T is for Territory: A Literature Review of Human Experience in Dramatic and Virtual Spaces is a well-researched Social and Behavioral Sciences thesis/Dissertation topic, it is to be used as a guide or framework for your Academic Research.
A theoretical investigation of the spaces where dramatic realities and virtual realities reside is researched and examined. How and for what purpose these locations exist is considered. Is technological space actual, virtual, or somewhere in between and where do our bodies intersect in that dimensional landscape?
Can we as practitioners of drama therapy, specifically Developmental Transformations (DvT), be in conversation with the growing dominance of virtual technologies, and where do the boundaries of human territory fit in relation to both? Possible implications for future practice/research are considered. An appendix is included with examples of my art-based response to the research.
The topic of my capstone thesis will be a theoretical examination of advancing technological spaces, artificial intelligence (AI), and virtual realities in relation to drama therapy and dramatic reality, specifically within the form of Developmental Transformations (DVT).
There is not an obvious overlap between these two ‘spaces’ in the creative arts literature and there are clear differences and tensions between them; however, both rely on encounter and operate through noticing, gathering, and an of expression human behavior. I am interested in whether comparing or making associations between the imaginative dimension of dramatic reality and the built environment of virtual realities can amplify or help our work as practitioners of drama therapy?
One could say that each allows for an engagement in a ‘world’ set just apart from ordinary life. Can the similarity between the two worlds establish greater legitimacy for the dramatic reality created in the playspace between client and therapist using DVT? I will be examining writing about the encounter between therapist and client while in the dramatic reality of the DVT playspace, which can be considered a container for human information that arises and accumulates while both therapist and client are in play.
In-Text for Practitioners, Johnson (2013), the founder of DVT describes the playspace as a term for a ‘particular state of play’ one that depends upon, “a mutual agreement among the participants that everything that goes on between them is a representation or portrayal of real or imagined being” (p. 39). Thoughts, gestures, feelings, etc. form an encyclopedia of data for the patient and therapist to consult.
Patients can reflect on what was there and not there inside the room, made real in the imaginal space between them. Pendzik (2006) frames this ability to manifest together through improvisational engagement as, “another level of reality within actual life” where transitions from the ephemeral to the palpable become, “virtuality made concrete” (p. 273).
Therapists can ‘read’ what emerges as information to reveal the specific client, but also can see larger ‘patterns’ within wider humanity. Of all dramatic processes, why focus on DVT? Prior to studying drama therapy, I followed my interest in performance by creating hybrid pieces of dance-theatre.
A strong influence at the time was Anne Bogart (1995) who created Viewpoints, which was a way of approaching dramatic work through the body in relation to: Time (tempo, duration, kinesthetic response) and Space (shape, gesture, architecture, spatial relationship, and topography) (p. 22-23).
These processes were considered somatically through sourcework, space and time when collaborators, “fill up their own knowledge, interest, dreams, and reactions” to the central ‘question’ that Bogart (1995) believed any great theatrical piece carries inside of itself (p. 17-18). Viewpoints were the actor’s way into their own source of answering that question dialogically within the world of the play.