Modules of training "Psychodrama as a tool in adult Education"

MODULES OF TRAINING Project No: 2013-1-GR1-LEO05-14123

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Contents MODULE 1: The experiential method of psychodrama

4

MODULE 2: The Power of the Group

17

MODULE 3: Sociometric group mapping

27

MODULE 4: Warm-up

35

MODULE 5: Role-playing

43

MODULE 6: Working with Symbols

53

MODULE 7: Conflict Management

61

MODULE 8: Sharing the Experience with the Group

69

MODULE 1: The experiential method of psychodrama I. Thematic domain of the module Psychodrama is a therapeutic method which supports personal development providing a unique possibility to present experiences, problems, difficulties and internal conflicts in the form of a dramatisation. The method was created by Jacob Levy Moreno (1889-1974), a Romanian psychiatrist and psychotherapist, and has been substantially developed in various directions by psychotherapists all around the world. Moreno, in his theory, emphasised the fact that man develops and grows up in a group, which has a unique force of interaction coming from its internal dynamics. A group is like a mirror in which everybody can see their own reflections. On the psychodramatic stage the memories of specific past events are presented, as well as intimate dramas, fantasies and dreams, but also scenarios of situations which may happen in the future. Those enactments are either very similar to situations that happen in real life or are a figurative way of presenting mental states and processes. The roles of different characters and feelings which are important to a member of the group are played by the other members chosen by the person in focus of the drama.

This focus on group processes makes the method, primarily conceived as a psychotherapeutic approach, of interest and value to educators who engage with group dynamics as an essential part of their work. "Guidelines on Psychodrama Use in Adult Education" created as a part of the POTENS project sensitizes the prospective users of the methodology as an educational tool to the following issues:   

Psychodrama, as a method of group work, may create suitable conditions for an educational process by building an atmosphere of trust and safety, and also by reinforcing the integrity of a group.

Psychodrama can enhance spontaneity and creativity of participants taking part in workshops.

Psychodrama offers practical tools of application in the field of education, which is understood by gaining skills and shaping attitudes.

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The application of psychodramatic methods cannot mean a simple implementation of procedures and techniques, but requires a responsible, creative and a unique approach in building personal and group relations.

In order to use psychodramatic techniques efficiently, the educator has to have sufficient skills which can fully acquired only through comprehensive training in psychodrama methodology.

To sum up the aforementioned points it must be emphasised that the application of psychodrama in education may enhance and improve the work of the group, but also carries multiple threats in a situation in which the trainer does not possess sufficient knowledge, skills and experience.

II. Aims and learning outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to psychodrama, in particular those aspects of the method which are applicable outside therapeutic contexts  to give a taste of a psychodrama session in all its phases of warm-up, action and sharing  to show sample techniques and exercises which will be covered in more detail in the following parts of the course  to discuss the applicability and usefulness of psychodrama in VET adult education 2. Learning Outcomes On successful completion of the course module the learners are expected to be able to:  outline the main concepts and principles of psychodrama Module 1: The experiential method of psychodrama

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 give examples of application of the method in education  identify possible threats resulting from the use of psychodrama outside of psychotherapeutic context  point out opportunities of enriching VET adult education with psychodramatic techniques and exercises The above learning outcomes are closely aligned with assessment scenarios described in chapter IV. III. Teaching & Learning methods/approaches As the introductory one Module 1 needs to offer both an overview of psychodrama and outline the content of the forthcoming parts of the course.

To this end sufficient time should be given to presentation of basic concepts and principles of psychodrama which make it an attractive resource of experiential techniques for educators as well as dangers of irresponsible use of the method which can deeply hurt the participants. The theoretical aspect of the module should not stand in the way of practical demonstrations of psychodrama as an experiential method. This will be ensured in two ways. First, the session should follow the general scheme of a psychodrama workshop leading the participants through all the key phases of warm-up, action and sharing. Secondly, sufficient time should be given to the introduction of sample techniques to be presented in detail in the following modules of the course. The purpose of this choice is to announce the content of the whole course in an appealing way, giving the participants a “taste” of the forthcoming experience. The activities planned in this module draw on the techniques validated in the framework of the project “Psychodrama on the educational stage” which developed innovation to be transferred to the PaTiE project.

1. Warm-up The module begins with two warm-up exercises, closely linked, and giving an immediate grasp of the nature of a lively psychodrama experience.

This is in line with the psychodramatic approach which elaborates on insights gained through experiential learning.

Greetings Module 1: The experiential method of psychodrama

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 The trainer asks the participants to greet each other in a different way to how they usually do.  The task is first to greet a person using their feet, then knees, hips, shoulders, and finally - by touching heads.  The exercise should generate a lot of movement and fun: as more and more sophisticated forms of greetings appear, the participants usually behave freely and spontaneously, they look for various ways of establishing relations.  All of them have an opportunity to meet each other in a form of a direct contact.  The game requires its players to break through their resistance to physical closeness (which for many people is a big problem), but at the same time establishes safety boundaries.  Everyone has the ability to control how they relate with their partners.  Similarly to other movement activities, the exercise serves as a tool to “energise” the group and raise the level of energy needed to engage in the forthcoming psychodramatic “action”.

Names  The task of the participants is to look closely at their own specific characteristics, occupational capacity and skills by analysing their own names.  They all write down words that start with the respective letters of their names, creating a short auto-presentation. For instance: "Adam altruist, distinct, active, melancholic". It is also allowable to invent words, neologisms which specifically characterise ones personality.  Next, each of the participants presents himself using the words he wrote, explaining their meanings in the context of various life and occupational experiences.  In a different version of this exercise, the participants first wander around the whole room and introduce themselves to other participants using the words they wrote down, and only later do they analyse the words they have chosen, in a big circle.  Another form of this exercise is based on constructing a logical sentence from the respective letters of names. For instance: "Adam adores deep, abstract meditation".

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 The game's purpose is to reflect on the strong and weak sides of one's own character through wordplay, by playing with meaning and allusions.  This activity helps participants to get to know each other and get over their "stage fright" and encourage participants to seek out new, creative solutions and ideas needed for their active participation in the session.

The exercises should enable the trainer to discuss with the participants the meaning and importance of warm-up activities in psychodrama. The following points can be raised as opening the key themes of interest to educators:  What are the most important functions of warm-up and the essential qualities it aims to elicit from the participants?  Can warm-up activities be used irrespectively of the subject of the class and the dynamics of the group?  How to deal with resistance which is likely to occur when the participants see such forms of action as puerile, inadequate to their needs, and even inappropriate in the context of educational classes?

2. Action Introduction to psychodrama for VET adult educators needs to focus on those aspects of the method which are relevant for education as distinct from therapy. The following division of the main part of the workshop is based on the initial needs analysis conducted in the framework of the PaTiE project and addresses the identified competences and attitudes which can be enhanced through psychodrama-based training. The focus of the presentation is practical and draws on examples of concrete, successful application of the approach in educational contexts. At the same time it gives an overview of the main concepts and principles of psychodrama to be explored in more detail in the following modules of the course.

The power of the group Psychodrama is based on a recognition of the value of the group which forms the human life. Its distinct character lies not so much in a theoretical elaboration of the social nature of human being but rather in creating opportunities for people to come together and shaping their identities through group work on essential issues which affect them here and now. In educational contexts the themes to explore have to be chosen carefully Module 1: The experiential method of psychodrama

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in order not to venture into deep personal traumas which might result in a chain of serious consequences for the participants of the encounter, including both the learners and the teacher. There is however a number of psychodramatic exercises which can be safely used to enhance any group work. The following activity can serve as an introduction to the themes covered in more detail in Module 2:  The exercise is a test of the mutual trust between the members of the group.  Half of the team leaves the room where the classes are taking place, and in the meantime the rest of the group prepares the space for the activity - they set up various objects and obstacles around the room.  Then they invite the rest of the group, who are blindfolded, back into the room.  They enter the room individually, and each of them has his own guide.  The blindfolded person places his hand on the guide's shoulder and then is safely led around the whole room.  Now and then, the guides exchange the blindfolded people, and then guide different people.  At the end, all of them describe their experiences in the group, and then they form living statues which are supposed to illustrate their emotions.  The next stage of the exercise starts with forming groups consisting of a few people. The choice of members of a particular group is based on similarities of the presented feelings and leads to building group sculptures. In that way, symbolic ideas appear, which show the balance of emotions within the group.

Before proceeding to the next part of the module the exercise needs to be discussed giving the trainer an opportunity to underline the value of group processes and the participants a chance to express their views. In particular, the following issues can be discussed:  What is the possible impact of the “movement with touch” activities on the participants?  Can such exercises raise group cohesion?  How to adapt the exercise to the flow of teaching activities in VET?

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Sociometry Sociometry developed by Moreno and frequently used in psychodrama sessions is a complex science. In essence it is a study of the formation and construction of groups with a view to depicting interpersonal relations inherent in them. The focus of the method is practical as sociometric exercises deal with the individual's impact on the group's cohesion, and vice versa, the group’s influence on the individual. As such, sociometry has direct relevance for education facilitating the process of group building, dealing with learners’ isolation and resistance. If applied properly the method can bring results which greatly enhance motivation of the group members to engage in educational tasks. Sociometry is briefly introduced at the introductory stage of the course through the following exercise:  The trainer explains the basic code of sociometric symbols (circle, triangle, solid line, dotted line, arrow).  Each participant places the symbol of himself/herself in the middle of a sheet of paper and marks the other people on the drawing.  The distance between particular components of the drawing and their position depict an initial schema of relations in the group which emerged after the first exercise.  After the individual work is done, the presentation of particular diagrams and group discussion takes place.  This part of the task may start with an exposition of the drawings - placed on chairs or on the floor, so that all of the participants may see all of the pictures.  Next, particular participants talk about their own projects in turn, and then other participants join the discussion.  They ask questions, point at the meaning of the elements of the drawing, discover many things which the author himself could not see, even though they were present in his work.  The feedback helps in better understanding one's own relations with other people as they start surfacing in the course of group work.

Before proceeding to the next part of the module the exercise needs to be discussed giving the trainer an opportunity to elaborate on the basic sociometric concepts and techniques and the participants a chance to raise issues. In particular, the following questions can be discussed with a view to both showing advantages of sociometry in education and the dangers resulting from its irresponsible use:  If you decided to do this exercise with your students which aspects of the relationships inside the class would you expect them to disclose?

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 Is the exercise a good tool to deal with personal issues in the class?  What does the technique add to other methods aimed at better understanding of relationships in the group?

The power of playing The central phase of a psychodrama session is so called “protagonist’s play” in which a chosen participant enacts memories of past events, intimate dramas, fantasies, dreams and also scenarios of situations which may happen in the future. The roles of different characters in these situations are assigned to different members of the group, chosen by the protagonist. Various role playing techniques are used with a view to working through life experiences which may cause/have caused psychological disturbances in the main character on stage. The protagonist’s play has a psychotherapeutic purpose in psychodrama and thus limited applicability in non-therapeutic contexts. There are however certain aspects of psychodramatic enactments which can be used in education. This module presents a “light” exercise in order to show the funny, lively side of playing applicable in the classroom to be followed by more advanced presentation of role playing activities in Module 5:  The participants work in pairs.  One of them, acting as the leader, begins a sequence of movements.  His partner's task is to complete the sequence in his own way.  After a while, they switch roles.  The game is not about repetition or miming the moves of the partner, but about completing it.  Rather like a puzzle, each person has to find a way to fit in and have an idea to "insert", like a missing piece of a puzzle.  The game, which appears quite easy, is in fact a great challenge. It can be hugely difficult to guess what the true intentions of the leader are, to understand his expressions, gestures, actions, and subsequently propose one's own logical and coherent conclusion.  An interesting summary for this exercise is to discuss it in pairs - comparing the points of view of the leader and his partner, pointing out the similarities and differences in human body language and gesture interpretation.  This game is excellent for training interpersonal communication, makes participants aware of the complexity and richness of forms available for the transmission of information, messages, and knowledge.

