help with assgn due in 48 hours

Essential_Play_Therapy_Techniques_Time-Tested_Appr..._----_Part_III._Role-Play_Techniques.pdf

Home >Education homework help >help with assgn due in 48 hours

Part Three

rolE-Play tEchniquEs

Schaefer, Charles E., and Donna Cangelosi. Essential Play Therapy Techniques : Time-Tested Approaches, Guilford Publications, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/capella/detail.action?docID=4000674. Created from capella on 2024-05-24 21:16:58.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

role Play

All the world’s a stage And all the men and women merely players; They have their exits and their entrances, And each man in his time plays many parts.

—William shaKespeare

Introduction

Role play is a term used to describe a range of activities in which a person acts as if he/she was someone or something else. Role taking involves the ability to put oneself in another’s place, to see things from another’s point of view. It may entail an overt, observable activity or a covert, imaginative activity by a client (Corsini, 2010).

Sociodramatic play occurs when two or more children adopt roles and attempt to recreate in fantasy a real-life situation—for example, several children may assume roles as firefighters and battle a make-believe fire. Sociodramatic play has been found to significantly contribute to young children’s cognitive, emotional, and social development.

Rationale

Role playing helps clients to:

• Develop a better understanding of others’ viewpoints. • Strengthen one’s empathic ability and emotional intelligence. • Gain a sense of power and control by playing the role of powerful figures. • Acquire the necessary psychological distance to reveal one’s troublesome

thoughts and affects. • Practice acting in ways that are more adaptive in real life. We tend to become

what we pretend to be.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

86 iii. rolE-Play tEchniquEs

description

Ages

Four years and up.

Techniques

The standard role-play technique involves a therapist and child assuming different roles and taking turns acting out a scenario related to the child’s problem—for example, a therapist might ask a child to play out a “starting school” scenario with the therapist acting as the teacher and the child playing him/herself. The goal would be to reduce stress by making this new situation more familiar to the child and providing an opportunity to practice coping skills.

Alternately, the therapist might play the role of the child’s mother giving him/ her a command and asking the child to respond to it exactly as his/her mother would want the child to do. The goal here would be for the child to practice a more adaptive response.

Variations

Since there are many variations of role play, it can be adapted to almost any thera- peutic situation or need. Some examples from psychodrama (Karp, Holmes, & Tauwon, 2005) include the following.

The Empty Chair

In this Gestalt therapy technique first introduced by Fritz Perls (Blom, 2006; Oak- lander, 1978), a school-age child or adolescent is asked to imagine someone he/ she has unresolved issues with sitting in the empty chair placed opposite of him/ her, and to talk to the imagined person as if he/she is actually in the room. The client is encouraged to say to the imagined person all the things that he/she would have liked to have said in reality. This technique is often used to resolve past, unfinished, interpersonal business using present-focused pretend—for example, it might be suggested that a deceased parent is sitting in the empty chair so as to give a child the chance that was missing in real life to say goodbye. Alternately, a child might be asked to imagine his/her mother is sitting in the empty chair and to speak to her about a past, unresolved conflict between them. Children with cancer might imagine the illness is in the chair and express their feelings toward it. The technique often leads to a catharsis of pent-up feelings, both positive and negative. Some clients participate in this technique without the prop of an actual empty chair. Also, the child or adolescent might switch chairs and pretend to be the other person answering back.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

19. role Play 87

Role Reversal

Role reversal refers to adopting a role the reverse of that which one normally assumes in relation to someone else. Examples include:

• Asking a child to role-play how his/her mother typically acts when he/she has done something naughty.

• Prior to a undergoing a medical procedure, the child is encouraged to play the role of doctor pretending to give the therapist an injection with actual medical equipment or medical toys. The therapist then models effective cop- ing skills—for example, breathing or imagery. (See Chapter 3, “Medical Play.”)

• Be an expert. A popular variation for children ages 8–12 years is for a child to pretend to be an expert on a topic related to his/her presenting prob- lem (Hall, Kaduson, & Schaefer, 2002)—for example, a child with ADHD might play the expert on a call-in radio or TV show for parents seeking advice on how to cope with a hyperactive child.

Toy Animation

Toys naturally become animated as the child gives them an identity and voice and makes them come alive in the magical world of play. Toys, such as dolls, trucks, and puppets, can be transformed into personified characters and used by children to safely express internal needs, problems, and conflicts. Toy animation provides the safety of psychological distance and anonymity for the child and is an empow- ering technique that facilitates the expression of emotions, sharing of traumatic experiences, and the forming of safe therapeutic relationships. Therapists often ask children to speak as the people, animals, or objects on their fantasy play or drawings—for example, “You be that snake. What does it say?” In this way, the child can gain greater understanding of the meaning of the symbols in his/her play.

Costume and Mask Play

Costumes and masks provide further psychological distance to enable clients to express troubling thoughts and feelings. (See Chapter 20, “Costume Play,” and Chapter 21, “Mask Play.”)

Charades

A charade, originally a kind of riddle or guessing game, was invented in France during the 18th century. The most popular form of the game today is the acted charade in which words are acted out without any sound until they are guessed by other players in a peer or family group. Typically, you start a charade by holding

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

88 iii. rolE-Play tEchniquEs

both hands in front of your face, and bringing them down as if a curtain is dropped over one’s face. Once your hands have passed your chin you start the charade. In therapy, the therapist writes down feeling words on pieces of paper. Group mem- bers take turns picking a slip of paper and then acting out the word written on it—using only facial expressions and body language to demonstrate the word.

For children under ages 5–6 years, the therapist or parent may need to read the words to a child. The words are kept simple for young children ages 3–6 years, such as happy, sad, mad, grumpy, sleepy, and scared. An equal number of posi- tive and negative feelings are used. For children ages 7 years and up, more com- plex feelings can be used, such as anxious, frustrated, embarrassed, proud, and guilty. This technique is helpful for children who find it hard to read the emotional expression faces. A number of children, especially those on the autism spectrum struggle with recognizing the feelings they see in others.

empirical Findings

1. Roberts and Strayer (1996) found that role-taking ability in boys ages 5–13 years was a strong predictor of empathy, which in turn was a strong predictor of prosocial behavior.

2. Iannotti (1978) reported that role-taking experiences increased altruism in 6- and 9-year-old boys.

Applications

Role-play techniques have been used with children with a wide variety of present- ing problems to help them develop better coping skills to deal with challenging/ stressful situations, such as teasing, and to develop empathy/compassion for others.

