Drama Therapy: Concepts, Theories, and PracticesC.C. Thomas, 1994 - 280 strani |
Iz vsebine knjige
Zadetki 1–3 od 63
Stran 86
... present through the past , living the life of the other through oneself . For Stanislavski , then , the central problem of the actor is to balance the forces of past and present , oneself and other , so that he is able to present a ...
... present through the past , living the life of the other through oneself . For Stanislavski , then , the central problem of the actor is to balance the forces of past and present , oneself and other , so that he is able to present a ...
Stran 117
... present time frame vs. a past time frame ; fictional events vs. reality - based events ; a rapid reviewing of past events vs. a detailed recollection of the past ; and the use of positive emotions vs. negative ones . A fifth item not ...
... present time frame vs. a past time frame ; fictional events vs. reality - based events ; a rapid reviewing of past events vs. a detailed recollection of the past ; and the use of positive emotions vs. negative ones . A fifth item not ...
Stran 133
... present feelings through movement or visualization . Many therapists close a drama therapy session with a group ritual experience , in which all form a circle and offer both a present feeling through words and / or movement and a hope ...
... present feelings through movement or visualization . Many therapists close a drama therapy session with a group ritual experience , in which all form a circle and offer both a present feeling through words and / or movement and a hope ...
Vsebina
Chapter | 5 |
TOWARD A DEFINITION OF DRAMA THERAPY | 45 |
Chapter | 65 |
Avtorske pravice | |
13 preostalih delov ni prikazanih
Druge izdaje - Prikaži vse
Pogosti izrazi in povedi
ability able action activity actor adult applied approach artist asked audience balance become begin behavior body character child client concepts create creative direct director disabled distance disturbed dolls drama therapy dream effects emotional enactment engage example experience explore express extended feelings focus Following functions further given goals human identified imagination improvisational individual interaction involves issues lead learning lives look means mental method mother move movement nature needs notion objects occur offer one's particular past performance person physical populations positive practice present problems projective protagonist psychodrama puppets qualities questions reality relation relationship representation representing role playing Role Type sense session setting significant social specific spontaneous stage story structure Subtype symbolic techniques theatre theory therapeutic therapist thought transference treatment understanding warm-up