That term. coined by Sergio Perazzo, It refers to the various ways in which the transfer is evidence, either through speech, through a body posture, a movement, a defense mechanism or a symptom, both stages of warming (specific or unspecific), As in the dramatization. The recognition of these equivalents can link them together like links in a chain that follow the course of the transfer from the stage of unspecific warming, or the first scene dramatization, or any intermediate stage, until the scene in which the reparative action is given (see reparative action).


essential structure of dramatization.

It was studied since antiquity, Several authors, to address and understand the theatrical phenomenon and its work. In this art they are recognized as parts of the act, of a play.

All play, according to dramatic discipline (see dramatic) It is divided into acts and these, at the same time, in performing units (see scenes). The latter are distinguished taking into account certain units of interaction between the same characters (See dramatic action and dramatic act).

Moreno from the scene acquired new dimensions and new possibilities for use in the human sciences (psychotherapy, the sociotherapy, the dramatic institutional, training roles, etc.). For this, many authors have focused their study (See dreaded scene, escena nuclear conflictiva, multiplication scenes, missing scene) from convergent epistemological reference.

Similarly as Moreno, from the scene and interactions that take place in it, he began to develop his theory of roles, in our various authors made under study. Carlos María Martínez Bouquet, especially, he left it to define its line of personal reflection, extremely rich for psychodrama task, It distinguishes his school and called, precisely: Theory Scene (Ver).

this author, in their work defines the scene as “the essential product of dramatization and dramatic act”.

From the point of view of their “Theory Scene”, They can be described two plays deep structures hinged together, but clearly differential, both theoretical and instrumentally; the latter through the application of method described in the call “Proceso de la Escena” (Ver).

We can, well, to describe:

I) the scene as it appears, that is a manifest level, fraught with ellipses and concealments, approved the discursive level of the patient's associations in psychoanalytic psychotherapies. It is called: Overt or dramatization scene itself. Clearly it can be spontaneous or provoked, inside or outside the therapeutic area.

II) associated with the first, the author describes another scene; founding of her previous, behind which is concealed and through which expresses, Latent or scene that called Imaginary Scene. This is a describable structure in the imaginary level (see “Metabolism Meanings”) comprising, according to Martinez Bouquet of a number of imaginary characters, including a complex communication system and consistent way back is set to: afectos, impulsos, deseos, etc., which they constitute the so-called: Tensión Dramática (Ver “Imaginary characters).


The term is defined in our school by Argentina Psychoanalytic Psychodrama (Eduardo Pavlovsky, Hernán Kesselman, Luis Fryd Lewky refers to the scene found when working with “dreaded scenes” (Ver) in research groups. When searching from what is feared will start emerging in the lead, historical aspects of family life. These structures can also be reached through partnerships, soliloquios, introspection exercises.


Concept Enrique E. Rodriguez Tosto who textually says: “Next to each scene happened, there was a large area of ​​possible scenes that for some reason did not happen”.

“Many of which, perhaps fortunately, They were not played, but within these areas there are other smaller, composed scenes, to not have happened, create a difficulty, a limitation, a lack of repertoire in the life of that person; that far from help on something, impoverish the, take away plasticity and ability to create and play”. These scenes are missing scenes.


The controversial nuclear scene is the dramatic figure that translates into work every time (following the thread of an inappropriate role, the irresuelto, the protagonist, during development of a program Psychodramatic) It is patentiza (on the stage) just a moment, a space and an action that set a scene interpellations, which it is the counterpart of the original situation in which it emerged and stamped (por primera vez) so the role, which it is being investigated dramatically.

The scene represents nuclear conflict, the intimate myth of the protagonist, experienced by him in the sense of a traumatic scene, located in his biographical past.

At the time of the traumatic scene one or more, opposite dramatic units, They remained in conflict, no possibility of resolution; because both natural yoauxiliares as the protagonist, They failed in the interplay link. From that date, by acts of repression or denial, a particular role is stamped, in one pole, as a reactive behavior, or braking.

It is at the stage where these conflicts become conscious and restructuring seeks, para volver finalmente, the first scene which broke the dramatic investigation.

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