{"title":"Philosophers, Carers, and Psychodramatic Games","authors":"Corinne Gal, Alexandre Chapy, Marielle Fau, Muriel Guaveia","doi":"10.1353/ppp.2023.a908274","DOIUrl":null,"url":null,"abstract":"Philosophers, Carers, and Psychodramatic Games Corinne Gal (bio), Alexandre Chapy (bio), Marielle Fau (bio), and Muriel Guaveia (bio) Dear Jonathan D. Moreno, Thank you for the honor of taking the time to comment on the work we do. It is very meaningful for us to be able to talk with you. We, too, see a big difference between philosophers and carers (in the broadest sense) who deal with the suffering of patients and try to find methods to help them. But, if theory is at the service of the clinic, it becomes a formidable asset to refine our therapeutic methods and better understand what is happening to our patients. Indeed, patients suffering from psychosis, severe neurosis … are difficult to accompany and “recalcitrant to therapy by word alone” to use your terms. It is on this point that Ludwig Binswanger distanced himself from psychoanalysis. Binswanger ran a sanatorium in Switzerland (the Bellevue Clinic) and took in patients suffering from this type of psychological pathology. Aware that “the divan” and the analysis of the transference (unconscious) made little progress, he sought other ways of understanding his patients. The work of Edmund Husserl, the founder of the phenomenological movement, and then the work of Martin Heidegger1 fascinated him because they attempted to answer fundamental questions about being. The patients we work with ask themselves and us the same question: What is being? How can we feel existence within ourselves? Binswanger then created daseinsanalysis as an analysis of existence in which he was able to develop, among other dimensions, what he called “artists’ gestures,” including the possibility of (physical) contact with the patients. The body regained existential importance in the therapy. There are also strong similarities between psychiatric phenomenology and the work of Jacob Levy Moreno (2014, p. 214). We would like to quote your work: “ Nonetheless, there were links between them. Heidegger and J.L. shared preoccupation with personal authenticity and meaning [End Page 230] just enough to be considered part of the trends that led to postwar existentialism and fueled the new humanistic psychology, NTL, and encounter groups.” Jacob Levy Moreno’s working methods are much more powerful, allowing us to work as closely as possible with bodily feelings, since the body involved in the action is so present in psychodrama. Because, to this question of being posed by our patients, is linked the body as a felt, sensing body: the body that I am (which differs from the object body). Schizophrenic patients often express, and this is a terrible suffering, that they no longer feel anything, that they no longer feel they exist, that they no longer feel emotions or feelings. They do not know how to be in the world and with others. For us it is a fundamental symptom, as much as hallucinations. We link it to the loss of natural evidence (Blankenburg, 1991), the loss of contact with reality (Minkowski, 1929). Most of the time, in psychodrama, we “externalize” what the patients feel in different roles played by players, which allows us to work at the heart of each person’s difficulties in interaction. Trained in psychodrama by Anne Ancelin Schützenberger, we have to our credit a set of techniques to support the expression of psychodramatic play, a sort of “toolbox.” Depending on the context, the moment of the patient, our own state, we open our toolbox and try to choose and use the technique that best fits the needs of the game, of what we understand about the difficulty of the protagonist or the group. We do not do anything systematic, we are craftsmen. We have chosen to present a very simple game, without any technique used, except for the initial soliloquy, with a stabilized patient suffering from paucisymptomatic forms of schizophrenia. This is to demonstrate how the possibility of encounter, constitutive of existence, is a fundamental dimension of psychodrama. We thank you for the examples you have given us, they will be a source of inspiration and will fill our toolbox. To John Nolte: We thank you very much for your comments which honor us. The aim of the article was to present how the encounter in...","PeriodicalId":45397,"journal":{"name":"Philosophy Psychiatry & Psychology","volume":"41 1","pages":"0"},"PeriodicalIF":2.6000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Philosophy Psychiatry & Psychology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/ppp.2023.a908274","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"PHILOSOPHY","Score":null,"Total":0}
引用次数: 0
Abstract
