single faculty member

  • Dr

    Susana Pendzik
  • Head of the Drama Therapy MA Program

  • Drama Therapy - M.A. Program
  • 050-940-3332
  • pend@netvision.net.il
  • Theatre-based Research; Drama Therapy; Autobiographical Therapeutic Performance; Therapeutic Theatre; Drama and Theatre as Assessment Tools in Psychotherapy;  Multiculturalism and Gender in the creative arts therapies.

  • Susana Pendzik (MA, Ph.D., RDT) is Head of the Drama Therapy Graduate Program at Tel Hai Academic College (Israel), lecturing also at the Theatre Studies Department of the Hebrew University of Jerusalem, the Swiss Dramatherapy Institute, as well as in other institutions of higher education in Europe, Latin America, and conducting workshops worldwide. Susana is founder and honorary member of the Swiss Dramatherapy Association, accredited supervisor by the Israeli Association of Creative and Expressive Therapies, representative of Israel at the European Federation of Dramatherapy and at the World Alliance for Drama Therapy. Published poetess, theatre director, and researcher, Susana is the author of many articles in the field, a book for using action techniques with abused women, co-editor of the volume Assessment in Drama Therapy (2012), and of The Self in Performance: Autobiographic, self-revelatory, and autoethnographic forms of therapeutic theatre (2017), and co-author of a dramatherapy book in Spanish to be published in 2018.

  • De/constructing the past, constructing future: A binational theatre-based research project on the perception of the Holocaust by German and Israeli children and youngsters

    Ingrid Lutz (Theatre Therapie Institut) and Susana Pendzik (Tel Hai Academic College)

     

    Introduction

    The trauma of Holocaust has left indelible sequels in the collective memory of both Israel and Germany, shaping much of their national identities, their relationship to each other, and influencing their attitudes towards “self” and “other”. For many Jewish-Israeli adults, the Holocaust is a fundamental narrative of their identity, and it’s often entangled with family and personal history; Germans tend to consider Nazi crimes as a dark chapter in their national history and are more willing to put it behind (Hagerman & Nathanson, 2015). In the last five or six decades, Germany and Israel have created a solid foundation of cooperation at numerous levels; yet, current events happening in Europe and in the Middle East, are challenging this trust, as each nation is called to confront ongoing change and crises, which tend to elicit some of the dormant aspects of their shared trauma. Each in its own way, Germany and Israel are struggling to cope with similar issues: refugee waves, fundamentalism, political and economic uncertainty, racist attacks, juvenile violence, etc.

    A great amount of thought and resources have been invested over the years in order to process the Holocaust and survey its legacy. This legacy has been collectively handed down to the next generations not always in helpful and constructive ways (Hexel & Nathanson, 2010). The narrative approach assumes that in order for the human mind to integrate experiences, they need to be ‘storied’, and that narratives are often constructed in such a way that support a particular version of the experience. Narratives not only reflect but also shape our identities and our understanding of the world (White & Epston, 1990).

    Taking the narrative approach, the proposed research focusses on the new generation in both countries. It attempts to understand how the Holocaust legacy is being construed in children and youngsters’ psyche, and questions if the narrative that is passed on affect the way in which their current perspective on the ‘other’ is shaped. Ultimately, the project looks for ways to pass on a narrative of the Holocaust that considers complexity, furthers dialogue, and develops empathy for the other. The proposed research will:

    a) Gather Holocaust images from children and youngsters in each country;

    b) Explore and processes them through theatre;

    c) Compare the children’s narratives in both cultures;

    d) Detect ‘alternative narratives’ that would be help to reframe the legacy in constructive ways.

     

  • The Six-Key Model

    The Six-Key Model is an integrative method of assessment and intervention that can be used to diagnose, assess, and evaluate drama therapy and creative arts therapy work with individuals and groups. The model further provides the therapist with a systematic means for mapping the therapeutic process in order to make effective interventions.

    The SIx-Key Model is anchored in the notion of dramatic or creative reality –a paramount therapeutic force in the creative arts therapies. It is a qualitative method, based on the subjective observation by the therapist that helps to navigate complex therapeutic processes by signaling at specific keys where therapeutic interventions would be most efficient.

