8. Sharing

Sharing with the group Psychodrama As a Tool in Education Training materials-Module 8 Leonardo Da Vinci project – Transfer of Innovation

INDEX 1.

2.

Module description ...................................................................................... 4 1.1.

Aims ..................................................................................................... 4

1.2.

Learningoutcomes................................................................................ 4

1.3.

Organisation of thematerials and the workshop.................................... 4

Introduction to the theory............................................................................. 6 2.1.

Sharing, expressing ............................................................................. 8

2.2.

The 'Tele' concept .............................................................................. 12

2.3.

The role of the leader: structure vs. norms ......................................... 14

2.4.

Sharing and neuroscience.................................................................. 17

2.5.

Ethicalconcerns .................................................................................. 18

Responsibility ............................................................................................ 19 Competence.............................................................................................. 19 Welfare ..................................................................................................... 20 Advertising ................................................................................................ 20 Confidentiality ........................................................................................... 20 Therapeutic relationships .......................................................................... 21 Values ....................................................................................................... 21 3.

Introduction to exercises ........................................................................... 22 What you say is important ......................................................................... 22 Learning about Sharing in Psychodrama ................................................... 23 Sharing Action ........................................................................................... 23 Not listening .............................................................................................. 24 The Nosy Ball ............................................................................................ 25 Reasons to be Here .................................................................................. 25 Exchange of problems............................................................................... 25 Who am I?................................................................................................. 26 A Name, Letters, Words and a Sentence .................................................. 26 Yes or No .................................................................................................. 27 Presentation .............................................................................................. 27 Money ....................................................................................................... 28 Sharing Statements ................................................................................... 28 Take for a dance ....................................................................................... 29 Write a Story ............................................................................................. 30

2

Positive Pyramid ....................................................................................... 30 Bullseye .................................................................................................... 31 Stand up together...................................................................................... 31 Once upon a time ...................................................................................... 31 Drawing names to let go............................................................................ 31 Affirmation circle........................................................................................ 32 Allowing departure .................................................................................... 32 Wrap up hug ............................................................................................. 33 4.

Evaluation ................................................................................................. 34

5.

Bibliography .............................................................................................. 35

3

1. Module description Working with Symbols is the eighth and last module of the course Psychodrama as a Tool in Education. As with all the modules that make up this course, it may be studied independently. However, it is recommended that the information presented here be integrated with knowledge of the other Psychodramatic techniques and actions. It is aimed at all teachers of adult, vocational or life-long training who are interested in learning the symbolic process, from the Psychodramatic perspective, and its application in the classroom. This knowledge can be very useful when identifying obstacles to learning, contending with diverse groups of students, and improving communication, empathy and, consequently, the learning environment.

1.1. Aims The adult educator will learn the value of sharing in Psychodrama as applied to adult education.

The educator will learn how to make basic use of sharing exercises, in the classroom, under the perspective of Psychodrama.

1.2. Learning outcomes On completion of the module, the teacher will be able to: Explain the importance of the use of sharing in education practice.

Suggest diverse sharing techniques and identify their possible function.

Choose exercises that are appropriate to the objectives set out.

Understand the importance of protecting and maintaining the integrity of both the group and the individual.

Integrate the use of sharing with active Psychodramatic techniques.

Develop a simple Psychodramatic exercise, orientated towards adult education, in which sharing exercises for a real life classroom situation are used.

1.3. Organisation of the materials and the workshop The collection of materials in this manual is orientated towards helping the educator apply simple sharing exercises in the classroom. However, the content presented here can also be used to organise a training workshop, led by a Psychodramatist, for trainers themselves. Such a workshop will allow educators to gain a more in-depth understanding of how sharing is used in Psychodramatic practice. Where possible, the workshop will last for eight hours and be run as a single-day session. If this is not possible, it will be run over two, preferably consecutive, days. It is best if the group has at least eight members and no more than sixteen. More specific guidelines for this workshop can be found in the handbook for instructors.

4

This module is divided into two main sections; an introduction to theory and an introduction to practice. Further sections complete the information that educators will need in order to achieve the objectives set out.

The introduction to theory comprises 5 sections through which the history of the sharing is retraced. The processes of sharing are discussed, as are the main concepts of the most important authors; from Professor Samuel A. Culbert and Sidney M. Jourard and their theories on self-disclosure, to J. L. Moreno, the founder of Psychodrama and his concept of sharing and its ethical concerns for the group leader. This first block will last one hour of the workshop.

The section that is concerned with practice corresponds to the exercise examples.

The exercise examples are classified according to the work materials used, and the main purpose of each group of exercises is explained in the corresponding section. In addition, each exercise contains points that the educator should bear in mind and the risks involved when applying these techniques and on the responsibility that comes with their use.

In the section dealing with evaluation, the instructor will be able to assess the impact the exercise has in the classroom. The bibliography lists the books and articles that have provided the information used to prepare this module. They make up a very useful guide for anyone who would like to extend their knowledge and study sharing in Psychodrama in greater depth.

5

2. Introduction to the theory In Psychodrama, sharing is a space and the final stage of any Psychodramatic exercise. As such, it has two functions or meanings. On the one hand, it is a space in which the protagonist of the scene may be rescued, one that people are able to share, and where they can put into words, and integrate,their experience of the scene. At the same time, it is where the closure of the Psychodrama session itself takes place.

After the warm-up and the action, comes the sharing phase. Following the scene, the director of the Psychodrama session invites all group members to express how the former has affected them personally. Those who have played an auxiliary role can share in two ways. First, they can be encouraged to share how they felt when playing the role; the feelings that emerged during the scene. Secondly, they can detach themselves from the roles they played, and express something from their own lives that emerged during the enactment of the scene; the evocation may be an image, a scene or a memory.

Sharing is not a rational reflection, but a personal and very profound process for which Moreno left some guidelines to be followed: • •

• •

The group should not offer advice or analysis to the protagonist. Instead, they should talk about themselves and about how the scene has affected them.

During the action, the protagonist will have performed an open exercise in sharing, for which they deserve more than simple analyses or critiques. It is useful to consider each person's own experience of the scene: their feelings, the evocations, and whatever they have been reminded offrom their own lives.

Sharing has restorative effects. Listening to and dealing with experiences described by others allows people to see they are not alone, reinforcing the unity of the group.

When the protagonist is in a vulnerable state of mind, having been exposed to the rawness of the scene, interpretation and analysis are inappropriate.

The function of the leader during the sharing phase in Psychodrama is to initiate and to lead, so that as much information as possible can emerge and participants are able to express within the group itself whatever they have experienced in the group. This phase gives all members of the Psychodrama group the chance to articulate their feelings. If they have opened up by expressing deep sentiments, they will require a space in which to find the support of the group and fit in with the others. This can be achieved through the posterior discussion, and by exploring the meaning of the experience.

If this phase does not take place, the protagonists may leave the session feeling lost and rejected as opposed to stronger and freer.

The director should reinforce a type of post-discussion, or sharing, that involves the free expression, support and commitment of the group members. This will be a wellstructured space for sharing ifduring the Psychodrama session participants are able to describe and share their feelings, and so encourage integration, transparency, knowledge and their own participation.

6

When applied to adult educators of lifelong learning or Vocational and Educational Training, sharing allows a space to be opened up in the classroom in which trust and mutual respect are present, and where students are able to express themselves. This can help to overcome a certain resistance to participation as well as to facilitate communication between classmates.

In other words, in an educational context, Psychodrama empowers both teachers and students with regard to problem resolution – this is especially true on its sharing phase.

It also improves communication and individual self-awareness with respect to the peer group.

