THE ORIGIN AND DEVELOPMENT OF PSYCHODRAMA AND ITS RELATIONSHIP TO RADICAL THEATRE
DOI:
https://doi.org/10.12926/wxezdp81Keywords:
PSYCHODRAMAAbstract
Some contemporary theatre groups, particularly those identified with the radical theatre movement, bear a striking resemblance to a group therapeutic process called psychodrama. Although psychodrama is currently a modality in group therapy, many psychodramatic techniques and exercises are used by radical theatre groups, either as their presentational form or for the purpose of actor training. Because of my interest in radical theatre, I will investigate the history of psychodrama and compare the methods and goals of psychodramatists with the activities and purposes of certain radical theatre groups.
References
1. Jacob L. Moreno, The Theatre of Spontaneity (New York: Beacon House, Inc., 1947), p. 99. All subsequent material referring to history, methods and philosophy of the Theatre of Spontaneity are taken from this source.
2. Jacob L. Moreno, Group Psychotherapy: Symposium (New York: Beacon House, Inc., 1945), p. 503.
3. Moreno, The Theatre of Spontaneity, p. 10.
4. Ibid., p. 5.
5. Ibid., p. 7.
6. Ibid.
7. Howard A. Blatner, Acting-In (New York: Spinger Publishing Company, Inc., 1973), p. 141. All subsequent material related to the development and techniques of psychodrama were taken from this source.
8. As quoted in Jacob L. Moreno, Who Shall Survive? (New York: Beacon House, Inc., 1953), p. ivi.
9. Blatner, Acting-In, p. 141.
10. Ibid.
11. Ibid., p. 9.
12. James Roose-Evans, Experimental Theatre (New York: Avon Books, 1970), p. 17.
13. Theodore Shank, Collective Creation,' The Drama Review, 16 (No. 2 [T-54], 1972), p. 3-32. AII subsequent material relating to collective creation was taken from this source.
14. Ibid.
15. Moreno, The Theatre of Spontaneity, p.31.
16. Roose-Evans, Experimental Theatre, • 139.
17. Shank, "Collective Creation," The Drama Review, 16 (No. 2 (T-54], 1972), p. 5.
18. Moreno, The Theatre of Spontaneity, p. 80.
19. Charlotte Rea, "Women's Theatre Groups," The Drama Review, 16, (No. 2 [T-54], 1972), p. 79-89.
20. Moreno, The Theatre of Spontaneity, p.38.
21. As quoted in Richard Schechner, "Aspects of Training at the Performance Group," in Actor Training, 1, ed. by Richard Brown (New York: Drama Book Specialists, 1972), p. 8.
22. Ann Halprin, "Community Art as Life Process," The Drama Review, 17, (No. 3 [T-59], 1973), p. 64-80. All subsequent information referring to Ann Halprin was taken from this source.
23. Ibid.
24. Ibid.
25. Moreno, The Theatre of Spontaneity, p. 92.
26. Roose-Evans, p. 141.
27. Ibid.
28. Peter Brook, The Empty Space (New York: Avon Books, 1968), p. 121.
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