Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

Recurring themes in drama therapy at a school with disturbed adolescents are
described by Jennings and Gersie (1987) as boredom, anxiety and dependency. They
argue that group work can be used productively to work on body and spatial
awareness, role identity and how the ‘self’ fits into the family and society. The use of
basic ground rules and keeping the structure firm with some flexibility is, they write,
crucial to establishing a healthy group in therapy. In my experience, the rules are well
respected if they are set by the group members themselves and may, therefore, vary
from group to group.
Working with boys in inner city, drama therapist, Haen (2007), discovers that drama
is effective because it ‘is compatible with boys’ natural propensity toward action
rather than words’ (p.223). This need to be doing rather than talking is necessary to
any arts therapy approach with this age group. Teenagers need to be able to explore
feelings creatively without pressure and in a safe environment which is contained by
the therapist. Weiner (1981) discusses the implications of psychodrama with
teenagers who drink and whose parents are alcoholics; that despite their emotional
deprivation and significant peer pressure, they can role-play and be spontaneous.
Grimshaw (1996) suggests that pupils, whose behaviour is unacceptable and
antisocial, can arouse feelings of helplessness and anger in teachers. The drama
therapist, therefore, needs to work with the wider culture, such as the teaching staff
within an educational unit, if the work is to be effective. Positive behavioural changes
in the young people need to be acknowledged by the whole team and this liaison is
also a valuable experience for the young person who experiences adults
communicating and co-operating.
Leigh’s document (2001) of the process of establishing drama therapy in a secondary
school describes the difficulties and the reality of working in schools. The constant
need to explain the concept of therapy, and its difference from an educational view,
can be challenging and require patience. Her work for students with real difficulties
around the learning process and its environment is similar to the music therapy work
in this study. ‘Therapy in education goes alongside teaching. It underpins the child’s
ability to learn. No one can learn much if they are in turmoil for one reason or
another’ (p.9). Leigh works with an eclectic, integrative and holistic approach within
the whole school, recognising the importance of therapeutic work to resolve conflict,
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