Workshops and Lectures 2017-04-17T15:08:37+00:00

Workshops and Lectures


Workshop 1:
The Fool and the Roles We Play
Franki Anderson (GB)
Franki playing the role of facilitator invites our players to enter the empty space that is the stage, and explore the roles we play, whether chosen, given or put on us. A lighthearted investigation into a deep subject that controls our lives more than we might like to admit. Balancing body and emotional awareness with consciousness raising this playfool approach accesses the childs irrepressible curiosity and natural playfulness, which Franki calls the Fool.

Workshop 2:
Invoking the Role of the “Old Wise Person” – Drama Therapy with Elderly People
Dovrat Harel, M.A. (Israel)
Elderly people usually feel the loss of many roles in their life and face the challenge to maintain their identities. With drama therapy, they are given the opportunity to redefine themselves, to revisit or reclaim their old roles, and to audition new roles they may want to acquire. The workshop will emphasize the use of reserved abilities in old age, particularly creativity and playfulness, in order to promote positive self-identity and what Erikson describes as “ego integrity”.

Workshop 3:
Playback Theatre – An Interface between Art, Ritual und the Social: Basic Forms and Applications in Times of Forced Displacement, War, Discrimination, and Polarization
Jutta Heppekausen (Freiburg/Spain) and Henk Göbel (Berlin)
This workshop will introduce the theory and practice of Playback Theatre. This ritualized form of socially committed improvisational theater (see Fox/Salas) links to the thousand years old tradition of oral theater. The magic of the aesthetically shaped mirroring, of the playing back, makes it possible for stories yet untold to become visible. Playback Theatre opens a space of community building which allows mutual empathy and change of perspective, and in which shared aspects, contradictions and differences all find their place and recognition.
In current playback theater performances, in public or in protected spaces, we find also experiences, contacts and transgenerational transmissions witnessing forced displacement, discrimination, and war. There is a need to find artistically effective and powerful forms to work and reflect on. Hence the term „workshop“ is to be taken literally here, in the sense of trying out the medium of „playback theatre“ and of a research laboratory work.

Workshop 4:
The Wound of “Heimatlosigkeit” (Homelessness / Lack of Roots) – Ritual Gestures and Other Drama Therapy Approaches to the Stranger in Us
Ilil Land-Boss, M.A. (Berlin)
Edward Said speaks of exile as an “unhealable rift”, whose “essential sadness can never be surmounted”. Numerous people in the world cannot return to their Heimat (home place). Some “Heimats” simply don’t exist anymore. But a feeling of foreignness, not belonging and lack of home on other levels is often also known to people who do have a physical “Heimat”.
What can home, Heimat also mean beyond a specific geographic location? Can the feeling of (emotional, spiritual, intellectual, etc.) homelessness become a resource? Can this wound enrich our work, serve as a motor? We will approach these questions by drama therapeutic methods, using elements of ritual structures, choreographic gesture work, poetry and more.

Workshop 5:
Circles within Circles: The Family as a Constellation of Role Types
Robert Landy, Ph.D. (USA)
The group will work through the model of the fictional family developed by Robert Landy to better understand family and community role dynamics. The image of the circle will serve as a template toward making sense of intrapsychic and interpersonal roles and thinking through ways to construct a sense of wholeness in self, family and community.

Workshop 6:
Breath doesn’t Play “a Role”. Experiencing the Undisguised Body
Klaus Möller (Tübingen)
How could it be if I let myself be guided by the posture and movement of the body, leaving behind my role habits?
What happens when I let my feet get on the ground, when I turn my back to face the background, the invisible?
What could develop then out of the habits, securities, strengths given to me by my familiar roles?
What would I experience when I let the breath come and go, would that lead me into emptiness, into nothingness, stillness, into the freedom of roles ?

Workshop 7:
Shakespeare – the Word – the Actor – The Image of Language in Shakespeare’s Theatre
Ryszard Nieoczym (Canada)
Shakespeare Our Contemporary: Using Shakespeare’s text ‘The Tempest – a comedy’ to discover how to work and play with the texts and to make his language accessible and understandable to a modern audience; further, to use Shakespeare’s texts as a vehicle for multi-gender casting where women play men’s roles and vice versa. A major focus for this work is Breath and Articulation.

