Bibliography: leaves 67-69. / The Narrative Therapy approach has been developed in Australia, and is therefore refreshingly southern hemispheric in contrast to most psychological theories which have originated in northern hemisphere countries. However, its application has mostly been in first-world, white, middle- class, English-speaking contexts. Questions therefore arise as to the appropriateness and applicability of this approach with people from working-class, politically disempowered, and multi-language contexts. The context for this study is the broader African culture which has traditionally privileged the oral tradition in the sense of the shared telling of stories. A narrative or story approach to therapy recognises the client's story as a story and privileges the telling of it. The respect for the other and their story, implicit in the narrative approach, greatly facilitates cross-cultural exchange. This research illuminates the process and appropriateness of applying Narrative Therapy in order to facilitate the client's preferred, alternative story of her life and her relationships in a South African setting of racial, cultural and economic refraction and ,diversity. Light is shed on the cross-cultural sensitivity of the narrative approach and on restraints inherent in the author-therapist's and the client's contexts and in the site of study, namely a South African university. The story of co-authoring a client's life and relationships is presented via a qualitative, exploratory design and single case study methodology. Data was collected from the author- therapist's session notes and transcripts of audio tape recordings. Data processing analysis and interpretation were informed by the characteristics and concepts of Narrative Therapy theory. Summarizing statements and recommendations suggest modifications to and extensions of the Narrative Therapy approach in the specified context. These include suggestions for cross-cultural training in the context of peer-group supervision, generation of a thesaurus of modified questions by practitioners for use in multi-language settings, and further research with regard to application of the narrative approach to groups and families in settings which are similar to that of this study. Exchange across the spectrum of human sciences and social services is recommended to enlighten and enliven the narrative conversation in South Africa in order to move forward with regard to empowering and just practices.

No description available.

Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. The recent and expanding use of people’s personal stories in the theatre has prompted the need for a robust framework for safe, ethical, flexible and intentional practice by theatre makers. Such a framework is needed due to the risks inherent in putting people’s private lives on the stage, particularly when their stories focus on unresolved difficulties and cross into therapeutic terrain. With this ethical and practical imperative in mind, and in order to create a broader spectrum of ethical risk-taking where practitioners can negotiate blurred boundaries in safe and creative ways, this study draws on relevant therapeutic theory and practice to re-connect therapy and theatre and promote best practice in the theatre of personal stories. In order to promote best practice in the theatre of personal stories (a term I will use to cover the myriad forms of theatre that make use of people’s personal stories), I describe a new framework that synthesises theory and practice from the fields of psychodrama, attachment narrative therapy, and theatre and performance studies. The benefits of this integrative framework for the theatre practitioner are that it promotes safer, more ethical and purposeful practice with personal stories, and encourages more confident and creative artistic expression. The framework provides these benefits because it offers a structured model for decision-making by theatre practitioners who work with personal stories, and suggests ways that the practitioner can explore fresh artistic possibilities with clear intentions and confidence about the boundaries and ethics of the work. The integrated framework has been developed through the grounded theory process of reflective inquiry, using in particular the models of action research, the Kolb experiential learning cycle and applied phronesis. The framework has four elements, which are explored respectively in chapters one to four: 1) History: understanding the roots of the theatre of personal stories in traditions of art, oral history, social activism, theatre and therapy; 2) Ethics: incorporating wide-ranging ethical issues inherent in staging personal stories; 3) Praxis: structuring participatory theatre processes to regulate the level of personal disclosure among participants (a model for structuring practice and regulating personal disclosure is offered — called the Drama Spiral); and 4) Intentions: working with a clear focus on specific intentions — especially bio-psycho-social integration — when working with personal stories. The study concludes, in chapter five, with a critical analysis of two exemplars of practice, examined through the lens of the Drama Spiral.

The purpose of this research is to examine the possibilities of the Biblical narrative (Genesis 37·, 39-50 as the focus of this study) in therapy with children. A practical, reformed view of humans has been established, to give a clearer understanding of how Christian therapists view a child in therapy. The specific role of the therapist in the use of Narrative therapy was explored. Narrative therapy can be approach in two different ways: the use of the persons problem-oriented story, or the use of external narratives. Both uses have been discussed, combined and illustrated through the use of case studies. The story of Joseph (Genesis 37, 39-50) was selected for use in this studie. It has been studied in a context of Revelation history, while the case for the use of this narrative has been argued. The main reason being that Joseph seems to be an exceptional example of virtue for any person to follow. On the strenth of this study the author wishes to make the conclusive propositi·ons: Children with problems should not only be helped to cope with their problems, but should also be taught to build a relationship with God during the therapy proses. Since stories have been used through the ages to convey a spesific message (also by Jesus himself), this method could (and should) be employed while. working with children. The Christian therapist is priviledged to have the Word of God, written in narrative form, to utilize in practice. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001

