I analyse the political, economic, and cultural circumstances that have given rise to persistent political disputes about race (known colloquially as “the culture war”) among a subset of Americans. I argue that they point to a deep tension between widely held normative aspirations and pervasive and readily observable material facts about our society. The characterological pathologies this gives rise to are discussed, and a normatively preferable path forward for an individual attempting to reconcile themselves to the current social order is (...) suggested. (shrink)

Systemic Constellation Work is a rapidly growing experiential healing process that is being embraced by a variety of helping professionals, both traditional and alternative, worldwide. This book explores the history, principles and methodology of this approach, and offers a detailed comparison with psychodrama - the original mind-body therapy - explaining how each method can enhance the other. Constellation work is based on the notion that people are connected by unseen energetic forces and suggests that the psychological, traumatic and survival (...) experiences of our ancestors are genetically passed forward to the next generation and may live within us. Using insightful case studies from a variety of client groups, this book shows how Systemic Constellation Work can expand the possibilities of psychodrama techniques, and can be successfully integrated with psychodramatic enactment, guided imagery, ritual, concretization and other methods of healing and personal growth. This book will be essential reading for students and practitioners of psychodrama and Constellation work, as well as counselors, mental health professionals, experiential therapists, creative and expressive arts therapists and alternative practitioners looking to widen their knowledge of mind-body therapies. (shrink)

The authors argue that Morenian-inspired existential psychodrama turns out to be a formidable lever for opening up existence as it allows schizophrenic patients to incorporate the experience of an “absolutely other” on which the foundation of any autonomous self is built. More precisely, by relying on their clinical experiences, the authors show how psycho-dramatic play goes along with an intense movement of original projection which carries psychotic patients externally in relation to themselves. Offset from their pathological world, these patients (...) feel more inclined to “wear someone else’s shoes,” for the duration of the game, and they do so in a manner that is both sensorial and pathic. This surprising and creative “journey,” which allows them to return to the world better attuned to others and to themselves, is merely an enactment of a “true” intersubjective encounter: the very essence of existential psychodrama. By applying phenomenology to this psychodramatic method, notably by relying on the hypothesis of psychosis being a disorder of what Bin Kimura calls the “ aida,” the authors hope to contribute to the advancement of psychosis’ psychotherapy. (shrink)

Jane Arden’s debut feature film The Other Side of the Underneath is an adaptation of the radical feminist play A New Communion for Freaks, Prophets and Witches. In both the play and the later film, the all-female cast re-enact personal and archetypal situations using autobiographical material, which was collectively gathered from group therapy sessions led by the director. Psychedelic drugs were also consumed during the group therapy sessions. In this article, I will situate Arden’s distinct approach to performance in the (...) film within the framework of psychodrama, focusing specifically on the role that psychedelic drugs play in unleashing performers’ repressed feelings of trauma, rage, and desire; these emotions are harnessed into a dynamic mode of performance that amplifies the cathartic possibilities of women’s speech. The film’s heady brew of radical feminist politics, group therapy, and countercultural self-actualisation is both challenging and contentious. I argue that Arden’s pursuit of consciousness liberation through psychodrama and psychedelics—in other words, through ‘raising’ and ‘expanding’ consciousness—is best understood as a concerted attempt to align countercultural and radical feminist tactics for unravelling repressive forms of social conditioning. (shrink)

Psychodrama is a therapeutic method in which the stage is used to enact and reenact life events with the aim of instilling, among other positive changes, hope and empowerment in a wide range of populations suffering from psychological duress. The therapeutic process in psychodrama moves away from the classic treatment of the individual in isolation to treatment of the individual in the context of a group. In domestic violence situations, in which abusive men seek to socially isolate their (...) victims from family and friends, the social support that psychodrama provides can positively influence the psychological health and well-being of the participants. This qualitative study examines the manner in which psychodramatic treatment can empower abused women residing in domestic violence shelters and help them regain control of their lives. An action research study of domestic violence survivors living in a women's shelter in Israel, over a 12-month period, demonstrates the role of psychodrama therapy in promoting the reduction of anxiety, stress, guilt, and self-blame, while reinforcing perceptions of self-worth and confidence. These findings contribute to our understanding of the potential of psychodrama in helping reshape life roles and reframe experiences within a creative process, with the aim of facilitating a transition from powerlessness to powerfulness among vulnerable populations. (shrink)

