From: The Art of Play: Helping Adults Reclaim Imagination and Spontaneity, by Adam Blatner, M.D. & Allee Blatner.
(Published by Routledge, 1997, now out of print and being revised into 3rd edition. ) Comments welcome: Email to adam@blatner.com
Posted August 25, 2008 (To see table of contents)Chatper 8: USING PSYCHODRAMATIC TECHNIQUES
As noted, The Art of Play is a combination psychodrama techniques applied as a type of creative drama modified for use with adults (and older teens). These techniques and others noted elsewhere in the book may be used when improvising scenes in order to bring out psychological dimensions that lend depth to the activity. In this chapter we will discuss the following:
director's commands behind the back asides audience roles
the soliloquy role reversal the double replay
These enhance your ability to develop the roles you create.
As you read descriptions of the various techniques, you may imagine the variety of contexts in which you could apply these ideas. For instance, in a supervisory session, in a small group, or among friends, you might be doing some role playing. Although these psychodramatic techniques were originally developed by Moreno for his modified form of group therapy, they can be adapted to situations such as classrooms, personal growth programs, recreational activities and in everyday life (Blatner, 2003). As a participant, you can suggest these techniques to the director in order to help you experience your own role most meaningfully. If you're the director of a role playing session, it's useful to know about the following techniques as resources.
Director's Commands
The process of role-playing is one of continual revision. As such, it is an exploration rather than a performance. The players don't try to give polished or smooth portrayals of their characters. Rather, they're allowed-even invited-to pause and reformulate the direction of the enactment. "Is this the way you want it to happen?" will always be the director's implicit or explicit question. Another basic directional attitude is exemplified by the question, "What else would you like to experience in your role?"
This kind of tentative, co-creative process resembles in some ways the earliest phases of a rehearsal of a play, at which time the actors are getting the sense of their characters, the director is trying out alternative approaches to staging, and even the playwright might be revising some lines. (Some people involved in the theater have reported that, for them, this phase of production is the most exciting time.)
The director of a role playing session may request a pause in the action when it seems appropriate. Perhaps the players need more help in warming up to their characters, or there may be too much or too little conflict or friction in the scene. Any commands may be chosen to stop and restart the action, depending on the preference of the director and the group. The word "Cut!" (taken from the movies), the phrase "Time out," or "Let's pause," can indicate to everyone that the enactment is stopping momentarily. A related command is "Freeze!" which suggests only a very brief or minor revision; the players maintain their physical positions and retain the momentum of their dramatic ideas and feelings until the phrase "Carry on," or "Continue" is spoken.
When the director calls for a pause in the action, there may be a brief informal conference about what's needed. Sometimes, no discussion occurs, but the director simply suggests one of the other
techniques noted at the beginning of the chapter, However, if it is unfamiliar to any of the group members, the director should take a moment to explain its use to make sure everyone knows what's happening.
Anyone in the group can call for a pause in the action, but this should be reserved for occasions when someone is feeling really uncomfortable, rather than simply, having a different idea about how to stage or enact the scene. The goal is to allow the director to experience a creative process, also. Group members should stop the action only if someone becomes aware of a fairly important issue that isn't being addressed in the group dynamics.
We recommend that groups have only one director. However, if there are two directors, they need to approach their responsibilities with the same attention co-therapists give to their roles in a group. A co-director can function to keep an eye on the audience and make suggestions regarding the action on stage or the whole group process. The co-director also can assist the director and play roles when necessary.
Asides
The technique of making asides is useful for introducing several levels of information. It is a familiar gimmick in animated cartoons or in an old-fashioned melodrama. For example, the villain in the course of a old-time melodrama (which are fun to enact!) may stop suddenly, turn to the audience, hold one hand up to the corner of his mouth, indicating that the other characters on stage cannot hear, and say, "Nyah ha haaa! Little does Nellie know that John Strongheart will never arrive in time to pay the mortgage, because I have drained all the gasoline from his car!" Then he turns back and resumes the action: "Ah, Nellie, my fair beauty ..."
