VARIOUS AUTHORS
Edited by Stefano Centonze
ART THERAPY HANDBOOK BACKGROUNDS, DEFINITIONS, APPLICATIONS, CLINICAL CASES
Edizioni Circolo Virtuoso
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Š Copyright 2013 Edizioni Circolo Virtuoso 73041 Carmiano (LE) www.circolovirtuoso.net info@circolovirtuoso.net All Rights Reserved ISBN: 978-88-97521-46-4 Date of publication: 3 April 2013
Graphic Design by Stefano Palma Translation from Italian to English by Donato Rosario Caloro
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Through work we measure the esteem each has of himself
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TABLE OF CONTENTS INTRODUCTION
pag. 15
THE AUTHORS
pag. 17
SECTION I - The global approach to the person in care 1. From humanization of care to the scientific method Gianpaolo Pierri and Pierpaolo Proto 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8
pag. 27
Humanization and / or scientific method? pag. 27 The scientist and the inductivist turkey pag. 27 The science between research and metaphysics pag. 28 The pseudo – experiments pag. 28 The patient's world pag. 29 Iatrogenic Stigma pag. 29 Epistemological Paradox pag. 29 It is possible psychotherapeutic intervention within a frame of medical-biological? pag. 30 1.9 Psychotherapy as alternative to pharmacotherapy? pag. 30 1.10 Empathy pag. 31 1.11 Global approach to the person who suffers pag. 31 1.12 Rehabilitation as recovery of the human dimension of care pag. 32 1.13 The meaning of life pag. 33
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SECTION II - Scientific Background 2. Short course of general psychopathology Giuseppa Pistorio
pag. 37
2.1 Historical evolution of Psychiatry 2.2 Sigmund Freud 2.3 The Depression 2.4 Schizophrenia 2.5 The Paranoia 2.6 Anorexia Nervosa 2.7 The acute and chronic alcoholism 2.8 The Society and the "mad" 2.9 The Psychiatric Institution 2.10 Neurosis and Psychosis 2.11 Personality Disorders
pag. 37 pag. 47 pag. 74 pag. 76 pag. 80 pag. 81 pag. 84 pag. 87 pag. 91 pag. 94 pag. 99
3. Notes of evolutionary and dynamic psychology Simona Negro
pag. 103
3.1 Definition 3.2 Early primary relations 3.3 The paternal function 3.4 Monographic part: adolescence 3.5 Some notes about violent teenager 3.6 Elements of dynamic psychology 3.7 Dynamic Unconscious 3.8 The unconscious for Sigmund Freud 3.9 The psychic functioning
pag. 103 pag. 104 pag. 113 pag. 115 pag. 117 pag. 121 pag. 122 pag. 123 pag. 127
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3.10 The second unconscious for Melanie Klein 3.11 Positions 3.12 The unconscious for Wilfred Bion 3.13 The unconscious and neuroscience 3.14 Convergences, divergences, prospects
pag. 127 pag. 131 pag. 133 pag. 140 pag. 145
4. Illustrated notes of Neurology Roberto and Francesco Calamo Specchia
pag. 155
4.1 The Neuron 4.2 Elements of Functional anatomy of the brain 4.3 Areas of the frontal lobe 4.4 Areas of the parietal lobe 4.5 Areas of the temporal lobe 4.6 Areas of the occipital lobe 4.7 Areas of the limbic lobe 4.8 Mirror Neurons 4.9 Neuronal Plasticity 4.10 The Neuronal Plasticity in Invertebrates 4.11 The Synaptic Plasticity in Mammals 4.12 Edelman's neurobiological theory 4.13 Modern theories about the function of mind
pag. 155 pag. 169 pag. 175 pag. 177 pag. 180 pag. 181 pag. 181 pag. 182 pag. 185 pag. 186 pag. 189 pag. 195 pag. 196
SECTION III - Music Therapy 5. Defining the Arts Therapies, defining Music Therapy Stefano Centonze 7
pag. 201
5.1 The Music that heals. The origins 5.2 The Music Therapy Today 5.3 Transdisciplinarity 5.4 Predominance of musical "fact" 5.5 Applications 5.6 Purpose 5.7 Prevention 5.8 Rehabilitation 5.9 Therapy 5.10 Fields of Application 5.11 In conclusion
pag. 204 pag. 205 pag. 206 pag. 208 pag. 212 pag. 216 pag. 217 pag. 217 pag. 220 pag. 220 pag. 222
6. The sound-musical psycho-drama Giuseppa Pistorio and Niccolò Cattich
pag. 225
7. Music therapy and body movement. A proposal for cognitive rehabilitation with music Christian Tappa pag. 233 7.1 Music therapy and anthroposophy: the beginning 7.2 The "Camphill" Movement 7.3 The foundation of a true community 7.4 Music in the Curative Education and Social Therapy villages and centers 7.5 The individual sessions 7.6 The Treatment of "Listening Area" 7.7 Some fundamental aspects of the anthropological model indicated by R. Steiner basing on the described applications 8
pag. 233 pag. 234 pag. 235 pag. 235 pag. 239 pag. 243
pag. 245
