A 3 protagonist drama and healing between the genders

[HV Psychodrama]

I also find what I call multiple doubling very effective, for both the group 
and the protagonist, for the same reasons you  write about, Marcia. It also 
creates a way for children and young teenagers to get actively 
involved..they cannot often sit for an entire protagonist centered 
psychodrama. I have also found it a way to help children learn the words 
that describe the feelings they are having. Like you, I find that the 
protagonist often appreciate what they experience as group support.
Rebecca
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From: <mkarp11444 at aol.com>
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Sent: Monday, December 01, 2008 12:42 PM
Subject: Fw: A 3 protagonist drama and healing between the genders



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-----Original Message-----
From: mkarp11444 at aol.com

Date: Mon, 1 Dec 2008 17:31:08
To: Dr Kate Hudgins<drkatetsi at mac.com>
Subject: Re: A 3 protagonist drama and healing between the genders


Dear Kate, congratulations on your work in China. It sounds truly innovative 
and immensely helpful. To train others is a dream. Personally, I feel like I 
am dancing through it, I am so proud of what has developed in England, 
Athens(currently a 5 year programme where I go 5 times a year) Geneva with 
Norbert Apter. We run a FEPTO 5 year traing programme and this is formaly 
ouir second training group to graduate but we have been at it since the 
early 1990. I run a 3 year training in Kiev, Ukraine once a year and go to 
Moscow yearly and have gone many times in the past. I have been to Japan 8 
times in the recent years and many other countries where I salute the 
formidable task they have taken on and theier courage to leqrn paychodrama 
and then to use it in a variety of settings. Mostly psychotherapeutic but 
there are some who use it non-clinically, for exame to teach midwives, to do 
coaching for business men, to work in companies, as teachers and one 
satudent works in a youth club and shew uses it mainly for socialization 
skills. The applications of psychodrama are vast, flexible and often focused 
on curing a sick society as Moreno intended. What I am writing about tonight 
is your use of three protagonists in one session. I call it multiple 
protagonists and I wrote about it first in the book "Psychodrama Since 
Moreno" published by Routledge/Taylor Francis. Co-Editors:P.Holmes, M.Karp 
and M. Watson, 1994, New York/London, page 45 in the chapter 2, Spontaneity 
and Creativity: the River of Freedom.  I have been doing multiple 
protagonist work for over 20 years or more. I have never heard anyone else 
talk about it except Anne Schutzenberger who consistently does short  action 
vignettes during the sharing with profound results. The participants in 
these vignettes often get as much therapeusis as if they have had a whole 3 
hour session. Zerka does this too very effectively. In classical 
psychodrama, one protagonist emerges from the group as a representative 
voice. The action of that one protagonist can serve as a warm-up for others 
in the group. At certain moments, individuals become ready to express 
themselves through the process of watching and participating in someone 
elses emotions and thoughts. In those momentsn people are like ripew fruit, 
ready to be picked; their emotions, ideas and thoughts are at the forefront. 
For me, there have been increasingly clear indications of when it is 
appropriate for more than one person to participate as protagonist in the 
same psychodrama. These indications are: 1. When the emotional pulse of the 
protagonist slows down and thew pulse of the group member speeds up; 
therefore 2. The act hunger of the group member is greater than that of the 
chosen protagonist in a given scene. 3. The protagonist is able to share 
his/her own physical and emotional space with another person. In my 
experience this is welcomed by the protagonist and they do not feel 
abandoned by the group or by the director as the viewer might suspect. Quite 
the contrary, they feel supported by the next protagonist(s) and do not feel 
so alone with the problem, like in sharing. It is action sharing.4. When it 
is clear that the protagonist wants to express a particular feeling or 
thought and can gain strength from hearing it expressed by someone else-it 
then re-activates the original protagonist; they spark each other off. 
"Spontaneity is the state of production and is the engine that drives the 
creative act" Moreno wrote this in 1953 and 1934 in "Who Shall Survive", 
page 334. All the best, Marcia Karp
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-----Original Message-----
From: Dr Kate Hudgins <drkatetsi at mac.com>

Date: Sun, 30 Nov 2008 15:40:24
To: grouptalk Listserv<list at grouptalkweb.org>
Subject: A 3 protagonist drama and healing between the genders


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