References

Blom, R. (2006). The handbook of Gestalt play therapy. London: Jessica Kingsley. Corsini, R. (2010). Role playing in psychotherapy. New York: Transaction. Hall, T., Kaduson, H., & Schaefer, C. (2002). Fifteen effective play therapy techniques. Profes-

sional Psychology, 33(6), 515–522. Iannotti, R. J. (1978). Effect of role-taking experiences on role taking, empathy, altruism, and

aggression. Developmental Psychology, 14(2), 119–124. Karp, M., Holmes, P., & Tauwon, K. (Eds.). (2005). The handbook of psychodrama. London:

Routledge. Oaklander, V. (1978). Windows to our children: A Gestalt approach to children and adoles-

cents. Moab, UT: Real People Press. Roberts, W., & Strayer, J. (1996). Empathy, emotional expressiveness, and prosocial behavior.

Child Development, 67, 449–470.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

costume Play

Costumes are the first impression that you have of the character before they open their mouth—it really does establish who they are.

—colleen aTWood

Introduction

Costume play involves the use of clothing, fabric, hats, and other embellishments to play a character or type of character. Costumes are enjoyed in this country on occasion by people of all ages so they tend not to be considered too babyish by older children during play therapy. Historians believe that the use of costumes originated in Greece for the purpose of theater. Since that time, costumes have become an important part of holidays such as Halloween, Christmas, Easter, and Purim; festivals such as Mardi Gras; and sporting events in the form of mascots representing a wide variety of animals.

In recent years, “cosplay,” which originated in Japan, has become a popular art form in which adult participants dress up in costumes to represent a specific character or idea. Fans of science fiction, fantasy, anime, comic book, and other genres participate in cosplay conventions. Cosplay provides participants with a creative outlet in which they express admiration for characters. They receive posi- tive attention from audiences and peers, become part of a subculture, and have an opportunity to escape from everyday life.

Costumes also provide children with an opportunity to try on new roles, behaviors, and mannerisms. In this way, children can become whoever they want to be: a princess, pirate, nurse, teacher, cowboy, police officer, animal, or super- hero. Costumes disguise one’s conventional self and liberate one’s personality to try out different roles and behaviors.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

90 iii. rolE-Play tEchniquEs

Rationale

Throughout the ages and different cultures, costumes have been used by people to fulfill a variety of psychological needs. Among the therapeutic powers of costume play are:

• Self-expression. Costumes provide children with a sense of anonymity and psychological distance that allows them to speak more freely and reveal parts of themselves they usually keep hidden. Dressed as another person, they are free to share emotions, impulses, needs, and fantasies in a spontaneous manner.

• Self-awareness. Costumes give children an opportunity to try on new roles and provide access to parts of their personalities that may be repressed. This fos- ters self-awareness and integration.

• Positive identification. By dressing and acting like an admired person, chil- dren form identifications that serve to enhance their own strengths. Rosenberg and Letamendi (2013) provided the following excerpt to show how qualities such as independence, self-reliance, and physical appearance inspired a cosplayer to dress up like Wonder Woman:

It’s a character I have always loved and been inspired by. Wonder Woman was a beau- tiful princess, but strong and independent. She took care of herself and everyone she cared about, and didn’t need a prince to rescue her. Those were important qualities to me growing up in an all-woman household, just like the Amazons on Themiscrya. It didn’t hurt that we were all brunettes over 5′7″ either! In Wonder Woman I saw the best qualities of my mother, and the type of woman I wanted my sister and I to become. I’ve always idolized her from childhood and wanted to “be” her when I grew up. (p. 14)

• Mastery. According to the concept of enclothed cognition, what we wear affects how we think and feel. In costume play, children have the opportunity to transform themselves, experiment with compensatory behaviors, and master developmental anxieties and fears.

• Empathy. Costumes disguise children’s conventional self and enable them to try out different roles and behaviors. Dressing up and acting as another devel- ops children’s ability to view the world from another perspective and to empathize with thoughts and feelings of other people. In addition, this process fosters social awareness and improves social skills.

• Positive emotion. Costume play is enjoyable and enhances creativity, fan- tasy, and self-esteem. It boosts the ego and brings about a sense of well-being. When playing with others, costume play also fosters social skills.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

20. costume Play 91

description

Ages

Four to 12 years.

Materials

A costume box with clothes, hats, purses, jewelry, shoes, various other props, and large pieces of fabrics in different sizes and colors facilitate projective play and character acting.

Techniques

Costume play can be used as a directive or nondirective technique in play therapy, depending on the needs of the child. Dress-up play is an ideal intervention for pre- school children whose play centers around pretend. In addition, school-age chil- dren, ages 8–12 years enjoy costume props to engage in role play (Marcus, 1993). Children are especially drawn to specific costumes to enact characters such as police officer, firefighter, superhero, princess, teacher, and adult.

Variations

Identification Role Play

This technique helps children identify with and internalize the qualities of an admired individual or character. Therapists and parents can use the technique to help children overcome insecurities, fears, and anxieties—for example, the parent of a child who is afraid of the dark might be advised to use identification role play by dressing the child in superhero pajamas at bedtime. Therapists can do the same by providing a variety of costumes to help children attain a sense of empowerment. Taylor, Carlson, and Maring (2004) described a case of a 5-year-old boy who engaged in costume play after experiencing a frightening thunderstorm. When the boy impersonated a character he called “Super Lightning Bolt Adam” by wearing a cape and mask, he spoke and behaved with confidence and power.

Crown Game: On Being Kings and Queens

Gold (2003) introduced this technique as a projective tool to gain entry into chil- dren’s thoughts, feelings, and values. The child is first engaged in a fantasy play in which the therapist says, “We are assembled before the Royal Court in the great drawing room. We are in the process of crowning the next Queen/King. There are maidens in fine gowns everywhere, and all the knights are wearing their armor.” The child is then given a crown, asked to put it on his or her head and told, “You

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

92 iii. rolE-Play tEchniquEs

are King/Queen for this moment. What would please you the most, your high- ness?” (p. 350).

empirical Findings

1. Karniol, Galili, and Shtilerman (2011) examined factors that contribute to preschoolers’ ability to delay gratification. The researchers found that preschool children told about Superman’s ability to delay gratification while wearing capes were able to delay gratification longer than preschoolers not wearing capes. In another study, the same researchers found that preschoolers who pretended to be Superman were able to delay gratification longer than preschoolers who watched a Superman video.

2. Adam and Galinsky (2012) examined the concept of “enclothed cogni- tion” and found that young adults who donned a lab coat performed better on a sustained attention task than others who merely saw a lab coat on a desk. Other studies have found that a football team dressed in black uniforms act more aggres- sive than teams dressed in lighter-colored uniforms.

