Dramatherapy with homeless clients: the necessary ...

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Dramatherapy with homeless clients: the necessary theatre Ellen Foyn Bruun

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Faculty of Arts, Norwegian University of Science and Technology, NTNU, Norway Version of record first published: 16 Nov 2012.

To cite this article: Ellen Foyn Bruun (2012): Dramatherapy with homeless clients: the necessary theatre, Dramatherapy, 34:3, 139-149 To link to this article: http://dx.doi.org/10.1080/02630672.2012.737629

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Dramatherapy Vol. 34, No. 3, November 2012, 139–149

Dramatherapy with homeless clients: the necessary theatre Downloaded by [Universitetbiblioteket I Trondheim NTNU] at 01:53 29 November 2012

Ellen Foyn Bruun* Faculty of Arts, Norwegian University of Science and Technology, NTNU, Norway The article presents a dramatherapy intervention with homeless clients. It introduces the concept of ‘the necessary theatre’ as a theatrical frame to encapsulate the healing potential of drama and arts practice. The term, first introduced by Peter Brook, refers to the ‘blessed moments’ of shared artistic experience by actors and witnesses in attuned presence and level of energetic presence. During the dramatherapy work with the homeless clients it became clear that the aim of the intervention was to contribute to creating conditions for such moments to occur and happen as events. The article argues that the case study with this ‘vulnerable’ client group created useful knowledge and innovative practice concerning epistemological dilemmas for arts practice as therapy. The case study reinforced the tradition of arts therapy that insists on working from within the artistic media, such as the Jungian Sesame approach to drama and movement therapy that acknowledges each individual’s healthy and creative drive for self-regulation and agency. Keywords: dramatherapy; the necessary theatre; the Sesame approach; blessed moment; monument; imagination

Introducing the necessary theatre Walking briskly up the stairs from the tube I notice a man sleeping on the street. I wonder will he be joining the session today? At the local café I meet my cofacilitators for a nice cup of tea before we enter the ‘strange world’ of the homeless. In this article, I will explore dramatherapy work with homeless clients. Over a period of four months the case study revealed and developed a specific metaphoric narrative that seemed significant for this particular client group. Homeless people are outsiders in society, regarded by the majority with shame and disgust. Being homeless might reflect a deep psychological inner homelessness. The life of the homeless person is charged with ambivalence and chaos – in exile, maybe too, from their own lives and with an intuitive need to create some kind of meaning in a ‘meaningless’ situation that does not follow or fit the majority’s storyline and narrative structures towards resolution of harmony and safety. This article argues that the dramatherapy group enabled the homeless clients to express and process

*Email: [email protected] ISSN 0263-0672 print/ISSN 2157-1430 online © 2012 The British Association of Dramatherapists http://dx.doi.org/10.1080/02630672.2012.737629 http://www.tandfonline.com

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some of their innate dilemmas through the metaphors and symbols created. Yet as facilitating dramatherapists we were well aware of the risk of patronising the clients and wanting a life for them more similar to our own. Still, the contention is that to gain confidence and a voice through positive reinforcement in educational and therapeutic processes can prove to be of potentially transformative value for this client group. The recognition of their situation and lives characterised by both inner and outer chaos challenges all kinds of interventions. What kind of order and structure will enhance a creative meaning making process that acknowledges the chaotic experience and the still existing chaos? The overall aims for our work addressed the ambivalence within the client group that connects to difficulties associated with trust and dependency (Jacobs 1998, p. 209). Exploring this through imagination and dramatic play opened up emerging themes and metaphors. Through inclusion and acceptance of this marginalized client group not only does the work potentially enhanced their citizenship, it also potentially alerted the critical and emotional engagement of the facilitators. This article suggests that the complex experience of homelessness resonates deep in all human beings on an existential level. The aim of the dramatherapy intervention is best defined as creating a framework or scaffolding where the transformational power of dramatic play is mutually recognised and experienced by all present. In The Empty Space Peter Brook introduces the term ‘the necessary theatre’ that he describes through an example of a ‘blessed moment’ in an open drama session with vulnerable clients as a one-off experience emerging from a deep human need of necessity (Brook 1968, p. 150). In working with the homeless clients this term was useful as a theatrical frame as it was the quality of the shared presence in the here-and-now that was the deeper aim of the work, allowing inter-subjective exploration together and attuned to the group’s discoveries. In the Beginning – there was silence. In the Beginning – a boy walked down the hill. In the Beginning – there was a cat named Mirka. In the Beginning – I was irresponsible. In the Beginning – there was no yesterday only tomorrow.

