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role reversal
Role reversal is one of the psychodrama techniques that demonstrate a protagonist’s intrapersonal conflicts deeply and explicitly on the stage.〔Moreno, J.L. (1993) Who Shall Survive? Student edition, American Society of Group Psychotherapy, and Psychodrama, MeLean, VA. pp.55〕 This technique is perhaps the single most important and effective technique in psychodrama.〔Greenberg, Ira A. (1974) Psychodrama: theory and Therapy, New York: Behavioral Publications. pp.21〕〔Gershoni, Jacob (2003) Psychodrama in the 21st Century: Clinical and Educational Applications, New York: Springer. pp.112〕 In psychodrama, the protagonist is invited to move out of his own position or role into the significant other’s position and enact that role.〔Moreno, J.L. (1952) Psychodramatic Production Techniques. Group Psychotherapy, Psychodrama & Sociometry. (4):273-303. pp.275〕 Therefore, the auxiliary ego can observe and learn how to play the role. For example, in a parents-children session, a protagonist who is the child reverses role with one of his or her parents. This technique not only helps the protagonist get more insight of a specific role but also helps the director, the auxiliary egos, and the audience learn more about that specific role.
==Theory==
Psychodrama has three important techniques: the technique of doubling, the technique of mirroring, and the technique of role reversal. Each technique represents different stages in Moreno’s theory of the development of the infant: the stage of identity (the stage of doubling), the stage of the recognition of the self (the stage of mirroring), and the stage of the recognition of the other (the stage of role reversal).〔Moreno, J.L. (1952) Psychodramatic Production Techniques. Group Psychotherapy, Psychodrama & Sociometry. (4):273-303. pp.273〕 Role reversal requires that one has learned to differentiate in the areas of time, place and person, and is capable of moving out of his own position into another’s position to be able to enact that other role 〔Karp, Marcia, Holmes, Paul, and Tauvon, Kate Bradshaw (1998) The Handbook of Psychodrama, New York: Routledge. pp.41〕
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