    This course familiarizes participants with the Six-Key Model. It provides professionals in clinical practice as well as students in the fields of drama therapy and creative arts therapies with a basic grasp of the model and a concrete instrument. The course offers a comprehensive introduction to the Six-Key Model, and presents a 3-session case study, illustrating how the Model informs the work of a drama therapist in individual work.http://dramatherapie-academy.thinkific.com/courses/six-key-model

    http://dramatherapie-academy.thinkific.com/courses/six-key-model

     

  • 1994 – Encouragement Scholarship Prize for PhD students, Bar-Ilan University

    1995 – Encouragement Scholarship Prize for PhD students, Bar-Ilan University

    1995 – The Rector’s Prize for Academic Excellence, Bar-Ilan University

    2009 – The Body of Acknowledgement Certificate, for a significant contribution in the National Association for Drama Therapy’s Body of Knowledge.

    2014 –Teaching Excellence Award. Tel Hai Academic College, MA Program in Arts Therapies – Drama Therapy.

    2017 – Professional Contribution Appraisal Certificate. YAHAT (The Association of Creative and Expressive Therapies of Israel).

  • Books as author

    1. Pendzik, S. (1992). Handbook of action techniques for working with battered women. Xalapa, Mexico: Colectivo Feminista de Xalapa in cooperation with Solidaritëtssond Der Grüner (reprinted 1995) [Spanish].
    2. Pendzik, S. (1996). Group work with abused women. Munich, Germany: AG-SPAK-Bücher in cooperation with the German Paulo Freire Association (reprinted 1999) [German].
    3. Pendzik, S. and Levy, L. (2018). Drama Therapy: A creative approach for therapeutic work [Spanish]. Madrid: Editorial Síntesis. In press (to be published in October 2018).

     

    Books as editor

    1. Johnson, D., Pendzik, , & Snow, S. (Eds.). (2012). Assessment in drama therapy. Springfield, Ill.: Charles C. Thomas Publisher.
    2. Pendzik, S., Emunah, R, and Johnson, D. (Eds.) (2017). The self in performance: Autobiographical, self-revelatory, and auto-ethnographic forms of therapeutic theatre. New York: Palgrave-Macmillan.

     

    Articles in Refereed Journals

    1. Pendzik, S. (1988). Drama therapy as a form of modern shamanism. The Journal of Transpersonal Psychology, 20(1), 81-92.
    2. Pendzik, S. (1988). Dramatheapy on abuse: A descent to the underworld. Dramatherapy, 11(2), 21-28.
    3. Pendzik, S., & Sotomayor, L. (1991). Training battered women”s counsellors: A dramatherapy lab. Dramatherapy, 13(2), 15-19.
    4. Pendzik, S. (1993). Considerations on shamanism, drama, and therapy practices: The case of Doña Joaquina, Terapia VeOmanuiot, (Journal of the Israeli Association of Creative and Expressive Therapies) [Hebrew] 1(2), 7-23.
    5. Pendzik, S. (1994). The theatre stage and the sacred space: A comparison. The Arts in Psychotherapy, 21(1), 23-35.
    6. Pendzik, S. (1995). Female presence in Tirso”s El burlador de Sevilla. Bulletin of the Comediantes, 47(2), 165-181.
    7. Pendzik, S. (1998). Dramatherapy: Towards the 21st Terapia VeOmanuiot [Hebrew], 2(3), 24-25.
    8. Pendzik, S. (2003). Six keys for assessment in dramatherapy. The Arts in Psychotherapy, 30, 91-99.
    9. Pendzik, (2005). The games of Fernando. El Extramundi y Los Papeles de Iria Flavia, (special issue on Fernando Arrabal) [Spanish] 11(41), 93-107.
    10. Pendzik, S. (2005). An integrative model of assessment in drama therapy, Terapia Beemtzaut Omanuiot [Hebrew] 3(3), 28-40.
    11. Pendzik, S. (2006). On dramatic reality and its therapeutic function in drama therapy. The Arts in Psychotherapy, 33, 271-280.
    12. Pendzik, S. (2008). Dramatic Resonances: A technique of intervention in drama therapy, supervision, and training. The Arts in Psychotherapy, 35, 217-223.
    13. Pendzik, S. (2008). Using the 6-Key Model as an intervention tool in drama therapy. The Arts in Psychotherapy, 35, 349-354.
    14. Pendzik, S. (2010). The 6-key model as an instrument of intervention in drama therapy. Ar-té – Quaderni Italiani delle artiterapie. [Italian] (Translation of 2008) 5(8), 4-16.
    15. Pendzik, S., & Raviv, A. (2011). Therapeutic clowning and drama therapy: A family resemblance. The Arts in Psychotherapy, 38, 267-275.
    16. Grinberg, Z., Pendzik,, Kowalsky, R., & Goshen, Y. (2012). Drama therapy role theory as a context for understanding medical clowning. The Arts in Psychotherapy, 39(1), 42-51.
    17. Pendzik, S. (2013). The 6-key model and the assessment of the aesthetic dimension in dramatherapy. Dramatherapy, 35(2), 90-98.
    18. Pendzik, S. (2015). Dramatic reality: Definition and therapeutic value. Academic Journal of Creative Arts Therapies, [Hebrew], 5(1), 520-532.
    19. Pendzik, S. (2015). On dramatic reality and its therapeutic implications. Investigación teatral: Revista de Artes Escénicas y Performatividad [Spanish] 4-5(7-8), 97-119.
    20. Pendzik, (2017). The creative explosion of experimental theatre: The Latin American perspective. Drama Therapy Review, 3(2), 313-320.
    21. Gordon, J., Shenar, Y. and Pendzik, S. (2018). Clown therapy: A drama therapy approach to addiction and beyond. The Arts in Psychotherapy, 57, 88-94.
    22. Pendzik, S. (2018). Drama therapy and the invisible realm. The Drama Therapy Review, in press.