7.8 The music in the anthroposophical view 7.9 The games and rhythmic exercises developed by C. Baumann 7.10 The rhythm and bodily movement 7.11 Practical experience: examples of musical activities carried out to "Loic House" 7.12 Breaking considerations
pag. 272 pag. 283
8. The receptive Music Therapy Niccolò Cattich
pag. 289
8.1 The Analytical Receptive Music Therapy 8.2 First Phase 8.3 Reading and analysis of preter 8.4 Second phase 8.5 Third phase 8.6 Considerations
pag. 289 pag. 289 pag. 292 pag. 296 pag. 297 pag. 298
9. The Mozart Effect Antonio Montinaro
pag. 301
9.1 The Mozart Effect, or an introduction to Music Therapy
pag. 302
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pag. 248 pag. 250 pag. 257
SECTION IV - Dance Movement Therapy 10. The main application models in Dance Movement Therapy Stefano Centonze 10.1 Introduction to Dance Movement Therapy 10.2 From dance to Dance Movement Therapy 10.3 A possible definition of Dance Therapy 10.4 The main models of DMT: Fux model 10.5 The music 10.6 The words mothers 10.7 Primitive Expression 10.8 The Importance of Group 10.9 Pregnancy of rythm 10.10 Relationship with the land 10.11 Simplicity of gestures 10.12 Repeat 10.13 Use of a coded gestures of movements coming from outside 10.14 Using of Voice 10.15 "Binaryness" 10.16 Trance 10.17 Game with transgression 10.18 The search for a self-overcoming in the sublimation 10.19 Ritualization 10.20 The Primitive Expression of France Scott-Billmann 10
pag. 315 pag. 315 pag. 316 pag. 320 pag. 322 pag. 327 pag. 327 pag. 328 pag. 331 pag. 332 pag. 333 pag. 334 pag. 334 pag. 335 pag. 335 pag. 336 pag. 337 pag. 338 pag. 338 pag. 339 pag. 339
11. The prisoner body: experience of Dance Movement Therapy in prison Federico Caporale 11.1 Dance Movement, Theatre and Art Therapy in a "Total institution" 11.2 Preliminaries 11.3 The projects 11.4 or Art Therapy "Puppet Theater"? 11.5 The beginning impact and first meetings 11.6 Users 11.7 The dance therapy intervention with prisoners 11.8 Design of the project 11.9 Articulation of DMT intervention and its objectives 11.10 The establishment of the DMT Setting 11.11 Opening and heating 11.12 The central part of the session 11.13 Output Stage and the conclusion of meetings 11.14 Developments and outcomes of the project: the puppet and his author 11.15 The story created by the group of Cassino 11.16 The story invented by the group of Frosinone 11.17 The exhibitions held in Cassino and Rome 11.18 The drama of the Civil Code to Cassino and Frosinone 11.19 A comparison with other DMT interventions and Art Therapy in prison 11.20 Future developments and conclusions 11
pag. 341
pag. 341 pag. 342 pag. 344 pag. 346 pag. 346 pag. 348 pag. 351 pag. 351 pag. 354 pag. 359 pag. 360 pag. 363 pag. 368 pag. 371 pag. 372 pag. 374 pag. 375 pag. 377 pag. 378 pag. 386
SECTION V - Theatre Drama Therapy 12. The physical expression in the Arts Therapies Fausto Cino pag. 393 12.1 Introduction 12.2 The training of operators 12.3 The perception of bodily self: from knowledge to consciousness 12.4 The motor activity as a language 12.5 Movement and communication 12.6 Our body speaks 12.7 The space 12.8 The time 12.9 The observation protocols 12.10 The evaluation 12.11 The models of the evaluation 12.12 The Legislative evaluation 12.13 The policy evaluation 12.14 The structure of the tests 12.15 Indicators 12.16 Descriptors 12.17 Objectivity 12.18 Reliability 12.19 Validity 12.20 The evaluation of psychomotor development 12.21 Test of imitation of gestures 12.22 Psychomotor Examination 12.23 Body Expression and psychiatric patients 12
pag. 393 pag. 396 pag. 400 pag. 406 pag. 407 pag. 411 pag. 420 pag. 422 pag. 425 pag. 426 pag. 429 pag. 429 pag. 429 pag. 429 pag. 430 pag. 430 pag. 431 pag. 431 pag. 431 pag. 431 pag. 432 pag. 434 pag. 435
12.24 Used procedure 12.25 Analysis of data 12.26 Search Results
pag. 437 pag. 439 pag. 444
13. The theater which takes care Glenda Pagnoncelli, Chiara Bertero, Emanuela Binello
pag. 447
13.1 Routes of Drama Therapy 13.2 The break with the ordinary and the gateway in the extraordinary space of laboratory 13.3 The recognition of self and of other in the group 13.4 Being the group, only material 13.5 Experimentation and sharing of imaginative experience 13.6 Projection and roles 13.7 The development of the group experience and the reference to the personal experience 13.8 The conduct 13.9 Experiences: the "stalls of emotions" 13.10 Acting themselves - second edition: the birth of a group
pag. 447 pag. 448 pag. 449 pag. 450 pag. 451 pag. 454 pag. 455 pag. 456 pag. 457 pag. 459
SECTION VI - Plastic-Painting Art Therapy 14. The Plastic-Painting Art Therapy: General concepts Stefano Centonze 13