Throughout the last decades, scientific and therapeutic communities have made common efforts to collect reliable information concerning the efficacy of psychotherapies. One of these initiatives has, recently, involved the psychodrama community and its desire to achieve progress in the validation of this therapy. Based on Robert Elliot's Hermeneutic Single Case Efficacy Design (HSCED), we followed five participants (3 women, 2 men, aged 27-48) of a psychodrama group over the course of their therapeutic process, which ranged from 24 months (...) to 5 years. We chose one of them for the single case study. Quantitative outcome measures included the Portuguese versions of the Revised Spontaneity Assessment Inventory, Clinical Outcome Routine Evaluation and the individualized Personal Questionnaire. Qualitative process measures included Helpful Aspects of Therapy Form and the Client Change Interview. Participants generally reported improvement in their personal therapeutic goals, decrease in symptoms and life problems, and some showed a marked increase in spontaneity levels. In the single case presented, these results are confirmed, and following decision criteria it is possible to assert that the participant improved in all the variables assessed and that therapy is the main cause of these changes. Furthermore, the participant frequently rated psychodrama sessions as being helpful and stated they had a transformational impact on his life. This research contributes towards validating psychodrama as an efficient therapeutic method, hopefully stimulating practitioners to integrate therapy and research - which, for years, were considered independent and incompatible - and to facilitate their use in a complementary way. (shrink)

This article addresses the question of whether psychodrama can be viewed as an example of the extended mind thesis and can be applied in an educational context. The extended mind thesis (Clark & Chalmers, 1998) proposes that external artifacts can function as integral components of an individual's cognitive system, augmenting cognitive abilities. The article explores the notion that psychodrama, with its scenes, techniques, and social group dynamics, can be regarded as an extension of the mind. By examining this (...) relationship, the article aims to provide a wider understanding of the implications of the extended mind thesis in the field of education. Viewing psychodrama through the lens of the extended mind thesis emphasizes the role of the environment in shaping cognition, underscores the significance of external resources in the educational process, and highlights the potential of psychodrama as an educational approach. (shrink)

J. L. Moreno (1889–1974), the founder of psychodrama, argued against legitimate theater, asserting it is a “rigid drama conserve,”1 a finished product of the preceding creative process. In particular, Moreno protested against the centripetal manner in which actors of legitimate theater assimilate a role from a written play: an external material, the written play, assimilates into the center, the actor. Moreno viewed such process as an imposition, for it is “not genuinely creative, but re-creative.”2 In line with this notion, (...) Moreno decisively distinguished between the rehearsed art of “dramaturgy” and the extemporaneous art of “creaturgy.”3 Moreno also dissented with the scarcity of spontaneity in Stanislavsky’s .. (shrink)

Concretization is a concept that has different meanings in different psychological theories and varying manifestations in different psychotherapies. In psychodrama, much of the available information on concretization draws on J. L. Moreno’s initial conceptualization, descriptive case studies, and interpretations in the various approaches. However, concretization has not been empirically studied as a concept or as a therapeutic mechanism of change. Therefore, the purpose of this qualitative study was to generate an empirically based conceptualization and operationalization of concretization as well (...) as to identify its clinical benefits in psychodrama. To this end, semistructured in-depth interviews were conducted with seven experienced psychodrama therapists. Using a grounded theory approach for the data analysis, the model that emerged consists of three pathways toward concretization: realistic concretization, symbolic concretization, and integrated concretization. The findings suggest a sequential multistep operation that can be linear or nonlinear, depending on the protagonist’s need. The findings also underscore four benefits of concretization as a mechanism of change in psychodrama: reducing the ambiguity of the problem, externalizing the protagonist’s problem, enhancing the therapist-protagonist therapeutic bond, and bypassing the protagonist’s defense mechanisms. The model is discussed in light of the findings and the literature, and future directions are suggested. (shrink)

This study was designed as an action research aimed to help students to elaborate their feelings of traumatic grief, due to a car accident and a suicide of two of their classmates, in an Italian high school. A death education project was realized in order to prevent the Werther effect. The intervention was based on psychodramatic techniques and meditation with Tibetan bells to encourage reflection on the suffering of traumatic loss, the sense of life, and their future. A total of (...) 89 students from four classes participated in the study, among which 82 completed the pre- and post-test survey. The intervention consisted of eight 2-h meetings, during which the themes of death and loss were dealt with through theoretical discussions, dramatization, and meditation. Two other classes which participated in the assessment as a control group did not attend the activities. The following instruments were used: Death Attitude Profile-Revised, which measures individual attitudes toward death; Psychological Well-being Scale, which measures a person’s psychological well-being; Resilience Scale for Adolescents, which measures the construct of resilience in adolescents; Self-Transcendence Scale, which measures self-transcendence; and Testoni Death Representation Scale, which measures the ontological representations of death. The results demonstrated that in the experimental group, there was a reduction in the fear of death and its avoidance, and that the students normalized the representation of death as something natural, thus improving their well-being. It is consequently possible to say that well-being is not simply the absence of suffering and worries, but rather, is rooted in the possibility of thinking of creative solutions to the trauma. (shrink)

