El término “imaginación activa” fue acuñado por Carl Gustav Jung en su etapa madura, but it was practiced by him (with himself, with his disciples and their patients) from the beginning of their therapeutic practices, para promover la expresión, research and awareness materials (complex, dreams, imagos and archetypal forces) which often emerge from the collective unconscious. These procedures he (Finally) denominados “imaginación activa” They appeal to put into action the symbolic function of man, their deepest potential and their creative abilities. Jung began using this (rigorous and methodologically), everything I had on hand: writing, the story, the poetry, expression through drawing and painting, wood carving and stone, body movement, rhythm, music and dance; appealing to all arts dipping its roots in the thinking man mágicomítico (nuestro pensar más arcaico y profundo). He also used gardening, and our journey through the forest, the row by the lake, the challenge of reaching the tops of the mountains and climbing its rocks, to work digging the earth with their own hands and work, stone by stone, construction of the tower in Bollingen. Active imagination, enriched today by those who continue in this line, effect seeks to discover the profound human contradictions to go trying to integrate. It promotes a symbolic search process and awareness, which it is set in motion from one of the deepest yearnings of man (so authentic, so deep, as essential and as basic as the desire to love and be loved, the power of authorship, as well as the nurturing); I mean the desire to excel, integration, religiosity and transcendence. For all of these potential desires are not degraded (within our) structuring in possessiveness, hatred, rancor, prejudices, desire for destruction, thirst for power, hunger for possession, fanaticism and fundamentalism, detenimientos, malogros, paralysis and / or other immoderations, it is necessary (first) recognition of our own contradictions and (from there) the atraverse to cross one's shadow). La psicología analítica denomina a este proceso de búsqueda: the way to the Self This journey to the Self only achieved in interconnectedness (with himself, with others, with nature and the world). Work “imaginación activa” promote these achievements and these relational encounters. The reader, knower of psychodrama and moreniano ideario, you may have noticed the profound analogy between the concept of symbolic achievements, catharsis integration (v) and I find, between the Self search and development of Being creator. For all this we can infer how the ideology moreniano was deeply understood by those who already shared the Jungian thought, and we learned to value (too early) therapeutic procedures and genius of James Levy Moreno. His dramatic procedures (teatro de la espontaneidad, juegos del rol, axiodrama, psicodrama, sociodrama) and modern developments of drama and Arterapia, They are considered today, by analytical psychology and anthropology analíticosintética, Notable enrichments of active imagination (v: psychodrama analytical).


Moreno called this way at the time of dramatic spontaneity test which begins to assign certain assumptions and situations participants group that is working. From such slogans members must then dramatize improvising. Scenes and roles played in each dramatization are then observed during the time of comments, taking into account the qualities and degrees of spontaneity achieved in the dramatic development (see spontaneity).

The term impromptu first used in the ancient Roman theater.

The parties related to agricultural activity were, also in Rome and other cultures, the germ of theatrical phenomenon which then flourished in the polis so hard to get to give authors of the caliber of Plautus and Terence. The Roman world with its warlike prevalently features, She had a great fondness for the show of circus struggles.

Sin embargo, Roman peasants kept in their oral traditions the substrate and the treasures of which had once been italics cultures preromanas. los etruscos, eminently agricultural origin in their culture had achieved great wealth in the festive events. His mágicomíticos rituals related to wonder at the constant rhythm of the seasons and their propitiatory liturgies for the miracles of fertility and fecundity had reached very refined forms.

In a felisca city of southern Etruria, the Romans remembered the name of Fescennia, ritual celebrations culminating in large floral games took place in spring time. Roman peasants, much more rustic, also celebrated agricultural festivals, full of vitality, but vulgar.

In these settlers and their family, during certain breaks in the era of task, They gathered in open spaces surrounded by fascinus or vegetable fascinum branches that were considered effective antidotes hexes and pests.

According to descriptions by Horace and Virgil, in his cited by C.Marchesi “the history of Latin literature” Ed. G.Principato, Milan, 1947, this holiday season is the earth goddess propitiated with the sacrifice of a pig, the god Silvano offering milk and admonitory genius of the brevity of human life, flowers and wine.

These community meetings, necessary for the rest of the peasants bodies very demanded in the tasks and for the solace of souls excited by the enthusiasm and competitiveness in agricultural tasks set, They emerged the fascenninas, denomination that may be due to the city of Fescennia or the fascinum, what is not known for sure. The strong character, and rough archetype of the Roman peasant creativity permeates start fascenninas causing these snide and licentious songs at once, which began to intertwine and tried counterpoints to finally lead to real contrasts between opposing subgroups that were made jokes singing and reciting obscenities and insults at each other.

