jat000035 10.3205/jat000035 urn:nbn:de:0183-jat0000352 Review Article Cook Cook Angelle A RDT/BCT, PhD

Lesley University, Cambridge, USA New York University, New York, USA

research@nadta.org author Constien Constien Tobias T

Institut für Forschung und Entwicklung in den Künstlerischen Therapien, Nürtingen, Germany

author Glick Glick Shoshana T. ST

City University Seattle, Seattle, USA

author Aachen Aachen Alysan A MA

Drama Therapy Institute of Los Angeles, Santa Monica, USA Capella University, Minneapolis, USA

author Dominiski Dominiski Madelyn M

Lesley University, Cambridge, USA

author Holkesvig Holkesvig Alivia A BA, BS

Kansas State University, Manhattan, USA

author German Medical Science GMS Publishing House

Düsseldorf

610 graduate theses drama therapy drama therapy pedagogy knowledge competencies NADTA student database North America bibliometric analysis Drama Therapy 20240220 engl This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 License. Dieser Artikel ist ein Open-Access-Artikel und steht unter den Lizenzbedingungen der Creative Commons Attribution 4.0 License (Namensnennung). 2629-3366 6 GMS Journal of Arts Therapies GMS J Art Ther 02 00010101correction of language settings This study gathered available student theses focused on drama therapy in North America with an aim to highlight, organize, categorize, and increase accessibility to drama therapy master’s theses and dissertations, as well as to understand possible future trajectories of the field, based on student work. In a narrative review, 192 theses and dissertations submitted to four different schools between the years 2017–2022 were categorized into five domains: research method, drama therapy theory, intervention and integration focus, population, and setting. A broad variety of research interests were identified throughout the theses and dissertations. Students demonstrated an engagement with the extant knowledge base of drama therapy as well as an interest in the current trends of empirical drama therapy research. Furthermore, students’ theses expanded the field of drama therapy by applying drama therapy in novel settings or with seldom-researched populations, as well as creating new or expanded methods and theories of drama therapy. As such, students’ theses enrich the field as a whole and guide drama therapy research in new directions. IntroductionIn North America, there are currently six graduate schools accredited by the North American Drama Therapy Association (NADTA) where students can earn a degree associated with drama therapy. Research, for drama therapy students, is an educational requirement to become a registered drama therapist (RDT) in North America through the NADTA. Each of the six academic programs has a version of a master’s project, thesis, or capstone. Wood & Reynolds outlined current educational competencies needed to become an RDT, via an NADTA education committee, which included research competencies. The authors wrote, “Drama therapists are expected to have […] a basic understanding of how to conduct research with cultural humility, ethical awareness and in a professional manner” (p. 183). Though research is a program requirement, as of yet there is no way to track or curate student research across universities.With an aim to highlight, organize, categorize, and increase accessibility to drama therapy master’s theses and dissertations, the student research subcommittee was created under the current Research Chair of the NADTA (first author). Current members of the committee are dedicated to increasing the visibility of drama therapy student research, while providing a valuable resource, via a spreadsheet available on the NADTA website for current university and alternative track (AT) program students, graduates and professionals, incoming students, and allied professionals. The spreadsheet, broken into multiple categories, serves as a way to categorize and understand the depth and breadth of drama therapy student research.In building the spreadsheet for community use, a research study was undertaken asking, What do students in NADTA accredited, academic drama therapy courses examine in their master theses? Theses and dissertations were collected via online searches when available (Concordia University and Lesley University) and through connecting with heads of drama therapy programs (Kansas State University and New York University). Notably, there are currently no theses or dissertations from Antioch University or California Institute of Integrated Studies, not because students do not engage in research at these schools, but because currently there is not a system in place to access these pieces, some of which are performance-based projects.This research follows the empirical research committees project and the theory research committees project (forthcoming) commitment to organizing drama therapy literature in the field and making it more accessible to community members, as well as understanding how this work impacts the field at large. Each year, there are approximately 100 students who are graduating from North American drama therapy programs, many of whom engaged in a research project prior to graduation. This research represents the interests of the newest voices in our field, voices that need to be encouraged and cultivated for those who wish to continue engaging in research. By developing emergent researchers we are able to not only increase the rate of research, but diversity of research, creating spaces for our newest drama therapists to shift and shape the trajectory of theoretical and empirical research. The results of this study can be used as a guide to where the field is going, as graduates leave the role of student and enter the role of clinician and researcher. With this project, we hope to elevate student research and help shift the narrative of student theses from just being an ending to the student role to becoming an entrance into the researcher role. Additionally, we wish to highlight the diverse perspectives and topics of interest represented in student research and to have a central space (via the spreadsheet on the NADTA website) in which to access student research. Drama therapy pedagogy and researchThe pedagogical approach and curriculum design of graduate-level education for drama therapists in North America is emergent , , , , , . In turn, the training of drama therapy students as researchers is diverse and inconsistent. Generally, graduate programs that train clinicians in the psychotherapy fields concentrate on the application of practice, while research training is more likely to occur in doctoral programs . The focus on practice is especially emphasized in drama therapy education, which utilizes experiential learning in its pedagogy as a way to teach clinicians drama therapy interventions and approaches , . However, in order for the field of drama therapy to continue its growth trajectory, there must be a stronger focus on research , , .In recent years there have been strides made through the NADTA to increase engagement in research, including the formation of drama therapy review and the creation of the research chair position in 2015 . These initiatives have added immensely to publications in the field of drama therapy , however, there has yet to be a research focus examining student work. Jones called for research “...dialogue and exchange within our discipline” (p. 97) for those working within the field. With the project, we are extending the call to student researchers. There seems to be little literature focused on the research education of psychotherapy students, especially at the master’s degree level. It stands to reason that one way to increase engagement in research for students and emergent researchers is through mentorship. Swift et al. investigated questionable research practices (QRPs) among doctoral students and faculty (N=274) and found that students who were more fully involved with their faculty mentor were less likely to have engaged in QRPs. Douglas et al. addressed the research-to-practice gap by examining the power differential that exists between clinicians and researchers and found that encouraging collaborations between the two can help to diminish the power difference. One way to mitigate this in the drama therapy field is by engaging with students in the research process while they are still students, or as recent graduates. This may help them see themselves in the role of researcher. To encourage emergent researchers in drama therapy, many of whom are recent graduates, a program that fostered a research mentor/mentee relationship was created through the NADTA . Research mentorship programs in our field can help cultivate emergent researchers who would benefit from a more focused partnership with an established researcher. Another program that trains drama therapy student researchers are the labs at Lesley University. The labs, run by drama therapy faculty, reflect faculty and student research interests and have resulted in multiple publications , , , . In addition, this research project serves as another way for emergent researchers to engage in the work and help direct the scope and interests of the field.What the mentorship program and research labs have in common is that they connect researchers, emergent and established, with common interests, to increase engagement in research in the field. Constien and Junker found that there has been an increase in researcher collaboration in drama therapy, particularly in the instances when articles are written with the support of an affiliated institution, such as a professor leading a research study with student support; one intention of this study is to continue that trajectory by connecting recent graduates and encouraging new research partnerships. MethodThe aim of this research study was to provide a general overview of the available body of work produced by students enrolled in NADTA accredited, academic drama therapy courses via a narrative review , , and bibliometric analysis (i.e., school, year of publication, keywords) , . The research question guiding this project, intentionally broad to allow for a general overview, was: What do students in NADTA accredited, academic drama therapy courses examine in their master theses? This research question led to five distinct domains of investigation that further guided the research process: drama therapy theory, research method, setting, population, and intervention and integration focus.Narrative reviewA narrative review was chosen as the method for this research study as it affords researchers the ability to take an adaptive approach , whereas a systematic review takes a preset, structured approach to literature inquiry. The narrative review is a less restrictive method, not requiring a standardized technique for investigating an area of interest. The method offers a widened scope for inclusion of literature and seeks primarily to describe published literature as a broad overview , . While a systematic review traditionally adopts PRISMA a narrative review facilitates an author's preference for how to best represent literature findings according to a research question . In this way, the research team was able to organize results based on our conceptualizations of trends, links, and/or major implications in response to our research question. In addition, organizing the bibliometric data by school, year of publication, and keywords, allowed the research team to further understand trends in student theses.Inclusion and exclusion riterciaAlthough the scope of this research project was intentionally broad, several inclusion and exclusion criteria were specified. First, only theses or dissertations (henceforth collectively referred to as ‘theses’) in the field of drama therapy as defined by the NADTA (https://www.nadta.org/what-is-drama-therapy) were included. Consequently, only theses submitted as part of the course requirements of an NADTA accredited academic drama therapy course (i.e Antioch University, California Institute of Integral Studies, Concordia University, Lesley University, Kansas State University, New York University) were considered. In turn, theses that may be on drama therapy, but were written outside the field of drama therapy (i.e., not from an NADTA accredited course; acting programs, social work) were not included within this study. Nor were theses written by alternative track (AT) students prior to enrolling into the AT program (alternative training in drama therapy outside academic institutions accredited by the NADTA) as there is no accessible database with this information. Furthermore, in order to provide a current view of the body of literature produced by students, only theses submitted within the years 2017 to 2022 were included. Lastly, to allow a categorization of theses based on content rather than only bibliometric data (e.g., school, year of submission, etc.), theses must have been accessible to a member of the research team at either title and abstract, or full-text level to be considered within this study.ProcedureThis research study included procurement of the data, a pre-data analysis phase of identification and organization of keywords, and data analysis via categorization. Detailed steps of these three phases are outlined below:1. ProcurementEach school was contacted at the beginning of this research project via e-mail to inform them of the goals of this research and to inquire about current standards of capstone theses at their school as well as their individual system of keeping a list or repository of students’ work and the possibility of accessing these lists. Access to students’ theses was facilitated for Lesley University and Concordia University via an open-access online repository and in the case of Kansas State University via a hand search of physical copies of the theses by author Alivia Holkesvig, on the premises of the University. Additionally, New York University provided a comprehensive list of theses including author, title, abstract and keywords, when available. Once access to the student’s work was facilitated, bibliometric information (author, title, abstract, keywords, school, year) were entered into a shared GoogleSheet by one of the research team members. To ensure that, as per inclusion criteria, only theses written exclusively on drama therapy were included, a second member of the research team member-checked each entry. Cases of disagreement were settled via discussion between a minimum of two research team members.2. Pre-data analysis: identification and organization of keywordsIn order to gain a comprehensive overview of themes discussed in the students’ theses, a comprehensive keyword analysis was conducted prior to any further categorization. However, 46% of theses did not include author-generated keywords. Consequently, the research team generated keywords based on the title and abstract in the initial step of the analysis. Furthermore, to allow for comparison between theses, author-generated keywords were adjusted to match the created vocabulary of keyword terms. This keyword generation was done asynchronously by members of the research team and ultimately discussed by all members of the research team for consensus. 3. Data analysis: categorizationFollowing the identification of theses keywords, the theses were sorted into categories along the five domains of investigation, which emerged during the initial narrative review of the data: drama therapy theory, research method, setting, population, and intervention and integration focus. Categories were created inductively based on theses’ titles, abstracts, and keywords. Each domain was initially populated with theses by one member of the research team. The final categorization was in turn member-checked by at least one other researcher to establish consensus. Disagreements were settled via discussion by two or more team members.In a preliminary bibliometric analysis, theses’ bibliometric data (i.e., school, year of publication, keywords) were evaluated in the form of an output analysis , using a Python script within a jupyter notebook. Both the dataset and steps of analysis are available open-access , . During the narrative review , , subcategories under each of the five domains were created after an understanding of trends and links in the data emerged. The final organizational scheme entailing categories and sub-categories for each domain of investigation was examined for the number of included theses as well as their main findings in order to present a comprehensive view of the range and focus of students’ work in the field of drama therapy. ResultsBibliometric overviewIn sum, the search for student work in the field of drama therapy yielded 192 theses submitted between the years 2017 to 2022. On average, 32 theses were published per year. Most theses (n=40) were published in 2020. A majority of theses were submitted to New York University (n=72), closely followed by Lesley University (n=69), then Concordia University (n=43) and Kansas State University (n=8). The number of theses submitted per year and school are displayed in Figure 1 and Figure 2 , respectively. 89 theses did not include any author-generated keywords. Consequently, the research team generated keywords for theses missing them, based on the title and abstract, and adjusted author-generated keywords to match the overall keyword structure. Following this procedure, most indexed theses (n=176, 92%) were associated with keywords. 