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The questions proposed to be discussed should raise the participants’ interest in psychodrama as a resource of role-playing techniques and their possible applications/adaptations to educational contexts:  How to integrate role-playing in subject oriented VET education?  What is the added value of role-playing experience in relation to passive accumulation of knowledge?  In which situations to intervene with role-playing activities?

Working with symbols Psychodrama is a creative action group method that can help participants explore the complexity of thoughts and emotions present within any life situation. Central to the approach is creativity and spontaneity of action, which can reveal aspects of ourselves we have been unaware of, help us to express ourselves more clearly and re-assess the focus and direction of our life. The symbolic language of dreams, a significant story or metaphor can be rich material to explore through these methods, as are objects and images. The role of the group, and its facilitator, is to create a safe environment in which feelings can be acknowledged, expressed and contained. The process of any psychodrama enactment is to get in touch with themes or issues they might want to explore further through action. The following exercise can serve as an introduction to working with symbols to be covered in detail in Module 6:  Participants are given access to a large selection of materials - cardboard, paper, coloured paper and magazines, markers, scissors, glue, string.  Their task is to make masks for themselves, depicting the role of an adult educator.  They work without haste, at a large table.  They talk, help each other, discuss their ideas with the trainer.  Many different forms of expression are possible, each of which speaks with its shape, colour, texture, and choice of decoration.  When work is completed, everybody is invited for a stroll around the hall.

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 It's time for a meeting of masks, enthusiastic greetings, meeting each other's new "incarnations", exchanges of opinion and various interactions.  The next step is a presentation of the masks by each participant.  In the middle of the room, on the stage, is a chair covered with a colourful scarf.  Its occupant has the role of adult educator.  Participants sit on the chair in turn, a mask over the face, and explain the meaning of the forms they've created, analysing its various elements.  They reply to questions and comments made by the rest of the group.  At the end take off the mask and say how they feel without it.

After the completion of the exercise all masks are removed and placed on the floor, participants sit in a circle around them. The discussion of the exercise should help the trainer clarify some essential aspects of using symbolic language to convey meaning. Mask work is an excellent introduction to the experience of playing very different roles from everyday life and professional situations revealing new possibilities, and surprising with their functionality. The following questions are suggested for the exercise summary round:  What is the relevance of working with symbols for adult education?  What educational goals could be addressed through working with symbols?  Why does psychodrama revolve around the pivots of creativity and spontaneity?

Conflict management Conflict management is a vast and growing field, still psychodrama remains a resource of methods and techniques which could be used for this purpose. The most important of them facilitate authentic encounters of people bringing in opposite views, to deal with aggressiveness, develop empathy, sympathy and trust as well as help maintain communication in difficult situations. The introduction to this repertoire of tools is best done

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through involving the participants in a sample exercise and a follow-up discussion of the function and purpose of such “action” methods to be presented in more detail in Module 7:  The point of this exercise is to involve the participants in a direct clash of opposing opinions and arguments.  They form pairs and conduct a conversation restricted to only of two words - one of them can only say 'yes' and the other one can only say 'no'.  The common task is to test the relations, the balance of power and the ability to communicate and persuade.  It is also possible to perform this exercise in a group, with the group split into two opposing teams.  The expected outcome is the grasp of the damaging power of sheer negation which does not lead to negotiating conflicting standpoints.

Follow-up discussion is an essential part of the introduction. These are example questions which could help address the issue of the use of psychodrama for conflict management in educational contexts:  Is it advisable to bring to the fore the hidden emotions which are behind the conflicts in the group?  What are the limits to “dramatic” explorations of conflicts in the classroom?  What is added value of psychodrama to the methods already used?

3. Sharing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience. This closing part of the workshop is conducted here through an activity involving the participants in interactions which distinguish the lively, dynamic environment of a psychodrama session from traditional type classroom teaching. The sharing phase of psychodrama and its importance in the whole flow of activities will be covered in Module 8; at this stage the participants “taste” its value in reviewing the progress and results of the introductory workshop:  The trainer invites the group to a symbolic journey through the workshop program.  The goal is to reveal the whole process of group work and its key parts.

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 Participants think back to subsequent activities sharing their reflections - everyone talks about what they found most important.  Then they work together and lay out a path putting multi-coloured scarves on the workshop room floor.  They must work together and agree on one version of the image that everyone accepts, even though each has their own subjective feelings and impressions.  As a result, a road with many turns comes together on the floor.  The trainer asks the participants whether they are satisfied with the result, or would like something changed or added.  Participants, together with the trainer, discuss and remind each other of what has happened at various stages of the program, and which exercises and games were important and meaningful for them.  The trainer encourages the group to seek creative signs and symbols to best express the meaning and atmosphere of the “journey” on the path.  When the image is finally formed, the trainer asks the participants to individually and silently walk the path, turning their thoughts at each stage to those situations and experiences which held meaning for them.

The closing part of the workshop should also give the trainer an opportunity to plan the following modules in more detail depending on the initial feedback from the group.

IV. Assessment The workshop is planned in such a way as to give both the trainer and the participants a clear indication of the level of attainment of the intended learning outcomes. Each activity introducing a specific aspect of psychodrama of interest to VET adult educators is closed by a set of questions which should lead to a discussion involving all the participants and reflecting the level of understanding of the key concepts in focus. The trainer

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needs to have his/her own reporting template to record the assessment results of the module. It should be filled in after the workshop and included in the course documentation.

V. Teaching materials The materials are grouped in line with the structure of the training session.

1. Warm-up  no particular materials needed 2. Action  colourful scarves in sufficient number for the participants to choose from  materials for making masks (large sheets of paper in different colours, crayons, magazines, newspapers, glue, scissors, etc.)

3. Sharing (including assessment)  template for the trainer’s report of results  list of resources for further consultation/reading VI. Time/duration Depending on the level of the group, 6 – 9 hours (one day session) VII. Bibliography (in English only) Module 1: The experiential method of psychodrama

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Blatner, A. and Blatner, A. (1988). Foundations of Psychodrama – History, Theory and Practice, New York: Springer Publishing Company Dayton, T. (2004). The Living Stage: A Step-By-Step Guide to Psychodrama, Sociometry and Experiential Group Therapy. Deerfield Beach, FL: Health Communications Goldman, E. and Morrison, D. (1984). Psychodrama: Experience and Process, Dubuque, IA: Kendall Hunt Greenberg, I. (1994). Psychodrama Theory and Therapy, New York: Behavioural Publications Hare, P.A. and Hare, J.R., (1996). J.L. Moreno, London: Sage Holmes, P. and Karp, M. (eds.) (1991). Psychodrama: Inspirations and Techniques, London: Routlege Holmes, P., Karp, M. and Watson, M. (eds.) (1994). Psychodrama since Moreno, London: Routlege Fox, J (ed.) (1987). The essential Moreno: writings on psychodrama, group method, and spontaneity by Jacob Levy Moreno. New York: Springer Publishing Company Horvatin, T. & Schreiber, E. (eds.) (2006). The Quintessential Zerka: Writings by Zerka Toeman Moreno on Psychodrama, Sociometry and Group Psychotherapy. London: Routledge Marineau, R.F. (1989). Jacob Levy Moreno 1889-1974: father of psychodrama, sociometry, and group psychotherapy. London: Routledge

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MODULE 2: THE POWER OF THE GROUP I. Thematic domain of the module Moreno’s vision is a world where people move from the side of stereotype relationships and contacts, of cultural conserves and mechanistic actions to genuine encounters and to responses with more spontaneity and creativity. This means that people are getting actively involved in their lives and they pass from isolation and selfishness to a cooperative, enlivened society.

In psychodrama we see people in relation to the groups and to the systems they belong, in relation to their social and cultural atom. The personality, the behavior and the action of the person are considered to be influenced by the systems he/she belongs.

According to the theory of interpersonal relationships that Moreno developed, when person A encounters person B, there isn’t only the world of person A nor only the world of person B, but between them is also developed the intermediate space of A and B, their dynamic, which influences their behavior and action and so, must be taken into consideration to the study and therapy of persons A and B. Group work has already played a role in the upgrading of our culture and will continue to do so. It is an important instrument in promoting functional social relationships. Group members time and time again develop attitudes and abilities that result in more satisfying life experience. Group members regularly learn to perceive and appreciate the functioning of those around them. They enjoy each others’ functioning, they perceive value in each other’s functioning; they appreciate one another’s achievements. As judgement and criticism of one another falls away and the sense of appreciation increases, group members find themselves thrown into new experiences. Old memories return to their consciousness. The emotions and feeling level emerge into consciousness to a greater degree.

Benefits of group work:  A generosity develops amongst group members which is inspiring. Group members who have previously been mean and partly, who have remained uninvolved or isolated, who have maintained a superior ivory tower stance have allowed themselves to feel about one another, to value the feeling that springs from the heart, to prize that feeling above all else and to bring that feeling up into their minds so that their minds are enlivened.

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 Group members have been brought closer to one another and forged strong bonds that have assisted in the doing of creative work. In other words, group members have brought about an inner reorganization as well as a development of their relationships with the outer world. This type of inner reorganization and outward development of social relationships is termed social atom repair work.  The reality of this social atom repair work is to be seen in group members being genuinely interested in the inner and outer world of themselves and others, becoming increasingly aware of the nature of their own functioning and to assist others to develop awareness.

We see the development of self-acceptance and the ability to assist other people to accept themselves. We see an increase in the consciousness of other people values and attitudes; we see the awaking of group members to their own unique life purpose and a commitment to that purpose.  Group members develop a greater capacity for making spontaneous responses to others. This occurs as a result of constantly being thrown into new situations in group sessions. So they generate new experiences as they see old situations from new perspectives.  Group members regularly develop a method of assessing their own functioning and that of others. Such assessments are related to their observation and experience with one another and are therefore reality based. The development of a proper method of assessment will enable them to stand firm when others may try to impose premature judgments on them.  A set of norms and basic understanding is developed in groups. These assist group members in arriving at a balanced point of view with respect to the material which other people present to them.  Group members come to experience a community of learning in which there is interest in the daily activities of one another, awareness of the results of group members endeavors, communication with one another, encouragement of one another, teaching, coaching, recognition of the presence of a creative life force, standing with one another in a respectful manner. So there develops a love of life and work which is an antidote to the meaninglessness which has previously tended to predominate.  Each member is given room to enter into something unknown, because of the trust, the acceptance and the compassionate presence of the other group members.

The below categorization of exercises indicates the multidimensionality of group work and group dynamics and adult VET educators may take an idea of their practical experiential application: Exercises for:  self- presentation, development of trust and building of the group: Module 2: The Power of the Group

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For example: ‘’from another point of view’’: the trainer asks from the members to be separated in pairs. Each one has to present him/herself to the other through a person that knows him/her very well. When both finish, return to the group and sharing follows. e.g.: ‘’the bell’’: all members of the group stand up and form a closed circle and only one stands in the middle of the circle. The person inside the circle closes his eyes and leaves his body totally free and without moving any part of his body to bend. The persons who form the circle, like a bell, try to push it softly to another direction. We let this happen no more than 3’-5’ per person and then somebody else gets in the middle. e.g.: ‘’who will pass me to the opposite side?’’: each member of the group chooses someone to transfer him from the one side of the room to the other. There is no worry if somebody has chosen the same person with somebody else. The ‘’transporter’’ decides the way that will carry the person. Sharing follows. issues of life and death: e.g.: ‘’the line of life’’: we ask from the members to make down to the floor a line, which is the line of life. Each one makes his line and notes- symbolizes on it the most important facts of his life. An exchange of experiences and feelings follows in pairs or in the whole group. the development of empathy, sympathy, the expression of feelings: e.g.: ‘’the deepest feelings’’: all members of the group stand up and form a circle touched hand by hand. The member in the center becomes a feeling which he would like to express, while the rest of the members represent the things that prevent him from expressing himself. Each member will get in the center of the circle and so each person will express his feeling and personal struggle. the development of spontaneity, creativity and fantasy: e.g.: ‘’the treasures’’: we split group in two subgroups, the one will be the treasures and the other those who seek for the treasures.