The sharing phase has an additional role for the director, particularly in groups that are working together. Group cohesion improves during the post-discussion as the members are able to perceive those characteristics they have in common, creating ties between them. With the feedback received from the other group members, after this sharing phase, the protagonists generally consider themselves to be accepted and realise that they are not alone. This leaves them feeling stronger and in receipt of support. This sentiment is not produced solely in the protagonists, but extends to the entire group. The interactions generated during the sharing have a very powerful effect on the group dynamics.

Beyond the dramatic action, the sharing phase can be particularly surprising in mixed groups where cultural differences are present – a common occurrence in adult classrooms. This is because the post-discussion helps the group to look at others and understand them. At the same time, it allows them see that there are always points they have in common, despite the fact their ways of understanding may differ.

In this case, then, the role of the leader of the pilot course is essential when it comes to helping the protagonist, the auxiliaries, and the other participants of the Psychodramatic action to close the work carried out in the session. He or she does so by creating a sufficient, quality space for sharing. Closure does not necessarily mean the resolution of whatever concerns the group may have worked, but closing the session does allow the participants to at least talk about both their feelings and the evocations the scene has produced in them. The sharing of these feelings and evocations can contribute new information and aspects about the conflict or the situation under consideration, as well as possible ways to resolve it. One key aspect of the closure lies in providing a specific space for the roles acted out by the protagonist and the auxiliaries. By inviting the participants to speak, and reaffirming the opportunity to share, the director facilitates communication within the group. This role of communication facilitator can be observed by adult educators taking part in the workshop, as they themselves may become facilitators of a communication process and post-discussion in their classroom.

The way in which the closing phase is conducted can vary, and many factors determine which type of closure is the most suitable. These include the group's situation, the length of the session, the level of cohesion between participants, and the intensity of the work carried out. Closure is essential if there is no plan for the group to meet again. However, if the group meets regularly then there may be occasions when the leader will want to postpone the closure until a later session.

7

Before bringing a session to an end, the leader usually encourages participants to articulate those feelings that have developed during the exercise or the action, but that have been left unsaid. It is important to talk about any unfinished concerns before ending the session. It is likely that some problems will arise, but exploring them can be an enriching process even when the protagonist or the class remains a long way from resolving the issues. With classroom work we tend to make the whole class work and not so much individual protagonists. These individual protagonists are often left very exposed at a personal level. Following the completion of a good sharing session, it is likely that new work will be defined as a result of what other members have identified from the experience they have just had. Of course, it is not advisable to carry out this work in the same session or period of sessions if there is not sufficient time to do so correctly. On the other hand, the fact that new topics can emerge relating to the original matter is reassuring for the class, and also opens up new ways of looking at the issues concerned.

The participants of the session should be warned of the danger involved in forcing the closure of the said session. It is essential that the class has enough time to act out the conflicts and situations that restrict the spontaneity of the group, as well as to later share their experiences and put them into words. It is also important not to expect perfection, as this can lead protagonists to feel they have failed unless an apparent solution is found for everything. To avoid feelings of this kind, a leader could try to force the closure in situations where it is better for participants to continue reflecting on what has happened. One of the biggest challenges for leaders is learning to direct the closing phase of a session without restricting any sharings.

Another aspect related to both the closure and the sharing are the exercises designed for this purpose. Some examples designed with this aim in mind are set out in the exercises. Just as each session comprises the three main parts – the warm-up, the action and the sharing – the group also has to complete these phases in its journey through the process. It is in this place, where the closure of the group occurs, that these exercises can be used in a particular way.

2.1. Sharing, expressing

Sharing involves revealing one's own ideas, being open to other people, and expressing oneself in front of others. Self-disclosure has become an essential part of empirical research in behavioural sciences. It is currently understood to concern a large number of apparently unrelated variables such as better communication, interpersonal perception, group cohesion, self-esteem and confirmation. Communication and group cohesion are two particular variables that have a notable influence on classroom dynamics.

According to Professor Samuel A. Culbert, self-disclosure involves an individual communicating personal information to others – data that would most likely remain unknown, if not for the individual expressing it. This UCLA academic explains that the information must be “personally private". In other words, it is information that under 8

normal circumstances an individual would not wish to disclose to anyone who might ask. Of course, what is “personally private” to one individual may not necessarily be so to others, for various reasons.

Self-disclosure differs from self-description precisely because the latter contains information about an individual that they feel relatively free to reveal to most other people. This includes facts that an individual knows about him/herself, and that might readily be deduced by other people; information such as civil status, occupation, physical characteristics, etc. By definition, a requirement of self-disclosure is that others must be present. If this is not the case, it becomes self-information. Selfinformation usually comes before self-disclosure.

The Canadian psychologist Sidney M. Jourard (1964, 1968), one of the thinkers who has most thoroughly researched self-disclosure, explains that the path to knowing oneself is to reveal that self to others. In other words, the best way to know oneself is through other people and the ways in which they respond to one. If an individual expresses him/herself in an authentic manner, they obtain an authentic response, and can see the results of showing their real self. On the contrary, a person that does not reveal him/herself becomes "out of touch" with the self. Someone presenting a false self, on the other hand, is responded to with falseness, and obtains the impression that others do not know them very well. People may know an individual only to the extent to which the latter reveals him or herself, and they can respond accurately only to the extent to which the data they have been offered is authentic. All of these apparently individual processes are of vital importance to group dynamics within the classroom and, therefore, in the creation of spaces that can facilitate learning and education.

Research into self-disclosure has produced results that seem significant in sociometric terms, and many of the analyses carried out, based on these results, appear useful for both understanding and practising Psychodrama. In fact, when a Psychodrama action is completed and the sharing phase begins, the very essence of what is shared constitutes a self-disclosure.

This is so because during the sharing session each individual can potentially experience the relief of having revealed a life event, an opinion, a vision or a secret, in addition to receiving responses from the other group members. This experience represents the lifting of a burden – that carried by the secret – while also helping the individual to see that the other members do not reject their revelation. Moreover, the individual who reveals him or herself may see that, far from being rejected by the group, they in fact become more accepted. Often, the shared experience is neither unconnected to nor distant from other classmates who undergo similar processes.

Psychodrama is clearly not intended only for the protagonist and those who take part in the action of the scene, but for the auxiliaries and the audience as well. The class also works on its own difficulties related to the Psychodrama experience that has itself just been worked on. In the sharing phase, each participant is given the chance to integrate the action that has taken place on the stage with their own experience of life. In a sense, spectators and auxiliaries both take part in the Psychodramatic action, relating it to life events of their own. At the same time, they can offer their experience of life to the group during the post-discussion. The self of each individual is in some way reduced in 9

this giving, and the personal character that is revealed enriches the group through a certain shared "universal character”. Sharing therefore implies a space for understanding, integration and unity, one where the individual is reflected in the common.

During the post-discussion, the members of the group are able to relate their own past experiences to the protagonist's past experiences, represented in the present.

Psychodrama can help to articulate some issues within the class – with regard to the learning process, the group or the teaching staff – or even problems external to the classroom that have been carried forward from other courses, other types of training, or situations apparently unrelated to learning. These unresolved experiences or conflicts may be revealed in the sharing phase, and they can provide the educator not only with very valuable keys to understanding their students and managing their classes, but also with material for future Psychodrama sessions.

Each member of the group experiences a personal confrontation during the Psychodramatic action in the classroom. First, they are faced with: “What similarity does it bear to my experience?" And secondly: “How would I have handled this situation?” In this sense, each Psychodrama session facilitates the transformation from an individual's identification, between what they see in the scene and their own experiences, to the presentation of an action.