pag. 465
14.1 Progressive Mirror Drawing Method 14.2 Method of Sensory Integration in Art Therapy
pag. 468 pag. 469
15. Plastic-Pictorial Art Therapy between innovation and transformation Ilaria Caracciolo
pag. 471
15.1 Outlines for a History of Art Therapies 15.2 Elements of theory and techniques of Plastic-Painting Art Therapy 15.3 The use of expressive modalities in therapy 15.4 Application of art therapy Plastic Painting in an educational setting 15.5 The laboratory: "re-building" communication "high-ways" BIBLIOGRAPHY
pag. 473 pag. 478 pag. 487 pag. 497 pag. 500 pag. 505
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INTRODUCTION We finally! Seven years collecting the notes of a shared experience that, along the way, has become the method of the Triennial School of Education in Arts Therapy (Music Therapy, Dance Movement Therapy, Plastic-Painting Art Therapy and Drama Theater Therapy) of the Institute of Arts Therapies and Creative Sciences of Carmiano, in province of Lecce. An idea, an ambitious project which comes true: telling, basically, in simple terms, what training should look and should have the operators who choose to study and to make their work and lifestyle these fascinating disciplines. Thus, in a text divided essentially into two moments, on the one hand the clinic, with all its essential scientific paradigms and assumptions, and on the other, the application part, with assumptions, models, cases treated with the Arts Therapies, we wanted to present to the readers a working method, which is our model, in which the professional operator is the product of theoretical and relational skills and scientific knowledge, appropriately conjugated with the specialized and technical ones. Doctors, psychologists, educators, social workers, speech therapists, rehabilitation, physical therapists, nurses, artists, volunteers, students, just curious... everyone will benefit from consulting the first Manual of Arts Therapies, born from the clinic to make content accessible and largely expendable. Personally and in the introduction, allow me to express my highest Thanks to all authors who have chosen to link their
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name to this work, with the only purpose of contributing to the spread of our profession, and with it, to the growth of the Institute of Arts Therapies that so brilliantly represents an important witness in the National panorama. Without their long experience, professionalism and sensitivity, it would not be possible to arrive at this result. Stefano Centonze
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Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
THE AUTHORS Stefano Centonze from LECCE, music therapist, writer, editor, theater director, educator, founder and Director of the School of Formation Circolo Virtuoso and its Professional Institute of Arts Therapies and Creative Sciences of Carmiano (LECCE), President of Art.eD.O. - Mediterranean Polo ofArts Therapies and Holistic Disciplines. He founded the electronic newspaper "Arti Terapie e Neuroscienze Online" (Online Art Therapies and Neurosciences) and "Mappa Terzo Settore Web TV" (Third Sector Map Web TV). He also wrote Music Therapy and Alzheimer and was co-author of the Manuale di Progettazione Sociale (Handbook of Social Planning) and of the text 70 giochi di creativitĂ per la conduzione dei gruppi (70 games of creativity for conducting the groups) and Progettare un corso e-learning per disabili (Designing an e-learning course for disabled) (Circolo Virtuoso Editions 2011).
Gianpaolo Pierri from BARI, Psychiatrist, Psychologist, Psychotherapist, Director of The Chair of Psychotherapy, Professor and Coordinator of the Integrated Course of Psychiatry and Clinical Psychology (Channel A) in the Faculty of Medicine and Surgery of the University of Bari. Professor of psychological and psychiatric disciplines. President of Undergraduate Rehabilitation Courses (Technical Psychiatric Rehabilitation, Vocational Education and Physiotherapy).
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Former Director of the School of Specialization in Psychiatry in the University of Bari. President of the Italian Society for Medical Psychotherapy. President of the Center for Interdisciplinary Research and Intervention on Human Systems (CIRISU), School of Specialization in Psychotherapy authorized by the Ministry of University and Research.
Pierpaolo Proto from LECCE, training Specialist at the Psychiatric Clinic of the University of Bari.
