usually involves something with the case, whether it is a past event or how the child would talk to or deal with their abuser in a future situation. Sometimes, the therapist opts for group therapy, where two clients would be involved in the role-play and then, after the scene concluded, the rest of the group would offer ideas on ways that the situation could be changed for the better. The risk is run, in group therapy, of having a child who is disruptive and negative, but like with resistance, its worked through with the help of drama therapy, specifically role-play.

Another common type of drama therapy is mask making. The Drama Therapy Insistutue of L.A says that through the use of masks the participants learns more about himself or herself, and reveals feelings, emotions, and perceptions previously not expressed. The participant experiences the world with a new freedom and creativity. The mask transforms the person into a persona. The mask as persona helps the individual explore aspects of the self and functions as a double of the person[6]. With mask masking, a child is allowed to hide behind the safety of the mask, while at the same time, evoking new emotions and feelings that help them cope with the experience that they have gone through. In mask making, as well as with art therapy, the child can emit what they are feeling through paper and pen, so to speak. They are not required to vocalize anything. Some children are afraid to involve themselves in role-play because they fear they run the risk of rejection. This is especially common in child abuse victims. They feel that the abuse is a sign of rejection. Masks allow them to explore their individuality and creativeness within the comfort of their own mind.

Drama therapy is increasingly popular. Children might think that it is more fun and therefore more socially acceptable. Childhood and adolescence is such an increasingly hard time, that acceptance seems to be the most important thing. To have fun, while dealing with any emotional problem that a child might have, is killing two birds with one stone. Most child abuse victims have missed out on the fun of childhoodspending a good amount of their years afraid and struggling with the feeling that they are inadequate. Through drama therapy, the child learns that they have an important role in society, as well as have a good time. Looking forward to going to therapy is key in making a change. The child has to be accepting of the therapist and the therapy, otherwise they may just remain the same. Drama therapy elicits joy in children. Their creativity can be expressed, but at the same time it is a serious form of therapy. Amanda Gafter-Ricks interview proves it: Hopefully all goals have been met. That is: increased self-esteem, the ability to protect themselves from future abuse, a lessening of disruptive behaviors, and the general increase in confidence that would be required it returning to an abusive situation[7]. A child, or any client for that matter, is a changed person after drama therapy.

A drama therapist is required to have a background in theatre. A dual-degree in psychology and theatre is considered to be almost required in the field. Amanda Gafter-Ricks Registered Drama Therapist (RDT) #197, a graduate of Concordia University, has practiced for nearly two decades, working with a wide range of patients from those who require marital counseling to those in social services.

Question 1: How did you get involved in drama therapy?

Answer 1: I have always worked with kids and done drama with them. Before embarking on my bachelors degree, I thought that there must be something that combines therapy and drama. When I went to Concordia (before they had the drama therapy program there), I took classes in drama in education and the two classes they had in drama therapy. I met Richard Courtney then. I knew I had found what I wanted to do and I have been doing ever sinceabout 14 years.

Q2. What are the ranges of patients you see?

A2. I have worked with the chronically mentally ill, residential chronically ill youth and children, anxiety, depression, regular neurotics, chemically addicted of all ages, et cetera. I have worked cross-culturally on reserves and in hospitals as well.

Q3. What kind of abuse do you most commonly see?

A3. I have seen all kinds. Physical, sexual, and verbal. I have worked with a broad range of abuse, from minor physical slapping and mental abuse, all the way up to death or near death abuse cases.

Q4. What are the most common type of behavioral problems in abuse victims?

A4. Many of the abused victims I have worked with are timid and withdraw from intimacy in the play space. There is some acting out of aggression towards items, but not any playing with abuse towards myself until there is more self-esteem and mental well being established. The acting out I have seen are towards animals or in a school type setting is based on creating disturbance or diversion to avoid learning because not knowing is such a vulnerable place and often would result in receiving abuse.

Q5. How do child abuse victims appear before therapy?

A5. Withdrawn, non-trusting, afraid.

Q6. What kinds of dramatic activities do you use?

A6. I use developmental transformations, art therapy, and sometimes music play to begin interactions. I am fond of doing mask making or sculpture and projective techniques as well. These are especially effective if touch is an issue. This is in the beginning and then developmental transformation is used.

Q7. Do you use any therapy besides drama therapy?

A7. I use all creative arts therapies and then, if having to choose a particular form of talk therapy, I would say I lean towards the cognitive-behavioral mode with a dash of the humanist approach.

Q8. What kind of changes do you notice in the patients who suffer from behavioral problems or child abuse at the end of the drama therapy?

A8. Hopefully, all the goals have been met. That is: increased self-esteem, the ability to protect themselves from future abuse, a lessening of disruptive behaviors, and the general increase in confidence that would be required id returning to an abusive situation. Often I have spent a lot of time on working of future abusive situations and working with the family in some way to address the issues(s) causing the abuse. I have worked with families the past five years a great deal and there is no real point in working solely with a child is the family is not also in some kind of treatment plan.

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