The purpose of this research is to examine the possibilities of the Biblical narrative (Genesis 37·, 39-50 as the focus of this study) in therapy with children. A practical, reformed view of humans has been established, to give a clearer understanding of how Christian therapists view a child in therapy. The specific role of the therapist in the use of Narrative therapy was explored. Narrative therapy can be approach in two different ways: the use of the persons problem-oriented story, or the use of external narratives. Both uses have been discussed, combined and illustrated through the use of case studies. The story of Joseph (Genesis 37, 39-50) was selected for use in this studie. It has been studied in a context of Revelation history, while the case for the use of this narrative has been argued. The main reason being that Joseph seems to be an exceptional example of virtue for any person to follow. On the strenth of this study the author wishes to make the conclusive propositi·ons: Children with problems should not only be helped to cope with their problems, but should also be taught to build a relationship with God during the therapy proses. Since stories have been used through the ages to convey a spesific message (also by Jesus himself), this method could (and should) be employed while. working with children. The Christian therapist is priviledged to have the Word of God, written in narrative form, to utilize in practice. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001

Practical Theology / (M. Th. (Practical Theology))

no abstract available / Practical Theology / (M.Th.(Pastoral Therapy)

Thesis (D. Th. (Praktiese Teologie))--Universiteit van Suid-Afrika, 2002.

(MEdPsych)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Stories let the world go round! In this study I try to tell a story, to weave the voices from the inside with those from the outside. It's my story, Lize's story, our story and the story of us all, our culture and our society - little patches of that. I try to explain narrative speech - inquiry, curiosity, purpose, inspiration and my commitment to the study. I explore stories about Down Syndrome and inclusive education. I try to follow the path of my own experience in the landscapes of narrative philosophy, inquiry and therapy. I tel! the story of my and Lize's shared experience during our work in therapy, I reflect on the process of this study as a self-story and the therapeutic outcome(s), the opening of more choices and possibilities and beyond: A journey. / AFRIKAANSE OPSOMMING: Stories laat die wêreld draai! In hierdie studie probeer ek 'n storie vertel, weef ek die binnestemme met die buitestemme saam. Dit is my storie, Lize se storie, ons storie saam, ons almal se storie en die storie van ons kultuur en samelewing of liewer kolletjies daarvan. Ek poog om narratiewe navorsing - ondersoek, belangstelling, doel, inspirasie en my verbintenis daartoe te verduidelik. Ek verken stories oor Downsindroom en inklusiewe onderwys. Ek volg die pad van my eie ervaring in die landskap van narratiewe ondersoek, uitgangspunte en terapie. Ek vertelook fragmente van my en Lize se gedeelde ervaring tydens ons saamwees in terapie. Ek reflekteer op die proses van die studie as selfstorie en die terapeutiese uitkoms(te)/ontdekking van meer keuses, moontlikhede en verder: 'n Pelgrimstog.

A research report submitted Welma de Beer, student number 1296294, to Drama for Life, Wits School of Arts in partial fulfilment of the requirement of a Master of Arts in drama therapy degree by course work and research report. / This study gave expression to my initiatory journey into the last life-cycle of my life, as archetypally represented by the Crone (Prétat, 1994:7–11). It is a personal journey that engages with a specific research question: In what ways can Drama Therapy facilitate the contemplation and initiation of the “Crone” as life stage through self-revelatory performance? Two essential questions frame this study: How can Drama Therapy help us to create a process that contains the inherent destruction that forms part of transformation? If so, what would be the elements and methods that can help facilitate such a process? These questions will be investigated through a creative project, using the method of Performance as Research and the form of self-revelatory performance. The self-revelatory performance engaged with autobiographical moments from my own life and focussed on the theme of transformation. This research report seeks to extrapolate and evaluate the process for the purposes of defining the role and function of drama therapy as self-revelatory performance. The work of Rene Emunah (2009) on the self-revelatory play as a tool for Drama Therapy serves as foundation for this research. Other writings which influenced the study were the work of Victor Turner (Schechner,1993) on liminality, Richard Schechner (1976) on ritual and performance, anthropology of performance and environmental space, Kabi Thulo (2009) on shamanism, Willmar Sauter (2000) on the Theatrical Event and Jacob Moreno’s idea of the Encounter (Kristofferson, 2014). Key concepts that will be investigated are: Jung’s concept of transformation and how it expresses itself through rites of passage, initiation and ritual, myth and storytelling, the crone archetype and self-revelatory theatre. The study’s research findings were derived from the processes of devising, performance and post-performance “insights” which form a part of this creative project. Essentially, this study suggests possible processes that can be used effectively in drama therapy to create a “rite of passage”, “honouring” a new life stage that can “reprogram” or transform us. The study posits that transformation is contained and facilitated when we are able to self-reflect on our history, thoughts, beliefs and cultural coding. Self-revelatory playmaking can be a valuable tool in drama therapy which holds the potential to assist cathartic self-reflection in a safe space (Emunah, 1994:225). This study provides a qualitative description of the phenomena of self-revelatory v playmaking and performance and grapples with how it creates a “rite of passage” to facilitate the transitioning into the last phase of life. / GR2017