Relevant bibliographies by topics / Mental illness – drama

Academic literature on the topic 'Mental illness – drama'

Author: Grafiati
Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Mental illness – drama"

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Wilson, Claire, Raymond Nairn, John Coverdale, and Aroha Panapa. "Constructing Mental Illness as Dangerous: A Pilot Study." Australian & New Zealand Journal of Psychiatry 33, no. 2 (April 1999): 240–47. http://dx.doi.org/10.1046/j.1440-1614.1999.00542.x.

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Objective: There is a dearth of studies examining how dangerousness is constructed in media depictions of mentally ill individuals who are frequently portrayed as acting violently. The aim of the present study was to identify the contribution of diverse technical, semiotic and discursive resources utilised in portraying a character with a mental illness in a prime-time drama as dangerous. Method: Discourse analytic techniques, involving systematic, repeated, critical viewings, were applied to a single program drawn from a sample of prime-time television drama episodes touching on mental illness. Results: Nine devices (appearance, music and sound effects, lighting, language, intercutting, jump-cutting, point of view shots, horror conventions and intertextuality) were identified as contributing to the signified dangerousness of person receiving care in the community for a mental illness. Conclusions: These techniques combine in signifying mental illness and a person suffering from it as dangerous. The findings suggest that mental health professionals working to reduce the stigma of mental illness need to have a reasonably sophisticated understanding of the practices and priorities of television production if they are to collaborate effectively with producers to create dramas that convey more human and sympathetic understandings of mental illness or to combat the negative effects of such portrayals.
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Ta Park, Van My, R. Henry Olaisen, Quyen Vuong, Lisa G. Rosas, and Mildred K. Cho. "Using Korean Dramas as a Precision Mental Health Education Tool for Asian Americans: A Pilot Study." International Journal of Environmental Research and Public Health 16, no. 12 (June 18, 2019): 2151. http://dx.doi.org/10.3390/ijerph16122151.

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Precision mental health (MH) holds great potential for revolutionizing MH care and reducing the burden of mental illness. Efforts to engage Asian Americans in precision MH research is necessary to help reduce MH disparities. Korean drama (“K-drama”) television shows may be an effective educational tool to increase precision MH knowledge, attitudes, and behaviors (KAB) among Asian Americans. This study determined whether KAB improved after participating in a K-drama precision MH workshop, and examined the participants’ perspectives about K-dramas’ utility as an educational tool. A K-drama precision MH workshop in English/Vietnamese/Korean was conducted with a convenience sample (n = 122). Pre-/post-tests on precision MH KAB (genetics and genetic testing, and MH and help-seeking) and a survey on K-dramas’ utility as an educational tool were administered. Findings revealed a significant difference in the pre- and post-test KAB scores overall, by genetics and genetic testing, and by MH and help-seeking. There were also significant increases in the overall post-test KAB scores by workshop (language) participation. Overall, participants responded positively on the utility of K-dramas as a precision MH educational tool. This study demonstrates the feasibility of K-drama as an innovative and widely available health education tool to educate communities about precision MH.
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Alanazi, Maha S. "Examining the Impact of the Advancements in Nineteenth Century Neuroscience on Drama: An Analysis of Jean-Martin Charcot’s Stages of Female Hysteria in August Strindberg’s Miss Julie." Theory and Practice in Language Studies 13, no. 9 (September 1, 2023): 2347–55. http://dx.doi.org/10.17507/tpls.1309.22.

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This study examines the depiction of female hysteria in August Strindberg's "Miss Julie" by analyzing its historical development, Julie's characterization, and the influence of neuroscience on the portrayal of mental illness in literature and drama. Utilizing a descriptive method, it investigates Julie's character and the impact of Charcot's theory on the stages of grand hysteria on her portrayal. The analysis is based on a close reading of the play, relevant literature on Charcot's research, and secondary sources to understand the relationship between neuroscience and the arts in the 19th century. A qualitative research design is employed to explore Charcot's research's impact on literature and drama. The study reveals that Strindberg's "Miss Julie" shows a clear influence of Charcot's stages of grand hysteria, with Julie being a good example of a hysterical woman. The complex portrayal of mental illness in the play highlights the impact of social and cultural factors on its depiction. The findings suggest that scientific discoveries, like Charcot's work on female hysteria, significantly impacted mental illness portrayals in books and plays, revealing the complex relationship between scientific progress and cultural perceptions of mental health. The study recommends further exploration of other pre-Freudian theories to gain a more comprehensive understanding of Strindberg's works and their portrayal of mental illness. In conclusion, the study emphasizes the importance of understanding the historical and cultural context of the portrayal of mental illness in literature and drama.
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Wilson, Claire, Raymond Nairn, John Coverdale, and Aroha Panapa. "Mental Illness Depictions in Prime-Time Drama: Identifying the Discursive Resources." Australian & New Zealand Journal of Psychiatry 33, no. 2 (April 1999): 232–39. http://dx.doi.org/10.1046/j.1440-1614.1999.00543.x.

