Psyberspace » Psychodrama

Psychodrama Training for Couple Therapists

Walter — Thu, 05 Jan 2012 08:53:55 +0000

The workshop I will be running for counsellors and therapists this year has gone up on the CITP website. It is run under the auspices of the Psychodrama training institute, and I’m pleased that this workshop I ran for the first time in Blenheim in November has a niche in the psychodrama setting.

I will also be doing a 3 hr workshop at the Brisbane ANZPA Psychodrama Conference this month.

Details of the July Christchurch workshop follow:

Psychodrama Training for Couple Therapists

Institute: Christchurch Institute for Training in Psychodrama

Year: 2012

"… an active form of psychotherapy in which the personal and interpersonal problems … are treated at the same time."

J.L. Moreno, Psychodrama vol 1 p233

At the heart of the family is the couple. Being in the couple relationship is often the most fulfilling and difficult aspect of a person’s life. Deepening your awareness of couple dynamics and learning specific processes will assist you to help people as they grapple with their lives.

This training workshop is for counsellors and psychotherapists. To the fore will be the work developed by J.L. Moreno in encounter, role dynamics and working with the interpsyche. You will develop your ability to:

- be more effective in your work with couples;

- include couple work in your practice if you don’t do that already; and

- strengthen your relational perspective in one-to-one work

What we will cover

Psychodramatic techniques such as doubling, mirroring, role reversal will be taught in such a way they can be used with all couples. We will explore in action the co-conscious and co-unconscious of couples we are currently working with to develop assessment skills.

We will work with what is of interest to members. You can expect to practice, experiment and learn new processes with generous coaching. The following topics will give you an idea of the scope of this workshop.

• Encounter – the relational perspective

• Assessing and using role dynamics in relationships.

• Using action methods with couples

• Structured conscious dialogue

• Your relationship with the relationship

• Transform criticism blaming and shaming

• Going deeper – the relationship as therapy

• Affairs and crisis – creating hope

Training approach

• Brief teaching and hand-outs

• Demonstrations

• Practice and coaching using role play

• Supervision of case work – in action

Hours from this workshop are accredited by the Australian and New Zealand Psychodrama Association, Inc., ANZPA and count towards practitioner certification by that body. Further information may be found on the web site http://www.anzpa.org

Dates: 19 July, 2012 – 21 July, 2012

Training Hours: 18

Leader: Walter Logeman

Location: Christchurch

Venue: Campbell Centre, 44 Bealey Avenue, Christchurch

Times: Thursday 6.30 to 9.00, Friday 9.00 to 5.00, Saturday 9.00 4.00

Workshop Code: CITP-2012E

Fee: $330.00* Enrol by 1 July 2012 * A discount of $50.00 is available to trainees enrolled in Psychodrama Training.

via Psychodrama Training for Couple Therapists | Australian and New Zealand Psychodrama Association Inc.

Co-Unconscious

Walter — Sun, 01 Jan 2012 05:22:26 +0000

The unconscious is a slippery idea by its very nature, if we become gradually more aware of our own dynamics, more conscious then we realise that there was stuff going on unconsciously before. I recall the day, for example, when I realised my mountaineering was associated with escape from social difficulty, originally in the family. Moreno talks of the unconscious all the time, though he belittles the idea occasionally and claims he surpassed it with the notion of warm up.

“The unconscious lives on as a by product of the warming up process.” Who Shall Survive? page liv.

“The antiquated couch was transformed into a multi-dimensional stage, giving space and freedom for spontaneity, freedom for the body and for bodily contact, freedom of movement, action and interaction. Free association was replaced by psychodramatic production and audience participation, by action dynamics and dynamics of the groups and masses.

the couch is in the stage
sexuality is in spontaneity
the unconscious is in the warm up
transference is in the tele

With these changes in the research and therapeutic operation the framework of psychoanalytic concepts, sexuality, unconscious, transference, resistance and sublimation was replaced by a new, psychodramatic and sociodynamic set of concepts, the spontaneity, the warming up process, the tele, the interaction dynamics and the creativity. These three transformations in vehicle, form and concept, however, transcended but did not eliminate the useful part of the psychoanalytic contribution. The couch is still in the stage – which is like a multiple of couches of many dimensions, vertical, horizontal and depth – sexuality is still in spontaneity, the unconscious is still the warming up process, transference is still in the tele; there is one phenomenon, productivity-creativity, for which psychoanalysis has given us no counterpart.” Who Shall Survive? page 120

productivity-creativity

In Psychodrama Volume 1 Moreno is quite happy to use the word unconscious again, especially when seen as co created in what he terms “intimate ensembles”:

See the full quote here

Therapy can make the unconscious conscious. In the same way, in couple therapy the repeating patterns the couple enact are revealed. The formerly unconscious becomes conscious. For example, a classic role description used in Imago therapy is the hailstorm and the turtle. The more one partner storms the more the other hides in their shell. Such dynamics are well understood by therapists but the couple may be totally oblivious to this co-created dynamic. To really see it in action and to reverse that cycle both parties need to be present.

Warm up

Walter — Wed, 28 Dec 2011 00:39:42 +0000

Here is the section on warm up from my paper: The Group and its Protagonist.

The occasion is that I am thinking about warm up in the context of couple therapy, and warm up to dialogue. Following the quote is translation of this section to apply it to couple therapy.

The term warm-up is widely used in psychodramatic circles, sometimes to refer to individuals, and often to a quality of the group as a whole. The latter use may be in reference to the sociometry in the group as well as the roles of the members. I think of warm-up as being the extent to which a person or group is “ready, willing and able” to do a specific task. Moreno defined it as “the operational expression of spontaneity.” (Moreno, 1953, p. 42) Warm-up is relevant to the selection of a protagonist, perhaps more so than an application of any specific sociometric techniques. Moreno is speaking to the audience about the warm-up:

“Another significant aspect is the warm-up. In this session the participants were entirely unprepared, while in other cases they may be warmed-up in advance as to the problem to be worked outâ€¦ Then there is the warm-up which takes place in the first few minutes of the session… The form which the warm-up takes may come from the director or the group itself.”

(Moreno, 1951a in Fox, 1987, p. 177)

Warm-up is also a quality of the group as a collective. The degree to which the group operates with spontaneity is influenced by such things as the purpose and planning that has gone into the event, such factors as the communication prior to the meeting is influential. The warm-up is not simply a given, warm-up can be created by the director. The aim of the current study is to focus on the ways the director may assist in the revelation of the warm-up and name it. An accurate assessment of the current warm-up will assist the ability to influence it.

The term warm-up is useful when working with couples. It is also useful for couples to grasp the idea, as trying to relate with a poor warmup is not fruitful. The term can refer to each of the individuals, and also to the climate they create between them. I think of warm-up as being the extent to which each partner, and how the two of them together are “ready, willing and able” to do a specific task. Moreno defined it as “the operational expression of spontaneity.” (Moreno, 1953, p. 42) Warm-up is relevant to deciding who will initiate a dialogue, who will be the protagonist, bringing their concerns to the fore to further connection.

The term was coined in the context of groups. Moreno is speaking to the audience about the warm-up:

“Another significant aspect is the warm-up. In this session the participants were entirely unprepared, while in other cases they may be warmed-up in advance as to the problem to be worked outâ€¦ Then there is the warm-up which takes place in the first few minutes of the session… The form which the warm-up takes may come from the director or the group itself.”

(Moreno, 1951a in Fox, 1987, p. 177)

The degree to which the couple can operate with spontaneity is influenced by such things as the purpose and planning that has gone into the event, such factors as the communication prior to the meeting is influential. The warm-up is not simply a given, warm-up can be created by the therapist, who can assist in the revelation of the warm-up and name it. An accurate assessment of the current warm-up will assist the ability to influence it.

BIPERSONAL PSYCHODRAMA

Walter — Wed, 09 Nov 2011 07:46:31 +0000

BIPERSONAL PSYCHODRAMA: ITS TECHNIQUES, THERAPISTS, AND CLIENTS
By ROSA CUKIER available here:

Here on Lulu

Soi far I’ve read the first few chapters and she has an excellent description of various perspectives on Psychodrama au deux. (as I prefer to call it. I had a thin blue book with that title, where is that?)

Moreno on God

Walter — Wed, 09 Nov 2011 05:44:45 +0000

YouTube audio

The rest of the audio can be purchased here.

Am I responsible for everything if I’m God?

