Multiple protagonists, Mark two

[thana ag]

To continue with Marcia's :  the same approach I may use  also  in  on one situation,:where my warm up(via sharing) may help the stalling  warm up of my  patient.Now what one would call that?!
A rose by any other rose...works...
In spontaneity,
anath

From: connie at souldrama.com
To: MKarp11444 at aol.com; list at grouptalkweb.org
Date: Wed, 3 Dec 2008 17:39:39 +0000
Subject: Re: Multiple protagonists, Mark two

Actually Macia I had no problem with your e mail being disjointed - it mirrors the actual situation how we talk within a group! How many of us really have such coherent thoughts that we can  speak all at once in paragraphs?  I for one do not and am enjoying the discussion however it is..  Maybe its just me. Blessings ConnieConnie Miller TEP, LPC. NCC 
http://www.souldrama.com/ 
The International Institute of Souldrama 
620 Shore Rd 
Spring Lake Heights 
NJ 07762 USA 

1-800-821-9919 

 -----Original Message-----
From: MKarp11444 at aol.com [mailto:MKarp11444 at aol.com]
Sent: Wednesday, December 3, 2008 12:05 PM
To: list at grouptalkweb.org
Subject: Multiple protagonists, Mark two






Dear Grouptalkers,
My God. Because many of you read my email in a disjointed way, Adam says I should do the whole thing over again, so here goes. The rigors of scholarship. My email began like this:
 
 Hi Walter, I am so glad that the discussion on multiple protagonists has stimulated you to write after a decade. I am enjoying the discussion too. I have emailed the discussion to my old friend, Malcolm Pines, now 82, a group analyst who trained in psychodrama with Dean and Doreen Elefthery in Amsterdam and Belgium. He is enjoying the discussion too as are many of us. The second or third protagonist are distinguished from just an auxiliary role because the second protagonist doesn't wait to express his/her feelings and thoughts but expresses them in the existing scene. They take the opportunity to do so in the scene that is being played out at that moment. That is why they become the second or third protagonist, because they are ready to give birth to their thoughts and feelings in a way that the original protagonist isn't ready or prepared to express at that moment.The second protagonist may want to express something different, in a different way to the original protagonist. However, more often than not, they express something in the neighborhood of the feelings and thoughts unexpressed from the primary protagonist. They may have different details of course. I try to remember to ask the auxiliary ego, playing the dead mother, for example, if she is willing to stay in the role for the second protagonist. The first protagonist stays on the stage and watches. You could say that the second and third protagonists are a double but not really because the second protagonist does it for him/herself and not to support or help the protagonist. Though, unwittingly, he or she often does just that, supports and helps the original protagonist like a brother or sister in the drama though not knowing they are doing so. If there are left over thoughts and feelings from the second and third protagonists, they can continue in the sharing. I try to have the second and third protagonist make their own closure in the scene though, before going back to the primary protagonist. I always end up the session going back to the original protagonist. He or she, having watched the others express what they need to may be warmed up in a new way and be ready to express what they were afraid to say or do and may gain courage from his fellow protagonists. I ask the original protagonist is there anything you would like to complete, finish or express with your dead mother, for example and you can now put it in your own words just the way you would like to say it or do it. Very often the original protagonist gains in courage by watching the others. It seems to work out well and the group feel they have done it together. All the best, Marcia Karp
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