A cry for help: Dramatherapists can intervene to change the language and environment in mental health care by engaging critically with the new diagnostic category of Complex PTSD

In funded healthcare settings, access to dramatherapy and other arts therapies is limited. Patients suffering the long-term emotional effects of childhood or prolonged trauma are often not helped by short-term funded therapies. These therapies that engage in the diagnostic model of suffering with disorder specific research speak little to those suffering multiple traumas. This leaves dramatherapists unable to reach those most in need of their skills. At the same time, survivors are left bewildered and shamed again as they ‘fail’ to benefit from the limited symptom management approaches on offer. While the diagnostic model of suffering may be approaching obsolescence, what still seems a long way away is a major overhaul of the mainstream understanding of suffering and mental health that could fuel a reorganisation of how services are delivered and research conducted. In this context, the new diagnostic criteria of Complex Post Traumatic Stress Disorder in the International Classification of Diseases-11 provides an opportunity and perhaps even a rallying cry for dramatherapists to evidence how our skills can provide a framework and method for survivors to re-imagine themselves and understand and claim their place in the world by loosening the chains of fear and shame.

Artist identity is a vital part of fitness to practice for dramatherapists

Embracing the dual identity of artist with therapist is valuable for dramatherapists, particularly when addressing the issue of fitness to practice.

Re-conceptualising ‘mise en scène’ for online dramatherapy

In this clinical comment, the author will explore how an understanding of mise en scène can be helpful for online dramatherapy practice, particularly for those new to this way of working. The author will reflect upon aspects of mise en scène and reconceptualise them in a therapeutic context. Elements such as the use of props and how they appear on screen, what the client can (or can’t) see in the background and the use of lighting will be examined in terms of the dynamics of the online therapeutic relationship and online therapy space. The author shares their experience of applying mise en scène theory to their own dramatherapy practice and offers reflections upon the symbolic meaning that can be unconsciously expressed through the ‘frame’ of the online therapy screen.

Role reversal in remote peer supervision: Utilising tools commonly used in dramatherapy and family therapy to facilitate peer supervision

Peer supervision is a dynamic process which highlights constructive and supportive feedback among therapists while minimising feelings of being evaluated. Some of its benefits include decreased dependency on the expertise of a supervisor, freedom, and equality. In this article, we outline the benefits of peer supervision between a dramatherapist and a family therapist and how their common roots based on creativity and action-based approaches could be used remotely to enhance the goals of peer supervision. We discuss how we utilised such methods and more specifically role reversal in a virtual space during the first Covid-19 lockdown to facilitate the process of peer supervision and understand better the needs and perspective of the client. We propose that incorporating creative and spontaneous methods such as role reversal in a virtual peer supervision environment can potentially enhance the supervisory alliance and therapeutic practice.