     

    Articles or chapters in refereed books

    1. Pendzik, S. (1997). Dramatherapy and violence against women. In S. Jennings (Ed.), Dramatherapy: Theory and practice, Vol. 3. (pp. 221-233). London: Routledge.
    2. Pendzik (2004). Reflections on shamanism and dramatherapy practices. In R. Krey and V. Merz (Eds.), Feministic reflections. (pp. 142-161) [German] St Gallen, Switzerland: BoD, Nordersted & Iff-Forum.
    3. Pendzik, S. (2012). The 6-key model: An integrative assessment approach. In D. Johnson, S. Pendzik, S. Snow (Eds.), Assessment in drama therapy (pp. 197-222). Springfield, Il: Charles C. Thomas.
    4. Pendzik, S., Snow, S., Johnson, D. (2012). State of the art in drama therapy assessment. In D. Johnson, S. Pendzik, S. Snow (Eds.), Assessment in drama therapy (pp. 46-57). Springfield, Il: Charles C. Thomas.
    5. Snow, S., Johnson, D., Pendzik, S. (2012). History of assessment in the field of drama therapy. In D. Johnson, S. Pendzik, S. Snow, (Eds.), Assessment in drama therapy (pp. 5-30). Springfield, Il: Charles C. Thomas.
    6. Johnson, D., Pendzik, S., Snow, S. (2012). Concepts and principles of assessment in drama therapy. In D. Johnson, S. Pendzik, S. Snow, (eds.), Assessment in drama therapy (pp. 31-45). Springfield, Il: Charles C. Thomas.
    7. Pendzik, S. et al. (2014). Dramatherapy exercises. In D. Mueller-Weith, N. Dudek, & K. Wuhrl-Struller (Eds.), Dramatherapeutic practice: A collection of exercises [German] Berlin, Germany: Schibri Verlag.
    8. Pendzik, and Poupko, G. (2014). Making sense of the Acts. In: R. Ranasinha (Ed.), How schools abuse and fail children: Dramatherapy to heal emotionally traumatized school children in Sri-Lanka (pp.119-136). Sri Lanka: Hare Printers & Deepa Centre for Community Development and Peace Building.
    9. Pendzik, S. and Oren, G. (2015). Opening doors: The 6-key model and attachment skills. In R. Berger (Ed.), Observing the art, seeing the soul: New methods and approaches in arts-based assessment and supervision. [Hebrew], (73-98). Kiryat Bialik: Ach Publishers.
    10. Pendzik, S. (2016). Dramatherapy and the feminist tradition. In S. Jennings and C. Holmwood, (Eds.), The international handbook of dramatherapy (pp.306-316). London: Routledge.
    11. Pendzik, S., Emunah, R, and Johnson, D. (2017). The self in performance: context, definitions, directions. In: The self in performance: Autobiographical, self-revelatory, and auto-ethnographic forms of therapeutic theatre (pp.1-18). New York: Palgrave-Macmillan.
    12. Pendzik, (2017). The dramaturgy of autobiographical therapeutic performance. In: S. Pendzik, R. Emunah, & D. Johnson, The self in performance: Autobiographical, self-revelatory, and auto-ethnographic forms of therapeutic theatre (pp.55-69). New York: Palgrave-Macmillan.
    13. Pendzik, S. (2017). The Six Keys: An integrative and qualitative model of assessment, evaluation, and intervention in drama therapy. In G. Schuchner and D. Ferrandis (Eds.), Dramatherapy: Theory and practice – Resources and techniques to treat the challenges of life. [Spanish] (pp.147-157). Buenos Aires: Letra Viva.
    14. Pendzik, S. (2018). Dramatic resonances as a therapeutic intervention based on Playback Theatre. In R. Kowalsky, N. Raz. & Sh. Keisari (Eds.). A hall of mirrors on stage: Psychotherapy in playback Theatre [Hebrew]. Haifa: The Emily Sagol Creative Arts Therapy Research Centre, Haifa University, in press.
    15. Maimoni, T., Pendzik, S., Brachach, B., (estimated 2018). Drama therapy and the use of a video camera – a dialogue between languages: A case study of two boys diagnosed with language and communication impairments and selective mutism. In A. Or (Ed.), Depth of the field: Emotional, therapeutic and social aspects of photography [Hebrew]. Jerusalem: The Naggar School of Photography, Media, & New Music. In press.

