Clark Baim - Staging the Personal: A Guide to Safe and Ethical Practice

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Many people offered advice, practical support, feedback, commissions, ideas, hospitality and inspiration while I wrote this book and developed the Drama Spiral which is the centerpiece of the book. I dedicate this book to all of youexquisite storytellers every one of you: I extend my heartfelt thanks to Fiona Macbeth, Simon Ripley, Carina, Isobel and Zo Ripley; Megan Alrutz; the Patchwork Stories team; Andy Watson, Louise Heywood, Emma Smallman, Liz Brown, Daniel Pearce, David Snook, Daniel Anderson, Ruth Milne and all colleagues in the company and on the Board at Geese Theatre Company UK; Emily Butler; Alison OConnor and Karin Diamond at Re-Live; Elise Davison and Beth House at Taking Flight Theatre; ExStream Theatre; Karen Bassett at Theatre Wild; Emily Hunka at Theatre Troupe; Stella Barnes at Community Arts North West; Maria Zemlinsky of Tout Ensemble; Selina Busby; Rachel Turner-King; Zoe Zontou; Michael Carklin and Ian McNish at the University of South Wales; Megan Carney and About Face Theater Company in Chicago; Delia Kropp; Amy Russell and Giovanni Fusetti at Embodied Poetics; Fellow poetic explorers Ayesha Tansey, Pedro A. Rothstein Prez and Margarita Blush; the cast and support staff for The Girl Who Lost and Found, including Craig Lundy, Robin Durie and Katrina Wyatt; Anna Mason; James Hallett; Shawn Cuddy; Alice OGrady and Kelli Zezulka; Lou Platt; Rosie Kelly; Nikki Disney; Katie Greenwood; Donna Tonkinson; Miriam Nash; Cally Magalhes; Stephanie Kewley; Alyson Coupe; Eden Baim; William Stowe; Julie and Rob Eakins; Mary Jo Agresta DuPrey; Eve Jones; Kate Massey-Chase; Lydia Guthrie; my ever-supportive sisters Marcy Baim and Tracy Baim and our father, Hal. I am also very grateful to long-term colleagues from Geese Theatre UK and USA in previous years, including Alun Mountford, Sally Brookes, Simon Ruding, Hilary Dawson, Kenneth Guy, Victoria Lee, Andy Marshall, Tom Mellor, Jon Watson, Ian Pringle, Stephen Morris, Jon Nicholas, Mark Robinson, Juliet Raynsford, Mark Londesborough, Dominic Somers, Jez Thomas, Sarah Woodland, Saul Hewish, Patrick Tidmarsh, John Bergman, Tom Swift, Scott Stevens, Jill Reinier, Mike Bael and many others. I offer great thanks to Susie Taylor, Kate Hudgins, Sue Daniel, Elaine Sachnoff, Anna Chesner, Valerie Monti Holland, Diane Adderley, Patricia Crittenden, Andrea Landini, Rebecca Carr-Hopkins and friends and colleagues in the British Psychodrama Association, The Moreno Psychodrama Society in Australia, the Family Relations Institute and Berry Street in Melbourne. I am deeply indebted to these friends and colleagues who have offered inspiration, support, moral encouragement, hospitality and rewarding conversation around the topics and challenges reflected in this book. I also thank Michael Balfour, whose invitations to facilitate workshops for theater students led me to begin the explorations resulting in this book. I thank John Rudlin, Dorinda Hulton, Peter Hulton, Nic Fine, Deborah Claire Procter, Glendyr Sacks, Nicola Nye and Jon Primrose for their research assistance regarding the origins of the term applied drama. Very special thanks also to Valentina DEfilippo for her graphic design of the Drama Spiral, and to Alison Rayner of Initial Design for several other figures in the book.