The main event during the first dramatherapy session was for all participants to continue the sentence In the Beginning. A large piece of paper was sent around the circle for each person, ten male clients in all and four facilitators, to write their own part of the collective story of the beginning. Before ending the session a big green card board box was sent around for everyone to put something into that they wished to keep from the session. Some said a word: the cat, the silence, my old t-shirt, pleasure, the forest and so on; others made a gesture. Lastly the lid was put on top of the box as a ritual to keep what we had started together safe to next week’s session.

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Research methodology Each session’s inter-active performance quality and the recognition of the imaginary universe as real proved to be what the work was about: framing the conditions for ‘the necessary theatre’ to allow itself to happen as event. To research this, case study methodology was used as this is useful when the researcher, as in dramatherapy sessions, takes part and ‘is operating inside the group using dramatic role conventions’ (Neelands 1991, p. 5). Case study is a flexible and open research approach that acknowledges the continual negotiation necessary within the specific context. According to Carroll (1996, p. 77) it fits drama by its nonreproducible experience and by the complexity of interactions both within the drama work and outside it. The different layers need to be studied and analysed as a whole creative sequence and not just variables within it (Carroll 1996). The case study methodology was chosen to acknowledge the complexity of setting up the group and working with the homeless clients.

The context The dramatherapy intervention was an outreach project set up by a specialist non-profit foundation near Victoria station in London. It was transparent and agreed with the management that the placement would serve a double purpose of professional training and as case study for our master’s research. Each session reinforced this framework and clarified the contextual contract. As dramatherapy students we were in individual therapy at the time and underwent supervision both individually and as a group during the four months of the placement. This was important especially in order to process and monitor the issues of transference and countertransference during the sessions. In the context of applied theatre there is a tradition of working with marginalised groups in the legacy of Augusto Boal and the Theatre of the Oppressed, such as The Cardboard Citizens (2012) who do important theatrical work with and for homeless people. This work has similarities to the dramatherapy work in question here, however the context of our work was not performance orientated and not addressing the social and political context as such. Much more was the focus on being prepared to contain the reality of the homeless condition and what it entailed emotionally for each unique client.

The Sesame approach to drama and movement therapy The core of the Sesame approach (2012) lies in working within the art form, staying with the images and developing the unique metaphors emerging during the work. Founded by Marian (Billy) Lindqvist in 1964 this Jungian approach to therapy has a long tradition with research as well as full-time training (Jennings et al. 1994, p. 13). The Sesame approach is taught at The Central School of Speech and Drama, University of London. It focuses on drama and movement using symbol and metaphors. Personal material is explored through stories and