The treasures are hidden somewhere that could be found difficult, but finally somebody finds them. The treasures are placed in the room as they like. When they find them, without words, they take them, clean them, take them back to their sits and say what treasure they found. After them the treasures talk about the way they have been treated and as what treasures they imagined themselves. the confrontation of several situations: e.g.: ‘’please’’: each member chooses a pair and they sit the one opposed to the other. The first person for 5’ repeats the following sentences: ‘’please look at me, please hear me, please touch me, please respect my borders’’. The other person does it also. Sharing at the end. the closing, integration:

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e.g.: A free discussion in the circle of the group about thoughts and feelings, what s/he learnt, what s/he keeps, what impressed him/her etc. e.g.: everybody upstanding in a circle, one by one says a word that takes with him and after everybody has said they look each other in the eyes. e.g.: massage can be done in pairs for relaxation and promotion of human contact.

II. Aims and Learning Outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to the basics of psychodramatic philosophy and interventions in its relevance for education,  to practically illustrate how this philosophy and exercises can be applied in workshop environment,  to develop their abilities in order to manage in a more functional way the various situations which emerge in personal and group level and contribute to the personal development of the trainees,  to achieve a collective work derived from a personal work, which makes obvious the power of the group and the group dynamics.

2. Learning Outcomes On successful completion of the course module the learners are expected to:  indicate the norms which exist in the group, the circumstances that make the group functional or nonfunctional,  identify the benefits of the psychodramatic way of learning as being a group member,  list three exercises that refer to group work,  propose and run a certain exercise which corresponds to a particular challenge in a group of adult learners.

III. Teaching & Learning Methods/ Approaches The module has both theoretical and practical components which impact on the choice of relevant teaching methods. These components should be closely linked in the course of the training in order to avoid lengthy PPT presentations or lectures which are contrary to the spirit of Module 2: The Power of the Group

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psychodrama. The workshop should follow the structure of a typical psychodrama session in line with the overall course objective to introduce educators to the experiential method of psychodrama.

According to Dr. Max Clayton, student of Moreno and one of the most basic continuers of psychodramatic philosophy and interventions, psychodrama is ‘’warm up, warm up to life’’, which means that the leader’s main role is to keep warming up the group to what they have inside and so several things will be emerged, which will indicate how to go on the psychodramatic session.

In other words this means that, it’s impossible to have a prescheduled psychodramatic meeting, because you don’t know what the members will bring out and which will be their central point. So, the teachers of VET need to have a general and as whole as possible image of psychodramatic philosophy and interventions, in order to appreciate which intervention, technique or exercise is more suitable in a certain moment for a certain situation.

The following example gives some ideas: 1. Warm up  For the beginning of the psychodramatic session and as every member sits in the circle, the leader of the group may start warming up the group in the topic by setting the question/ theme of what they know about groups and groups dynamics and what they would like to know better. So everybody, one be one and in a free row, will share with the others his/her thoughts, knowledge and expectations.

This is called ‘’group centered warm up’’ and the use of sociometry is obvious and precious, as it shows who spoke after whom, about what issue, who had common issues, what is the main theme. And according to the main issue, the leader may proceed.  A sociometric exercise can be applied here (e.g.: in a fantastic line from 0 to 10 on stage, put your body where you feel you are according to your knowledge) etc.

2. Action Before engaging participants in sample psychodramatic exercises for the group dynamics the trainer should give them a brief theoretical introduction to the methodology. There should be a set of training materials at hand easily adaptable to the level of knowledge identified in the warm-up activity. Printouts are recommended which can help to run the presentation in a more dynamic/flexible way. The presentation should cover at least the following themes and directly lead to the discussion of the content: Module 2: The Power of the Group

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   

the role of group work in human development, the factors which form the dynamics in a group, the taking into consideration of social elements and cultural patterns in groups, the need to be aware of the existing limitations in educational process.

P.S.: The theoretical introduction of the module may be alternatively presented and discussed in the end, after the experiential part is completed, depending on what we find most suitable for the particular workshop. In any case, the correspondence between practical and theoretical parts will make the understanding easier for the learners.

The presentation/discussion should be followed by practical exercises, as the proposed:  Each member of the group makes an image on stage of what s/he wants to achieve in this workshop.

S/he makes the image using other members of the group or any object s/he wants.

The image may be static or have movement.

Creating an image is a great psychodramatic technique, which assists the person to focus on what he has inside, to his real emotional situation in that particular moment and gains a better insight. It’s better not to talk during the action phase, but rather stay focused in him/herself. The power of the image is immense and there is no need for the member to explain or to justify himself/herself after creating it.  The leader of the group asks from the members to be divided in smaller groups, maybe of 4 persons, but that is adjustable and depending on the total number of members in the group.

Each member has to think of and put in his/her mind his/her favorite teacher.

The teacher may be anyone, but for sure someone important for him/her and the member will thank him/her for the good stuff s/he tought him/her, for all these s/he earned from him/her.

Each member of the group chooses another member and expresses to him/her directly his/her gratitude and why.

There is no reverse roles, the member who was the ‘’teacher’’ for me is free to choose whoever s/he wants from our group to be his/her teacher.

It is a great way that promotes the dynamic of the group, it introduces the members in role theory of psychodrama and puts them in the role of student and in the relation they have with the educational process.

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3. Sharing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience and also to make a better embodiment of it. It gives the leader the opportunity to evaluate clearer where each member is, what s/he takes with him/her leaving the workshop.

This closing part of the workshop should be connected here with processing the value of the introduced knowledge and techniques in VET. The recommended procedures should make use of group dynamics in order to give the participants more insights into its possible applications.

Sharing by its very nature is a spontaneous activity and the role of the leader is to facilitate the expression of the members and of their existing issues.

So, the flow of activities can thus only be suggested:  In the circle an open sharing takes place, where each member tells what s/he keeps, what s/he learnt, what s/he takes with him/her, how s/he felt during the workshop.  The whole group creates together the sculpture of the group.

One by one in a free row stands up on the scene and by choosing persons or objects shows what he keeps from the group, what he takes from it.

The first most ‘’warmed up’’ member begins by choosing somebody or something, the next one by adding something extra, by modifying something etc.

As the sculpture is getting built, all the members participate, either by being a part of the image, or by creating or by both.

At the end, a tableau is created.  Encouraging the participants to outline possible applications of group work in their educational practice (this opens the final assessment phase).

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IV. Assessment  A free discussion in the circle of the group about thoughts and feelings, what s/he learnt, what s/he keeps, what impressed him/her etc.  Divided in smaller group of 4 people, they will discuss what they keep from the session, they will make an image and they will give it a title.  A spontaneity test can be done: a certain situation is evoked in a group and the learners have to respond to it. By their managements, the leader will see things for him/herself, how he/she transmitted the teaching material and what the members received.  Every member stays in the circle of the group except for the leader, s/he stays outside. Each member has to lead the group for a quarter of an hour. Discussion follows afterwards about how each member felt during this procedure (member- leader). Some fruitful questioning: ‘’did the member contribute to the formation of relationships?’’, ‘’did he contribute to the formation of a climate for expression of feelings?’’, ‘’did climate of trust exist?’’ etc.  The trainer needs to have his/her own reporting template to record the assessment results of the module. It should be filled in after the feedback from the participants has been gathered and included in the course documentation.

V. Teaching Materials/ Activities 1. Warm up No particular object is required.

2. Action Various objects, toys, pillows, scarves, anything can be possibly used.

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Various objects, toys, pillows, scarves, anything can be possibly used.

VI. Time/ Duration Depending on the level of the group, 5 – 8 hours (one day session) VII. References Clayton, G.M. (1994). Effective Group Leadership. Book 4 in a series of training books. Australia: ICA PRESS. Moreno, J.L. (1934). Who shall Survive? New York: Beacon House.

Yalom, D.I & Leszcz, M. (2005). The Theory and Practice of Group Psychotherapy (5th edition). United States: Basic Books.

Clayton, G.M. & Philip, C. (2004). The Living Spirit of Psychodramatic Method. New Zealand: Resource Books.

Clayton, G.M. (1992). Enhancing Life & Relationships. A role training manual. Australia: ICA PRESS. Blatner, A. (2000): Foundations of psychodrama: theory and practice (4th edition). New York: Springer

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MODULE 3: Sociometric group mapping I. Thematic domain of the module Sociometry is a science of human relations originally conceived by Jacob L. Moreno and further developed by his followers in psychodrama and sociodrama. It is a study of the formation and construction of groups with a view to depicting interpersonal relations inherent in them. In particular, the degree of acceptance and rejection between group members is the focus of the investigation. The focus is practical as sociometric exercises deal with the individual's impact on the group's cohesion, and vice versa, the group’s influence on the individual. Accordingly, sociometry has direct relevance for education facilitating the process of group building, dealing with learners’ isolation and resistance. If applied properly the method can bring results which greatly enhance motivation of the group members to engage in educational tasks.

The following benefits are well documented in the practice of sociometry:  Sociometric exercises help the participants raise their awareness of the complex nature of relations among the group and better understand how these relations are connected to their personality traits, feelings and beliefs.  Getting to know yourself and developing a better understanding of how the team functions has an essential influence on the evolution of each of the group members and improves their cooperation.  Sociometric techniques facilitate the process of making group decisions, especially in the situations where there are conflicts among the group and consensus needs to be reached.

Sociometry has solid theoretical foundations in Moreno’s writings but it is its practical application that is of most interest to teachers and trainers, including VET adult educators. There are a number of well-developed sociometric exercises, mainly known in the psychodrama and sociodrama circles, which can be used in educational processes. The following examples illustrate the specificity of the method.

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





Exercises which reveal the common influences and connections among the people who form a team. They may be in various forms: for instance, the trainer provides terms - the criteria, which are the base for the participants, who then group and form 'live sociograms' (images of bonds): "you are the one with whom I would like to discuss a very risky project", "you are the person who I would like to confide in", "you are best suited to handle the group's financial management". The rule, which applies to all of the participants, is that a participant may choose only one person and then grab his shoulder. Various connections emerge, which dynamically morph, depending on the character of the criteria. In another version of this sociometric test, each of the participants has to answer to the trainer's questions by forming a row of participants, or by distributing the participants in various distances from himself: "who in the group influences me most?", "with whom do I have the best relations?", "who has let me get to know him best?".

Exercises which show the complexity and multidimensionality of common group relations. A very effective exercise in this respect can be a game, in which the character and the personality of people are symbolised by three categories which are marked out within the performing area: lone wolves, sociable wolves and leader wolves. In the first round, each of the participants assumes a position, which according to him, is the one he belongs to, considering both group and everyday life. The second stage is about rearranging the participants. Each of the participants, respectively rearranges the rest of the group according to the same criteria. A comparison of both of the situations produces very interesting cognitive data. The feedback each of the participants receives from the rest of the group allows them to verify their own behaviour and attitudes.

