Psychodrama - Wikipedia the Free Encyclopedia

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Psychodrama

Intervention

ICD-

9-CM

94.43 (http://icd9cm.chrisendres.com/index.php?

srchtype=procs&srchtext=94.43&Submit=Search&action=search)

MeSH D011577

PsychodramaFrom Wikipedia, the free encyclopedia

Psychodrama is an action method, often used as

a psychotherapy, in which clients use

spontaneous dramatization, role playing and

dramatic self-presentation to investigate and gain

insight into their lives.[1] Developed by Jacob L.

Moreno, M.D. (1889–1974) psychodrama

includes elements of theater, often conducted on a

stage where props can be used. By closely

recreating real-life situations, and acting them out in the present, clients have the opportunity to evaluate their behavior

and more deeply understand a particular situation in their lives.[2] Psychodrama may be used in a variety of clinical

and community-based settings, and is most often utilized in a group scenario, in which each person in the group can

become therapeutic agents for one another's scenes. Psychodrama is not, however, a form of group therapy, and is

instead an individual psychotherapy that is executed from within a group. A psychodrama is best conducted and

produced by a person trained in the method, called a psychodrama director.[3]

In a session of psychodrama, one client of the group becomes the protagonist, and focuses on a particular situation to

enact on stage. A variety of scenes may be enacted, depicting, for example, memories of specific happenings in the

client's past, unfinished situations, inner dramas, fantasies, dreams, preparations for future risk-taking situations, or

unrehearsed expressions of mental state in the here and now.[2] These scenes either approximate real-life situations or

are externalizations of inner mental processes. Other members of the group may become auxiliaries, and support the

protagonist by playing other significant roles in the scene.[2]

A core tenet of psychodrama is Moreno's theory of "spontaneity-creativity".[4] Moreno believed that the best way for

an individual to respond creatively to a situation is through spontaneity, that is, through a readiness to improvise and

respond in the moment.[5] By encouraging an individual to address a problem in a creative way, reacting spontaneously

and based on impulse, they may begin to discover new solutions to problems in their lives and learn new roles they can

inhabit within it.[4] Moreno's focus on spontaneous action within the psychodrama was developed in his Theatre of

Spontaneity. Disenchanted with the stagnancy he observed in scripted theatre, he found himself interested in the

spontaneity required in improvisational work. He founded an improvisational troupe in the 1920s. This work in the

theatre impacted the development of his psychodramatic theory.[5]

Contents

1 Methods2 Psychological applications3 Related concepts4 History5 Bibliography6 See also7 References



Methods

In psychodrama, participants explore internal conflicts by acting out their emotions and interpersonal interactions on

stage. A psychodrama session (typically 90 minutes to 2 hours) focuses principally on a single participant, known as

the protagonist.[6] Protagonists examine their relationships by interacting with the other actors and the leader, known

as the director. This is done using specific techniques, including mirroring, doubling (psychodrama), soliloquy, and

role reversal. The session is often broken up into three phases - the warm-up, the action, and the post-discussion.[7]

During a typical psychodrama session, a number of clients gather together. One of these clients is chosen as the

protagonist, and the director calls on the other clients to assist the protagonist's "performance," either by portraying

other characters, or by utilizing mirroring, doubling, or role reversal. The clients act out a number of scenes in order to

allow the protagonist to work through certain scenarios.[8] This is obviously beneficial for the protagonist, but also is

helpful to the other actors, allowing them to assume the role of another person and apply that experience to their own

life. The focus during the session is on the acting out of different scenarios, rather than simply talking through them.

All of the different elements of the session (stage, props, lighting, etc.) are used to heighten the reality of the scene.[9]

The three sections of a typical session are the warm-up, the action, and the sharing. During the warm-up, the actors are

encouraged to enter into a state of mind where they can be present in and aware of the current moment and are free to

be creative. This is done through the use of different games. One such game is called the "lifeboat warmup." In this

warmup, the clients are told that they are in a lifeboat with a limited amount of space. In order to survive, an actor must

convince the client that he or she deserves a seat on the lifeboat. Next, the action section of the psychodrama session is

the time in which the actual scenes themselves take place. Finally, in the post-discussion, the different actors are able

to comment on the action and share their empathy and experiences with the protagonist of the scene.[10]

Mirroring is an important technique in psychodrama. In mirroring, the protagonist is first asked to act out an

experience. After this, the client steps out of the scene and watch as another actor steps into their role and portrays the

client. Afterwards, the client is asked to comment on the action and/or reenter the scene.[11] Doubling is another

psychodramatic technique, in which the client is joined by another actor in his or her portrayal of him- or herself. The

second actor assumes the role of an "auxiliary ego," which reveals hidden parts of the protagonist's behavior, by acting

as him or her. Role playing is another method, in which the client portrays a person or object that is problematic to him

or her. In soliloquy, another technique, the client speaks his or her thoughts aloud in order to build self-knowledge.