Psychodrama is an effective psychotherapeutic model but interventions with adolescents require age-tailored techniques that maximize engagement and facilitate communication processes. This study describes a novel adaptation of a therapeutic mask technique to psychodrama with adolescents. Over the course of eight group sessions of psychodrama, five adolescents created their own mask and explored its therapeutic use. Their experiences were captured at the end of each session with the Helpful Aspects of Therapy form, and at the end of the (...) study with the Clinical Change Interview. Awareness/insight/self-understanding, empowerment and relief were the most significant aspects experienced by the adolescents, along with perceived increase of calmness and world connection, satisfaction in interpersonal communication and better emotional expression and regulation. The mask technique was experienced as a playful and engaging task that facilitated insight and interpersonal communication. Findings provide preliminary evidence on the clinical utility of mask-based psychodrama with adolescents. (shrink)

Parallels between Moreno's biography and his theory of self -- Moreno's philosophical- theological perception of the self -- Moreno's theory of the development of the self -- The significance of the concept of "role" in Moreno's theory -- The personality theory viewed through psychodrama -- An integrative and critical discussion and analysis of Moreno, personality theory and psychodrama.

The essay is a ‘personal impression’ of Isaiah Berlin and his liberalism, beginning with some intellectual biography, and turning to the question of how the way Berlin wrote about political ideas illuminates the liberalism he espoused. The essay discounts Berlin’s self-description as a historian of ideas who had abandoned philosophy, and follows Bernard Williams in arguing that the historicity of our political values demands a dialogical approach to their analysis in which we engage with our forebears and contemporaries in an (...) essentially conversational mode. The claim is illustrated with Berlin’s engagement with Alexander Herzen and Romanticism. (shrink)

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to (...) why game studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds. (shrink)

As part of a European Erasmus Plus project entitled Death Education for Palliative Psychology, this study assessed the ways in which Master’s Degree students in psychology and the creative arts therapies self-rated their confidence and interest in death education and palliative and bereavement care. In five countries (Austria, Israel, Italy, Poland, Romania), 344 students completed an online questionnaire, and 37 students were interviewed to better understand their views, interest, and confidence. The results revealed some significant differences between countries, and showed (...) that older respondents with previous experience as formal caregivers for end-of-life clients showed greater interest in obtaining practical clinical competence in these fields. A mediation analysis indicated that students’ previous care experiences and past loss experiences were related to students’ current interest in death education and palliative and bereavement care through the mediation of their sense of confidence in this field. The qualitative findings identified five shared themes: life and death, learning about death, the psychological burden, personal experience and robust training, and four key training needs. Overall, students’ interest in studying and working with terminal illness and death are rooted in internal resources, a preliminary sense of confidence, but also external requirements. (shrink)

Thinker on Stage is Peter Sloterdijk's audacious, empathetic reading of Friedrich Nietzche's first published work, The Birth of Tragedy out of the Spirit of Music. Intended originally as a postscript to a new edition of Nietzsche's book, Sloterdijk's text grew and became a book in its own right. Sloterdijk characterizes Nietzsche as a centaur-a philologist/musician, a philosopher/poet; the possessor of multiple talents inseparable from one another-who, in consequence, led the life of an obscure outsider on the fringes of organized cultural (...) life. To Sloterdijk, Nietzsche is not a hairsplitting philologist behind a lecturn but rather a thinker on stage, enacting a psychodrama on the origins of tragedy in universal human suffering. Reaching beyond philology, and risking his career, Nietzsche used this stage to present a glimpse of Greek antiquity quite unlike that cherished in nineteenth-century bourgeois culture. Sloterdijk, in turn, uses his subtle reading of Nietzsche to make his own cultural evaluations. Above all, he finds in The Birth of Tragedy, and in Nietzsche's life, a refutation of the will to power, and a sign that Nietzsche-fragile, wounded, endangered, yet self-affirming-is our contemporary. Book jacket. (shrink)

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore (...) this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people. (shrink)