16 references in turn, for which no abstract or full paper was available to generate keywords from, remained without associated keywords. Consequently, these theses were not considered for further categorization.After the process of writing researcher-generated keywords, the student work featured 480 individual keywords. Out of these, drama therapy was the most prominent with 138 mentions, followed by literature review (57 mentions), role theory/role method (41 mentions), qualitative research (32 mentions) and performance-based drama therapy (28 mentions). Most keywords (n=322, 67%), however, were only used by a single thesis. In turn, 158 keywords were used by more than one student. The frequencies of keywords are displayed in Figure 3 . The 13 most used keywords (more than 15 mentions) are displayed in Table 1 alongside the number of theses mentioning them.Research methodThe investigation regarding the utilized research method of each thesis produced the three categories of empirical research, practice-based theses, and theoretical theses, each of which was further refined into sub-categories. The numbers of theses in each category per school are presented in four separate pie charts in Figure 4 . The category of empirical research contained the sub-categories of qualitative research (n=48), arts-based research (n=36), mixed-methods research (n=10) and quantitative research (n=1). The largest out of these, qualitative research, contained theses which utilized qualitative methods of data collection and analysis to empirically assess the training, application, or impact of drama therapy for clients and participants, creative arts therapists, or audience members. Theses categorized within arts-based research were similarly focused on the outcomes of drama therapy interventions, however, used art-making, such as writing or performance, as data, results, or both. The vast majority of arts-based research centered on art generated by the author. Additionally, three theses in this category analyzed art produced by clients , , . The sub-category of mixed-methods research contained theses that utilized a combination of arts-based research, qualitative research, and/or quantitative research. Theses within this sub-category transformed qualitative results into a piece of theatre , or other art-making processes , , in order to substantiate the analysis or complement the research presentation. Other theses combined qualitative and quantitative results to comprehensively research drama therapy interventions , , or compassion fatigue in drama therapists . The one thesis utilizing a purely quantitative approach was submitted to Kansas State University and presented results from a within-subjects design probing the impact of theatre on the audience’s awareness of mental illness . The category of Practice-Based Theses was segregated into the two sub-categories of Treatment Protocol (n=22), meaning research that used a novel approach to an intervention or curriculum, and development of a method (n=18), which presented research that developed novel interventions grounded in theory. Students’ treatment protocols outlined practical approaches to drama therapy with a variety of clients centering identity development , , , , trauma symptoms , , , , social and emotional skills , , managing chronic , or mental illnesses , , , enhancing the therapeutic alliance , , aging , or combating systematic oppression , , . Theses grouped into the sub-category of development of a method explored the theoretical application of an author-generated method of drama therapy , , , , , , , or presented practical experiences of novel methods utilized with clients , , , , , , . Additionally, three theses were self-reflexive and involved the student testing their novel approach on themselves , , .The category of theoretical theses contained 65 theses further divided into literature review (n=40) and theoretical research (n=25). The sub-category of literature review contained 40 theses exploring drama therapy in combination with methods or theories from other fields based on extant literature. The sub-category of theoretical research contained 25 theses which offered a new theory, based on the literature explored. The defining difference between theoretical research and literature review was that literature review presented non-systematic examinations of the current literature associated with the thesis topic, while theoretical research presented a new theory, based on the literature, of how the intersecting topics connected, and often featured a case illustration. Within the literature review subcategory, 78% of the entries came from Lesley University where one of the three thesis options is writing a literature review. The theses in this subcategory varied widely in topics and were spread out amongst the other four domains of inquiry. Within the theoretical research, 19 (76%) of the theses were submitted through Concordia University. To further examine the nature of the students’ work with respect to their chosen research method, a χ2-test of independence was performed. To meet the assumptions of the test (i.e., sample size and expected cell frequencies), only a subset of the presented data from the three Schools Concordia, Lesley, and New York University were examined. Theses submitted to Kansas State University were not included given their low sample size. The relationship between these categories and the three different schools was statistically significant, χ2(4)=13.15, p=.011, indicating a significant association between the schools and their students chosen research method in their capstone theses. Figure 5 presents this data visually. Drama therapy theoryInvestigation of the main drama therapy theories centered in the students’ theses produced eight categories (Table 2 </PlainText></TextGroup><ImgLink imgNo="2" imgType="table" />): core processes, developmental transformations, drama therapy education (Table 3 <ImgLink imgNo="3" imgType="table" />), narradrama, (<TextGroup><PlainText>Table 2</PlainText></TextGroup> <ImgLink imgNo="2" imgType="table" />) performance-based drama therapy (Table 4 <ImgLink imgNo="4" imgType="table" />), psychodrama&#47;sociodrama, role method&#47;role theory, and table top role play (Table 2 <ImgLink imgNo="2" imgType="table" />). Additionally, the categories of drama therapy education (Table 3 <ImgLink imgNo="3" imgType="table" />) and performance-based drama therapy (Table 4 <ImgLink imgNo="4" imgType="table" />) contained seven and ten sub-categories, respectively.</Pgraph><Pgraph>The theory of the core processes yielded 18 theses spread almost evenly among Concordia, Lesley University, and NYU. These theses focused on both the core processes as a whole or examined core processes individually, or in an isolated manner (i.e., embodiment and dramatic projection only).</Pgraph><Pgraph>The theses on developmental transformations (DvT) used the method with a variety of populations, such as active duty service members <TextLink reference="83"></TextLink> mental health professionals <TextLink reference="84"></TextLink>, those with mental health issues <TextLink reference="39"></TextLink>, and immigrants <TextLink reference="85"></TextLink> in a variety of settings, such as psychiatric units <TextLink reference="86"></TextLink>, <TextLink reference="87"></TextLink> and virtual spaces <TextLink reference="88"></TextLink>. One piece, a dissertation, by Pitre <TextLink reference="89"></TextLink> used a grounded theory approach and focused on expanding and deepening the understanding of DvT terminology. </Pgraph><Pgraph>Three of the four theses using narradrama dealt with marginalized populations: indigenous peoples <TextLink reference="90"></TextLink> and LGBTQIA&#43;&#47;Queer populations <TextLink reference="91"></TextLink>, <TextLink reference="92"></TextLink>. The final thesis in this category examined using narradrama to process traumatic childbirth <TextLink reference="93"></TextLink>.</Pgraph><Pgraph>The drama therapy theory of psychodrama&#47;sociodrama yielded four theses. Three of the four theses <TextLink reference="47"></TextLink>, <TextLink reference="48"></TextLink>, <TextLink reference="83"></TextLink> are cross-listed in other drama therapy theory categories meaning that only one centers psychodrama&#47;sociodrama as its only drama therapy theory, as it&#8217;s defined in this project <TextLink reference="94"></TextLink>. One thesis focused on bibliodrama <TextLink reference="47"></TextLink> and examined religious allegory to explore queer identity.</Pgraph><Pgraph>34 theses were grouped in the category of role method&#47;role theory. Nine theses engaged with participants with a range of disabilities <TextLink reference="40"></TextLink>, <TextLink reference="41"></TextLink>, <TextLink reference="52"></TextLink>, <TextLink reference="55"></TextLink>, <TextLink reference="57"></TextLink>, <TextLink reference="77"></TextLink>, <TextLink reference="95"></TextLink>, <TextLink reference="96"></TextLink>, four addressed race or racial equity <TextLink reference="81"></TextLink>, <TextLink reference="90"></TextLink>, <TextLink reference="97"></TextLink>, <TextLink reference="98"></TextLink> and two worked with LGBTQIA&#43;&#47;Queer participants <TextLink reference="86"></TextLink>, <TextLink reference="99"></TextLink>. Additionally, theses explored the expansion of the original role taxonomy <TextLink reference="100"></TextLink> by introducing greater diversity of roles, including working with Filipinos <TextLink reference="48"></TextLink>, LGBTQIA&#43;&#47;Queer populations <TextLink reference="72"></TextLink>, <TextLink reference="101"></TextLink>, adults with addictions <TextLink reference="80"></TextLink>, and Black Americans <TextLink reference="102"></TextLink>.</Pgraph><Pgraph>Table top role play is an emergent approach, using both drama therapy theory and role-playing games, and the four theses <TextLink reference="45"></TextLink>, <TextLink reference="103"></TextLink>, <TextLink reference="104"></TextLink>, <TextLink reference="105"></TextLink> utilizing this method were published between 2019 and 2022 across all surveyed schools.</Pgraph><Pgraph>The category drama therapy education contained theses that focused on issues salient to the education and clinical training of the drama therapist. Theses within this category are further divided into seven sub-categories (see Table 3 <ImgLink imgNo="3" imgType="table" />).</Pgraph><Pgraph>The sub-category of group therapy contained 12 theses proposing new approaches or intervention designs for group drama therapy with a wide range of clients <TextLink reference="34"></TextLink>, <TextLink reference="48"></TextLink>, <TextLink reference="50"></TextLink>, <TextLink reference="57"></TextLink>, <TextLink reference="62"></TextLink>, <TextLink reference="73"></TextLink>, <TextLink reference="75"></TextLink>, <TextLink reference="87"></TextLink>, <TextLink reference="99"></TextLink>, <TextLink reference="106"></TextLink>, <TextLink reference="107"></TextLink>, <TextLink reference="108"></TextLink>. The sub-category of identity contained 15 theses that reviewed or developed drama therapeutic approaches addressing concepts of identity such as self-confidence <TextLink reference="98"></TextLink>, <TextLink reference="102"></TextLink>, <TextLink reference="109"></TextLink>, <TextLink reference="110"></TextLink>, self-awareness <TextLink reference="111"></TextLink>, personal development <TextLink reference="47"></TextLink>, <TextLink reference="112"></TextLink>, <TextLink reference="113"></TextLink> or claiming one&#8217;s identity <TextLink reference="36"></TextLink>, <TextLink reference="47"></TextLink>, <TextLink reference="98"></TextLink>, <TextLink reference="110"></TextLink>, <TextLink reference="113"></TextLink>, <TextLink reference="114"></TextLink>. Additionally, a number of theses were written in reflection on students&#8217; own development of a clinical identity as a drama therapist <TextLink reference="115"></TextLink>, <TextLink reference="116"></TextLink>, <TextLink reference="117"></TextLink>. By extension, the sub-category self-reflexivity included 28 theses reporting on students&#8217; self-reflexive processes in their training or work as drama therapists using qualitative and arts-based self-supervision methods. </Pgraph><Pgraph>The sub-category of supervision contained five theses submitted to New York University describing the self-reflective practice of students in their clinical training. Three theses explored the process of developing and applying their own tools of self-supervision <TextLink reference="82"></TextLink>, <TextLink reference="118"></TextLink>, <TextLink reference="119"></TextLink> while two other theses describe the utilization of the R-Rap <TextLink reference="120"></TextLink>, <TextLink reference="121"></TextLink> as a tool to reflect one&#8217;s own clinical drama therapeutic practice <TextLink reference="115"></TextLink>, <TextLink reference="122"></TextLink>. </Pgraph><Pgraph>The category of therapeutic alliance contained five theses describing the nature <TextLink reference="84"></TextLink>, <TextLink reference="123"></TextLink>, <TextLink reference="124"></TextLink>, assessment <TextLink reference="60"></TextLink> and development <TextLink reference="125"></TextLink> of the relationship between drama therapist and client.</Pgraph><Pgraph>The subcategory of touch contained two theses. The first examined how touch can be used with older adults to increase intimacy in drama therapy sessions <TextLink reference="62"></TextLink>. The second discussed how we consider touch within the field of drama therapy, and the work that needs to be done to continue to clarify the ethics and understanding around this topic <TextLink reference="126"></TextLink>.</Pgraph><Pgraph>Finally, the sub-category of transference &#38; countertransference contained six theses. One thesis re-conceptualized the traditional psychodynamic construct of countertransference from a drama therapeutic perspective through concepts from role theory via a literature review <TextLink reference="127"></TextLink>. Other theses within this sub-category utilized methods of autoethnography <TextLink reference="84"></TextLink>, self-supervision <TextLink reference="118"></TextLink>, <TextLink reference="122"></TextLink> as well as arts-based research <TextLink reference="37"></TextLink>, <TextLink reference="59"></TextLink> to reflect on personal experiences of transference and countertransference from internships, placements or drama therapy training courses. </Pgraph><Pgraph>The category of performance-based drama therapy, defined here as drama therapy approaches or theories that centre both process and performance, included 41 total theses. Notably, all of the theses on ethnodrama <TextLink reference="44"></TextLink>, <TextLink reference="128"></TextLink>, <TextLink reference="129"></TextLink>, <TextLink reference="130"></TextLink> came from Kansas State University and on Playback <TextLink reference="131"></TextLink>, <TextLink reference="132"></TextLink>, <TextLink reference="133"></TextLink> from Lesley University. The most popular approach was therapeutic theater with 17 theses spread across all four schools represented. </Pgraph><SubHeadline>Intervention and integration focus</SubHeadline><Pgraph>Theses and dissertations that fell outside of the other categorizations, but the research team felt should be highlighted due to the repetition of research topics, were placed into an intervention and integration focus category. Within this domain of investigation, two main categories were identified, integrated concepts, which combined drama therapy theory with another construct and intervention focus which focused on specific outcomes, theories, or frameworks used in the intervention design, each of which was further split into several sub-categories (see Table 5 <ImgLink imgNo="5" imgType="table" /> and Table 6 <ImgLink imgNo="6" imgType="table" />). </Pgraph><Pgraph>The category of integrated concepts contained theses that incorporated concepts from other fields or disciplines into the practice of drama therapy. It further contained six sub-categories: bondage discipline sadism masochism (BDSM), dialectical behavioral therapy (DBT), humor, play therapy, spirituality and religion, and psychoeducation. The sub-category BDSM included two theses, one from Concordia <TextLink reference="134"></TextLink> and one from NYU <TextLink reference="135"></TextLink> both of which used drama therapy theory, specifically the core processes, in relation to BDSM. The two theses that fell under DBT, one from Lesley <TextLink reference="78"></TextLink> and one from NYU <TextLink reference="71"></TextLink>, integrated the theories of drama therapy and DBT. Humor included five theses submitted to Concordia, Lesley, and New York University. Theses within this sub-category all reviewed the concept of applying humor to drama therapy by developing novel interventions <TextLink reference="61"></TextLink>, <TextLink reference="136"></TextLink>, reviewing extant literature <TextLink reference="124"></TextLink>, <TextLink reference="137"></TextLink> or via qualitative <TextLink reference="61"></TextLink> and arts-based research <TextLink reference="138"></TextLink>. The sub-category of play therapy contained three theses, each of which reviewed concepts of play therapy from a drama therapeutic perspective. Theses outlined similarities and differences via a literature review <TextLink reference="139"></TextLink> as well as attempt to incorporate established forms of play therapy into drama therapy by developing novel intervention approaches <TextLink reference="73"></TextLink>, <TextLink reference="140"></TextLink>. The sub-category of Psychoeducation was made up of four theses. By reflecting on clinical experiences <TextLink reference="75"></TextLink>, <TextLink reference="106"></TextLink>, reviewing extant literature <TextLink reference="141"></TextLink> or developing novel approaches <TextLink reference="50"></TextLink>, these theses assessed how to incorporate methods of psychoeducation into drama therapeutic practice to comprehensively address issues of stress, trauma, and severe mental illness with a broad variety of clients. Lastly, the sub-category of Spirituality&#47;Religion contained two theses that discussed the impact of religion on one&#8217;s identity and examined its implications for the practice of drama therapy <TextLink reference="47"></TextLink>, <TextLink reference="142"></TextLink>.