Philosophers, Carers, and Psychodramatic Games Corinne Gal (bio), Alexandre Chapy (bio), Marielle Fau (bio), and Muriel Guaveia (bio) Dear Jonathan D. Moreno, Thank you for the honor of taking the time to comment on the work we do. It is very meaningful for us to be able to talk with you. We, too, see a big difference between philosophers and carers (in the broadest sense) who deal with the suffering of patients and try to find methods to help them. But, if theory is at the service of the clinic, it becomes a formidable asset to refine our therapeutic methods and better understand what is happening to our patients. Indeed, patients suffering from psychosis, severe neurosis … are difficult to accompany and “recalcitrant to therapy by word alone” to use your terms. It is on this point that Ludwig Binswanger distanced himself from psychoanalysis. Binswanger ran a sanatorium in Switzerland (the Bellevue Clinic) and took in patients suffering from this type of psychological pathology. Aware that “the divan” and the analysis of the transference (unconscious) made little progress, he sought other ways of understanding his patients. The work of Edmund Husserl, the founder of the phenomenological movement, and then the work of Martin Heidegger1 fascinated him because they attempted to answer fundamental questions about being. The patients we work with ask themselves and us the same question: What is being? How can we feel existence within ourselves? Binswanger then created daseinsanalysis as an analysis of existence in which he was able to develop, among other dimensions, what he called “artists’ gestures,” including the possibility of (physical) contact with the patients. The body regained existential importance in the therapy. There are also strong similarities between psychiatric phenomenology and the work of Jacob Levy Moreno (2014, p. 214). We would like to quote your work: “ Nonetheless, there were links between them. Heidegger and J.L. shared preoccupation with personal authenticity and meaning [End Page 230] just enough to be considered part of the trends that led to postwar existentialism and fueled the new humanistic psychology, NTL, and encounter groups.” Jacob Levy Moreno’s working methods are much more powerful, allowing us to work as closely as possible with bodily feelings, since the body involved in the action is so present in psychodrama. Because, to this question of being posed by our patients, is linked the body as a felt, sensing body: the body that I am (which differs from the object body). Schizophrenic patients often express, and this is a terrible suffering, that they no longer feel anything, that they no longer feel they exist, that they no longer feel emotions or feelings. They do not know how to be in the world and with others. For us it is a fundamental symptom, as much as hallucinations. We link it to the loss of natural evidence (Blankenburg, 1991), the loss of contact with reality (Minkowski, 1929). Most of the time, in psychodrama, we “externalize” what the patients feel in different roles played by players, which allows us to work at the heart of each person’s difficulties in interaction. Trained in psychodrama by Anne Ancelin Schützenberger, we have to our credit a set of techniques to support the expression of psychodramatic play, a sort of “toolbox.” Depending on the context, the moment of the patient, our own state, we open our toolbox and try to choose and use the technique that best fits the needs of the game, of what we understand about the difficulty of the protagonist or the group. We do not do anything systematic, we are craftsmen. We have chosen to present a very simple game, without any technique used, except for the initial soliloquy, with a stabilized patient suffering from paucisymptomatic forms of schizophrenia. This is to demonstrate how the possibility of encounter, constitutive of existence, is a fundamental dimension of psychodrama. We thank you for the examples you have given us, they will be a source of inspiration and will fill our toolbox. To John Nolte: We thank you very much for your comments which honor us. The aim of the article was to present how the encounter in...
Corinne Gal(个人简介),Alexandre Chapy(个人简介),Marielle Fau(个人简介)和Muriel Guaveia(个人简介)亲爱的Jonathan D. Moreno,感谢您抽出时间评论我们所做的工作。能和你谈话对我们来说很有意义。我们也看到了哲学家和护理人员(广义上)之间的巨大差异,后者处理病人的痛苦,并试图找到帮助他们的方法。但是,如果理论是为临床服务的,它就会成为完善我们的治疗方法和更好地了解我们病人身上发生的事情的强大资产。的确,患有精神病和严重神经症的病人很难陪伴,用你的话来说,他们“不愿单靠言语治疗”。正是在这一点上,路德维希·宾斯旺格与精神分析拉开了距离。宾斯旺格在瑞士开了一家疗养院(贝尔维尤诊所),收留患有这种心理疾病的病人。意识到“沙发”和移情(无意识)分析几乎没有进展,他寻求其他方法来理解他的病人。现象学运动的创始人埃德蒙·胡塞尔和马丁·海德格尔的作品都使他着迷,因为他们试图回答关于存在的基本问题。我们治疗的病人会问他们自己和我们同样的问题:什么是存在?我们怎样才能感受到自身的存在?宾斯旺格随后创造了daseinsanalysis,作为一种对存在的分析,在这种分析中,他能够在其他维度中发展他所谓的“艺术家的姿态”,包括与病人(身体)接触的可能性。身体在治疗中重新获得了存在的重要性。精神病学现象学与Jacob Levy Moreno (2014, p. 214)的作品也有很强的相似之处。我们想引用你的作品:“尽管如此,他们之间还是有联系的。海德格尔和J.L.对个人真实性和意义的共同关注,足以被认为是导致战后存在主义的趋势的一部分,并推动了新的人文主义心理学、NTL和相遇团体。”雅各布·利维·莫雷诺(Jacob Levy Moreno)的工作方法更加强大,允许我们尽可能地与身体感觉密切合作,因为参与动作的身体在心理剧中是如此的存在。因为,我们的病人提出的这个问题,是把身体作为一个感觉的,感知的身体联系起来的:我的身体(它不同于客体身体)。精神分裂症患者经常表达,这是一种可怕的痛苦,他们不再有任何感觉,他们不再觉得自己存在,他们不再有情绪或感觉。他们不知道如何生活在这个世界上,如何与他人相处。对我们来说,这是一种基本症状,就像幻觉一样。我们将其与自然证据的丧失(Blankenburg, 1991)、与现实的接触的丧失(Minkowski, 1929)联系起来。大多数时候,在心理剧中,我们“外化”患者在玩家扮演的不同角色中的感受,这使我们能够在每个人的互动中遇到困难的核心。安妮·安塞琳·施岑伯格(Anne Ancelin schzenberger)对我们进行了心理剧的训练,我们有一套技巧来支持心理剧的表达,这是一种“工具箱”。根据情境,病人的时刻,我们自己的状态,我们打开我们的工具箱,尝试选择和使用最适合游戏需求的技术,以及我们对主角或团队难度的理解。我们不做任何系统的事情,我们是工匠。我们选择呈现一个非常简单的游戏,没有使用任何技术,除了最初的独白,一个稳定的病人患有无症状的精神分裂症。这是为了证明相遇的可能性,构成了存在,是心理剧的一个基本维度。我们感谢你为我们提供的例子,它们将成为灵感的源泉,并将充实我们的工具箱。致约翰·诺尔特:我们非常感谢您的评论,这使我们感到荣幸。这篇文章的目的是展示在……