The concept of medial understanding was the forerunner of what I call today co-conscious and co-unconscious states. Such a technique of reciprocal comprehension and “interpersonal memory” seemed to make possible astonishing matrimonial psychodramas, husband and wife reaching back into their first encounter and reliving, often with astonishing detail, all their moments of love and suffering, their silent tragedies and their moments of great decision
Just how to produce such dramas remains somewhat obscure to me. Will experiment – and research!
The quote above is from this article by JL “Interpersonal Therapy and Co-Unconscious States, A Progress Report in Psychodramatic Theory” originally from: Group Psychotherapy, 14 (3-4), 234-241 (Sept-Dec., 1961) See PDF below.
Here is a quote from Moreno that has major implications for how we conduct psychodrama in groups or with individuals when they want to work on significant relationships and the other party is not present.
And the other question that flows on from this piece of wisdom from JL is how to do “re-enactment a deux”. The phrase ‘psychodrama a deux’ when I have heard it come up has referred to doing psychodramatic psychotherapy with an individual. This is different. Couple therapy using psychodramatic processes is something that some of us have well developed. What about working with a couple when both are present in a psychodrama group?
I have been exploring that question in practice.
What about when someone does a drama involving an intimate other who is not there?
What if a couple are in crisis? Do we recommend they attend a psychodrama group?
These are questions I will be addressing in a workshop at the AANZPA conference in Brisbane in January. ‘Addressing’ here means exploring in action with colleagues.
Marriage and family therapy for instance, has to be so conducted that the “interpsyche” of the entire group is re-enacted so that all their tele-relations, their co-conscious and co-unconscious states are brought to life. Co-conscious and co-unconscious states are by definition such states which the partners have experienced and produced jointly and which can therefore be only jointly reproduced or re-enacted. A co-conscious or a co-unconscious state can not be the property of one individual only. It is always a common property and cannot be reproduced but by a combined effort. If a re-enactment of such co-conscious or co-unconscious state is desired or necessary, that re-enactment has to take place with the help of all partners involved in the episode. The logical method of such re-enactment a deux is psychodrama. However great a genius of perception one partner of the ensemble might have, he or she can not produce that episode alone because they have in common their co-conscious and co-unconscious states which are the matrix from which they drew their inspiration and knowledge.
Psychodrama Volume 1, 4th edition, page vii
Later — Friday, 22 December, 2017
Just noticed this quote fro Marshall Rosenberg:
It may be most difficult to empathize with those we are closest to.
This is my summary of what Moreno means by the social atom. In psychotherapy that “atom” or pattern is the client. When two of these “patterns” connect in love, then a lifelong process can follow. Maybe it is true love at first sight? Unlikely, love is blind. One possibility is to move from blind love to deep mature connection. The other possibility is hell. A third is lifeless boredom.
Psychodrama is a form of therapy. Jacob Levi Moreno founded the the early forms of the philosophy and practice in Vienna early in the last century. On page one of his seminal book: “Who Shall Survive?” he wrote about a therapeutic procedure.
Clearly a therapeutic procedure that has as its objective the whole of humankind stands out as a special case of psychotherapy. Psychodrama is a special case… Continue reading “What is Psychodrama?”
Thought it might be fun to offer the protagonists in The Dolls House couple therapy.
Later Monday, 23 April, 2018
I’ve read nearly every item in the book and liked them a lot. One thing that struck me was how much creative writing talk relates to psychodrama directing. I’d recommend any director of drama to read the book. Probably would work for painters or musicians as well.
“The truth is that the more intimately you know someone, the more clearly you’ll see their flaws. That’s just the way it is. This is why marriages fail, why children are abandoned, why friendships don’t last. You might think you love someone until you see the way they act when they’re out of money or under pressure or hungry, for goodness’ sake. Love is something different. Love is choosing to serve someone and be with someone in spite of their filthy heart. Love is patient and kind, love is deliberate. Love is hard. Love is pain and sacrifice, it’s seeing the darkness in another person and defying the impulse to jump ship.”
This is an internet thing, everyone quotes it. Attributed to The Great Kamryn whoever she is. Famous it seems for this one quote. Or is there more to it? Maybe in some library of physical docs?
“We cannot live for ourselves alone. Our lives are connected by a thousand invisible threads, and along these sympathetic fibers, our actions run as causes and return to us as results.”
The space between is invisible – we can only talk about it in metaphor e.g. “broken heart”, “bound together”, “muddy path” and here as “sympathetic fibers”. Not only do we use metaphor, we can use images and symbold – rings, hearts. And in psychodrama we have the simple act of concretisation: place people or objects at a distance to show where they are in your life. Distance becomes visible and conveys meaning.
All humanity is thrown into a tangled bloody heap from which no nation can extricate itself on its own. Though there are more and less advanced countries, this war has bound them all together by so many threads that escape from this tangle for any single country acting on its own is inconceivable.
Community-Based Research: Creating Evidence-Based Practice for Health and Social Change
Marcia Hills, R.N., Ph.D.
Jennifer Mullett, Ph.D.
Community Health Promotion Coalition
University of Victoria
Victoria, BC, Canada
Paper presented at the Qualitative Evidence-based Practice Conference, Coventry University, May 15-17 2000.
Evidence-based practice usually refers to gathering quantitative data upon which to base decisions about what constitutes effective or efficient practice or what is sometimes referred to as “best practices”. The authors argue that, when gathering evidence about practice concerning people in communities which is often the case in the health sector, different evidence is needed and, consequently, different methodologies and methods for collecting that evidence must be used. In this context, the notion of basing practice on evidence raises the question “what do we accept as evidence upon which to base our practices that involve people in communities?”