Applications

Costume play can help verbally reticent children become more expressive in play therapy. It can also empower children to overcome anxieties and fearfulness—for example, a superhero costume might encourage children with selective mutism to speak.

References

Adam, H., & Galinsky, A. (2012). Enclothed cognition. Journal of Experimental Social Psy- chology, 48(4), 918–925.

Gold, D. C. (2003). The crown game: On being kings and queens. In H. G. Kaduson & C. E. Schaefer (Eds.), 101 favorite play therapy techniques (Vol. 3, pp. 349–351). Lanham, MD: Jason Aronson.

Karniol, R., Galili, L., & Shtilerman, D. (2011). Why superman can wait: Cognitive self-trans- formation in the delay of gratification paradigm. Journal of Clinical Child and Adolescent Psychology, 40(2), 307–317.

Marcus, I. (1993). Costume play therapy. In C. Schaefer & D. Cangelosi (Eds.), Play therapy techniques (pp. 91–100). Northvale, NJ: Jason Aronson.

Rosenberg, R. S., & Letamendi, A. M. (2013). Expressions of fandom: Findings from a psycho- logical survey of cosplay and costume wear. Intensities: The Journal of Cult Media, pp. 9–18. Retrieved from www.drrobinrosenberg.com/resources/Cosplay-Expressions%20 of%20Fandom.pdf.

Taylor, M., Carlson, S., & Maring, B. (2004). The characteristics and correlates of fantasy in school-age children: Imaginary companions, impersonation, and social understanding. Developmental Psychology, 40(6), 1173–1187.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

Mask Play

Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.

—oscar Wilde

Introduction

Masks include any object used to cover the face for ritual practices, entertainment, disguise, make-believe, or protection. Masks have been used throughout history by cultures around the world and date back as early as 7000 b.c.e. African tribes used masks in rituals to communicate with ancestral and animal spirits, to scare enemies, and as symbols of various attributes. Inuit tribes in America wore masks to unite with ancestors and to exorcise evil spirits from the sick. Ancient Egyptians used death masks so that the soul could recognize the body and return to it.

Masks have also been used as a way to change identity and assume a new per- sona since ancient times. They were used as a form of disguise in Venice during the Middle Ages. In contemporary societies, masks are used for festivals such as Mardi Gras, New Year’s celebrations, and social protests. They are also used for protec- tion by welders, firefighters, and medical and dental professionals, among others.

Rationale

In therapy, masks are commonly used as a projective tool and form of self-expres- sion. Landy (1986) proposed that masks can also be used to represent two sides of a conflict or problem, to express one’s identity in a group, to explore dreams and imagery, and to characterize social roles.

Mask making commonly incorporates the Jungian concepts of persona and shadow. According to Jung, the persona is the appearance we present to the world in order to adapt to the demands of society. It includes social roles, mannerisms,

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

94 iii. rolE-Play tEchniquEs

the clothes we choose to wear, and so on. The persona enables individuals to make impressions upon others and at the same time, it conceals their true nature. Jung wrote, “One could say, with little exaggeration, that the persona is that which in reality one is not, but which oneself as well as others think one is” (Storr, 1983, p. 422). The shadow, according to Jung’s theory, is the negative part of our personal- ity that we do not show the world because it contains qualities that are not compat- ible with social demands. Jung believed that the shadow epitomizes all the things that we refuse to acknowledge about ourselves, but which continuously affect us either directly or indirectly. Jung believed that “everyone carries a shadow, and the less it is embodied in the individual’s conscious life, the blacker and denser it is” (Storr, 1983, p. 88).

Jung also believed that acquiring self-knowledge involves understanding the relationship between the true self and the persona he/she shows the world. In Jung- ian theory, a major goal of treatment is to integrate the persona with the real self and to bring the shadow into consciousness. Masks are ideal for these purposes because they allow individuals to externalize parts of the self. Landy (1985) wrote:

In therapeutic mask work, then, the mask is used as a projective technique to separate one part of the self from another. The masked part, the persona, being stylized and dramatic, provides a measure of distance from the person. Through the work with the persona, the person comes to see his dilemma more clearly. The therapeutic masquer- ade or drama of masks aims to unmask the self through masking a part of the self that has been repressed or seen dimly by the client. (p. 51)

Additional therapeutic benefits of mask play include:

• Self-expression. Masks provide a make-believe tool that allows children to speak anonymously. This gives them freedom to express feelings, needs, and expe- riences in a candid, yet disguised manner.

• Safety. Masks provide immediate psychological distance and a sense of safety for the wearer. Gallo-Lopez and Schaefer (2005) note that even simple cov- erings, such as sunglasses, are transformational and equip children with a ready disguise and source of safety.

• Therapeutic alliance. Mask making is an enjoyable activity that is familiar and engaging. It can be used in the early stages of treatment as an ice-breaker to enhance comfort and establish a trusting relationship with the therapist.

• Creative thinking. Mask making involves planning, organization, and cre- ativity. Children determine the kind of mask they wish to make, what it will con- vey, and the materials used to make it. This process involves problem solving and fosters flexible thinking. In addition, the reward of creating a one-of-a-kind mask fosters pride and a sense of self-esteem.

• Projective play. With masks and other face coverings, children can be whomever they want to be. This allows them to openly express memories, fears,

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

21. Mask Play 95

desires, needs, and fantasies—for example, in sunglasses children can become a famous actor or a wanted robber.

description

Ages

Four years and up.

Materials

Depending on the age and developmental level of the child, therapists may choose to provide store-bought masks or materials for one to be made. Very young chil- dren can make simple masks with store-bought blank masks, paper plates, or oval pieces of construction paper with eyeholes. Older children, adolescents, and adults can make more sophisticated masks from cardboard, plaster of Paris, papier- maché, or rigid wrap cloths. It is important that the therapist provide ample time and a diverse selection of embellishments to enhance creativity and self-expression. These would include a variety of paints, markers, feathers, ribbons, beads, jewels, and stickers.

Techniques

Inside–Outside Masks (Kurczek, 2001)

In this technique, children make a collage on the outside of a mask, using cut-out pictures and words from magazines representing how the outside world sees them. They then make a second collage on the inside of the mask, using cut-out pictures and words representing who they are inside at the deepest level. The inside mask aids clients to discover the difference between their persona (or false selves) and who they are at the core.