     

    Refereed conference proceedings

    1. Spörri-Weilbach, B., & Pendzik, (2012). Island of imagination: The six-key model. In Forum fur Kunstherapie: Proceedings from the KSKV/CASAT (Swiss Association of Arts Therapies) Symposium on Assessment criteria in the arts therapies, Bern, Switzerland, 11-12.11, 2011 [German] 26:1, 5.
    2. Pendzik, S. (2014). The poiesis and praxis of autobiographic therapeutic theatre. Keynote speech pronounced at the 2013 Summer Academy Conference of the DGFT (German Association of Theatertherapy). Proceedings [German], 112-132.
    3. Pendzik, The refugee as an archetype in universal myth and literature: A dialogue between text and reality. Keynote speech pronounced at the 2017 Summer Academy Conference of the DGFT (German Association of Theatertherapy). Proceedings [German], in press.

      Articles in non-refereed periodicals

    1. Pendzik, (1988). The therapeutic function of theatre: History and conceptual bases. Extensión: Universidad de Veracruz, Mexico [Spanish] 27, 62-67.
    2. Pendzik, and Olsoff, J. (1989). Conversion and identity. Estudios Judaicos [Spanish] 5, 39-49.
    3. Pendzik, S. (1990). From anger to self-affirmation: The taboo of anger in women. Doble Jornada [Spanish] January 3, 8-10.

    Non-academic publications: Poetry

    Mucho que callar. (Poems in Spanish and English) Xalapa, Mexico: Durandarte Editores, 2005

    “Poemas a Ruth/ Poèmes a Ruth”. In, I. Adda, E. Mann; A. Reichelberg (Eds.), Ruth femme d”Israël – hommage a Ruth Reichelberg. (Spanish; French, translation E. Berrebi). Jerusalem: Elkana Editions, pp.103-116, 2007.

    Pocas palabras/Meat Milim (Bilingual, Spanish/Hebrew and some poems in English). Jerusalem: Carmel Publishing House, 2007.

    Academic articles in preparation

    • Schwartz, R. & Pendzik, “From the world of education to the world of dramatherapy: Keys to a popular career journey” [Hebrew]. Submitted for publication
    • Pendzik, S. (2019 estimated) Women and Anger – Submitted for publication in a compilation of articles on drama therapy. Submitted for publication.
    • Pendzik, S.The refugee as an archetype in Aeschylus’ The Suppliants: A dialogue between text and reality”.

     

  • Conference and presentations (selection since 2013)