Antonio Montinaro, from LECCE, Neurosurgeon, former Director of the Operational Unit in Neurosurgery at the Hospital "V. Fazzi "of Lecce, freelance at the Clinic Hospital "CittĂ di Lecce", Musicologist, Vice President of the Association Amici della Lirica (Friends of the Opera) "T. Schipa" of Lecce, Member of the Board of Directors of the Conservatory "T. Schipa", Lecce, President of the Center of Musical Studies of Lecce.
Giuseppa Pistorio from CATANIA, neurologist, psychiatrist, music therapist, expert in psycho-dramatic group techniques, medical officer with the higher functions in the psychiatric service for diagnosis and treatment of the Hospital Healthcare Organization "S. Croce and Carle" in Cuneo, Director of Day Care Center of psychiatric of A.S.L. (Local Health Company) Rome H - H6 District Anzio-Nettuno, coordinator of the Music 18
Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
Therapy Form at the School of Expressive Arts Therapy and Psychotherapy of Rome, educational director of the Institute for Arts Therapies and Creative Sciences of Lecce, Magister of Benenzon's Model of Music Therapy, degree obtained in Buenos Aires in 2006.
Simona Negro from LECCE, Psychologist, Psychotherapist and group analyst, has worked with the Chair of Dynamic Psychology at the Faculty of Psychology of Turin, publishing, in collaboration with Giorgio Blandino, several articles and essays about the philosophical roots of psychology. She currently practices activity counseling in psychiatric rehabilitation, works as freelance consultant and business technical advisor in civil and criminal field. She is Professor of Psychology of the Evolutionary Age, Dynamic Psychology and Group Dynamics in the three-year training courses sponsored by the Institute of Arts Therapies and Creative Sciences.
Niccolò Cattich from VERCELLI, neurologist, psychiatrist, psychotherapist, music therapist, lecturer at the S.A.I.G.A. School of Specialization in Psychotherapy of Turin, Professor and Director of the three-years Educational Training School of the Institute of Arts Therapies and Creative Sciences of Carmiano.
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Glenda Pagnoncelli from MILAN, Actress, Trainer and Drama Therapist. Professor at the School of Drama-therapy of Art Therapies Training Centre in Lecco. Member of the Board of S.P.I.D. - Italian Professional Company of Drama-therapy. Founder of the non-profit Organization Caminante Onlus and of the Studio Program in Drama-therapy of Milan. She is currently teaching Aid Relationship, Communication and Drama-therapy in training at Ciessevi - Centre for Voluntary Service in Milan, in Province of Milan and at public institutions and companies.
Emanuela Binello from MILAN, Actress and Professor of Technical Theatre. Graduated at the School of Drama-therapy of Art Therapies Training Centre in Lecco. Founding member of S.P.I.D. (Professional Society of Italian Drama-therapy). Founder of non-profit organization Caminante Onlus of the Study Program in Drama-therapy in Milan. She works as Drama Therapist at Day Centers of Psychiatric Unit on the Italian and Swiss territory and works as a consultant in training and recruiting company.
Chiara Bertero from MILAN, Group Psychotherapist in clinical and institutional field. Member of the Confederation of Italian organizations for analytical research on groups (C.O.I.R.A.G.). She attended training courses in theater and dramatic actor type. Founder of the non-profit Association
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Caminante Onlus and of the study for Research in Dramatherapy in Milan. Working at health facilities in the territory of Milan. She has active conduction of workshops and performances in the royal psychological, physical and social distress. Federico Caporale from ROME, Artist, Dancer, Percussionist, Motion Dance Therapist and Trainer in the artistic, educational, sanitary and socio - rehabilitative field. He collaborates with Atelier LiberaMente (c / o S.R. Rorschach), Atelier "DMT and theater techniques for communication" c/o C.S.E.S.I. (Experimental Inter-University Center for Health Education of Perugia), the Institute of Arts Therapies and Creative Sciences of Lecce, Save the Children Italy. Leads groups of dance, percussion and bodily expression for adults and children since 1993. He lives in Perugia.
Christian Tappa from ROME, musician and Roman composer, after graduate studies in Medicine and Psychology, he devoted himself since 1994, alongside his musician and composer activity, to music therapy through activity which operates mainly with children and adults with mental handicap. He is formed through internships in Switzerland and Germany, in the field of Curative Education and Steiner's social therapy. Specialized in "Musical Pedagogy and music teaching in preschool through the piano", qualified in Music Therapy at the Expressive Art Therapy and Psychotherapy School in Rome, also follows the diploma of music therapist of Benenzon's
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model. He works since 1994 at the Association Lo誰c FrancisLee Capena (ROME), where he currently lives. Fausto Cino from LECCE, Teacher of "Animation and expression" at the University of Foggia in the Faculty of Medicine and Surgery, Bachelor in Science of Movement and Sports. professor of Corporal Expression at the Institute of Arts Therapies and Creative Sciences of Carmiano (LECCE). Actor and theater director.