Grief Mask

Children often put on a brave front and hide their true feelings after a loss. The grief mask is a tool that helps them express these emotions. Using clay or papier- maché, children ages 6 years and up mold a mask from scratch, forming it in what- ever shape they desire. They then decorate the outside of the mask with colors and embellishments that represent how they truly feel. Materials such as paint, ribbon, foam, markers, feathers, gems, and glitter are provided to enhance expression of emotions (Grief Masks & Sculpture, n.d; Imhoff, Vance, & Quackenbush, n.d.). In a variation of this technique, children decorate the inside of the mask to convey how they feel, and the outside to convey what they show the world.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

96 iii. rolE-Play tEchniquEs

Possible-Selves Mask

The idea for this technique comes from the possible-selves concept proposed by Markus and Nurius (1986). In this technique, teens create masks representing their past self (where they have been), their present self (where they are now), and their future self (who they want to be). This activity (Brumleve, 2010) allows adoles- cents to explore identity issues and gives them an opportunity to experiment and try on one or more potential future selves. Looking at the future self promotes goal setting, self-improvement, malleability, and personal growth (Oyserman, Bybee, & Terry, 2006).

Family Role-Play Masks

In a family therapy session, the therapist asks a family member to wear a mask depicting the face of another family member (e.g., child wears a “father mask”) and then role-plays how that person reacted to a specific family event (e.g., a sibling fight; Baptiste, 1989). Alternately, each family member could be asked to stimulate family discussion by selecting a mask to represent the dark side of their personality or a quality/feature they would like more of.

empirical Findings

1. Pollaczek and Homefield (1954) proposed that role-playing with masks is a useful technique for children and adults with a negative self-image. In working with children, they found that masks served to decrease stuttering and increase nonverbal expression.

2. Zhong, Bohns, and Gino (2010) found that wearing sunglasses altered peo- ple’s sense of anonymity—that is, people in sunglasses admitted to feeling more anonymous than those wearing clear eyeglasses.

3. Miller and Rowold (1979) found that children wearing Halloween masks were more likely to break a rule than children not wearing a mask. In this study, 58 children were told that they could take two pieces of candy from a bowl and were then left alone. Results showed that 62% of the children in masks broke the two-candy limit, compared with 37% of those whose faces were visible. The researchers propose that masks serve to elicit a state of anonymity, which leads to lowered restraints on behavior.

Applications

Masks are a valuable therapeutic technique to facilitate self-expression in children. Because they allow individuals to externalize and distance from problems, they are

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

21. Mask Play 97

especially helpful for treating anxious and inhibited children who have difficulties expressing emotions; individuals with histories of loss, separation, and trauma; and adolescents struggling with identity issues. Baptise (1989) noted that masks are also helpful for treating high-conflict families. Masks enable family members to see one another in a new way and correct distorted and rigid perceptions. He wrote:

Through involvement with this technique, family members learn to use humor and play creatively to “unmask” and confront each other as persons by getting from behind the personal mask each has created and wears as a defense against the other. (p. 46)

References

Baptise, D. A. (1989). Using masks as therapeutic aids in family therapy. Journal of Family Therapy, 11, 45–58.

Brumleve, E. (2010). Expressive mask making for teens: Beginning insights. Alexandria, VA: American Art Therapy Association. Retrieved from www.arttherapy.org/upload/ News&Info/ExpressiveMaskMakingForTeens.pdf.

Gallo-Lopez, L., & Schaefer, C. E. (2005). Play therapy with adolescents. Northvale, NJ: Jason Aronson.

Grief Masks & Sculpture. (n.d.). Connect with your soul. Retrieved from www.recover-from- grief.com/grief-masks.html.

Imhoff, B. A., Vance, K. V., & Quackenbush, A. (n.d.). Helping bereaved children: 20 activi- ties for processing grief. Retrieved from www.allohiocc.org/Resources/Documents/ AOCC%202012%20Session%2062.pdf.

Kurczek, T. A. (2001). Inside–outside masks. In H. G. Kaduson & C. E. Schaefer (Eds.), 101 more favorite play therapy techniques (pp. 70–74). Northvale, NJ: Jason Aronson.

Landy, R. J. (1985). The image of the mask: Implications for theatre and therapy. Journal of Mental Imagery, 9(4), 43–56.

Landy, R. J. (1986). Drama therapy: Concepts and practices. Springfield, IL: Charles Thomas. Markus, H., & Nurius, P. (1986). Possible selves. American Psychologist, 41(9), 954–969. Miller, F. G., & Rowold, K. L. (1979). Halloween masks and deindividuation. Psychological

Reports, 44(2), 422. Oyserman, D., Bybee, D., & Terry, K. (2006). Possible selves and academic outcomes: How and

when possible selves impel action. Journal of Personality and Social Psychology, 91(1), 188–204.

Pollaczek, P. P., & Homefield, H. D. (1954). The use of masks as an adjunct to role playing. Mental Hygiene, 38, 299–304.

Storr, A. (1983). The essential Jung. Princeton, NJ: Princeton University Press. Zhong, C.-B., Bohns, V. K., & Gino, F. (2010). Good lamps are the best police: Darkness

increases dishonesty and self-interested behavior. Psychological Science, 21(3), 311–314.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

superhero Play

Children wear their Spider-Man T-shirts, sleep on their Buzz Lightyear pillows, and take the latest superhero vitamin, all in an effort to achieve power.

—paTTY scanlon

Introduction

American comic books originated in 1933 and became a favorite pastime with the introduction of Superman in 1938. Within a year after his introduction, Superman had a comic book named after him, which sold over one million copies each issue. In 1939, other superheroes joined Superman: the Human Torch, the Sub-Mariner, the Flash, and Wonder Woman. During this time, superheroes were especially appealing to teenage boys. With qualities such as intelligence, kindness, power, and a value for righting wrongs and preventing catastrophes, they represented ide- alized versions of boy-/manhood. Many early comic book writers were young Jew- ish men, aware of their status as outsiders in America. Most superheroes they cre- ated were outsiders with special abilities that often battled superpowers, a theme that resonated with adolescents.

Bender and Laurie (1941) were intrigued by children’s enthusiasm about superheroes and argued that their mythological quality makes them a useful tool for helping children address psychological difficulties and real-life dangers. Bender and Laurie likened the comic strip to “folklore of the times, spontaneously given to and received by children, serving at the same time as a means of helping them solve the individual and sociological problems appropriate to their own lives” (p. 54). The children Bender and Laurie treated used fantasy play inspired by Superman to address issues of personal protection, as an ego ideal, and a problem solver.