    1. 3/6/2013 – Scientific committee, conference organizer, and panel moderator. The Hebrew University of Jerusalem, Theatre Studies Department. Symposium: Theatre as Tikkun Olam (world restoration), “Get the theatre remedy into the health insurance coverage.”
    2. 5-8/6/20013 – Invited keynote speaker. The German Association for Theatre-Therapy: 13th Summer Academy International Conference: In the Labyrinth of Life: Biography in Drama and Theatre Therapy. “The poiesis and praxis of autobiographic therapeutic theatre”, Remscheid, Germany.
    3. 5-8/6/2013 – Invited lecturer. The German Association for Theatre-Therapy: 13th Summer Academy International Conference: In the Labyrinth of Life: Biography in Drama and Theatre Therapy.“Giving birth to self: Autobiographic therapeutic theatre”, Remscheid, Germany.
    4. 14/7/2013 Invited lecturer. C.E.T. (The Israeli Association of Creative & Expressive Therapies) Drama Therapy Chapter One-Day Seminar, “Developing healthy attachment patterns through play: Reflecting through the 6-Key model (with G. Oren). Tel Aviv.
    5. 26-29/9/2013 – NADTA: The 34th Annual Conference of the North American Association of Drama Therapy: Knowledge through Performance – Arts Based Research and Drama Therapy, “The ethics of aesthetics in drama therapy and embodied research: Multidisciplinary perspectives.” Montreal, Canada.
    6. 26-29/9/2013 – NADTA: The 34th Annual Conference of the North American Association of Drama Therapy: Knowledge through Performance – Arts Based Research and Drama Therapy, ““Rite of passage” and “giving birth:” Metaphors that guide autobiographic therapeutic theatre” (with A. Volkas). Montreal, Canada.
    7. 27/12/2013 – Invited lecturer. YAHAT (The Association of Creative & Expressive Therapies of Israel) Drama Therapy Chapter One-Day Seminar. “Seeing through: A theoretical and experiential model of de-construction of stories and dreams” (with Edna Leshem), Tel Aviv.
    8. 16/7/2014 – Invited lecturer. Israeli Institute of Therapeutic Playback Theatre: The Mirror Hall Comes to Life on Stage – Therapeutic Playback Theatre from a Psychoanalytic Approach, “Dramatic Resonances and therapeutic playback theatre.” Netanya, Israel.
    9. 13-15/9/2014 – BADTh: Annual Conference of the British Association of Dramatherapists: Boundaries, Borders, Loyalty and Betrayal – Interpersonal, Intercultural and Interdisciplinary Approaches in Dramatherapy, “Moving across boundaries: Exploring texts though dramatic resonances” (with E. Leshem). University of Surrey, Guilford, UK.
    10. 20/10/2014 – Invited lecturer. The School of Puppetry Art: Therapeutic Puppetry Conference: From Trauma to Resilience, “Closing event: Epilogue – Creative processing”.  Holon, Israel.
    11. 1-3/5/2015 – Invited lecturer & Israel representative. European Federation of Dramatherapy. Opening the Map: Dramatherapy in Europe. “Healing through group collaboration and the collective: A drama therapy workshop using Dramatic Resonances”. Athens, Greece.
    12. 26/6/2015 – Keynote speaker. The Academic College of Society and the Arts. Creation – The Core of Psychotherapy. “Opening doors: Acquainting with the 6-Key Model: An art-based model for assessment and intervention”. Netanya, Israel.
    13. 15-18/10/2015 – North American Drama Therapy Association (NADTA), The 36th Annual Conference. Magnetic Forces: Working with Attraction and Aversion to Difference and Social Justice. “Drama therapy and transdisciplinarity: The experience of Mexico”. White Plains, NY.
    14. 6-8/2016 – Scientific committee of the 2nd Conference of the European Federation of Dramatherapy Opening the Curtains, Bucharest, Rumania.
    15. 27/5/2016 – Keynote speaker: Forum of Therapists of Modi”in: The Modi”in Therapy Room “The 6-Key Model for Assessment and Intervention in Drama Therapy: Lecture and Film.” Branco Weiss School, Modi”in, Israel.
    16. 22/9/2016 – The Institute of Psychotherapy through Playback Theatre: One-Day Seminar: Theatre of the Soul. “The dream as a theatre of the soul” (with G. Oren). The Academic College of Society and the Arts, Netanya, Israel.
    17. 6-7/2/2017 Head of the scientific committee and Keynote speaker. The Biennial Conference of YAHAT (The Association of Creative and Expressive Therapies of Israel), View, Mirrors, and Events. “Plenum Dialogue: When Process and Product meet: Autobiographical Therapeutic Theatre” (with Dr. Chen Alon). Ramat Gan, Israel.
    18. 27-30/10/2016 – NADTA 37th Annual Conference – The Power of Dramatic Play and Creativity: Sunshine Under the Umbrella, “Using the 6-Key Model as a guide to client’s creativity and playfulness” (with G, Oren), Seattle, USA.