To many, Jung and Moreno seem to be on opposite sides in their theories and their practices of psychotherapy. Jung defines self as emerging inwardly in an intrapsychic process of individuation; Moreno defines self as enacted outwardly in psychosocial networks of relationships. _Jung and Moreno: Essays on the theatre of human nature_ shows how Jung and Moreno can be creatively combined to understand better and facilitate therapeutic work. Craig E. Stephenson and contributors write about how and why they put together (...) Jung and Moreno. They describe and discuss psychodrama sessions grounded in the fundamentals of Jung’s analytical psychology, as well as dream and fairy tale enactments and individual psychoanalytical sessions in which they employ psychodramatic techniques. The essays retheorize Jungian concepts of transference and complexes in the light of Moreno’s insights. They reframe and deepen traditional psychodramatic techniques by securing them within Jung’s archetypal context. Jung and Moreno challenges our understanding of healing practices and the integration of spontaneous unconscious processes, bringing these two ground breaking practitioners to meet collaboratively in the theatre of human nature. The contributions are original and insightful arguments by nine important thinkers. This book will be of interest to psychotherapists, analytical psychologists, psychoanalysts, psychodrama practitioners, drama therapists and students. (shrink)

Examines indirect learning, suggestion, trance, psychodrama, relaxation, autogenics, bio-feedback, visualization, intuition, mind-control and meditation as approaches and techniques which can contribute to teaching and learning.