Many years later, Lawrence and Jewett (2002) expanded Bender and Laurie’s

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

22. superhero Play 99

ideas about superheroes and highlighted their key characteristics. They noted that superheroes originate outside of the community or society they must save, have secret or dual identities, tend to be selfless and idealistic loners, value justice, show restraint for revenge, and are morally infallible. Superheroes also have superhuman powers and do not cause undue injury to others, even archenemies. “The super- hero’s aim is unerring, his fists irresistible, and his body incapable of suffering fatal injury” (p. 47).

Rationale

Rubin (2007) argued that the central issues of superheroes relate to the struggles children and adolescents experience and provide a framework for superhero play in therapy. These include themes related to the origin story, transformation, vil- lain, dual or secret identity, family dynamics, superpowers and fatal flaws, sci- ence and magic, and costumes. Just as superheroes have origin stories, children attempt to understand their own origins. Just as superheroes are transformed by situations beyond their control, children are changed by abuse, loss, and trauma. Like superheroes, children have archenemies they must cope with and battles they must overcome. Similar to the challenges of having dual identities in superheroes, children struggle to work out internal conflicts. Whether transformed by science or magic, superheroes rarely fit in. Similarly, children struggle with identity and belonging issues (Rubin, 2007). These similarities make superhero play an ideal way for working with children and adolescents and provide a number of therapeu- tic benefits:

• Power. The vulnerability of young children leads to their desire for super- powers. Identifying with the strengths and powers of superheroes can be transfor- mative and instill in them the courage to overcome their fears, face challenges, and master problems.

• Identity formation. Identification with superhero mythology can help chil- dren incorporate superhero traits into their personality and lives.

• Overcoming resistance. Superhero play is a great way to engage children in treatment. Children naturally enjoy role-playing superhero themes, discussing movies, storytelling, playing with action figures, and creating superheroes with clay or other art materials. Young children also enjoy dressing like superheroes and using miniature figures to enact adventures. In addition, the histories, challenges, and personalities of superheroes resonate with adolescents and provide a way for them to address their own issues.

• Fantasy. Through superhero fantasy play, children try out new roles and explore new ways to cope with difficulties. This increases their imaginations and creative problem-solving ability.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

100 iii. rolE-Play tEchniquEs

description

Ages

Four to 12 years.

Superhero play is useful in both individual and group counseling and can be implemented in a number of ways depending on the age, needs, and interests of the child. These include dress up/fantasy play, drawings, handouts, art activities, comic book/movie discussions, role playing, storytelling, sand tray play, and com- puter/telephone apps. Superhero play can be also be used in milieu therapy (Rober- tie, Weidenbrenner, Barrett, & Poole, 2007) and hypnotherapeutic interventions such as breathing exercises, yoga, and chanting (Burte, 2007).

Technique

Stress Busting

Provide the child with a costume of a favorite or familiar superhero and the oppor- tunity for superhero play in session and/or at home. Remind the child of the per- sonal qualities of the superhero, such as courage, strength, and resiliency. During superhero play some children may become overexcited and need clear limits set and enforced on aggressive/destructive behaviors. When the child has become con- fident in the role of a superhero, encourage the child to wear his/her superhero costume when anxious at home, such as to bed to overcome the fear of the dark.

Variations

Shazam

This technique by Cangelosi (2001) is useful for children of all ages. The child uses clay or art materials of his/her choice to create a “messenger” friend (animal, alien, cartoon character, etc.) that will help him/her solve problems. While the child creates the messenger, a discussion takes place regarding the problems that it will help with. When the messenger is completed, the therapist asks the child to close his/her eyes and imagine it. The therapist then explains that Shazam (or whatever name the child chooses for the messenger) will be invisible to everyone except the child but will remain with the child at all times to remind him/her about options for dealing with the problems discussed.

Superhero Drawing

First ask the child if he/she could have superhero powers, what would they be? Then suggest a self-drawing with these powers. Then discuss what these powers are and how the child might use them in real life. Point out how the child’s natural strengths can be as effective as superpowers.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

22. superhero Play 101

The Power Animal: Internalizing a Positive Symbol of Strength

This technique, introduced by Hickey (2001), is for children of all ages. The thera- pist shows the child pictures of a large variety of animals and asks the child to choose one that appeals to him/her. The therapist then asks the child to construct the chosen animal in clay or to make a mask with the animal face on it. The thera- pist follows the child’s lead. Eventually, the therapist will ask the child to imagine what the animal might do in certain situations and how it might solve a specific problem. By regularly consulting with the animal, the therapist will help the child move deeper into an internalization of the strengths and attributes the child proj- ects onto the animal. This technique is useful for children with low self-esteem and difficulties with problem-solving and social skills.

Super Me

Nickerson (2001) developed this storytelling technique for children ages 4–9 years to facilitate the termination process. The child describes the qualities that he/ she would give to a superhero and creates one with art materials, giving it a cos- tume, weapon, and name. The therapist then tells a story about the child and the superhero solving a problem together. The goal is for the child to internalize the strengths of the superhero. The child takes the superhero creation home at the last session as a reminder of his/her strengths and accomplishments in therapy.

Comic-Book-Making Kits

Tomy Toys produced this Mighty Men and Monster Maker kit for children ages 6 years and up. It contains tiles showing legs, torsos, and heads that can be mixed and matched to create a superhero. The child places a piece of paper over the tiles, closes the lid of the carrier to hold the paper in place, and then uses a crayon to rub over the tiles to create a superhero or villain. Crayola Story Studio Comic Maker, for children ages 6 years and up, provides an online access code that allows chil- dren to morph photos of themselves into Spiderman and insert them into a comic adventure. In addition, handouts can be made by the therapist with six to eight blank grids for the child to draw scenes of a superhero story.

Superhero Parent

The child’s parent wears a superhero cape or costume on occasion and models act- ing brave and strong during a stressful life event (e.g., a medical procedure).

empirical Findings

1. Chung and de Silva (2013) found that self-transformation through pretend play affected the executive functioning performance in preschoolers. Thirty-two

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

102 iii. rolE-Play tEchniquEs

preschoolers participated in their study and were divided into two groups. Chil- dren in the self-transformation group were given a cape that was described as having special powers, enabling the wearer to play games well. Children in the control group were given the same cape but were told that it was part of the game. The children then participated in three different executive functioning tasks: two response inhibition tasks and one attention-shifting task. Children in the self- transformation group had significantly higher combined response inhibition scores than children in the control group and higher scores on the task requiring atten- tion shifting.

2. Parsons and Howe (2013) report that preschool boys who engaged in two superhero play sessions (vs. boys who played with generic toys) exhibited signifi- cantly more prosocial behaviors, whereas there were more disruptive behaviors in the generic toy sessions.