The aside may also be expressed silently, with a well-timed glance directed at the audience, expressing scorn, disgust, mischief, anticipation, or surprise. The double take is a way to show surprise by looking twice, with one glance at the audience in between.
The Soliloquy
The classic example of a soliloquy is Hamlet's speech in Shakespeare's play, when he reflects in a moment of indecision: "To be, or not to be ..." The soliloquy is an extension of the aside and occurs, as in Hamlet's case, in that intimate moment shared between the character and the audience, in which he speaks as if he is talking to himself, but actually speaks aloud so the audience can hear also. The soliloquy can occur as the character is portraying a solitary action, such as walking home after work, getting dressed in the morning, or waiting for an important interview. However, it works better if the speaking can be associated with a physical action, which reduces the self-consciousness of the player.
The Double
Another way to bring out the hidden feelings in a role can be achieved with the use of the double. One of the group members positions him-self at a slight angle to the main character. This position allows the double to observe and imitate without intruding. It's helpful for the double to mimic the posture and expression of the main character. The director announces, so that players and audience are all aware of the new element in the drama, "Now this is (insert the name of the main character)'s inner self, the emotions you would not ordinarily express in the scene; this part of you will say things aloud, and if they help you to get in touch with your deeper feelings, go ahead and repeat the statements. If your double is not accurately portraying your unspoken thoughts, worries, and so on, then you must correct them."
This technique, as with the use of the aside, allows for the drama to unfold on two simultaneous levels: the spoken and the unspoken. You can imagine the many situations in life where what is thought but not outwardly expressed is really the most dramatic part of a situation. An interaction with an employer, spouse, or parent may be enriched by seeing the hidden confrontations, confessions, and ad-missions of vulnerability.
If you're the main character, and your double says things that feel out of character to you, be sure to correct them. The double should be trying to enter the mood of the main character, and corrections or suggestions (including those by the director) are important feedback on your progress. In this regard, the main character should validate the double when they are really connecting. When rapport isn't established, the double may be exchanged or dismissed while the action and play continues. It should be noted that this powerful psychodramatic technique is very useful in psychotherapy (Leveton, 2001, has a nice chapter about this technique).
Doubles also may be introduced for the other major co-characters in the scene Then you will have two levels of dialogue occurring simultaneously. For example, picture this arrangement used by one player as a politician welcoming a rival. Effusive praise on the expressed level might be mixed with hostility revealed on the level of the doubles. This technique can create a fairly comical scene when the enactment is lighthearted, or it can add poignancy to dramatic encounters.
Behind-the-Back
The behind-the-back technique is a variation of the double and asides, in which two or more characters speak openly about another character as if he wasn't present. However, for purposes of dramatic continuity, the character being talked about need not physically leave the room; instead, that player simply turns his back, and this signifies to the audience that he will henceforth act as if he had not heard the conversation. Later in the action, that person reenters the scene and continues whatever process needs to happen.
For example, if the scene is in a business office, and the co-characters want to set the scene by engaging in a bit of gossip, the director would turn to the main character and say, "(The name of the character-let's use you are not in this scene. Please turn y our back." Then the director would address the co-characters: "Joe, Jane (or whatever their names are), in this scene you are talking about Mary before she arrives at work." The other players proceed with their gossip, which is a dramatic way to generate some background information; then, at the director's signal, Mary enters, acting as if she hadn't heard a word of it. This technique helps the co-characters develop their roles and the story while allowing the play to progress without interruption. The dramatic tension can build while at the same time issues and events are created to be explored further.
Audience Roles
Enactments may be enhanced by creative and appropriate participation by the audience. The group may be directed to function like a Greek chorus, repeating or chanting certain phrases as background for an interaction on stage. The audience can be asked to create sound effects. Some scenes require the participation of as many people as choose to join in, such as a circus parade, a flock of animals, or a crowd being addressed by a prophet. Removing the boundary of the proscenium arch, the traditional barrier between audience and actor, is actively utilized in the Art of Play and is built into the structure of psychodrama.