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Objective: The aim of this study was to determine how the mentally ill are depicted in prime-time television dramas. Method: Fourteen television dramas that included at least one character with a mental illness, shown in prime-time during a 1-year period, were systematically viewed and analysed. Results: Fifteen of the 20 mentally ill characters were depicted as physically violent toward self or others. Characters were also depicted negatively as simple or lacking in comprehension and appearing lost, unpredictable, unproductive, asocial, vulnerable, dangerous to self or others because of incompetent behaviours, untrustworthy, and social outcasts, and positively as caring or empathic. Conclusions: These data are consistent with an overwhelming negativity of depictions of the mentally ill found in other forms of media and settings, and contribute to the stigmatisation of this population.
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Laskin, Pamela L. "Love Sounds." After Dinner Conversation 3, no. 10 (2022): 96–109. http://dx.doi.org/10.5840/adc202231098.

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How do you deal with a family member with a severe mental illness? To what extent do you allow them into your life, when doing so causes stress and harm to your well being? In this work of philosophical short fiction, the narrator is suffering from a severe mental illness, but clearly loves her daughter. Her daughter has suffered the attention of her mother’s mental illness for years and has done her best to limit her mother’s effects on her life. The narrator correctly intuits that her daughter is getting married. She is not invited to the wedding so to prevent there from being a scene, and drama. No matter, she continues to focus on “planning” the wedding until she is eventually arrested.
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Arviani, Heidy, Natasya Candraditya Subardja, and Jessica Charisma Perdana. "Mental Healing in Korean Drama “It's Okay to Not Be Okay." JOSAR (Journal of Students Academic Research) 7, no. 1 (May 22, 2021): 32–44. http://dx.doi.org/10.35457/josar.v7i1.1532.

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This study aims to describe adult mental healing, which is represented in the Korean drama series "It's Okay to Not Be Okay" through several characters. This romance drama, wrapped in internal conflict and mental illness, has high ratings both domestically and internationally. Aired through the Netflix network, this series broke the record number of viewers and caused much controversy. This study uses a qualitative approach using semiotic analysis theory and data analysis techniques Charles Sanders Pierce. Pierce categorized the triangle of a meaning theory, which consisted of three main elements: signs, objects, and interpretants. The researcher analyzes the selection of text and images related to mental healing. The results showed that the characters in "It's Okay to Not Be Okay" experienced psychological disorders in the form of depression, anti-social, autism, hallucinations, Manic Disorder, and Post-Traumatic Stress Disorder. This drama encourages Korean people who have tended to be more aware of mental problems and the importance of healing them in the personal (non-medical) realm through the interpersonal approach of the characters. Healing techniques such as Butterfly Hug, Problem Solving Therapy, Interpersonal Therapy, and coping with past trauma are several solutions for mental healing.
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SARANTOU, Dimitrios, Natasa SOFIANIDOU, and Niki CHRYSIKOU. "Gerantagogy and Creativity: An Intervention for People with Mental Illness." Health Review 31, no. 180 (August 31, 2020): 9–13. http://dx.doi.org/10.54042/hr519hhsma.

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Mental health is an important part of each human entity and requires constant monitoring and care. Equally important is creativity, as a source of prosperity and a springboard for activating one's mental and emo- tional functioning. How does third age and mental health relate to creativity? We investigate the effects of creativity on the maintenance and regaining of cognitive and emotional functions and the dynamics of relationships through six different forms of art. The action is based on the implementation of a program of intervention in a Psychosocial Rehabilitation Unit (Home) for elderly people with mental health problems, which examines the possibility of developing creativity. With arts as the main core, we draw on elements of art therapy, drama therapy, and psychodrama, which have been adapted to elderly needs and possibilities. Recognizing that Gerantagogy aims at the continuous learning of elderly, there is a need to examine its connection with Neuroaesthetics field.
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Orkibi, Hod, Naama Bar, and Ilana Eliakim. "The effect of drama-based group therapy on aspects of mental illness stigma." Arts in Psychotherapy 41, no. 5 (November 2014): 458–66. http://dx.doi.org/10.1016/j.aip.2014.08.006.