3. In her doctoral dissertation, Elizabeth Robinson (2014) found that super- hero knowledge was significantly and positively related to moral judgment in fifth- grade boys. The data indicated that the boys were able to see beyond violence and fighting to see the positive outcomes of superheroes helping people, fighting crime, and doing the right thing.

4. Karniol and colleagues (2011) asked a group of Superman-caped preschoolers and a group of uncaped preschoolers to delay gratification. Caped children delayed longer, especially when instructed about Superman’s delay-relevant qualities.

contraindications

This technique is not appropriate for children with a weak grasp on reality who could lose their sense of self in the play by assuming the identity of a superhero character and acting out accordingly.

Applications

Superhero play is an ideal way to engage children of all ages and diagnostic cat- egories in treatment. It is especially useful for children with issues related to fears, phobias, trauma, adoption, and attachment issues. In addition, superhero play is a great tool for teaching compassion, kindness, justice, “taking the high road,” and social skills.

References

Bender, L., & Laurie, R. (1941). The effect of comic books on the ideology of children. Ameri- can Journal of Orthopsychiatry, 11(3), 540–550.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

22. superhero Play 103

Burte, J. M. (2007). Hypnosis and superheroes. In L. Rubin (Ed.), Using superheroes in coun- seling and play therapy (pp. 271–292). New York: Springer.

Cangelosi, D. (2001). Shazam. In H. G. Kaduson & C. E. Schaefer (Eds.), 101 more favorite play therapy techniques (pp. 455–457). Northvale, NJ: Jason Aronson.

Chung, K. K., & de Silva, A. D. (2013). Effects of a pretend play intervention on executive func- tioning tasks. Wellesley College Digital Scholarship and Archive Student Library Research Awards Archives. Retrieved from http://repository.wellesley.edu/cgi/viewcontent.cgi?arti cle=1004&context=library_award.

Hickey, D. A. (2001). The power animal technique: Internalizing a positive symbol of strength. In H. G. Kaduson & C. E. Schaefer (Eds.), 101 more favorite play therapy techniques (pp. 451–454). Northvale, NJ: Jason Aronson.

Karniol, R., Galili, L., Shtilerman, D., Naim, K., Manjoch, H., & Silverman, R. (2011). Why Superman can wait: Cognitive self-transformation in the delay of gratification paradigm. Journal of Clinical Child and Adolescent Psychology, 40(2), 307–317.

Lawrence, J. S., & Jewett, R. (2002). The myth of the American superhero. Cambridge, UK: Erdmans.

Nickerson, E. (2001). Super me! In H. G. Kaduson & C. E. Schaefer (Eds.), 101 more favorite play therapy techniques (pp. 25–28). Northvale, NJ: Jason Aronson.

Parsons, A., & Howe, N. (2013). “This is Siderman’s mask.” “No, it’s Green Goblin’s”: Shared meanings during boys’ pretend play with superhero and generic toys. Journal of Research in Childhood Education, 27(2), 190–207.

Robertie, K., Weidenbrenner, R., Barrett, L., & Poole, R. (2007). A super milieu: Using super- heroes in the residential treatment of adolescents with sexual behavior problems. In L. C. Rubin (Ed.), Using superheroes in counseling and play therapy (pp. 143–168). New York: Springer.

Robinson, E. (2014). The influence of superhero characters on moral judgment in school-age children. Doctoral dissertation, Alfred University, New York.

Rubin, L. C. (2007). Introduction: Look, up in the sky! An introduction to the use of super- heroes in psychotherapy. In L. C. Rubin (Ed.), Using superheroes in counseling and play therapy (pp. 143–168). New York: Springer.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

104

Puppet Play

Introduction

Puppet play is a popular play technique that helps children express feelings, reen- act anxiety-laden events, try out new, more adaptive behaviors, and overcome inhi- bitions. The fact that puppetry has survived from man’s early beginnings to the present day gives proof of its inherent strength and wide appeal. Puppets are more vivid, more alive, and more interesting than dolls, and can be manipulated without much practice.

The first and most extensive use of puppets in psychotherapy was by Bender and Woltmann (1936) at the Children’s Psychiatry Ward of Bellevue Hospital in New York City. Adult puppeteers presented puppet shows to assist the children to identify with and project their problems onto the puppet characters that in the end found solutions to their problems. A group discussion based on the shows followed each performance. Hand puppets were used because “they are more direct in their actions, more convincing in their movements, and capable of more aggression than string marionettes” (Bender & Woltmann, 1936, p. 343). A hand puppet consists of a three-dimensional head attached to a cloth body.

Rationale

The variety of therapeutic benefits from puppet play span many theoretical orien- tations and include:

• Projection. Children identify with puppets. Puppet play enables them to project their thoughts, feelings, and needs that they are unable or unwilling to express in words (Jenkins & Beckh, 1942). Children find it easier to reveal their inner world through the medium of a “third person”—that is, a puppet (Cassell,

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

23. Puppet Play 105

1965). If the puppet says or does something wrong, the puppet is at fault, not the child. Thus, puppets provide a safe psychological distance for a child to express troublesome experiences, thoughts, and emotions—for example, a child may use puppets to act out scenes observed or experienced at home, such as child or spouse abuse (Bromfield, 1995).

• Displacement. A child may safely express hostile feelings toward a parent onto a puppet without the risk of retaliation.

• Ego boosting. The complete control a child has over a puppet expands his/ her ego by giving a sense of mastery.

• Increased interest in learning. Since puppet plays makes learning interesting and fun for children, they can facilitate the learning of new skills, such as problem solving and social skills.

• Abreactive healing. A stressful life experience can be reenacted in puppet play so as to enable a child to have a cathartic release of feelings and to develop of a sense of mastery over the stressful event (Waelder, 1933).

description

Ages

Five to 11 years.

Materials

A collection of 15–20 soft, hand puppets for individual therapy; 25–30 for group or family therapy. The collection should include wild and domestic animals, human figures, and symbolic characters, such as dragons, devils, and fairies.

A wide variety of puppet play techniques have proven helpful for assessment and therapy with children. A selection of popular techniques follow.

Puppet Assessment Techniques

Structured Interview of a Child (Irwin, 1993)

• Step 1: Present the child with a collection of 15–20 easy-to-manipulate hand puppets representing a broad range of psychological and social characteristics (e.g., aggression, nurturance, timidity).

• Step 2: As a warm-up, ask the child to introduce the selected puppet to you by saying its name, age, and gender. A central assumption is that children tend to choose puppets that have significant meaning for them. The puppets often

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

106 iii. rolE-Play tEchniquEs

represent parts of their personality (e.g., a mouse puppet for the timidity in them), or the character of people around them (e.g., a witch puppet as the personification of a mean mother figure).