In lieu of an abstract, here is a brief excerpt of the content:Psychodramatic Psychotherapy for Schizophrenic IndividualsJohn Nolte, MD, PhD (bio)As a long-time student, practitioner, trainer, author and advocate of J. L. Moreno, MD,’s works and specifically the psychodramatic method, I am always appreciative of efforts, like Chapy’s, to commend and advocate for psychodrama. This is especially so because for a time, Moreno and psychodrama were heavily criticized, even maligned in the mental health professions. At the same time, (...) considering how poorly Moreno and his methods have been understood as well as the difficulty of accessing his original material, I feel an obligation to set the record straight when confronted with incomplete, inadequate, or sometimes incompetent expositions of Moreno’s psychodrama.Chapy’s article recommends psychodrama as a treatment method for schizophrenic people by calling upon existentialist and phenomenological concepts. Psychodrama, he proposes, opens up existence by allowing “schizophrenic patients to incorporate the experience of an ‘absolutely other.’”There are major flaws in Chapy’s presentation. His “clinical illustration,” the presentation of a psychodrama with a schizophrenic patient, while it may be considered psychodrama under the broadest definition of the term, hardly fulfills the requirements of a psychotherapeutic psychodrama. We must question the competence of the psychodramatist in Chapy’s example. Chapy’s description of the drama itself falls short of being an adequate account of a psychodrama, failing to convey the emotional intensity and realness which a well directed and reported psychodrama achieves. We do not learn, for example, if Damien’s perception of his father is introduced through role reversal with the father, a standard psychodramatic technique which is done in order to give the auxiliary ego taking that role an understanding how Damien experiences his father. We do not know if role reversals are made throughout the drama so that Damien can experience how he is perceived by father, can feel the force of his confrontation in the role of father, and is required to reply as his father to his confrontation. We are given little information about the psychodramatic techniques employed by the director other than the scene setting of the studio in which the psychodramatic [End Page 227] encounter takes place, and the soliloquy in which Damien expresses his worry and hopes for the outcome of the confrontation. It should be clear in the description of the drama whether the father’s statements in the drama were produced by Damien in role reversal, or by the auxiliary ego playing the role. There is a difference and it is significant. Although we are told that Damien “evokes a systematic relationship between him and his father” during the psychodrama, we do not see how this happens. Every psychodrama is an existential experience and its description should fully communicate its meaning and emotion.A more serious problem, however, is that this drama does not deal with Damien’s psychosis. Although Damien may be diagnosed as schizophrenic, his disorder is obviously in remission or controlled by psychotropic drugs. The drama reveals none of the hallucinations, delusions, or disorder characteristic of schizophrenic disorders. It could be psychodrama of any young man with a complaint about his father.The notion that people with schizophrenia can be successfully treated by psychodrama is not new. Moreno began developing psychodramatic psychotherapy at his Beacon Hill Sanitarium, established in 1936. He and psychodrama gained some fame because of his success in treating schizophrenic patients at a time when schizophrenic individuals were considered incapable of benefitting from psychotherapy. Moreno’s approach to the treatment of schizophrenic patients was much more robust than the psychodrama described by Chapy. During a psychotic attack, the individual’s perception of the world and self are distorted in ways that made action and interaction in the world of conventional reality impossible. Additionally, the psychotic episode makes the psychotic person incapable of being comprehended by anyone else, including the psychiatrist. Moreno’s solution was to make the chaotic, bewildering, sometimes violent and always terrifying inner world visible and tangible in the surplus reality of the psychodramatic stage. In moments of lucidity following the psychotic episode, he asked his schizophrenic patients to reenact their psychotic experiences. The result was that, “In this imaginary reality on the psychodramatic stage, the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophers, Carers, and Psychodramatic GamesCorinne 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... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes on Psychodramatic Treatment of a Person with SchizophreniaJonathan D. Moreno, PhD (bio)I have enjoyed reflecting on Mr. Chapy’s account of work in psychodrama with a patient with schizophrenia.Although at one time many years ago I was interested in phenomenological psychiatry, and especially the writings of Ludwig Binswanger and Medard Boss, I am not an authority on dasein-analysis, so I have nothing to add to the discussion. I (...) should say, however, that my father had little interest in this approach, which was far too abstract for his taste. He proceeded from the standpoint of the theater, of action and enactment. He believed that the drama itself provided the insight.For the purposes of this response, I take it as a given that the patient in question has been accurately diagnosed, although in the description of the scene with his father he does not exhibit the usual symptoms, such as auditory hallucinations. People with schizophrenia often find it difficult to manage the voices they are hearing without substantial preparation for a psychodrama. According to psychodramatic method, one way to prepare them is to externalize the voices, allowing a different therapist to take the role of each one as the protagonist instructs them how to play that role. Chair may be set up so that each “voice,” personified by an auxiliary ego, can sit in each chair in an array. This preparation may require a number of sessions. If the scene is to be enacted with a significant other, like the father in this instance, the patient may not be able to warm up to a direct encounter, especially with all the different voices competing for his internal attention. So he may be directed to observe each voice in the encounter with his father, preferably played by a therapist of his choosing and trained for the role, usually by giving the father-player certain lines so that they can learn something about the father and the way he addresses his son.Or consider the patient whose illness manifests itself as delusions, often of a megalomaniac character. They may be a messiah, for example, or the rightful heir of a royal line whose identity is being suppressed by governmental forces. The patient might be invited to choose key therapists to play the roles of key members of their circle, [End Page 225] enacting critical scenes like the sermon on the mount or speeches to their oppressed followers. In this way the patient’s “act hunger” may be to some degree satiated and have a calming effect on their anxiety and irritation with the frustrating world around them that refuses to accept their “authentic” identity and belief system.In these ways, psychodrama therapy can take advantage of one of the remarkable advantages of this method for such patients, who are generally recalcitrant to talk therapy alone and for whom medication is at best modestly effective. Still, these disorders are among the most challenging for psychotherapists. Although the process of treating them may open up insights into the nature of the human mind, as Chapy has pursued in this paper, we await the neuroscience that can affect the kind of long-term remission they and their families so desperately wish. [End Page 226]Jonathan D. MorenoUniversity of Pennsylvania [email protected] D. Moreno Jonathan D. Moreno is a philosopher and historian who specializes in the intersection of bioethics, culture, science, and national security, and has published seminal works on the history, sociology and politics of biology and medicine. He is an elected member of the National Academy of Medicine.submitted on January 27, 2023Accepted on January 30, 2023Copyright © 2023 Johns Hopkins University Press... (shrink)

[...] Schapiro’s new metaphor of ‘being drawn out of oneself’ is suggestive of alienation, even though it is supposed to apply at a different level. As much as in Korsgaard’s account of reflective endorsement, the problem of the agent’s dealing with their inclinations is treated as a solitary internal affair: what is staged is a psychodrama, that is, a drama that plays in the agent’s mind. The (social) world enters solely as backdrop scenery, and social roles and scripts are (...) ultimately up for choice. But this is reductive and unduly simplifies matters. In this regard, Kant’s forensic and political metaphors seem far more perspicuous in articulating the activity that leads to the agential authority of action. The ekstatic view is bound to disregard the dynamic and historical dimension of rational agency. The ekstatic view of the rational will charges the dramatic moment of choice-making with all significance, hence implicitly overshadowing the long-term history of inner conflict and the preparatory and processual stages of deliberation. This may result in a loss of explanatory power regarding the diachronic dimension of practical thinking, the long-term activities leading to decision-making, the complex processes of self-formation, the construction of practical identity and the social practices and activities that help us to sustain our commitments across time. [...]. (shrink)