Finally, role reversal is a technique in which a client is asked to portray another person while a second actor portrays

the client in the particular scene. This not only prompts the client to think as the other person, but also has some of the

benefits of mirroring, as the client sees him- or herself as portrayed by the second actor.[12]

Psychological applications

Psychodrama can be used in both non-clinical and clinical arenas.[5] In the non-clinical field, psychodrama is used in

business, education, and professional training. In the clinical field, psychodrama may be used to alleviate the effects of

emotional trauma and PTSD.[13] One specific application in clinical situations is for people suffering from

dysfunctional attachments.[14] For this reason, it is often utilized in the treatment of children who have suffered

emotional trauma and abuse. Using role-play and story telling, children may be able to express themselves emotionally

and reveal truths about their experience they are not able to openly discuss with their therapist, and rehearse new ways

of behavior.[14] Moreno's theory of child development offers further insight into psychodrama and children. Moreno

suggested that child development is divided into three stages: finding personal identity, recognizing oneself (the mirror

stage), and recognizing the other person (the role-reversal stage). Mirroring, role-playing and other psychodramatic

techniques are based on these stages.[14] Moreno believed that psychodrama could be used to help individuals continue



their emotional development through the use of these techniques.

Related concepts

Moreno's term sociometry is often used in relation to psychodrama.[15] By definition, sociometry is the study of social

relations between individuals—interpersonal relationships.[15] It is, more broadly, a set of ideas and practices that are

focused on promoting spontaneity in human relations. Classically, sociometry involves techniques for identifying,

organizing, and giving feedback on specific interpersonal preferences an individual has. For example, in a

psychodrama session, allowing the group to decide whom the protagonist shall be employs sociometry.[5]

Moreno is also credited for founding sociodrama.[16] Though sociodrama, like psychodrama, utilizes the theatrical

form as means of therapy, the terms are not synonymous. While psychodrama focuses on one patient within the group

unit, Sociodrama addresses the group as a whole. The goal is to explore social events, collective ideologies, and

community patterns within a group in order to bring about positive change or transformation within the group

dynamic.[16] Moreno also believed that sociodrama could be used as a form of micro-sociology—that by examining

the dynamic of a small group of individuals, patterns could be discovered that manifest themselves within the society

as a whole. Sociodrama can be divided into three main categories: crisis sociodrama, which deals with group responses

after a catastrophic event, political sociodrama, which attempts to address stratification and inequality issues within a

society, and diversity sociodrama, which considers conflicts based on prejudice, racism or stigmatization.[16]

History

Dr. J. L. Moreno (1889–1974) is the founder of psychodrama and sociometry, and one of the forerunners of the group

psychotherapy movement.[17] Around 1910, he developed the Theater of Spontaneity, which is based on the acting out

of improvisational impulses. The focus of this exercise was not originally on the therapeutic effects of psychodrama;

these were seen by Moreno to simply be positive side-effects.

A poem by Moreno reveals ideas central to the practice of psychodrama, and describes the purpose of mirroring:

" A meeting of two: eye to eye, face to face.And when you are near I will tear your eyes outand place them instead of mine,and you will tear my eyes outand will place them instead of yours,

then I will look at me with mine."[3]

In 1912, Moreno attended one of Sigmund Freud's lectures. In his autobiography, he recalled the experience: "As the

students filed out, he singled me out from the crowd and asked me what I was doing. I responded, 'Well, Dr. Freud, I

start where you leave off. You meet people in the artificial setting of your office. I meet them on the street and in their

homes, in their natural surroundings. You analyze their dreams. I give them the courage to dream again. You analyze

and tear them apart. I let them act out their conflicting roles and help them to put the parts back together again.'"[18]

While a student at the University of Vienna in 1917, Moreno gathered a group of prostitutes as a way of discussing the

social stigma and other problems they faced, starting what might be called the first support group. From experiences

like that, and as inspired by psychoanalysts such as Wilhelm Reich and Freud, Moreno began to develop psychodrama.

After moving to the United States in 1925, Moreno introduced his work with psychodrama to American psychologists.