Ilaria Caracciolo from TARANTO, Clinical Psychologist and graduate at the University "La Sapienza" of Rome (with a dissertation on Theories and Techniques of Group Dynamics), Plastic-Painting Art Therapist trained at the School of Art Therapy of Rome, Professor of Art Therapy at the Institute of Arts Therapies and Creative Sciences of Carmiano (LECCE). Specializing as an Individual and Analytic Group Oriented Psychotherapist at the school C.O.I.R.A.G., she carries on professional activities in clinical and training with particular attention to the use of the instrument of group. She propose in institutional contexts intervention models drawing on integrated areas of Arts Therapies and of Group Analysis.
Roberto Calamo Specchia from BRINDISI, graduated in Medicine at the University of Naples, Specialist in General Surgery, Oncology and Neurosurgery. Within the latter, he has always cultivated interest for the Neurosciences and also 22
Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
published a text "Appunti di Neurochirurgia" (Notes of Neurosurgery), currently being reprinted for the use of nursing school.
Francesco Maria Calamo Specchia from BRINDISI, Surgeon, specializing in Neurosurgery, scholar of Neurosciences.
Salvo Pitruzzella from PALERMO, Drama therapist, Director, Producer and Professor in the Triennial School of Dramatherapy in the courses of Higher Professional Education of the Art Therapies Center of Lecco (Music Therapy, Art Therapy Plastic-Figurative therapy, Drama-therapy and Dance Movement Therapy), Professor of Drama-therapy at the threeyear course of training in Drama Theater Therapy of the Institute of Arts Therapies and Creative Sciences of Carmiano (LECCE).
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Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
SECTION I The global approach to the person in care
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Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
CHAPTER 1 - 1. From humanization of care to the scientific method by Gianpaolo Pierri and Pierpaolo Proto 1.1 Humanization and / or scientific method? Moving from a conception of affective and emotional closeness, like unique and original source of the patient, to the progressive acquisition of "scientific" notions, the humanitarian aspect of care is participatory and has become increasingly redundant, in favor of an aseptic and technically detached knowledge. The spread of this feeling is shown by the current guidelines of care, especially in the field of mental disorders.
1.2 The scientist and the inductivist turkey Karl Popper tells the story of a turkey farm, which brought the food was always at nine o'clock in the morning. The turkey noted that, any day of the week, there was the sun or the bad weather, the food was always brought to him at the same time. From these observations repeated and identical in all weather conditions, the turkey applied the inductive method when it formulated the following theory: "They always give me the food at nine in the morning." However, on Christmas Eve, the turkey saw, at its expense, the dismantling of this rule: the turkey was killed and served at table. Any number of identical observations can say anything about the universality that the law seems to express. Since each researcher is a human being, his mind is not a tabula rasa, but is conditioned by prejudice, so, any theory that is based on the certainty derived by a list of
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observed cases, and can’t avoid the possibility of one otherwise.
1.3 The science between research and metaphysics To verify if the universality of a law is not enough to refer to the frequency of the events that constitutes the foundation of this one; on the other hand, we just need a contrary event to falsify the universal law, which wants to consider such frequency as eternal. This finding is known as the principle of falsification.
1.4 The pseudo-experiments What appears singular is the apparent tendency to construct, on enumerations of little demonstrated data and findings, equally evanescent buildings that, over time, surprisingly assume the value of reality and truth, not really falsified, in a spiral similar to the paranoid one, for which are true and demonstrated the consequences of any assumption, forgetting, however, that this moves from an hypothetical and unproven data. The particular attention paid by some health workers in the fields of "neuroscience", finds food in less demanding and more profitable job opportunities, in less cultural preparation needs and less humanistic commitment and performance. Moreover, from more parts many voices began to rise on the emergence of data related to pseudo-experiments, behind which stich out Pharmaceutical Industry-related interests.
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1.5 The patient's world And the patient? Increasingly relegated to a lifeless object size from spent humanitarian traditions. It declared to be fighting the "stigma", but this often comes from those people who create the premises, and with greater responsibility as doctors.
1.6 Iatrogenic stigma In the traditional therapeutic and custodial process, minimally oriented interventions in the psychological sense tend to sever the links of the patient with the world outside and create that STIGMA not often favored by the disease of the subject but favored by its treatment or by these experiments that have the only aim to verify that treatment. Wanting to introduce psychotherapeutic perspective in the social-health field, it is necessary, priority and patiently, the patient to re-establish broken ties with the outside world, socially and psychologically reconstructing an autonomous image from which to start for a program that looks towards the future.
