In this clinical comment, the author will explore how an understanding of mise en scène can be helpful for online dramatherapy practice, particularly for those new to this way of working. The author will reflect upon aspects of mise en scène and reconceptualise them in a therapeutic context. Elements such as the use of props and how they appear on screen, what the client can (or can’t) see in the background and the use of lighting will be examined in terms of the dynamics of the online therapeutic relationship and online therapy space. The author shares their experience of applying mise en scène theory to their own dramatherapy practice and offers reflections upon the symbolic meaning that can be unconsciously expressed through the ‘frame’ of the online therapy screen.

IntroductionIn this particular study, the focus illuminates the creative process of two teachers devising and performing a piece of theatre that was filmed and witnessed by theatre based students, looking at the impact of this on student learning. Both authors of this paper are teachers in a Higher Education Institution (HEI) as well as researchers and theatre practitioners. The premise of this paper is to illustrate how to encounter and potentially deepen one's understanding of teaching practice through the research methodology known as a/r/tography. A/r/tography is an arts based methodology used to explore teaching practice (Siegesmund, 2012) by engaging in the researcher's art form to generate new perspectives on teaching practice.The rationale for the research was to explore a new way of communicating with students to help with their learning and development for their final year project, a solo performance informed by autobiographic material. As teachers, researchers and theatre practitioners we wanted to experiment with our teaching practice using theatre arts. We wondered whether a solo performance by one of their teachers might communicate in new ways to help students develop their skills as performers. Presented here through an a/r/tographic lens are our reflections and findings from this process which we have arranged in terms of two relationships; that of the performer/director and also the student/teacher.A solo performance was developed, utilising the teachers' interests and skills as performer and director. Initially the performance took place in front of a fee paying public audience that was also filmed. The film was shown to students on the theatre based course to inform research and teacher development eight weeks later. Students were able to access and watch the recording individually before the focus group that was facilitated by both researchers. Following the focus group students completed a questionnaire that was anonymised. After the collection of the data from the focus group, questionnaire and researchers' written reflections, thematic analysis was carried out that fell into two categories, performer/director dynamics and student/teacher dynamics. Performance OverviewThe performance was a one man show with a running time of around seventy minutes. In terms of stagecraft, a 'poor theatre' (Grotowski, 1991) approach was used as there was very little on stage except the performer. No props were used and the stage itself was left completely bare. The rationale for adopting this minimalist style is that leaving things blank, visually, helps the audience to engage their imagination and project their own ideas into the space about what each scene 'looks like'. The style of theatre perhaps also mirrors the authors' teaching approach as audience members, like students, are invited to construct and develop their own meaning and understanding.The costume was formal with a loose, plain looking suit with a black t-shirt underneath and smart black shoes. The main character, a game show host, attempts t...

This article explores the role of the art form in both research and teaching practice for the delivery of an MA drama therapy program in the United Kingdom. A/r/tography as the chosen research methodology makes central the artistic process to inform teaching and research through ongoing reflexivity using dramatic improvisation. Seven phases (renderings) illustrate the development towards formulating a drama therapy pedagogy. The authors explore disseminating the research through performance as another form of praxis