PSYCHODRAMA

The most significant type of practical application of group psychotherapy is a method called psychodrama. The author of psychodrama is Jacob Moreno, a man with whose name it is customary to associate the development of group therapy as a special psychotherapeutic area.

Having emerged several decades ago, psychodrama not only has not lost its relevance, but is being used more and more widely in almost all developed countries of Europe and America. Most authors describe psychodrama as a method, analyzing its basic terms and concepts.

These concepts include:

- Roles and role-playing games;

- spontaneity;

- tele;

- catharsis and insight.

Briefly describe them.

Roles and Role Playing

It is very important to immediately understand the fundamental difference between psychodrama as a therapeutic method and the theatrical type of role-playing. If in the theater all the roles and their behavior are painted by the author and the actors are left with only a slight possibility of improvisation in the rigid framework of the unchanging plot, then in psychodrama (and this is its fundamental difference and therapeutic effect) there is no predetermined scenario: the group members create it themselves plot and do not know in advance what this will all lead.

Here psychodrama reminds life itself.

Participants also choose roles and distribute themselves. The psychotherapist only explains the basic rules of psychodrama, and within their limits encourages every possible improvisation and spontaneity.

Moreno liked to give an example of the difference in the emotional impact of a regular play and psychodrama. In the first case, the viewer observes the eruption of a volcano, in psychodrama, he himself is at his foot.

Spontaneity

Spontaneity implies a natural (unintentional) perception and response. This term is found in almost all types of psychotherapy, since their authors believe that the majority of clients are too clamped by psychological defense mechanisms and behavioral patterns: they have lost their childish spontaneity - the natural manifestation of feelings and thoughts. It is the acquisition of such spontaneity that will allow them to best get rid of their complexes and neuroses.

The same task poses to the participants of psychodrama Jacob Moreno. At the same time, the psychotherapist, without imposing his role-playing scenario, only urge (push) the participants not to break away from this moment and play not some scenarios or scenes from their past that they have invented, but act “here and now”.

According to supporters of psychodrama, it is this creative atmosphere (Moreno believes that creativity and spontaneity are non-explosive concepts and one stimulates the other) allows participants of the psychotherapeutic group to distract from the complexes, to go beyond the patterns of behavior and to open up better for themselves and for members of the group.

Tele

It is believed that this concept is akin to what Freud called transfer (transfer). As is well known, under the term transfer, Freud meant the transfer by a client to a psychoanalyst of significant emotional traits and relationships. For Freud, the analysis of transfer was one of the technical means of the practice of psychoanalysis, through which he tried to characterize the patient’s personality and the reasons for his neurosis.

Some followers of Freud also used the term perennial transfer , denoting to them the process of empathic empathy for the psychotherapist for the client's feelings and states.

In the psychodrama method, Moreno unites transference and countertransference with one concept of the body, which characterizes the two-way process of empathic perception - both between the therapist and the client, and between all participants in the psychodrama. However, in psychodrama, in contrast to classical psychoanalysis, the processes of transference and countertransference are used not only and not so much to characterize the client’s personality, but for the therapeutic purpose of his self-disclosure and overcoming certain complexes and neuroses, as well as to enhance the whole group process.

Catharsis

As you know, this word in the ancient Greek tragedy meant purification, enlightenment through suffering . In the same meaning he was used by Aristotle.

In the practice of psychoanalysis, catharsis was introduced by Freud in the sense of an autopsy through intense emotional experiences of the causes of neurosis and the following relief-healing. In about the same sense, this term has been used in most areas and schools of Western psychotherapy.

Moreno was not an exception with his psychodrama. However, here the concept of catharsis has received an additional broad interpretation. In psychodrama, catharsis must be experienced not only by the client and even not only by all the participants of a particular psychodrama etude, but also by all the other participants who, according to Moreno's plan, are actively empathizing viewers.

We can say that the catharsis of Moreno is closer to its original meaning of the ancient tragedy, the main purpose of which was joint active empathy and the final relief and enlightenment of actors and spectators.