He began this work with children, and then eventually moved on to large group psychodrama sessions that he held at

Impromptu Group Theatre at Carnegie Hall. These sessions established Moreno's name, not only in psychological



circles, but also among non-psychologists. Moreno continued to teach his method of psychodrama, leading sessions

until his death in 1974.[19]

Another important practitioner in the field of psychodrama is Carl Hollander. Hollander was the 37th director certified

by Moreno in psychodrama. He is known primarily for his creation of the Hollander Psychodrama Curve, which may

be utilized as a way to understand how a psychodrama session is structured. Hollander uses the image of a curve to

explain the three parts of a psychodrama session: the warm-up, the activity, and the integration. The warm-up exists to

put patients into a place of spontaneity and creativity in order to be open in the act of psychodrama. The "activity" is

the actual enactment of the psychodrama process. Finally, the "curve" moves to integration. It serves as closure and

discussion of the session, and considers how the session can be brought into real life – a sort of debriefing.[20]

Although psychodrama is not widely practiced, the work done by practitioners of psychodrama has opened the doors to

research possibilities for other psychological concepts such as group therapy and expansion of the work of Sigmund

Freud. The methods of psychodrama are also used by group therapy organizations such as Alcoholics Anonymous, and

also find a place in other types of therapy, such as post-divorce counseling for children.[21]

Bibliography

Gessmann, Hans-Werner: Humanistic Psychodrama. Vol. I - IV. PIB Publisher, Duisburg, Germany, 1994.

Gessmann, Hans-Werner: Empirical Research about Effectiveness of Psychodramatic Therapygroupwork of Patients

with Neurosis (ICD-10: F3, F4). Zeitschrift für Psychodrama und Soziometrie, Sonderheft Empirische Forschung. VS

Verlag für Sozialwissenschaften - Sonderheft Empirische Forschung, 2011.

See also

Group therapyGestalt therapyPlay therapyPlayback TheatreSystemic ConstellationsTheraplaySociodramaDiamond of oppositesDrama TherapySociometry

References

1. ^ "Definition of psychodrama from Oxford Dictionaries Online" (http://oxforddictionaries.com/definition/psychodrama) .

http://oxforddictionaries.com/definition/psychodrama. Retrieved 29 January 2011.

2. ^ a b c Kellerman, Peter Felix (1992). Focus on Psychodrama. Jessica Kingsley. ISBN 1-85302-127-X.

3. ^ a b Pio-Abreu, Jose Luis and Villares-Oliveira, Christina. (2007) How Does Psychodrama Work? In B. Clark, J. Burmeister,

and M. Maciel, "Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X

4. ^ a b Schact, Michael. Sponteneity-creativity: the psychodramatic concept of change. In B. Clark, J. Burmeister, and M. Maciel,

"Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X

5. ^ a b c d Blatner, Adam and Cukier, Rosa. Moreno's Basic Concepts. In B. Clark, J. Burmeister, and M. Maciel, "Psychodrama:

Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X

6. ^ Yablonsky p. 8.

7. ^ Yablonsky, p. 13.

8 ^ Yablonsky pp 8 11



8. ^ Yablonsky, pp. 8-11.



11. ^ Baim, Burmeister, and Maciel, Pg. 83-84

12. ^ Baim, Burmeister, and Maciel, Pg. 129-132

13. ^ Kellermann, P.F. & Hudgins, M.K. (2000). (Eds.) Psychodrama with Trauma Survivors: Acting Out your Pain. London:

Jessica Kingsley.

14. ^ a b c Bannister, Anne. Psychodrama and child development. (2007) In Baim, Burmeister, and Maciel, ISBN 0-415-41914-X

15. ^ a b Borgatta, Edgar F. (December 2007). "Jacob L. Moreno and Sociometry" (http://www.jstor.org/pss/20141799) . Social

Psychology Quarterly 70 (4): 330–332. http://www.jstor.org/pss/20141799. Retrieved December 16, 2011.

16. ^ a b c Kellerman, Petter Felix (June 1998). "Sociodrama" (http://gaq.sagepub.com/content/31/2/179.short) . Group Analysis 31

(2): 179–195. doi:10.1177/0533316498312005 (http://dx.doi.org/10.1177%2F0533316498312005) .

http://gaq.sagepub.com/content/31/2/179.short. Retrieved December 16, 2011.

17. ^ Yablonsky, pg 5-9.

18. ^ The Autobiography of J. L. Moreno, M.D. (Abridged), J. L. Moreno, Moreno Archives, Harvard University, 1985.

19. ^ Yablonsky Lewis. Psychodrama: Resolving Emotional Problems through Role-playing. New York: Gardner, 1981.ISBN 0-

89876-016-X.

20. ^ Hollander, Carl E. International Journal of Action Methods: Psychodrama, Skill Training, and Role Playing 54. 4 (2002): 147-

157.

21. ^ Jacob Gershoni. Psychodrama in the 21st Century: Clinical and Educational Applications. New York: Springer, 2003. Print.

Yablonsky, Lewis. Psychodrama: Resolving Emotional Problems through Role-playing. New York: Gardner, 1981. ISBN 0-89876-016-X.

C. Baim, J. Burmeister, and M. Maciel, "Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-

X

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Psychodrama - Wikipedia the Free Encyclopedia