El “como si”, is the universe trying to point to the reality through the imaginary represented dramatically. This abbreviation means “as if reality that only it happens on the stage of psychodrama”. With this it is emphasized that, what is transpiring in the “como si”, follow the laws of “Hipócresis” (see hipócresis). What happens “as if it were happening in reality” only it takes place on the stage of psychodrama. This scenario is the place that provides for controlled performance, therapy, restructuring and Integrative what happens there “como si” were reality.
It is a substep, guided methodologically, with the closing of each session begins, all dramatic procedure. It was introduced by Zerka Moreno classically, who he called sharing. At the end of the skit and before starting to comments, the signs or to interpretations, the time given to group members not staged, share with the protagonists or their own experiences;, the roles and scenes that everyone mobilized and reactivates in line with what happened in the dramatic setting. It's a time that allows for expression, mainly affective, group box resonance. At the end of this first substep comment (see comment), the group is in a better position to capitalize on operational interventions therapists.
The technique allows dramatic realization lead to corporatization and spatiality that provides the psychodrama stage, what it is in the imagination of the protagonist. Thus a symptom, A thought, etc. acquires concrete shape to be played psicodramáticamente and guides the search and link role in conflict. Through body language of identity matrix (Ver matriz de identidad) a pain, a gesture, an attitude, transmit a signal that, though slight, It is distinguished from the totality of what is being dramatizing. this signal (See dramatic key) to be perceived by the protagonist, the principal or group becomes a sign of dark meaning that the technique of dramatic realization decode leading the symbolic level, understood by all roles and relationships that were hidden and disguised to imaginary level.
They are all those figures that emerge from sociometric study of a group and express personal location, and attachment relationships of each and every one of the group members. It highlights, en el sociograma, through reading mutuals (see mutuality), resulting from sociometric test applied and shall relate exclusively to sociometric criterion chosen. (See sociometric test and sociometric criterion). These settings may give among others the following figures: isolated; dyads or couples; cadenas; triads or triangles; squares; stars; círculos; socioides; etc.
The starting point of any dramatic action is always a conflict. If there is no conflict there will never be dramatic action and if there is no dramatic action may not be dramatic representation. The dramatic conflict must be treated as an antagonism put into action. A dramatic conflict, por lo tanto, always implies an opposition, como punto de partida, between the objective of the protagonist and antagonist target. Here are some examples. The act of kissing two actors on stage, from a dramatic point of view it is not strictly an action, It is in any case a dramatic resolution. In this event there is no dramatic conflict. If the protagonist instead aims to satisfy his desire to kiss and antagonist expresses its intention to prevent or refuse the kiss, yes there, there is a dramatic conflict. If the protagonist is tired and needs to sit, your goal is to reach the chair (the chair will in that case the deuteragonist, es decir, the item or person exercising the role seconder and complete its goal). When the protagonist has sat, everything is resolved and ends in dramatic pose a conclusion or resolution. Conversely, if the chair Animisa in his role and antagonistic mind eludes, opposing the intention of the protagonist, dropping it on the floor with the consequent confusion, we see again that the dramatic action reopens. This reopening of the action is because the unit remains intact conflicting opposites that inescapably lead to the protagonist and his opponent a new attempt or antagonistic interaction deuteragónica always tend towards some resolution mode, pero, for the drama that resolution will only continue as a trend. When it performed, something has concluded. With these examples is totally clear that conflicts, during the dramatic action, They should be kept as antagonisms act, developing in time and space in the dramatic and permanently transforming. The dramatic conflict then, from your starting point, It continues to develop as a unit of permanent opposites. That antagonism act always involves the extension in time of the initial opposition intact or transformed, but always present. This extension will also determine constant changes in the clashes of conflicting roles, developing the dramatic conflict. The set of this development is called dramatic action (See dramatic action).