Workshop 8:
Midsummer Night Dream – Playing with the Roles of our Dreams
Susana Pendzik, Ph.D. (Israel)
How many roles and characters do we hold inside ourselves? How many inner sides we don’t dare to acknowledge? Is there a space for archetypal forces to play out their roles in our lives? What’s the relationship between our social roles in real life and the fantastic roles we dream about? How do we define/mold/construct our identity? Are we heroes and heroines? Where do we find our inner trickster?
Shakespeare’s Midsummer night dream offers a great opportunity to explore roles belonging to different spheres of life: the sophisticated and uptight royalty, the simple, wholehearted “mechanicals,” and the creative and mischievous spirits. In addition, the piece lends itself to play with a variety of characters and interactions: from young couples madly in love to arranged marriages; from old and decrepit relationships, to impossible sexual adventures.
Moving though the complex, poignant, and exquisite imagery of the play, we will explore basic role patterns, characters’ styles, interactions and relationships. We will use text, masks, chorus work, and Dramatic Resonances as a means to deconstruct and recreate Mid-summer night dream as a unique and dynamic journey that will unfold in front of us.

THE MASTERCLASSES (Sunday) (only for trained drama therapists)

Masterclass 1:
The Role Method of Dramatherapy
Robert Landy, Ph.D. (USA)
Robert Landy will discuss and demonstrate his role theory and method developed over 40 years as a clinician and researcher. Participants will work through role assessment and hero’s journey on the path toward an integration of roles.

Masterclass 2:
Responsibly Addressing Racism, Xenophobia and Cultural Difference through Dramatic Resonances
Susana Pendzik, Ph.D. (Israel)
“Each of us is the other to the others” (R.D. Laing, The politics of experience).
“Us” and “Them” are charged social constructs that emerge time and again in society, reverberating in every sphere of life – from the personal inner psyche, to the social fabric of family and interpersonal relations, as well as in other aspects of the collective, such as the political context. Embedded in these opposing / interrelated constructs are complex power relations that conceal racist experiences and wounds, learnt lesson on xenophobia (or “fear of the Other”), intolerance to difference, and a defensive and rigid worldview.
In this workshop we will use a mythical structure as a creative platform to explore these themes though Dramatic Resonances – a drama therapy technique for intervention that helps to de/construct personal and collective narratives. The method proposes a journey to and from that collective and the personal, involving various degrees of aesthetic distance.
In addition, the workshop looks at the role of drama therapists as “agents of awareness” regarding these issues, an awareness that includes responsibly looking at themselves and at the surrounding environment in connection to the “Us” and “Them” construct.

THE WORKSHOPS (Sunday) on Work with Refugees (open to everybody)

Workshop A:
Meeting my Inner Hero Face to Face: Therapeutic Puppetry for Coping with Stress
Dovrat Harel, M.A. (Israel)
The indirect work with puppets creates a safe space for self-exploration, lessening its eventual threatening impact. The central principle is distancing: It is not me, but instead the puppet that is doing things, things that I might never to do. Therapeutic puppetry intervention is based on projection and identification. It helps people to express varied emotions, including painful and even harmful ones, and at the same time to discover their strengths and experience empowerment. The participants in this workshop will experience the entire process of therapeutic puppetry and will learn how to facilitate it in the context of the refugee population.

Workshop B:
Working with Displaced Populations in Art Therapy
Carolyn Krüger M.A. (Berlin)
Increasingly, the media report about the global situation of refugees and displaced populations, whose numbers are continuously rising according to the UNHCR. Many asylum seekers suffer from traumatic experiences and manifold losses when arriving in Germany. However, only a limited number of mental health services are tailored to the psychosocial needs of uprooted individuals from diverse and socioeconomically deprived backgrounds.
Within this frame, art therapy has shown great potential in facilitating non-verbal and intercultural communication. Art is rooted in every culture, becoming particularly important in times of transition and upheaval. It allows for issues around displacement and diversity to be explored in a safe and creative way. As a universal means of communication, images provide an ideal tool to transcend language and cultural as well as psychological barriers.


Franki Anderson
Franki ‘the fool’ draws on her life experience as performer and facilitator to support the individual in their unique process of self-discovery.
Having processed her own life through theatre, dance and art from childhood, she then discovered the fundamentals of Laban Movement.
Subsequently Franki has created a way of working that practices being present, acceptance, and validation to free the player within.

Dovrat Harel, M.A.
PhD candidate, Bar-Ilan University, lecturer and supervisor at the Graduate School of Creative Arts Therapies, Haifa University and Tel-Hai College, Israel.
Drama therapist and supervisor in private practice and in day care centers for senior citizens, specializing in people with dementia and their families. She works with the Alzheimers Association of Israel (EMDA), developing programs of creative care for people with cognitive decline.

