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Stefano Centonze – Fausto Cino

70 games of creativity based on bodily expression techniques and art therapies for the management of groups in educational, clinical and training field.

Edizioni Circolo Virtuoso


Š Copyright 2012 by Edizioni Circolo Virtuoso 73041 Carmiano (LE) Tutti i diritti riservati ISBN 978-88-97521-48-8 Data di pubblicazione: 16 Aprile 2013


TABLE OF CONTENTS

Introduction

Activity 1 – Telling ourself

page 7

9

Activity 2 – Telling through sounds

11

Activity 3 – Drawing and telling my childhood

13

Activity 4 – The awakening of the body

15

Activity 5 – The Raft

17

Activity 6 – The Bus

19

Activity 7 – Energy

21

Activity 8 – The crossroads of my life

23

Activity 9 –The cover page of the novel of my life

25

Activity 10 – The living woods

27

Activity 11 – The right distance

29

Activity 12 – Two-step

31

Activity 13 – The body of the group

33

Activity 14 – The breath of the group

35

Activity 15 – The rebirth

37

Activity 16 – What's in my bag?

39

Activity 17 – The small rhythmic train

41

Activity 18 – The market

43

Activity 19 – The political campaign

45

Activity 20 – The admission talk

47

Activity 21 – The metronome

49

Activity 22 – My name is

51


Activity 23 – Graphical representation of the contacts

52

Activity 24 – Feeling and representing

53

Activity 25 – Exploration of your own body

54

Activity 26 – The Pyramid

56

Activity 27 – The Balancing

57

Activity 28 – The rediscovery of the sensorial channels

59

Activity 29 – Breathing

61

Activity 30 – The Relaxation

63

Activity 31 – The semaphore

65

Activity 32 – Kim’s game

66

Activity 33 – The game of the mummy

67

Activity 34 – Guess what?