It is important to bear in mind that each individual has a different capacity for sharing, as well as a different tolerance to the act of sharing. For example, there may be someone who is reluctant to recount their experiences through the action, but conversely is able to use the sharing space to explain why they feel incapable of acting. However, there may be someone with a different capacity for sharing who is also incapable of explaining this inability to act. In such a case, this person would supposedly feel more threatened and unable to disclose things. It is also important to remember that the position of the leader is one of total respect towards each individual.

Technically speaking, as the one who is knowledgeable about Psychodramatic practices, the leader is obliged to provide sufficient space and time for the sharing session. On the other hand, he or she has to trust that whatever the individual members or the group share, they do so to the best of their ability. The sharing sessions should not be forced by pressuring people with questions, or using personal or, indeed, any sort of information. What is shared spontaneously should only be what the class is prepared for at any given time, and the leader has to accept this, irrespective of their own ideas, objectives, prejudices, etc.

In general, a new group member will feel threatened, at least unconsciously, by the other members of the group. This applies not only to Psychodrama but to any group situation such as a classroom. What a new member usually fears is being hurt. These threats or fears normally diminish in an atmosphere of sharing. This is why it is important for the leader to appear to be always walking behind the group, and to never pressure the members or lead them along his or her own paths.

When people share, they become more human, trustworthy and vulnerable. When they share, barriers come down, and there is increased cohesion and hope of change. Each person establishes who they are within the group, with their strengths and weaknesses, 10

problems, defects, imperfections, capacities, mean-spiritedness and personal resources. As each individual becomes better known to the rest of the group, he or she also becomes less formidable, less isolated, less equivocal and less threatening. In short, a more authentic person who is more at ease in the group.

Part of that “bonding effect”, revealed during the sharing phase, is a result of the group becoming aware of the shared nature of their experiences. Although true that each of us is different, it is also the case that we all share similarities and have the capacity to feel empathy with the experiences of others. Despite the diverse nature of the participants, any differences generally become blurred as they become shared, and the fear of being hurt diminishes as interpersonal relationships emerge. This is where some “universal themes” may be revealed and acted out in Psychodrama, issues that virtually everyone in the group can relate to.

The sharing phase is also useful for evaluating the rest of the Psychodrama session. A poor sharing phase is usually a reflection of a poor Psychodrama session. On the contrary, a good sharing session, including many interventions, generally indicates a process of transformation for the whole class.

Having said that, how do we identify a good sharing session? What elements do we need to consider? What we can say is that there is no correct way to carry out a postdiscussion process, but there are some elements that should be avoided. Analyses, advice, opinions, judgements and moralising do not mean sharing. They do not reveal anything about an individual, and they do not contribute to the growth and development of the group. No member of the group should be in a position to evaluate another. It is on this point in particular that the leader has to show him/herself to be unequivocal and in charge, with the sole aim of protecting the people taking part. The leader must interrupt, restrict and redirect interventions that are either judgemental or opinionated about other members, or that in general do not respect the true nature and quasisacred value of each individual's experiences.

Whatever is disclosed in a work of this type is “group property”. Ideally, it is assimilated by the group for the personal growth of each and every member. Whatever is said from the heart should be responded to honestly, dealt with honestly, and used honestly. If someone wishes to revisit the information that emerges during a session, it should be handled very carefully by the leader, and only used in a descriptive or interpretative way that is never judgemental.

The participants of a sharing session have very subjective views of the information that has been shared. It would therefore be an error to interpret an individual's description or conclusions, regarding their own experience, following the Psychodrama action. In fact, we should not draw conclusions about the nature of a difficulty concerning the protagonist based on their description from a previous sharing session.

The space given over to the sharing involves a period of "warming down" for the protagonist, the auxiliaries and the audience, during which time each person can leave their own mental and individual scene and return to the group. After an especially cathartic session, the group may be left mentally and emotionally wrenched from the Psychodramatic action if the session is brought to an abrupt close. Providing a good 11

space for the sharing session allows for a complete closure, like a circle, where Psychodrama begins with verbalising (the interview), continues with the action, and ends with verbalising once more (sharing).

Guidelines for the sharing session: 1. Psychodrama does not end when the action is over, but when the sharing phase is concluded. The leader's responsibilities continue throughout this space. For many Psychodramatists the sharing session is the most important phase of Psychodrama, as it is often what a person takes away with him/her, and it determines how that individual integrates his/her experience.

2. The sharing session should be neither analytical nor evaluative. Questions and intellectualising about whatever is shared should be avoided.

3. The act of sharing should be encouraged, but not forced. The simplest ways to achieve this are to openly establish the procedure as a norm, and to provide an example of a role model oneself. Even the most willing members of a group may prove resistant when the procedure is vague, there is no model to follow, or they feel pressured.

4. The leader must remain vigilant and prevent whatever information is disclosed in the session from later being used to the apparent detriment of another participant. If it becomes the practice of the group to collect the shared information in order to make diagnoses, explain the backgrounds to issues, etc., then participants will become more cautious with regard to the information they contribute, and more resistant to the idea of sharing. Moreover, blockages will start to appear. The essence of sharing will have changed from “giving oneself to others” to “leaving oneself exposed before others, for future evaluation”. Care should be taken to ensure that participants do not regret having shared certain things, or become more cautious when expressing themselves.

5. The leader must be alert to the socioemotional aspects of the session, and avoid being misled by the content that is shared throughout its duration. The manner in which something is disclosed, and what happens during its disclosure, can be very important indicators of the group's development and the needs of its members.

6. Critiques, analyses and evaluations may interfere with the correct use of the sharing session. They are more suitable for separate sessions intended for such purposes.

2.2. The 'Tele' concept

As has already been mentioned in Module 6 Working with symbols, Moreno believed that Psychodrama differed from psychoanalysis in the fact that it started where the latter left off. At least, he held the view that his work continued beyond Freud's. If Freud analysed dreams, then Moreno asked people to dream again, to act out the dream. If the father of psychoanalysis worked with his patients in the consulting room, Moreno did so in the street, in their houses, in classrooms, and in natural or everyday spaces.

12

Moreno understood that creativity and spontaneity, basic pillars of Psychodrama, were strengthened in this way.

Specifically, the essential differences between the two theories can be found in these concepts: the role of the therapist, transference and tele, perception and catharsis, the concept of time, the body, and the psychology of development. Transference and tele are two key terms in Psychodrama, especially regarding the sharing session.

According to Freud, this idea refers to irrational feelings that people hold towards the therapist when the latter is analysing them. An example of transference is when childhood feelings towards people who were important to the child are redirected towards the therapist in the here and now. These feelings may be activated by any situation that bears similarity to the child's relationship with their parents. In other words, feelings from our childhood can be transferred in the classroom towards new people who are not linked to that past – which is why transference is irrational – but who, in one way or another, remind us of that previous relationship.

For Moreno, the tele concept is derived initially from sociometric work, like the process of attraction or rejection between some individuals and others; a flow of feeling that composes social networks (Moreno, 1953, p.25). Tele is the simplest unit of feeling, like an atom of feeling that can be transmitted from one individual to another. This expression of attraction or rejection has a grading. A positive tele is the one that occurs within a relationship of attraction. A relationship involving rejection would mean a negative tele, while indifference – the minimum level – indicates a lack of tele.

Psychodrama is an interpersonal theory, and its method involves interaction and role changing with other people. The tele concept lies in the investigation of this interrelation, especially as a way of understanding or conceptualising empathy.

Tele means 'distance', and it is usually described as the reality based on the interperception between two people. Tele is mainly based on unconscious, reciprocal, non-verbal communication. This concept has been used considerably by Psychodramatists, and Moreno contributed to a certain amount of confusion when he described it differently in separate areas of his writings. In particular, he used the expression 'self-tele' to describe the relationships that emerge between different parts of the same personality.

