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Psychodrama is an action method, often used as a psychotherapy, in which clients use spontaneous dramatization, role playing and dramatic self-presentation to investigate and gain insight into their lives.〔(【引用サイトリンク】url=http://oxforddictionaries.com/definition/psychodrama )〕 Developed by Jacob L. Moreno, M.D. (1889–1974) psychodrama includes elements of theater, often conducted on a stage where props can be used. By closely recreating real-life situations, and acting them out in the present, clients have the opportunity to evaluate their behavior and more deeply understand a particular situation in their lives. Psychodrama may be used in a variety of clinical and community-based settings, and is most often utilized in a group scenario, in which each person in the group can become therapeutic agents for one another's scenes. Psychodrama is not, however, a form of group therapy, and is instead an individual psychotherapy that is executed from within a group. A psychodrama is best conducted and produced by a person trained in the method, called a psychodrama director.〔Pio-Abreu, Jose Luis and Villares-Oliveira, Christina. (2007) How Does Psychodrama Work? In B. Clark, J. Burmeister, and M. Maciel, "Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X〕 In a session of psychodrama, one client of the group becomes the protagonist, and focuses on a particular situation to enact on stage. A variety of scenes may be enacted, depicting, for example, memories of specific happenings in the client's past, unfinished situations, inner dramas, fantasies, dreams, preparations for future risk-taking situations, or unrehearsed expressions of mental state in the here and now.〔 These scenes either approximate real-life situations or are externalizations of inner mental processes. Other members of the group may become auxiliaries, and support the protagonist by playing other significant roles in the scene.〔 A core tenet of psychodrama is Moreno's theory of "spontaneity-creativity".〔Schact, Michael. Sponteneity-creativity: the psychodramatic concept of change. In B. Clark, J. Burmeister, and M. Maciel, "Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X〕 Moreno believed that the best way for an individual to respond creatively to a situation is through spontaneity, that is, through a readiness to improvise and respond in the moment.〔Blatner, Adam and Cukier, Rosa. Moreno's Basic Concepts. In B. Clark, J. Burmeister, and M. Maciel, "Psychodrama: Advances in Theory and Practice." Taylor and Frances: USA. ISBN 0-415-41914-X〕 By encouraging an individual to address a problem in a creative way, reacting spontaneously and based on impulse, they may begin to discover new solutions to problems in their lives and learn new roles they can inhabit within it.〔 Moreno's focus on spontaneous action within the psychodrama was developed in his Theatre of Spontaneity, which he directed in Vienna in the early 1920s. Disenchanted with the stagnancy he observed in scripted theatre, he found himself interested in the spontaneity required in improvisational work. He founded an improvisational troupe in the 1920s. This work in the theatre impacted the development of his psychodramatic theory.〔 ==Methods== In psychodrama, participants explore internal conflicts by acting out their emotions and interpersonal interactions on stage. A psychodrama session (typically 90 minutes to 2 hours) focuses principally on a single participant, known as the ''protagonist''.〔Yablonsky p. 8.〕 Protagonists examine their relationships by interacting with the other actors and the leader, known as the ''director''. This is done using specific techniques, including mirroring, doubling, soliloquy, and role reversal. The session is often broken up into three phases - the warm-up, the action, and the post-discussion.〔Yablonsky, p. 13.〕 During a typical psychodrama session, a number of clients gather together. One of these clients is chosen by the group as the protagonist, and the director calls on the other clients to assist the protagonist's "performance," either by portraying other characters, or by utilizing mirroring, doubling, or role reversal. The clients act out a number of scenes in order to allow the protagonist to work through certain scenarios.〔Yablonsky, pp. 8-11.〕 This is obviously beneficial for the protagonist, but also is helpful to the other group members, allowing them to assume the role of another person and apply that experience to their own life. The focus during the session is on the acting out of different scenarios, rather than simply talking through them. All of the different elements of the session (stage, props, lighting, etc.) are used to heighten the reality of the scene.〔Yablonsky, p. 12.〕 The three sections of a typical session are the warm-up, the action, and the sharing. During the warm-up, the actors are encouraged to enter into a state of mind where they can be present in and aware of the current moment and are free to be creative. This is done through the use of different games and activities. Next, the action section of the psychodrama session is the time in which the actual scenes themselves take place. Finally, in the post-discussion, the different actors are able to comment on the action and share their empathy and experiences with the protagonist of the scene.〔Yablonsky, p. 13.〕 Mirroring is an important technique in psychodrama. In mirroring, the protagonist is first asked to act out an experience. After this, the client steps out of the scene and watch as another actor steps into their role and portrays the client. Afterwards, the client is asked to comment on the action and/or reenter the scene.〔Baim, Burmeister, and Maciel, Pg. 83-84〕 Doubling is another psychodramatic technique, The job of the “double” is to make conscious any thoughts or feelings that another person is unable to express whether it is because of shyness, guilt, inhibition, politeness, fear, anger, etc…. In many cases the person is unaware of these thoughts or at least is unable to form the words to express how they are feeling. Therefore the “Double” attempts to make conscious and give form to the unconscious and/or under expressed material. The person being doubled has the full right to disown any of the “Double’s” statements and to correct them as necessary. In this way, doubling itself can never be wrong. Role playing is another method, in which the client portrays a person or object that is problematic to him or her. In soliloquy, another technique, the client speaks his or her thoughts aloud in order to build self-knowledge. Finally, role reversal is a technique in which a client is asked to portray another person while a second actor portrays the client in the particular scene. This not only prompts the client to think as the other person, but also has some of the benefits of mirroring, as the client sees him- or herself as portrayed by the second actor.〔Baim, Burmeister, and Maciel, Pg. 129-132〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Psychodrama」の詳細全文を読む スポンサード リンク
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