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Auteurs, thespians, and emotions. Except it’s all truly heartfelt. Psychodrama!

Auteurs, thespians, and emotions. Except it’s all truly heartfelt. Psychodrama!

Written by an anonymous contributor

I am a self-confessed introvert. And I’m also an addict.

I was recently cajoled into attending a Psychodrama session. I’d heard things about it – years earlier, my then significant other lauded the raw emotional exploration her sessions afforded her. I encouraged her, it was good for her. Personally though, I found the idea of a group session’s ability to evoke genuine emotion alien. It was the antithesis of who I was.

I had never enjoyed group sessions. I hated them. The introvert in me screamed (silently) in indignation at being forced into a room with my peers, lorded over by therapists who would extol the heaven-sent power of vulnerability, hanging it over the heads of us sullen detainees. They would espouse connectedness with others, openness. To me, these were just unattainable states of being that I could never actualise. The years wore on, and I plodded along, entwined with my precious, thorny, addictions. Prison, pricey rehabs abroad. I took care to never bring my real self along to the banal group therapies – I merely presented them with an alter-ego. Faking it to get along. Or “faking it to make it”, in the parlance of addicts like myself who would say or do anything to achieve a discharge.

I was living an entirely unremarkable life, losing friends and embarrassing myself.

Then, I experienced a seismic shift in circumstances. To represent it as merely ‘mandated’ would be to deny gravity to what had happened. I had run afoul of the law again, and paid my penance with a 9 month long “drug rehab”. I got out, and three months later I was a year clean. Still, I wasn’t happy. I had done no soul searching, nor had I even begun to scratch the surface of my addiction, always lurking in the shadows. Of course, a large part of my reticence towards accepting sincere nudges in the direction of help could be attributed to personal and moral failings. But why was I the person that I was? That’s when I decided to attend a psychodrama workshop at the urgings of my boss, a sweet girl whose genuine concern had initially confounded me. Why did I acquiesce? To understand myself, I guess. So, I went in with an open mind.

Psychodrama is about exploring internal conflicts, by acting out emotions and interpersonal interactions. I wasn’t inclined to be the center of attention just yet, so I left other enthusiastic participants to play the protagonists. The director, a bubbly personality whose sharp wit was tempered by insightful, genuine empathy, herded a roomful of clueless attendees with a deft hand, schooling us in psychodrama’s basic concepts. I made myself small in the corner and watched as our director doubled volunteers, acting out scenes from their lives, giving voice to their unconscious. Revelatory perspicacity was the order of these moments. I watched as they were mirrored, experiencing themselves from the outside, drawing from a nonjudgmental pool of collective consciousness. I watched as roles reversed – mothers became their daughters, and wives their husbands. All of them seemed edified, comforted, even. Misty eyes and rivulet strewn faces, sighing into closures when none previously seemed possible. There was a woman pained by a frightful trauma, her repressed malefaction she seemed so sure she had committed driving her to seek expiation from whom had ceased to be able to give her any. From the outside looking in, I was sure her wound was self-inflicted – we all knew this, but one’s own guilt is deeply personal, often insidious. As her situation percolated in my mind, so did my own guilt. I hadn’t wept when I learned of my father’s and sister’s departures, I hadn’t wept at their funerals, I hadn’t wept at their memorials. I hadn’t needed to, because I had my addiction. Now, without the pernicious warmth of substances, these losses became some therapeutic cynosure of a starting point. I had begun to understand myself, through others. The cynic in me finally realised why, across addiction recovery literature, syllabuses are almost invariably characterised by the motif of benefits accrued by group therapy. I think it owes something to the collective experience of humanity, that no matter your guilt or your shame, there are people out there who have lived congruent experiences. It may seem cloying and mawkish for me to say that no-one is truly alone, but it’s true.

You just have to look in the right places.

 

 

A Play in Psychodrama

A Play in Psychodrama

As I mentioned in my first article, the phrase,”reverse roles” was very much what I heard at my first psychodrama workshop. As this was uttered by the group leader, two people on the stage switched places and began playing the opposite role. 

 “This is it! “, I thought as I began to think of how I could use it in my work. Get people to reverse roles and voila! Well I was sorely mistaken those many years ago. As I began to explore this fascinating form of group work I discovered several techniques that are used in Psychodrama. Here are two key techniques used and an example of how I used them. 

Role Reversal

Here the Protagonist says a few words in the role of a particular ‘character’ or entity in their drama. The Auxiliary then says these lines to the Protagonist who is in the complimentary role. 

Concretization

In this technique, objects and people are used to represent the scenario the Protagonist wishes to explore.

A Drama using Role Reversal and Concretization

Ken is aged 19, and has a serious problem with drugs and alcohol which he has managed to stop, after going to the alcohol treatment centre. He had just come out of drug rehab in the United Kingdom and was brought to my practice by his concerned father. His father had tried very hard to help him over the years and has now brought Ken to us at Promises. Ken is worried about going out for dinner with his Father and a family Friend, whom we shall call Andy, because he might be tempted to drink again.

I encourage him to enact a scene at dinner with his father and Andy, playing out what he expects to happen. He sets out the chairs and chooses two people in the group to be his Father and Andy. As he greets the two older men rather lethargically, his shoulders slouch and he speaks in a flat voice.

Reversing roles, Ken now plays the part of Andy. He perks up now, smiling and full of energy. ‘Andy’ says, “The last time I saw you Ken, you were a small boy. My how you’ve grown!” Playing the role of his tempter, he urges Ken to “have a drink now as a real man” holding a glass towards him.

Back to being himself after another role reversal Ken’s face reddens and he clenches his fists in agitation.  He speaks to me as the Director, saying that he is afraid he might have a relapse. I immediately ask him to take on the role of his father.

