Critical Reflexive

Practice
Christina Pretorius
EXAM
WSOA7093A
Session Plan
AIM: To introduce participants to critical reflective thinking from
where they are currently at to where they are going as future
drama therapists through introspection using the Jungian
Shadow perspective as a distancing tool using shadow work
found in analytic play therapy
 STUDENT

Twilight zone
T
S

Facilitator / drama therapist

I
R Twilight zone O

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 How you clarified the strategic intent, first for yourself, and then for the participants?

REFLECT ON IMPLEMENTATION STRATEGIC

OF SESSION PLAN
MYSELF AS THE FACILITATOR
INTENT
• To help participants identify their purpose in doing their Masters in Drama Therapy
• To introduce participants to reflective thinking around their journey in doing a Masters degree
• To assist participants to take responsibility of what control they have in mastering their Masters

PARTICIPANTS
• Before the session: conversations happened outside the session that they want to finish
their masters as soon as possible in order to escape the Drama For Life lack of support.
• However in my reflection: If I was doing this with a group unknown to me I would spend
more time with them in the beginning of the session in determining what their intension was
as a group

ORGANIZATION
• Drama For Life (DFL)
• Supervisor/lecturer, representing DFL: Welma De Beer
• Welma instructed us students to do a session with this particular group and we had to combine a
psychological theory with a drama therapy technique – this led me to use the Jungian Shadow theory
and distancing tools using story, imagination and props such as masks and deck of cards in order to
achieve the goal of self-reflection.
During the planning phase, which part of the design proved the most challenging and why?

DESIGN
CHALLENGES
DURING PLANNING PHASE
• How am I going to get the participants to see and confront their
shadow enough to reflect on it as drama students in the making

HOW DID I OVERCOME IT

• I brought shadow work as a bridge known as a improve games to

bring them into the symbolism.

DURING PLANNING PHASE

• I was aware of holding a dual role both as facilitator and MADT
student
HOW DID I OVERCOME IT

• The planning phase allowed me to remain stepped in by being aware

APPLIED IMPROV SKILLS and present of this duality both before and within the session that
gave the opportunity of moments to be reflexive and reflective
• Due to the nature of the dual roles it required an in-depth listening to
and being extra curious to what the group would say.
 •What on-the-fly adjustments did you have to make and how did you improvise during the session and
why? (15)

ADJUSTMENTS
APPLIED IMPROV SKILLS
Slow down & stop

IMPROVISATIONS
Listened
Present and aware

On-The-Fly adjustment
• I changed the rule of the game by changing how the game works to fit the strategic intention again
• I did this by making the participants put down the masks which was the tool used for the improve game
at first that landed up being the obstacle.
• The adjustment was reflecting on what your dislikes are without using the mask – walking exercise

How did I improvise during the session and why?

• The masks were characters out of Alice in Wonderland – it created confusion
• Instead of using theses masks to reflect on ones dislikes participants became the characters of the masks and
acted that out instead
• I asked participants to put down the masks
• And then carried on reflecting what their dislikes about themselves were by walking around and finding a space
in the room to reflect their dislike
What have you learned from the experience for next time?
WHAT WORKED
• The Warm-Up process happened to
be the strategic intent that brought
the situation of getting a golden
ticket which stemmed as a problem.
• The Warm-Up was the gateway to
overcome the problem by projecting
ones reflection onto the projector
and I as the facilitator had to
capture it as proof to gain access in
getting a golden ticket entry to the
Student in Wonderland concept.
• This assisted in the Bridge out on
the return as a Student in
Wonderland that acted as a glimpse
to see the drama therapist in the
making as their projected shadows
on the projector screen was the
symbol which also happened to
become the reward for participants
and myself as the facilitator
witnessing the transformation
shadows in comparison to the first
set of shadows in the beginning of
the session.
WHAT DIDN’T WORK
LEARNT FROM
• Make the session more simplistic as there
were many layers in the session EXPERIENCE
• Time limit work against me, next time I will
adjust to make more time for each game or
spread the games into four sessions.
• Mirror Effect
I brought in a symbolic representation of the
real struggle into the play space – mirroring
what the real life could be like by
overwhelming participants in the distancing.
This was not intentional but what rose in
reflecting what happened.
This can or cannot work. However, it made
me reflect through reading the room which
led
me to step in as a facilitator risking bringing in
the real struggle into play environment.
Interesting to mention:
The same place participants were stuck and had a
problem in reality was the exact same place they
were stuck and had a problem in playing
IMPLEMENTING
SNE IN FUTURE
Where, or in which project, are you looking to implement SNE next?
• In reflecting to my previous work done as a facilitator, drama
therapist in the making I have used SNE principles in my
work
• Thus, it has already been implemented without having the
knowledge. Now that I have the knowledge I will definitely
use it in my internship and possibly my own practice in the
future.
• I definitely love the ‘Yes, and’ principle in which I will
incorporate it through my whole session plan as I can clearly
see by reflecting on the course how it holds so many
benefits for growth and insights both for the facilitator and
participants in many interconnected levels collectively and
individually at simultaneous moments.
THANK YOU
REFERENCES
• VAN VUUREN, P.J., 2022. CHAPTER FIFTEEN BELONGING IN EACH OTHER’S COMPANY: A STRATEGIC NARRATIVE EMBODIMENT DESIGN FOR
COMMUNITY ENCOUNTERS. Innovative Methods for Applied Drama and Theatre Practice in African Contexts: Drama for Life, p.273.

• Applied Improvisation and the Political Classroom: A Strategic Narrative Embodiment Model for Addressing Systemic Injustice(s)
Sibongile Bhebhe and Petro Janse van Vuuren

• van Vuuren, P.J., 2016. Keeping promises: A Strategic Narrative Embodiment model for designing social change interventions.

• Dudeck, T.R. and McClure, C. eds., 2021. The Applied Improvisation Mindset: Tools for Transforming Organizations and Communities. Bloomsbury Publishing.

• van Vuuren, P.J., 2021. Developing Strategic, Action Oriented, and Mindful leaders. In: T. Robbins Dudeck & C. McClure, eds. The Applied Imporvisation Mindset:
Tools for Transforming Organizations and Communities. S.I.:Bloomsbury Academy, pp. 97 – 123.

• From: Janse van Vuuren, P and Kirsten, B. 2017. SNE Essentials - Strategic Narrative Embodiment TM
Short course in facilitation and coaching.: Playbook.
Playing Mantis People Development consultants (Pty) Ltd : Randburg

• VAN VUUREN, P.J., 2022. CHAPTER FIFTEEN BELONGING IN EACH OTHER’S COMPANY: A STRATEGIC NARRATIVE EMBODIMENT DESIGN FOR
COMMUNITY ENCOUNTERS. Innovative Methods for Applied Drama and Theatre Practice in African Contexts: Drama for Life, p.273.

• van Vuuren, P.J., 2013. The Keep Them Safe 2010 Project: Using Story to Structure a Programme with Sustainable Impact for 7,000 Children. Matatu, (44), p.127.