Online Drama Therapy Interventions — #2 Use of Props, What’s my number?, Three changes, Simon Says
We will explore the use of props in online sessions and introduce three interventions.
Shall I use props? Or not?
Purpose. Metaphor residue. Mind space. These are the three elements that I’ll consider before introducing a prop in my Online Drama Therapy session. Here’s why:
Purpose. What is the purpose of using the prop? Why am I introducing it now? How does it help reach the treatment goal?
Example: I mainly use one soft toy — Observing Eagle — for my online sessions. Observing Eagle is the only recurring prop that I use in sessions and works as a distancing tool to remind my clients (… and myself) of the bigger picture. It is also a versatile prop for psycho-education and role play. I have found that clients tend to name the same toy differently and they establish a unique relationship with it. For consistency I keep the Observing Eagle on my bookshelf where it’s easily accessible.
Metaphor residue. This is a term that I created to explain the way an object (like a photo) reminds you of a past feeling or experience. Similarly, an object in the client’s environment utilized during a session as a metaphor has the potential to create an unintentional and lingering influence. This creates the potential for the client to continue recalling the symbol whenever they see the object. Thus, it’s important to choose the prop and usage carefully. Generally speaking, when the focus is on developing resources (i.g. Strengths, Affirmations, Safe/ Calm reminders, Guide/ Mentor), I would consider using an object/ prop in the client’s space. When there is a need to symbolize a stressor I do not use a prop. I use mime/ role play/ drawing instead. Unlike an in-person session, teletherapy clients are unable to leave a physical object behind in the therapist’s office. The “metaphor residue” will linger beyond the session and the positive/negative impact must be taken into consideration.
Example: I used the client’s house plants as a resourcing tool by developing the plants’ character. This allowed the client to access the positive symbols/ reminders of the session in their environment. In contrast, I encourage drawing a stressor (i.e. ghost in client’s dream) which allows the client to transform the prop during the session or trash it after. The ability to remove the prop and, in turn, the metaphor decreases the likelihood of unintentional influences within the client’s environment.
Mind space. Is it too much for the client to use a prop AND focus on therapy? Will the client become so focused on the prop that it became the subject? Is the prop metaphor just too complicated? Generally speaking I find the attention span for clients during online sessions is shorter when compared to in-person sessions. I have observed that simple props work better than complicated props to encourage engagement and maintain focus. Sometimes minimizing the props and using an active approach like role play or miming works even better!
Example: A client is playing the role of a teacher. Rather than dressing up with a blazer you can explore the voice/pitch of the role and add a pen as a prop. The pen is simple enough that it doesn’t take up much of the client’s mind space.
A. What is my number?
Goal:
1. Numbering the participants. (Refer to Blog post #1 on reasons why this is important for Online Drama Therapy groups!)
2. Promote group cohesion.
Difficulty: 1/5
Reference: New creation
Instructions:
1. The participants took turns saying a number out loud until the number was the same as the number of participants. Example: If there are 5 people in the group, the group will count from 1 to 5.
2. Each participant will count once per round. When two participants speak at the same time, all participants will re-start and count from 1.
Limitations: This works well for groups with less than 10 participants.
B. Three changes
Goal: Cultivate participant’s observation skills and concentration
Difficulty: 2/5
Adapted from: Emunah, Renee. (2019). Acting for real: Drama therapy process, technique, and performance. (p. 193)
Instructions:
1. The facilitator invites all participants to observe one of the participants.
2. Invites the participant to turn off the camera, make three subtle changes to their appearance.
3. The participant turns on the camera and the other participants identify the changes.
Variation: Participants can choose a corner of their room/environment to make three changes.
C. Simon Says
Goal: Warm-up towards the theme of the group.
Difficulty: 2/5
Instructions:
1. The facilitator takes the role of “Simon” and issues instructions to the other players, which should be followed only when prefaced with the phrase “Simon says”.
2. Examples: raise your left hand, turn your head to the left, open your mouth, raise your pinky.
Variation: The intervention could start with concrete physical actions and progress to creative actions including roles and metaphors. For example, pretend to be the ocean.
Who are we?
Diana Chu is a Marriage and Family Therapist and a Registered Drama Therapist in San Francisco. She is currently working at RAMS as a mental health consultant for children and families. She also hosts a podcast called Waves of Change, which focuses on Modern Perspectives in Asian American Psychology. When not working, she loves spending time with her Husky, Ella.
Man Kit Kwong graduated from the California Institute of Integral studies. He is a Registered Social Worker in Hong Kong and Professional Diploma of Drama Education and Applied theatre who graduated from the Hong Kong Art school. He is also a Narrative Therapy practitioner and Playbacker. He provides online services to the youths in Hong Kong. He has vast experience in running theater groups, playback groups, and drama therapy groups as well.
Acknowledgment
Since client identities in Online Drama Therapy are confidential, it is impossible for us to photograph the process. Thank you Mirror Theatre Company for trying out the interventions and capturing it!
Mirror Theatre Company is a playback theatre in Hong Kong.