Techniques facilitating group decisions, useful in situations in which learners during classes come up with different ideas as how to proceed. An educator, who does not want to act as the judge in this matter, and for whom the real eagerness of the participants is important, proposes the group come to a conclusion together. The people who volunteered have to sit, facing each other, and present their arguments. Every other participant, before he finally decides of which of the volunteers he supports, may switch from one to another, many times. They may also choose the 'in between' position, and then justify it. This kind of method of making a decision is an alternative to the traditional voting, it motivates the participants to reflect, and state his own, deep and more personal approach towards the given subject. The movement itself is also relevant, as well as the direct contact with others, which is a diversion from routine.

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II. Aims and learning outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to the basics of sociometry in its relevance for education  to present a set of sociometric techniques most useful in giving insight into group structure and facilitating team building and conflict management  to practically illustrate how these techniques can be implemented in workshop environment  to discuss the applicability of the techniques in the participants’ educational practice 2. Learning Outcomes On successful completion of the course module the learners are expected to be able to:  explain the principles of sociometry and its possible benefits for educational practice in VET  list three sociometric techniques and argue why and how they can (cannot) be applied in the participants’ own practice  propose and run an appropriate sociometric exercise to respond to a particular problem/challenge in a group of adult learners  “map” the structure of a sample group and the patters of its inherent relations The above learning outcomes are closely aligned with assessment scenarios defined in chapter IV. III. Teaching & Learning methods/approaches

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The module has both theoretical and practical components which impact on the choice of relevant teaching methods. These components should be closely linked in the course of the training in order to avoid lengthy PPT presentations or lectures which are contrary to the spirit of psychodrama. The workshop should follow the structure of a typical psychodrama session in line with the overall course objective to introduce educators to the experiential method of psychodrama.

1. Warm-up The essence of sociometry can be shown practically as a warm-up exercise:  the trainer divides the workshop room with a line made of scarves to separate the realms of knowledge and ignorance of sociometry  the participants are encouraged to walk to either of the two spaces and choose a place on the floor closer or further from the line to express the degree of their acquaintance with the method  the exercise gives the participants immediate sense of the techniques and the trainer an initial grasp of the level of the knowledge among the group  the activity should directly open the way for the following main part of the workshop 2. Action Before engaging participants in sample sociometric exercises the trainer should give them a brief theoretical introduction to the methodology.

There should be a set of training materials at hand easily adaptable to the level of knowledge identified in the warm-up activity. PPT should be avoided, instead printouts are recommended which can help to run the presentation in a more dynamic/flexible way. The presentation should cover at least the following themes and directly lead to the discussion of the content:  origins of sociometry in Moreno’s writings and its modern use in psychodrama and sociodrama  the applicability of sociometry in VET  the need to be aware of limitations of the method in educational practice

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The presentation/discussion should be followed by practical sociometric exercises. The proposed choice covers the techniques validated in the framework of the POTENS project:  Map is the most popular sociometric technique. The group creates spatial and moving configurations, which show the common features of particular people, as well as the features which differ between them.  Social Atom is an image which shows the network of connections from other people to the person chosen to be in the middle. It is expressed in a drawing called “sociogram”.  Sociometric Test (in various forms) helps to discover who prefers to associate with whom in a specific group situation, which facilitates organising collaborative tasks in the classroom/workshop.

The trainer should be able to adapt the above techniques to the group’s knowledge/skills level and dynamics of the workshop. The activities can be either presented in a nutshell on a relatively simple case/criteria or extended to explore complex relationships. Other sociometric exercises can be added if there is sufficient time for such presentation. The choice should be determined by the trainer.

3. Sharing & processing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience. This closing part of the workshop should be connected here with processing the value of the introduced knowledge and techniques in VET. The recommended procedures should make use of sociometry to give the participants more insights into its possible applications. Sharing by its very nature is a spontaneous activity which cannot be “managed” but should rather be facilitated by the trainer on the basis of his/her grasp of the group dynamics and surfacing issues. The flow of activities can thus only be suggested:  gathering participants in a circle and initiating an open sharing of feelings and insights gained through experiential learning of sociometry  applying the map technique to visualise the attitudes of the participants to specific aspects/content of the session (to be proposed by the trainer in response to the challenges which emerged in the course of the workshop)

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 encouraging the participants to outline possible applications of sociometry in their educational practice (this thread opens the final assessment phase, cf. the following chapter)  closing the session with “homework” tasks (further reading, testing methods in practice, preparing for next session) for the participants of the full course IV. Assessment The free-floating nature of a typical psychodrama “sharing” should not stand in the way to objective assessment of the results of the session. The final part of the workshop should be planned in such a way as to give both the trainer and the participants a clear indication of the level of attainment of the intended learning outcomes. The assessment methods should be adjusted to the content of the sharing/processing phase:  The participants’ knowledge and understanding of principles of sociometry and its applicability in VET is best checked in the discussion round. The discussion should cover a range of concrete proposals coming from the group on how to use the techniques with adult learners and for what purposes. Arguments for and against such uses will help the trainer to grasp the level of understanding of the method among the group.  The trainer can present a particular case of a group conflict and encourage the participants to come up with proposals on how to “map” the relations in the group which impact on its resolution. The exercise is best done in sub-groups and the results will provide a further indication of the participants’ practical understanding of the methodology and their ability to come up with creative solutions/adaptations of techniques learned at the workshop.  The limited time of the session makes it necessary to plan follow-up assessment activities. If the participants are not coming to the next modules of the course the trainer should encourage them to give feedback on their own implementations of the methodology via email/blog/forum. It is recommended to standardise the feedback through a template requiring the participants to report on their target group, the issues addressed through sociometric techniques, the insights gained and the group’s response to the activity.

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 The trainer needs to have his/her own reporting template to record the assessment results of the module. It should be filled in after the feedback from the participants has been gathered and included in the course documentation.

V. Teaching materials The materials are grouped in line with the structure of the training session.

1. Warm-up  colourful scarves in sufficient number to mark/divide the floor of the workshop (also to be used in the following exercises) 2. Action  sample texts and sociograms from Moreno’s Who Shall Survive to give the participants an insights into the origins of sociometry  an example of sociometry applied in current psychodrama practice sensitizing the participants to the limitations of the method in VET  brief descriptions of selected cases of group conflicts in educational practice where sociometry can help choosing appropriate resolution methods  a video of sociometric exercise involving adult learners to give the participants a sense of the lively, dynamic nature of the techniques 3. Sharing & processing (including assessment)  template for the participants’ feedback  template for the trainer’s report of results  list of resources for further consultation/reading

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VI. Time/duration Depending on the level of the group, 5 – 8 hours (one day session)

VII. Bibliography (in English only) Bion, W.R. (1989). Experiences in Groups and Other Papers. London: Routledge Dayton, T. (2004). The Living Stage: A Step-By-Step Guide to Psychodrama, Sociometry and Experiential Group Therapy. Deerfield Beach, FL: Health Communications Fox, J (ed.) (1987). The essential Moreno: writings on psychodrama, group method, and spontaneity by Jacob Levy Moreno. New York: Springer Publishing Company Horvatin, T. & Schreiber, E. (eds.) (2006). The Quintessential Zerka: Writings by Zerka Toeman Moreno on Psychodrama, Sociometry and Group Psychotherapy. London: Routledge Marineau, R.F. (1989). Jacob Levy Moreno 1889-1974: father of psychodrama, sociometry, and group psychotherapy. London: Routledge Moreno, J.L. (1977). Who shall Survive?: Foundations of Sociometry, Group Psychotherapy and Sociodrama. New York: Beacon House Whitaker, D. S. (2002). Using groups to help people. London: Routledge and Kegan Paul Wiener, R. (1997). Creative Training: Sociodrama and Team-building. London: Jessica Kingsley

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MODULE 4: Warm-up I. Thematic domain of the module Spontaneity and creativity are focal points in psychodrama that allow for making positive changes in both therapeutic and educational terms.

In order to be able to initiate a psychodramatic process it is necessary for participants to be willing to become involved and use their spontaneity and creativity, throwing aside rationality and intellective control to allow space for their spontaneity, and immediacy of action. To do this it is necessary to create a climate that facilitates the group and in which everyone feels free to express themselves without fear of being judged or attacked. Where communication is horizontal and circular and where the expression of feelings and personal constructs is legitimised.

I l The S-C factor (spontaneity- creativity) The philosophical references of psychodrama focus on the conception of man as a being capable of freeing himself from the limits imposed by his condition, and capable of releasing his spontaneity and creativity.

Psychodrama aims at exploiting the resources of human beings. The theoretical and immediately operative hypothesis postulates the copresence in the experience of each individual (and group) of two intimately connected dimensions: spontaneity and creativity. Every human has the possibility of being spontaneous and possesses a certain degree of creativity.

For Moreno, spontaneity is not what is commonly defined as behaviour lacking in rules that allows for expressing feelings, thoughts and actions without any control or reason; rather, it is a condition that can be created in each and every individual, an inner state that can be produced and which represents the basis of generating creativity.

Spontaneity is therefore a catalyser of creativity and the one without the other would only have a negative and non-productive outcome. In this sense, Moreno defines two extremes: Module 4: Warm up

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1. The " spontaneous imbecile” , someone who is in a perennial state of “spontaneity", but lacking in creative resources, constantly giving inadequate responses to the environment and only dictated by internal needs and conditions; 2. The "unarmed creator” , someone rich in creative potential who is not able to create an inner state of spontaneity, and remains paralysed without managing to express his/her creative potential.

It is important to underline how spontaneity can be trained, developed and recreated through a warming up process.

The psychodramatic methodology starts from the assumption that spontaneity can be expressed in certain situations (e.g. use of the body, sense of humour, situations of intimacy and contract with another person, etc.) and in everybody, even those who are very limited or ill. That's why such special focus is placed on the warm-up methodologically in psychodrama groups.

From this point of view, what the trainer is called on to do in psychotherapy, training and learning situations, is nothing more than a creative response triggered after an incubation phase, in a moment of appropriate spontaneity.

A good balance of the S-C factor gives rise on one hand to the ability to provide suitable answers to a new, unexpected situation, and on the other, that of knowing how to give an new and creative response to an old, crystallised situation.

Another essential prerequisite for ensuring an efficacious psychodrama process is that "Tele” and encounter are developed.

By operationally developing the philosophical contributions of Max Buber (1923), Moreno identifies in the possibility of encounter, the human ability to enter into an emotional relationship in an authentic manner with his/her fellow men, the key to understanding mental health and the balance of personality. The capacity to encounter assumes that the tele processes are active.

Tele means "at a distance”, and indicates the ability present in every individual from birth to enter into an emotional relationship with other human beings. Tele differs from empathy, which is a one-way process (a person is empathetic towards another person, but this behaviour is not necessarily reciprocated). We could define tele as two-way empathy where reciprocity is the central element.

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The aim of the warm-up phase is to create precisely this type of climate. More specifically, it is necessary to shift the control of the action and the communication from the verbal dimension, which controls, foresees, and designs the action mentally, to the immediate, bodily dimension.

In this way people can experiment in the hinc et nunc of the group process, making it possible for the action to flow in an immediate manner.

"It starts from the globality of the body in order to achieve the psychic and to translate into action and scenic role; exactly the opposite of what is considered 'normal' by our culture that says 'think before you act' (Dotti L., 2007. P. 40) The participants therefore reach the state of spontaneity necessary for managing to freely express all their own potential, even that which is most deeply hidden, unused or feared.

In particular, the warm-up has various functions: to generate and reinforce the tele links within the group; to bring out a person's character and help them to represent their inner world; to make the auxiliary "egos" emerge.

The warm-up process can be stimulated by means of bodily activators (physical movement and body contact), mental activators (images and feelings), and psychochemical activators (artificial stimulations). The individual can experiment with numerous roles, even those that are rarely or never lived out in their daily life. In fact, while in his/her daily life the person may have only limited him/herself to a small number of roles, in actual fact, his/her potential reaches far beyond.