These oppositions were gradually encouraging dramatically, Virgilio describes these early settlers, with hideous masks of hollowed bark, retrucándose each other in elementary verses and dialogues full of malice and impudence. They gave rise to primitive Roman theater.

Las dramatizaciones fascenninas, improvisations, Free on very general assumptions and conditions agreed in advance, Impromptu were denominas. Only much later in the fascenninas he began to be introduced satire which already owned topics, preset scenes and dialogues which required then, performance by professional actors, a step very important to what later would lead to the Roman theater.

the impromptu, for dramatic improvisations reappears again in the western theater of the Middle Ages, in the liturgical drama. It was used there especially for side scenes that were filling the sacred drama.

When the liturgical drama finally began to break down and it came off the secular theater, the impromptu and improvisations based on this stagecraft acquired a boom again.

The theatrical miracle of Italian Commedia dell'arte was one of the evolved forms of secular dramatic improvisation arose subsequent decomposition of medieval liturgical drama.

En la Commedia dell'arte, the impromptu took the form of a esque scenes, capo made by comic actors to improvise from it.

Moreno introduced the concept and the term impromptu in his theater of spontaneity and finally destined for the name of the first test of dramatic spontaneity as discussed at the beginning.


It is a process and a psychodrama technique. It is done by giving the protagonist the slogan of performing on stage roles in certain imaginary situations fantasized, he couple are apparently different from the roles usually recognized as own.

It should be stressed that when these working assumptions are given the protagonist tries whenever possible to exclude from the scene any real event of his own personal life and tries, por lo tanto, only represent situations that seem far removed from their own experience.

Improvisation in psychodrama is a very useful technique to be applied in diagnosis as activity test. This procedure explores the development of spontaneity and its pathologies.


The theory of the idea of ​​the unconscious roles does not arise in the topical sense, nor does it take into account economic or dynamic principles of psychic energy as were conceived by Freud from thermodynamic model.

When Moreno in his writings refuting the unconscious, It must take into account that it was denying only continent category space or psychic apparatus, or simply being.

As part of the third generation of researchers in the psyche, Moreno was not only imbued as it was Freud, conceptions of intentionality (Ver) introduced in psychology by Brentano, but also he knew the further development of phenomenology and knew of modern developments in epistemology and mathematical theories of Fantappié on equations syntropy. also he knew the latest findings of quantum physics that give empirical validity today, even in the field of natural sciences, to new theories from Dilthey and Bergson they reordered theoretically the human sciences.

The Moreniana conception of psychic energy no longer uses the theoretical model of thermodynamics. His anthropology could be based on the developments of philosophy of life.

unconscious, It is not indeed denied by Moreno, as inferring wanted, but far otherwise taken into account in the sense of an inherent attribute of all psychological facts, as well as all social facts.

From his first reflections on the case Barbara (See if Barbara) which he originated his discovery of psychodrama, Moreno noted that the dramatic activity set in motion in whom executed, as well as those who witnessed uncompromisingly, complex and profound interpsychic and intrapsychic movements. These processes was evidenced as moving at different levels and thus presenting different facets. At the level of the deep elaborative, the theory of roles never opposed Freudian conceptions that tried to sort the phenomena observed in the clinic by a metapsychology that had views as structural, genetic and adaptive. Yes, He opposed, en cambio, the views of this metapsicología located in the postulates of the dynamic and economic, with which he tried to give a theoretical explanation of the phenomena of psychic energy, following concepts such as energy conservation, direction and magnitude of force and entropy, specifically concepts taken from the thermodynamic theory.


Thus are called psychodrama all those stimuli that fail to launch different processes warming. Sometimes the initiators may be of physical origin and are simply obtained with certain body postures or certain contractions of muscles activated during movement.

Sometimes the mental type initiators are. In other cases I manage to be stimulus images, scenes or imagined situations or memorialized as well as feelings or experiences that suddenly cut the current halo of conscience by rescuing operation reflective introspection.

Certain drugs can also act as stimulators processes warming.

En estos casos, these can be considered as chemical initiators or rather, psychochemicals.

During the decade of 70 several groups in our midst, They made experiences with stimulators of this nature and very varied results obtained not without risk.

Today we know that a good implementation of physical or bodily initiators can get the same results of warming or maybe better, without the risks that drug use brings into play always.

The current development achieved by the psicodanza both in the way of mobilization for caldeamientos seeking the rise of identity in which the sympathetic predominance is obtained (parangonable tempering the effect of amphetamine drugs), as those obtained on the way down parasympathetic predominance identity (parangonable tempering the effects of drugs of the type marihuánico), now it offers increasingly rich possibilities.

Body initiators have a clear operational specificity when the warming of each Psychosomatic role is sought, are these regal ways to rapidly lead to conflicting nuclear scenes (Ver Escena Nuclear Conflictiva).

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