Psychodrama

À travers l’analyse de la violence naissant du seul fait de l’urgence, nous étudions le processus d’acting. Dans les services d’urgence, la technicité et l’efficacité médicales se lient paradoxale- ment à la confusion et aux difficultés de communication. Ce lieu devient ainsi propice à une mise en acte, dans la réalité, de fantasmes, de scènes familiales, de drames dont le déroulement s’agit à l’insu des malades, de leur famille et des praticiens. La scène des urgences ne doit pas être celle d’un psychodrame sauvage. L’urgentiste doit aussi tenir compte de l’opacité du fait psychique pour tenter de prévenir, au sein de son service, la commission d’actes violents qui n’émanent pas toujours de ses malades.

People abused by angry discipline as children, may tend to abuse or overly punish other people or themselves for perceived wrongs in their adult life. In some individuals, aggressive personality traits may be genetically inherited. The aggressive personality may feel weakened by having guidelines or boundaries for anger. Anger is a normal human emotion, and these guidelines can help express anger in a healthy way.

Summary: The article compares theoetical background and therapeutic aims of two therapeutic interventions, psychodramatic role playing and the empty chair technique in Gestalt therapy. Both interventions are used also in Gestalt Theoretical Psychotherapy in a specific Gestalt psychological understanding.
Zusammenfassung: Theoretische Hintergründe und
therapeutische Zielsetzungen zweier bekannter Interventionstechniken, nämlich der psychodramatischen „szenischen Darstellung“ und des gestalttherapeutischen „Dialoges mit dem leeren Stuhl“, die beide auch im integrativen Ansatz der Gestalttheoretischen Psychotherapie Anwendung finden, werden dargestellt. Dabei soll besonders die Ähnlichkeit beider Techniken in ihren therapeutischen Auswirkungen betont werden, auch wenn sich die therapeutischen Ansätze, in denen diese Techniken entwickelt
haben, in ihren theoretischen Konzepten unterscheiden.

This single group pretest-posttest study explores the effectiveness of trauma-focused psychodrama in the treatment of post-traumatic stress disorder (PTSD) at an inpatient addiction treatment center. The results contribute to the limited research bases of both psychodrama and PTSD treatment outcomes in inpatient addiction treatment. The present study supports the potential effectiveness of two trauma-focused psychodrama models, the Therapeutic Spiral Model and the Relational Trauma Repair Model. Findings of the research demonstrate clinically significant reductions in overall PTSD symptoms (over 25% change) and each PTSD symptom cluster (i.e., re-experiencing and intrusion, avoidance and numbing, and hyper-arousal). Additionally, patient satisfaction exit survey data support overall treatment effectiveness and highlight its tolerability, and capacity for establishing emotional safety, connection, and group cohesion. Patients even described the trauma-focused psychodrama treatment approach as enjoyable and helpful. Overall, the results of this study are promising, and support continued clinical application of trauma-focused psychodrama treatment with other subpopulations diagnosed with PTSD. However, the ability to isolate effects of trauma-focused psychodrama in this study is compromised due to the absence of a control group and participants' involvement in other inpatient treatment services.

This paper describes the difficulties encountered in designing a research study requiring the measurement of stages of group development in a psychotherapy group. The author’s study, Psychodrama group processes: A study of participant’s experiences, is intended to explore the contribution of group process to the therapeutic outcome of a psychodrama group. Its aim is to examine the psychodramatic themes and issues that occur at varying stages of the group’s existence. Even though psychodrama is a group psychotherapy method, psychodrama researchers have traditionally focussed on psychodrama processes as if they were the only therapeutic agent at work in the group. They have neglected to assess the contribution played by group process to the overall therapeutic outcome. Group psychotherapy research indicates that the major therapeutic agent in group psychotherapy is the group itself. In reviewing the group development literature it was discovered that, after 70 years of research there is no consensus on group development models and theoretical frameworks. As an alternative to measuring group development, the group cohesiveness literature was reviewed. This, too, has suffered from an ongoing debate. There is lack of clarity and consensus about how to define and measure cohesiveness. Of the many measures available, none measure the full range of relationship structure and relationship quality within a group. This means that different measures applied to the same group will produce varying results. In order to assess the stage of group development it will be necessary to choose a measure that fits best and justify its use.