Kellermann, 1992, also suggests using the theories of the German philosopher of dialogue, Martin Buber, to illustrate the difference between tele and transference; the theory of 'I-Thou' includes the idea that “I cannot be myself except in a relationship with you”. On the other hand, the ‘I-it' relationship of ‘I' is the relationship in which another person is treated as an object and not as a subject. In this context, the term 'tele' acquires the meaning of an ‘I-Thou' relationship while the term 'transference' can be characterised more as an ‘I-it' relationship. In Psychodrama, the basis is the relationship between human beings, the 'I-Thou' relationship; an encounter between people.

Transference and ‘counter-transference' are regular phenomena in any psychotherapeutic context. Moreno uses the expression ‘distorted tele' for both.

Moreno and Freud would both agree that transference is a pathological phenomenon.

The difference in their approach to the phenomenon is one of emphasis. In 13

psychoanalysis, the characteristics of the situation are technical means for developing transference reactions. Moreno, on the other hand, uses Psychodramatic techniques with the aim of facilitating genuine encounters through tele that are based on reality. In fact, most Psychodramatists now agree that transference occurs regularly between the members of a Psychodrama group and with regard to the leader, and that it can be explained through the technique of role changing. Transference can therefore be described as a specific counter-role, where a participant may assume the role of a child when in the presence of a therapist or the director of a Psychodrama session.

In other words, we can observe the tele, and the rejections, attractions, and transference that take place between the members of a classroom group during the sharing phase, perceiving certain unconscious feelings of the class. Better still if the observation is based onthe roles that the group members play in the action phase.

2.3. The role of the leader: structure vs. norms

In the sharing phase, there is a structure that the leader should bear in mind when guiding the process, and that we will meet in this chapter. One of the most appropriate ways to structure sharing sessions is described as follows: after the scene ends, a session for sharing feelings is opened first, before that session is then closed, and another opened for sharing the evocations. In the first part, we look at whether the auxiliary egos and the rest of the class can put into words the feelings that emerged during the action. We are looking for terms that put a name to the emotions experienced: “I felt scared”, “happy”, “surprised”, “abandoned”, etc. Any emotion is welcome, without evaluations, analyses or justifications. After respectfully inviting everyone to take part, the session can move on to the next part; the evocation. Before closing, the sharing session may be stimulated by using impersonal questions such as "Does anyone want to share anything else regarding feelings that emerged during the scene?" or "Anything else before closing?"If nothing else is raised, the session can move on to the evocations. When dealing with evocations, the aim is for each student to share scenes from real life or fantasy, that resonate with whatever was worked on in the session. The aim is to have each person present scenes evoked from their own experiences: a photograph taken in a certain place, the people who were present, what time it was… For example: “The scene reminds me of the argument my brothers had this summer, when we were deciding which beach to go to. My older brother shouted at the youngest one, and, in the end, my father got angry and we didn't go to any beach…"With the sharing of evocations, the idea is to put the experience of the scene into words and to integrate it with whatever resonates from the life experiences of each group member. Painful or dramatic memories may present themselves in an evocation and the leader should accept them in a respectful manner, validating the experience of each person and normalising the emotional process if it emerges.

The space set aside for the members of the Psychodramatic group to share will depend on the members themselves; on whatever they wish, and are able, to share.

14

That said, although there are no correct ways to conduct the sharing process, there are certain guidelines.

This structure is relatively simple: 1. Share your feelings about the enactment performed by the protagonist, and, with regard to the evocations, explain whether you have been reminded of something from your own experiences. It does not have to concern an identical situation, but some point in your life when you had similar feelings.

2. Advice should not be given.

3. Suggestions should not be made.

4. People should not say “That's exactly what happened to me, and this is what I did…” because that would mean giving advice.

5. Praise should not be given. It is not the time for saying “You are really brave for doing that” or, “From my point of view, you were right to be angry with that person”. By not making these comments, it may seem that an indifferent attitude is being shown towards the protagonist. But the fact is these statements do not share anything about one's own experiences, and this is precisely what a sharing session is useful for.

6. It is interesting that the protagonist remains silent during the sharing phase. It is time for them to take a rest after the exhausting work done in the scene. It is also a way of protecting them and preventing them from entering into sterile debates. The spontaneity of the action has ended for the protagonist, and “it is now time to listen to their classmates”.

The protagonist, or protagonists, reveals a great deal about him/herself during the Psychodramatic action, and they hope that neither the leader nor the other participants view them as someone “bad” or “emotionally crippled”. Their feelings are raw, which is why the leader has to protect them jealously. When guiding a sharing session, the person speaking should be stopped if it is thought they are going to offer advice or are not speaking from personal experience. It is occasionally necessary to quickly interrupt someone in the middle of their contribution, and to apologise for doing so. But it is always better to do this than to allow the participant to hurt the protagonist, deliberately or otherwise.

The objective of the sharing or integration phase is to return the protagonist to the group. The protagonist will have shared a personal matter with the group and they will be feeling very vulnerable. When other members of the group share something, it helps the protagonist realise that the others have similar feelings to those expressed by him or herself. Speaking about personal issues also helps people to work on personal change, and those issues will lend themselves to future Psychodrama sessions. When we share profound parts of ourselves with others, we produce personal change and build connections – we build a team.

It is difficult to initiate a group conversation until at least one participant shares an experience or a personal feeling. Particularly after the phase of Psychodramatic action various factors may emerge that make the post-discussion difficult: •

I played a negative role during the Psychodramatic action, and now I don't think I like the protagonist. What should I do?

15

This reaction is completely normal in many participants who have played an auxiliary role, but it may be the case that the protagonist does not exactly perceive them as such. When we come up against thoughts of this type, the term used is “de-role". It means something along the lines of “to come out of the role”.

“I am not that person” Some leaders demand that the auxiliary egos “come out of the role”. Those who have acted in auxiliary roles should then say their real name, and declare that they are not the person they have interpreted. For example, someone could say: “I am not Laura, your sister. I am Amaia”. The auxiliaries will then be asked to describe their experience of playing the role in question, and to explain the ways in which they identified with this role during the scene. The leader may remove anyone from a role using statements such as the following: “You are no longer a table”, “You are no longer Jimmy Carter”, “You are no longer the Head of Studies”, etc.

This technique leads to some problems. Let us suppose that Amaia identifies with the sister, and says: “I think you were really unpleasant to me, just like you were with your sister. I don't know how you can treat her like that. I didn't feel at all comfortable being your sister”.

These statements can completely undermine the action, even if they are untrue and it is Amaia who is identifying too much with her auxiliary role. From this point on, expressing how she identifies with the auxiliary ego will probably mean being very critical towards the protagonist, or, at least, of very little benefit. The job of the leader is essential at this point; to interrupt the badly understood sharing session and protect the protagonist or protagonists. In moments like these, the leader may become unequivocal and play a supervisory role, but they should always remain respectful and explain the reasons for their interventions.

REMEMBER: It is essential to protect the protagonist during the sharing process.

Brush it off Another way to come out of the role is the so-called Brush it off technique, i.e. casting the role aside, discarding it. To do so, those who have played auxiliary roles during the session have to brush their arms, shoulders and chest with the palms of their hands.

This technique can be useful in closed work groups that are scheduled to work in many sessions together. In more natural groups, it is the leader himself/herself who can assume the responsibility of removing each individual from their role.

Relinquishing the role naturally On the other hand, participants usually come out of whatever role they have played when they carefully share the ways in which they have identified with the protagonist.