</Pgraph><Pgraph>The category of Intervention Focus contained theses that utilized drama therapy to achieve goals in the social and cultural realm outside of the traditional therapeutic space. It is further split into seven sub-categories: attachment, burnout, Covid-19, resilience, social-emotional learning, social justice, and stigma. The sub-category of attachment entailed three theses, which discussed, by reviewing literature or developing novel approaches, how different forms of drama therapy may help adolescents <TextLink reference="73"></TextLink>, <TextLink reference="143"></TextLink> or unhoused individuals <TextLink reference="144"></TextLink> work on unhealthy attachment patterns developed in childhood. Three theses were grouped within the sub-category of burnout. One thesis discussed how drama therapy may address the effects of long-lasting occupational stress and burnout in public school teachers <TextLink reference="141"></TextLink>. Additionally, two theses examined empirically how the constant exposure to trauma and severe mental health concerns for mental health care workers generally may lead to higher rates of vicarious trauma and burnout in this population <TextLink reference="43"></TextLink>, <TextLink reference="145"></TextLink>. The five theses focused on Covid-19, three from Lesley and two from NYU, varied in approach, but focused on helping different populations during the pandemic, including theater artists <TextLink reference="49"></TextLink>, <TextLink reference="146"></TextLink>, the Jewish community <TextLink reference="147"></TextLink>, students on the autism spectrum <TextLink reference="148"></TextLink>, and Chinese international students <TextLink reference="98"></TextLink>.</Pgraph><Pgraph>The sub-category of resilience included five theses of empirical and theoretical research discussing how drama therapy may strengthen resiliency in adults <TextLink reference="136"></TextLink>, adolescents <TextLink reference="42"></TextLink>, <TextLink reference="149"></TextLink> and children <TextLink reference="52"></TextLink>, <TextLink reference="140"></TextLink>. The sub-category of social-emotional learning contained three theses, which discussed the potential of drama therapy, particularly methods of improvisations and play, in promoting social-emotional skills in children and adolescents <TextLink reference="53"></TextLink>, <TextLink reference="148"></TextLink>, <TextLink reference="150"></TextLink>. </Pgraph><Pgraph>The sub-category of social justice, the largest sub-category within the category intervention focus, contained 26 theses. Theses in this sub-category emphasize the potential social and cultural impact of drama therapy as well as the importance of social and cultural forces on the practice of drama therapy. Theses outlined on a theoretical, practical, and empirical level provide important contextual factors in working with marginalized or oppressed populations, such as BIPOC populations <TextLink reference="81"></TextLink>, <TextLink reference="90"></TextLink>, <TextLink reference="102"></TextLink>, <TextLink reference="151"></TextLink>, <TextLink reference="152"></TextLink>, <TextLink reference="153"></TextLink>, the LGBTQIA&#43;&#47;Queer community <TextLink reference="74"></TextLink>, <TextLink reference="86"></TextLink>, <TextLink reference="92"></TextLink>, <TextLink reference="110"></TextLink> or disabled clients <TextLink reference="154"></TextLink>, <TextLink reference="155"></TextLink> as well as the importance of cultural competency for creative arts therapists <TextLink reference="38"></TextLink>, <TextLink reference="65"></TextLink>, <TextLink reference="97"></TextLink>, <TextLink reference="122"></TextLink>, <TextLink reference="156"></TextLink>. Additionally, a number of theses within this category discussed how drama therapy may aid in creating a more equitable and just society outside the clinical realm <TextLink reference="63"></TextLink>, <TextLink reference="64"></TextLink>, <TextLink reference="69"></TextLink>, <TextLink reference="119"></TextLink>, <TextLink reference="157"></TextLink>, <TextLink reference="158"></TextLink>, <TextLink reference="159"></TextLink>, <TextLink reference="160"></TextLink>. </Pgraph><Pgraph>The sub-category of Stigma included three theses, which described how performance may be used to address personally felt or culturally performed stigmas surrounding sexual identities <TextLink reference="161"></TextLink>, eating disorders <TextLink reference="162"></TextLink> or other mental health diagnoses <TextLink reference="84"></TextLink>. </Pgraph><SubHeadline>Population</SubHeadline><Pgraph>The main populations centered by the students&#8217; theses contained fourteen categories: adults, BIPOC populations, children and adolescents, disabled populations, drama therapists-in-training, incarcerated populations, migrant&#47;immigrant populations, older adults, professionals, LGBTQIA&#43;&#47;Queer populations, students, theatre artists, those who experienced trauma, and young adults (<TextGroup><PlainText>Table 7 </PlainText></TextGroup><ImgLink imgNo="7" imgType="table" />).</Pgraph><Pgraph>The category of adults included theses that focused on adult populations, including queer and transgender adults <TextLink reference="68"></TextLink>, <TextLink reference="72"></TextLink>, <TextLink reference="99"></TextLink>, <TextLink reference="161"></TextLink>, adults in clinical settings <TextLink reference="80"></TextLink>, <TextLink reference="87"></TextLink>, and in community settings <TextLink reference="163"></TextLink>, <TextLink reference="164"></TextLink>. The category of BIPOC populations contained theses describing drama therapy in application with diverse populations of color <TextLink reference="46"></TextLink>, <TextLink reference="48"></TextLink>, <TextLink reference="81"></TextLink>, <TextLink reference="85"></TextLink>, <TextLink reference="98"></TextLink>, <TextLink reference="102"></TextLink>, <TextLink reference="119"></TextLink>, <TextLink reference="132"></TextLink>, <TextLink reference="165"></TextLink>, <TextLink reference="166"></TextLink>, <TextLink reference="167"></TextLink>, <TextLink reference="168"></TextLink>, or reflections on cultural responsibility and humility in drama therapy when working with BIPOC clients <TextLink reference="38"></TextLink>, <TextLink reference="90"></TextLink>, <TextLink reference="122"></TextLink>, <TextLink reference="151"></TextLink>, <TextLink reference="152"></TextLink>, <TextLink reference="153"></TextLink>, <TextLink reference="159"></TextLink>, <TextLink reference="169"></TextLink>. </Pgraph><Pgraph>The category of children and adolescents contained theses detailing school-based drama therapy <TextLink reference="35"></TextLink>, <TextLink reference="42"></TextLink>, <TextLink reference="67"></TextLink>, <TextLink reference="79"></TextLink>, <TextLink reference="148"></TextLink>, <TextLink reference="150"></TextLink>, <TextLink reference="157"></TextLink>, <TextLink reference="170"></TextLink>, working with children and adolescents in clinical settings <TextLink reference="96"></TextLink>, <TextLink reference="111"></TextLink>, <TextLink reference="171"></TextLink>, or drama therapy theory and model development targeting children and adolescents <TextLink reference="53"></TextLink>, <TextLink reference="73"></TextLink>, <TextLink reference="76"></TextLink>, <TextLink reference="94"></TextLink>, <TextLink reference="97"></TextLink>, <TextLink reference="140"></TextLink>, <TextLink reference="172"></TextLink>, <TextLink reference="173"></TextLink>. </Pgraph><Pgraph>The category of disability (see Figure 6 <ImgLink imgNo="6" imgType="figure" />) contained 28 theses that were further divided into the subcategories of various (i.e., theses written on a variety of different disabilities); chronic illness, intellectual and developmental disability, and mental illness. The latter sub-category of mental illness was the most researched with seventeen theses, some of which focused specifically on Eating Disorders <TextLink reference="96"></TextLink>, <TextLink reference="107"></TextLink>, <TextLink reference="142"></TextLink>, <TextLink reference="162"></TextLink>, schizophrenia <TextLink reference="40"></TextLink>, <TextLink reference="41"></TextLink>, <TextLink reference="44"></TextLink>, <TextLink reference="108"></TextLink> or addiction <TextLink reference="80"></TextLink>.</Pgraph><Pgraph>The category of drama therapist in-training contained 13 theses. Students utilized research methods such as autoethnography or heuristic inquiry to empirically assess their own experiences in their drama therapy training <TextLink reference="37"></TextLink>, <TextLink reference="116"></TextLink>, <TextLink reference="117"></TextLink>, <TextLink reference="123"></TextLink>, <TextLink reference="156"></TextLink>, <TextLink reference="169"></TextLink>, <TextLink reference="174"></TextLink>, <TextLink reference="175"></TextLink>, <TextLink reference="176"></TextLink>, or described processes of their supervision during internship placements <TextLink reference="59"></TextLink>, <TextLink reference="82"></TextLink>, <TextLink reference="115"></TextLink>, <TextLink reference="118"></TextLink>.</Pgraph><Pgraph>The category of incarcerated populations included three theses including literature reviews of the use of theater in prisons <TextLink reference="158"></TextLink> and drama therapy with incarcerated youth <TextLink reference="177"></TextLink>, as well as using queer theory, role theory, and DvT in a forensic psychiatric unit <TextLink reference="86"></TextLink>.</Pgraph><Pgraph>The category of LGBTQIA&#43;&#47;Queer populations contained twelve theses, which described drama therapy in application with queer adults <TextLink reference="68"></TextLink>, <TextLink reference="92"></TextLink>, <TextLink reference="99"></TextLink>, <TextLink reference="161"></TextLink> and adolescents <TextLink reference="74"></TextLink>, <TextLink reference="91"></TextLink>, <TextLink reference="110"></TextLink> or the extension of drama therapeutic practice to be more inclusive toward members of the LGBTQIA&#43; community <TextLink reference="47"></TextLink>, <TextLink reference="72"></TextLink>, <TextLink reference="101"></TextLink>, <TextLink reference="178"></TextLink>, <TextLink reference="179"></TextLink>.</Pgraph><Pgraph>The category of migrant&#47;immigrant populations contained four theses, describing the personal and cultural impacts of the immigration process and what role drama therapy may have for these populations <TextLink reference="51"></TextLink>, <TextLink reference="85"></TextLink>, <TextLink reference="169"></TextLink>, <TextLink reference="180"></TextLink>.</Pgraph><Pgraph>The category of older adult describes drama therapy in application with the elderly <TextLink reference="61"></TextLink>, <TextLink reference="62"></TextLink>, <TextLink reference="181"></TextLink>. Some theses within this category focused in particular on patients with Alzheimer&#8217;s or dementia <TextLink reference="182"></TextLink>, <TextLink reference="183"></TextLink>, <TextLink reference="184"></TextLink>.</Pgraph><Pgraph>The category of professional populations (see Figure 7 <ImgLink imgNo="7" imgType="figure" />) included twelve theses, which detailed the application of drama therapy with healthcare professionals <TextLink reference="50"></TextLink>, <TextLink reference="185"></TextLink>, including other creative arts therapists <TextLink reference="84"></TextLink>, <TextLink reference="125"></TextLink>, <TextLink reference="145"></TextLink>, <TextLink reference="186"></TextLink>, members of the military <TextLink reference="58"></TextLink>, <TextLink reference="83"></TextLink>, <TextLink reference="187"></TextLink>, <TextLink reference="188"></TextLink> as well as teachers <TextLink reference="141"></TextLink>, <TextLink reference="189"></TextLink>, <TextLink reference="190"></TextLink>.</Pgraph><Pgraph>The category of student populations included 10 theses, which were written either with an emphasis on students in primary and secondary education <TextLink reference="42"></TextLink>, <TextLink reference="79"></TextLink>, <TextLink reference="148"></TextLink>, <TextLink reference="157"></TextLink> or students in university or college <TextLink reference="35"></TextLink>, <TextLink reference="58"></TextLink>, <TextLink reference="112"></TextLink>, <TextLink reference="132"></TextLink>, <TextLink reference="146"></TextLink>, <TextLink reference="172"></TextLink>.</Pgraph><Pgraph>The category of theatre artists contained six theses, which examined drama therapy practice in rehearsal processes <TextLink reference="49"></TextLink>, <TextLink reference="69"></TextLink>, &#91;193&#93; or actor training programs <TextLink reference="146"></TextLink>, <TextLink reference="191"></TextLink>, <TextLink reference="192"></TextLink>.</Pgraph><Pgraph> </Pgraph><Pgraph>The category of trauma (see Figure 8 <ImgLink imgNo="8" imgType="figure" />) included 34 theses that were further divided into the subcategories of childhood trauma <TextLink reference="32"></TextLink>, <TextLink reference="33"></TextLink>, <TextLink reference="128"></TextLink>, <TextLink reference="144"></TextLink>, <TextLink reference="150"></TextLink>, PTSD <TextLink reference="35"></TextLink>, <TextLink reference="52"></TextLink>, <TextLink reference="75"></TextLink>, <TextLink reference="83"></TextLink>, <TextLink reference="187"></TextLink>, sexual abuse <TextLink reference="32"></TextLink>, <TextLink reference="128"></TextLink>, <TextLink reference="130"></TextLink>, <TextLink reference="193"></TextLink>, vicarious trauma <TextLink reference="50"></TextLink>, <TextLink reference="145"></TextLink> and mass trauma <TextLink reference="35"></TextLink>, <TextLink reference="165"></TextLink>, <TextLink reference="194"></TextLink>, <TextLink reference="195"></TextLink>. Notably, eight of the 12 theses included in the sub-category mass trauma were on the impacts of the COVID-19 pandemic <TextLink reference="49"></TextLink>, <TextLink reference="98"></TextLink>, <TextLink reference="131"></TextLink>, <TextLink reference="146"></TextLink>, <TextLink reference="147"></TextLink>, <TextLink reference="148"></TextLink>, <TextLink reference="151"></TextLink>, <TextLink reference="196"></TextLink>.</Pgraph><Pgraph>Lastly, the category of young adult populations included three theses which examined using drama therapy with Cancer Survivors <TextLink reference="55"></TextLink>, expanding the window of tolerance with young adults with eating disorders <TextLink reference="106"></TextLink>, and working with Chinese International Students in the U.S. <TextLink reference="97"></TextLink>.</Pgraph><Pgraph> </Pgraph><SubHeadline>Setting</SubHeadline><Pgraph>Another lens through which student research was examined was settings. Four main categories were identified: clinical settings, community settings, incarceration settings, and schools. Theses that dealt generally with theory or model development and were not rooted in a specific setting were not included in this domain of investigation (Table 8 <ImgLink imgNo="8" imgType="table" />). </Pgraph><Pgraph>The categories of clinical setting (see Figure 9 <ImgLink imgNo="9" imgType="figure" />) was further divided into the settings of psychiatric hospitals <TextLink reference="34"></TextLink>, <TextLink reference="43"></TextLink>, <TextLink reference="77"></TextLink>, <TextLink reference="78"></TextLink>, <TextLink reference="87"></TextLink> medical hospitals <TextLink reference="67"></TextLink>, <TextLink reference="170"></TextLink>, residential facilities <TextLink reference="61"></TextLink>, <TextLink reference="62"></TextLink>, <TextLink reference="96"></TextLink>, <TextLink reference="122"></TextLink>, <TextLink reference="133"></TextLink>, <TextLink reference="181"></TextLink>, <TextLink reference="182"></TextLink>, and outpatient services <TextLink reference="32"></TextLink>, <TextLink reference="39"></TextLink>, <TextLink reference="40"></TextLink>, <TextLink reference="41"></TextLink>, <TextLink reference="54"></TextLink>, <TextLink reference="57"></TextLink>, <TextLink reference="75"></TextLink>, <TextLink reference="76"></TextLink>, <TextLink reference="80"></TextLink>, <TextLink reference="83"></TextLink>, <TextLink reference="92"></TextLink>, <TextLink reference="99"></TextLink>, <TextLink reference="106"></TextLink>, <TextLink reference="107"></TextLink>, <TextLink reference="153"></TextLink>, <TextLink reference="171"></TextLink>.