We only live a small part of our personality range: the greatest part remains unused and undeveloped. (Moreno, 1946, p.295) The individual may contemplate physical and expressive exercises that involve all the group members, take part in a discussion, or more simply, remain silent while waiting for someone to come forward as the protagonist of the game.

The warm-up makes the group more permeable to the condition of “here and now�; it encourages amalgamation among the participants and sharpens their senses; it mobilises the preconscious and unconscious ability to capture signals emitted by everyone towards everyone else.

Moreover, in this prologue, every individual has the chance to enter into the deepest contact with their own emotional state, probing their moods and willingness to form relationships with the director and others in the group.

The aim of the warm-up is to allow a specific, unknown psychic content come up to the surface, which will become the subject of the psychodramatic game in the strict sense. Once the content has emerged from the mouth of one of the members of the group, they pass onto the next step: the assigning of roles.

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The warm-up activates the dimension of the game that is often present, but in the psychodrama it does not necessary correspond to a specific activity or "psychological game". The enhancement of the symbolic and fantastical, accompanies the development of the sessions even though a game is not specifically proposed. For this reason, it is preferable to talk about a group activity rather than a psychological game in the therapy and training with the psychodramatic methods. There is also another reason for preferring the term "activity". A session foresees an alternation of moments of reality and semi-reality. The semi-reality is a dimension similar to a game, but not all the group activities are carried out in semi-reality. In fact, the warm-up phase has the goal of activating the willingness to move between these dimensions.

II. Aims and learning outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to the basics of warm-up in its relevance for education  to present a set of warm-up techniques most useful in active mind-body globality  to practically illustrate how these techniques can be implemented in workshop environment  to discuss the applicability of the techniques in the participants’ educational practice 2. Learning Outcomes On successful completion of the course module the learners are expected to be able to:  explain the principles of warm-up and its possible benefits for educational practice in VET  list some warm-up techniques and argue why and how they can (cannot) be applied in the participants’ own practice  propose and run an appropriate warm-up exercise to respond to a particular problem/challenge in a group of learners

III. Teaching & Learning methods/approaches

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The module has both theoretical and practical components that have an impact on the choice of relevant teaching methods. These components should be closely linked in the course of the training in order to avoid lengthy PPT presentations or lectures that are contrary to the spirit of psychodrama. The workshop should follow the structure of a typical psychodrama session in line with the overall course objective to introduce educators to the experiential method of psychodrama.

1. Warm-up Before starting the activity, the leader briefly introduces him/herself and gives a summarised explanation of the goals of the module and the scale of the activities. He/she repeats the rules regarding confidentiality and non-judgement of everything expressed and enacted, and for the reciprocal respect that everyone is expected to uphold. He/she underlines how the context is educational and not therapeutic, which means that participants must feel free not to express feelings, experiences and events they consider private.

The introduction of the group can be considered an instrument for getting to know one another and warming up.

A brief introduction is given about the importance of the non-verbal channel as an instrument for getting to know the others and a vehicle of spontaneity and creativity.

The group all stand in a circle. They are asked to raise their right hand and draw a circle, then their left hand and draw an "x". They are then asked to raise both hands and simultaneously draw an "x" with their left hand and a circle with their right. The group experiments the impossibility of controlling both movements at the same time.

Another experiment: they stand in a circle and are asked to repeat one after the other a word that is very difficult to pronounce, such as “instizzisciti�

2. Action The group is asked to keep silent and take three deep breaths to get back in touch with themselves and the others.

With soft background music the group is asked to start walking in space and various types of walk are proposed.

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Then they are asked to gradually make contact with the others by various means: eye contact, smiles, handshakes, a letter of the alphabet (the initial of their own names), then they are asked to do this using only one vowel to say their own name, then their full name.

They are then asked to choose a person to form a pair and they play the mirror game: one after the other they have to repeat the gestures of their partner.

After this, Columbian hypnosis is carried out: one holds their hand in front of the other's face and guides them on an exploration of space.

An initial moment is carried out of sharing the experiences with the partner and then in a plenary session.

Another activity is proposed in which the body is used as the privileged expressive medium. This is introduced in silence and with the background music. They are asked to take three deep breaths in order to regain equilibrium between the bodily and mental flow. Each participant is asked to think of themselves in their own educational dimension, for example “when you think of yourself as a teacher what image comes to mind ?�, and to think of a gesture that represents this.

The group is made to form two semicircles and then as each one feels like it, they walk into the centre and make the gesture that came to mind. After this, both the protagonist and the public talk about the emotions that have triggered the gesture.

Another activity that can be proposed at the end is that of joining hands: while standing in a circle with their eyes closed they are asked to stretch their right hand forwards and then their left hand, but lower down. They are then asked to move two steps forwards in order to touch and hold another hand with each of their hands. They then open their eyes and see how they have joined hands with the others. The goal is to manage to unravel their hands without every letting go.

3. Sharing & processing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience. This closing part of the workshop should be connected here with processing the value of the introduced knowledge and techniques in VET. Participants are asked how they feel, what experiences they had, all of which are noted on a poster. They talk about each activity and then analyse the experience, identifying the features of the activity that should be developed in the participants' professional practice. An attempt

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is made to help potentials and critical aspects emerge in a mirrored manner and the discussion is directed towards identification of the best strategies for using the method with their own learning groups.

As an integration of this experience, some theoretical and methodological feedback about the warm-up is given to the group.

IV. Assessment An assessment of the training experience can be carried out through an additional projective. Participants are asked to write a word on a postit that describes what this experience has left them. The post-its are then affixed to a poster and they are asked to connect/group together the various things expressed.

V. Teaching materials The materials are grouped together according to the structure of the training session.

1. Warm-up  Music with iPods/mp3/CDs, etc…  Paper-pens-felt pens 2. Action  Posters/blackboard with mobile sheets  Music with iPods/mp3/CDs, etc…  Paper-pens-felt pens  Photocopies/brochures/ video exemplifying the projects and pathways followed

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3. Sharing & processing (including assessment)  Posters/blackboard with mobile sheets  Post-it  Paper-pens-felt pens VI. Time/duration Depending on the level of the group, 5 – 8 hours (one day session) VII. Bibliography G. Boria, & F. Muzzarelli (pref. E. Spaltro) - Incontri sulla scena. Lo psicodramma classico per la formazione e lo sviluppo nelle organizzazioni -F. Angeli, Milan 2009 Buber, M., (1923),Ich und Du, Rutten & Loening, Frankfurt, tr. It. (1958) Il principio dialogico, Milano: Comunità.

Dotti L. (2007) Forma e azione. metodi e tecniche psicodrammatiche nella formazione e nell’intervento sociale – F. Angeli Publishers Milan Moreno, J.L." 1980 Principi di sociometria, psicoterapia di gruppo e sociodramma, ETAS, Moreno, J.L., 1985Manuale di psicodramma: il teatro come terapia, Astrolabio, Sitography http://www.plays.it/ http://www.jacobmoreno.it/ http://www.psicomachia.it/psicodramma.html http://www.psicosociodramma.it/ Module 4: Warm up

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MODULE 5: Role-playing I. Thematic domain of the module Role-playing is a type of experimental activity used in numerous sectors and recurrent in various theoretical models, however it derives from the theoretical and methodological approach of classical psychodrama. Moreno perfected this type of instrument in order to stimulate learning with respect to the roles and counter-roles we assume in our everyday life.

It consists of reproducing social and professional situations typical of the scenario or them one wants to deal with, leaving the participants a certain margin of freedom of choice regarding the behaviour to be assumed in enacting the preset role. Since this is a question of playing, in a situation relatively protected by the dimension of "what if", it allows them to experiment their own capacities within a protected space. They therefore learn new skills and identify with the personal aspects that have the greatest influence on the situation. The time of sharing and cognitive integration of the experience encourage individual insight, not only with regard to the role enacted, but also in relation to their own dynamics in the group. This also produces group insight which, thanks to the joint action and the comparison of experiences, improves their own awareness not only of the way in which they tackle the situation, subject of the learning, but also regarding the relational dynamics underlying the group, thus re-qualifying their own communicational and interaction skills.

Moreno uses the term “psychodrama� in reference to the group of action methods: role-playing, socio-drama, psychodrama, mimodrama.

This has caused confusion and complicated the task of specifically defining role-playing. Moreno describes two meanings of role-playing. The first refers to a specific process linked to learning and the development of roles in the individual "Each role is presented as a fusion of individual and collective elements, resulting from two series of factors: its common denominators and its individual differentiations. It may be useful to distinguish these: role-taking, that is, the fact of accepting a defined and completely structured role that does not allow the subject to

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take even the slightest liberty with the text; role-playing, which allows a certain degree of freedom; and role creating, thus enabling an ample margin for the subject's initiative, as verified in the case of the spontaneous actor�. (Moreno, 1980, p. 76) The substantial difference that exists with psychodrama is that while in the latter, one enacts personal aspects, in the role playing one generally enacts organisational or social roles "on the stage". All this takes place in a protected environment where the presence of a director/trainer is envisages, plus one or more actors who act as observers.

The use of role-playing in training, tries to conjugate the acquisition of relational skills (knowing how to be) with specific and technical skills of a precise professional profile (knowing what to do) that go towards completing theoretical knowledge (know-how).

From these distinctions it can be intuited how important the role is of the director who, depending on the goals, has to set an excellent level of structuring of the play and manage to make the level of interaction move in a balanced manner among the group members, as well as the level of personal depth, while trying to remain on the professional atom.

The technique is carried out in the following stages: a. the trainer introduces the problem by adopting various methods, or by announcing and delineating a situation, or through use of a video or a specific activity; b. the participants interpret the role they are assigned (such as employer and employee, salesman and customer, and so on) as per the material indications supplied to them and aimed at describing the roles and the context in which the problem has to be inserted; c. upon termination of the interpretation of the role, there is a general discussion with participation not only of those who have taken part, but also the whole group. The selective problems are analysed, the human relationships brought to light and the general principals identified that emerged during the discussion.

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There are three main types of role-playing: Free: only the roles and the context are defined with any precision, allowing the actors maximum freedom to manage the communicative interaction. This type of role-playing is generally adopted when it is necessary to analyse the more personal aspects of the interpretations of the roles.

Semi-structured: the node of the problem is only hinted at, instead the context and the psychological situation of the roles played are described in detail.

Structured: unlike the semi-structured method, the draft of the script also includes detailed indications of what has to be said and done. This type of role-playing is used in cases in which the learning regards an interactive role that foresees rather rigid and predefined guidelines.

II. Aims and learning outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to the basics of role-playing and its relevance in education  to present a set of the most useful role-playing techniques for giving insight into group structures and facilitating role-taking and group dynamics  to practically illustrate how these techniques can be implemented in workshop environments  to discuss the applicability of the techniques in the participants’ educational practice 2. Learning Outcomes

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Upon successful completion of the course module the learners are expected to be able to:  explain the principles of role-playing and its possible benefits for educational practice in VET  list some role-playing techniques and argue why and how they can (cannot) be applied in the participants’ own practice  propose and run an appropriate role-playing exercise to respond to a particular problem/challenge in a group of learners.

III. Teaching & Learning methods/approaches The module has both theoretical and practical components which have an impact on the choice of relevant teaching methods. These components should be closely linked in the course of the training in order to avoid lengthy PPT presentations or lectures that are contrary to the spirit of psychodrama. The workshop should follow the structure of a typical psychodrama session in line with the overall course objective to introduce educators to the experiential method of psychodrama.