This allows the latter to perceive those who really have played a given role.

With training groups it is possible to open a space for sharing from the technique. This follows the closure of the aforementioned sharing phase that comprises the sharing from feelings and the sharing of evocations. It is a space for technical considerations orientated towards training where the students can discuss things such as: what they 16

would have done differently, the leader's decisions, why something was done in suchand-such a way, etc. It is also a space that very much facilitates the learning process and demystifies the work of the leader, since the latter is able to share things that he or she could have done differently, give and receive feedback, etc. It is important that the leader continues to take great care to protect the people who have worked during the scene. During this phase of sharing from the technique, he or she needs to protect them from the interpretations, judgements and evaluations of any one of the participants. Respect for the experiences of each individual, and adherence to aspects that are solely technical and never personal, is imperative.

2.4. Sharing and neuroscience

Dr Rameson and Professor Liebermen, from the University of California, explain that our lives cannot really be called our own. This idea has to do with the fact that, to a great extent, our lives revolve around the thoughts, ideas, feelings, behaviours and intentions of others. Psychology has demonstrated the many ways in which our lives are shared and shaped by our social relationships.

In recent years, cognitive social neuroscience has shown increasing interest in the neuronal mechanisms that underlie the experience of empathy. To a large degree, this is because empathy is, in some way, a part of the essence of what it means to be human; not only are we able to recognise the happiness and sadness of others, but we can reflect and share experiences that relate to those emotions.

For example, this form of participation is also a motivator of altruistic behaviour. But, what is empathy? Researchers themselves cannot reach consensus on a concrete definition. Some believe it has more influence on the affective element, while others are of the opinion that its impact is greater at a cognitive level. Lastly, there is a certain current of thoughtwhich considers that a dual process occurs in empathy involving two separate, but interrelated, experiences; one affective and the other cognitive.

Empathy plays a fundamental role in the sharing process.We understand the minds of others by using our own as a model. So, not only can we put ourselves in someone else's shoes but we are better able to understand ourselves. The discovery of these "mirror neurons" and other “shared circuits” is commonly activated by oneself, based on the actions of others. The group members can therefore view the action of the protagonist during the Psychodramatic action, and whatever they see themselves reflected in – from their own experiences and based on their own parameters – will be explained in the sharing session. It is this resonance that produces change in the classroom.

According to research, the neuronal mechanisms involved in these shared circuits suggest that it is an automatic response; empathy carries the emotional state of another person to the observer, activating the latter's own representations. It is what has come to be known as “limbic resonance” (Lannon, 2003). In this way, the system of mirror neurons lets us experience the emotional state of another person and place 17

ourselves in their role, allowing the sharing that is characteristic of empathy to take place. When viewed from this perspective, it can be understood that certain judgements, opinions or advice should not interfere in the space set aside for sharing.

The objective is not to analyse whatever is expressed, but to sense, experience, and understand others through our mental models, and to therefore better understand our own minds by creating ties based on empathybetween the participants.

A large part of this work is realised through observation, which in Psychodramaoccurs during the action. The expression of feelings and evocations is what takes place, more specifically, during the sharing phase.

Through the sharing, this neuronal process centred on other people can prove to be of great benefit, creating a powerful means for change and personal growth for the class on the basis of expression, listening and understanding. It is the leader's duty to facilitate a space for sharing in which participants will be listened to respectfully and shown understanding, and where they are able to express themselves without feeling judged or pressured by others.

2.5. Ethical concerns

All disciplines require a code of ethics, but this need is even greater in Psychodrama because of the emphasis that its techniques place on creativity and spontaneity, with certain transgressions that would be impossible in other contexts.

Some Psychodrama associations or training institutes have already developed their own ethical codes that may be consulted. These include the American Society of Group Psychotherapy and Psychodrama, the British Psychodrama Association, the Australian and New Zealand Psychodrama Association, the Norwegian Psychodrama Association and the Finnish Psychodrama Association.

Other professionals recommend adherence to an ethical code concerning mental health that has already been drawn up (for example, APA, 1992). Nevertheless, there are some people who champion the idea that an ethical code would be too strict and dogmatic, and would prevent their work from being sufficiently spontaneous. This is the proposal of Meara, Schmidt & Day (1996), who would like the voluntary virtues of professionals, such as prudence, integrity, respect and benevolence, to serve as sufficient guide for leading Psychodrama sessions. Notwithstanding this suggestion, it is safe to say that the vast majority of Psychodramatists now agree to the adoption of a formal ethical code. This would include certain standards of confidentiality and basic concepts for the practice of Psychodrama.

Based on the understanding that, within the framework of this course, it will be adult educators who will be tailoring specific experiential techniques of Psychodrama to the classroom, it seems even more important to consider a specific code as guidance, one that is accessible and less concerned with mental health. The aim of this chapter, therefore, is to offer some illustrative examples of problem situations that may serve as 18

a basis for discussion on ethical conduct, and that may be incorporated into whatever models are applied in the classroom by individual educators.

Moreno suggested several principal forms of ethical conduct such as autonomy, benevolence and justice. The code of ethics and practice of the British Psychodrama Association includes references to the wellbeing of those taking part in Psychodrama.

These references take into account both the protection of the participants and the professionalism of the leader of the session.

For this course, we have chosen to deal with the following basic elements: responsibility, competency, welfare, advertising, confidentiality, relationships and values.

Responsibility A Psychodramatist, or, indeed, anyone who applies Psychodrama methods in some way, must take responsibility for whatever consequences result from their actions. In other words, let us suppose, as is the case with this course, that a long Psychodrama session is conducted over a few days – a weekend, say. In a situation such as this, the subjects dealt with in the workshops should be of a somewhat general, largely nonpersonal nature. This also applies to the classroom, where it is possible that the educator is neither a therapist nor a Psychodramatist. He or she should therefore adhere to topics that are less personal and more orientated to the following: the present; the classroom group, and interests related to the subject material; roles within an educational setting; possible blockages to learning; etc. In other words, the most indepth work at an introspective level requires a different approach, and sessions should be led by a qualified therapist.

In any case, the feelings exposed or perceived during the Psychodrama action may be seen to be profound when discussed in a sharing session. For example, a session that at first provides the protagonist with a sense of relief, may later result in some kind of angst away from the Psychodrama session. It is therefore important that the leaders of this workshop, and any adult educators applying the techniques in the classroom, are aware of this fact.

Competence Regarding Psychodramatists, it is advisable to consider what their competences are – that is to say, how they work best. There may be professionals who get along better with children than with adults, or with men better than with women, etc.T o a certain extent, the crux of the problem shifts in the case of adult educators. The latter do not have to be therapists, but they already supervise a specific niche; adult students who participate in their classrooms. Classes can in many cases contain students from mixed-age groups and diverse backgrounds who may differ in their levels of learning and knowledge. Although the teacher may get along with some types of student better than with others (for example, with those aged 50 and over, better than with those in their thirties), it is expected that he or she will apply the Psychodrama techniques to the 19

whole class. This is why they should take into account the issues that they understand best (lack of communication, group cohesion, etc.).

What is important about this reflection is to bear in mind that Psychodrama and those who apply its techniques both have their limitations. It is not advisable, therefore, to make promises to the participants. We should never promise that a problem will be resolved through Psychodrama, because there would be no reason for this to be the case with every issue. At the same time, it is worth repeating what was mentioned in the section concerning responsibility; if one is not a Psychodramatist, the topics dealt with in Psychodrama should be directed towards the academic role and not personal matters. And, of course, the more one reads about the matter, and the more workshops that are held, the more likely one is to become even more competent with regard to the subject.

