We take our first first steps to broaden discussion on the evolution of the science by defining or re-defining three styles or 'opportunities' of Psychodrama:

1    ‘Psychodrama' – Encounter, enactment or reenactment of selected events or experiences to achieve "experiential" analytical and therapeutic advantages. This includes a full range of approaches including role playing, exchange roles, recall, etc.

2    'Psychodramatic Analysis' -- Using primarily the observation and practical reenactment of selected events -- to stimulate reflection, discussion and interaction -- mostly employing puppetry, directing, storytelling and other mediums of communication and expression; sometimes includes exchanging roles.

3    'Psychodramatic Therapeutics' or PDT -- The treatment of emotional disturbances through direct manipulation of the rhythms, pitch and volume of the 'voice' (or inner-monologue) in the patient's mind. This may call upon or combine techniques for visualization, meditation or even hypnotherapy. Often includes an “act of becoming” another person, creature or even object or event.

     The first two approaches are the most common, the latter -- PDT -- is the new one on the block and, along with shamanic and many traditional cultural approaches, creates a foundation for the new opportunities afforded the world of psychodrama.
 

Psychodramatic Therapeutics

    The first public/academic discussions on Psychodramatic Therapeutics in Canada this author knows of was in a workshop at a 1970 federal government sponsored conference -- Milieu 70 in Winnipeg, Manitoba. The workshop discussed and attempted to analyze the work of neurophysiologist and scientist Dr. P. V. Simonov of Moscow's Academy of Science. Simonov, an internationally celebrated authority on brain process, neurochemistry and behavior, examined and expanded upon the cross-over in the works of Russian thespian and director Constantin Stanislavsky 1863-1938 and the works of neurophysiologist Ivan Pavlov 1849 - 1936.

    Stanislavky wanted his actors to achieve new heights of "becoming" their characters. On the other side of the formula: Pavlov wanted to understand how the mind linked directly to the body in a 'whole' system. Together, the works combined into what is now known as Stanislavsky's Theory of Psychophysical Action.

    It works like this: If you combine the complex 'inner monologue' -- inner voice complete with the inherent rhythms, pitch and volume -- of the person you are attempting to become, with the thoughts, physical gestures, activities and attitudes appropriate to that character and his or her circumstance, you will ‘become’ that character.

    According to Stanislavsky's theories, this inner voice or ‘inner monologue’ has its own unique, and variable, volume (louder or softer) pitch (higher or lower) and pace or rhythm (faster or slower) which manifest a state-of-mind.

    The Winnipeg workshop featured a survivor of schizophrenia who was using inner monologue exercises developed by Stanislavsky's students to maintain a level of mental and emotional stability through focussed self-awareness.

    Today, PDT (psychodramatic therapeutics) invites therapists to create theoretical models of a patient's inner monologue. E.g.: a manic individual may have a loud, high pitched and rapid inner monologue which leaves little opportunity or room for outside input to penetrate; a paranoiac might have a very hushed, low pitched and slow paced inner monologue which invites (even recruits) outside input, thereby permitting delusions to be created in an otherwise seemingly empty and vulnerable environment. While these models may only be theoretical, therapists can use them as a base upon which to begin building a therapeutic opportunity.

     In fact, through simple exercises, the pitch, rhythm and volume of the individual's own natural inner monologue make themselves evident. Therapists or directors/facilitators can then offer individuals the opportunity to play roles which 'exercise' and ‘stretch’ the range, volume and focus of the inner voice to break it loose from where it may be stuck and to help it to where it is more supportive of the patient's well being.

    Often in PDT, the psychologist acts as a 'director'. Sometimes the director would not be a therapist -- instead be a facilitator, working their craft in conjunction with therapists and begin by teaching participants the Stanislavsky Method "in order for everyone to do the best performance possible."

    Dr. Simonov was the first scientist to popularly describe The Stanislavsky Method as a “concrete means of conscious influence on neuroses” which by definition cannot be influenced by direct effort of will. His work should inspire thespians, art therapists and psychologists with interest in Psychodrama to reinvestigate the opportunities. This work must credit him with inspiring or inventing Psychodramatic Therapeutics because its language and opportunities emanate from his writings. Certainly he was the first scientist with the credentials to combine an understanding of the diverse disciplines required to scientifically affirm the opportunities.
 

An Aboriginal Model

The following is an example of a traditional approach to PDT or 'an act of becoming':
 

To treat Bill -- a physically abusive alcoholic who has demonstrated his serious desire for change -- a tribal shaman assigned him responsibility of “becoming” a grouse in a ceremonial Chicken Dance. The role was important. The tribal practice is to earn the presence of birds. It is believed the birds will be plentiful and accept sharing themselves with the tribe only if the tribe showed that it was “family” to the birds. Someone in the tribe would have to become a grouse -- a bird active on the ground. Bill must become that grouse. Bill understands what is needed, but resists -- he is struggling with his own current life challenge. He names two competition dancers who could do a better dance, but the shaman has other plans. (Bill is voluntarily sleeping on his front porch until he feels he is truly ready to settle back in to his family without alcohol, without anger, and without violence. He has admitted to his problem, resigned himself to his struggle and accepted his challenge.)

This ceremony, at first, seems at once both distracting and an impossible task. To become a grouse, Bill will have to do everything a grouse would do and think -- everything a grouse will be thinking. Not a real-time simulation, but a real-time experience. Bill will have clear his mind and involvements of his own experience, and focus on the mind and experience of the grouse.

Bill begins rhythmically scratching the ground to uncover seeds and activate bugs and worms for food, simultaneously using his eyes, nose and ears to stay aware of predators and keep alert to the (hopefully) protected location of the hen and chicks. To do this Bill must fully clear his mind of Bill-the-alcoholic and maintain that constant state of unselfish focus while he searches for more food for his family. Amidst this he will call out to his fellow grouse and tell them how he welcomes his life as a bird and celebrates his life as a bird and therefore helps them to celebrate their lives.

Bill must let go of the old Bill and fill his mind with the rhythm, thoughts and purpose of the grouse. It is important not merely to ssimulate this real, but to embody the experiences and ‘become’ the bird. The shaman will tell you that birds, after all, feel the thoughts of their brothers and can distinguish ‘real’ from ‘mimic’. To be ‘real’ requires Bill to ‘shed’ Bill-the-abuser and shed Bill-the-alcoholic and become one with nature around him at the deepest inner level. Every thought, every motion, every breath is whole, practical and purposeful and part of the experience of the bird. All else is let go. Every breath gently ends with listening and concern for the family.

It is the act of becoming -- becoming a clear, successful and worthy creature of the forest. It is a holistic or wholistic embodied experience of becoming -- or re-becoming.

It is an intense ritual when done right and has proven impactful in helping individuals advance in their personal health and awareness, including dealing with and overcoming the trauma of alcohol and drug addiction.
 

The inclusion of emerging sciences and inclusion or reinstatement of traditional or even ancient sciences is pushing forward the fields of

• movement psychology (gesture, body language, energetics, etc),
• communication psychology (semiotics, context, psychodynamics, etc),
• transpersonal psychology (spiritual connectiveness and associations)
• ... as well as psychodrama.