</Pgraph><Pgraph>Community settings were defined as any setting where drama therapy occurred beyond formalized environments such as clinical environments, educational, or incarceration settings. Theses within this category described empirical, theoretical, or practical community engagement projects <TextLink reference="44"></TextLink>, <TextLink reference="48"></TextLink>, <TextLink reference="50"></TextLink>, <TextLink reference="66"></TextLink>, <TextLink reference="97"></TextLink>, <TextLink reference="114"></TextLink>, <TextLink reference="117"></TextLink>, <TextLink reference="145"></TextLink>, <TextLink reference="161"></TextLink>, <TextLink reference="163"></TextLink>, <TextLink reference="176"></TextLink>, <TextLink reference="147"></TextLink> or therapeutic theatre productions <TextLink reference="70"></TextLink>, <TextLink reference="154"></TextLink>, <TextLink reference="159"></TextLink>, <TextLink reference="164"></TextLink>, <TextLink reference="197"></TextLink>. Incarceration settings contained three theses that focused on drama therapy in forensic settings <TextLink reference="86"></TextLink> and detention facilities <TextLink reference="158"></TextLink>, <TextLink reference="177"></TextLink>. School settings were subcategorized into primary and secondary <TextLink reference="35"></TextLink>, <TextLink reference="42"></TextLink>, <TextLink reference="79"></TextLink>, <TextLink reference="116"></TextLink>, <TextLink reference="119"></TextLink>, <TextLink reference="141"></TextLink>, <TextLink reference="150"></TextLink>, <TextLink reference="157"></TextLink>, <TextLink reference="172"></TextLink>, <TextLink reference="189"></TextLink>, <TextLink reference="190"></TextLink> and college education <TextLink reference="58"></TextLink>, <TextLink reference="116"></TextLink>, <TextLink reference="131"></TextLink>, <TextLink reference="169"></TextLink>, <TextLink reference="175"></TextLink>, <TextLink reference="146"></TextLink>, <TextLink reference="198"></TextLink>, <TextLink reference="199"></TextLink>, <TextLink reference="160"></TextLink>. <TextLink reference="86"></TextLink>.</Pgraph></TextBlock> <TextBlock name="Discussion" linked="yes"> <MainHeadline>Discussion</MainHeadline><Pgraph>The current research study aimed to elucidate what students of drama therapy examine in their master theses or dissertations. Via a narrative review, researchers aggregated, sorted, and categorized 192 theses and dissertations submitted to four different schools of drama therapy along the domains of utilized research method, drama therapy theory, intervention and integration focus, population, and setting. In sum, it offers a comprehensive overview of student research in drama therapy in North America from the years 2017&#8211;2022. As summarized in this analysis, students&#8217; theses cover a diverse range of topics utilizing theoretical, practical, and empirical approaches. Furthermore, it is evident that students base their work on existing theories and practical approaches within the field of drama therapy, but also expand the field by connecting to constructs and paradigms outside of drama therapy and exploring novel interventions and applications of drama therapy. However, this research also identified a lack of standardization within drama therapy education as a whole <TextLink reference="1"></TextLink>.</Pgraph><SubHeadline>Diversity of student research</SubHeadline><Pgraph>The diversity within the assessed theses is evident in the range of populations, settings, concepts, and theories examined in the students&#8217; research. Overall, this research identified populations across fourteen categories, settings across four categories, as well as theories and concepts within drama therapy and outside the field of drama therapy across eight and 13 categories, respectively. Furthermore, as evidenced in the examination of research methods, there is an emphasis within student research to develop new methods or propose novel applications for drama therapy. As such, this diversity found within the students&#8217; research has the potential to enrich the field of drama therapy.</Pgraph><Pgraph>Though students at some schools need to follow a specific thesis structure, for example at Lesley University students currently have the option to focus on an intervention at their internship site, a literature review, or a community project, and though some students topics are likely influenced by professors at individual schools, overall students have freedom to choose their topic. This differs in some programs, where the topic of choice is a reflection of faculty interest and grant funding. In North America, in the field of drama therapy, funding is generally not provided for student research, and student theses research is not tied to faculty research. This provides both benefits and hindrances to North American students: they are able to follow their interests in both research approach and topic, resulting in more diverse and creative student research, but they do not have the financial support or a higher level of faculty collaboration, resulting in fewer resources and smaller projects with which to engage. In sum, the overviewed drama therapy programs grant more freedom of choice than imposing pressure in a certain direction for choosing a thesis topic. This set up puts students in the role of a &#8216;researcher&#8217;, rather than the role of a &#8216;research assistant&#8217;, with respect to their theses, resulting in both advantages and disadvantages for the student.</Pgraph><Pgraph>The idiosyncratic nature of students&#8217; theses is also evident in the spread of unique keywords. Around 70&#37; of keywords that were generated or adapted by the research team were only applied to a single thesis. Consequently, while overall this research identified common research interests across students and schools, this demonstrates that a majority of theses were also unique in their own right, examining areas of research that no other thesis had. These results mirror results found in a recent bibliometric assessment of the field at large <TextLink reference="14"></TextLink>, indicating that this diversity of concepts, approaches and ideas might be inherent to the field of drama therapy.</Pgraph><SubHeadline>Expanding the field of drama therapy</SubHeadline><Pgraph>Common themes prevalent in the surveyed body of student work mirror recent empirical research in the overall drama therapy literature, such as school-based interventions <TextLink reference="200"></TextLink>, <TextLink reference="201"></TextLink> or developmental transformations <TextLink reference="202"></TextLink>, <TextLink reference="203"></TextLink>, <TextLink reference="204"></TextLink>, <TextLink reference="205"></TextLink>, <TextLink reference="206"></TextLink> indicating that students are engaging with the extant knowledge base of drama therapy in their academic practice. Most striking in this regard is students&#8217; research into the core processes of drama therapy, which, although first defined by Jones <TextLink reference="207"></TextLink> over 30 years ago, has only recently, in the last ten years, begun to attract wider attention in the scholarly community of drama therapy <TextLink reference="12"></TextLink>, <TextLink reference="208"></TextLink>, <TextLink reference="209"></TextLink>, <TextLink reference="210"></TextLink>. Yet, during the surveyed years 2017 to 2022 already 18 students focused their thesis on the core processes, indicating the potential student research may have in contributing to and elevating the scholarly discourse within drama therapy.</Pgraph><Pgraph>Furthermore, this study identified a prominent trend within the students&#8217; work not only to engage with the body of knowledge of drama therapy but also to expand upon it. Students showcased the application of drama therapy techniques in novel settings and with seldom-heard populations as well as intentionally integrated theories, methods and concepts from outside the field into drama therapeutic practice. Additionally, students added to extant drama therapy theories and methods, such as developmental transformations <TextLink reference="89"></TextLink> or role theory (i.e., Black American role taxonomy; <TextLink reference="102"></TextLink>, <TextLink reference="211"></TextLink>) in order to expand their theoretical base or practical applications. </Pgraph><Pgraph>In extension, this study identified directions within student research across schools that are not yet evident in the broader scholarly discourse on drama therapy. For example, four students from different universities focused their thesis on the integration of tabletop role-playing games such as <Mark2>Dungeons and Dragons</Mark2> <TextLink reference="212"></TextLink>, indicating a nascent interest in the topic among students that thus far remains to be explored in the broader drama therapy literature <TextLink reference="45"></TextLink>, <TextLink reference="103"></TextLink>, <TextLink reference="104"></TextLink>, <TextLink reference="105"></TextLink>. Similarly, the use of humor and the application of stand-up comedy is explored by five students from three universities <TextLink reference="61"></TextLink>, <TextLink reference="124"></TextLink>, <TextLink reference="136"></TextLink>, <TextLink reference="137"></TextLink>, <TextLink reference="138"></TextLink>. Although the concepts of playfulness and entertainment are integral elements of drama therapy <TextLink reference="213"></TextLink>, <TextLink reference="214"></TextLink>, <TextLink reference="215"></TextLink>, the specific focus addressed by the student researchers remains absent from the literature thus far. As a result, student researchers as well as the student research database may inspire new directions within drama therapy literature and practice.</Pgraph><Pgraph>Moreover, as evident in the large number of theses centering on issues of social justice or the social and cultural effects of the COVID-19 pandemic, students demonstrated a keen focus on the application of drama therapeutic practice outside the traditional clinical context. Students from all four schools submitted theses that incorporated a social justice framework, accounting for 14&#37; of all theses. This turn toward cultural and social issues is also evident in the variety of populations featured in the students&#8217; work, demonstrating that students are interested in making drama therapeutic practice more inclusive, particularly focusing on traditionally marginalized communities. Such a shift away from the therapeutic, clinical realm is also evident in the field as a whole <TextLink reference="216"></TextLink>. Sajnani et al. <TextLink reference="217"></TextLink>, for example, described the necessity for drama therapists as well as drama therapy pedagogy to engage with social and cultural issues in order to address mental health concerns comprehensively, rather than from a purely clinical perspective. Consequently, cultural humility and responsibility are declared key competencies in drama therapy <TextLink reference="1"></TextLink> and drama therapy education <TextLink reference="217"></TextLink>, <TextLink reference="218"></TextLink>. </Pgraph><SubHeadline>Differences across schools</SubHeadline><Pgraph>Furthermore, one salient aspect identified in this study was the differences in students&#8217; theses both in foci and approach across the surveyed schools. The analysis of research conducted at Concordia, New York, and Lesley University, for example, demonstrated that the students&#8217; chosen research methods varied significantly across schools. Similarly, 32&#37; of theses submitted to Concordia University and 18&#37; of theses from New York University centered on processes of self-reflexivity, whereas none of the theses submitted to Lesley or Kansas State University showed the same focus. Additionally, it is noteworthy that the drama therapy methods of role method&#47;role theory and developmental transformations are particularly prevalent in theses submitted to Lesley and New York University and less discussed in theses submitted to Concordia University. These differences, evident in this analysis, may be directly related to the variance in education and pedagogical approaches between schools and highlight the potential utility of a shared framework of educational competencies to further unify the field and education of drama therapy <TextLink reference="1"></TextLink>.</Pgraph><Pgraph>Lastly, an important question to consider within this conversation is the role students, professors, and academic programs ascribe to student research. While first and foremost the purpose of a thesis is the educational benefit for the student, student research may also, as evidenced in this analysis, advance, and enrich the field as a whole. However, thus far, student research has remained limited in its scholarly impact due to a lack of engagement with student research outside of the collegiate setting. To this point, it is noteworthy that a number of students have published their thesis in peer-reviewed academic journals and thus entered their ideas regarding the advancement of the field on issues surrounding drama therapeutic practice <TextLink reference="204"></TextLink>, <TextLink reference="219"></TextLink>, <TextLink reference="220"></TextLink>, <TextLink reference="221"></TextLink>, and social justice and inclusivity <TextLink reference="210"></TextLink>, <TextLink reference="222"></TextLink>, <TextLink reference="223"></TextLink> into the broader scholarly discourse. </Pgraph><SubHeadline>Limitations</SubHeadline><Pgraph>While this project aims to provide a comprehensive overview of work produced by students in NADTA accredited, academic drama therapy courses, there are limitations to this research. First, it is important to note that the work identified is only what could be accessed by the researchers at this time. The researchers utilized only the data that could be procured either through a public online repository, as was the case with Lesley University and Concordia University, or that were provided access via the school, as with New York University and Kansas State University. Further, this study looked only at student theses and dissertations, excluding other forms of student research projects that may exist in NADTA-accredited, academic courses. </Pgraph><Pgraph>This paper focuses on the theses provided by four of the six accredited drama therapy programs. Additionally, Kansas State had markedly fewer theses included than Concordia, Lesley, or NYU. It is important to note that the exclusion of so much student work is not a reflection on the value of that work. Many CIIS students produce self-revelatory performances for their culminating project, and that work is no less valuable to the field than a literature review or empirical research. Drama therapy is an embodied experiential practice, and it is valid for a master&#8217;s project to direct students to do their own embodied experiential work. The addition of papers discussing student self-revs would certainly enrich this research and the spreadsheet of student research.</Pgraph><Pgraph>As noted in the bibliometric overview, some student work did not include keywords. In those cases, the researchers generated keywords based on the student&#8217;s work. There exists some limitation in the researchers&#8217; assumption made when identifying these keywords. Beyond incomplete information related to keywords, another limitation of this study was additional incomplete information. Some student research, for example, did not provide a thorough abstract, which may have diluted its categorization during the narrative review process. The researchers also wish to acknowledge that only schools in North America were considered in this study, in keeping with our inclusion criteria. Therefore, this project can only offer insights from a North American perspective of drama therapy student research and does not represent drama therapy student work in other parts of the world. Lastly, alternative-track student research was excluded entirely from this work per our exclusion criteria as there is currently no systematic way to contact and gather AT students&#8217; previous master&#8217;s research. </Pgraph><SubHeadline>Implications for research education and practice</SubHeadline><Pgraph>Through a commitment to help understand and organize drama therapy student literature in the field, the NADTA student research committee engaged in a research process which resulted in the student thesis database which serves as a central space to access categorized student theses. The project aims to elevate student research by increasing visibility to the work, and to help better understand what students in accredited academic drama therapy schools write about in their theses and dissertations. The examined data led to five categories which dictated the organization of the spreadsheet. The database highlights the diverse perspectives and topics in student research. The research team also hopes that former students will use the database as a bridge between schools to connect with those who are investigating similar topics and to pursue research post-graduation, thereby shifting the narrative of student theses from an endpoint to an entrance into the researcher role. </Pgraph><Pgraph>The spreadsheet will continue as an active document, to be accessed on the NADTA website <TextLink reference="2"></TextLink>, that is continually updated to include more work, and the student research subcommittee hopes to include all six universities offering drama therapy degrees. Students and graduates whose work is not already included, are invited to submit their thesis via a link on the spreadsheet.