1. Warm-up Before starting the activity, the leader briefly introduces him/herself and gives a summarised explanation of the goals of the module and the scale of the activities. He/she repeats the rules for confidentiality and non-judgement regarding everything expressed and enacted, and for the reciprocal respect that everyone is expected to uphold. He/she underlines how the context is educational and not therapeutic, which means that the participants must feel free not to express feelings, experiences and events they consider private.

The introduction of the group can be used as an instrument for getting to know one another and warming up, through a projective activity: Photos 'as though': various images/photos scattered all over the floor are presented to the participants. They are asked to choose two images that represent two different aspects of their own professional roles, possibly one considered positive and the other negative.

There is background music and the participants can walk around the photos in order to select them. As it could happen that several participants select the same image, they are asked not to pick them up but to leave them on the floor and just point to them.

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The participants then indicate the photos they have chosen and explain why.

Afterwards each participant is asked to move next to a participant whose story has struck them the most. In this way, several subgroups are formed (depending on the total number of participants). If some have chosen the same photo then they will move together.

2. Action The subgroups are asked to “invent� a scenario linked to a professional situation, starting from the images and stories present in the same subgroup.

After having invented the story, each subgroup acts it out and the other subgroups act as spectators.

In this way they move between the real world and the "what if" world in a dynamic manner, by using the medium of the images they stimulate the use of the symbolic to reflect on their own roles, and through the enactment they further stimulate their creativity through the spontaneity of improvisation. Since the story is based on the true life of participants, it is really linked to their real context of work and life.

Acting each story, participants play different roles and observe themselves and each others. linked to the hic et nunc of the process, director can stop and ask, some typical psychodrama technique such as: 1. Reversal of roles: often used in role-playing when considerable divergence exists in two people's points of view. It consists of a simple reversal of the roles of the two actors, which facilitates understanding of others' points of views. The results of this procedure normally include a strengthening of the flexibility and spontaneity of the behaviour in increasing the ability to look inwards and show sensitivity to others; 2. Soliloquy: this is carried out when the trainer interrupts one of the actors and uses an interview to push them to verbally express thoughts and expressions so far not clearly expressed; 3. Mirror technique: for example, one of the participants interprets the role of another member of the group who can then see themselves mirrored and receive feedback about their own behaviour; 4. Multiple role-playing: the group is divided into subgroups, each of which experiments the roles assigned separately. Afterwards, there is a group session for analysing the behaviour of each group which is particularly useful for the discussion;

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5. Rotation of roles: particularly effective when it is necessary to subject all participants one after the other to a specific role. In this way, at the end it is possible to collect a vast series of different types of behaviour in response to an identical stimulus.

3. Sharing & processing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience. This closing part of the workshop should be connected here with the processing of the value of the introduced knowledge and techniques in VET. The participants sit in a circle and initiating an open sharing of feelings and insights gained through experiential learning of role play and are asked how they felt and what they experienced and this is write on a poster. They first speak about each simulation and then move on to analyse the roles enacted and the characteristics of the professional role are identified. After which they try to make potential and critical issues emerge in a mirrored manner and the discussion is directed towards the identification of the best strategies for using the method with their own learning groups.

To complement the experience, some theoretical and methodological feedback on the role-playing is finally given to the group.

IV. Assessment An assessment of the learning experience can also be made through an additional projective activity.

Participants are asked to write a word on a post-it that describes what the experience has left them. The post-its are then affixed to a poster and participants are asked to connect/group together the various things expressed.

Another evaluation method could be using photos: this time participants are asked to choose at least one photo that represents the assessment of the learning experience. After choosing photos each participant will explain to the group what the chosen photo means.

Director can facilitate evaluation with some guide questions, that could be: What did this experience give to you? Can you use this methods in

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your work? In which way role playing technics are useful for your work? Are there some doubts about using this method in your every day practice?

As follow-up, the trainer can encourage participants to give feedback on their own implementation of the methodology via e-mail/blog/forum.

After the end, facilitator could use the feedback from the participants and include this materials in the course documentation.

V. Teaching materials The materials are grouped together according to the structure of the training session.

1. Warm-up  A fairly varied number of photos (landscapes, people, objects, animals, interiors, etc…in black and white and colour) cut out of magazines. There must be at least three time as many photos as participants.  Music with iPods/mp3/CDs, etc…  Paper-pens-felt pens 2. Action  Posters/blackboard with mobile sheets  Music with iPods/mp3/CDs, etc…  Paper-pens-felt pens  Photocopies/brochures/ video exemplifying the projects and pathways followed

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3. Sharing & processing (including assessment)  Posters/blackboard with mobile sheets  Post-its  Paper-pens-felt pens VI. Time/duration Depending on the level of the group, 5 – 8 hours (one day session)

VII. Bibliography Baim, C. Burmeister, J., & Maciel M. ,(2007) Psychodrama: Advances in Theory and Practice , London: Routledge, Marineau, René F. (1989). "Ancestors and family: the birth of a myth". Jacob Levy Moreno, 1889-1974: father of psychodrama, sociometry, and group psychotherapy. Routledge.

J.L. Moreno (1947) The Theatre of Spontaneity, Beacon: Beacon House.

Moreno, J.L. (1977). Who shall Survive?: Foundations of Sociometry, Group Psychotherapy and Sociodrama. New York: Beacon House Sitography

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http://www.sociodramma.it/interventi_gruppi.html http://www.plays.it/ http://www.jacobmoreno.it/ http://www.psicomachia.it/psychodrama.html www. psychodramaclassico.it http://www.psicosociodramma.it/ http://playbacknet.org/about/interplay/

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MODULE 6: WORKING WITH SYMBOLS I. Theoretical scope of the module Everything is a symbol in Psychodrama. However, the symbol is not important with regard to its meaning, its origins or its function. What is important, in Psychodrama, is “to act” the symbol or to act “in the symbol”. According to the father of psychoanalysis, Sigmund Freud, the symbol is a phylogenetic truth - one of biological development - which precedes the development of language in an individual. The function of the symbol is to create a mental aptitude or to generate primitive thought processes which can enable the connection between impulse, affection and reality. For Moreno, Psychodrama illustrates the symbols of action, integration and resolution. Change at a personal or group level will depend upon “the intensity of the bond between word, symbol, behavior and action”. This is the fundamental reason why the use of symbols and symbology is important in a Psychodramatic and educational context, and it is the rationale of this module.

Symbols are linked to dreams, to the unconscious, or to that which is latent. They allow us, therefore, to access implicit information which is not readily accessible from the rational brain: • Psychodramatic work with groups, through symbols, is a means of enabling a connection with rejected aspects which allows the creative and pacifying strength of the symbols to emerge. It is an alternative language for understanding that which is ineffable.

• The symbol encourages spontaneity in order to find new solutions, like a new found freedom to make new choices and release creativity.

• Working with symbols in Psychodrama allows the reconstruction of the affective, emotional, and even cognitive, history of the person acting. It does so by connecting the most primitive experiences, hidden in implicit memory, with the action and the present moment.

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The proposed exercises will be orientated towards discovering the power of symbolic work in Psychodrama, in order to work on those difficulties which arise frequently in the classroom, as identified by teachers of adult vocational and educational training (VET).

• The problems concerning learning, that the trainer identifies in the classroom, are often linked to personal, emotional, circumstantial and cultural factors, or are related to the dynamics of each group. Some of these latent conflicts, circumstances and tensions (resistance to change, low motivation, emotionally-troubled students, groups that are rebellious or that have low self-esteem) can limit the effectiveness of the educational process. They can be addressed, however, by working with symbols and using the appropriate techniques. For example, the fear in adults which can cause resistance to change and, therefore, to learning, can be addressed through symbolic work and the use of scenes that provoke fear. By the same token, teaching staff can be helped to identify problems and to create a favourable atmosphere in the classroom by using symbols in the group.

• The module has a parallel objective. Beyond the presentation of techniques to address these limitating processes, the module also seeks to interest educators in the concept of the symbol, help them discover their own symbologies, and allow them to immerse themselves in the symbolic language of the educational groups.

• Symbols often connect with what is yet to be discovered, with the development of both the student and the teacher, with the integration of knowledge and practice, and with what is sometimes known as 'know-how', in contrast to explicit knowledge. By following the exercises in this module, the teacher will develop both his own interpersonal skills and those of his students, and will learn to clarify roles and understand the group's expectations, dominant values, unexpressed beliefs and prejudices. This learning, the implicit information which emerges and the skills obtained by working with symbols, goes beyond positive, rational, measurable knowledge or that which can be objectivised.

• Working with symbols can help teachers of adults to develop their own core skills, in order to understand information that goes beyond explicit knowledge and facilitate the integration of teaching materials. It can also help to embody ideas and, from this integration, make knowledge accessible at other levels.

• Psychodrama, sociometry in general, and symbols in particular can help us to value and assess the expectations, values and beliefs that the group has about certain knowledge or training, or an educational process.

II. Objectives and learning outcomes

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1. Objectives • • • •

To understand the value and use of symbols in Psychodrama for adult education.

To introduce teachers of adult VET to the basic use of symbols and their importance in adult education.

To discuss the applicability of symbolic content to the educational practices of the participants.

Enable teachers to become acquainted with the main symbols, their content, their meaning and their use in relation to situations they have experienced in the classroom.

• To find out the value of symbols in removing blocks (conflicts, fears, resistance, lack of motivation, destructive dynamics, boycotts) that occasionally arise in group learning processes • To find out the importance and responsibility of the group leader when protecting trainees during Psychodramatic work

2. Learning Outcomes Following completion of this module of the course, participants should be able to: • Point out the keys on the importance of the use of symbology in educational practice.

• Integrate the use of the symbol with that of active techniques and Psychodrama during the psychodramatic action.

• Suggest various symbols, and identify their possible function in a VET group, for a problematic situation - a block, a boycott, a conflict as experienced in the classroom.

• Develop a simple Psychodramatic exercise, orientated towards adult education, in which the symbology for one of the suggested situations is used.

• Guide and participate in the Psychodramatic session demonstrating the importance of protecting, and taking care of, the integrity of both the group and each individual.

III. Teaching and Learning: Approaches and Methods

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1.Theoretical indtroduction The module will start with a short theoretical introduction on the value of symbols in general, and of symbols in Psychodrama within the context of adult education. Materials for this introduction will be provided in the training materials. There will be a short part ready to be explained by the trainer with the group, and a larger part in case the participants want to go deepen the concepts.

After the theoretical introduction verbally explained by the trainer the active work will start following the psychodramatic learning.

The theoretical introduction will be brief, paying larger attention to the basic psychodrama session scheme leading the participants through all the key phases of warm-up, action and sharing. Due to the powerful and depth effects of the work with symbols, special attention it will be provided to the sharing phase of this work.

1. Warm-up A sociometric exercise may be used to warm up: • While music plays, walk around the room naming symbols related to the role of the participants as educators or any kind of symbols.

• The director then collects the symbols that have been named.

• Form a circle and step forward when you hear symbols which you identify with.

• Share the experience during the walking part, been in the circle, when you stepped forward, when you heard your symbols..

2. Action: Classroom issues may be addressed by means of the most varied techniques, and through the use of any symbol that is loaded with value for either the individual or the group. What is important is that the director is able to: understand the language of the symbols in the classroom, put himself in the position of any group member, understand the needs of the group members, and place himself at the service of the group.

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• • • •

What is a symbol?

Emotional value of the symbol and its relevance in the classroom Techniques, exercises and materials Taking care of students: precautions when using symbols in the classroom.

This exercise is orientated towards discovering the versatility of the symbol and all of the implicit information which closely accompanies it.

This type of exercise encourages spontaneity, allows different solutions to be suggested to the group members and, sometimes, allows the situation to be redefined. Let's imagine that a student usually ignores the teacher's instructions. The causes may be diverse, or even interconnected - a lack of interest, or embarrassment at admitting to a lack of knowledge. The symbolic exercise may provide a space which permits verbal expression and allows the problem to be articulated and addressed in a creative manner, orientating it towards a redefinition.