Partner in its creation

I must have been in the beginning

I created myself

Mirroring

Walter — Sat, 29 Oct 2011 05:38:52 +0000

Mirroring is a word used in both the Psychodrama and Imago modalities. In a classic psychodrama the protagonist returns to the audience and is companioned by the conductor of the drama, who instructs the auxiliary egos to re-enact the scene. This can be done for a variety of reasons. One is to reveal to the protagonist how their actions look from another perspective. Another reason might be at the end of a drama or role training session for the protagonist to see the new development in their being. The mirroring in the Imago sense shares these purposes though the form different.

I’m finding it helpful to think of two mirror positions.

1. Face to face

2. Spectator

Here is a quote from Moreno highlighting the spectator mode.

The technique of the mirror â€˜portraysâ€™ the body image and the unconscious of A at a distance from him so that he can see himself. The portrayal is done by an auxiliary ego, who has made a close study of A. … In the mirror technique the protagonist is a spectator, an onlooker, he looks at the psychological mirror and sees himself. Fig 4(Moreno, J.L., 1959, p. 53).

Here is an example from Peter Kellerman:

“.. Bob presented a scene in which he quarreled with his wife. He stated his case and argued that she did not pay enough attention to him and neglected his needs. A woman in the role of his wife presented the other side of the story, throwing fuel on the already overheated marital conflict. And so it went on in what seemed to be an endless battle of words and accusations. The director used the mirror technique in an effort to break the deadock. He asked Bob to step out of the scene and watch it all from the outside (as if in a mirror), with another man playing the role of himself.

Watching the fight as a spectator, Bob listened carefully to both partners. ” Page 92

Peter Kellerman also gives an example of mirror that is face to face.

“A group member to another: When I meet you, I feel enriched. Because you look at me from another perspective. Page 92

The purpose of mirroring

I can see two broad, slightly different purposes of mirroring.

1. Revelation

2. Validation

The first is so the person can see themselves either from a new perspective or how others see them. The second is to assist the person to have a sense of being seen and understood,and having value.

Both types have an existential quality, the person will get a sense they exist.

Mirroring becomes a very broad category we think of the whole field. As the term is used in all these ways within psychodrama and in other modalities I think it is useful to be able to distinguish the various processes that are called mirroring. Most examples of mirroring would fit into one of the following four combinations of form and purpose.

	Face to face	Spectator
Validation
Revelation

The Group and its Protagonist – Archetypes of Cyberspace

Walter — Fri, 21 Oct 2011 01:15:18 +0000

I completed this psychodrama thesis in 1999 after working on it one way and another since about 1984. One feature of this paper is the discussion about the sociometric matrix, a notion that influences my ideas about cyberspace as well and were at the root of another essay I wrote – Archetypes of Cyberspace

I stumbled across this better pdf version of the The Group and its Protagonist – linked to it on my Writing page.

I’m wonering if there is some way to publish something based on these papers?

The psychodrama technique of the mirror

Walter — Thu, 20 Oct 2011 04:11:50 +0000

Quotes from Moren follow:

The technique of the mirror â€œportraysâ€ the body image and the unconscious of A at a distance from him so that he can see himself. The portrayal is done by an auxiliary ego, who has made a close study of A. The same process of mirroring is also applied to B, the other partner of the pair. A and B can see each other in the mirror of the two auxiliary egos portraying them. In the mirror technique the protagonist is a spectator, an onlooker, he looks at the psychological mirror and sees himself. Psychodrama v. 2 pp. 53-54

Psychodramatic forms of role playing as role reversal, role identification, double and mirror playing, contribute to the mental growth of the individual.
Psychodrama v. 1 p. v Introduction to 3rd Edition

Let us know go to the second technique, which is also so important for the therapist. This is the mirror technique. Youâ€™ve often seen the great experience of children looking into the mirror, infants, you know, and then you hear that surprised laughter, that astounded look! And this is a great experience to them. When the child realized that the picture in the mirror is a mirror of him, that is the turning point in his growth â€” an important turning point in his concept of self.
Moreno, J. L. â€“ â€œPsychodramatic Production Techniquesâ€, p. 245 in Group Psychotherapy, viv, no 4, March, 1952.

