scholarly journals El teatro como ejercicio terapéutico en Todos somos el rey Lear, de Guillermo Schmidhuber

2021 ◽  
Vol 12 (19) ◽  
pp. 44-61
Author(s):  
Lourdes Betanzos
Keyword(s):  
William Shakespeare ◽  
Therapeutic Process ◽  
Drama Therapy ◽  
King Lear ◽  
Therapeutic Exercise ◽  
Jean Baudrillard ◽  
The Creation ◽  
Psychological Concepts

En Todos somos el rey Lear, escrita en 1979 y publicada en 1982, el dramaturgo mexicano Guillermo Schmidhuber de la Mora plantea clara intertextualidad con William Shakespeare. El presente estudio es una exploración de cómo Schmidhuber teatraliza la creación de hiperrealidad como proceso terapéutico no sólo para ciertos personajes de la obra, sino también para el público e, incluso, para el dramaturgo mismo. Con esta finalidad se emplean los conceptos de Jean Baudrillard sobre la hiperrealidad y el simulacro, las afirmaciones del mismo Schmidhuber sobre la dramaturgia, así como también los conceptos psicológicos de Phil Jones sobre la drama-terapia y los efectos transformativos de este ejercicio teatral. Por medio de este proceso que resulta terapéutico, los personajes Millonario verdadero y Álvaro intentan enmendar los conflictos vitales que inquietan a ambos, a la par que el autor mismo negocia su identidad como dramaturgo.Theather as therapeutic exercise in We are all King Lear from Guillermo SchmidhuberAbstractIn We are all King Lear, written in 1979 and published in 1982, the Mexican playwright Guillermo Schmidhuber de la Mora clearly lays out an intertextuality exercise in front of William Shakespeare’s work. This study is an exploration of how Schmidhuber dramatizes the creation of hyperreality as a therapeutic process not only for certain characters of the play, but also for the audience and even for the playwright himself. To carry out this exploration, the paper applies Baudrillard’s concepts of hyperreality and simulation, as well as some affirmations from Schmidhuber himself about dramaturgy, and some of Phil Jones’ psychological concepts regarding drama therapy and its transformative effects as a theatrical exercise. Through this therapeutic process, the characters Real Millionaire and Álvaro attempt to rectify the vital conflicts that unsettle them both, while the author himself negotiates his identity as a playwright.Recibido: 05 de octubre de 2020Aceptado: 01 de febrero de 2021

FC14-01 - Internal losses and the creation of “Nowhere land”: psychodynamic themes of adults with ADHD discovered during drama-therapy

2011 ◽  
Vol 26 (S2) ◽  
pp. 1893-1893
Author(s):  
I. Manor ◽  
G. Yazpan
Keyword(s):  
Drama Therapy ◽  
Transitional Space ◽  
Men And Women ◽  
The Past ◽  
Chronic Disorder ◽  
Pharmacological Aspect ◽  
Inner Self ◽  
Socioeconomic Strata ◽  
The Creation ◽  
First Time

ADHD is a well-known, chronic disorder that persists in adulthood. During the past 20 years its existence in adults is becoming clearer, yet its dynamic aspects are rarely discussed. The treatment of adults is vital, as much as that of children; however the literature discussing it, especially its non-pharmacological aspect, is scarce.We describe the results of our treatment with drama-therapy of two groups of adults with ADHD. These groups included 11 adults (from both groups), men and women, from most socioeconomic strata, aged ≥ 60 yrs., who were diagnosed as suffering from ADHD and were treated for it for the first time in their life. Drama-therapy was selected as we believed it to be a useful method with associative, distracted ADHD patients, since it enabled the use of transitional space through non-verbal images and acts.This presentation discusses the basic themes with which patients began therapy. Interestingly, all patients, however different, shared the same themes that were built on self doubt and the pre-presumption of disappointment. The impairment related to ADHD, that was felt, but not understood, led to a strong experience of heavy losses, which we tried to define separately: of a clear path, of control, of the inner perception of borders and of the loss of an integrative inner self. All these losses were accumulated in the transitional space in a place we named “Nowhere land”.We would like to present these themes of losses and of becoming lost and to discuss their meaning.

scholarly journals KERTAS SEBAGAI BAHAN PEMBUATAN KOSTUM PERTUNJUKAN NASKAH THE PIRAMUS AND TISBI KARYA SHAKESPEARE TERJEMAHAN SUYATNA ANIRUN

