Term defined by Argentina Psychoanalytic Psychodrama School. When the work carried out on the dreaded scene (Ver) you get to the scene consonant (Ver) instead of deepening these images, within the meaning of “individual psychoanalysis” that takes as scenes or memories concealers; It promotes that each group member to take certain substructures of it to play with them with all the intensity and creativity possible. By these resonances, They are forming new images or scenes that are called mutual-aid precisely resonant Scenes. These enable each member of the group firing the deep elaborative process for restructuring from their own dreaded scenes.

The term is defined in our school by Argentina Psychoanalytic Psychodrama. It is called with this statement the new scene the protagonist act again once the other group played their own scenes from certain portions of the dreaded scene (Ver). At this time the group process the protagonist relives, the play again against their peers.

What had begun as a dreaded scene, through these dramatic sequences will enrolling in the same protagonist and all participating group members differently with greater wealth, winning originality and creativity in these amplifications.

It is the real space and / or virtual where the drama and the scene present in the interiority of the protagonist represents.

Every person carries within itself a “imaginary scenario” in which they pass and recorded the events of his life.

The psychodrama stage recreates these acts by the performance of equity and complementary roles in the “como si” dramatic, contextuando and enriching imagination with the third dimension of space and the fourth, the conventionally agreed time. Hence its importance as one of the five instruments of psychodrama, which some authors also called “yes area as”.

Concept Psychodramatic “stage” It differs from what may involve a mere stage.

this space, even when there develops in the manifest is an event of the everyday hero, always framed what is emerging in a characteristic manner, the mode of “hipócrisis” (law dramatic simulation or fiction). What happens on stage is always happening “like” outside reality and now is represented dramatically.

In this area the interactions of all the roles that are at stake in each scene unfold, es decir, range of roles the protagonist of their own cultural atom (Ver átomo cultural) and complementary, understanding that these roles appear on stage with the features they have in the perceptual social atom (See perceptual social atom) the protagonist except in cases of skit where roles are for those who play in real life played.

The more roles that are always acted repetition of the perceived and imagined reality that originated approaching, the higher the level tele (Ver tele) communication to be established on stage, in the opposite case the transfer level prevail and this is the one exercise its therapeutic action I dramatized. Clearly then the importance of the spatiotemporal response that provides the stage as reinsurance against the constant need for clarification of the gap between fantasy and reality.

It is scenario is instituted as well as locus nascendi, locus which guarantees the anchor for the launch of the protagonist to his universe syncretism (madness) solving the fear of the impossibility of returning to their identity, in which I can count on your observer (I see observer).

The stage thus fulfills functions: a) spatial framework: as the area connoted by convention as space “como si”, wherein the pasteurization and clarifying the level of communication in each role is played allowed, offering him the protagonist assured that in such a space, the commitment is always and only given from the role, thus facilitating the investigation of an entire appearance of the individual, including the unknown of it.

b) time frame: This function complete the stage as a special area where the fanout of all roles played by each protagonist, You can occur simultaneously in the “aquí y ahora” dramatic time and historical patient (its present, biographical past and future). This temporary space delimitation conjunction with operational security offer. Guarantee the possibility of operative time psychodrama return to contract (See psychodrama contract) esto es, the time of the scene that worked as a starting point in each investigation.

c) affective framework: as is the sequence of interactions occurring, the deployment of the affections of the protagonist who burst on stage are shaping a changing climate that will temper both the protagonist and the audience (View audience). Thus the audience functions as a sounding board for emotions that move from what is happening in the emotional context of scenario.

The term is defined in our school of psychoanalytical psychodrama. It is considered via regia for explorations of unresolved family scenes that might disturb the work of a coordinator.

All feared situation in coordination (por ejemplo: the fear of judgment, impotence, the feeling rejected, or the experiences of guilt, etc…) they can be brought to the scene to represent them and work them psicodramáticamente. For this group of coordinators collected for that purpose conform. Not to proceed thus feared situations vibrate by others and even block coordinator, perturbing or impossible instrumental role in the development. It is only possible to disengage from such difficulties, when own personal scenes that always underlie self rinsed and reenact permanently to the group situations posed any coordination.

These research groups, formed by the regular meeting of several coordinators, They allow to work with these professionals fears, esclarecerlos; unraveling their defense mechanisms, to achieve awareness and give them greater personal and professional researchers wealth, plus an instrumental growth and better their roles psychohygiene.

(Ver: traumatic scene, biographical situation, escena nuclear conflictiva, Nodal latent conflict and resisted Role).

It is a set of interactions, feelings and values, structurally gathered in a unity of opposites conflicting.

It is recorded in the memory of the individual unconscious, more or less latently and can be reactualized in certain specific times of vital and tempering. When this happens it can be evoked figuratively.

Usually it appears partially and magical located, mythical and ideologically, in any of the past or biographical time the protagonist prebiográfico.

Traumatic scenes recorded in the subconscious memory of an individual, and all records, They are interrelated, posnémicamente. Por esto mismo, all traumatic emergency is always partial and focal.

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