Psychodrama is itself a mirror of the audinece members:

We may be credited to have put the psyche itself on the stage. The psyche which originally came from the group â€“ after a process of reconversion on the stage â€“ personified by an actor â€“ returns to the group â€“ in the form of the psychodrama. That which was most starling, new and spectacular to see and to feel on the stage appears to the participants after thorough exposure as a process which is familiar to them and intimately known â€“ as their own selves. The psychodrama confirms their own identity as in a mirror.
Psychodrama v. 1 p. e Introduction to the 4th edition

Here it gets confusing with doubling, though it is still with the protagonist as spectator, and looking at himself. The purpose here though is to help the protagonist express themselves and that is very like the purpose of doubling.

When the patient is unable to represent himself, in word or action, an auxiliary ego is placed on the action portion of the psychodramatic space. The patient or patients remain seated in the group portion. The auxiliary ego re-enacts the patient, copying his behavior and trying to express his feelings in word and movement, showing the patient or patients â€œas if in a mirrorâ€ how other people experience him.
Psychodrama v. 3 pp. 240-241

Moreno’s concept of tele

Walter — Mon, 17 Oct 2011 00:00:18 +0000

A series of quotes follow

The social atom is the nucleus of all individuals toward
whom a person is emotionally related or who are related to him at the same time. It is the smallest nucleus of an emotionally toned inter-personal pattern in the social universe. The social atom reaches as far as oneâ€™s tele reaches other persons. It is therefore also called the tele range of an individual. It has an important operational function in the formation of a society. Psychodrama v. 1 p. 184 (footnote)

The tele-empathy-transference complex undergoes a third realignment of forces; it moves from the stage to the audience, initiating among the audio-egos intensive relations.
Who Shall Survive? p. 86

This one has particular importance for locating the couple as the place for healing:

Throughout all this we cherished the notion that the psychiatrist alone is the healer, that all the therapeutic tele derives from him and nowhere else is so concentrated and effective. However, sociometric studies revealed to me that a great deal of the therapeutic tele is distributed all over th
community and that the question was only to make it effective and to guide it into the proper channels. … The chief psychiatrist had to be put out of action to be removed from the scene; he became an auxiliary ego at a distance. His function reduced itself to deciding who might be the best therapeutic agent to whom, and aid in the picking of these agents. … He had lost all the insignia of all-mightiness, of personal magnetism, and status of counsel. The face-to-face physician had become a physician at a distance. He adjusted his function to the dynamics of a tele world.
Psychodrama v. 1 pp. 242-243

I find the words”interpersonal structures” useful here…

Sociometric investigators have pointed out that the organic isolation of the embryo is continued for a short period after birth until the emergence of the tele starts the first interpersonal structures. But some infants perpetuate the pattern of organic isolation by social isolation.
Psychodrama v. 1 pp. 70-71

This one shows how Moreno equated various psychodrama termms with psychotherapy terms

The psychoanalytic vehicle was the couch. The antiquated couch was transformed into a multi-dimensional stage, giving space and freedom for spontaneity, freedom for the body and for bodily contact, freedom of movement, action and interaction. Free association was replaced by psychodramatic production and audience participation, by action dynamics and dynamics of the groups and masses. With these changes in the research and therapeutic operation the framework of psychoanalytic concepts, sexuality, unconscious, transference, resistance and sublimation was replaced by a new, psychodramatic and sociodynamic set of concepts, the spontaneity, the warming up process, the tele, the interaction dynamics and the creativity. These three transformations in vehicle, form and concept, however, transcended but did not eliminate the useful part of the psychoanalytic contribution. The couch is still in the stage â€“ which is like a multiple of couches of many dimensions, vertical, horizontal and depth â€“ sexuality is still in spontaneity, the unconscious is still the warming up process, transference is still in the tele; there is one phenomenon, productivity-creativity, for which psychoanalysis has given us no counterpart.
Who Shall Survive? pp. 119-120

This quote is useful to grasp tele and projection:

On the social plane we have isolated the factor tele which is
able to give the direction which the expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate between projection and what can be called â€œretrojectionâ€. Projection is usually defined as â€œthrowing upon others persons oneâ€™s ideas and assuming that they are objective, although they have a subjective origin.â€ Retrojection is drawing and receiving from other persons (it can be extended to all the dimensions and subsidiaries) their ideas and feelings, either to find identity with oneâ€™s own (confirmation) or to add strength to the self (expansion).
The organization of the self within the individual organism begins early in life. It is universal phenomenon and observable in every individual. In certain individuals the power of retrojection is enormously developed. We call them geniuses and heroes. If a man of genius knows what the people or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele process, not by projection. They assimilate with enormous ease the experience others have, not only by drawing it from the people but because others are eager to communicate their feelings to them. They recognize these experiences as similar or identical with their own and integrate them into their self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 8-9

as is this one:

Transference is the development of fantasies (unconscious)
which the patient projects upon the therapist, surrounding him with a certain glamour. But there is another process which takes place in the patient, in the part of his ego which is not carried away by autosuggestion. It sizes up the therapist and estimates intuitively what kind of a man he is. These feelings into the immediate behavior of the therapist â€“ physical, mental, or otherwise â€“ are tele relations.
Psychodrama v. 1 p. xi Introduction to 3rd edition

On the social plane we have isolated the factor tele which is able to give the direction which the expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate between projection and what can be called â€œretrojectionâ€. Projection is usually defined as â€œthrowing upon others persons oneâ€™s ideas and assuming that they are objective, although they have a subjective origin.â€ Retrojection is drawing and receiving from other persons (it can be extended to all the dimensions and subsidiaries) their ideas and feelings, either to find identity with oneâ€™s own (confirmation) or to add strength to the self (expansion).

The organization of the self within the individual organism begins early in life. It is universal phenomenon and observable in every individual. In certain individuals the power of retrojection is enormously developed. We call them geniuses and heroes. If a man of genius knows what the people or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele process, not by projection. They assimilate with enormous ease the experience others have, not only by drawing it from the people but because others are eager to communicate their feelings to them. They recognize these experiences as similar or identical with their own and integrate them into their self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 8-9

The following helps me to consider the tele structure more like a landscape, not good or bad but just the way it is.

38. Students are warned not to think that being isolated or unchosen is a â€œbadâ€ situation, or being much chosen is in itself a â€œgoodâ€ situation. Such thinking might lead to a â€œsociometric astrologyâ€. Sociometric findings are clues and guides for further investigation, they are not like the fixed position of a peck order. There are voluntary isolates whose air of determined withdrawal may instantly kill the tele towards them in the mind of their partners. They do not choose and they tell you by their manner or even overtly: â€œDo not choose me, I prefer to be aloneâ€. Furthermore, do not assume that the total structure of a group is â€œgoodâ€ or â€œbadâ€ because its cohesion is high of low. It often depends upon the criterion around which the group is formed.
… The study of involuntary isolates or unchosen ones who make choices but whose choices persistently remain unreciprocated suggests that they suffer from states of anxiety and insecurity. They frequently do not have the spontaneity to respond adequately to a situation in which they find themselves unwanted. Their anxiety rises and when they try again and again unsuccessfully, their anxiety rises further; their tele perception is often not sensitive to differentiate clearly the individuals who choose them from those who do not.
Who Shall Survive? p. 712

Marriage and family therapy for instance, has to be so conducted that the â€œ…â€ of the entire group is re-enacted so that all their tele-relations, their co-conscious and co-unconscious states are brought to life.
Psychodrama v. 1 p. vii Introduction to 3rd edition

(personality) can be defined as a function of g (genes), s (spontaneity), t (tele), and e (environment).
Psychodrama v. 1 p. 52 (footnote)

The following point to how roles are not positive or negative but the tele between them is.

In the course of this triangle study it was observed that a role
required by one person may be absent in his or her partner in a close relationship and that the absence of a role can have serious consequences for a relationship. As a general rule, a role can be (1) rudimentarily developed, normally developed, or over- developed (positive tele); a role can be (2) almost or totally absent in a person (indifference); and a role can be (3) perverted into a hostile function (negative tele). A role in any of the above categories can also be classified from the point of view of its development in time: (a) it was never present; (b) it is present towards one person but not present towards another; (c) it was once present towards a person bur is now extinguished. Psychodrama v. 1 pp. 333-334

â€œThe socio-gravitational factor which operates between individuals, drawing them to form more positive or negative pair-relations, triangles, quadrangles, polygons, etc., than on chance, I have called â€˜teleâ€™ â€“ derived from the Greek, the meaning is â€˜farâ€™ or â€˜distantâ€™.
Psychodrama v. 1 p. 84

