The psychodrama technique of the mirror

Quotes from Moren follow:

The technique of the mirror “portrays” 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. You’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 — an important turning point in his concept of self.
Moreno, J. L. – “Psychodramatic Production Techniques”, 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 – after a process of reconversion on the stage – personified by an actor – returns to the group – 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 – 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 “as if in a mirror” how other people experience him.
Psychodrama v. 3 pp. 240-241

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