</Pgraph><Pgraph>Overall, this study and the resulting database supports the trajectory of research growth within drama therapy by expanding our understanding of student theses and how they may shape the future of our field. As the database presents the research of emerging drama therapists and their empirical and theoretical work, it sheds light on the direction the field as a whole in North America may take, as it moves forward. The NADTA student research committee recommends students connect post-graduation to expand on their work, as well as publish and present their research at conferences and aims to host forums that facilitate such connections.</Pgraph></TextBlock> <TextBlock name="Notes" linked="yes"> <MainHeadline>Notes</MainHeadline><SubHeadline>Competing interests</SubHeadline><Pgraph>The authors declare that they have no competing interests.</Pgraph><SubHeadline>Authors&#8217; note</SubHeadline><Pgraph>This study&#8217;s bibliometric data and analysis are made publicly accessible via the online repository figshare <TextLink reference="30"></TextLink>, <TextLink reference="31"></TextLink>. Portions of these findings were presented at the 2022 NADTA conference in San Diego and the 2023 International Dramatherapy Conference in Amersfoort (NL).</Pgraph><SubHeadline>Acknowledgement</SubHeadline><Pgraph>Thank you to our student research subcommittee, many of whom are authors in this study, who helped to sheppard this project forward. Thank you to Dr. Jason Frydman who was the first reader of this paper and provided important insight and sources into the narrative review method.</Pgraph></TextBlock> <References linked="yes"> <Reference refNo="1"> <RefAuthor>Wood LL</RefAuthor> <RefAuthor>Reynolds A</RefAuthor> <RefAuthor>Savage MD</RefAuthor> <RefTitle>Designing a model of knowledge competencies within drama therapy: Phase 1</RefTitle> <RefYear>2022</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>175-95</RefPage> <RefTotal>Wood LL, Reynolds A, Savage MD. Designing a model of knowledge competencies within drama therapy: Phase 1. 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Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="43"> <RefAuthor>Li T</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Sustaining Hope in the Mess: Experiences of Compassion Fatigue in Creative Arts Therapists Working on Acute Care &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Li T. Sustaining Hope in the Mess: Experiences of Compassion Fatigue in Creative Arts Therapists Working on Acute Care &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="44"> <RefAuthor>Schmechel C</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Engaging the Community in Learning about Mental Illness &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Schmechel C. Engaging the Community in Learning about Mental Illness &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2022.</RefTotal> </Reference> <Reference refNo="45"> <RefAuthor>Adams J</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Postmodern Possibilities: Legitimizing Therapeutic Tabletop Roleplaying Games as Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Adams J. Postmodern Possibilities: Legitimizing Therapeutic Tabletop Roleplaying Games as Drama Therapy &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2022.</RefTotal> </Reference> <Reference refNo="46"> <RefAuthor>Chang HS</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Drama Therapy as a Treatment Option for Plastic Surgery Addicted Clients &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Chang HS. Drama Therapy as a Treatment Option for Plastic Surgery Addicted Clients &#91;Masterthesis&#93;. New York: New York University; 2017.</RefTotal> </Reference> <Reference refNo="47"> <RefAuthor>Durrant M</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Religious Allegory in Queer Identity Exploration &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Durrant M. Religious Allegory in Queer Identity Exploration &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="48"> <RefAuthor>Gamboa M</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Astrodrama: Exploring the Use of Astrology in Drama Therapy for Filipinos in the United States &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Gamboa M. Astrodrama: Exploring the Use of Astrology in Drama Therapy for Filipinos in the United States &#91;Masterthesis&#93;. New York: New York University; 2022. DOI: 10.1386&#47;dtr&#95;00122&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00122&#95;1</RefLink> </Reference> <Reference refNo="49"> <RefAuthor>Brooks R</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Freeing the Voice, Freeing the Self: The Linklater Voice Method within Drama Therapy &#91;Masterthesis&#93;.</RefBookTitle> <RefPage></RefPage> <RefTotal>Brooks R. Freeing the Voice, Freeing the Self: The Linklater Voice Method within Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="50"> <RefAuthor>Hughes A</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>When Coping Comes Home: A Proposed Drama Therapy Protocol to Illuminate the Impact of First Responders&#39; Experience of Dissociation in Intimate Relationships &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Hughes A. When Coping Comes Home: A Proposed Drama Therapy Protocol to Illuminate the Impact of First Responders&#39; Experience of Dissociation in Intimate Relationships &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="51"> <RefAuthor>Johnson J</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>The Journey to Home: A protocol for immigrants experiencing the loss of home through the framework of &#34;The Three Little Pig&#34; &#91;Masterthesis&#93;.</RefBookTitle> <RefPage></RefPage> <RefTotal>Johnson J. The Journey to Home: A protocol for immigrants experiencing the loss of home through the framework of &#34;The Three Little Pig&#34; &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="52"> <RefAuthor>Tyborowski B</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>The Dialectics of Resilience and Complex Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Tyborowski B. The Dialectics of Resilience and Complex Trauma &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="53"> <RefAuthor>Couture R</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Enhancing Social Emotional Skills in Adolescents Using Drama Therapy and Improvisation &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Couture R. Enhancing Social Emotional Skills in Adolescents Using Drama Therapy and Improvisation &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="54"> <RefAuthor>McDuffee CB</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Building Nature: A Nature-Based Drama Therapy Method in an Urban Program &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>McDuffee CB. Building Nature: A Nature-Based Drama Therapy Method in an Urban Program &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="55"> <RefAuthor>Csete L</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Role Theory in Drama Therapy with Young Adult Cancer Survivors &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Csete L. Role Theory in Drama Therapy with Young Adult Cancer Survivors &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="56"> <RefAuthor>Ebidia L</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Integrating LSVT BIG with Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Ebidia L. Integrating LSVT BIG with Drama Therapy &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="57"> <RefAuthor>Fort J</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Using Animal as Metaphor in Drama Therapy with Psychiatric Patients in an Intensive Outpatient Program Group Therapy Session &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Fort J. Using Animal as Metaphor in Drama Therapy with Psychiatric Patients in an Intensive Outpatient Program Group Therapy Session &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="58"> <RefAuthor>Sanchez G</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Yes and, to College Life: Helping Student Veterans Transition to Civilian Life Using Theater Improvisation &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Sanchez G. Yes and, to College Life: Helping Student Veterans Transition to Civilian Life Using Theater Improvisation &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="59"> <RefAuthor>Witherspoon H</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Hold You Close and Try to Let You Go: Creating a Protocol for Processing Countertransference Through Art and Metaphor as an Emerging Drama Therapist &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Witherspoon H. Hold You Close and Try to Let You Go: Creating a Protocol for Processing Countertransference Through Art and Metaphor as an Emerging Drama Therapist &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="60"> <RefAuthor>Elam B</RefAuthor> <RefAuthor>Courtney W</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Behind the Brain: The Myers Briggs Personality Type Indicator in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Elam B, Courtney W. Behind the Brain: The Myers Briggs Personality Type Indicator in Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="61"> <RefAuthor>Clohan M</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>The Stand-Up Comedy Where We All Sit Down &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Clohan M. The Stand-Up Comedy Where We All Sit Down &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="62"> <RefAuthor>Showers S</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Physical Touch in Drama Therapy to Increase Intimacy for Older Adults in Assisted Living &#91;Masterthesis&#93;</RefBookTitle> <RefPage>Physical Touch in Drama Therapy to Increase Intimacy for Older Adults in Assisted Living &#91;Masterthesis&#93;</RefPage> <RefTotal>Showers S. Physical Touch in Drama Therapy to Increase Intimacy for Older Adults in Assisted Living &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2020.</RefTotal> </Reference> <Reference refNo="63"> <RefAuthor>Freeman K</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Us&#47;Them: Using Drama Therapy to explore the intersubjective experience of roles found within objective power dynamics &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Freeman K. Us&#47;Them: Using Drama Therapy to explore the intersubjective experience of roles found within objective power dynamics &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="64"> <RefAuthor>Greenway J</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Using Play Scripts for Therapeutic Theatre Interventions &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Greenway J. Using Play Scripts for Therapeutic Theatre Interventions &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="65"> <RefAuthor>Ikram S</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Embodying the Veil of Ignorance &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Ikram S. Embodying the Veil of Ignorance &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="66"> <RefAuthor>Brennan C</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>The Drama Hive: A Public Practice Drama Therapy Intervention &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Brennan C. The Drama Hive: A Public Practice Drama Therapy Intervention &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="67"> <RefAuthor>Neslon C</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>How the use of Disney characters and their Archetypes benefit Pediatric Oncology Patients using Role Theory and Role Method &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Neslon C. How the use of Disney characters and their Archetypes benefit Pediatric Oncology Patients using Role Theory and Role Method &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="68"> <RefAuthor>Lunardi E</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Drama Therapy with Queer Adults &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Lunardi E. Drama Therapy with Queer Adults &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2019.</RefTotal> </Reference> <Reference refNo="69"> <RefAuthor>Posklinsky-Shehory H</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Drama therapy informed theater &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Posklinsky-Shehory H. Drama therapy informed theater &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="70"> <RefAuthor>Reclam H</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Performance as Therapy and its Role in Community Healing &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Reclam H. Performance as Therapy and its Role in Community Healing &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="71"> <RefAuthor>Roohan MK</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Dialectical Behavior Therapy and Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Roohan MK. Dialectical Behavior Therapy and Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2017.</RefTotal> </Reference> <Reference refNo="72"> <RefAuthor>Truax A</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>The Queer Expansion of Role Theory &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Truax A. The Queer Expansion of Role Theory &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="73"> <RefAuthor>Wood DW</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Group Cohesion With Hard-To-Treat Youth &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Wood DW. Group Cohesion With Hard-To-Treat Youth &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="74"> <RefAuthor>Brabant L</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>La dramath&#233;rapie et le th&#233;&#226;tre de l&#8217;opprim&#233; en soutien aux parents de jeunes trans et non binaires dans leur processus d&#8217;acceptation et d&#39;accompagnement &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Brabant L. La dramath&#233;rapie et le th&#233;&#226;tre de l&#8217;opprim&#233; en soutien aux parents de jeunes trans et non binaires dans leur processus d&#8217;acceptation et d&#39;accompagnement &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2022.</RefTotal> </Reference> <Reference refNo="75"> <RefAuthor>Lowry SM</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>The Use of Drama Therapy to Create Safety in Psychoeducational Groups for Complex Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Lowry SM. The Use of Drama Therapy to Create Safety in Psychoeducational Groups for Complex Trauma &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="76"> <RefAuthor>Mancini V</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Dance&#47;Movement and Drama Therapy Methods to Assess Resistance in Adolescents with Low Sense of Identity and Self-Esteem &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Mancini V. Dance&#47;Movement and Drama Therapy Methods to Assess Resistance in Adolescents with Low Sense of Identity and Self-Esteem &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="77"> <RefAuthor>Marchant M</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Role Method with Patients with Obsessive Compulsive Disorder &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Marchant M. Role Method with Patients with Obsessive Compulsive Disorder &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2019.</RefTotal> </Reference> <Reference refNo="78"> <RefAuthor>Moore S</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>&#8220;Hey&#33; Whoa&#8221;: Enhancing Dialectical Behavior Therapy with Drama Therapy for Patients on a Short-Term Inpatient Unit and Trauma&#47;Dissociative Inpatient Unit: Development of a Method &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Moore S. &#8220;Hey&#33; Whoa&#8221;: Enhancing Dialectical Behavior Therapy with Drama Therapy for Patients on a Short-Term Inpatient Unit and Trauma&#47;Dissociative Inpatient Unit: Development of a Method &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="79"> <RefAuthor>Rose KA</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Quieting the Buzz: Drama Therapy and Mindfulness in the Classroom, An Intervention &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rose KA. Quieting the Buzz: Drama Therapy and Mindfulness in the Classroom, An Intervention &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="80"> <RefAuthor>Rossman G</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Unlocking Recovery: A Role-Informed Drama Therapy Method for Adults with Addictions &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rossman G. Unlocking Recovery: A Role-Informed Drama Therapy Method for Adults with Addictions &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="81"> <RefAuthor>Binyamin Y</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>What lies inside: Using Drama Therapy&#39;s Role Theory and Role Method To Address Internalized Racism In Black Males &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Binyamin Y. What lies inside: Using Drama Therapy&#39;s Role Theory and Role Method To Address Internalized Racism In Black Males &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="82"> <RefAuthor>Keller M</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>The Clinicians Audition: Using Musical Theatre Repertoire as Self Supervision in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Keller M. The Clinicians Audition: Using Musical Theatre Repertoire as Self Supervision in Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="83"> <RefAuthor>Dempsey L</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Drama Therapy with Active Duty Service Members &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Dempsey L. Drama Therapy with Active Duty Service Members &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="84"> <RefAuthor>Ruggiero A</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Laments into lemonade: Autoethnographic performance and the wounded healer &#91;Masterthesis&#93;.