When a “unity of opposites” It is electroplated in crisis link, but also in group interaction Chaldean, the emergence of roles, colliding with each other, promoting “value judgments” against each other, surge “the conflict”. Don Quixote and Sancho Panza represent paradigmatically one “pair of opposed”; but this unit conflict only when Sancho, the pragmatic, He thinks and feels his partner as an absurd idealist, which prevents their vital desire. Meanwhile Don Quixote to Sancho thinks and feels like a “panzón crawling”, which slows their ideals and aborts their projects. But this conflict, nothing more than the epiphenomenon, on the conscious level, another deeper. call “nodal” this vibrant and profound crossroads, which it is usually galvanized wishes, blame, unconscious fears and panics that bind overt behaviors. We call this deep level latent conflict link, because it is the conditions and promotes emerging epiphenomenon and we have to address to understand and desanudarlos. This concept of latent conflict Nodal is useful to operate in sociodrama. The procedure aims sociodramatic, precisely, relational mitigate conflicts by understanding the juxtapositions of passions that flare. For what, in a group, Nodal deeply move a latent conflict, en una situación determinada, I should have reenacted in a large portion of the group affective constellation, personal traumatic scenes, technically engaged with each other. Each time one of the three basic fears of man: 1 ) the fear of chaos and order, 2 ) fear of look and to not look, 3 ) fear of finitude and the infinity; They are heated in the level of fear or panic, it will emerge conflict, on the surface. But what is the true nodal galvanizing latent root of the manifest conflict. Why, In the first case, fear has heated up in the fear of madness ; In a second, in fear of “what they will say”, the trial, punishment and exile; and the third, the fear of death. In the conflict, between Quixote and Sancho Panza, who served us an example, haughtily move these three fears, with all its insecurities and the multiplicity of corresponding scenes. “Realize” It is the first step to begin to relativize and temper, both poignancy, the link.
Moreno expression used to describe the crystallization of a creative action on a product that will become part of the cultural heritage of a given society (in a book, a movie, a sculpture, a frame, etc.). It is the cultural matrix, scientific, technological, artistic, linguistics, etc. in which the creative idea is deposited to be preserved. It involves a long process of spontaneous creation and development of the time of commencement of the action and continues until the product acquires the final form in which will be broadcast as a cultural preserves. A cultural preserves, as concrete and unchangeable act, you can promote turn in those who receive a new process of creative spontaneity that generates a new product which will be again a cultural preserves and so on indefinitely. The culture of a society is made up of the sum of these cultural preserves that make up the flow that ensures its survival and will appeal to educate its members. Static behavior patterns but fail the realization of a product, can be considered liable preserved cultural be modified in individual evolution. A role is a cultural preserved until the time when an individual does own and develops according to their particular process espontáneocreativo.
In any dramatic procedure must be methodologically distinguish three contexts: I) social, II) the group, III) the dramatic. In the first interactions of social roles and the speech of the people who make up the group as a society are mobilized. In this sense it represents everything that happens (micro) entornante to society. In the group context, en cambio, interactions and the specific discourse of the small community group mobilize, with its particular history, the peculiar vicissitudes of the process, the deployment of the manifest and the latent, communications and noises (with different levels of depth) their transfers and their ghostly projections. The dramatic context finally, It is the one that usually develops on stage (also known as “area like”) precisely covered by the timelessness of the symbolic and the imaginary. The latter is the context in which they can be deployed (controlled and therapeutically) the interaction of all roles and dramatic concretization of all personal fantasmática, ancestral and archetypal, for processing and integrative restructuring. As the communication attempt in the social context refers (in the manifest), public discourse, in the group context further deployment of private speech is allowed; but it is the dramatic context which favors more intimate speech pronunciation.
All role is an interpersonal experience. Against role is therefore that antagonistic or opposing role deuteragónico, seconder or other appropriate. The expression “complementary role” It is often used as synonymous with role. Winner, defeated, amoesclavo, padrehijo, etc. are examples of roles or complementary roles against.
Psychodrama is a sub-step of heating specific (See specific warm). It is an intentional agreement on what is to investigate dramatically, as well as: where, when and how the scene is planned. Front of the group, the director and the protagonist, thus choose a principle of research plan and dramatic. The contract may refer to the exploration of a first scene or a role, as well as research of a symptom, (etc.). The contract usually ends at the “dramatic preparation” de la “first scene”. (See dramatic preparation). In sense, more general, also it called “contract” the intentional commitment, explicit or implicit that any dramatic coordinator should keep your group during scanning (stay in the chosen explanatory procedure, por ejemplo, not be of “Games Role” or a “Sociodrama” yet “psychodrama”; not out of the research proposed in each procedure). It is proper “contract” also care “contexts” (see contexts), of the “levels” (see levels) and “stages” (see steps), process where appropriate, not to produce contaminations.