Το Θέατρο του Καταπιεσμένου και το Ψυχόδραμα απαντούν σήμερα στο κάλεσμα ανθρώπων που βιώνουν μία γενικευμένη δυσφορία τόσο στη σφαίρα του προσωπικού όσο σε εκείνη του δημόσιου βίου, σημαντικό μέρος του οποίου αποτελεί και το σχολείο. Το Θέατρο του Καταπιεσμένου είναι μία θεατρική μέθοδος με συγκεκριμένο σκεπτικό και μεθοδολογία που γεννήθηκε από τον Augusto Boal και η οποία έχει αναγνωριστεί παγκοσμίως και βρίσκει εφαρμογή σε διάφορα πλαίσια.

Από την άλλη πλευρά, το Ψυχόδραμα είναι ένα είδος ομαδικής ψυχοθεραπείας που επινοήθηκε από τον Jacob Moreno. Πρόκειται για μία μέθοδο διερεύνησης του ψυχισμού των ατόμων, στην οποία οι συμμετέχοντες δραματοποιούν, δηλαδή αναπαριστούν με θεατρικό τρόπο παρελθοντικά, τωρινά και μελλοντικά γεγονότα από τη ζωή τους, αντί απλώς να μιλούν γιʼ αυτά. Το ερώτημα που εγείρεται, είναι πώς οι δύο αυτές διαδρομές αντιστρέφονται η μία την άλλη και αλληλοεπιδρούν μεταξύ τους στο πλαίσιο της εκπαιδευτικής διαδικασίας.

The demand for group work in social work practice has steadily increased while the group work education
provided in social work programs has exponentially declined. Social work education and social work practice
are intimately linked – one cannot be examined without considering the other. The historical, theoretical, and
clinical intersections of social work with groups and the triadic system of J.L. Moreno (sociometry,
psychodrama, and group psychotherapy) will be explored. Moreno’s work will be framed through a social
work lens with primary concepts defined. Two trauma-specific psychodrama models (Therapeutic Spiral
Model and Relational Trauma Repair Model) will be outlined with their emphasis on strengths, containment,
and safety. The clinical research and integrated neurobiology research will be presented as a growing evidence
base for psychodrama and experiential trauma therapy. Next, an overview of the state of sociometry,
psychodrama, and experiential group psychotherapy education will be outlined to provide a global and
historical contextualization with an emphasis on experiential education and its complimentary nature with
social work education. Finally, an MSW course curriculum will be provided to mediate the existing hole in
social work education resulting from the decline of group psychotherapy training.

האתיקה מבקשת להסדיר את היחס אל הזולת ולהורות את הדרך לחיים הטובים.
היא מנסה להשיב על השאלה מהם עקרונות המוסר שלאורם עלינו לנהל את חיינו,
ובפרט את יחסי הגומלין שלנו עם אחרים. בהקשר הטיפולי האתיקה מייצגת בדרך
כלל "תפיסה בדבר ההתנהגות הראויה באותו תחום, תפיסה היכולה להיות מערכת
ערכים או מערכת עקרונות המבטאים ערכים" (כשר,  .)2007היא מעניקה למטפל
מערכת של ערכים נורמטיביים המסדירים את כללי ההתנהגות הראויים ומשקפים
את הזהות של המקצוע ושל העוסקים בו.
המאמר מציע כי קיים רובד נוסף של נוכחות אתית שלא נידון רבות בספרות
התיאורטית, והוא התשתית הערכית שנגזרת מהתיאוריות הטיפוליות ומשפיעה על
ציפיותיו, על התערבויותיו ועל הבנתו של המטפל את המטופל. המאמר מתמקד
באידיאות שנגזרות מהפילוסופיה ההומניסטית-אקזיסטנציאליסטית ומאפיינות
את תחום הטיפול באמנויות בכלל, ואת הטיפול בפסיכודרמה בפרט. הוא מדגים
כיצד אידיאות אלו מתפקדות כפרדיגמת חשיבה ערכית, אשר לצד היותה מעודדת
מטפלים להיות קשובים ורגישים לסוגי שיח מסוימים, היא גם מצמצמת את
המודעות והרגישות שלהם לסוגי שיח אלטרנטיביים