2019 ◽  
Vol 16 (2) ◽  
Author(s):  
Hidayah Kartikasari
Keyword(s):  
William Shakespeare ◽  
Key Words ◽  
Aesthetic Theory ◽  
Creation Process ◽  
Love Story ◽  
The Creation

Abstrak: Piramus dan Tisbi adalah kisah cinta tragis yang populer pada 331 SM di Babilonia. Pada 1590-an William Shakespeare menulis drama berjudul Mid Summer Night's Dream di akhir cerita, yang memasukkan kisah-kisah Piramus dan Tisbi. Tahun 1960-an kemudian diadaptasi oleh Suyatna Anirun sebagai drama pendek Piramus dan Tisbi dalam bentuk komedi. Pencipta kostum menggunakan naskah tersebut untuk mewujudkan penciptaan kostum teater. Pencipta kostum perlu memahami karakter sehingga tercapai hubungan harmonis antara karakter dengan kostum yang dikenakannya. Teori estetika digunakan untuk menghadirkan estetika dalam penciptaan kostum kertas yang akan digunakan dalam pertunjukan. Hasil proses penciptaan karya busana dalam naskah Piramus dan Tisbi dengan material kertas ini mengalami banyak kendala dan beberapa kali perubahan, hingga mencapai bentuk yang menyesuaikan kebutuhan pementasan. Kata kunci: Piramus and Tisbi, kostum teater, estetika, kostum kertas Abstract: Piramus and Tisbi is a tragic love story popular in 331 BC Babylon. In the 1590s William Shakespeare wrote a drama called Mid Summer Night's Dream that by the end of the story, it included the story of Piramus and Tisbi. The story was later adapted by Suyatna Anirun as a short drama of Piramus and Tisbi in the form of comedy in 1960s. The costume creator uses the script to realize the creation of the theater costume. The costume creator needs to understand the character to create a fitting costume for the characters. Aesthetic theory is used to present aesthetics in the creation of paper costumes that will be used in performances. The result of the costume creation process in the Piramus and Tisbi play with paper materials, has experienced many obstacles and has been revised for several times, to reach a form that matches the stage needs. Key words: Piramus and Tisbi, theater costume, aesthetics, paper costume

A Jesuit Allusion to King Lear

2007 ◽  
Vol 28 (3) ◽  
pp. 416-423 ◽  
Author(s):  
Frank W. Brownlow
Keyword(s):  
William Shakespeare ◽  
King Lear ◽  
Striking Feature ◽  
Life And Death

In 1614 Charles Boscard published at St Omer The Life and Death of Mr. Edmund Geninges Priest, Crowned with Martyrdome at London, the 10. day of November, in the yeare M.D.XCI, a book which John Hungerford Pollen called ‘the most sumptuous, artistic, and, typographically speaking, the most interesting literary monument to our martyrs which our poor persecuted church was ever able to set forth’. This beautiful little book's most striking feature is a set of twelve handsome engravings by Martin Bas of Douay, one before each chapter illustrating an episode in the martyr's life. It also harbours an important allusion to King Lear, and hence to William Shakespeare.

The mighty metaphor: a collection of therapists’ favourite metaphors and analogies

2016 ◽  
Vol 9 ◽  
Author(s):  
Steve Killick ◽  
Vicki Curry ◽  
Pamela Myles
Keyword(s):  
Therapeutic Process ◽  
Therapeutic Change ◽  
Process Of Change ◽  
Therapeutic Modalities ◽  
The World ◽  
Important Addition ◽  
Central Tool ◽  
Selection Of ◽  
Psychological Concepts

AbstractMetaphor is a central tool of the therapist of many therapeutic modalities, and they are a particular feature of CBT. Metaphors can be essential tools in the therapeutic process; providing the therapist with a means of communicating potentially complex psychological concepts and theory to clients, and also being part of the process of change. This paper presents a series of metaphors that some of the most experienced and innovative practitioners in the world of CBT have found to be helpful. Each practitioner describes how to utilize the metaphor skilfully and effectively: providing some tips for facilitating both the presentation of metaphors to, and eliciting of metaphors from the client; and demonstrating how the use of metaphor can facilitate therapeutic change. Overall, the small selection of metaphors presented here demonstrate the great versatility of metaphor to address all kinds of issues in therapy, with a range of client groups and presenting difficulties; and how the shared exploration and collaboration of both client- and therapist-generated metaphors can be an important addition to the therapist's toolbox.

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