Leading drama therapists from Europe, the US, and Israel explore ways in which drama therapy techniques and concepts can be applied to supervision, and look at how supervision are conducted within the field of drama therapy. They examine the historical background of drama therapy, the process of drama therapy supervision, and supervision of crisis intervention teams, and offer insights into relationships that evolve between supervisor, supervisee, and client.
Introduction, Elektra Tselikas-Portmann. PART ONE: SUPERVISION AND DRAMATHERAPY. 1. Dramatherapy supervision: Historical issues and supervisory settings, Anna Chesner, Psychotherapist and Trainer, London. 2. Theatre-based dramatherapy supervision: A supervisory model for multidisciplinary supervisees, Sue Jennings, London. 3. Supervision in play therapy and dramatherapy with children, Ann Cattanach, Roehampton Institute. PART TWO: THE SUPERVISORY RELATIONSHIP AND DRAMATHERAPY. 4. Supervisory triangles and the helicopter ability, Katerina Couroucli-Robertson, Herma Dramatherapy Centre, Athens. 5. Role model of dramatherapy supervision, Robert J. Landy, Dramatherapy Program, New York University. PART THREE: SUPERVISION WITH DRAMATHERAPY IN DIFFERENT FIELDS. 6. Supervision of crisis intervention teams: The myth of the saviour, Mooli Lahad, Director, School of Dramatherapy, Tel Hai College, Israel. 7. The supervision and coaching of teams in business, Reinhard Ttschinger, Freelance Organizational Consultant and Trainer, Vienna. 8. Supervision and consultancy of arts-based research, Roger Grainger, Freelance Dramatherapist, Wakefield, Yorkshire. PART FOUR: SUPERVISOR TRAINING WITH DRAMATHERAPY. 9. Training the supervisor-dramatherapist 1: A psychodynamic approach, Marina Jenkyns. 10. Training the supervisor-dramatherapist 2: The theatre-based approach, Elektra Tselikas-Portmann, Sue Jennings, Katerina Couroucli-Robertson and Demys Kyriacou. Appendix 1: Dramatherapists' view of supervision, Madeline Andersen Warren and Lorraine Fox. Appendix 2: Dramatherapy supervision training courses. Appendix 3. The Supervision Sub-committee of the British Association of Dramatherapists. Index.
Elektra Tselikas-Portmann has skilfully edited a book that acts like a kaleidoscope, projecting the compelling thoughts of the finest authors in this field onto the screens of our imaginations. With each turn of the page we are able to get a picture of the domain of supervision from a distinctly different perspective.