En el presente trabajo se propone un acercamiento a la pieza Potestad de Eduardo Pavlovsky como expiación estética y, a la vez, psicodramática de todo el pueblo argentino una vez derrocada la última feroz dictadura. Pavlovsky, en su intensa trayectoria se aprovechó de varias búsquedas teatrales anteriores para la formación de su propia expresión escénica. Una de las propuestas empleadas es la del teatro de la crueldad de Antonin Artaud, especialmente en lo que al teatro corpóreo se refiere como lenguaje escénico, la improvisación y la necesidad de una catarsis colectiva. En este sentido, la otra vocación del teatrista argentino, la del psicoanalista y pionero en el psicodrama en Hispanoamérica, se toma en consideración en nuestro estudio de Potestad, en el que se señala la relación dialéctica que estableció Pavlovsky con la crueldad artaudiana para presentar esta pieza como redención de todo tipo de opresión.
PALABRAS CLAVE: Pavlovsky, Artaud, Psicodrama, Teatro de la Crueldad.

In this paper we propose an approach of Eduardo Pavlovsky’s play Potestad as an aesthetic and psychodramatic catharsis for all people of Argentina, after the decline of the country's last brutal dictatorship. Pavlovsky, throughout his intense course in Theatre, based his work on several prior theatrical pursuits in order to form his distinctive stage expression. One of these propositions is also Antonin Artaud's Theatre of Cruelty, especially as far as semantic use of the body as a stage code, improvisation and the necessity of a collective catharsis is concerned. From this aspect, the other property of the Argentinian playwright, the one of the psychoanalyst and pioneer of Psychodrama in Latin America will be taken under consideration during the study on Potestad, where the dialectical connection that Pavlovsky established to Artaud’s cruelty will be brought out so that the given play can be presented as a scene redemption from any form of oppression.
KEY WORDS: Pavlovsky, Artaud, Psychodrama, Theatre of Cruelty.

Summary:

The occasion for this article is the 70th birthday of Rainer Kästl, the co-founder of Gestalt Theoretical Psychotherapy. It is not primarily dedicated to personal memories, but rather to the attempt to trace the history of Gestalt Theoretical Psychotherapy in some aspects that have so far been less explored and to place Rainer Kästl's contribution in this context.

Zusammenfassung:

Anlass für diesen Beitrag ist der 70. Geburtstag des Mit-Begründers der Gestalttheoretischen Psychotherapie. Er ist nicht vorwiegend persönlichen Erinnerungen gewidmet, sondern dem Versuch, die Geschichte der Gestalttheoretischen Psychotherapie in einigen bisher weniger beleuchteten Aspekten nachzuzeichnen und Rainer Kästls Beitrag in diesen Kontext einzuordnen.

No presente artigo abordamos a utilização de um novo espaço terapêutico, a relação psicodrama-musicoterapia, no qual integramos técnicas do psicodrama e da musicoterapia. Partimos do pressuposto de que a complementaridade entre estas técnicas permite potencializar  O artigo que se segue tem por base um programa de desenvolvimento pessoal que concebemos, o programa Saber do Sentir, no qual usamos ferramentas do psicodrama e da musicoterapia. Encontra-se escrito na antiga ortografia.

Published book freely available here - https://link.springer.com/book/10.1007/978-981-33-6342-7

This open access book outlines the intersections between social work and the methods of sociometry and psychodrama. Different sections offer essential practice wisdom for both trauma-focused and trauma-informed experiential work for individuals, groups, organizations, and communities. This text enriches the understanding of various action-based approaches and highlights how to enliven social work practice. The chapters include clinical vignettes and examples of structured sociometric prompts with diverse populations, topics, and social work settings to enhance the understanding of group practice, individual practice, and community practice. It provides social workers and other professionals with dynamic tools to improve assessment, intervention, activism, and leadership. Strength-based practical tools are offered to readers, along with guidance for theoretical conceptualizations. This integrative book is an essential read for students, practitioners, leaders, and scholars within the fields of social work, psychodrama, the creative art therapies, group therapy, community organizing, and social activism.

