Psychodrama Session

the audience there a product of there environment and giving his emotional response to the

IRTC spoke with assigned CPS, Leslie Johns, who reported that she made a visit to case address and she was able to observe one subject child who was free of visible injuries. CPS stated that the alleged subject was arrested due to concerns regarding another adult. CPS added that she tried meeting with the other children but the parents of three of the children are not retuning her call and another parent had to confer with her husband before make a decision regarding a visit. At this time, this case will to be enhanced to an IRT.

So you understand what is happening in there head, you know what they are thinking. It has multiple points of view, and has multiple narrators.

In the performing stage group members have become aware of the others members' needs. The root of their issues is addressed and the work of solving their problems begins. Performing stage is the stage where you can see group cohesion at its best. Towards the end of the movie Claire gives Allison a makeover. This is a point where the mask of weirdness and rebelliousness has been wiped away, and Allison’s true beauty is noticed by everyone, especially herself.

Not only did it help to aid in giving the viewer an idea of the setting of the play, but also aided in the over feel and mood of the production.

The Quiet Room: A Journey Out of the Torment of Madness is an insightful book which revolves around Lori Schiller, who at age 17 started her downward spiral into psychosis induced by schizophrenia, and subsequently recovering enough by her early thirties to regain control over her life. The book is a culmination of Lori’s experiences and those close to her during her treatment. In her note to the reader, Lori explains that the variation of ‘voices’ in the book is to give an accurate recollection of her life since her illness and subsequent treatment distorted her memories. Lori and her family’s experiences progress in a mostly linear progression from before the schizophrenia appeared with her slowly loosing independence as the schizophrenia began to reign out of control. The experiences in the book revolve around mental hospitals, healthcare workers, as well as societal stigmas from both her family and acquaintances that Lori and her family encountered about mental illnesses.

Once actors can find some direction or purpose (objective or super objective) then it is easier, according to Stanislavski, to immerse themselves in the character. He noted

Following the publication of Freud’s ‘Papers on Technique’ between 1912 and 1917, there have been papers and symposia on the subject. Four symposia in 1937, 1948, 1958, and 1961 were devoted to the examination of therapeutic results of psychoanalysis, the mechanisms behind its curative factors, variations in technique and the ego-psychological approach to interpretations (Rosenfeld, 1972, 454). In 1934, James Strachey published his paper on “The Nature of the Therapeutic Action of Psychoanalysis,” which has since been considered one of the most seminal works on the subject. He holds that his paper is “not a practical discussion upon psychoanalytic technique,” and that “it’s immediate bearings are theoretical” (Strachey, 1934, 127). However, as Herbert Rosenfeld points out in his 1972 critical appreciation of Strachey’s paper, “this is clearly an understatement; the paper both challenges one’s clinical experience and has important clinical implications even though actual case material is not quoted” (Rosenfeld, 1972, 454). It would not be difficult to summarize Strachey’s main points regarding therapeutic action and mutative interpretation, and it would prove similarly sterile to simply compare his ideas with the views of other psychoanalysts, contemporaneous and contemporary. Instead, as Strachey concerns himself primarily with the structural nature of mutative change, this paper will aim to delineate a more in-depth exploration of the way different structures of the

Through psychoanalytic theory, the mind likes to play a lot of games on the victim such as dreams of reality, poems and riddles of the past, and isolation creating the best and worst out of them. Upon the first novel, dreams take control of the mind to unleash the most inner desire. An

By having Everyman interact with these conceptualized characters, the author externalizes his inner conflict. Perhaps this technique seems too obvious or almost condescending to our more literate age, but whatever the case, it effectively conveys the central message of the play.

experience and the world presented are emphasized in the audience's mind in order to remove

In his book, The Presentation of Self in Everyday Life, Goffman (1959) focuses on the self as a staged production in which people actively present themselves to different audiences one encounters. To bolster his conceptualization, Goffman used an interesting metaphor of “all the world’s a stage” (1959, 254). This, he terms as a “dramaturgical approach” (Goffman 1959, 240) in which an actor puts on a show for others; drawing analogies between human behaviors and the theater. Goffman (1959) likens the individual to an actor on stage performing for and with other individuals involved in the situation. Three types of space exist for the actor to perform on, to enact the self, and to interact with others: the front stage, the backstage, the outer region. Goffman (1959) utilizes specific dramaturgical terms such as performance, teams, front and back regions, sign-vehicles, and highlights the process of dramatic realization. These terms will be discussed in the following sections.

Kelley (1996) reported that after the therapist has a full understanding of the problem the deconstruction phase moves on to its second stage. The therapist and the client begin working together to break down the prevailing story in order to map the influence the problem is having on the client's life (Kelley, 1996). Mapping the effect of the problem is particularly important because it lays the foundation of the new story line (Monk, Winslade, Crocket & Epston, 1997). According to Monk, Winslade, Crocket & Epston (1997) typically when the effect of the problem is discussed with the client they begin to feel as if their story has been heard. They

In acting or with guided imagery, transference in part, is communication between entities. Hagen (1991) emphasized the importance of imagination and application of transferences with the character. An actor increases their ability to be open to other actors because of a sensitivity of transference; creating a meaning in a story. An actor’s training can expose him or her to multiple realities which may enable one to gain greater awareness while in a guided imagery experience.

On the other hand, by being an anonymous observer a degree of spontaneity could be achieved. Moreover Tanner and Turney (2000, p344) argue that “the absence of active participation can give the practitioner the opportunity to think about and digest what is both seen and felt”. Although I was not actively participating I did feel emotionally engaged during the observation. There were times during the observation in which the girl’s body language did not match what was being said. In one occasion, the male asked her where she was going to which she replied: “I am going to meet a friend at the pub”. From an observer perspective she looked uncomfortable, her body moving away from the male while fiddling with her mobile. At that point the male persistent questioning made me feel uneasy too. I understood the complexity of Schon’s (cited in Briggs 1999, p148-149) idea of reflection in action (“being able to reflect during practice encounters”) taking into consideration the range of factors, such as thought and emotions, involved in the process of observation.