• Step 3: Ask the child to tell a made-up story with the puppet(s) behind a puppet stage or overturned table.

• Step 4: When the puppet show is over, the therapist interviews the puppet characters(s) and then the child to elicit additional information about the charac- ters and why they acted as they did. In the imaginary stories of children, certain themes will likely appear as the child projects his/her own life stories onto the puppet. This postshow discussion helps the therapist more fully understand the personal meaning of the puppet show for the child.

Family Puppet Interview (Irwin & Malloy, 1975)

In this approach, the therapist presents a collection of 25–30 puppets to the fam- ily members. Family members are asked to select one or two puppets to help tell their piece of a story. The family then decides together on a story in which each of their puppets has a part. A story should have a beginning, middle, and end. Many families decide to tell a well-known fairytale that all family members know. The family then presents the story they have developed—with the therapist as the audi- ence. After the story the therapist interviews each of the puppet characters about their role in and motive for their actions in the story. Finally, the therapist encour- ages the family members to discuss the puppet show, including their thoughts and feelings about the characters, and any real-life similarities. The “group puppet interview” developed by Bratton and Ray (1999) applies this technique to members of a child therapy group.

Wittenborn, Faber, Harvey, and Thomas (2006) used the family puppet inter- view with a family consisting of a mom, dad, and 8-year-old daughter. The mom chose a cat puppet, the girl a puppy, and the dad a grim-looking gorilla. In their story the gorilla tries to take control of the situation by telling the cat and puppy what to do. The puppy runs away and the cat does not know what to do.

This is just one case example of how family puppet plays can provide valuable information about family dynamics (Gil, 2015; Gil, Sobol, & Bailey, 2005), such as:

• The level of cooperation, involvement, and organization displayed by the family and the roles they assumed in completing this task.

• The ability of the family to reach agreement on the story and the way it was reached.

• The degree of enjoyment exhibited in engaging in this task. • The level of insight—for example, seeing the play as a metaphor for their

own reality.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

23. Puppet Play 107

Berkeley Puppet Interview (Measelle, Ablow, Cowan, & Cowan, 1998)

This is a structured interview of young (ages 4–8 years) children’s perceptions of the family environment, school performance, peer relationships, and symptom- atology. The therapist conducts the interview with two dog puppets, Iggy and Ziggy, that ask the child to indicate which of two opposing statements is most like him/her. The two statements reflect the positive and negative ends of two differ- ent behaviors or attributes (e.g., “I tease other kids” and “I don’t tease other kids. What about you?”; “My mom yells at me a lot” and “My mom doesn’t yell at me a lot”; “My dad is in a bad mood a lot” and “My dad is not in a bad mood a lot”; “I like to read” and “I don’t like to read”). This assessment tool is particularly suitable for nonverbal, shy, and selectively mute children since the child can either respond nonverbally by pointing, or talk in the third person by using a puppet to respond to the interviewer’s questions.

Puppet Therapy Techniques

Using a Puppet to Create a Symbolic Client

A puppet can be used as a pretend client who needs help with a similar problem as the child’s (e.g., being bullied, feeling sad, or afraid; Narcavage, 1997). This allows the child to separate him/herself from the situation and look at it through a more objective eye, which can help find a solution to the problem. Thus, a thera- pist might show a child, ages 4–8 years, a puppet that has a similar problem and encourage the child to help comfort the puppet and subsequently give the puppet advice (with the therapist’s coaching) about how to solve the problem (e.g., ignor- ing or staying calm when teased). By shifting attention to the puppet, the child gains psychological distance from the problem, which increases the child’s engage- ment in addressing the problem.

For example, a 3-year-old boy had a recurrent biting problem and was in danger of being expelled from day care. The therapist introduced the boy to Leo, an alligator puppet with a big mouth. He told the boy that Leo had a big problem in that he keeps biting people, like this, and it hurts and people get so upset that it ends up making Leo feel very bad. After listening intently, the held the alligator puppet and bit his own arm with it and yelled “Ouch!” When asked if he had any ideas to help Leo stop biting, the boy ran to get the toy telephone and called Leo. He said to Leo, “Come home right now!” When Leo arrived, the boy told him he could not bite people but he could bite a toy. The therapist mentioned that Leo cries big crocodile tears after he bites because he first wants to bite but is sad that he hurts people and people are mad at him. The boy kept Leo at his side through- out the session.

As another example, if a child is very fearful on entering the playroom for the first time, the therapist might introduce a “Mr. Bear” puppet and have the puppet

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

108 iii. rolE-Play tEchniquEs

cover its eyes out of fear. The therapist would then say to “Mr. Bear” that she knows how scared he is to come to a new place with a grown-up he didn’t know. She would reassure Mr. Bear that he is in a safe place, with a safe person who will not let anything bad happen to him or the child client.

Therapist’s Friend Puppet

Select a puppet to be your friend during a session with an aggressive child. When the child acts mean to you, your puppet would react by saying such supportive statements as “Wow, that was a hurtful thing to say!” and “I don’t think it’s OK to talk to an adult like that.” Indirect feedback from a puppet is easier for a child to take than direct therapist confrontation.

Externalizing the Child’s Problem

Externalization is a narrative therapy technique to objectify, and at times, to per- sonify in the form of a puppet the problem the child is experiencing. The goal is for clients to see themselves as separate from their problems (see Chapter 17, “Exter- nalization Play”). Butler, Guterman, and Rudes (2009) describe a case involving an 8-year-old boy who frequently fought in the classroom. When asked to choose a puppet that most closely resembled his problem of annoying others, he selected a bug puppet because his fighting behavior was annoying (bugging) others.

Puppet Stress Inoculation

In this puppet modeling technique (Shapiro, 1995), the therapist introduces a pup- pet that had experienced a stressor identical to the one the child will undergo, such as starting school, a medical procedure, or fear of the dark. The goal of this tech- nique is to reduce the unknown aspects of a stressor and demonstrate useful cop- ing techniques. After explaining that the puppet just experienced the same stressor that the child will, the therapist has the puppet show and tell coping strategies it used while undergoing the stressful event (e.g., positive imagery, deep breathing). The child is encouraged to ask the puppet any questions he/she wishes about the event.

