The Embodiment Projection and Role (E-P-R) model in dramatherapy
Dramatherapy sessions can be based on a variety of models and approaches. In my practice I often use the E-P-R developmental model. This was devised by the dramatherapist Sue Jennings (1990) being formulated following her observation of the dramatic play of children from birth to 7 years. The model represents the child’s exploration of the world using imagination and symbols from their initial interaction with their mother through to their beginnings of social independence.
The E-P-R model is characterised by three developmental stages:
- Embodiment: Here the child engages in sensory and movement activities. Their confidence gradually increases as they explore the environment and are able to experience physicality through the close proximity of mothers or other care-givers. In dramatherapy, movement and touch exercises can be used to establish trust. Props such as scarves and hula hoops can be used as a way to avoid skin to skin touching.
- Projection: Here objects such as puppets or dolls, are used to symbolise imaginary or real situations. A child might also use other objects such as a sword, in order to explore authority and control.
- Role: This part involves the enactment of real or fantasy roles.
This framework guides the therapist in the selection of exercises to use at each stage and ensures a structured approach.
The E-P-R model is useful when clients cannot verbalise their feelings easily. The dramatic activities are the primary focus and reflection secondary (McDougall, 1989). Reflection during and after a session is useful in allowing clients to listen to one another, create positive and negative connections with the work produced and also re-frame their initial negative beliefs (Dokter 1995).
These stages are relevant to later life. An adult may, for example, do a job related the E-P-R stage in which they feel most comfortable. This stage may, however, become a block to that person’s full development; an inability to be physical or autonomous might, for example, be an issue in a person’s life. Dramatherapists using the E-P-R model aim to find a way of undoing this block dramatically in order to enable the client to change their perspective and develop in a healthier way (Langley 2006).
Sue Jennings (1990) highlighted some of the benefits that the E-P-R model might be expected to bring to clients. These include:
· Identity, independence and imagination
· Exploration of the creative body
· Resilience through risk taking
· Ability to move between everyday and dramatic reality
· Skills in problem solving, conflict resolution and living in a social world
“The Embodiment - Projection - Role, focusses on the playful attachments that develop through playing. This is both essential to the child's healthy maturation as well as forming a basis for future relationships.” Sue Jennings (1990)