However, if in Greek tragedy catharsis is a secondary phenomenon in relation to the plot, in Freud it is one of the means of psychoanalysis, then in Moreno the process of catharsis becomes the main task of the participants of psychodrama (primary effect) and active viewers (secondary effect), having on them psychotherapeutic impact.

Insight

This word ( insight ) translates from English as "unexpected insight." An insight can be called the state of Socrates, when he, having made an unexpected discovery, shouted in delight: “Eureka!” (Found!) This term is used in many areas of modern psychotherapy and means an unexpected understanding by the client of his problem or a change in his self-esteem .

Usually (especially in the psychoanalytic areas) insight occurs as a result of catharsis. In the same sense, it is understood in psychodrama, the atmosphere and dynamics of which should lead the participants (or at least some of them) to catharsis, and through it to insight.

At the beginning of the lesson, the psychotherapist explains to the group the meaning and tasks of the psychodrama and describes the stages of its practical implementation. The theoretical positions are communicated to the participants of the group in the volume and form corresponding precisely to the given group and the level of its preparedness.

The practice of psychodrama involves several important steps. This includes the stage of the distribution of roles and the three stages of development of the psychodrama itself.

Distribution of roles

Currently, many group leaders are making their own innovations in the types of psychodrama roles, but mostly the types introduced by J. Moreno are preserved. These include the roles of: director, protagonist (main character) and auxiliary me .

The director is usually the psychotherapist himself or the team leader (usually one person). His main tasks are to form the creative group atmosphere that is optimal for the work ahead, to distribute the remaining roles, to start the stage action in the desired direction, and then to keep the participants in the mood for their creative initiative and improvisation.

Depending on whether psychodrama is conducted primarily for therapeutic effects on the participants or for psychoanalysis of themselves, the causes of their neurosis, the role of the director changes somewhat. In the first case, he mainly maintains the therapeutic creative atmosphere, practically without diverting the group’s attention to analytical analyzes — the process itself is more important for him than his analysis. In the second case, special time is given to the analysis of words, actions, and the reasons behind them, although (as we said before) in psychodrama according to I. Moreno psychoanalysis plays a subordinate role in relation to the therapeutic process of catharsis and insight.

Protagonist (in accordance with the terminology of the ancient theater) Moreno calls the performer of the main role - the main I. All other participants play the roles of auxiliary I.

In more detail we can trace their activity in the process of reviewing the main stages (phases) of psychodrama development.

First stage

Here the main load falls on the director. His tasks include:

-to achieve the physical emancipation of all participants in psychodrama, overcoming (typical for novice actors) motor squeezing;

- constant encouragement, stimulation of the manifestation of the spontaneity of non-verbal (motor, mimic) and verbal (verbal) manifestation of emotions;

- targeted focusing of group members on the solution of a common task in compliance with the principle “here and now”. For the emancipation of "actors", "directors" of psychodrama often use various warm-up exercises. It can be a variety of movements such as outdoor games or elements of group gymnastics, aerobics, which, with the help of the director, are accompanied by the creation and strengthening of the atmosphere of the game, creative freedom, jokes. Then pantomime elements can be played in pairs, in triples, etc., attempts to convey thoughts with facial expressions and gestures and solve them.

At the same time, participants should know that the faster and more fully they will become relaxed and spontaneous (the naturalness of the “unintentional” response), the faster and more efficiently the psychodrama process will be adjusted, which will help to solve their problems. However, it is not necessary to repeat this too often, since excessive effort to “be natural” will just hinder the attainment of true naturalness and spontaneity.

In general, as in all types of non-authoritarian group therapy, the psychodrama director should intervene only if it is clearly necessary (“do not blow into inflated sails”, if the group process is improving itself, do not interfere) and, if possible, imperceptibly, not teaching, but inspiring. The director should in every way encourage the courage of free, thoughtless display of emotions in words and gestures, not be afraid to look ridiculous, etc.

Second stage

After the participants acquire a certain relaxedness and create an active creative atmosphere, the main part of the psychodrama begins as a result of a properly conducted warm-up.

