What does the actor need to perform in health care? Emotional demands, skills and competencies

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2018-11-01 DOI:10.1386/ATR.6.2.107_1

Persephone Sextou, Anatoli Karypidou

引用次数: 1

Abstract

This article aims to explore the required skills and competencies of the actor who works in health-care systems. A narrative inquiry gave the opportunity for participants to elaborate on their understandings of their direct or indirect engagement with theatre in hospitals. Data were collected in the form of ten narrative interviews with experienced actors in hospitals and drama trainees. Inductive thematic analysis of this collection of qualitative data was used to allow findings to emerge from frequent or significant themes inherent in the semi-structured interviews. The study demonstrates a defensible emphasis on key themes, including the predictable professional skills such as acting in participatory dramas, using theatre improvisation and puppetry, and interpersonal skills such as emotional intelligence and empathetic awareness.

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演员在医疗保健行业需要做什么?情感需求、技能和能力

本文旨在探讨在卫生保健系统工作的行动者所需的技能和能力。叙述性调查使参与者有机会详细说明他们对直接或间接参与医院剧院的理解。数据收集的形式是对医院经验丰富的演员和戏剧培训生进行10次叙事访谈。对这组定性数据进行归纳主题分析，以便从半结构化访谈中固有的频繁或重要主题中得出结论。该研究展示了对关键主题的合理强调，包括可预测的专业技能，如在参与式戏剧中表演，使用戏剧即兴表演和木偶戏，以及人际交往技能，如情商和同理心意识。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.