</RefBookTitle> <RefPage></RefPage> <RefTotal>Ruggiero A. Laments into lemonade: Autoethnographic performance and the wounded healer &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="85"> <RefAuthor>Valdivia F</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>How Can Developmental Transformations Address Culture Shock To Those Moving From Collectivist Societies Into Individualistic Ones, Such As, Chinese Immigrants Into The United States&#63; &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Valdivia F. How Can Developmental Transformations Address Culture Shock To Those Moving From Collectivist Societies Into Individualistic Ones, Such As, Chinese Immigrants Into The United States&#63; &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="86"> <RefAuthor>Dobner-Pereira J</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Subversive Therapy: Using queer theory, role theory and developmental transformations theory to examine and inform therapeutic process on a forensic psychiatric unit &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Dobner-Pereira J. Subversive Therapy: Using queer theory, role theory and developmental transformations theory to examine and inform therapeutic process on a forensic psychiatric unit &#91;Masterthesis&#93;. New York: New York University; 2017.</RefTotal> </Reference> <Reference refNo="87"> <RefAuthor>Pollock M</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Exploring the Benefits of Developmental Transformations (DvT) with Adults on a Short-term Psychiatric Unit &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Pollock M. Exploring the Benefits of Developmental Transformations (DvT) with Adults on a Short-term Psychiatric Unit &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="88"> <RefAuthor>Marshall J</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>T is for Territory &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Marshall J. T is for Territory &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="89"> <RefAuthor>Pitre R</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>The Dramasphere &#91;Dissertation&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Pitre R. The Dramasphere &#91;Dissertation&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="90"> <RefAuthor>Boulanger K</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Towards Cultural Humility &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Boulanger K. Towards Cultural Humility &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2021.</RefTotal> </Reference> <Reference refNo="91"> <RefAuthor>Dennis C</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>eclaiming Metaphor; Myths, Monsters, and Narratives with LGBTQ&#43; Adolescents in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Dennis C. Reclaiming Metaphor; Myths, Monsters, and Narratives with LGBTQ&#43; Adolescents in Drama Therapy &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="92"> <RefAuthor>McConaghy C</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>An instrumental case study on the relationship of a transgender male in recovery from psychosis working with a cisgender therapist &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>McConaghy C. An instrumental case study on the relationship of a transgender male in recovery from psychosis working with a cisgender therapist &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2018.</RefTotal> </Reference> <Reference refNo="93"> <RefAuthor>Reoch L</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Birth Story: A Heuritic Inquiry Combining Narradrama and Somatic Experiencing to Process Traumatic Childbirth &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Reoch L. Birth Story: A Heuritic Inquiry Combining Narradrama and Somatic Experiencing to Process Traumatic Childbirth &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="94"> <RefAuthor>Davidson S</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Theoretical Application of Psychodramatic Techniques for the Facilitation of a Positive Body Image Among Adolescent Girls &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Davidson S. Theoretical Application of Psychodramatic Techniques for the Facilitation of a Positive Body Image Among Adolescent Girls &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="95"> <RefAuthor>Alston C</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Literature Review on how Landy&#39;s Role Theory and Role Method might be used to Develop Alternative Roles in Individuals with Decreased or No Mobility &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Alston C. A Literature Review on how Landy&#39;s Role Theory and Role Method might be used to Develop Alternative Roles in Individuals with Decreased or No Mobility &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="96"> <RefAuthor>Cosby O</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Playing the Roles of the Eating Disorder &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Cosby O. Playing the Roles of the Eating Disorder &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="97"> <RefAuthor>Kidders-Montoya K</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Radicalizing Role Method: A Literature Review on the Use of Role Method with Elementary-Aged Youth within Urban Communities &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Kidders-Montoya K. Radicalizing Role Method: A Literature Review on the Use of Role Method with Elementary-Aged Youth within Urban Communities &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="98"> <RefAuthor>Xu Y</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Living In-Between: Roles and Stories of Chinese International Students in the U.S. &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Xu Y. Living In-Between: Roles and Stories of Chinese International Students in the U.S. &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="99"> <RefAuthor>Boylan Z</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Becoming The Monster: The Use of Monstrous Role with Queer Adults in a Partial Hospitalization Program &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Boylan Z. Becoming The Monster: The Use of Monstrous Role with Queer Adults in a Partial Hospitalization Program &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="100"> <RefAuthor>Landy RJ</RefAuthor> <RefTitle>The dramatic basis of role theory</RefTitle> <RefYear>1991</RefYear> <RefJournal>The Arts in Psychotherapy</RefJournal> <RefPage>29-41</RefPage> <RefTotal>Landy RJ. The dramatic basis of role theory. The Arts in Psychotherapy. 1991;18(1):29-41. DOI: 10.1016&#47;0197-4556(91)90005-u</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1016&#47;0197-4556(91)90005-u</RefLink> </Reference> <Reference refNo="101"> <RefAuthor>Kern C</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>&#8220;Queering Up the Space&#8221;: Expanding the Role Taxonomy to Include Gender Expression, Sexual Orientation, Sexuality, and Relationship Dynamics &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Kern C. &#8220;Queering Up the Space&#8221;: Expanding the Role Taxonomy to Include Gender Expression, Sexual Orientation, Sexuality, and Relationship Dynamics &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="102"> <RefAuthor>Stevens A</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Know Your Role: An Autoethnographic Exploration of Black American Race Roles in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Stevens A. Know Your Role: An Autoethnographic Exploration of Black American Race Roles in Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="103"> <RefAuthor>Chaplan-Hoang A</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Dungeons, Dragons, and Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Chaplan-Hoang A. Dungeons, Dragons, and Drama Therapy &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="104"> <RefAuthor>Funyak S</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Take a Chance, Roll the Dice &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Funyak S. Take a Chance, Roll the Dice &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="105"> <RefAuthor>Mendoza J</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Gaming Intentionally: A Literature Review of the Viability of Role-Playing Games as Drama-Therapy-Informed Interventions &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Mendoza J. Gaming Intentionally: A Literature Review of the Viability of Role-Playing Games as Drama-Therapy-Informed Interventions &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="106"> <RefAuthor>Doyle N</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>A Match Made in Mental Health &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Doyle N. A Match Made in Mental Health &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="107"> <RefAuthor>Richmond M</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Flexibility and Fusion: A Method to Expand the Window of Tolerance for Clients with Eating Disorders &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Richmond M. Flexibility and Fusion: A Method to Expand the Window of Tolerance for Clients with Eating Disorders &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="108"> <RefAuthor>Subedar SD</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Social isolation, schizophrenia, and the group experience &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Subedar SD. Social isolation, schizophrenia, and the group experience &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2018.</RefTotal> </Reference> <Reference refNo="109"> <RefAuthor>Ansted J</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Disrupting Self-Silencing in Cisgender Women Using Drama Therapy&#39;s Role Theory and Role Method &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Ansted J. Disrupting Self-Silencing in Cisgender Women Using Drama Therapy&#39;s Role Theory and Role Method &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="110"> <RefAuthor>Lisman R</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Drama Therapy and Transgender Adolescents &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Lisman R. Drama Therapy and Transgender Adolescents &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="111"> <RefAuthor>Crawford J</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>The Use of Role Theory to Build Identity in Adolescents &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Crawford J. The Use of Role Theory to Build Identity in Adolescents &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="112"> <RefAuthor>Gervais D</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>The Use of Role Theory and Method to Support Expanding College Athletes Role Repertoire &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Gervais D. The Use of Role Theory and Method to Support Expanding College Athletes Role Repertoire &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="113"> <RefAuthor>Deaudelin M</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>La m&#232;re qu&#39;on voit danser &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Deaudelin M. La m&#232;re qu&#39;on voit danser &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2018.</RefTotal> </Reference> <Reference refNo="114"> <RefAuthor>McGuirk AL</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Motherhood: The Role of a Lifetime &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>McGuirk AL. Motherhood: The Role of a Lifetime &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="115"> <RefAuthor>Carleton S</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Whom am I: A Case Study on the use of the R-RAP in clinical supervision for the development of a clinical identity &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Carleton S. Whom am I: A Case Study on the use of the R-RAP in clinical supervision for the development of a clinical identity &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="116"> <RefAuthor>Filson V</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>A student, a Teacher, A therapist &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Filson V. A student, a Teacher, A therapist &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="117"> <RefAuthor>Rich A</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Theatre Crawl: A Series of Community Engagement Projects &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rich A. Theatre Crawl: A Series of Community Engagement Projects &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="118"> <RefAuthor>Cornell K</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Moving Closer: Using embodiment in drama therapy self supervision to process somatic countertransference &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Cornell K. Moving Closer: Using embodiment in drama therapy self supervision to process somatic countertransference &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="119"> <RefAuthor>Martin A</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>A Person of Closeness: A Personal Examination of the Therapeutic Relationship Between a Clinician of Color and Clients of Color &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Martin A. A Person of Closeness: A Personal Examination of the Therapeutic Relationship Between a Clinician of Color and Clients of Color &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="120"> <RefAuthor>Williams BM</RefAuthor> <RefTitle>Role power: Using Role Theory in support of ethical practice</RefTitle> <RefYear>2017</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>131-48</RefPage> <RefTotal>Williams BM. Role power: Using Role Theory in support of ethical practice. Drama Therapy Review. 2017;3(1):131-48. DOI: 10.1386&#47;dtr.3.1.131&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr.3.1.131&#95;1</RefLink> </Reference> <Reference refNo="121"> <RefAuthor>Williams BM</RefAuthor> <RefTitle>The R-RAP revisited: Current conceptualizations and applications</RefTitle> <RefYear>2020</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>183-201</RefPage> <RefTotal>Williams BM. The R-RAP revisited: Current conceptualizations and applications. Drama Therapy Review. 2020;6(2):183-201. DOI: 10.1386&#47;dtr&#95;00027&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00027&#95;1</RefLink> </Reference> <Reference refNo="122"> <RefAuthor>Deng J</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Crossing oceans of living experience: An inquiry into the advantages and pitfalls of applying William&#8217;s R-RAP to examine countertransference in drama therapeutic process &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Deng J. Crossing oceans of living experience: An inquiry into the advantages and pitfalls of applying William&#8217;s R-RAP to examine countertransference in drama therapeutic process &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="126"> <RefAuthor>Hood S</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Touch in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Hood S. Touch in Drama Therapy &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="123"> <RefAuthor>Andrade Loza MI</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Safe and Sound: Safe Space in Drama Therapy &#8211; A Heuristic Inquiry &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Andrade Loza MI. Safe and Sound: Safe Space in Drama Therapy &#8211; A Heuristic Inquiry &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="124"> <RefAuthor>Tauber A</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Humor in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Tauber A. Humor in Drama Therapy &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2018.</RefTotal> </Reference> <Reference refNo="125"> <RefAuthor>Lam WI</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>The Time to Say Goodbye: Lived Experience of Forced Termination from a Drama Therapy Perspective &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Lam WI. The Time to Say Goodbye: Lived Experience of Forced Termination from a Drama Therapy Perspective &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="127"> <RefAuthor>Moye KD</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>What&#8217;s Emergent&#63; A Literature Review of Thirdness and the Guide in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Moye KD. What&#8217;s Emergent&#63; A Literature Review of Thirdness and the Guide in Drama Therapy &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="128"> <RefAuthor>Bartlett E</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Telling Your Story &#38; Seeing It Performed &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Bartlett E. Telling Your Story &#38; Seeing It Performed &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2018.