Welfare Again, in a learning environment such as the classroom, we assume that educators will apply specific experimental Psychodrama methods as seen in this workshop, according to the guidelines and recommendations set out. In other words, by orientating those methods towards specific problems within the classroom. Despite this, situations of insecurity may arise in which a student displays an aggressive attitude towards a classmate or, more accurately, towards the role interpreted by the other student. This can occur at any stage of the Psychodrama session. For that reason, it is absolutely essential to warn students of the risks involved, and to specify the need to respect fellow participants at all times. Students should also be reminded of their rights, such as the right to not take part in a specific exercise or to leave the group whenever they see fit. This point is particularly important.

Advertising Let us suppose that a day of Psychodrama is being organised in your centre. It should be advertised in an honest and careful manner. It would be inappropriate to sell the sessions as a solution to problems, an antidote for students who have difficulties fitting in, or a mean of making them better students, in other words, to sell specific promises of happiness. The Psychodrama proposed in this course is a resource for working on certain tensions or issues within the classroom, but it is not a magic formula.

Nevertheless, if the group is in the right frame of mind, magical things may sometimes happen.

Confidentiality Psychodramatists must respect the confidentiality of whatever is expressed during the session by those taking part in it. This applies equally to any educators employing certain experimental methods in the classroom. However, it does not include any confessions that involve feelings harmful to either the participants themselves or other people. The leader will weigh up the measures to be taken in such cases.

20

This is why it is also essential to advise the participants on the importance of confidentiality. It is unacceptable for third parties to be told about whomever or whatever is discussed during Psychodrama work. This point is hugely important in allowing the group to function correctly.

Therapeutic relationships Just as romantic or sexual ties between teachers and students are to be avoided, leaders and participants of Psychodrama should similarly eschew such relationships.

As we have seen, empathy and transference can lead to irrational feelings being projected towards the director – sentiments that, deep down, may be connected to unconscious memories and not genuine feelings.

Psychodrama sessions may establish bonds of friendship between the participants and the leader. Beyond these ties, however, it is not advisable to have a more intimate relationship while the Psychodrama sessions are being run, or even for the 12-month period following their conclusion.

Values Objectivity in Psychodrama is more of an ideal than a reality. There are few Psychodrama sessions that do not bring one set of values into conflict with another.

Nevertheless, the leader of the session should not allow him/herself to be unduly influenced by his/her own values, irrespective of whether these relate to age, race, gender, ethnic group, religion, sexual orientation, disability or social status. These values may become visible when forming close relationships with some participants, or pressing them in ways that are too intimate or personal. This can lead to suggestions that protagonists perform certain inappropriate actions– hitting, for example – against one of the roles. Again, it will be up to the leader to understand and value his or her relationships, and at the same time avoid being overpowered by them.

21

3. Introduction to exercises

These exercises are designed to promote implicit knowledge about the importance of sharing in any kind of active or Psychodramatic technique. Some of them can also be used with a slight adaptation to promote the sharing in VET classes of any given event, topic or issue. In Psychodramatic terms, sharing is the last phase of any Psychodramatic work. Through the work carried out using these exercises, participants will gain a deep understanding of the relevance of providing enough space for the sharing phase in any Psychodramatic method. As class facilitators, we must understand sharing as perhaps the most important part of any Psychodramatic method.

Sharing encourages integration, the “putting into words” of experiences from the action phase that sometimes make an impact. The pace of the sharing session is crucial; the rule should be “always provide more space and time than what seems necessary”. It is not always easy for an individual to put experiences into words. So, before moving onto something else in the class, ask the group questions along the lines of “Does anyone wish to share?" or "Is there anything else to be shared?”, and provide more time.

Important and very strong aspects will usually emerge in the final minutes, and we do not want to prevent that information from coming out because of our impatience as facilitators.

Some of the exercises presented in this module may be appropriate for the “closure” of a class. The final days of a class and classes before holidays are also important. These are periods of anxiety, angst, fear, farewells, separation, and new projects, and Psychodramatic exercises for “closure” can be a great tool for capturing most of that angst and transforming it into creative energy.

Exercises for learning about the importance of the Sharing Phase These are specific exercises for gaining knowledge about the importance of sharing, and they may be used in training groups for educators.

What you say is important The exercise starts by creating two groups and calling one of them “A” and the other “B”. Each group forms a row facing the other group, in such a way as to form “A&B” pairs. Each member of the A group says to the person opposite to him or her: “What you say is important to me and the group”. The members of group B listen attentively.

The members of group A rotate and each is given the chance to say the phrase to every member of group B, and vice versa. The exercise should conclude by sharing the feelings and sensations of both the role of speaker of the statement and the role of the listener of the statement.

22

This exercise aims to provide a Psychodramatic space in order to investigate the importance of sharing and the leader's role in this phase. The exercise is designed for training, although with slight modifications it may also be used for sharing specific issues in a real VET classroom situation.

For example, the As give their opinions, ideas or comments to the Bs with regard to a particular difficulty they are facing in the learning process, applying the course content to real life situations etc. The Bs respond by saying “What you say is important to me”.

The roles can then be reversed, so the Bs are able to express themselves and have the As acknowledge their comments. The exercise can be used to share a particular issue, to build cohesion and respect between group members, and to promote empathy between participants.

Although the exercise is concerned with sharing, it is not intended for the “closure” of a class or a group. Other exercises for sharing, that may be more suitable for the “closure” of a class, will be presented later.

Learning about Sharing in Psychodrama As this is an ”action” exercise, it could be used for a group that has already been warmed up. Depending on its type, each exercise will also have a warm-up, an action phase, and a sharing. With the group warmed-up thanks to previous exercises, a group conversation, or perhaps even a brief theoretical explanation, the following instruction may be given to the group: “Create either a static or dynamic sculpture that represents”: •

•

A "bad sharing": rapid, with no pauses, encouraging neither expression nor integration, with interpretations of the enacted roles, and personal references to the participants, advice, analyses, etc.

A “good sharing”: as defined by having an opening, an unhurried pace, trust, the integration of content, respect for the individuals involved in the action, no rash judgments about others, sympathy for the experiences of others.

Share the experience as an individual in both of the sculptures, one after the other.

Remember to also provide time for those individuals who did not participate in the sculpture and stayed in the class. The sharings of the audience, or observers, of the sculpture-action maybe very illuminating and provide the class with extremely interesting insights.

Sharing Action This exercise could be described as the authentic Psychodramatic way to learn about something. To learn about the importance of sharing, “let´s act it”.

23

The educator can request four or five volunteers from the group. Away from the main group, the educator can ask them to share in a group, in two different ways and in two different scenes.

•

•

First scene: The volunteers talk or debate among themselves about any issue, public or personal. The idea is to encourage a disrespectful and impertinent way of listening, one that does not respect speaking turns or the pace of the speaker, that tries to change others' point of view and gives advice, and soon.

Second scene: They can replay the same scene but this time by being attentive and respecting everyone's turn to speak, giving enough time for the others to finish speaking, and generally being open to the experiences of others.

Following the action phase, the group can get back together and share their experiences. Firstly, there could be space for the volunteers playing roles to share, and the rest of the group could then share their feelings on viewing each of the two scenes.

Afterwards, they can discuss the implications for their role as educators using Psychodramatic techniques in adult education groups.

Not listening The class can be divided in two subgroups. One of them will play the role of not listening – trying to switch topics, not listening to their partners and being absent from the talk. The other subgroup will try to speak about something that is relevant to them, something important to them, maybe not too personal, but important nonetheless.