First, the director determines which of the participants will play the role of the protagonist. He can make this choice on his own or deliberately involving the group in the discussion of the candidature and thereby supporting the creative activity of all the participants.

The director asks the protagonist to choose an important enough topic for him, to tell everyone the general idea of ​​the performance that he would like to play. He recalls that the protagonist sets out only a general direction, and the development of action in psychodrama should be spontaneous (like the actions of all its participants) and not related to a pre-detailed scenario.

Then, the chosen protagonist, the protagonist, selects for himself one or several (depending on the director's intention) partners who will be his auxiliary selves . Having explained to the auxiliary I their tasks, the protagonist begins to play the intended action, trying to express his thoughts and feelings spontaneously as naturally as possible.

The director, as already mentioned, intervenes only when necessary, correcting the process in the right direction to catharsis and insight.

Jacob Moreno himself described the tasks of the director of psychodrama as follows: "We must not destroy the walls (to get the participants out of the impasse. - A. P. ), we just have to touch the handles of many doors in order to understand which of them is open." By destroying the walls, Moreno is referring to the director’s overly active intervention in the psychodrama process, when participants come to a dead end and do not know how to develop the action further.

Indeed, in such a situation, interest in psychodrama on the part of both the participants and the audience falls, and the director is tempted to intervene and clearly show that clients have not in vain turned to him and this method. Usually such intervention stops the development of the action, that is, “destroys the walls” of the resulting impasse, and does not stimulate participants to search for a way out of it.

Therefore, the director first encourages the strayed and stopped participants with just a positive emotional atmosphere, and in case of prolonged stagnation and the threat of losing faith in their own strength (and even in the psychodrama method), the director begins, as it were, to implicitly push participants to different doors, encouraging them to try themselves, which the door is open and leads out of the impasse.

Third stage

This is the final stage of psychodrama, which, like most types of group therapy, is a joint discussion and analysis of the behavior of all participants. All participants should be involved (non-violently) in this discussion, since such discussions help not only to improve the work, to get to know themselves and others better, but also to stimulate the activity of group interaction and empathic mutual understanding .

Psychodrama techniques

Despite numerous variations, the main practical methods of psychodrama are: monologue, twin method, role exchange, mapping.

Monologue

This is a statement of the protagonist or his auxiliary I. Expressing the chosen one in the monologue (an important topic for him), he not only tries to convey it to the audience as precisely as possible, but also in the process, once again reflecting on it and seeing the reactions of the audience, he begins to better understand it himself.

Double

This technique consists in the fact that one of the participants chosen by the protagonist, therapist or group becomes the understudy of the protagonist. He is closely following the monologue of the protagonist and is preparing to continue to search for a solution for him as soon as he begins to get stuck in it. In some embodiments of this method, the twin tries to understand and express for the protagonist that which is incomplete.

Of course, this requires the ability to empathic understanding with the protagonist at the level of identification with him. We try to regularly change both the twins and the protagonists themselves, so that each participant feels like in that and in a different role.

Perhaps more active participation of other members of the group in the form of auxiliary I , complementing what, in their opinion, did not express a double for the protagonist.

It should be remembered that the twin always acts not from its own face, but only for the protagonist, as its inner voice, one of subpersonalities, etc. It is desirable to encourage different types of doubles: serious, ironic, colorless (that is, completely imitating the protagonist), passionate (enhancing the feelings of the protagonist), skeptics, etc. This allows both the protagonist and the double itself and all participants from different angles to see not only the protagonist, but also their own thoughts and feelings. Indeed, in the opinion of representatives of almost all types of psychotherapy, mental health requires the fullest and most comprehensive perception of oneself, others, and the surrounding reality.

Role exchange

Periodically in psychodrama, it is desirable to exchange roles. The protagonist becomes a twin or one of the subsidiary I and vice versa. This allows you to learn to better understand others, and through this (through the feedback mechanism) and yourself

Display

It also uses a feedback mechanism. The protagonist is offered to observe how his twin and other participants portray him. It helps to see oneself through the eyes of others and to clarify one’s opinion about oneself and, possibly, to correct one’s behavior.