Role Reversal
The technique of role reversal has been called "the heart of psychodrama" because it invites the participants to rise above the role-playing and to encompass in their minds the other roles involved in an interaction. The technique consists of two players exchanging roles. Thus, if Jim as King and Judy as Wizard agree to reverse roles, then Jim portrays the Wizard and Judy, the King. Role reversal is used for several purposes:
• To correct another player's portrayal of a role. Thus, a main character playing a husband might say (out of role) to his co-character, "No, that's not the way I see my wife answering: let's change parts and I'll be her." They reverse roles, he shows how she acts, they reverse again, and the scene proceeds from there.
• To experience more than one role in a scene. For instance, if you started out being a knight, and one of your co-characters was a dragon, you might get the urge to play the dragon. You could ask the director, "May I switch roles? I want to be the dragon for a while." It's your enactment, you'll be allowed to play any part you like.
• To gain insight into how the other person might be feeling in role. If there is an argument between two characters, they can change parts and become familiar with the other person's point of view. This may be done as standard practice in psychodrama. It is even more effective in real life. It works best when both people are willing to open their minds from a narrow focus and bring their integrity to the challenge of presenting the other person's position as sympathetically as possible. The techniques for getting in touch with the various dimensions of a role (mentioned in the previous chapter) are useful in this endeavor. Usually people involved in this approach discover some basis for acknowledgment of goodwill and valid concern which can lead to negotiation and reconciliation.
The opportunity to reverse roles is a special feature of psychodrama, and when used in imaginative enactment, it can enrich the experience of the participants more than traditional approaches to creative drama. Role playing as an educational experience is also significantly enhanced by the inclusion of role reversal.
Replay (or “Do Overs”)
At the end of an enactment, there are often feelings among the audience members about how they would have liked the scene to be played. We refer not to judgmental reactions, but to various participants' interest in exploring their own versions of aspects of what they've witnessed. Someone then may request to play their idea, or else the director could invite further role exploration: "Would any of you like to play part of the scene your way?" One of the audience members, Mike, might raise his hand. "Yeah, I'd like to be the house-wife, and I want to show how I'd handle the salesman." If all agree, Mike takes on that character and demonstrates or explores how his alternative strategies might be played.
Another form of replay can occur when, in the course of an enactment, there is some impasse. Then, with the consent of the players, the director asks for feedback from the audience/group, For instance, imagine that the main character, Bob, is playing a scene showing conflict with his brothers; he gets stuck, and indicates that he wants some help. The director turns to the group and asks for feedback: "Would anyone like to show Bob how they would cope with this situation?" A few hands shoot up, and the director picks one: "Okay, Sara, come up. You are facing the brother." The action then proceeds until Sara's strategy is clear: then the director dismisses Sara to re-join the audience and asks the original player if he'd like to try again. A more successful interaction usually follows, and the scene may continue or close with a sense of satisfaction for the main character.
A third variation of replay occurs when the main character is dissatisfied with how they are playing the scene. For example, you might be playing a sheep in a herd and begin to feel uncomfortable. You could say, "Time out. I don't like the way this is going." The director reflects this by asking, "Do you have any ideas how you might want to replay the scene?" "Yes," you answer, "Instead of being compliant, I'd like to be more mischievous." "All right," says the director, "start the scene with your being that way," and the play proceeds.
Some replays can be very brief, rather than involving a whole scene. For instance, if you're the main character playing a teen-aged daughter, you might say, "I want a small replay." The director nods in acknowledgment, and you say to your co-character, "Bill, play my father more aggressively, Give me a harder time. Let's go back to where you tell me I can't go out tonight." The scene moves back to an earlier point in the story and then resumes so that you can refine your portrayal.
Finally, remember that scenes may be replayed to allow for the fullest satisfaction of the main character's desire to explore a role. Thus, you may wish to practice a behavior repeatedly, in order perhaps to feel the excitement and sense of mastery of a self-assertive skill. In the scene above between a daughter and her father, the person playing the daughter may wish to stand up to the father several times, escalating or varying her actions.