The roles should be explained to each group separately. Pairs with a member from each group can then be formed and asked to play the assigned roles. If there is enough time, the roles can be reversed, so the group that was talking can then take on the non-listening role. Remember to As group directors, this can be an excellent way to reflect on the type of sharing we want in our groups, and to gain implicit, applied knowledge about the same. Directing or participating in a simple exercise such as the one presented will be a lesson learned forever as a group director. The subjective experience of the individuals and the group will be closely related to the ability of the facilitator to lead the sharing in a deferential, tidy, way one after the other, respecting the pace of the participants.

Exercise for Sharing information

In each Psychodramatic action there is a sharing of information, an exchange of ideas, opinions, feelings, and points of view. We use this space to propose exercises that can help students share information. This can be useful when a new class starts, in the warm-up process, to encourage respect, empathy, mutual understanding, conflict resolution, etc. In purely Psychodramatic terms, sharing refers to that specific phase of Psychodramatic work when group members are asked to report back to the group with their feelings, and to recall information from the action. However, in order to support the learning process, some sharing exercises are presented.

24

The Nosy Ball This could be an exercise for sharing ideas about a particular topic. It seems to be a warm-up type of exercise. With the entire class sitting in a circle, and the group director holding a medium-sized ball, the latter can formulate a question: “What is your very first sensation on joining this group?”. Some time must then be left so that everyone can answer the question mentally. After a few seconds (approximately, 10-15),the director should throw the ball to one of the group members. The person catching the ball has to answer aloud, formulate the next question, and pass the ball for the next member to answer. Sometimes, the themes presented by the director are followed, although they may take different routes. Always provide enough time for sharing, and lead with the usual questions: How did you feel during the exercise? What were you reminded of during the exercise? Which memories, places, events came to your mind?

One variation could be to throw the ball and ask the question "When was the last time you… (e.g. laughed out loud?)?" This is an exercise that can be fun, and one in which some personal information is shared. It has the feel of a warm-up exercise.

Reasons to be Here This is an exercise for warming up about an idea, and for sharing information about the backgrounds and expectations of group members. Each participant receives a blank piece of paper and writes three reasons they have for being in the group. All the notes can then be collected and handed out again, so that everyone reads someone else's reasons. The reasons can be written on a board by the educator.

It is a time for sharing the feelings that emerged: during the exercise; while writing; when listening to one's reasons being read out by others; when reading someone else's reasons, etc. It is always interesting, afterwards, to create a space in which to share whatever came to mind during the exercise.

It can be a subtle, respectful diagnostic tool for the educator to monitor the group, levels of motivation, goals, etc.

Exchange of problems Each individual writes down a problem they have, regarding their previous learning experiences, on a piece of paper. All of the papers can then be put into the same basket, say, and each individual can take one and read it as if the issue was their own – as if the difficulty was one of their own.

25

Time and space for sharing should then be provided. This exercise normally creates an atmosphere of understanding between peers, with most problems being similar in

Who am I? We can ask the group to place themselves in two parallel lines. Those in line A are As and the ones in line B are Bs. Each A and B then form a couple. They are each given ten minutes to talk to their partner about themselves, one after the other.

Once they return to the main group, each person introduces his or her partner using the information they have been provided. Make sure to provide space for the group members to share their experiences of speaking, of listening to others, and of listening to their partner's introduction of themselves.

It is an easy exercise for warming up and sharing personal information. It can be used to build cohesion, encourage a relaxed introduction to the group, etc.

All exercises are open to the spontaneity of the director. This one can be turned into a great closing exercise by changing the instructions. For example, if the time set aside for talking is used to speak about “where this learning places me?”, ”what challenges growth in me after the training?”

A Name, Letters, Words and a Sentence A piece of paper is offered to each person in the class, and they are told to write their own name vertically and in capital letters. They are then asked to write down a word starting with each letter of their name as quickly as possible. Finally, they are asked to write a sentence containing all the words. Remember to provide enough time for the group to share their feelings during the exercise, as well as the recalled memories, scenes or images.

P - PETRIFIED E - ERECTED T–TREASURE E - EXTINGUISING 26

R- RAPIDLY “I AM AN ERECTED PETRIFIED TREASURE, EXTINGUISING RAPIDLY.”

This is a simple exercise to encourage self-disclosure between group members. It is a particularly powerful exercise as creativity involves many unconscious processes, projective identification can be triggered. An extended sharing session is required.

Yes or No Divide the class into opposing pairs. Those standing on the right will be the YES group, and those on the left the NO group. Set up a simple way of having a Yes line and a No Line.

The class director can ask the question: ¿have you lived abroad? And the students will position themselves in the line corresponding to their answer. After the first question, the group members will take turns to ask spontaneous questions. It is a way of speaking without words, talking while moving, that makes it easier to share.

Always remember to provide a space for sharing. It is important to bear in mind that people may lie, decide not to respond, or not join either of the two lines.

Presentation This can be an exercise for warming up a group, to present and share information about oneself in a subtle and protected manner.

Ask each member of the group to introduce someone they know well (father, mother, friend, partner, boss, etc.). They can then explain what kind of relationship they have with that person.

Provide enough space for the sharing and remember that simple exercises can become triggers of important changes for both the group and the individuals. For two group members who have fallen out with each other, seeing the other playing the role of introducing a friend may potentially alter the relationship between them.

27

Money This exercise is designed for sharing information, growing and reflecting on a specific issue. In this example, the topic is Money. The instruction issued to the class may be to work on the importance of money for each one of us.

An imaginary line is marked out by placing two chairs at either end of it. Each of the chairs represents one of the two limits of importance, one being 0 and the other 10.

The rest of the line – the space between the chairs – represents the intermediate levels of importance.

Class members can then be asked to find the point in the continuum from 0 to 10 of the imaginary line created by the two chairs, according to the importance they place on money. Class members are encouraged to talk from each position, and to explain how they feel being at that particular point on the line, and how they relate to others at other points on the line.

It is really interesting to reverse roles, that is to say, different points on the line. For example, someone near the 9 can reverse roles with someone close to the 2. They can then be invited to speak from their new role, justify it, explain how they feel, and so on.

It is important to provide enough space for sharing from each role, even for those who choose not to position themselves on the line.

It is a good exercise for encouraging empathy, respect for the ideas of others, mental flexibility, etc. Again, a major factor would be the spontaneity and experience the class leader has in proposing issues or topics relevant to the group's development. In the context of leadership training, after working on the theory, the director can design an exercise that concerns the different styles of leadership – autocratic vs. democratic – placing one of the styles on each end of the imaginary line, and then asking people to find their corresponding point on the line, talk about it, reverse roles, and so on.

Something similar, for sharing differing views on an issue, can be carried out in groups.

Two groups can be formed by asking a question that divides the class. Placed opposite one another, they can be asked to defend and explain their position. The members of both groups can then be told to switch to the opposing side and asked to defend their new role.

Sharing Statements Place several jumbled pieces of paper, each with a statement written down, in a box.

Each person picks a piece of paper and comments on the statement written on the paper. This is only a proposal for phrases, but, again, the spontaneity and creativity of the leader can create opportunities for leading the group to many different places.

Statements: 28

Things may happen in training that you don’t like. It is your choice to make something momentous out of these situations, by not allowing them to affect you forever.

Happiness is where you find it, rarely where you look for it.

People learn from their mistakes.

People feel lonely because they build walls instead of bridges.

Help someone to lift their load, but don't feel you have to carry it for them.

Each of us is here to discover our own journey, and we'll never be happy following that of another.

He who never fails, never takes a risk.

No one can make you feel inferior without your permission.

A space for sharing should then be opened up in order to share the feelings and the memories evoked during the different parts of the exercise. This can be a way for the group members to be introduced using some phrases or ideas presented by the director.