Jutta Heppekausen
Founder and player of „Blickwechsel – Playbacktheater Freiburg“, accredited trainer at Centre of Playback Theatre (New York), theater pedagogue (Akademie Remscheid), psychodrama leader (Ella Mae Shearon, DFP), M.A. in supervision (DGSv), research assistant at Pädagogische Hochschule Freiburg, in the network Rassismuskritische Migrationspädagogik Baden-Württemberg, together with others on the search how to recognize and utilize spaces of possibility to at least not cause additional harm to the world.

Johannes Junker, Dr.
Professor and Dean of Studies for Drama Therapy, Vice Dean of the study programs Arts Therapies (HKT) at University of Applied Sciences Nürtingen-Geislingen (HfWU).

Carolyn Krüger, M.A.
M.A. Art Psychotherapy, Goldsmiths University of London, trauma specific and international trainings, Global Mental Health: Trauma and Recovery Course in Harvard Program in Refugee Trauma.
Several years in Ghana, Nepal, South Africa and England, leader of trainings, international psychosocial projects with traumatized and socially underpriviledged persons, current work in Germany with refugees and survivors of torture and violence.

Henk Göbel
Founding member and player in the Berlin Playback theatre group „Die Spiegelneuronen“, Training in acting, dance and singing (Berliner Schule für Bühnenkunst), trauma-centered counselor (DeGPT/BAG-TP), drama therapist in training (DGfT), social worker in contexts of sexualized violence, working with refugee populations in domains of child protection, voluntary work, experiences in the application of playback theatre for refugees.

Ilil Land-Boss, M.A.
M.A. in Theater, Cultural Anthropology and General Linguistics, certified drama therapist (DGfT), HP Psychotherapy, actress, performer, theatre director, lecturer and trainer in theatre, theatre pedagogy and drama therapy (Akademie Remscheid, HMT Rostock, HKT Nürtingen, LVR, LWL Vlotho, etc.). Further trainings in systemic family constellation, dance therapy, trauma-centered work, trauma-informed compassion and mindfulness training, voice training, dance and theatre in education, etc., Global Mental Health – Trauma and Refugee Certificate Program, Harvard Medical School.

Robert J. Landy, Ph.D.
Professor of Educational Theatre and Applied Psychology and the Founding Director of the Drama Therapy Program at New York University. At NYU, he innovated the therapeutic theatre series ‘As Performance’, focusing on the impact of race, mental illness, disability, sexuality and violence upon individuals and cultures. A pioneer founder of the field of Drama Therapy, Dr. Landy is a therapist, theatre artist, scholar, writer and visual artist whose work includes numerous books, articles, songs, plays, films and a blog in Psychology Today.

Klaus Möller
Freelance actor, director and breath therapist in Tübingen.
Longtime experience as trainer in theatre education and as breath and mindfulness teacher in clinical practice, lecturer in the study program Drama therapy at University of Applied Sciences Nürtingen.

Ryszard Nieoczym
Founder & artistic co-director with Dawn Obokata of LeTHAL / Le Theatre de L’Homme Actor’s Laboratorium, a theatre research and performance centre, Toronto Canada. He has directed over 50 professional theatre productions in Europe, Canada and the USA. He is a former student and a collaborator of Grotowski in both his theatrical and Para theatrical work. As a playwright, has written over 40 plays which have all been produced. His artistic vision is the creation of Imaginal Theatre rooted in mythic sources; and the focus of his work is theatre research and the deepening of the actor’s craft, which he calls Soundings. Since 1987 Soundings have taken place in numerous places in Europe and Canada. He co-developed a major international project entitled Ancient Mirrors/Modern Voices, a series of one woman shows based on archetypal female figures. He is currently organizing a multi-lingual and multicultural performance with actors from Greece Germany France Belgium Italy Poland and Canada.

Susana Pendzik (Ph.D.)
Head of the Dramatherapy Graduate Program at Tel Hai Academic College (Upper Galilee, Israel), also lecturing at the Hebrew University of Jerusalem, the Dramatherapy Institute in Switzerland, The Institute of Theatertherapie in Berlin, and other institutions of higher education worldwide. Seasoned supervisor and therapist in private practice, Susana does extensive international work, and is the author of many publications in the field – including the recently published “The self in performance: Autobiographical, self-revelatory, and auto-ethnographic forms of therapeutic theatre”, coedited by Pendzik, S., Emunah, R, and Johnson, D. (2017, Palgrave-Macmillan).