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characters, body shapes and movement, sounds and voice. Using the imagination actively and working creatively through the mind and body allows clients to be touched emotionally at the deepest levels of the psyche. This approach to dramatherapy is ‘oblique’ and non-confrontational. It advocates an approach to arts therapy that is indirect, non-interpretative and that protects ‘the symbolic material from de-construction and pressured interpretation which is overly intellectual’ (Hougham 2009, p. 32). Rather the aim is to ‘stick with the image’ (Jung/Hillman) and develop the client’s creative resources and discovery of their own creativity enabling agency through the act of Poesis, defined by arts therapist Stephen Levine as ‘our capacity to shape experience through imagination’ (Levine 2008, p. 8). The Sesame approach is rooted in the Jungian understanding of therapy as the potentially healthy drive of the client for self-regulation. With these core principles as a framework each Sesame practitioner develops his or hers individual practice and focus depending on background, interest and client groups. The individual narrative and personal symbolic world of the client is at the core of this work as each person’s inner drama, representing memory, desires and thoughts, always in a continual state of becoming and potentially making and creating sense for the individual. This resonates with the concept of ‘the necessary theatre’ that the article will argue is recognised by the inter-subjective quality and energy level of the shared play space. The ‘blessed moments’ are of intense energy and maybe similar to what Martin Buber calls I-Thou meetings as opposed to I-it relationship to others and the world (Buber 1975). In The Transformative Power of Performance German scholar Fischer-Lichte (2008, p. 99) introduces different levels of presence with ‘the radical concept of presence’ as the quality that causes transformation and is a key to the transformative power of performance. Relating this to the Sesame approach, Pearson in ‘Discovering the self through drama and movement’ introduces the expression ‘golden moment’ originally coined by Peter Slade (Pearson 1996, p. 14). The nature of the ‘blessed’ or ‘golden’ moments is difficult to pin down in writing. As Pearson claims, ‘when they arise, they are unmistakable’ (Pearson 1996). To explore this complexity of inter-subjective experiences became in increasingly important focus of our dramatherapy practice with the homeless clients. We did not assume that the intervention would ‘save’ them nor ‘normalise’ their situation. Setting up the group The dramatherapy group was offered only to homeless people with a dual diagnosis of substance abuse and mental health problems. Every morning homeless people come to the centre situated not far from Victoria station in South London. Here they can wash and have a meal. There is a close collaboration with the medical system and social services. The dramatherapy group was the first ever in this context and one might say quite a ‘risk’. The placement contract was clear as to where we were allowed to be in the building. We were never to be with the clients


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on our own. A complex needs worker responsible for the referrals was our contact person on the spot. She joined the sessions supporting the drama work facilitated by two other dramatherapy trainees and myself. The group was open during the whole intervention. Nineteen homeless clients joined the group in all. Many of these dropped in for one or two sessions. Seven joined for more than three sessions. One of the clients was a woman; all the others men of different racial, cultural and national background. Some of the clients did not speak much English as they had recently arrived in England from the former Eastern Bloc countries with no work opportunities. Most were young men, drop outs from schooling and into substance abuse with the consequences this entails. From the first session with the homeless clients it seemed that verbal language and humour generated safety as long as it related to general topics and was not too personal. There was a kind of adolescent bantering challenging us as facilitators and also as a team consisting of two female and one male dramatherapist trainee. The complex needs worker was also female. Her attitude to our way of working seemed well-intended on the surface level. It was however difficult to integrate her in the sessions as her formal role seemed to be threatened by play. As a female facilitator I realised that there were a lot of projections that we needed to process and reflect upon after each session in order to monitor these in a useful way for the work. During play we sometimes felt that the clients pushed the boundaries for appropriate play by introducing obvious and disrespectful sexual allusions. We negotiated this creatively staying as long as possible within the play universe, making the ‘real’ boundaries clear. In the beginning the anxiety level seemed to rise, when the clients were asked to move. Physical touch was introduced very carefully as this also seemed to raise the anxiety level and challenge the containment of the session. On the other hand there were long moments of silence when seated (comfortable on chairs) in the circle, in the first session for example when the story of In the Beginning was passed around. This seemed to connect everyone on an inter-subjective level. For some moments true feelings of helplessness and sadness were exposed mixed with hope and acknowledgement of the collective creation of the moment of the shared story of the (group’s) beginning. As homeless, psychiatric or mentally distressed and substance abusers, one might say that this client group suffers from outer and inner fragility. They hold a lot of personal bereavement and feelings of anger, fear and grief. As outsiders perceived as scapegoats, vagabonds, prostitutes, substance abusers, mad, criminals, they represent the collective shadow of society that is in exile in our culture. The ambivalence of wanting to belong and the impossibility to do so seem deeply embodied in the psychology of this client group. To negotiate this tension is challenging and important in order not to project the desire and need of the helpers to see the homeless as other, and therefore inferior to people living in homes and in need of ‘salvation’. For the homeless client to find a way from the inner role of ‘victim’ to ‘wanderer’ and ‘hero’ seems like a ‘mission impossible’ and maybe an inappropriate storyline all in all. The anger and frustration about the outer reality and the authorities that they depend on do not make this journey easier.

