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Àüü 26 page Áß 1 page±îÁö ¹Ì¸®º¸±â°¡ °¡´ÉÇÕ´Ï´Ù.
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ÀúÀÚ : À̼±Çü, ¹èÈñ¼÷
¹ßÇàÇÐȸ : Çѱ¹¿¬±Ø¿¹¼úÄ¡·áÇÐȸ [KOREA DRAMA ART THERAPY ASSOCIATION]
¹ßÇàÁ¤º¸ : Á¦ 4±Ç 0È£ pp.29-54(26 pages)
¹ßÇà³âµµ : 2014
ÀúÀ۽ñâ : 2014³â 12¿ù
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There is no life without stor
y. While the children of the past were grownlistening the stories of grand-mothers, the children of today are hooked onanimations or internet games. The success or the popularity of the internetgames and animations depends on its story or plot. This explains why we doefforts for finding good stories for the production of TV drama, animation,game, etc. But why the people are enthusiastic about the story? Firstly, thelife of human being is made of stories. Our life is made by a series of stories.Secondly, all of stories in the world can be ours. Especially, the archetypalstories are common for all of us. Thus knowing why we love stories isdiscovering the archetype of our life. Thirdly, we are the authors who createour stories and lives. Fourthly, we can find ¡°new self¡± that is different of ¡°oldself¡± through our own story written by us. Fifthly, we can connect, by stories,to the world such as cultural communities and peer communities.This research deals with the model for narrative dramatherapy. We studyon the elements of narrative and the necessity of narrative in the life.Moreover, we proposes an upgraded narrative model by merging the modelfor narrative dramatherapy and that of analytical psychology. In instance, wecan create a drama scene by expanding our imagination; the participantsexperience their psychological state until their imagination becomes concreteshapes in the real space. The participant can focus on a certain character ofthe story. They can share their thought and feeling about the character. Theparticipants can experience some defense mechanisms such as ¡°project¡±, ¡°transference¡±, and ¡°identification¡± by analyzing the characters of the story.In this manner, we can be faced to ourselves. In addition, the relationshipamong characters reflects the collective unconsciousness. The model fornarrative dramatherapy does not remain in the character analysis. this modelproposes the chance of symbolic and creative play by the cross role play. Thedramatic rencontre by embodiment is leaded to the reflection of the self, theevasion of habituation, and finally to the change of perception. (ÀÌÇÏ »ý·«)
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