Group Mascot

In the first session of a play therapy group Pedro-Carroll and Jones (2005) have found it helpful for the therapist to introduce to the group a “shy” puppet (perhaps hidden in a bag) that is anxious about what to expect from the group. The thera- pist then asks the group members to help the puppet feel accepted and comfortable

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

23. Puppet Play 109

in the group. They have found that group members typically respond with help- ful suggestions, such as “Let’s tell him our names and what we’ll be doing in the group.” This often leads to a group discussion of common interests, favorite foods, and so on. The puppet also shares personal interests/problems and assumes the role of group mascot.

Mutual Puppet Show

First, the child and therapist each select a puppet or two to animate. Then the child is asked to begin a puppet show in which the child and therapist take turns telling the puppet story. The therapist uses his/her turn to present a more adaptive solution to the story or a positive reframing of the motives or behaviors of child’s puppet character (Hawkey, 1951).

Group Puppet Charades

Each child in the group is given a specific emotion or situation to act out with the puppet without talking. The other group members are asked to guess what the emotion or situation is.

Free Puppet Play

The child is given the freedom to spontaneously select, animate, and direct the actions of a puppet or two as he/she wishes. The therapist serves as the audience and asks the child to introduce the puppet(s) before using them to act out a story. The therapist can later interview a puppet character or the child to gain further clarification of the meaning of the puppet story.

Puppet “Talk Show”

The goal of this technique is to give members of a child play therapy group a way to bond by getting to know one another better. Each child is asked to choose a puppet from a collection of realistic human and fantasy puppets displayed on a table or on the floor. Each child’s puppet is then interviewed using a “talk show” format. The therapist serves as the “talk show host” and the other children are the audience members who take turns asking each child’s puppet personal questions, such as “What is your favorite food?” and “What makes you mad?” Each group member decides to have the selected puppet represent him/herself or to create a fantasy character that answers the questions. The puppets provide psychological distance for the children to facilitate the disclosure of their inner world of thoughts, feel- ings, and desires.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

110 iii. rolE-Play tEchniquEs

Puppet Story Character

The use of a puppet to represent a character in a therapeutic story the therapist is telling helps to bring the tale to life. The child can ask the puppet about what hap- pens next in the story as well as give the puppet advice on how to handle situations in the story.

empirical Findings

1. Carter and Mason (1998) found that it is most beneficial to provide 15–20 puppets for children. Providing too few puppets will not allow for projection of internal experiences and too many puppets will likely overwhelm the child.

2. Working with hospitalized children undergoing cardiac catheterization, Cassell (1965) found that they were able to express their emotions about the pro- cedure through puppets. Consequently, they were less emotionally upset during the procedure and more willing to return to the hospital for further treatment.

3. Gronna, Serna, Kennedy, and Prater (1999) used puppet script training to teach social skills of greeting and initiating/responding to conversations to a preschool child with visual impairments. This single case study, using a multiple- baseline design, demonstrated that the child learned the target skills and general- ized their use to free play activities with her peer.

contraindications

Very disturbed and psychotic children usually object to a puppet show because it is a threat to their attempt to maintain their grip on reality (Woltman, 1940).

Applications

Puppet play has been used effectively for both assessment and therapeutic purposes with children presenting with a wide variety of presenting problems.

References

Bender, L., & Woltman, A. (1936). The use of puppet shows as a therapeutic method for prob- lem behaviors in children. American Journal of Orthopsychiatry, 6, 342–354.

Bratton, B., & Ray, D. (1999). Group puppetry. In D. Sweeney & L. Homeyer (Eds.), The hand- book of group play therapy (pp. 267–277). San Francisco: Jossey-Bass.

Bromfield, R. (1995). The use of puppets in play therapy. Child and Adolescent Social Work Journal, 12(6), 435–444.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

23. Puppet Play 111

Butler, S., Guterman, J., & Rudes, J. (2009). Using puppets with children in narrative therapy to externalize the problem. Journal of Mental Health Counseling, 31(3), 225–233.

Carter, R., & Mason, P. (1998). The selection and use of puppets in counseling. Professional School Counseling, 1(5), 1–13.

Cassell, S. (1965). Effect of brief puppet therapy upon emotional responses of children undergo- ing cardiac catheterization. Journal of Consulting Psychology, 29(1), 1–8.

Gil, E. (2015). Play in family therapy (2nd ed.). New York: Guilford Press. Gil, E., Sobol, B., & Bailey, C. (2005). Children in family therapy: Using the family as a

resource. New York: Norton. Gronna, S., Serna, L., Kennedy, C., & Prater, M. (1999). Promoting generalized social interac-

tions using puppets and script training in an integrated preschool. Behavior Modification, 23(3), 419–440.

Hawkey, L. (1951). The use of puppets in child psychotherapy. British Journal of Medical Psy- chology, 24, 206–214.

Irwin, E. (1993). Using puppets for assessment. In C. E. Schaefer & D. Cangelosi (Eds.), Play therapy techniques (pp. 69–87). Northvale, NJ: Jason Aronson.

Irwin, E., & Malloy, E. (1975). Family puppet interviews. Family Process, 14, 179–191. Jenkins, R., & Beckh, E. (1942). Finger puppets and mask making as media for work with

children. American Journal of Orthopsychiatry, 12(2), 294–300. Measelle, J. R., Ablow, J., Cowan, P., & Cowan, C. P. (1998). Assessing young children’s views

of their academic, social, and emotional lives: An evaluation of the self-perception scales of the Berkeley Puppet Interview. Child Development, 69(6), 1556–1576.

Narcavage, C. (1997). Using a puppet to create a symbolic client. In H. G. Kaduson & C. E. Schaefer (Eds.), 101 favorite play therapy techniques (pp. 199–203). Northvale, NJ: Jason Aronson.

Pedro-Carroll, J., & Jones, S. (2005). A preventive play intervention to foster children’s resil- ience in the aftermath of divorce. In L. Reddy, T. Files-Hall, & C. E. Schaefer (Eds.), Empirically based play interventions for children (pp. 51–75). Washington, DC: Ameri- can Psychological Association.

Shapiro, D. (1995). Puppet modeling technique for children undergoing stressful medical proce- dures: Tips for clinicians. International Journal of Play Therapy, 4(2), 31–40.

Waelder, A. C. (1933). The psychoanalytic theory of play. Psychoanalytic Quarterly, 2, 208– 224.

Wittenborn, A., Faber, A., Harvey, A., & Thomas, V. (2006). Emotionally focused family therapy and play therapy techniques. American Journal of Family Therapy, 34, 333–342.

Woltman, A. C. (1940). The use of puppets in understanding children. Mental Hygiene, 24(1), 445–458.

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed

C op

yr ig

ht ©

2 01

6. G

ui lfo

rd P

ub lic

at io

ns . A

ll rig

ht s

re se

rv ed