The paper argues that Legislative Theatre, as an artistic methodology for active citizenship, creates a process of collective reflection to produce solutions to community conflicts. Boal used this tool of transitive democracy to conceive legal proposals in favour of marginalised groups. Thirteen of these proposals were approved by the legal system in Brazil. The analysis of a Legislative Theatre workshop in Spain using Boal’s methodology allowed the identification of some interesting elements but also the limitations of the tool. Aspects including the ideology of the audience, the scope of the legal proposals and the role of the joker are seen as important. Other conditioning elements and positive aspects are also discussed

Respond to each numbered item in the short list here as either True or False for you. A “True” response may identify a potential area for training. Reflect on whether an item identifies a problem or issue in the way you manage your anger. Anger requires boundaries, and a moral value (e.g. OK or not OK) can be assigned to ways of expressing anger.

This literature review covers research evidence showing the benefits of nature connection for depressive symptoms in Section I, and explores which techniques and interventions have been developed by the field especially as it incorporates mindfulness and somatic modalities in Section II. It seeks to answer the research questions: is Ecotherapy an evidence-based practice with research demonstrating what mechanisms of human psychology it might be operating by to produce beneficial effects? Can Ecotherapy alleviate symptoms of clinical depression? Are there specific modalities, techniques, and interventions developed by the field to implement the research findings in an applied, clinical setting? The gap in the literature this author focuses on is how to integrate nature connection with modalities of Hakomi mindfulness-based somatic psychotherapy, psychodrama experiential drama therapy group work, and Wilderness Rites of Passage.

Keywords: Ecotherapy, ecopsychology, nature-assisted therapy, more-than-human-community, nature connection, connectedness to nature, connectivity with nature, time in nature, green care, green exercise, emotional affinity toward nature, nature relatedness, ecological self, Gaia hypothesis, biophilia, depression, depressive disorders, affective disorders, mood disorders, Major Depressive Disorder, mindfulness, interdependence, interbeing, interpenetration, embedment, somatic, body therapy, embodiment, ecosomatic, experiential therapy, role play, psychodrama, action methods, walk and talk, Hakomi, Focusing, Dance Movement Therapy, Shinrin-Yoku, forest bathing, wilderness rites of passage, rites of passage

Die Autorin geht in diesem Artikel der Frage nach, welche Faktoren in der therapeutischen Arbeit mit Märchen wirken. Anhand von Erkenntnissen aus der Märchenforschung werden die Voraussetzungen herausgearbeitet, die Märchen durch ihre Beschaffenheit und ihren besonderen Stil bieten, um den therapeutischen Prozess zu fördern. Zur Verdeutlichung der Wirksamkeit der Märchen wird das Erleben von Teilnehmerinnen im praktischen Ablauf einer Gruppentherapie mit Rollenspiel von Märchen auf dem Hintergrund des Modells der überlappenden Situation nach Lewin und des von Stemberger vorgeschlagenen Konzepts des Mehr-Felder- Ansatzes reflektiert.

Social work education fully endorses experiential learning through its field placement component, while experiential teaching methods are only somewhat used in the classroom. This article outlines the utility of action-based mutual aid processes in teaching social work. Three experiential sociometric group tools will be presented with their application in various social work education settings and at the beginning, middle, and ending stages of a course. Each of these sociometry processes-spectrograms, floor checks, and step-in sociometry, are depicted with their inherent capacity to cultivate mutual aid, bring the course content to life, and be adapted for any topic or classroom.

Surveys and contextualizes recent New Zealand artists' cinema by genre including, Landscape, Psychodrama, Identity Politics, Visual Music, Installed & Expanded Cinemas, and Animation. Touches on aspects of Asian and Western philosophy that resonate with cinema, art, perception and consciousness. From Diary of a Viewer, Part Three
Includes updates and revisions covering some work produced after the initial publication of this article in Illusions Magazine.

See also: Before Artists' Cinema

Polarization of the biological and psychosocial aspects of the human condition has long created aloofness between psychotherapists and neuroscientists, and prevented an open dialogue regarding a possible integrative approach. While we know that mind and brain are inseparable, the complexity of one’s unique
subjectivity, moreover intersubjectivity, is not easily translatable to the complexity of the brain’s chemistry and physiology. This overview incorporates current biological thinking about the relationship of mind to brain into the philosophy and techniques of psychodrama. J.L. Moreno’s concepts of encounter and role reversal are considered in light of the recent advances in cognitive neuroscience regarding creativity and empathy. These two faculties seem to be associated with opposite functioning in the prefrontal
cortex, empathy with activation and creativity with inhibition. Although the neural circuitry involved in the two phenomena would be more complex, evaluating these two mental processes within a neuroscientific framework offers a renewed outlook on psychodrama, including more sophisticated hypotheses of how psychodrama may affect brain functioning and vice-versa.