In summary, these and many, many other psychodramatic techniques can be utilized to deepen and intensify the experience of enactment (Blatner, 2000, 2004; Dayton, 2005; Leveton, 2001). Exciting dramas occur when people shift roles, exchange roles, replay scenes, and, when needed, take advantage of the whole range of techniques available. These techniques facilitate and freely use the elements of drama to help create a wide variety of approaches to enactments. Many imaginary and alternative scenarios wouldn't occur in real life, and it's important to remember that psychological dimensions seek expression, too. Using the methods described above, that expression can be fun, valuable, and a shared experience.
References
Blatner, Adam. (2000). Principles of using psychodramatic techniques, and a compendium of psychodramatic terms and techniques (pp. 227-257), in, Foundations of psychodrama: History, theory, and practice. New York: Springer.
Blatner, Adam. (2003). Applications of psychodramatic methods in everyday life (pp 103-115). In J. Gershoni (Ed.), Psychodrama in the 21st Century: Clinical and educational applications. New York: Springer.
Blatner, Adam. (2004). Psychodrama (Chapter 13, pp. 405 - 438). In R. J. Corsini & D. Wedding (Eds.), Current Psychotherapies (7th ed.). Belmont, CA: Wadsworth. [ A free, updated to 2007 version of the chapter is now posted as an “additional resource” at http://www.thomsonedu.com/counseling/corsini ]
Dayton, Tian. (2005). The living stage: A step by step guide in the use of psychodrama, sociometry and group psychotherapy. Deerfield Beach, FL: Health Communications, Inc.
Leveton, Eva. (2001). A Clinician’s Guide to Psychodrama (3rd ed.). New York: Springer.
Further References on Techniques for Dramatic Play, Spontaneity Training, and Theater Games
Atkins, G. Improv!: A handbook for the actor. Portsmouth, NH: Heinemann, 1994.
Barker, C. Theatre games. New York: Drama Book Specialists, 1977. Belt, L., & Stockley, R. Improvisation through theatre sports. Thespis Productions, 1989.
Blatner, A. Warming-up. In Acting-In (3rd ed.). New York: Springer, 1996. (Note especially references on various action exercises at the end of the chapter!)
Blatner, A. Supplements to Interactive & Improvisational Drama anthology: See:
http://interactiveimprov.com/apxbwarmups.html
Boal, A. (1992). Games for actors and non-actors. London: Routledge.
Booth, D., & Lundy, C. Improvisation: Learning through drama. Toronto: Academic Press, 1985.
Emunah, R. Acting for real: Drama therapy process, technique, and performance. New York:
Brunner/Mazel, 1994. (Many experiential exercises and also a definitive text about drama therapy!)
Frost, A., & Yarrow, R. Improvisation in drama. New York: St. Martin's Press, 1990. (Somewhat more scholarly, historical re-view.)
Goldberg, A. Improv comedy. Hollywood, CA: Samuel French, 1991.
Halpem, C., Close, D., & Johnson, K. H. Truth in comedy: The manual of improvisation. Colorado Springs, CO: Meriwether, 1994.
Hodgson, J., & Richards, E. Improvisation. New York: Grove Press, 1966. London: Methuen, 1974.
Horn, D. T. Comedy improvisation. Colorado Springs, CO: Meriwether, 1991.
Johnstone, K. Impro: Improvisation and the theater New York: Theater Arts Books, 1979. London: Methuen, 1981.
Jones, B. Improve with improv: A guide to improvisation and character development. Colorado Springs, CO: Meriwether, 1993.
Polsky, M. E. Let's improvise (2nd ed.). Lanham, MD: University Press of America, 1989.
Quell, B. Get those people moving: A handbook of creative dramatics. Albany, NY: Albany City Arts Office, 1981.
Remocker, A. J., & Storch, E. T. Action speaks louder: A handbook of nonverbal group techniques. New York: Churchill-Livingston, 1979.
Spolin, V. Theater games for rehearsal: A director's handbook Evanston, IL: Northwestern University Press, 1985.