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Relationship to space From the start the clients seemed to respond well to working with the theme of space and different locations. This was introduced in sound-scape creating exercises that inspired the imagination. It seemed to provide a safe container for the clients to express and communicate feelings about living and sleeping on waste grounds, beaches, dark forests, parks, railway stations, etc. Their responses made us realise that the homeless might have a fundamentally different relationship to space than people with homes. To strengthen the ego and autonomy of each client the drama work focused, during the first half of the intervention, on individual creations that were shared: for example creating your personal garden, your own stand at the market, your carnival float and your room in a museum. The enactments varied while making sure that each client became more and more empowered and in charge of leading the embodiment of his or her creation. By empowering the clients individually the drama work aimed at allowing them to discover their ability to organise and create results, which was difficult for this vulnerable client group, yet extremely rewarding once they allowed themselves to contribute spontaneously in play. Providing opportunity for success in creating something meaningful for everybody to relate to in play, was an important guide line for our work. In this way the clients were enabled to discover their own creative resources within a safe setting. Theoretically this resonates with Winnicott (1971, p. 11) who writes that ‘the mother’s eventual task is gradually to disillusion the infant, but she has no hope of success unless at first she has been able to give sufficient opportunity for illusion’. Dilemmas regarding the therapist-client relationship were explored quite directly in the drama work. As co-facilitator I myself was put in roles by the clients as rhododendron bush, butterfly, hash plant and part of a fountain with a statue of a woman with a vase above her head pouring water. For me these images were very potent in my training as a therapist providing useful and important material to individual therapy, supervision and critical reflection about the relationship between therapist and clients. Being enabled and allowed to create what Peter Slade calls ‘monuments’ is part of a healthy human development (1954, p. 32). Slade uses the term to describe the necessary creations of children to express and preserve memories and events in play. Awareness of self and other can be enhanced through the sharing and inference of each person’s monuments (Slade 1954). The dramatherapy intervention with the homeless confirmed this. To support improvisational skills and enabling experiences of concentrated shared drama proved to be surprisingly rewarding at times. The only female client attended only one session during which the main event was for everybody to create their own imaginary garden as they wished. She created an imaginary garden in her own chosen spot using what was in the room. Walking around and being in her monument she ‘saw’ it and described to us witnessing what it looked like with straight narrow paths and a huge fountain in the middle with endless beer pouring. She seemed to be for a ‘moment’ in flow absorbed in sincere play.

