Applied theatre, puppetry and emotional skills in healthcare: A cross-disciplinary pedagogical framework

IF 0.2 0 THEATER
Persephone Sextou, Anatoli Karypidou, Eleni Kourtidou-Sextou
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引用次数: 1

Abstract

Artists such as actors and puppeteers in health care face emotional challenges in their work. This article investigates the interpersonal competencies and emotional skills of the artist who uses puppets in their practice in health-care contexts and settings. We present initial findings from phase B of a wider longitudinal study. Phase A focused on actors in hospitals and drama trainees; Phase B uses qualitative research methods with actors, puppeteers and therapists as participants. Content analysis of data reveals that the main competencies the artist needs to deal with emotional incidents in health care are empathy, self- and social awareness, self-care, self-reflection, emotional resilience and active listening. These skills are needed alongside acting and puppetry skills to develop competent and professional artists in healthcare. The study offers evidence to further develop strategies of receiving, processing and communicating emotions safely and effectively within the protection of the artform. This study therefore diverts our attention from traditional training courses that are mainly about learning artistic skills to a cross-disciplinary pedagogical framework that aims to enable artists to observe, reflect and process emotions before, during and after a performance with patients as theatre ‘audience’-participants.
医疗保健中的应用戏剧、木偶戏和情感技能:跨学科教学框架
医疗保健领域的演员和木偶师等艺术家在工作中面临情感挑战。本文调查了在医疗环境和环境中使用木偶的艺术家的人际能力和情感技能。我们介绍了一项更广泛的纵向研究的B阶段的初步发现。A阶段的重点是医院的演员和戏剧实习生;B阶段采用定性研究方法,参与者包括演员、木偶师和治疗师。对数据的内容分析表明,艺术家在医疗保健中处理情感事件所需的主要能力是同理心、自我和社会意识、自我照顾、自我反思、情绪弹性和积极倾听。这些技能与表演和木偶戏技能一起需要,以培养医疗保健领域有能力的专业艺术家。这项研究为在艺术形式的保护下进一步发展安全有效地接收、处理和交流情绪的策略提供了证据。因此,这项研究将我们的注意力从主要关于学习艺术技能的传统培训课程转移到了一个跨学科的教学框架上,该框架旨在使艺术家能够在与患者作为剧院“观众”参与者的表演之前、期间和之后观察、反思和处理情绪。
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
CiteScore
0.70
自引率
50.00%
发文量
6
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.
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