By Adam Blatner MD
Psychodrama might be probably the most strong instruments utilized in psychotherapy. Charmingly illustrated with a wealth of case examples, this quantity provides present education suggestions and exhibits tips to use them, no matter if as a supplement to standard verbal techniques, in person or team remedy, in academic or group settings, or in lots of different contexts. completely up-to-date and improved, this 3rd version reports the latest advancements in psychodrama idea, clarifies a variety of new psychodramatic procedures, and lines huge new references and an up to date bibliography. during this quantity, Dr. Blatner maintains to supply the easiest functional primer of simple psychodramatic suggestions.
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Extra info for Acting-In: Practical Applications of Psychodramatic Methods, Third Edition
TYPES OF AUXILIARY ROLES There are six types of roles that may be performed by an auxiliary: 1. The role of a significant other person. The auxiliary becomes someone in one of the protagonist's social networks, for example, a wife, son, employer, friend, or therapist. When this person is the main character in the enactment playing opposite the protagonist, he or she is occasionally called the antagonist. 2. The double. As the double, the auxiliary takes the role of the protagonist's alter ego. In this role, the auxiliary helps the protagonist to express inner feelings more clearly.
One of the principles of directing sociodramas is that in general they should not be allowed to turn into psychodramas. A great deal of learning and benefit can emerge just by sticking to the topic and exploring the full depth of experiences inherent in the role situation itself. The numbers of issues, the many levels of awareness, the different types of often conflicting sub-roles, all need to be brought into consciousness. For example, a group of nurses in training might use sociodrama to explore the challenge of dealing with certain kinds of patients.
If the auxiliary isn't playing the role accurately (according to the perception of the protagonist) then this should be corrected or a different person assigned to that auxiliary role. 1). This technique helps those playing the other roles in the enactment to express their feelings more effectively. 1 Soliloquy. The double can be with the protagonist even when there is no specific interpersonal interaction, that is, when enacting a soliloquy. " Doubling for audience. A double may be assigned to help the audience express its feelings, positive or negative, toward the events on the stage or any of the participants in the enactment, including the director.