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Kothari, Saroj. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.

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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990).
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Shih, Yu-Chun, and Shu-Chuan Chen. "Can the Discreditable be an Advantage? Mental Illnesses as Metaphors on Rhetorical Usages for Language Teaching." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 31. http://dx.doi.org/10.14710/parole.v9i1.31-43.

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Mental illnesses often inspire artists and writers and are omnipresent in various works, yet the moral adequacy of portraying their images remained controversial: Erving Goffman (2010) had described the challenges the “discreditables” might have faced and the privileges they might get once being uncovered in his essay. However, Susan Sontag believed that wrapping disease in metaphors discouraged, silenced, and shamed patients in her Illness as Metaphor. This paper aims to center the discussion on what the diseases and the patients will represent and the privileges be demonstrated in these texts from a rhetorical aspect? By applying principally the theories of uncanny, abjection, and stigma, this paper has built a theory on presuming Meursault in Camus’s The Stranger has Asperger, then analyze the power of stigma in two recent works: the episode “ADHD Is Necessary” in Taiwanese TV drama: On Children, and a French novel: Nothing Holds Back the Night. The results showed that the mental illness can be an advantageous and necessary metaphor, just as an endowing “Mark of Cain”, threatening yet defensive. Meanwhile
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Dissertations / Theses on the topic "Mental illness – drama"

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O'Connor, Peter J., and n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
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O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Biehler, Johanna. "La Maladie mentale dans les écritures dramatiques contemporaines d’expression française." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1010/document.

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La thèse porte sur la maladie mentale dans les écritures dramatiques contemporaines d’expression française ainsi que son incidence sur la mise en scène. Le théâtre s’est toujours intéressé à la maladie mentale, et pour certains chercheurs l’art dramatique va même trouver son origine dans celle-ci, à travers des rituels consacrés à la transe et aux rêves. Après un rappel des grands « fous » qui peuplent l’histoire du théâtre européen, que ce soit dans les tragédies grecques, le théâtre shakespearien ou le théâtre classique (nous verrons ainsi que la « folie » sur scène est un thème qui a traversé les siècles), nous nous focaliserons sur une période d’ « ultra-contemporanéité » : en effet, l’essentiel de la thèse portera sur des pièces ne remontant pas au-delà du début des années quatre-vingt. Cela nous permettra de voir que malgré la démocratisation de la psychanalyse, de la psychiatrie et de la psychologie, toutes ces disciplines restent fascinantes et un peu mystérieuses, et que les auteurs aiment à manipuler l’ambigüité entre maladie mentale et originalité du comportement
The thesis is about mental disorders in French contemporary drama as well as their representations on stage. Theatre has always been concerned by mental diseases and for some researchers origins of the dramatic art have to be found in rituals and dreams. After a recall of the most famous “fools” presents in the history of European drama (Greek tragedies, Shakespeare’s plays or classic French drama) – we will see that “madness” is a long-lasting theme. We will focus on contemporary period: in fact, this thesis studies plays which were written since the beginning of the eighties. We could see that, despite the democratization of psychoanalyse, psychiatry and psychology, they all remain mysterious and fascinating. Playwrights like to use ambiguities about mental disorders and original behaviour
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Riley, Kathleen. "The reception and performance of Euripides' Herakles : reasoning madness." Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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Rubenking, Bridget E. "Learning From Crime Dramas: The Role of Presence and Transportation in Attitude Change." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1210098917.

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Kelly, Barbara. "Mental illness in modern and contemporary theatre : An analysis of representations of mental illness in a selection of plays, accompanied by a new play about schizophrenia." Thèse, 2008. http://hdl.handle.net/1866/7971.

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Books on the topic "Mental illness – drama"

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Theatre, Royal Court, ed. Royal Court Theatre presents The sweetest swing in baseball. London: Faber and Faber, 2001.

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Luigi, Pirandello. Henry IV: Followed by The License. New York: Italica Press, 2015.

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W, Kaplan Ellen, and Rudolph Sarah J, eds. Images of mental illness through text and performance. Lewiston, N.Y: Edwin Mellen Press, 2005.

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Pulver, Corinne. Gertrud P.: Das Drama einer begabten Frau. Kreuzlingen/Bern: Edition Erpf, 1988.

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Worton, Jenny. Through a glass darkly. London: Nick Hern Books, 2010.

