(Hebrew “jasid”: pious).
It is a mystical Jewish movement, emerged in Poland and founded by Israel Baal Shem Tou (The Lord of the Good Name). It was a simple man, who he tried to restore faith and hope to the Jews disillusioned by the false Messiah, killings and poverty. He did not write one book to explain his philosophy, which it has come to us through the writings of his disciples.
Hasidism is heir to the doctrines of the Kabbalah but it was and is an esoteric philosophy, locked in a maze of symbols theoretical and analytical, intended for elite, transforms it into a popular message understood by the masses using simple language, based on stories and parables. Hasidism has roots, Likewise, in Practice Kabbalah Ari, The Saint, but it neutralized the messianic element, converting each “jasid” (pious) in their own Messiah. Hasidism returns every Jew with all the weight of their own responsibility, the vision of a creative life, with meaningfulness.
Hasidism rescues divine immanence, God is in everything as presence just have to discover. The categories that reveal the divinity are: la alegría, joy and enthusiasm, hence the importance given to Hasidic dance and song incorporating the liturgy, He is arguing that the body is as important as the soul to relate to the Creator. Clearly, these categories and modes of action are integrated into the psychodrama methodology.
The category of enthusiasm makes each initiate a partner of God in the ongoing task of recreation and redemption of the world. All service must be performed not only at the individual level, but above all in the Community.
The initiate must act in your community to make its members hold, consuelen, participate and believe, in the common task helping each other.
In the early nineteenth century there was a Hasidic revival among Jews and movement is widespread in Europe, but the second half of the century saw its influence wane. Now in a vigorous movement spread throughout Europe and through migration in America.
From the studies that faced Martin Buber (see M.Buber), the current began to be analyzed and renewal. These studies had a profound impact on the young Moreno who was touched by the Hasidic vision. Their conceptions are deeply imbued with the spirit Hasidic as stated in the belief of divine immanence.
The two features that Moreno gives the image of God are spontaneity and creativity. (“Father's Words”). His proposal is to erase the distance between God and man undertaking the search of divinity and direct communication. Moreno takes the Hasidic idea that God dwells in all things. The proposed path is the communication with the other, el encuentro, and personal exchange through dialogue man acquires fullness and may even reverse roles with God.
This idea of the encounter between a YoTú set in the dialogue is also central theme of religious humanist conception of M.Buber.
The need for this constant search of communication with itself, with others and with God, es, para Moreno, which can lead man to the ways of growth, salvation and transcendence.
For further deepening of this subject, see “Chassidic veins in the psychodrama of Moreno” the Cesar Tip.
It is the dramatic procedure, scheduled by the method of the role theory, for learning and structuring a role. It can be used for the training of a professional role or any social role they want optimized.
Use the same tools and the same techniques as the other dramatic procedures (Not. psychodrama y sociodrama). Contexts and stages are also the same, even if used with certain specific differences. Role games, director, should take care to focus on the role dramatizations that work is contractually with their complementary roles (doctor-patient, por ejemplo) avoiding any material that exceeds these direct relations of complementarity of social roles in play. It works with freedom, espontaneidad, creatividad y responsabilidad, by taking the apprentice, first, the complementary role, you already know (to structure the role of the doctor begins with the patient, surely, ever be played). Then, poco a poco, by role reversal, the apprentice is placed on the role that should structure. We proceed from the first assumptions of the role, take the spontaneous free play of the same, to finally achieve their suitability, with good levels of creativity. The auditorium is used instrumentally, I advertise observational work, from the looks of the different roles played on stage.
Moreno outlined a comparison of techniques:
I) Give your subject a preset paper (as it is done in theater).
II) Have you take the subject a socially structured role and preset (ej. judge, maestro, lecturer, etc.).
III) Give the subject a little structured role that it develops from his “Status nascendi” (Ver).
IV) Place several subjects simultaneously in the same role, against the same situation.
V) Place different subjects in the same role, against the same role against, dramatize making on.
WE) Placing a subject against one yoauxiliar, distinct and different in increasingly complex situations.
Como se ve, These techniques aim to overcome the difficulties and fears that the roles and unfamiliar situations entornantes, promote.
The dramatic procedure “role games” aimed precisely at resolving the difficulties that normally raises all unknown role. This procedure is also very useful to diagnose “roles resistidos” (See role weathered), the roles held back, the severed unable or roles, pero “role games”, as procedure, finds, precisely the limit here. To work more deeply with these resistances, brakes and anchors, it is necessary to resort to psychodrama and sociodrama, procedures anclantes reaching the roots of traumatic scenes (Ver) and latent nodal conflicts. (Ver).