</RefTotal> </Reference> <Reference refNo="129"> <RefAuthor>Hunt B</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Intergenerational Relationships: An Ethnographic Exploration &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Hunt B. Intergenerational Relationships: An Ethnographic Exploration &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2018.: Kansas State University; 2021.</RefTotal> </Reference> <Reference refNo="130"> <RefAuthor>Young P</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>The Therapeutic Process in Therapeutic Theatre &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Young P. The Therapeutic Process in Therapeutic Theatre &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2019.</RefTotal> </Reference> <Reference refNo="131"> <RefAuthor>DuMar F</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Forming and Performing Online Playback Theatre for Drama Therapy Students and Faculty &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>DuMar F. Forming and Performing Online Playback Theatre for Drama Therapy Students and Faculty &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="132"> <RefAuthor>Edelbi K</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Using Playback Theater with Adolescents in Refugee Camps in Palestine to Tell Their Stories &#91;Dissertation&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Edelbi K. Using Playback Theater with Adolescents in Refugee Camps in Palestine to Tell Their Stories &#91;Dissertation&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="133"> <RefAuthor>Reagan TJ</RefAuthor> <RefTitle></RefTitle> <RefYear>2015</RefYear> <RefBookTitle>Keeping the Peace: Playback Theatre with Adolescents &#91;Dissertation&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Reagan TJ. Keeping the Peace: Playback Theatre with Adolescents &#91;Dissertation&#93;. Cambridge, MA: Lesley University; 2015.</RefTotal> </Reference> <Reference refNo="134"> <RefAuthor>Vriend SJ</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Kinking the dramatherapeutic core processes &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Vriend SJ. Kinking the dramatherapeutic core processes &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2020.</RefTotal> </Reference> <Reference refNo="135"> <RefAuthor>Potel L</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Dramatic Reality Gets Kinky &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Potel L. Dramatic Reality Gets Kinky &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="136"> <RefAuthor>El Bitar S</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Laughing in the Face of Stress &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>El Bitar S. Laughing in the Face of Stress &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2022.</RefTotal> </Reference> <Reference refNo="137"> <RefAuthor>D&#225;vila M</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Incorporating Stand-up Comedy in Drama Therapy as a Narrative Model &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>D&#225;vila M. Incorporating Stand-up Comedy in Drama Therapy as a Narrative Model &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="138"> <RefAuthor>De Jong M</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Lame Jokes: Dark Humour in Response to Disability and Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>De Jong M. Lame Jokes: Dark Humour in Response to Disability and Trauma &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2018.</RefTotal> </Reference> <Reference refNo="139"> <RefAuthor>Rudel R</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Purposeful Play: A Literature Review of Play Therapy and Projective Techniques of Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rudel R. Purposeful Play: A Literature Review of Play Therapy and Projective Techniques of Drama Therapy &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="140"> <RefAuthor>Pearson L</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>What Does It Mean To Be Resilient&#63; The Use of Drama and Child-Centered Play Therapy to Foster Resilience in Children &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Pearson L. What Does It Mean To Be Resilient&#63; The Use of Drama and Child-Centered Play Therapy to Foster Resilience in Children &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="141"> <RefAuthor>Carroll H</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Re-Storying Teaching: Using Narradrama to Address Burnout in Public School Teachers &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Carroll H. Re-Storying Teaching: Using Narradrama to Address Burnout in Public School Teachers &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="142"> <RefAuthor>Nir P</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Why Is This Thesis Different From All Other Theses&#63; An Exploration of Jewish Psychological Particularity and Implications for Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Nir P. Why Is This Thesis Different From All Other Theses&#63; An Exploration of Jewish Psychological Particularity and Implications for Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="143"> <RefAuthor>Sirois M</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>The &#8220;Unmaking&#8221; of a Bully Through Developmental Transformations &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Sirois M. The &#8220;Unmaking&#8221; of a Bully Through Developmental Transformations &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="144"> <RefAuthor>Ludeking A</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>The Use of Drama Therapeutic Play and Unconditional Positive Regard in Fostering Self-Actualization in Unhoused Individuals &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Ludeking A. The Use of Drama Therapeutic Play and Unconditional Positive Regard in Fostering Self-Actualization in Unhoused Individuals &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="145"> <RefAuthor>Loo S</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Re: Traumatizing - The Interactions Between Clinicians and Therapeutic Helpers and Vicarious Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Loo S. Re: Traumatizing - The Interactions Between Clinicians and Therapeutic Helpers and Vicarious Trauma &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="146"> <RefAuthor>Faith E</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Drama Therapy for Actor Training Programs &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Faith E. Drama Therapy for Actor Training Programs &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="147"> <RefAuthor>Coates-Finke R</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Preparing for an Unpredictable Future &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Coates-Finke R. Preparing for an Unpredictable Future &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="148"> <RefAuthor>Reyes O</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Drama Therapy Interventions that Support Students with ASD During COVID-19 &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Reyes O. Drama Therapy Interventions that Support Students with ASD During COVID-19 &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="149"> <RefAuthor>Vietri D</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Drama Therapy as a Tool for Promoting Resiliency in At Risk Youth &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Vietri D. Drama Therapy as a Tool for Promoting Resiliency in At Risk Youth &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="150"> <RefAuthor>Ventura N</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>The Need for School-Based Trauma-Informed Drama Therapy Interventions &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Ventura N. The Need for School-Based Trauma-Informed Drama Therapy Interventions &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="151"> <RefAuthor>Capitman JB</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Racial Equity for Registered Drama Therapists &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Capitman JB. Racial Equity for Registered Drama Therapists &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="152"> <RefAuthor>Gall F</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>A self-dialogue about working as a white drama therapist with Indigenous clients &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Gall F. A self-dialogue about working as a white drama therapist with Indigenous clients &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="153"> <RefAuthor>Yong B</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Honouring Resistance: A performance autoethnography created by a second generation Chinese settler drama therapist working with Indigenous clients using response-based practice &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Yong B. Honouring Resistance: A performance autoethnography created by a second generation Chinese settler drama therapist working with Indigenous clients using response-based practice &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="154"> <RefAuthor>Cook A</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Exploring Inclusion in a Therapeutic Theater Production &#91;Dissertation&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Cook A. Exploring Inclusion in a Therapeutic Theater Production &#91;Dissertation&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="155"> <RefAuthor>Levinson M</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>The Puppet Sessions: A Very Autistic Autoethnographic Thesis &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Levinson M. The Puppet Sessions: A Very Autistic Autoethnographic Thesis &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="156"> <RefAuthor>Finkelstein A</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>The Never-Ending Story: A Drama Therapist&#8217;s Quest Towards Cultural Humility &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Finkelstein A. The Never-Ending Story: A Drama Therapist&#8217;s Quest Towards Cultural Humility &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="157"> <RefAuthor>Harmer S</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>An Embodied Drama Therapy Approach to Restorative School Practices &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Harmer S. An Embodied Drama Therapy Approach to Restorative School Practices &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="158"> <RefAuthor>Jacobson S</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>The Freedom of Play: A Systematic Review of Theatre in Prison &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Jacobson S. The Freedom of Play: A Systematic Review of Theatre in Prison &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="159"> <RefAuthor>Orense J</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>ASM-ilation: An Arts-Based Research on Colonialism and White Supremacy in Therapeutic Theatre from the Perspective of a Filipino Assistant Stage Manager &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Orense J. ASM-ilation: An Arts-Based Research on Colonialism and White Supremacy in Therapeutic Theatre from the Perspective of a Filipino Assistant Stage Manager &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="161"> <RefAuthor>McCarthy MJ</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>The Story Hole: Providing Drama Therapy in Gay Bathhouses &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>McCarthy MJ. The Story Hole: Providing Drama Therapy in Gay Bathhouses &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="162"> <RefAuthor>Reed S</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Starving Art: An Exploration of Projective Techniques in My Eating Disorder Treatment &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Reed S. Starving Art: An Exploration of Projective Techniques in My Eating Disorder Treatment &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="163"> <RefAuthor>Weinberg M</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Using Community Drama Therapy To Support Adults with Crohn&#39;s Disease and Ulcerative Colitis &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Weinberg M. Using Community Drama Therapy To Support Adults with Crohn&#39;s Disease and Ulcerative Colitis &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="164"> <RefAuthor>Schorr S</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Using Role Method and Therapeutic Circus Arts with Adults to Create a Meaningful Performance &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Schorr S. Using Role Method and Therapeutic Circus Arts with Adults to Create a Meaningful Performance &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="165"> <RefAuthor>Bell W</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Sustainable Drama Therapy Practices for Communities Affected By Racial Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Bell W. Sustainable Drama Therapy Practices for Communities Affected By Racial Trauma &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="166"> <RefAuthor>Houston AJ</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Filmmaking As Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Houston AJ. Filmmaking As Therapy &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="167"> <RefAuthor>Morris M</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Reproductive Art-ivism: Drama Therapy as an Intervention to Mitigate the Effects of Racism for Pregnant Black Women at Risk of Preterm Birth &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Morris M. Reproductive Art-ivism: Drama Therapy as an Intervention to Mitigate the Effects of Racism for Pregnant Black Women at Risk of Preterm Birth &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="168"> <RefAuthor>Rodriguez B</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Telenovelaizing Life: Telenovelas as a Dramatic Reality in Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rodriguez B. Telenovelaizing Life: Telenovelas as a Dramatic Reality in Drama Therapy &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="169"> <RefAuthor>Messiah M</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Autoethnography for colored girls who journey through a drama therapy graduate program &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Messiah M. Autoethnography for colored girls who journey through a drama therapy graduate program &#91;Masterthesis&#93;. New York: New York University; 2017.</RefTotal> </Reference> <Reference refNo="170"> <RefAuthor>Girouard L</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>I Want to See Me Dressed in Light: Drama Therapy as Catalyst to Coping in a Hospital&#8217;s Hematology&#47;Oncology Unit &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Girouard L. I Want to See Me Dressed in Light: Drama Therapy as Catalyst to Coping in a Hospital&#8217;s Hematology&#47;Oncology Unit &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="171"> <RefAuthor>Culligan S</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Once Upon an Assessment &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Culligan S. Once Upon an Assessment &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2018.</RefTotal> </Reference> <Reference refNo="172"> <RefAuthor>L&#39;Ecuyer M</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Dramath&#233;rapie, techniques projectives et anxi&#233;t&#233; de s&#233;paration chez les enfants d&#8217;&#226;ge pr&#233;scolaire &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>L&#39;Ecuyer M. Dramath&#233;rapie, techniques projectives et anxi&#233;t&#233; de s&#233;paration chez les enfants d&#8217;&#226;ge pr&#233;scolaire &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="173"> <RefAuthor>Lamey M</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Self-Disclosure Through the use of Small Objects &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Lamey M. Self-Disclosure Through the use of Small Objects &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="178"> <RefAuthor>Olson S</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Through the Beaded Curtain: The Impact of Angels in America on Gay Men of the New Millennium &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Olson S. Through the Beaded Curtain: The Impact of Angels in America on Gay Men of the New Millennium &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="179"> <RefAuthor>Mehay B</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Drag as Therapy: A Defense for the use of Drag as Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Mehay B. Drag as Therapy: A Defense for the use of Drag as Drama Therapy &#91;Masterthesis&#93;. Manhattan, KS: Kansas State University; 2021.</RefTotal> </Reference> <Reference refNo="180"> <RefAuthor>Soria L</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Drama Therapy with Undocumented Migrant Domestic Workers in NYC &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Soria L. Drama Therapy with Undocumented Migrant Domestic Workers in NYC &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="174"> <RefAuthor>Carter BB</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Engaging my Age: An Autoethnography by a Young Female Drama Therapist-in-Training &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Carter BB. Engaging my Age: An Autoethnography by a Young Female Drama Therapist-in-Training &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="175"> <RefAuthor>Vogelstein A</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Drama therapy and Empathy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Vogelstein A. Drama therapy and Empathy &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="176"> <RefAuthor>Walker S</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Exploring the Use of Drama Therapy for an Accessible Camp Environment &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Walker S. Exploring the Use of Drama Therapy for an Accessible Camp Environment &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2020.