Drama for Real

The virtue of Drama therapy was well acknowledged among the sample of Moroccan, West and East Moroccan girls in this research. Their opinions stood in line with (Kathryn Boyd, 2000: 6) ‘s noting that “being seen, heard and understood allows us to feel connected to our fellow human beings”. In light of this, the findings revealed that the production phase of Drama therapy initiated the sample into socialization, hence, it helped them to counter-act social negativity activated under traditional Society. Interviewing the sample of adolescent Moroccan, West and East African students had disclosed the fact that the production of therapeutic scripts provided a leeway for the sample of adolescents in particular to be happy and to share space with a culturally heterogeneous group and to gradually build their social skills. The production of Drama therapy proved to be virtually a social act. It helped the sample of Adolescent girls in particular to overcome feeling lonely and to develop their social skills. Fadwa said: “I totally believe that the production of Drama therapy could be responsive to my ambitious to savour being with beings I like interacting with regardless of their gender, age or cultural origin. This is a right which I think traditional Society deprives us from enjoying”. For many adolescent girls, drama therapy is regarded not simply as an individual creative activity but also as contributing to the development of social contacts, hence to building the intrinsic motivation of the sample to learn subjects inscribed on the school curriculum”. Zineb said: “the production of drama therapy has given me the chance to overcome the vicious problem isolation nourished under conditioning by family and society. Quote: “I used to fear and to resent joining classmates during mainstream education because education at home taught be so. The collective production of a script during the production phase of Drama therapy has aroused my intrinsic motivation to share space with classmates to enhance my skills”. Ahlam credited the production of drama therapy, noting that it helped her to overcome feeling lonely and to consequently destroy the wall separating her from students, staff and teachers. Consequently, class-attendance and response to academic assignments did not present any problems to her any more. She said: “the production of drama therapy requires materials we worked with be shared and ideas be exchanged. The process has given me the chance to maintain eye-contact and to feel free from constraints placed under my body and the language I used. It has given me the chance to overcome the vicious problem of isolation and to consequently match teacher-expectations. The truth is that connectedness to others through the works the production of a script helped me to get connected to classmates in ways that built my intrinsic motivation to be at school and to improve my skills”. The findings also reveal that the production of Drama therapy helped the sample of West African adolescent girls in particular to identify and to cope up with different stressors aroused under the effect of living in a foreign country, Morocco. Mary said: “the production of spontaneous Drama therapy has been of help to me to detect defects evolving around Identity. Using psychoanalysis, I have realized that I internalized problems through daily interactions with Moroccan students and teachers. I have realized spontaneous Drama has helped me to spit out negative cognitions and to cope up with social, cognitive and emotional stressors”. Kabore said: “I used to utterly denounce “Moroccan culture” because it was different from mine. This was why I behaved in certain ways. It hurts now to realize that I used to deny and to wrench Individuality away from Moroccan boys and girls due to cultural difference. The production of drama therapy helped me to build acceptance as a coping strategy”.