Psychoses can be treated by means of the psychodraina, but questions have been raised as to just how this treatment can be accomplished and what effect the psychodramatic treatment has upon the psychotic and his disorder. Freud distinguished between those mental disorders in which a transference from the patient to the physician can take place and those of such narcissistic character that no transference is possible. He declared persistently that psychoanalytic treatment can be applied only to patients who can produce a transference to the analyst. Consequently, as soon as he discovered that a patient was suffering from a schizophrenia or similar narcissistic disorder, he declined to treat the patient further stating that psychoanalytic treatment would do no good. The psychodrama actually functions as a milieu which will reflect that patient’s psychosis in such a way and on such a level that he can see his psychotic experiences objectified.
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The patient, Martin Stone, earne to Beacon for treatment, at times together with his wife, once a week during the summer of 1941. Two days after his second treatment session this dream took place. Its psychodramatic production was recorded by means of a recorder, and an observer in the audience recorded the actions and interactions between the dream characters. The objective of psychodramatic techniques is to stir up the dreamer to produce the dream instead of analyzing it for him. The first stage of the production was the dream which Martin actually had on the reality level on a specific date; then Martin was unconsciously his own producer. The stage of production was in the mind of the sleeper; the dreamer hallucinates all his auxiliary egos and auxiliary objects. The second stage of production takes place in a theatre of psychodrama; it is here that therapy beings.
The problems of industry are not merely those of machines, of technological processes, or of scientific engineering. An industrial conflict of various sorts is to be found merely in the definition of the dichotomous interests. The problem is one of human relationships the focus of attention must be on interpersonal relationships. It is for this reason that sociometry, which has grown out of clinical practice on human relationships, is so well adapted to needs of the scientists and clinicians working in the industrial situation. The interest in human relationships in industry on a large scale is rather recent. While economists wrote on the problem generations ago, while industrial psychologists have claimed a discipline for a generation, and while sociologists have been interested in group structure for half a century, the focus of attention by many disciplines in any concerted way has come about only in the last seventeen years.
This book presents the best and most important writings of J. L. Moreno in one concise and accessible place. This unique collection explores Moreno’s thought in developing psychodrama and sociometry, with his strong emphasis on spontaneity and creativity. The book discusses both basic and advanced concepts and techniques of psychodramatic treatment. Jonathan Fox introduces the book with a brief overview of Moreno’s life and ideas and places him in the context of his time and in the field of psychotherapy. Fox’s notes throughout underscore significant aspects of the selections for the practitioner and student. The essence of sociometry lies in the idea that groups have an internal life of their own and that this life can best be understood by examining the choices members make at any given moment with regard to each other. The book consists entirely of protocols that show Moreno at work directing psychodrama and sododrama, and contains autobiographical fragments. One of the basic instruments in constructing a patient’s psychodramatic world is that of the auxiliary ego, which is the representation of absentee individuals, delusions, hallucinations, symbols, ideals, animals, and objects. The psychodramatic method uses mainly five instruments—the stage, the subject or actor, the director, the staff of therapeutic aides or auxiliary egos, and the audience. All group methods have in common the need for a frame of reference for assessing the validity of their findings and applications. Spontaneity is often erroneously thought of as being more closely allied to emotion and actions than to thought and rest. The sociometric test is an instrument which examines social structures through the measurement of the attractions and repulsions which take place between the individuals within a group.
This chapter illustrates how the psychodramatist uses action techniques for diagnosis. It also discusses three techniques which are used today in psychodramatic work: the double technique, the mirror technique, and the reversal technique. These techniques in psychodrama can be significantly compared to three stages in the development of the infant: the stage of identity; the stage of the recognition of the self; stage of the recognition of the other. The double is a trained person, trained to produce the same patterns of activity, the same patterns of feeling, the same patterns of thought, the same patterns of verbal communication which the patient produces. Identification presupposes that there is an established self trying to find identity with another established self. Now, identification cannot take place until long after the child is grown and has developed an ability to separate itself, to set itself apart from another person.
Sociometry, a relatively new science developed gradually since the World War of 1914-1918, aims to determine objectively the basic structure of human societies. The field work of sociometry was started with small sections of human society, spontaneous groupings of people, groups of individuals at different age levels, groups of one sex, groups of both sexes, institutional and industrial communities. From the point of view of a descriptive sociometry, the social atom is a fact, not a concept, just as in anatomy the blood vessel system, for instance, is first of all a descriptive fact It attained conceptual significance as soon as the study of the development of social atoms suggested that they have an important function in the formation of human society. The introduction of sociornetric procedure, even to a very small community, is an extremely delicate psychological problem.
The sociometric test requires an individual to choose his associates for any group of which he is or might become a member. The sociometric test is an instrument which examines social structures through the measurement of the attractions and repulsions which take place between the individuals within a group. In the area of interpersonal relations people often use more narrow designations, as “choice” and “rejection". Sociometry in communities and the psychodrama in experimental situations make a deliberate attempt to bring the subjects into an experimental state which will make them sensitive to the realization of their own experiences and action patterns. This conditioning of the subjects for a more total knowledge of their social situation is accomplished by means of the processes of warming up and by learning to summon the degree of spontaneity necessary for a given situation.
This chapter discusses psychodrama to sociometry. The psychodramatic method uses mainly five instruments the stage, the subject or actor, the director, the staff of therapeutic aides or auxiliary egos, and the audience. Reality and fantasy are not in conflict, but both are functions within a wider sphere the psychodramatic world of objects, persons, and events. Delusions and hallucinations are given flesh and an equality of status with normal sensory perceptions. The architectural design of the stage is made in accord with operational requirements. The locus of a psychodrama, if necessary, may be designated anywhere, wherever the subjects are, the field of battle, the classroom, or the private home, but the ultimate resolution of deep mental conflicts requires an objective setting, the psychodramatic theatre. The psychodramatic approach deals with personal problems principally and aims at personal catharsis; the sociodramatic approach deals with social problems and aims at social catharsis.
Psychodrama projects actual processes, situations, roles, and conflicts into an experimental milieu, the therapeutic theatre a milieu which can be as broad as the wings of imagination can make it, yet inclusive of every particle of our real worlds. Applied to the marriage problem, it opens up new vistas for research and treatment. By far the most conspicuous marriage conflict brought to the attention of the psychodrarnatic consultant is the triangle, or better, the psychological triangle of husband, wife, and a third party, man or woman. The training of an auxiliary ego, especially in marriage problems, is of great importance. The auxiliary ego must learn to detach himself entirely from anything in his own private life which might bias him toward one or the other of the marriage partners. Elaborate spontaneity training may be necessary before his own private conflicts cease to affect his function as an auxiliary in marriage problems.
This chapter provides general introduction to Moreno’s ideas, designed for the newcomer to the field. The objective of psychodrama was, from its inception, to construct a therapeutic setting which uses life as a model, to integrate into it all the modalities of living, beginning with the universals time, space, reality, and cosmos down to all the details and nuances of life. Man lives in time past, present, and future. He may suffer from a pathology rekted to each. The problem is how to integrate all three dimensions into significant therapeutic operations. It is not sufficient that they figure as “abstract” references; they must be made alive within treatment modalities. The psychological aspect of time must reappear in toto. Freud, an exponent of genetic psychology and psychobiology, found going back and trying to find the causes of things of particular interest.