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The old castle At the end of the seventh session the group described the location that it was about to leave behind which was a museum consisting of each participant’s personally created exhibition room. There was a moment of intense shared concentration out of which emerged a communal imaginative space: an old castle in the middle of a forest. The feeling of being in relationship with one another through a specific metaphor that had emerged from the group’s own narrative seemed to create a change within the group. There had been a development and build-up from enabling the clients first through creating individual monuments that enhanced relationship through play towards a potentially matured group mind attuned to creating a unique group metaphor. It might be important to emphasise that this cannot be done through consensus or pushed by will by facilitators, nor clients. It is like the acorn of the group to use James Hillman’s term (1989) for the pre-aesthetic and pre-conscious intuitive form finding its shape when due. In the following sessions the dwelling of the castle and the landscape around it were explored further through dramatic play and inhabited by different fictional characters with lots of different storylines and plots. From this emerged complex themes of opposites such as prison/freedom, protection/wilderness, power/justice, culture/nature and intimacy/isolation. As a symbol of the mother archetype the castle represents the duality of protecting and devouring. With its solid and closed structure the castle appears to compensate for the unstable openness of homelessness. The castle was situated in a forest which is also a complex symbol of the mother archetype. However in contrast to the relatively safe castle and cultivated land, the forest harbours all kinds of dangers and demons, as if mirroring life on the street. The metaphors that the group developed seemed to reflect what is at the heart of the homeless person’s situation: caught in a dilemma between feeling trapped in enclosed spaces and abandoned and fearful in open spaces. This is referred to in an article on the subject by Campbell (2006, p. 163) as the ‘claustro-agoraphobic dilemma’ (described by Rey 1994). The presence of the archetypal level of home and mother seemed to provide and release new creative potential in the clients’ imagination. Tom (not the real name of the client) was a regular client in his twenties. He had suffered from clinical depression, at that moment abstinent from alcohol. In the first few sessions Tom seemed shy and anxious. Little by little he relaxed and seemed to feel proud of his contributions. In the imaginary museum he created ‘the first man on the moon’ room. This might have been a way for him to unconsciously communicate a wish to explore new spaces and possibilities. In the castle he chose to be a sword maker and later an ‘axe sharpener’. This seemed to reflect Tom’s exploration of his masculine identity. His will-power and decision-making seemed to develop through the intervention. After having played both soldier and prince in enactments he later chose to be a hunter. According to Cirlot (1962, p. 154) the hunter symbolises the will and pursuit for transition and reincarnation which seemed to reflect Tom’s inner process. For Tom it seemed that the drama work both reminded him of playing

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as a boy and made him acknowledge himself at present as a young adult with the ability to be in and to co-create meaningful relationships and interesting stories.


Holding the tension of opposites In A Dictionary of Symbols Cirlot (1962, p. 32) writes that: [t]he castle, in sum, together with the treasures (that is, the eternal essence of spiritual wealth), the damsel (that is, the anima, in Jungian sense) and the purified knight, make up a synthesis expressive of the will to salvation.

In play the castle seemed to contain both the bad and the good mother. The stories that were created were usually about some kind of transformation; from monster to king, from evil person to ‘court jester’, from goblin to princess and so on. In the forest stories of being ‘lost and found’ were often played. These basic storylines might be related to the archetype of rebirth (Jung 1972) and the ‘will to salvation’ to the unconscious intention of the self-regulating psyche to create balance and meaning of what is. In this case the reality of being homeless was penetrating all the work and it was present within the liminal play space all the time and represented symbolically in it. In drama work the struggle of life’s drama might be recognised and acknowledged, and rather than being paralysed by the shame of being homeless or defined as an object in the helping system’s drama, the homeless clients maybe experienced moments of their own healthy imaginative force and the joy of its potential for vitality and well-being. The paradox of life and death, of mortality and immortality that all growth and life processes contain, is at the core of the symbols of rebirth. In an article about rebirth fantasy Sebek (2002) writes that the symbols of rebirth appear in critical periods of life such as puberty and represent a crisis in life. The metaphor of the old castle might refer to what Sebek (2002, p. 231) calls the ‘persecuting internal totalitarian object’. He argues that the rebirth fantasy serves as a way out of the totally controlled and closed internal space. Exploring the metaphorical universe of the castle through play and drama seemed to allow our clients to address their internal space in a safe way respecting the complexity and depths of their psyche. As a by-product it also allowed us as facilitators to explore the same themes from our perspective as homebound and as aware and self-reflexive as we could be, of our preconceptions about homelessness, substance abuse and mental illness, and processing these continuously. Jerry (not the real name of the client) was an alcoholic in his early sixties from a coastal town in the North of Scotland, suffering periodically from heavy drinking and depression. Already during one of the first sessions his knowledge and relationship to nature was obvious when he, in role, was selling fish as an expert from his market stand. His imaginary stand was full of fresh fish from the North Sea. Not only did he know all the different kinds, he also knew how to cook them and make wonderful meals that he described in detail. When he created