Even if one day the feeling complex, tele, should yield to
physical measurement, from a sociometric point of view this feeling complex is separated only artificially from a larger whole: it is a part of the smallest living unit of social matter we can comprehend, the social atom.
Who Shall Survive? p. 317

The following shows how tele relates to cyberspace

Tele is two-way empathy, like a telephone it has two ends.* We are used to the notion that feelings emerge within the individual organism and that they become attached more strongly or more weakly to persons or things in the immediate environment.
… The hypothesis that feelings, emotions or ideas can â€œleaveâ€ or â€œenterâ€ the organism appeared inconsistent with this concept. … If these feelings, emotions and ideas â€œleaveâ€ the organism, where then can they reside?
Who Shall Survive? p. 53

â€œTele does not operate equally throughout the totality of an individualâ€™s social atom, but consists of an horizon in which awareness is great, level of choice expenditure high, and perception of inter-relationships accurate; and an unstructured region, marked by tentative and token choices to which reciprocation is hit-or-miss.
Who Shall Survive? p. 326

The tele factor must, in its earliest form, be undifferentiated, a matrix or identity tele; gradually, a tele for objects separates itself from a tele for persons. A positive tele separates itself from a negative tele, and a tele for real objects from a tele of imagined objects.
Psychodrama v. 1 p. 68

A social atom is thus composed of numerous tele structures; social atoms are again parts of still a larger pattern, the sociometric networks which bind or separate large groups of individuals due to their tele relationships. Sociometric networks are parts of a still larger unit, the sociometric geography of a community. A community is again part of the largest configuration, the sociometric totality of human society itself. Who Shall Survive? p. 54

Social and cultural atom

Walter — Sun, 16 Oct 2011 22:39:52 +0000

The pattern of role relations around an individual as their focus is called his cultural atom. Every individual, just as he has a set of friends and a set of enemies, – a social atom â€“ also has a range of roles facing a range of counter-roles.
Psychodrama v. 1 p. 84

The interpsyche occurs then when the role cluster of a couple is particularly intertwined. Love. Upon investigation I imagine there would be a particular quality to the role relationships. The tele would be strong at least in some areas. The tele with the roles passed though the original social atom of each party would be strong. The mutual and positive/negative matches would outweigh the neutral?

This is a psychodramatic look at what Harville Hendrix calls the Imago. Sociometrically it can be explored in great depth.

More moreno quotes follow on the cultural atom

The use here of the word â€œatomâ€ can be justified if we consider a cultural atom as the smallest functional unit within a cultural pattern. The adjective â€œculturalâ€ can be justified when we consider roles and relationships between roles as the most significant development within any specific culture (regardless of what definition is given to culture by any school of thought). Psychodrama v. 1 p. 345

The focal pattern of role-relations around an individual is called his cultural atom. We are here coining a new term, â€œcultural atomâ€, since we know of no other which expressed this peculiar phenomenon of role relationships. Obviously, the term is selected as an analogue to the term â€œsocial atomâ€. The use of
the word â€œatomâ€ here can be justified if we consider a cultural atom as the smallest functional unit within a cultural pattern. The adjective â€œculturalâ€ can be justified when we consider roles and relationships between roles as the most significant development within any specific culture. The socio-atomic organization of a group cannot be separated from its cultural-atomic organization. The social and cultural atoms are manifestations of the same social reality.
Who Shall Survive? p. 70

The following quote sheds some light on how strong the cultural aspect is in the cultural atp

The auxiliary egos are actors who represent absentee persons as they appear in the private world of the patient. The best auxiliary egos are former patients, who have made at least a temporary recovery and professional therapeutic egos who come from a sociocultural environment similar to the patientâ€™s. if there is a choice, â€œnativeâ€ auxiliary egos are preferable to professional egos, however, well trained the latter may be.
Psychodrama v. 1 p. xvii Introduction to 4th edition

Sociodrama is introducing a new approach to anthropological and cultural problems, methods of deep action and of experimental verification. The concept underlying this approach is the recognition that man is a role-player, that every individual is characterized by a certain range of roles which dominate his behavior, and that every culture is characterized by a certain set of roles which it imposes with a varying degree o success upon its membership.
Psychodrama v. 1 pp. 354-355