ABSTRACT
The opening three chapters of this book draw on research into UK dramatherapists' use of supervision. The origin of the research had two components. The ®rst was a response to the lack of structured investigation into the general experience of supervision within dramatherapy. The second was connected to the needs of the British Association of Dramatherapists. The Association wanted to obtain data concerning the ways in which supervision was being used by its members. This was in order to represent the profession's needs, and to establish members' current situation in relation to areas such as funding, frequency and methods used. The Association supported the development and undertaking of the research into its members' experiences.