Edición impresa de una investigación que se abocó a validar la aplicación del método psicodramático a la orientación familiar, considerando a la familia como un grupo social primario y eje fundamental de la estructura social, mientras que el psicodrama se conceptualiza como un método de trabajo grupal e individual que, mediante técnicas de acción, permite explorar la situación vital y existencial de la persona. La investigación abarcó dos estudios. El primero consistió en un diagnóstico de las características dela población objetivo, que implicó un muestreo de tipo intencional basado en entrevistas a 12 familias de clase media y la aplicación de una variación de la escala de funcionamiento familiar desarrollada por Palomar. El segundo estudio incluyó el desarrollo, aplicación y evaluación de un programa de orientación familiar (OF) mediante el psicodrama, así como un taller de 12 sesiones, en cada una de las cuales se trabajó un tema específico. Participaron 10 estudiantes de preparatoria con un rango de edad de entre 16 y 18 años (7 mujeres y 3 hombres). Para la evaluación se consideró un diseño pre-experimental pre-postest, en el que se aplicó la escala de funcionamiento familiar completa. Los resultados muestran que los participantes pudieron observar con mucha claridad la realidad de su familia y compararla con la de los otros integrantes del grupo de estudio. Se puede conclui r que los dos campos se enriquecen ampliamente, tanto teórica como metodológicamente.

Tele is one of the most elusive and enigmatic concepts in psychodramatic theory. Although It represents one of the five main therapeutic factors that operate in psychodramatic practice, the lack of clarity and multiple meanings of the concept make it difficult to use clinically or even as a general therapeutic guideline. The present paper proposes that the concept of Tele may be elucidated by using Martin Buber’s philosophy of dialog. It demonstrates how Tele overlaps with Buber’s concept of I-Thou and how, for both concepts, it is the intersubjective encounter which is the mainstay of self-constitution. This paper maintains that the concept of Tele represents a major therapeutic idea, namely, that selfhood may only be revealed and expanded via an authentic meeting with another selfhood. The notion of Tele invites the therapist to encourage the creation of an I-Thou relation in the therapeutic space, based on the assumption that this is the main road through which the patient may connect with his or her deep subjectivity.

This paper describes a group work training offered in 2011 for 60 highly diverse staffers to a GEAR UP  (Gaining Early Awareness of and Readiness for Undergraduate Programs) educational grant P334A990515 for the San Jose, CA  area.  Multiethnic, multi-aged trainees with varying educational levels and backgrounds were brought together as a cohort for the first time for training purposes.  In 4 full days of hands-on, active engagement training, they were instructed in application of psychodrama and sociometry techniques to engage poor and minority students and their families in middle school, high school and college retention.  Uses of psychodrama and sociodrama to support education in diverse communities are reviewed and explained.  Advantages of using experiential learning and action methods to enhance learning, engage low performing students, and build social cohesion are discussed.

This article explores four forms with seemingly different purposes and yet many similarities, as well as "change" in these forms. It goes through the characteristics of each form and compares them and analyses the forms through Moreno's (1978) Canon of Creativity to find out how and what kind of change they support. The article is original and has not been published in other journals. Resumen: Este artículo explora cuatro formas con propósitos aparentemente diferentes y, sin embargo, con muchas similitudes, así como el "cambio" en estas. Recorre las características de cada formulario, las compara y las analiza a través del Canon de la creatividad de Moreno (1978) para averiguar cómo y qué tipo de cambio admiten. Palabras clave: psicodrama, teatro playback, sociodrama, larp, edularp, cambio, aprendizaje, comparación. El artículo es original y no ha sido publicado en otras revistas.