How do symbols affect us in this group? A specific case dealing with lack of interest in the classroom.

• Various magazines on sport, hunting, society, entertainment, nature etc. are placed in the centre of the room.

• Walking around the classroom, reflect on the symbols already present, or on others that are important for working in the classroom.

• The instruction is “out of all these magazines, choose one or more symbols which you either identify with or, simply, just like".

The symbols may be images, photographs, people or subjects that appear in the magazine.

• Using scissors, cut out whichever symbols you choose from the magazines.

• Create a collage using all of the symbols • Sharing • Sharing from the technique What have I learned from this module?

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• On a sheet of paper, write down a word, a name or an allegory of a symbol, or draw a symbol which represents what you have learned from this module.

• Collect all the sheets of paper in a bag then hand them out randomly among the members of the group.

• Each person in the group reads aloud the sheet that he has been given and explains his professional connection with that symbol. The others listen.

• Sharing and end.

3. Sharing and processing Through the modules, participants learn the importance of sharing and processing the information which emerges from the scenes. Each exercise that is carried out, or any enacted scene, however insignificant it may seem, needs space in order for it to be shared. Sharing has even greater importance in the case of symbolic work because aspects which are more internal, and unknown to both the individual and the group, come into play.

The sharing phase looks for the free expression and integration of the intrapsychic and interpersonal information that emerges from the work in the scene. Each individual shares his experience, throughout the process, in two different spaces: • From the role enacted in the scene, or in the scene corresponding to the exercise. In this space, we look for emotions, sensations and experiences that have emerged during the scene. The director will try to encourage communication that is personal and clear, and that avoids analysis, descriptions, references to others etc.

• From what is evoked. Which specific images, photographs and moments came to mind while the participant was playing the role? The director will try to help people identify these memories that are associated with their experiences, as a way of airing the unconscious, emotional component associated with them.

A clearly defined space may be provided for a sharing about the technique, methodology, use of symbols and difficulties that can arise in the classroom, and with which working with symbols could prove useful. The group's voice will also be heard in this evaluative space and, if necessary, may contribute informative and corrective feedback on important symbols in the educational process. It may also provide techniques and elements for addressing specific issues in the training space, etc. This sharing from the technique is a cognitive space for

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understanding what we have been doing. This need to rationalise is not very typical of Psychodrama, but it may be appropriate for training groups such as this one.

IV. Assessment • The teacher may present a specific case of conflict within the group. He can then encourage the participants to suggest which symbols can be used by the group, and how, for its resolution.

• The instructor will require his own template in order to draw up the assessment of the outcomes of the module.

• The limited time allocated to the session means that a plan is needed for follow-up activities. If participants are unable to take part in the succeeding course modules, the trainer should ask them to share - via email, a forum or a blog - their experiences of implementing the methodology.

• The information received from the participants should be collected and included in the project documentation.

V. Educational materials The materials are categorised according to the structure of the session.

1. Warm-up A music system or a computer with internet access, in order to play different pieces of music with symbolic content.

2. Action: • Magazines on varying themes: entertainment, sport, society, politics, etc.

• Scissors, sheets of paper, ball-point pens, thin cardboard, a stick of schools glue.

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3. Sharing and processing (including the assessment) • Feedback questionnaire for participants • Outcomes report sheet for the module instructor • List of sources for reference / further reading VI Time / duration Depending on the level of the group, between 5 and 8 hours (a single session day).

VII. References AEP (2009) Manual de formación de la Asociación Española de Psicodrama. Asociación Española de Psicodrama, Madrid Fox, J (ed.) (1987). The essential Moreno: writings on psychodrama, group method, and spontaneity by Jacob Levy Moreno. New York: Springer Publishing Company Herranz, T. (1998) Psicoterapia psicodramatica individual. Ed. Descleé Bouver. Barcelona Jung, C, G., (1995) El hombre y sus Símbolos, Editorial Paidos.

MORENO, J.L. Psicodrama. Hormé. Buenos Aires, 1978.

White, L. (2002) The Action Manual. Techniques for enlivening Grop Process and Individual Counselling. Liz White ISBN 0-9689896-0-8 .Toronto, Canada.

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MODULE 7: CONFLICT MANAGEMENT I. Thematic domain of the module Conflict cannot be eliminated from human groups, whether it’s about two people, small groups, larger or very large groups, like nations and federations of nations. Although our immediate reflection for conflict is negative- destruction, bitterness, war, violence- it is not necessarily something ‘’bad’’ or pathological to be got rid of. If we think a little bit more, positive reflections come to us also: action, stimulation, change, new learning and development.

Conflict is almost inevitable during the procedure of development of the group and at the same time extremely valuable for the proceeding, if only its intensity is tolerable by the members and the appropriate norms that have been established in the group. A situation of conflict in the group may be provoked either among members and/ or between members and leader and it may be expressed either directly or indirectly. If open conflict is denied or suppressed, then it will certainly be emerged with indirect, erosive and often nasty ways. The leader may have difficulty to perceive the underlying way the conflict is being expressed, but in any case, he has to perceive it and bring it to the surface, otherwise group members will abandon it or the group may even be dissolved.

Conflict results from an opposition or disagreement. Usually what happens is a break in communication. Both sides stop listening to each other with a certain degree of understanding. It is very important that the leader does not seek to change what is being expressed but rather to experience it and to explore it. For the effective management of group conflict, the primary presupposition is coherence. Members have to develop a sense of mutual trust and respect and to appreciate the group as an important means for the coverage of their personal needs. It is of great importance to preserve communication for the survival of the group and for their better inner understanding.

To learn to effectively manage the conflict, contributes to atomic maturation and to emotional adaptability, tolerance and resistance. It leads to a more integrated sense of self, to better and more functional relationships, to a more creative, lively and cooperative working atmosphere in class.

Benefits from conflict management:  The communication is not interrupted but keeps going on, so both parties try to develop their understanding toward the other.

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   

    

People dedicate their effort to accept the other and not to confirm the perceptions and stereotypes that preexist.

Despite their anger or other nasty feelings, members try to stay in touch with themselves and open to what is going on.

A little crack happens to the distrust of people, so they see not only their actions as logical and honest, but the others’ as well.

Coherence is established in the group and so the members develop a feeling of mutual trust and respect, they appreciate the group as an important means for the coverage of their personal needs. They appreciate the importance of preserving communication for the survival of the group, of continuing the direct transaction among them no matter how angry they get.

Group norms are established which make clear that the members are here to understand better themselves and their functioning and not to win or make fool of the others.

Members focus on themselves, the various labels toward themselves and others retreat as they try to connect with these aspects of the others that make them angry and so with these aspects of their own selves that make them angry.

Empathy grows and if we ‘’see the world with the eyes of the other’’ as Moreno said, conflict retreats.

Members learn to interact in an open, honest and sensitive way and to appreciate the effect they have on others.

Spontaneity and creativity are increased and so change and development of personality are promoted.

The examples of exercises listed below will help the teachers of adult vocational and educational training (VET) to intervene with a more experiential way, to explore and to expand the way members function in confrontational situations in class and in corresponding situations in their lives.

Exercises for:  Aggressiveness: - ‘’dog - cat’’: half of the group become dogs and the other half cats. We let them choose what they want to be. We leave them for about 10’ in interaction.

- the group is separated in two smaller groups. The members of the A group want to reach to the other side of the room, where is the territory of the B group. The members of the B group resist and try to repel them. After some minutes of interaction, the groups reverse roles. Sharing of experiences and feelings.  Confrontation of Situations or Persons:

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-

The members of the group are asked to sit comfortably and to close their eyes. They are asked to remember a scene which had created them great surprise. It may be pleasant or unpleasant. We leave some time in order to choose the scene they desire. the members of the group are in the circle sitting on chairs except for one, who is out of the circle sitting on a chair and having his back turned to the group. The members of the group, one by one, say only positive things about this member. After everybody has finished, this member returns to the circle and the next one sits on the chair with his back turned.

 Maintenance of Personality’s Structure: - ‘’favorite place’’: The members of the group are asked to show to the other members their favorite place. They are asked to direct the place. The members are asked to express with a phrase what they feel in this place. After everybody has presented his place and has spoken, the leader asks them to think of another favorite place they liked and why (among the presented places).  Transfection: - ‘’angel- devil’’: a) the members of the group are asked to lie down on the floor and dream; to imagine themselves as angels and to enact it on stage, to move freely in the space and to communicate as angels for 5 minutes, b) they lie down again and dream; now they become and act like devils, c) they lie down again and dream; finally, they are asked to communicate like everyday people (expressing both their angelic and devilish side).

Sharing follows after every exercise in order to share their feelings and not to explain or to criticize what other members do or express (and this is a major job of the group’s leader).

II. Aims and learning outcomes 1. Aims The module has the following interrelated aims:  to introduce VET adult educators to the psychodramatic way of managing conflict situations in personal and group level,

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 to develop their personal abilities in order to stand and to manage in a more functional way conflict situations in workshop environment and to contribute to the personal development of the trainees,  to illustrate how these exercises can be applied in workshop environment,  to achieve a collective work derived from a personal work and to discuss their applicability in the participants’ educational practice.

2. Learning Outcomes On successful completion of the course module the learners are expected to:  indicate the extra value of the psychodramatic intervention in conflict management,  identify the benefits of ‘’opening’’ and confronting an existing, obvious or underlying, conflict in the group and explain how this influences the learning procedure,  point out the limitations of such an exploration in the classroom,  list three exercises that refer to conflict management and how these can be applied in class,  propose and run an appropriate psychodramatic exercise which corresponds to an emerged conflict situation in a classroom of adult learners.

III. Teaching and Learning Methods/ Approaches The module has both theoretical and practical components which impact on the choice of relevant teaching methods. These components should be closely linked in the course of the training in order to avoid lengthy PPT presentations or lectures which are contrary to the spirit of psychodrama. The workshop should follow, as possible, the structure of a typical psychodrama session in line with the overall course objective to introduce educators to the experiential method of psychodrama.

As mentioned in module 2, it’s impossible to have a prescheduled psychodramatic meeting, because you don’t know what the members will bring out and which will be their central point. So, the teachers of VET need to have a general and as whole as possible image of the psychodramatic philosophy and interventions, in order to appreciate which intervention, technique or exercise is more suitable in a certain moment for a certain situation.

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The following example gives some ideas: 1. Warm up  The leader begins a discussion with the whole group in order to see what occupies them in relation to conflicts and intervention in conflicts and what they want to learn about.

Alternatively, the group may be divided in smaller groups or in couples and discuss what occupies them in relation to the issue.

One by one, in pairs or in groups, they will make an image of their theme.

2. Action Before or after engaging participants in sample psychodramatic exercises for the conflict management, the trainer should give them a brief theoretical introduction of the module. The correspondence between practical and theoretical parts is necessary in order to make the understanding easier for the learners. The trainer will decide where it is best fitted to be done in each workshop.

There should be a set of Training Materials at hand easily adaptable to the level of knowledge evaluated in the warm-up activity. Printouts are recommended which will help to run the presentation in a more dynamic/flexible way. The presentation should cover at least the following themes and directly lead to the discussion of the content:  How a confrontational situation is expressed in the group and how is resolved,  the leader’s attitude and psychodramatic intervention in conflict management,  the need to be aware of limitations of the method in educational practice.

Always taking into consideration what has emerged in the group until now, the leader may introduce some exercises as the following:  The group is divided in two smaller groups. Group A are the ‘’revolutionists’’ and group B are the ‘’policemen’’.