68

Activity 35 – The game of sounds

69

Activity 36 – The game of sticks

70

Activity 37 – The game of the balloons

71

Activity 38 – Blind shooting

72

Activity 39 – Launch - recovery

73

Activity 40 – The kangaroo

74

Activity 41 – The contrasts

75

Activity 42 – Low – high drives

76

Activity 43 – Relaxation - Breathing 1

77

Activity 44 – Accentuation of the supports to the ground

78

Activity 45 – Contact to the ground

79

Activity 46 – Weight of the body segments

80

Activity 47 – Minimum effort

81

Activity 48 – Gestures of conduction

82

Activity 49 – Relaxation - Breathing 2

83

Activity 50 – Functional independence

84


Activity 51 – Breathing

85

Activity 52 – The abdominal breathing

86

Activity 53 – The rhythmic breathing

87

Activity 54 – The game of dolls

88

Activity 55 – The game contact

89

Activity 56 – The game of the mirror

90

Activity 57 – The game of the mime 1

91

Activity 58 – The game of the mime 2

92

Activity 59 – The game of the mime 3

93

Activity 60 – The choreographic game

94

Activity 61 – Neutral Masks 1

96

Activity 62 – Neutral Masks 2

97

Activity 63 – Game of imagination

98

Activity 64 – Games of energy

99

Activity 65 – Games of abstraction 1

100

Activity 66 – Games of abstraction 2

101

Activity 67 – Games of abstraction 3

102

Activity 68 – Games with tools - the bag

103

Activity 69 – Games with tools - the cylinder

104

Activity 70 – Games with tools - scarf

105


70 games of crativity – Stefano Centonze, Fausto CIno

INTRODUCTION

The development of the issues involved in Arts Therapies helped to identify the guidelines of their own pedagogical, training, re-education and rehabilitation processes, where the study is associated with the identification of paths characterizing the action aimed to "change" the person. In this sense, this handbook, developed from the work of creative laboratory of the authors, is designed to provide operators some tools, already successfully used in the course of valid experiences conducted in recent years in the field of Arts Therapies, from music to dance therapy, from plastic-painting art therapy to theater drama therapy, from body expression to applied theater. The result is a compendium of practical activities that will lead you to others more, in a circuit that is renewed and self-sustaining, according to the creativity and to the adaptability of users, also to the context, (to be quick and for brevity, not provided), useful for all professionals in the helping relationship. From doctors to psychologists, from community educators to teachers, from volunteer operators to experts of the creative process, from trainers to students and, finally, from art therapists to rehabilitation technicians, there aren’t, in fact, limits of application of the offered ideas, in the light of the renewed and popular interest in art in all its forms, such as all-round support for people who express the need for personal growth or need to adapt to the world around them. So, 70 games for the management of groups is a practical handbook, recommended as implementing part of the Arts Therapy Handbook (Edizioni Circolo Virtuoso, 2012, VV. AA., Edited by Stefano Centonze), in order to provide application tools, immediately usable. In this regard, it should be added that the choice of content in the conduction of groups in the special populations is the most important element in achieving the fixed objectives. Often, the failure of a business workshop has its origin in the inadequacy of operational proposals that result in lack of motivation, conflict and failure. That's why the following exercises want to be role models, matrix, in order to effectively lead a group to the fixed goal. Furthermore, in order to optimize the use of the exercises in their application, it is good to keep in mind a few items. First, we point out that all the exercises have in common the dimension of the body, as a unifying element for the learning experience, and that the application in educational and clinical field defines the rehabilitation objective of the described activity. Where, in fact, the objectives are the same for all the identified application areas, the conductor will read a different degree of depth between educational, pedagogical and rehabilitation use. Moreover: the age of the recipients is related to able-bodied subjects, knowing that any impairment may alter this information. The degree of difficulty, moreover, is referred to the first applications of the exercise, since the subsequent stages may alter this parameter. Finally, it is recommended to manage the duration of the exercises also in relation to the application context and to the feed-back of the group. About the composition of this work, we say that the activities from 1 to 20 are specifically drawn from laboratories of arts therapies (music therapy, dance therapy, drama therapy and plasticpainting art therapy) of medium-long term, at the discretion of the conductor, although in some cases, are presented in short and simplified form; the exercises from 21 to 40 are aimed at the 7


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discovery of the body dimension, often forgotten and just experienced in its physicality; exercises from 41 to 50 are focused on the development of sensory-perceptual skills through the activation of visual, tactile, auditory, vestibular, and kinesthetic analyzers. Exercises from 51 to 63 regard the perception of bodily self and require internalized attention, the isolation from sound stimuli and a comfortable environment. Exercises from 64 to 70 are more choreographed and offer ideas for theatrical activity. Finally, and wishing a good job to the users of this work, please note that the following "activities" are a tool in the hands of the operator and, as such, require their own "management" to make the best of the potential, since some of them, before they become effective, require several repetitions, in order to refine mastery and to experience the emotional components that constitute the most significant variables. The authors

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70 games of crativity – Stefano Centonze, Fausto CIno

Activity 1 Topic Aims

Level of difficulty Duration Recipients Minimum and maximum number participants Required tools Applications in educational field

To Tell You Self-presentation through the other - Double Self Activity designed primarily for the creation of a group, in order to promote knowledge among the members. Medium / High From 1 to 4 hours From 16 years onwards of From 4 to 20 Empty room – chairs in a circle Respect shifts To Listen To Attend Public Speaking To Reinforce Self-esteem To create an atmosphere of welcoming and sharing Integrate diversity through the game Meeting To Stimulate and develop creativity Working on the dimension of projection Distinguish your internal "objects" from those of the other Experiencing empathy Experiencing the closeness through the contact /absence of contact Experiencing the sense of limit Getting in the game Breaking down the resistance and the defenses To welcome Integrating into the group Respect turns Listening To Attend Reinforcing self-esteem Stimulating and developing creativity Techniques of theatrical training Initial Stage of the composition of the group

Applications in clinical field

Applied techniques Indications

Description The operator proposes to the group to leave the room in randomly constituted pairs. It is better if participants choose mates who still don't know. Each pair will have from 20 to 30 minutes, equally distributed between the two components (watch in hand), to tell anything considered important that the other must know about his life. It 'also allowed to take notes. Once finished the time available, the couples fall into the room and everyone go back in his place. Sitting on chairs in a circle, individual work begins. In turn, we speak as we are our own companion, using first person to speak to the group, standing back him and answering the questions of the group. Everyone can stop at any time to ask 9


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for details of what is being said or to ask questions about issues that have nothing to do with the covered topics. If the participant can’t answer the questions, he invents it, without interrupting the flow of the game. At the end, the conductor asks the real protagonist (the owner of the story told by the mate, between truth and fantasy) how much true has said the "double", how he felt hearing about him, if he felt welcomed and heard during the initial phase etc.. Suggestions In the course of the activity, it is crucial the leading role of the conductor. In a group still under development, it will be very frequent that the questions posed by the group to who will tell his "double" are trivial, simple and geared to bring out the creativity of the participant. The conductor does not intervene, if the questions are like, "What year this thing has happened?", "What’s your cat’s name?" and so on. The answer to personal questions can only be get if the information requested were specifically reported during the initial confrontation. The purpose of the activity, indeed, is to stimulate creativity, to experience empathy and to distinguish it from the projection. Furthermore, it is quite normal and common that each participant activates a process of projection (projection: attribution of one of our state of mind to another person), when, as a sign of defense, rather than to creatively seek answers to questions such as "by what adjectives would you describe yourself?" choose to speak about himself instead of tuning with the other person. Considering the strong value in the clinical setting, it is appropriate that the conductor, at the end, explain the group all the implications of the activity.

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