1.7 Epistemological Paradox Considering a psychotherapeutic intervention into an ideological, health care organization or assistance condition in general fundamentally oriented in a biological sense, is a clear epistemological and operational paradox. Every action, in fact, finds is its usefulness and effectiveness in a setting that gives a reason, a purpose and a logic that depart from historical and psychological conditions of the individual and be geared to its 29
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optimal living conditions. May a psychotherapeutic intervention be "rehabilitating" in a medical-biological framework that stigmatize the subject to be rehabilitated?
1.8 Is psychotherapeutic intervention within a framework of medical-biological possible? Each therapeutic action, as conceived and applied, is implemented within an etiopathogenetic concept of mental disorder. It is certainly difficult, if not paradoxical, to enter a psychotherapeutic action on a clinical history that, in fact, has found its logic, its optical treatment in a perspective of biological treatment only. Therefore, it comes the question about a fundamentally medical-biological setting may become purely and simply in a psychotherapeutic setting: you can make a few references to places, times, the mode of interpersonal relationships, to the more or less conserved conditions and welfare relationships with significant ties of the patient.
1.9 Psychotherapy alternative to pharmacotherapy? Big mistake takes place when means psychotherapy as an equivalent or alternative treatment to pharmacotherapy, considering for psychotherapy indications, prognosis, dosage, effectiveness, tolerability and results. By this perspective, psychotherapy is the subject of a reductionist approach and, to some extent, substitute for drug therapy. In fact, psychotherapy is not to be construed as a treatment, but as a vision and a conception of personal distress, placed within 30
Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
interpersonal relationships dysfunctional and pathogenic. We want to emphasize the epistemological error of using the parameter of psychotherapy, like biological therapies, as addressed to the disease of the subject. Psychotherapy, by contrast, bases its identity on the concept of context, i.e. on the area of relationships, emotions and events, within which rises, develops and maintains a so-called pathological state.
1.10 Empathy Empathy can be summarized with the following components: • • •
knowing how to enter the perceptual world of the other; continuous sensitivity to emotional and meaning changes in the other; "living" temporarily in the other's life.
In which health context is this ability nurtured and protected, when the etiopathogenesis of mental disorders is left solely neurobiological explanations of such a view of which the person is reduced to an injured function, to an organic substrate only to chemically manipulating?
1.11 Global approach to the suffering person Carl Rogers, in 1987, defines empathy as a skill considered essential in psychotherapy: "In my mind, empathy is in itself an agent of care. It is one of the most powerful aspects of the therapy because it emits, confirms, brings back the patient, 31
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even the more frightened, within the human race. If a person can be understood, then it belongs". The sense of belonging that comes from the psychotherapeutic relationship is a source of security and promotes exploratory behaviors and search for new meanings in its own weltanschauung, while, in its negative meaning, suggests the ideological closure of certain psychotherapeutic orientations, symptomatic of a resistance to change, behind the mask an alleged scientism. Here I refer to what we said earlier, about the need to extrapolate, from various orientations, a paradigm of a psychotherapy reorientated towards the whole person and not fragment it into a maze of neurobiological mechanisms, risking to configure the same person like an inanimate object.
1.12 Rehabilitation as recovery of the human dimension of care In Italy, a few brave people have fought and continue to strive for a restoration work of the human, social and work dimention of patients in order to restore their lost dignity, to "rehabilitate" them. And we must be grateful to colleagues past and present who are fighting following absolutely scientific principles, which is not devolved, solely, to some chemicals, properly invested with magical significance and miraculous, the success of an occupation increasingly distracted and increasingly defined "scientific". And with a good peace of our conscience.
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1.13 The meaning of life "Doctor should be aware of the need for man to give meaning to his own life. But, to our era, an era of doubt about the meaning of life, is more necessary than ever that he remains well aware – and help his patient to take in turn this consciousness – that life does not stop to have meaning, even in the midst of suffering, indeed, is precisely suffering to offer the possibility to realize the more high significance, the highest possible value". Viktor Frank
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BIBLIOGRAPHY
