We often say that use both psychological and theatrical techniques. And it is because we together have a lot of experience of theatre work.
Ruslan Kotenko is the first education — Director of drama theatre, and I was a participant and co-author of projects of theatre studios in which Ruslan was the art Director, since 2008. But the experience says little about its application in psychological work, so we decided to talk about it.
In psychology there are two main areas, directly using theatrical methods psychodrama and dramatherapy.
Psychodrama is a method of group psychotherapy, created by Jacob Moreno in the early 20s of the 20th century. Its essence lies in the use of dramatic improvisation for the study of the inner world of the participants. Now apply to your individual psychodrama (monodrama), but the essence remains the same: to use playback real and imaginary situations to expand the repertoire of behavior and attitudes of people.
Aromaterapija is one of the directions of art therapy (sometimes called theatrotherapy). Is the use of the creative process for realizing the potential of its participants, releasing of emotion, of expression of thoughts and States of the player. Unlike psychodrama, she is more focused not on social and behavioral correction, and the release of poorly perceived or uncontrolled conditions. Dramatherapy is much less structured than psychodrama, and maybe more like a theatre than psychodrama.
Both of these areas are close to us and interesting. However, we want to tell you about one less obvious but no less important tool of the theater, which we most use in our psychological working - both individual and group.
K. S. Stanislavsky, creating his famous development system of acting, trying to solve one of the most important tasks of psychological theatre: how to create a living emotion experience? The theatre is a really big problem: when the text is not yours, not your clothes, the scenery, the conditional, the partners are also playing themselves, how to believe and experience the emotion of the character as their own? For Freud coined an excellent word: "monkey". Emotion it is impossible to construct - it can only be the lure. this task of mancow that puts first teacher, the Director, and then the actor himself: the lure of a real experience.
it would Seem, what does this have to do with theatre work? As it turns out, the most direct. Although our clients tell real stories from their lives, often they do not allow yourself to experience. They can even talk about emotions, to explain their reasons, but ... not to feel anything.
One of our roles as psychologists is to help people to establish contact with yourself, and then allow yourself to feel, react to life events, become more real. And here we helps incredibly theatrical experience.
Working with clients on the psychological session is very similar to the work with the actor in the role. How to help a person to see the hypocrisy? How to suggest a more sincere line of thought, meaning and feeling? How to hold live emotional outbursts after a long period of silence? How to protect this process so that people are not afraid to be real?
We worked a lot ourselves at the theater area, helped others, and now that psychological work took us the first place we often return to this experience of the creative process. Because the main secret is that there there are no ready answers: every time you have like re-inventing the fact that last time as if it was already found.
This and other my notes published in Facebook page: https://vk.com/psyhodesign
!
