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Acknowledgements | ||
Foreword | ||
Introducing Sesame | 1 | |
1 | Discovering the Self | 7 |
2 | Beginning with the Body | 17 |
3 | Working with Myth and Story | 27 |
4 | Jung and the Symbol: Resolution of Conflicting Opposites | 34 |
5 | Why Oblique and Why Jung? | 39 |
6 | Drama as Therapy: Some Basic Principles | 46 |
7 | Marian Lindkvist and Movement with Touch | 52 |
8 | The Unique Voice That Lives Inside us All | 72 |
9 | Laban and the Language of Movement | 78 |
10 | Dance As You've Never Danced Before! | 84 |
11 | Child Drama: The Peter Slade Connection | 94 |
12 | Ritual: Journeys of the Heart | 104 |
13 | Ritual in Sesame | 112 |
14 | Circus Skills and Commedia | 121 |
15 | The Drama Gave Me Inner Freedom: In Wormwood Scrubs | 137 |
16 | The Minotaur in Three Settings: Prison, Acute Psychiatry and with Elderly People in Hospital | 140 |
17 | Working with Symbol in the Mental Health Centre | 149 |
18 | The Shared Feeling: Sesame in Acute Psychiatry | 157 |
19 | Dramatherapy in Forensic Psychiatry | 167 |
20 | To Act or Not To Act? In the Secure Unit | 172 |
21 | Moving Through a Block in Psychotherapy | 175 |
22 | A Place Called Sesame: Dramatherapy with Disturbed Children | 181 |
23 | Children Without Words: Sesame in Romania | 198 |
24 | Poetry in Motion: Drama and Movement Therapy with People with Learning Disabilities | 209 |
25 | Sharing the Space Inside: One-to-One Work with People with Profound Learning Disabilities | 222 |
26 | Baba Yaga and Vasalisa: Myth Work With Challenging Behaviour | 232 |
27 | Beginning to Work with the Elderly | 241 |
28 | Making the Present Come Alive | 244 |
29 | The Story of Roundabout: Creation of a Group Practice | 251 |
30 | Smoke and Mirrors | 260 |
The Contributors | 268 | |
Subject Index | 272 | |
Author Index | 276 |
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