A certain situation is created, e.g. a demonstration, and these two groups come in interaction.

The members respond spontaneously, whoever from the group has something to express he does it and whoever from the other group has an idea he expresses it.

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He leaves some time for interaction.

The leader, depending on his assessment, he may reverse roles the two groups or he may reverse roles some members of the groups, or he may close it here.

3. Sharing Sharing is an essential part of the psychodrama session. It gives each participant an opportunity to give his/her feedback to the group on the learning experience and also to make a better integration of it. It gives the leader the opportunity to evaluate clearer where each member is, what they take with them after leaving the workshop.

This closing part of the workshop should be connected here with processing the value of the introduced knowledge and techniques in VET and its possible applications. Sharing by its very nature is a spontaneous activity and the role of the leader is to facilitate the expression of the members and of their existing issues.

So, the flow of activities may only be suggested:  Everybody returns to the circle and in an open sharing expresses the feelings, experiences, thoughts that emerged during the session for experiential learning of conflict intervention and management.  The leader asks each member to wander around the room, choose an object and place it in front of them. This object will symbolize what they take with them after the workshop of the module has finished. Each member talks about it, why they chose that etc.  Encouraging the participants to outline possible applications of group work in their educational practice (this opens the final assessment phase).

IV. Assessment  A free discussion in the circle of the group about thoughts and feelings, what they learnt, what important they keep, etc.  Divided in smaller groups of 4 people, they will discuss what they keep from the session, they will make an image and they will give a title.  A spontaneity test will be done: a certain situation is evoked in a group and the learners will have to respond to it. By their managements, the leader will take feedback for his/ her function, how s/he transmitted the Training Material, how the members received it.

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 The trainer needs to have his/her own reporting template to record the assessment results of the module. It should be filled in after the feedback from the participants and included in the course documentation.

V. Teaching Materials/ Activities 1. Warm up Nothing particular.

2. Action A couple of boxes with various toys, scarves and stuff inside so the members will have the opportunity to choose something that fits or completes their exercise, image, etc.

3. Sharing A couple of boxes with various toys, scarves and stuff inside so the members will have the opportunity to choose something that fits or completes their exercise, image, etc.

VI. Time/ Duration Depending on the level of the group, between 5 and 8 hours (a single session day).

VII. References  Clayton, G.M. (1994), Effective Group Leadership. Book 4 in a series of Training Books. Australia: ICA PRESS.  Kellermann, F.P. (1996). Interpersonal Conflict Management in Group Psychotherapy: An Integrative Perspective (Vol. 29). London: SAGE Publications.  Moreno, J.L. (1934). Who shall Survive?. New York: Beacon House.  Yalom, D.I & Leszcz, M. (2005). The Theory and Practice of Group Psychotherapy (5th edition). United States: Basic Books.  www.pertinent.com/articles/communication/index.asp - Articles about interpersonal communication.

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MODULE 8: SHARING THE EXPERIENCE WITH THE GROUP (collecting/processing feedback from the group) I. Theoretical scope of the module Sharing is the final phase of Psychodrama, and follows the warm-up and the action. In the sharing phase, attention moves from the member or members, of the scene and focuses on the group. The act of sharing is centred on the audience, and its members are asked to share their thoughts and feelings with regard to the dramatisation. The members of the group will share their experiences about and event affecting their learning process, the atmosphere in the class and that has had an effect on their beliefs, ideas, body or heart, and therefore about their relationships in the class, motivation and attitudes towards the learning process. According to Moreno, in the sharing, “the members of the group begin, one after another, to express their own feelings and experiences of similar conflicts and, in doing so, reach a type of group catharsis.” When similar experiences are shared, a sounding board is created and an authentic group encounter is made possible. The sharing is a real act of communication which makes it easier to gain insight into the experience, and facilitates its elaboration and integration.

This phase is also called Closure, Group Sharing and Group Echo, among others, and it serves to return the protagonist or protagonists and “auxiliary egos” to the group. Sharing situations which resonate with members of the group makes it easier for an authentic group encounter to take place.

In the sharing, individuals involved in the action, the director and the auxiliary egos return to the group. When they sit with the audience, it is the moment for experiences and identification with the dramatised events. Those who participated in the action are given first say, followed by the rest of the group. The relevance of the sharing can be summarised in the following points: -

It rescues the protagonists from their isolation by giving him the chance to see the others.

It gives him the chance to benefit from, and integrate, his own experience through the experiences of the others.

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-

According to Moreno, “group catharsis" enables integration because it allows everyone to express feelings and discuss whatever the action has evoked within them.

Its function is to integrate aspects of the individual and of the group, as well as the interactions between both.

In the case of this training course for teachers of adult VET, the module will allow participants to understand the importance of sharing. They will also learn how to participate in the sharing phase of Psychodrama and understand how to direct it. This module sets out to emphasise the sharing process as a key phase in Psychodrama, one in which teachers may obtain very valuable knowledge after the completion of exercises that also focus on sharing with the group: • Sharing helps to encourage equality within the group by fostering a listening culture and one of respect for the experiences of other people.

• It also serves as a space for integration and as a source of new scenes or new content that can provide clues as to the needs of the group. These new scenes and content may also produce new topics for Psychodramatic spaces.

• The individuals implicated in the action benefits from the experience of the others, and may carry out an integration that is both emotional and cognitive through the experiences contributed by the group. Cognitive integration is determined by how the events that take place in the scene are understood; realisation.

• Given the training character of these groups, a space will be set aside for the sharings from the technique. It is an opportunity to examine possible variations and for each professional to explain what he would have done differently, and why. At no time is reference made to the protagonist's or people playing roles experiences, and it is the role of the director to protect the integrity of the individuals and, given that the lattesr are in a particularly vulnerable situation, ensure he is well treated.

The responsibility of the director in the sharing cannot be overstated. The director must protect everyone in the group, particularly the individuals directly implicated in the action phase, as it is them whom have been placed in a very vulnerable situation. The director may decide on more or less structured ways of directing the sharing, giving specific instructions on who shares at each point of the sharing phase, whether it should be done from within the role or from whatever is evoked by the action, etc.

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II. Objectives and Learning Outcomes 1. Objectives The module has the following objectives:  To show educators of adult VET the importance of sharing in any Psychodramatic process  To create the necessary conditions for a good sharing in Psychodrama  To understand the different styles of direction in Psychodrama  To experience a sharing process 2. Learning Outcomes Following completion of the module, the student should be able to:  Demonstrate that he has acquired the necessary basic knowledge in order to guide a sharing process.  Identify the processes that may hinder a good sharing in Psychodrama.  Share experiences in a correct way according to the needs of the Psychodramatic group.

II. Teaching and Learning: Approaches and Methods

1. Theoretical Introduction A short theoretical explanation on the importance of sharing will be provided by the trainer, at the beginning of the session and before starting the psychodramatic action. This theoretical part of the course will set out the importance of rescuing the group, from the intensity of the action and of assisting the integration and well-being of the group in general, and the people participating in the action in particular. In

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addition, brief descriptions will be provided of the types of direction of the sharing by the, more or less directive, director. Materials relative to the theoretical explanation will be included in the training materials.

This introductory theoretical explanation provides to the attendee with an understanding of the key concepts of the importance of sharing in the educational setting not been part of the psychodramatic session. The knowledge based on the experience will be ensured following the general scheme of a psychodrama workshop leading the participants through all the key phases of warm-up, action and sharing

2. Warm-up “What you say is important”  Form two groups and call one of them 'A' and the other 'B'  Form each group into a row and position them facing each other, so that they form pairs of As and Bs  Each member of group A says to the person opposite “What you say is important to me and to 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 all the members of group B, and vice versa.  Sharing about the feelings and sensations in the role of speaker and the role of listener of the statement.

3. Action This exercise aims to provide a Psychodramatic space in order to investigate the importance of sharing and the director's role in this phase.

-

With the group warmed-up thanks to the previous exercise, the following instruction is given: “Create either a static or dynamic sculpture which represents”: o A "bad sharing": rapid, without pauses, encouraging neither expression nor integration, with interpretations of the enacted roles and personal references to the participants, advice, analysis, etc.

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o A “good sharing” as defined by having an opening, an unhurried pace, trust, the integration of content, respect for the individuals implicated in the action, no hasty judgements about others, sympathy for the experiences of others -

Share the experience in one of the sculptures and, then, in the other.

Another exercise could be added if enough time is provided. The educator can request four volunteers from the group. Away from the main group the educator can ask them to perform two different ways of sharing in a group in two different scenes.

- First scene- The volunteers talk or debate between them about any issue, personal or public. The idea is to promote a not respectful and caring way of listening. With no respect for the turns to speak or the pace of the talker, trying to change the point of view of the other, giving personal advice and so.

- Second scene- They can replay the scene been attentive and respecting everyone´s turn to speak, giving enough room for the other to finish speaking, and a general style of openness to the experience of the other.

After these acted scenes the group can get back together and share about their experience. First there could be room for the volunteers playing roles to share and them the rest of the group can share about how they felt viewing each of the set scenes. Afterwards they can discuss about the implication for their role as educator using psychodramatic techniques in the adult education groups.

4. Sharing and processing As the whole module deals with sharing, examples linked to the recommended exercises will be provided in the exercise manual. The sharing from the technique is especially relevant to this module, because it is the director who can modulate, structure and supervise the sharing process, and this will greatly influence the process. Sharing from the technique is a space often used in Psychodrama training groups, for the trainees to debate, propose, validate and supervise different ways of acting as a director during the psychodramatic work. It is also a space where the group director can review, justify and explain the rationale for each interventions and decisions. It is moment to share reflections and thoughts about technique aspects of the psychodramatic work.

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IV. Assessment The assessment will be carried out on two levels: -

-

The participants' knowledge and understanding of the sharing process, and its application in VET for adults, will be assessed through a shared reflection guided by the teacher. The reflection will deal with problems put forward by the group members. At the same time, the tutor will have an outline available in order to guide the session.

The instructor will require his own questionnaire in order to assess the outcomes of the module, guiding this sharing reflection.

The participants will also receive a questionnaire from the module tutor. This should be completed once the participants have applied the knowledge acquired from the module in the classroom.

The information received from the participants should be collected and included in the project documentation.

V. Educational materials The nature of the module means that specific materials are not necessary. However, the questionnaires for student feedback and the questionnaire for the trainer's outcomes report are required.

VI. Time / duration Depending on the level of the group, between 5 and 8 hours (a single session day).

VII. References

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AEP (2009) Manual de formación de la Asociación Española de Psicodrama. Asociación Española de Psicodrama, Madrid.

Blatner,A.(1996) Acting-In;practicalapplicationsofpsychodramamethods.(3rded.)NewYork:SpringerPublishing.

Dayton, T. (2004).The Living Stage: A Step-By-Step Guide to Psychodrama, Sociometry and Experiential Group Therapy. Deerfield Beach, FL: Health Communications Fox, J (ed.) (1987). The essential Moreno: writings on psychodrama, group method, and spontaneity by Jacob Levy Moreno. New York: Springer Publishing Company Herranz, T. (1998) Psicoterapia psicodramatica individual. Ed. Descleé Bouver. Barcelona Horvatin, T. & Schreiber, E. (eds.) (2006).The Quintessential Zerka: Writings by ZerkaToeman Moreno on Psychodrama, Sociometry and Group Psychotherapy. London: Routledge Marineau, R.F. (1989). Jacob Levy Moreno 1889-1974: father of psychodrama, sociometry, and group psychotherapy. London: Routledge MORENO, J.L. Psicodrama. Hormé. Buenos Aires, 1978.

White, L. (2002) The Action Manual. Techniques for enlivening Grop Process and Individual Counselling. Liz White ISBN 0-9689896-0-8.

Toronto, Canada.

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