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his personal garden his memory brought him back to his past life before he was homeless. This was the day I wore a purple sweater and he used me to sculpt a blooming rhododendron bush. Once the castle was established he took the role of Merlin creating his own space in one of the towers of the castle. As Merlin, Jerry seemed to get in touch with an inner intuitive authority and long lost connection with nature, forgetting or compensating for a moment for the hard life on the street. His independence in play seemed to transfer to his relationship to the group where his confidence seemed to support other clients, initially less confident, like the young man mentioned earlier, Tom. In play there was a kind of father-son relationship between them, the magician, Merlin, and his apprentice, the young axe sharpener. Maybe there was even a connection back to the previous session of the fish stand as the fish, according to Jung (1972, p. 76) ‘has the significance mere of something to be assimilated, but whose real nature is overlooked’. The fish has a nourishing quality and for Jung (ibid.) this is the nourishment of the unconscious and the influx of energy to this other being in us that is larger than us, and that for Jerry later became Merlin, the magician. This, maybe, connected him to his self or soul and thus supported him in his unique life journey. To Hillman (1989, p. 71) the idea of soul is what makes us feel alive and present in our lives. It is coming to the centre and coming to oneself; letting go and coming home at the same time. In the last session the group explored the castle as archaeologists imagining that everything in previous sessions had happened in the past. The aim of this was to create distance and reflection while still working within the metaphor. Jerry found Merlin’s magic ball in the ruins of the castle and put it into the green cardboard box. He said that the work with us not only had made it possible for him to envisage the future but also the past. This was especially significant considering that Jerry’s contribution to the In the Beginning Story was ‘in the beginning there was no yesterday only tomorrow’. At the end of the intervention he seemed to be able to appreciate the memories of the dramatherapy work as an indirect way of relating to and acknowledging his own past. Conclusion To conclude the dramatherapy work seemed to allow the homeless clients to enhance their feeling and awareness of self and other. Through exploring and creatively developing the specific metaphoric realm the clients seemed to be able to access their unconscious in a safe way and process some of their innate dilemmas. For me working with these clients emphasised the power of dramatherapy and the Sesame approach in particular as ‘the door that is the bridge’ (Dekker 1987) to the ‘deep mind’ (Kearney 1996). The experience was that the symbolic space permitted both clients and facilitators to emotionally connect on an existential level of humanity where we could meet as equals in the realm of the transpersonal which signifies that each subject tunes in to the inter-subjective. This resonates with Jung (1972, p. 49) who writes that ‘it seems as if it is only through an experience of symbolic reality that man (. . .) can find his way back to a world in which he is


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no longer a stranger’. Existentially all human beings are in exile and homeless through birth and the physical separation from the body of the mother. We all face the paradoxes of life and death in a continual process of being and becoming. My experience as facilitator was that the dramatherapy group with homeless clients allowed golden moments of shared belonging where there were no outsiders or strangers. Experiencing this kind of ‘blessed moments’ where all present are included as equal creators of a shared poetic universe, was the deeper aim of the dramatherapy in this context. Finally this is what I understand as ‘the necessary theatre’ to be recognised when actors and spectators as equal subject-objects intuitively and intentionally create meaning and let meaning emerge through the imaginative, physical and mental, language of drama. When it works there is a joint grace and pride of the achievement shared by clients and facilitators likewise, and this is all that matters. Maybe the dramatherapy work was of transformational value for the homeless clients. It certainly was for me. Notes on contributor Ellen Foyn Bruun is Associate Professor in Drama and Theatre Studies at the Faculty of Arts, The Norwegian University of Science and Technology, NTNU, Norway. Ellen holds an M.Phil. from The University of Oslo, Norway, and a Master of Arts Drama and Movement Therapy (Sesame) from The Central School of Speech and Drama, The University of London, England. As stage director, drama educator and dramatherapist, Ellen contributes to enhance experiential teaching methods and practice-based research methodology. Ellen has contributed to book projects and written many articles on a variety of drama and theatre subjects. She cultivates a professional international network and takes active part on international conferences. Since 2011 she has led a new module in Dramatherapy at NTNU as the first one in Norway. Ellen’s research seeks to develop new knowledge about the connection of arts practice and life processes. Her recent research is about diversity on the Norwegian stage.

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