Art Masters Dissertation . (c) MA 2013-2023 except if stated otherwise .
Use the proper credits if quotes are taken from text

scroll for EDIT NOTES : Masters Dissertation for Institute of Sonology and STEIM 2013 ( Art Paper )

I have hated the war so much that I came to identify with it...i became the war.(Armando 1929- )   
                                                                                                                                                                             
This dissertation presents the research and outcomes of my endeavors of the past two years. Starting from the common beginning point of that inner necessity, as it was perceived by Wassily Kandinsky, is the component that will transform any given form, I take this a little further – a visual or musical- into a meta-language1, in the sense of a language form that is connected directly to the spiritual psyche. This transformation can only be achieved in a mystical way, a mystery that is the deep secret of all the arts. This secret is a ritual. It is the myth, as it was perceived by Carl  Gustav Jung, in his analytic psychology, and before him, by Goethe, by the alchemists, and by the myth itself. From the traces in the form of primitive blind drawings to the multiplication of the patterns to the magical Mega-statements of Jani Christou’s works, there is a ritual element in those works that makes the transformation necessary for the trace to embrace the mythological time and be the mythological time itself.

This can only be felt. Felt, for instance, as the enigmatic moment when an artist recognizes his/her psyche  in the work of another. The two may have never met in their lives, but this spiritual encounter shows exactly that there is something beyond form, sound, dots and lines. There is something that can give an autonomous life to them and transform matter to meta-matter and interface language into meta-language, as a language beyond the conscious  language.

By searching in the works of certain painters and composers, I focused on the ones which
fall in the categories above, and questioned the connective link of music and painting as a morph of interface that is based on the inner necessity mentioned. This interface is the creation of  the myth.To re introduce something that is forgotten.Break the connections with historic time and reconnect with the Mythological time. 



EDITING NOTES ( These will be corrected soon in the actual thesis paper ) :
1. page 34  ,10 line :Ego instead of the Self . The Self(Centre )  in Jungian Analysis is something totally different with the self in other forms of psychotherapies and analysis . So a best term is The Ego .

Human mind is hypothesis-driven and our observations of the world are strongly shaped by preconceptions. This " top-down " principle is biologically driven and contraindicative to spontaneity, which is non-linear, condensed, and initially incomprehensible. My first argument is that spontaneity entails " bottom up " information processing, as articulated in the hierarchical neurocognitive model of perception. My second argument is that changing the balance between these two processes is important and feasible. Insights from psychodynamic transference and savant syndrome are presented to support these ideas. Uniting these contemporary notions with some essentials of J. L. Moreno's philosophy is my third goal. By violating predictions and expectations, psychodrama interferes with top-down " conserved " processing and cultivates here and now, stimulus-dependent spontaneous acts. Further evidence is presented in support of the claim that adult spontaneity leads to enhanced cognition and creativity through imitating the child's brain, as Moreno envisioned. Because spontaneity is formed before having the evidence for its truth or adequacy, it entails, in adults, overcoming apprehensions about acting without a theory in mind. This is what trusting-the-process means and it requires training, which psychodrama fosters on its stage laboratory.

Sacrifice-the process of making sacred through meaningful surrender-is the core topic of my doctoral research in psychology and psychodrama is at the heart of my research methodology. It was during psychodrama foundation training at the Corban Estate in Auckland, New Zealand with Max Clayton in 2010, that creative sacrifice and its relationship with spontaneity began to take root in me as a Muse that would power seven years of doctoral research and practice.

I remember this event in my training vividly: Max was being a skilful rascal in helping two participants negotiate a conflict. It became clear to me as an observer that one participant had a significant block to spontaneity that was preventing the conflict from resolving. The other participant had a high level of spontaneity and seemed to have a compassionate knowing that there was something in the way of their colleague surrendering to the necessities and meanings of the moment. As the tension built, my attention became focused on the backdrop of the scene, the church altar raised up on a dais behind the two participants. In my imagination, I saw the defensive participant lay down reverently on the altar, surrendering to let the other participant eviscerate their defensive anatomy, housed in their abdomen, and then offer it up to Deity as a service to the entire group. The person on the altar rose and danced blissfully. Their defence was surrendered as a painful sacrificial offering.

I didn't mention this awesome and terrible vision to anybody in the group, but I knew that I had heard the Muse and the impact was deep. I moved back to the United States shortly after my foundation training and began my doctoral journey, delighting in the fact that my graduate studies afforded experiential group work and role training that deepened and diversified my understanding of spontaneity theatre. The seeds of my doctoral hypothesis were planted: that spontaneity had something to do with the capacity of a person to engage in conscious sacrifice. This article highlights the main learnings that support this hypothesis while championing the efficacy of psychodramatic inquiry.