EXERCISES FOR CLASS “CLOSURE�

Take for a dance The exercise introduced here can be great for providing an enjoyable class closure. As a way of warming up, ask the students to walk around the whole room. A pleasant, gentle tune can be played in the room, and the members told to walk around and be aware of the people they encounter in the room, look at them, greet them and greet with them.

Once back in the chairs and sitting in a circle, anyone can ask anyone else for a dance.

The take for a dance would be a real ritual: someone stands up and approaches another person, reaching out to offer them a dance. The one receiving the invitation then follows and is taken to a separate space, away from the rest of the class. They should remain expressionless at this point while the one asking for the dance tells the other something they really like or enjoy about them. It may be a value or attitude of theirs, something they have done, etc. The person receiving the compliments should stay straight-faced and not express any appreciation.

Both then return to the main group. A time limit can be set if necessary, although there is no limit to the number of times someone can ask others for a dance, or be invited themselves.

This exercise can also be understood in sociometric terms, by looking for the group members who receive most offers to dance, the ones who most invite others to dance, etc. It usually turns out to be an enjoyable experience in which everyone receives pleasant emotional strokes.

29

Write a Story Each member of the group writes a story about a particular topic, “my story in this class”, “things I learned”, or “life after this training course”, etc. The story can be about anything, or the group leader may specify a topic relevant to the class. Sufficient time should be allowed – around 12 minutes should be enough. Once the stories are written, they are placed in a box. Volunteers are then asked to stand up, randomly pick stories from the box and read them aloud. The exercise then moves on to the sharing phase: sharing from both the role of writer and that of listener, as well as from the evocations.

This can be a good exercise for sharing unexpressed feelings or ideas in the group. It can also be useful for the closure of a group and getting a general idea of the energy contained within it.

Positive Pyramid

Peter Smith Everyone in the class should have a piece of paper with a Positive Pyramid and their name on it, as shown here. The qualities of each person should be written by their classmates inside the corresponding pyramid. The group can do this task spontaneously.

Space for a sharing session should then be provided. The pyramid is something that each member can take home with them. It can be suggested to them that they attach the Pyramid to their refrigerator door at home.

30

The exercise can be a great closure for the end of term time, for a class closure, and so on.

Bullseye The facilitator will pass 5 pieces of paper to each participant, they can then be asked to write 5 important moments about their personal journey in the group. An object can be placed in the centre of the room and the pieces of paper positioned around it to make a bullseye. Everyone places the more important moments close to the centre. The last part of the action would be some time to let the group read whatever is written on the papers, and observe the bullseye.

Sufficient time for sharing should be allowed. This can be a nice image for saying farewell to the class and closing the group.

Stand up together Ask the class to form pairs, sitting back to back on the floor with their arms locked. The couples are asked to stand up using only their legs and backs. They can then join up with another couple and, with the four of them sitting on the floor, stand up at the same time using the same technique. Couples can keep being added until the entire group is able to stand up together from a seated position, just by linking arms with the adjacent person.

The following questions can then be asked: How did you feel during the exercise?

What memories or images from your everyday life came back to you?

Once upon a time "There was a class‌" And complete the story. Each member of the class can contribute a few lines.

Make sure enough space is provided for sharing. The story will then be a farewell message for the class.

Drawing names to let go

31

Ask each class member to write their name on a blackboard with a piece of chalk, or on a paper board with coloured pencils. Then, one by one, ask the rest of the students to decorate each name with symbols that will hold a special meaning for the person, or with elements that may be of future help to the person with regard to learning in the classroom. Coloured chalk or a large paper sheet with coloured pencils is required for this exercise.

Affirmation circle This exercise was developed by Liz White, a relevant Psychodramatist who passed away in 2014.

The exercise can be great for the closure of a small class. The members of the group can be sent outside for a fifteen-minute walk, to review the VET in their own minds, to be aware of the truth that is important to them, to find thestatementthat will best help them remember their training experience. Or perhaps something they can take back to their companies, groups of friends, communities, etc. When they return from the walk, put some chairs together in a circle and ask the group members to close their eyes and recall the one statement they most need to remember – the one they want to take away from the learning experience.

Ask the participants to stand up and say aloud their statement to themselves. “Then they can be asked to move around the group, putting their hands on the shoulders of each person, repeating their own affirmation to encourage the other (Liz White, 2002)�

Allowing departure It can be an exercise to let the members of the group integrate their learning and say goodbye. They can be asked to sit in a comfortable position. Depending on the nature of the group, they can also be asked to lie down on the floor or sit straight up so that their energy is free to flow through their bodies. At that point, the group facilitator can read the following: You have been together in this class for a long time, learning, sharing, and trusting and offering support and encouragement to one another. As you breathe in slowly, you can take the energy of the class into your bodies as you prepare to go back to your schools, companies, families or communities. (pause) You will now hear the name of each group member and you will be reminded of the different ways in which they have given something to you, sometimes without even noticing. The same way in which you may have encouraged them, or provided or offered them something. As you hear the names, picture them, remember them, wish them all the best and let them move on.

32

At this point each group member can be named, one by one, (the leader can also include his/her own name). Having named everyone, the facilitator can continue, saying: Breathe in and slowly come back to this room. Say goodbye to each of your classmates at your own pace.

Thank you all, and a safe journey home.

Wrap up hug

With appropriate music playing – classical or perhaps of significance to the philosophy of the group – the participants can be asked to hold hands with a classmate. Each of the pairs can join up with another, and so on, until the entire group forms a long line.

One of the people standing at either end can then be asked to wrap themselves up by pulling in the rest of the line, forming a massive hug. The group can stay like that for a couple of minutes, listening to the music. The hug can then be undone.

Perhaps there is no need for sharing, and it is just time to go.

33

4. Evaluation Following the application in the classroom of one of the recommended exercises, the educator can carry out an evaluation on two levels: a self-evaluation and an evaluation of the students. This evaluation can be made by focusing on the objectives that are set out when the exercise is performed in the classroom, and by using the questionnaires and tables that can be found are in trainer’s Hand Book for Psychodrama as a Tool in Education course.

34

5. Bibliography BARBOUR, Alton. (1972) The Self-Disclosure Aspect of the Psychodrama Sharing Session. Group Psychotherapy & Psychodrama, 25, 132-138.

BARBOUR, Alton. (1977). Variations on psychodramatic sharing. Group Psychotherapy, Psychodrama & Sociometry, 30, 122-126.

COREY, Gerald. (2008) Theory and Practice of Group Counseling. Belmont, CA: Brooks/Cole, Cengage Learning.

KELLERMANN, Peter Felix. Ethical Concerns in Psychodrama. Journal of the British Psychodrama Association, 14, 1/2, 3-19.

DECETY, Jean & HODGES, Sara D. (2006) The Social Neuroscience of Empathy. In P.A.M. van Lange (Ed.), Bridging social psychology: Benefits of transdisciplinary approaches. Mahwah, NJ: Erlbaum.

DAYTON, Tian. Emotional Repair through Action Methods. MA PhD TEP RAMESON, Lian T. & LIEBERMAN, Matthew D. (2008) Empathy: A Social Cognitive Neuroscience Approach. Blackwell Publishing Ltd. WYSONG, William H. (2013) The Psychodrama Companion. MA, LPC, EMDR II, TEP. RUSCOMBE-KING, Gillie. (1998). The sharing. In: M. KARP, P. HOLMES & K. BRADSHAW-TAUVON, (Eds). Handbook of Psychodrama. London: Routledge.

LANNON Richard; AMINI Fari; LEWIS Thomas (2000).A general theory of love.

New York: Random House. ISBN 0-375-50389-7.

35