    19. 27-30/10/2016 – NADTA 37th Annual Conference – The Power of Dramatic Play and Creativity: Sunshine Under the Umbrella, “Body of Knowledge panel: The creative explosion of experimental theatre and its impact on drama therapy”, (with Prof. S. Snow, Prof. D.R. Johnson, S. Linden, A. Volkas), Seattle, USA.
    20. 2-4/12/2016 – The Association of Dramatherapists and Playtherapists of Greece (EDPE), 4th International Congress: Eros and Psyche. From Myth to Perspective, “Exploring beauty and ugliness through universal stories: A dramatherapy journey” (with E. Leshem), Athens, Greece.
    21. 6-9/4/2017 – Scientific committee member, Invited Keynote speaker, Invited lecturer, & Israel representative. The 3rd Conference of the European Federation of Dramatherapy: Setting the Stage. “The Six-Key Model for Assessment and Intervention in Dramatherapy”, Gent, Belgium.
    22. 19/5/2017 – Invited Keynote speaker. The Swiss Dramatherapy Association Professional Day. “The archetype of the refugee in universal myth and literature: Dialogues between text and reality.” Gallen, Switzerland.
    23. 28/5/2017 – Book launching. Theatre Studies Department and Bloomfield Library for Humanities and Social Sciences, Hebrew University of Jerusalem. “The Self in Performance: Autobiographical, self-revelatory, and auto-ethnographic forms of therapeutic theatre. “What makes performing personal stories a therapeutic act: On definitions and accuracies,” Jerusalem.
    24. 14-18/6/2017 – Invited Keynote speaker. The German Association for Theatre-Therapy: International Summer Academy Conference: The Foreigner and the Marginalized Shadow: Foreigner Roles and the Role of the Foreigner in Dramatherapy. “The archetype of the refugee in universal myth and literature: Dialogues between text and reality.” Remscheid, Germany.
    25. 14-18/6/2017 – Invited Keynote speaker and lecturer. The German Association for Theatre-Therapy: International Summer Academy Conference: The Foreigner and the Marginalized Shadow: Foreigner Roles and the Role of the Foreigner in Dramatherapy. “Midsummer night dream or playing with the roles of our dreams.” Remscheid, Germany.
    26. 20/7/2017 – Head of the organizing committee and presenter. Tel Hai Academic College, Drama Therapy Graduate Program and YAHAT (the Association of Creative Arts Therapies of Israel). Autobiographic Therapeutic Theatre. “Starting points” (with Dr. Chen Alon). Tel Aviv, Israel.
    27. 26-29/10/2017 – Invited Keynote speaker and lecturer. NADTA 38th Annual Conference: From Theory to Practice: The Drama Therapist”s Toolbox.  Keynote lecture: Drama therapy and the invisible realm;” Workshop “A poetry toolkit for the drama therapist;” Panel “Perspectives on The Self in Performance;” Danvers, Massachusetts, USA.
    28. Appointed Head of the academic committee of the First Latin American Encounter of Dramatherapy: Building Dramatherapy Knowledge Based on Territory, Communities & Cultural Diversity. The Catholic University, Temuco, Chile (to take place September 21-23, 2018).
    29. 10/1/2018 – Head of panel. Israeli Ministry of Education and Bet Berl College, The 2nd Conference on Creative Arts Therapies in the Arab Speaking Society: The Echo of the Soul in the Journey of Creativity. “Drama therapy as a link between body and soul among Palestinian women who survived harassment”, Kfar Saba, Israel. 
    30. 26-28/4/2018 – Invited lecturer & Israel representative. The 4th Conference of the European Federation of Dramatherapy: Borders in Action. “The ghosts of the big story – Permeable boundaries between the self and the collective in dramatherapy” (with G. Oren), Nürtingen, Germany.
    31. 11/5/2018 – Head of panel and Invited lecturer. The Dramatherapy chapter of YAHAT: Therapeutic Clowning and Dramatherapy. “Therapeutic clowning with a variety of populations”, Tel Aviv.
    32. 19-20/5/2018 – Invited lecturer. The Panhellenic Association for Dramatherapists and Playtherapists International Conference: Resilience through Trauma: The Wounded-Healer Archetype. “The use of poetry in dramatherapy: working on resilience through Wislawa Szymborka (masterclass), Athens, Greece.
    33. 6-9/6/2018 - Invited Lecturer. The German Association of Dramatherapy International Summer Academy: Theatre & Therapy – Biographic Work in Drama Therapy & Research in the Arts Therapies. “Autobiographical therapeutic performance as a ‘rite of passage’,” (with A. Volkas), and “Using drama therapy tools and techniques to structure case-study research.” Remscheid, Germany.

     

  • http://www.linkedin.com/pub/susana-pendzik/2a/697/43b