• The Journal of the Korea Contents Association
• /
• v.17 no.4
• /
• pp.532-540
• /
• 2017

This study analyzes and compares the meaning and the value of storytelling with characteristics of the Playback Theatre, which is an improvisational play. On one side, the Playback Theatre, invented by Jonathan Fox in 1975, is an improvisational and communication-based theatre format; and it usually brings in the storytelling of audiences and often entails no play script. On the other side, storytelling requires imagination and creativity; presupposes the sympathy between the speaker and the listener. In fact, this theatre format is utilizing the educational and healing effects of verbal cultures, group sacrificial ceremonies, and/or psychodrama; and it is contextualizing them in our modern society. The Playback Theatre provides the audiences with opportunities to share their own stories within the play itself. The actors first listen to the stories of audiences; and then make them into a play impromptu, right in front of the speaker(s) and other audiences. For this very reason, it is called a "play-back". In this process, the individuals and the community are invited to experience the educational and healing effects.

• The Korean Journal of Psychodrama
• /
• v.21 no.2
• /
• pp.13-26
• /
• 2018

The purpose of this study was to determine Enneagram personality type and the degree of clinical practice stress by personality type among nursing students, as well as to set a direction for student counseling and develop a management program. For this purpose, the Enneagram personality type inventory, developed by the Korea Enneagram Spirituality Institute, and a clinical practice stress scale were applied to juniors and seniors majoring in nursing in a district who were in clinical practice. The results were analyzed using an SPSS 25.0 program. Type 2 among the nine Enneagram personality types accounted for 47.66% while in the strength- centered area, the emotional area accounted for 64.84%. As for the degree of clinical practice stress by Enneagram personality type, Type 6 was most vulnerable to the training environment, Type 4 to an undesirable role model and conflicts with patients, and Type 5 to the burden of training tasks and conflicts in interpersonal relationships among the sub-areas of stress. As for the degree of clinical practice stress by the strength-centered area of Enneagram, the thinking type was most vulnerable to the training environment, an undesirable role model, the burden of training tasks, and interpersonal relationships, whereas the emotional type to conflicts with patients. To put these results together, nursing students varied in Enneagram personality type and differed in clinical practice stress by the strength-centered area, as well as by personality type. It is therefore necessary to provide nursing students with counseling and guidance through an analysis of their personality type.

• 한국노년학
• /
• v.40 no.2
• /
• pp.359-377
• /
• 2020

The purpose of this study is to examine the direction of the elderly theatre by analyzing an example of the elderly theatre program which is attempted in a way of the welfare of senior citizens in terms of cultural support. To this end, the 'Hoechun Circus' composed of elderly women in Dangjin, South Chungcheong Province, was investigated and analyzed. Research methods uses a case study, performance theory, and peer review strategies to increase the validity of the study. The results of the study are as follows: Firstly, the elderly women intended to communicate with children and adolescents through performance; Secondly, they wanted to communicate with other physically uncomfortable elderly people; Thirdly, they also attempted to communicate with young or middle-aged as well as all residents; Fourthly, they experienced a new genre of theatre to identify themselves in a different ways and enhance their sense of accomplishment and spent their old age pleasantly and informally. Based on these findings, the following suggestions were made. First, we should expand the theatre programs of senior citizens which benchmark the 'Hoechun Circus'. Second, various cases of elderly theater should be studied and policy research to support such elderly theatre is necessary. Besides, educational courses to train elderly theatre experts should also be developed. Third, it should also seek ways for the program to move beyond regional limits and interact with organizations at home and abroad. Fourth, there is room to explore new ways in the field of theater therapy, and the development of sociodrama or psychodrama programs can be an alternative.