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Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze
AA.VV. - L’istituzione carcere nella società post industriale. Ricerca nell’ambito delle iniziative didattiche e culturali proposte dagli studenti e finanziate dall’Università “La Sapienza”, Roma, Tipografia Ecir. Adorisio A. & Garcia M. E. (2004) (a cura di) - Danza Movimento Terapia, modelli e pratiche nell’esperienza italiana, APID, Roma, MaGi. Ambrosini C., De Panfilis C., Wille A.M. (1999) - La Psicomotricità. Corporeità e azione nella costruzione dell’identità, Xenia Edizioni, Milano. Ammon, G. (1973) (a cura di) - Pedagogia e psicoanalisi, Guaraldi, 1975, Rimini-Firenze. Ancelin Schultzemberger, A. (1972) - Lo psicodramma, Firenze, Martinelli. Ancelin Schultzemberger, A. (1978) - Il corpo e il gruppo, Roma, Astrolabio. Ancona, L. (2004) (a cura di) - Insegnanti e specialisti per la nuova scuola, Milano, Franco Angeli. Anzieu, D. (1987) - L’Io-pelle, Roma, Borla. Anzieu, D. in D. Rosenfeld (1988) - Psicoanalisi e gruppi. Storia e dialettica (traduzione italiana 1993), Roma, Borla. 507
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Baker, C. (2000) - Giochi di teatro, Roma, Bulzoni. Baratto Gentili, Lidia (2006) - Euritmia, Milano, Filadelfia editore. Barone R. et al. (2001) - I percorsi per l’inclusione sociale, dalla progettazione alla realizzazione, Caltagirone, Accademia della Piazza. Bartenieff I. & Lewis D. (1980) - Body movement. Coping with environment, London, Gordon and Breach. Baumann, C. (2005) - Giochi ed esercizi ritmici, Savigny, Istituto San Cristoforo, La Branche. Belfiore M. & Colli L. M. (1998) (a cura di) - Dall’esprimere al comunica-re. Immagine, gesto e linguaggio nell’Arte e nella Danza Movimento Terapia, Bologna, Pitagora. Bellia, V. (1995) - Danzare le origini. Expression Primitive, oltre la Danzaterapia, Catania, Cuecm. Bellia, V. (1998) - Danzaterapia: i gruppi, il transpersonale e il corpo. Dove vanno le arti terapie, Roma, Ter. Bellia, V. (2001) - Dove danzavano gli sciamani. Il setting nei gruppi di Danza Movimento Terapia, Milano, Franco Angeli.
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Benedetti, G. (1991) - Paziente e terapeuta nell’esperienza psicotica, Torino, Boringhieri. Benenzon, R. (1998) - Manuale di Musicoterapia , Roma, Ed. Borla. Benenzon, R. (1999) - Musicoterapia. Supervisione, Roma, Phoenix.
Esperienze
di
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Bion, W. (1971) - Esperienze nei gruppi, Roma, Armando Editore. Blos, P. (2002) - L’organizzazione istintuale preadolescente. Adolescenza e Psicoanalisi, Anno II, vol. 1. Boal, A. (1993) - Il poliziotto e la maschera, Molfetta, La meridiana. Bond, M. (1994) - Energia ed equilibrio del corpo con il metodo di Ida Rolf, Roma, Astrolabio. Bowlby, J. (1989) - Una base sicura. Applicazioni cliniche alla teoria dell’attaccamento, Milano, Cortina. Caporale F. & Pasquarella M. L. (2005) - Il corpo recluso. Danza Movimento Terapia in carcere, in Atti del IX Convegno Nazionale APID, Terra e focu dacci locu. Caterina, R. (2005) - Che cosa sono le Arti Terapie, Roma, Carocci. Cerruto, E. (1994) - A ritmo di cuore. La danza terapeutica, Milano, Xenia. Cerruto, E. (1997) - Danzaterapia nel carcere di massima sicurezza di Opera, relazione per il convegno La danzaterapia in Italia, Villasimius. Corbella, S. (2003) - Storie e luoghi del gruppo, Milano, Cortina. 510
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Corbin, H. (1993) - Il sentimento del colore: l’esperienza cromatica come simbolo, cultura e scienza, Como, Red. Damasio, A. R. (1999) - Emozione e Coscienza (traduzione italiana 2000), Adelphi. De Felice E. & Duro A. (1993) - Vocabolario Italiano, Torino, S.E.I. Del Rio G. & Luppi M. (2010) - Gruppo e relazione d’aiuto, Milano, Franco Angeli. Desoille, R. (1976) - Sogno da svegli guidato, Roma, Astrolabio. Duplan, E. (1993) - Intervista. A cura della rivista Art et thérapie, traduzione italiana in Foglie d’informazioni (supplemento a Superba n.7). Ende, M. (1984) - Momo, Milano, Longanesi. Flatischler, R. (1992) - The forgotten power of rhythm, Mendocino CA, LifeRhythm. Gardner, H. (1987) - Formae mentis. Saggio sulla pluralità dell’intelligenza, Milano, Feltrinelli. Gardner, H. (2005) - Educazione e sviluppo della mente. Intelligenze multiple e apprendimento, Trento, Erickson. 511
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Gasseau M. & Gasca G. (1991) - Lo psicodramma junghiano, Torino, Bollati Boringhieri. Goffmann, E. (2003) - Espressione e identità. Gioco, Ruoli, teatralità, Bologna, Il Mulino. Goleman, D. (1997) - Intelligenza emotiva, Milano, Rizzoli. Goleman, D. (2006) - Intelligenza sociale, Milano, Rizzoli. Gregorat, C. (1990) - L’esperienza spirituale della musica, Milano, Terra Biodinamica. Husemann, A. J. (2001) - La costruzione del corpo umano. Principi musicali in Fisiologia Umana, Torino, Aedel. Imbasciati, A. (1994) - Fondamenti psicoanalitici della psicologia clinica, Torino, UTET. Jacques-Dalcroze, E. (1986) - Il ritmo, la musica e l’educazione, Torino, ERI. Jennings, S. (1993) - Art Therapy and Dramatherapy. Mask of the soul, London, Jessica Kinsley. Jennings, S. (1998) - Introduction to Dramatherapy , London, Jessica Kinsley. Johnstone, K. (1979) - Impro, New York, Routledge.