Probably, you have already noticed that these techniques are divided quite tentatively and each of them contains (or at least can be applied) elements of another method. An experienced team leader ( director ) skillfully alternates techniques and their elements, keenly feeling the moment for the best use of each of them.

In practice, psychodrama and other techniques are used. These primarily include the following:

Candlestick technique - all members of the group in turn turn out to be protagonists, twins and auxiliary I.

Talking by candlelight - usually the protagonist turns his back to the audience and listens to how other participants discuss his ideas and behavior.

The projection of the future - the protagonist fantasizes what can or should happen in the future.

The elements of psychodrama are somehow used in all types of group psychotherapy. These are groups of meetings, groups of skills training, gestalt therapy, transactional analysis, etc., even some variants of psychoanalysis.

Psychodrama is used in the treatment of alcoholism, drug addiction, in the correction of various types of deviant (deviant) behavior, borderline neuropsychiatric disorders (neuroses, psychopathies).

WORKSHOP

Here are some typical psychodrama exercises.

In the bus

Participants form two circles - internal and external, which face each other. The participants of the inner circle depict fareless passengers, and the outer one represents the controllers. They enter into a discussion: the free-rider argues in his defense, the controller - his arguments. Everyone in this dialogue in one way or another manifests individual psychological characteristics and peculiarities of interaction. After that, the participants independently or with the help of the manager analyze each other's behavior.

Желательно, чтобы партнеры менялись, а также чтобы каждый участник попробовал себя и в роли контролера, и в роли безбилетника.

Следует помнить, что обратившиеся к терапевту участники группы так или иначе страдают от каких-то комплексов, зажатости и неумений общаться. В процессе такого упражнения они учатся преодолевать эти комплексы.

Со стороны безбилетного пассажира они учатся преодолевать страх перед контролером и оправдывать свою позицию, договариваться. Со стороны контролера они учатся говорить «нет», отказывать в незаконной или неудобной для них просьбе (что многим трудно дается) или, напротив, приняв доводы безбилетника учатся поступать неформально не из слабости и неумения отказать, а сознательно, осмелившись принять решение против должностной инструкции, но по-человечески поняв просителя.

В магазине

Здесь участники группы разбиваются на продавцов и покупателей и разыгрывают разные ситуации конфликтов и их разрешения, которые периодически возникают между продавцами и покупателями. Они сами вспоминают и выбирают такие типовые конфликты и разыгрывают роли. Здесь тоже важно, чтобы каждый участник сыграл и продавца, и покупателя, причем с различными членами группы.

Это упражнение, как и предыдущее, показывает и отрабатывает умения отстаивать свои интересы и идти на разумные компромиссы, без чего невозможно нормальное существование в обществе.

Семья

Один из участников группы разыгрывает сцену, типичную для его собственной семьи, предварительно распределив роли членов своей семьи между участниками группы. Игра позволяет ему лучше увидеть себя со стороны, а также объективнее оценить свои проблемы и проблемы членов своей семьи, чьи позиции в данной сцене будут отстаивать другие участники группы.

В конце, как обычно, проводится обсуждение.

Нередко это и подобные упражнения повторяются на последующих занятиях, так как участники не сразу понимают свои роли с позиции сценариста. Уточняя их роли, он одновременно уточняет и свое видение проблемы и проблемы других членов своей семьи, а при последующем обсуждении нередко находит пути их решения.

Монолог с двойником

Here, the protagonist goes to the center of the circle and tries to feel most accurately and convey with other words and gestures those thoughts and feelings that are experienced at this particular moment (“here and now”). After some time, the double gets up behind him and begins to accompany the protagonist's story with gestures and facial expressions.

Here, too, everyone should be in this and that role.

The scene ends with a general discussion of how accurately and clearly the protagonist was able to express himself and how much his companion understood him.

In the course of this exercise and its discussion, each participant (including the audience) trains the ability to understand and express their own and other people's feelings, which is an important condition for self-development and mutual understanding.