As his father, he sits with his arms crossed and says through clenched teeth, “It’s okay, you don’t have to drink. I don’t want to cause a relapse.” As himself, Ken is at a loss for words. I ask the other audience members to do some modeling and try different responses in the role of Ken as he watches.

Ken cheers up as he sees the other group members rising to the occasion. Everyone is animated as they get a chance to act the part and try to tell Andy off. There is much laughter and hilarity as people do and say whatever they think might work. A sort of role training session is underway.

Ken is noticeably inspired by the group and he chooses one response. He stands tall with a cheeky smile and says to Andy, “I’m not drinking today, and I wonder why you are so determined to force alcohol on me!”  In role reversal as Andy, he changes the subject and backs down, no longer the magnanimous host. The drama ends. Ken is no longer a deflated doomsday worry wart. Instead he is positive about going out for dinner and knows what he can do later that night at dinner. The group has come to his aid and I once again marvel at the magic of Psychodrama.

In future articles, I shall illustrate more psychodrama techniques with dramas I have directed. It continues to be a privilege to be allowed into the lives of group members and I am continually amazed at the transformations that happen.

Written by Sharmini Winslow, Therapist.

At Promises Healthcare, we are committed to helping you through your journey to recovery. Discover a new life and find renewed hope. If you or someone you know needs mental health support, please contact our clinic for inquiries and consultations.

What is Psychodrama?

What is Psychodrama?

This is a series of article about the Action Method of Psychodrama by Sharmini Winslow.

“Reverse roles!”, the group leader shouted, and two people switched roles on stage and began enacting the opposite part. I was in the middle of my first Psychodrama workshop and all seemed chaotic and yet pleasantly therapeutic. What was going on? My desire to explore psychodrama had brought me here to a large room with a group leader and several very friendly people. Soon I was learning the ropes and I tried to make sense of things. 7 years later, I am still held captive by the magic of psychodrama.

Often people ask me,”what is Psychodrama?”, and I ask if they have 10 minutes to listen. It is a therapeutic action method that usually is done in groups. So here is a short description that will suffice for now.

Psychodrama, is the brainchild of Dr J.L. Moreno. It comes from two words, Psycho and drama. Psycho (not like in the movie where someone slashes you in the shower with a knife), is derived from the word ‘psyche’ which means the mental or psychological structure of a person. Drama refers to the enactment or action that happens in the session.

There are 5 instruments in Psychodrama

  • The Director

In the group, the therapist or group leader takes on this role and keeps the action flowing and gives structure to what evolves on the stage.

  • The Stage

This can be any space set aside for the enactments to occur. In a group, the stage is the space apart from where group members are seated. Moreno built a stage in New York specifically for psychodrama which had the audience seated at a different level. I had the privilege of directing a drama on the original stage.

  • The Audience

These are the group members who are not involved in the drama but who act as witnesses and can respond to the action on stage as a normal audience would, often yelling encouragement to the protagonist.

  • The Protagonist

This is the person who represents the main concerns of the group. Usually chosen by the group, the Protagonist gets to put into action a concern, a challenge or an event that they would like to have turned out differently. In psychodrama, past, future and present can coexist in the Here and Now.

  • The Auxiliary

The Auxiliary or sometimes called the Auxiliary Ego is the group member chosen to be a certain element or person in the drama, for example the protagonist’s Sister or maybe their addiction.

Each session has a warm up, an enactment phase and time for sharing. In the sharing segment, group members get to share something about their own lives that is connected to the drama.

So in Psychodrama the protagonist’s inner world gets “‘concretized” or made real, and the Director helps the Protagonist explore and work spontaneously to create new ways of being that are more helpful in living with whatever challenge was enacted. New perspectives are discovered; insights and conclusions made that bring healing and newness. The Protagonist and group members experience the wonder of being spontaneous and are positively energized!

*Psychodrama is used in group sessions run by Sharmini as part of her practice at Promises.

Written by Sharmini Winslow, Therapist.

At Promises Healthcare, we are committed to helping you through your journey to recovery. Discover a new life and find renewed hope.  Please contact our clinic today if you or someone you know needs mental health support.

Sociodrama and Story in Childrens Groups

Sociodrama and Story in Childrens Groups

We are very excited to be presenting a sociodrama workshop for working with children run by Rebecca Walters from the Hudson Valley Psychodrama Institute. 

Sociodrama is a natural, powerful and playful method for helping children develop problem solving skills and try out new behaviors and roles. It helps children
learn how to self-regulate and develop impulse control as well as to safely and appropriately express strong feelings.Sociodrama Psychodrama Rebecca Walters Singapore Buy Tickets

Click for full details on our Psychodrama Singapore site.

Sociodrama Psychodrama Children Rebecca Walters Promises Healthcare

Sociodrama & Story in Childrens Groups

Click on the poster above or click here to visit www.psychodramasingapore.org

Sociodrama Psychodrama Rebecca Walters Singapore Buy Tickets

The Wonder of Spontaneity

The Wonder of Spontaneity

For those of us who experience life as monotonous and rather soul-sucking there’s good news!

Through accessing your spontaneity and creativity you can feel ALIVE.

Our psychodrama and sociodrama workshops assist the return of playfulness and fun.

One of the participants, Geralidine, commented “In my first workshop, I didn’t know what was going on, but the positive energy drew me in and soon I was participating in a positive way, I lead workshops today to help others find their inner visionary self-lover. This theatre of spontaneity is both rejuvenating and healing”

To find out more about upcoming Psychodrama workshops, please contact our clinic.

Written by: Sharmini Winslow – Therapist, Promise Healthcare