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Mahler, M.S. (1975) - La nascita psicologica del bambino, Torino, Boringhieri. Monniello, G. (2004) - Il trattamento dell’adolescente violento, in Adolescenza e Psicoanalisi, Anno IV, vol. 1. Moreno, J.J. (1999) - Acting your Inner music, MMB Music. Moreno, J.L. (1985) - Manuale di psicodramma , vol. 1, Roma, Astrolabio. Moreno, J.L. (1987) - Manuale di psicodramma, vol. 2, Roma, Astrolabio. Mosca, U. (1994) - Manuale professionale di stretching, Como, Red. Muret, M. (1991) - Arteterapia, Como, Red. Neri, C. (1998) Gruppo, Roma, Borla. Neri, C. (2001) - Gruppo, Roma, Borla. Oliviero Ferraris, A. (1973) - Il significato del disegno infantile, Torino, Boringhieri. Olsen, A. (1994) - Anatomia esperienziale, Como, Red. Pergola, F. (2010) (a cura di) - L’insegnante sufficientemente buono, Roma, Magi Formazione.
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Pezin, P. (2003) - Il libro degli esercizi per attori, Roma, Dino Audino. Pitruzzella, S. (2003) - Persona e soglia, Roma, Armando. Pitruzzella, S. (2004) - Manuale di teatro creativo, Milano, Franco Angeli. Pitruzzella, S. (2008) - L’ ospite misterioso, Milano, Franco Angeli. Pitruzzella, S. (2008) - Lo sguardo e la maschera, Milano, Lampi di Stampa. Resnik, S. (1983) - L’individuo e il gruppo, in Quaderni di psicoterapia di gruppo, 1, Roma, Borla. Riva, E. (2001) - Agiti devianti e integrazione dell’aggressività nella costruzione dell’identità di genere maschile in Adolescenza e Psicoanalisi, Anno I, vol. 2. Riva, E. (2003) - I reati degli infraquattordicenni: il significato affettivo della risposta degli adulti inAdolescenza e Psicoanalisi, Anno III, vol. 2. Rustin, M. (2002) - Passioni in scena, Milano, Mondadori.
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Salzberger-Wittenberg I., Williams Polacco G., Osborne E. (1987) - L’esperienza emotiva nei processi di insegnamentoapprendimento, Napoli, Liguori. Sarsini, D. (1998) - Per una storia dei sentimenti: diacronia e sincronia degli affetti in Nel conflitto delle emozioni, pp. 37-51, Roma, Armando. Sartre, J.P., (1960) - Critica della ragione dialettica, (traduzione italiana 1963), Milano, Il Saggiatore. Scategni W. (1996) - Psicodramma e Terapia di Gruppo, Como, RED. Schneider, M. (1970) - Il significato della musica, Milano, Rusconi. Schneider, M. (1980) - Pietre che cantano, Parma, Guanda. Schott-Billmann, F. (1989) - Le primitivisme en danse, Paris, Chiron. Schott-Billmann, F. (1994) - Quand la danse guerit in La recherche en danse, Paris, Chiron. Schott-Billmann, F. (2001) - Le besoin de danser, Paris, Odile Jacob. Shott-Billmann, F. (1985) - Possession, danse et ThÊrapie, Paris, Sand.
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Tamino, A. (2005) - Il corpo individuale e collettivo come oggetto narrante e terapeutico, IX Congresso Nazionale Scuola di Arti Terapie, Roma. Tancredi, L. Musicoterapia, L’Archetipo www.archetipo.co.uk Traveni Massella, M. (1999, agg. 2002) - Art. 27 area Psicologia Penitenziaria (excluding Esperanto), http://www.metaforagestalt.it/centro/penitenziaria.html Turner, V. (1993) - Antropologia della performance, Bologna, Il Mulino. http://www.web.tiscalinet.it/mediazionepedagogica Winnicott D. W. (1975) - Sviluppo affettivo e ambiente, Roma, Armando. Winnicott, D. (1990) - La delinquenza come segno di speranza. Dal luogo delle origini, Milano, R. Cortina. Winnicott, D. W. (1974) - Gioco e realtà , Roma, Armando. Winnicott, D. W. (1975) - Dalla Pediatria Alla Psicoanalisi, Firenze, Martinelli. Winnicott, D.W. (1971) - Playing and reality, London, Tavistock Publications.
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