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Fromkess, Leon, Sam Firks, and Fuller Samuel. Shock corridor. [Irvington, NY]: Criterion Collection, 2010.

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Kane, Sarah. Crave. London: Methuen Drama, 2000.

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Crave. London: Methuen Drama, 1998.

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Davis, Derek Russell. Scenes of madness: A psychiatrist at the theatre. London: Tavistock/Routledge, 1992.

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Eugene, O'Neill. All God's chillun got wings. Studio City, CA: Players Press, 2008.

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Book chapters on the topic "Mental illness – drama"

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Francis, Deni. "Storytelling & drama." In Building Children’s Resilience in the Face of Parental Mental Illness, 128–41. Routledge, 2020. http://dx.doi.org/10.4324/9780429060731-11.

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Tüysüz, Dilan. "Mental Illness and Women in Cinema." In Advances in Media, Entertainment, and the Arts, 41–58. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch003.

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The representation of mental illness and individuals suffering from a specific mental illness in films is a phenomenon encountered since the first years of cinema. Mental diseases in many film genres such as horror, science fiction, comedy, and crime are used as scary, laughing, or drama elements. The representations of various psychopathologies in the films give an idea about these disorders to the ordinary viewer. However, these representations can accurately describe the reality and also have the risk of being defective and incomplete. It is seen that people who have mental disorders in cinema are generally presented in the way that ‘dangerous, violent, unpredictable characters' within the frame of limited and distorted patterns. It is possible to say that these cliché representations differ according to gender. Female characters with mental disorders are described as ‘beautiful and troubled women' in cinema. Related films were taken as an example in this study and it is aimed examine the representation of female characters with mental disorders in these films.
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Peebles Tavera, Stephanie. "Conclusion—Medical Theater: The Birth of Anti-Lynching Plays and Reproductive Justice." In (P)rescription Narratives, 178–96. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493192.003.0006.

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The conclusion explores how the practice of (p)rescription experienced a narratological shift during the early twentieth century, moving from the genre of prose fiction to the genre of the anti-lynching drama in the wake of Anthony Comstock’s death, Margaret Sanger’s birth control campaign, and the end of censorship under federal Comstock law. Black women writers like Angelina Weld Grimké enter the conversation to expose how shame engineered under eugenic birth control politics – rather than censorship law – continue to create the conditions of mental illness among Black women through the trauma of reproductive loss. Scholars have long-identified Grimké as the mother of African American drama and founder of the genre of anti-lynching drama. They have also long considered how Grimké’s play, Rachel (1916), and short stories, “The Closing Door” (1919) and “Goldie” (1920), directly engage in birth control discourse with Sanger and her supporters. This conclusion further considers how Grimké engages the medical imagination in her anti-lynching dramas Rachel and Mara (c. 1920) as a way of expanding the concept of medical theater into the theater of lynching, as well as broadening conversations about Black women’s health into the sphere of reproductive justice rather than simply birth control.
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Østermark-Johansen, Lene. "Narrating the Self." In Walter Pater's European Imagination, 114—C3.F11. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.003.0004.

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Abstract The chapter explores Pater’s work with literary form and voice, demonstrating his ability to construct narrative, drama, and fictitious personalities. It revolves around the diary format as a narrative device in ‘A Prince of Court Painters’ and ‘Sebastian van Storck’. With their French and Dutch settings, these two portraits explore Pater’s own European ancestry and employ paintings as plot devices, chronicling the rise of the modern self. Redefining the epistolary genre, Pater added layers of nineteenth-century interiority in a process of deformation which selected certain aspects of the diary novel, while suppressing others. As the chapter traces Pater’s version of the female complaint in ‘A Prince of Court Painters’, it also discusses interiority as a feature of modernity and the act of writing as an addictive one, related to the ‘talking cure’ of psychoanalysis. Pater was much inspired by Senancour’s novel Obermann and Amiel’s journal intime. His Sebastian constitutes a fictitious counterpart to these two popular nineteenth-century texts. His journal is both symptom and cause of mental illness, a fetishistic addiction where the boundaries between self and diary are erased as an instance of ‘pathographesis’, the sustained writing out of bodily and mental pathology. Like the wave of publications of the private diaries of near contemporaries, of recently deceased figures of the immediate past which flooded the French market at the fin de siècle, ‘Sebastian van Storck’ taps into a new fashion for self-centred, introspective intimistes who convey their rich interior worlds to the modern reader.
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