</RefTotal> </Reference> <Reference refNo="181"> <RefAuthor>Harrity P</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>The use of therapeutic mask to aid elderly adjustment to long-term care &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Harrity P. The use of therapeutic mask to aid elderly adjustment to long-term care &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2019.</RefTotal> </Reference> <Reference refNo="182"> <RefAuthor>Bingen A</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Musical Theatre and Drama Therapy &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Bingen A. Musical Theatre and Drama Therapy &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="183"> <RefAuthor>Morres R</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Her Reality to Our Escape: An autoethnographic exploration of how play contributes to the caretaking relationship with those living with Alzheimer&#39;s disease &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Morres R. Her Reality to Our Escape: An autoethnographic exploration of how play contributes to the caretaking relationship with those living with Alzheimer&#39;s disease &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="184"> <RefAuthor>Shaw N</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>&#8220;My Heart Always Timidly Hides Itself Behind My Mind&#8221;: Patients&#8217; Departure Into the Dramatic Reality in Memory Care &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Shaw N. &#8220;My Heart Always Timidly Hides Itself Behind My Mind&#8221;: Patients&#8217; Departure Into the Dramatic Reality in Memory Care &#91;Masterthesis&#93;. New York: New York University; 2022.</RefTotal> </Reference> <Reference refNo="185"> <RefAuthor>Offerman E</RefAuthor> <RefAuthor>Rothman A</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>The H.E.R.O. Unmasking Workshop &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Offerman E, Rothman A. The H.E.R.O. Unmasking Workshop &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="186"> <RefAuthor>Li S-Y</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>An Ethical Stance as a Hong Kong-based Drama Therapist in Response to Hong Kong Anti-Extradition Law Amendment Bill Protests &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Li S-Y. An Ethical Stance as a Hong Kong-based Drama Therapist in Response to Hong Kong Anti-Extradition Law Amendment Bill Protests &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="187"> <RefAuthor>Holden AL</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Merging the mind and body: A bibliographic review of Embodiment as an integrative approach with Prolonged Exposure and Cognitive Processing Therapy working with Combat-Related Posttraumatic Stress Disorder &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Holden AL. Merging the mind and body: A bibliographic review of Embodiment as an integrative approach with Prolonged Exposure and Cognitive Processing Therapy working with Combat-Related Posttraumatic Stress Disorder &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="188"> <RefAuthor>Stephens V</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>How Can Drama Therapy Support the Military Spouse During A Deployment Cycle &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Stephens V. How Can Drama Therapy Support the Military Spouse During A Deployment Cycle &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2019.</RefTotal> </Reference> <Reference refNo="189"> <RefAuthor>Dominiski M</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Allyship of Teachers and Drama Therapists &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Dominiski M. Allyship of Teachers and Drama Therapists &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="190"> <RefAuthor>Kheil I</RefAuthor> <RefTitle></RefTitle> <RefYear>2022</RefYear> <RefBookTitle>Enhancing Self-Efficacy Through Drama Therapy in a Bullying Prevention Program for Arab-Israeli Teachers &#91;Dissertation&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Kheil I. Enhancing Self-Efficacy Through Drama Therapy in a Bullying Prevention Program for Arab-Israeli Teachers &#91;Dissertation&#93;. Cambridge, MA: Lesley University; 2022.</RefTotal> </Reference> <Reference refNo="193"> <RefAuthor>Smith A</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>The Story I Own: Finding the Therapeutic Threads Between Rape, Trauma, and Performance &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Smith A. The Story I Own: Finding the Therapeutic Threads Between Rape, Trauma, and Performance &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="194"> <RefAuthor>Carpenter MA</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Exploring Storytelling with Survivors of the Sierra Leone Civil War &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Carpenter MA. Exploring Storytelling with Survivors of the Sierra Leone Civil War &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2020.</RefTotal> </Reference> <Reference refNo="195"> <RefAuthor>Broucker Ad</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Is it really time to play&#63; A study of the use of drama therapy as a method of treatment in early psychological intervention after traumatic events of mass magnitude &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Broucker Ad. Is it really time to play&#63; A study of the use of drama therapy as a method of treatment in early psychological intervention after traumatic events of mass magnitude &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="196"> <RefAuthor>Burke C</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>&#8220;Tomorrow and tomorrow and tomorrow&#8221;: An Autoethnographic Exploration of Shakespeare, COVID-19, and Trauma &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Burke C. &#8220;Tomorrow and tomorrow and tomorrow&#8221;: An Autoethnographic Exploration of Shakespeare, COVID-19, and Trauma &#91;Masterthesis&#93;. New York: New York University; 2021.</RefTotal> </Reference> <Reference refNo="224"> <RefAuthor>Pilgrim K</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>My Voice is in My Sword &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Pilgrim K. My Voice is in My Sword &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="191"> <RefAuthor>Arias GL</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>In the Wings: Actors &#38; Mental Health A Critical Review of the Literature &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Arias GL. In the Wings: Actors &#38; Mental Health A Critical Review of the Literature &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2019.</RefTotal> </Reference> <Reference refNo="192"> <RefAuthor>Furst S</RefAuthor> <RefTitle></RefTitle> <RefYear>2020</RefYear> <RefBookTitle>Exploring the Psychological Impacts of Acting and the Dynamic Between the Character and the Self &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Furst S. Exploring the Psychological Impacts of Acting and the Dynamic Between the Character and the Self &#91;Masterthesis&#93;. New York: New York University; 2020.</RefTotal> </Reference> <Reference refNo="197"> <RefAuthor>Boelter R</RefAuthor> <RefTitle></RefTitle> <RefYear>2019</RefYear> <RefBookTitle>Stand Clear of the Closing Doors, Please &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Boelter R. Stand Clear of the Closing Doors, Please &#91;Masterthesis&#93;. New York: New York University; 2019.</RefTotal> </Reference> <Reference refNo="198"> <RefAuthor>Garcia N</RefAuthor> <RefTitle></RefTitle> <RefYear>2018</RefYear> <RefBookTitle>Therapeutic Theatre and Auto ethnographic Therapeutic Performance in Drama Therapy Training &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Garcia N. Therapeutic Theatre and Auto ethnographic Therapeutic Performance in Drama Therapy Training &#91;Masterthesis&#93;. New York: New York University; 2018.</RefTotal> </Reference> <Reference refNo="199"> <RefAuthor>Roll E</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>I Don&#8217;t Relate: Performing Sexuality in the Classroom &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Roll E. I Don&#8217;t Relate: Performing Sexuality in the Classroom &#91;Masterthesis&#93;. Montreal, QC, Canada: Concordia University; 2017.</RefTotal> </Reference> <Reference refNo="160"> <RefAuthor>Schoenfeld R</RefAuthor> <RefTitle></RefTitle> <RefYear>2017</RefYear> <RefBookTitle>Deconstructing a painful reality through play &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Schoenfeld R. Deconstructing a painful reality through play &#91;Masterthesis&#93;. New York: New York University; 2017.</RefTotal> </Reference> <Reference refNo="177"> <RefAuthor>Rosenthal-Schutt S</RefAuthor> <RefTitle></RefTitle> <RefYear>2021</RefYear> <RefBookTitle>Embodied Drama Therapy with Incarcerated Youth &#91;Masterthesis&#93;</RefBookTitle> <RefPage></RefPage> <RefTotal>Rosenthal-Schutt S. Embodied Drama Therapy with Incarcerated Youth &#91;Masterthesis&#93;. Cambridge, MA: Lesley University; 2021.</RefTotal> </Reference> <Reference refNo="200"> <RefAuthor>Mayor C</RefAuthor> <RefAuthor>Frydman JS</RefAuthor> <RefTitle>Understanding school-based drama therapy through the core processes: An analysis of intervention vignettes</RefTitle> <RefYear>2021</RefYear> <RefJournal>The Arts in Psychotherapy</RefJournal> <RefPage>101766</RefPage> <RefTotal>Mayor C, Frydman JS. Understanding school-based drama therapy through the core processes: An analysis of intervention vignettes. The Arts in Psychotherapy. 2021;73:101766. DOI: 10.1016&#47;j.aip.2021.101766</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1016&#47;j.aip.2021.101766</RefLink> </Reference> <Reference refNo="201"> <RefAuthor>Frydman JS</RefAuthor> <RefAuthor>Mayor C</RefAuthor> <RefTitle>A Scoping Review on the Use and Potential of School-Based Drama Therapy to Enhance Socio-emotional Skills in Early Childhood</RefTitle> <RefYear>2023</RefYear> <RefJournal>Early Child Educ J</RefJournal> <RefPage>1-12</RefPage> <RefTotal>Frydman JS, Mayor C. A Scoping Review on the Use and Potential of School-Based Drama Therapy to Enhance Socio-emotional Skills in Early Childhood. Early Child Educ J. 2023 Mar 21:1-12. DOI: 10.1007&#47;s10643-023-01471-1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1007&#47;s10643-023-01471-1</RefLink> </Reference> <Reference refNo="202"> <RefAuthor>Fried D</RefAuthor> <RefAuthor>Zehavi G</RefAuthor> <RefTitle>The Experience of Social Rejection: Developmental Transformations and a Multimodal Art Response Model as Applied to Art-based Research</RefTitle> <RefYear>2023</RefYear> <RefJournal>Creative Arts in Education and Therapy</RefJournal> <RefPage>185-99</RefPage> <RefTotal>Fried D, Zehavi G. The Experience of Social Rejection: Developmental Transformations and a Multimodal Art Response Model as Applied to Art-based Research. Creative Arts in Education and Therapy. 2023;8(2):185-99. DOI: 10.15212&#47;caet&#47;2022&#47;8&#47;3</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.15212&#47;caet&#47;2022&#47;8&#47;3</RefLink> </Reference> <Reference refNo="203"> <RefAuthor>Cooley NB</RefAuthor> <RefTitle>Crossing the threshold &#8230; and crisscrossing, and crisscrossing &#8230;: Embodiment and varielation in Developmental Transformations and yoga</RefTitle> <RefYear>2020</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>257-71</RefPage> <RefTotal>Cooley NB. Crossing the threshold &#8230; and crisscrossing, and crisscrossing &#8230;: Embodiment and varielation in Developmental Transformations and yoga. Drama Therapy Review. 2020;7(2):257-71. DOI: 10.1386&#47;dtr&#95;00077&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00077&#95;1</RefLink> </Reference> <Reference refNo="204"> <RefAuthor>Marshall J</RefAuthor> <RefTitle>T is for territory: Gathering data about human experience in Developmental Transformations and advancing technologies</RefTitle> <RefYear>2020</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>167-81</RefPage> <RefTotal>Marshall J. T is for territory: Gathering data about human experience in Developmental Transformations and advancing technologies. Drama Therapy Review. 2020;6(2):167-81. DOI: 10.1386&#47;dtr&#95;00026&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00026&#95;1</RefLink> </Reference> <Reference refNo="205"> <RefAuthor>Regula J</RefAuthor> <RefTitle>Developmental Transformations over video chat: An exploration of presence in the therapeutic relationship</RefTitle> <RefYear>2020</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>67-83</RefPage> <RefTotal>Regula J. Developmental Transformations over video chat: An exploration of presence in the therapeutic relationship. Drama Therapy Review. 2020;6(1):67-83. DOI: 10.1386&#47;dtr&#95;00016&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00016&#95;1</RefLink> </Reference> <Reference refNo="206"> <RefAuthor>Willemsen M</RefAuthor> <RefTitle>Reclaiming the body and restoring a bodily self in drama therapy: A case study of sensory-focused Trauma-Centred Developmental Transformations for survivors of father-daughter incest</RefTitle> <RefYear>2020</RefYear> <RefJournal>Drama Therapy Review</RefJournal> <RefPage>203-19</RefPage> <RefTotal>Willemsen M. Reclaiming the body and restoring a bodily self in drama therapy: A case study of sensory-focused Trauma-Centred Developmental Transformations for survivors of father-daughter incest. Drama Therapy Review. 2020;6(2):203-19. 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DOI: 10.1386&#47;dtr&#95;00122&#95;1</RefTotal> <RefLink>https:&#47;&#47;doi.org&#47;10.1386&#47;dtr&#95;00122&#95;1</RefLink> </Reference> </References> <Media> <Tables> <Table format="png"> <MediaNo>1</MediaNo> <MediaID>1</MediaID> <Caption><Pgraph><Mark1>Table 1: Most used keywords</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>2</MediaNo> <MediaID>2</MediaID> <Caption><Pgraph><Mark1>Table 2: Drama therapy theory</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>3</MediaNo> <MediaID>3</MediaID> <Caption><Pgraph><Mark1>Table 3: Drama therapy theory: drama therapy education </Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>4</MediaNo> <MediaID>4</MediaID> <Caption><Pgraph><Mark1>Table 4: Drama therapy theory: performance-based drama therapy</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>5</MediaNo> <MediaID>5</MediaID> <Caption><Pgraph><Mark1>Table 5: Integrated concepts</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>6</MediaNo> <MediaID>6</MediaID> <Caption><Pgraph><Mark1>Table 6: Intervention focus</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>7</MediaNo> <MediaID>7</MediaID> <Caption><Pgraph><Mark1>Table 7: Populations</Mark1></Pgraph></Caption> </Table> <Table format="png"> <MediaNo>8</MediaNo> <MediaID>8</MediaID> <Caption><Pgraph><Mark1>Table 8: Settings</Mark1></Pgraph></Caption> </Table> <NoOfTables>8</NoOfTables> </Tables> <Figures> <Figure width="606" height="467" format="png"> <MediaNo>1</MediaNo> <MediaID>1</MediaID> <Caption><Pgraph><Mark1>Figure 1: Number of theses and dissertations submitted per year</Mark1></Pgraph></Caption> </Figure> <Figure width="739" height="437" format="png"> <MediaNo>2</MediaNo> <MediaID>2</MediaID> <Caption><Pgraph><Mark1>Figure 2: Number of theses and dissertations submitted per school</Mark1></Pgraph></Caption> </Figure> <Figure width="722" height="362" format="png"> <MediaNo>3</MediaNo> <MediaID>3</MediaID> <Caption><Pgraph><Mark1>Figure 3: Usage of keywords</Mark1><LineBreak></LineBreak><LineBreak></LineBreak></Pgraph></Caption> </Figure> <Figure width="741" height="852" format="png"> <MediaNo>4</MediaNo> <MediaID>4</MediaID> <Caption><Pgraph><Mark1>Figure 4: Research methods in students&#8217; theses</Mark1><LineBreak></LineBreak><LineBreak></LineBreak></Pgraph></Caption> </Figure> <Figure width="777" height="451" format="png"> <MediaNo>5</MediaNo> <MediaID>5</MediaID> <Caption><Pgraph><Mark1>Figure 5: Barplot of theses&#8217; research methods</Mark1></Pgraph></Caption> </Figure> <Figure width="678" height="382" format="png"> <MediaNo>6</MediaNo> <MediaID>6</MediaID> <Caption><Pgraph><Mark1>Figure 6: Sub-categories of disability</Mark1><LineBreak></LineBreak><LineBreak></LineBreak></Pgraph></Caption> </Figure> <Figure width="743" height="418" format="png"> <MediaNo>7</MediaNo> <MediaID>7</MediaID> <Caption><Pgraph><Mark1>Figure 7: Sub-categories of professional populations</Mark1><LineBreak></LineBreak><LineBreak></LineBreak></Pgraph></Caption> </Figure> <Figure width="764" height="426" format="png"> <MediaNo>8</MediaNo> <MediaID>8</MediaID> <Caption><Pgraph><Mark1>Figure 8: Sub-categories of trauma experiences</Mark1><LineBreak></LineBreak><LineBreak></LineBreak><LineBreak></LineBreak></Pgraph></Caption> </Figure> <Figure width="751" height="453" format="png"> <MediaNo>9</MediaNo> <MediaID>9</MediaID> <Caption><Pgraph><Mark1>Figure 9: Sub-categories of clinical settings</Mark1></Pgraph></Caption> </Figure> <NoOfPictures>9</NoOfPictures> </Figures> <InlineFigures> <NoOfPictures>0</NoOfPictures> </InlineFigures> <Attachments> <NoOfAttachments>0</NoOfAttachments> </Attachments> </Media> </OrigData> </GmsArticle>